{"mediaBaseUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films","films":[{"slug":"land_nick_meltdown_1994","ok":true,"partial":false,"title":"Meltdown","artist":"Nick Land","year":"1994","startOffset":2.87,"sourceSecs":1569.391,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":223459011,"posterUrl":"https://ubu.getkino.com/runs/20260621T220535Z__xeno/films/land_nick_meltdown_1994/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260621T220535Z__xeno/films/land_nick_meltdown_1994/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260621T220535Z__xeno/films/land_nick_meltdown_1994/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260621T220535Z__xeno/films/land_nick_meltdown_1994/main/master.m3u8","framesManifestUrl":"https://ubu.getkino.com/runs/20260621T220535Z__xeno/films/land_nick_meltdown_1994/frames.json","framesBaseUrl":"https://ubu.getkino.com/runs/20260621T220535Z__xeno/films/land_nick_meltdown_1994/frames","downloadUrl":null,"hasFrames":true,"description":"Meltdown is a video setting of the 1994 text of the same name by the British philosopher Nick Land, written under the Cybernetic Culture Research Unit (CCRU) and published in the CCRU's Swarm 1. The text is one of the founding statements of accelerationism. It reads the history of capitalism as a single runaway process. Its opening line is \"The story goes like this: Earth is captured by a technocapital singularity as renaissance rationalitization and oceanic navigation lock into commoditization take-off,\" and its closing passages include the much-quoted \"Neo-China arrives from the future.\" The writing draws heavily on Gilles Deleuze and Félix Guattari.\n\nThis film is not part of the UbuWeb archive. The source text is published online by the CCRU at ccru.net.","artist_bio":"Nick Land (born 1962) is a British philosopher and writer. In the 1990s he taught philosophy at the University of Warwick, where in 1995 he co-founded the Cybernetic Culture Research Unit (CCRU) with Sadie Plant. His writing of that decade combined the work of Gilles Deleuze and Félix Guattari with cybernetics, economics, science fiction, and occult numerology, and became a central reference for the body of thought later called accelerationism. His first book was The Thirst for Annihilation: Georges Bataille and Virulent Nihilism (1992); his essays from 1987 to 2007 were gathered in Fanged Noumena (2011). He left academic philosophy in the late 1990s and has since lived in Shanghai. \"Meltdown\" (1994) is among the best known of his CCRU-era texts.","xeno":true,"xenoSource":{"label":"CCRU","url":"http://www.ccru.net/swarm1/1_melt.htm"}},{"slug":"0_down_2008","ok":true,"partial":false,"title":"0% Down","artist":"Josephine Meckseper","year":"2008","startOffset":0,"sourceSecs":377.451,"sourceHeight":328,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":21723829,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/0_down_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/0_down_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/0_down_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/0_down_2008/main.mp4?v=2"},{"slug":"10_11kitchenmetastories","ok":true,"partial":false,"title":"10 11kitchenmetastories","artist":"Auder","year":"1983","startOffset":0,"sourceSecs":158.229,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":10993836,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/10_11kitchenmetastories/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/10_11kitchenmetastories/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/10_11kitchenmetastories.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/10_11kitchenmetastories/main.mp4?v=2","description":"The television production Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes. This production reflects a moment when art centers were experimenting with new modes of presenting the arts for television. The participating artists read like a \"who's who\" of 1980's downtown art icons. Short excerpts from video and film works (by artists including Vito Acconci, Dara Birnbaum, Bruce Connor and Bill Viola) are intercut with performances and art installations in the Kitchen's gallery spaces. Laurie Anderson performs Difficult Listening Hour, speaking through the male voice of her \"Soul Doctor\" character; Talking Heads' front man David Byrne is featured in the performance piece Report from L.A.; choreographer and dancer Bill T. Jones performs Inspiration to the accompaniment of John and Evan Lurie's music. Art works by '80s art stars Cindy Sherman, Robert Longo and Jonathan Borofsky are integral to the mise en scene, while music by downtown legends Brian Eno, Philip Glass and Arto Lindsay, among others, provides a running soundtrack. --\n\nThis title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the\n\nThe EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"16_17kitchen_atlantichemisphere","ok":true,"partial":false,"title":"George Lewis & Gregory Miller (with Molissa Fenley)","artist":"The Kitchen","year":"1952","startOffset":0,"sourceSecs":330.112,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":19527568,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/16_17kitchen_atlantichemisphere/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/16_17kitchen_atlantichemisphere/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/16_17kitchen_atlantichemisphere.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/16_17kitchen_atlantichemisphere/main.mp4?v=2","description":"The television production Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes. This production reflects a moment when art centers were experimenting with new modes of presenting the arts for television. The participating artists read like a \"who's who\" of 1980's downtown art icons. Short excerpts from video and film works (by artists including Vito Acconci, Dara Birnbaum, Bruce Connor and Bill Viola) are intercut with performances and art installations in the Kitchen's gallery spaces. Laurie Anderson performs Difficult Listening Hour, speaking through the male voice of her \"Soul Doctor\" character; Talking Heads' front man David Byrne is featured in the performance piece Report from L.A.; choreographer and dancer Bill T. Jones performs Inspiration to the accompaniment of John and Evan Lurie's music. Art works by '80s art stars Cindy Sherman, Robert Longo and Jonathan Borofsky are integral to the mise en scene, while music by downtown legends Brian Eno, Philip Glass and Arto Lindsay, among others, provides a running soundtrack. --\n\nThis title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the\n\nThe EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"18_19kitchen_artolindsay","ok":true,"partial":false,"title":"Artolindsay","artist":"The Kitchen","year":"1953","startOffset":0,"sourceSecs":163.243,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":9004830,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/18_19kitchen_artolindsay/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/18_19kitchen_artolindsay/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/18_19kitchen_artolindsay.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/18_19kitchen_artolindsay/main.mp4?v=2","description":"The television production Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes. This production reflects a moment when art centers were experimenting with new modes of presenting the arts for television. The participating artists read like a \"who's who\" of 1980's downtown art icons. Short excerpts from video and film works (by artists including Vito Acconci, Dara Birnbaum, Bruce Connor and Bill Viola) are intercut with performances and art installations in the Kitchen's gallery spaces. Laurie Anderson performs Difficult Listening Hour, speaking through the male voice of her \"Soul Doctor\" character; Talking Heads' front man David Byrne is featured in the performance piece Report from L.A.; choreographer and dancer Bill T. Jones performs Inspiration to the accompaniment of John and Evan Lurie's music. Art works by '80s art stars Cindy Sherman, Robert Longo and Jonathan Borofsky are integral to the mise en scene, while music by downtown legends Brian Eno, Philip Glass and Arto Lindsay, among others, provides a running soundtrack. --\n\nThis title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the\n\nThe EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"21kitchen_americawaiting","ok":true,"partial":false,"title":"21kitchen Americawaiting","artist":"The Kitchen - Two-Moon July","year":"1981","startOffset":0,"sourceSecs":146.603,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":10451723,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/21kitchen_americawaiting/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/21kitchen_americawaiting/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/21kitchen_americawaiting.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/21kitchen_americawaiting/main.mp4?v=2","description":"The television production Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes. This production reflects a moment when art centers were experimenting with new modes of presenting the arts for television. The participating artists read like a \"who's who\" of 1980's downtown art icons. Short excerpts from video and film works (by artists including Vito Acconci, Dara Birnbaum, Bruce Connor and Bill Viola) are intercut with performances and art installations in the Kitchen's gallery spaces. Laurie Anderson performs Difficult Listening Hour, speaking through the male voice of her \"Soul Doctor\" character; Talking Heads' front man David Byrne is featured in the performance piece Report from L.A.; choreographer and dancer Bill T. Jones performs Inspiration to the accompaniment of John and Evan Lurie's music. Art works by '80s art stars Cindy Sherman, Robert Longo and Jonathan Borofsky are integral to the mise en scene, while music by downtown legends Brian Eno, Philip Glass and Arto Lindsay, among others, provides a running soundtrack. --\n\nThis title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the\n\nThe EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"40jahrevideokunst_de_07_dellbrugge_christiane_ralf_mol1_de_videotheorie_i_iv_remix_interview_1992_93","ok":true,"partial":false,"title":"07 Dellbrugge Christiane Ralf Mol1 De Videotheorie I Iv Remix Interview 1992 93","artist":"Dellbrügge & De Moll","year":"1995","startOffset":0,"sourceSecs":1556,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":259854523,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_dellbrugge_christiane_ralf_mol1_de_videotheorie_i_iv_remix_interview_1992_93/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_dellbrugge_christiane_ralf_mol1_de_videotheorie_i_iv_remix_interview_1992_93/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_07_dellbrugge_christiane_ralf_mol1_de_videotheorie_i_iv_remix_interview_1992_93.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_07_dellbrugge_christiane_ralf_mol1_de_videotheorie_i_iv_remix_interview_1992_93/main.mp4?v=2","description":"Dellbrügge & de Moll untersuchen Codes im Betriebssystem Kunst. Ihre Arbeitsweise ist entsprechend diskursiv und analytisch, aber auch visuell stimulierend und ästhetisch ausgefeilt. Sie zählen nicht zu den klassischen Medienkünstlern, denn sie nutzen alle verfügbaren Medien, ohne sich auf eines speziell zu konzentrieren. Ihr Interesse gilt vor allem der Theorie- und Diskursbildung sowie den Bedingungen der Kunstproduktion. Video-Theorie behandelt das System ”Video”, wie es in der Kunst reflektiert wird, und stellt in dieser Hinsicht für das Künstlerpaar bereits einen Schlusspunkt in ihrer kurzen Spanne linearer Videotapeproduktion dar.\n\nVideo-Theorie besteht aus vier Teilen, die in jeweils unterschiedlicher visueller Weise den geschlossenen Kreislauf von Werk- und Diskursproduktion thematisieren und sich der Medientheorie als Ressource künstlerischer Produktion bedienen. Dabei nutzen und zitieren sie auch das Spektrum grafischer und künstlerischer Haltungen dazu. Ein zusätzlicher Remix, ein Interview anlässlich eines Fernsehauftritts im WDR und die VideoTheorie, No Tech Version ergänzen diese komplexe Diskursproduktion. Video-Theorie ist also eine Animation, ist ein Clip, ist ein Dokument, ist eine Collage, ist ein Kommentar, ist eine Installation. Damit ist die permanente Reformatierbarkeit und Variabilität der Diskurse nicht nur konzeptuell, sondern auch physisch augenfällig.\n\nVideo-Theorie repräsentiert einen umfassenden Einsatz von damals gängiger Technologie in der Bildgestaltung wie im Schnitt. Teil 1, in Frankreich produziert, operiert mit computeranimierter Gebärdensprache und visualisiert einen Text von Beate Ermacora, der aber nur ”Eingeweihten”, das heißt in diesem Fall, Personen mit Kenntnissen der Gebärdensprache verständlich ist. Die Theorie bleibt für alle anderen eine nicht zu entziffernde Behauptung. Jede Verifizierung der Aussage würde eine unwahrscheinliche Dekodierungsanstrengung vom Betrachter verlangen. Und es stellt sich am Ende die Frage, wie viel Theorie eigentlich in zwei Minuten darzustellen ist. Eines der dabei verbürgten Statements lautet: ”Zu gering erscheint wohl für Konsumenten der Repräsentationswert, gar nicht wahren kann Video den Anspruch auf Unikatsware.” Der Verdacht kommt hier schon auf, dass es sich womöglich nicht um eine tatsächliche Theorie handelt, sondern eher um theoretische Versatzstücke, deren Erkenntnisgewinn durch die visuelle Formatierung sogar konterkariert wird. Video-Theorie 1 demonstriert damit die praktische Unmöglichkeit der Theorievermittlung.\n\nDer zweite Teil suggeriert die Bildmächtigkeit des Mediums jenseits aller Sprache noch rasanter. Das Video ist ein typischer schneller Clip und buchstabiert die englische Übersetzung eines Textes von Dieter Daniels als Text im Bild und als Stakkato optischer Reize. ”Da Kunst aber ein soziales Ereignis ist und von Institutionen, Orten und Personen abhängt, muss den neuen Medien im Rahmen der Kunst ein Aufführungs- und Ausstellungswert zurückgegeben werden.” Zur Vermittlungsproblematik kommt hier die zweite These in der Tradition Marshall McLuhans: Die intensive ”Massage” (!) der Clips ist immer mächtiger als jeder sprachliche oder textliche Input.\n\nTeil 3 und 4 verlangsamen das Tempo, vor allem nach dem extrem schnell geschnittenen Remix aus Bildern von Teil 2. Die bewusst monotone, einfache und in die Länge gezogene Inszenierung in Teil 3 - mit einer Widmung an John Baldessari - verarbeitet einen Text des amerikanischen Künstlers Matthew Geller als Song zur Musik eines Gitarristen und alterniert dieses simple Abbild des Spiels mit Passagen eines Schwarzbildes. Über das Fernsehen wird Geller zitiert, unter anderem mit folgendem Statement: ”lt's omnipresent, yet completely taken for granted.” (”Es ist allgegenwärtig, doch es wird niemals hinterfragt.”) Während hier die Unschärfe und die verwischten Bewegungen als Zitat eines bestimmten Videoclipstils gelten können, setzt Teil 4 schließlich einen Text des Kunsthistorikers Friedemann Malsch ins Bild, der einen vorsichtig optimistischen Ausblick liefert: ”Video wird zunehmend eine Praxis, die neben traditionelleren Medien praktiziert wird.” Wieder ist der Clip mutiert, diesmal zu einer rhythmischen Montage von Bildern aus dem Alltag.\n\nAlle zitierten Beteiligten sind nicht als Theoretiker bekannt gewesen, haben jedoch auf signifikante Weise an der Produktion und/oder Vermittlung der Videokunst in den 1980er Jahren teil gehabt. Vermittlung ist der zutreffende Begriff für eine künstlerische Haltung, die sich den Bedingungen der Videokunst reflexiv und visuell nähern will. Doch am Ende dieser vier Teile steht die banale Erkenntnis, dass wir weit von jeder Theorie entfernt sind. Die Bedingungen zur Reflexion sind kontextuell immer Wieder neu zu verhandeln. Wie um dies zu bestätigen, liefern Dellbrügge & de Moll einen Remix, in dem die bereits kondensierte Theoriebildung gleichsam durch den Hochdruckkompressor gedreht wird. Das Interview fügt dem noch ein typisches TVFormat hinzu, kommentiert aber das schwierige Verhältnis der Künstler zum Massenmedium mit einer ironischen Montage, in der ihnen nur noch die Pause, das fragende Gesicht und das Nicht-antworten-können als Reaktion auf die TV-Maschinerie übrig bleibt. Sie setzen einen letzten Satz ins Bild, der das ganze Projekt noch einmal zusammenfasst: ”An dieser Stelle fehlt ein Video von Dellbrügge & de Moll, welches die Schwierigkeiten, Videokunst auf dem Kunstmarkt zu etablieren, thematisiert.”\n\nDass Theorie heute vor allem auf der Ebene des Codes funktioniert, ist von Dellbrügge & de Moll schließlich 1994 spielerisch aufgegriffen worden: ”Video-Theorie, No Tech Version ist das physische Extrakt aus den Video-Theorie-Bändern, deren Texte hier in das Printmedium und in eine kontemplative Betrachtersituation rückgeführt werden. Das Equipment - Monitor und Rekorder - werden auf der Zeichenebene mitgeliefert. Die Arbeit ist leicht zu transportieren, schnell installiert, kostengünstig und auf Interaktivität angelegt. Video-Theorie/No Tech Version thematisiert den geschlossenen Kreislauf von Werk- und Diskursproduktion und bedient sich der Medientheorie als Ressource künstlerischer Produktion .” 1)\n\nVideo-Theorie verfolgt einen dezidiert konzeptuellen Ansatz, den Dellbrügge & de Moil in vielfältiger Weise differenziert haben. Neben den Untersuchungen zur Bedingung von Kunstproduktion (Sprechen über Kunst, 1991, Kunstkonsumentenprofile, 1994, Substitut@ICA, 1996) ist ein Schwerpunkt der öffentliche Raum wie in der mobilen Installation Der Diskurs findet hier statt (1995) unter Verwendung des Theorie-Remix auf AudioCD oder die interaktive CD-ROM zum Thema Stadt Hamburg Ersatz (1997). Eine neuere Arbeit Artist Migration Berlin aus dem Jahr 2005 beschäftigt sich ebenfalls mit Fragen zu den Bedingungen von Kunst. In Form von 30 Interviews von Künstlern, die aus der ganzen Welt nach Berlin gezogen sind, erkunden sie die Topografie von künstlerischen Haltungen »im Koordinatenkreuz von Selbstorganisation, Karriere und Verarmung, Anpassung und Anspruch«, wie es in der Inhaltsangabe der Künstler heißt.\n\nDellbrügge & de Moll haben das Befragen anderer zu einer Kunstform erhoben, die sie aber auch immer wieder auf sich selbst anwenden. Unter welchen Bedingungen können wir als Künstler agieren und diese Aktivitäten öffentlich als Prozess ausstellen? Die Kunst, soviel ist in den 1990er Jahren spätestens klar geworden, ist ohne Theorie nicht mehr erklärbar. Die Theorie und ihre Ästhetisierung wird hier nun selbst zur Kunst erklärt. Bei Dellbrügge & de Moll geht die Kunst aber gestärkt aus dieser Spannung hervor, denn letztendlich ordnet sich die Theorie der Kunst unter: ”Solange wir ein Bewusstsein haben, fällt der Kunsttheorie die Aufgabe zu, die Kunst zu verteidigen.” 2) Auch die Video-Theorie dient daher der Video-Kunst."},{"slug":"40jahrevideokunst_de_07_gunther_ingo_funf_funfzig_im_dunkel_l985","ok":true,"partial":false,"title":"07 Gunther Ingo Funf Funfzig Im Dunkel L985","artist":"Ingo Günther","year":"2006","startOffset":0,"sourceSecs":372.68,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":64171708,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_gunther_ingo_funf_funfzig_im_dunkel_l985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_gunther_ingo_funf_funfzig_im_dunkel_l985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_07_gunther_ingo_funf_funfzig_im_dunkel_l985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_07_gunther_ingo_funf_funfzig_im_dunkel_l985/main.mp4?v=2"},{"slug":"40jahrevideokunst_de_07_herold_jorg_korper_im_korper_1989","ok":true,"partial":false,"title":"07 Herold Jorg Korper Im Korper","artist":"Jörg Herold","year":"1989","startOffset":0,"sourceSecs":678.04,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":122455784,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_herold_jorg_korper_im_korper_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_herold_jorg_korper_im_korper_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_07_herold_jorg_korper_im_korper_1989.mp4","hasFrames":true,"description":"Jörg Herold eliminates the narrative element from his Super-8 film ‘Körper im Körper' by the use of extreme slow motion, granting the images a substantiality and material quality that is hard to describe. The soundtrack, which consists of a voice speaking the single words ‘house', ‘woman', ‘head' and ‘breath', intensifies the feeling of slowness, heaviness and materiality. The camera seems like a body let loose on its surroundings, concentrating on just a few objects, processes and views as it slowly feels its way around. The voice, in turn, appears to represent a kind of interior dialogue, a ‘body within a body'. Herold has described his experience of the demise of the GDR as a ‘release from ideology and arrival in arbitrariness'. Trying to regain his bearings, he became fascinated by the figure of Kaspar Hauser and started to develop an artistic double existence as Hauser–Herold. In retrospect, ‘Körper im Körper', which was shown at ‘documenta X' in Kassel in 1997, can be seen as an important precursor of the artist's Hauser project."},{"slug":"40jahrevideokunst_de_07_meissner_norbert_pfingsten_1989","ok":true,"partial":false,"title":"Pfingsten","artist":"Norbert Meissner","year":"1989","startOffset":0,"sourceSecs":438.56,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":69462642,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_meissner_norbert_pfingsten_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_meissner_norbert_pfingsten_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_07_meissner_norbert_pfingsten_1989.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_07_meissner_norbert_pfingsten_1989/main.mp4?v=2","description":"Walking a thematic tightrope, Norbert Meissner here puts media technology to the test. The universal event of pentecost is the moment of the highest realization: technologically, the moment of all possibilities, i.e. white noise and snow. The text spoken by a TV announcer tries to create a hierarchy, but it is constantly disturbed, subverted, and displaced by electronic image distortions and fade-ins and fade-outs of multilingual versions of the text and of signal terms in various alphabets. A work to be read with differentiation on truth, sublimity, and the media.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1965"},{"slug":"40jahrevideokunst_de_07_melitopoulos_angela_transfer_1992","ok":true,"partial":false,"title":"Transfer","artist":"Angela Melitopoulos","year":"1992","startOffset":0,"sourceSecs":744.08,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":123242599,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_melitopoulos_angela_transfer_1992/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_melitopoulos_angela_transfer_1992/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_07_melitopoulos_angela_transfer_1992.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_07_melitopoulos_angela_transfer_1992/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1961"},{"slug":"40jahrevideokunst_de_07_raab_kurt_baethe_hanno_hirschmuller_hans_sehnsucht_nach_sodom_1988","ok":true,"partial":false,"title":"Sehnsucht nach Sodom","artist":"Kurt Raab, Hanno Baethe, Hans Hirschmüller","year":"1988","startOffset":0,"sourceSecs":2849.2,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":480956613,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_raab_kurt_baethe_hanno_hirschmuller_hans_sehnsucht_nach_sodom_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_raab_kurt_baethe_hanno_hirschmuller_hans_sehnsucht_nach_sodom_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_07_raab_kurt_baethe_hanno_hirschmuller_hans_sehnsucht_nach_sodom_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_07_raab_kurt_baethe_hanno_hirschmuller_hans_sehnsucht_nach_sodom_1988/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_07_raab_kurt_baethe_hanno_hirschmuller_hans_sehnsucht_nach_sodom_1988/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"Ce film vidéo est un dialogue - à travers les visites d'amis - et un film. Pour Kurt Raab, cela s'inscrivait dans une logique et c'était une continuation de la vie qu'il avait menée jusqu'alors. Rien n'aurait pu être plus tragique pour lui, sachant qu'il était condamné, que d'être écarté de la vie qui l'avait entraîné là. Un témoignage d'adieu se profile : des sujets aussi tabous que le sida, la mort et le catholicisme d'un homosexuel sont abordés.\"<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"40jahrevideokunst_de_07_schreiner_volker_wipe_board_1989","ok":true,"partial":false,"title":"Wipe board","artist":"Volker Schreiner","year":"1989","startOffset":0,"sourceSecs":181.8,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":30681996,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_schreiner_volker_wipe_board_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_07_schreiner_volker_wipe_board_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_07_schreiner_volker_wipe_board_1989.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_07_schreiner_volker_wipe_board_1989/main.mp4?v=2","description":"The tape \"Wipe Board\", made in 1989. Its 2:58 minutes comprise 130 pictorial sequences, where countless different rolls of paper are rolled out and up with one hand at breathtaking speed. Constantly, new pictures emerge, from monochrome to patterned areas, though they can hardly be perceived with the quick succession of pictures.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1957"},{"slug":"40jahrevideokunst_de_conradt_gerd_jahn_hartmut_uber_holger_meins_1982","ok":true,"partial":false,"title":"Über Holger meins, ein versuch, Unsere sicht heute 1982","artist":"Gerd Conradt, Hartmut Jahn","year":"1982","startOffset":0,"sourceSecs":3533.88,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":604051856,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_conradt_gerd_jahn_hartmut_uber_holger_meins_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_conradt_gerd_jahn_hartmut_uber_holger_meins_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_conradt_gerd_jahn_hartmut_uber_holger_meins_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_conradt_gerd_jahn_hartmut_uber_holger_meins_1982/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_conradt_gerd_jahn_hartmut_uber_holger_meins_1982/main/master.m3u8?v=2","hasMainHls":true,"description":"Eine Annäherung an Holger Meins, Studienkollege von Gerd Conradt, Harun Farocki, Wolfgang Petersen und Hartmut Bitomsky an der Deutschen Film- und Fernsehakademie Berlin (DFFB). Er geht in den Untergrund und schließt sich der RAF an. Im Gefängnis stirbt er in der Untersuchungshaft im Hungerstreik im Jahr 1974. Die Biografie von Holger Meins wird fragmentarisch erzählt durch die Augen des Vaters, Wilhelm Meins, und montiert mit Reflexionen aus der filmischen Produktion der Filmautoren Gerd Conradt und Hartmut Jahn im Jahr 1982.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1955"},{"slug":"40jahrevideokunst_de_dibbets_jan_tv_as_fireplace_1969","ok":true,"partial":false,"title":"TV as a fireplace","artist":"Jan Dibbets","year":"1968/1969","startOffset":0,"sourceSecs":1327.76,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":223114017,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_dibbets_jan_tv_as_fireplace_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_dibbets_jan_tv_as_fireplace_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_dibbets_jan_tv_as_fireplace_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_dibbets_jan_tv_as_fireplace_1969/main.mp4?v=2","description":"Das in Farbe ausgestrahlte Bild eines Kaminfeuers bildet in den letzten acht Tagen des Jahres 1969 den Schluß des abendlichen Programms von WDR 3. Es gibt keinen Hinweis auf den Künstler oder einen Kommentar zum Kunstcharakter der Sendung. Gerade dadurch wirkt »TV as a Fireplace« fast wie ein Stück selbstverständlicher Alltag. Dibbets zeigt, daß Fernsehen ein kollektives Erlebnis ist. Auch wenn die einzelnen Zuschauer und Familien an den Abenden der Weihnachtszeit jeweils getrennt in ihren Wohnung sitzen, sind sie doch vor einem gemeinsamen Feuer vereinigt, wie die Urmenschen in einer Höhle. Jedoch auch ohne kulturgeschichtlichen Hintergrund kann das Stück einfach zur Entspannung, zum Abschalten dienen. Deshalb überrascht es kaum, wenn zwanzig Jahre später tatsächlich Videokassetten mit Kaminfeuer im Handel erhältlich sind.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1941"},{"slug":"40jahrevideokunst_de_die_todliche_doris_uber_mutti_live_konzert_paris_1983_played_back_berlin_1984","ok":true,"partial":false,"title":"Über-mutti-live-konzert-Paris 1983 played back Berlin 1984","artist":"Die Tödliche Doris","year":"1984","startOffset":0.36,"sourceSecs":260.24,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":47462256,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_die_todliche_doris_uber_mutti_live_konzert_paris_1983_played_back_berlin_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_die_todliche_doris_uber_mutti_live_konzert_paris_1983_played_back_berlin_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_die_todliche_doris_uber_mutti_live_konzert_paris_1983_played_back_berlin_1984.mp4","hasFrames":true,"description":"The acoustic distortion and actionistic interventions in the sound recording are mediatized once again in the performance 'Super-Mom': the Paris concert is lip-synched in Berlin, and performers as well as audience simulate their parts. This is the first live lip-synch show with a wig-wearing audience, which must also simulate the applause (by holding up and moving its hands). Die Tödlich Doris thus initiates a spiral of self-reference corresponding to that in video feedback. The serial concept, which increasingly approaches pure white noise with each new 'generation' of performance, is realized in its most extreme form in 'Cavaliers live in Villingen-Schwenningen, live lip-synched in Bonn, live lip-synched in Berlin, live lip-synched in Bruxelles, live lip-synched in S'Hertogenbosch'.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"40jahrevideokunst_de_documenta_der_leute_telewissen_1972","ok":true,"partial":false,"title":"Documenta der leute","artist":"Telewissen","year":"1972","startOffset":0,"sourceSecs":1834.4,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":307629104,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_documenta_der_leute_telewissen_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_documenta_der_leute_telewissen_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_documenta_der_leute_telewissen_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_documenta_der_leute_telewissen_1972/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_documenta_der_leute_telewissen_1972/main/master.m3u8?v=2","hasMainHls":true,"description":"Die Gruppe telewissen nimmt vor der Kunstausstellung eine »documenta der Leute« auf. Unsere Kamera sieht die Leute auf der Straße, wir zeigen ihnen die Bilder unmittelbar danach auf Bildschirmen, die ebenfalls auf der Straße stehen. Wir verwenden Video als Erkenntnis- und Kommunikationsmittel und möchten daran mitarbeiten, neue Aspekte der Wirklichkeit zu entdecken. Mit bewegten, tönenden, aber doch nur mosaikkleinen Teilausschnitten beitragen zur Wissenschaft vom Menschen. Den Alltag als Erlebnis bewußt und als Geschichte sichtbar machen. Eine Basis für bessere Kommunikation schaffen. Dadurch angeregt beginnen lange Gespräche über Gott und die Welt.<br/><br/> telewissen<br/><br/> Die »documenta der Leute« besteht aus sechs Stunden dokumentarischem Rohmaterial mit Befragungen der Besucher der »documenta 5«. Die zu dieser Zeit noch in der Öffentlichkeit ungewohnte Videotechnik mit ihrer gleichzeitigen Wiedergabe des aufgezeichneten Bildes ist ein produktives Mittel, um kommunikative Situationen im öffentlichen Raum zu stimulieren.<br/><br/> Die Gruppe telewissen mit ihrem aufklärerischen Namen setzt Video in den unterschiedlichsten Arbeitsfeldern wie Pädagogik, Psychologie, alternatives Fernsehen, Medienzentren, Kunst, Dokumentation im Sinne einer kritischen Beteiligung der Bürger ein, so daß auch hier zeitweise dynamische Produktionsprozesse mit Schülern, Studenten, Ingenieuren, Grafikern und Pädagogen entstehen. Nach der »documenta 5« ist die Gruppe sowohl an »Projekt ‘74« als auch an der »documenta 6«, 1977, beteiligt.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"40jahrevideokunst_de_export_valie_raumsehen_und_raumhoren_1974","ok":true,"partial":false,"title":"Raumsehen und raumhören","artist":"Valie Export","year":"1974","startOffset":0,"sourceSecs":314.96,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":55716281,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_export_valie_raumsehen_und_raumhoren_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_export_valie_raumsehen_und_raumhoren_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_export_valie_raumsehen_und_raumhoren_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_export_valie_raumsehen_und_raumhoren_1974/main.mp4?v=2","description":"Like in 'Split Reality', the personality conveyed by a medium in this performance tape appears to be schizophrenic. Two video cameras and a mixer make possible a closed-circuit action that demonstrates not only the differences in the way the viewers perceive a person who is physically present in the room and simultaneously electronically reproduced, but also how the image is manipulated by its electronic conveyance. The camera zooms in and out, subjecting the performer's monitor likeness to permanent alteration. Specific synthetic sounds are linked to the picture: optically close = loud sound and rapid tone repetition, optically remote = quiet sound and slow tone repetition. The work is arranged in 6 parts: 1. space position, 2. split images, 3. space position composition, 4. split image composition, 5. body, 6. body composition.\n\nRESOURCES:\n\nThis Film is Part of the collection 40jahrevideokunst.de (2006)"},{"slug":"40jahrevideokunst_de_froese_dieter_the_piece_in_the_country_failure_piece_2_1979_81","ok":true,"partial":false,"title":"The piece in the country (failure piece #2)","artist":"Dieter Froese","year":"1979","startOffset":0,"sourceSecs":732.48,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":130517545,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_froese_dieter_the_piece_in_the_country_failure_piece_2_1979_81/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_froese_dieter_the_piece_in_the_country_failure_piece_2_1979_81/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_froese_dieter_the_piece_in_the_country_failure_piece_2_1979_81.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_froese_dieter_the_piece_in_the_country_failure_piece_2_1979_81/main.mp4?v=2","description":"A mundane trip to the country. A meditation on the metaphysics of the creative process, success, failure, and by extension, life, narrated by Froese.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1941"},{"slug":"40jahrevideokunst_de_gruber_bettina_vedder_maria_der_uherzschlag_des_anubis_1988","ok":true,"partial":false,"title":"Der Herzschlag des Anubis","artist":"Bettina Gruber, Maria Vedder","year":"1988","startOffset":0,"sourceSecs":321.68,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":57458239,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_gruber_bettina_vedder_maria_der_uherzschlag_des_anubis_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_gruber_bettina_vedder_maria_der_uherzschlag_des_anubis_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_gruber_bettina_vedder_maria_der_uherzschlag_des_anubis_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_gruber_bettina_vedder_maria_der_uherzschlag_des_anubis_1988/main.mp4?v=2","description":"The tape is a video collage of models and lighting effects. The models are based on Ancient Egyptian culture and its mythological figures, staged as tableaux: «Anubis-Charon-Tableau», «Isis and Osiris-Tableau» and «Horus-Tableau». The single scenes are acted out using paper models of the figures and mythological objects. Different scales of light and shade form the background and help to evoke thematic atmospheres such as «The Air under the Wings», «Circling Night» or «The Black Shadow». The two video artists Bettina Gruber and Maria Vedder have co-operated for years in the production of videotapes.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"40jahrevideokunst_de_guiton_jean_francois_holzstucke_1982","ok":true,"partial":false,"title":"Guiton Jean Francois Holzstucke","artist":"Jean-François Guiton","year":"1982","startOffset":0,"sourceSecs":392.12,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":68941406,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_guiton_jean_francois_holzstucke_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_guiton_jean_francois_holzstucke_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_guiton_jean_francois_holzstucke_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_guiton_jean_francois_holzstucke_1982/main.mp4?v=2","description":"The various 'wood pieces' place the acoustic qualities of the banal procedures depicted on a level with the actual images, which show - in brief excerpts - the serially repeated collapse of various wood-plank constructions which were artfully built shortly beforehand. The restrained technical manipulation - confined to edits and running-speed alterations - matches the rhythm of visuals and sound in such a way that they take on a life of their own, intensifying to represent new perceptions."},{"slug":"40jahrevideokunst_de_horn_rebecca_berlin_ubungen_in_neun_stucken_1975","ok":true,"partial":false,"title":"Berlin, übungen in neun stücken","artist":"Rebecca Horn","year":"1974/1975","startOffset":0,"sourceSecs":2410.96,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":415597683,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_horn_rebecca_berlin_ubungen_in_neun_stucken_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_horn_rebecca_berlin_ubungen_in_neun_stucken_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_horn_rebecca_berlin_ubungen_in_neun_stucken_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_horn_rebecca_berlin_ubungen_in_neun_stucken_1975/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_horn_rebecca_berlin_ubungen_in_neun_stucken_1975/main/master.m3u8?v=2","hasMainHls":true},{"slug":"40jahrevideokunst_de_kiessling_dieter_vorhange_1982_86","ok":true,"partial":false,"title":"Vorhänge","artist":"Dieter Kiessling","year":"1982/1986","startOffset":0,"sourceSecs":119.88,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":18491698,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_kiessling_dieter_vorhange_1982_86/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_kiessling_dieter_vorhange_1982_86/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_kiessling_dieter_vorhange_1982_86.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_kiessling_dieter_vorhange_1982_86/main.mp4?v=2","description":"In einer Sporthalle dient ein grauer Filzvorhang als Raumteiler. Die erste Kameraeinstellung beginnt bei geschlossenem Vorhang (Abb.1). Kurz bevor die Bewegung sichtbar wird, setzt bereits das Motorengeräusch ein. Beim Nachobenziegen faltet sich der Vorhang ähnlich einer Ziehharmonika ineinander. Am unteren Rand des Vorhangs sind Ausbesserungen in Form von dunkleren Flicken deutlich zu erkennen. Kurz bevor sich der Vorhang auf halber Höhe befindet, wird ein zweiter Vorhang sichtbar und dahinter nach unten gelassen. In der Zwischenzeit wird die Sicht in die Halle freigegeben Der Fußboden besteht aus grauem Linoleum, der durch das einfallende Licht der rechten Fensterfront stark spiegelt. An der rückwärtigen Wand sind farbige Turnmatten zu beiden Seiten des Fußballtores aufrecht gegen die Wand gestellt. Die Wandverkleidung besteht aus Klinkerbacksteinen in rötlichbeiger Färbung (Abb.2). Nur wenn der vordere Vorhang fast hochgezogen ist, wird die Decke zwischen den Vorhängen sichtbar. Sie besteht aus grauen gitterartigen Lamellen, auf der mittig doppelreihig weiße Striche aufgebracht sind. In den durch die Strichlinien abgeteilten drei Deckenzonen befindet sich jeweils mittig eine quadratische Aussparung für die Beleuchtung (Abb.3) Das Video ist beendet nachdem der vordere Vorhang vollständig nach oben gezogen ist, beziehungsweise der hintere Vorhang vollständig nach unten gelassen wurde, was hierbei zeitgleich erfolgt. <br/><br/> Dieter Kiessling studierte von 1978 – 1986 an der Kunstakademie Münster parallel Sport und Kunst. Während seiner Studienzeit hat er als Trampolinassistent in dieser Sporthalle gearbeitet. Durch wöchentliches Beobachten in der Turnhalle wuchs die Inspiration die bei der Teilung des Raumes entstand. Die Materialität des grauen Filzvorhangs war für ihn ein wichtiges gestalterisches Element. Dabei war er jedoch nicht bewusst auf der Suche nach einer passenden Turnhalle, da er mit den Gegebenheiten dieser Halle bestens vertraut war. Kiessling studierte in der Bildhauerklasse, dadurch hatte er, was \"die Einarbeitung in Studioabläufe und Editing zum damaligen Zeitpunkt betraf, relativ vereinfachte Anforderungen.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1957"},{"slug":"40jahrevideokunst_de_klier_michael_der_riese_1983","ok":true,"partial":false,"title":"Der riese","artist":"Michael Klier","year":"1983","startOffset":0,"sourceSecs":4892.24,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":833245508,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_klier_michael_der_riese_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_klier_michael_der_riese_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_klier_michael_der_riese_1983.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_klier_michael_der_riese_1983/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_klier_michael_der_riese_1983/main/master.m3u8?v=2","hasMainHls":true,"description":"An unconventionally constructed essay video on video surveillance in public space. The video uses documentary material from remote-control surveillance cameras on public streets, squares, shopping malls, and transit spaces like airports and train stations, as well as pictures from banks, department stores, supermarkets, and private grounds and buildings. The combination of various footage in a realistic style creates the impression of a central surveillance apparatus as an anonymous, powerful subject that omnipresently sees everything without itself being visible.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1943"},{"slug":"40jahrevideokunst_de_knoebel_imi_projektion_x_1971","ok":true,"partial":false,"title":"Projektion X","artist":"Imi Knoebel","year":"1971","startOffset":0,"sourceSecs":2372.16,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":397771628,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_knoebel_imi_projektion_x_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_knoebel_imi_projektion_x_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_knoebel_imi_projektion_x_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_knoebel_imi_projektion_x_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_knoebel_imi_projektion_x_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"Spanning the area between painting and sculpture, Knoebel's main body of work is in the Constructivist tradition. 'Projection X', his only videotape, was one of a number of works made in 1970-71 that were based on outdoor projections. During a nocturnal drive through the sleeping city of Darmstadt, a large, luminous X is projected from the vehicle onto the walls of buildings. Due to the uninterrupted 40 minutes recording time, and the video-specific streaking, or comet, effect that occurs in poor light conditions, the tape is distinctive for being one of the few Schum productions specifically geared towards the video medium. As such, it may be seen as exemplifying Schum's transition from the 'TV exhibitions' to the more art-world oriented 'Video Gallery'.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"1940-1996"},{"slug":"40jahrevideokunst_de_kriesche_richard_malerei_deckt_zu_kunst_deckt_auf_1977","ok":true,"partial":false,"title":"Malerei deckt zu, kunst deckt auf","artist":"Richard Kriesche","year":"1977","startOffset":0,"sourceSecs":191.2,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":23632766,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_kriesche_richard_malerei_deckt_zu_kunst_deckt_auf_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_kriesche_richard_malerei_deckt_zu_kunst_deckt_auf_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_kriesche_richard_malerei_deckt_zu_kunst_deckt_auf_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_kriesche_richard_malerei_deckt_zu_kunst_deckt_auf_1977/main.mp4?v=2","description":"Painting covers, art reveals. Between you and me visible barriers are installed. For instance, I look into the cameras of ZDF television. I see none of you who are now seeing me. As you do not see what I see, and I don't see what you see, obviously there is something invisible between us. It's a matter of describing that something, so that you see what I see, and I see what you see. -- Richard Kriesche<br/><br/> In a contribution specially made for transmission on ZDF television's arts programme 'Aspekte', Richard Kriesche repeats three times over – inside the screen, in front of the screen, then back inside the screen – the programmatic media statement quoted above. ‘My project,' said Kriesche when interviewed on this TV action, ‘is an analysis of planes of reality. The image in front of me, the image behind me, the image as simultaneity with me.' The almost didactically deployed blue-box process, in which a mixer imprints a different image over the blue-coloured parts of an electronic image, demonstrates how susceptible TV communication is to manipulation – as if to confirm that ‘painting covers, art reveals’.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"40jahrevideokunst_de_malaria_geld_1983","ok":true,"partial":false,"title":"Geld","artist":"Malaria!","year":"1983","startOffset":0,"sourceSecs":253.16,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":44923397,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_malaria_geld_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_malaria_geld_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_malaria_geld_1983.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_malaria_geld_1983/main.mp4?v=2","description":"The women's band Malaria comes from the Berlin music scene and embodies the spirit of the 80s in this experimental video clip. Androgynous qualities, blurring of sexual identity, protest against stylized attitudes, linked with an unmistakable sense of dramatic effect were all part of the repertoire of these groups between 'Neue Deutsche Welle' and Punk. References to experimental film were obviously more important than a slick videoclip production. Malaria precedes what was later coined «girlpower».<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"40jahrevideokunst_de_megert_franziska_sweet_dressing_1983","ok":true,"partial":false,"title":"Sweet dressing","artist":"Franziska Megert-Vogt","year":"1983","startOffset":0,"sourceSecs":189.6,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":33462936,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_megert_franziska_sweet_dressing_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_megert_franziska_sweet_dressing_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_megert_franziska_sweet_dressing_1983.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_megert_franziska_sweet_dressing_1983/main.mp4?v=2","description":"Within the soundscape of an anonymous station, only two black spots in motion suggest the bearing of two people. On a white screen gradually appear irregular dark shades which only later can be identified as clothes, dressed on virtually invisible woman and man. The aesthetic effect is conducted by over-exposure of the light tones (white walls and faces), letting only the dark clothes to signify human presence. The intimacy between a man and a woman is not overexposed by the act of undressing. In contrast, it is slightly implied by the gestures of dressing followed by fondly kissing for good bye and parting. Both silhouettes disappear, leaving the frame in different directions. Their closeness diffuses in the sound of of the station hall and strangers'<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"40jahrevideokunst_de_pezold_friederike_die_neue_leibhaftige_zeichensprache_1973_1977","ok":true,"partial":false,"title":"Die neue leibhaftige zeichensprache","artist":"Friederike Pezold","year":"1972-1977","startOffset":0,"sourceSecs":3370.6,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":570648581,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_pezold_friederike_die_neue_leibhaftige_zeichensprache_1973_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_pezold_friederike_die_neue_leibhaftige_zeichensprache_1973_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_pezold_friederike_die_neue_leibhaftige_zeichensprache_1973_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_pezold_friederike_die_neue_leibhaftige_zeichensprache_1973_1977/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_pezold_friederike_die_neue_leibhaftige_zeichensprache_1973_1977/main/master.m3u8?v=2","hasMainHls":true,"description":"Die Nachbildung der weiblichen Figur durch Monitore hat bei Friederike Pezold vielfältige Realisierungen erfahren. Die je ca. 10-minütigen Videobänder der Serie »Die neue leibhaftige Zeichensprache« werden als Endlosschlaufe abgespielt. Die Malerei – um die Dimension der Bewegung erweitert – strahlt Ruhe und Konzentration aus. Das einzelne Bild ist auf den Monitorrahmen hin komponiert, die Folge der Bilder als langsamer Rhythmus inszeniert. Die Bewegungen der einzelnen kontrastreich stilisierten Körperteile evozieren dabei bewusst Stilmittel einer japanischen Ästhetik. Der weibliche Körper wird nicht als Projektionsfläche für einen voyeuristischen Blick, sondern als Zeichen abgebildet. Als »Madame Cucumatz« oder auch »Göttin Körpertempel« haben die Bodyart-Filme Eingang in eine skulpturale Form gefunden.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1945"},{"slug":"40jahrevideokunst_de_piene_otto_tambellini_otto_black_gate_cologne1968_69","ok":true,"partial":false,"title":"Piene Otto Tambellini Otto Black Gate Cologne1968 69","artist":"Otto Piene, Aldo Tambellini","year":"2006","startOffset":0,"sourceSecs":2822.32,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":479255179,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_piene_otto_tambellini_otto_black_gate_cologne1968_69/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_piene_otto_tambellini_otto_black_gate_cologne1968_69/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_piene_otto_tambellini_otto_black_gate_cologne1968_69.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_piene_otto_tambellini_otto_black_gate_cologne1968_69/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_piene_otto_tambellini_otto_black_gate_cologne1968_69/main/master.m3u8?v=2","hasMainHls":true,"description":"Black Gate Cologne' is often cited as the first television programme made by artists. It was a live event involving films, light objects and the participation of the studio audience. A comparable event took place in New York in 1967, the inter-media piece ‘Black Gate Theater’, which was now expanded by the possibilities of the new ‘Electronic Studio’ of WDR television, whose electronic video mixing facilities could now be creatively deployed for the first time. The close co-operation between artists and TV crew created a synthesis of live atmosphere, Light Art, experimental film and electronic image aesthetics. Two consecutive 45-minute broadcasts with different audiences were recorded in the studio, and then in part copied one on top of the other to intensify the transmitted product. Since the length of the broadcast was criticized ‘despite, or indeed perhaps because of, its confusing wealth of material’, WDR finally cut it to 23 minutes."},{"slug":"40jahrevideokunst_de_roehr_peter_1965_66_film_montagen","ok":true,"partial":false,"title":"Film-Montagen I-III","artist":"Peter Roehr","year":"1965","startOffset":0,"sourceSecs":1435.92,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":240564304,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_roehr_peter_1965_66_film_montagen/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_roehr_peter_1965_66_film_montagen/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_roehr_peter_1965_66_film_montagen.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_roehr_peter_1965_66_film_montagen/main.mp4?v=2","description":"I change material by repeating it unchanged. The message is the behaviour of the material in response to the frequency of its repetition.' <br/><br/> 'Projection' was the theme of the exhibition 'Prospect 71', Düsseldorf, which showed a few videos (including Gerry Schum’s ‘Video Gallery’) among a large number of films, slides, and photos. Peter Roehr’s three montage series – presented in both film and video – contain black-and-white film loops, with such precise details as '11 x Tunnel' illustrating Peter Roehr’s concept of a time structure related to principles of serial music. The footage, partly shot by Roehr, and partly ‘found’, is composed of sequences of outdoor architectural spaces (tunnel, skyscraper, traffic, bridge, etc.) and of commercial images (hair, Gulf, Mileage, etc.). The individual sequence duration is seldom more than 15 seconds. Although the montage is abstract in nature, its impact is often dramatic. The examples selected here are 'Bridge', ‘Tunnel’, 'Skyscraper' , 'Spotlight'.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"1944-1968"},{"slug":"40jahrevideokunst_de_rosenbach_ulrike_tanz_fur_eine_frau_1974_75","ok":true,"partial":false,"title":"Tanz für eine frau","artist":"Ulrike Rosenbach","year":"1974","startOffset":0,"sourceSecs":490,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":86874327,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_rosenbach_ulrike_tanz_fur_eine_frau_1974_75/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_rosenbach_ulrike_tanz_fur_eine_frau_1974_75/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_rosenbach_ulrike_tanz_fur_eine_frau_1974_75.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_rosenbach_ulrike_tanz_fur_eine_frau_1974_75/main.mp4?v=2","description":"Videoarbeit der Künstlerin, die sich zu dem Walzer »Ich tanze mit Dir in den Himmel hinein« im Kreis dreht bis zum Umfallen. Die Aufsichtsperspektive wird über einen an der Decke hängenden Spiegel erreicht.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1943"},{"slug":"40jahrevideokunst_de_schum_gerry_land_art_1969","ok":true,"partial":false,"title":"Land art","artist":"Gerry Schum","year":"1969","startOffset":0,"sourceSecs":455.2,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":83413864,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_schum_gerry_land_art_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_schum_gerry_land_art_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_schum_gerry_land_art_1969.mp4","hasFrames":true,"description":"The broadcast (transmitted by Sender Freies Berlin/ARD, 10.40pm, 15 April 1969) begins with a studio-recorded opening that has something of the atmosphere of a vernissage. Following short speeches by Schum and Jean Leering, the director of the Stedelijk Museum, Amsterdam, the artists' contributions are shown with no commentary. The eight artists from different countries (Richard Long, Barry Flanagan, Dennis Oppenheim, Marinus Boezem, Robert Smithson, Jan Dibbets, Walter de Maria, Mike Heizer) co-operated closely with Schum. The filming concentrates on the works of art that are created in rural sites, and there is none of the usual TV portrayal of the artist in a ‹studio atmosphere.› The elaborate productions were shot in Europe and the USA. Schum expanded the message of the emergent Land Art movement, which avoided the conventional ‹studio – gallery – collector› distribution channels: «Art should no longer be made for the privacy or exclusiveness of dealers or collectors. (...) Until now artists have not succeeded in finding a modern system of communication. The only chance I see for the visual arts is the conscious deployment of television.»<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"1938-1973"},{"slug":"40jahrevideokunst_de_sieverding_katharina_life_death_1969_2004","ok":true,"partial":false,"title":"Life-death","artist":"Katharina Sieverding","year":"1969/2004","startOffset":0,"sourceSecs":2990.28,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":513924397,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_sieverding_katharina_life_death_1969_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_sieverding_katharina_life_death_1969_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_sieverding_katharina_life_death_1969_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_sieverding_katharina_life_death_1969_2004/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_sieverding_katharina_life_death_1969_2004/main/master.m3u8?v=2","hasMainHls":true,"description":"Katharina Sieverding’s \"Life/Death\" (1969) with the the soundtrack Kraftwerk improvised for it in early 1972; as it was shown at the Oberhausen short film festival in April ‘72, & later dokumenta 5. <br/><br/> \"Life/Death\", 1969 is Sieverding’s pioneering film and photographic work. The project consists of 42 one by one meter C-prints in steel frames accompanied by video. The video mediates on the polar extremes often found in our daily existence. The artist uses her face as the departure for this investigation. At one point in the film, Sieverding stares at her own reflection in a tablespoon of honey as it spills onto her bare legs. In order to agitate the viewer’s perceptions of themselves, she articulates precisely how it is she sees herself: as an extreme, sexual and powerful agent scrutinizing the politics of being an individual during a period of great institutional unrest. In another scene, Sieverding offers potent images of her face and hands as they appear and disappear in an undulating crimson cloth, an effect created by using her weathered red coat. Sieverding has stated that her face provides a screen on which to project infinite perspectives, thoughts and emotions. The work contains a line of text that reads; \"Expressing uncertainty correctly and genuinely\". She has noted that Uncertainty is phenomenon that interests her in art practice. Expressing certainty, incorrectly and ungenuinely. This uncertainty express lack of definiteness enables the viewer to make decisions and develop opinions through their own authority. The \"Life/ Death project establish the stage for Sieverding ‘s subsequent works and has widely influenced international contemporary art practices.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1944"},{"slug":"40jahrevideokunst_de_vostell_wolf_1963_sun_in_your_head","ok":true,"partial":false,"title":"Sun in your head","artist":"Wolf Vostell","year":"1963","startOffset":0,"sourceSecs":317.76,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":56876652,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_vostell_wolf_1963_sun_in_your_head/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_vostell_wolf_1963_sun_in_your_head/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_vostell_wolf_1963_sun_in_your_head.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_vostell_wolf_1963_sun_in_your_head/main.mp4?v=2","description":"Vostell's large-scale happening '9 Nein Décollagen' ('9 No – Dé-coll/ages) took place on 14 September 1963 in nine different locations in Wuppertal, and was organized by the Galerie Parnass. The audience was ferried by bus from location to location, including a cinema that screened 'Sun in your head' while people lay on the floor. The film transfers to the moving image Vostell’s principle of ‘Décollage’. While up to then Vostell had altered TV pictures as they were being broadcast, he was now able to compose the temporal sequence. Since no video equipment was available in 1963, Vostell instructed camera-man Edo Jansen to film distorted TV images off the TV screen. The film was re-edited and copied to video in 1967. <br/><br/> Made for Vostell’s '9 Nein Dé-coll/agen' (9 'No Dé-coll/ages') happening, the film was subsequently shown in a separate context, for instance in Amsterdam in 1964.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Wolf Vostell in the UbuWeb Sound</a></br></br></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"1932-1998"},{"slug":"40jahrevideokunst_de_wilson_robert_video_50_1978","ok":true,"partial":false,"title":"Video 50","artist":"Robert Wilson","year":"1978","startOffset":0,"sourceSecs":3087.4,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":523383198,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_wilson_robert_video_50_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/40jahrevideokunst_de_wilson_robert_video_50_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/40jahrevideokunst_de_wilson_robert_video_50_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_wilson_robert_video_50_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/40jahrevideokunst_de_wilson_robert_video_50_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"Video 50 is an extraordinary video sketchbook, a highly original, visually dramatic and frequently humorous collection of one hundred abbreviated \"episodes\" produced for television. Unfolding as a series of thirty-second vignettes, this enigmatic essay in style is characterized by a deadpan theatricality, symbolist imagery, surrealist juxtapositions and repetition of key visual motifs. Indelible images, precisely composed — a man teetering above a waterfall, a floating chair, a winking eye, a parrot against the New York skyline — are accompanied by an \"architectural\" sound score that includes spoken \"phonetic patterns\" rather than words. Fusing his surprising visual logic and rhythms with unexpected temporal manipulations, Wilson creates a work of startling wit and poetry. -- <a href=\"https://www.eai.org/titles/video-50\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1941"},{"slug":"5_6kitchen_laurie_anderson","ok":true,"partial":false,"title":"Laurie Anderson","artist":"Laurie Anderson","year":"1990","startOffset":0,"sourceSecs":261.781,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":14477825,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/5_6kitchen_laurie_anderson/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/5_6kitchen_laurie_anderson/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/5_6kitchen_laurie_anderson.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/5_6kitchen_laurie_anderson/main.mp4?v=2","description":"Beautiful Red Dress (1990)<br/> Language Is A Virus (1986)<br/> Sharkey's Day (1984)<br/> O Superman (1981)<br/> Personal Service Announcements (1990)<br/><br/> Excerpts from:<br/> Empty Places, What You Mean We? (1986) Home of the Brave (1986)<br/> Alive from Off Cener<br/> The Eleventh Hour (1989)<br/> Headknock (1981)<br/> Tour of Laurie's Home<br/> Strange Angels","bio_dates":"b. 1947"},{"slug":"7kitchen_dara_birnbaum_faust","ok":true,"partial":false,"title":"\"Damnation of Faust\"","artist":"Dara Birnbaum","year":"1983","startOffset":0,"sourceSecs":169.515,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":11303463,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/7kitchen_dara_birnbaum_faust/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/7kitchen_dara_birnbaum_faust/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/7kitchen_dara_birnbaum_faust.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/7kitchen_dara_birnbaum_faust/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/kitchen.html\" rel=\"noopener\" target=\"_blank\">The Kitchen Presents Two Moon July</a>","artist_bio":"George Lewis & Gregory Miller (with Molissa Fenley) \"Atlantic\"\nDirector: Tom Bowes. Producer: Carlota Schoolman. Camera: Ed Bowes. Lighting Director: Stan Pressner. Sound: Bob Bielecki, Connie Kieltyka. Editing: Tom Bowes, Steve Giuliano. Associate Producers: Robin O'Hara, Mary Perillo. Assistant Director: Matthew Geller. Post Production Facilities: Broadway Video through the Media Alliance. Produced for The Kitchen by Carlota Schoolman. On-Line Program and Sync Sound, Inc.\nThe television production Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes. This production reflects a moment when art centers were experimenting with new modes of presenting the arts for television. The participating artists read like a \"who's who\" of 1980's downtown art icons. Short excerpts from video and film works (by artists including Vito Acconci, Dara Birnbaum, Bruce Connor and Bill Viola) are intercut with performances and art installations in the Kitchen's gallery spaces. Laurie Anderson performs Difficult Listening Hour, speaking through the male voice of hher \"Soul Doctor\" character; Talking Heads' front man David Byrne is featured in the performance piece Report from L.A.; choreographer and dancer Bill T. Jones performs Inspiration to the accompaniment of John and Evan Lurie's music. Art works by '80s art stars Cindy Sherman, Robert Longo and Jonathan Borofsky are integral to the mise en scene, while music by downtown legends Brian Eno, Philip Glass and Arto Lindsay, among others, provides a running soundtrack.\nThis video is an ensemble piece that contains a collection of experimental performance art pieces by various artists including: LAURIE ANDERSON; DAVID BYRNE (of Talking Heads); PHILIP GLASS; ARTO LINDSAY (founder of legendary New York No Wave band DNA) w/TONY NOGUEIRA; EVAN LURIE; JOHN LURIE; BILL T. JONES; GEORGE LEWIS; and MOLISSA FENLEY (Piece has music by ANTHONY DAVIS). The entire video takes place in The Kitchen, a legendary artist's loft in New York City. All the performance pieces are what would be considered Experimental/Avant-Garde. The highlights of the Two Moon July video are performances by Laurie Anderson, a fantastic running commentary on newspapers, media and film by Talking Heads frontman David Byrne, and a rare performance of an incredible piece by Phillip Glass entitled 'Mad Rush'.\nNo New York City cultural institution has been more hospitable toward the development of experimental interarts performance over the last decade and a half than the Kitchen. Since it was established in 1971 in SoHo, the Kitchen has helped nourish a roster of talent in the visual arts, dance, music, and performance art that reads like a who's who of the avant-garde.\nNo New York City cultural institution has been more hospitable toward the development of experimental interarts performance over the last decade and a half than the Kitchen. Since it was established in 1971 in SoHo, the Kitchen has helped nourish a roster of talent in the visual arts, dance, music, and performance art that reads like a who's who of the avant-garde. And this evening at 10 on Channel 31, many of those artists and their work can be glimpsed fleetingly in the one-hour special ''Two Moon July.''\nThe program, produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes, is really a glossy video brochure that presents tempting little tidbits of work, much of it filmed in the Kitchen's gleaming new headquarters on West 19th Street. Laurie Anderson, who has lately been acting as a sort of official greeter for the avant-garde, leads off the program with one of her surefire bits, ''Difficult Listening Hour,'' in which she introduces an imaginary radio show, intoning her words through a harmonizer that lowers her voice to a sinister robotic baritone. In David Byrne's ''Report From L.A.,'' the leader of Talking Heads dashes around in increasingly frantic circles while reciting the names of movies, some fanciful, others real, that he can hardly wait to see. The piece is an amusing sendup of a certain kind of media-mad New York jitters. Molissa Fenley (accompanied by Anthony Davis's composition, ''Clonetics'') and Bill T. Jones each performs a short, expressive dance piece.\nNaturally enough, the work that leaves the strongest impression is that created directly for video. ''And Now This,'' a haunting work of video art created by Kit Fitzgerald and John Sanborn, with music by David Van Tieghem and Peter Gordon, presents a beautiful evocation of the American heartland with eerie views of empty farm buildings seen through windows from striking perspectives. Michel Auder's ''Stories, Myths, Ironies and Songs,'' in which Ned Sublette sings about surviving the cold against scenes of New York City experiencing a full-scale blizzard, makes a moody urban counterpart.\nTo those looking for deep artistic statements, ''Two Moon July'' will be frustrating because in many instances, only excerpts of works are shown. Nothing lasts longer than three or four minutes. The show is the avant-garde equivalent of a Whitman's Sampler.\nThis title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work.\nThe EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nThis UbuWeb resource is presented in partnership with Chris Yewell","bio_dates":"b. 1946"},{"slug":"8_9kitchen_boatinginspiration","ok":true,"partial":false,"title":"Evan Lurie &  Jon Lurie - Boating (1986)","artist":"The Kitchen","year":"1986","startOffset":0,"sourceSecs":382.933,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":23341490,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/8_9kitchen_boatinginspiration/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/8_9kitchen_boatinginspiration/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/8_9kitchen_boatinginspiration.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/8_9kitchen_boatinginspiration/main.mp4?v=2","description":"The television production Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes. This production reflects a moment when art centers were experimenting with new modes of presenting the arts for television. The participating artists read like a \"who's who\" of 1980's downtown art icons. Short excerpts from video and film works (by artists including Vito Acconci, Dara Birnbaum, Bruce Connor and Bill Viola) are intercut with performances and art installations in the Kitchen's gallery spaces. Laurie Anderson performs Difficult Listening Hour, speaking through the male voice of her \"Soul Doctor\" character; Talking Heads' front man David Byrne is featured in the performance piece Report from L.A.; choreographer and dancer Bill T. Jones performs Inspiration to the accompaniment of John and Evan Lurie's music. Art works by '80s art stars Cindy Sherman, Robert Longo and Jonathan Borofsky are integral to the mise en scene, while music by downtown legends Brian Eno, Philip Glass and Arto Lindsay, among others, provides a running soundtrack. --\n\nThis title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the\n\nThe EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"a_day_in_the_life_of_willie_faust_or_death_on_the_installment_plan_1972","ok":true,"partial":false,"title":"A Day in the Life of Willie Faust, or Death on the Installment Plan","artist":"Jamaa Fanaka","year":"1972","startOffset":0,"sourceSecs":976.442,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":168692452,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/a_day_in_the_life_of_willie_faust_or_death_on_the_installment_plan_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/a_day_in_the_life_of_willie_faust_or_death_on_the_installment_plan_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/a_day_in_the_life_of_willie_faust_or_death_on_the_installment_plan_1972.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/a_day_in_the_life_of_willie_faust_or_death_on_the_installment_plan_1972/main.mp4?v=2"},{"slug":"a_little_off_mark_1986","ok":true,"partial":false,"title":"A Little Off Mark","artist":"Robert Wheaton","year":"1986","startOffset":0,"sourceSecs":517.551,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":92638066,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/a_little_off_mark_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/a_little_off_mark_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/a_little_off_mark_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/a_little_off_mark_1986/main.mp4?v=2"},{"slug":"abbie_hoffman_gefilte","ok":true,"partial":false,"title":"Abbie Hoffman Makes Gefilte Fish","artist":"Abbie Hoffman","year":"1973","startOffset":0,"sourceSecs":1263.829,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":219654150,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abbie_hoffman_gefilte/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abbie_hoffman_gefilte/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abbie_hoffman_gefilte.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abbie_hoffman_gefilte/main.mp4?v=2","description":"Abbie Hoffman making gefilte fish on Christmas Eve of 1973. Filmed with Laura Cavestani, Hoffman tells stories as he performs an elaborate ancient Hoffman family recipe before the camera.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/hoffman.html\" rel=\"noopener\" target=\"_blank\">Abbie Hoffman in UbuWeb Sound</a></br>","artist_bio":"Yippie vs. Yuppie: The Great Debate (Abbie Hoffman and Jerry Rubin)\n(1986)\nAbbot Howard \"Abbie\" Hoffman (November 30, 1936 – April 12, 1989) was a political and social activist who co-founded the Youth International Party (\"Yippies\").\nHoffman was arrested and tried for conspiracy and inciting to riot as a result of his role in protests that led to violent confrontations with police during the 1968 Democratic National Convention, along with Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner and Bobby Seale. The group was known collectively as the \"Chicago Eight\"; when Seale's prosecution was separated from the others, they became known as the Chicago Seven. While the defendants were initially convicted of intent to incite a riot, the verdicts were overturned on appeal.\nHoffman came to prominence in the 1960s, and continued practicing his activism in the 1970s, and has remained a symbol of the youth rebellion of that era.","bio_dates":"1936-1989"},{"slug":"abdoh_reza_bogeyman_1991","ok":true,"partial":false,"title":"Bogeyman","artist":"Reza Abdoh","year":"1991","startOffset":0,"sourceSecs":1815.296,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":314962050,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_bogeyman_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_bogeyman_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abdoh_reza_bogeyman_1991.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abdoh_reza_bogeyman_1991/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abdoh_reza_bogeyman_1991/main/master.m3u8?v=2","hasMainHls":true,"description":"This video was created and projected during the performance of Boogeyman (1991). <br/><br/>\"\"Maybe it was seeing 10 men dancing naked while singing 'The Boogie Woogie Bugle Boy of Company B.' Perhaps it was the castration-by-chain-saw scene. But the torture of the black slave was even more upsetting. And the 4 1/2-foot-tall, physically handicapped Fairy Godmother—sheer exploitation! But the coup de grace had to be when the green-haired boy with rings piercing his tongue, nipples, stomach, genitals and anus—-you know the one I mean?-—when he's nude and hanging upside down in a fish tank and . . . on top of all that, why did it climax on Mars during a picnic with a heartfelt rendition of 'Take Me Out to the Ball Game'?\"<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://bidoun.org\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Reza Abdoh was an Iranian-born director and playwright known for his large-scale, experimental theatrical productions that utilized multimedia elements and violent sexual imagery. Artaud's \"Theater of Cruelty\" is often evoked in writing about his work.\nAbdoh was born in Teheran in 1963. At the age of 12, he moved to England. At 17 to Los Angeles where he directed numerous plays, including Three Plays by Howard Brenton (1983), Shakespeare’s King Lear (1985), The Farmyard by Franz Xavier Kroetz (1985), The Sound of a Voice and As the Crow Flies by David Henry Hwang (1985).\nBy 1986 he began to create his own works such as A Medea: Requiem for a Boy with a White Toy and Rusty Sat on a Hill One Dawn and Watched the Moon Go Down, both produced in Los Angeles. It was also at this time he created the first in a body of videos: My Face and Oh Thello Sit Still.\nIn 1990 Abdoh founded Dar a Luz, a tribelike theater group based in New York and Los Angeles. Between 1990 and 1994, the company devised four original productions : \"The Hip-Hop Waltz of Eurydice\" (1990), \"Bogeyman\" (1991), \"The Law of Remains\" (1992) and \"Quotations From a Ruined City\" (1993).\nReza Abdoh died of AIDS on May 11, 1995 in New York City at the age of 32. In 1996, he was posthumously awarded a “Bessie” Choreographer and Creator Award for Sustained Achievement.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1936-1989"},{"slug":"abdoh_reza_daddys_girl_1991","ok":true,"partial":false,"title":"Daddy's Girl","artist":"Reza Abdoh","year":"1991","startOffset":0,"sourceSecs":527.461,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":94455717,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_daddys_girl_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_daddys_girl_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abdoh_reza_daddys_girl_1991.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abdoh_reza_daddys_girl_1991/main.mp4?v=2","description":"Cast: Anthony Torn, Juliana Francis<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://bidoun.org\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Reza Abdoh was an Iranian-born director and playwright known for his large-scale, experimental theatrical productions that utilized multimedia elements and violent sexual imagery. Artaud's \"Theater of Cruelty\" is often evoked in writing about his work.\nAbdoh was born in Teheran in 1963. At the age of 12, he moved to England. At 17 to Los Angeles where he directed numerous plays, including Three Plays by Howard Brenton (1983), Shakespeare’s King Lear (1985), The Farmyard by Franz Xavier Kroetz (1985), The Sound of a Voice and As the Crow Flies by David Henry Hwang (1985).\nBy 1986 he began to create his own works such as A Medea: Requiem for a Boy with a White Toy and Rusty Sat on a Hill One Dawn and Watched the Moon Go Down, both produced in Los Angeles. It was also at this time he created the first in a body of videos: My Face and Oh Thello Sit Still.\nIn 1990 Abdoh founded Dar a Luz, a tribelike theater group based in New York and Los Angeles. Between 1990 and 1994, the company devised four original productions : \"The Hip-Hop Waltz of Eurydice\" (1990), \"Bogeyman\" (1991), \"The Law of Remains\" (1992) and \"Quotations From a Ruined City\" (1993).\nReza Abdoh died of AIDS on May 11, 1995 in New York City at the age of 32. In 1996, he was posthumously awarded a “Bessie” Choreographer and Creator Award for Sustained Achievement.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1936-1989"},{"slug":"abdoh_reza_sleeping_with_the_devil_1990_1","ok":true,"partial":false,"title":"Sleeping with the Devil","artist":"Reza Abdoh","year":"1990","startOffset":0,"sourceSecs":752.725,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":130805839,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_sleeping_with_the_devil_1990_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_sleeping_with_the_devil_1990_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abdoh_reza_sleeping_with_the_devil_1990_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abdoh_reza_sleeping_with_the_devil_1990_1/main.mp4?v=2","description":"Written and Directed by Reza Andoh<br/> Filmed and edited by Adam Soch<br/> With: Luis Zaldivar, Ken Roth, Michael Whitmore, Anthony Cristian, Paul Durand, Ingrid A., Steve Oglesby<br/> <br/>\"\"\"The very first thing I did after I found out I was HIV positive was a video called Sleeping with the Devil. I became a lot more conscious of the body, the excoriation of the body as a tool. And I consciously , or unconsciously, infused the piece with that idea. I'm preoccupied with the body and with shit and cum and all the other stuff. I like to concentrate on excavation, excretion, things like that. I think it has something to do with the diagnosis. But I don't think I'm concerned with that only because of my condition. There are a number of ideas and concepts I'm concerned with and excited by that aren't necessarily linked to my condition. But my condition informs me, my psyche, my mentality, my sexuality, my being. It's not something I can look away from or put on the sidelines or not make part of, in some way, everything I do.\" — Reza Abdoh<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://bidoun.org\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Reza Abdoh was an Iranian-born director and playwright known for his large-scale, experimental theatrical productions that utilized multimedia elements and violent sexual imagery. Artaud's \"Theater of Cruelty\" is often evoked in writing about his work.\nAbdoh was born in Teheran in 1963. At the age of 12, he moved to England. At 17 to Los Angeles where he directed numerous plays, including Three Plays by Howard Brenton (1983), Shakespeare’s King Lear (1985), The Farmyard by Franz Xavier Kroetz (1985), The Sound of a Voice and As the Crow Flies by David Henry Hwang (1985).\nBy 1986 he began to create his own works such as A Medea: Requiem for a Boy with a White Toy and Rusty Sat on a Hill One Dawn and Watched the Moon Go Down, both produced in Los Angeles. It was also at this time he created the first in a body of videos: My Face and Oh Thello Sit Still.\nIn 1990 Abdoh founded Dar a Luz, a tribelike theater group based in New York and Los Angeles. Between 1990 and 1994, the company devised four original productions : \"The Hip-Hop Waltz of Eurydice\" (1990), \"Bogeyman\" (1991), \"The Law of Remains\" (1992) and \"Quotations From a Ruined City\" (1993).\nReza Abdoh died of AIDS on May 11, 1995 in New York City at the age of 32. In 1996, he was posthumously awarded a “Bessie” Choreographer and Creator Award for Sustained Achievement.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1936-1989"},{"slug":"abdoh_reza_the_hip_hop_waltz_of_eurydice_1990_1","ok":true,"partial":false,"title":"The Hip-Hop Waltz of Eurydice","artist":"Reza Abdoh","year":"1990","startOffset":0,"sourceSecs":1136.619,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":199303789,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_the_hip_hop_waltz_of_eurydice_1990_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_the_hip_hop_waltz_of_eurydice_1990_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abdoh_reza_the_hip_hop_waltz_of_eurydice_1990_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abdoh_reza_the_hip_hop_waltz_of_eurydice_1990_1/main.mp4?v=2","description":"This video was created and projected during the performance of The Hip-Hop Waltz of Eurydice (1990). <br/><br/>\"\"\"The use of the rear-screen video in Hip-Hop hooks you into the psyche of the world outside as well as the psyche of the world inside. When the Captain throws the coffin through the window, you see a world that shatters. The boy behind the window represents the forces behind the window, which are facing us but which we choose not to see. At the start of the play, the figure behind the window, which was before reproduced, is now, at the end of the play, alive. That is translated through light into space, and in space translated to motion. On one level it is completely reproduced, it is not actual; on another level, it's actual, and that is only possible when you are using different media.\" —Reza Abdoh<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://bidoun.org\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Reza Abdoh was an Iranian-born director and playwright known for his large-scale, experimental theatrical productions that utilized multimedia elements and violent sexual imagery. Artaud's \"Theater of Cruelty\" is often evoked in writing about his work.\nAbdoh was born in Teheran in 1963. At the age of 12, he moved to England. At 17 to Los Angeles where he directed numerous plays, including Three Plays by Howard Brenton (1983), Shakespeare’s King Lear (1985), The Farmyard by Franz Xavier Kroetz (1985), The Sound of a Voice and As the Crow Flies by David Henry Hwang (1985).\nBy 1986 he began to create his own works such as A Medea: Requiem for a Boy with a White Toy and Rusty Sat on a Hill One Dawn and Watched the Moon Go Down, both produced in Los Angeles. It was also at this time he created the first in a body of videos: My Face and Oh Thello Sit Still.\nIn 1990 Abdoh founded Dar a Luz, a tribelike theater group based in New York and Los Angeles. Between 1990 and 1994, the company devised four original productions : \"The Hip-Hop Waltz of Eurydice\" (1990), \"Bogeyman\" (1991), \"The Law of Remains\" (1992) and \"Quotations From a Ruined City\" (1993).\nReza Abdoh died of AIDS on May 11, 1995 in New York City at the age of 32. In 1996, he was posthumously awarded a “Bessie” Choreographer and Creator Award for Sustained Achievement.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1936-1989"},{"slug":"abdoh_reza_the_law_of_remains1992_1","ok":true,"partial":false,"title":"The Law of Remains","artist":"Reza Abdoh","year":"1992","startOffset":0,"sourceSecs":1400.875,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":241456768,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_the_law_of_remains1992_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_the_law_of_remains1992_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abdoh_reza_the_law_of_remains1992_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abdoh_reza_the_law_of_remains1992_1/main.mp4?v=2","description":"This video was created and projected during the performance of The Law of Remains 1992. <br/><br/>\"\"The Law of Remains\" is a blood-soaked pageant of contemporary Grand Guignol depicting mass murder, sexual mutilation, necrophilia and cannibalism simulated by actors portraying the serial killer Jeffrey Dahmer (named Jeffrey Snarling in the script) and Andy Warhol and his entourage. The work is divided into seven scenes, scattered over two floors of the hotel, that are intended to trace the soul's journey as described in the Egyptian Book of the Dead. <br/><br/> The script incorporates lengthy excerpts from Milwaukee police reports of the Jeffrey Dahmer case. Focusing on Mr. Dahmer's beating and later murder of a teen-age Laotian boy and the casual response of the police who were called to the scene of the assault, it hammers home the point that because the victim was gay and could not speak English, the crime wasn't taken seriously and the boy was left with Mr. Dahmer. The event becomes a metaphor for governmental indifference to the AIDS crisis.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://bidoun.org\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Reza Abdoh was an Iranian-born director and playwright known for his large-scale, experimental theatrical productions that utilized multimedia elements and violent sexual imagery. Artaud's \"Theater of Cruelty\" is often evoked in writing about his work.\nAbdoh was born in Teheran in 1963. At the age of 12, he moved to England. At 17 to Los Angeles where he directed numerous plays, including Three Plays by Howard Brenton (1983), Shakespeare’s King Lear (1985), The Farmyard by Franz Xavier Kroetz (1985), The Sound of a Voice and As the Crow Flies by David Henry Hwang (1985).\nBy 1986 he began to create his own works such as A Medea: Requiem for a Boy with a White Toy and Rusty Sat on a Hill One Dawn and Watched the Moon Go Down, both produced in Los Angeles. It was also at this time he created the first in a body of videos: My Face and Oh Thello Sit Still.\nIn 1990 Abdoh founded Dar a Luz, a tribelike theater group based in New York and Los Angeles. Between 1990 and 1994, the company devised four original productions : \"The Hip-Hop Waltz of Eurydice\" (1990), \"Bogeyman\" (1991), \"The Law of Remains\" (1992) and \"Quotations From a Ruined City\" (1993).\nReza Abdoh died of AIDS on May 11, 1995 in New York City at the age of 32. In 1996, he was posthumously awarded a “Bessie” Choreographer and Creator Award for Sustained Achievement.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1936-1989"},{"slug":"abdoh_reza_the_weeping_song_1991_1","ok":true,"partial":false,"title":"The Weeping Song","artist":"Reza Abdoh","year":"1991","startOffset":0,"sourceSecs":553.024,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":99665474,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_the_weeping_song_1991_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_the_weeping_song_1991_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abdoh_reza_the_weeping_song_1991_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abdoh_reza_the_weeping_song_1991_1/main.mp4?v=2","description":"Cast: Tom Fitzpatrick, Ken Roht, Anya Lund.<br/><br/>Daniel Mufson: Were you in The Blind Owl? <br><br> Ken Roht: Just a small scene. Yeah. But video, you just… Yeah, I was in three of the videos and they… It was fun. It was really… Because it was all spur of the moment and you could create a world. There was a Sleeping with the Devil or something. Have you seen that? <br/><br/> Mufson: Yeah. <br/><br/> Roht: The one where Tom Fitz is in drag and… Is that right? He was in drag and I play this sort of Richard Ramirez character. <br/><br/> Mufson: Uh-huh. <br/><br/> Roht: These sunglasses. And there’s these dildos. Like… <br/><br/> Mufson: No. Maybe I missed that one. <br/><br/> Roht: Liver on his stomach and all this stuff. <br/><br/> Mufson: Uh-huh. <br/><br/> Roht: It was a Richard Ramirez rip-off thing. It was very intense. It was… Maybe it’s The Weeping Song. The Weeping Song? <br/><br/> Mufson: Uh-huh. <br/><br/> Roht: Did you see that one? <br/><br/> Mufson: I saw a couple after he… <br/><br/> Roht: Well that was a vortex. But we all walked away from that really freaked out. It was like… We had like… We had like resurrected some weird dead ghost. It was really intense. But it was nice because there was only three or four of us, you know, kind of doing this weird you know late night project.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://bidoun.org\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br></br></br>","artist_bio":"Reza Abdoh was an Iranian-born director and playwright known for his large-scale, experimental theatrical productions that utilized multimedia elements and violent sexual imagery. Artaud's \"Theater of Cruelty\" is often evoked in writing about his work.\nAbdoh was born in Teheran in 1963. At the age of 12, he moved to England. At 17 to Los Angeles where he directed numerous plays, including Three Plays by Howard Brenton (1983), Shakespeare’s King Lear (1985), The Farmyard by Franz Xavier Kroetz (1985), The Sound of a Voice and As the Crow Flies by David Henry Hwang (1985).\nBy 1986 he began to create his own works such as A Medea: Requiem for a Boy with a White Toy and Rusty Sat on a Hill One Dawn and Watched the Moon Go Down, both produced in Los Angeles. It was also at this time he created the first in a body of videos: My Face and Oh Thello Sit Still.\nIn 1990 Abdoh founded Dar a Luz, a tribelike theater group based in New York and Los Angeles. Between 1990 and 1994, the company devised four original productions : \"The Hip-Hop Waltz of Eurydice\" (1990), \"Bogeyman\" (1991), \"The Law of Remains\" (1992) and \"Quotations From a Ruined City\" (1993).\nReza Abdoh died of AIDS on May 11, 1995 in New York City at the age of 32. In 1996, he was posthumously awarded a “Bessie” Choreographer and Creator Award for Sustained Achievement.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1936-1989"},{"slug":"abdoh_reza_tight_right_white_1993_1","ok":true,"partial":false,"title":"Tight Right White","artist":"Reza Abdoh","year":"1993","startOffset":0,"sourceSecs":842.112,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":55853560,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_tight_right_white_1993_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abdoh_reza_tight_right_white_1993_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abdoh_reza_tight_right_white_1993_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abdoh_reza_tight_right_white_1993_1/main.mp4?v=2","description":"This video was created and projected during the performance of Tight Right White, 1993. <br/><br/>\"\"Tight Right White is a piece of intense and revolting accomplishment, executed with enormous skill, that assaults audiences with a near-two-hour barrage of obscenely racist images, for purgative purposes: a psychological enema, shoved up the id of liberal theatergoers to expel the unhealthy imprints a racist society has deposited there.\"<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://bidoun.org\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Reza Abdoh was an Iranian-born director and playwright known for his large-scale, experimental theatrical productions that utilized multimedia elements and violent sexual imagery. Artaud's \"Theater of Cruelty\" is often evoked in writing about his work.\nAbdoh was born in Teheran in 1963. At the age of 12, he moved to England. At 17 to Los Angeles where he directed numerous plays, including Three Plays by Howard Brenton (1983), Shakespeare’s King Lear (1985), The Farmyard by Franz Xavier Kroetz (1985), The Sound of a Voice and As the Crow Flies by David Henry Hwang (1985).\nBy 1986 he began to create his own works such as A Medea: Requiem for a Boy with a White Toy and Rusty Sat on a Hill One Dawn and Watched the Moon Go Down, both produced in Los Angeles. It was also at this time he created the first in a body of videos: My Face and Oh Thello Sit Still.\nIn 1990 Abdoh founded Dar a Luz, a tribelike theater group based in New York and Los Angeles. Between 1990 and 1994, the company devised four original productions : \"The Hip-Hop Waltz of Eurydice\" (1990), \"Bogeyman\" (1991), \"The Law of Remains\" (1992) and \"Quotations From a Ruined City\" (1993).\nReza Abdoh died of AIDS on May 11, 1995 in New York City at the age of 32. In 1996, he was posthumously awarded a “Bessie” Choreographer and Creator Award for Sustained Achievement.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1936-1989"},{"slug":"abidin_adel_bread_of_life","ok":true,"partial":false,"title":"Bread of Life","artist":"Adel Abidin","year":"2008","startOffset":0,"sourceSecs":392.015,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":146672882,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abidin_adel_bread_of_life/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abidin_adel_bread_of_life/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abidin_adel_bread_of_life.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abidin_adel_bread_of_life/main.mp4?v=2"},{"slug":"abrahamsson_carl_genesis_breyer_p_orridge_write_your_own_code","ok":true,"partial":false,"title":"Genesis Breyer P-Orridge: Write Your Own Code","artist":"Genesis P-Orridge","year":"2021","startOffset":0,"sourceSecs":2800.107,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":163370905,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abrahamsson_carl_genesis_breyer_p_orridge_write_your_own_code/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abrahamsson_carl_genesis_breyer_p_orridge_write_your_own_code/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abrahamsson_carl_genesis_breyer_p_orridge_write_your_own_code.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abrahamsson_carl_genesis_breyer_p_orridge_write_your_own_code/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abrahamsson_carl_genesis_breyer_p_orridge_write_your_own_code/main/master.m3u8?v=2","hasMainHls":true,"description":"As Genesis and I were working on the documentary film “Change Itself” (released in 2016), we agreed that it would be great to also have Genesis reading poetry in the film. One clip was eventually used. “Write Your Own Code” contains all of the material we shot in Oslo, Norway, 2014. These sessions also became the creative ignition for the spoken word album we made together in 2017, and which was released in 2019 by Ideal Recordings: “Loyalty Does Not End With Death.” I have left the casual tone of the sessions, including some mishaps, as untouched as possible. Write Your Own Code! – Carl Abrahamsson, 2021 END DESCRIPTION PARAGRAPHS FOOTER - DON'T TOUCH FROM HERE TO END","artist_bio":"The Ballad of Genesis and Lady Jaye (2011), dir. Marie Losier\nSynesthesia: Genesis P-Orridge\n(1997-2001), directed by\nTony Oursler\nAnti-hero, artist, and Pandrogenist Genesis P-Orridge was known as the founding member of Throbbing Gristle, Psychic TV / PTV3, and Thee Majesty, as well a creator of the occult artist collective Thee Temple ov Psychick Youth. H/er name is credited on over 200 releases, and s/he remains one of the most influential musicians in experimental, noise, industrial, and psychedelic music. P-orridge was likewise seen as an iconic figure who was one of the first artists to question, bend, and ultimately rupture normative gender structure. A true revolutionary, P-Orridge spent h/er artistic career as a champion for identity that transcends all biological constructs, values that fly in the face of traditional Western philosophy, and above all, pure, primal creativity.","bio_dates":"1950-2020"},{"slug":"abramovic_marina_4performances1975","ok":true,"partial":false,"title":"Four Performances (1975-76)","artist":"Marina Abramović","year":"1975","startOffset":0,"sourceSecs":3212.309,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":546598392,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_marina_4performances1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_marina_4performances1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abramovic_marina_4performances1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_marina_4performances1975/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_marina_4performances1975/main/master.m3u8?v=2","hasMainHls":true},{"slug":"abramovic_marina_balkan_erotic_epic_2006","ok":true,"partial":false,"title":"Balkan Erotic Epic","artist":"Marina Abramović","year":"2006","startOffset":0,"sourceSecs":784.48,"sourceHeight":384,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":51622913,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_marina_balkan_erotic_epic_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_marina_balkan_erotic_epic_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abramovic_marina_balkan_erotic_epic_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_marina_balkan_erotic_epic_2006/main.mp4?v=2","description":"The Relation Work project, documented in Program III, is a series of highly charged conceptual performances in which the artists used their bodies to explore and transcend physical, mental and psychological limitations through endurance and risk. The artists test the relation of male and female energies in time and space, pushing the limits of body and self: They breathe each other's breath; slap each other across the face; repeatedly smack their nude bodies headlong into pillars.\n\nIn 1976 the artists defined their Relation Work project as follows: \"Art Vital: No fixed living place, permanent movement, direct contact, local relation, self-selection, passing limitations, taking risks, mobile energy.\" --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"abramovic_marina_dangerous_games_2008","ok":true,"partial":false,"title":"Dangerous Games","artist":"Marina Abramović","year":"2008","startOffset":0,"sourceSecs":311.638,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":21616604,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_marina_dangerous_games_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_marina_dangerous_games_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abramovic_marina_dangerous_games_2008.mp4","hasFrames":true,"description":"Dangerous Games<br/> Laos, HD, color, 3 min. 34 sec.<br/> Original language of the song: Lao<br/><br/>In a small house with oversized furniture, located in a rice field in Asia, some children wearing army clothes and weapons, start playing war, creating between each other two armies and using children's toys, laser weapons, machine guns and helicopters. Slowly, as the game progresses, they start imitating war scenes as seen on TV, such as negotiations and death scenes. At the end of the film, the children are coming out of the house and they deposit their weapons in front of it. The smallest child comes out in the end with a burning bramble stick in his hand and lights the pile of weapons. All the children leave while the pile is burning. <br><br> In over twenty countries around the world, children are direct participants in war. Denied a childhood and often subjected to horrific violence, an estimated 200,000 to 300,000 children are serving as soldiers for both rebel groups and government forces in current armed conflicts. Dangerous Games is a work of fiction.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/abramovic.html\" rel=\"noopener\" target=\"_blank\">Marina Abramović in UbuWeb Sound</a></br></br></br>","artist_bio":"Seven Easy Pieces by Marina Abramović\n(2007) Directed by\nBabette Mangolte\nMarina Abramović (born November 30, 1946 in Belgrade) is a New York-based Serbian performance artist who began her career in the early 1970s. Active for over three decades, she has recently begun to describe herself as the \"grandmother of performance art\". Abramović's work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.","bio_dates":"1936-1989"},{"slug":"abramovic_marina_seven_easy_pieces_2007","ok":true,"partial":false,"title":"Seven Easy Pieces by Marina Abramović","artist":"Marina Abramović","year":"2007","startOffset":0,"sourceSecs":5569.941,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":321810843,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_marina_seven_easy_pieces_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_marina_seven_easy_pieces_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abramovic_marina_seven_easy_pieces_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_marina_seven_easy_pieces_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_marina_seven_easy_pieces_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"For Seven Easy Pieces Marina Abramović reenacted five seminal performance works by her peers, dating from the 1960's and 70's, and two of her own, interpreting them as one would a musical score. The project confronted the fact that little documentation exists from this critical early period and one often has to rely upon testimony from witnesses or photographs that show only portions of any given performance.<br/> <br/> The seven works were performed for seven hours each, over the course of seven consecutive days, November 9 –15, 2005 at the Guggenheim Museum, in New York City. Seven Easy Pieces examines the possibilities of representing and preserving an art form that is, by nature, ephemeral.<br/> <br/>\"\"About the public ... I do not want the public to feel that they are spending time with the performances, I simply want them to forget about time.\" Marina Abramović, 2005 <br/> <br/> Featured in the program:<br/> <br/> 1) Seven Easy Pieces by Marina Abramović directed by Babette Mangolte<br/> USA, Art / Artist, 2007, 00:09:37<br/> <br/> <i>November 9, 2005: Marina Abramović re-performing: Bruce Nauman, Body Pressure, 1974</i><br/><br/>2) Seven Easy Pieces by Marina Abramović directed by Babette Mangolte<br> USA, Art / Artist, 2007, 00:09:42<br> <br/> <i>November 10, 2005: Marina Abramović re-performing: Vito Acconci, Seedbed, 1972</i><br/><br/>3) Seven Easy Pieces by Marina Abramović directed by Babette Mangolte<br> USA, Art / Artist, 2007, 00:02:47<br> <br/> <i>November 11, 2005: Marina Abramović re-performing: VALIE EXPORT, Action Pants, Genital Panic, 1969</i><br/><br/>4) Seven Easy Pieces by Marina Abramović directed by Babette Mangolte<br> USA, Art / Artist, 2007, 00:19:58<br> <br/> <i>November 12, 2005: Marina Abramović re-performing: Gina Pane, The Conditioning, first action of Self-Portrait(s), 1973</i><br/><br/>5) Seven Easy Pieces by Marina Abramović directed by Babette Mangolte<br> USA, Art / Artist, 2007, 00:15:49<br> <br/> <i>November 13, 2005: Marina Abramović re-performing: Joseph Beuys, How to Explain Pictures to a Dead Hare1965</i><br/><br/>6) Seven Easy Pieces by Marina Abramović directed by Babette Mangolte<br> USA, Art / Artist, 2007, 00:28:32<br> <br/> <i>November 14, 2005: Marina Abramović re-performing: Lips of Thomas, 1975</i><br/><br/>7) Seven Easy Pieces by Marina Abramović directed by Babette Mangolte<br> USA, Art / Artist, 2007, 00:08:01<br> <br/> <i>November 15, 2005: Marina Abramović Entering the Other Side, 2005</i><br><br><b>Filmmaker's Original Statement written in February 2006</b><br> <br> The film of Seven Easy Pieces by Marina Abramović is about the performing body and how it affects viscerally the people who confronts it, looks at it and participates in the transcendental experience that is its primary affect. The ceremonial and meditative are the common responses to the weeklong series of performances that took place in November 2005 in the Guggenheim Museum in New York. From an art event to a social phenomenon, the seven performances became the talk of the town because it created among the visitors a sense of sublimation like prayer. The film attempts to reveal the mechanisms of this transcendental experience by just showing the performer's body living the events inscribed in each pieces with details that outline the body fragility, versatility, tenacity and unlimited endurance.<br/> <br/> The fascination comes from the revelation of the physical transformation of Marina Abramović''s exposed body due to the rigorous discipline of being there on display each day for seven hours without any restrictive boundaries. The relentless progress of time is revealed each day by the acoustic of the building with its waves of crowd that roll like an ocean and marvel at the performer's steadfastness with respectful silence. That the performer's required discipline had to be so different from one piece to the next is one of the mysteries. How the attentive audience feed into the art and Marina's aesthetics is what is explored. It is as if a monastic urge attracted the mystic among us viewers that were there to participate. And the film, by focusing on Marina's minute changes and strains along the long seven hours of each piece, explores in a systematic way a body without limit and increases the awareness of how participatory body art is.<br/> <br/> The film will be 90 minutes long and follows the linearity inscribed in the week event, from body pressure, audience participation and confrontation in the first three pieces to the ceremonial in the last four pieces as mapped out by Marina Abramović'. It is only after the fact that the film viewer will realize how much the project concept enlightens us on aesthetics that privileged physical experience over reason, process over iconography and testifies to the power of audience participation over passive spectatorship.<br/> <br/> -- <a href=\"https://ubu.com/film/mangolte.html\" rel=\"noopener\" target=\"_blank\">Babette Mangolte</a>.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/abramovic.html\" rel=\"noopener\" target=\"_blank\">Marina Abramović in UbuWeb Sound</a></br></br></br></br></br></br></br></br></br></br></br></br></br></br></br>","artist_bio":"Seven Easy Pieces by Marina Abramović\n(2007) Directed by\nBabette Mangolte\nMarina Abramović (born November 30, 1946 in Belgrade) is a New York-based Serbian performance artist who began her career in the early 1970s. Active for over three decades, she has recently begun to describe herself as the \"grandmother of performance art\". Abramović's work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.","bio_dates":"1936-1989"},{"slug":"abramovic_ulay_china_ring_1986_iphone","ok":true,"partial":false,"title":"China Ring","artist":"Marina Abramoviç","year":"1988","startOffset":0,"sourceSecs":5942.892,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":340409994,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_ulay_china_ring_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_ulay_china_ring_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abramovic_ulay_china_ring_1986_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_ulay_china_ring_1986_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_ulay_china_ring_1986_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Program 2 presents China Ring, an \"unedited video notebook\" that documents the artists' journey to the Great Wall of China in preparation for their final collaborative project. For this ambitious project, each artist was to walk alone along the length of the Great Wall — Ulay starting from the western end, Abramovic from the east — and eventually meet in the middle. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"abramovic_ulay_continental_series","ok":true,"partial":false,"title":"Continental Series","artist":"Marina Abramoviç","year":"1983","startOffset":0,"sourceSecs":1280.1,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":77533993,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_ulay_continental_series/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_ulay_continental_series/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abramovic_ulay_continental_series.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_ulay_continental_series/main.mp4?v=2","description":"The three parts of this video work entitled \"CONTINENTAL VIDEOSERIES\" incorporate elements of earlier works by Ulay/Abramovic: Firstly, they are shot in different locations in the eastern and western world: Bangkok, Sicily and Cambridge, whose ritual and traditional peculiarities are picked out as a central theme. The artists are working with the stylistic device of the \"tableau vivant\", combining it with speech in a way that creates the impression of ritual acts. The strings of speech cannot be deciphered, only in \"Terra della dea madre\" snatches of words seem to be Italian or Greek. The language is reminiscent of an ancient epos. With the exception of the \"Cambridge\" sequence, the singsong of the speaker's voice and the undecipherable text in the remaining parts make the aspect of contents and narrative virtually disappear in favour of a pictorial whole that encompasses the peculiarities of the language system.\n\n\"\"\"The City of Angels, produced in Bangkok in 1983, shows a number of \"stills\" one after the other: first an entire tape of people, all lying motionless on their bellies or their backs in the grass, their faces turned away. Slowly and persistently, the camera now pans each detail of their clothes. For instance, a Thai monk with a stick lies there quietly in the grass next to a young man; or women wrapped in colourful clothes, a small boy in traditional dress with bare feet, a man with a head band and another bare to the waist, a woman in a black and white peasant costume with a colourful skirt border. The bodies of the people seem motionless as if asleep. The human sculpture is spread on the grass in a zig-zag shape. First, the body parts of an individual are slowly scanned by the camera's eye as if it were the extended gaze of the viewer on a voyage of discovery. Then the camera gradually zooms out for a wider picture of all the people, and at length fastens on a tortoise near the foot of the woman in the peasant costume, as it slowly moves out of the picture; following its progress, the camera keeps moving away from the subject until it gets a bird's eye view of the entire \"tableau vivant\". A narrator's defamiliarised voice accompanies the visual happening in a language that seems to have been invented especially for this scene. Occasionally, it falls silent and then starts afresh. It appears as though the images might meet their visual, symbol-coded account with a similarly coded message in the sphere of language.\n\nThe same is true for the other pictures, for instance where two young men remain fixed in their poses as fighters in front of the ruins of a temple. Then an Asian family in the countryside returns the gaze of the viewer, and in the next picture, the tortoise moves past a man stretched out in the grass and a squatting woman, with a Khmer temple in the background. Songs provide the background music to these scenes, as is the case with the following two where events are dominated by a woman with a snake and a man with a scimitar. In the last take, a wide-angle shot, we once again see the people lying on the grass, with a blue cloth placed around them in a semi-circle while the tortoise is slowly moving away, and it becomes clear that this is a cyclical pictorial structure with narrative elements and that all the individuals lying there were actually involved in various stills.\n\n\"\"\"Terra della dea Madre\" – On the \"Soil of the Mother of God\", that is, Sicily, Abramovic/Ulay focus, in 1984, on the excavations of antiquity, and against this backdrop they place young and old men. The camera pans the faces of these inhabitants and over the excavated pieces scattered around the land, alternating here and there with an interior view of an Italian Palazzo where young and old women veiled in black are sitting at a large table or in chairs and on benches. The people taken into focus are motionless and submit to the eye of the camera as it slowly feels its way over objects and details, and folded hands. A group of older men dressed in white shirts is squatting in the shade of the stones, and occasionally, the camera offers a view of the see. The din of voices and cries provides the background sounds for a defamiliarised female voice that appears to relate an epos about this country and its people in a somewhat lamenting tone, as if telling the story of a century-old fate. In the interiors, the tempo of the camera direction is slow. Outdoors, it is faster, but overall it is about picking up a particular pictorial language, an eloquent testimony for Sicilian culture and tradition. The unintelligible tale provides the symbol laden images with an atmospheric colour rather than a narrative of its own, and one can only guess at its epic character.\n\n\"\"\"Terminal Garden\", the part produced in Cambridge 1986, depicts an unreal-surreal, preternatural \"landscape\" with leaves against a blue background, tubes, plugs and electronic equipment next to the trunks of birches, all appearing as props of an artificial and imaginary reality. This time, one can understand the narrative thanks to an English-speaking commentator. Whilst the camera pans computer, mouse, and flashing equipment, upon which we discover the hands of little girls and boys who seem to be placed in an odd laboratory situation amongst these machines, the narrator is speaking in isolated, terse sentences of an artificial, technological world of play. He tells about twenty-four ways of creating beautiful eyes, and of the lottery promising twice the fun and time for the great taste. Sentences like \"you can taste the time we take\", \"softer with long lasting flavour\", \"a life of science\", or \"another reason to choose the 20th century\" remind us of our media society, which is characterised by advertising slogans and by its faith in technology. That this is also an allusion to the phenomenon of the global network is conveyed both by the computer equipment and by the children from Asia, Africa and Europe who, are sitting, lying or standing about with a vacant stare. In addition, there is a picture-within-the-picture situation through a monitor which shows an anthology of nature impressions, views of cities, fine arts as well as abstract and computer art as though this film were symbolic for the collective memory of an historical and current development. In another sequence, the monitor shows someone in front of a huge map of the world who makes changes on the map on command, for instance in Haiti which he places elsewhere, colours the map and in doing so, seems to interfere massively, on a symbolic level, in geographical and political developments. In the end, the narrator extols change, and with the conclusion \"since boredom and freedom are relative\", he points to arbitrariness as an element within today's worldviews that should not be underestimated.\n\nThese three parts of \"Continental Videoseries\" could stand alone, but on the one hand, on a higher level their symbol rich images convey both sides of the western and eastern traditions. And on the other hand they indicate the most recent, and in Ulay/Abramovic's observation certainly critically viewed development of a world united through technology and \"know-how\" that, in a vision of the future, does not end in a new Garden of Eden, but in a \"Terminal Garden\" whose terminology owes more to a terminal or to a place controlled by computers."},{"slug":"abramovic_ulay_modus_vivendi_iphone","ok":true,"partial":false,"title":"Modus Vivendi","artist":"Marina Abramoviç","year":"1979","startOffset":0,"sourceSecs":3535.169,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":205486835,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_ulay_modus_vivendi_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_ulay_modus_vivendi_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abramovic_ulay_modus_vivendi_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_ulay_modus_vivendi_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_ulay_modus_vivendi_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Modus Vivendi is the general title that Abramovic and Ulay gave to a series of performances, tapes and Polaroid photographs in the 1980s. Although the artists continued to use their bodies as art objects, the works in this compilation tend to emphasize the metaphorical and the theatrical. They also explore the artists' relationship to the landscape and rituals of other cultures. For example, in Anima Mundi, the artists are seen in dramatically staged poses in a stark architectural landscape in Thailand. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"abramovic_ulay_the_great_wall","ok":true,"partial":false,"title":"The Lovers (The Great Wall: Lovers at the Brink)","artist":"Marina Abramović and Ulay","year":"1988","startOffset":0,"sourceSecs":3203.067,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":186913293,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_ulay_the_great_wall/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abramovic_ulay_the_great_wall/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abramovic_ulay_the_great_wall.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_ulay_the_great_wall/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/abramovic_ulay_the_great_wall/main/master.m3u8?v=2","hasMainHls":true,"description":"In 1988, Ulay and Abramović decided to end their relationship and to mark this with a performance, which became the legendary endpoint of their collaboration. After years of negotiations with the Chinese authorities, the artists got the permission to carry out 'The Lovers: The Great Wall Walk', in which they started to walk from different ends of the Chinese Wall in order to meet in the middle and say good-bye to each other. Abramović started walking at the eastern end of the Wall, at Shan Hai Guan, on the shores of the Yellow Sea, Gulf of Bohai, walking westward. Ulay started at the western end of the Wall, at Jaiyuguan, the south-western periphery of the Gobi Desert, walking eastward. After they both continuously walked for 90 says, they met at Er Lang Shn, in Shen Mu, Shaanxi province. Here, they embraced each other to go on with their life and work separately from then on. As their work had often employed ritualized actions, mythology and Eastern thought, 'The Lovers: The Great Wall Walk' has to be considered the perfect end of the common oeuvre - also due to the Wall's mythological and philosophical connotations. The performance was recorded by Murray Grigor for the BBC (16mm film, transferred to video), which resulted in the documentary 'The Great Wall: Lovers at the Brink', of which there exist a long screening-version and a shorter VHS-version.","artist_bio":"Seven Easy Pieces by Marina Abramović\n(2007) Directed by\nBabette Mangolte\nMarina Abramović (born November 30, 1946 in Belgrade) is a New York-based Serbian performance artist who began her career in the early 1970s. Active for over three decades, she has recently begun to describe herself as the \"grandmother of performance art\". Abramović's work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind.","bio_dates":"1976-1980"},{"slug":"abu_ali_mustafa_they_do_not_exist_1974","ok":true,"partial":false,"title":"They Do Not Exist (Laysa lahum wujud)","artist":"Abu Ali Mustafa","year":"1974","startOffset":0,"sourceSecs":1509.696,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":261367275,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abu_ali_mustafa_they_do_not_exist_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/abu_ali_mustafa_they_do_not_exist_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/abu_ali_mustafa_they_do_not_exist_1974.mp4","hasFrames":true,"description":"In the late 1960s, a group of young Arab women and men devoted to the struggle for Palestinian freedom chose to contribute to the resistance through filmmaking -- recording their lives, hopes, and their fight for justice. Working in both fiction and documentary, they strived to tell the stories of Palestine and to create a new kind of cinema. <br/><br/> These filmmakers included founders Mustafa Abu Ali, Sulafa Jadallah, and Hani Jawhariya. Others were Khadija Abu Ali, Ismael Shammout, Rafiq Hijjar, Nabiha Lutfi, Fuad Zentut, Jean Chamoun and Samir Nimr. Most were refugees, exiled from their homes in Palestine. And additionally there were fellow Arabs who stood in solidarity with them, devoting their work to a just cause. Their films screened across the Arab world and internationally but never in Palestine. None of the filmmakers were allowed into Palestine, or what became known as Israel, let alone their celluloid prints. <br/><br/> And more than thirty years later, their films had still never been screened in Palestine. As artistic director of the Dreams of a Nation film festival in Palestine in 2003, I knew it was both appropriate and essential to try to open the festival with these films in the heart of Palestine -- Jerusalem -- to honor the work of these brave filmmakers. <br/><br/> I had been searching for the original films and filmmakers for several years, and had finally managed to locate Kais Al-Zubaidi in 2000, who was part for of the group of filmmakers, and now lives in Berlin. We screened his film Palestine, A People's Record (1984) in the first Palestinian film festival in New York. Al-Zubaidi is also an editor, cameraman, and researcher dedicated to Palestinian cinema. <br/><br/> In 1982, the Israeli army invaded Lebanon and the Palestinian film archives disappeared, along with the rest of the PLO's cultural heritage collections. Al-Zubaidi had actively searched for the lost film for many years and managed to locate a few -- of which he now maintains in an archive in Berlin. The archive of Palestinian film in Beirut \"went missing in 1982. Some say it was destroyed, others that the films were taken by the Israeli army and may still be in existence,\" he says. Al-Zubaidi generously supplied the films to us for the premiere screening in Palestine. <br/><br/> Director Kassem Hawal The two films I chose to screen were Return to Haifa (1981) by Kassem Hawal and They Don't Exist (1974) by Mustafa Abu Ali. Both are central to the history of our cinema. <br/><br/> Based on Ghassan Kanafani's novel and funded entirely with Palestinian money (collected by the Popular Front for the Liberation of Palestine), the film Return to Haifa is often cited as \"the first Palestinian fiction film\", despite the fact that the director is not actually Palestinian. In the north of Lebanon, the Palestinians living in the refugee camps provided \"the capital, aid and enthusiasm\" for the film project. Three months before beginning the filming in the Tripoli region, the production team launched a wide awareness campaign in the camps of Nahr el Bared and Al Bedawi. Meetings were held in squares, workplaces, and even in the mosques after Friday prayers. For the exodus scene alone, which opens the film, they had 3,000 to 4,000 extras of all ages, hundreds of items of period dress (Palestinians from the camps brought out their old clothes), old cars, and dozens of fishing boats (Lebanese fishermen lent their boats for the day). On the morning of 23 August 1981, all this was ready, and \"as if by a miracle the film set on the port of Tripoli came to resemble that of Haifa in 1948\". <br/><br/> The second film was directed by Mustafa Abu Ali in 1974, who took his title from the remark made by Golda Meir that the Palestinians do not exist. Abu Ali, one of the first Palestinian filmmakers and founder of the PLO's film division, began making films in 1968 in Jordan, along with Sulafa Jadallah and Hani Jawhariya. After Black September, Abu Ali and the others had to leave Jordan but continued making resistance films in Lebanon. <br/><br/> Abu Ali was able to return to Palestine after the signing of the Oslo Accords, following 47 years of exile as a refugee. However, he is forbidden by Israeli law to live in, or even visit, his hometown of Maliha (in the Jerusalem district) and must live in Ramallah -- only 15 kilometers away. Maliha was attacked in July of 1948 and partially demolished by the Zionist forces. All the inhabitants, including Abu Ali, were ethnically cleansed and became refugees never allowed to return to their homes. Today, most Israelis know the area only as the Malcha Shopping Mall or Kenion. <br/><br/> Abu Ali's contribution to Palestinian cinema is significant, as well as his contribution to international cinema. He worked with Jean-Luc Godard, who always said his soul is Palestinian, on the acclaimed film Ici et Ailleurs. Godard is \"a great filmmaker; dedicated, creative and imagnitatve. We were both concerned to find the right film language appropriate to the struggle for freedom,\" says Abu Ali. <br/><br/> Naturally, I wanted Abu Ali to be present at the premiere of his film screening in Jerusalem. We applied for a permit from the Israeli Authorities in order for them to allow Mustafa to travel the 15 km's to Jerusalem. The permit was rejected. We tried again, and were denied once again. <br/><br/> We decided to bring him anyway. <br/><br/> Director Mustafa Abu Ali at the 2003 Palestine premiere of They Do Not Exist (Image courtesy of Annemarie Jacir) Several cars were arranged in order to pick him up and drop him off at various checkpoints; cars to meet him on one side in order to bring him to the next checkpoint. I asked a foreign journalist, a friend who lives in Ramallah, to accompany Abu Ali along the journey -- not just to keep him company but also to ensure his safety from the Israeli army (as much as his safety could be ensured). Inevitably, problems arose which led to delays. A journey that once took 20 minutes now takes several hours. Together Abu Ali and the journalist crossed the barriers, walked through fields, up hills, and eventually made it to Jerusalem. At one point Abu Ali, grasping for breath, said, \"We used to say 'art for the struggle', now it's 'struggle for the art'.\" <br/><br/> As the audience and organizers nervously waited in Jerusalem, a Sight and Sound journalist reported, \"documentary-maker Abu Ali Mustafa, meanwhile, was stranded on the other side on the way to an opening-night screening of his 1974 work They Don't Exist in a makeshift cinema at the YMCA in East Jerusalem.\" We were screening his film in a theater we had built ourselves at the YMCA, as the Israeli authorities forced Palestinian movie theaters to shut during the first intifada in the 1980s. <br/><br/> An exhausted but glowing Mustafa Abu Ali finally showed up in Jerusalem to attend the opening night. They Don't Exist screened for the first time in Palestine to a packed house, and Abu Ali watched his own film for the first time in twenty years. For him, it was a moment of reflection upon \"that period in the '70s when I was trying to develop a new language for militant cinema.\" <br/><br/> Seeing the films in Jerusalem was something he \"never thought could happen.\" Mustafa Abu Ali, now sixty-three years old, had entered his own city, illegally but with pride. As for Kassem Hawal, like so many others, he cannot enter Palestine, but his film did -- a film that chronicles a return to a city in a country that was once open, based on a book by an exiled Palestinian writer who was never allowed to return home. The significance of watching Return to Haifa was not lost on the Jerusalem audience -- in a city where our books had been banned, our theaters closed, and still choking under military occupation, the mood in the theater that night was extraordinary. More than thirty years after their production, we managed to publicly screen two of the most important films of the Palestinian resistance cinema for the first time in Palestine -- the films had finally come home. <br/><br/> -- Annemarie Jacir<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"They Do Not Exist (Laysa lahum wujud)\nwas directed by Mustafa Abu Ali in 1974, who took his title from the remark made by Golda Meir that the Palestinians do not exist. Abu Ali, one of the first Palestinian filmmakers and founder of the PLO's film division, began making films in 1968 in Jordan, along with Sulafa Jadallah and Hani Jawhariya. After Black September, Abu Ali and the others had to leave Jordan but continued making resistance films in Lebanon.\nAbu Ali was able to return to Palestine after the signing of the Oslo Accords, following 47 years of exile as a refugee. However, he is forbidden by Israeli law to live in, or even visit, his hometown of Maliha (in the Jerusalem district) and must live in Ramallah -- only 15 kilometers away. Maliha was attacked in July of 1948 and partially demolished by the Zionist forces. All the inhabitants, including Abu Ali, were ethnically cleansed and became refugees never allowed to return to their homes. Today, most Israelis know the area only as the Malcha Shopping Mall or Kenion.\nAbu Ali's contribution to Palestinian cinema is significant, as well as his contribution to international cinema. He worked with Jean-Luc Godard, who always said his soul is Palestinian, on the acclaimed film\nIci et Ailleurs\n. Godard is \"a great filmmaker; dedicated, creative and imagnitatve. We were both concerned to find the right film language appropriate to the struggle for freedom,\" says Abu Ali.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1936-1989"},{"slug":"acconci_vito_association_area_1971_iphone","ok":true,"partial":false,"title":"Association Area","artist":"Vito Acconci","year":"1971","startOffset":0,"sourceSecs":3807.221,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":222472889,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_association_area_1971_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_association_area_1971_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_association_area_1971_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_association_area_1971_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_association_area_1971_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1971, 62 min, b&w, sound <br/><br/> This early performance tape is an example of what Acconci has termed his \"quasi-ESP exercises,\" in which he explores mental concentration and intuition as a means of non-visual and non-verbal perception, interaction and communication. Blindfolded and wearing earplugs, Acconci and another man attempt to intuit and imitate each other's movements and bearing, though they can neither hear nor see. The goal, as Acconci has stated, \"was to concentrate on each other so totally that we'd begin to blend together.\" Audible only to the audience, an off-camera voice whispers directions and locations to the performers as they move slowly and haltingly around the performance space: \"Mel, Vito is facing you. Turn around and get into his position. Vito, turn completely around. Mel, Vito is facing your right side....\" <br/><br/> With: Vito Acconci, Mel Waterman. -- <a href=\"http://eai.org/title.htm?id=3633\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_centers_1971","ok":true,"partial":false,"title":"Centers","artist":"Vito Acconci","year":"1971","startOffset":0,"sourceSecs":1371.84,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":240303099,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_centers_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_centers_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_centers_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_centers_1971/main.mp4?v=2","description":"22'50\", 1971 <br/><br/>\"\"Pointing at my own image on the video monitor: my attempt is to keep my finger constantly in the center of the screen—I keep narrowing my focus into my finger. The result [the TV image] turns the activity around: a pointing away from myself, at an outside viewer.\" <br/> -- Vito Acconci, \"Body as Place-Moving in on Myself, Performing Myself,\" Avalanche 6 (Fall 1972) <br/><br/>\"\"By its very mise-en-scène, Centers typifies the structural characteristics of the video medium. For Centers was made by Acconci's using the video monitor as a mirror. As we look at the artist sighting along his outstretched arm and forefinger toward the center of the screen we are watching, what we see is a sustained tautology: a line of sight that begins at Acconci's plane of vision and ends at the eyes of his projected double.\"<br/> -- Rosalind Krauss, \"Video: The Aesthetics of Narcissism,\" October 1 (Spring 1976) <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_claim_excerpts_1971_iphone","ok":true,"partial":false,"title":"Claim Excerpts","artist":"Vito Acconci","year":"1971","startOffset":0,"sourceSecs":3796.168,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":219094326,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_claim_excerpts_1971_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_claim_excerpts_1971_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_claim_excerpts_1971_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_claim_excerpts_1971_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_claim_excerpts_1971_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1971, 62:11 min, b&w, sound<br/> <br/> A documentation of one of Acconci's most notorious performances, Claim Excerpts is a highly confrontational work, an exercise in self-induced, heightened behavioral states, and an aggressive psychological exploration of the artist/viewer relationship. During the three-hour performance, Acconci sat in the basement of 93 Grand Street in New York, blindfolded, armed with metal pipes and a crowbar. His image was seen on a video monitor in the upstairs gallery space. Staking claim to his territory, he tries to hypnotize himself through language into an obsessive state of possessiveness: \"The talk should drive me into a state where everything is possible.\" He becomes increasingly tense and violent, threatening to kill anyone who tries to enter his space. Acconci has written, \"If during the first hour, I had hit someone, I would have stopped, shocked, horrified; if, during the third hour, I had hit someone, I would have used that as a marker, a proof of success... a signal to keep hitting.\" -- <a href=\"http://eai.org/title.htm?id=1521\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_command_performance_1974","ok":true,"partial":false,"title":"Command Performance","artist":"Vito Acconci","year":"1974","startOffset":0,"sourceSecs":3458.944,"sourceHeight":480,"sourceWidth":698,"hasAudio":true,"hasAmbientMp4":true,"bytes":592839377,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_command_performance_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_command_performance_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_command_performance_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_command_performance_1974/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_command_performance_1974/main/master.m3u8?v=2","hasMainHls":true,"description":"1974, 56:40 min, b&w, sound <br/><br/> In Command Performance, Acconci attempts to replace himself with the viewer. He lies on his back with the camera gazing down on him and begins a hypnotic incantation: \"Dream into the space... dream myself out of here, into you.\" Cajoling, pleading, insulting, fantasizing, he tries to seduce the viewer to take his place in the spotlight: \"You're there where I used to be. I don't have to be there anymore. You can do it for me now... Oh, you didn't expect this, did you baby? You're used to the way it was.\" As the tape progresses, Acconci, humming and singing to himself, is driven further and further into his fantasy. \"Now you're in the spotlight. You'll do everything I want, my little puppet, my little dancing bear.\" Becoming increasingly agitated, he is alternately comedic and cruel, sadistic and seductive, as he confronts the relation of artist and viewer, self and other. In the installation of Command Performance, the audience was confronted with an empty stool in a spotlight; Acconci, exhorting the viewer to take his place, was present only on a video monitor. -- EAI <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_conversions_1971_iphone","ok":true,"partial":false,"title":"Conversions","artist":"Vito Acconci","year":"1971","startOffset":0,"sourceSecs":3953.944,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":228395705,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_conversions_1971_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_conversions_1971_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_conversions_1971_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_conversions_1971_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_conversions_1971_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"INSERT DESCRIPTION PARAGRAPHS HERE <br/> 1971, 65:30 min, three parts, b&w, silent, Super 8 film on video <br/><br/> In these three exercises, Acconci plays with trans-gender illusions, manipulating and altering his own body parts to suggest sexual transformations. For example, he burns the hair from his chest with a candle, then attempts to create the illusion of having female breasts. -- <a href=\"http://www.eai.org/eai/title.htm?id=1981\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <br> <a href=\"https://ubu.com/papers/marshall/marshall_acconci_conversions.html\" rel=\"noopener\" target=\"_blank\">This film in Colin Marshall's Ubuweb Experimental Video Project</a> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_face_off_1970","ok":true,"partial":false,"title":"Face-Off","artist":"Vito Acconci","year":"1970","startOffset":0,"sourceSecs":1934.741,"sourceHeight":464,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":336524471,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_face_off_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_face_off_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_face_off_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_face_off_1970/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_face_off_1970/main/master.m3u8?v=2","hasMainHls":true,"description":"1973, 32:57 min, b&w, sound <br/><br/> Face-Off is an ironic collusion of private and public, of exposure and masking, a tense ritual wherein Acconci divulges and then censors his self-revelations. Acconci turns on a reel-to-reel audiotape recorder and bends down to the speaker to listen to it, his face barely visible in the frame. The audio is a recording of his own voice addressing himself and the viewer, recounting intimate details about his life. However, whenever the material becomes too personal, he tries to drown out his voice and prevent the viewer from hearing, yelling: \"No, no, no, don't tell this, don't reveal this....\" Reacting to his recorded voice, he becomes increasingly agitated as the tape proceeds. Acconci has stated that this work was intended to \"dig into the past\" as he tries to \"face the facts,\" claiming, \"I really want other people to find out these secrets because they can establish a kind of image for me.\" By preventing the viewer from hearing, of course, his \"secrets\" remain only implicit. As the double entendre of the title implies, he both invites and avoids a direct confrontation with the viewer. -- <a href=\"http://eai.org/title.htm?id=783\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_my_word_1973_1974_iphone","ok":true,"partial":false,"title":"My Word","artist":"Vito Acconci","year":"1973","startOffset":0,"sourceSecs":5488.15,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":314212584,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_my_word_1973_1974_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_my_word_1973_1974_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_my_word_1973_1974_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_my_word_1973_1974_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_my_word_1973_1974_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1973-74, 91:30 min, color, silent, Super 8mm film on video <br/><br/> In this feature-length silent film, Acconci uses hand-written title cards to present an \"interior monologue\" about speaking, language, and silence. The written text alternates with images of Acconci, alone in the interior of an urban loft or on a rooftop, with the skyline of downtown New York as a backdrop. This metaphorical landscape of isolation resonates in the text, in which Acconci directly addresses several different women by name, alluding to their relationships with him. The women's identities seem mutable; they are consigned to silence, others without a voice. Given the unstable nature of subjectivity in his work, Acconci ultimately appears to be \"speaking\" to himself. -- <a href=\"http://eai.org/title.htm?id=715\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_open_book_1974","ok":true,"partial":false,"title":"Open Book","artist":"Vito Acconci","year":"1974","startOffset":0,"sourceSecs":580.523,"sourceHeight":464,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":102192844,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_open_book_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_open_book_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_open_book_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_open_book_1974/main.mp4?v=2","description":"1974, 10:09 min, color, sound <br/><br/> Acconci's open mouth is framed by the camera in an extreme close-up, bringing the viewer uncomfortably close. A desperate sense of strained urgency comes across as Acconci gasps, \"I'll accept you, I won't shut down, I won't shut you out.... Im open to you, I'm open to everything.... This is not a trap, we can go inside, yes, come inside....\" Acconci continues to plead in this way for the length of the tape, his mouth held unnaturally wide open. The pathological psychology of such enforced openness betrays a desperate struggle to accept and be accepted by others. The sustained image of Acconci's open mouth also evidences a sinister, vaguely threatening streak that is more or less evident in much of Acconci's work. -- <a href=\"http://www.eai.org/eai/title.htm?id=901\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_pryings_1971","ok":true,"partial":false,"title":"Pryings","artist":"Vito Acconci","year":"1971","startOffset":0,"sourceSecs":1048.256,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":185982047,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_pryings_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_pryings_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_pryings_1971.mp4","hasFrames":true,"description":"1971, 17:10 min, b&w, sound <br/><br/> A documentation of a live performance at New York University, Pryings is a graphic exploration of the physical and psychological dynamics of male/female interaction, a study in control, violation and resistance. The camera focuses tightly on Kathy Dillon's face, as Acconci tries to pry open her closed eyes. Dillon resists, at times protecting her face or fighting to get away. Locked in a silent embrace, the couple's struggle is violent, passionate; Acconci's sadistic coercion is tinged with a sinister tenderness. The body is a vehicle for a literal enactment of the desire for and resistance against intimate contact. <br/><br/> Acconci writes, \"The performer will not come to terms, she shuts herself off, inside the box (monitor), my attempt is to force her to face out, fit into the performer's role, come out in the open.\" <br/><br/> With: Vito Acconci, Kathy Dillon. -- <a href=\"http://eai.org/title.htm?id=1077\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br/> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a><br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_recording_studio_from_air_time_1973","ok":true,"partial":false,"title":"Recording Studio From Air Time","artist":"Vito Acconci","year":"1973","startOffset":0,"sourceSecs":2225.733,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":380865541,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_recording_studio_from_air_time_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_recording_studio_from_air_time_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_recording_studio_from_air_time_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_recording_studio_from_air_time_1973/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_recording_studio_from_air_time_1973/main/master.m3u8?v=2","hasMainHls":true,"description":"Recording Studio From Air Time Vito Acconci 1973, 36:49 min, b&w, sound <br/><br/> Recording Studio From Air Time is a personal confessional in which video is both a mirror and a mediating device. A documentation of a 1973 performance at Sonnabend Gallery, this is one of Acconci's most psychologically intense exercises in the inversion of the public and the private. Alone in an \"isolation chamber\" in the gallery every day for two weeks, Acconci sat with the camera focused at his reflection in a mirror. To the gallery public, his image was seen on a video monitor, while his voice was heard through audio speakers. Isolated in his confessional, Acconci begins a stream-of-consciousness monologue about his five-year relationship with a woman, recounting explicit details of their life together and his most intimate feelings towards her. \"I'm talking to you so that I can see myself the way you see me,\" he states. \"I'm acting something out for them.\" Becoming increasingly disdainful and cruel, he ultimately decides to end the relationship. In Air Time, video is a vehicle for both an extremely intimate introspection, and for the transmission of this self-examination into the public sphere. -- a href=\"http://www.eai.org/eai/title.htm?id=901\" target=\"_blank\" rel=\"noopener\"EAI/a <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through a href=\"http://www.eai.org\" target=\"_blank\" rel=\"noopener\"Electronic Arts Intermix (EAI)/a, NY. Please visit the a href=\"http://eai.org/catalogueMain.htm\" target=\"_blank\" rel=\"noopener\"EAI Online Catalogue/a for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_remote_control_1971_iphone","ok":true,"partial":false,"title":"Remote Control","artist":"Vito Acconci","year":"1971","startOffset":0,"sourceSecs":3757.89,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":216831760,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_remote_control_1971_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_remote_control_1971_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_remote_control_1971_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_remote_control_1971_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_remote_control_1971_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1971, 62:30 min, b&w, sound, Two Channels <br/><br/> The two-channel piece Remote Control is an exercise in manipulation and control between artist and subject, male and female. On separate channels, the viewer sees Acconci and Kathy Dillon sitting alone in wooden boxes in different rooms, each facing a static camera. Although they can only see and hear each other on separate monitors, they attempt to interact and respond to one another directly, as if their communication were unmediated. Through language and gesture, Acconci tries to manipulate Dillon's actions from his box, as though by remote control. He instructs her to tie herself up with rope, gesturing as though he were actually in her presence, cajoling her to perform his commands, convincing himself that he is in control: \"I'm bringing the rope over your knees... I'm lifting your legs gently.\" The isolation and displacement of the couple, and the viewer's voyeuristic position, serve to heighten the undercurrent of dominance and submission. Dillon, who at first silently complies with Acconci's commands, eventually reacts to his manipulation with an assertion of her own will. <br/><br/> With: Vito Acconci, Kathy Dillon. -- <a href=\"http://eai.org/title.htm?id=783\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_seedbed_1972","ok":true,"partial":false,"title":"Seedbed","artist":"Vito Acconci","year":"1972","startOffset":0,"sourceSecs":671.019,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":120071510,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_seedbed_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_seedbed_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_seedbed_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_seedbed_1972/main.mp4?v=2","description":"\"\"In this legendary sculpture/performance Acconci lay beneath a ramp built in the Sonnabend Gallery. Over the course of three weeks, he masturbated eight hours a day while murmuring things like, \"You're pushing your cunt down on my mouth\" or \"You're ramming your cock down into my ass.\" Not only does the architectural intervention presage much of his subsequent work, but all of Acconci's fixations converge in this, the spiritual sphincter of his art. In Seedbed Acconci is the producer and the receiver of the work's pleasure. He is simultaneously public and private, making marks yet leaving little behind, and demonstrating ultra-awareness of his viewer while being in a semi-trance state.\" - Jerry Saltz <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_the_red_tapes_1_1976_iphone","ok":true,"partial":false,"title":"The Red Tapes, Part 1","artist":"Vito Acconci","year":"1976","startOffset":0,"sourceSecs":2434.178,"sourceHeight":320,"sourceWidth":472,"hasAudio":true,"hasAmbientMp4":true,"bytes":144233469,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_the_red_tapes_1_1976_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_the_red_tapes_1_1976_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_the_red_tapes_1_1976_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_the_red_tapes_1_1976_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_the_red_tapes_1_1976_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1977, 141:27 min, b&w, sound <br/><br/> <a href=\"https://ubu.com/film/acconci_red1.html\" rel=\"noopener\" target=\"_blank\">The Red Tapes, Part 1</a><br/> <a href=\"https://ubu.com/film/acconci_red2.html\" rel=\"noopener\" target=\"_blank\">The Red Tapes, Part 2</a><br/> <a href=\"https://ubu.com/film/acconci_red3.html\" rel=\"noopener\" target=\"_blank\">The Red Tapes, Part 3</a><br/> <br/> The Red Tapes is Acconci's masterwork, a three-part epic that is one of the major works in video. Designed originally for video projection, the work is structured to merge video space — the close-up — with filmic space — the landscape. Acconci maps a topography of the self within a cultural and social context, locating personal identity through history, cultural artifacts, language and representation. Stating that the work moves \"from Vito Acconci to a larger Americanism, between a psychological personal space and a cultural personal space,\" he constructs a dense, poetic text in this search for self and America. <br/><br/> Opening with the image of Acconci, blindfolded, the tapes evolve as a complex amalgam of narrative strategies, photographic images, music and spoken language. The formal system is the alteration of blank screen and image; grey screen is paired with voice, which leads to image, which leads back to grey screen with voice, etc. In Tape 1: Common Knowledge, the focus is on representation and self (as Acconci is seen in close-up), landscape is a photographic image, and the narrative is that of a mystery story. Tape 2: Local Color is essayistic, analytical; the perspective is widened, the body is seen in context, architectural and sculptural space become manifestations of the psychological. In the conclusion, Tape 3: Time Lag, the space is theatrical and the action is communication, as Acconci and actors act out a \"rehearsal of America.\" From the autobiographical to the social, from the \"I\" to the \"we,\" through the discourses of literature, psychoanalysis, cinema, art and popular culture, The Red Tapes is an extraordinary chronicle in which Acconci locates the self within the mythic constructions of culture and history. <br/><br/> Camera: Ed Bowes. Sound: Tom Bowes. Music: Charles Ives. With: Ericka Beckman, Ilona Granet, Richie O'Halloran, Kathy Rusch, David Salle, Michael Zwack. -- <a href=\"http://eai.org/title.htm?id=1369\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_theme_song_1973","ok":true,"partial":false,"title":"Theme Song","artist":"Vito Acconci","year":"1973","startOffset":0,"sourceSecs":2003.52,"sourceHeight":464,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":347652680,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_theme_song_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_theme_song_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_theme_song_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_theme_song_1973/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_theme_song_1973/main/master.m3u8?v=2","hasMainHls":true,"description":"1973, 33:15 min, b&w, sound <br/><br/> In Theme Song, Acconci uses video as close-up to establish a perversely intimate relation with the viewer, creating a personal space in which to talk directly to (and manipulate) the spectator. He is face to face with the viewer, his head close against the video screen, lying cozily on the floor. Acconci writes, \"The scene is a living room — quiet, private night — the scene for a come-on — I can bring my legs around, wrapping myself around the viewer — I'm playing songs on a tape recorder — I follow the songs up, I'm building a relationship, I'm carrying it through.\" Smoking cigarettes, he begins a seductive monologue as he plays \"theme songs\" by the Doors, Bob Dylan, Van Morrison, Kris Kristofferson and others on a tape recorder. The songs are a starting point for his come-ons; the tenor of his monologues shifts with the lyrics. \"Of course I can't see your face. I have no idea what your face looks like. You could be anybody out there, but there's gotta be somebody watching me. Somebody who wants to come in close to me ... Come on, I'm all alone ... I'll be honest with you, O.K. I mean you'll have to believe me if I'm really honest...\" Theme Song, with its ironic mixture of openness and manipulation, is one of Acconci's most effective works. Produced by Art/Tapes/22. -- <a href=\"http://eai.org/title.htm?id=1957\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_three_adaptation_studies_1970","ok":true,"partial":false,"title":"Three Adaptation Studies","artist":"Vito Acconci","year":"1970","startOffset":0,"sourceSecs":475.051,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":87910148,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_three_adaptation_studies_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_three_adaptation_studies_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_three_adaptation_studies_1970.mp4","hasFrames":true,"description":"1970, 8:00 min, b&w, silent, Super 8mm film on video <br/><br/> In these early film exercises, Acconci exhibits an almost childlike vulnerability that is at once comic and oddly affecting. In Blindfold Catching, a blindfolded Acconci reacts, flinching and lunging, as rubber balls are repeatedly thrown at him from off-screen. In Soap & Eyes, he tries to keep his eyes open after dousing his face with soapsuds, resulting in a tragicomic clown face. In Hand and Mouth, he repeatedly forces his fist into his mouth until he gags. -- <a href=\"http://eai.org/title.htm?id=783\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_turn_on_1974_iphone","ok":true,"partial":false,"title":"Turn-On","artist":"Vito Acconci","year":"1974","startOffset":0,"sourceSecs":1326.909,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":82850170,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_turn_on_1974_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_turn_on_1974_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_turn_on_1974_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_turn_on_1974_iphone/main.mp4?v=2","description":"1974, 21:52 min, sound <br/><br/> Turn-On is one of Acconci's most charged and dramatic exercises, a tense and dynamic confrontation with the viewer. The back of Acconci's head is seen in tight close-up. He hums to himself, first lyrically, then aggressively, violently. Suddenly he wheels around to face the camera, his face filling the screen in extreme close-up, squinting at the viewer and speaking breathlessly: \"Now! I have to face you now. Reveal myself ... But you can't take it yet. I have to wait.\" He turns and continues to hum, repeating this cycle again and again. Each time he faces the camera, the intensity increases. He addresses aspects of his art through his relation to the viewer, confronting the autobiographical within the context of his art-making: \"I can talk about her, but maybe you've heard me talk too much about women.\" Eventually he rejects his own art-making strategies: \"I've been too abstract, now I can be concrete, no more galleries, no more museums. It's me. I have no conviction anymore. I can't find any reason to do art.\" Ultimately, he insists, \"I'm waiting for you ... not to be there.\" -- <a href=\"http://eai.org/title.htm?id=4185\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_two_track_1971_iphone","ok":true,"partial":false,"title":"Two Track","artist":"Vito Acconci","year":"1971","startOffset":0,"sourceSecs":1770.37,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":107518821,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_two_track_1971_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_two_track_1971_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_two_track_1971_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_two_track_1971_iphone/main.mp4?v=2","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconci_vito_willoughbysharp_videoviewsvito_acconci_1973_iphone","ok":true,"partial":false,"title":"Willoughby Sharp Videoviews Vito Acconci","artist":"Vito Acconci","year":"1973","startOffset":0,"sourceSecs":3738.562,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":219510006,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_willoughbysharp_videoviewsvito_acconci_1973_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconci_vito_willoughbysharp_videoviewsvito_acconci_1973_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconci_vito_willoughbysharp_videoviewsvito_acconci_1973_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_willoughbysharp_videoviewsvito_acconci_1973_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconci_vito_willoughbysharp_videoviewsvito_acconci_1973_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1973, 62:07 min, b&w, sound <br/><br/> This early document is a videotaped interview (\"videoview\") of Vito Acconci by Willoughby Sharp during which they discuss Acconci's development as an artist. The intimate conversation addresses such concerns as Acconci's thoughts on the exhibition space, his transition from the page to the performance, and the role of video and photo documentation for performance art in general. -- <a href=\"http://eai.org/title.htm?id=893\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acconi_vito_undertone_1972_1","ok":true,"partial":false,"title":"Undertone, excerpt","artist":"Vito Acconci","year":"1973","startOffset":0,"sourceSecs":555.541,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":101491059,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconi_vito_undertone_1972_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acconi_vito_undertone_1972_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acconi_vito_undertone_1972_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acconi_vito_undertone_1972_1/main.mp4?v=2","description":"1973, 9:15 min, b&w, sound <br/><br/> One of Acconci's most compelling works, Undertone is a confrontational attempt to engage the viewer in an intimate, ultimately perverse relation with the artist. Acconci sits at the end of a long table, arms hidden underneath, facing the camera/viewer. Looking down, he begins a hypnotic monologue as he tries to convince himself that there is a woman under the table rubbing his thighs, or, alternately, that it is only himself rubbing his thighs. \"I want to believe there's no one here under the table ... I want to believe there's a girl here.\" Then, in a direct address, he implicates the viewer in this fantasy: \"I need you to keep your place there at the head of the table. I need to know I can count on you...\" Coercively positioning the viewer as both voyeur and accomplice, Acconci defines himself through the spectator as psychological other: \"I need you to screen out my lies, filter out the lies from the real point of view.\" -- <a href=\"http://eai.org/title.htm?id=1677\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br/> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a><br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Vito Acconci in the UbuWeb Anthology of Conceptual Writing</a></br></br></br></br>","artist_bio":"Vito Acconci / Acconci Studio: Interiors. Buildings. Parks.\n(directed by\nJulia Loktev\n, 2004)\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nVito Acconci in Vito Acconci in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1940-2017"},{"slug":"acker_kathy_alan_benson_1984","ok":true,"partial":false,"title":"Alan Benson","artist":"Kathy Acker","year":"1984","startOffset":0,"sourceSecs":2791.828,"sourceHeight":480,"sourceWidth":642,"hasAudio":true,"hasAmbientMp4":true,"bytes":481978577,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acker_kathy_alan_benson_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acker_kathy_alan_benson_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acker_kathy_alan_benson_1984.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acker_kathy_alan_benson_1984/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acker_kathy_alan_benson_1984/main/master.m3u8?v=2","hasMainHls":true,"description":"Filmed in New York, a programme about the young avant-garde writer Kathy Acker, which explores her life and writing. Melvyn Bragg talks to her about her work and there are contributions from the photographer Robert Mapplethorpe and artist David Salle."},{"slug":"acker_kathy_sondheim_alan_the_blue_tapes_1972","ok":true,"partial":false,"title":"Kathy Acker & Alan Sondheim - The Blue Tapes","artist":"Kathy Acker","year":"1972","startOffset":0,"sourceSecs":3282.279,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":193365219,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acker_kathy_sondheim_alan_the_blue_tapes_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/acker_kathy_sondheim_alan_the_blue_tapes_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/acker_kathy_sondheim_alan_the_blue_tapes_1972.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acker_kathy_sondheim_alan_the_blue_tapes_1972/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/acker_kathy_sondheim_alan_the_blue_tapes_1972/main/master.m3u8?v=2","hasMainHls":true,"description":"Kathy Acker and Alan Sondheim, Blue Tape, 1974, 55 minutes <br/><br/> The black-and-white video depicts a sexually explicit, emotionally charged, and psychologically fraught encounter between a twenty-six-year-old Acker and a thirty-one-year-old Sondheim that took place over the course of a 48-hour period in Sondheim’s New York City loft. Blue Tape opens with a close-up shot of Acker as she recounts her initial meeting with Sondheim several weeks prior and the subsequent unfolding of events leading to the making of the work, including her practice of “memory experiments,” intended to “break through memory to desire.” With the camera framed tightly on Acker, Sondheim reads aloud a text she sent to him in advance of their second meeting in which she ascribes to him the role of her father, whom she never met. The text, and Sondheim’s out-of-view recitation, set the stage for the exchange (of ideas, of roles, of pleasure and its lack, of fluids) we bear witness to over the next 55 minutes. Blue Tape is a gritty, raw, and pathos-laden double portrait of Acker and Sondheim as they act out and explore psychoanalytic experimentation and the struggle for and denial of power.","artist_bio":"Wer hat Angst vor Kathy Acker? aka Who´s Afraid of Kathy Acker ? (2007)\ndir. Barbara Caspar\nKathy Acker, (born April 18, 1948, New York, New York, U.S.—died Nov. 30, 1997, Tijuana, Mex.), American novelist whose writing style and subject matter reflect the so-called punk sensibility that emerged in the 1970s.\nAcker studied classics at Brandeis University and the University of California, San Diego. Her early employment ranged from clerical work to performing in pornographic films. In 1972 she began publishing willfully crude, disjointed prose that drew heavily from her personal experience and constituted a literary analog to contemporary developments in music, fashion, and the visual arts. From the outset, Acker blatantly lifted material from other writers, manipulating it for her own often unsettling purposes. In the early novel The Childlike Life of the Black Tarantula (1973), this process of appropriation is central to the narrator’s quest for identity. The book’s themes of alienation and objectified sexuality recur in such later novels as Great Expectations (1982), Blood and Guts in High School (1984), Don Quixote (1986), and Empire of the Senseless (1988). In 1991 a collection of some of Acker’s early works were published under the title Hannibal Lecter, My Father. This was followed by My Mother: Demonology (1993), which consists of seven love stories. Her 1996 novel, Pussy, King of the Pirates, was adapted for the stage by the seminal punk band the Mekons. The band and Acker released a CD under the same title.\nHer works elicited frequent comparison with those of William S. Burroughs and Jean Genet, and Acker herself cited the influence of the French nouveau roman, or antinovel.","bio_dates":"1947-1997"},{"slug":"adachi_masao_galaxy_1967","ok":true,"partial":false,"title":"Gingakei AKA Galaxy","artist":"Masao Adachi","year":"1967","startOffset":0,"sourceSecs":4240.737,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":244618327,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/adachi_masao_galaxy_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/adachi_masao_galaxy_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/adachi_masao_galaxy_1967.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/adachi_masao_galaxy_1967/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/adachi_masao_galaxy_1967/main/master.m3u8?v=2","hasMainHls":true,"description":"INSERT DESCRIPTION PARAGRAPHS HERE <br/> Galaxy (Gingakei), in many ways, embodies a transitional point in Adachi’s direction as a filmmaker. Many of his fellow society members offered production support, and in a sense the film could be construed as a continuation of the activities of the Nihon University Film Studies Club. Although at this point Adachi was already involved with Wakamatsu, the film was produced as the inaugural title for the Theatre Scorpio, where people began to take pink cinema seriously. Yet, Galaxy is quite unlike anything else Adachi has been involved in before or since, a substantial piece of art cinema that reveals the singularity of the filmmaker’s vision.<br/><br/> The narrative is nearly impenetrable; the meshed storyline is entirely subsumed in the nameless protagonist’s subconscious as he attempts to navigate his inner psyche, which has become a mercurial realm where space and time constantly redefine themselves. In his perplexed state, he encounters a doppelgänger, his father dressed in Buddhist attire and his girlfriend, whose size varies from normal to monstrous, and they all have a go at explaining where and what he is, only to cast darker shadows of mystery on the enigma. Deeply influenced by surrealism, each of the film’s gestures pulls us further into a dreamscape where reality and imagination are inseparable and logics of continuity, sense and oscillation in emotion are constantly refracted in different directions. The cyclical structure of the film gives an illusion of coherence yet, within the sphere, clarity spirals out of control while somehow managing to sustain its own dream logic. However, it is clear from our protagonist’s reference to an unspoken event of ’20 years ago’ that he is confronting what he has become in the post-war years.<br/><br/> What is most remarkable about Galaxy is its continuous ability to discover a film language of its own and its command of the abstract universe it has envisioned. Visual tricks unremittingly throw the main character in and out of spaces, always using captivating stylistic methods delivered with playful confidence. Characters emerge out of splatters of paint or from beneath a river, only to altogether disappear, and figures are frozen in position while their surroundings abruptly transform. A sequence on an enormous set of stairs plunges the protagonist into a real sense of bewilderment and conveys a depleted sense of self due to the mischievous tricks the monk, allegedly his father, plays on him. The soundscape, orchestrated by Yasunao Tone, who performed for Japan’s first improvised music collective, Group Ongaku, and who later joined Fluxus, interweaves different aural flickers to further layer the muddled haze. The dialogue, its content unfathomably cryptic, is often delivered in whispers, overlapped with other voices and distorted to accompany the racket of sound arrangements. Yet, amid this cacophony of noise and images, there is a certain clarity and a defiant urge for innovation that sustains the film and makes Galaxy a standout title in the overcrowded line-up of dreamscapes in the history of cinema.","artist_bio":"Sekigun-PFLP: Sekai Senso Sengen (The Red Army/PFLP: Declaration of World War) [1971]\nMasao Adachi [Adachi Masao], born May 13, 1939 in Fukuoka Prefecture) is a Japanese screenwriter and director who was most active in the 1960s and 1970s. Best known for his writing collaborations with directors Koji Wakamatsu and Nagisa Oshima, often under the pseudonyms \"Izuru Deguchi\" or \"De Deguchi\", he also directed a number of his own films, usually dealing with left-wing political themes. He stopped making films in the early 1970s and joined the Japanese Red Army, an armed militant organization. After residing in Lebanon for 28 years, he was arrested for passport violations. He was found guilty of passport violations in September 2001 and received a four-year sentence, suspended to 18 months. After his release he was deported to Japan via Jordan, where he was re-arrested on other passport violations. After being held for a year and a half he was convicted and released based on the time he had already served. Since his release, he has resumed making films after a 30 year absence.","bio_dates":"b. 1939"},{"slug":"adbusters_the_production_of_meaning_2006","ok":true,"partial":false,"title":"The Production of Meaning","artist":"Adbusters","year":"2006","startOffset":0,"sourceSecs":874.517,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":58112143,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/adbusters_the_production_of_meaning_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/adbusters_the_production_of_meaning_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/adbusters_the_production_of_meaning_2006.mp4","hasFrames":true,"description":"\"\"Here is the challenge of media democracy: to change the way information flows, the way we interact with the mass media, the way meaning is produced in our society. This DVD - a collection of television spots and video clips produced over the years by regular culture jammers - is proof that anyone can seize the media reins and begin producing real meaning.\" <br/><br/> A compilation video from Adbusters contributors. Presented as montage.","artist_bio":"The Adbusters Media Foundation is a Canadian-based not-for-profit, anti-consumerist, pro-environment organization founded in 1989 by Kalle Lasn and Bill Schmalz in Vancouver, British Columbia. Adbusters describes itself as \"a global network of artists, activists, writers, pranksters, students, educators and entrepreneurs who want to advance the new social activist movement of the information age.\"\nCharacterized by some as anti-capitalist or opposed to capitalism, it publishes the reader-supported, advertising-free Adbusters, an activist magazine with an international circulation of 40,000 devoted to challenging consumerism. Past and present contributors to the magazine include Christopher Hedges, Matt Taibbi, Bill McKibben, Jim Munroe, Douglas Rushkoff, Jonathan Barnbrook, David Graeber, Simon Critchley, Slavoj Zizek, Michael Hardt, David Orrell and others.\nAdbusters has launched numerous international campaigns, including Buy Nothing Day, TV Turnoff Week and Occupy Wall Street, and is known for their \"subvertisements\" that spoof popular advertisements. In English, Adbusters has bi-monthly American, Canadian, Australian, UK and International editions of each issue. Adbusters's sister organizations include Résistance à l'Aggression Publicitaire and Casseurs de Pub in France, Adbusters Norge in Norway, Adbusters Sverige in Sweden and Culture Jammers in Japan.","bio_dates":"2006"},{"slug":"ader_bas_jan_selectedworks_1970_71","ok":true,"partial":false,"title":"Selected Works","artist":"Bas Jan Ader","year":"1971","startOffset":0,"sourceSecs":691.243,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":125696805,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ader_bas_jan_selectedworks_1970_71/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ader_bas_jan_selectedworks_1970_71/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ader_bas_jan_selectedworks_1970_71.mp4","hasFrames":true,"description":"INSERT DESCRIPTION PARAGRAPHS HERE <br/> Includes:<br/> <br/> Fall 1 (Los Angeles 1970)<br/> Fall II (Amsterdam 1970)<br/> I'm Too Sad To Tell You (1971)<br/> Broken Fall (Geometric) [West Kapelle - Holland]<br/> Broken Fall (Organic) [Amsterdamse Bos - Holland]<br/> Nightfall","artist_bio":"Dutch/Californian artist Bas Jan Ader was last seen in 1975 when he took off in what would have been the smallest sailboat ever to cross the Atlantic. He left behind a small oeuvre, often using gravity as a medium, which more than 30 years after his disappearance at sea is more influential than ever before.\nBas Jan Ader was born to idealistic ministers in the Dutch Reformed Church on April 19, 1942. His father was executed by the Nazis for harboring Jewish refugees when Ader was only two years old. A rebellious student, he failed art school at the Rietveld Academy, where friend Ger van Elk recalls that he would use a single piece of paper for the entire semester, erasing his drawings as soon as they were finished. At the age of 19 he hitchhiked to Morocco, where he signed on as a deckhand on a yacht heading for America.\nThe yacht shipwrecked off the coast of California, and Ader stayed in Los Angeles where he enrolled at Otis Art Institute. There he met Mary Sue Andersen, the daughter of the director of the school. They married in Las Vegas, where he used a set of crutches to symbolically prop himself up during the ceremony. Ader then taught art and studied philosophy at Claremont Graduate School. In 1970 he entered the most productive period of his career, beginning with his first fall film, which showed him seated on a chair, tumbling from the roof of his two-story house in the Inland Empire.\nIn 1975 Ader embarked on what he called \"a very long sailing trip.\" The voyage was to be the middle part of a triptych called \"In Search of the Miraculous,\" a daring attempt to cross the Atlantic in a 12 foot sailboat. He claimed it would take him 60 days to make the trip, or 90 if he chose not to use the sail. Six months after his departure, his boat was found, half-submerged off the coast of Ireland, but Bas Jan had vanished.","bio_dates":"1942 - 1975"},{"slug":"africa_beloufa_neil_kempinski_2007","ok":true,"partial":false,"title":"Kempinski","artist":"Neil Beloufa","year":"2007","startOffset":0,"sourceSecs":837.871,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":134125006,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_beloufa_neil_kempinski_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_beloufa_neil_kempinski_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/africa_beloufa_neil_kempinski_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/africa_beloufa_neil_kempinski_2007/main.mp4?v=2","description":"The video work Kempinski by Neil Beloufa is a clever contemporary tale. Much like wise apostles, different amateur actors describe their visions of the future in an outdoor, nighttime setting illuminated by neon light, on the periphery of Bamako, the capital of Mali. They deliver their perceptions in the present tense and straight into the camera. A young man, for instance, says that he lives as the only human being among hundreds of oxen, while the neon tube he is holding in his hand shines on the heads of the light-brown animals surrounding him. (Vera Tollmann)"},{"slug":"africa_farouk_ismail_gods_land_2006","ok":true,"partial":false,"title":"God’s Land","artist":"Ismail Farouk","year":"2006","startOffset":0,"sourceSecs":140.074,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":12770577,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_farouk_ismail_gods_land_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_farouk_ismail_gods_land_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/africa_farouk_ismail_gods_land_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/africa_farouk_ismail_gods_land_2006/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/influx.html\" rel=\"noopener\" target=\"_blank\">IN/FLUX - Mediatrips from the African World (2011)</a> <br/><br/> South Africa / 2009 / 3mins / Documentary, Experimental / English <br/><br/> Highlands Hill in Yeoville is an important public space where African Indigenous religious practices dominate. This spiritual hill provides open space for hundreds of worshippers to gather in prayer on a daily basis. Much of the religious activity occurs in contravention of the regulations set out by the city parks utility company who manage the space. City Parks have signposted the hill as a ‘no prayer’ zone. It seems the city does not recognize the inherent spiritual value of the space and often enforce the ‘no prayer’ regulation by threatening to arrest worshippers for loitering. Much of the hill is earmarked to be redeveloped as housing for inner city residents. God’s Land attempts to bring much needed attention to the spatial justice issues being experienced on Highland’s Hill. By altering existing exclusionary signposts on the hill, the work attempts to point to the conflict between the spiritual needs of the local community vs. the needs of mainstream development.","artist_bio":"Khaled Hafez - The A77A Project (On presidents and Superheroes) (2009)\nIN/FLUX is a series of three DVDs. Each DVD is a compilation of experimental films and videos from the African world. The violence and the pleasures, the contradictions, fears and desires of a planet shaped by the postcolonial condition, the present-future of our common humanity in a global, 21st century system shot through with radical change: these are the foci of IN/FLUX, addressed from Africa and her diasporas by creators who reject easy approaches or answers.\nThe works included in the first IN/FLUX DVD centre on the dual theme of movement and displacement. They consider shifts in time, place and psyche, in imaginaries and (pre)conceptions, played out on urban stages deployed as laboratories for the elaboration of alternative perceptual fields. A range of genres is represented: documentary gazes and Afrofuturist takes, spy camera zoom-ins and travels through virtual landscapes, (mock) music-video and horror-flick aesthetics. The result is a (media) trip through multiple universes: inner worlds, dreamscapes and in your face reality checks.\nIN/FLUX is a partnership between two cutting-edge entities: SPARCK (Space for Pan-African Research, Creation and Knowledge / The Africa Centre – Cape Town, South Africa) and Lowave (an independent film label based in Paris, France). IN/FLUX # 1 is curated by Dominique Malaquais, Cédric Vincent and Silke Schmickl.","bio_dates":"2011"},{"slug":"africa_hafez_khaled_the_a77a_project_on_presidents_and_superheroes_2009","ok":true,"partial":false,"title":"The A77A Project (On presidents and Superheroes)","artist":"Khaled Hafez","year":"2009","startOffset":0,"sourceSecs":216.584,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":30105324,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_hafez_khaled_the_a77a_project_on_presidents_and_superheroes_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_hafez_khaled_the_a77a_project_on_presidents_and_superheroes_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/africa_hafez_khaled_the_a77a_project_on_presidents_and_superheroes_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/africa_hafez_khaled_the_a77a_project_on_presidents_and_superheroes_2009/main.mp4?v=2","description":"Every civilization looked for the imaginary super-hero for protection against evil forces, from ancient Anubis to modern Batman. In the fifties and sixties, the voice of president Nasser echoed from the Atlantic ocean to the Persian gulf, was broadcast live, every citizen stopped to listen to the superhero of modern times. Today, with the collapse of the Pan Arab theory and ideology, superheroes of religion took over, with their centuries-old dress codes and primitive behavior. The 3-minute work probes, ironically, social changes Hafez personally lived through his childhood, adolescence and adulthood in Egypt."},{"slug":"africa_hardy_stacy_bouwer_jaco_i_love_you_jet_li_2005","ok":true,"partial":false,"title":"I Love You Jet Li","artist":"Stacy Hardy & Jaco Bouwer","year":"2005","startOffset":0,"sourceSecs":769.469,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":130098626,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_hardy_stacy_bouwer_jaco_i_love_you_jet_li_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_hardy_stacy_bouwer_jaco_i_love_you_jet_li_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/africa_hardy_stacy_bouwer_jaco_i_love_you_jet_li_2005.mp4","hasFrames":true,"description":"From South Africa and directed by Stacy Hardy and Jaco Bouwer, this is a haunting first-person narrative by a young woman with a congenital heart defect that she claims does not allow her to love anyone; even those she is attracted to lose their allure if they return the affection: a rebel in her school, a tutor, a writer, a musician, each of whom treat her with growing disrespect and violence. She becomes obsessed with her psychotherapist , a woman who finds her attentions absurd. Soon she does as well. She sits alone in her apartment watching all the movies in her local store, one by one in each genre, finally masturbating to fight scenes in the Lethal Weapon movies and developing an obsession for Jet Li. Initially attracted by the fight scenes in his films, she also is drawn in by Li’s more nuanced roles; maybe he will understand her. Now the visuals of this piece become clear: a random string of mundane airport scenes, a point of departure: literally, in the narrator’s flight to China to meet Jet Li, and figuratively, she finally becomes the lover whose object cannot possibly return love: a stalker."},{"slug":"africa_leye_goddy_the_voice_on_the_moon_2005","ok":true,"partial":false,"title":"The voice on the moon","artist":"Goddy Leye","year":"2005","startOffset":0,"sourceSecs":198.032,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":20139679,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_leye_goddy_the_voice_on_the_moon_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_leye_goddy_the_voice_on_the_moon_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/africa_leye_goddy_the_voice_on_the_moon_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/africa_leye_goddy_the_voice_on_the_moon_2005/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/influx.html\" rel=\"noopener\" target=\"_blank\">IN/FLUX - Mediatrips from the African World (2011)</a> <br/><br/> Cameroon / 2005 / 3mins / Installation, Video Art / English <br/><br/> A man alights on the moon. Neil Armstrong is there. In a steady stream of dance steps, to the sound of Cameroonian music, the man - the artist himself - moves toward the American astronaut. Slowly, Leye merges with Armstrong, becoming one with his body in a brief burst of Afrofuturist invasion. This short film is part of a larger five-channel video installation. Using a paired down aesthetic, it examines with humor and irony the history of colonial and neocolonial expansion and the imagery of empire. The film and the larger installation also question how television news footage spreads hegemonic narratives and shapes the collective unconscious of political subjects.","artist_bio":"Born in 1965 in Cameroon, Goddy Leye lived and worked in Douala, district of Bonendal, where in 2003 he founded the development center for contemporary experimental creation, ArtBakery. Goddy was also a founding member of the Prim’Art and Dreamers collectives. From 1987 to 1992, after obtaining his Master of Arts at the University of Yaounde, he undertook private artistic training from artist and art historian Pascal Kenfack. He became an independent artist in 1992. Strongly influenced by history and memory, his work was based primarily on stories, myths and mythologies. Similarly, because they contain ideas, emotions and sensibilities, signs and symbols occupied an important place for Leye. He envisioned memory as a base on which you can express subjectivity. In this sense, he never saw it as a unique and absolute truth, since in his view “…History in its entirety is written from a particular viewpoint, which cannot be universal”. Goddy Leye passed away in February 2011, aged 46, at the District Hospital in Douala Bonassama, following a short illness.","bio_dates":"1965-2011"},{"slug":"africa_mowoso_postcolonial_dilemna_2009","ok":true,"partial":false,"title":"Postcolonial Dilemna","artist":"Mowoso","year":"2009","startOffset":0,"sourceSecs":217.718,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":36447640,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_mowoso_postcolonial_dilemna_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_mowoso_postcolonial_dilemna_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/africa_mowoso_postcolonial_dilemna_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/africa_mowoso_postcolonial_dilemna_2009/main.mp4?v=2","description":"An offering from the Democratic Republic of Congo and directed by Mowoso, Postcolonial Dilemma suggests local backlash to colonial exploitation by turning the tables. In a charged, daemonic scene in grainy black and white, ala Kenneth Anger, a dazed white woman with a machete through her skull is lead underground by a group of men. Briefly placed into a small room where she dances naked, she sits next to a man who is either taking blood or juice from two little boys standing next to him, and rubbing both himself and her along the palm and arm. A jittery cut to a plane landing, with our view that of a person sitting in the emergency seat—a final credit calls this film “Track #1: stay tuned.”"},{"slug":"africa_shaer_ahmed_el_under_examination_2009","ok":true,"partial":false,"title":"Under examination","artist":"Ahmed El Shaer","year":"2009","startOffset":0,"sourceSecs":146.38,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":23509801,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_shaer_ahmed_el_under_examination_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/africa_shaer_ahmed_el_under_examination_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/africa_shaer_ahmed_el_under_examination_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/africa_shaer_ahmed_el_under_examination_2009/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/influx.html\" rel=\"noopener\" target=\"_blank\">IN/FLUX - Mediatrips from the African World (2011)</a> <br/><br/> Egypt / 2009 / 3mins / Experimental, Video Art / Arabic <br/><br/> A citizen of Digitaland is seeking a visa to enter Planet Earth. A bureaucrat from the host planet, in charge of controlling movement at the border, is compiling information about him. In the background, disembodied voices speak of “criteria”, “indicators” and “standards”. The traveller has no readily recognizable features: he is no different from any other being created (as he was) with Machimana software. On his forehead is an American flag bandana. Why he is wearing it is unclear; possibly he means to convince the bureaucrat that he is a good candidate for immigration. Obtaining a visa these days is complicated, especially if you’re trying to negotiate passage from and alien-nation into the “real” world.","artist_bio":"Born in Cairo, Egypt in 1980, Ahmed El Shaer lives and works in Egypt. El Shaer is a multi-disciplinary artist (installation, photography, sound, video), with a particular interest in digital technologies. His videos combine Machinima, stock footage, 3D animation and experimental soundscapes. He is Co-Founder of Cairo Documenta, an independent event, and he established Tolon Studio for Contemporary Art as an Individual Company, a non-profit organization devoted to contemporary arts. His work has been highlighted in numerous exhibitions and festivals. He is the recipient of numerous awards and has participated in several residency programs, such as the Pro Helvetia Artist-in-Residence cycle (Zurich, Switzerland, 2009) and the Summer Academy of Fine Arts (Salzburg, Austria, 2006 and 2007). In 2019, he completed a residency in the Game Lab at the University of Los Angeles California, as part of a Fulbright research program.","bio_dates":"b. 1980"},{"slug":"african_experimental_alshaibi_usama_allahu_akbar_2003","ok":true,"partial":false,"title":"Allahu Akbar (Iraq/USA)","artist":"Usama Alshaibi","year":"2003","startOffset":0,"sourceSecs":302.84,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":43724354,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_alshaibi_usama_allahu_akbar_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_alshaibi_usama_allahu_akbar_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_alshaibi_usama_allahu_akbar_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_alshaibi_usama_allahu_akbar_2003/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> Allahu Akbar / Iraq / 2003 / 5'10 / 4:3 <br/><br/> Rhythm and repetition plays an important role in the animated film Allahu Akbar by Usama Alshaibi. With this film, Alshaibi questions the confrontation between tradition and modernity by drawing inspiration from geometric motives of Islamic art. The artist offers a re-interpretation of these motifs through computer animation. By turning the shapes in different direction, new images are generated, freeing them from their fixed state. Traditional spiritual values feed the present and open up to a modern perspective.","bio_dates":"b. 1969"},{"slug":"african_experimental_alsharif_basma_we_began_by_measuring_distance_2009","ok":true,"partial":false,"title":"We Began By Measuring Distance","artist":"Basma Alsharif","year":"2009","startOffset":0,"sourceSecs":1094.24,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":188823264,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_alsharif_basma_we_began_by_measuring_distance_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_alsharif_basma_we_began_by_measuring_distance_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_alsharif_basma_we_began_by_measuring_distance_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_alsharif_basma_we_began_by_measuring_distance_2009/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> Basma Alsharif<br/> 2009 | 00:19:06 | Egypt | Arabic | Color | Stereo | 4:3 | DV video<br/> <br/> Long still frames, text, language, and sound are weaved together to unfold the narrative of an anonymous group who fill their time by measuring distance. Innocent measurements transition into political ones, examining how image and sound communicate history. We Began by Measuring Distance explores an ultimate disenchantment with facts when the visual fails to communicate the tragic. -- <a href=\"https://www.vdb.org/titles/we-began-measuring-distance\" rel=\"noopener\" target=\"_blank\">VDB</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.vdb.org\" rel=\"noopener\" target=\"_blank\">Video Data Bank (VDB)</a>, Chicago. Please visit the <a href=\"https://www.vdb.org/collection/browser-artist-list\" rel=\"noopener\" target=\"_blank\">VDB Online Catalogue</a> for further information about this artist and work. The VDB site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art.","artist_bio":"Basma Alsharif is a visual artist using moving and still images, sound, and language, to explore the anonymous individual in relation to political history and collective memory. She received an MFA from the School of Art and Design at the University of Illinois, Chicago in 2007 and has been working in Cairo, Beirut, and Amman since then.\nHer work has shown in exhibitions and film festivals internationally including the 17th SESC Videobrasil, Forum Expanded: Berlinale, Images Festival Ontario where she received the Marion McMahon Award, Manifesta 8 The Region of Murcia, The Yamagata International Documentary Film Festival, The 9th Edition of the Sharjah Bienniale where she received a jury prize for her work, the Toronto International Film Festival, and she was awarded the Fundación Marcelino Botín Visual Arts Grant in 2009-2010.","bio_dates":"b. 1983"},{"slug":"african_experimental_batniji_taysir_transi_2004","ok":true,"partial":false,"title":"Transit (Palestine/France)","artist":"Taysir Batniji","year":"2004","startOffset":0,"sourceSecs":381.72,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":58484949,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_batniji_taysir_transi_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_batniji_taysir_transi_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_batniji_taysir_transi_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_batniji_taysir_transi_2004/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> The video Transit by Taysir Batniji tackles the issues of borders. The Palestinian artist presents a silent slideshow, made up of photographic images, that he made clandestinely at border passages between Egypt and Gaza. The photographs of people waiting are alternated with black screens, metaphors for emptiness and the passing of time, reflecting the difficult and often impossible conditions of mobility for today’s Palestinians. The video addresses notions of travel and displacement as well as the situation of being between two cultures and identities.","bio_dates":"b. 1966"},{"slug":"african_experimental_bouabdellah_zoulikha_dansons_2003","ok":true,"partial":false,"title":"Dansons (Algeria/France)","artist":"Zoulikha Bouabdellah","year":"2003","startOffset":0,"sourceSecs":346.84,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":61757187,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_bouabdellah_zoulikha_dansons_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_bouabdellah_zoulikha_dansons_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_bouabdellah_zoulikha_dansons_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_bouabdellah_zoulikha_dansons_2003/main.mp4?v=2","description":"A woman carefully drapes blue, white, and red cloths around her hips, as if she were about to begin a belly dance. This reference to the cliché of oriental femininity is tellingly clothed in the colors of the French nation. After a few minutes, just as the body finally begins its rhythmic movements, the Marseillaise blares out demonstratively. The heroic-national aspect of the march music supplants the expected sensuality of the dance. From the perspective of a young Algerian woman living in France, Zoulikha Bouabdellah presents the history of colonialism and a post-colonial present equally marked by exoticisms and racisms in an ironic and extremely condensed form."},{"slug":"african_experimental_devaux_frederique_k3_les_femmes_2003","ok":true,"partial":false,"title":"K3 (Les femmes)","artist":"Frédérique Devaux","year":"2003","startOffset":0,"sourceSecs":281.76,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":50573582,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_devaux_frederique_k3_les_femmes_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_devaux_frederique_k3_les_femmes_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_devaux_frederique_k3_les_femmes_2003.mp4","hasFrames":true,"description":"3 (Les Femmes) is dedicated to the Kabili women of North Africa. The artist superimposes images and sounds to highlight the difficulty these women face in proclaiming their identity. The film projects activities of Kabili women which usually include the raising of children, the family, and the household. Erased from the exterior society, their marginalisation is depicted through the fading in and out of images and sounds. However, within their own private spaces, they remain loyal, they sing, dance, and resist a society that does not take into account their full value."},{"slug":"african_experimental_djemai_nazim_la_parade_de_taos_2009","ok":true,"partial":false,"title":"La Parade De Taos","artist":"Nazim Djemai","year":"2009","startOffset":0,"sourceSecs":1123.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":175474412,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_djemai_nazim_la_parade_de_taos_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_djemai_nazim_la_parade_de_taos_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_djemai_nazim_la_parade_de_taos_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_djemai_nazim_la_parade_de_taos_2009/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> Taos, a very beautiful young lady, meets regularly a man in the zoo of Algiers. There, the couples of lovers feel ill at ease in front of the hostile glances of the walkers and find intimacy only shielded by the vegetation. One day, Taos waits in vain for her lover. For the first time, she is alone in the garden. She roams, soon harassed by a group of kids, then by a guard.","artist_bio":"*1977, Saint Petersburg, Russia. Lives and works in Paris, France.\nNazim Djemaï grew up in Algiers. He came to Paris to study at the Sorbonne between 1997-1998 before completing a degree at the École des Beaux-Arts in Paris in 2004. Djemaï has created several videos, documentaries, and short films. One of his films, La Parade de Taos, depicting love encounters in the public parks of Algiers, was selected by the Premiers Plans festival in Angers, France and at the International Short Film Festival in Clermont-Ferrand, France. His documentary entitled Nawna (I Don't Know), on the creation of an autonomous Inuit government, received the Beauregard award at the FID festival in Marseille.\nSince 1997 Nazim Djemaï has been presenting his photographs and videos, both solo and collectively at various locations across France including the Parc de la Villette in Paris, the Cergy Beaux-Arts School, and the Cité internationale des arts. His photogaphs have been presented and published, most notably by the City of Vanves, and have been selected for the Gilles Dusein photography award. His work has been included in a number of publications including La photographie en France (Photography in France) 1970-2005 and the Plus que vrai exhibition catalogue.","bio_dates":"b. 1977"},{"slug":"african_experimental_fadhil_al_iraqi_brothers_amer_nasser_2003","ok":true,"partial":false,"title":"Iraqi Brothers. Amer & Nasser","artist":"Al Fadhil","year":"2003","startOffset":0,"sourceSecs":311.2,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":51730416,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_fadhil_al_iraqi_brothers_amer_nasser_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_fadhil_al_iraqi_brothers_amer_nasser_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_fadhil_al_iraqi_brothers_amer_nasser_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_fadhil_al_iraqi_brothers_amer_nasser_2003/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> How can one talk about death without showing the dead? Or, experience suffering without seeing the wounds? A possible answer is found in ˝Amer & Nasser˝, a video-gram excerpted from a documentary on the 1991 rebellion of Iraqi people, which turned into a bloodbath: the slow pace of the images allows us not really an observation, and investigation, of the two ˝martyrs˝ identity, rather it poses the questions: Why did it all happen, and Where were we? The two blindfolded faces apparently emanate serenity and resignation, but they also hide a terrible anguish. The slow pace of time, This Time, marks the steps of the sentenced ones, and the pushes and shoves of the soldiers, like it had lost its way. The obsessive slowing-down of the movement leads the mind’s way into the maze of the afflicted soul. In front of the camera-spectator, the passage of the brothers led to an army truck, while a somber flute announces the imminent trespass of life into death, looks like one towards the unknown in an unreal atmosphere.","artist_bio":"*1955, Basrah, Iraq, lives and works in Lugano, Switzerland.\nAl Fadhil, is a multidisciplinary artist (painting, installation, photography, performance, video art) who studied at the Institute of Fine Arts in Baghdad and at the Academy of Fine Arts in Florence (Italy). He has participated in many international art events and workshop residencies. He worked at the “Cité Internationale des Arts” (Paris) in 2000, 2004 and 2005, Dubai Art Symposium 2004, and Taipei Art University 2005. He has held exhibitions in various venues across Europe and other continents including the Bonndorf Museum (D), 2000; Sharjah Biennale (UAE), 2003; Venice Biennale, off performance (I), 2003; Rome University Museum / MLAC (I), 2004; Emergency Biennale I, Palais de Tokyo, Paris (F), 2005; Kuandu Museum, Taipei (TW), 2005, and the Punish Kamp project, Berlin 2006.","bio_dates":"b. 1955"},{"slug":"african_experimental_fatmi_mounir_dieu_me_pardonne_2001_2004","ok":true,"partial":false,"title":"Dieu me pardonne (Morocco/France)","artist":"Mounir Fatmi","year":"2001-2004","startOffset":0,"sourceSecs":490.32,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":83139912,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_fatmi_mounir_dieu_me_pardonne_2001_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_fatmi_mounir_dieu_me_pardonne_2001_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_fatmi_mounir_dieu_me_pardonne_2001_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_fatmi_mounir_dieu_me_pardonne_2001_2004/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> Dieu me pardonne (2001) is a barrage of images that make you feel that looking is dangerous to the looker: pornography; a shot of Israeli soldiers throwing a Palestinian man and child to the ground; a martyr's coffin. An insistent, troubling electronic squeal and metronomic tap enhance the feeling of danger, and the blur and solarization Fatmi uses so often have the effect here of making the images seem to seep into your body through your eyes like an infection. \"May God forgive me'—for the lustful and murderous thoughts that these images brought upon me. At intervals three texts appear: \"the first look is for you / the second is for the devil / the third look is a crime,' this last over an aerial shot of the bombing of Baghdad from the viewpoint of its destroyers.<br/><br/> An interesting pair of images of women who are barely more than white silhouettes recurs in Dieu me pardone. One is a scantily clad, pale-limbed cabaret dancer who pirouettes while a circle of men in suits close in on her, clapping; the other is the slim, white-veiled figure of a woman on the street, probably in Morocco. Both seem cut out of the visible, but the dancer's body and the shape of her pretty legs cuts a feeling of desire into us, while the veiled woman is shielded, so both she and we are safe. -- Laura U. Marks","artist_bio":"Fatmi constructs visual spaces and linguistic games. His work deals with the desecration of religious object, deconstruction and the end of dogmas and ideologies. He is particularly interested in the idea of death of the subject of consumption. This can be applied to antenna cables, copier machines, VHS tapes, and a dead language or a political movement. His videos, installations, drawings, paintings and sculptures bring to light our doubts, fears and desires. They directly address the current events of our world, and speak to those whose lives are affected by specific events and reveals its structure. Mounir Fatmi's work offers a look at the world from a different glance, refusing to be blinded by the conventions.","bio_dates":"b. 1970"},{"slug":"african_experimental_gargash_lamya_wet_tiles_2003","ok":true,"partial":false,"title":"Wet tiles","artist":"Lamya Gargash","year":"2003","startOffset":0,"sourceSecs":499.48,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":83703068,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_gargash_lamya_wet_tiles_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_gargash_lamya_wet_tiles_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_gargash_lamya_wet_tiles_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_gargash_lamya_wet_tiles_2003/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> Wet Tiles / United Arab Emirates / 2003 / 8'20 / 4:3<br/> <br/> A young woman who is seemingly being prepared for an arranged marriage. The use of dramatic camera angles, changes of film exposure and camera focus, all serve to express her inner state of agitation, but the story is more implied than spelled out.","artist_bio":"Born in Dubai where she currently resides and works, Lamya got a degree from the American University in Sharjah in 2004 and later on took a Masters of Art in Communication Design from Saint Martins in London in 2007. Throughout her career, she has won a number of awards for her film and photography works and participated in the 53rd Venice Biennale in 2009 as the featured artist at the UAE's first national pavilion. Gargash has participated in many group exhibitions locally but also internationally in Canada, Switzerland, the Netherlands, Japan and France.","bio_dates":"2003"},{"slug":"african_experimental_hafez_khaled_revolution_2006","ok":true,"partial":false,"title":"Revolution","artist":"Khaled Hafez","year":"2006","startOffset":0,"sourceSecs":246.68,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":31612027,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_hafez_khaled_revolution_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_hafez_khaled_revolution_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_hafez_khaled_revolution_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_hafez_khaled_revolution_2006/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> Revolution is a three-screen video presentation wherein Khaled Hafez designates ideology as one of the strongest forms of belief. Both the businessman and the religious fundamentalist are represented here as revolutionaries, in reaction to which a third protagonist, a soldier, kills them. The work functions as a classical triptych with three promises (social equity, liberty, unity) – promises that revolution cannot keep. The soldier represents the promise of bringing about social equality through violence. The middle video image shows a businessman, symbol of the free-market economy. He rhythmically hammers-in nails, an activity referring to oppression. Here ‘liberty’ takes on a sour note, mass consumption is portrayed as a new sort of slavery. The third fragment is about unity. A religious fundamentalist uses a cleaver to behead blond dolls, as symbol of the West. The clothing and actions of this figure refer to fundamentalism, a tendency that allows no room for personal freedom. The various protagonists enter into interaction. Both the image of the Western businessman as well as that of the Islamist gives an obviously black-and-white picture. In this work Hafez handles the relationship between East and West, and shows us the gulf and the similarities between the two in a symbolic way.","artist_bio":"Khaled Hafez was born in Cairo, Egypt in 1963 where he still lives and works. He studied medicine and followed the evening classes of the Cairo Fine Arts in the eighties. After getting a medical degree in 1987 and M.Sc. as a medical specialist in 1992, he gave up medical practices in the early nineties for a career in the arts. He later obtained an MFA in new media and digital arts from Transart Institute (New York, USA) and Danube University Krems (Austria). Hafez's practice spans the mediums of painting, video, photography, installation and interdisciplinary approaches.","bio_dates":"b. 1978"},{"slug":"african_experimental_kameli_katia_nouba_2000","ok":true,"partial":false,"title":"Nouba","artist":"Katia Kameli","year":"2000","startOffset":0,"sourceSecs":313.24,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":44268107,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_kameli_katia_nouba_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_kameli_katia_nouba_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_kameli_katia_nouba_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_kameli_katia_nouba_2000/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> Nouba plays on the aesthetics of video clips and evokes a remote and exotic reality, further displaced by an unterritorialized music. The word \"nouba\" is borrowed from Maghrebi Arabic \"nuba\", which in classical Arabic is sais \"nawba\" meaning «in turns» or «to succeed each other». This word has integrated the French language through Algeria’s colonial army describing the Algerian infantrymen’s music before shifting again to become a synonym of partying. This title is also a hommage to Assi Djebar’s film La Nouba du Mont-Chenoua (1977), the first algerian feature film made by a female director which key protagonist is an emancipated Algerian woman.","bio_dates":"b. 1973"},{"slug":"african_experimental_khalili_bouchra_straight_stories_part_1_2006","ok":true,"partial":false,"title":"Straight Stories. Part 1","artist":"Bouchra Khalili","year":"2006","startOffset":0,"sourceSecs":606.28,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":101956827,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_khalili_bouchra_straight_stories_part_1_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_khalili_bouchra_straight_stories_part_1_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_khalili_bouchra_straight_stories_part_1_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_khalili_bouchra_straight_stories_part_1_2006/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> 1st part of a video tryptich about Wanderings in frontier zones, where physical geography and the geography of the imagination become indistinguishable.","artist_bio":"Bouchra Khalili is a Moroccan-French artist. She lives and works in Berlin and Oslo. Working with film, video, installation, photography, and prints, Khaliliʼs practice articulates language, subjectivity, orality, and geographical explorations to investigate strategies and discourses of resistance as elaborated, developed, and narrated by individuals—often members of political minorities.\nBorn in Casablanca, Khalili studied film at Université Sorbonne Nouvelle and visual arts at the École nationale supérieure d'arts de Paris-Cergy. She is a professor of contemporary art at the Oslo National Academy of the Arts and a founding member of La Cinémathèque de Tanger, an artist-run nonprofit organization based in Tangiers, Morocco.","bio_dates":"b. 1975"},{"slug":"african_experimental_malullah_waheeda_coloured_photograp","ok":true,"partial":false,"title":"Coloured Photograph","artist":"Waheeda Malullah","year":"2009","startOffset":0,"sourceSecs":98.4,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":5925168,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_malullah_waheeda_coloured_photograp/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_malullah_waheeda_coloured_photograp/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_malullah_waheeda_coloured_photograp.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_malullah_waheeda_coloured_photograp/main.mp4?v=2","description":"\"\"Colored Photograph\" with an aesthetic reminiscent of the campaigns of United Colors of Benetton, Waheeda Malullah (Bahrain) chooses to color a group of women dressed in black Burqas, frozen in an almost fixed shot taken from the front."},{"slug":"african_experimental_mbarek_pauline_geographie_imaginaire_2005","ok":true,"partial":false,"title":"Mbarek Pauline Geographie Imaginaire","artist":"Pauline M'barek","year":"2005","startOffset":0,"sourceSecs":838.76,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":141333383,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_mbarek_pauline_geographie_imaginaire_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_mbarek_pauline_geographie_imaginaire_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_mbarek_pauline_geographie_imaginaire_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_mbarek_pauline_geographie_imaginaire_2005/main.mp4?v=2","description":"Géographie imaginaire is a subjective report on a deliberatly non-documentary, i.e. imaginary journey. Pauline M’Barek’s video is based on intimate observations that she made during the preparations and traditional rites for her female cousin’s wedding in Tunisia."},{"slug":"african_experimental_noureddine_wael_ca_sera_beau_from_beyrouth_with_love_2005","ok":true,"partial":false,"title":"Ça sera beau = From Beyrouth with love (Lebanon/France)","artist":"Waël Noureddine","year":"2005","startOffset":0,"sourceSecs":1791.6,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":292773488,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_noureddine_wael_ca_sera_beau_from_beyrouth_with_love_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_noureddine_wael_ca_sera_beau_from_beyrouth_with_love_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_noureddine_wael_ca_sera_beau_from_beyrouth_with_love_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_noureddine_wael_ca_sera_beau_from_beyrouth_with_love_2005/main.mp4?v=2","description":"Beirut – or indeed maybe any city, anywhere – is at war with itself. Here, no conflict is ever resolved, and no wall is ever repaired. The explosions resonate better in this city full of holes. Young men who live here are caught between military service and religious affiliation. I visit some friends, gather their suicidal testaments. No one goes anywhere. I cross my city in every way possible, day and night."},{"slug":"african_experimental_salloum_jayce_untitled_part_3b_as_if_beauty_never_ends_2003","ok":true,"partial":false,"title":"Untitled part 3b: (as if) beauty never ends","artist":"Jayce Salloum","year":"2003","startOffset":0,"sourceSecs":664.92,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":113121417,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_salloum_jayce_untitled_part_3b_as_if_beauty_never_ends_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_salloum_jayce_untitled_part_3b_as_if_beauty_never_ends_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_salloum_jayce_untitled_part_3b_as_if_beauty_never_ends_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_salloum_jayce_untitled_part_3b_as_if_beauty_never_ends_2003/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> An ambient work of many things, including orchids blooming, and plants growing, superimposed over raw footage from post massacre filmings of the 1982 massacre of Palestinians at Sabra and Shatila refugee camp in Lebanon. Cloud footage, Hubbell space imagery, the visible body crosscuts, and abstract shots of slow motion water, add to this reflection of the past, its present context and forbearance. With the voice over of Abdel Majid Fadl Ali Hassan (a 1948 refugee living in Bourg El Barajneh camp) recounting a story told by the rubble of his home in Palestine [Israel], and the collection of audio accompanying the clips, the tape permeates into an intense essay on dystopia in contemporary times. Working directly, viscerally, and metaphorically the videotape rovides an elegiac response to the Palestinian dispossession.<br/> <br/> Date: 2003<br/> Length: 11'22''","artist_bio":"Jayce Salloum has been working in installation, photography, mixed and new media and video since 1975, as well as curating exhibitions, conducting workshops and coordinating cultural events. After 22 years living and working in San Francisco, Banff, Toronto, San Diego, Beirut, and New York, he now lives/works out of Vancouver. His work takes place in a variety of contexts critically engaging itself in the representation of cultural/social/political manifestations and other cultures.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1958"},{"slug":"african_experimental_toufic_jalal_saving_face_2003","ok":true,"partial":false,"title":"Saving Face","artist":"Jalal Toufic","year":"2003","startOffset":0,"sourceSecs":439.56,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":75953246,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_toufic_jalal_saving_face_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/african_experimental_toufic_jalal_saving_face_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/african_experimental_toufic_jalal_saving_face_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/african_experimental_toufic_jalal_saving_face_2003/main.mp4?v=2","description":"From <a href=\"https://ubu.com/film/resistances_africa.html\" rel=\"noopener\" target=\"_blank\">Resistance(s): Experimental Films from the Middle East and North Africa</a> <br/><br/> Were all the candidates’ faces posted on the walls of Lebanon during the parliamentary campaign of 2000 waiting for the results of the elections? No. As faces, they were waiting to be saved. Far better than any surgical face-lift or digital retouching, it was the physical removal of part of the poster of the face of one candidate so that the face of another candidate would partially appear under it; as well as the accretions of posters and photographs over each other that produced the most effective face-lift, and that proved a successful face-saver for all concerned. We have in these resultant recombinant posters one of the sites where Lebanese culture in specific, and Arabic culture in general, mired in an organic view of the body, in an organic body, exposes itself to inorganic bodies.","artist_bio":"In 2011–12, he was a participant in Documenta 13, Kassel, Germany; Sharjah Biennial, UAE; Shanghai Biennale, China; Athens Biennale, Greece; Meeting Points 6, Beirut Art Center, Lebanon, and Argos, Brussels, Belgium; Art in the Auditorium III, Whitechapel Gallery, London, UK, and GAMeC, Bergamo, Italy, among other venues; and Wunder, Deichtorhallen Hamburg, Germany. He was a guest of the DAAD Artists-in-Berlin Program for the year 2011.","bio_dates":"b. 1962"},{"slug":"ahwesh_peggy_and_sanborn_keith_the_deadman_1990_iphone","ok":true,"partial":false,"title":"The Deadman","artist":"Peggy Ahwesh","year":"1989","startOffset":0,"sourceSecs":2162.221,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":129841987,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_and_sanborn_keith_the_deadman_1990_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_and_sanborn_keith_the_deadman_1990_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ahwesh_peggy_and_sanborn_keith_the_deadman_1990_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ahwesh_peggy_and_sanborn_keith_the_deadman_1990_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ahwesh_peggy_and_sanborn_keith_the_deadman_1990_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1989, 35:56 min, b&w, sound, 16 mm film on video <br/><br/> Made in collaboration with Keith Sanborn, <i>The Deadman</i> is based on a story by Bataille, charting \"the adventures of a near-naked heroine who sets in motion a scabrous free-from orgy before returning to the house to die — a combination of elegance, raunchy defilement and barbaric splendor.\" — Jonathan Rosenbaum, <i>Chicago Reader.</i> <i>With: Jennifer Montgomery, Scott Shat, Leslie Singer, Kevin Barrett, Ben Polsky, Raymond Quanta Le Gusta, Diana Torr, Beth Friedman, Griff Kwiat, Kelly. Crew: Dan Goldstein, Griff, Beth Friedman, Antonio Beecroft. Thanks: Peggy Berton, Cathy Cook, Lori Hiris, Stokes Howell, Paul Mann, Rick Pieto. Partially funded by Art Matters Inc.</i> -- <a href=\"http://eai.org/title.htm?id=5898\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This UbuWeb resource is presented in partnership with <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>. This title is available for exhibitions, screenings, and institutional use through EAI, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Over the last twenty years, Peggy Ahwesh has produced one of the most heterogeneous bodies of work in the field of experimental film and video. A true\nbricoleur\n, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. Using this range of approaches, she has extended the project initiated by 1960s and '70s American avant-garde film, and has augmented that tradition with an investigation of cultural identity and the role of the subject.\nAhwesh started out working in Super-8, attracted, like Stan Brakhage and Jonas Mekas before her, to the medium's evocation of home movies. For her, this was a subversively amateur form, and also a discourse that yielded traditionally female-gendered themes like home and family, relationships, and confessions, which she appropriated as scenarios. She and other filmmakers of the time, including Sally Potter,\nSu Friedrich\n, and\nLeslie Thornton\n, had little use for the primarily formal strategies of the structural materialist film tradition (which was in any case dominated by men), and viewed conventions of direction, character, and performance as tools. For these filmmakers, feminism presented a viable avant-garde praxis: unlike the radical formal dislocations of materialist film, the political narrative inherent in feminist art was exceedingly resistant to cooptation by dominant media or advertising.\nAhwesh's work, for all its reliance on theoretical concerns, isn't dry or forbidding. She values humor, playfulness, and, ultimately, the pleasure of the audience. The cluttered sets and fragmented stories in much of her work evince a baroque and almost mystical sensibility, with a lineage including the ornate films of\nJack Smith\nand\nKenneth Anger\n. Of course, this is a mysticism that locates its systems of meaning in mass culture, and in recent years Ahwesh has expanded her work to consider the techniques and critiques of nascent digital culture, including videogames and the Internet.\nUltimately, Ahwesh has developed a practice that insists on political and social topicality, handled with theoretical and formal rigor, while remembering the audience. It is her lighter touch that has helped make her work, densely critical as it is, so accessible to so many people. She draws them into the world and traditions of avant-garde film and video, where, as she has remarked, \"there's nothing to prove and no money to make,\" only the pleasures of the text.\nPeggy Ahwesh was born in 1954. She received her B.F.A. from Antioch College. Her work has been widely shown, at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York, among other venues. Her numerous awards include an Alpert Award in the Arts, a John Simon Guggenheim Memorial Foundation Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She teaches at Bard College, Annandale-on-Hudson, New York.\nAhwesh lives in Brooklyn, New York.--\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1954"},{"slug":"ahwesh_peggy_beirut_outtakes_2007","ok":true,"partial":false,"title":"Beirut Outtakes","artist":"Peggy Ahwesh","year":"2007","startOffset":0,"sourceSecs":444.16,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":72320649,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_beirut_outtakes_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_beirut_outtakes_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ahwesh_peggy_beirut_outtakes_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ahwesh_peggy_beirut_outtakes_2007/main.mp4?v=2","description":"2007, 7:30 min, color, sound<br/> <br/> Composed entirely of film scraps salvaged from a closed Beirut cinema, Beirut Outtakes is a collage of sensational visions. Ed Halter writes in the Village Voice: \"Outtakes appears to be a ready-made, albeit one tailor-made for Ahwesh's career obsessions, pre-filled with her signature elements: gleeful disruptions of high and low, affection for decayed textures, a peeping eye for lurid sexuality, and a fascination with unlikely images of the Middle East. Just one sequence of a go-go-booted belly dancer wriggling in an Arabic-language cinema advertisement for home air conditioners alone has the power to shatter more stereotypes than 500 pages of Edward Said.\" <br/><br/> Fragments from movies found in an abandoned cinema in Beirut. Retrieved by Mr. Salloum. Assembled by Ms. Ahwesh.<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Over the last twenty years, Peggy Ahwesh has produced one of the most heterogeneous bodies of work in the field of experimental film and video. A true\nbricoleur\n, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. Using this range of approaches, she has extended the project initiated by 1960s and '70s American avant-garde film, and has augmented that tradition with an investigation of cultural identity and the role of the subject.\nAhwesh started out working in Super-8, attracted, like Stan Brakhage and Jonas Mekas before her, to the medium's evocation of home movies. For her, this was a subversively amateur form, and also a discourse that yielded traditionally female-gendered themes like home and family, relationships, and confessions, which she appropriated as scenarios. She and other filmmakers of the time, including Sally Potter,\nSu Friedrich\n, and\nLeslie Thornton\n, had little use for the primarily formal strategies of the structural materialist film tradition (which was in any case dominated by men), and viewed conventions of direction, character, and performance as tools. For these filmmakers, feminism presented a viable avant-garde praxis: unlike the radical formal dislocations of materialist film, the political narrative inherent in feminist art was exceedingly resistant to cooptation by dominant media or advertising.\nAhwesh's work, for all its reliance on theoretical concerns, isn't dry or forbidding. She values humor, playfulness, and, ultimately, the pleasure of the audience. The cluttered sets and fragmented stories in much of her work evince a baroque and almost mystical sensibility, with a lineage including the ornate films of\nJack Smith\nand\nKenneth Anger\n. Of course, this is a mysticism that locates its systems of meaning in mass culture, and in recent years Ahwesh has expanded her work to consider the techniques and critiques of nascent digital culture, including videogames and the Internet.\nUltimately, Ahwesh has developed a practice that insists on political and social topicality, handled with theoretical and formal rigor, while remembering the audience. It is her lighter touch that has helped make her work, densely critical as it is, so accessible to so many people. She draws them into the world and traditions of avant-garde film and video, where, as she has remarked, \"there's nothing to prove and no money to make,\" only the pleasures of the text.\nPeggy Ahwesh was born in 1954. She received her B.F.A. from Antioch College. Her work has been widely shown, at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York, among other venues. Her numerous awards include an Alpert Award in the Arts, a John Simon Guggenheim Memorial Foundation Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She teaches at Bard College, Annandale-on-Hudson, New York.\nAhwesh lives in Brooklyn, New York.--\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1954"},{"slug":"ahwesh_peggy_bethlehem","ok":true,"partial":false,"title":"Bethlehem","artist":"Peggy Ahwesh","year":"2009","startOffset":0,"sourceSecs":512.96,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":87111474,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_bethlehem/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_bethlehem/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ahwesh_peggy_bethlehem.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ahwesh_peggy_bethlehem/main.mp4?v=2","description":"2009, 8 min, soundWrites Ahwesh: \"Working through my archive of accumulated video footage, I pretended it was found footage from anonymous sources. What began as a tribute to Bruce Conner of the period of <em>Valse Triste</em> and <em>Take the 5:10 to Dreamland</em>, with their deliberate pace and bittersweet memory of home, ended as a dedication to my father as I wound my way through miscellany with distance and another aim.\" <i>Music: Henry Cowell. Thanks: Grey Gerston, Jackie Smith, Anna Gurton-Wachter, Felix LeVeque, Elise Gardella, Keith Sanborn, Light Industry. Special Thanks: Bobby Abate. A tribute to Bruce Conner and Phil Ahwesh.</i> -- <a href=\"http://eai.org/title.htm?id=14718\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This UbuWeb resource is presented in partnership with <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>. This title is available for exhibitions, screenings, and institutional use through EAI, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Over the last twenty years, Peggy Ahwesh has produced one of the most heterogeneous bodies of work in the field of experimental film and video. A true\nbricoleur\n, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. Using this range of approaches, she has extended the project initiated by 1960s and '70s American avant-garde film, and has augmented that tradition with an investigation of cultural identity and the role of the subject.\nAhwesh started out working in Super-8, attracted, like Stan Brakhage and Jonas Mekas before her, to the medium's evocation of home movies. For her, this was a subversively amateur form, and also a discourse that yielded traditionally female-gendered themes like home and family, relationships, and confessions, which she appropriated as scenarios. She and other filmmakers of the time, including Sally Potter,\nSu Friedrich\n, and\nLeslie Thornton\n, had little use for the primarily formal strategies of the structural materialist film tradition (which was in any case dominated by men), and viewed conventions of direction, character, and performance as tools. For these filmmakers, feminism presented a viable avant-garde praxis: unlike the radical formal dislocations of materialist film, the political narrative inherent in feminist art was exceedingly resistant to cooptation by dominant media or advertising.\nAhwesh's work, for all its reliance on theoretical concerns, isn't dry or forbidding. She values humor, playfulness, and, ultimately, the pleasure of the audience. The cluttered sets and fragmented stories in much of her work evince a baroque and almost mystical sensibility, with a lineage including the ornate films of\nJack Smith\nand\nKenneth Anger\n. Of course, this is a mysticism that locates its systems of meaning in mass culture, and in recent years Ahwesh has expanded her work to consider the techniques and critiques of nascent digital culture, including videogames and the Internet.\nUltimately, Ahwesh has developed a practice that insists on political and social topicality, handled with theoretical and formal rigor, while remembering the audience. It is her lighter touch that has helped make her work, densely critical as it is, so accessible to so many people. She draws them into the world and traditions of avant-garde film and video, where, as she has remarked, \"there's nothing to prove and no money to make,\" only the pleasures of the text.\nPeggy Ahwesh was born in 1954. She received her B.F.A. from Antioch College. Her work has been widely shown, at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York, among other venues. Her numerous awards include an Alpert Award in the Arts, a John Simon Guggenheim Memorial Foundation Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She teaches at Bard College, Annandale-on-Hudson, New York.\nAhwesh lives in Brooklyn, New York.--\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1954"},{"slug":"ahwesh_peggy_martinas_playhouse","ok":true,"partial":false,"title":"Martina's Playhouse","artist":"Peggy Ahwesh","year":"1989","startOffset":0,"sourceSecs":1173.547,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":202382599,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_martinas_playhouse/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_martinas_playhouse/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ahwesh_peggy_martinas_playhouse.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ahwesh_peggy_martinas_playhouse/main.mp4?v=2","description":"1989, 19:48 min, color, sound, Super 8mm film on video <br/><br/> The artist writes that this work, \"a response to Pee Wee's Playhouse, focuses on the girl child, grappling with the fluidity of gender roles as she role-plays with her toys.\" <br/><br/> With: Martina Torr -- <a href=\"http://eai.org/title.htm?id=5895\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This UbuWeb resource is presented in partnership with <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>. This title is available for exhibitions, screenings, and institutional use through EAI, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Over the last twenty years, Peggy Ahwesh has produced one of the most heterogeneous bodies of work in the field of experimental film and video. A true\nbricoleur\n, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. Using this range of approaches, she has extended the project initiated by 1960s and '70s American avant-garde film, and has augmented that tradition with an investigation of cultural identity and the role of the subject.\nAhwesh started out working in Super-8, attracted, like Stan Brakhage and Jonas Mekas before her, to the medium's evocation of home movies. For her, this was a subversively amateur form, and also a discourse that yielded traditionally female-gendered themes like home and family, relationships, and confessions, which she appropriated as scenarios. She and other filmmakers of the time, including Sally Potter,\nSu Friedrich\n, and\nLeslie Thornton\n, had little use for the primarily formal strategies of the structural materialist film tradition (which was in any case dominated by men), and viewed conventions of direction, character, and performance as tools. For these filmmakers, feminism presented a viable avant-garde praxis: unlike the radical formal dislocations of materialist film, the political narrative inherent in feminist art was exceedingly resistant to cooptation by dominant media or advertising.\nAhwesh's work, for all its reliance on theoretical concerns, isn't dry or forbidding. She values humor, playfulness, and, ultimately, the pleasure of the audience. The cluttered sets and fragmented stories in much of her work evince a baroque and almost mystical sensibility, with a lineage including the ornate films of\nJack Smith\nand\nKenneth Anger\n. Of course, this is a mysticism that locates its systems of meaning in mass culture, and in recent years Ahwesh has expanded her work to consider the techniques and critiques of nascent digital culture, including videogames and the Internet.\nUltimately, Ahwesh has developed a practice that insists on political and social topicality, handled with theoretical and formal rigor, while remembering the audience. It is her lighter touch that has helped make her work, densely critical as it is, so accessible to so many people. She draws them into the world and traditions of avant-garde film and video, where, as she has remarked, \"there's nothing to prove and no money to make,\" only the pleasures of the text.\nPeggy Ahwesh was born in 1954. She received her B.F.A. from Antioch College. Her work has been widely shown, at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York, among other venues. Her numerous awards include an Alpert Award in the Arts, a John Simon Guggenheim Memorial Foundation Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She teaches at Bard College, Annandale-on-Hudson, New York.\nAhwesh lives in Brooklyn, New York.--\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1936-1989"},{"slug":"ahwesh_peggy_nocturne_iphone","ok":true,"partial":false,"title":"Nocturne","artist":"Peggy Ahwesh","year":"1998","startOffset":0,"sourceSecs":1692.418,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":102956992,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_nocturne_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_nocturne_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ahwesh_peggy_nocturne_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ahwesh_peggy_nocturne_iphone/main.mp4?v=2","description":"1998, 30 min, b&w, sound, 16 mm film on video <br/><br/> <i>Nocturne</i>, writes Ahwesh, is \"a psychological horror film built on the conflicts of a woman tortured by the ambiguity between reality and illusion, dream and desire.\" <i>With: Anne Kugler, Bradley Eros, Karen Sullivan. Camera: Peggy Ahwesh, Robert Fenz. Crew: Julie Murray, Cindy Kleine, Luke Sieczek. Audio Enhancement: Bradley Eros. Thanks: Taylor Davis, Cecilia Dougherty, Tamela Sloan, Robert Fenz, Su Friedrich, Babara Ess, Keith Sanborn, Steve Anker. Support from the Guggenheim Foundation.</i> <br/><br/> With: Martina Torr -- <a href=\"http://eai.org/title.htm?id=5902\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This UbuWeb resource is presented in partnership with <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>. This title is available for exhibitions, screenings, and institutional use through EAI, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Over the last twenty years, Peggy Ahwesh has produced one of the most heterogeneous bodies of work in the field of experimental film and video. A true\nbricoleur\n, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. Using this range of approaches, she has extended the project initiated by 1960s and '70s American avant-garde film, and has augmented that tradition with an investigation of cultural identity and the role of the subject.\nAhwesh started out working in Super-8, attracted, like Stan Brakhage and Jonas Mekas before her, to the medium's evocation of home movies. For her, this was a subversively amateur form, and also a discourse that yielded traditionally female-gendered themes like home and family, relationships, and confessions, which she appropriated as scenarios. She and other filmmakers of the time, including Sally Potter,\nSu Friedrich\n, and\nLeslie Thornton\n, had little use for the primarily formal strategies of the structural materialist film tradition (which was in any case dominated by men), and viewed conventions of direction, character, and performance as tools. For these filmmakers, feminism presented a viable avant-garde praxis: unlike the radical formal dislocations of materialist film, the political narrative inherent in feminist art was exceedingly resistant to cooptation by dominant media or advertising.\nAhwesh's work, for all its reliance on theoretical concerns, isn't dry or forbidding. She values humor, playfulness, and, ultimately, the pleasure of the audience. The cluttered sets and fragmented stories in much of her work evince a baroque and almost mystical sensibility, with a lineage including the ornate films of\nJack Smith\nand\nKenneth Anger\n. Of course, this is a mysticism that locates its systems of meaning in mass culture, and in recent years Ahwesh has expanded her work to consider the techniques and critiques of nascent digital culture, including videogames and the Internet.\nUltimately, Ahwesh has developed a practice that insists on political and social topicality, handled with theoretical and formal rigor, while remembering the audience. It is her lighter touch that has helped make her work, densely critical as it is, so accessible to so many people. She draws them into the world and traditions of avant-garde film and video, where, as she has remarked, \"there's nothing to prove and no money to make,\" only the pleasures of the text.\nPeggy Ahwesh was born in 1954. She received her B.F.A. from Antioch College. Her work has been widely shown, at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York, among other venues. Her numerous awards include an Alpert Award in the Arts, a John Simon Guggenheim Memorial Foundation Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She teaches at Bard College, Annandale-on-Hudson, New York.\nAhwesh lives in Brooklyn, New York.--\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1954"},{"slug":"ahwesh_peggy_romance_fix_2010","ok":true,"partial":false,"title":"From Romance to Ritual","artist":"Peggy Ahwesh","year":"1985","startOffset":0,"sourceSecs":1277.845,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":215683309,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_romance_fix_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_romance_fix_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ahwesh_peggy_romance_fix_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ahwesh_peggy_romance_fix_2010/main.mp4?v=2","description":"Seen from above, a very animated woman digs and scratches at the earth to give us a show-and-tell history of the megalithic site at Avebury. A bit tongue in cheek, like playing around in the backyard (prehistoric sandbox 101), but not far from the truth in its reading of the erasure of matriarchial societies from traditional histories.<br/><br/>This UbuWeb resource is presented in partnership with <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>. This title is available for exhibitions, screenings, and institutional use through EAI, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Over the last twenty years, Peggy Ahwesh has produced one of the most heterogeneous bodies of work in the field of experimental film and video. A true\nbricoleur\n, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. Using this range of approaches, she has extended the project initiated by 1960s and '70s American avant-garde film, and has augmented that tradition with an investigation of cultural identity and the role of the subject.\nAhwesh started out working in Super-8, attracted, like Stan Brakhage and Jonas Mekas before her, to the medium's evocation of home movies. For her, this was a subversively amateur form, and also a discourse that yielded traditionally female-gendered themes like home and family, relationships, and confessions, which she appropriated as scenarios. She and other filmmakers of the time, including Sally Potter,\nSu Friedrich\n, and\nLeslie Thornton\n, had little use for the primarily formal strategies of the structural materialist film tradition (which was in any case dominated by men), and viewed conventions of direction, character, and performance as tools. For these filmmakers, feminism presented a viable avant-garde praxis: unlike the radical formal dislocations of materialist film, the political narrative inherent in feminist art was exceedingly resistant to cooptation by dominant media or advertising.\nAhwesh's work, for all its reliance on theoretical concerns, isn't dry or forbidding. She values humor, playfulness, and, ultimately, the pleasure of the audience. The cluttered sets and fragmented stories in much of her work evince a baroque and almost mystical sensibility, with a lineage including the ornate films of\nJack Smith\nand\nKenneth Anger\n. Of course, this is a mysticism that locates its systems of meaning in mass culture, and in recent years Ahwesh has expanded her work to consider the techniques and critiques of nascent digital culture, including videogames and the Internet.\nUltimately, Ahwesh has developed a practice that insists on political and social topicality, handled with theoretical and formal rigor, while remembering the audience. It is her lighter touch that has helped make her work, densely critical as it is, so accessible to so many people. She draws them into the world and traditions of avant-garde film and video, where, as she has remarked, \"there's nothing to prove and no money to make,\" only the pleasures of the text.\nPeggy Ahwesh was born in 1954. She received her B.F.A. from Antioch College. Her work has been widely shown, at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York, among other venues. Her numerous awards include an Alpert Award in the Arts, a John Simon Guggenheim Memorial Foundation Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She teaches at Bard College, Annandale-on-Hudson, New York.\nAhwesh lives in Brooklyn, New York.--\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1954"},{"slug":"ahwesh_peggy_she_puppet","ok":true,"partial":false,"title":"She Puppet","artist":"Peggy Ahwesh","year":"2001","startOffset":0,"sourceSecs":914.859,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":150183480,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_she_puppet/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_she_puppet/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ahwesh_peggy_she_puppet.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ahwesh_peggy_she_puppet/main.mp4?v=2","description":"2001, 15 min, color, sound <br/><br/> Re-editing footage collected from months of playing <i>Tomb Raider,</i> Ahwesh transforms the video game into a reflection on identity and mortality. Trading the rules of gaming for art making, she brings <i>Tomb Raider's</i> cinematic aesthetics to the foreground, and shirks the pre-programmed \"mission\" of its heroine, Lara Croft. Ahwesh acknowledges the intimate relationship between this fictional character and her player. Moving beyond her implicit feminist critique of the problematic female identity, she enlarges the dilemma of Croft's entrapment to that of the individual in an increasingly artificial world. <i>Voiceovers: Yuko Aramaki, Samuael Topiary, Eva Waniek. Quotes from \"The Book of Disquiet,\" by Fernando Pessoa, \"The Female Man,\" by Joanna Russ, and Sun Ra. Thanks: Jon Di Benedetto, Su Friedrich, Keith Sanborn, Samuael Topiary, Karim Ghawagi, The White Box Gallery, Stella's Tombraider site. Funding: New York State Council on the Arts.</i><br/><br/>This UbuWeb resource is presented in partnership with <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>. This title is available for exhibitions, screenings, and institutional use through EAI, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Over the last twenty years, Peggy Ahwesh has produced one of the most heterogeneous bodies of work in the field of experimental film and video. A true\nbricoleur\n, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. Using this range of approaches, she has extended the project initiated by 1960s and '70s American avant-garde film, and has augmented that tradition with an investigation of cultural identity and the role of the subject.\nAhwesh started out working in Super-8, attracted, like Stan Brakhage and Jonas Mekas before her, to the medium's evocation of home movies. For her, this was a subversively amateur form, and also a discourse that yielded traditionally female-gendered themes like home and family, relationships, and confessions, which she appropriated as scenarios. She and other filmmakers of the time, including Sally Potter,\nSu Friedrich\n, and\nLeslie Thornton\n, had little use for the primarily formal strategies of the structural materialist film tradition (which was in any case dominated by men), and viewed conventions of direction, character, and performance as tools. For these filmmakers, feminism presented a viable avant-garde praxis: unlike the radical formal dislocations of materialist film, the political narrative inherent in feminist art was exceedingly resistant to cooptation by dominant media or advertising.\nAhwesh's work, for all its reliance on theoretical concerns, isn't dry or forbidding. She values humor, playfulness, and, ultimately, the pleasure of the audience. The cluttered sets and fragmented stories in much of her work evince a baroque and almost mystical sensibility, with a lineage including the ornate films of\nJack Smith\nand\nKenneth Anger\n. Of course, this is a mysticism that locates its systems of meaning in mass culture, and in recent years Ahwesh has expanded her work to consider the techniques and critiques of nascent digital culture, including videogames and the Internet.\nUltimately, Ahwesh has developed a practice that insists on political and social topicality, handled with theoretical and formal rigor, while remembering the audience. It is her lighter touch that has helped make her work, densely critical as it is, so accessible to so many people. She draws them into the world and traditions of avant-garde film and video, where, as she has remarked, \"there's nothing to prove and no money to make,\" only the pleasures of the text.\nPeggy Ahwesh was born in 1954. She received her B.F.A. from Antioch College. Her work has been widely shown, at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York, among other venues. Her numerous awards include an Alpert Award in the Arts, a John Simon Guggenheim Memorial Foundation Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She teaches at Bard College, Annandale-on-Hudson, New York.\nAhwesh lives in Brooklyn, New York.--\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1954"},{"slug":"ahwesh_peggy_third_body_5_09_iphone","ok":true,"partial":false,"title":"The Third Body","artist":"Peggy Ahwesh","year":"2007","startOffset":0,"sourceSecs":525.421,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":34354127,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_third_body_5_09_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ahwesh_peggy_third_body_5_09_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ahwesh_peggy_third_body_5_09_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ahwesh_peggy_third_body_5_09_iphone/main.mp4?v=2","description":"2007, 8:40 min, color, sound An appropriated film, portraying the arrival of Adam and Eve to an exotic Eden, is intercut with appropriated videos of virtual reality demonstrations, among them a human hand shadowed by a computer-generated rendering, medical robots conducting a virtual surgery, and people dressed in bulky headgear navigating virtual spaces. As the title suggests, cyberspace adds to the Genesis legend a third possibility, a virtual existence that challenges natural and social definitions of gender and morality. Ahwesh writes, \"The tropes of the garden, the originary moment of self knowledge and gendered awareness of the body (what is traditionally called sin) is mimicked in the early experiments with virtual reality. The metaphors used in our cutting edge future are restagings of our cultural memory of the garden. Wonderment regarding the self in space, boundaries of the body at the edge of consciousness and the inside and outside skin of perceptual knowledge.\" <i>Music: Morton Feldman.</i> -- <a href=\"http://eai.org/title.htm?id=14290\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This UbuWeb resource is presented in partnership with <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>. This title is available for exhibitions, screenings, and institutional use through EAI, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Over the last twenty years, Peggy Ahwesh has produced one of the most heterogeneous bodies of work in the field of experimental film and video. A true\nbricoleur\n, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. Using this range of approaches, she has extended the project initiated by 1960s and '70s American avant-garde film, and has augmented that tradition with an investigation of cultural identity and the role of the subject.\nAhwesh started out working in Super-8, attracted, like Stan Brakhage and Jonas Mekas before her, to the medium's evocation of home movies. For her, this was a subversively amateur form, and also a discourse that yielded traditionally female-gendered themes like home and family, relationships, and confessions, which she appropriated as scenarios. She and other filmmakers of the time, including Sally Potter,\nSu Friedrich\n, and\nLeslie Thornton\n, had little use for the primarily formal strategies of the structural materialist film tradition (which was in any case dominated by men), and viewed conventions of direction, character, and performance as tools. For these filmmakers, feminism presented a viable avant-garde praxis: unlike the radical formal dislocations of materialist film, the political narrative inherent in feminist art was exceedingly resistant to cooptation by dominant media or advertising.\nAhwesh's work, for all its reliance on theoretical concerns, isn't dry or forbidding. She values humor, playfulness, and, ultimately, the pleasure of the audience. The cluttered sets and fragmented stories in much of her work evince a baroque and almost mystical sensibility, with a lineage including the ornate films of\nJack Smith\nand\nKenneth Anger\n. Of course, this is a mysticism that locates its systems of meaning in mass culture, and in recent years Ahwesh has expanded her work to consider the techniques and critiques of nascent digital culture, including videogames and the Internet.\nUltimately, Ahwesh has developed a practice that insists on political and social topicality, handled with theoretical and formal rigor, while remembering the audience. It is her lighter touch that has helped make her work, densely critical as it is, so accessible to so many people. She draws them into the world and traditions of avant-garde film and video, where, as she has remarked, \"there's nothing to prove and no money to make,\" only the pleasures of the text.\nPeggy Ahwesh was born in 1954. She received her B.F.A. from Antioch College. Her work has been widely shown, at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York, among other venues. Her numerous awards include an Alpert Award in the Arts, a John Simon Guggenheim Memorial Foundation Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She teaches at Bard College, Annandale-on-Hudson, New York.\nAhwesh lives in Brooklyn, New York.--\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1954"},{"slug":"aitken_doug_autumn","ok":true,"partial":false,"title":"Autumn","artist":"Doug Aitken","year":"1994","startOffset":0,"sourceSecs":448.256,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":80381759,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/aitken_doug_autumn/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/aitken_doug_autumn/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/aitken_doug_autumn.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/aitken_doug_autumn/main.mp4?v=2","description":"In the case of <em>Autumn</em>, Aitken wanted to create three music videos, each with their own narrative, to be aired separately at different times as part of his commercial production. The resulting video, shown in galleries, fuses together the three separate narratives in a non-linear fashion. Located on the precipice between the oft-thought mutually exclusive realms of art and entertainment, Autumn stands as an emblematic example of Aitken’s video practice, investigating the cultural numbness generated by the flow of media images.","artist_bio":"Doug Aitken was born in Redondo Beach, California in 1968 and currently lives and works in Los Angeles and New York.\nAitkenÕs body of work ranges from photography, sculpture, and architectural interventions to films, sound, single and multichannel video works, and installations. He has described his work as \"reflecting a world that is harmonious, mysterious, mesmerizing, passionate, and sometimes rough and violent.\" His work has been featured in numerous solo and group exhibitions around the world, in such institutions as the Whitney Museum of American Art, The Museum of Modern Art, and the Centre Georges Pompidou in Paris.\nSince the mid-1990s, Aitken has created installations by employing multiple screens. In 1997 diamond sea was presented at the Montreal International Festival of Cinema and New Media. And in 1998, Aitken's eraser was revealed at the International Film Festival in Rotterdam. His electric earth installation drew international attention and earned him the International Prize at the Venice Biennale in 1999. The following year, glass horizon, an installation comprising a projection of a pair of eyes onto the facade of the Vienna Secession building after it had closed for the night, showcased an interest in architectural structures and in art that interacts with urban environments. In 2001, AitkenÕs exhibition at LondonÕs Serpentine Gallery used the entire building for the complex installation new ocean.\nIn 2005 Aitken received a solo exhibition at the MusŽe dÕArt Moderne de la Ville de Paris.\nIn 2006, Aitken produced Broken Screen: 26 Conversations with Doug Aitken (DAP, 2006), a book of interviews with twenty-six artists who aim to explore and challenge the conventions of linear narrative. Interviews included Robert Altman, Claire Denis, Werner Herzog, Rem Koolhaas, and Ed Ruscha.\nIn the winter of 2007, Aitken's Sleepwalkers was presented at the Museum of Modern Art in New York. The project includes the actors Donald Sutherland and Tilda Swinton, musicians Seu Jorge and Cat Power, and actor/street drummer Ryan Donowho.[8] Five interlocking vignettes shown through eight projections were displayed upon the exterior walls of the museum so as to be visible from the street. Concurrent with the exhibition, Aitken also presented a one night \"happening\" inside the museum that featured live drummers and auctioneers chants and a performance by Cat Power.\nIn 2008, Aitken produced another large scale outdoor film installation, titled \"Migration\" for the 55th Carnegie International show titled \"Life on Mars\" in Pittsburgh, PA. The work features wild animals of North America curiously inhabiting a human realm - neat, empty hotel rooms. He also produced a collection of photographs, \"99 Cent Dreams\", which captures \"moments between interaction\" in a kind of nomadic travelogue.\nAitken has directed many live \"happenings\" including his broken screen happening in Los Angeles and 99 cent dreams happening and sonic happening in New York. Most recently, Aitken orchestrated a real-time theatrical happening that assembled auctioneers performing against the rhythms of his Sonic Table, at Il Tempo del Postino, at Theatre Basel.\nIn October 2009, Aitken's Sonic Pavilion will open to the public. The pavilion is located in the forested hills of Brazil, as part of a new cultural institute and museum. The pavilion will provide a communal space to listen to the sounds of the earth as they are recorded through specialized microphones buried a mile deep into the ground and carried back into the pavilion through a number of speakers. The sound heard inside the pavilion is an amplified live feed of the moving interior of the earth.\nDoug Aitken has participated in over 150 art exhibitions throughout the world.","bio_dates":"b. 1954"},{"slug":"aitken_doug_blow_debris_2000","ok":true,"partial":false,"title":"Blow Debris","artist":"Doug Aitken","year":"2000","startOffset":0,"sourceSecs":1239.317,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":215554097,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/aitken_doug_blow_debris_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/aitken_doug_blow_debris_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/aitken_doug_blow_debris_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/aitken_doug_blow_debris_2000/main.mp4?v=2","description":"Aitken's <i>Blow Debris</i> (2000) similarly suggests narrative but prefers to offer it in the form of a drifting, almost aimless experience; the piece enacts a passage or journey as we follow a group of nude wanderers in a desert landscape. As with electric earth, what could be postmodern anomie becomes celebratory drifting — Aitken spurns a romantic nostalgia for a pristine past and its untrammeled landscapes in favor of the stories suggested by the discarded remnants and detritus that litter the expanse of the Mojave Desert. He also fetishizes the feelingof the desert. Even in the cool, dark space of the gallery rooms housing the huge projections, you sense the lassitude of the characters and time seems to slow down. And then things explode, time reverses, and you are compelled to walk around some more, from dislocation to relocation and back again.","artist_bio":"Doug Aitken was born in Redondo Beach, California in 1968 and currently lives and works in Los Angeles and New York.\nAitkenÕs body of work ranges from photography, sculpture, and architectural interventions to films, sound, single and multichannel video works, and installations. He has described his work as \"reflecting a world that is harmonious, mysterious, mesmerizing, passionate, and sometimes rough and violent.\" His work has been featured in numerous solo and group exhibitions around the world, in such institutions as the Whitney Museum of American Art, The Museum of Modern Art, and the Centre Georges Pompidou in Paris.\nSince the mid-1990s, Aitken has created installations by employing multiple screens. In 1997 diamond sea was presented at the Montreal International Festival of Cinema and New Media. And in 1998, Aitken's eraser was revealed at the International Film Festival in Rotterdam. His electric earth installation drew international attention and earned him the International Prize at the Venice Biennale in 1999. The following year, glass horizon, an installation comprising a projection of a pair of eyes onto the facade of the Vienna Secession building after it had closed for the night, showcased an interest in architectural structures and in art that interacts with urban environments. In 2001, AitkenÕs exhibition at LondonÕs Serpentine Gallery used the entire building for the complex installation new ocean.\nIn 2005 Aitken received a solo exhibition at the MusŽe dÕArt Moderne de la Ville de Paris.\nIn 2006, Aitken produced Broken Screen: 26 Conversations with Doug Aitken (DAP, 2006), a book of interviews with twenty-six artists who aim to explore and challenge the conventions of linear narrative. Interviews included Robert Altman, Claire Denis, Werner Herzog, Rem Koolhaas, and Ed Ruscha.\nIn the winter of 2007, Aitken's Sleepwalkers was presented at the Museum of Modern Art in New York. The project includes the actors Donald Sutherland and Tilda Swinton, musicians Seu Jorge and Cat Power, and actor/street drummer Ryan Donowho.[8] Five interlocking vignettes shown through eight projections were displayed upon the exterior walls of the museum so as to be visible from the street. Concurrent with the exhibition, Aitken also presented a one night \"happening\" inside the museum that featured live drummers and auctioneers chants and a performance by Cat Power.\nIn 2008, Aitken produced another large scale outdoor film installation, titled \"Migration\" for the 55th Carnegie International show titled \"Life on Mars\" in Pittsburgh, PA. The work features wild animals of North America curiously inhabiting a human realm - neat, empty hotel rooms. He also produced a collection of photographs, \"99 Cent Dreams\", which captures \"moments between interaction\" in a kind of nomadic travelogue.\nAitken has directed many live \"happenings\" including his broken screen happening in Los Angeles and 99 cent dreams happening and sonic happening in New York. Most recently, Aitken orchestrated a real-time theatrical happening that assembled auctioneers performing against the rhythms of his Sonic Table, at Il Tempo del Postino, at Theatre Basel.\nIn October 2009, Aitken's Sonic Pavilion will open to the public. The pavilion is located in the forested hills of Brazil, as part of a new cultural institute and museum. The pavilion will provide a communal space to listen to the sounds of the earth as they are recorded through specialized microphones buried a mile deep into the ground and carried back into the pavilion through a number of speakers. The sound heard inside the pavilion is an amplified live feed of the moving interior of the earth.\nDoug Aitken has participated in over 150 art exhibitions throughout the world.","bio_dates":"b. 1964"},{"slug":"aitken_doug_electric_earth","ok":true,"partial":false,"title":"Electric Earth","artist":"Doug Aitken","year":"1999","startOffset":0,"sourceSecs":901.44,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":155736454,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/aitken_doug_electric_earth/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/aitken_doug_electric_earth/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/aitken_doug_electric_earth.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/aitken_doug_electric_earth/main.mp4?v=2","description":"In many ways the process of my work is an ongoing experiment to see how I can open myself to a larger field of experience and information. At times I live nomadically, wandering, going from project to project and city to city. I find myself moving through space and responding to experiences in a way that's very different from the way you do if you stay in one place. A moment that might ordinarily just flash by now makes a deep impression on you. Your sense of time expands or contracts, and you become extremely sensitized to things you might not have noticed before. As I found myself in constant motion, I became increasingly attracted to in-between places, places that were not destinations, places that were somehow in limbo or were outcast and passed by. <br/><br/> Electric Earth is a compendium of these in-between places and neutral spaces. It's structured around a single individual, whom I imagined as being the last person on earth. He is in a state somewhere between consciousness and unconsciousness, and he is traveling through a seemingly banal urban environment in the moments before nightfall. As he moves, the world around him--a satellite dish, a trash bag spinning in the air, a blinking streetlight, a car window--begins to accelerate. <br/><br/> I wanted to see if I could break open the linear trajectory of his journey, which I imagine as a kind of walkabout, and unlock a different perception of the environment he moves through. Taking a walk can be an uncanny experience. Propelled by our legs we find rhythms and tempos. Our bodies move in cycles that are repetitious and machinelike. We lose track of thoughts. Time can slip away from us; it can stretch out or become condensed. Sometimes, the speed of our environment is out of sync with our perception of it. When this happens, it creates a kind of gray zone, a state of flux that fascinates me. The protagonist in Electric Earth is in this state of constant flux and perpetual transformation. The paradox is that it also creates a perpetual present that consumes him. <br/><br/> Electric Earth appears to be situated in a single time and place, but it's actually a constructed, hybrid landscape composed of material gathered over time. In making it, I specifically experimented with treating each element, no matter how small, as if it were as important as every other element, and I tried to give every detail equal weight in the overall narrative. I wanted to see if I could create an organic structure--like a strand of DNA, where every bit of information, every chromosome, is critical--through accumulations of small events and actions. My goal was to create a whole that is greater than the sum of its parts. <br/><br/> Time is also a critical subject of this work. I broke up Electric Earth into a sequence of spaces because I'm not interested in constructing something linear. Film and video structure our experience in a linear way simply because they're moving images on a strip of emulsion or tape. They create a story out of everything because it's inherent to the medium and to the structure of montage. But, of course, we experience time in a much more complex way. The question for me is, How can I break through this idea, which is reinforced constantly? How can I make time somehow collapse or expand, so it no longer unfolds in this one narrow form? <br/><br/> Electric Earth is composed in a way that I hope doesn't predetermine its meaning. It's important to me to preserve the enigma of actions and events. I am not interested in illustrating or making a statement about a specific place. The landscape doesn't refer to a city like Los Angeles or New York. Rather, it's an amalgam of different places that have one thing in common: They're all in a state of continuous motion. The landscape in Electric Earth is stark and automated, but the electricity driving the machines is ultimately more important than the devices it drives. It's what the protagonist responds to, and what puts him in motion in turn. <br/><br/> The deluge of information we're confronted with today is inescapable, and I hope this work is seen as a document of its ever-increasing pace. You can't rely any longer on the kind of perceptions that come built into a specific medium or genre. It's not really possible to limit yourself to a single language anymore--like, say, the language of abstract painting, or Hollywood, or music, or performance. These have all become rigid systems on the one hand, and totally porous on the other. With each piece I try to work with the language of images and the tools that are available to me, and strive to carve some kind of personal perception out of this endless flow of information we call experience. We all strive for that, I think. Otherwise, like the protagonist in Electric Earth, we can easily become lost, and vanish.<br/><br/>\"\"A lot of times I dance so fast that I become what's around me.\" So says the lone protagonist of Electric Earth, 1999, Doug Aitken's hyperkinetic fable of modern life in the form of a sprawling eight-screen installation that took home the International Prize at last summer's Venice Biennale. An uncanny cross-pollination of genre conventions sampled freely from music video, documentary, and narrative film alike, the work forged a weirdly precise portrait of urban angst, wedding installation to the vernacular vocabularies of cinema and dance. In Electric Earth as in Aitken's previous works, the landscape--here an anonymous expanse of urban wasteland--isn't a passive backdrop for human action, but rather its driving force. The blinking traffic lights, panning video cameras, and automatic car windows create an environment of jerky, accelerating rhythms that Aitken's young black protagonist begins to mimic, as if involuntarily. Projected on enormous screens in three adjoining rooms, Electric Earth is itself an immersive landscape of motion and fractured information, which viewers are meant to experience as much as to watch.","artist_bio":"Doug Aitken was born in Redondo Beach, California in 1968 and currently lives and works in Los Angeles and New York.\nAitkenÕs body of work ranges from photography, sculpture, and architectural interventions to films, sound, single and multichannel video works, and installations. He has described his work as \"reflecting a world that is harmonious, mysterious, mesmerizing, passionate, and sometimes rough and violent.\" His work has been featured in numerous solo and group exhibitions around the world, in such institutions as the Whitney Museum of American Art, The Museum of Modern Art, and the Centre Georges Pompidou in Paris.\nSince the mid-1990s, Aitken has created installations by employing multiple screens. In 1997 diamond sea was presented at the Montreal International Festival of Cinema and New Media. And in 1998, Aitken's eraser was revealed at the International Film Festival in Rotterdam. His electric earth installation drew international attention and earned him the International Prize at the Venice Biennale in 1999. The following year, glass horizon, an installation comprising a projection of a pair of eyes onto the facade of the Vienna Secession building after it had closed for the night, showcased an interest in architectural structures and in art that interacts with urban environments. In 2001, AitkenÕs exhibition at LondonÕs Serpentine Gallery used the entire building for the complex installation new ocean.\nIn 2005 Aitken received a solo exhibition at the MusŽe dÕArt Moderne de la Ville de Paris.\nIn 2006, Aitken produced Broken Screen: 26 Conversations with Doug Aitken (DAP, 2006), a book of interviews with twenty-six artists who aim to explore and challenge the conventions of linear narrative. Interviews included Robert Altman, Claire Denis, Werner Herzog, Rem Koolhaas, and Ed Ruscha.\nIn the winter of 2007, Aitken's Sleepwalkers was presented at the Museum of Modern Art in New York. The project includes the actors Donald Sutherland and Tilda Swinton, musicians Seu Jorge and Cat Power, and actor/street drummer Ryan Donowho.[8] Five interlocking vignettes shown through eight projections were displayed upon the exterior walls of the museum so as to be visible from the street. Concurrent with the exhibition, Aitken also presented a one night \"happening\" inside the museum that featured live drummers and auctioneers chants and a performance by Cat Power.\nIn 2008, Aitken produced another large scale outdoor film installation, titled \"Migration\" for the 55th Carnegie International show titled \"Life on Mars\" in Pittsburgh, PA. The work features wild animals of North America curiously inhabiting a human realm - neat, empty hotel rooms. He also produced a collection of photographs, \"99 Cent Dreams\", which captures \"moments between interaction\" in a kind of nomadic travelogue.\nAitken has directed many live \"happenings\" including his broken screen happening in Los Angeles and 99 cent dreams happening and sonic happening in New York. Most recently, Aitken orchestrated a real-time theatrical happening that assembled auctioneers performing against the rhythms of his Sonic Table, at Il Tempo del Postino, at Theatre Basel.\nIn October 2009, Aitken's Sonic Pavilion will open to the public. The pavilion is located in the forested hills of Brazil, as part of a new cultural institute and museum. The pavilion will provide a communal space to listen to the sounds of the earth as they are recorded through specialized microphones buried a mile deep into the ground and carried back into the pavilion through a number of speakers. The sound heard inside the pavilion is an amplified live feed of the moving interior of the earth.\nDoug Aitken has participated in over 150 art exhibitions throughout the world.","bio_dates":"b. 1954"},{"slug":"akhmatova_anna_the_life_of_a_poet_helga_landauer_2008","ok":true,"partial":false,"title":"A Film About Anna Akhmatova","artist":"Anna Akhmatova","year":"2008","startOffset":0,"sourceSecs":3491.845,"sourceHeight":532,"sourceWidth":952,"hasAudio":true,"hasAmbientMp4":true,"bytes":596975264,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/akhmatova_anna_the_life_of_a_poet_helga_landauer_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/akhmatova_anna_the_life_of_a_poet_helga_landauer_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/akhmatova_anna_the_life_of_a_poet_helga_landauer_2008.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/akhmatova_anna_the_life_of_a_poet_helga_landauer_2008/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/akhmatova_anna_the_life_of_a_poet_helga_landauer_2008/main/master.m3u8?v=2","hasMainHls":true,"description":"Dir. Helga Landauer <br/><br/>\"\"You will hear thunder and remember me, and think: she wanted storms...\" -- Anna Akhmatova<br/><br/> Fate granted Anna Akhmatova immense poetic talent, beauty, fame and a brilliant generation. Then came the executions of her loved ones, hunger, wars, revolutions, Soviet terror, isolation, betrayal. Yet Akhmatova emerges victorious, armed with mere words of poetry that-too dangerous to commit to paper-had to be memorized to be preserved.<br/><br/> \"\"Each of our lives is a Shakespearean drama raised to the thousandth degree.\" -- Anna Akhmatova<br/><br/> This film follows this story reminiscent of an antique tragedy. Its participants, aside from the heroine, include Apollo and the muses, Dido and Aeneas from her beloved record of Purcell, Amedeo Modigliani, witches and visitors, statues and sovereigns, portraits and artists, armies and gardens, Paris and Leningrad, the storyteller and eternal chorus of milling crowds.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/akhmatova.html\" rel=\"noopener\" target=\"_blank\">Anna Akhmatova in UbuWeb Sound</a></br>","artist_bio":"Anna Akhmatova, pseudonym of Anna Andreyevna Gorenko, (born June 11 [June 23, New Style], 1889, Bolshoy Fontan, near Odessa, Ukraine, Russian Empire—died March 5, 1966, Domodedovo, near Moscow, Russia, U.S.S.R.), Russian poet recognized at her death as the greatest woman poet in Russian literature.\nMeet extraordinary women who dared to bring gender equality and other issues to the forefront. From overcoming oppression, to breaking rules, to reimagining the world or waging a rebellion, these women of history have a story to tell.\nAkhmatova began writing verse at age 11 and at 21 joined a group of St. Petersburg poets, the Acmeists, whose leader, Nikolay Gumilyov, she married in 1910. They soon traveled to Paris, immersing themselves for months in its cultural life. Their son, Lev, was born in 1912, but their marriage did not last (they divorced in 1918). The Acmeists, who included notably Osip Mandelshtam, were associated with the new St. Petersburg journal Apollon (1909–17; “Apollo”) and such poets of the older generation as Innokenty Annensky and Mikhail Kuzmin, who stood apart from the dominant Symbolist poets of the day. Partly in response to the manifestos of the Russian Futurists (1912–13), the young poets founded Acmeism, a school that affirmed “beautiful clarity” (Kuzmin’s term) in place of the vagueness and abstractness of Russian Symbolism. Codifying their own poetic practice, Acmeists demanded concrete representation and precise form and meaning—combined with a broad-ranging erudition (Classical antiquity, European history and culture, including art and religion). To these Akhmatova added her own stamp of elegant colloquialism and the psychological sophistication of a young cosmopolitan woman, fully in control of the subtle verbal and gestural vocabulary of modern intimacies and romance. A small detail could evoke a whole gamut of emotions (“You are drawing on my soul like a drink through a straw”). Her first collections, Vecher (1912; “Evening”) and Chyotki (1914; “Rosary”), especially the latter, brought her fame and made her poetic voice emblematic of the experience of her generation. Her appeal stemmed from the artistic and emotional integrity of her poetic voice as well as from her poetic persona, further amplified by her own striking appearance. Akhmatova’s principal motif is frustrated and tragic love expressed with an intensely feminine accent and inflection entirely her own.\nDuring World War I and following the Revolution of 1917, she added to her main theme some civic, patriotic, and religious motifs but did not sacrifice her personal intensity or artistic conscience. Her artistry and increasing control of her medium were particularly prominent in her next collections: Belaya staya (1917; “The White Flock”), Podorozhnik (1921; “Plantain”), and Anno Domini MCMXXI (1921). The broadening of her thematic range, however, did not prevent the communist cultural watchdogs from proclaiming her “bourgeois and aristocratic” and condemning her poetry for its narrow preoccupation with love and God, even as her standing as a premier poetic voice of the generation was being affirmed by major critical authorities of the 1920s (e.g., Korney Chukovsky and Boris Eikhenbaum, who in 1922 coined the definition of Akhmatova’s poetic persona as a blend of “a harlot and a nun”). The execution in 1921 of her former husband, Gumilyov, on trumped-up charges of participation in an anti-Soviet conspiracy (the Tagantsev affair) further complicated her position. In 1923 she entered a period of almost complete poetic silence and literary ostracism, and no volume of her poetry appeared in the Soviet Union until 1940. Her public life was now limited to her studies of Aleksandr Pushkin.\nThe 1930s were especially hard for Akhmatova. Her son, Lev Gumilyov (1912–92), and her third husband (she was married from 1918 to 1928 to the Assyriologist Vladimir Shileiko), art historian and critic Nikolay Punin (1888–1953), were arrested for political deviance in 1935. Both were soon released, but her son was arrested again in 1938 and subsequently served a five-year sentence in the Gulag. Her friend Mandelshtam was arrested in her presence in 1934 and died in a concentration camp in 1938.\nIn 1940, however, several of her poems were published in the literary monthly Zvezda (“The Star”), and a volume of selections from her earlier work appeared under the title Iz shesti knig (“From Six Books”)—only to be abruptly withdrawn from sale and libraries. Nevertheless, in September 1941, following the German invasion, Akhmatova was permitted to deliver an inspiring radio address to the women of Leningrad (St. Petersburg). Evacuated to Tashkent, Uzbekistan, soon thereafter, she read her poems to hospitalized soldiers and published a number of war-inspired poems; a small volume of selected poetry appeared in Tashkent in 1943. At the end of the war she returned to Leningrad, where her poems began to appear in local magazines and newspapers. She gave poetic readings, and plans were made for publication of a large edition of her works.\nIn August 1946, however, she was harshly denounced by the Central Committee of the Communist Party for her “eroticism, mysticism, and political indifference.” Her poetry was castigated as “alien to the Soviet people,” and she herself was publicly insulted as a “harlot-nun” by none other than Andrey Zhdanov, a Politburo member and the director of Stalin’s program of cultural repression. She was expelled from the Union of Soviet Writers; an unreleased book of her poems, already in print, was destroyed; and none of her work appeared in print for three years.\nThen, in 1950, a number of her poems eulogizing Stalin and Soviet communism were printed in several issues of the illustrated weekly magazine Ogonyok (“The Little Light”) under the title Iz tsikla “Slava miru” (“From the Cycle ‘Glory to Peace’ ”). This uncharacteristic capitulation to the Soviet dictator—in one of the poems Akhmatova declares: “Where Stalin is, there is Freedom, Peace, and the grandeur of the earth”—was motivated by Akhmatova’s desire to propitiate Stalin and win the freedom of her son, who again had been arrested in 1949 and exiled to Siberia. The tone of these poems (those glorifying Stalin were omitted from Soviet editions of Akhmatova’s works published after his death) is far different from the moving and universalized lyrical cycle, Rekviem (“Requiem”), composed between 1935 and 1940 and occasioned by Akhmatova’s grief over the earlier arrest and imprisonment of her son in 1938. This masterpiece—a poetic monument to the sufferings of the Soviet people during Stalin’s terror—was published in Russia for the first time in 1989.\nIn the cultural thaw following Stalin’s death, Akhmatova was slowly and ambivalently rehabilitated, and a slender volume of her poetry, including some of her translations, was published in 1958. After 1958 a number of editions of her works, including some of her brilliant essays on Pushkin, were published in the Soviet Union (1961, 1965, two in 1976, 1977); none of these, however, contains the complete corpus of her literary productivity. Akhmatova’s longest work and perhaps her masterpiece, Poema bez geroya (“Poem Without a Hero”), on which she worked from 1940 to 1962, was not published in the Soviet Union until 1976. This difficult and complex work, in which the life of St. Petersburg bohemia in pre-World War I years is “double-exposed” onto the tragedies and suffering of the post-1917 decades, is a powerful lyric summation of Akhmatova’s philosophy and her own definitive statement on the meaning of her life and poetic achievement.\nAkhmatova executed a number of superb translations of the works of other poets, including Victor Hugo, Rabindranath Tagore, Giacomo Leopardi, and various Armenian and Korean poets. She also wrote sensitive personal memoirs on Symbolist writer Aleksandr Blok, the artist Amedeo Modigliani, and fellow Acmeist Mandelshtam.\nIn 1964 she was awarded the Etna-Taormina prize, an international poetry prize awarded in Italy, and in 1965 she received an honorary doctoral degree from the University of Oxford. Her journeys to Sicily and England to receive these honours were her first travel outside her homeland since 1912. Akhmatova’s works were widely translated, and her international stature continued to grow after her death. A two-volume edition of Akhmatova’s collected works was published in Moscow in 1986, and The Complete Poems of Anna Akhmatova, also in two volumes, appeared in 1990 and was updated and expanded in 1992.","bio_dates":"1889-1996"},{"slug":"alejnikov_igor_and_gleb_cruel_illness_of_men_1987","ok":true,"partial":false,"title":"Cruel Illness of Men","artist":"Igor and Gleb Aleinikov","year":"1987","startOffset":0,"sourceSecs":598.037,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":42000720,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alejnikov_igor_and_gleb_cruel_illness_of_men_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alejnikov_igor_and_gleb_cruel_illness_of_men_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alejnikov_igor_and_gleb_cruel_illness_of_men_1987.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alejnikov_igor_and_gleb_cruel_illness_of_men_1987/main.mp4?v=2","description":"The Ubuweb Experimental Video Project: 18. Igor and Gleb Aleinikov's Cruel Illness of Men (1987)<br/> <a href=\"https://ubu.com/papers/marshall_index.html\" rel=\"noopener\" target=\"_blank\">Colin Marshall</a> <br/><br/> Some would be tempted to describe this film as \"a bunch of random stuff\" and leave it at that. But if there's any single lesson I feel I should be learning from the Ubuweb Experimental Video Project, it's that there is no such assemblage as \"a bunch of random stuff.\" We're dealing with wrought projects here, not television static, and as such necessarily the products of directed human effort. That's not to say that rhyme and/or reason are always easy to suss out, nor that sussing out rhyme and/or reason should be the aim in watching avant-garde motion pictures -- but it's one of the reasons I find it interesting to do so. <br/><br/> Under a score of abbreviated drones and freeform woodwinds, the Aleinikov brothers cut together a series of images, found and made, that look unfailingly bleak, industrial or both bleak and industrial: disused factories, clunky utilitarian machinery, strings of unsettlingly young violinists, old-timey group portraits with everyone's eyes scratched out. Interspersed are less overtly sinister but somehow eerier snatches of action, like a circling brood of crude stop-motion mice or a bunch of little wooden people chopping wood and sawing logs, all differently affected by the vagaries time and the physical world foist onto film stock. <br/><br/> About six and a half minutes in, the action moves to the inside of a train, where a normal-looking young fellow finds himself sitting across from a slightly less-normal-looking, slightly less young fellow in a suit. The soundtrack's drone becomes an ill wind as the suited man stands up and confronts normal guy, getting way too close for comfort. Another (relatively) well-dressed tough joins the fray, and things descend into a grappling match. <br/><br/> Igor and Gleb, two young, unconventional filmmakers coming up right after the end of the Soviet era, no doubt had feelings to express about their situaiton and that of their country. I nevertheless hesitate to read any grand statements into a production like Cruel Illness of Men. They put deliberate craft into it, though, and by nothing less than total receptivity can I learn from it. Claims about the moving image's ubiquity and subsequent devaluation in the modern day are tired, but there's a certain something to the notion that we write off visual constructions too quickly simply because there are so damn many of them around, of any degree of strangeness or conventionality you like. Think of how much that must not have been the case back in late-stage Soviet Russia.","artist_bio":"In the 80s Igor and Gleb Aleinikov belonged to the school of Moscow conceptualism and took active part in art underground activities, working in such genres as mail-art, book-art, soc-art, and home-art. Brothers Aleinikov made history as founders of Parallel Cinema, experimental underground movies shot on narrow film, the aesthetics and ideology of which were absolutely incompatible with the canons common for Soviet cinema. In March 1994 Igor Aleinikov died in a plane accident, a year after his brother founded the Cine Fantom Club.\n\"\"The brothers Igor and Gleb Aleinikov are the leaders of the Moscow school. Add conflicting visual textures (often shooting from the TV screen, the Aleinikovs mix fiction with documentary footage) and whimsical editing, and you will have a movie that reaches completion only before the audience. Cinematic speech here develops into a special case of language - each sign becomes a prototype for the whole; each text turns into its own context. The Aleinikovs' case proves how incidental the relationship is between the avant-garde and society, even as rigid a society as the Soviet one. The film makers see all social concepts as if they were reflected in Lewis Carroll's Looking Glass. These concepts are nothing to them but the items of mass mythology or a set of stereotypes. The Aleinikovs' Tractors (1987), for example, is an out-of-synch reexamination of the myth of the 'iron horse'; for them, traditional communist values are just a pretext for playful meditation.\" (from Russian Critics on the Cinema of Glasnost, eds. Michael Brashinsky and Andrew Horton, Cambridge University Press, 1994, p. 41)","bio_dates":"1980s"},{"slug":"alejnikov_igor_and_gleb_i_m_cold_so_what_1987","ok":true,"partial":false,"title":"I'm Cold, So What?","artist":"Igor and Gleb Aleinikov","year":"1987","startOffset":0,"sourceSecs":935.488,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":61178398,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alejnikov_igor_and_gleb_i_m_cold_so_what_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alejnikov_igor_and_gleb_i_m_cold_so_what_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alejnikov_igor_and_gleb_i_m_cold_so_what_1987.mp4","hasFrames":true,"description":"The Ubuweb Experimental Video Project: 19. Igor and Gleb Aleinikov's I'm Cold, So What? (1987)<br/> <a href=\"https://ubu.com/papers/marshall_index.html\" rel=\"noopener\" target=\"_blank\">Colin Marshall</a> <br/><br/> I should've known I'd run into a language barrier at some point. A great many films on Ubuweb hail from out of the Anglosphere -- just have a look at the artist index, all Holmqvists, Wojnarowiczes, Richters, Terayamas and Duchamps -- and most seem to have English subtitles, but sometimes, especially in the budgets of the experimental, there just ain't the resources for that. The Aleinikov brothers' I'm Cold, So What? would seem to be an example: it's shot in 8mm, it's got no sync sound and its titles are hand-drawn. Whaddaya want? <br/><br/> Though I can't claim to have missed nothing by my inability to read or understand anything spoken or written in the film, my enjoyment remains. The piece presents a series of bizarre tableaux, many involving cinematic voyeurism, blurring of the living-dead borderline and a healthy amount of stabbing, of oneself and of others. A catatonic fellow gets costumed as a ghoul; a literal tree-hugger, ecstatic in his arboreal embrace, gets stabbed; a bespectacled fellow with a Bolex-y camera goes around documenting it all. <br/><br/> The soundtrack begins as a monologue by one male Russian-speaking voice and becomes a dialogue when a female's, also, unfortunately, talkin' Russian, enters the mix. As far as actual linguistic comprehension, I've got pretty much nothin'. I know that nyet means no, and the man says it to the woman every so often, as if to cut down her erroneous conjectures. Several times, the man says a word that sounds like a cognate for \"cinematography.\" The pair's tones and cadences suggest the man is explaining something complicated and the woman, not fully understanding, is popping in with questions and propositions. Can any Russian-speakers verify this? <br/><br/> Words aside, I found myself surprised by the goofy humor on display in the visuals. More than once, I thought of student videos I've watched from the past 20, 25 years. Then I realized something: this pretty much is a student video from 25 years ago! 23, anyway. The muddy black-and-white image and stern voices laid over it make the film feel as if it's much older than it really is. In reality, these are teens and/or twentysomethings from the 80s dicking around, shooting film, having fun and composing strange, striking imagery. It's foreign, sure, but not in every way it seems to be.","artist_bio":"In the 80s Igor and Gleb Aleinikov belonged to the school of Moscow conceptualism and took active part in art underground activities, working in such genres as mail-art, book-art, soc-art, and home-art. Brothers Aleinikov made history as founders of Parallel Cinema, experimental underground movies shot on narrow film, the aesthetics and ideology of which were absolutely incompatible with the canons common for Soviet cinema. In March 1994 Igor Aleinikov died in a plane accident, a year after his brother founded the Cine Fantom Club.\n\"\"The brothers Igor and Gleb Aleinikov are the leaders of the Moscow school. Add conflicting visual textures (often shooting from the TV screen, the Aleinikovs mix fiction with documentary footage) and whimsical editing, and you will have a movie that reaches completion only before the audience. Cinematic speech here develops into a special case of language - each sign becomes a prototype for the whole; each text turns into its own context. The Aleinikovs' case proves how incidental the relationship is between the avant-garde and society, even as rigid a society as the Soviet one. The film makers see all social concepts as if they were reflected in Lewis Carroll's Looking Glass. These concepts are nothing to them but the items of mass mythology or a set of stereotypes. The Aleinikovs' Tractors (1987), for example, is an out-of-synch reexamination of the myth of the 'iron horse'; for them, traditional communist values are just a pretext for playful meditation.\" (from Russian Critics on the Cinema of Glasnost, eds. Michael Brashinsky and Andrew Horton, Cambridge University Press, 1994, p. 41)","bio_dates":"1980s"},{"slug":"alejnikov_igor_and_gleb_metastasen_1984","ok":true,"partial":false,"title":"Metastasen","artist":"Igor and Gleb Aleinikov","year":"1984","startOffset":0,"sourceSecs":961.515,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":59481909,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alejnikov_igor_and_gleb_metastasen_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alejnikov_igor_and_gleb_metastasen_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alejnikov_igor_and_gleb_metastasen_1984.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alejnikov_igor_and_gleb_metastasen_1984/main.mp4?v=2","description":"The Ubuweb Experimental Video Project: 20. Igor and Gleb Aleinikov's Metastasen (1984)<br/> <a href=\"https://ubu.com/papers/marshall_index.html\" rel=\"noopener\" target=\"_blank\">Colin Marshall</a> <br/><br/> I've been stuck on Metastasen for a while, totally unsure how to approach it. I've finally come to settle on \"something to project onto the wall during your most outré parties.\" Really, how else can one get a foothold on such an accretion of found imagery? You've got bug-covered mules, cars and military processions in negative, bodies in the street, kids in school uniform saluting, aerobicize class, karate matches and an oddly Nick Bergian (though somewhat more realistic) sheep-beheading sequence. Much of it's taken from television by actually aiming a film camera at a TV screen and some of it's on damaged film, creating what academics might call a \"distancing\" effect. <br/><br/> Ultimately, I suppose this comes to one of those exercises in decontextualization and juxtaposition, and it turns out to work surprisingly well when viewed that way. The image and sound have nothing to do with each other at the beginning and drift farther and farther apart as the minutes pass. Not that any visuals could to justice to the mŽlange of tinny, beepy quasi-reggae beats topped with Planet-X operatic vocalizing and slowed-down, sped-up, reversed and turntable-scratched stern Russian speech. The dissonance grows nightmarish. Again, throwing a dissonant nightmare party? Here's your ambiance.","artist_bio":"In the 80s Igor and Gleb Aleinikov belonged to the school of Moscow conceptualism and took active part in art underground activities, working in such genres as mail-art, book-art, soc-art, and home-art. Brothers Aleinikov made history as founders of Parallel Cinema, experimental underground movies shot on narrow film, the aesthetics and ideology of which were absolutely incompatible with the canons common for Soviet cinema. In March 1994 Igor Aleinikov died in a plane accident, a year after his brother founded the Cine Fantom Club.\n\"\"The brothers Igor and Gleb Aleinikov are the leaders of the Moscow school. Add conflicting visual textures (often shooting from the TV screen, the Aleinikovs mix fiction with documentary footage) and whimsical editing, and you will have a movie that reaches completion only before the audience. Cinematic speech here develops into a special case of language - each sign becomes a prototype for the whole; each text turns into its own context. The Aleinikovs' case proves how incidental the relationship is between the avant-garde and society, even as rigid a society as the Soviet one. The film makers see all social concepts as if they were reflected in Lewis Carroll's Looking Glass. These concepts are nothing to them but the items of mass mythology or a set of stereotypes. The Aleinikovs' Tractors (1987), for example, is an out-of-synch reexamination of the myth of the 'iron horse'; for them, traditional communist values are just a pretext for playful meditation.\" (from Russian Critics on the Cinema of Glasnost, eds. Michael Brashinsky and Andrew Horton, Cambridge University Press, 1994, p. 41)","bio_dates":"1980s"},{"slug":"alejnikov_igor_and_gleb_revolutionary_sketch_1987","ok":true,"partial":false,"title":"Revolutionary Sketch","artist":"Igor and Gleb Aleinikov","year":"1987","startOffset":0,"sourceSecs":456.085,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":31680051,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alejnikov_igor_and_gleb_revolutionary_sketch_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alejnikov_igor_and_gleb_revolutionary_sketch_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alejnikov_igor_and_gleb_revolutionary_sketch_1987.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alejnikov_igor_and_gleb_revolutionary_sketch_1987/main.mp4?v=2","description":"The Ubuweb Experimental Video Project: 21. Revolutionary Sketch (1987)<br/> <a href=\"https://ubu.com/papers/marshall_index.html\" rel=\"noopener\" target=\"_blank\">Colin Marshall</a> <br/><br/> I'm reading B.R. Myers' The Cleanest Race: How North Koreans See Themselves and Why It Matters, a study of the DPRK's self-image as projected by its propaganda, internal and external. I admit to being intrigued by the self-promotional materials of communist or otherwise \"closed\" regimes. But who isn't? Maudlin, melodramatic, tone-deaf, irony-free, reality-blind, heavy on symbolism, low on abstraction -- this stuff's pure gold, and it's only getting rarer. <br/><br/> Myers argues -- and I've not yet finished the book, so I don't have all the nuances down -- that the Kim regime actually maintains just enough real popular support that they're desperate to retain it by any means necessary. One of the means is a whole hell of a lot of mythologizing about North Korea's international influence, the inherent saintliness of its people and the competence of it leaders. Interestingly, Myers notes that, in contrast to Soviet press releases about bumper crops in times of visibly widespread hunger, Kim's propagandists are pretty careful about not contradicting the populace's perceived reality too directly. <br/><br/> Maybe this is why, here in the non-North Korea world, we hear so many stories about a nonzero amount North Koreans sincerely believing these pronouncements from their high officials. And maybe it's why, by the late 80s, Soviet citizens weren't terribly pious about pronouncements from theirs. In Revolutionary Sketch, Igor and Gleb Aleinikov get up to their usual recontextualization tricks, this time with the sappy, force-fed media that proclaimed the glory of, I don't know, dialectical materialism or whatever. <br/><br/> I know these were glasnost days, but still, I'm a little surprised filmmakers were out there doing stuff like this. There's nothing overtly anti-communist in this piece, but it ain't what you'd call respectful, 'neither. The brothers Aleinikov lay turgid governmental speeches about \"the rearing of a new man\" under footage of dudes goofing around in space-alien costumes, they roll footage of apple-cheeked future Stakhanovites upside down and backwards, they crudely animate -- in a certain South Parkian way -- CCCP icons in a goofy manner. Good, clean fun. <br/><br/> I often wonder what North Koreans, should the remains of their state ideology crumble away, will do with their leftover agitprop. Will marginal teen and twentysomething filmmakers get ahold of it and perform Aleinikov-style cuttings and pastings? (Does North Korea have marginal teen and twentysomething gilmmakers? Will their cuttings and pastings make it to YouTube?) Or does the Kim dynasty's much stronger psychological grip, which will surely take its sweet time -- perhaps generations -- to fully loosen, preclude that?","artist_bio":"In the 80s Igor and Gleb Aleinikov belonged to the school of Moscow conceptualism and took active part in art underground activities, working in such genres as mail-art, book-art, soc-art, and home-art. Brothers Aleinikov made history as founders of Parallel Cinema, experimental underground movies shot on narrow film, the aesthetics and ideology of which were absolutely incompatible with the canons common for Soviet cinema. In March 1994 Igor Aleinikov died in a plane accident, a year after his brother founded the Cine Fantom Club.\n\"\"The brothers Igor and Gleb Aleinikov are the leaders of the Moscow school. Add conflicting visual textures (often shooting from the TV screen, the Aleinikovs mix fiction with documentary footage) and whimsical editing, and you will have a movie that reaches completion only before the audience. Cinematic speech here develops into a special case of language - each sign becomes a prototype for the whole; each text turns into its own context. The Aleinikovs' case proves how incidental the relationship is between the avant-garde and society, even as rigid a society as the Soviet one. The film makers see all social concepts as if they were reflected in Lewis Carroll's Looking Glass. These concepts are nothing to them but the items of mass mythology or a set of stereotypes. The Aleinikovs' Tractors (1987), for example, is an out-of-synch reexamination of the myth of the 'iron horse'; for them, traditional communist values are just a pretext for playful meditation.\" (from Russian Critics on the Cinema of Glasnost, eds. Michael Brashinsky and Andrew Horton, Cambridge University Press, 1994, p. 41)","bio_dates":"1980s"},{"slug":"alejnikov_igor_and_gleb_traktora_1987","ok":true,"partial":false,"title":"Traktora","artist":"Igor and Gleb Aleinikov","year":"1987","startOffset":0,"sourceSecs":730.645,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":49150085,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alejnikov_igor_and_gleb_traktora_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alejnikov_igor_and_gleb_traktora_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alejnikov_igor_and_gleb_traktora_1987.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alejnikov_igor_and_gleb_traktora_1987/main.mp4?v=2","description":"The Ubuweb Experimental Video Project: 22. Traktora (1987)<br/> <a href=\"https://ubu.com/papers/marshall_index.html\" rel=\"noopener\" target=\"_blank\">Colin Marshall</a> <br/><br/> Here's another Aleinikov piece with a throughline of speech but no English subtitling. The sort of propaganda they appropriate for source material, though, is less about content than tone. It probably was even to audiences for whom it was intended. In the visual department, almost every shot contains a tractor, that stolid standby of Socialist Realism, real or artistically rendered. And though I technically have no idea what all the talk is about, words that sound a lot like cognates for \"tractor\" surface over and over and over again. <br/><br/> I'm not sure how different this is from the Aleinikov brothers' other experiments with found agitprop, though confinement to the domain of the tractor its gives it a more focused feel. It's trippier, too, and not just because of that odd choice of subject matter. 4:21 in, a hard-to-figure-out strobe light effect overtakes the previously normal-looking, even bland, footage, creating the rare, much sought-after grainy, pixelated, black-and-white communist disco aesthetic. <br/><br/> Combine that with a significant slowdown in and distortion of the flat, declarative, once-authoritative Voice Heard Off and the experience turns downright hypnotic. This being an Aleinikov film, we're only halfway through a descent from composure into chaos. The final third begins with an increasingly panicked female announcer shouting, presumably still about tractors, while the camera shakes and weaves wildly. By the end, we're back to the showpiece Soviet children showing off the honest, hardy machinery of dialectical materialism. It's an interesting form, but I've now probably seen enough of it.","artist_bio":"In the 80s Igor and Gleb Aleinikov belonged to the school of Moscow conceptualism and took active part in art underground activities, working in such genres as mail-art, book-art, soc-art, and home-art. Brothers Aleinikov made history as founders of Parallel Cinema, experimental underground movies shot on narrow film, the aesthetics and ideology of which were absolutely incompatible with the canons common for Soviet cinema. In March 1994 Igor Aleinikov died in a plane accident, a year after his brother founded the Cine Fantom Club.\n\"\"The brothers Igor and Gleb Aleinikov are the leaders of the Moscow school. Add conflicting visual textures (often shooting from the TV screen, the Aleinikovs mix fiction with documentary footage) and whimsical editing, and you will have a movie that reaches completion only before the audience. Cinematic speech here develops into a special case of language - each sign becomes a prototype for the whole; each text turns into its own context. The Aleinikovs' case proves how incidental the relationship is between the avant-garde and society, even as rigid a society as the Soviet one. The film makers see all social concepts as if they were reflected in Lewis Carroll's Looking Glass. These concepts are nothing to them but the items of mass mythology or a set of stereotypes. The Aleinikovs' Tractors (1987), for example, is an out-of-synch reexamination of the myth of the 'iron horse'; for them, traditional communist values are just a pretext for playful meditation.\" (from Russian Critics on the Cinema of Glasnost, eds. Michael Brashinsky and Andrew Horton, Cambridge University Press, 1994, p. 41)","bio_dates":"1980s"},{"slug":"alferi_pierre_cinepoems_atman_tst","ok":true,"partial":false,"title":"Atman","artist":"Pierre Alferi","year":"2001","startOffset":0,"sourceSecs":323.88,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":16389866,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_atman_tst/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_atman_tst/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_atman_tst.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_atman_tst/main.mp4?v=2","description":"(6min, 2001)<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_blabla","ok":true,"partial":false,"title":"Blabla","artist":"Pierre Alferi","year":"2001","startOffset":0,"sourceSecs":87.432,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":1822054,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_blabla/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_blabla/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_blabla.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_blabla/main.mp4?v=2","description":"(1min30s, 2001)<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_elvinjones","ok":true,"partial":false,"title":"Elvin Jones","artist":"Pierre Alferi","year":"2000","startOffset":0,"sourceSecs":180.648,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":21690281,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_elvinjones/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_elvinjones/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_elvinjones.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_elvinjones/main.mp4?v=2","description":"(4min, music by Rodolphe Burger, 2000). <br/><br/> 1st voice :<br/> You smash cobbles.<br/> You break statues.<br/> You deal new cards.<br/> You launch the basis to the top.<br/> You shake branches.<br/> You lift skirts.<br/> You crack pods.<br/> You slice logs.<br/> You scratch debris.<br/> You plow ice.<br/> You dig canals.<br/> You feather birds.<br/> You blow dust.<br/> You divide atoms.<br/> You make tombstones waltz.<br/> You unbury.<br/> You reanimate.<br/> <br/> 2cd voice :<br/> I'll make you come down.<br/> I'll undress you.<br/> I'll unlock you.<br/> I'll analyse you.<br/> I'll profane you. <br/> I'll dismantle you.<br/> I'll banalize you.<br/> I'll make you bend.<br/> I'll put you in a black box.<br/> I'll forge a fullerene cage for you.<br/> I'll multiply you.<br/> I'll digitalize you.<br/> I'll free access you.<br/> <br/> 3d voice :<br/> But you hack instruments.<br/> You add oil to water.<br/> You overdrive gears.<br/> You change calendars.<br/> You make the night come.<br/> You're a step ahead.<br/> You destroy allies.<br/> You preventively strike.<br/> You lubricate the rope.<br/> You divert.<br/> You err.<br/> You erase your traces.<br/> You disinform.<br/> You violate your rules.<br/> You burn your vessels.<br/> You dilapidate.<br/> You discredit yourself.<br/> You kill yourself.<br/> You reconstitute yourself.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_er","ok":true,"partial":false,"title":"Er","artist":"Pierre Alferi","year":"2008","startOffset":0,"sourceSecs":409.72,"sourceHeight":464,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":64954683,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_er/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_er/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_er.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_er/main.mp4?v=2","description":"(5min, music by The Thievery Corporation, 2008).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_intime","ok":true,"partial":false,"title":"Intime","artist":"Pierre Alferi","year":"2004","startOffset":0,"sourceSecs":917.056,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":150517076,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_intime/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_intime/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_intime.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_intime/main.mp4?v=2","description":"(Intimate, 15min, music by Rodolphe Burger, 2004)<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_lapins_du_soir","ok":true,"partial":false,"title":"Lapins du soir","artist":"Pierre Alferi","year":"2001","startOffset":0,"sourceSecs":42.329,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":8432,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_lapins_du_soir/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_lapins_du_soir/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_lapins_du_soir.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_lapins_du_soir/main.mp4?v=2","description":"(Dusk rabbits, 40s, 2001).<br/> <br/> [Dusk rabbits<br/> gray on the meadow's black <br/> or a rain of tennis balls<br/> some good hopes<br/> come out as well<br/> and they dodge you<br/> (you see their tiny dirty pale bottoms)<br/> at sundown.]<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_litany","ok":true,"partial":false,"title":"Litany","artist":"Pierre Alferi","year":"2002","startOffset":0,"sourceSecs":155.03,"sourceHeight":570,"sourceWidth":840,"hasAudio":true,"hasAmbientMp4":true,"bytes":14140934,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_litany/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_litany/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_litany.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_litany/main.mp4?v=2","description":"(2min30s, voices : Ann Lauterbach and John Ashbery, 2002)<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_mots_croises_with_jacques_julien","ok":true,"partial":false,"title":"Er","artist":"Pierre Alferi","year":"2008","startOffset":0,"sourceSecs":129.216,"sourceHeight":478,"sourceWidth":606,"hasAudio":true,"hasAmbientMp4":true,"bytes":8424503,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_mots_croises_with_jacques_julien/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_mots_croises_with_jacques_julien/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_mots_croises_with_jacques_julien.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_mots_croises_with_jacques_julien/main.mp4?v=2","description":"(5min, music by The Thievery Corporation, 2008).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_ne_l_oublie_pas","ok":true,"partial":false,"title":"Ne l'oublie pas","artist":"Pierre Alferi","year":"2001","startOffset":0,"sourceSecs":252.139,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":44416064,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_ne_l_oublie_pas/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_ne_l_oublie_pas/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_ne_l_oublie_pas.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_ne_l_oublie_pas/main.mp4?v=2","description":"(Do not forget it, 5min, music by Susumu Yokota, 2001).<br/> <br/> [One day still <br/> perhaps today <br/> certainly a moment ago <br/> no doubt within last year <br/> one night recently <br/> believe me once in your life <br/> one monday in june <br/> at least in your childhood <br/> from time to time instantly <br/> at each hour everyday <br/> in the darkness through the window<br/> on the ceiling <br/> eyes closed in the street <br/> on the phone in transportations <br/> on tv at the office <br/> in the papers in bed <br/> in a movie at the hospital <br/> in a book at the sea <br/> on the floor in a face<br/> in altitude in the toilet <br/> in dreams<br/> <br/> you've seen you've felt you've perceived you've noticed<br/> you've met you've made out<br/> you've embraced you've reached<br/> you've admired you've loved you've thanked<br/> you've guessed you've suspected you've discovered<br/> you've betrayed you've rejected you've refused<br/> you've ignored you've sacrificed you've missed<br/> <br/> unknowingly unwillingly<br/> in passing by reflex<br/> with no merit by chance<br/> through negligence unaware<br/> unexpectedly in a moment of weekness<br/> perversely in hiding indirectly<br/> as a challenge for nothing<br/> shamelessly for love as a joke<br/> for pleasure for the gesture<br/> <br/> a thing a detail an object<br/> a partner an animal a plant<br/> a material a creature<br/> a monster an ordeal<br/> an idea an image a ghost<br/> a signal a memory<br/> an emotion a thought a sentence<br/> an urge a beauty<br/> <br/> quick slick supple<br/> simple dense shy tiny<br/> sublime strange incredible fantastic<br/> useful difficult complex<br/> dark implacable<br/> solid unique necessary<br/> <br/> which awoke you excited you convinced you converted you<br/> which surprised you delighted you<br/> which troubled you worried you shook you<br/> which overwhelmed you mistified you misguided you<br/> which dazed you saved you cured you reconciled you soothed you<br/> which helped you supported you animated you<br/> <br/> deeply perfectly <br/> terribly intensely<br/> absolutely softly again madly<br/> for once almost too much<br/> as never to the end<br/> with no limits magically<br/> irresitibly forever<br/> excessively totally<br/> <br/> do not forget it.]<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_nuitee","ok":true,"partial":false,"title":"Er","artist":"Pierre Alferi","year":"2008","startOffset":0,"sourceSecs":264.022,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":35242148,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_nuitee/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_nuitee/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_nuitee.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_nuitee/main.mp4?v=2","description":"(5min, music by The Thievery Corporation, 2008).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_pomme","ok":true,"partial":false,"title":"Pomme","artist":"Pierre Alferi","year":"2005","startOffset":0,"sourceSecs":133.696,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":5216088,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_pomme/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_pomme/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_pomme.mp4","hasFrames":true,"description":"(Apple, 2min, 2005).<br/> <br/> [As I you<br/> As you me <br/> As I kill you<br/> As you kill me<br/> <br/> As I have<br/> As you have<br/> Eaten<br/> An apple<br/> <br/> As I am<br/> As you are<br/> Eaten<br/> By worms]<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_rossignol_1","ok":true,"partial":false,"title":"Rossignol manuel 1","artist":"Pierre Alferi","year":"2008","startOffset":0,"sourceSecs":36.76,"sourceHeight":544,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":8071,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_rossignol_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_rossignol_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_rossignol_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_rossignol_1/main.mp4?v=2","description":"(Handmade nightingale, <a href=\"https://ubu.com/film/alferi_rossignol_01.html\" rel=\"noopener\" target=\"_blank\">1</a> (30s), <a href=\"https://ubu.com/film/alferi_rossignol_02.html\" rel=\"noopener\" target=\"_blank\">2</a> (30s), <a href=\"https://ubu.com/film/alferi_rossignol_03.html\" rel=\"noopener\" target=\"_blank\">3</a> (1min), <a href=\"https://ubu.com/film/alferi_rossignol_04.html\" rel=\"noopener\" target=\"_blank\">4</a> (2min30), <a href=\"https://ubu.com/film/alferi_rossignol_05.html\" rel=\"noopener\" target=\"_blank\">5</a> (1min), 2008).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_rossignol_2","ok":true,"partial":false,"title":"Rossignol manuel 2","artist":"Pierre Alferi","year":"2008","startOffset":0,"sourceSecs":38.24,"sourceHeight":544,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":1959210,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_rossignol_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_rossignol_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_rossignol_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_rossignol_2/main.mp4?v=2","description":"(Handmade nightingale, <a href=\"https://ubu.com/film/alferi_rossignol_01.html\" rel=\"noopener\" target=\"_blank\">1</a> (30s), <a href=\"https://ubu.com/film/alferi_rossignol_02.html\" rel=\"noopener\" target=\"_blank\">2</a> (30s), <a href=\"https://ubu.com/film/alferi_rossignol_03.html\" rel=\"noopener\" target=\"_blank\">3</a> (1min), <a href=\"https://ubu.com/film/alferi_rossignol_04.html\" rel=\"noopener\" target=\"_blank\">4</a> (2min30), <a href=\"https://ubu.com/film/alferi_rossignol_05.html\" rel=\"noopener\" target=\"_blank\">5</a> (1min), 2008).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_rossignol_3","ok":true,"partial":false,"title":"Rossignol manuel 3","artist":"Pierre Alferi","year":"2008","startOffset":0,"sourceSecs":55.968,"sourceHeight":444,"sourceWidth":540,"hasAudio":true,"hasAmbientMp4":true,"bytes":6282,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_rossignol_3/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_rossignol_3/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_rossignol_3.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_rossignol_3/main.mp4?v=2","description":"(Handmade nightingale, <a href=\"https://ubu.com/film/alferi_rossignol_01.html\" rel=\"noopener\" target=\"_blank\">1</a> (30s), <a href=\"https://ubu.com/film/alferi_rossignol_02.html\" rel=\"noopener\" target=\"_blank\">2</a> (30s), <a href=\"https://ubu.com/film/alferi_rossignol_03.html\" rel=\"noopener\" target=\"_blank\">3</a> (1min), <a href=\"https://ubu.com/film/alferi_rossignol_04.html\" rel=\"noopener\" target=\"_blank\">4</a> (2min30), <a href=\"https://ubu.com/film/alferi_rossignol_05.html\" rel=\"noopener\" target=\"_blank\">5</a> (1min), 2008).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_rossignol_4","ok":true,"partial":false,"title":"Rossignol manuel 4","artist":"Pierre Alferi","year":"2008","startOffset":0,"sourceSecs":153.368,"sourceHeight":450,"sourceWidth":658,"hasAudio":true,"hasAmbientMp4":true,"bytes":5453339,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_rossignol_4/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_rossignol_4/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_rossignol_4.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_rossignol_4/main.mp4?v=2","description":"(Handmade nightingale, <a href=\"https://ubu.com/film/alferi_rossignol_01.html\" rel=\"noopener\" target=\"_blank\">1</a> (30s), <a href=\"https://ubu.com/film/alferi_rossignol_02.html\" rel=\"noopener\" target=\"_blank\">2</a> (30s), <a href=\"https://ubu.com/film/alferi_rossignol_03.html\" rel=\"noopener\" target=\"_blank\">3</a> (1min), <a href=\"https://ubu.com/film/alferi_rossignol_04.html\" rel=\"noopener\" target=\"_blank\">4</a> (2min30), <a href=\"https://ubu.com/film/alferi_rossignol_05.html\" rel=\"noopener\" target=\"_blank\">5</a> (1min), 2008).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_rossignol_5","ok":true,"partial":false,"title":"Rossignol manuel 5","artist":"Pierre Alferi","year":"2008","startOffset":0,"sourceSecs":46.64,"sourceHeight":544,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":8231,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_rossignol_5/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_rossignol_5/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_rossignol_5.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_rossignol_5/main.mp4?v=2","description":"(Handmade nightingale, <a href=\"https://ubu.com/film/alferi_rossignol_01.html\" rel=\"noopener\" target=\"_blank\">1</a> (30s), <a href=\"https://ubu.com/film/alferi_rossignol_02.html\" rel=\"noopener\" target=\"_blank\">2</a> (30s), <a href=\"https://ubu.com/film/alferi_rossignol_03.html\" rel=\"noopener\" target=\"_blank\">3</a> (1min), <a href=\"https://ubu.com/film/alferi_rossignol_04.html\" rel=\"noopener\" target=\"_blank\">4</a> (2min30), <a href=\"https://ubu.com/film/alferi_rossignol_05.html\" rel=\"noopener\" target=\"_blank\">5</a> (1min), 2008).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_tante_elisabeth","ok":true,"partial":false,"title":"Tante Élisabeth","artist":"Pierre Alferi","year":"2000","startOffset":0,"sourceSecs":331.755,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":59751520,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_tante_elisabeth/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_tante_elisabeth/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_tante_elisabeth.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_tante_elisabeth/main.mp4?v=2","description":"(Aunt Elisabeth, 5min, music by Rodolphe Burger, 2000).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_un_fantome_japonais","ok":true,"partial":false,"title":"Un fantôme japonais","artist":"Pierre Alferi","year":"2003","startOffset":0,"sourceSecs":327.446,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":50494745,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_un_fantome_japonais/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_un_fantome_japonais/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_un_fantome_japonais.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_un_fantome_japonais/main.mp4?v=2","description":"(A japanese ghost, 5min, music by Shuichi Hidano, 2003).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_un_incident_regrettable_with_jacques_julien","ok":true,"partial":false,"title":"Un incident regrettable","artist":"Pierre Alferi","year":"2007","startOffset":0,"sourceSecs":106.888,"sourceHeight":480,"sourceWidth":716,"hasAudio":true,"hasAmbientMp4":true,"bytes":7383439,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_un_incident_regrettable_with_jacques_julien/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_un_incident_regrettable_with_jacques_julien/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_un_incident_regrettable_with_jacques_julien.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_un_incident_regrettable_with_jacques_julien/main.mp4?v=2","description":"(Unfortunate incident, avec Jacques Julien, 2min, music by Pee Bug, 2007).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_vocalese","ok":true,"partial":false,"title":"Vocalese","artist":"Pierre Alferi","year":"2006","startOffset":0,"sourceSecs":72.728,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":439819,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_vocalese/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_vocalese/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_vocalese.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_vocalese/main.mp4?v=2","description":"(1min, 2006).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_cinepoems_yodel","ok":true,"partial":false,"title":"Yodel","artist":"Pierre Alferi","year":"2001","startOffset":0,"sourceSecs":182.976,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":11706033,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_yodel/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_cinepoems_yodel/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_cinepoems_yodel.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_cinepoems_yodel/main.mp4?v=2","description":"(3min, 2001).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_talkies_ce_qui_arrive_a_lon_chaney","ok":true,"partial":false,"title":"Ce qui arrive à Lon Chaney","artist":"Pierre Alferi","year":"2003","startOffset":0,"sourceSecs":643.712,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":106602361,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_ce_qui_arrive_a_lon_chaney/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_ce_qui_arrive_a_lon_chaney/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_talkies_ce_qui_arrive_a_lon_chaney.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_talkies_ce_qui_arrive_a_lon_chaney/main.mp4?v=2","description":"(What happens to Lon Chaney, 10min, music by Rodolphe Burger, 2003).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_talkies_coinces","ok":true,"partial":false,"title":"Er","artist":"Pierre Alferi","year":"2008","startOffset":0,"sourceSecs":441.707,"sourceHeight":572,"sourceWidth":698,"hasAudio":true,"hasAmbientMp4":true,"bytes":68709319,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_coinces/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_coinces/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_talkies_coinces.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_talkies_coinces/main.mp4?v=2","description":"(5min, music by The Thievery Corporation, 2008).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_talkies_elenfant","ok":true,"partial":false,"title":"Er","artist":"Pierre Alferi","year":"2008","startOffset":0,"sourceSecs":1040.448,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":178976523,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_elenfant/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_elenfant/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_talkies_elenfant.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_talkies_elenfant/main.mp4?v=2","description":"(5min, music by The Thievery Corporation, 2008).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_talkies_l_inconnu_with_jacques_julien","ok":true,"partial":false,"title":"L’inconnu","artist":"Pierre Alferi","year":"2007","startOffset":0,"sourceSecs":613.888,"sourceHeight":488,"sourceWidth":620,"hasAudio":true,"hasAmbientMp4":true,"bytes":110630890,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_l_inconnu_with_jacques_julien/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_l_inconnu_with_jacques_julien/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_talkies_l_inconnu_with_jacques_julien.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_talkies_l_inconnu_with_jacques_julien/main.mp4?v=2","description":"(The Unknowned, 10min, paintings by Jacques Julien, music by Sarah Murcia, 2007).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_talkies_la_berceuse_de_broadway","ok":true,"partial":false,"title":"La berceuse de broadway","artist":"Pierre Alferi","year":"2000","startOffset":0,"sourceSecs":597.078,"sourceHeight":562,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":97003277,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_la_berceuse_de_broadway/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_la_berceuse_de_broadway/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_talkies_la_berceuse_de_broadway.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_talkies_la_berceuse_de_broadway/main.mp4?v=2","description":"(The Lulluby of Broadway, 10min, music by Rodolphe Burger, 2000).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_talkies_la_protection_des_animaux","ok":true,"partial":false,"title":"La protection des animaux","artist":"Pierre Alferi","year":"2000","startOffset":0,"sourceSecs":1432.022,"sourceHeight":576,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":235464928,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_la_protection_des_animaux/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_la_protection_des_animaux/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_talkies_la_protection_des_animaux.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_talkies_la_protection_des_animaux/main.mp4?v=2","description":"(Animal protection, 24min, music by Rodolphe Burger, 2000).<br/> <br/> Off voice (translated by Stacy Doris) :<br/> Richer chords carried Alice’s voice. Their dissonance was marvelous. And I heard: the animals’ voices. And I saw.<br/> <br/> Hidden in the scenery, the majority smaller than us, since our embarkation they’d been guarding the river, smoothing the waters before the bow. Alice already lived among them, inhabited the river better than Tom supine or me standing, seated inhabited the water’s surface of a vaster and smaller world that was no longer the human world of measure, hard for little things. Little, she understood from the first the animal noises, which her voice now immeasurably amplified.<br/> <br/> Animals watched over Tom’s sleep and my towpath, sounding the applause for our great runaway scene. But their theatre housed a destroyed community, a disjointed public. The crowd spread itself over balconies and boxes without railings, burrows litters nests perches without common measure. There was a turnout, yes, and not human, there were masses blown up by the angle of each shot. Perspective of a frightened owl I could finally make out amid the camouflage, of a rabbit couple quivering like leaves of grass, of a turtle disguised as a rock, in their respective bubbles grazing the bubble of the boat all lights out. In the interest of sleep—Tom’s snoring—and its tricks—Alice’s trance, my stupor—their bubbles could encircle our bubble with a suction cup kiss and dissolve us. Coming out just as soon as night fell, there were crowds, living stars, connected by nothing but ourselves. Alice spellbound sounded the call of the drowsing realms, the thread of her song was the line to take to them, lines of water, animal worlds. River wind life that says nothing but flows and transports inhabitants, carries emigrants, runs past residents.<br/> <br/> Inflated animals—of bubbled glass?—lit each from inside, within its own world, bordered the bed. Neither stuffed nor human this time, figures The Toad The Owl The Turtle The Rabbits The Fox figuring what? The wonder was dissonant, worlds cut off from others, englobed in embalming resin, in reflective air. Planted along the banks that they bordered here and there, yes planted, stuck to moss a branch mud a rock, keeping at bay, totems of what, if not themselves, their respective worlds? They represented themselves, the Owl with a capital O sent by the owls—speak for us—the majestic Couple for the rabbits, the Fox in glory for the vulpine community, as the figure not quite the face of the specimen. Poising and posing again, living picture of a still life, the majority in profile.<br/> <br/> Why in profile? Were they decoys? Was this another, half-animal, in sagittal silhouette? Yes, as opposed to a half-man, with a medallion profile. In its refusal of face to face the beast didn’t fool me, because in presenting just one side it continued to face me. It saw with one eye, to the side better than ahead, except for the relief. How I would have loved to be able to do that: survey the surroundings at a wide angle, nose to the wind, anchor on the shoulder, with a single eye never turning back. Plenty of fish reptiles birds even mammals have that Egyptian look that inspires devotion, eye head-on in a profiled face, that Cubist look that makes for stiff necks. The Toad, The Rabbits, The Fox, shown here in bas-relief with their unrelenting vision, preferably lateral, were eternal profiles. Such collector’s items, so unmoving, so abstract in their low-angle gigantism, so eminent, such numismatic monuments, that I jumped each time they moved on the banks. End of watching, wisdom of images. Imagine me close to them, following the distant boat in the shot of which they took up at least a third. Their close-up shot so near so clear standing out like a cardboard figurine against the river, two paintings on glass separated by lots of emptiness.<br/> <br/> The Toad couldn’t be torn away from his rock; he refused to budge from it. He was made of the same stuff but polished on his tiniest bumps, a metal whose rock would be mineral. Chiseled in the block yes cut out no, legs and belly united with the pedestal made from what was left of the stone. Attention, the enormous right eye you saw, black, blinding because it reflected the beam of some spotlight, is actually his cheek. The eye is above to the right, so tiny I had to squint. It gives him a sort of extraterrestrial something, the third eye. And then there was his throat about to puff out in a second off screen like liquid enamel or better still: bubble gum—when would it pop? Awaiting this blazing inflammation of the larynx, he had difficulty breathing blinked drew back a step. Boiling, this aspiring warty bull, boiling, his life amounted to making bubbles! Bubbles of bile translucent gooey marbles, eggs, poisoned back boils big eyes goiter.<br/> <br/> Only The Owl faced forward, a fraction of a second, then turned back in a morning dusk. Face forward because her fishy look was almost human, one eye’s field of vision encroaching on the other’s. A philosopher’s summing up look, topped by two diabolical thin pointed plumes. Whoo! Whoo! Searchlight, this darkroom skull just poised to rotate on its base, with the transparent lever of its lid—quietest, coolest click—pulsation of light and breath, slow, slow!<br/> <br/> The Turtle, more evidently than The Owl, was the guest of honor, the most calming, least solemn of the bunch. To make up for her slowness (overestimated, by the way), she got down to the daily grind first thing. The cracked skin of The Toad and his rock came together on her, and she carried it off. No close-up needed to show her saintly halo: half-buried, she could still stick out her nose and feet all the while displaying her planispheric roundness with latitudes longitudes, never moving without it. A curve, a striation, carapature, cartography, planetting. <br/> <br/> (Tom—because it was the morning and he had better things to do than gape in awe with me—saw nothing more there than soup in an oblong can. Still, it is perhaps on this night and this dawn that his interest, until then restricted to flies & co., began to extend to bigger beasts: they grew before his hungry eyes.)<br/> <br/> The Rabbits were also in profile, in a lovers’ tete-a-tete—the female a bit above—like a Harcourt photo, neckless. Or else a neck brace in furs, donned after the rabbit punch? They tucked their lucky feet under the covers to sleep tight all night. When one played an extra, the other went along for the ride, like some taxi driver’s friend. That’s nice. But they shivered with cold and their hallucinatory presence had to do with the trembling of grasses tinkling of ears colliding, like The Owl and her wink The Turtle and her walk, The Toad whose balance suddenly broke with a leap. Their nostrils perpetually pulsed—systole. Their heads which they tried to keep cool were besieged by tics, and one of them finally turned away. Their autonomous ears, the spitting image of maple seedcoats, made various acute angles: traffic signals. A vibration, these fur balls with hidden folds, a vibration! Working to blur their contours, to transmit quick staccato signals like Morse code, to seed the racing glance with dashes, always dashes, startled, scampering off.<br/> <br/> The Fox looked embalmed on her branch larger than life. In her best profile shot, chin raised, paw flexed above the branch for a hand kiss, well-brushed tail, impeccable pelt, a real show animal. Thanks to her cautious ways if she chased she seemed to be fleeing, and the inverse. Woooooooo! Was her call a war cry or alarm? It separated her two apparitions. She was a smooth talker, in any case, too unsentimental to howl at the moon. At death yes, maybe: her presence was furtive faulty, too crudely lit on too dark a platform. Besides, no sooner did she start up her tune than she flopped and took her bow. A vanishing act, this little Méliès devil appeared disappeared to sink her line in the waters of night! Roles, unrollings, understudyings.<br/> <br/> Even the domestics were struck by strangeness. Less lit up than the wild animals, not so much fixed as quickly sketched in, placid by-passers, they watched over the collapsible manger without ever blinking back the tears in their eyes. Keeping their distance, reserved. The Lamb before the black fence (astrakhan? No: shadow). In his cage house in a house back-lit The Canary oscillated metonymically. The truncated Cows ship’s keels seen from below. The bleating the twittering the mooing sounded the hour, adding to the hypnotism of these biological clocks. <br/> <br/> In a sort of neutral ecstasy I gazed upon each of these shore dwellers. Did they see Tom and Alice? Quite possibly. The Toad pivoted, turning almost head-on to the boat; The Turtle plodded in the water’s direction; one of The Rabbits looked back in its footsteps; The Owl likewise: and The Fox made off, and The Lamb looked them up and down. There was nothing less sure, nothing more fragile than the ballistics of glances in this flat picture. To each his own individual shot that had nothing to do with us. There, too far there, too far from Tom and Alice ‘midst the bed, too close to me watching the scene from shore, to menace us or offer themselves up. Neither hunted nor hunter, in relation to us without us, the animals saw nevertheless. Me on the frontline watching, huge foreground shot, like some fuzzy winged curtain between myself and the boat. Tom and Alice in the rear guard protected from predatory night. The animals watched over, increasingly astounding. In imperceptible, continual excrescence, crescent moons, waxing in the unending crescendo of a magic beanstalk. The Toad’s throat inflated between croaks it was a hot air balloon; The Owl’s eyes expanded in fright; The myxomatotic Rabbits The sly Fox, The Galapagos Turtle growing to death, not exploding, filling the world, the planets. Which their eye described, black pearl like Alice’s eyes, still highly animal, single eye of The Toad, single eye of The Rabbits, single eye of The Fox, The Owl’s azure pair. The eye curved the universe, percussed by inner voices, bells in full swing:<br/> owl owlette owlowlette owlowlettette<br/> owhoo whoohoo boohoo whohoot<br/> ra bit raw pit rappap bit ra<br/> tur tule tor ture toor tuur<br/> fox-y fix-y fax-y ffff<br/> toad toa k took tata<br/> foxfrogfox frox <br/> rrabid rawbit<br/> rrrrrrrrrr<br/> <br/> Their deep song filled Alice, deafened Tom—who slept unsoundly, eardrums alert—while its steady crescendo allowed me to measure the distance between us. I was the one who compared the boat in the far distance with its two flylike children front and center; compared the boat to the toad’s rock, the boat to the rabbits’ ears wired left to right past the ballbearing realms, unmeasured amplified on board. It was me but now suddenly I saw in reverse angle an animal as big as—with my unadjusted eyes. And if it was what it seemed to be, if Tom Alice saw it, like me, like? A giant, or were we midgets, the flies in the song?<br/> <br/> The river said: Put yourself on the level of the animalcules, measure yourself against the worlds of little things. Become midges, trifles, to slip through the net. Take advantage of the night which kills distance, of the vast flatness, of the depth of field of night. Infinite depth: smooth surface. Held on the glass of a lens, everything is thin thin one-size from the play of perspective. Maco-micro, where each has its own scale, its absolute grandeur, no size any longer. Erase the measures, begin again. Everything unframed, take advantage my little ones, life is reshot in the mind’s studio. Come, come, under the animal’s protection. Or under the camera’s eye, same thing, since the benevolent gaze is no more human than what pulled the scene’s strings from off the set, singing, neither maternal nor paternal.<br/> <br/> I saw when the image shifted from the river to The Owl hooting, The Fox yapping without missing a moment of our passage: their eye filmed us as children. It was the eye of the animals that kept us safe, that protected us, from something more threatening and darker in the night. On duty, detoured from their realms against an opaque background, they kept along the edge of something that was no world any longer, but chaos. They slept, we kept watch—now they kept watch and we, children, slept. On the banks a canary in his shadow puppet cage counted the hours better than a cuckoo striking twelve. The cozy udder of the Nativity cow warmed the hay better than a hot water bottle. Meanwhile we had to glide, glide between these monumental figures, a ghost train, with a moon and stars dipping before us, fixed on strings.<br/> <br/> Glide between what? Were they animals and we, children? In this free zone where sizes equalized, flattened by the screen? But nothing. Zoo zone next to the wall, muddy no man’s land. Outstretched, a hand would touch what? Hyper-real viscosity smelling of flesh and the studio, the sweathouse, vivid qualities confused, cold hot dry and humid. Put out your hand, to see, touch the water mixed with earth, muddy breath bed unrivered, come, touch, lips chapped cracked in dried clay and bubbling spittle at the edge, crocodialed skin of The Turtle joints dislocating, bubble eye of Toad, cold sticky Rabbit nose groins. This gooey zone, danger of forgetting, molten and catastrophic. Unseen in the interstice of flat images, everything can glide get engulfed. In the half-sleep that whispers and flames, that drives scenery and extras to the foreground, the head capitulates, in other words the focal point. Blurry reality, neither conscious nor unconscious, half-ground glass of clear-cut animal and human silhouettes: wavy, vague turbulence,<br/> <br/> Now, this free zone exists. Mental soon physical when your sleepless attention sticks its abstract toe in the bed’s mud, then sinks down spreading to the actual toes. An animal warmth takes hold enfolds ending by ending. The animal awakens in Tom’s torpor. Body thought, instinctive muscular, whirlwind of air or water along the limbs in motion. Some force tints the invisible safe zone that the movements trace: an ease. This less human zone was the waves of the river, progressively weaker wider around the boat. Visual too, between a Tiger’s burning eyes or the cross-eyed Chimpanzee’s unfocused gaze and the children’s sight, clinging to the guardrails, this buffer zoo zone, moats and bars. Each the opposite seeking their eyes, not recognizing, nevertheless sees something, diaphanous medium, shaft of fog, joining them like or not. It was the link shot between the close-ups of The Owl, The Fox, The Turtle, and the panoramic shot where Tom and Alice drifted, that unfilmable zone. Biological? Between silent organs and growling appetites, all that was missing were the words. The most fertile zone of the most stifled life. The zone of interanimal cross-fertilization.<br/> <br/> Confusion, confusion. The animals and Tom Alice superimposed for me, melted segued. Was I hallucinating? Two shots in the key gripped special effects of my brain by chance linked, two overlapping bodies. The moon was full of transformations, the shock of unheard of violence, but with dazzling results: Alice sprouted two rabbit ears and stiff whiskers; Tom still slept but would wake up snouted furry clawed, elbows and knees at accute angles. A nose grew where a forehead shrank with the sound of a treading on plastic eggshells; a jaw prepared for attack from behind—wisdom teeth devolving to incisors; thumbs retreating to claw stumps, fur swarming like flies. Lips bared teeth; nails spiraled out; the atrophied vertebras that form the skull pushed through the scalp; a column stretched out through the air, flailed side to side, look: a tail. I was dreaming a nightmare of hybrids. Here slicing and there grafting with a vengeance, inventing werewolves and felihumans. And what chimera had I become? No longer human, at least, finally we were all three monsters. You’re the one who dreamed us up, we said to the absent adults, licking our chops. You’re the ones who made us play children, and we’re willing. But we’re animals too, we don’t give a hoot for your stories. We’ve bolted, bolted for good.<br/> <br/> Creatures of the Zone, rich in missing links in the chain of beings, Tom Alice I incognito could now fit in with the fauna. I closed my eyes, counting the seconds, the time of a shot that we had to disappear. I saw in flashes then, gaze jumping from one bank of the river to the other, The Fox, The Toad (Tom?), The Turtle, The Owl (Alice?). Youuwho! Where are you? But we’d already glided intact into the zone, we’d already slipped through the tarantula’s web without getting caught.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alferi_pierre_talkies_personal_pong","ok":true,"partial":false,"title":"Personal pong","artist":"Pierre Alferi","year":"2006","startOffset":0,"sourceSecs":729.12,"sourceHeight":520,"sourceWidth":648,"hasAudio":true,"hasAmbientMp4":true,"bytes":121255913,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_personal_pong/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alferi_pierre_talkies_personal_pong/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alferi_pierre_talkies_personal_pong.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alferi_pierre_talkies_personal_pong/main.mp4?v=2","description":"(12min, with Jeanne Balibar, music by Sarah Murcia, 2006).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Pierre Alferi in UbuWeb Sound</a>","artist_bio":"Born in 1963 in Paris, Pierre Alferi has written seven books of poetry, but also several novels, essays and plays, mostly with P.O.L publishing house. He also made experimental films, posters and « signs » (drawings including words), and founded two literary magazines. He teaches literature at the Paris Fine Arts School (Ensba). His most recent narrative, Hors Sol (2018), is a science fiction novel, and his new poetry collection is entitled divers chaos (2020).","bio_dates":"b. 1963"},{"slug":"alive_from_off_center_a","ok":true,"partial":false,"title":"Episode A","artist":"Alive From Off Center","year":"1985","startOffset":0,"sourceSecs":1719.765,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":105685530,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_a/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_a/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_a.mp4","hasFrames":true,"description":"David Van Tieghem (Percussion video) \"Ear to the Ground\"<br/> Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"<br/> Elizabeth Streb (Dance video) \"Ringside\"<br/> Laurie Anderson (Music video) \"Sharkey's Day\"<br/> William Wegman (Video) \"The Best of William Wegman\"<br/> Sankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"alive_from_off_center_b","ok":true,"partial":false,"title":"Episode B","artist":"Alive From Off Center","year":"1985","startOffset":0,"sourceSecs":1690.709,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":104415982,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_b/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_b/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_b.mp4","hasFrames":true,"description":"Dan Reeves (Video) \"Smothering Dreams\"","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"alive_from_off_center_c","ok":true,"partial":false,"title":"Episode C","artist":"Alive From Off Center","year":"1985","startOffset":0,"sourceSecs":1611.627,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":100020878,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_c/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_c/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_c.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alive_from_off_center_c/main.mp4?v=2","description":"Spalding Gray (Monologue) \"A Personal History of the American Theatre\"","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"alive_from_off_center_d","ok":true,"partial":false,"title":"Episode D","artist":"Alive From Off Center","year":"1985","startOffset":0,"sourceSecs":1634.645,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":101351481,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_d/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_d/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_d.mp4","hasFrames":true,"description":"\"\"Making Sister Susie Cinema\"","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"alive_from_off_center_e","ok":true,"partial":false,"title":"Episode E","artist":"Alive From Off Center","year":"1985","startOffset":0,"sourceSecs":1598.613,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":99263169,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_e/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_e/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_e.mp4","hasFrames":true,"description":"Michael Moschen (Dance video, music by David van Tieghem) \"Fire\"<br/> Bill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"<br/> Michael Moschen (Dance videos) \"Light\" \"Sticks\"","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"alive_from_off_center_f","ok":true,"partial":false,"title":"Episode F","artist":"Alive From Off Center","year":"1985","startOffset":0,"sourceSecs":1616.107,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":99993096,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_f/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_f/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_f.mp4","hasFrames":true,"description":"Ko Nakajima (Video) \"Mt. Fuji\"<br/> Jaap Drusteen (Video) \"Hyster Pulsatsu\"","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"alive_from_off_center_g","ok":true,"partial":false,"title":"Episode G","artist":"Alive From Off Center","year":"1985","startOffset":0,"sourceSecs":1635.648,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":101008293,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_g/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_g/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_g.mp4","hasFrames":true,"description":"Charles Molton (Dance video) \"Nine Person Precision Ball Passing\"<br/> David Parsons (Dance video, music by Robert Fripp) \"Caught\"<br/> Trisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"<br/> Skip Blumberg (Dance video) \"Towards a Minimal Choreography\"","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"alive_from_off_center_h","ok":true,"partial":false,"title":"Episode H","artist":"Alive From Off Center","year":"1985","startOffset":0,"sourceSecs":1630.165,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":101146970,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_h/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_h/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_h.mp4","hasFrames":true,"description":"Teddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"<br/> \"Q&A: A Question for Teddy Dibble\"<br/> Bruce & Norman Yonemoto (Video) \"Vault\"<br/> Max Almy (Video) \"Perfect Leader\"<br/> Ben Bergery (Video) \"Hippy to Yuppie\"","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"alive_from_off_center_i","ok":true,"partial":false,"title":"Episode I","artist":"Alive From Off Center","year":"1985","startOffset":0,"sourceSecs":1623.659,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":100608211,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_i/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_i/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_i.mp4","hasFrames":true,"description":"David Gordon (Dance videos) \"Dorothy and Eileen\" \"Closeup\"<br/> David Gordon (Video) \"Panel\"","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"alive_from_off_center_j","ok":true,"partial":false,"title":"Episode J","artist":"Alive From Off Center","year":"1986","startOffset":0,"sourceSecs":1651.669,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":102107933,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_j/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_j/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_j.mp4","hasFrames":true,"description":"Laurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'<br/> Laurie Anderson (Video) \"What Do You Mean We?\"","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"alive_from_off_center_k","ok":true,"partial":false,"title":"Episode K","artist":"Alive From Off Center","year":"1988","startOffset":0,"sourceSecs":1672.683,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":103262337,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_k/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alive_from_off_center_k/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alive_from_off_center_k.mp4","hasFrames":true,"description":"Ann Magnuson (Video) \"Prologue\"<br/> Steve Oakes (Video) \"Bite & Smile\"<br/> Julien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")","artist_bio":"Zbigniew Rybczynski (Video) \"Discreet Charm of the Diplomacy\"\nSankai Juku (Dance video) \"Buto Dance at Battersea Power Station\"\nSpalding Gray (Monologue) \"A Personal History of the American Theatre\"\nMichael Moschen (Dance video, music by David van Tieghem) \"Fire\"\nBill T. Jones/Arnie Zane (Dance video, music by Peter Gordon) \"Rotary Action\"\nCharles Molton (Dance video) \"Nine Person Precision Ball Passing\"\nTrisha Brown (Dance video, directed by Jonathan Demme) \"Accumulation with Talking Plus Watermotor\"\nSkip Blumberg (Dance video) \"Towards a Minimal Choreography\"\nTeddy Dibble (Videos) \"The Nose Knows\" \"A Scar-y Story\" \"The Sound of Music\"\n\"Q&A: A Question for Teddy Dibble\"\nLaurie Anderson (Music video) \"Late Show\" from 'Home of the Brave'\nJulien Temple, director (Verdi's Rigoletto Sequence from \"Aria\")\nAlive from Off Center, renamed Alive TV in 1992, was an American arts anthology television series aired by PBS between 1984 and 1996.\nEach week, the series featured experimental short films by a mixture of up-and-coming and established directors. Notable episodes included \"As Seen on TV,\" starring comic actor Bill Irwin as an auditioning dancer who becomes trapped in a television, wandering among daytime dramas, MTV, and PBS's own Sesame Street and the atmospheric puppet melodrama \"Street of Crocodiles,\" adapted by the Brothers Quay from the Bruno Shultz story.\nOther installments included \"Dances in Exile\" directed by Howard Silver, a recorded dance piece with text by David Henry Hwang and choreography by Ruby Shang and another directed by Jonathan Demme.\nArguably the series' best-known episode was What You Mean We? a short film written by, directed by, and starring Laurie Anderson, which aired in 1986. Anderson later came back to host the 1987 season of the series, assisted by the Clone (who was eventually renamed Fenway Bergamot with a slightly diferent body shape), a masculine version of Anderson created by digitally altering her image and obscuring her voice that had been introduced in What You Mean We? Most episodes of the 1987 season opened with a brief skit by Anderson and the clone by way of introducing that week's piece. -- Wikipedia","bio_dates":"1985 season"},{"slug":"allora_calzadilla_apotome","ok":true,"partial":false,"title":"Apotome","artist":"Allora & Calzadilla","year":"2013","startOffset":0,"sourceSecs":1392.085,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":84330324,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/allora_calzadilla_apotome/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/allora_calzadilla_apotome/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/allora_calzadilla_apotome.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/allora_calzadilla_apotome/main.mp4?v=2","description":"In March 1798, two elephants, affectionately named Hans and Parkie, arrived at the National Museum of Natural History in Paris as spoils of war. That same year, on May 29th, a concert was performed in the Jardin de Plantes for the elephants. This experiment was organized not by scientists but rather by musicians, pondering if human music might elicit a reaction in non-human life forms. Allora & Calzadilla’s Apotome departs from this historic attempt of interspecies communication set against the backdrop of the French Revolution. The very concepts of man, life, nature and the boundaries between them as defined by relations to war, captivity, slavery, and other forms of social and political domination and control emerged with new significance in this period. To this mix is added the question of music, as a possible inter-species meta-language, a proto-linguistic, non-symbolic and affective trans-human mode of communication whose basis is biological and evolutionary.<br/><br/> Apotome is centered on the bone remains of the two elephants, currently stored in the Zooteque, a vast subterranean storage facility housing thousands of animal specimens. In parallel research, the artists came across vocalist Tim Storms, who has extraordinary vocal gifts allowing him to reach notes as low as G-7 (0.189Hz) ­– a remarkable eight octaves below the lowest G on a piano. The subsonic notes sung are so low that only animals as large as elephants are able to hear them. In Apotome, Tim Storms, in his unique vocal range, sings songs from that original concert to the elephants' remains. Songs include \"Iphigénie en Tauride\" (1779) by Christoph Willibald Gluck \"O ma tendre musette\" by Pierre Alexandre Monsigny and the Revolutionary anthem \"Ça ira,\" among others.<br/><br/> The title Apotome is an archaic Greek word referring to an arithmetical division of musical sound, an interval of a semitone in the Pythagorean scale slightly greater than half. This arithmetical musical ratio isn’t lacking in exactitude on the contrary, it’s quite precise. It’s an excess of human sensation. The normal voice cannot produce it, nor can the ear detect it. Apotome is an irrational remainder or residue, literally meaning, \"what is cut off.\"","artist_bio":"Jennifer Allora (b. 1974) and Guillermo Calzadilla (b.1971) began working together in 1995, producing audio works, performances, sculptures, social interventions, and videos which invariably convey the political opinions of their creators. Sweat Glands, Sweat Lands (2006) is centered on the image of a skewered pig attached to the back wheel of a car, the animal’s roasting carcass rotating ever more rapidly as the driver continues to accelerate. The video’s imagery of metal and flesh seems to offer a glimpse into a dystopian world.","bio_dates":"2004-2007"},{"slug":"allora_calzadilla_breaking_into_trunks","ok":true,"partial":false,"title":"Breaking into Trunks","artist":"Allora & Calzadilla","year":"2017","startOffset":0,"sourceSecs":803.84,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":332635631,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/allora_calzadilla_breaking_into_trunks/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/allora_calzadilla_breaking_into_trunks/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/allora_calzadilla_breaking_into_trunks.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/allora_calzadilla_breaking_into_trunks/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/allora_calzadilla_breaking_into_trunks/main/master.m3u8?v=2","hasMainHls":true,"description":"“Breaking into Trunks” takes the form of a meditation on the interior orders of the universe. Inspired by visits to the Gstaad-Saanenland it draws inspiration from the mysteries of music, physics and economics. From the hunt for the resonant ‘Stradivarious Violin’ trees that found their way into the hands of famed violinist and conductor Yehudi Menuhin, to the search for the mysterious Higgs Boson particle in nearby Cern and the tally stick system used by local farmers, it traces a path of order and disorder, beauty and chaos as it might be staged within the humble confines of a local barn. <br/><br/> The film shows the process of a 250-year-old tone-wood tree being cut down (breaking into its trunk) on the last autumn full moon of 2016, the moment when the sap-level is at its lowest, the wood the driest, and the acoustic properties the best. The straight lines of the wood’s grain, themselves tallies of time, are what make the sound resonate so perfectly. The music for film is composed entirely with a violin. The voiceover recounts parts of a short story attributed to the late 4th century BC Daoist philosopher, Zhuangzi, titled \"Breaking into Trunks\" which contemplates the nature of wisdom and its effects on the ordering of the world. The text’s strong resonance with todays political climate, paired with the image and sound, lends the whole film an allegorical character.","artist_bio":"Jennifer Allora (b. 1974) and Guillermo Calzadilla (b.1971) began working together in 1995, producing audio works, performances, sculptures, social interventions, and videos which invariably convey the political opinions of their creators. Sweat Glands, Sweat Lands (2006) is centered on the image of a skewered pig attached to the back wheel of a car, the animal’s roasting carcass rotating ever more rapidly as the driver continues to accelerate. The video’s imagery of metal and flesh seems to offer a glimpse into a dystopian world.","bio_dates":"2004-2007"},{"slug":"allora_calzadilla_raptors_rapture","ok":true,"partial":false,"title":"Raptor's Rapture","artist":"Allora & Calzadilla","year":"2012","startOffset":0,"sourceSecs":1413.333,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":622801132,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/allora_calzadilla_raptors_rapture/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/allora_calzadilla_raptors_rapture/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/allora_calzadilla_raptors_rapture.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/allora_calzadilla_raptors_rapture/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/allora_calzadilla_raptors_rapture/main/master.m3u8?v=2","hasMainHls":true,"description":"Raptor's Rapture. 2012<br/> Single channel video projection with sound<br/> 23:30 min<br/> <br/> Film involving a flute that was carved by Homo sapiens 35,000 years ago from the wing bone of a griffon vulture. Unearthed at the Hohle Fels cave in southern Germany in 2009, it is the oldest musical instrument found to date.<br/> <br/> The artists invited Bernadette Käfer, a flautist specializing in prehistoric instruments, to attempt to play the flute. This action takes place in the presence of a living griffon vulture.","artist_bio":"Jennifer Allora (b. 1974) and Guillermo Calzadilla (b.1971) began working together in 1995, producing audio works, performances, sculptures, social interventions, and videos which invariably convey the political opinions of their creators. Sweat Glands, Sweat Lands (2006) is centered on the image of a skewered pig attached to the back wheel of a car, the animal’s roasting carcass rotating ever more rapidly as the driver continues to accelerate. The video’s imagery of metal and flesh seems to offer a glimpse into a dystopian world.","bio_dates":"2004-2007"},{"slug":"allora_calzadilla_the_night_we_became_people_again","ok":true,"partial":false,"title":"The Night We Became People Again","artist":"Allora & Calzadilla","year":"2017","startOffset":0,"sourceSecs":907.668,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":379491452,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/allora_calzadilla_the_night_we_became_people_again/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/allora_calzadilla_the_night_we_became_people_again/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/allora_calzadilla_the_night_we_became_people_again.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/allora_calzadilla_the_night_we_became_people_again/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/allora_calzadilla_the_night_we_became_people_again/main/master.m3u8?v=2","hasMainHls":true,"description":"Shot in a variety of locations around the island — a disused Commonwealth Oil Refining Company, Inc. (CORCO) petrochemical plant, a Central Rufina sugar refinery (where archaeologists have found remnants of the ancient Taíno and Saladoid cultures), and the cave in Guayanilla-Peñuelas where Allora & Calzadilla’s long-term installation “Puerto Rican Light (Cueva Vientos)” (2015) is installed. To the mournful tones of an ambient vocalist approximating the sound of an electrical current, the camera patiently captures natural light as it pans across these empty sites. Formally, the film is exquisite. Allora & Calzadilla have a knack for catching the sun as it crosses hovering insects, rusting elements of machinery, and speckles of airborne dust, lending an almost sculptural quality to the two-dimensional imagery. All of the sites, devoid of any signs of human activity, suggest an abandoned world and serve as a poignant metaphor for the recent exodus of the island’s population, as Puerto Ricans look for better work opportunities and a more manageable cost of living on the United States mainland.","artist_bio":"Jennifer Allora (b. 1974) and Guillermo Calzadilla (b.1971) began working together in 1995, producing audio works, performances, sculptures, social interventions, and videos which invariably convey the political opinions of their creators. Sweat Glands, Sweat Lands (2006) is centered on the image of a skewered pig attached to the back wheel of a car, the animal’s roasting carcass rotating ever more rapidly as the driver continues to accelerate. The video’s imagery of metal and flesh seems to offer a glimpse into a dystopian world.","bio_dates":"2004-2007"},{"slug":"allora_compass","ok":true,"partial":false,"title":"Compass","artist":"Allora & Calzadilla","year":"2010","startOffset":0,"sourceSecs":3678.76,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":1629881037,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/allora_compass/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/allora_compass/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/allora_compass.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/allora_compass/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/allora_compass/main/master.m3u8?v=2","hasMainHls":true,"description":"Compass, 2009, a sculptural intervention that explores the threshold between sound, performance, drawing and sculpture.<br/><br/> Reducing the gallery's exhibition space to half its normal height, a new horizontal level is introduced that re-conceptualizes the relationship between stage and audience. In the space above, a dancer performs a cadenced choreography of sounds, speaking in a metrical language with his/her feet. Out of sight and beyond reach, the public cannot see but only hear, feel, or sense the sonic trace of a composition that unfolds above their heads.<br/><br/> A step, a walk, a leap, or a turn, take over the course of time, the form of circles, squares, lines, or other organic shapes. Direction, speed, and distance traveled are all perceptually accessible. Yet these sonic marks are simultaneously punctual and anachronistic, resisting to ground themselves in the unity of any figurative image. The visitors experience these sensations as the continuously changing map that is marked out by the dancer above. Moreover, devoid of any particular image or specific reference, the sounds created conjure an array of affective associations that turn the otherwise empty exhibition space into a huge resonating chamber in which questions of presence and absence, appearance and disappearance, visibility and memory, orientation and disorientation, are evoked through the formal logic of the trace.","artist_bio":"Jennifer Allora (b. 1974) and Guillermo Calzadilla (b.1971) began working together in 1995, producing audio works, performances, sculptures, social interventions, and videos which invariably convey the political opinions of their creators. Sweat Glands, Sweat Lands (2006) is centered on the image of a skewered pig attached to the back wheel of a car, the animal’s roasting carcass rotating ever more rapidly as the driver continues to accelerate. The video’s imagery of metal and flesh seems to offer a glimpse into a dystopian world.","bio_dates":"2004-2007"},{"slug":"almond_darren_geisterbahn_1999","ok":true,"partial":false,"title":"Geisterbahn","artist":"Darren Almond","year":"1999","startOffset":0,"sourceSecs":1072.36,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":144291715,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/almond_darren_geisterbahn_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/almond_darren_geisterbahn_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/almond_darren_geisterbahn_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/almond_darren_geisterbahn_1999/main.mp4?v=2","description":"Darren Almond was born in 1971 in Wigan (England), and he currently lives and works in London. This British artist is renowned for his original use of video in art installations. He specialises in combining both sound and images so as to make the viewer experience a vision of temporality. His approach is not based on direct confrontation, but rather involves playing on the mechanisms of perception to achieve the desired outcome. He creates images like a painter, combining stillness with motion, or commonplace situations with more theatrical actions. During the filming of Geisterbahn at a fairground in Vienna, Darren Almond fastened his camera to the front of the first car in a ghost train, placing its lens through the eyeball of a human skull. Backed by the Techno tracks of Berliner Stefan Betke, better known within the Techno scene as “Pole”, Geisterbahn makes us shiver to the rhythm of this ballad in black and white. What at first appears to be mere bad taste coarsely pieced together suddenly transforms and acquires a certain lyricism and dreamlike quality.","artist_bio":"Darren Almond’s diverse practice incorporates film, installation, sculpture and photography, to produce evocative meditations on time and duration as well as the themes of personal and historical memory.\nAlmond is interested in the notions of geographical limits and the means of getting there – in particular, culturally specific points of arrival and departure. Since 1998, Almond has been making a series of landscape photographs known as the Fullmoons. Taken during a full moon with an exposure time of 15 minutes or more, these images of remote geographical locations appear ghostly, bathed in an unexpectedly brilliant light where night seems to have been turned into day. Many of Almond’s works are filmed in wide ranging – and often inaccessible - geographical locations such as the Arctic Circle, Siberia, the holy mountains in China or the source of the Nile. The artist followed a sulphur miner in Indonesia during one of the labourer’s daily journeys from the mouth of a crater to the weighing station to produce Bearing, shot with a high definition camera. In Schacta, Almond filmed the activities of a Kazakhstani tin mine and set them against a haunting soundtrack – made as a field recording – of a local female musician/shaman during her performance.\nOther works explore themes closer to home: Traction is an ambitious three-screen projection that draws a portrait of the artist’s father, laying bare external and internal scars, whilst revealing the artist’s preoccupation with time. A similar intimacy is evoked in If I Had You, a multi-screened film installation about the artist’s grandmother – a tender portrait of youthful reminiscence and the dignity of old age. In Terminus, Almond negotiated relocating the original bus shelters of the town of Oswiecim (formerly Auschwitz) to make a moving installation about historical loss. Another realisation of time was achieved with the work Tide, in which 600 digital clocks were lined up along the entirety of a wall simultaneously registering the relentless passage of time, especially relevant to the ‘clocking in and out’ procedure of mechanised labour.","bio_dates":"b. 1971"},{"slug":"almond_darren_track_record","ok":true,"partial":false,"title":"Track Record","artist":"Darren Almond","year":"2013","startOffset":0,"sourceSecs":399.005,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":181918630,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/almond_darren_track_record/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/almond_darren_track_record/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/almond_darren_track_record.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/almond_darren_track_record/main.mp4?v=2","description":"British artist Darren Almond is renowned for his works dealing with time and its passage, and themes of personal and historical memory. Track Record is a video documentation of the 2005 work Terminus, an installation that relocated 14 socialist-era bus stops from the Polish town of Oswiecim (in German Auschwitz) into a gallery space in Berlin. <br/><br/> Through one long tracking shot, the camera moves across a room capturing dislocated bus stations that stand empty and abandoned. In a steady movement, we are lead past the stations in mimicry of a bus route, an eerie journey, empty of human life. The movie plays in silence, accompanied only by a subtle undefined background sound of the camera moving about the building.","artist_bio":"Darren Almond’s diverse practice incorporates film, installation, sculpture and photography, to produce evocative meditations on time and duration as well as the themes of personal and historical memory.\nAlmond is interested in the notions of geographical limits and the means of getting there – in particular, culturally specific points of arrival and departure. Since 1998, Almond has been making a series of landscape photographs known as the Fullmoons. Taken during a full moon with an exposure time of 15 minutes or more, these images of remote geographical locations appear ghostly, bathed in an unexpectedly brilliant light where night seems to have been turned into day. Many of Almond’s works are filmed in wide ranging – and often inaccessible - geographical locations such as the Arctic Circle, Siberia, the holy mountains in China or the source of the Nile. The artist followed a sulphur miner in Indonesia during one of the labourer’s daily journeys from the mouth of a crater to the weighing station to produce Bearing, shot with a high definition camera. In Schacta, Almond filmed the activities of a Kazakhstani tin mine and set them against a haunting soundtrack – made as a field recording – of a local female musician/shaman during her performance.\nOther works explore themes closer to home: Traction is an ambitious three-screen projection that draws a portrait of the artist’s father, laying bare external and internal scars, whilst revealing the artist’s preoccupation with time. A similar intimacy is evoked in If I Had You, a multi-screened film installation about the artist’s grandmother – a tender portrait of youthful reminiscence and the dignity of old age. In Terminus, Almond negotiated relocating the original bus shelters of the town of Oswiecim (formerly Auschwitz) to make a moving installation about historical loss. Another realisation of time was achieved with the work Tide, in which 600 digital clocks were lined up along the entirety of a wall simultaneously registering the relentless passage of time, especially relevant to the ‘clocking in and out’ procedure of mechanised labour.","bio_dates":"b. 1971"},{"slug":"althamer_pawel_africa_2009","ok":true,"partial":false,"title":"Africa","artist":"Paweł Althamer","year":"2009","startOffset":0,"sourceSecs":1199.573,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":210418403,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/althamer_pawel_africa_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/althamer_pawel_africa_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/althamer_pawel_africa_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/althamer_pawel_africa_2009/main.mp4?v=2","artist_bio":"Paweł Althamer (born 1967) is a contemporary Polish sculptor, collaborative artist, and creator of installations and video art. In 2000, Althamer participated in Manifesta 3 in Ljubljana, Slovenia. He won the Vincent Award in 2004. In 2007, he presented the exhibition One of many with the Nicola Trussardi Foundation.\nHis longest-running collaboration is with the Nowolipie Group, an organisation in Warsaw for adults with mental or physical disabilities, to whom he has been teaching a Friday night ceramics class since the early 1990s. In 2008 Althamer arranged for the group to wear matching overalls and take a trip on a biplane, which became the subject of a short film by Althamer’s frequent collaborator,\nArtur Żmijewski\n.\nAlthamer was part of the so-called Kowalski Studio at the Warsaw Academy of Fine Arts, along with many of today’s leading generation of Polish artists, including Artur Żmijewski and Katarzyna Kozyra. Under the working title ‘Common Space—Private Space’, Kowalski foregrounded the work of art as an effect of complex non-verbal communication performed by artists in interaction with each other, neutralising individualism: ‘each of the participants had at his/her disposal “a space of their own” […], where they could build elements of their own visual language, and the “common space” open to everyone, where they could conduct simultaneous dialogues with the other participants. All without using words.’","bio_dates":"b. 1967"},{"slug":"althamer_pawel_brasil_brodno_2009","ok":true,"partial":false,"title":"Brasil Bródno","artist":"Paweł Althamer","year":"2009","startOffset":0,"sourceSecs":1365.952,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":238336227,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/althamer_pawel_brasil_brodno_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/althamer_pawel_brasil_brodno_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/althamer_pawel_brasil_brodno_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/althamer_pawel_brasil_brodno_2009/main.mp4?v=2","artist_bio":"Paweł Althamer (born 1967) is a contemporary Polish sculptor, collaborative artist, and creator of installations and video art. In 2000, Althamer participated in Manifesta 3 in Ljubljana, Slovenia. He won the Vincent Award in 2004. In 2007, he presented the exhibition One of many with the Nicola Trussardi Foundation.\nHis longest-running collaboration is with the Nowolipie Group, an organisation in Warsaw for adults with mental or physical disabilities, to whom he has been teaching a Friday night ceramics class since the early 1990s. In 2008 Althamer arranged for the group to wear matching overalls and take a trip on a biplane, which became the subject of a short film by Althamer’s frequent collaborator,\nArtur Żmijewski\n.\nAlthamer was part of the so-called Kowalski Studio at the Warsaw Academy of Fine Arts, along with many of today’s leading generation of Polish artists, including Artur Żmijewski and Katarzyna Kozyra. Under the working title ‘Common Space—Private Space’, Kowalski foregrounded the work of art as an effect of complex non-verbal communication performed by artists in interaction with each other, neutralising individualism: ‘each of the participants had at his/her disposal “a space of their own” […], where they could build elements of their own visual language, and the “common space” open to everyone, where they could conduct simultaneous dialogues with the other participants. All without using words.’","bio_dates":"b. 1967"},{"slug":"althamer_pawel_do_it_yourself_2004","ok":true,"partial":false,"title":"Do It Yourself","artist":"Paweł Althamer and Artur Żmijewski","year":"2004","startOffset":0,"sourceSecs":561.643,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":96970729,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/althamer_pawel_do_it_yourself_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/althamer_pawel_do_it_yourself_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/althamer_pawel_do_it_yourself_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/althamer_pawel_do_it_yourself_2004/main.mp4?v=2"},{"slug":"althamer_pawel_einsteinklasse_2005_iphone","ok":true,"partial":false,"title":"Einsteinklasse","artist":"Paweł Althamer","year":"2005","startOffset":0,"sourceSecs":2123.842,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":115459090,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/althamer_pawel_einsteinklasse_2005_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/althamer_pawel_einsteinklasse_2005_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/althamer_pawel_einsteinklasse_2005_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/althamer_pawel_einsteinklasse_2005_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/althamer_pawel_einsteinklasse_2005_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"A social project that Althamer started, called the \"Einstein Class\", comprised of a group of unemployed young people.","artist_bio":"Paweł Althamer (born 1967) is a contemporary Polish sculptor, collaborative artist, and creator of installations and video art. In 2000, Althamer participated in Manifesta 3 in Ljubljana, Slovenia. He won the Vincent Award in 2004. In 2007, he presented the exhibition One of many with the Nicola Trussardi Foundation.\nHis longest-running collaboration is with the Nowolipie Group, an organisation in Warsaw for adults with mental or physical disabilities, to whom he has been teaching a Friday night ceramics class since the early 1990s. In 2008 Althamer arranged for the group to wear matching overalls and take a trip on a biplane, which became the subject of a short film by Althamer’s frequent collaborator,\nArtur Żmijewski\n.\nAlthamer was part of the so-called Kowalski Studio at the Warsaw Academy of Fine Arts, along with many of today’s leading generation of Polish artists, including Artur Żmijewski and Katarzyna Kozyra. Under the working title ‘Common Space—Private Space’, Kowalski foregrounded the work of art as an effect of complex non-verbal communication performed by artists in interaction with each other, neutralising individualism: ‘each of the participants had at his/her disposal “a space of their own” […], where they could build elements of their own visual language, and the “common space” open to everyone, where they could conduct simultaneous dialogues with the other participants. All without using words.’","bio_dates":"b. 1967"},{"slug":"alys_francis_thepoliticsofrehearsal_2005_iphone","ok":true,"partial":false,"title":"The Politics of Rehearsal [AKA Ensayo 2, 2005]","artist":"Francis Alÿs","year":"2005","startOffset":0,"sourceSecs":1795.202,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":102840802,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alys_francis_thepoliticsofrehearsal_2005_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alys_francis_thepoliticsofrehearsal_2005_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alys_francis_thepoliticsofrehearsal_2005_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/alys_francis_thepoliticsofrehearsal_2005_iphone/main.mp4?v=2","description":"Politics of Rehearsal is a metaphor of Latin America's ambigous affair with Modernity, forever arousing, and yet, always delaying the moment it will happen."},{"slug":"alys_francis_whenfaithmovesmountains_2002","ok":true,"partial":false,"title":"When Faith Moves Mountains (2002)","artist":"Francis Alÿs","year":"2002","startOffset":0.434,"sourceSecs":900.885,"sourceHeight":514,"sourceWidth":724,"hasAudio":true,"hasAmbientMp4":true,"bytes":158880289,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alys_francis_whenfaithmovesmountains_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/alys_francis_whenfaithmovesmountains_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/alys_francis_whenfaithmovesmountains_2002.mp4","hasFrames":true,"description":"A project by Francis Alÿs, collaborating with Rafael Ortega and Cuauhtémoc Medina.\n\nOn April 11th 2002, 500 volunteers were called in order to form a line to move a sand dune situated in the surroundings of the city of Lima. This human comb progressed pushing forward a certain quantity of sand with shovels in order to move the dune from its original position. The actual displacement was of an infinitesimal proportion, but not its metaphorical resonance."},{"slug":"amen_1998","ok":true,"partial":false,"title":"Amen","artist":"Zdravko Mustać","year":"1998","startOffset":0,"sourceSecs":751.96,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":131044385,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/amen_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/amen_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/amen_1998.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/amen_1998/main.mp4?v=2"},{"slug":"amiralay_omar_a_plate_of_sardines_1997","ok":true,"partial":false,"title":"A Plate of Sardines","artist":"Omar Amiralay","year":"1997","startOffset":0,"sourceSecs":1050.96,"sourceHeight":566,"sourceWidth":716,"hasAudio":true,"hasAmbientMp4":true,"bytes":172274256,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/amiralay_omar_a_plate_of_sardines_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/amiralay_omar_a_plate_of_sardines_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/amiralay_omar_a_plate_of_sardines_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/amiralay_omar_a_plate_of_sardines_1997/main.mp4?v=2","description":"This short documentary tells Amiralay’s own story about how he first heard of Israel. In his own words, “The first time I heard of Israel, it was in Beirut, talking about a sardine dish. I was 6 years old, Israel was 2.” On 10 June 1967, the last day of the Six-Day War, Quneitra came under Israeli control. The city was completely destroyed. It now lies in the demilitarized zone between Israel and Syria and is populated by only a handful of families. Israel was heavily criticized by the United Nations for the city’s destruction, while Israel has also criticized Syria for not rebuilding Quneitra. <br/><br/> The film records Amiralay’s filmmaker friend Mohamed Malas’ reflections on his native city of Quneitra, before and after the Israeli-occupation and later liberation of the city. Malas made a film about Quneitra himself in the seventies. All the while, the two filmmaking friends are strolling around the ruins of what’s left of Quneitra in south-western Syria and comment on the devastation left there.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Omar Amiralay was a Syrian documentary film director and prominent civil society activist. He is noted for the strong political criticism in his films and played a prominent role in the events of the Damascus Spring of 2000.\nAmiralay studied in Paris at La Fémis, before returning to Syria in 1970. He thus had a different artistic formation from the majority of Syrian film-makers, who studied in the Soviet Union or in Eastern Europe.\nHis films include a trilogy of documentaries concerning the Tabqa Dam on the Euphrates. The first, Film Essay on the Euphrates Dam (1970), is a tribute to Syria's greatest development project, but the second and third take a more critical approach. Everyday Life in a Syrian Village (1974) shows the dam's ambiguous impact on the lives of ordinary people in a nearby village, and portrays their relationship with the authorities, seen as distant and disconnected from them. Amiralay revisited the region in 2003 with A Flood in Baath Country, which contains trenchant political criticism (it had the working title Fifteen reasons why I hate the Baath Party). Due to the films strong indictment of the regime, the film was removed from the Carthage Film Festival. In act of solidarity with Amiralay, Arab filmmakers Yousry Nasrallah, Annemarie Jacir, Nizar Hassan, Joana and Khalil Joreige, and Danielle Arbid subsequently pulled their films out of Competition to protest the festival's actions. As a result, A Flood in Baath Country was re-programmed and screened to enthusiastic crowds.\nAnother notable film was There Are So Many Things Still to Say, based on interviews with the Syrian playwright Saadallah Wannous recorded while the latter was dying of cancer. The film juxtaposes Wannous' remarks with scenes from Syria's wars against Israel and the Palestinian First Intifada, as the playwright recounts, with some regret for the lost opportunities that resulted, how the Palestinian struggle became a central part of intellectual life for an entire generation.\nHis other films include a portrait of former Lebanese prime minister Rafiq al-Hariri, The Man with the Golden Soles, and one of French academic and student of Middle Eastern society Michel Seurat, murdered in Beirut during the Lebanese Civil War, On a Day of Ordinary Violence, My Friend Michel Seurat....\nActivism\nIn 2000 Amiralay was a signatory to the \"Declaration of the 99\", a manifesto signed by 99 prominent Syrian intellectuals calling for an end to the state of emergency in force since 1963, the release of all political prisoners and prisoners of conscience, and the permitting of political parties and independent civil society organizations. This was seen as an expression of the general goals of the Syrian democratic opposition and of the movement known as the Damascus Spring in general. Amiralay was a prominent participant in the various debates and petitions that marked the Damascus Spring.\nIn 2005, in the aftermath of the assassination of former Lebanese prime minister Rafiq al-Hariri, Amiralay signed a declaration by Syrian intellectuals calling for a Syrian withdrawal from Lebanon and an end to the attacks on Syrian workers in that country. Despite these activities, Amiralay does not consider himself to be involved in politics, but in \"civil society\".\nOmar Amiralay died on February 5, 2011, either from cardiac arrest or a cerebral thrombosis.","bio_dates":"1944-2011"},{"slug":"amon_duul_ii_plays_phallus_dei","ok":true,"partial":false,"title":"Amon Düül II plays Phallus Dei","artist":"Amon Düül","year":"1969","startOffset":0,"sourceSecs":1476.768,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":256927160,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/amon_duul_ii_plays_phallus_dei/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/amon_duul_ii_plays_phallus_dei/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/amon_duul_ii_plays_phallus_dei.avi","hasFrames":true,"description":"The Munich-based band Amon Duul was one of the first German bands to emerge out of the psychedelic era. Founded as an anarchic musical commune in 1967 by former jazzer Chris Karrer with Ulli and Peter Leopold, Amon Duul soon sent out a proud declaration: 'we are eleven adults and two children which are gathered to make all kinds of expressions, also musical'. They appeared at the Essen song festival in Autumn 1968. Shortly thereafter they split into two separate groups. Amon Duul's activities ceased after a couple of years, but Amon Duul II survived through the seventies and became one of the most important German groups. The group formed around Chris Karrer in the Autumn of 1968. Their first gigs were very erratic, as some of the members had just started playing their instruments. This lack of a conventional musical experience helped Amon Duul II to establish themselves as one of the major underground acts in Germany. Their reputation grew fast and they soon secured a signing with Liberty. In early 1969, Phallus Dei ('God's penis') was recorded with two new members: Peter Leopold (drums, he switched from the other Amon Duul group) and Dave Anderson (bass, an Englishman who had been a roadie for Kippington Lodge). Rogner now switched from bass to keyboards. Also two guests were involved: Christian Burchard (vibes, see Embryo) and Holger Trulzsch (percussion, see Popol Vuh). Olaf Kubler was the man responsible for the innovative production. He was also a jazz musician, most known as saxophonist with Doldinger's quartet). The album was a genuine late psychedelic masterpiece, a landmark in German rock. They were probably the first German band that was confident enough to present large amounts of improvised music. Phallus Dei was a travel through mysterious science fiction soundscapes, sometimes predating the sound of groups like Hawkwind. This album, like all the subsequent ones up to 1973, had spectacular psychedelic cover artwork. Most of these designs were made by Falk-U Rogner. \"Phallus Del\" filled up one whole side of the album, and had one of the most ridiculous stereo panning ever recorded (try to listen to it with headphones!). It was their first large scale improvisation, hinting at the things to come on their two next albums. Other memorable tracks was \"Luzifers Gholom\" and \"Dem Guten, Schonen Wahren\" with strange, harsh vocal parts from Shrat. Chris Karrer contributed with some nice electric violin parts and had guitar battles with John Weinzierl. One of the band's concerts at the time was filmed, resulting in a musical cult movie \"Amon Duul plays Phallus Dei\". The soundtrack for the film \"San Domingo\" was recorded later the same year and for this they were awarded a Bundesfilm prize.","bio_dates":"1946-2006"},{"slug":"anand_shaina_al_jaar_qabla_al_daar_aka_the_neighbour_before_the_house_2012","ok":true,"partial":false,"title":"Al Jaar Qabla Al Daar AKA The Neighbour Before The House","artist":"Shaina Anand","year":"2012","startOffset":0,"sourceSecs":3600.115,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":612724818,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anand_shaina_al_jaar_qabla_al_daar_aka_the_neighbour_before_the_house_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anand_shaina_al_jaar_qabla_al_daar_aka_the_neighbour_before_the_house_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/anand_shaina_al_jaar_qabla_al_daar_aka_the_neighbour_before_the_house_2012.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anand_shaina_al_jaar_qabla_al_daar_aka_the_neighbour_before_the_house_2012/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anand_shaina_al_jaar_qabla_al_daar_aka_the_neighbour_before_the_house_2012/main/master.m3u8?v=2","hasMainHls":true,"description":"“The Neighbour before the House” is a series of video probes into the landscape of East Jerusalem. Shot with a security camera, these images show that before and after instrumental \"surveillance\", there is inquisitiveness, jest, memory, desire and doubt that pervades the project of watching. In these specific times and places, camera movements and live commentary become ways in which Palestinian residents evaluate what can be seen, and speak about the nature of their distance from others.<br/><br/> A text by Florian Schneider:<br/> When the Israeli government demolished the Moroccan Quarter in 1967, it was the fifth and smallest of old Jerusalem's neighbourhoods. Private property was converted into public space: the former Moroccan Quarter is now a large open plaza leading up to the Western Wall, in use as an open-air synagogue.<br/><br/> At first glance, the idea of a neighbourhood appears as the most obvious contradiction to the series of displacements, deferrals, distortions and fault lines existing on the surface of this highly volatile, contested and segmented city.<br/><br/> Neighbours are supposed to know each other. The neighbourhood is that part of the otherwise anonymous cityscape, where one is recognised, or where the subject is hailed. Neighbours can encounter each other without technical mediation; they meet and greet face to face, everything is within walking distance; Such a more or less homogenous local environment is ruled by specific circumstances that are characterised precisely by the fact that they are not globally valid, that are not exchangeable or even communicable. It is grounded in the production of a self that claims the right to the given territory: to be exactly and exclusively here, often as a result of ownership or property.<br/><br/> But this idealised notion of a setting and the staging for the production of ‘everyday life’ on the threshold of public and private space, needs to be governed by an archaic rule that prevents the self from selfishness: watch out for the neighbour and \"love him or her as yourself!\" The Golden Rule of ethical reciprocity and fair play – -doing as one would be done by – treats the neighbour as the \"other\", who then becomes universal. The homogenisation of a local environment as a ‘neighbourhood’ then correlates with the moral purification of a community, a people, or humankind.<br/><br/> What we can see in the video project Al Jaar Qabla al Daar, is a neighbourhood in a state of permanent crisis. Spatial proximity does not produce any sense of community, but does the opposite. What was private space becomes public; what was private life becomes political. Al Jaar Qabla Al Daar sets out to reverse engineer the neighbourhood as a machine for self-monitoring and surveillance, one that normally turns contingency into consistency and the visible into the sensible. Here the neighbourhood can only be encountered through a technological device that produces closeness and remoteness, which would otherwise remain entirely abstract. The constant zooming in and zooming out of the camera constitutes a rather peculiar artificiality of the picture: operational by a factor X that multiplies the amount of detailed information at the price of context. This is a regime of visibility that promises to provide access to what would otherwise, and in the true sense of the word, be inaccessible, since one would not be allowed to go there, or know how to understand what is going on.<br/><br/> The results are profane and deconsecrated icons that map lost properties as robbed and removed social relationships. And this is everything but self-explanatory: one needs a speech that goes against the grain of the all too obvious status quo. A speech that reads out the secrets of dispossession and renders every property decipherable as an appropriation; that is twisted and oblique, but nevertheless takes place in the first person.<br/><br/> It is the iconic quality of the pictures, their status as operational images, that marks the impossibility to make \"a film\" in the first place. The neighbourhood is scattered and inaccessible, the neighbour is turning out to be a monster. Going beyond the technical misuse of surveillance technologies, the filming methods open up to new potentials: a house becomes a support for a camera, a sort of tripod built from stones. The petrified position of the camera only allows movements on a fragile surface of the image. It is not possible to change the perspective and switch from one self to another.<br/><br/> There is an unforeseeable and incalculable quality of the material itself: the self-centeredness of the picture does not pretend to include or exclude anything or anyone; it can be virtually anywhere. It opens up a third realm that is neither subjective nor objective, a space which may be characterised by a new, radical form of hospitality that could allow us to escape the discourses of property, security and paranoia.","artist_bio":"Shaina Anand is a filmmaker and artist, and a co-initiator of CAMP, a space “in which ideas and energies gather, and become interests and forms” and Padma, the online video archive. She has been working independently in film/video since 1997.\nCAMP came together as a group in 2007, initially consisting of Shaina Anand (filmmaker and artist), Sanjay Bhangar (software programmer) and Ashok Sukumaran (architect and artist). By the time of setting up CAMP in Mumbai, the artists Anand and Sukumaran had already strong and well-recognized individual practices. Sukumaran had been awarded the first prize of the UNESCO digital arts award in 2006 and the prestigious Golden Nica of the Prix Ars Electronica the following year, 2007. He had lectured at venues such as the Tate Modern, and participated in the Singapore Biennial, 2006. Anand had done a series of well received projects with contemporary image media, and had exhibited at venues such as the Frankfurter Kunstverein, Serpentine Gallery London, Nottingham Contemporary, Cornerhouse Manchester, Khoj and Sarai New Delhi, Powerplant Toronto and more. CAMP’s reason to exist is that it produces and sustains long duration and sometimes large-scale artistic work. It combines film, video, installation, software, open-access archives and public programming with broad interests in technology, film and theory. Its projects over the past five years have shown how deep technical experimentation and artistic form can meet. Their work is closely tracing global phenomena: ships, CCTV, the emotional state of workers and guards, phone leaks,cinematic, digital and energetic media. That is does so with a real intimacy with the material, a committed politics, a care for the formal and experiential, and their utterly unique combination of skills is seen in the span of their activities and their mark on the global art world. Recent exhibitions include: Sharjah Biennial (2013), dOCUMENTA 13 (2012), Gwangju Biennial (2012), New Museum Triennial (2012). CAMP are co-initiators of the online footage archive http://pad.ma, and the newcinema archive http://indiancine.ma. (Their recent feature-length experimental documentary ’From Gulf to Gulf to Gulf’ was awarded the Jury mention at Festival International de Cinema, Marseille and has been screened at BFI London Film Festival, DocLisboa, the Viennale, among others.)","bio_dates":"b. 1975"},{"slug":"anderson_laurie_collected_videos","ok":true,"partial":false,"title":"Laurie Anderson","artist":"Laurie Anderson","year":"1990","startOffset":0,"sourceSecs":3359.5,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":194817549,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anderson_laurie_collected_videos/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anderson_laurie_collected_videos/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/anderson_laurie_collected_videos.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anderson_laurie_collected_videos/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anderson_laurie_collected_videos/main/master.m3u8?v=2","hasMainHls":true,"description":"Beautiful Red Dress (1990)<br/> Language Is A Virus (1986)<br/> Sharkey's Day (1984)<br/> O Superman (1981)<br/> Personal Service Announcements (1990)<br/><br/> Excerpts from:<br/> Empty Places, What You Mean We? (1986) Home of the Brave (1986)<br/> Alive from Off Cener<br/> The Eleventh Hour (1989)<br/> Headknock (1981)<br/> Tour of Laurie's Home<br/> Strange Angels","bio_dates":"b. 1947"},{"slug":"anger_kenneth_brush_of_baphomet_2009","ok":true,"partial":false,"title":"Brush of Baphomet","artist":"Kenneth Anger","year":"2009","startOffset":0,"sourceSecs":248.111,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":33793211,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_brush_of_baphomet_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_brush_of_baphomet_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/anger_kenneth_brush_of_baphomet_2009.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anger_kenneth_brush_of_baphomet_2009/main.mp4?v=2","description":"A short video sketch, Brush of Baphomet (2009) is a kind of addendum to Anger’s The Man We Want to Hang (2002), being a further look at Aleister Crowley’s paintings. The title refers to one of Crowley’s many occult names. As a painter Crowley’s technical ability was almost nil but that never dissuaded him from trying, and I’m sure I’m not alone in finding his work to have a naive malevolence. Anger has had a lifelong interest in Crowley’s paintings, famously journeying in 1955 to the abandoned villa in Cefalù, Sicily, where he cleaned whitewash from the walls to reveal the remains of the murals Crowley had painted there. <br/><br/> The music in Brush of Baphomet is a surprising choice, an extract from the second part of Morton Subotnick’s Silver Apples of the Moon (1967). Anger’s musical selections have never been random ones so you have to wonder why this particular score. Was it because the electronics are reminiscent of the Moog drones Mick Jagger supplied for Invocation of My Demon Brother (1969)? Subotnick’s title is borrowed from The Song of Wandering Aengus by WB Yeats, a poet for whom Crowley (also a poet) had little affection. In Crowley’s occult novel Moonchild, Yeats appears as “Gates”, a mediocre painter (yes, well…), who ends up being killed in an act of magical revenge. Crowley must have been mortified a few years later when Yeats was awarded a Nobel Prize. -- John Coulthart","artist_bio":"Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his 'lifework' as being Magick and his 'magical weapon' the cinematograph. A follower of Aleister Crowley's teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention.\nWhatever one's view of this belief may be, what is undeniable is that in creating the nine films that he either managed to complete (Fireworks [1947], Eaux d'artifice [1953], Inauguration of the Pleasure Dome [1954-66], Scorpio Rising [1963], Invocation of My Demon Brother [1969], Lucifer Rising [1970-81]) or else released as self contained fragments (Puce Moment [1949], Rabbit's Moon [1950-79], Kustom Kar Kommandos [1965]), Anger forged a body of work as dazzlingly poetic in its unique visual intensity as it is narratively innovative. In many ways, these wordless films represent the resurgence and development of the uniquely cinematic qualities widely considered retarded or destroyed by the passing of the silent era, especially in the area of editing. According to Tony Rayns, “Anger has an amazing instinctive grasp of all the elements of filmmaking; his films actively work out much of Eisenstein's theoretical writing about the cinema…. [Anger] comes nearer [to Eisenstein's theories] than anything in commercial cinema and produces film-making as rich in resonance as anything of Eisenstein's own.”\nAnger's films are cinematic manifestations of his occult practices. As such, they are highly symbolical, either featuring characters directly portraying gods, forces and demons (Inauguration of the Pleasure Dome, Lucifer Rising) or else finding an appropriate embodiment for them in the iconography of contemporary pop culture (Puce Moment, Scorpio Rising, Kustom Kar Kommandos, also Inauguration of the Pleasure Dome). This view of pop culture as vehicle for ancient archetypes is also the basis of Hollywood Babylon, his famous book about the seedier aspects of Hollywood history. In attempting to induce an altered state of consciousness in his viewers, Anger dispenses with traditional narrative devices, although his films definitely tell stories. Using powerful esoteric images and, especially in his later works, extremely complex editing strategies that frequently feature superimposition and the inclusion of subliminal images running just a few frames, Anger bypasses our rationality and appeals directly to our subconscious mind. The structure common to his major works is that of a ritual invoking or evoking spiritual forces, normally moving from a slow build up, resplendent with fetishistic detail, to a frenzied finale with the forces called forth running wild.\nThe films directly pertinent to this description that fully develop it both within their own contexts and in regard to each other are Inauguration of the Pleasure Dome, Scorpio Rising, Invocation of My Demon Brother and Lucifer Rising. The first of these details the shifts in consciousness undergone by guests at an occult Eucharist at the house of Lord Shiva, the Magician. The first scenes detail his preparations for the event. The decadent magnificence of the spectacle is established in the opening image: a big close-up of a gold chain at the centre of the frame that, snakelike, slithers away from the camera, out of focus and ultimately upwards. The camera follows to reveal the hand of Shiva, luxuriating in his bed, languidly observing the chain, dangling it over his face. He then reaches out to his bedside table which is laden with rings. His hands opulently bejewelled, he swallows the chain, the first example of oral consumption, the means whereby each alteration of consciousness will come about. Shiva proceeds to a small, completely red room where he perceives a deity in the mirror, and then to the space where the bulk of the action transpires, a completely dark area of indeterminate dimensions. The guests begin to arrive, each dressed as a mythological deity—Pan, Astarte, The Scarlet Woman, Isis, Lilith, Aphrodite, Hecate and, prefiguring the pop-culture references of future works, Cesare the Somnambulist from Wiene's Cabinet of Dr. Caligari (1919), each bearing narcotic gifts.\nThis section of the film is constructed around Shiva greeting each guest, often in a different form, and partaking of what they offer. The movement of the film is essentially the passing of the gifts from one guest to another as they advance into a state of transpersonal ecstasy. Anger's compositions are highly formal and painterly, seducing the viewer with the spectacle of the sumptuous costumes and adopting a colour palette of an aggressively theatrical beauty, reminiscent of Powell's Tales of Hoffmann (1951). The final part of the film is an orgiastic vision of the ritual's consummation, with fast cutting, multiple superimpositions including images of magical symbols and the presence of fire hinting at an apocalyptic destiny for those involved. Even if Anger's films are mute, it would be inaccurate to think of them as silent—his use of music is never less than vitally important and frequently deeply impressive. In this case Janacek's Glagolitic Mass adds to the rapturous imagistic grandeur of Anger's ritual.\nScorpio Rising is practically an amplified remake or, more precisely, a translation of Inauguration of the Pleasure Dome. The implied destruction that concluded the earlier film referred to Anger's recurring preoccupation with the end of the Christian Age of Pisces, the violent death of which was necessary to allow for the birth of the Age of Aquarius. The arcanely theatrical, neo-decadent imagery and abstract space gives way to a realistic milieu, that of a contemporary biker gang. The fetish objects are now the paraphernalia of youth subculture and the violence more savage and overt. But the patterns are the same—a loving preparation for the ritual, the build up of energy at the ritual and finally the act of destruction. Anger has simply taken his show to the street.\nThe preparations involve the bikers fixing and polishing their motorbikes, donning the 'ceremonial garb' of leather, bedecking themselves with rings and chains like Shiva in Pleasure Dome—the physical aspects of preparation. Psychically, there is the reading of comic books, the adoration of James Dean visible on posters in the protagonist's bedroom, the imitation of Brando who appears on his television in Laslo Benedek's The Wild One (1954) and the snorting of cocaine. The 'ritual' is a homoerotic Halloween party, featuring fancy dress like the gathering in Pleasure Dome, where we witness sodomy, fellatio and all manner of pranks. That this machine-fixated biker gang is a death cult is made obvious by the omnipresence of the skull and cross bones, the adoption of Nazi imagery and the noose that hangs in the hero's bedroom. At the party, a man dances around with a skull on a wand, touching people's heads with it in twisted benediction. The film moves into its third stage when the hero leaves the party to desecrate a church, smashing the altar, installing swastikas and skulls, urinating into his helmet and casting a hex on a diurnal motorbike race that results in an accident. That same night there is also another accident that leaves one of the bikers, presumably the hero, dead.\nScorpio Rising represents the densest, most complex montage of Anger's career. As previously stated, the hero's 'preparation' features images of Brando and comic books. This comparative editing is developed in the second part by the blasphemous, contrasting incorporation of images from the life of Jesus appropriated from a Z-grade Sunday school movie, a copy of which Anger is supposed to have discovered left on his doorstep by accident while editing Scorpio Rising. It is the perfect vehicle for conveying Anger's perception of an effete Christianity perishing in the face of the new phallic virility that the bikers embody. As the ranting biker casts his hex from the church, images of Nazism and Hitler grow in frequency. Some shots are barely perceptible, such as the few frames of an erect penis intercut with Jesus healing a blind man. As the film progresses the intensity of the editing increases, culminating in the death hex in which the spell seems to summon, by way of editing, a seemingly unconnected race that ends in accident as the form the malediction takes. These are only the major strands of this semiotic layering; other images are also called in to comment on the action and its meaning.\nThe use of music in Scorpio Rising is possibly the most influential aspect of Anger's oeuvre. The soundtrack is comprised entirely of a series of pop songs and a few sound effects. The songs not only add to the energy of the visuals but their lyrics form an ironic commentary on them. This prefigured such films as Mean Streets (Martin Scorsese, 1973) and American Graffiti (George Lucas, 1973) that paved the way for wide use of 'found' soundtracks.\nIf the 'translation' of the antique, closed universe of Pleasure Dome into the real milieu of Scorpio Rising implied that Anger believed Magick was active in the modern world and by the early '60s no longer needed an academically mythological context to be made cinema, the berserk Invocation of My Demon Brother shows it as immanent by the end of that decade. Aptly described by its director as “an attack on the sensorium”, it is a disturbing montage of jarringly edited images and symbols accompanied by a repetitive synthesised soundtrack by Mick Jagger that sounds like a malfunctioning computer printer. An albino man raises a wand; another man passes a knife across his chest; a cat is thrown on a fire; people smoke from a skull shaped pipe; Anger performs fevered rituals involving burning documents and swastikas; the Rolling Stones and a group of Hell's Angels appear; a procession of musicians descends a staircase followed by a fireball that stops at the bottom, resembling a burnt corpse and holding a sign that reads: 'Zap—You're pregnant—That's witchcraft'. For all its violence and ugly chaos, Scorpio Rising was careful to gradually draw the audience in to its well-defined milieu through a build up of details that in some ways parallels Scorsese and the Rossellini of La Prise de pouvoir par Louis XIV (1966) and kept its drama safely confined to this well defined space. Demon Brother, on the other hand, is terrifying in its randomness and lack of a defined space. There is a brief build up at the outset, with the wand and the knife, but soon the audience is experiencing the full impact of Anger's fragmented nightmare. Symbols, superimpositions and distorting lenses abound. If there is one dominant recurring image, it is eyes in close up, fixed on the audience. A found footage image of soldiers leaving a helicopter in Vietnam is fully visible twice. However, it appears throughout the film on a C roll visible only with infra-red glasses, subliminally adding to the sense of anxiety—one of the most extreme examples of Anger attempting to bypass our rational minds.\nHis subsequent and latest film to date, Lucifer Rising is a departure from his previous major works. If Pleasure Dome, Scorpio Rising and Demon Brother remained fixated on death, Lucifer Rising is about rebirth, a celebration of the power of nature and of the ancient gods. It is a film of breathtaking beauty and power that supplants the closed worlds of Pleasure Dome and Scorpio Rising as well as Demon Brother's zone of all-pervading disorientation with an awesome sense of timelessness and spatial immensity, engendered at least in part by having been shot at often sacred sites all over the world. The 'ritual structure' of the previous films is present, but opened up. It now operates on two levels, encompassing the world of the gods as well as the efforts of the adept at summoning them. Linking Egyptian mythology, embodied by Isis (Miriam Gibril) and Osiris (Donald Cammell), with Crowleyan practices, it celebrates Lucifer not as the devil but as lord of light. 'Lucifer' Anger observes 'is the patron saint of the visual arts. Colour, form, all thee are the works of Lucifer.'\nThese 'ritual' structures are also present in some of the less developed works in either a minor or abbreviated form. Puce Moment, a film linked to Pleasure Dome in terms of its visual opulence (and, indeed, shots from it are used in Pleasure Dome's superimpositions), shares the later film's fetishistic act of preparation, in this case a movie star getting dressed to walk her dogs and magically floating out of her house on her bed. Rabbit's Moon retells the story of Harlequin and Pierrot, which fits into Anger's common narrative pattern of a hero who summons up forces that finally harm him. Likewise Eaux d'artifice's ending, in which the heroine seems to turn into water in one of the numerous fountains among which she has been walking, appears to suggest punishment for meddling with natural powers. Kustom Kar Kommandos seems more like a camp send-up of the machine fetish elements of Scorpio Rising than anything else, with a muscular young man polishing a car with a fluffy duster against a pink background in exaggeratedly eroticised compositions to the accompaniment of the Parris Sisters' Dream Lover.\nAnger began life in Hollywood and popular legend maintains that an appearance as a child actor in A Midsummer Night's Dream (Max Reinhardt/William Dieterle, 1935) revealed his vocation to him. As a boy he claims to have made a series of unscreened and possibly lost films with such titles as 'Who Has Been Rocking my Dreamboat' (1941), 'Prisoner of Mars' (1942) and 'Drastic Demise' (1945). His first film in distribution is Fireworks (1947) and it already marks him as a major talent. Essentially the story of a dream, this sado-masochistic, homoerotic vision of a young man who cannot sleep and goes in search of a light, only to be beaten and torn open by a group of sailors already displays the influence of Crowley; it is a veiled study of an initiate's symbolic death and rebirth. It also displays the influence of Jean Cocteau who was so impressed by it that he invited Anger to come to France. He spent much of the '50s there, involved in many abortive projects. Indeed, Anger's career is littered with films abandoned due to lack of funding or to theft, fire or vandalism. Puce Moment is all that was shot of a proposed feature, 'Puce Women', about fading Hollywood stars in their decaying mansions. In 1949 The Love that Whirls was destroyed by Eastman-Kodak developing laboratories who objected to images of nudity. Adaptations of Cocteau's La Jeune homme et la mort and Isidore Ducasse's Les Chants de Maldoror in the early '50s got no further than test shots. A documentary about Crowley's erotic frescoes at Thelema Abbey was 'lost' by the magazine Picture Post which commissioned it. Only 20 minutes of an adaptation of Pauline Reage's L'histoire d'O were shot in 1960.\nAnger returned to the United States in 1962. After the success of Scorpio Rising he planned the ambitious Kustom Kar Kommandos, abandoned due to lack of funds—the only scene shot comprises the film of that title that we have today. The original and very different version of Lucifer Rising was stolen in 1966, never to be recovered. In 1968 Anger went to London, where he began an association with Mick Jagger. Demon Brother was constructed from remaining footage from the first Lucifer Rising and material shot in London.\nSince Lucifer Rising, Anger has spent his time pruning, maintaining and preserving his films, adding new soundtracks to several of them. He also travels widely to attend screenings of his work. In rigorously pursuing a vision of the cinema that is as original as it is personal, Anger not only created one of the most consistently thrilling bodies of work in cinema but in so doing highlighted the poverty of imagination that governs so much 'normal' filmmaking and the unconscionable limitations still placed on the medium. Like other geniuses of the American Underground such as Brakhage, Warhol and Markopoulos he has had a certain amount of influence over succeeding generations of filmmakers. But, like them, whatever he has taught others, he will always remain unique, one of the few filmmakers whose work is capable of returning meaning to that much overused word—'visionary'.","bio_dates":"b. 1927"},{"slug":"anger_kenneth_eaux_dartifice_1953","ok":true,"partial":false,"title":"Eaux d'Artifice","artist":"Kenneth Anger","year":"1953","startOffset":0,"sourceSecs":756.245,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":125054774,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_eaux_dartifice_1953/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_eaux_dartifice_1953/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/anger_kenneth_eaux_dartifice_1953.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anger_kenneth_eaux_dartifice_1953/main.mp4?v=2","description":"A short, monochromatic film appearing in dark blue, with only one moment of color - a woman opens a fan that glows in bright green. The woman appears in a gown stretching from neck to toe, wearing dark glasses and a feathered headdress. Water flows throughout, from fountains, and suggestively through the mouths and over the faces of statuary. Fluids pulse perhaps orgasmicly in arching streams, reminiscent of sexual climax. In the end the woman steps from a door seemingly from the side of a fountain, and is herself transformed into water. The film is set to the music of Vivaldi's Winter Movement from the Four Seasons.","artist_bio":"Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his 'lifework' as being Magick and his 'magical weapon' the cinematograph. A follower of Aleister Crowley's teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention.\nWhatever one's view of this belief may be, what is undeniable is that in creating the nine films that he either managed to complete (Fireworks [1947], Eaux d'artifice [1953], Inauguration of the Pleasure Dome [1954-66], Scorpio Rising [1963], Invocation of My Demon Brother [1969], Lucifer Rising [1970-81]) or else released as self contained fragments (Puce Moment [1949], Rabbit's Moon [1950-79], Kustom Kar Kommandos [1965]), Anger forged a body of work as dazzlingly poetic in its unique visual intensity as it is narratively innovative. In many ways, these wordless films represent the resurgence and development of the uniquely cinematic qualities widely considered retarded or destroyed by the passing of the silent era, especially in the area of editing. According to Tony Rayns, “Anger has an amazing instinctive grasp of all the elements of filmmaking; his films actively work out much of Eisenstein's theoretical writing about the cinema…. [Anger] comes nearer [to Eisenstein's theories] than anything in commercial cinema and produces film-making as rich in resonance as anything of Eisenstein's own.”\nAnger's films are cinematic manifestations of his occult practices. As such, they are highly symbolical, either featuring characters directly portraying gods, forces and demons (Inauguration of the Pleasure Dome, Lucifer Rising) or else finding an appropriate embodiment for them in the iconography of contemporary pop culture (Puce Moment, Scorpio Rising, Kustom Kar Kommandos, also Inauguration of the Pleasure Dome). This view of pop culture as vehicle for ancient archetypes is also the basis of Hollywood Babylon, his famous book about the seedier aspects of Hollywood history. In attempting to induce an altered state of consciousness in his viewers, Anger dispenses with traditional narrative devices, although his films definitely tell stories. Using powerful esoteric images and, especially in his later works, extremely complex editing strategies that frequently feature superimposition and the inclusion of subliminal images running just a few frames, Anger bypasses our rationality and appeals directly to our subconscious mind. The structure common to his major works is that of a ritual invoking or evoking spiritual forces, normally moving from a slow build up, resplendent with fetishistic detail, to a frenzied finale with the forces called forth running wild.\nThe films directly pertinent to this description that fully develop it both within their own contexts and in regard to each other are Inauguration of the Pleasure Dome, Scorpio Rising, Invocation of My Demon Brother and Lucifer Rising. The first of these details the shifts in consciousness undergone by guests at an occult Eucharist at the house of Lord Shiva, the Magician. The first scenes detail his preparations for the event. The decadent magnificence of the spectacle is established in the opening image: a big close-up of a gold chain at the centre of the frame that, snakelike, slithers away from the camera, out of focus and ultimately upwards. The camera follows to reveal the hand of Shiva, luxuriating in his bed, languidly observing the chain, dangling it over his face. He then reaches out to his bedside table which is laden with rings. His hands opulently bejewelled, he swallows the chain, the first example of oral consumption, the means whereby each alteration of consciousness will come about. Shiva proceeds to a small, completely red room where he perceives a deity in the mirror, and then to the space where the bulk of the action transpires, a completely dark area of indeterminate dimensions. The guests begin to arrive, each dressed as a mythological deity—Pan, Astarte, The Scarlet Woman, Isis, Lilith, Aphrodite, Hecate and, prefiguring the pop-culture references of future works, Cesare the Somnambulist from Wiene's Cabinet of Dr. Caligari (1919), each bearing narcotic gifts.\nThis section of the film is constructed around Shiva greeting each guest, often in a different form, and partaking of what they offer. The movement of the film is essentially the passing of the gifts from one guest to another as they advance into a state of transpersonal ecstasy. Anger's compositions are highly formal and painterly, seducing the viewer with the spectacle of the sumptuous costumes and adopting a colour palette of an aggressively theatrical beauty, reminiscent of Powell's Tales of Hoffmann (1951). The final part of the film is an orgiastic vision of the ritual's consummation, with fast cutting, multiple superimpositions including images of magical symbols and the presence of fire hinting at an apocalyptic destiny for those involved. Even if Anger's films are mute, it would be inaccurate to think of them as silent—his use of music is never less than vitally important and frequently deeply impressive. In this case Janacek's Glagolitic Mass adds to the rapturous imagistic grandeur of Anger's ritual.\nScorpio Rising is practically an amplified remake or, more precisely, a translation of Inauguration of the Pleasure Dome. The implied destruction that concluded the earlier film referred to Anger's recurring preoccupation with the end of the Christian Age of Pisces, the violent death of which was necessary to allow for the birth of the Age of Aquarius. The arcanely theatrical, neo-decadent imagery and abstract space gives way to a realistic milieu, that of a contemporary biker gang. The fetish objects are now the paraphernalia of youth subculture and the violence more savage and overt. But the patterns are the same—a loving preparation for the ritual, the build up of energy at the ritual and finally the act of destruction. Anger has simply taken his show to the street.\nThe preparations involve the bikers fixing and polishing their motorbikes, donning the 'ceremonial garb' of leather, bedecking themselves with rings and chains like Shiva in Pleasure Dome—the physical aspects of preparation. Psychically, there is the reading of comic books, the adoration of James Dean visible on posters in the protagonist's bedroom, the imitation of Brando who appears on his television in Laslo Benedek's The Wild One (1954) and the snorting of cocaine. The 'ritual' is a homoerotic Halloween party, featuring fancy dress like the gathering in Pleasure Dome, where we witness sodomy, fellatio and all manner of pranks. That this machine-fixated biker gang is a death cult is made obvious by the omnipresence of the skull and cross bones, the adoption of Nazi imagery and the noose that hangs in the hero's bedroom. At the party, a man dances around with a skull on a wand, touching people's heads with it in twisted benediction. The film moves into its third stage when the hero leaves the party to desecrate a church, smashing the altar, installing swastikas and skulls, urinating into his helmet and casting a hex on a diurnal motorbike race that results in an accident. That same night there is also another accident that leaves one of the bikers, presumably the hero, dead.\nScorpio Rising represents the densest, most complex montage of Anger's career. As previously stated, the hero's 'preparation' features images of Brando and comic books. This comparative editing is developed in the second part by the blasphemous, contrasting incorporation of images from the life of Jesus appropriated from a Z-grade Sunday school movie, a copy of which Anger is supposed to have discovered left on his doorstep by accident while editing Scorpio Rising. It is the perfect vehicle for conveying Anger's perception of an effete Christianity perishing in the face of the new phallic virility that the bikers embody. As the ranting biker casts his hex from the church, images of Nazism and Hitler grow in frequency. Some shots are barely perceptible, such as the few frames of an erect penis intercut with Jesus healing a blind man. As the film progresses the intensity of the editing increases, culminating in the death hex in which the spell seems to summon, by way of editing, a seemingly unconnected race that ends in accident as the form the malediction takes. These are only the major strands of this semiotic layering; other images are also called in to comment on the action and its meaning.\nThe use of music in Scorpio Rising is possibly the most influential aspect of Anger's oeuvre. The soundtrack is comprised entirely of a series of pop songs and a few sound effects. The songs not only add to the energy of the visuals but their lyrics form an ironic commentary on them. This prefigured such films as Mean Streets (Martin Scorsese, 1973) and American Graffiti (George Lucas, 1973) that paved the way for wide use of 'found' soundtracks.\nIf the 'translation' of the antique, closed universe of Pleasure Dome into the real milieu of Scorpio Rising implied that Anger believed Magick was active in the modern world and by the early '60s no longer needed an academically mythological context to be made cinema, the berserk Invocation of My Demon Brother shows it as immanent by the end of that decade. Aptly described by its director as “an attack on the sensorium”, it is a disturbing montage of jarringly edited images and symbols accompanied by a repetitive synthesised soundtrack by Mick Jagger that sounds like a malfunctioning computer printer. An albino man raises a wand; another man passes a knife across his chest; a cat is thrown on a fire; people smoke from a skull shaped pipe; Anger performs fevered rituals involving burning documents and swastikas; the Rolling Stones and a group of Hell's Angels appear; a procession of musicians descends a staircase followed by a fireball that stops at the bottom, resembling a burnt corpse and holding a sign that reads: 'Zap—You're pregnant—That's witchcraft'. For all its violence and ugly chaos, Scorpio Rising was careful to gradually draw the audience in to its well-defined milieu through a build up of details that in some ways parallels Scorsese and the Rossellini of La Prise de pouvoir par Louis XIV (1966) and kept its drama safely confined to this well defined space. Demon Brother, on the other hand, is terrifying in its randomness and lack of a defined space. There is a brief build up at the outset, with the wand and the knife, but soon the audience is experiencing the full impact of Anger's fragmented nightmare. Symbols, superimpositions and distorting lenses abound. If there is one dominant recurring image, it is eyes in close up, fixed on the audience. A found footage image of soldiers leaving a helicopter in Vietnam is fully visible twice. However, it appears throughout the film on a C roll visible only with infra-red glasses, subliminally adding to the sense of anxiety—one of the most extreme examples of Anger attempting to bypass our rational minds.\nHis subsequent and latest film to date, Lucifer Rising is a departure from his previous major works. If Pleasure Dome, Scorpio Rising and Demon Brother remained fixated on death, Lucifer Rising is about rebirth, a celebration of the power of nature and of the ancient gods. It is a film of breathtaking beauty and power that supplants the closed worlds of Pleasure Dome and Scorpio Rising as well as Demon Brother's zone of all-pervading disorientation with an awesome sense of timelessness and spatial immensity, engendered at least in part by having been shot at often sacred sites all over the world. The 'ritual structure' of the previous films is present, but opened up. It now operates on two levels, encompassing the world of the gods as well as the efforts of the adept at summoning them. Linking Egyptian mythology, embodied by Isis (Miriam Gibril) and Osiris (Donald Cammell), with Crowleyan practices, it celebrates Lucifer not as the devil but as lord of light. 'Lucifer' Anger observes 'is the patron saint of the visual arts. Colour, form, all thee are the works of Lucifer.'\nThese 'ritual' structures are also present in some of the less developed works in either a minor or abbreviated form. Puce Moment, a film linked to Pleasure Dome in terms of its visual opulence (and, indeed, shots from it are used in Pleasure Dome's superimpositions), shares the later film's fetishistic act of preparation, in this case a movie star getting dressed to walk her dogs and magically floating out of her house on her bed. Rabbit's Moon retells the story of Harlequin and Pierrot, which fits into Anger's common narrative pattern of a hero who summons up forces that finally harm him. Likewise Eaux d'artifice's ending, in which the heroine seems to turn into water in one of the numerous fountains among which she has been walking, appears to suggest punishment for meddling with natural powers. Kustom Kar Kommandos seems more like a camp send-up of the machine fetish elements of Scorpio Rising than anything else, with a muscular young man polishing a car with a fluffy duster against a pink background in exaggeratedly eroticised compositions to the accompaniment of the Parris Sisters' Dream Lover.\nAnger began life in Hollywood and popular legend maintains that an appearance as a child actor in A Midsummer Night's Dream (Max Reinhardt/William Dieterle, 1935) revealed his vocation to him. As a boy he claims to have made a series of unscreened and possibly lost films with such titles as 'Who Has Been Rocking my Dreamboat' (1941), 'Prisoner of Mars' (1942) and 'Drastic Demise' (1945). His first film in distribution is Fireworks (1947) and it already marks him as a major talent. Essentially the story of a dream, this sado-masochistic, homoerotic vision of a young man who cannot sleep and goes in search of a light, only to be beaten and torn open by a group of sailors already displays the influence of Crowley; it is a veiled study of an initiate's symbolic death and rebirth. It also displays the influence of Jean Cocteau who was so impressed by it that he invited Anger to come to France. He spent much of the '50s there, involved in many abortive projects. Indeed, Anger's career is littered with films abandoned due to lack of funding or to theft, fire or vandalism. Puce Moment is all that was shot of a proposed feature, 'Puce Women', about fading Hollywood stars in their decaying mansions. In 1949 The Love that Whirls was destroyed by Eastman-Kodak developing laboratories who objected to images of nudity. Adaptations of Cocteau's La Jeune homme et la mort and Isidore Ducasse's Les Chants de Maldoror in the early '50s got no further than test shots. A documentary about Crowley's erotic frescoes at Thelema Abbey was 'lost' by the magazine Picture Post which commissioned it. Only 20 minutes of an adaptation of Pauline Reage's L'histoire d'O were shot in 1960.\nAnger returned to the United States in 1962. After the success of Scorpio Rising he planned the ambitious Kustom Kar Kommandos, abandoned due to lack of funds—the only scene shot comprises the film of that title that we have today. The original and very different version of Lucifer Rising was stolen in 1966, never to be recovered. In 1968 Anger went to London, where he began an association with Mick Jagger. Demon Brother was constructed from remaining footage from the first Lucifer Rising and material shot in London.\nSince Lucifer Rising, Anger has spent his time pruning, maintaining and preserving his films, adding new soundtracks to several of them. He also travels widely to attend screenings of his work. In rigorously pursuing a vision of the cinema that is as original as it is personal, Anger not only created one of the most consistently thrilling bodies of work in cinema but in so doing highlighted the poverty of imagination that governs so much 'normal' filmmaking and the unconscionable limitations still placed on the medium. Like other geniuses of the American Underground such as Brakhage, Warhol and Markopoulos he has had a certain amount of influence over succeeding generations of filmmakers. But, like them, whatever he has taught others, he will always remain unique, one of the few filmmakers whose work is capable of returning meaning to that much overused word—'visionary'.","bio_dates":"b. 1927"},{"slug":"anger_kenneth_inauguration_of_the_pleasure_dome_1954","ok":true,"partial":false,"title":"Inauguration of the Pleasure Dome","artist":"Kenneth Anger","year":"1954","startOffset":0,"sourceSecs":2308.256,"sourceHeight":576,"sourceWidth":790,"hasAudio":true,"hasAmbientMp4":true,"bytes":386024138,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_inauguration_of_the_pleasure_dome_1954/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_inauguration_of_the_pleasure_dome_1954/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/anger_kenneth_inauguration_of_the_pleasure_dome_1954.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anger_kenneth_inauguration_of_the_pleasure_dome_1954/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anger_kenneth_inauguration_of_the_pleasure_dome_1954/main/master.m3u8?v=2","hasMainHls":true,"description":"A Slavonic Mass by Leos Janácek plays as historical figures, biblical characters, and mythical creatures gather in the pleasure dome. Aphrodite, Lilith, Isis, Kali, Astarte, Nero, Pan, and the Great Beast and the Scarlet Woman are part of a visual feast of images superimposed, hallucinations, and the spirit of decadence of the “Yellow ’90s.” Mythological images from Aleister Crowley, cabalistic symbols, artifice, and magic combine to render the pleasure dome both as prison and as celebration.","artist_bio":"Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his 'lifework' as being Magick and his 'magical weapon' the cinematograph. A follower of Aleister Crowley's teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention.\nWhatever one's view of this belief may be, what is undeniable is that in creating the nine films that he either managed to complete (Fireworks [1947], Eaux d'artifice [1953], Inauguration of the Pleasure Dome [1954-66], Scorpio Rising [1963], Invocation of My Demon Brother [1969], Lucifer Rising [1970-81]) or else released as self contained fragments (Puce Moment [1949], Rabbit's Moon [1950-79], Kustom Kar Kommandos [1965]), Anger forged a body of work as dazzlingly poetic in its unique visual intensity as it is narratively innovative. In many ways, these wordless films represent the resurgence and development of the uniquely cinematic qualities widely considered retarded or destroyed by the passing of the silent era, especially in the area of editing. According to Tony Rayns, “Anger has an amazing instinctive grasp of all the elements of filmmaking; his films actively work out much of Eisenstein's theoretical writing about the cinema…. [Anger] comes nearer [to Eisenstein's theories] than anything in commercial cinema and produces film-making as rich in resonance as anything of Eisenstein's own.”\nAnger's films are cinematic manifestations of his occult practices. As such, they are highly symbolical, either featuring characters directly portraying gods, forces and demons (Inauguration of the Pleasure Dome, Lucifer Rising) or else finding an appropriate embodiment for them in the iconography of contemporary pop culture (Puce Moment, Scorpio Rising, Kustom Kar Kommandos, also Inauguration of the Pleasure Dome). This view of pop culture as vehicle for ancient archetypes is also the basis of Hollywood Babylon, his famous book about the seedier aspects of Hollywood history. In attempting to induce an altered state of consciousness in his viewers, Anger dispenses with traditional narrative devices, although his films definitely tell stories. Using powerful esoteric images and, especially in his later works, extremely complex editing strategies that frequently feature superimposition and the inclusion of subliminal images running just a few frames, Anger bypasses our rationality and appeals directly to our subconscious mind. The structure common to his major works is that of a ritual invoking or evoking spiritual forces, normally moving from a slow build up, resplendent with fetishistic detail, to a frenzied finale with the forces called forth running wild.\nThe films directly pertinent to this description that fully develop it both within their own contexts and in regard to each other are Inauguration of the Pleasure Dome, Scorpio Rising, Invocation of My Demon Brother and Lucifer Rising. The first of these details the shifts in consciousness undergone by guests at an occult Eucharist at the house of Lord Shiva, the Magician. The first scenes detail his preparations for the event. The decadent magnificence of the spectacle is established in the opening image: a big close-up of a gold chain at the centre of the frame that, snakelike, slithers away from the camera, out of focus and ultimately upwards. The camera follows to reveal the hand of Shiva, luxuriating in his bed, languidly observing the chain, dangling it over his face. He then reaches out to his bedside table which is laden with rings. His hands opulently bejewelled, he swallows the chain, the first example of oral consumption, the means whereby each alteration of consciousness will come about. Shiva proceeds to a small, completely red room where he perceives a deity in the mirror, and then to the space where the bulk of the action transpires, a completely dark area of indeterminate dimensions. The guests begin to arrive, each dressed as a mythological deity—Pan, Astarte, The Scarlet Woman, Isis, Lilith, Aphrodite, Hecate and, prefiguring the pop-culture references of future works, Cesare the Somnambulist from Wiene's Cabinet of Dr. Caligari (1919), each bearing narcotic gifts.\nThis section of the film is constructed around Shiva greeting each guest, often in a different form, and partaking of what they offer. The movement of the film is essentially the passing of the gifts from one guest to another as they advance into a state of transpersonal ecstasy. Anger's compositions are highly formal and painterly, seducing the viewer with the spectacle of the sumptuous costumes and adopting a colour palette of an aggressively theatrical beauty, reminiscent of Powell's Tales of Hoffmann (1951). The final part of the film is an orgiastic vision of the ritual's consummation, with fast cutting, multiple superimpositions including images of magical symbols and the presence of fire hinting at an apocalyptic destiny for those involved. Even if Anger's films are mute, it would be inaccurate to think of them as silent—his use of music is never less than vitally important and frequently deeply impressive. In this case Janacek's Glagolitic Mass adds to the rapturous imagistic grandeur of Anger's ritual.\nScorpio Rising is practically an amplified remake or, more precisely, a translation of Inauguration of the Pleasure Dome. The implied destruction that concluded the earlier film referred to Anger's recurring preoccupation with the end of the Christian Age of Pisces, the violent death of which was necessary to allow for the birth of the Age of Aquarius. The arcanely theatrical, neo-decadent imagery and abstract space gives way to a realistic milieu, that of a contemporary biker gang. The fetish objects are now the paraphernalia of youth subculture and the violence more savage and overt. But the patterns are the same—a loving preparation for the ritual, the build up of energy at the ritual and finally the act of destruction. Anger has simply taken his show to the street.\nThe preparations involve the bikers fixing and polishing their motorbikes, donning the 'ceremonial garb' of leather, bedecking themselves with rings and chains like Shiva in Pleasure Dome—the physical aspects of preparation. Psychically, there is the reading of comic books, the adoration of James Dean visible on posters in the protagonist's bedroom, the imitation of Brando who appears on his television in Laslo Benedek's The Wild One (1954) and the snorting of cocaine. The 'ritual' is a homoerotic Halloween party, featuring fancy dress like the gathering in Pleasure Dome, where we witness sodomy, fellatio and all manner of pranks. That this machine-fixated biker gang is a death cult is made obvious by the omnipresence of the skull and cross bones, the adoption of Nazi imagery and the noose that hangs in the hero's bedroom. At the party, a man dances around with a skull on a wand, touching people's heads with it in twisted benediction. The film moves into its third stage when the hero leaves the party to desecrate a church, smashing the altar, installing swastikas and skulls, urinating into his helmet and casting a hex on a diurnal motorbike race that results in an accident. That same night there is also another accident that leaves one of the bikers, presumably the hero, dead.\nScorpio Rising represents the densest, most complex montage of Anger's career. As previously stated, the hero's 'preparation' features images of Brando and comic books. This comparative editing is developed in the second part by the blasphemous, contrasting incorporation of images from the life of Jesus appropriated from a Z-grade Sunday school movie, a copy of which Anger is supposed to have discovered left on his doorstep by accident while editing Scorpio Rising. It is the perfect vehicle for conveying Anger's perception of an effete Christianity perishing in the face of the new phallic virility that the bikers embody. As the ranting biker casts his hex from the church, images of Nazism and Hitler grow in frequency. Some shots are barely perceptible, such as the few frames of an erect penis intercut with Jesus healing a blind man. As the film progresses the intensity of the editing increases, culminating in the death hex in which the spell seems to summon, by way of editing, a seemingly unconnected race that ends in accident as the form the malediction takes. These are only the major strands of this semiotic layering; other images are also called in to comment on the action and its meaning.\nThe use of music in Scorpio Rising is possibly the most influential aspect of Anger's oeuvre. The soundtrack is comprised entirely of a series of pop songs and a few sound effects. The songs not only add to the energy of the visuals but their lyrics form an ironic commentary on them. This prefigured such films as Mean Streets (Martin Scorsese, 1973) and American Graffiti (George Lucas, 1973) that paved the way for wide use of 'found' soundtracks.\nIf the 'translation' of the antique, closed universe of Pleasure Dome into the real milieu of Scorpio Rising implied that Anger believed Magick was active in the modern world and by the early '60s no longer needed an academically mythological context to be made cinema, the berserk Invocation of My Demon Brother shows it as immanent by the end of that decade. Aptly described by its director as “an attack on the sensorium”, it is a disturbing montage of jarringly edited images and symbols accompanied by a repetitive synthesised soundtrack by Mick Jagger that sounds like a malfunctioning computer printer. An albino man raises a wand; another man passes a knife across his chest; a cat is thrown on a fire; people smoke from a skull shaped pipe; Anger performs fevered rituals involving burning documents and swastikas; the Rolling Stones and a group of Hell's Angels appear; a procession of musicians descends a staircase followed by a fireball that stops at the bottom, resembling a burnt corpse and holding a sign that reads: 'Zap—You're pregnant—That's witchcraft'. For all its violence and ugly chaos, Scorpio Rising was careful to gradually draw the audience in to its well-defined milieu through a build up of details that in some ways parallels Scorsese and the Rossellini of La Prise de pouvoir par Louis XIV (1966) and kept its drama safely confined to this well defined space. Demon Brother, on the other hand, is terrifying in its randomness and lack of a defined space. There is a brief build up at the outset, with the wand and the knife, but soon the audience is experiencing the full impact of Anger's fragmented nightmare. Symbols, superimpositions and distorting lenses abound. If there is one dominant recurring image, it is eyes in close up, fixed on the audience. A found footage image of soldiers leaving a helicopter in Vietnam is fully visible twice. However, it appears throughout the film on a C roll visible only with infra-red glasses, subliminally adding to the sense of anxiety—one of the most extreme examples of Anger attempting to bypass our rational minds.\nHis subsequent and latest film to date, Lucifer Rising is a departure from his previous major works. If Pleasure Dome, Scorpio Rising and Demon Brother remained fixated on death, Lucifer Rising is about rebirth, a celebration of the power of nature and of the ancient gods. It is a film of breathtaking beauty and power that supplants the closed worlds of Pleasure Dome and Scorpio Rising as well as Demon Brother's zone of all-pervading disorientation with an awesome sense of timelessness and spatial immensity, engendered at least in part by having been shot at often sacred sites all over the world. The 'ritual structure' of the previous films is present, but opened up. It now operates on two levels, encompassing the world of the gods as well as the efforts of the adept at summoning them. Linking Egyptian mythology, embodied by Isis (Miriam Gibril) and Osiris (Donald Cammell), with Crowleyan practices, it celebrates Lucifer not as the devil but as lord of light. 'Lucifer' Anger observes 'is the patron saint of the visual arts. Colour, form, all thee are the works of Lucifer.'\nThese 'ritual' structures are also present in some of the less developed works in either a minor or abbreviated form. Puce Moment, a film linked to Pleasure Dome in terms of its visual opulence (and, indeed, shots from it are used in Pleasure Dome's superimpositions), shares the later film's fetishistic act of preparation, in this case a movie star getting dressed to walk her dogs and magically floating out of her house on her bed. Rabbit's Moon retells the story of Harlequin and Pierrot, which fits into Anger's common narrative pattern of a hero who summons up forces that finally harm him. Likewise Eaux d'artifice's ending, in which the heroine seems to turn into water in one of the numerous fountains among which she has been walking, appears to suggest punishment for meddling with natural powers. Kustom Kar Kommandos seems more like a camp send-up of the machine fetish elements of Scorpio Rising than anything else, with a muscular young man polishing a car with a fluffy duster against a pink background in exaggeratedly eroticised compositions to the accompaniment of the Parris Sisters' Dream Lover.\nAnger began life in Hollywood and popular legend maintains that an appearance as a child actor in A Midsummer Night's Dream (Max Reinhardt/William Dieterle, 1935) revealed his vocation to him. As a boy he claims to have made a series of unscreened and possibly lost films with such titles as 'Who Has Been Rocking my Dreamboat' (1941), 'Prisoner of Mars' (1942) and 'Drastic Demise' (1945). His first film in distribution is Fireworks (1947) and it already marks him as a major talent. Essentially the story of a dream, this sado-masochistic, homoerotic vision of a young man who cannot sleep and goes in search of a light, only to be beaten and torn open by a group of sailors already displays the influence of Crowley; it is a veiled study of an initiate's symbolic death and rebirth. It also displays the influence of Jean Cocteau who was so impressed by it that he invited Anger to come to France. He spent much of the '50s there, involved in many abortive projects. Indeed, Anger's career is littered with films abandoned due to lack of funding or to theft, fire or vandalism. Puce Moment is all that was shot of a proposed feature, 'Puce Women', about fading Hollywood stars in their decaying mansions. In 1949 The Love that Whirls was destroyed by Eastman-Kodak developing laboratories who objected to images of nudity. Adaptations of Cocteau's La Jeune homme et la mort and Isidore Ducasse's Les Chants de Maldoror in the early '50s got no further than test shots. A documentary about Crowley's erotic frescoes at Thelema Abbey was 'lost' by the magazine Picture Post which commissioned it. Only 20 minutes of an adaptation of Pauline Reage's L'histoire d'O were shot in 1960.\nAnger returned to the United States in 1962. After the success of Scorpio Rising he planned the ambitious Kustom Kar Kommandos, abandoned due to lack of funds—the only scene shot comprises the film of that title that we have today. The original and very different version of Lucifer Rising was stolen in 1966, never to be recovered. In 1968 Anger went to London, where he began an association with Mick Jagger. Demon Brother was constructed from remaining footage from the first Lucifer Rising and material shot in London.\nSince Lucifer Rising, Anger has spent his time pruning, maintaining and preserving his films, adding new soundtracks to several of them. He also travels widely to attend screenings of his work. In rigorously pursuing a vision of the cinema that is as original as it is personal, Anger not only created one of the most consistently thrilling bodies of work in cinema but in so doing highlighted the poverty of imagination that governs so much 'normal' filmmaking and the unconscionable limitations still placed on the medium. Like other geniuses of the American Underground such as Brakhage, Warhol and Markopoulos he has had a certain amount of influence over succeeding generations of filmmakers. But, like them, whatever he has taught others, he will always remain unique, one of the few filmmakers whose work is capable of returning meaning to that much overused word—'visionary'.","bio_dates":"b. 1927"},{"slug":"anger_kenneth_invocation_of_my_demon_brother_1969","ok":true,"partial":false,"title":"Invocation of My Demon Brother","artist":"Kenneth Anger","year":"1969","startOffset":0,"sourceSecs":661.568,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":45025307,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_invocation_of_my_demon_brother_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_invocation_of_my_demon_brother_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/anger_kenneth_invocation_of_my_demon_brother_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anger_kenneth_invocation_of_my_demon_brother_1969/main.mp4?v=2","description":"Invocation of My Demon Brother (1969) is an 11 minute film directed, edited and photographed by Kenneth Anger. The music was composed by <a href=\"https://ubu.com/sound/jagger.html\" rel=\"noopener\" target=\"_blank\">Mick Jagger</a>. It was filmed in San Francisco at the Straight theater and the (former) Russian Embassy. <br/><br/> According to Kenneth Anger, the film was assembled from scraps of the first version of Lucifer Rising. It includes clips of the cast smoking out of a skull, and the publicly-filmed Satanic funeral ceremony for a pet cat. <br/><br/> Invocation of My Demon Brother won the tenth Film Culture award for Kenneth Anger.","artist_bio":"Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his 'lifework' as being Magick and his 'magical weapon' the cinematograph. A follower of Aleister Crowley's teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention.\nWhatever one's view of this belief may be, what is undeniable is that in creating the nine films that he either managed to complete (Fireworks [1947], Eaux d'artifice [1953], Inauguration of the Pleasure Dome [1954-66], Scorpio Rising [1963], Invocation of My Demon Brother [1969], Lucifer Rising [1970-81]) or else released as self contained fragments (Puce Moment [1949], Rabbit's Moon [1950-79], Kustom Kar Kommandos [1965]), Anger forged a body of work as dazzlingly poetic in its unique visual intensity as it is narratively innovative. In many ways, these wordless films represent the resurgence and development of the uniquely cinematic qualities widely considered retarded or destroyed by the passing of the silent era, especially in the area of editing. According to Tony Rayns, “Anger has an amazing instinctive grasp of all the elements of filmmaking; his films actively work out much of Eisenstein's theoretical writing about the cinema…. [Anger] comes nearer [to Eisenstein's theories] than anything in commercial cinema and produces film-making as rich in resonance as anything of Eisenstein's own.”\nAnger's films are cinematic manifestations of his occult practices. As such, they are highly symbolical, either featuring characters directly portraying gods, forces and demons (Inauguration of the Pleasure Dome, Lucifer Rising) or else finding an appropriate embodiment for them in the iconography of contemporary pop culture (Puce Moment, Scorpio Rising, Kustom Kar Kommandos, also Inauguration of the Pleasure Dome). This view of pop culture as vehicle for ancient archetypes is also the basis of Hollywood Babylon, his famous book about the seedier aspects of Hollywood history. In attempting to induce an altered state of consciousness in his viewers, Anger dispenses with traditional narrative devices, although his films definitely tell stories. Using powerful esoteric images and, especially in his later works, extremely complex editing strategies that frequently feature superimposition and the inclusion of subliminal images running just a few frames, Anger bypasses our rationality and appeals directly to our subconscious mind. The structure common to his major works is that of a ritual invoking or evoking spiritual forces, normally moving from a slow build up, resplendent with fetishistic detail, to a frenzied finale with the forces called forth running wild.\nThe films directly pertinent to this description that fully develop it both within their own contexts and in regard to each other are Inauguration of the Pleasure Dome, Scorpio Rising, Invocation of My Demon Brother and Lucifer Rising. The first of these details the shifts in consciousness undergone by guests at an occult Eucharist at the house of Lord Shiva, the Magician. The first scenes detail his preparations for the event. The decadent magnificence of the spectacle is established in the opening image: a big close-up of a gold chain at the centre of the frame that, snakelike, slithers away from the camera, out of focus and ultimately upwards. The camera follows to reveal the hand of Shiva, luxuriating in his bed, languidly observing the chain, dangling it over his face. He then reaches out to his bedside table which is laden with rings. His hands opulently bejewelled, he swallows the chain, the first example of oral consumption, the means whereby each alteration of consciousness will come about. Shiva proceeds to a small, completely red room where he perceives a deity in the mirror, and then to the space where the bulk of the action transpires, a completely dark area of indeterminate dimensions. The guests begin to arrive, each dressed as a mythological deity—Pan, Astarte, The Scarlet Woman, Isis, Lilith, Aphrodite, Hecate and, prefiguring the pop-culture references of future works, Cesare the Somnambulist from Wiene's Cabinet of Dr. Caligari (1919), each bearing narcotic gifts.\nThis section of the film is constructed around Shiva greeting each guest, often in a different form, and partaking of what they offer. The movement of the film is essentially the passing of the gifts from one guest to another as they advance into a state of transpersonal ecstasy. Anger's compositions are highly formal and painterly, seducing the viewer with the spectacle of the sumptuous costumes and adopting a colour palette of an aggressively theatrical beauty, reminiscent of Powell's Tales of Hoffmann (1951). The final part of the film is an orgiastic vision of the ritual's consummation, with fast cutting, multiple superimpositions including images of magical symbols and the presence of fire hinting at an apocalyptic destiny for those involved. Even if Anger's films are mute, it would be inaccurate to think of them as silent—his use of music is never less than vitally important and frequently deeply impressive. In this case Janacek's Glagolitic Mass adds to the rapturous imagistic grandeur of Anger's ritual.\nScorpio Rising is practically an amplified remake or, more precisely, a translation of Inauguration of the Pleasure Dome. The implied destruction that concluded the earlier film referred to Anger's recurring preoccupation with the end of the Christian Age of Pisces, the violent death of which was necessary to allow for the birth of the Age of Aquarius. The arcanely theatrical, neo-decadent imagery and abstract space gives way to a realistic milieu, that of a contemporary biker gang. The fetish objects are now the paraphernalia of youth subculture and the violence more savage and overt. But the patterns are the same—a loving preparation for the ritual, the build up of energy at the ritual and finally the act of destruction. Anger has simply taken his show to the street.\nThe preparations involve the bikers fixing and polishing their motorbikes, donning the 'ceremonial garb' of leather, bedecking themselves with rings and chains like Shiva in Pleasure Dome—the physical aspects of preparation. Psychically, there is the reading of comic books, the adoration of James Dean visible on posters in the protagonist's bedroom, the imitation of Brando who appears on his television in Laslo Benedek's The Wild One (1954) and the snorting of cocaine. The 'ritual' is a homoerotic Halloween party, featuring fancy dress like the gathering in Pleasure Dome, where we witness sodomy, fellatio and all manner of pranks. That this machine-fixated biker gang is a death cult is made obvious by the omnipresence of the skull and cross bones, the adoption of Nazi imagery and the noose that hangs in the hero's bedroom. At the party, a man dances around with a skull on a wand, touching people's heads with it in twisted benediction. The film moves into its third stage when the hero leaves the party to desecrate a church, smashing the altar, installing swastikas and skulls, urinating into his helmet and casting a hex on a diurnal motorbike race that results in an accident. That same night there is also another accident that leaves one of the bikers, presumably the hero, dead.\nScorpio Rising represents the densest, most complex montage of Anger's career. As previously stated, the hero's 'preparation' features images of Brando and comic books. This comparative editing is developed in the second part by the blasphemous, contrasting incorporation of images from the life of Jesus appropriated from a Z-grade Sunday school movie, a copy of which Anger is supposed to have discovered left on his doorstep by accident while editing Scorpio Rising. It is the perfect vehicle for conveying Anger's perception of an effete Christianity perishing in the face of the new phallic virility that the bikers embody. As the ranting biker casts his hex from the church, images of Nazism and Hitler grow in frequency. Some shots are barely perceptible, such as the few frames of an erect penis intercut with Jesus healing a blind man. As the film progresses the intensity of the editing increases, culminating in the death hex in which the spell seems to summon, by way of editing, a seemingly unconnected race that ends in accident as the form the malediction takes. These are only the major strands of this semiotic layering; other images are also called in to comment on the action and its meaning.\nThe use of music in Scorpio Rising is possibly the most influential aspect of Anger's oeuvre. The soundtrack is comprised entirely of a series of pop songs and a few sound effects. The songs not only add to the energy of the visuals but their lyrics form an ironic commentary on them. This prefigured such films as Mean Streets (Martin Scorsese, 1973) and American Graffiti (George Lucas, 1973) that paved the way for wide use of 'found' soundtracks.\nIf the 'translation' of the antique, closed universe of Pleasure Dome into the real milieu of Scorpio Rising implied that Anger believed Magick was active in the modern world and by the early '60s no longer needed an academically mythological context to be made cinema, the berserk Invocation of My Demon Brother shows it as immanent by the end of that decade. Aptly described by its director as “an attack on the sensorium”, it is a disturbing montage of jarringly edited images and symbols accompanied by a repetitive synthesised soundtrack by Mick Jagger that sounds like a malfunctioning computer printer. An albino man raises a wand; another man passes a knife across his chest; a cat is thrown on a fire; people smoke from a skull shaped pipe; Anger performs fevered rituals involving burning documents and swastikas; the Rolling Stones and a group of Hell's Angels appear; a procession of musicians descends a staircase followed by a fireball that stops at the bottom, resembling a burnt corpse and holding a sign that reads: 'Zap—You're pregnant—That's witchcraft'. For all its violence and ugly chaos, Scorpio Rising was careful to gradually draw the audience in to its well-defined milieu through a build up of details that in some ways parallels Scorsese and the Rossellini of La Prise de pouvoir par Louis XIV (1966) and kept its drama safely confined to this well defined space. Demon Brother, on the other hand, is terrifying in its randomness and lack of a defined space. There is a brief build up at the outset, with the wand and the knife, but soon the audience is experiencing the full impact of Anger's fragmented nightmare. Symbols, superimpositions and distorting lenses abound. If there is one dominant recurring image, it is eyes in close up, fixed on the audience. A found footage image of soldiers leaving a helicopter in Vietnam is fully visible twice. However, it appears throughout the film on a C roll visible only with infra-red glasses, subliminally adding to the sense of anxiety—one of the most extreme examples of Anger attempting to bypass our rational minds.\nHis subsequent and latest film to date, Lucifer Rising is a departure from his previous major works. If Pleasure Dome, Scorpio Rising and Demon Brother remained fixated on death, Lucifer Rising is about rebirth, a celebration of the power of nature and of the ancient gods. It is a film of breathtaking beauty and power that supplants the closed worlds of Pleasure Dome and Scorpio Rising as well as Demon Brother's zone of all-pervading disorientation with an awesome sense of timelessness and spatial immensity, engendered at least in part by having been shot at often sacred sites all over the world. The 'ritual structure' of the previous films is present, but opened up. It now operates on two levels, encompassing the world of the gods as well as the efforts of the adept at summoning them. Linking Egyptian mythology, embodied by Isis (Miriam Gibril) and Osiris (Donald Cammell), with Crowleyan practices, it celebrates Lucifer not as the devil but as lord of light. 'Lucifer' Anger observes 'is the patron saint of the visual arts. Colour, form, all thee are the works of Lucifer.'\nThese 'ritual' structures are also present in some of the less developed works in either a minor or abbreviated form. Puce Moment, a film linked to Pleasure Dome in terms of its visual opulence (and, indeed, shots from it are used in Pleasure Dome's superimpositions), shares the later film's fetishistic act of preparation, in this case a movie star getting dressed to walk her dogs and magically floating out of her house on her bed. Rabbit's Moon retells the story of Harlequin and Pierrot, which fits into Anger's common narrative pattern of a hero who summons up forces that finally harm him. Likewise Eaux d'artifice's ending, in which the heroine seems to turn into water in one of the numerous fountains among which she has been walking, appears to suggest punishment for meddling with natural powers. Kustom Kar Kommandos seems more like a camp send-up of the machine fetish elements of Scorpio Rising than anything else, with a muscular young man polishing a car with a fluffy duster against a pink background in exaggeratedly eroticised compositions to the accompaniment of the Parris Sisters' Dream Lover.\nAnger began life in Hollywood and popular legend maintains that an appearance as a child actor in A Midsummer Night's Dream (Max Reinhardt/William Dieterle, 1935) revealed his vocation to him. As a boy he claims to have made a series of unscreened and possibly lost films with such titles as 'Who Has Been Rocking my Dreamboat' (1941), 'Prisoner of Mars' (1942) and 'Drastic Demise' (1945). His first film in distribution is Fireworks (1947) and it already marks him as a major talent. Essentially the story of a dream, this sado-masochistic, homoerotic vision of a young man who cannot sleep and goes in search of a light, only to be beaten and torn open by a group of sailors already displays the influence of Crowley; it is a veiled study of an initiate's symbolic death and rebirth. It also displays the influence of Jean Cocteau who was so impressed by it that he invited Anger to come to France. He spent much of the '50s there, involved in many abortive projects. Indeed, Anger's career is littered with films abandoned due to lack of funding or to theft, fire or vandalism. Puce Moment is all that was shot of a proposed feature, 'Puce Women', about fading Hollywood stars in their decaying mansions. In 1949 The Love that Whirls was destroyed by Eastman-Kodak developing laboratories who objected to images of nudity. Adaptations of Cocteau's La Jeune homme et la mort and Isidore Ducasse's Les Chants de Maldoror in the early '50s got no further than test shots. A documentary about Crowley's erotic frescoes at Thelema Abbey was 'lost' by the magazine Picture Post which commissioned it. Only 20 minutes of an adaptation of Pauline Reage's L'histoire d'O were shot in 1960.\nAnger returned to the United States in 1962. After the success of Scorpio Rising he planned the ambitious Kustom Kar Kommandos, abandoned due to lack of funds—the only scene shot comprises the film of that title that we have today. The original and very different version of Lucifer Rising was stolen in 1966, never to be recovered. In 1968 Anger went to London, where he began an association with Mick Jagger. Demon Brother was constructed from remaining footage from the first Lucifer Rising and material shot in London.\nSince Lucifer Rising, Anger has spent his time pruning, maintaining and preserving his films, adding new soundtracks to several of them. He also travels widely to attend screenings of his work. In rigorously pursuing a vision of the cinema that is as original as it is personal, Anger not only created one of the most consistently thrilling bodies of work in cinema but in so doing highlighted the poverty of imagination that governs so much 'normal' filmmaking and the unconscionable limitations still placed on the medium. Like other geniuses of the American Underground such as Brakhage, Warhol and Markopoulos he has had a certain amount of influence over succeeding generations of filmmakers. But, like them, whatever he has taught others, he will always remain unique, one of the few filmmakers whose work is capable of returning meaning to that much overused word—'visionary'.","bio_dates":"b. 1927"},{"slug":"anger_kenneth_kustom_kar_kommandos_1965","ok":true,"partial":false,"title":"Kustom Kar Kommandos","artist":"Kenneth Anger","year":"1965","startOffset":0,"sourceSecs":151.324,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":10755054,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_kustom_kar_kommandos_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_kustom_kar_kommandos_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/anger_kenneth_kustom_kar_kommandos_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anger_kenneth_kustom_kar_kommandos_1965/main.mp4?v=2","description":"In color, set to the tones of \"Dream Lover\" by The Paris Sisters, several handsome young men stand admiringly over the chasis of a suped up hotrod. A young man slowly works the chamois over the chrome and paint of the machine. A young man smartly dressed in matching pastel blue gets behind the wheel and begins to work the controls. Finally the engine revs and the car rolls away.","artist_bio":"Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his 'lifework' as being Magick and his 'magical weapon' the cinematograph. A follower of Aleister Crowley's teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention.\nWhatever one's view of this belief may be, what is undeniable is that in creating the nine films that he either managed to complete (Fireworks [1947], Eaux d'artifice [1953], Inauguration of the Pleasure Dome [1954-66], Scorpio Rising [1963], Invocation of My Demon Brother [1969], Lucifer Rising [1970-81]) or else released as self contained fragments (Puce Moment [1949], Rabbit's Moon [1950-79], Kustom Kar Kommandos [1965]), Anger forged a body of work as dazzlingly poetic in its unique visual intensity as it is narratively innovative. In many ways, these wordless films represent the resurgence and development of the uniquely cinematic qualities widely considered retarded or destroyed by the passing of the silent era, especially in the area of editing. According to Tony Rayns, “Anger has an amazing instinctive grasp of all the elements of filmmaking; his films actively work out much of Eisenstein's theoretical writing about the cinema…. [Anger] comes nearer [to Eisenstein's theories] than anything in commercial cinema and produces film-making as rich in resonance as anything of Eisenstein's own.”\nAnger's films are cinematic manifestations of his occult practices. As such, they are highly symbolical, either featuring characters directly portraying gods, forces and demons (Inauguration of the Pleasure Dome, Lucifer Rising) or else finding an appropriate embodiment for them in the iconography of contemporary pop culture (Puce Moment, Scorpio Rising, Kustom Kar Kommandos, also Inauguration of the Pleasure Dome). This view of pop culture as vehicle for ancient archetypes is also the basis of Hollywood Babylon, his famous book about the seedier aspects of Hollywood history. In attempting to induce an altered state of consciousness in his viewers, Anger dispenses with traditional narrative devices, although his films definitely tell stories. Using powerful esoteric images and, especially in his later works, extremely complex editing strategies that frequently feature superimposition and the inclusion of subliminal images running just a few frames, Anger bypasses our rationality and appeals directly to our subconscious mind. The structure common to his major works is that of a ritual invoking or evoking spiritual forces, normally moving from a slow build up, resplendent with fetishistic detail, to a frenzied finale with the forces called forth running wild.\nThe films directly pertinent to this description that fully develop it both within their own contexts and in regard to each other are Inauguration of the Pleasure Dome, Scorpio Rising, Invocation of My Demon Brother and Lucifer Rising. The first of these details the shifts in consciousness undergone by guests at an occult Eucharist at the house of Lord Shiva, the Magician. The first scenes detail his preparations for the event. The decadent magnificence of the spectacle is established in the opening image: a big close-up of a gold chain at the centre of the frame that, snakelike, slithers away from the camera, out of focus and ultimately upwards. The camera follows to reveal the hand of Shiva, luxuriating in his bed, languidly observing the chain, dangling it over his face. He then reaches out to his bedside table which is laden with rings. His hands opulently bejewelled, he swallows the chain, the first example of oral consumption, the means whereby each alteration of consciousness will come about. Shiva proceeds to a small, completely red room where he perceives a deity in the mirror, and then to the space where the bulk of the action transpires, a completely dark area of indeterminate dimensions. The guests begin to arrive, each dressed as a mythological deity—Pan, Astarte, The Scarlet Woman, Isis, Lilith, Aphrodite, Hecate and, prefiguring the pop-culture references of future works, Cesare the Somnambulist from Wiene's Cabinet of Dr. Caligari (1919), each bearing narcotic gifts.\nThis section of the film is constructed around Shiva greeting each guest, often in a different form, and partaking of what they offer. The movement of the film is essentially the passing of the gifts from one guest to another as they advance into a state of transpersonal ecstasy. Anger's compositions are highly formal and painterly, seducing the viewer with the spectacle of the sumptuous costumes and adopting a colour palette of an aggressively theatrical beauty, reminiscent of Powell's Tales of Hoffmann (1951). The final part of the film is an orgiastic vision of the ritual's consummation, with fast cutting, multiple superimpositions including images of magical symbols and the presence of fire hinting at an apocalyptic destiny for those involved. Even if Anger's films are mute, it would be inaccurate to think of them as silent—his use of music is never less than vitally important and frequently deeply impressive. In this case Janacek's Glagolitic Mass adds to the rapturous imagistic grandeur of Anger's ritual.\nScorpio Rising is practically an amplified remake or, more precisely, a translation of Inauguration of the Pleasure Dome. The implied destruction that concluded the earlier film referred to Anger's recurring preoccupation with the end of the Christian Age of Pisces, the violent death of which was necessary to allow for the birth of the Age of Aquarius. The arcanely theatrical, neo-decadent imagery and abstract space gives way to a realistic milieu, that of a contemporary biker gang. The fetish objects are now the paraphernalia of youth subculture and the violence more savage and overt. But the patterns are the same—a loving preparation for the ritual, the build up of energy at the ritual and finally the act of destruction. Anger has simply taken his show to the street.\nThe preparations involve the bikers fixing and polishing their motorbikes, donning the 'ceremonial garb' of leather, bedecking themselves with rings and chains like Shiva in Pleasure Dome—the physical aspects of preparation. Psychically, there is the reading of comic books, the adoration of James Dean visible on posters in the protagonist's bedroom, the imitation of Brando who appears on his television in Laslo Benedek's The Wild One (1954) and the snorting of cocaine. The 'ritual' is a homoerotic Halloween party, featuring fancy dress like the gathering in Pleasure Dome, where we witness sodomy, fellatio and all manner of pranks. That this machine-fixated biker gang is a death cult is made obvious by the omnipresence of the skull and cross bones, the adoption of Nazi imagery and the noose that hangs in the hero's bedroom. At the party, a man dances around with a skull on a wand, touching people's heads with it in twisted benediction. The film moves into its third stage when the hero leaves the party to desecrate a church, smashing the altar, installing swastikas and skulls, urinating into his helmet and casting a hex on a diurnal motorbike race that results in an accident. That same night there is also another accident that leaves one of the bikers, presumably the hero, dead.\nScorpio Rising represents the densest, most complex montage of Anger's career. As previously stated, the hero's 'preparation' features images of Brando and comic books. This comparative editing is developed in the second part by the blasphemous, contrasting incorporation of images from the life of Jesus appropriated from a Z-grade Sunday school movie, a copy of which Anger is supposed to have discovered left on his doorstep by accident while editing Scorpio Rising. It is the perfect vehicle for conveying Anger's perception of an effete Christianity perishing in the face of the new phallic virility that the bikers embody. As the ranting biker casts his hex from the church, images of Nazism and Hitler grow in frequency. Some shots are barely perceptible, such as the few frames of an erect penis intercut with Jesus healing a blind man. As the film progresses the intensity of the editing increases, culminating in the death hex in which the spell seems to summon, by way of editing, a seemingly unconnected race that ends in accident as the form the malediction takes. These are only the major strands of this semiotic layering; other images are also called in to comment on the action and its meaning.\nThe use of music in Scorpio Rising is possibly the most influential aspect of Anger's oeuvre. The soundtrack is comprised entirely of a series of pop songs and a few sound effects. The songs not only add to the energy of the visuals but their lyrics form an ironic commentary on them. This prefigured such films as Mean Streets (Martin Scorsese, 1973) and American Graffiti (George Lucas, 1973) that paved the way for wide use of 'found' soundtracks.\nIf the 'translation' of the antique, closed universe of Pleasure Dome into the real milieu of Scorpio Rising implied that Anger believed Magick was active in the modern world and by the early '60s no longer needed an academically mythological context to be made cinema, the berserk Invocation of My Demon Brother shows it as immanent by the end of that decade. Aptly described by its director as “an attack on the sensorium”, it is a disturbing montage of jarringly edited images and symbols accompanied by a repetitive synthesised soundtrack by Mick Jagger that sounds like a malfunctioning computer printer. An albino man raises a wand; another man passes a knife across his chest; a cat is thrown on a fire; people smoke from a skull shaped pipe; Anger performs fevered rituals involving burning documents and swastikas; the Rolling Stones and a group of Hell's Angels appear; a procession of musicians descends a staircase followed by a fireball that stops at the bottom, resembling a burnt corpse and holding a sign that reads: 'Zap—You're pregnant—That's witchcraft'. For all its violence and ugly chaos, Scorpio Rising was careful to gradually draw the audience in to its well-defined milieu through a build up of details that in some ways parallels Scorsese and the Rossellini of La Prise de pouvoir par Louis XIV (1966) and kept its drama safely confined to this well defined space. Demon Brother, on the other hand, is terrifying in its randomness and lack of a defined space. There is a brief build up at the outset, with the wand and the knife, but soon the audience is experiencing the full impact of Anger's fragmented nightmare. Symbols, superimpositions and distorting lenses abound. If there is one dominant recurring image, it is eyes in close up, fixed on the audience. A found footage image of soldiers leaving a helicopter in Vietnam is fully visible twice. However, it appears throughout the film on a C roll visible only with infra-red glasses, subliminally adding to the sense of anxiety—one of the most extreme examples of Anger attempting to bypass our rational minds.\nHis subsequent and latest film to date, Lucifer Rising is a departure from his previous major works. If Pleasure Dome, Scorpio Rising and Demon Brother remained fixated on death, Lucifer Rising is about rebirth, a celebration of the power of nature and of the ancient gods. It is a film of breathtaking beauty and power that supplants the closed worlds of Pleasure Dome and Scorpio Rising as well as Demon Brother's zone of all-pervading disorientation with an awesome sense of timelessness and spatial immensity, engendered at least in part by having been shot at often sacred sites all over the world. The 'ritual structure' of the previous films is present, but opened up. It now operates on two levels, encompassing the world of the gods as well as the efforts of the adept at summoning them. Linking Egyptian mythology, embodied by Isis (Miriam Gibril) and Osiris (Donald Cammell), with Crowleyan practices, it celebrates Lucifer not as the devil but as lord of light. 'Lucifer' Anger observes 'is the patron saint of the visual arts. Colour, form, all thee are the works of Lucifer.'\nThese 'ritual' structures are also present in some of the less developed works in either a minor or abbreviated form. Puce Moment, a film linked to Pleasure Dome in terms of its visual opulence (and, indeed, shots from it are used in Pleasure Dome's superimpositions), shares the later film's fetishistic act of preparation, in this case a movie star getting dressed to walk her dogs and magically floating out of her house on her bed. Rabbit's Moon retells the story of Harlequin and Pierrot, which fits into Anger's common narrative pattern of a hero who summons up forces that finally harm him. Likewise Eaux d'artifice's ending, in which the heroine seems to turn into water in one of the numerous fountains among which she has been walking, appears to suggest punishment for meddling with natural powers. Kustom Kar Kommandos seems more like a camp send-up of the machine fetish elements of Scorpio Rising than anything else, with a muscular young man polishing a car with a fluffy duster against a pink background in exaggeratedly eroticised compositions to the accompaniment of the Parris Sisters' Dream Lover.\nAnger began life in Hollywood and popular legend maintains that an appearance as a child actor in A Midsummer Night's Dream (Max Reinhardt/William Dieterle, 1935) revealed his vocation to him. As a boy he claims to have made a series of unscreened and possibly lost films with such titles as 'Who Has Been Rocking my Dreamboat' (1941), 'Prisoner of Mars' (1942) and 'Drastic Demise' (1945). His first film in distribution is Fireworks (1947) and it already marks him as a major talent. Essentially the story of a dream, this sado-masochistic, homoerotic vision of a young man who cannot sleep and goes in search of a light, only to be beaten and torn open by a group of sailors already displays the influence of Crowley; it is a veiled study of an initiate's symbolic death and rebirth. It also displays the influence of Jean Cocteau who was so impressed by it that he invited Anger to come to France. He spent much of the '50s there, involved in many abortive projects. Indeed, Anger's career is littered with films abandoned due to lack of funding or to theft, fire or vandalism. Puce Moment is all that was shot of a proposed feature, 'Puce Women', about fading Hollywood stars in their decaying mansions. In 1949 The Love that Whirls was destroyed by Eastman-Kodak developing laboratories who objected to images of nudity. Adaptations of Cocteau's La Jeune homme et la mort and Isidore Ducasse's Les Chants de Maldoror in the early '50s got no further than test shots. A documentary about Crowley's erotic frescoes at Thelema Abbey was 'lost' by the magazine Picture Post which commissioned it. Only 20 minutes of an adaptation of Pauline Reage's L'histoire d'O were shot in 1960.\nAnger returned to the United States in 1962. After the success of Scorpio Rising he planned the ambitious Kustom Kar Kommandos, abandoned due to lack of funds—the only scene shot comprises the film of that title that we have today. The original and very different version of Lucifer Rising was stolen in 1966, never to be recovered. In 1968 Anger went to London, where he began an association with Mick Jagger. Demon Brother was constructed from remaining footage from the first Lucifer Rising and material shot in London.\nSince Lucifer Rising, Anger has spent his time pruning, maintaining and preserving his films, adding new soundtracks to several of them. He also travels widely to attend screenings of his work. In rigorously pursuing a vision of the cinema that is as original as it is personal, Anger not only created one of the most consistently thrilling bodies of work in cinema but in so doing highlighted the poverty of imagination that governs so much 'normal' filmmaking and the unconscionable limitations still placed on the medium. Like other geniuses of the American Underground such as Brakhage, Warhol and Markopoulos he has had a certain amount of influence over succeeding generations of filmmakers. But, like them, whatever he has taught others, he will always remain unique, one of the few filmmakers whose work is capable of returning meaning to that much overused word—'visionary'.","bio_dates":"b. 1927"},{"slug":"anger_kenneth_lucifer_rising_1970_81","ok":true,"partial":false,"title":"Lucifer Rising","artist":"Kenneth Anger","year":"1970-1980","startOffset":0,"sourceSecs":1689.643,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":104121146,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_lucifer_rising_1970_81/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_lucifer_rising_1970_81/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/anger_kenneth_lucifer_rising_1970_81.mp4","hasFrames":true,"description":"Lucifer Rising is a short film by director Kenneth Anger. The film was completed in 1972 but was only widely distributed in 1980. Anger began filming around 1966, hiring a young musician named Bobby Beausoleil to act and compose the soundtrack. The film was abandoned in 1967 because Anger claimed the film footage had been stolen by Beausoleil. (Beausoleil and others said that Anger had simply spent all the money for the film). Anger then used some of the existing footage in another short film, Invocation of My Demon Brother. Beausoleil was convicted of killing Gary Hinman under the orders of Charles Manson in 1970. Anger began filming again several years later, with British singer Marianne Faithfull appearing in the film. Jimmy Page was brought in to record the soundtrack, but after he had a falling out with Anger, he was replaced by Beausoleil, who wrote and recorded the music in prison. <br/><br/> * Kenneth Anger - The Magus<br/> * Bobby Beausoleil - Himself<br/> * Donald Cammell - Osiris<br/> * Marianne Faithfull - Lilith<br/> * Myriam Gibril - Isis<br/> * Chris Jagger - Man in Yellow Tunic<br/> * Jimmy Page - Man Holding Stella of Revelation","artist_bio":"Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his 'lifework' as being Magick and his 'magical weapon' the cinematograph. A follower of Aleister Crowley's teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention.\nWhatever one's view of this belief may be, what is undeniable is that in creating the nine films that he either managed to complete (Fireworks [1947], Eaux d'artifice [1953], Inauguration of the Pleasure Dome [1954-66], Scorpio Rising [1963], Invocation of My Demon Brother [1969], Lucifer Rising [1970-81]) or else released as self contained fragments (Puce Moment [1949], Rabbit's Moon [1950-79], Kustom Kar Kommandos [1965]), Anger forged a body of work as dazzlingly poetic in its unique visual intensity as it is narratively innovative. In many ways, these wordless films represent the resurgence and development of the uniquely cinematic qualities widely considered retarded or destroyed by the passing of the silent era, especially in the area of editing. According to Tony Rayns, “Anger has an amazing instinctive grasp of all the elements of filmmaking; his films actively work out much of Eisenstein's theoretical writing about the cinema…. [Anger] comes nearer [to Eisenstein's theories] than anything in commercial cinema and produces film-making as rich in resonance as anything of Eisenstein's own.”\nAnger's films are cinematic manifestations of his occult practices. As such, they are highly symbolical, either featuring characters directly portraying gods, forces and demons (Inauguration of the Pleasure Dome, Lucifer Rising) or else finding an appropriate embodiment for them in the iconography of contemporary pop culture (Puce Moment, Scorpio Rising, Kustom Kar Kommandos, also Inauguration of the Pleasure Dome). This view of pop culture as vehicle for ancient archetypes is also the basis of Hollywood Babylon, his famous book about the seedier aspects of Hollywood history. In attempting to induce an altered state of consciousness in his viewers, Anger dispenses with traditional narrative devices, although his films definitely tell stories. Using powerful esoteric images and, especially in his later works, extremely complex editing strategies that frequently feature superimposition and the inclusion of subliminal images running just a few frames, Anger bypasses our rationality and appeals directly to our subconscious mind. The structure common to his major works is that of a ritual invoking or evoking spiritual forces, normally moving from a slow build up, resplendent with fetishistic detail, to a frenzied finale with the forces called forth running wild.\nThe films directly pertinent to this description that fully develop it both within their own contexts and in regard to each other are Inauguration of the Pleasure Dome, Scorpio Rising, Invocation of My Demon Brother and Lucifer Rising. The first of these details the shifts in consciousness undergone by guests at an occult Eucharist at the house of Lord Shiva, the Magician. The first scenes detail his preparations for the event. The decadent magnificence of the spectacle is established in the opening image: a big close-up of a gold chain at the centre of the frame that, snakelike, slithers away from the camera, out of focus and ultimately upwards. The camera follows to reveal the hand of Shiva, luxuriating in his bed, languidly observing the chain, dangling it over his face. He then reaches out to his bedside table which is laden with rings. His hands opulently bejewelled, he swallows the chain, the first example of oral consumption, the means whereby each alteration of consciousness will come about. Shiva proceeds to a small, completely red room where he perceives a deity in the mirror, and then to the space where the bulk of the action transpires, a completely dark area of indeterminate dimensions. The guests begin to arrive, each dressed as a mythological deity—Pan, Astarte, The Scarlet Woman, Isis, Lilith, Aphrodite, Hecate and, prefiguring the pop-culture references of future works, Cesare the Somnambulist from Wiene's Cabinet of Dr. Caligari (1919), each bearing narcotic gifts.\nThis section of the film is constructed around Shiva greeting each guest, often in a different form, and partaking of what they offer. The movement of the film is essentially the passing of the gifts from one guest to another as they advance into a state of transpersonal ecstasy. Anger's compositions are highly formal and painterly, seducing the viewer with the spectacle of the sumptuous costumes and adopting a colour palette of an aggressively theatrical beauty, reminiscent of Powell's Tales of Hoffmann (1951). The final part of the film is an orgiastic vision of the ritual's consummation, with fast cutting, multiple superimpositions including images of magical symbols and the presence of fire hinting at an apocalyptic destiny for those involved. Even if Anger's films are mute, it would be inaccurate to think of them as silent—his use of music is never less than vitally important and frequently deeply impressive. In this case Janacek's Glagolitic Mass adds to the rapturous imagistic grandeur of Anger's ritual.\nScorpio Rising is practically an amplified remake or, more precisely, a translation of Inauguration of the Pleasure Dome. The implied destruction that concluded the earlier film referred to Anger's recurring preoccupation with the end of the Christian Age of Pisces, the violent death of which was necessary to allow for the birth of the Age of Aquarius. The arcanely theatrical, neo-decadent imagery and abstract space gives way to a realistic milieu, that of a contemporary biker gang. The fetish objects are now the paraphernalia of youth subculture and the violence more savage and overt. But the patterns are the same—a loving preparation for the ritual, the build up of energy at the ritual and finally the act of destruction. Anger has simply taken his show to the street.\nThe preparations involve the bikers fixing and polishing their motorbikes, donning the 'ceremonial garb' of leather, bedecking themselves with rings and chains like Shiva in Pleasure Dome—the physical aspects of preparation. Psychically, there is the reading of comic books, the adoration of James Dean visible on posters in the protagonist's bedroom, the imitation of Brando who appears on his television in Laslo Benedek's The Wild One (1954) and the snorting of cocaine. The 'ritual' is a homoerotic Halloween party, featuring fancy dress like the gathering in Pleasure Dome, where we witness sodomy, fellatio and all manner of pranks. That this machine-fixated biker gang is a death cult is made obvious by the omnipresence of the skull and cross bones, the adoption of Nazi imagery and the noose that hangs in the hero's bedroom. At the party, a man dances around with a skull on a wand, touching people's heads with it in twisted benediction. The film moves into its third stage when the hero leaves the party to desecrate a church, smashing the altar, installing swastikas and skulls, urinating into his helmet and casting a hex on a diurnal motorbike race that results in an accident. That same night there is also another accident that leaves one of the bikers, presumably the hero, dead.\nScorpio Rising represents the densest, most complex montage of Anger's career. As previously stated, the hero's 'preparation' features images of Brando and comic books. This comparative editing is developed in the second part by the blasphemous, contrasting incorporation of images from the life of Jesus appropriated from a Z-grade Sunday school movie, a copy of which Anger is supposed to have discovered left on his doorstep by accident while editing Scorpio Rising. It is the perfect vehicle for conveying Anger's perception of an effete Christianity perishing in the face of the new phallic virility that the bikers embody. As the ranting biker casts his hex from the church, images of Nazism and Hitler grow in frequency. Some shots are barely perceptible, such as the few frames of an erect penis intercut with Jesus healing a blind man. As the film progresses the intensity of the editing increases, culminating in the death hex in which the spell seems to summon, by way of editing, a seemingly unconnected race that ends in accident as the form the malediction takes. These are only the major strands of this semiotic layering; other images are also called in to comment on the action and its meaning.\nThe use of music in Scorpio Rising is possibly the most influential aspect of Anger's oeuvre. The soundtrack is comprised entirely of a series of pop songs and a few sound effects. The songs not only add to the energy of the visuals but their lyrics form an ironic commentary on them. This prefigured such films as Mean Streets (Martin Scorsese, 1973) and American Graffiti (George Lucas, 1973) that paved the way for wide use of 'found' soundtracks.\nIf the 'translation' of the antique, closed universe of Pleasure Dome into the real milieu of Scorpio Rising implied that Anger believed Magick was active in the modern world and by the early '60s no longer needed an academically mythological context to be made cinema, the berserk Invocation of My Demon Brother shows it as immanent by the end of that decade. Aptly described by its director as “an attack on the sensorium”, it is a disturbing montage of jarringly edited images and symbols accompanied by a repetitive synthesised soundtrack by Mick Jagger that sounds like a malfunctioning computer printer. An albino man raises a wand; another man passes a knife across his chest; a cat is thrown on a fire; people smoke from a skull shaped pipe; Anger performs fevered rituals involving burning documents and swastikas; the Rolling Stones and a group of Hell's Angels appear; a procession of musicians descends a staircase followed by a fireball that stops at the bottom, resembling a burnt corpse and holding a sign that reads: 'Zap—You're pregnant—That's witchcraft'. For all its violence and ugly chaos, Scorpio Rising was careful to gradually draw the audience in to its well-defined milieu through a build up of details that in some ways parallels Scorsese and the Rossellini of La Prise de pouvoir par Louis XIV (1966) and kept its drama safely confined to this well defined space. Demon Brother, on the other hand, is terrifying in its randomness and lack of a defined space. There is a brief build up at the outset, with the wand and the knife, but soon the audience is experiencing the full impact of Anger's fragmented nightmare. Symbols, superimpositions and distorting lenses abound. If there is one dominant recurring image, it is eyes in close up, fixed on the audience. A found footage image of soldiers leaving a helicopter in Vietnam is fully visible twice. However, it appears throughout the film on a C roll visible only with infra-red glasses, subliminally adding to the sense of anxiety—one of the most extreme examples of Anger attempting to bypass our rational minds.\nHis subsequent and latest film to date, Lucifer Rising is a departure from his previous major works. If Pleasure Dome, Scorpio Rising and Demon Brother remained fixated on death, Lucifer Rising is about rebirth, a celebration of the power of nature and of the ancient gods. It is a film of breathtaking beauty and power that supplants the closed worlds of Pleasure Dome and Scorpio Rising as well as Demon Brother's zone of all-pervading disorientation with an awesome sense of timelessness and spatial immensity, engendered at least in part by having been shot at often sacred sites all over the world. The 'ritual structure' of the previous films is present, but opened up. It now operates on two levels, encompassing the world of the gods as well as the efforts of the adept at summoning them. Linking Egyptian mythology, embodied by Isis (Miriam Gibril) and Osiris (Donald Cammell), with Crowleyan practices, it celebrates Lucifer not as the devil but as lord of light. 'Lucifer' Anger observes 'is the patron saint of the visual arts. Colour, form, all thee are the works of Lucifer.'\nThese 'ritual' structures are also present in some of the less developed works in either a minor or abbreviated form. Puce Moment, a film linked to Pleasure Dome in terms of its visual opulence (and, indeed, shots from it are used in Pleasure Dome's superimpositions), shares the later film's fetishistic act of preparation, in this case a movie star getting dressed to walk her dogs and magically floating out of her house on her bed. Rabbit's Moon retells the story of Harlequin and Pierrot, which fits into Anger's common narrative pattern of a hero who summons up forces that finally harm him. Likewise Eaux d'artifice's ending, in which the heroine seems to turn into water in one of the numerous fountains among which she has been walking, appears to suggest punishment for meddling with natural powers. Kustom Kar Kommandos seems more like a camp send-up of the machine fetish elements of Scorpio Rising than anything else, with a muscular young man polishing a car with a fluffy duster against a pink background in exaggeratedly eroticised compositions to the accompaniment of the Parris Sisters' Dream Lover.\nAnger began life in Hollywood and popular legend maintains that an appearance as a child actor in A Midsummer Night's Dream (Max Reinhardt/William Dieterle, 1935) revealed his vocation to him. As a boy he claims to have made a series of unscreened and possibly lost films with such titles as 'Who Has Been Rocking my Dreamboat' (1941), 'Prisoner of Mars' (1942) and 'Drastic Demise' (1945). His first film in distribution is Fireworks (1947) and it already marks him as a major talent. Essentially the story of a dream, this sado-masochistic, homoerotic vision of a young man who cannot sleep and goes in search of a light, only to be beaten and torn open by a group of sailors already displays the influence of Crowley; it is a veiled study of an initiate's symbolic death and rebirth. It also displays the influence of Jean Cocteau who was so impressed by it that he invited Anger to come to France. He spent much of the '50s there, involved in many abortive projects. Indeed, Anger's career is littered with films abandoned due to lack of funding or to theft, fire or vandalism. Puce Moment is all that was shot of a proposed feature, 'Puce Women', about fading Hollywood stars in their decaying mansions. In 1949 The Love that Whirls was destroyed by Eastman-Kodak developing laboratories who objected to images of nudity. Adaptations of Cocteau's La Jeune homme et la mort and Isidore Ducasse's Les Chants de Maldoror in the early '50s got no further than test shots. A documentary about Crowley's erotic frescoes at Thelema Abbey was 'lost' by the magazine Picture Post which commissioned it. Only 20 minutes of an adaptation of Pauline Reage's L'histoire d'O were shot in 1960.\nAnger returned to the United States in 1962. After the success of Scorpio Rising he planned the ambitious Kustom Kar Kommandos, abandoned due to lack of funds—the only scene shot comprises the film of that title that we have today. The original and very different version of Lucifer Rising was stolen in 1966, never to be recovered. In 1968 Anger went to London, where he began an association with Mick Jagger. Demon Brother was constructed from remaining footage from the first Lucifer Rising and material shot in London.\nSince Lucifer Rising, Anger has spent his time pruning, maintaining and preserving his films, adding new soundtracks to several of them. He also travels widely to attend screenings of his work. In rigorously pursuing a vision of the cinema that is as original as it is personal, Anger not only created one of the most consistently thrilling bodies of work in cinema but in so doing highlighted the poverty of imagination that governs so much 'normal' filmmaking and the unconscionable limitations still placed on the medium. Like other geniuses of the American Underground such as Brakhage, Warhol and Markopoulos he has had a certain amount of influence over succeeding generations of filmmakers. But, like them, whatever he has taught others, he will always remain unique, one of the few filmmakers whose work is capable of returning meaning to that much overused word—'visionary'.","bio_dates":"b. 1927"},{"slug":"anger_kenneth_puce_moment_1949","ok":true,"partial":false,"title":"Puce Moment","artist":"Kenneth Anger","year":"1949","startOffset":0,"sourceSecs":382.016,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":25173540,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_puce_moment_1949/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_puce_moment_1949/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/anger_kenneth_puce_moment_1949.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anger_kenneth_puce_moment_1949/main.mp4?v=2","description":"Puce Moment is a short 6 minute film by Kenneth Anger, author of the Hollywood Babylon books, filmed in 1949. Puce Moment resulted from the unfinished short film Puce Women. The film opens with a camera watching 1920's style flapper gowns being taken off a dress rack. The dresses are removed and danced off the rack to folk rock style music. A long-lashed woman, Yvonne Marquis, dresses in the purple puce gown and walks to her vanity to apply perfume. She lies on a chaise lounge which then begins to move around the room and eventually out to a patio. Borzois appear and she prepares to take them for a walk. <br/><br/> The gowns used were owned by Anger's grandmother who had been a costume designer in the silent film era. Anger attempts to recreate silent era style by using alternating camera speeds. The film was made in the house of Sampson De Brier, a silent film actor, who later appeared in Anger's Inauguration of the Pleasure Dome. <br/><br/> Yvonne Marquis moved to Mexico shortly after the film was made. Anger reveals Marquis was a mistress to Lázaro Cárdenas, the Former President of Mexico.","artist_bio":"Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his 'lifework' as being Magick and his 'magical weapon' the cinematograph. A follower of Aleister Crowley's teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention.\nWhatever one's view of this belief may be, what is undeniable is that in creating the nine films that he either managed to complete (Fireworks [1947], Eaux d'artifice [1953], Inauguration of the Pleasure Dome [1954-66], Scorpio Rising [1963], Invocation of My Demon Brother [1969], Lucifer Rising [1970-81]) or else released as self contained fragments (Puce Moment [1949], Rabbit's Moon [1950-79], Kustom Kar Kommandos [1965]), Anger forged a body of work as dazzlingly poetic in its unique visual intensity as it is narratively innovative. In many ways, these wordless films represent the resurgence and development of the uniquely cinematic qualities widely considered retarded or destroyed by the passing of the silent era, especially in the area of editing. According to Tony Rayns, “Anger has an amazing instinctive grasp of all the elements of filmmaking; his films actively work out much of Eisenstein's theoretical writing about the cinema…. [Anger] comes nearer [to Eisenstein's theories] than anything in commercial cinema and produces film-making as rich in resonance as anything of Eisenstein's own.”\nAnger's films are cinematic manifestations of his occult practices. As such, they are highly symbolical, either featuring characters directly portraying gods, forces and demons (Inauguration of the Pleasure Dome, Lucifer Rising) or else finding an appropriate embodiment for them in the iconography of contemporary pop culture (Puce Moment, Scorpio Rising, Kustom Kar Kommandos, also Inauguration of the Pleasure Dome). This view of pop culture as vehicle for ancient archetypes is also the basis of Hollywood Babylon, his famous book about the seedier aspects of Hollywood history. In attempting to induce an altered state of consciousness in his viewers, Anger dispenses with traditional narrative devices, although his films definitely tell stories. Using powerful esoteric images and, especially in his later works, extremely complex editing strategies that frequently feature superimposition and the inclusion of subliminal images running just a few frames, Anger bypasses our rationality and appeals directly to our subconscious mind. The structure common to his major works is that of a ritual invoking or evoking spiritual forces, normally moving from a slow build up, resplendent with fetishistic detail, to a frenzied finale with the forces called forth running wild.\nThe films directly pertinent to this description that fully develop it both within their own contexts and in regard to each other are Inauguration of the Pleasure Dome, Scorpio Rising, Invocation of My Demon Brother and Lucifer Rising. The first of these details the shifts in consciousness undergone by guests at an occult Eucharist at the house of Lord Shiva, the Magician. The first scenes detail his preparations for the event. The decadent magnificence of the spectacle is established in the opening image: a big close-up of a gold chain at the centre of the frame that, snakelike, slithers away from the camera, out of focus and ultimately upwards. The camera follows to reveal the hand of Shiva, luxuriating in his bed, languidly observing the chain, dangling it over his face. He then reaches out to his bedside table which is laden with rings. His hands opulently bejewelled, he swallows the chain, the first example of oral consumption, the means whereby each alteration of consciousness will come about. Shiva proceeds to a small, completely red room where he perceives a deity in the mirror, and then to the space where the bulk of the action transpires, a completely dark area of indeterminate dimensions. The guests begin to arrive, each dressed as a mythological deity—Pan, Astarte, The Scarlet Woman, Isis, Lilith, Aphrodite, Hecate and, prefiguring the pop-culture references of future works, Cesare the Somnambulist from Wiene's Cabinet of Dr. Caligari (1919), each bearing narcotic gifts.\nThis section of the film is constructed around Shiva greeting each guest, often in a different form, and partaking of what they offer. The movement of the film is essentially the passing of the gifts from one guest to another as they advance into a state of transpersonal ecstasy. Anger's compositions are highly formal and painterly, seducing the viewer with the spectacle of the sumptuous costumes and adopting a colour palette of an aggressively theatrical beauty, reminiscent of Powell's Tales of Hoffmann (1951). The final part of the film is an orgiastic vision of the ritual's consummation, with fast cutting, multiple superimpositions including images of magical symbols and the presence of fire hinting at an apocalyptic destiny for those involved. Even if Anger's films are mute, it would be inaccurate to think of them as silent—his use of music is never less than vitally important and frequently deeply impressive. In this case Janacek's Glagolitic Mass adds to the rapturous imagistic grandeur of Anger's ritual.\nScorpio Rising is practically an amplified remake or, more precisely, a translation of Inauguration of the Pleasure Dome. The implied destruction that concluded the earlier film referred to Anger's recurring preoccupation with the end of the Christian Age of Pisces, the violent death of which was necessary to allow for the birth of the Age of Aquarius. The arcanely theatrical, neo-decadent imagery and abstract space gives way to a realistic milieu, that of a contemporary biker gang. The fetish objects are now the paraphernalia of youth subculture and the violence more savage and overt. But the patterns are the same—a loving preparation for the ritual, the build up of energy at the ritual and finally the act of destruction. Anger has simply taken his show to the street.\nThe preparations involve the bikers fixing and polishing their motorbikes, donning the 'ceremonial garb' of leather, bedecking themselves with rings and chains like Shiva in Pleasure Dome—the physical aspects of preparation. Psychically, there is the reading of comic books, the adoration of James Dean visible on posters in the protagonist's bedroom, the imitation of Brando who appears on his television in Laslo Benedek's The Wild One (1954) and the snorting of cocaine. The 'ritual' is a homoerotic Halloween party, featuring fancy dress like the gathering in Pleasure Dome, where we witness sodomy, fellatio and all manner of pranks. That this machine-fixated biker gang is a death cult is made obvious by the omnipresence of the skull and cross bones, the adoption of Nazi imagery and the noose that hangs in the hero's bedroom. At the party, a man dances around with a skull on a wand, touching people's heads with it in twisted benediction. The film moves into its third stage when the hero leaves the party to desecrate a church, smashing the altar, installing swastikas and skulls, urinating into his helmet and casting a hex on a diurnal motorbike race that results in an accident. That same night there is also another accident that leaves one of the bikers, presumably the hero, dead.\nScorpio Rising represents the densest, most complex montage of Anger's career. As previously stated, the hero's 'preparation' features images of Brando and comic books. This comparative editing is developed in the second part by the blasphemous, contrasting incorporation of images from the life of Jesus appropriated from a Z-grade Sunday school movie, a copy of which Anger is supposed to have discovered left on his doorstep by accident while editing Scorpio Rising. It is the perfect vehicle for conveying Anger's perception of an effete Christianity perishing in the face of the new phallic virility that the bikers embody. As the ranting biker casts his hex from the church, images of Nazism and Hitler grow in frequency. Some shots are barely perceptible, such as the few frames of an erect penis intercut with Jesus healing a blind man. As the film progresses the intensity of the editing increases, culminating in the death hex in which the spell seems to summon, by way of editing, a seemingly unconnected race that ends in accident as the form the malediction takes. These are only the major strands of this semiotic layering; other images are also called in to comment on the action and its meaning.\nThe use of music in Scorpio Rising is possibly the most influential aspect of Anger's oeuvre. The soundtrack is comprised entirely of a series of pop songs and a few sound effects. The songs not only add to the energy of the visuals but their lyrics form an ironic commentary on them. This prefigured such films as Mean Streets (Martin Scorsese, 1973) and American Graffiti (George Lucas, 1973) that paved the way for wide use of 'found' soundtracks.\nIf the 'translation' of the antique, closed universe of Pleasure Dome into the real milieu of Scorpio Rising implied that Anger believed Magick was active in the modern world and by the early '60s no longer needed an academically mythological context to be made cinema, the berserk Invocation of My Demon Brother shows it as immanent by the end of that decade. Aptly described by its director as “an attack on the sensorium”, it is a disturbing montage of jarringly edited images and symbols accompanied by a repetitive synthesised soundtrack by Mick Jagger that sounds like a malfunctioning computer printer. An albino man raises a wand; another man passes a knife across his chest; a cat is thrown on a fire; people smoke from a skull shaped pipe; Anger performs fevered rituals involving burning documents and swastikas; the Rolling Stones and a group of Hell's Angels appear; a procession of musicians descends a staircase followed by a fireball that stops at the bottom, resembling a burnt corpse and holding a sign that reads: 'Zap—You're pregnant—That's witchcraft'. For all its violence and ugly chaos, Scorpio Rising was careful to gradually draw the audience in to its well-defined milieu through a build up of details that in some ways parallels Scorsese and the Rossellini of La Prise de pouvoir par Louis XIV (1966) and kept its drama safely confined to this well defined space. Demon Brother, on the other hand, is terrifying in its randomness and lack of a defined space. There is a brief build up at the outset, with the wand and the knife, but soon the audience is experiencing the full impact of Anger's fragmented nightmare. Symbols, superimpositions and distorting lenses abound. If there is one dominant recurring image, it is eyes in close up, fixed on the audience. A found footage image of soldiers leaving a helicopter in Vietnam is fully visible twice. However, it appears throughout the film on a C roll visible only with infra-red glasses, subliminally adding to the sense of anxiety—one of the most extreme examples of Anger attempting to bypass our rational minds.\nHis subsequent and latest film to date, Lucifer Rising is a departure from his previous major works. If Pleasure Dome, Scorpio Rising and Demon Brother remained fixated on death, Lucifer Rising is about rebirth, a celebration of the power of nature and of the ancient gods. It is a film of breathtaking beauty and power that supplants the closed worlds of Pleasure Dome and Scorpio Rising as well as Demon Brother's zone of all-pervading disorientation with an awesome sense of timelessness and spatial immensity, engendered at least in part by having been shot at often sacred sites all over the world. The 'ritual structure' of the previous films is present, but opened up. It now operates on two levels, encompassing the world of the gods as well as the efforts of the adept at summoning them. Linking Egyptian mythology, embodied by Isis (Miriam Gibril) and Osiris (Donald Cammell), with Crowleyan practices, it celebrates Lucifer not as the devil but as lord of light. 'Lucifer' Anger observes 'is the patron saint of the visual arts. Colour, form, all thee are the works of Lucifer.'\nThese 'ritual' structures are also present in some of the less developed works in either a minor or abbreviated form. Puce Moment, a film linked to Pleasure Dome in terms of its visual opulence (and, indeed, shots from it are used in Pleasure Dome's superimpositions), shares the later film's fetishistic act of preparation, in this case a movie star getting dressed to walk her dogs and magically floating out of her house on her bed. Rabbit's Moon retells the story of Harlequin and Pierrot, which fits into Anger's common narrative pattern of a hero who summons up forces that finally harm him. Likewise Eaux d'artifice's ending, in which the heroine seems to turn into water in one of the numerous fountains among which she has been walking, appears to suggest punishment for meddling with natural powers. Kustom Kar Kommandos seems more like a camp send-up of the machine fetish elements of Scorpio Rising than anything else, with a muscular young man polishing a car with a fluffy duster against a pink background in exaggeratedly eroticised compositions to the accompaniment of the Parris Sisters' Dream Lover.\nAnger began life in Hollywood and popular legend maintains that an appearance as a child actor in A Midsummer Night's Dream (Max Reinhardt/William Dieterle, 1935) revealed his vocation to him. As a boy he claims to have made a series of unscreened and possibly lost films with such titles as 'Who Has Been Rocking my Dreamboat' (1941), 'Prisoner of Mars' (1942) and 'Drastic Demise' (1945). His first film in distribution is Fireworks (1947) and it already marks him as a major talent. Essentially the story of a dream, this sado-masochistic, homoerotic vision of a young man who cannot sleep and goes in search of a light, only to be beaten and torn open by a group of sailors already displays the influence of Crowley; it is a veiled study of an initiate's symbolic death and rebirth. It also displays the influence of Jean Cocteau who was so impressed by it that he invited Anger to come to France. He spent much of the '50s there, involved in many abortive projects. Indeed, Anger's career is littered with films abandoned due to lack of funding or to theft, fire or vandalism. Puce Moment is all that was shot of a proposed feature, 'Puce Women', about fading Hollywood stars in their decaying mansions. In 1949 The Love that Whirls was destroyed by Eastman-Kodak developing laboratories who objected to images of nudity. Adaptations of Cocteau's La Jeune homme et la mort and Isidore Ducasse's Les Chants de Maldoror in the early '50s got no further than test shots. A documentary about Crowley's erotic frescoes at Thelema Abbey was 'lost' by the magazine Picture Post which commissioned it. Only 20 minutes of an adaptation of Pauline Reage's L'histoire d'O were shot in 1960.\nAnger returned to the United States in 1962. After the success of Scorpio Rising he planned the ambitious Kustom Kar Kommandos, abandoned due to lack of funds—the only scene shot comprises the film of that title that we have today. The original and very different version of Lucifer Rising was stolen in 1966, never to be recovered. In 1968 Anger went to London, where he began an association with Mick Jagger. Demon Brother was constructed from remaining footage from the first Lucifer Rising and material shot in London.\nSince Lucifer Rising, Anger has spent his time pruning, maintaining and preserving his films, adding new soundtracks to several of them. He also travels widely to attend screenings of his work. In rigorously pursuing a vision of the cinema that is as original as it is personal, Anger not only created one of the most consistently thrilling bodies of work in cinema but in so doing highlighted the poverty of imagination that governs so much 'normal' filmmaking and the unconscionable limitations still placed on the medium. Like other geniuses of the American Underground such as Brakhage, Warhol and Markopoulos he has had a certain amount of influence over succeeding generations of filmmakers. But, like them, whatever he has taught others, he will always remain unique, one of the few filmmakers whose work is capable of returning meaning to that much overused word—'visionary'.","bio_dates":"b. 1927"},{"slug":"anger_kenneth_scorpio_rising_1963","ok":true,"partial":false,"title":"Scorpio Rising","artist":"Kenneth Anger","year":"1963","startOffset":0,"sourceSecs":1707.921,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":101146407,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_scorpio_rising_1963/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/anger_kenneth_scorpio_rising_1963/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/anger_kenneth_scorpio_rising_1963.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/anger_kenneth_scorpio_rising_1963/main.mp4?v=2","description":"Scorpio Rising is a 1963 experimental film by Kenneth Anger, author of the Hollywood Babylon books, starring Bruce Byron as the biker Scorpio. It features themes of leather-clad bikers, the occult, Jesus and Nazis. Its camp appropriation of popular culture included an innovative use of pop music, the erotic cult of James Dean, and Sunday comics. The film was initially shown on the underground film circuit. The film features no lines of dialogue, accompanied instead by music from popular 1950s and 1960s artists including Ricky Nelson, The Angels, The Crystals, Bobby Vinton, Elvis Presley, Ray Charles and Martha Reeves & the Vandellas. It is considered to be one of the first post-modern films and an influence to future directors such as Martin Scorsese and David Lynch. <br/><br/> The film was censored for indecency, and the case went to the Supreme Court, where it was decided in Anger's favor. Anger explained in an interview: \"When Scorpio Rising was -- we've forgotten, in a sense, that it was a groundbreaker, legally. Because there are only a few flashes of nudity, genitalia, whatever in the film, I mean, they're very, very short and, if you blink, you won't even see them. At any rate, when it was shown, at the Cinema -- it was called the Cinema on Western Avenue in Hollywood -- the premiere run, someone denounced it to the Hollywood vice squad and they raided the theater and took the print. And the case had to go to the California Supreme Court to be freed and then it became, like, a landmark case of redeeming social merit. That was the phrase that was used to justify that it wasn't pornography. And, indeed, there's nothing pornographic about it. Somebody had to break the ice and have that kind of case at that time to establish the freedom, because, before then, the police could seize anything they wanted to. What I was doing on the West Coast, Jack Smith was doing on the East Coast with Flaming Creatures. The two films happened at about the same time.\"","artist_bio":"Offering a description of himself for the program of a 1966 screening, Kenneth Anger stated his 'lifework' as being Magick and his 'magical weapon' the cinematograph. A follower of Aleister Crowley's teachings, Anger is a high level practitioner of occult magic who regards the projection of his films as ceremonies capable of invoking spiritual forces. Cinema, he claims, is an evil force. Its point is to exert control over people and events and his filmmaking is carried out with precisely that intention.\nWhatever one's view of this belief may be, what is undeniable is that in creating the nine films that he either managed to complete (Fireworks [1947], Eaux d'artifice [1953], Inauguration of the Pleasure Dome [1954-66], Scorpio Rising [1963], Invocation of My Demon Brother [1969], Lucifer Rising [1970-81]) or else released as self contained fragments (Puce Moment [1949], Rabbit's Moon [1950-79], Kustom Kar Kommandos [1965]), Anger forged a body of work as dazzlingly poetic in its unique visual intensity as it is narratively innovative. In many ways, these wordless films represent the resurgence and development of the uniquely cinematic qualities widely considered retarded or destroyed by the passing of the silent era, especially in the area of editing. According to Tony Rayns, “Anger has an amazing instinctive grasp of all the elements of filmmaking; his films actively work out much of Eisenstein's theoretical writing about the cinema…. [Anger] comes nearer [to Eisenstein's theories] than anything in commercial cinema and produces film-making as rich in resonance as anything of Eisenstein's own.”\nAnger's films are cinematic manifestations of his occult practices. As such, they are highly symbolical, either featuring characters directly portraying gods, forces and demons (Inauguration of the Pleasure Dome, Lucifer Rising) or else finding an appropriate embodiment for them in the iconography of contemporary pop culture (Puce Moment, Scorpio Rising, Kustom Kar Kommandos, also Inauguration of the Pleasure Dome). This view of pop culture as vehicle for ancient archetypes is also the basis of Hollywood Babylon, his famous book about the seedier aspects of Hollywood history. In attempting to induce an altered state of consciousness in his viewers, Anger dispenses with traditional narrative devices, although his films definitely tell stories. Using powerful esoteric images and, especially in his later works, extremely complex editing strategies that frequently feature superimposition and the inclusion of subliminal images running just a few frames, Anger bypasses our rationality and appeals directly to our subconscious mind. The structure common to his major works is that of a ritual invoking or evoking spiritual forces, normally moving from a slow build up, resplendent with fetishistic detail, to a frenzied finale with the forces called forth running wild.\nThe films directly pertinent to this description that fully develop it both within their own contexts and in regard to each other are Inauguration of the Pleasure Dome, Scorpio Rising, Invocation of My Demon Brother and Lucifer Rising. The first of these details the shifts in consciousness undergone by guests at an occult Eucharist at the house of Lord Shiva, the Magician. The first scenes detail his preparations for the event. The decadent magnificence of the spectacle is established in the opening image: a big close-up of a gold chain at the centre of the frame that, snakelike, slithers away from the camera, out of focus and ultimately upwards. The camera follows to reveal the hand of Shiva, luxuriating in his bed, languidly observing the chain, dangling it over his face. He then reaches out to his bedside table which is laden with rings. His hands opulently bejewelled, he swallows the chain, the first example of oral consumption, the means whereby each alteration of consciousness will come about. Shiva proceeds to a small, completely red room where he perceives a deity in the mirror, and then to the space where the bulk of the action transpires, a completely dark area of indeterminate dimensions. The guests begin to arrive, each dressed as a mythological deity—Pan, Astarte, The Scarlet Woman, Isis, Lilith, Aphrodite, Hecate and, prefiguring the pop-culture references of future works, Cesare the Somnambulist from Wiene's Cabinet of Dr. Caligari (1919), each bearing narcotic gifts.\nThis section of the film is constructed around Shiva greeting each guest, often in a different form, and partaking of what they offer. The movement of the film is essentially the passing of the gifts from one guest to another as they advance into a state of transpersonal ecstasy. Anger's compositions are highly formal and painterly, seducing the viewer with the spectacle of the sumptuous costumes and adopting a colour palette of an aggressively theatrical beauty, reminiscent of Powell's Tales of Hoffmann (1951). The final part of the film is an orgiastic vision of the ritual's consummation, with fast cutting, multiple superimpositions including images of magical symbols and the presence of fire hinting at an apocalyptic destiny for those involved. Even if Anger's films are mute, it would be inaccurate to think of them as silent—his use of music is never less than vitally important and frequently deeply impressive. In this case Janacek's Glagolitic Mass adds to the rapturous imagistic grandeur of Anger's ritual.\nScorpio Rising is practically an amplified remake or, more precisely, a translation of Inauguration of the Pleasure Dome. The implied destruction that concluded the earlier film referred to Anger's recurring preoccupation with the end of the Christian Age of Pisces, the violent death of which was necessary to allow for the birth of the Age of Aquarius. The arcanely theatrical, neo-decadent imagery and abstract space gives way to a realistic milieu, that of a contemporary biker gang. The fetish objects are now the paraphernalia of youth subculture and the violence more savage and overt. But the patterns are the same—a loving preparation for the ritual, the build up of energy at the ritual and finally the act of destruction. Anger has simply taken his show to the street.\nThe preparations involve the bikers fixing and polishing their motorbikes, donning the 'ceremonial garb' of leather, bedecking themselves with rings and chains like Shiva in Pleasure Dome—the physical aspects of preparation. Psychically, there is the reading of comic books, the adoration of James Dean visible on posters in the protagonist's bedroom, the imitation of Brando who appears on his television in Laslo Benedek's The Wild One (1954) and the snorting of cocaine. The 'ritual' is a homoerotic Halloween party, featuring fancy dress like the gathering in Pleasure Dome, where we witness sodomy, fellatio and all manner of pranks. That this machine-fixated biker gang is a death cult is made obvious by the omnipresence of the skull and cross bones, the adoption of Nazi imagery and the noose that hangs in the hero's bedroom. At the party, a man dances around with a skull on a wand, touching people's heads with it in twisted benediction. The film moves into its third stage when the hero leaves the party to desecrate a church, smashing the altar, installing swastikas and skulls, urinating into his helmet and casting a hex on a diurnal motorbike race that results in an accident. That same night there is also another accident that leaves one of the bikers, presumably the hero, dead.\nScorpio Rising represents the densest, most complex montage of Anger's career. As previously stated, the hero's 'preparation' features images of Brando and comic books. This comparative editing is developed in the second part by the blasphemous, contrasting incorporation of images from the life of Jesus appropriated from a Z-grade Sunday school movie, a copy of which Anger is supposed to have discovered left on his doorstep by accident while editing Scorpio Rising. It is the perfect vehicle for conveying Anger's perception of an effete Christianity perishing in the face of the new phallic virility that the bikers embody. As the ranting biker casts his hex from the church, images of Nazism and Hitler grow in frequency. Some shots are barely perceptible, such as the few frames of an erect penis intercut with Jesus healing a blind man. As the film progresses the intensity of the editing increases, culminating in the death hex in which the spell seems to summon, by way of editing, a seemingly unconnected race that ends in accident as the form the malediction takes. These are only the major strands of this semiotic layering; other images are also called in to comment on the action and its meaning.\nThe use of music in Scorpio Rising is possibly the most influential aspect of Anger's oeuvre. The soundtrack is comprised entirely of a series of pop songs and a few sound effects. The songs not only add to the energy of the visuals but their lyrics form an ironic commentary on them. This prefigured such films as Mean Streets (Martin Scorsese, 1973) and American Graffiti (George Lucas, 1973) that paved the way for wide use of 'found' soundtracks.\nIf the 'translation' of the antique, closed universe of Pleasure Dome into the real milieu of Scorpio Rising implied that Anger believed Magick was active in the modern world and by the early '60s no longer needed an academically mythological context to be made cinema, the berserk Invocation of My Demon Brother shows it as immanent by the end of that decade. Aptly described by its director as “an attack on the sensorium”, it is a disturbing montage of jarringly edited images and symbols accompanied by a repetitive synthesised soundtrack by Mick Jagger that sounds like a malfunctioning computer printer. An albino man raises a wand; another man passes a knife across his chest; a cat is thrown on a fire; people smoke from a skull shaped pipe; Anger performs fevered rituals involving burning documents and swastikas; the Rolling Stones and a group of Hell's Angels appear; a procession of musicians descends a staircase followed by a fireball that stops at the bottom, resembling a burnt corpse and holding a sign that reads: 'Zap—You're pregnant—That's witchcraft'. For all its violence and ugly chaos, Scorpio Rising was careful to gradually draw the audience in to its well-defined milieu through a build up of details that in some ways parallels Scorsese and the Rossellini of La Prise de pouvoir par Louis XIV (1966) and kept its drama safely confined to this well defined space. Demon Brother, on the other hand, is terrifying in its randomness and lack of a defined space. There is a brief build up at the outset, with the wand and the knife, but soon the audience is experiencing the full impact of Anger's fragmented nightmare. Symbols, superimpositions and distorting lenses abound. If there is one dominant recurring image, it is eyes in close up, fixed on the audience. A found footage image of soldiers leaving a helicopter in Vietnam is fully visible twice. However, it appears throughout the film on a C roll visible only with infra-red glasses, subliminally adding to the sense of anxiety—one of the most extreme examples of Anger attempting to bypass our rational minds.\nHis subsequent and latest film to date, Lucifer Rising is a departure from his previous major works. If Pleasure Dome, Scorpio Rising and Demon Brother remained fixated on death, Lucifer Rising is about rebirth, a celebration of the power of nature and of the ancient gods. It is a film of breathtaking beauty and power that supplants the closed worlds of Pleasure Dome and Scorpio Rising as well as Demon Brother's zone of all-pervading disorientation with an awesome sense of timelessness and spatial immensity, engendered at least in part by having been shot at often sacred sites all over the world. The 'ritual structure' of the previous films is present, but opened up. It now operates on two levels, encompassing the world of the gods as well as the efforts of the adept at summoning them. Linking Egyptian mythology, embodied by Isis (Miriam Gibril) and Osiris (Donald Cammell), with Crowleyan practices, it celebrates Lucifer not as the devil but as lord of light. 'Lucifer' Anger observes 'is the patron saint of the visual arts. Colour, form, all thee are the works of Lucifer.'\nThese 'ritual' structures are also present in some of the less developed works in either a minor or abbreviated form. Puce Moment, a film linked to Pleasure Dome in terms of its visual opulence (and, indeed, shots from it are used in Pleasure Dome's superimpositions), shares the later film's fetishistic act of preparation, in this case a movie star getting dressed to walk her dogs and magically floating out of her house on her bed. Rabbit's Moon retells the story of Harlequin and Pierrot, which fits into Anger's common narrative pattern of a hero who summons up forces that finally harm him. Likewise Eaux d'artifice's ending, in which the heroine seems to turn into water in one of the numerous fountains among which she has been walking, appears to suggest punishment for meddling with natural powers. Kustom Kar Kommandos seems more like a camp send-up of the machine fetish elements of Scorpio Rising than anything else, with a muscular young man polishing a car with a fluffy duster against a pink background in exaggeratedly eroticised compositions to the accompaniment of the Parris Sisters' Dream Lover.\nAnger began life in Hollywood and popular legend maintains that an appearance as a child actor in A Midsummer Night's Dream (Max Reinhardt/William Dieterle, 1935) revealed his vocation to him. As a boy he claims to have made a series of unscreened and possibly lost films with such titles as 'Who Has Been Rocking my Dreamboat' (1941), 'Prisoner of Mars' (1942) and 'Drastic Demise' (1945). His first film in distribution is Fireworks (1947) and it already marks him as a major talent. Essentially the story of a dream, this sado-masochistic, homoerotic vision of a young man who cannot sleep and goes in search of a light, only to be beaten and torn open by a group of sailors already displays the influence of Crowley; it is a veiled study of an initiate's symbolic death and rebirth. It also displays the influence of Jean Cocteau who was so impressed by it that he invited Anger to come to France. He spent much of the '50s there, involved in many abortive projects. Indeed, Anger's career is littered with films abandoned due to lack of funding or to theft, fire or vandalism. Puce Moment is all that was shot of a proposed feature, 'Puce Women', about fading Hollywood stars in their decaying mansions. In 1949 The Love that Whirls was destroyed by Eastman-Kodak developing laboratories who objected to images of nudity. Adaptations of Cocteau's La Jeune homme et la mort and Isidore Ducasse's Les Chants de Maldoror in the early '50s got no further than test shots. A documentary about Crowley's erotic frescoes at Thelema Abbey was 'lost' by the magazine Picture Post which commissioned it. Only 20 minutes of an adaptation of Pauline Reage's L'histoire d'O were shot in 1960.\nAnger returned to the United States in 1962. After the success of Scorpio Rising he planned the ambitious Kustom Kar Kommandos, abandoned due to lack of funds—the only scene shot comprises the film of that title that we have today. The original and very different version of Lucifer Rising was stolen in 1966, never to be recovered. In 1968 Anger went to London, where he began an association with Mick Jagger. Demon Brother was constructed from remaining footage from the first Lucifer Rising and material shot in London.\nSince Lucifer Rising, Anger has spent his time pruning, maintaining and preserving his films, adding new soundtracks to several of them. He also travels widely to attend screenings of his work. In rigorously pursuing a vision of the cinema that is as original as it is personal, Anger not only created one of the most consistently thrilling bodies of work in cinema but in so doing highlighted the poverty of imagination that governs so much 'normal' filmmaking and the unconscionable limitations still placed on the medium. Like other geniuses of the American Underground such as Brakhage, Warhol and Markopoulos he has had a certain amount of influence over succeeding generations of filmmakers. But, like them, whatever he has taught others, he will always remain unique, one of the few filmmakers whose work is capable of returning meaning to that much overused word—'visionary'.","bio_dates":"b. 1927"},{"slug":"angerame_dominic_anaconda_targets","ok":true,"partial":false,"title":"Anaconda Targets","artist":"Dominic Angerame","year":"2005","startOffset":0,"sourceSecs":652.819,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":111275678,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/angerame_dominic_anaconda_targets/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/angerame_dominic_anaconda_targets/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/angerame_dominic_anaconda_targets.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/angerame_dominic_anaconda_targets/main.mp4?v=2","description":"Dominic Angerame | 2005 | 9 minutes | B&W | SOUND<br/><br/>\"\"\"We don't have time to get scared, everything happens in a few seconds.<br/><br/>\"\"\"The sight lights up just in front of the windshield, everything is ready for the computer to do its work.<br/><br/>\"\"\"It's the computer that has the last word.\" -Paul Virillio<br/><br/> About 2,000 troops from the US led military coalition were engaged in close in combat on March 4, 2002 with small pockets of suspected al Qaeda and Taliban fighters in the rugged terrain of northeastern Afghanistan as part of an operation called Operation Acaconda.... The footage in the piece is filmed and audio taped from a US gunship helicopter that was part of this mission.<br/><br/>\"\"\"Anaconda Targets , a documentation tape of aerial bombings by the American military in Afghanistan, depicts the devastating effect of smart bombs. Not often featured in media reports, the soldiers' voices form the soundtrack that accompanies these chilling images. The document has been appropriated by filmmaker Dominic Angerame as a critique of his government's military aggression.\" - Susan Oxtoby","artist_bio":"Dominic Angerame (b.Albany, New York, USA, 1949) is an American experimental filmmaker, who has directed more than 35 films since 1969, and has presented films in film festivals worldwide. Angerame presented his '' along with Pixiescope, Waifen Maiden, Consume, and Anaconda Targets at the Havana Film Festival in 2006. This was the festival's first presentation of experimental cinema in the festival's 28 years. He was the subject of two Cine Probe series at the Museum of Modern Art in New York City, 1993 and 1998.\nHis series of films Battle Stations - A Navel Adventure (2002), Pixiescope (2003), The Waifen Maiden (2003), and Consume (2003) were screened at international film festivals, including Turin Film Festival, the Berlin Film Festival, and at the San Francisco Cinematheque at the Yerba Buena Center for the Arts in San Francisco.\nAngerame teaches filmmaking and cinema studies at the San Francisco Art Institute as a visiting artist. He has taught film production and cinema studies at the University of California, Berkeley Extension, New College of California, and has been a guest lecturer and visiting artist at Stanford University, the School of the Art Institute of Chicago, and others. Angerame has also previously taught cinema studies at the Academy of Art University in San Francisco.\nSince 1980, Angerame has been executive director of Canyon Cinema. Under his leadership, Canyon Cinema has become one of the largest distributors of avant garde and experimental films. Canyon Cinema preserves, promotes, and distributes independent films.\nThe City, Refuse, Passion, and Death: On the Work of Filmmaker Dominic Angerame\nSince the 1960s, the American filmmaker, theorist, and avant-garde activist Dominic Angerame has been working in a form that is both documentary and poetic, an aesthetic alliance between realism and fantasy. He employs a variety of techniques, but his films are invariably and primarily concerned with basic problems of rhythm: the nervousness of the montage in almost all Angerame films stands in startling contrast to the gentleness of its effect on the viewer. The double and triple exposures this artist prizes so much brake, as it were, the quick pulse of his cuts and help them to achieve a peculiarly delicate quality.\nDominic Angerame’s works search for unfamiliar views of seemingly familiar things: cities, landscapes, faces, and bodies. The filmmaker’s desire to make everyday images “strange” at the editing table, to learn to see them fresh and to estrange them from our senses, makes his films seem—in all the different social realities they contain—always distanced as well, as if they led to another world beyond the concrete, beyond time and defined space. In Angerame’s films, which pay homage to films from early cinema and the classic avant garde to American underground films of the 1960s and 70s and non-narrative films of the present day, an amazingly comprehensive history of the “visionary” moving image is always present. It may be that precisely his refusal to adopt a signature style has diminished the immediate influence of Angerame’s films; however, Angerame’s decision to work “universally,” not to be swayed by considerations of the art market, and to experiment with very different styles increases the pedagogical worth of his films. It’s not surprising to learn that Angerame, born in 1949, teaches at several American schools in addition to being the executive director of the American avant garde distribution center Canyon Cinema. His films testify to an encyclopedic knowledge of film—and also his desire to satisfy, with his own audio-visual offerings, the very different desires of his audience.\nThe concept \"experimental film,\" by the way, doesn't fit Dominic Angerame. It sounds, he says, like it's just an attempt, as if he didn't know exactly what he was doing. His practical work in film is informed by essentially one principle: the renunciation of \"narrative form.\" That alone seems enough to isolate a visual talent like his for a long time. Dominic Angerame is a marginalized filmmaker. The large digital movie databases don't even know his name.\nHis own films are “like city symphonies,” Angerame explains lapidarily, “big-city landscapes in high-contrast black and white.” This alludes to only one (but nevertheless important) part of Angerame’s oeuvre: his five-part City Symphony, made between 1987 and 1997, the title of which is derived from the famous 1927 Walter Ruttman film Berlin: Symphony of a Big City, and which formally stands in the tradition of Dziga Vertov’s urban-industrial montage. Angerame’s city films show (urban) destruction and (cinematic) construction as two sides of the same coin: as de-construction even. To see the city through Angerame’s eyes, writes Silke Tudor, is “to see an organic beast of cement that seems to breathe in rich shades of black and white.”\nThe first of the City Symphony films is an Angerame masterpiece. Continuum deals in complete immediacy, with the play of light and shadow on cement surfaces, streets, houses, and bridges, but it deals also with the work performed on these sites: steel frames full of busy welders gleam in the blazing sun, house facades are cleaned and sand blasted, streets are tarred and strewn with shimmering gravel. There’s wiping, spraying, cooking, shaking, and painting: Angerame shows us a world at work, in transformation—and, at the same time, he brings out the hierarchies implicit in that world: proletariat and industry, above and below. The workers remain anonymous, and the masks they wear emphasize their lack of identity. Nowhere else is Angerame’s virtuoso editing technique, celebrated by Stan Brakhage for its “seeming lightness, which is so difficult to achieve,” more apparent than in Continuum.\nIf one knew nothing of their history, it would be virtually impossible to date Angerame’s films. There’s a decidedly timeless quality to the City Symphony’s subject matter and black and white material (and also to Angerame’s partially manual film techniques). There’s an urban, utopian mood in Continuum that would fit just as well in the late 1930s as it does in the late 1980s.\nAngerame’s city works untiringly probe the textures that present themselves to his camera: they show patterns and inscriptions on walls and metal surfaces, focus on fissures in cement, lose themselves in shadowy passers-by and smoke rising out of machines. By stylizing the urban everyday, Angerame translates it back into its emblematic quality in a series of astonishing signs. His film language follows—as in the fundamental cinematographic dramatization of white (sun) and black (tar) in Continuum, for example—a strict sensual order.\nPremonition (1995) and In the Course of Human Events (1997) are cinematic twin stars that illustrate Angerame’s construction/destruction philosophy most clearly. The first film captures for one last time on film the emptied Embarcadero Freeway in San Francisco, which was damaged beyond repair in the 1989 earthquake, right before it was torn down. Angerame sees Premonition as a “daydream,” as a melancholic preview (and at the same time a continuous cinematic review) of an unstoppable annihilation. This film is, according to the director, “like the memory of something that has yet to take place.” In the Course of Human Events is also constructed as an elegy: a tragedy of annihilation, a documentation of the demolition of the Embarcadero Freeway.\nSimilar to the filmmaker Peter Hutton, Angerame stylizes his urban landscapes into half-abstract, extremely painterly compositions. The ghostly calm that hovers over Premonition and the intense interest in construction details are reminiscent of the austere architecture films of Heinz Emigholz. Angerame films buildings, streets, and the construction of bridges by making them visually dynamic and rendering them strange in a sketchily, futuristic way: they become cinematic science non-fiction. In Premonition the camera traces curves in the street and the lines of metal bridge struts in both wide shots and close-ups, creating the impression of a seemingly omnipresent camera in the film’s jumps between wide-angle shots and close-ups. Small details of movement break out of the unmoving, solidified world of this film: the wind blows a piece of paper over the street; two men pause far away at the water’s edge; buildings are mirrored in an imperceptibly trembling water surface.\nThe hyperrealistic soundtrack that Angerame employs in Premonition is calculated to irritate: the cries of seagulls, a car alarm, a flag flapping in the wind—these are all infused with a sense of the unreal. Moreover, Angerame’s soundscapes—and not only in this film—tend to a create synthetic, musical effects and heighten his films’ pathos-filled moods.\nAngerame’s oeuvre is rich with antitheses to the City Symphony. The early El Train Film, for example, autobiographically motivated and already employing an advanced editing technique, deals with the utopia of continuous movement, of life as a journey. In the mid-1970s, Angerame relates, he lived in northern Chicago right by the tracks, where he could always hear the trains: “One could say they defined our life.” Accompanied by a delicate old folk song, Angerame’s El Train Film collects shots out moving trains and of the oncoming rails that cut through the wide, empty landscape in the sun: cinema as an awareness of life, as an expression of a lost counter-culture.\nThe dilapidated, the ruined, and the thrown-away play a major role in Angerame’s cinema. One can always make a film out of a pair of disposable objects. With his 1984 film Hit the Turnpike!, Angerame experiments with an autobiographically ironic variation on the song “Hit the Road Jack”: the three-minute clip compiles in quick succession fragments of euphemistically formulated rejection letters, regretful replies, and negative reviews. Angerame productively uses the detritus of his filmmaker correspondence in a moving collection of cryptic signs, signatures, and logos. In Battle Stations—A Navel Adventure (2001), one of the filmmaker’s most hermetic works, Angerame has his friend Leyna d’Ancona, dressed in a sequin top, perform a belly dance in a public space before the San Francisco Cinematheque in the harbor of Hunter’s Point. He then projects onto her body images from the location—not only artist studios, a train museum, and a police laboratory, but also of the largest toxic waste dump in the city. In this ambience of shipyard work and industrial and possibly radioactive waste, Angerame creates a kind of music video in which all manner of strange and even improvised documentary events take place. The filmmaker Bruce Conner, for example, crosses the harbor’s forbidden area with a Geiger counter and measures the level of radiation in the danger zone. They found, Angerame writes in the notes to the film, no traces of radioactivity in their measurements.\nOne could call Consume a partner film to Battle Stations (the artist himself uses the term “passion” for both films). Angerame’s experiment with stroboscopic cinema, a kind of trance film inspired by Theodore Roszak’s novel Flicker, interweaves eroticism and orientalism anew in the ecstatic performance of a dancer (Zhanna Kleiman) before the camera. Kleiman is exposed naked in the flickering light, percussive composition, and Angerame’s frenetic montage, which merges its protagonist (literally from top to bottom) into a vision that flows seamlessly from the concrete to the abstract and back into the concrete. This montage layers the ritualistic movement studies of the heroine’s body within each other so that they attain an artificial, graphic quality.\nCinematic speed is not the least of Angerame’s many passions. In A Ticket Home (1982) he works so quickly with concrete images that they morph into partial abstractions. There’s a droning in this film similar to that in the films of Dietmar Brehms, like the sound of far-off traffic, and quiet voices seem to be singing some strange song; a vague unease settles in. The film fastens onto figures and details: faces and wet streets, a pregnant woman, graffiti and people in an office; the flickering lane line of a highway, the sparkling of water. Angerame’s films are simultaneously banal and charged, familiar and full of secrets. They offer a phenomenology of the everyday. The filmmaker’s view is everywhere at once: in living rooms, above the clouds, in the bustle of the city, and in open nature. Angerame’s film poems are impressionistic, volatile, always-changing.\nAngerame experimented a lot in his early work, some of which proved to be a dead end. Scratches, Inc. (1975) indicates directions the filmmaker would not pursue later. This short work sets an abstract scratch animation, in the tradition of Len Lyes and Robert Breers, to an atonal soundtrack that’s just as scratched as the image. Scratches, Inc. is a dance of white lines and points of light on a black field: a painting of movement.\nIn 2004 Angerame’s work took a surprising turn: Anaconda Targets, a found footage film made of one continuous, unchanged source, devoid of any formal complications. The film attacks the abstraction of war and delves into language—in marked contrast to almost all the filmmaker’s other works (with the exception of the answering machine vignette Phone/Film Portraits). Angerame doesn’t claim Anaconda Targets as his own: at the end of the film we read “Presented by Dominic Angerame.” The material comes from the cockpit of a war helicopter in the US bombardment of northeast Afghanistan in March 2002: video recordings of “Operation Anaconda,” which the American military had organized against suspected Al-Qaeda and Taliban strongholds. By presenting the images without commentary, Angerame assumes the perspective of the aggressors, who aim for and kill living targets. The machine’s eye only sees outlines.\nIn Anaconda Targets Angerame again takes up one of his favorite themes: destruction. But this time he takes the reverse approach: away from details and the desire to penetrate the effects of annihilation, and towards an overview, the view from above, towards distance. Anaconda Targets is a document of the banality of the labor of modern war. On a black and white video screen from a great height what happens on the ground appears highly schematic. An off-screen voice remarks that one of the buildings is a mosque and is not to be shot at. We see cars attempting (vainly) to flee, to escape the bombs. We hear the soldiers’ heavy breathing and excited voices as they comment on dropping the bombs and hitting the targets. The computer has the last word, says the war and film theorist Paul Virilio. Everything seems so simple on the monitors: no blood, no bodies, no ruins, only stable gray and white and the quietly rising blossoms of the explosives on the enemy landscape. Anaconda Targets is an inverse snuff movie, a critical study of violence through mere presentation.\nIf cinema, according to Cocteau, means to see continuously death in one’s work, then Angerame’s films are better suited than others to illustrate this. Transitoriness is one of Angerame’s recurring themes, or, more precisely, the phantomlike, ghostly, and the past of the things, places, and figures recorded on film. Angerame also seems moved by a nostalgia for early cinema, and by an old love for the classic avant garde. I’d Rather Be in Paris begins with a short, doubly-reflexive scene: an editing table with film images that show a man with a camera. Then an agitated sea whose surf slams into the breakwater. These images are silent, totally factual, and occasionally also poetic, as if the Lumière brothers had filmed them. Nothing is “natural” in cinema, not even nature itself. The cinema of Dominic Angerame, libidinous precisely in its morbidity, sinks at the end of this film into the white of the negative, which is nothing more than the chemical reverse of night: in the end, for Angerame, white and black are interchangeable. This journey ends where it began, in the film studio: a man works on film images and hangs film strips up to dry. We sense the cold season through the window: the bare trees of the courtyard are the counter-thesis to Angerame’s sensorily “hot” perceptions, but at the same time, as the last image of this film, also a part of them.\nStefan Grissemann is a film critic and the author of books on Michael Haneke, Edgar G. Ulmer, and Robert Frank. He heads the culture section of the weekly magazine profile.","bio_dates":"b. 1949"},{"slug":"angerame_dominic_battle_stations_best","ok":true,"partial":false,"title":"Battle Stations--A Navel Adventure","artist":"Dominic Angerame","year":"2002","startOffset":0,"sourceSecs":343.635,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":49929997,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/angerame_dominic_battle_stations_best/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/angerame_dominic_battle_stations_best/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/angerame_dominic_battle_stations_best.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/angerame_dominic_battle_stations_best/main.mp4?v=2","description":"Battle Stations--A Navel Adventure<br/><br/> Dominic Angerame | 2002 | 7 minutes | B&W | OPT<br/><br/> Starring Bruce Conner, a Belly Dancer, a geiger counter, and a toxic waste dump.<br/><br/> Sound design by Amy Leigh Hunter<br/><br/> Leyna d'Ancona and myself went filming at the Naval Shipyard at Hunter's Point a few weeks ago. My original concept for this film was to have my friend, Leyna perform a belly dance ritual in front of the Cinematheque office and I would superimpose images from the \"macho\" naval station...a perfect blend of yin and yang...ships and a navel...<br/><br/> However, when we arrived it was high noon and the shadows were awful....workers were honking horns at Leyna as she belly danced...I had a hard time coming up with the correct exposures...and we were both frightened by the earthen mounds we saw covered with plastic and anchored down by haystacks...It was extremely distracting...and we had heard that there were toxic materials from radioactive ships all around...so I decided to shoot this toxic material as part of the film...Leyna kept saying...\"Dominic...stay downwind\" as the currents ripped my hair backwards...<br/><br/> We stopped at the pier and I cautiously stepped down a rusted metal stairway to the water to get footage on an abondoned submarine walkway...and we traveled to the main shipyard where workers were deconstructing a ship...We were stopped for papers and ushered off the set...we were on top secret ground...I now discovered I shot the entire previous shots (more than 100 short takes) with the variable shutter closed...and told Leyna of it...<br/><br/> We shrugged and headed for higher ground a hill over looking the pier where the workers were. I rewound the film and opened the shutter...hopped in the back of the flatbed truck and took out the 100mm lens...perfect...for a rather close view of the top secret activity...and began to shoot the first sequence...we are stopped again...Leyna jumps out shaking her chest...I hunt for the permit...the guard says...\"that's my boss' signature\" and drives away...I shoot...have no idea if anything is to come out...I run out of film...<br/><br/> And soon I smell smoke...thinking it is a barbeque...and Leyna runs out of the bathroom saying the whole place is on fire, and indeed there is a wall of flame and smoke outside of Daygo Mary's...clientelle running out to save their cars...we bust through the front gates, flames licking the side of the truck...I am furiously rewinding film to shoot...hop out of truck and shoot the fire...children are throwing stones at us from the nearby hills and...certainly we are in Dante's Inferno...fire trucks finally arrive...put out the blaze, me and Leyna leave, glad to be back to some sort of civilization.<br/><br/> The next week, Bruce Conner and myself decide to go to the site with a geiger counter to see of the toxins are radio active...After more than 45 minutes of driving and testing we find no radioactivity...<br/><br/> This film is a diary of this experience...","artist_bio":"Dominic Angerame (b.Albany, New York, USA, 1949) is an American experimental filmmaker, who has directed more than 35 films since 1969, and has presented films in film festivals worldwide. Angerame presented his '' along with Pixiescope, Waifen Maiden, Consume, and Anaconda Targets at the Havana Film Festival in 2006. This was the festival's first presentation of experimental cinema in the festival's 28 years. He was the subject of two Cine Probe series at the Museum of Modern Art in New York City, 1993 and 1998.\nHis series of films Battle Stations - A Navel Adventure (2002), Pixiescope (2003), The Waifen Maiden (2003), and Consume (2003) were screened at international film festivals, including Turin Film Festival, the Berlin Film Festival, and at the San Francisco Cinematheque at the Yerba Buena Center for the Arts in San Francisco.\nAngerame teaches filmmaking and cinema studies at the San Francisco Art Institute as a visiting artist. He has taught film production and cinema studies at the University of California, Berkeley Extension, New College of California, and has been a guest lecturer and visiting artist at Stanford University, the School of the Art Institute of Chicago, and others. Angerame has also previously taught cinema studies at the Academy of Art University in San Francisco.\nSince 1980, Angerame has been executive director of Canyon Cinema. Under his leadership, Canyon Cinema has become one of the largest distributors of avant garde and experimental films. Canyon Cinema preserves, promotes, and distributes independent films.\nThe City, Refuse, Passion, and Death: On the Work of Filmmaker Dominic Angerame\nSince the 1960s, the American filmmaker, theorist, and avant-garde activist Dominic Angerame has been working in a form that is both documentary and poetic, an aesthetic alliance between realism and fantasy. He employs a variety of techniques, but his films are invariably and primarily concerned with basic problems of rhythm: the nervousness of the montage in almost all Angerame films stands in startling contrast to the gentleness of its effect on the viewer. The double and triple exposures this artist prizes so much brake, as it were, the quick pulse of his cuts and help them to achieve a peculiarly delicate quality.\nDominic Angerame’s works search for unfamiliar views of seemingly familiar things: cities, landscapes, faces, and bodies. The filmmaker’s desire to make everyday images “strange” at the editing table, to learn to see them fresh and to estrange them from our senses, makes his films seem—in all the different social realities they contain—always distanced as well, as if they led to another world beyond the concrete, beyond time and defined space. In Angerame’s films, which pay homage to films from early cinema and the classic avant garde to American underground films of the 1960s and 70s and non-narrative films of the present day, an amazingly comprehensive history of the “visionary” moving image is always present. It may be that precisely his refusal to adopt a signature style has diminished the immediate influence of Angerame’s films; however, Angerame’s decision to work “universally,” not to be swayed by considerations of the art market, and to experiment with very different styles increases the pedagogical worth of his films. It’s not surprising to learn that Angerame, born in 1949, teaches at several American schools in addition to being the executive director of the American avant garde distribution center Canyon Cinema. His films testify to an encyclopedic knowledge of film—and also his desire to satisfy, with his own audio-visual offerings, the very different desires of his audience.\nThe concept \"experimental film,\" by the way, doesn't fit Dominic Angerame. It sounds, he says, like it's just an attempt, as if he didn't know exactly what he was doing. His practical work in film is informed by essentially one principle: the renunciation of \"narrative form.\" That alone seems enough to isolate a visual talent like his for a long time. Dominic Angerame is a marginalized filmmaker. The large digital movie databases don't even know his name.\nHis own films are “like city symphonies,” Angerame explains lapidarily, “big-city landscapes in high-contrast black and white.” This alludes to only one (but nevertheless important) part of Angerame’s oeuvre: his five-part City Symphony, made between 1987 and 1997, the title of which is derived from the famous 1927 Walter Ruttman film Berlin: Symphony of a Big City, and which formally stands in the tradition of Dziga Vertov’s urban-industrial montage. Angerame’s city films show (urban) destruction and (cinematic) construction as two sides of the same coin: as de-construction even. To see the city through Angerame’s eyes, writes Silke Tudor, is “to see an organic beast of cement that seems to breathe in rich shades of black and white.”\nThe first of the City Symphony films is an Angerame masterpiece. Continuum deals in complete immediacy, with the play of light and shadow on cement surfaces, streets, houses, and bridges, but it deals also with the work performed on these sites: steel frames full of busy welders gleam in the blazing sun, house facades are cleaned and sand blasted, streets are tarred and strewn with shimmering gravel. There’s wiping, spraying, cooking, shaking, and painting: Angerame shows us a world at work, in transformation—and, at the same time, he brings out the hierarchies implicit in that world: proletariat and industry, above and below. The workers remain anonymous, and the masks they wear emphasize their lack of identity. Nowhere else is Angerame’s virtuoso editing technique, celebrated by Stan Brakhage for its “seeming lightness, which is so difficult to achieve,” more apparent than in Continuum.\nIf one knew nothing of their history, it would be virtually impossible to date Angerame’s films. There’s a decidedly timeless quality to the City Symphony’s subject matter and black and white material (and also to Angerame’s partially manual film techniques). There’s an urban, utopian mood in Continuum that would fit just as well in the late 1930s as it does in the late 1980s.\nAngerame’s city works untiringly probe the textures that present themselves to his camera: they show patterns and inscriptions on walls and metal surfaces, focus on fissures in cement, lose themselves in shadowy passers-by and smoke rising out of machines. By stylizing the urban everyday, Angerame translates it back into its emblematic quality in a series of astonishing signs. His film language follows—as in the fundamental cinematographic dramatization of white (sun) and black (tar) in Continuum, for example—a strict sensual order.\nPremonition (1995) and In the Course of Human Events (1997) are cinematic twin stars that illustrate Angerame’s construction/destruction philosophy most clearly. The first film captures for one last time on film the emptied Embarcadero Freeway in San Francisco, which was damaged beyond repair in the 1989 earthquake, right before it was torn down. Angerame sees Premonition as a “daydream,” as a melancholic preview (and at the same time a continuous cinematic review) of an unstoppable annihilation. This film is, according to the director, “like the memory of something that has yet to take place.” In the Course of Human Events is also constructed as an elegy: a tragedy of annihilation, a documentation of the demolition of the Embarcadero Freeway.\nSimilar to the filmmaker Peter Hutton, Angerame stylizes his urban landscapes into half-abstract, extremely painterly compositions. The ghostly calm that hovers over Premonition and the intense interest in construction details are reminiscent of the austere architecture films of Heinz Emigholz. Angerame films buildings, streets, and the construction of bridges by making them visually dynamic and rendering them strange in a sketchily, futuristic way: they become cinematic science non-fiction. In Premonition the camera traces curves in the street and the lines of metal bridge struts in both wide shots and close-ups, creating the impression of a seemingly omnipresent camera in the film’s jumps between wide-angle shots and close-ups. Small details of movement break out of the unmoving, solidified world of this film: the wind blows a piece of paper over the street; two men pause far away at the water’s edge; buildings are mirrored in an imperceptibly trembling water surface.\nThe hyperrealistic soundtrack that Angerame employs in Premonition is calculated to irritate: the cries of seagulls, a car alarm, a flag flapping in the wind—these are all infused with a sense of the unreal. Moreover, Angerame’s soundscapes—and not only in this film—tend to a create synthetic, musical effects and heighten his films’ pathos-filled moods.\nAngerame’s oeuvre is rich with antitheses to the City Symphony. The early El Train Film, for example, autobiographically motivated and already employing an advanced editing technique, deals with the utopia of continuous movement, of life as a journey. In the mid-1970s, Angerame relates, he lived in northern Chicago right by the tracks, where he could always hear the trains: “One could say they defined our life.” Accompanied by a delicate old folk song, Angerame’s El Train Film collects shots out moving trains and of the oncoming rails that cut through the wide, empty landscape in the sun: cinema as an awareness of life, as an expression of a lost counter-culture.\nThe dilapidated, the ruined, and the thrown-away play a major role in Angerame’s cinema. One can always make a film out of a pair of disposable objects. With his 1984 film Hit the Turnpike!, Angerame experiments with an autobiographically ironic variation on the song “Hit the Road Jack”: the three-minute clip compiles in quick succession fragments of euphemistically formulated rejection letters, regretful replies, and negative reviews. Angerame productively uses the detritus of his filmmaker correspondence in a moving collection of cryptic signs, signatures, and logos. In Battle Stations—A Navel Adventure (2001), one of the filmmaker’s most hermetic works, Angerame has his friend Leyna d’Ancona, dressed in a sequin top, perform a belly dance in a public space before the San Francisco Cinematheque in the harbor of Hunter’s Point. He then projects onto her body images from the location—not only artist studios, a train museum, and a police laboratory, but also of the largest toxic waste dump in the city. In this ambience of shipyard work and industrial and possibly radioactive waste, Angerame creates a kind of music video in which all manner of strange and even improvised documentary events take place. The filmmaker Bruce Conner, for example, crosses the harbor’s forbidden area with a Geiger counter and measures the level of radiation in the danger zone. They found, Angerame writes in the notes to the film, no traces of radioactivity in their measurements.\nOne could call Consume a partner film to Battle Stations (the artist himself uses the term “passion” for both films). Angerame’s experiment with stroboscopic cinema, a kind of trance film inspired by Theodore Roszak’s novel Flicker, interweaves eroticism and orientalism anew in the ecstatic performance of a dancer (Zhanna Kleiman) before the camera. Kleiman is exposed naked in the flickering light, percussive composition, and Angerame’s frenetic montage, which merges its protagonist (literally from top to bottom) into a vision that flows seamlessly from the concrete to the abstract and back into the concrete. This montage layers the ritualistic movement studies of the heroine’s body within each other so that they attain an artificial, graphic quality.\nCinematic speed is not the least of Angerame’s many passions. In A Ticket Home (1982) he works so quickly with concrete images that they morph into partial abstractions. There’s a droning in this film similar to that in the films of Dietmar Brehms, like the sound of far-off traffic, and quiet voices seem to be singing some strange song; a vague unease settles in. The film fastens onto figures and details: faces and wet streets, a pregnant woman, graffiti and people in an office; the flickering lane line of a highway, the sparkling of water. Angerame’s films are simultaneously banal and charged, familiar and full of secrets. They offer a phenomenology of the everyday. The filmmaker’s view is everywhere at once: in living rooms, above the clouds, in the bustle of the city, and in open nature. Angerame’s film poems are impressionistic, volatile, always-changing.\nAngerame experimented a lot in his early work, some of which proved to be a dead end. Scratches, Inc. (1975) indicates directions the filmmaker would not pursue later. This short work sets an abstract scratch animation, in the tradition of Len Lyes and Robert Breers, to an atonal soundtrack that’s just as scratched as the image. Scratches, Inc. is a dance of white lines and points of light on a black field: a painting of movement.\nIn 2004 Angerame’s work took a surprising turn: Anaconda Targets, a found footage film made of one continuous, unchanged source, devoid of any formal complications. The film attacks the abstraction of war and delves into language—in marked contrast to almost all the filmmaker’s other works (with the exception of the answering machine vignette Phone/Film Portraits). Angerame doesn’t claim Anaconda Targets as his own: at the end of the film we read “Presented by Dominic Angerame.” The material comes from the cockpit of a war helicopter in the US bombardment of northeast Afghanistan in March 2002: video recordings of “Operation Anaconda,” which the American military had organized against suspected Al-Qaeda and Taliban strongholds. By presenting the images without commentary, Angerame assumes the perspective of the aggressors, who aim for and kill living targets. The machine’s eye only sees outlines.\nIn Anaconda Targets Angerame again takes up one of his favorite themes: destruction. But this time he takes the reverse approach: away from details and the desire to penetrate the effects of annihilation, and towards an overview, the view from above, towards distance. Anaconda Targets is a document of the banality of the labor of modern war. On a black and white video screen from a great height what happens on the ground appears highly schematic. An off-screen voice remarks that one of the buildings is a mosque and is not to be shot at. We see cars attempting (vainly) to flee, to escape the bombs. We hear the soldiers’ heavy breathing and excited voices as they comment on dropping the bombs and hitting the targets. The computer has the last word, says the war and film theorist Paul Virilio. Everything seems so simple on the monitors: no blood, no bodies, no ruins, only stable gray and white and the quietly rising blossoms of the explosives on the enemy landscape. Anaconda Targets is an inverse snuff movie, a critical study of violence through mere presentation.\nIf cinema, according to Cocteau, means to see continuously death in one’s work, then Angerame’s films are better suited than others to illustrate this. Transitoriness is one of Angerame’s recurring themes, or, more precisely, the phantomlike, ghostly, and the past of the things, places, and figures recorded on film. Angerame also seems moved by a nostalgia for early cinema, and by an old love for the classic avant garde. I’d Rather Be in Paris begins with a short, doubly-reflexive scene: an editing table with film images that show a man with a camera. Then an agitated sea whose surf slams into the breakwater. These images are silent, totally factual, and occasionally also poetic, as if the Lumière brothers had filmed them. Nothing is “natural” in cinema, not even nature itself. The cinema of Dominic Angerame, libidinous precisely in its morbidity, sinks at the end of this film into the white of the negative, which is nothing more than the chemical reverse of night: in the end, for Angerame, white and black are interchangeable. This journey ends where it began, in the film studio: a man works on film images and hangs film strips up to dry. We sense the cold season through the window: the bare trees of the courtyard are the counter-thesis to Angerame’s sensorily “hot” perceptions, but at the same time, as the last image of this film, also a part of them.\nStefan Grissemann is a film critic and the author of books on Michael Haneke, Edgar G. Ulmer, and Robert Frank. He heads the culture section of the weekly magazine profile.","bio_dates":"b. 1949"},{"slug":"angerame_dominic_consume","ok":true,"partial":false,"title":"Consume","artist":"Dominic Angerame","year":"2003","startOffset":0,"sourceSecs":722.859,"sourceHeight":1080,"sourceWidth":1440,"hasAudio":true,"hasAmbientMp4":true,"bytes":326625323,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/angerame_dominic_consume/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/angerame_dominic_consume/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/angerame_dominic_consume.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/angerame_dominic_consume/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/angerame_dominic_consume/main/master.m3u8?v=2","hasMainHls":true,"description":"Dominic Angerame | 2003 | 12 minutes | COLOR/B&W | OPT <br/><br/> Starring Zhanna. Pomolusya (\"I Will Pray\") Ukranian Prayer performed by Zhanna, recorded and mastered by Zak May. Excepts from \"Lyrical\" and \"Chaos\" from the tribe recording of Gabrielle Roth and the Mirrors with permission from Raven Recording<br/><br/>Inspired by the novel FLICKER by Theodore Roszak, this film was intended to explore the images captured in the flickering light of multiple projector beams. By utilizing superimpositions within the camera, one could experience the pulsating light and explore hidden imagery through use of the \"Sally Rand\" that Roszak refers to.<br/><br/>However, once production began...the projector beams began to put both myself and my actress into a trance state due to the strobe light it presented...the resulting film turned into a trance by natural evolution and in essence the film becomes even more...<br/><br/>It becomes an exploration into oneself and the sense of seeing and being at the same time...both an inward journey and an outward one...<br/><br/>\"\"Transient<br> Illusive<br> Soft<br> Flowing<br> Loving<br> Dissolving<br> Trusting<br> Focusing<br> Praying<br/> Allowing<br/> Igniting<br/> Embodying<br/> Burning<br/> Disintegrating<br/> Abandoning<br/> Surrendering<br/> Revealed<br/> Taken Over<br/> Consumed\"<br/> <br/> --Zhanna</br></br></br></br></br></br></br></br>","artist_bio":"Dominic Angerame (b.Albany, New York, USA, 1949) is an American experimental filmmaker, who has directed more than 35 films since 1969, and has presented films in film festivals worldwide. Angerame presented his '' along with Pixiescope, Waifen Maiden, Consume, and Anaconda Targets at the Havana Film Festival in 2006. This was the festival's first presentation of experimental cinema in the festival's 28 years. He was the subject of two Cine Probe series at the Museum of Modern Art in New York City, 1993 and 1998.\nHis series of films Battle Stations - A Navel Adventure (2002), Pixiescope (2003), The Waifen Maiden (2003), and Consume (2003) were screened at international film festivals, including Turin Film Festival, the Berlin Film Festival, and at the San Francisco Cinematheque at the Yerba Buena Center for the Arts in San Francisco.\nAngerame teaches filmmaking and cinema studies at the San Francisco Art Institute as a visiting artist. He has taught film production and cinema studies at the University of California, Berkeley Extension, New College of California, and has been a guest lecturer and visiting artist at Stanford University, the School of the Art Institute of Chicago, and others. Angerame has also previously taught cinema studies at the Academy of Art University in San Francisco.\nSince 1980, Angerame has been executive director of Canyon Cinema. Under his leadership, Canyon Cinema has become one of the largest distributors of avant garde and experimental films. Canyon Cinema preserves, promotes, and distributes independent films.\nThe City, Refuse, Passion, and Death: On the Work of Filmmaker Dominic Angerame\nSince the 1960s, the American filmmaker, theorist, and avant-garde activist Dominic Angerame has been working in a form that is both documentary and poetic, an aesthetic alliance between realism and fantasy. He employs a variety of techniques, but his films are invariably and primarily concerned with basic problems of rhythm: the nervousness of the montage in almost all Angerame films stands in startling contrast to the gentleness of its effect on the viewer. The double and triple exposures this artist prizes so much brake, as it were, the quick pulse of his cuts and help them to achieve a peculiarly delicate quality.\nDominic Angerame’s works search for unfamiliar views of seemingly familiar things: cities, landscapes, faces, and bodies. The filmmaker’s desire to make everyday images “strange” at the editing table, to learn to see them fresh and to estrange them from our senses, makes his films seem—in all the different social realities they contain—always distanced as well, as if they led to another world beyond the concrete, beyond time and defined space. In Angerame’s films, which pay homage to films from early cinema and the classic avant garde to American underground films of the 1960s and 70s and non-narrative films of the present day, an amazingly comprehensive history of the “visionary” moving image is always present. It may be that precisely his refusal to adopt a signature style has diminished the immediate influence of Angerame’s films; however, Angerame’s decision to work “universally,” not to be swayed by considerations of the art market, and to experiment with very different styles increases the pedagogical worth of his films. It’s not surprising to learn that Angerame, born in 1949, teaches at several American schools in addition to being the executive director of the American avant garde distribution center Canyon Cinema. His films testify to an encyclopedic knowledge of film—and also his desire to satisfy, with his own audio-visual offerings, the very different desires of his audience.\nThe concept \"experimental film,\" by the way, doesn't fit Dominic Angerame. It sounds, he says, like it's just an attempt, as if he didn't know exactly what he was doing. His practical work in film is informed by essentially one principle: the renunciation of \"narrative form.\" That alone seems enough to isolate a visual talent like his for a long time. Dominic Angerame is a marginalized filmmaker. The large digital movie databases don't even know his name.\nHis own films are “like city symphonies,” Angerame explains lapidarily, “big-city landscapes in high-contrast black and white.” This alludes to only one (but nevertheless important) part of Angerame’s oeuvre: his five-part City Symphony, made between 1987 and 1997, the title of which is derived from the famous 1927 Walter Ruttman film Berlin: Symphony of a Big City, and which formally stands in the tradition of Dziga Vertov’s urban-industrial montage. Angerame’s city films show (urban) destruction and (cinematic) construction as two sides of the same coin: as de-construction even. To see the city through Angerame’s eyes, writes Silke Tudor, is “to see an organic beast of cement that seems to breathe in rich shades of black and white.”\nThe first of the City Symphony films is an Angerame masterpiece. Continuum deals in complete immediacy, with the play of light and shadow on cement surfaces, streets, houses, and bridges, but it deals also with the work performed on these sites: steel frames full of busy welders gleam in the blazing sun, house facades are cleaned and sand blasted, streets are tarred and strewn with shimmering gravel. There’s wiping, spraying, cooking, shaking, and painting: Angerame shows us a world at work, in transformation—and, at the same time, he brings out the hierarchies implicit in that world: proletariat and industry, above and below. The workers remain anonymous, and the masks they wear emphasize their lack of identity. Nowhere else is Angerame’s virtuoso editing technique, celebrated by Stan Brakhage for its “seeming lightness, which is so difficult to achieve,” more apparent than in Continuum.\nIf one knew nothing of their history, it would be virtually impossible to date Angerame’s films. There’s a decidedly timeless quality to the City Symphony’s subject matter and black and white material (and also to Angerame’s partially manual film techniques). There’s an urban, utopian mood in Continuum that would fit just as well in the late 1930s as it does in the late 1980s.\nAngerame’s city works untiringly probe the textures that present themselves to his camera: they show patterns and inscriptions on walls and metal surfaces, focus on fissures in cement, lose themselves in shadowy passers-by and smoke rising out of machines. By stylizing the urban everyday, Angerame translates it back into its emblematic quality in a series of astonishing signs. His film language follows—as in the fundamental cinematographic dramatization of white (sun) and black (tar) in Continuum, for example—a strict sensual order.\nPremonition (1995) and In the Course of Human Events (1997) are cinematic twin stars that illustrate Angerame’s construction/destruction philosophy most clearly. The first film captures for one last time on film the emptied Embarcadero Freeway in San Francisco, which was damaged beyond repair in the 1989 earthquake, right before it was torn down. Angerame sees Premonition as a “daydream,” as a melancholic preview (and at the same time a continuous cinematic review) of an unstoppable annihilation. This film is, according to the director, “like the memory of something that has yet to take place.” In the Course of Human Events is also constructed as an elegy: a tragedy of annihilation, a documentation of the demolition of the Embarcadero Freeway.\nSimilar to the filmmaker Peter Hutton, Angerame stylizes his urban landscapes into half-abstract, extremely painterly compositions. The ghostly calm that hovers over Premonition and the intense interest in construction details are reminiscent of the austere architecture films of Heinz Emigholz. Angerame films buildings, streets, and the construction of bridges by making them visually dynamic and rendering them strange in a sketchily, futuristic way: they become cinematic science non-fiction. In Premonition the camera traces curves in the street and the lines of metal bridge struts in both wide shots and close-ups, creating the impression of a seemingly omnipresent camera in the film’s jumps between wide-angle shots and close-ups. Small details of movement break out of the unmoving, solidified world of this film: the wind blows a piece of paper over the street; two men pause far away at the water’s edge; buildings are mirrored in an imperceptibly trembling water surface.\nThe hyperrealistic soundtrack that Angerame employs in Premonition is calculated to irritate: the cries of seagulls, a car alarm, a flag flapping in the wind—these are all infused with a sense of the unreal. Moreover, Angerame’s soundscapes—and not only in this film—tend to a create synthetic, musical effects and heighten his films’ pathos-filled moods.\nAngerame’s oeuvre is rich with antitheses to the City Symphony. The early El Train Film, for example, autobiographically motivated and already employing an advanced editing technique, deals with the utopia of continuous movement, of life as a journey. In the mid-1970s, Angerame relates, he lived in northern Chicago right by the tracks, where he could always hear the trains: “One could say they defined our life.” Accompanied by a delicate old folk song, Angerame’s El Train Film collects shots out moving trains and of the oncoming rails that cut through the wide, empty landscape in the sun: cinema as an awareness of life, as an expression of a lost counter-culture.\nThe dilapidated, the ruined, and the thrown-away play a major role in Angerame’s cinema. One can always make a film out of a pair of disposable objects. With his 1984 film Hit the Turnpike!, Angerame experiments with an autobiographically ironic variation on the song “Hit the Road Jack”: the three-minute clip compiles in quick succession fragments of euphemistically formulated rejection letters, regretful replies, and negative reviews. Angerame productively uses the detritus of his filmmaker correspondence in a moving collection of cryptic signs, signatures, and logos. In Battle Stations—A Navel Adventure (2001), one of the filmmaker’s most hermetic works, Angerame has his friend Leyna d’Ancona, dressed in a sequin top, perform a belly dance in a public space before the San Francisco Cinematheque in the harbor of Hunter’s Point. He then projects onto her body images from the location—not only artist studios, a train museum, and a police laboratory, but also of the largest toxic waste dump in the city. In this ambience of shipyard work and industrial and possibly radioactive waste, Angerame creates a kind of music video in which all manner of strange and even improvised documentary events take place. The filmmaker Bruce Conner, for example, crosses the harbor’s forbidden area with a Geiger counter and measures the level of radiation in the danger zone. They found, Angerame writes in the notes to the film, no traces of radioactivity in their measurements.\nOne could call Consume a partner film to Battle Stations (the artist himself uses the term “passion” for both films). Angerame’s experiment with stroboscopic cinema, a kind of trance film inspired by Theodore Roszak’s novel Flicker, interweaves eroticism and orientalism anew in the ecstatic performance of a dancer (Zhanna Kleiman) before the camera. Kleiman is exposed naked in the flickering light, percussive composition, and Angerame’s frenetic montage, which merges its protagonist (literally from top to bottom) into a vision that flows seamlessly from the concrete to the abstract and back into the concrete. This montage layers the ritualistic movement studies of the heroine’s body within each other so that they attain an artificial, graphic quality.\nCinematic speed is not the least of Angerame’s many passions. In A Ticket Home (1982) he works so quickly with concrete images that they morph into partial abstractions. There’s a droning in this film similar to that in the films of Dietmar Brehms, like the sound of far-off traffic, and quiet voices seem to be singing some strange song; a vague unease settles in. The film fastens onto figures and details: faces and wet streets, a pregnant woman, graffiti and people in an office; the flickering lane line of a highway, the sparkling of water. Angerame’s films are simultaneously banal and charged, familiar and full of secrets. They offer a phenomenology of the everyday. The filmmaker’s view is everywhere at once: in living rooms, above the clouds, in the bustle of the city, and in open nature. Angerame’s film poems are impressionistic, volatile, always-changing.\nAngerame experimented a lot in his early work, some of which proved to be a dead end. Scratches, Inc. (1975) indicates directions the filmmaker would not pursue later. This short work sets an abstract scratch animation, in the tradition of Len Lyes and Robert Breers, to an atonal soundtrack that’s just as scratched as the image. Scratches, Inc. is a dance of white lines and points of light on a black field: a painting of movement.\nIn 2004 Angerame’s work took a surprising turn: Anaconda Targets, a found footage film made of one continuous, unchanged source, devoid of any formal complications. The film attacks the abstraction of war and delves into language—in marked contrast to almost all the filmmaker’s other works (with the exception of the answering machine vignette Phone/Film Portraits). Angerame doesn’t claim Anaconda Targets as his own: at the end of the film we read “Presented by Dominic Angerame.” The material comes from the cockpit of a war helicopter in the US bombardment of northeast Afghanistan in March 2002: video recordings of “Operation Anaconda,” which the American military had organized against suspected Al-Qaeda and Taliban strongholds. By presenting the images without commentary, Angerame assumes the perspective of the aggressors, who aim for and kill living targets. The machine’s eye only sees outlines.\nIn Anaconda Targets Angerame again takes up one of his favorite themes: destruction. But this time he takes the reverse approach: away from details and the desire to penetrate the effects of annihilation, and towards an overview, the view from above, towards distance. Anaconda Targets is a document of the banality of the labor of modern war. On a black and white video screen from a great height what happens on the ground appears highly schematic. An off-screen voice remarks that one of the buildings is a mosque and is not to be shot at. We see cars attempting (vainly) to flee, to escape the bombs. We hear the soldiers’ heavy breathing and excited voices as they comment on dropping the bombs and hitting the targets. The computer has the last word, says the war and film theorist Paul Virilio. Everything seems so simple on the monitors: no blood, no bodies, no ruins, only stable gray and white and the quietly rising blossoms of the explosives on the enemy landscape. Anaconda Targets is an inverse snuff movie, a critical study of violence through mere presentation.\nIf cinema, according to Cocteau, means to see continuously death in one’s work, then Angerame’s films are better suited than others to illustrate this. Transitoriness is one of Angerame’s recurring themes, or, more precisely, the phantomlike, ghostly, and the past of the things, places, and figures recorded on film. Angerame also seems moved by a nostalgia for early cinema, and by an old love for the classic avant garde. I’d Rather Be in Paris begins with a short, doubly-reflexive scene: an editing table with film images that show a man with a camera. Then an agitated sea whose surf slams into the breakwater. These images are silent, totally factual, and occasionally also poetic, as if the Lumière brothers had filmed them. Nothing is “natural” in cinema, not even nature itself. The cinema of Dominic Angerame, libidinous precisely in its morbidity, sinks at the end of this film into the white of the negative, which is nothing more than the chemical reverse of night: in the end, for Angerame, white and black are interchangeable. This journey ends where it began, in the film studio: a man works on film images and hangs film strips up to dry. We sense the cold season through the window: the bare trees of the courtyard are the counter-thesis to Angerame’s sensorily “hot” perceptions, but at the same time, as the last image of this film, also a part of them.\nStefan Grissemann is a film critic and the author of books on Michael Haneke, Edgar G. Ulmer, and Robert Frank. He heads the culture section of the weekly magazine profile.","bio_dates":"b. 1949"},{"slug":"angerame_dominic_voyeuristic_tendencies","ok":true,"partial":false,"title":"Voyeuristic Tendencies","artist":"Dominic Angerame","year":"1984","startOffset":0,"sourceSecs":1049.415,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":184169068,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/angerame_dominic_voyeuristic_tendencies/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/angerame_dominic_voyeuristic_tendencies/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/angerame_dominic_voyeuristic_tendencies.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/angerame_dominic_voyeuristic_tendencies/main.mp4?v=2","description":"16mm 1984 17 minutes<br/> A homage to George Orwell<br/> Music by the Eurythmics<br/> <br/> VOYEURISTIC TENDENCIES is not so much a film about voyeurism as it is our tendency to be voyeuristic. That tendency, nurtured by the filmmakers carefully crafted succession of visual teases and exploited by the camera's ability to become our eyes, becomes in increasingly evident as the film progresses. The camera teases the viewer, in this case, co-voyeur, not with sexual or erotic innuendo, but rather with graphic and aesthetic challenges. The partially opened window of a woman's dressing room forces us to realize our urge to see more about these hidden worlds. This type of cinematically- induced self- realization makes VOYEURISTIC TENDENCIES a powerfully human film. Most of the people we view appear to be merely going through the motions. Their actions seem hauntingly void of emotion or thought. By temporarily becoming voyeurs, we were hoping for bigger and better things, e. g. passion... melodrama, but are left with only a secretary nervously tapping her nails. ... a perfect sex film for the 80's. We are teased, cajoled, lured and finally snubbed as we learn one possible answer to what has happened to sex; it has been subsumed in our society's current confusion between artifice and reality. – James Irwin also available from One Way Films","artist_bio":"Dominic Angerame (b.Albany, New York, USA, 1949) is an American experimental filmmaker, who has directed more than 35 films since 1969, and has presented films in film festivals worldwide. Angerame presented his '' along with Pixiescope, Waifen Maiden, Consume, and Anaconda Targets at the Havana Film Festival in 2006. This was the festival's first presentation of experimental cinema in the festival's 28 years. He was the subject of two Cine Probe series at the Museum of Modern Art in New York City, 1993 and 1998.\nHis series of films Battle Stations - A Navel Adventure (2002), Pixiescope (2003), The Waifen Maiden (2003), and Consume (2003) were screened at international film festivals, including Turin Film Festival, the Berlin Film Festival, and at the San Francisco Cinematheque at the Yerba Buena Center for the Arts in San Francisco.\nAngerame teaches filmmaking and cinema studies at the San Francisco Art Institute as a visiting artist. He has taught film production and cinema studies at the University of California, Berkeley Extension, New College of California, and has been a guest lecturer and visiting artist at Stanford University, the School of the Art Institute of Chicago, and others. Angerame has also previously taught cinema studies at the Academy of Art University in San Francisco.\nSince 1980, Angerame has been executive director of Canyon Cinema. Under his leadership, Canyon Cinema has become one of the largest distributors of avant garde and experimental films. Canyon Cinema preserves, promotes, and distributes independent films.\nThe City, Refuse, Passion, and Death: On the Work of Filmmaker Dominic Angerame\nSince the 1960s, the American filmmaker, theorist, and avant-garde activist Dominic Angerame has been working in a form that is both documentary and poetic, an aesthetic alliance between realism and fantasy. He employs a variety of techniques, but his films are invariably and primarily concerned with basic problems of rhythm: the nervousness of the montage in almost all Angerame films stands in startling contrast to the gentleness of its effect on the viewer. The double and triple exposures this artist prizes so much brake, as it were, the quick pulse of his cuts and help them to achieve a peculiarly delicate quality.\nDominic Angerame’s works search for unfamiliar views of seemingly familiar things: cities, landscapes, faces, and bodies. The filmmaker’s desire to make everyday images “strange” at the editing table, to learn to see them fresh and to estrange them from our senses, makes his films seem—in all the different social realities they contain—always distanced as well, as if they led to another world beyond the concrete, beyond time and defined space. In Angerame’s films, which pay homage to films from early cinema and the classic avant garde to American underground films of the 1960s and 70s and non-narrative films of the present day, an amazingly comprehensive history of the “visionary” moving image is always present. It may be that precisely his refusal to adopt a signature style has diminished the immediate influence of Angerame’s films; however, Angerame’s decision to work “universally,” not to be swayed by considerations of the art market, and to experiment with very different styles increases the pedagogical worth of his films. It’s not surprising to learn that Angerame, born in 1949, teaches at several American schools in addition to being the executive director of the American avant garde distribution center Canyon Cinema. His films testify to an encyclopedic knowledge of film—and also his desire to satisfy, with his own audio-visual offerings, the very different desires of his audience.\nThe concept \"experimental film,\" by the way, doesn't fit Dominic Angerame. It sounds, he says, like it's just an attempt, as if he didn't know exactly what he was doing. His practical work in film is informed by essentially one principle: the renunciation of \"narrative form.\" That alone seems enough to isolate a visual talent like his for a long time. Dominic Angerame is a marginalized filmmaker. The large digital movie databases don't even know his name.\nHis own films are “like city symphonies,” Angerame explains lapidarily, “big-city landscapes in high-contrast black and white.” This alludes to only one (but nevertheless important) part of Angerame’s oeuvre: his five-part City Symphony, made between 1987 and 1997, the title of which is derived from the famous 1927 Walter Ruttman film Berlin: Symphony of a Big City, and which formally stands in the tradition of Dziga Vertov’s urban-industrial montage. Angerame’s city films show (urban) destruction and (cinematic) construction as two sides of the same coin: as de-construction even. To see the city through Angerame’s eyes, writes Silke Tudor, is “to see an organic beast of cement that seems to breathe in rich shades of black and white.”\nThe first of the City Symphony films is an Angerame masterpiece. Continuum deals in complete immediacy, with the play of light and shadow on cement surfaces, streets, houses, and bridges, but it deals also with the work performed on these sites: steel frames full of busy welders gleam in the blazing sun, house facades are cleaned and sand blasted, streets are tarred and strewn with shimmering gravel. There’s wiping, spraying, cooking, shaking, and painting: Angerame shows us a world at work, in transformation—and, at the same time, he brings out the hierarchies implicit in that world: proletariat and industry, above and below. The workers remain anonymous, and the masks they wear emphasize their lack of identity. Nowhere else is Angerame’s virtuoso editing technique, celebrated by Stan Brakhage for its “seeming lightness, which is so difficult to achieve,” more apparent than in Continuum.\nIf one knew nothing of their history, it would be virtually impossible to date Angerame’s films. There’s a decidedly timeless quality to the City Symphony’s subject matter and black and white material (and also to Angerame’s partially manual film techniques). There’s an urban, utopian mood in Continuum that would fit just as well in the late 1930s as it does in the late 1980s.\nAngerame’s city works untiringly probe the textures that present themselves to his camera: they show patterns and inscriptions on walls and metal surfaces, focus on fissures in cement, lose themselves in shadowy passers-by and smoke rising out of machines. By stylizing the urban everyday, Angerame translates it back into its emblematic quality in a series of astonishing signs. His film language follows—as in the fundamental cinematographic dramatization of white (sun) and black (tar) in Continuum, for example—a strict sensual order.\nPremonition (1995) and In the Course of Human Events (1997) are cinematic twin stars that illustrate Angerame’s construction/destruction philosophy most clearly. The first film captures for one last time on film the emptied Embarcadero Freeway in San Francisco, which was damaged beyond repair in the 1989 earthquake, right before it was torn down. Angerame sees Premonition as a “daydream,” as a melancholic preview (and at the same time a continuous cinematic review) of an unstoppable annihilation. This film is, according to the director, “like the memory of something that has yet to take place.” In the Course of Human Events is also constructed as an elegy: a tragedy of annihilation, a documentation of the demolition of the Embarcadero Freeway.\nSimilar to the filmmaker Peter Hutton, Angerame stylizes his urban landscapes into half-abstract, extremely painterly compositions. The ghostly calm that hovers over Premonition and the intense interest in construction details are reminiscent of the austere architecture films of Heinz Emigholz. Angerame films buildings, streets, and the construction of bridges by making them visually dynamic and rendering them strange in a sketchily, futuristic way: they become cinematic science non-fiction. In Premonition the camera traces curves in the street and the lines of metal bridge struts in both wide shots and close-ups, creating the impression of a seemingly omnipresent camera in the film’s jumps between wide-angle shots and close-ups. Small details of movement break out of the unmoving, solidified world of this film: the wind blows a piece of paper over the street; two men pause far away at the water’s edge; buildings are mirrored in an imperceptibly trembling water surface.\nThe hyperrealistic soundtrack that Angerame employs in Premonition is calculated to irritate: the cries of seagulls, a car alarm, a flag flapping in the wind—these are all infused with a sense of the unreal. Moreover, Angerame’s soundscapes—and not only in this film—tend to a create synthetic, musical effects and heighten his films’ pathos-filled moods.\nAngerame’s oeuvre is rich with antitheses to the City Symphony. The early El Train Film, for example, autobiographically motivated and already employing an advanced editing technique, deals with the utopia of continuous movement, of life as a journey. In the mid-1970s, Angerame relates, he lived in northern Chicago right by the tracks, where he could always hear the trains: “One could say they defined our life.” Accompanied by a delicate old folk song, Angerame’s El Train Film collects shots out moving trains and of the oncoming rails that cut through the wide, empty landscape in the sun: cinema as an awareness of life, as an expression of a lost counter-culture.\nThe dilapidated, the ruined, and the thrown-away play a major role in Angerame’s cinema. One can always make a film out of a pair of disposable objects. With his 1984 film Hit the Turnpike!, Angerame experiments with an autobiographically ironic variation on the song “Hit the Road Jack”: the three-minute clip compiles in quick succession fragments of euphemistically formulated rejection letters, regretful replies, and negative reviews. Angerame productively uses the detritus of his filmmaker correspondence in a moving collection of cryptic signs, signatures, and logos. In Battle Stations—A Navel Adventure (2001), one of the filmmaker’s most hermetic works, Angerame has his friend Leyna d’Ancona, dressed in a sequin top, perform a belly dance in a public space before the San Francisco Cinematheque in the harbor of Hunter’s Point. He then projects onto her body images from the location—not only artist studios, a train museum, and a police laboratory, but also of the largest toxic waste dump in the city. In this ambience of shipyard work and industrial and possibly radioactive waste, Angerame creates a kind of music video in which all manner of strange and even improvised documentary events take place. The filmmaker Bruce Conner, for example, crosses the harbor’s forbidden area with a Geiger counter and measures the level of radiation in the danger zone. They found, Angerame writes in the notes to the film, no traces of radioactivity in their measurements.\nOne could call Consume a partner film to Battle Stations (the artist himself uses the term “passion” for both films). Angerame’s experiment with stroboscopic cinema, a kind of trance film inspired by Theodore Roszak’s novel Flicker, interweaves eroticism and orientalism anew in the ecstatic performance of a dancer (Zhanna Kleiman) before the camera. Kleiman is exposed naked in the flickering light, percussive composition, and Angerame’s frenetic montage, which merges its protagonist (literally from top to bottom) into a vision that flows seamlessly from the concrete to the abstract and back into the concrete. This montage layers the ritualistic movement studies of the heroine’s body within each other so that they attain an artificial, graphic quality.\nCinematic speed is not the least of Angerame’s many passions. In A Ticket Home (1982) he works so quickly with concrete images that they morph into partial abstractions. There’s a droning in this film similar to that in the films of Dietmar Brehms, like the sound of far-off traffic, and quiet voices seem to be singing some strange song; a vague unease settles in. The film fastens onto figures and details: faces and wet streets, a pregnant woman, graffiti and people in an office; the flickering lane line of a highway, the sparkling of water. Angerame’s films are simultaneously banal and charged, familiar and full of secrets. They offer a phenomenology of the everyday. The filmmaker’s view is everywhere at once: in living rooms, above the clouds, in the bustle of the city, and in open nature. Angerame’s film poems are impressionistic, volatile, always-changing.\nAngerame experimented a lot in his early work, some of which proved to be a dead end. Scratches, Inc. (1975) indicates directions the filmmaker would not pursue later. This short work sets an abstract scratch animation, in the tradition of Len Lyes and Robert Breers, to an atonal soundtrack that’s just as scratched as the image. Scratches, Inc. is a dance of white lines and points of light on a black field: a painting of movement.\nIn 2004 Angerame’s work took a surprising turn: Anaconda Targets, a found footage film made of one continuous, unchanged source, devoid of any formal complications. The film attacks the abstraction of war and delves into language—in marked contrast to almost all the filmmaker’s other works (with the exception of the answering machine vignette Phone/Film Portraits). Angerame doesn’t claim Anaconda Targets as his own: at the end of the film we read “Presented by Dominic Angerame.” The material comes from the cockpit of a war helicopter in the US bombardment of northeast Afghanistan in March 2002: video recordings of “Operation Anaconda,” which the American military had organized against suspected Al-Qaeda and Taliban strongholds. By presenting the images without commentary, Angerame assumes the perspective of the aggressors, who aim for and kill living targets. The machine’s eye only sees outlines.\nIn Anaconda Targets Angerame again takes up one of his favorite themes: destruction. But this time he takes the reverse approach: away from details and the desire to penetrate the effects of annihilation, and towards an overview, the view from above, towards distance. Anaconda Targets is a document of the banality of the labor of modern war. On a black and white video screen from a great height what happens on the ground appears highly schematic. An off-screen voice remarks that one of the buildings is a mosque and is not to be shot at. We see cars attempting (vainly) to flee, to escape the bombs. We hear the soldiers’ heavy breathing and excited voices as they comment on dropping the bombs and hitting the targets. The computer has the last word, says the war and film theorist Paul Virilio. Everything seems so simple on the monitors: no blood, no bodies, no ruins, only stable gray and white and the quietly rising blossoms of the explosives on the enemy landscape. Anaconda Targets is an inverse snuff movie, a critical study of violence through mere presentation.\nIf cinema, according to Cocteau, means to see continuously death in one’s work, then Angerame’s films are better suited than others to illustrate this. Transitoriness is one of Angerame’s recurring themes, or, more precisely, the phantomlike, ghostly, and the past of the things, places, and figures recorded on film. Angerame also seems moved by a nostalgia for early cinema, and by an old love for the classic avant garde. I’d Rather Be in Paris begins with a short, doubly-reflexive scene: an editing table with film images that show a man with a camera. Then an agitated sea whose surf slams into the breakwater. These images are silent, totally factual, and occasionally also poetic, as if the Lumière brothers had filmed them. Nothing is “natural” in cinema, not even nature itself. The cinema of Dominic Angerame, libidinous precisely in its morbidity, sinks at the end of this film into the white of the negative, which is nothing more than the chemical reverse of night: in the end, for Angerame, white and black are interchangeable. This journey ends where it began, in the film studio: a man works on film images and hangs film strips up to dry. We sense the cold season through the window: the bare trees of the courtyard are the counter-thesis to Angerame’s sensorily “hot” perceptions, but at the same time, as the last image of this film, also a part of them.\nStefan Grissemann is a film critic and the author of books on Michael Haneke, Edgar G. Ulmer, and Robert Frank. He heads the culture section of the weekly magazine profile.","bio_dates":"b. 1949"},{"slug":"angerame_dominic_waifen_maiden","ok":true,"partial":false,"title":"Waifen Maiden","artist":"Dominic Angerame","year":"2003","startOffset":0,"sourceSecs":85.152,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":13272289,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/angerame_dominic_waifen_maiden/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/angerame_dominic_waifen_maiden/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/angerame_dominic_waifen_maiden.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/angerame_dominic_waifen_maiden/main.mp4?v=2","description":"Dominic Angerame | 2003 | 0.75 minutes | COLOR/B&W | OPT Starring Zhanna. Gamaya (\"Lead Us\") a Sanskrit mantra performed by Zhanna, recorded and mastered by Zak May. This is a haiku and offers a prelude to CONSUME","artist_bio":"Dominic Angerame (b.Albany, New York, USA, 1949) is an American experimental filmmaker, who has directed more than 35 films since 1969, and has presented films in film festivals worldwide. Angerame presented his '' along with Pixiescope, Waifen Maiden, Consume, and Anaconda Targets at the Havana Film Festival in 2006. This was the festival's first presentation of experimental cinema in the festival's 28 years. He was the subject of two Cine Probe series at the Museum of Modern Art in New York City, 1993 and 1998.\nHis series of films Battle Stations - A Navel Adventure (2002), Pixiescope (2003), The Waifen Maiden (2003), and Consume (2003) were screened at international film festivals, including Turin Film Festival, the Berlin Film Festival, and at the San Francisco Cinematheque at the Yerba Buena Center for the Arts in San Francisco.\nAngerame teaches filmmaking and cinema studies at the San Francisco Art Institute as a visiting artist. He has taught film production and cinema studies at the University of California, Berkeley Extension, New College of California, and has been a guest lecturer and visiting artist at Stanford University, the School of the Art Institute of Chicago, and others. Angerame has also previously taught cinema studies at the Academy of Art University in San Francisco.\nSince 1980, Angerame has been executive director of Canyon Cinema. Under his leadership, Canyon Cinema has become one of the largest distributors of avant garde and experimental films. Canyon Cinema preserves, promotes, and distributes independent films.\nThe City, Refuse, Passion, and Death: On the Work of Filmmaker Dominic Angerame\nSince the 1960s, the American filmmaker, theorist, and avant-garde activist Dominic Angerame has been working in a form that is both documentary and poetic, an aesthetic alliance between realism and fantasy. He employs a variety of techniques, but his films are invariably and primarily concerned with basic problems of rhythm: the nervousness of the montage in almost all Angerame films stands in startling contrast to the gentleness of its effect on the viewer. The double and triple exposures this artist prizes so much brake, as it were, the quick pulse of his cuts and help them to achieve a peculiarly delicate quality.\nDominic Angerame’s works search for unfamiliar views of seemingly familiar things: cities, landscapes, faces, and bodies. The filmmaker’s desire to make everyday images “strange” at the editing table, to learn to see them fresh and to estrange them from our senses, makes his films seem—in all the different social realities they contain—always distanced as well, as if they led to another world beyond the concrete, beyond time and defined space. In Angerame’s films, which pay homage to films from early cinema and the classic avant garde to American underground films of the 1960s and 70s and non-narrative films of the present day, an amazingly comprehensive history of the “visionary” moving image is always present. It may be that precisely his refusal to adopt a signature style has diminished the immediate influence of Angerame’s films; however, Angerame’s decision to work “universally,” not to be swayed by considerations of the art market, and to experiment with very different styles increases the pedagogical worth of his films. It’s not surprising to learn that Angerame, born in 1949, teaches at several American schools in addition to being the executive director of the American avant garde distribution center Canyon Cinema. His films testify to an encyclopedic knowledge of film—and also his desire to satisfy, with his own audio-visual offerings, the very different desires of his audience.\nThe concept \"experimental film,\" by the way, doesn't fit Dominic Angerame. It sounds, he says, like it's just an attempt, as if he didn't know exactly what he was doing. His practical work in film is informed by essentially one principle: the renunciation of \"narrative form.\" That alone seems enough to isolate a visual talent like his for a long time. Dominic Angerame is a marginalized filmmaker. The large digital movie databases don't even know his name.\nHis own films are “like city symphonies,” Angerame explains lapidarily, “big-city landscapes in high-contrast black and white.” This alludes to only one (but nevertheless important) part of Angerame’s oeuvre: his five-part City Symphony, made between 1987 and 1997, the title of which is derived from the famous 1927 Walter Ruttman film Berlin: Symphony of a Big City, and which formally stands in the tradition of Dziga Vertov’s urban-industrial montage. Angerame’s city films show (urban) destruction and (cinematic) construction as two sides of the same coin: as de-construction even. To see the city through Angerame’s eyes, writes Silke Tudor, is “to see an organic beast of cement that seems to breathe in rich shades of black and white.”\nThe first of the City Symphony films is an Angerame masterpiece. Continuum deals in complete immediacy, with the play of light and shadow on cement surfaces, streets, houses, and bridges, but it deals also with the work performed on these sites: steel frames full of busy welders gleam in the blazing sun, house facades are cleaned and sand blasted, streets are tarred and strewn with shimmering gravel. There’s wiping, spraying, cooking, shaking, and painting: Angerame shows us a world at work, in transformation—and, at the same time, he brings out the hierarchies implicit in that world: proletariat and industry, above and below. The workers remain anonymous, and the masks they wear emphasize their lack of identity. Nowhere else is Angerame’s virtuoso editing technique, celebrated by Stan Brakhage for its “seeming lightness, which is so difficult to achieve,” more apparent than in Continuum.\nIf one knew nothing of their history, it would be virtually impossible to date Angerame’s films. There’s a decidedly timeless quality to the City Symphony’s subject matter and black and white material (and also to Angerame’s partially manual film techniques). There’s an urban, utopian mood in Continuum that would fit just as well in the late 1930s as it does in the late 1980s.\nAngerame’s city works untiringly probe the textures that present themselves to his camera: they show patterns and inscriptions on walls and metal surfaces, focus on fissures in cement, lose themselves in shadowy passers-by and smoke rising out of machines. By stylizing the urban everyday, Angerame translates it back into its emblematic quality in a series of astonishing signs. His film language follows—as in the fundamental cinematographic dramatization of white (sun) and black (tar) in Continuum, for example—a strict sensual order.\nPremonition (1995) and In the Course of Human Events (1997) are cinematic twin stars that illustrate Angerame’s construction/destruction philosophy most clearly. The first film captures for one last time on film the emptied Embarcadero Freeway in San Francisco, which was damaged beyond repair in the 1989 earthquake, right before it was torn down. Angerame sees Premonition as a “daydream,” as a melancholic preview (and at the same time a continuous cinematic review) of an unstoppable annihilation. This film is, according to the director, “like the memory of something that has yet to take place.” In the Course of Human Events is also constructed as an elegy: a tragedy of annihilation, a documentation of the demolition of the Embarcadero Freeway.\nSimilar to the filmmaker Peter Hutton, Angerame stylizes his urban landscapes into half-abstract, extremely painterly compositions. The ghostly calm that hovers over Premonition and the intense interest in construction details are reminiscent of the austere architecture films of Heinz Emigholz. Angerame films buildings, streets, and the construction of bridges by making them visually dynamic and rendering them strange in a sketchily, futuristic way: they become cinematic science non-fiction. In Premonition the camera traces curves in the street and the lines of metal bridge struts in both wide shots and close-ups, creating the impression of a seemingly omnipresent camera in the film’s jumps between wide-angle shots and close-ups. Small details of movement break out of the unmoving, solidified world of this film: the wind blows a piece of paper over the street; two men pause far away at the water’s edge; buildings are mirrored in an imperceptibly trembling water surface.\nThe hyperrealistic soundtrack that Angerame employs in Premonition is calculated to irritate: the cries of seagulls, a car alarm, a flag flapping in the wind—these are all infused with a sense of the unreal. Moreover, Angerame’s soundscapes—and not only in this film—tend to a create synthetic, musical effects and heighten his films’ pathos-filled moods.\nAngerame’s oeuvre is rich with antitheses to the City Symphony. The early El Train Film, for example, autobiographically motivated and already employing an advanced editing technique, deals with the utopia of continuous movement, of life as a journey. In the mid-1970s, Angerame relates, he lived in northern Chicago right by the tracks, where he could always hear the trains: “One could say they defined our life.” Accompanied by a delicate old folk song, Angerame’s El Train Film collects shots out moving trains and of the oncoming rails that cut through the wide, empty landscape in the sun: cinema as an awareness of life, as an expression of a lost counter-culture.\nThe dilapidated, the ruined, and the thrown-away play a major role in Angerame’s cinema. One can always make a film out of a pair of disposable objects. With his 1984 film Hit the Turnpike!, Angerame experiments with an autobiographically ironic variation on the song “Hit the Road Jack”: the three-minute clip compiles in quick succession fragments of euphemistically formulated rejection letters, regretful replies, and negative reviews. Angerame productively uses the detritus of his filmmaker correspondence in a moving collection of cryptic signs, signatures, and logos. In Battle Stations—A Navel Adventure (2001), one of the filmmaker’s most hermetic works, Angerame has his friend Leyna d’Ancona, dressed in a sequin top, perform a belly dance in a public space before the San Francisco Cinematheque in the harbor of Hunter’s Point. He then projects onto her body images from the location—not only artist studios, a train museum, and a police laboratory, but also of the largest toxic waste dump in the city. In this ambience of shipyard work and industrial and possibly radioactive waste, Angerame creates a kind of music video in which all manner of strange and even improvised documentary events take place. The filmmaker Bruce Conner, for example, crosses the harbor’s forbidden area with a Geiger counter and measures the level of radiation in the danger zone. They found, Angerame writes in the notes to the film, no traces of radioactivity in their measurements.\nOne could call Consume a partner film to Battle Stations (the artist himself uses the term “passion” for both films). Angerame’s experiment with stroboscopic cinema, a kind of trance film inspired by Theodore Roszak’s novel Flicker, interweaves eroticism and orientalism anew in the ecstatic performance of a dancer (Zhanna Kleiman) before the camera. Kleiman is exposed naked in the flickering light, percussive composition, and Angerame’s frenetic montage, which merges its protagonist (literally from top to bottom) into a vision that flows seamlessly from the concrete to the abstract and back into the concrete. This montage layers the ritualistic movement studies of the heroine’s body within each other so that they attain an artificial, graphic quality.\nCinematic speed is not the least of Angerame’s many passions. In A Ticket Home (1982) he works so quickly with concrete images that they morph into partial abstractions. There’s a droning in this film similar to that in the films of Dietmar Brehms, like the sound of far-off traffic, and quiet voices seem to be singing some strange song; a vague unease settles in. The film fastens onto figures and details: faces and wet streets, a pregnant woman, graffiti and people in an office; the flickering lane line of a highway, the sparkling of water. Angerame’s films are simultaneously banal and charged, familiar and full of secrets. They offer a phenomenology of the everyday. The filmmaker’s view is everywhere at once: in living rooms, above the clouds, in the bustle of the city, and in open nature. Angerame’s film poems are impressionistic, volatile, always-changing.\nAngerame experimented a lot in his early work, some of which proved to be a dead end. Scratches, Inc. (1975) indicates directions the filmmaker would not pursue later. This short work sets an abstract scratch animation, in the tradition of Len Lyes and Robert Breers, to an atonal soundtrack that’s just as scratched as the image. Scratches, Inc. is a dance of white lines and points of light on a black field: a painting of movement.\nIn 2004 Angerame’s work took a surprising turn: Anaconda Targets, a found footage film made of one continuous, unchanged source, devoid of any formal complications. The film attacks the abstraction of war and delves into language—in marked contrast to almost all the filmmaker’s other works (with the exception of the answering machine vignette Phone/Film Portraits). Angerame doesn’t claim Anaconda Targets as his own: at the end of the film we read “Presented by Dominic Angerame.” The material comes from the cockpit of a war helicopter in the US bombardment of northeast Afghanistan in March 2002: video recordings of “Operation Anaconda,” which the American military had organized against suspected Al-Qaeda and Taliban strongholds. By presenting the images without commentary, Angerame assumes the perspective of the aggressors, who aim for and kill living targets. The machine’s eye only sees outlines.\nIn Anaconda Targets Angerame again takes up one of his favorite themes: destruction. But this time he takes the reverse approach: away from details and the desire to penetrate the effects of annihilation, and towards an overview, the view from above, towards distance. Anaconda Targets is a document of the banality of the labor of modern war. On a black and white video screen from a great height what happens on the ground appears highly schematic. An off-screen voice remarks that one of the buildings is a mosque and is not to be shot at. We see cars attempting (vainly) to flee, to escape the bombs. We hear the soldiers’ heavy breathing and excited voices as they comment on dropping the bombs and hitting the targets. The computer has the last word, says the war and film theorist Paul Virilio. Everything seems so simple on the monitors: no blood, no bodies, no ruins, only stable gray and white and the quietly rising blossoms of the explosives on the enemy landscape. Anaconda Targets is an inverse snuff movie, a critical study of violence through mere presentation.\nIf cinema, according to Cocteau, means to see continuously death in one’s work, then Angerame’s films are better suited than others to illustrate this. Transitoriness is one of Angerame’s recurring themes, or, more precisely, the phantomlike, ghostly, and the past of the things, places, and figures recorded on film. Angerame also seems moved by a nostalgia for early cinema, and by an old love for the classic avant garde. I’d Rather Be in Paris begins with a short, doubly-reflexive scene: an editing table with film images that show a man with a camera. Then an agitated sea whose surf slams into the breakwater. These images are silent, totally factual, and occasionally also poetic, as if the Lumière brothers had filmed them. Nothing is “natural” in cinema, not even nature itself. The cinema of Dominic Angerame, libidinous precisely in its morbidity, sinks at the end of this film into the white of the negative, which is nothing more than the chemical reverse of night: in the end, for Angerame, white and black are interchangeable. This journey ends where it began, in the film studio: a man works on film images and hangs film strips up to dry. We sense the cold season through the window: the bare trees of the courtyard are the counter-thesis to Angerame’s sensorily “hot” perceptions, but at the same time, as the last image of this film, also a part of them.\nStefan Grissemann is a film critic and the author of books on Michael Haneke, Edgar G. Ulmer, and Robert Frank. He heads the culture section of the weekly magazine profile.","bio_dates":"b. 1949"},{"slug":"annatapeiner_maria_thebodyasmatrixcolonmatthewbarneyscremastercycle_2002","ok":true,"partial":false,"title":"The Body as a Matrix: Matthew Barney's Cremaster Cycle (2002)","artist":"Barney","year":"2002","startOffset":0,"sourceSecs":3315.819,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":555052993,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/annatapeiner_maria_thebodyasmatrixcolonmatthewbarneyscremastercycle_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/annatapeiner_maria_thebodyasmatrixcolonmatthewbarneyscremastercycle_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/annatapeiner_maria_thebodyasmatrixcolonmatthewbarneyscremastercycle_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/annatapeiner_maria_thebodyasmatrixcolonmatthewbarneyscremastercycle_2002/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/annatapeiner_maria_thebodyasmatrixcolonmatthewbarneyscremastercycle_2002/main/master.m3u8?v=2","hasMainHls":true,"description":"The Body as a Matrix: Matthew Barney's Cremaster Cycle Video. With the five-part Cremaster Cycle of films, multi-award-winning artist Matthew Barney invented a densely layered and interconnected sculptural world that surreally combines sports, biology, sexuality, history, and mythology as it organically evolves. In this program, Barney, Guggenheim curator Nancy Spector, and others deconstruct the Cycle's filming and subsequent translation into sculptural installations. The locations, characters, and symbols that organize the Cycle films; the Cycle installations as spatial content carriers and extensions of the performances; and objectification of the body and undifferentiated sexuality are addressed, as are the intricacies of costuming, makeup, and sculpting with Barney's signature materials: plastic, metal, and Vaseline. Contains nudity and mature themes. (53 minutes.) The Arts, Art and Photography 2002\n\nMatthew Barney (born in San Francisco in 1967) has achieved recognition on the international art scene since the early 1990s with a pictorial language all of his own, a language defined by metaphors and symbols.\n\nBarney's Cremaster cycle constitutes a complicated, self-contained system. Venues, characters, costumes, materials and contents embody an organism which is in a constant process of development.\n\n\"\"Cremaster 4\", the first part of a planned five-film series, was made in 1994. Avoiding any chronological order, Barney then made \"Cremaster 1\" (1995), \"Cremaster 5\" (1997) and \"Cremaster 2\" (1999). Finally \"Cremaster 3\", lasting nearly three hours, was premiered this year.\n\nThe portrait accompanies Matthew Barney as the exhibition was being set up at the Museum Ludwig, and shows excerpts from his Cremaster films. In extended interviews, the artist explains his working method, and talks about the creation and meaning of his works and how he sees himself as an artist."},{"slug":"antfarm_cadillacranch_1968_1978","ok":true,"partial":false,"title":"1968","artist":"Ant Farm","year":"1978","startOffset":0,"sourceSecs":869.146,"sourceHeight":352,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":56835584,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antfarm_cadillacranch_1968_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antfarm_cadillacranch_1968_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/antfarm_cadillacranch_1968_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antfarm_cadillacranch_1968_1978/main.mp4?v=2","description":"Cadillac Ranch Show is a document of Ant Farm's major site installation, the Cadillac Ranch, which was commissioned by Texas millionaire Stanley Marsh III. Ten Cadillacs, vintage 1948 to 1963, were buried fin-up in a field off Route 66 in Amarillo. The image of ten Cadillacs pointing upward against the sky is a comically subversive homage to the rise and fall of the tail-fin as an icon of postwar American consumer excess. Footage of the burial of the cars is intercut with Cadillac commercials that promote a fetishized ideal, the ultimate American Dream. A pop spectacle that parodies consumerism with a tongue-in-cheek nod to 1970's site art, the Cadillac Ranch is an ironic celebration of the \"grotesque and wonderful\" tail-fin as the ultimate expression of wasteful design in American culture.\n\nA 1984 postscript to the tape features an interview with former Ant Farm members Chip Lord and Hudson Marquez by Channel 10 News, Amarillo, on the ten-year anniversary of the Cadillac Ranch. The artists address the piece's evolution from a conceptual site sculpture to an interactive, public roadside attraction, now rusted and graffiti-covered. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"antfarm_dirtydishespart1_1968_1978_iphone","ok":true,"partial":false,"title":"Dirty Dishes, Part 1","artist":"Ant Farm","year":"1968","startOffset":0,"sourceSecs":2080.044,"sourceHeight":264,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":125291670,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antfarm_dirtydishespart1_1968_1978_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antfarm_dirtydishespart1_1968_1978_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/antfarm_dirtydishespart1_1968_1978_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antfarm_dirtydishespart1_1968_1978_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antfarm_dirtydishespart1_1968_1978_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Ant Farm's Dirty Dishes is a freewheeling portapak time capsule that captures the collective spirit of Ant Farm's life and work in California in the early 1970s. The original half-inch open reel tape was also the first work to be indexed in EAI's video collection, and holds the number \"001\" in the EAI library.\n\nAnt Farm member Chip Lord writes: \"It's an anthology of clips from the first year of living with a portapak and it gives a fairly good representation of the way we lived in those days - collectively, loosely, improvisationally. The year was 1970 and Ant Farm, recently relocated from a foray in Texas and expanded to include new members, partners, and frequent visitors, settled into a metal warehouse building on the waterfront in Sausalito, California to pursue the practice of 'underground architecture.' This involved building geodesic domes and inflatable structures, mostly prototypes, which were demonstrated at ecology fairs or campus visits. The Sony portapak AV 3400 video rover had recently been introduced, and Joe Hall went out and bought one. Over the next two years this device became an interactive tool within the dynamics of the group - used to document our work, but also as a sketchbook - a way to creatively interact. The warehouse had a little building attached that housed the bathroom and kitchen and we had a big round table there, made from dismantling a large telephone wire spool. In the center of this table was a lazy susan, and after dinner, we would often mount the video camera on the lazy susan, and let it spin or stop to record revelations (yes, drugs may have been involved) or jokes or the empty stares in between.\n\nWe just had the portapak, there was no editing, except in the camera, which meant that we were often recording OVER some wonderful nuggets of humor or wisdom - everything seemed interesting, so why edit? Eventually this changed when we were visited by the Media Access Center group from the Portola Institute in Menlo Park (Allan Rucker, Shelly Surpin, Rich Kletter, Pat Crowley) and were introduced to the idea of editing and the network of video activists and artists, which eventually led to the TVTV project. Ant Farm's Dirty Dishes was edited, I think, at Lanesville TV and then later re-edited on the 1/2 inch system at EAI\" --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"antfarm_dirtydishespart2_off_airaustraliapart1_1968_1978_iphone","ok":true,"partial":false,"title":"Off Airaustraliapart1","artist":"Ant Farm","year":"1968","startOffset":0,"sourceSecs":2218.226,"sourceHeight":264,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":134000695,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antfarm_dirtydishespart2_off_airaustraliapart1_1968_1978_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antfarm_dirtydishespart2_off_airaustraliapart1_1968_1978_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/antfarm_dirtydishespart2_off_airaustraliapart1_1968_1978_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antfarm_dirtydishespart2_off_airaustraliapart1_1968_1978_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antfarm_dirtydishespart2_off_airaustraliapart1_1968_1978_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Ant Farm's Dirty Dishes is a freewheeling portapak time capsule that captures the collective spirit of Ant Farm's life and work in California in the early 1970s. The original half-inch open reel tape was also the first work to be indexed in EAI's video collection, and holds the number \"001\" in the EAI library.\n\nAnt Farm member Chip Lord writes: \"It's an anthology of clips from the first year of living with a portapak and it gives a fairly good representation of the way we lived in those days - collectively, loosely, improvisationally. The year was 1970 and Ant Farm, recently relocated from a foray in Texas and expanded to include new members, partners, and frequent visitors, settled into a metal warehouse building on the waterfront in Sausalito, California to pursue the practice of 'underground architecture.' This involved building geodesic domes and inflatable structures, mostly prototypes, which were demonstrated at ecology fairs or campus visits. The Sony portapak AV 3400 video rover had recently been introduced, and Joe Hall went out and bought one. Over the next two years this device became an interactive tool within the dynamics of the group - used to document our work, but also as a sketchbook - a way to creatively interact. The warehouse had a little building attached that housed the bathroom and kitchen and we had a big round table there, made from dismantling a large telephone wire spool. In the center of this table was a lazy susan, and after dinner, we would often mount the video camera on the lazy susan, and let it spin or stop to record revelations (yes, drugs may have been involved) or jokes or the empty stares in between.\n\nWe just had the portapak, there was no editing, except in the camera, which meant that we were often recording OVER some wonderful nuggets of humor or wisdom - everything seemed interesting, so why edit? Eventually this changed when we were visited by the Media Access Center group from the Portola Institute in Menlo Park (Allan Rucker, Shelly Surpin, Rich Kletter, Pat Crowley) and were introduced to the idea of editing and the network of video activists and artists, which eventually led to the TVTV project. Ant Farm's Dirty Dishes was edited, I think, at Lanesville TV and then later re-edited on the 1/2 inch system at EAI\" --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"antfarm_mediaburn_1968_1978","ok":true,"partial":false,"title":"1968","artist":"Ant Farm","year":"1978","startOffset":0,"sourceSecs":1381.402,"sourceHeight":352,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":86339332,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antfarm_mediaburn_1968_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antfarm_mediaburn_1968_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/antfarm_mediaburn_1968_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antfarm_mediaburn_1968_1978/main.mp4?v=2","description":"Media Burn integrates performance, spectacle and media critique, as Ant Farm stages an explosive collusion of two of America's most potent cultural symbols: the automobile and television. On July 4, 1975, at San Francisco's Cow Palace, Ant Farm presented what they termed the \"ultimate media event.\" In this alternative Bicentennial celebration, a \"Phantom Dream Car\"—a reconstructed 1959 El Dorado Cadillac convertible—was driven through a wall of burning TV sets.\n\nFootage of the actual event, much of which was shot from a closed-circuit video camera mounted inside a customized tail-fin, is framed and juxtaposed with news coverage by the local television stations. Doug Hall, introduced as John F. Kennedy, assumes the role of the Artist-President to deliver a speech about the impact of mass media monopolies on American life: \"Who can deny that we are a nation addicted to television and the constant flow of media? Haven't you ever wanted to put your foot through your television?\"\n\nThe spectacle of the Cadillac crashing through the burning TV sets became a visual manifesto of the early alternative video movement, an emblem of an oppositional and irreverent stance against the political and cultural imperatives promoted by television, and the passivity of TV viewing. Examining the impact of mass media in American culture, Media Burn exemplifies Ant Farm's fascination with the automobile and television as cultural artifacts, and their approach to social critique through spectacle and humor. By Ant Farm: Chip Lord, Doug Michels, Curtis Schreier, Uncle Buddie. Artist- President: Doug Hall. Executive Producer: Tom Weinberg. Editors: Chip Lord, Skip Blumberg, Doug Michels, Tom Weinberg. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"antfarm_theeternalframe_1976","ok":true,"partial":false,"title":"Antfarm Theeternalframe","artist":"Ant Farm","year":"1976","startOffset":0,"sourceSecs":1340.779,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":235061881,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antfarm_theeternalframe_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antfarm_theeternalframe_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/antfarm_theeternalframe_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antfarm_theeternalframe_1976/main.mp4?v=2","description":"The Eternal Frame is an examination of the role that the media plays in the creation of (post) modern historical myths. For T.R. Uthco and Ant Farm, the iconic event that signified the ultimate collusion of historical spectacle and media image was the assassination of President Kennedy in 1963. The work begins with an excerpt from one of the most iconic and significant film documents of the twentieth century: Super-8 footage of the Kennedy assassination shot by Abraham Zapruder, a bystander on the parade route, which is one of the very few filmic records of the event.\n\nUsing those infamous few frames of film as their starting point, T.R. Uthco and Ant Farm construct a multilevelled event that is simultaneously a live performance spectacle, a taped re-enactment of the assassination, a mock documentary, and, perhaps most insidiously, a simulation of the Zapruder film itself. Performed in Dealey Plaza in Dallas — the actual site of the assassination — the re-enactment elicits bizarre responses from the spectators, who react to the simulation as though it were the original event. The grotesque juxtaposition of circus and tragedy calls our media \"experience\" and collective memory of the actual event into question. The gulf between reality and image is foregrounded by the manifest devices of Doug Hall's impersonation of Kennedy and Michel's drag transformation into Jacqueline Kennedy. Hall, in his role as the Artist-President, addresses his audience with the ironic observation that \"I am, in reality, only another image on your screen.\"\n\nIn the uncanny simulation of the Zapruder film, however, the impersonations are not as apparent, raising the question of the veracity of the image. Image and reality collide in a post-assassination interview; while both President Kennedy and the imagic Artist-President are dead and entered into myth, Hall discusses his role like an actor having completed a film. Through a deconstruction of the filmic image, the artists underscore the media's importance to contemporary mythology — in which greatness is more a measure of drama than substance — and the extent to which it can be manipulated. In light of television's transformation of the American political system — and the later election of a movie star to the presidency — The Eternal Frame continues to ring a truthful and haunting chord in the American consciousness.\n\nby T.R. Uthco and Ant Farm: Doug Hall, Chip Lord, Doug Michels, Jody Procter. Video Production: Skip Blumberg, Bart Friedman, Alan Shulman, Pepper Molser, Bill Harlan, Jim Newman, T.L. Morey, Optic Nerve. Editors: Doug Hall, Chip Lord, Doug Michels, Jody Proctor. With: Ant Farm, T.R. Uthco, Stanley Marsh III. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"antin_eleanor_archives","ok":true,"partial":false,"title":"From the Archives of Modern Art","artist":"Eleanor Antin","year":"1987","startOffset":0,"sourceSecs":1109.367,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":67946355,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antin_eleanor_archives/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antin_eleanor_archives/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/antin_eleanor_archives.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antin_eleanor_archives/main.mp4?v=2","description":"1987, 18 min, b&w, sound <br/><br/> The archivist attempts to put together the \"lost years\" of Eleanor Antinova, the once celebrated black ballerina of Diaghlev's Ballet Russe, when she returned to her native America to eke out a meager living in vaudeville and early movies. Her career in America is documented through narrative and dance films — recently discovered — which she made back in the Depression years, when times were bad, and even ballerinas stooped low. Includes several comedy shorts, spicy farces, even, alas, a semi-blue movie exploiting her ballerina role, along with vaudeville dance numbers and artistic interpretations. A documentary fiction. -- <a href=\"http://eai.org/title.htm?id=3897\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Eleanor Antin was born in New York City in 1935. An influential performance artist, filmmaker, and installation artist, Antin delves into history—whether of ancient Rome, the Crimean War, the salons of nineteenth-century Europe, or her own Jewish heritage and Yiddish culture—as a way to explore the present. Antin is a cultural chameleon, masquerading in theatrical or stage roles to expose her many selves. Her most famous persona is that of Eleanora Antinova, the tragically overlooked black ballerina of Sergei Diaghilev’s Ballets Russes. Appearing as Antinova in scripted and non-scripted performances for over a decade, Antin has blurred the distinction between her identity and that of her character. In the process, she has created a rich body of work, detailing the multiple facets of her beloved Antinova, including a fictitious memoir and numerous films, photographs, installations, performances, and drawings. In her 2001 series \"The Last Days of Pompeii,\" Antin lingers behind the camera to stage the final, catastrophic days of Pompeii in the affluent hills of La Jolla, California. In \"The Golden Death\" from this series, the imagined citizens of Pompeii drown in the excess of their own wealth—an ironic parable of American culture in the throes of over-consumption. Eleanor Antin received a Guggenheim Foundation Fellowship in 1997 and a Media Achievement Award from the National Foundation for Jewish Culture in 1998. She has had numerous solo exhibitions, including an award-winning retrospective at the Los Angeles County Museum of Art in 1999. Antin is a highly respected artist and teacher, and has been a professor at the University of California, San Diego, since 1975. She lives with her husband and son in southern California.","bio_dates":"b. 1935"},{"slug":"antin_eleanor_nurse_iphone","ok":true,"partial":false,"title":"The Adventures of a Nurse (Parts I and II)","artist":"Eleanor Antin","year":"1976","startOffset":0,"sourceSecs":3945.976,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":227279103,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antin_eleanor_nurse_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antin_eleanor_nurse_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/antin_eleanor_nurse_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antin_eleanor_nurse_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antin_eleanor_nurse_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1976, 65 min, color, sound <br/><br/> Part I: The artist, in the role of a nurse, fantasizes on romantic themes, using a set of foot-high, hand-painted paper dolls as actors. A fantasy within a fantasy. The \"Nurse Eleanor\" paper doll performs as a surrogate self for Nurse Eleanor Antin and is the much put-upon but brave heroine of a succession of romances with a dying poet, a biker, and a doctor. <br/><br/> Part II: \"Nurse Eleanor's\" romantic odyssey continues with two new lovers -- a French ski bum and an anti-war senator. -- <a href=\"http://eai.org/title.htm?id=3499\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Eleanor Antin was born in New York City in 1935. An influential performance artist, filmmaker, and installation artist, Antin delves into history—whether of ancient Rome, the Crimean War, the salons of nineteenth-century Europe, or her own Jewish heritage and Yiddish culture—as a way to explore the present. Antin is a cultural chameleon, masquerading in theatrical or stage roles to expose her many selves. Her most famous persona is that of Eleanora Antinova, the tragically overlooked black ballerina of Sergei Diaghilev’s Ballets Russes. Appearing as Antinova in scripted and non-scripted performances for over a decade, Antin has blurred the distinction between her identity and that of her character. In the process, she has created a rich body of work, detailing the multiple facets of her beloved Antinova, including a fictitious memoir and numerous films, photographs, installations, performances, and drawings. In her 2001 series \"The Last Days of Pompeii,\" Antin lingers behind the camera to stage the final, catastrophic days of Pompeii in the affluent hills of La Jolla, California. In \"The Golden Death\" from this series, the imagined citizens of Pompeii drown in the excess of their own wealth—an ironic parable of American culture in the throes of over-consumption. Eleanor Antin received a Guggenheim Foundation Fellowship in 1997 and a Media Achievement Award from the National Foundation for Jewish Culture in 1998. She has had numerous solo exhibitions, including an award-winning retrospective at the Los Angeles County Museum of Art in 1999. Antin is a highly respected artist and teacher, and has been a professor at the University of California, San Diego, since 1975. She lives with her husband and son in southern California.","bio_dates":"b. 1935"},{"slug":"antin_eleanor_representational_painting_iphone","ok":true,"partial":false,"title":"Representational Painting","artist":"Eleanor Antin","year":"1971","startOffset":0,"sourceSecs":2286.609,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":134298407,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antin_eleanor_representational_painting_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antin_eleanor_representational_painting_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/antin_eleanor_representational_painting_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antin_eleanor_representational_painting_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antin_eleanor_representational_painting_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1971, 38 min, b&w, silent <br/><br/> The artist explores make-up as a traditional mode of self-expression. As a woman, she uses make-up to find a representation of herself with which to face the world.-- <a href=\"http://eai.org/title.htm?id=1067\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Eleanor Antin was born in New York City in 1935. An influential performance artist, filmmaker, and installation artist, Antin delves into history—whether of ancient Rome, the Crimean War, the salons of nineteenth-century Europe, or her own Jewish heritage and Yiddish culture—as a way to explore the present. Antin is a cultural chameleon, masquerading in theatrical or stage roles to expose her many selves. Her most famous persona is that of Eleanora Antinova, the tragically overlooked black ballerina of Sergei Diaghilev’s Ballets Russes. Appearing as Antinova in scripted and non-scripted performances for over a decade, Antin has blurred the distinction between her identity and that of her character. In the process, she has created a rich body of work, detailing the multiple facets of her beloved Antinova, including a fictitious memoir and numerous films, photographs, installations, performances, and drawings. In her 2001 series \"The Last Days of Pompeii,\" Antin lingers behind the camera to stage the final, catastrophic days of Pompeii in the affluent hills of La Jolla, California. In \"The Golden Death\" from this series, the imagined citizens of Pompeii drown in the excess of their own wealth—an ironic parable of American culture in the throes of over-consumption. Eleanor Antin received a Guggenheim Foundation Fellowship in 1997 and a Media Achievement Award from the National Foundation for Jewish Culture in 1998. She has had numerous solo exhibitions, including an award-winning retrospective at the Los Angeles County Museum of Art in 1999. Antin is a highly respected artist and teacher, and has been a professor at the University of California, San Diego, since 1975. She lives with her husband and son in southern California.","bio_dates":"b. 1935"},{"slug":"antonio_emile_de_painters_painting_1973_iphone","ok":true,"partial":false,"title":"Painters Painting","artist":"Emile de Antonio","year":"1972","startOffset":0,"sourceSecs":7106.978,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":412530822,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antonio_emile_de_painters_painting_1973_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/antonio_emile_de_painters_painting_1973_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/antonio_emile_de_painters_painting_1973_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antonio_emile_de_painters_painting_1973_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/antonio_emile_de_painters_painting_1973_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Painters Painting: The New York Art Scene 1940-1970 is a 1972 documentary directed by Emile de Antonio. It covers American art movements from abstract expressionism to pop art through conversations with artists in their studios. Artists appearing in the film include Willem de Kooning, Jasper Johns, Andy Warhol, Robert Rauschenberg, Helen Frankenthaler, Frank Stella, Barnett Newman, Hans Hofmann, Jules Olitski, Philip Pavia, Larry Poons, Robert Motherwell, and Kenneth Noland. <br/><br/>\"\"I was probably the only filmmaker in the world who could [have made <em>Painters Painting</em>] because I knew all those people, from the time that they were poor, and unsuccessful and had no money. I knew Warhol and Rauschenberg and Jasper Johns and Stella before they ever sold a painting, and so it was interesting to [do the film about them]. They appeared in the film along with de Kooning, whom I knew very well, and Barnett Newman, who is now dead. They talked to me in a way that they would never have talked to anybody else because they knew I knew the subject.\" - Emile de Antonio Sandwiched between two of the most biting and critically astute left-wing documentaries of their time (<em>Millhouse: A White Comedy</em> and <em>Underground</em>), radical filmmaker and friend-to-everybody Emile de Antonio brought his \"theater of fact\" - a rejection of verite/direct cinema practices, with a emphasis on a compilation method he referred to as \"radical scavenging\" - to the American art world. Focusing specifically on the period between 1946-70, de Antonio gathered the most famous artists of the day, many of which he was introduced to years earlier though his association with composer John Cage, and got them to speak candidly about their work, and the world that revolves around it. What marks this as an interesting work is its lack of politics; the way it skirts around contemporary art practices without a hint of the critique it was praised for. Although friendships made it easier to record in-depth, intelligent interviews, it would have been more convincing to his overall cinematic mission to examine younger artists working in conceptual, minimalist, performance and video art. The filmmaker is not oblivious to this problem, though: \"...if you're totally abstract, you're not saying anything about the nature of society. I mean, even if you strain in the most labored way, you cannot say that a de Koonig abstraction or a Frankenthaler doodle or a Stella line [has to do with the] world. It has only to do with themselves...\" Minimalism began to coalesce as a vision in 1964 and 1965 when the first group shows bringing together the artists now regarded as the Minimalists took place. Historically, 1965 is also the year regular American combat troops entered Vietnam; the year the US started massive bombings of North Vietnam; the year Watts exploded in riots; and the year Malcolm X was assassinated. There is no way de Antonio was unaware of these new ideas forming in art, but more that this project was just not as important to him as his others. One gets the sense that he did this as a favor, nothing more than a historical document for his friends, as he stopped production in the middle to work on a more personal film, his Nixon satire <em>Millhouse</em>. What's amazing is that although the film lacks de Antonio's strengths, it still is far superior to other documentaries on art, which tend to be boring, PBS style homages to the period and myths of the time period, In <em>Painter's Painting</em>, de Antonio is more concerned with the ideas embedded inside the work, and using his camera to probe deeply into said work, examining the abstract details that become obscured to a virgin spectator. The film falls short of critical examination, but works as a historical document of a period of American art that is rarely shown with this much honesty and love.","artist_bio":"Emile de Antonio (1919-1989) was a preeminent force in independent film and political documentary. The ten documentaries he made between 1963 and 1989 dissect the power structures governing Cold War America, critiquing the power elite and lionizing dissenters. A gifted raconteur, de Antonio socialized with both groups while remaining a fierce leftist intellectual. A self-described \"radical scavenger,\" he reinvigorated the art of compilation documentary, building critical or subversive arguments out of archival footage. Choosing a bohemian life in New York, de Antonio also became an animateur for a significant cast of artists that included Cage, Rauschenberg, and Warhol. In 1959, inspired by Alfred Leslie and Robert Frank's Pull My Daisy, he joined the group of New Yorkers whose 1960 manifesto called for a \"New American Cinema\" that would make films \"the color of blood.\"\nThe success of de Antonio's debut film, Point of Order (1963), transformed him, at mid-life, into a fulltime filmmaker. For each project, he cobbled together funding, film stock, footage and young talent. Rush To Judgment (1966) was an early rebuttal of the Warren Report, In The Year of The Pig (1968) was the first major anti-war film about Vietnam, and his satirical attack on Richard Milhous Nixon, Millhouse: A White Comedy (1971), brought de Antonio heightened political scrutiny. The government surveillance that had followed him from his youth came to a head in 1975 when de Antonio filmed interviews with the incendiary Weather Underground, whose members the FBI could not find. In an era dominated by cinema vérité conceptions of documentary filmmaking, de Antonio insisted on perpetual experimentation. In a time of liberal convention, he stuck to his maverick Marxism. Before there was a vogue for \"independent film,\" Emile de Antonio was simply independent-making challenging work and getting it theatrical distribution.","bio_dates":"1919-1989"},{"slug":"applications_1970","ok":true,"partial":false,"title":"Applications","artist":"Vito Acconci","year":"1970","startOffset":0,"sourceSecs":1151.637,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":195940793,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/applications_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/applications_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/applications_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/applications_1970/main.mp4?v=2"},{"slug":"arakawa_ei_films","ok":true,"partial":false,"title":"Grand Openings (no date)","artist":"Ei Arakawa","year":"1977","startOffset":0,"sourceSecs":899.5,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":56242116,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arakawa_ei_films/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arakawa_ei_films/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arakawa_ei_films.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arakawa_ei_films/main.mp4?v=2","description":"The Fluxus Happenings – and the <a href=\"https://ubu.com/film/gutai.html\" rel=\"noopener\" target=\"_blank\">Gutai Group</a> that preceded them – are an important precedent. In 1962 and 1963, the artists <a href=\"https://ubu.com/film/watts.html\" rel=\"noopener\" target=\"_blank\">Robert Watts</a> and <a href=\"https://ubu.com/film/brecht.html\" rel=\"noopener\" target=\"_blank\">George Brecht</a> staged the Yam Festival, which celebrated the open-ended potential of simultaneous action: different artists performed different actions in different parts of a room, all at the same time. In a similar spirit, Arakawa created “Grand Openings”, a collaboration with the artists Emily Sundblad, Jutta Koether, and curator Jay Sanders, along with a widening group of other friends. “Grand Openings” begins with a loosely mapped choreography – more connected to dance than to Cagean chance – but operates like a graphical score, open to interpretation by the performers. Events have taken place in cinemas, school gymnasiums, elevators, and in the permanent collection galleries of MUMOK in Vienna: stages are built and destroyed, songs are sung, food is cooked and served, films are screened, texts are read, and dances are danced, all at more or less the same time. In an additional dissolution of authorship, and to Arakawa’s delight, Grand Openings has been appropriated by another group of artists and curators in Tbilisi, Georgia. With none of the original members present, local Georgian performers have staged several interpretations of “Grand Openings” “scenarios.”","artist_bio":"Ei Arakawa has developed an extensive and international performance practice involving friends, random passersby, and other artists. His performances inject unexpected situations into existing structures, opening both of them to new meaning. Arakawa studied at the School of Visual Arts (New York), Bard College (Annandale-on-Hudson), and completed the Whitney Independent Study Program (New York). In 2009, he received an Artists’ Fellowship from the New York Foundation for the Arts and he has completed residencies at the Tokyo Wonder Site (Institute of Contemporary Arts and International Cultural Exchange, Tokyo, 2011) as well as the DAAD Artist-in-Residence Program (Berlin, 2009). Arakawa’s work has been featured at many institutions internationally, including the Museum of Modern Art (New York, 2012), Tate Modern (London, 2012), Galerie Neu (Berlin, 2010), and the Sculpture Center (New York, 2009).","bio_dates":"b. 1977"},{"slug":"araki_gregg_the_doom_generation","ok":true,"partial":false,"title":"The Doom Generation","artist":"Gregg Araki","year":"1995","startOffset":0,"sourceSecs":4814.04,"sourceHeight":384,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":278749801,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/araki_gregg_the_doom_generation/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/araki_gregg_the_doom_generation/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/araki_gregg_the_doom_generation.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/araki_gregg_the_doom_generation/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/araki_gregg_the_doom_generation/main/master.m3u8?v=2","hasMainHls":true,"description":"The opening credits claim this is a `heterosexual' movie by Gregg Araki… Now that statement is still open for discussion. Something that isn't open of discussion is the fact Araki created one of the meanest, most good-looking pieces of trash of the 90's! Imagine yourself a lesser-hyped version of `Natural Born Killers' and exclude that last bit of political correctness.<br/><br/> It seems like Araki was testing how far he could go…and then cheerfully exaggerated some more. The Doom Generation is a speed-driven and absurd road movie against all forms of good taste. A young couple, accompanied by a trigger-happy madman, faces the most eccentric situations and deal with the most extravagant characters. The film contains a lot of violence but even more absurd and demoralizing humor, so the whole thing never really becomes disturbing or provocative. Lots of naughty language and nudity, though!<br/><br/> Rose McGowan's character Amy is the closest thing to a cult/trash queen we saw in the 90's and her naked body is always a joy to behold. James Duvall (sort of like Araki's lead in his entire teenage-alienation trilogy) is terrific as the confused teenager with the `whatever' attitude! Gregg Araki's visions are downright brilliant from time to time. Many people don't seem to think so (just check the other comments around here) but his film is extremely stylish and a perfect portrayal of a pop culture generation. Heck, even his colorful slang – which includes a whole dictionary of genitalia synonyms – alone is worth the effort. The Doom Generation is one the most special films of the past decade and it really deserves the cult-followings it developed over the years. Check it out if you're open-minded, not quickly offended and not faint of heart!","artist_bio":"Gregg Araki is the director of award-winning independent films with a cult following. His films range from the avant-garde to black and romantic comedies that often explore adolescent and gay themes. Among Araki’s cult classics are three that could be hailed as his “Teen Apocalypse” Trilogy: Totally F***ed Up (1993), Doom Generation (1995), and Nowhere (1997). Araki’s most recent success, Mysterious Skin (2004), has received numerous awards and nominations at international film festivals.","bio_dates":"b. 1959"},{"slug":"araki_gregg_the_living_end_1992","ok":true,"partial":false,"title":"The Living End","artist":"Gregg Araki","year":"1992","startOffset":0,"sourceSecs":4870.096,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":818942859,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/araki_gregg_the_living_end_1992/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/araki_gregg_the_living_end_1992/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/araki_gregg_the_living_end_1992.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/araki_gregg_the_living_end_1992/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/araki_gregg_the_living_end_1992/main/master.m3u8?v=2","hasMainHls":true,"description":"Luke is a gay hustler. Jon is a movie critic. Both are HIV positive. They go on a hedonistic, dangerous journey, their motto \"Fuck the world\".","artist_bio":"Gregg Araki is the director of award-winning independent films with a cult following. His films range from the avant-garde to black and romantic comedies that often explore adolescent and gay themes. Among Araki’s cult classics are three that could be hailed as his “Teen Apocalypse” Trilogy: Totally F***ed Up (1993), Doom Generation (1995), and Nowhere (1997). Araki’s most recent success, Mysterious Skin (2004), has received numerous awards and nominations at international film festivals.","bio_dates":"b. 1959"},{"slug":"araki_gregg_three_bewildered_people_in_the_night_1987","ok":true,"partial":false,"title":"Three Bewildered People in the Night","artist":"Gregg Araki","year":"1987","startOffset":0,"sourceSecs":5628.944,"sourceHeight":272,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":325684014,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/araki_gregg_three_bewildered_people_in_the_night_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/araki_gregg_three_bewildered_people_in_the_night_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/araki_gregg_three_bewildered_people_in_the_night_1987.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/araki_gregg_three_bewildered_people_in_the_night_1987/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/araki_gregg_three_bewildered_people_in_the_night_1987/main/master.m3u8?v=2","hasMainHls":true,"description":"The titular trio in Three Bewildered People in the Night is played by Darcy Marta, Mark Howell and John Lacques. Experimental filmmaker Gregg Araki follows the threesome -- aspiring artists all -- as they wander through the apartments, galleries and coffee shops of Greenwich Village. Their lives are complicated by their carnal urges, both homosexual and otherwise. A multiple award winner at the 1988 Locarno Film Festival, Three Bewildered People never receives widespread distribution. <br/><br/> This is the tale of two best friends, Alicia a video artist, and David, an audio artist, who really do love each other, but she is straight and he is gay.<br/><br/> Alicia has a live in boyfriend, Craig, who loves her a lot but isn't sexually fulfilled by her. Craig is a bit intrigued by David and David is quickly becoming intrigued with Craig. Both boys are terrified of pursuing the attraction though because both care for Alicia and don't want to hurt her. David even has to put up with listening to Alicia complain that Craig makes her TOO happy. That's a problem because she's unable to concentrate enough on her art.<br/><br/> All three of them are unhappy in their current lives, Craig because he feels he's being taken for granted by Alicia, and Alicia and David because they are into their \"world weary, misunderstood artist' personas.<br/><br/> When David finally breaks down and tells Alicia he's falling for her boyfriend (it's gone no further than a chaste kiss, initiated by Craig) Alicia IS hurt, and reacts as you'd expect.<br/><br/> Will they work it out? Will any of them find happiness? Watch it and see. That is IF you can find one of the rare copies of this title AND if you can put up with the low quality, black and white, scratchy sound, Chinese subtitled, VHS copies available.<br/><br/> Personally I thought it was worth it and felt that in many ways this was superior to Splendor (1999), Araki's much bigger budget film, dealing with many of the same themes. Splendor had to be homogenized a bit for the mass market, (the boys definite attraction for one another expunged) This one is still the gritty original.images of an old Super 8 film showing a timid young woman undressing.","artist_bio":"Gregg Araki is the director of award-winning independent films with a cult following. His films range from the avant-garde to black and romantic comedies that often explore adolescent and gay themes. Among Araki’s cult classics are three that could be hailed as his “Teen Apocalypse” Trilogy: Totally F***ed Up (1993), Doom Generation (1995), and Nowhere (1997). Araki’s most recent success, Mysterious Skin (2004), has received numerous awards and nominations at international film festivals.","bio_dates":"b. 1959"},{"slug":"arcangel_corey_urbandale_2001","ok":true,"partial":false,"title":"Urbandale","artist":"Cory Arcangel","year":"2001","startOffset":0,"sourceSecs":450.091,"sourceHeight":430,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":26192345,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_corey_urbandale_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_corey_urbandale_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arcangel_corey_urbandale_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arcangel_corey_urbandale_2001/main.mp4?v=2","description":"Urbandale is an ASCII/ANSI movie by Cory Arcangel. <br/><br/> Filmed at Urbandale Plaza in the eastern suburbs of Buffalo N.Y., \"Urbandale\" is a study of America's suburban sprawl stripped to its barest essentials and void of unnecessary contemporary cultural influence. This film captures the sly, bland smile strip plazas cast at modern culture. <br/><br/> The film, rendered in text, focuses on the repetitive motion of food stuffs being cooked in the lobby of a discount department store.","artist_bio":"Cory Arcangel is a Brooklyn-based artist who makes work in a wide range of media, including music, video, modified videogames, performance, and the Internet. Arcangel often makes use of appropriation as a strategy, drawing on source materials that range from best-selling albums to Photoshop gradients. His work explores the nature of cultural production and consumption in a media- and technology-saturated world.\nPetra Heck, curator at the Netherlands Media Art Institute described Arcangel's work as follows: \"Cory Arcangel hacks, manipulates and reuses various technological applications, including video games, web software, film and print media. In doing so he comments on digital media technologies and cultures while at the same time continuing to seek the possibilities that present themselves on the cutting edge of humor, theory and technological shortcomings. His interest in technology spans from the vernacular or non-expert to the conscious disrupting of digital techniques. Using techniques common to conceptual art and performance, Arcangel's work often comments on the relationship between these two.\"\nCory Arcangel was born in 1978 in Buffalo, New York. He received a B.M. from the Oberlin Conservatory of Music. He has received grants from Turbulence, Harvestworks, and Creative Capital, and was awarded the Jury Prize of the 2005 New York Underground Film Festival.\nArcangel has exhibited work at international institutions. He has had solo shows at Lisson Gallery, London (2011); the Whitney Museum of American Art, New York (2011); Barbican Art Gallery, London (2011); Hamburger Bahnhof, Berlin (2010-11); Museum of Contemporary Art, Miami (2010); Power Plant, Toronto (2010); University of Michigan Museum of Art, Ann Arbor (2010); migros museum für gegenwartskunst, Zurich; FACT, Liverpool, UK, and at Team and Deitch galleries in New York, among others.\nHis work has also been included in group shows, at venues such as Lisson Gallery, London; New Museum of Contemporary Art, New York; The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; Solomon R. Guggenheim Museum, New York; the 2004 Whitney Biennial, New York; the American Museum of the Moving Image, Astoria, Queens; Royal Academy of Art, London; the New York Video Festival; Eyebeam, New York, and Anthology Film Archives, New York. Arcangel has also presented a variety of performance pieces at museums, galleries and other venues, including the New Museum of Contemporary Art, New York, and The Museum of Modern Art, New York.\nIn 2011, Arcangel became the youngest person to be honored with a one-person show at the Whitney Museum of American Art, with the exhibition Cory Arcangel: Pro Tools.\nLinks to many of Arcangel's Internet projects can be found at his Web site: www.coryarcangel.com\nArcangel lives in Brooklyn, NY. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use\nthrough Electronic Arts Intermix (EAI), NY. Please visit the\nEAI Online\nCatalogue\nfor further information about this artist and\nwork.\nThe EAI site offers extensive resources for curators, students, artists and\neducators, including: an in-depth guide to exhibiting, collecting, and\npreserving media art; A Kinetic History: The EAI Archives Online, a\ncollection of essays, primary documents, and media charting EAI's 40-year\nhistory and the early years of the emergent video art scene; and expanded\ncontextual and educational materials.","bio_dates":"b. 1978"},{"slug":"arcangel_cory_and_paper_rad_super_mario_movie_2005","ok":true,"partial":false,"title":"Mario Movie","artist":"Cory Arcangel","year":"2005","startOffset":0,"sourceSecs":898.965,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":109129065,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_and_paper_rad_super_mario_movie_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_and_paper_rad_super_mario_movie_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arcangel_cory_and_paper_rad_super_mario_movie_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arcangel_cory_and_paper_rad_super_mario_movie_2005/main.mp4?v=2","description":"Duration: 15:00\n\nMario Movie (2005) was made by Cory Arcangel with Paper Rad. It is a 15 minute movie made on a Super Mario Brothers cartridge."},{"slug":"arcangel_cory_beach_boys_geto_boys","ok":true,"partial":false,"title":"Beach Boys/Geto Boys","artist":"Cory Arcangel","year":"2004","startOffset":0,"sourceSecs":268.402,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":37334768,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_beach_boys_geto_boys/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_beach_boys_geto_boys/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arcangel_cory_beach_boys_geto_boys.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arcangel_cory_beach_boys_geto_boys/main.mp4?v=2","description":"Beach Boys / Geto Boys<br/> Cory Arcangel<br/> (Single-channel video, 2004, 4:13 minutes, color, sound)<br/> <br/> Continuing his investigation into the intersection of culture and technology in the context of the handmade, here Arcangel explores the \"mash-up,\" in which music fans digitally merge two songs to create unexpected hybrids. Arcangel's experiment pushes this practice into the realm of absurdity, pairing wildly different tracks based on the similarity of their bands' names. Juxtaposing original performance footage of the Beach Boys ('Little Surfer Girl') with a contemporary music video by the rap group Geto Boys ('6 Feet Deep'), Arcangel calls attention not only to divergent readings and identifications, but also to the qualities shared by this American pop cultural material.<br/> <br/> Writes Arcangel: \"I wanted 2 see if I could go for the trifecta of mash-ups. Meaning, the two bands had to have a common name, the video has to be interesting even with no prior knowledge of the 2 bands, + I couldn't cut the videos or the music to make them fit together, they had to be played next to each other,...Besides this, the music had to sound good...\"<br/> <br/> Beach Boys/Geto Boys is a single-channel video work<br/>, originally created for the Internet, which has been shown in a gallery as well as at screenings. 'That was made for the Internet, because mash-ups are quite popular. I just made it to put on my Web site. I never thought it would work in the gallery, but it ended up getting the best response in my Team [Gallery] show, which was a complete surprise to me. Also, to have it get so popular in film festivals was a total surprise.' -- <a href=\"https://www.eai.org/resourceguide/collection/singlechannel/arcangel/beachboysgetoboys.html\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. <br/><br/> The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Cory Arcangel is a Brooklyn-based artist who makes work in a wide range of media, including music, video, modified videogames, performance, and the Internet. Arcangel often makes use of appropriation as a strategy, drawing on source materials that range from best-selling albums to Photoshop gradients. His work explores the nature of cultural production and consumption in a media- and technology-saturated world.\nPetra Heck, curator at the Netherlands Media Art Institute described Arcangel's work as follows: \"Cory Arcangel hacks, manipulates and reuses various technological applications, including video games, web software, film and print media. In doing so he comments on digital media technologies and cultures while at the same time continuing to seek the possibilities that present themselves on the cutting edge of humor, theory and technological shortcomings. His interest in technology spans from the vernacular or non-expert to the conscious disrupting of digital techniques. Using techniques common to conceptual art and performance, Arcangel's work often comments on the relationship between these two.\"\nCory Arcangel was born in 1978 in Buffalo, New York. He received a B.M. from the Oberlin Conservatory of Music. He has received grants from Turbulence, Harvestworks, and Creative Capital, and was awarded the Jury Prize of the 2005 New York Underground Film Festival.\nArcangel has exhibited work at international institutions. He has had solo shows at Lisson Gallery, London (2011); the Whitney Museum of American Art, New York (2011); Barbican Art Gallery, London (2011); Hamburger Bahnhof, Berlin (2010-11); Museum of Contemporary Art, Miami (2010); Power Plant, Toronto (2010); University of Michigan Museum of Art, Ann Arbor (2010); migros museum für gegenwartskunst, Zurich; FACT, Liverpool, UK, and at Team and Deitch galleries in New York, among others.\nHis work has also been included in group shows, at venues such as Lisson Gallery, London; New Museum of Contemporary Art, New York; The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; Solomon R. Guggenheim Museum, New York; the 2004 Whitney Biennial, New York; the American Museum of the Moving Image, Astoria, Queens; Royal Academy of Art, London; the New York Video Festival; Eyebeam, New York, and Anthology Film Archives, New York. Arcangel has also presented a variety of performance pieces at museums, galleries and other venues, including the New Museum of Contemporary Art, New York, and The Museum of Modern Art, New York.\nIn 2011, Arcangel became the youngest person to be honored with a one-person show at the Whitney Museum of American Art, with the exhibition Cory Arcangel: Pro Tools.\nLinks to many of Arcangel's Internet projects can be found at his Web site: www.coryarcangel.com\nArcangel lives in Brooklyn, NY. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use\nthrough Electronic Arts Intermix (EAI), NY. Please visit the\nEAI Online\nCatalogue\nfor further information about this artist and\nwork.\nThe EAI site offers extensive resources for curators, students, artists and\neducators, including: an in-depth guide to exhibiting, collecting, and\npreserving media art; A Kinetic History: The EAI Archives Online, a\ncollection of essays, primary documents, and media charting EAI's 40-year\nhistory and the early years of the emergent video art scene; and expanded\ncontextual and educational materials.","bio_dates":"b. 1978"},{"slug":"arcangel_cory_f2_2005","ok":true,"partial":false,"title":"f2","artist":"Cory Arcangel","year":"2005","startOffset":0,"sourceSecs":166.72,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":8633665,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_f2_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_f2_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arcangel_cory_f2_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arcangel_cory_f2_2005/main.mp4?v=2","description":"f2 (2005) is the sequel to F1 Racer (Japanese Driving Game). This is a simple mod Cory did of the old Japanese Famicom driving game F1 Racer. Basically the cars, etc were removed from the game and all that was left was the road.","artist_bio":"Cory Arcangel is a Brooklyn-based artist who makes work in a wide range of media, including music, video, modified videogames, performance, and the Internet. Arcangel often makes use of appropriation as a strategy, drawing on source materials that range from best-selling albums to Photoshop gradients. His work explores the nature of cultural production and consumption in a media- and technology-saturated world.\nPetra Heck, curator at the Netherlands Media Art Institute described Arcangel's work as follows: \"Cory Arcangel hacks, manipulates and reuses various technological applications, including video games, web software, film and print media. In doing so he comments on digital media technologies and cultures while at the same time continuing to seek the possibilities that present themselves on the cutting edge of humor, theory and technological shortcomings. His interest in technology spans from the vernacular or non-expert to the conscious disrupting of digital techniques. Using techniques common to conceptual art and performance, Arcangel's work often comments on the relationship between these two.\"\nCory Arcangel was born in 1978 in Buffalo, New York. He received a B.M. from the Oberlin Conservatory of Music. He has received grants from Turbulence, Harvestworks, and Creative Capital, and was awarded the Jury Prize of the 2005 New York Underground Film Festival.\nArcangel has exhibited work at international institutions. He has had solo shows at Lisson Gallery, London (2011); the Whitney Museum of American Art, New York (2011); Barbican Art Gallery, London (2011); Hamburger Bahnhof, Berlin (2010-11); Museum of Contemporary Art, Miami (2010); Power Plant, Toronto (2010); University of Michigan Museum of Art, Ann Arbor (2010); migros museum für gegenwartskunst, Zurich; FACT, Liverpool, UK, and at Team and Deitch galleries in New York, among others.\nHis work has also been included in group shows, at venues such as Lisson Gallery, London; New Museum of Contemporary Art, New York; The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; Solomon R. Guggenheim Museum, New York; the 2004 Whitney Biennial, New York; the American Museum of the Moving Image, Astoria, Queens; Royal Academy of Art, London; the New York Video Festival; Eyebeam, New York, and Anthology Film Archives, New York. Arcangel has also presented a variety of performance pieces at museums, galleries and other venues, including the New Museum of Contemporary Art, New York, and The Museum of Modern Art, New York.\nIn 2011, Arcangel became the youngest person to be honored with a one-person show at the Whitney Museum of American Art, with the exhibition Cory Arcangel: Pro Tools.\nLinks to many of Arcangel's Internet projects can be found at his Web site: www.coryarcangel.com\nArcangel lives in Brooklyn, NY. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use\nthrough Electronic Arts Intermix (EAI), NY. Please visit the\nEAI Online\nCatalogue\nfor further information about this artist and\nwork.\nThe EAI site offers extensive resources for curators, students, artists and\neducators, including: an in-depth guide to exhibiting, collecting, and\npreserving media art; A Kinetic History: The EAI Archives Online, a\ncollection of essays, primary documents, and media charting EAI's 40-year\nhistory and the early years of the emergent video art scene; and expanded\ncontextual and educational materials.","bio_dates":"b. 1978"},{"slug":"arcangel_cory_i_shot_andy_warhol_2002","ok":true,"partial":false,"title":"I Shot Andy Warhol","artist":"Cory Arcangel","year":"2002","startOffset":0,"sourceSecs":107.989,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":11092107,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_i_shot_andy_warhol_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_i_shot_andy_warhol_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arcangel_cory_i_shot_andy_warhol_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arcangel_cory_i_shot_andy_warhol_2002/main.mp4?v=2","description":"Cory Arcangel/Beige<br/> Reprogrammed Nintendo Entertainment System videogame cartridge, Nintendo Entertainment System, Light gun <br/><br/> Cory Arcangel is one of a group of artists who work within the strict limitations and visual styles imposed by early digital technologies and media. For I Shot Andy Warhol, Arcangel reprogrammed a 1980s Nintendo videogame, <i>Hogan's Alley</i>, and populated the game with mass-culture icons. The artist chose the iconic personalities based on their ability to be readily recognizable even at the extremely small pixel size in which they are rendered.","artist_bio":"Cory Arcangel is a Brooklyn-based artist who makes work in a wide range of media, including music, video, modified videogames, performance, and the Internet. Arcangel often makes use of appropriation as a strategy, drawing on source materials that range from best-selling albums to Photoshop gradients. His work explores the nature of cultural production and consumption in a media- and technology-saturated world.\nPetra Heck, curator at the Netherlands Media Art Institute described Arcangel's work as follows: \"Cory Arcangel hacks, manipulates and reuses various technological applications, including video games, web software, film and print media. In doing so he comments on digital media technologies and cultures while at the same time continuing to seek the possibilities that present themselves on the cutting edge of humor, theory and technological shortcomings. His interest in technology spans from the vernacular or non-expert to the conscious disrupting of digital techniques. Using techniques common to conceptual art and performance, Arcangel's work often comments on the relationship between these two.\"\nCory Arcangel was born in 1978 in Buffalo, New York. He received a B.M. from the Oberlin Conservatory of Music. He has received grants from Turbulence, Harvestworks, and Creative Capital, and was awarded the Jury Prize of the 2005 New York Underground Film Festival.\nArcangel has exhibited work at international institutions. He has had solo shows at Lisson Gallery, London (2011); the Whitney Museum of American Art, New York (2011); Barbican Art Gallery, London (2011); Hamburger Bahnhof, Berlin (2010-11); Museum of Contemporary Art, Miami (2010); Power Plant, Toronto (2010); University of Michigan Museum of Art, Ann Arbor (2010); migros museum für gegenwartskunst, Zurich; FACT, Liverpool, UK, and at Team and Deitch galleries in New York, among others.\nHis work has also been included in group shows, at venues such as Lisson Gallery, London; New Museum of Contemporary Art, New York; The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; Solomon R. Guggenheim Museum, New York; the 2004 Whitney Biennial, New York; the American Museum of the Moving Image, Astoria, Queens; Royal Academy of Art, London; the New York Video Festival; Eyebeam, New York, and Anthology Film Archives, New York. Arcangel has also presented a variety of performance pieces at museums, galleries and other venues, including the New Museum of Contemporary Art, New York, and The Museum of Modern Art, New York.\nIn 2011, Arcangel became the youngest person to be honored with a one-person show at the Whitney Museum of American Art, with the exhibition Cory Arcangel: Pro Tools.\nLinks to many of Arcangel's Internet projects can be found at his Web site: www.coryarcangel.com\nArcangel lives in Brooklyn, NY. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use\nthrough Electronic Arts Intermix (EAI), NY. Please visit the\nEAI Online\nCatalogue\nfor further information about this artist and\nwork.\nThe EAI site offers extensive resources for curators, students, artists and\neducators, including: an in-depth guide to exhibiting, collecting, and\npreserving media art; A Kinetic History: The EAI Archives Online, a\ncollection of essays, primary documents, and media charting EAI's 40-year\nhistory and the early years of the emergent video art scene; and expanded\ncontextual and educational materials.","bio_dates":"b. 1978"},{"slug":"arcangel_cory_naptime_2002","ok":true,"partial":false,"title":"Naptime","artist":"Cory Arcangel","year":"2002","startOffset":0,"sourceSecs":85.867,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":4194851,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_naptime_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_naptime_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arcangel_cory_naptime_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arcangel_cory_naptime_2002/main.mp4?v=2","description":"In Naptime, the visuals were made first, and then the music added at the end by Paul B. Davis.","artist_bio":"Cory Arcangel is a Brooklyn-based artist who makes work in a wide range of media, including music, video, modified videogames, performance, and the Internet. Arcangel often makes use of appropriation as a strategy, drawing on source materials that range from best-selling albums to Photoshop gradients. His work explores the nature of cultural production and consumption in a media- and technology-saturated world.\nPetra Heck, curator at the Netherlands Media Art Institute described Arcangel's work as follows: \"Cory Arcangel hacks, manipulates and reuses various technological applications, including video games, web software, film and print media. In doing so he comments on digital media technologies and cultures while at the same time continuing to seek the possibilities that present themselves on the cutting edge of humor, theory and technological shortcomings. His interest in technology spans from the vernacular or non-expert to the conscious disrupting of digital techniques. Using techniques common to conceptual art and performance, Arcangel's work often comments on the relationship between these two.\"\nCory Arcangel was born in 1978 in Buffalo, New York. He received a B.M. from the Oberlin Conservatory of Music. He has received grants from Turbulence, Harvestworks, and Creative Capital, and was awarded the Jury Prize of the 2005 New York Underground Film Festival.\nArcangel has exhibited work at international institutions. He has had solo shows at Lisson Gallery, London (2011); the Whitney Museum of American Art, New York (2011); Barbican Art Gallery, London (2011); Hamburger Bahnhof, Berlin (2010-11); Museum of Contemporary Art, Miami (2010); Power Plant, Toronto (2010); University of Michigan Museum of Art, Ann Arbor (2010); migros museum für gegenwartskunst, Zurich; FACT, Liverpool, UK, and at Team and Deitch galleries in New York, among others.\nHis work has also been included in group shows, at venues such as Lisson Gallery, London; New Museum of Contemporary Art, New York; The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; Solomon R. Guggenheim Museum, New York; the 2004 Whitney Biennial, New York; the American Museum of the Moving Image, Astoria, Queens; Royal Academy of Art, London; the New York Video Festival; Eyebeam, New York, and Anthology Film Archives, New York. Arcangel has also presented a variety of performance pieces at museums, galleries and other venues, including the New Museum of Contemporary Art, New York, and The Museum of Modern Art, New York.\nIn 2011, Arcangel became the youngest person to be honored with a one-person show at the Whitney Museum of American Art, with the exhibition Cory Arcangel: Pro Tools.\nLinks to many of Arcangel's Internet projects can be found at his Web site: www.coryarcangel.com\nArcangel lives in Brooklyn, NY. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use\nthrough Electronic Arts Intermix (EAI), NY. Please visit the\nEAI Online\nCatalogue\nfor further information about this artist and\nwork.\nThe EAI site offers extensive resources for curators, students, artists and\neducators, including: an in-depth guide to exhibiting, collecting, and\npreserving media art; A Kinetic History: The EAI Archives Online, a\ncollection of essays, primary documents, and media charting EAI's 40-year\nhistory and the early years of the emergent video art scene; and expanded\ncontextual and educational materials.","bio_dates":"b. 1978"},{"slug":"arcangel_cory_super_mario_clouds_2002","ok":true,"partial":false,"title":"Clouds","artist":"Cory Arcangel","year":"2002","startOffset":0,"sourceSecs":315.733,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":15859676,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_super_mario_clouds_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_super_mario_clouds_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arcangel_cory_super_mario_clouds_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arcangel_cory_super_mario_clouds_2002/main.mp4?v=2","description":"In <i>Clouds</i>, Cory took an old Super Mario Brothers Nintendo video game and erased everything but the clouds.","artist_bio":"Cory Arcangel is a Brooklyn-based artist who makes work in a wide range of media, including music, video, modified videogames, performance, and the Internet. Arcangel often makes use of appropriation as a strategy, drawing on source materials that range from best-selling albums to Photoshop gradients. His work explores the nature of cultural production and consumption in a media- and technology-saturated world.\nPetra Heck, curator at the Netherlands Media Art Institute described Arcangel's work as follows: \"Cory Arcangel hacks, manipulates and reuses various technological applications, including video games, web software, film and print media. In doing so he comments on digital media technologies and cultures while at the same time continuing to seek the possibilities that present themselves on the cutting edge of humor, theory and technological shortcomings. His interest in technology spans from the vernacular or non-expert to the conscious disrupting of digital techniques. Using techniques common to conceptual art and performance, Arcangel's work often comments on the relationship between these two.\"\nCory Arcangel was born in 1978 in Buffalo, New York. He received a B.M. from the Oberlin Conservatory of Music. He has received grants from Turbulence, Harvestworks, and Creative Capital, and was awarded the Jury Prize of the 2005 New York Underground Film Festival.\nArcangel has exhibited work at international institutions. He has had solo shows at Lisson Gallery, London (2011); the Whitney Museum of American Art, New York (2011); Barbican Art Gallery, London (2011); Hamburger Bahnhof, Berlin (2010-11); Museum of Contemporary Art, Miami (2010); Power Plant, Toronto (2010); University of Michigan Museum of Art, Ann Arbor (2010); migros museum für gegenwartskunst, Zurich; FACT, Liverpool, UK, and at Team and Deitch galleries in New York, among others.\nHis work has also been included in group shows, at venues such as Lisson Gallery, London; New Museum of Contemporary Art, New York; The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; Solomon R. Guggenheim Museum, New York; the 2004 Whitney Biennial, New York; the American Museum of the Moving Image, Astoria, Queens; Royal Academy of Art, London; the New York Video Festival; Eyebeam, New York, and Anthology Film Archives, New York. Arcangel has also presented a variety of performance pieces at museums, galleries and other venues, including the New Museum of Contemporary Art, New York, and The Museum of Modern Art, New York.\nIn 2011, Arcangel became the youngest person to be honored with a one-person show at the Whitney Museum of American Art, with the exhibition Cory Arcangel: Pro Tools.\nLinks to many of Arcangel's Internet projects can be found at his Web site: www.coryarcangel.com\nArcangel lives in Brooklyn, NY. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use\nthrough Electronic Arts Intermix (EAI), NY. Please visit the\nEAI Online\nCatalogue\nfor further information about this artist and\nwork.\nThe EAI site offers extensive resources for curators, students, artists and\neducators, including: an in-depth guide to exhibiting, collecting, and\npreserving media art; A Kinetic History: The EAI Archives Online, a\ncollection of essays, primary documents, and media charting EAI's 40-year\nhistory and the early years of the emergent video art scene; and expanded\ncontextual and educational materials.","bio_dates":"b. 1978"},{"slug":"arcangel_cory_video_ravingz_2002","ok":true,"partial":false,"title":"Video Ravingz","artist":"Cory Arcangel","year":"2002","startOffset":0,"sourceSecs":61.483,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":10618987,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_video_ravingz_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arcangel_cory_video_ravingz_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arcangel_cory_video_ravingz_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arcangel_cory_video_ravingz_2002/main.mp4?v=2","description":"Video Ravingz is a hacked version of Mario 2 where the user wins the game simply by inserting the cartridge. With rave-style graphics and music, there's an air of celebration about this work because everyone's a winner.","artist_bio":"Cory Arcangel is a Brooklyn-based artist who makes work in a wide range of media, including music, video, modified videogames, performance, and the Internet. Arcangel often makes use of appropriation as a strategy, drawing on source materials that range from best-selling albums to Photoshop gradients. His work explores the nature of cultural production and consumption in a media- and technology-saturated world.\nPetra Heck, curator at the Netherlands Media Art Institute described Arcangel's work as follows: \"Cory Arcangel hacks, manipulates and reuses various technological applications, including video games, web software, film and print media. In doing so he comments on digital media technologies and cultures while at the same time continuing to seek the possibilities that present themselves on the cutting edge of humor, theory and technological shortcomings. His interest in technology spans from the vernacular or non-expert to the conscious disrupting of digital techniques. Using techniques common to conceptual art and performance, Arcangel's work often comments on the relationship between these two.\"\nCory Arcangel was born in 1978 in Buffalo, New York. He received a B.M. from the Oberlin Conservatory of Music. He has received grants from Turbulence, Harvestworks, and Creative Capital, and was awarded the Jury Prize of the 2005 New York Underground Film Festival.\nArcangel has exhibited work at international institutions. He has had solo shows at Lisson Gallery, London (2011); the Whitney Museum of American Art, New York (2011); Barbican Art Gallery, London (2011); Hamburger Bahnhof, Berlin (2010-11); Museum of Contemporary Art, Miami (2010); Power Plant, Toronto (2010); University of Michigan Museum of Art, Ann Arbor (2010); migros museum für gegenwartskunst, Zurich; FACT, Liverpool, UK, and at Team and Deitch galleries in New York, among others.\nHis work has also been included in group shows, at venues such as Lisson Gallery, London; New Museum of Contemporary Art, New York; The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; Solomon R. Guggenheim Museum, New York; the 2004 Whitney Biennial, New York; the American Museum of the Moving Image, Astoria, Queens; Royal Academy of Art, London; the New York Video Festival; Eyebeam, New York, and Anthology Film Archives, New York. Arcangel has also presented a variety of performance pieces at museums, galleries and other venues, including the New Museum of Contemporary Art, New York, and The Museum of Modern Art, New York.\nIn 2011, Arcangel became the youngest person to be honored with a one-person show at the Whitney Museum of American Art, with the exhibition Cory Arcangel: Pro Tools.\nLinks to many of Arcangel's Internet projects can be found at his Web site: www.coryarcangel.com\nArcangel lives in Brooklyn, NY. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use\nthrough Electronic Arts Intermix (EAI), NY. Please visit the\nEAI Online\nCatalogue\nfor further information about this artist and\nwork.\nThe EAI site offers extensive resources for curators, students, artists and\neducators, including: an in-depth guide to exhibiting, collecting, and\npreserving media art; A Kinetic History: The EAI Archives Online, a\ncollection of essays, primary documents, and media charting EAI's 40-year\nhistory and the early years of the emergent video art scene; and expanded\ncontextual and educational materials.","bio_dates":"b. 1978"},{"slug":"arledge_sara_kathryn_a_selection_of_glass_slide_transparencies","ok":true,"partial":false,"title":"A Selection of Glass Slide Transparencies","artist":"Sara Kathryn Arledge","year":"1947-1950","startOffset":0,"sourceSecs":476,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":161912963,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arledge_sara_kathryn_a_selection_of_glass_slide_transparencies/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arledge_sara_kathryn_a_selection_of_glass_slide_transparencies/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arledge_sara_kathryn_a_selection_of_glass_slide_transparencies.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arledge_sara_kathryn_a_selection_of_glass_slide_transparencies/main.mp4?v=2","description":"BAMPFA presents a selection of digital copies of hand-painted glass transparencies she made while teaching at California College of Arts and Crafts. Curator Terry Cannon described them as “akin to viewing a shimmering stained-glass window.” As they were difficult to present in public venues, Arledge also documented them in several of her films, including Interior Garden II.","artist_bio":"Sara Kathryn Arledge (1911-1998) is one of the undeservedly neglected figures in the American experimental cinema. Although her two major works, INTROSPECTION and WHAT IS A MAN?, were completed in 1946 and 1958, respectively, neither was screened with any frequency until the late 1970s. Along with Maya Deren’s A Study in Choreography for Camera, also made in the mid-’40s, Arledge’s film pioneered the genre that came to be known as “cine-dance.” WHAT IS A MAN?, her second film, was completed shortly after Arledge’s release from Napa State Hospital, where she had been diagnosed with schizophrenia and had undergone numerous electroshock treatments.A prolific painter, Arledge also pioneered the medium of hand painting on glass slide transparencies.","bio_dates":"1911-1998"},{"slug":"arledge_sara_kathryn_interior_garden_ii","ok":true,"partial":false,"title":"Interior Garden II","artist":"Sara Kathryn Arledge","year":"1978","startOffset":0,"sourceSecs":517.077,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":206514186,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arledge_sara_kathryn_interior_garden_ii/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arledge_sara_kathryn_interior_garden_ii/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arledge_sara_kathryn_interior_garden_ii.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arledge_sara_kathryn_interior_garden_ii/main.mp4?v=2","description":"BAMPFA presents a selection of digital copies of hand-painted glass transparencies she made while teaching at California College of Arts and Crafts. Curator Terry Cannon described them as “akin to viewing a shimmering stained-glass window.” As they were difficult to present in public venues, Arledge also documented them in several of her films, including Interior Garden II.","artist_bio":"Sara Kathryn Arledge (1911-1998) is one of the undeservedly neglected figures in the American experimental cinema. Although her two major works, INTROSPECTION and WHAT IS A MAN?, were completed in 1946 and 1958, respectively, neither was screened with any frequency until the late 1970s. Along with Maya Deren’s A Study in Choreography for Camera, also made in the mid-’40s, Arledge’s film pioneered the genre that came to be known as “cine-dance.” WHAT IS A MAN?, her second film, was completed shortly after Arledge’s release from Napa State Hospital, where she had been diagnosed with schizophrenia and had undergone numerous electroshock treatments.A prolific painter, Arledge also pioneered the medium of hand painting on glass slide transparencies.","bio_dates":"1911-1998"},{"slug":"arledge_sara_kathryn_introspection","ok":true,"partial":false,"title":"Introspection","artist":"Sara Kathryn Arledge","year":"1946","startOffset":0,"sourceSecs":392.704,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":148509530,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arledge_sara_kathryn_introspection/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arledge_sara_kathryn_introspection/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arledge_sara_kathryn_introspection.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arledge_sara_kathryn_introspection/main.mp4?v=2","description":"Introspection<br/> 1941, 16mm, color, sound, 7 min.<br/> \"Disembodied parts of dancers are seen moving freely in black space ... [they] form a moving and rhythmic three dimensional design of semi-abstract shapes.\" - Lewis Jacobs, \"Avant-Garde Production in America,\" Experiment in the Film, Grey Walls Press, London, 1949 <br/><br/> INTROSPECTION was begun in 1941 and was the first abstract dance film made in the United States. Along with Maya Deren's A Study in Choreography for Camera, also made in the mid-'40s, Arledge's film pioneered the genre that came to be known as \"cine-dance.\" <br/><br/> Her psychedelic dance film Introspection (1941-1946) offers a surreal visual experience that abstracts dancers bodies and actions through decidedly low-tech yet ingenious use of costumes, masking, and movement, transforming the human figure into a series of isolated, fragmented limbs in motion. As a filmmaker she created new visual experiences, such as environmental light shows of abstract, hand-painted slide transparencies. Arledge was also a prolific painter, whose psychedelic abstractions feature vivid color and organic shapes, sometimes referencing human, fetal, or animal forms that emphasize the eerie in the mundane and the disorienting passing of time. <br/><br/> \"Arledge's loosely-connected technical and aesthetic experiments utilize dance in an effort to portray 'time in art.' The intent was to create a dance that could only be shown on film, a choreography uniquely different from any devised for the stage and one that emerged solely from the film medium.\" - Terry Cannon","artist_bio":"Sara Kathryn Arledge (1911-1998) is one of the undeservedly neglected figures in the American experimental cinema. Although her two major works, INTROSPECTION and WHAT IS A MAN?, were completed in 1946 and 1958, respectively, neither was screened with any frequency until the late 1970s. Along with Maya Deren’s A Study in Choreography for Camera, also made in the mid-’40s, Arledge’s film pioneered the genre that came to be known as “cine-dance.” WHAT IS A MAN?, her second film, was completed shortly after Arledge’s release from Napa State Hospital, where she had been diagnosed with schizophrenia and had undergone numerous electroshock treatments.A prolific painter, Arledge also pioneered the medium of hand painting on glass slide transparencies.","bio_dates":"1911-1998"},{"slug":"arledge_sara_kathryn_what_is_a_man","ok":true,"partial":false,"title":"What Is A Man?","artist":"Sara Kathryn Arledge","year":"1958","startOffset":0,"sourceSecs":621.76,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":255664920,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arledge_sara_kathryn_what_is_a_man/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arledge_sara_kathryn_what_is_a_man/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arledge_sara_kathryn_what_is_a_man.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arledge_sara_kathryn_what_is_a_man/main.mp4?v=2","description":"“Imagery and dialogue stimulated by Finnegan’s Wake. It is a satire with undertones of the cosmic spirit.” – Sara Kathryn Arledge <br/><br/> \"I consider WHAT IS A MAN? a sophisticated humorous exploration of the experimental film medium.\" – Shirley Clarke <br/><br/> What Is a Man?, is a satire in which everyday interactions between men and women play out through nonsense dialogue, highlighting the absurdity of mundane conventions. <br/><br/> What Is a Man?, whose bemused shrug at that big question manages to encompass onscreen text, preexisting art, time-lapse and science photography, dance, documentary scenes, advertising satire, rhyme, song, even a game of musical chairs. <br/><br/> WHAT IS A MAN?, her second film, is a series of vignettes which ponder the \"alienation\" of modern man and woman. Completed shortly after Arledge's release from Napa State Hospital, where she had been diagnosed with schizophrenia and had undergone numerous electroshock treatments, WHAT IS A MAN? offers a fascinating glimpse into the filmmaker's psyche.","artist_bio":"Sara Kathryn Arledge (1911-1998) is one of the undeservedly neglected figures in the American experimental cinema. Although her two major works, INTROSPECTION and WHAT IS A MAN?, were completed in 1946 and 1958, respectively, neither was screened with any frequency until the late 1970s. Along with Maya Deren’s A Study in Choreography for Camera, also made in the mid-’40s, Arledge’s film pioneered the genre that came to be known as “cine-dance.” WHAT IS A MAN?, her second film, was completed shortly after Arledge’s release from Napa State Hospital, where she had been diagnosed with schizophrenia and had undergone numerous electroshock treatments.A prolific painter, Arledge also pioneered the medium of hand painting on glass slide transparencies.","bio_dates":"1911-1998"},{"slug":"arnold_skip_punch_1992","ok":true,"partial":false,"title":"Punch","artist":"Skip Arnold","year":"1992","startOffset":0,"sourceSecs":9.045,"sourceHeight":400,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":498748,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arnold_skip_punch_1992/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/arnold_skip_punch_1992/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/arnold_skip_punch_1992.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/arnold_skip_punch_1992/main.mp4?v=2","description":"0' 10\", 1992<br/> <br/> Arnold's slight build heightens his physical provocation, as in Punch from 1992, where the artist asked an athletic man to punch him in the stomach.","artist_bio":"Skip Arnold's performances belong to that tradition of extreme body-based work that includes Chris Burden, and the late Bob Flanagan. Challenging the voyeuristic relationship between art object and viewer, Arnold uses his own body to create startling performance situations that often demand complicity from the audience in the artist's discomfort and risk. \"What is common to all my work, Arnold states, is 'Skip' - Skip is the art work; the act of doing, my actions, my choices.\"\nAmong Arnold's many performance and film works, actions have included navigating the Bermuda Triangle in an experimental boat (he lived to tell the tale); installing himself beneath a plate glass sheet at the entrance to the Basel art Fair (so that visitors had to literally walk over him to enter the building); laying embalmed in bandages in the center of a public square in Slovakia, and taking eight hour showers daily as part of the Gramercy International Art Fair.","bio_dates":"b. 1957"},{"slug":"art_ensemble_of_chicago","ok":true,"partial":false,"title":"Art Ensemble of Chicago and Cecil Taylor, Live in Paris","artist":"Art Ensemble of Chicago and Cecil Taylor","year":"1984","startOffset":0,"sourceSecs":964.441,"sourceHeight":346,"sourceWidth":462,"hasAudio":true,"hasAmbientMp4":true,"bytes":63283486,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/art_ensemble_of_chicago/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/art_ensemble_of_chicago/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/art_ensemble_of_chicago.mp4","hasFrames":true},{"slug":"artaud_antonin_practical_approaches_to_a_theatre_of_cruelty_part_1","ok":true,"partial":false,"title":"Pumpkin TV - Antonin Artaud: Practical Approaches to a Theatre of Cruelty AKA Artaud in Practice (2010), Part 1","artist":"Antonin Artaud","year":"2010","startOffset":0,"sourceSecs":1403.036,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":83891593,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/artaud_antonin_practical_approaches_to_a_theatre_of_cruelty_part_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/artaud_antonin_practical_approaches_to_a_theatre_of_cruelty_part_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/artaud_antonin_practical_approaches_to_a_theatre_of_cruelty_part_1.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/artaud_antonin_practical_approaches_to_a_theatre_of_cruelty_part_1/main.mp4?v=2","description":"UK’s Pumpkin Interactive have developed Antonin Artaud: Practical Approaches to a Theatre of Cruelty, an excellent 2-disc educational DVD-set about the life and work of one of the world’s most important theatre practitioners. This resource should prove very useful for high school drama/theatre teachers and their students.<br/><br/> While there are some of examples of work inspired by Artaud littered across YouTube, what is missing is context. This DVD resource provides a theoretical, historical and practical context for Artaud’s work and the works of others influenced by his Theatre of Cruelty style.<br/><br/> Disc 1 contains a very informative 23-minute documentary on the life and work of Artaud, reflecting his personal and professional activity. While this biographical documentary is relatively short, it does however tie everything together through narration, with ample video footage provided as illustrative examples. Without this cohesiveness, research on Artaud is often disjointed and fragmented, akin to putting together the pieces of a very complex jigsaw puzzle.<br/><br/> The documentary discusses Artaud’s influence on 20th century theatre and beyond, surrealism, Balinese dance, Butoh, his influence on others practitioners such as Peter Brook and Jerzy Grotowski, the differing interpretations of Artaud across the world, ritual, asylums, and more.<br/><br/> Pumpkin Interactive connect with Norway’s experimental Grusomhetens Teater (English translation: “Theatre of Cruelty”), an Oslo-based avant-garde theatre company specialising in performances in Artaud’s style. Video of Grusomhetens Teater’s past productions forms a large part of this resource’s performance footage. We are also provided with examples of top-band UK student ensemble work in Theatre of Cruelty style. <br/><br/> Excellent interview excerpts are provided throughout by Alan Read, Professor of Theatre, Kings College, London, and Professor Stephen Barber, Kingston University, London (author of a published Artaud biography). We also hear from Grusomhetens Theatre artistic director Lars Øyno. The commentary from these Artaud scholars and experts enriches our understanding of the man and his theatre.","artist_bio":"Considered among the most influential figures in the evolution of modern drama theory, Antonin Artaud associated himself with Surrealist writers, artists, and experimental theater groups in Paris during the 1920s. When political differences resulted in his break from the Surrealists, he founded the Theatre Alfred Jarry with Roger Vitrac and Robert Aron. Together they hoped to create a forum for works that would radically change French theater. Artaud, especially, expressed disdain for Western theater of the day, panning the ordered plot and scripted language his contemporaries typically employed to convey ideas, and he recorded his ideas in such works as Le Theatre de la cruaute and The Theater and Its Double.\nMost critics believe that Artaud's most noted contribution to drama theory is his \"theater of cruelty,\" an intense theatrical experience that combined elaborate props, magic tricks, special lighting, primitive gestures and articulations, and themes of rape, torture, and murder to shock the audience into confronting the base elements of life. Les Cenci, Artaud's play about a man who rapes his own daughter and is then murdered by men the girl hires to eliminate him, typifies Artaud's theater of cruelty. Les Cenci was produced in Paris in 1935 but was closed after seventeen dismal performances. Another example of Artaud's work is The Fountain of Blood, a farce about the creation of the world and its destruction by humans, especially women. Like many of Artaud's other plays, scenarios, and prose, Les Cenci and The Fountain of Blood were designed to challenge conventional, civilized values and bring out the natural, barbaric instincts Artaud felt lurked beneath the refined, human facade. Of The Fountain of Blood, Albert Bermel wrote in Artaud's Theater of Cruelty: \"All in all, The Fountain of Blood is a tragic, repulsive, impassioned farce, a marvelous wellspring for speculation, and a unique contribution to the history of the drama.\"\nAlthough Artaud's theater of cruelty was not widely embraced, his ideas have been the subject of many essays on modern theater, and many writers continue to study Artaud's concepts. Author George E. Wellwarth, for example, in Drama Survey, explained the theater of cruelty as \"the impersonal, mindless—and therefore implacable—cruelty to which all men are subject. The universe with its violent natural forces was cruel in Artaud's eyes, and this cruelty, he felt, was the one single most important fact of which man must be aware. . . . Artaud's theater must be ecstatic. It must crush and hypnotize the onlooker's sense.\" Another description of the theater of cruelty was offered by Wallace Fowlie in an essay published in Sewanee Review. Fowlie wrote: \"A dramatic presentation should be an act of initiation during which the spectator will be awed and even terrified. . . . During that experience of terror or frenzy . . . the spectator will be in a position to understand a new set of truths, superhuman in quality.\"\nArtaud's creative abilities were developed, in part, as a means of therapy during the artist's many hospitalizations for mental illness. While being treated in a hospital by Edouard Toulouse, Artaud was encouraged to express himself in poetry, which Toulouse later published in the journal Demain. Artaud's life and his work, despite the efforts of psychotherapy, reflected his mental afflictions and were further complicated by his dependence on narcotics. At times he expressed faith in God; other times he denounced the Church and deified himself. He was also obsessed with the human body; he loathed the idea of sex and expressed a desire to separate himself from his sexual self.\nIn Antonin Artaud: Man of Vision, author Bettina L. Knapp wrote of the theorist's mental illness: \"Artaud was unable to adapt to life; he could not relate to others; he was not even certain of his own identity.\" Knapp commented that \"Artaud was in essence constructing an entire metaphysical system around his sickness, or, if you will, entering the realm of the mystic via his own disease. The focal point of his universe was himself and everything radiated from him outward.\" Referring to Artaud's The Umbilicus of Limbo, Knapp indicated Artaud \"intended to 'derange man,' to take people on a journey 'where they would never have consented to go.'\" She further explained, \"Since Artaud's ideas concerning the dramatic arts were born from his sickness, he looked upon the theater as a curative agent; a means whereby the individual could come to the theater to be dissected, split and cut open first, and then healed.\" Knapp also offered an explanation of Artaud's popularity long after his death: \"In his time, he was a man alienated from his society, divided within himself, a victim of inner and outer forces beyond his control. . . . The tidal force of his imagination and the urgency of his therapeutic quest were disregarded and cast aside as the ravings of a madman. . . . Modern man can respond to Artaud now because they share so many psychological similarities and affinities.\"\nSimilar words were issued in a Horizon essay by Sanche de Gramont, who wrote of Artaud: \"If he was mad, he welcomed his madness. . . . To him the rational world was deficient; he welcomed the hallucinations that abolished reason and gave meaning to his alienation. He purposely placed himself outside the limits in which sanity and madness can be opposed, and gave himself up to a private world of magic and irrational visions.\"\nArtaud spent nine of his last eleven years confined in mental facilities but continued to write, producing some of his finest poetry during the final three years of his life, according to biographer Susan Sontag. \"Not until the great outburst of writing in the period between 1945 and 1948 . . . did Artaud, by then indifferent to the idea of poetry as a closed lyric statement, find a long-breathed voice that was adequate to the range of his imaginative needs—a voice that was free of established forms and open-ended, like the poetry of [Ezra] Pound.\" However, Sontag, other biographers, and reviewers agree that Artaud's primary influence was on the theater. According to Sontag, Artaud \"has had an impact so profound that the course of all recent serious theater in Western Europe and the Americas can be said to divide into two periods—before Artaud and after Artaud.\"","bio_dates":"1896-1948"},{"slug":"as_above_so_below_1973","ok":true,"partial":false,"title":"As Above, So Below","artist":"Larry Clark","year":"1973","startOffset":0,"sourceSecs":3149.78,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":538021353,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/as_above_so_below_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/as_above_so_below_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/as_above_so_below_1973.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/as_above_so_below_1973/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/as_above_so_below_1973/main/master.m3u8?v=2","hasMainHls":true},{"slug":"ashley_robert_opera_4_tv_1_david_behrman_1976_sm","ok":true,"partial":false,"title":"Music with Roots in the Aether: David Behrman","artist":"Robert Ashley","year":"1976","startOffset":0,"sourceSecs":6924.334,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":394317557,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_1_david_behrman_1976_sm/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_1_david_behrman_1976_sm/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ashley_robert_opera_4_tv_1_david_behrman_1976_sm.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_1_david_behrman_1976_sm/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_1_david_behrman_1976_sm/main/master.m3u8?v=2","hasMainHls":true,"description":"Music with Roots in the Aether is a music-theater piece in color video. It is the final version of an idea that I had thought about and worked on for a few years: to make a very large collaborative piece with other composers whose music I like. The collaborative aspect of Music with Roots in the Aether is in the theater of the interviews, at least primarily, and I am indebted to all of the composers involved for their generosity in allowing me to portray them in this manner.\n\nThe piece turns out to be, in addition, a large-scale documentation of an important stylistic that came into American concert music in about 1960. These composers of the \"post-serial\" / \"post-Cage\" movement have all made international reputations for the originality of their work and for their contributions to this area of musical compositions.\n\nThe style of the video presentation comes from the need I felt to find a new way to show music being performed. The idea of the visual style of Music with Roots in the Aether is plain: to watch as closely as possible the action of the performers and to not \"cut\" the seen material in any way--that is, to not editorialize on the time domain of the music through arbitrary space-time substitutions.\n\nThe visual style for showing the music being made became the \"theater\" (the stage) for the interviews, and the portraits of the composers were designed to happen in that style.\" — Robert Ashley"},{"slug":"ashley_robert_opera_4_tv_2_philip_glass_1976_sm","ok":true,"partial":false,"title":"Opera 4 Tv 2 Philip Glass 1976 Sm","artist":"Robert Ashley","year":"1975","startOffset":0,"sourceSecs":6522.2,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":372411195,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_2_philip_glass_1976_sm/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_2_philip_glass_1976_sm/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ashley_robert_opera_4_tv_2_philip_glass_1976_sm.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_2_philip_glass_1976_sm/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_2_philip_glass_1976_sm/main/master.m3u8?v=2","hasMainHls":true,"description":"Music with Roots in the Aether is a music-theater piece in color video. It is the final version of an idea that I had thought about and worked on for a few years: to make a very large collaborative piece with other composers whose music I like. The collaborative aspect of Music with Roots in the Aether is in the theater of the interviews, at least primarily, and I am indebted to all of the composers involved for their generosity in allowing me to portray them in this manner.\n\nThe piece turns out to be, in addition, a large-scale documentation of an important stylistic that came into American concert music in about 1960. These composers of the \"post-serial\" / \"post-Cage\" movement have all made international reputations for the originality of their work and for their contributions to this area of musical compositions.\n\nThe style of the video presentation comes from the need I felt to find a new way to show music being performed. The idea of the visual style of Music with Roots in the Aether is plain: to watch as closely as possible the action of the performers and to not \"cut\" the seen material in any way--that is, to not editorialize on the time domain of the music through arbitrary space-time substitutions.\n\nThe visual style for showing the music being made became the \"theater\" (the stage) for the interviews, and the portraits of the composers were designed to happen in that style.\" — Robert Ashley"},{"slug":"ashley_robert_opera_4_tv_3_alvin_lucier_1976_sm","ok":true,"partial":false,"title":"Opera 4 Tv 3 Alvin Lucier 1976 Sm","artist":"Robert Ashley","year":"1975","startOffset":0,"sourceSecs":7295.81,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":403994001,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_3_alvin_lucier_1976_sm/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_3_alvin_lucier_1976_sm/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ashley_robert_opera_4_tv_3_alvin_lucier_1976_sm.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_3_alvin_lucier_1976_sm/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_3_alvin_lucier_1976_sm/main/master.m3u8?v=2","hasMainHls":true,"description":"Music with Roots in the Aether is a music-theater piece in color video. It is the final version of an idea that I had thought about and worked on for a few years: to make a very large collaborative piece with other composers whose music I like. The collaborative aspect of Music with Roots in the Aether is in the theater of the interviews, at least primarily, and I am indebted to all of the composers involved for their generosity in allowing me to portray them in this manner.\n\nThe piece turns out to be, in addition, a large-scale documentation of an important stylistic that came into American concert music in about 1960. These composers of the \"post-serial\" / \"post-Cage\" movement have all made international reputations for the originality of their work and for their contributions to this area of musical compositions.\n\nThe style of the video presentation comes from the need I felt to find a new way to show music being performed. The idea of the visual style of Music with Roots in the Aether is plain: to watch as closely as possible the action of the performers and to not \"cut\" the seen material in any way--that is, to not editorialize on the time domain of the music through arbitrary space-time substitutions.\n\nThe visual style for showing the music being made became the \"theater\" (the stage) for the interviews, and the portraits of the composers were designed to happen in that style.\" — Robert Ashley"},{"slug":"ashley_robert_opera_4_tv_4_gordon_mumma_1976_sm","ok":true,"partial":false,"title":"Opera 4 Tv 4 Gordon Mumma 1976 Sm","artist":"Robert Ashley","year":"1975","startOffset":0,"sourceSecs":6930.867,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":395975286,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_4_gordon_mumma_1976_sm/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_4_gordon_mumma_1976_sm/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ashley_robert_opera_4_tv_4_gordon_mumma_1976_sm.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_4_gordon_mumma_1976_sm/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_4_gordon_mumma_1976_sm/main/master.m3u8?v=2","hasMainHls":true,"description":"Music with Roots in the Aether is a music-theater piece in color video. It is the final version of an idea that I had thought about and worked on for a few years: to make a very large collaborative piece with other composers whose music I like. The collaborative aspect of Music with Roots in the Aether is in the theater of the interviews, at least primarily, and I am indebted to all of the composers involved for their generosity in allowing me to portray them in this manner.\n\nThe piece turns out to be, in addition, a large-scale documentation of an important stylistic that came into American concert music in about 1960. These composers of the \"post-serial\" / \"post-Cage\" movement have all made international reputations for the originality of their work and for their contributions to this area of musical compositions.\n\nThe style of the video presentation comes from the need I felt to find a new way to show music being performed. The idea of the visual style of Music with Roots in the Aether is plain: to watch as closely as possible the action of the performers and to not \"cut\" the seen material in any way--that is, to not editorialize on the time domain of the music through arbitrary space-time substitutions.\n\nThe visual style for showing the music being made became the \"theater\" (the stage) for the interviews, and the portraits of the composers were designed to happen in that style.\" — Robert Ashley"},{"slug":"ashley_robert_opera_4_tv_5_pauline_oliveros_1976_sm","ok":true,"partial":false,"title":"Opera 4 Tv 5 Pauline Oliveros 1976 Sm","artist":"Robert Ashley","year":"1975","startOffset":0,"sourceSecs":6924.934,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":395568178,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_5_pauline_oliveros_1976_sm/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_5_pauline_oliveros_1976_sm/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ashley_robert_opera_4_tv_5_pauline_oliveros_1976_sm.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_5_pauline_oliveros_1976_sm/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_5_pauline_oliveros_1976_sm/main/master.m3u8?v=2","hasMainHls":true,"description":"Music with Roots in the Aether is a music-theater piece in color video. It is the final version of an idea that I had thought about and worked on for a few years: to make a very large collaborative piece with other composers whose music I like. The collaborative aspect of Music with Roots in the Aether is in the theater of the interviews, at least primarily, and I am indebted to all of the composers involved for their generosity in allowing me to portray them in this manner.\n\nThe piece turns out to be, in addition, a large-scale documentation of an important stylistic that came into American concert music in about 1960. These composers of the \"post-serial\" / \"post-Cage\" movement have all made international reputations for the originality of their work and for their contributions to this area of musical compositions.\n\nThe style of the video presentation comes from the need I felt to find a new way to show music being performed. The idea of the visual style of Music with Roots in the Aether is plain: to watch as closely as possible the action of the performers and to not \"cut\" the seen material in any way--that is, to not editorialize on the time domain of the music through arbitrary space-time substitutions.\n\nThe visual style for showing the music being made became the \"theater\" (the stage) for the interviews, and the portraits of the composers were designed to happen in that style.\" — Robert Ashley"},{"slug":"ashley_robert_opera_4_tv_7_robert_ashley_1976_sm","ok":true,"partial":false,"title":"Opera 4 Tv 7 Robert Ashley 1976 Sm","artist":"Robert Ashley","year":"1975","startOffset":0,"sourceSecs":6163.202,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":351968499,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_7_robert_ashley_1976_sm/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ashley_robert_opera_4_tv_7_robert_ashley_1976_sm/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ashley_robert_opera_4_tv_7_robert_ashley_1976_sm.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_7_robert_ashley_1976_sm/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ashley_robert_opera_4_tv_7_robert_ashley_1976_sm/main/master.m3u8?v=2","hasMainHls":true,"description":"Music with Roots in the Aether is a music-theater piece in color video. It is the final version of an idea that I had thought about and worked on for a few years: to make a very large collaborative piece with other composers whose music I like. The collaborative aspect of Music with Roots in the Aether is in the theater of the interviews, at least primarily, and I am indebted to all of the composers involved for their generosity in allowing me to portray them in this manner.\n\nThe piece turns out to be, in addition, a large-scale documentation of an important stylistic that came into American concert music in about 1960. These composers of the \"post-serial\" / \"post-Cage\" movement have all made international reputations for the originality of their work and for their contributions to this area of musical compositions.\n\nThe style of the video presentation comes from the need I felt to find a new way to show music being performed. The idea of the visual style of Music with Roots in the Aether is plain: to watch as closely as possible the action of the performers and to not \"cut\" the seen material in any way--that is, to not editorialize on the time domain of the music through arbitrary space-time substitutions.\n\nThe visual style for showing the music being made became the \"theater\" (the stage) for the interviews, and the portraits of the composers were designed to happen in that style.\" — Robert Ashley"},{"slug":"askevold_david_14moon","ok":true,"partial":false,"title":"1/4 Moon","artist":"David Askevold","year":"1986","startOffset":0,"sourceSecs":1844.865,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":111033506,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/askevold_david_14moon/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/askevold_david_14moon/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/askevold_david_14moon.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/askevold_david_14moon/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/askevold_david_14moon/main/master.m3u8?v=2","hasMainHls":true,"description":"1/4 Moon is an impromptu tape shot with a Sony 8 AF camera while it rained in a barn yard at Clam Harbor, N.S. A local musician, Allan Pavio played an improvised piece on a violin with a black dog, a white horse, a sheep and chickens present. Most edits are in-camera and some sound looping during post-production was used.","artist_bio":"David Askevold was born on March 30th 1940 in Conrad, Montana. He studied art and anthropology at the University of Montana and in 1963 won a Max Beckmann Scholarship to study painting for a year at the Brooklyn Museum School of Art in New York. He enrolled at the Kansas City Art Institute in 1966 to complete a Bachelor of Fine Arts in Sculpture. His artwork moved through a multi-disciplinary trajectory using text, photography, video, performance and most recently digital imaging. His media work relies on happenstance and collaboration with a sensitivity to the supernatural, the unexplained and the barely visible.\nBeginning in 1968, David taught at the Nova Scotia College of Art and Design (NSCAD University) where he developed and led the innovative Projects Class that involved international conceptual artists. This class was important in forging NSCAD’s reputation as one of the leading conceptual art schools in North America. In the late 70s and early 80s he taught at the Art Centre College of Design in Pasadena, California, as well as at CalArts in Valencia and at UC/Irvine. David’s contributions as an artist and teacher influenced many artists through his active engagement with interdisciplinary media practices. He died on January 23rd, 2008 in Halifax, Nova Scotia.","bio_dates":"1940-2008"},{"slug":"askevold_david_1989_019","ok":true,"partial":false,"title":"Six Fifty","artist":"David Askevold","year":"1989","startOffset":0,"sourceSecs":1351.282,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":82803485,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/askevold_david_1989_019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/askevold_david_1989_019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/askevold_david_1989_019.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/askevold_david_1989_019/main.mp4?v=2","description":"1989, 22:00 minutes, colour, English <br/><br/> This composition is about the hollowness of material wealth, the poverty of alienation and the different forms they take. This concept is mainly represented by two individuals; a middle aged man who `monolgues to an empty chair \"(Talking to God)\" in a train station. This section is performed by Heath Lamberts. The other section is portrayed by Derik Caines, a painter who grew up in Newfoundland and was living in Toronto when the footage was taped.","artist_bio":"David Askevold was born on March 30th 1940 in Conrad, Montana. He studied art and anthropology at the University of Montana and in 1963 won a Max Beckmann Scholarship to study painting for a year at the Brooklyn Museum School of Art in New York. He enrolled at the Kansas City Art Institute in 1966 to complete a Bachelor of Fine Arts in Sculpture. His artwork moved through a multi-disciplinary trajectory using text, photography, video, performance and most recently digital imaging. His media work relies on happenstance and collaboration with a sensitivity to the supernatural, the unexplained and the barely visible.\nBeginning in 1968, David taught at the Nova Scotia College of Art and Design (NSCAD University) where he developed and led the innovative Projects Class that involved international conceptual artists. This class was important in forging NSCAD’s reputation as one of the leading conceptual art schools in North America. In the late 70s and early 80s he taught at the Art Centre College of Design in Pasadena, California, as well as at CalArts in Valencia and at UC/Irvine. David’s contributions as an artist and teacher influenced many artists through his active engagement with interdisciplinary media practices. He died on January 23rd, 2008 in Halifax, Nova Scotia.","bio_dates":"1940-2008"},{"slug":"assayas_olivier_sans_titre_man_yuk_maggie_cheung_1997","ok":true,"partial":false,"title":"Sans titre AKA Man Yuk: A Portrait of Maggie Cheung","artist":"Olivier Assayas","year":"1997","startOffset":0,"sourceSecs":296.341,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":49515515,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/assayas_olivier_sans_titre_man_yuk_maggie_cheung_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/assayas_olivier_sans_titre_man_yuk_maggie_cheung_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/assayas_olivier_sans_titre_man_yuk_maggie_cheung_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/assayas_olivier_sans_titre_man_yuk_maggie_cheung_1997/main.mp4?v=2","description":"Time: 5 mins<br/> <br/> Experimental short made by Olivier Assayas for Fondation of Contemporary Art and starring Maggie Cheung. 5 min, without audio","artist_bio":"Assayas's father was French director/screenwriter Jacques Remy (1910–1981). Assayas started his career in the industry by helping him. He ghostwrote episodes for TV shows his father was working on when his health failed.\nHis film Cold Water was screened in the Un Certain Regard section at the 1994 Cannes Film Festival.\nHis biggest hit to date has been Irma Vep, starring Hong Kong star Maggie Cheung, which manages to be a tribute both to French director Louis Feuillade and to Hong Kong cinema.\nWhile working at Cahiers du cinéma, Assayas wrote lovingly about European film directors he admires but also about Asian directors. One of his latest films is a documentary about Taiwanese filmmaker Hou Hsiao-Hsien.\nHe married Hong Kong movie actress Maggie Cheung in 1998. They divorced in 2001, but their relationship remained amicable, and in 2004 Cheung made her award-winning movie Clean with him.\nHe married actress-director Mia Hansen-Løve. They met when Hansen-Løve, then seventeen at the time, starred in Assayas' 1998 feature Late August, Early September, but \"[they] didn't get together until [she] was 20\".\nIn April 2011, it was announced that he would be a member of the jury for the main competition at the 2011 Cannes Film Festival.","bio_dates":"b. 1955"},{"slug":"atkins_ed_death_mask_ii","ok":true,"partial":false,"title":"Death Mask 2: The Scent","artist":"Ed Atkins","year":"2010","startOffset":0,"sourceSecs":499.307,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":210889343,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_death_mask_ii/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_death_mask_ii/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/atkins_ed_death_mask_ii.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/atkins_ed_death_mask_ii/main.mp4?v=2","description":"2010, 8 minutes 19 seconds, HD video with sound <br/><br/> Shama Khanna: How would you describe the immaterial quality of High Definition video you used to make Death Mask 2 and 3 and all of your subsequent moving image works?<br/><br/> Ed Atkins: Like any idea of immateriality, it’s an illusion: simply a more or less successful dissimulation of matter. Thinking about HD, its precondition of being digital is part of its appearance of immateriality insofar as digital’s sort of the site of a contemporary, secular thought of immateriality. HD is of particular interest, I think, because, as well as being demonstrably digital and therefore proudly seeming dematerialised, its purpose is one of fidelity to reality – reality’s material appearance specifically. The ‘look’ of HD – long since become prosaic, really – is/was ‘too real’: too real to be real. Skin looks too porous or too oily; starlets look mortal, and banally so. Artifice seems horribly explicit, making the very image ‘corpse’ – that theatrical term for forgetting lines, cracking up, falling out of character – and remind us that we were watching real people, more or less as hefty as us, acting and unconvincingly so. Or maybe too convincingly. Matter, through HD – and particularly the matter of our bodies – was returned through the air or down fibres into… whatever. Part of the magic trick of digital dematerialisation is our ignorance of that it is. Again, this feels like an important seeming paradox: the undesirability of the image presented by HD is to do with its explicitness of artifice.<br/><br/> SK: In Death Mask 3, as soon as the camera rests on something sublime – an expanse of sea, or monumental rock – any sense of contemplation is disturbed by a jump cut, or the unexpected sound of typing, or a change of filter obscuring the subject of the image, emptying it of any romantic connotation. Can you talk about the production process you use here?<br/><br/> EA: Most of Death Mask 3 was shot as if stock, with all the incumbent thoughts of what ‘stock’ is. At the time, I think I thought that stock was fascinating because of its sufficiency as both empty and replete. So that a stock image could be almost completely owned by whatever context it finds itself in, that to caption a stock photo is to collapse its potential and take it off the stock shelf, as it were. Death Mask 3 is made up of imagery that has no specificity. Mountains are mountains, with all the attendant ‘mountainnesses’; the sea is THE SEA; nature is nature, etc. I wanted the images to be images more than images of something. The ‘of’ in the work is everything that’s done to these images, is the owning of them. Most of the time, that owning of these kinds of images is an interruptive process – cutting off the image’s potential, its openness. I suppose I thought that by focussing on these things as images of images rather than images of things that I could speak better of images – that the work could situate somewhere where a variety of contemplations and reflections might be possible. To keep an image as just that, too, is to deny it part of its desire to disappear and become illusion. So much of the structure of the work is in abeyance to this idea: the making opaque of things that desire transparency; the interrupting of things that desire to transcend. Most of the time I would like a return, which of course requires moving away in order to be felt, with a bump or a crash…<br/><br/> SK: In your more recent works – Us Dead Talk Love (2012), Warm Warm Warm Spring Mouths (2013) and Even Pricks (2013), would you say the animations are as much your own as the footage you filmed in these earlier videos?<br/><br/> EA: More so, I think. I control them much more now, even if it’s just a deeper collage of variously ‘found’ stuff. ‘Found’ meaning that, even if I generate it from start to <br/><br/>finish, the process lies in gestures that allow me to ‘find’ the footage once it’s made. I get to do this with the works entire, to a certain extent: I get to read them, with reading being a kind of finding, I suppose.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a>","artist_bio":"Ed Atkins was born in 1982, in the United Kingdom. He works predominantly in high-definition video, drawing, and writing to explore thoughts around materiality and corporeality. Recent solo projects include Tate Britain and Cabinet Gallery, London, both 2011; recent group exhibitions include A DYING ARTIST, ICA, London (2011), TIME AGAIN, Sculpture Center, New York (2011) and AN ECHO BUTTON, with James Richards and Haroon Mirza, for Performa 2011. He was shortlisted for the Jarman Award, 2011. In 2012 he will present solo projects at Chisenhale Gallery, London, and Galerie Isabella Bortolozzi, Berlin.","bio_dates":"b. 1982"},{"slug":"atkins_ed_death_mask_iii_iphone","ok":true,"partial":false,"title":"Death Mask 3","artist":"Ed Atkins","year":"2011","startOffset":0,"sourceSecs":2083.864,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":124344943,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_death_mask_iii_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_death_mask_iii_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/atkins_ed_death_mask_iii_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/atkins_ed_death_mask_iii_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/atkins_ed_death_mask_iii_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"2011, 34 minutes 44 seconds, HD video with sound <br/><br/> Shama Khanna: How would you describe the immaterial quality of High Definition video you used to make Death Mask 2 and 3 and all of your subsequent moving image works?<br/><br/> Ed Atkins: Like any idea of immateriality, it’s an illusion: simply a more or less successful dissimulation of matter. Thinking about HD, its precondition of being digital is part of its appearance of immateriality insofar as digital’s sort of the site of a contemporary, secular thought of immateriality. HD is of particular interest, I think, because, as well as being demonstrably digital and therefore proudly seeming dematerialised, its purpose is one of fidelity to reality – reality’s material appearance specifically. The ‘look’ of HD – long since become prosaic, really – is/was ‘too real’: too real to be real. Skin looks too porous or too oily; starlets look mortal, and banally so. Artifice seems horribly explicit, making the very image ‘corpse’ – that theatrical term for forgetting lines, cracking up, falling out of character – and remind us that we were watching real people, more or less as hefty as us, acting and unconvincingly so. Or maybe too convincingly. Matter, through HD – and particularly the matter of our bodies – was returned through the air or down fibres into… whatever. Part of the magic trick of digital dematerialisation is our ignorance of that it is. Again, this feels like an important seeming paradox: the undesirability of the image presented by HD is to do with its explicitness of artifice.<br/><br/> SK: In Death Mask 3, as soon as the camera rests on something sublime – an expanse of sea, or monumental rock – any sense of contemplation is disturbed by a jump cut, or the unexpected sound of typing, or a change of filter obscuring the subject of the image, emptying it of any romantic connotation. Can you talk about the production process you use here?<br/><br/> EA: Most of Death Mask 3 was shot as if stock, with all the incumbent thoughts of what ‘stock’ is. At the time, I think I thought that stock was fascinating because of its sufficiency as both empty and replete. So that a stock image could be almost completely owned by whatever context it finds itself in, that to caption a stock photo is to collapse its potential and take it off the stock shelf, as it were. Death Mask 3 is made up of imagery that has no specificity. Mountains are mountains, with all the attendant ‘mountainnesses’; the sea is THE SEA; nature is nature, etc. I wanted the images to be images more than images of something. The ‘of’ in the work is everything that’s done to these images, is the owning of them. Most of the time, that owning of these kinds of images is an interruptive process – cutting off the image’s potential, its openness. I suppose I thought that by focussing on these things as images of images rather than images of things that I could speak better of images – that the work could situate somewhere where a variety of contemplations and reflections might be possible. To keep an image as just that, too, is to deny it part of its desire to disappear and become illusion. So much of the structure of the work is in abeyance to this idea: the making opaque of things that desire transparency; the interrupting of things that desire to transcend. Most of the time I would like a return, which of course requires moving away in order to be felt, with a bump or a crash…<br/><br/> SK: In your more recent works – Us Dead Talk Love (2012), Warm Warm Warm Spring Mouths (2013) and Even Pricks (2013), would you say the animations are as much your own as the footage you filmed in these earlier videos?<br/><br/> EA: More so, I think. I control them much more now, even if it’s just a deeper collage of variously ‘found’ stuff. ‘Found’ meaning that, even if I generate it from start to <br/><br/>finish, the process lies in gestures that allow me to ‘find’ the footage once it’s made. I get to do this with the works entire, to a certain extent: I get to read them, with reading being a kind of finding, I suppose.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a>","artist_bio":"Ed Atkins was born in 1982, in the United Kingdom. He works predominantly in high-definition video, drawing, and writing to explore thoughts around materiality and corporeality. Recent solo projects include Tate Britain and Cabinet Gallery, London, both 2011; recent group exhibitions include A DYING ARTIST, ICA, London (2011), TIME AGAIN, Sculpture Center, New York (2011) and AN ECHO BUTTON, with James Richards and Haroon Mirza, for Performa 2011. He was shortlisted for the Jarman Award, 2011. In 2012 he will present solo projects at Chisenhale Gallery, London, and Galerie Isabella Bortolozzi, Berlin.","bio_dates":"b. 1982"},{"slug":"atkins_ed_delivery_to_the_following_recipient_failed_permanently_2011","ok":true,"partial":false,"title":"Delivery To The Following Recipient Failed Permanently","artist":"Ed Atkins","year":"2011","startOffset":0,"sourceSecs":1029.33,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":65005564,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_delivery_to_the_following_recipient_failed_permanently_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_delivery_to_the_following_recipient_failed_permanently_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/atkins_ed_delivery_to_the_following_recipient_failed_permanently_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/atkins_ed_delivery_to_the_following_recipient_failed_permanently_2011/main.mp4?v=2","description":"Delivery to the Following Recipient Failed Permanently, is visually restrained compared with his usual experiential overload. There is, though, an astonishing monologue, designed to invoke a material sense of the word \"smoke\" like a haemorrhage in your brain. - The Guardian<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a>","artist_bio":"Ed Atkins was born in 1982, in the United Kingdom. He works predominantly in high-definition video, drawing, and writing to explore thoughts around materiality and corporeality. Recent solo projects include Tate Britain and Cabinet Gallery, London, both 2011; recent group exhibitions include A DYING ARTIST, ICA, London (2011), TIME AGAIN, Sculpture Center, New York (2011) and AN ECHO BUTTON, with James Richards and Haroon Mirza, for Performa 2011. He was shortlisted for the Jarman Award, 2011. In 2012 he will present solo projects at Chisenhale Gallery, London, and Galerie Isabella Bortolozzi, Berlin.","bio_dates":"b. 1982"},{"slug":"atkins_ed_depression","ok":true,"partial":false,"title":"Depression","artist":"Ed Atkins","year":"2012","startOffset":0,"sourceSecs":1111.213,"sourceHeight":360,"sourceWidth":638,"hasAudio":true,"hasAmbientMp4":true,"bytes":70235732,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_depression/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_depression/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/atkins_ed_depression.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/atkins_ed_depression/main.mp4?v=2","description":"Serpentine Memory Marathon (2012)<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a>","artist_bio":"Ed Atkins was born in 1982, in the United Kingdom. He works predominantly in high-definition video, drawing, and writing to explore thoughts around materiality and corporeality. Recent solo projects include Tate Britain and Cabinet Gallery, London, both 2011; recent group exhibitions include A DYING ARTIST, ICA, London (2011), TIME AGAIN, Sculpture Center, New York (2011) and AN ECHO BUTTON, with James Richards and Haroon Mirza, for Performa 2011. He was shortlisted for the Jarman Award, 2011. In 2012 he will present solo projects at Chisenhale Gallery, London, and Galerie Isabella Bortolozzi, Berlin.","bio_dates":"b. 1982"},{"slug":"atkins_ed_material_witness_2012_sm","ok":true,"partial":false,"title":"Material Witness OR A Liquid Cop","artist":"Ed Atkins","year":"2012","startOffset":0,"sourceSecs":1156.964,"sourceHeight":360,"sourceWidth":450,"hasAudio":true,"hasAmbientMp4":true,"bytes":72995855,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_material_witness_2012_sm/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_material_witness_2012_sm/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/atkins_ed_material_witness_2012_sm.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/atkins_ed_material_witness_2012_sm/main.mp4?v=2","description":"A computer-generated figure sits in a television studio and invokes a-histories and immaterial indices; thick, warm surfaces and dramatic lighting states; a neural network and those eternal celestial bodies; a final broadcast and some overt tattoos; a map of its being and the space where the crime occurred…<br/><br/> Material Witness OR A Liquid Cop was the pilot for a series of interviews with a witness to a crime, conducted as they, along with the crime, materialise and take shape.<br/><br/> -THE JERWOOD/FILM AND VIDEO UMBRELLA AWARDS<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a>","artist_bio":"Ed Atkins was born in 1982, in the United Kingdom. He works predominantly in high-definition video, drawing, and writing to explore thoughts around materiality and corporeality. Recent solo projects include Tate Britain and Cabinet Gallery, London, both 2011; recent group exhibitions include A DYING ARTIST, ICA, London (2011), TIME AGAIN, Sculpture Center, New York (2011) and AN ECHO BUTTON, with James Richards and Haroon Mirza, for Performa 2011. He was shortlisted for the Jarman Award, 2011. In 2012 he will present solo projects at Chisenhale Gallery, London, and Galerie Isabella Bortolozzi, Berlin.","bio_dates":"b. 1982"},{"slug":"atkins_ed_tomorrow_never_knows_ed_atkins_and_naheed_raza","ok":true,"partial":false,"title":"Tomorrow Never Knows","artist":"Ed Atkins","year":"2013","startOffset":0,"sourceSecs":506.773,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":209459201,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_tomorrow_never_knows_ed_atkins_and_naheed_raza/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_tomorrow_never_knows_ed_atkins_and_naheed_raza/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/atkins_ed_tomorrow_never_knows_ed_atkins_and_naheed_raza.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/atkins_ed_tomorrow_never_knows_ed_atkins_and_naheed_raza/main.mp4?v=2","description":"‘Tomorrow Never Knows’ is an ongoing commissioning and development initiative that is the product of a new set of awards for film and video artists within five years of starting their professional practice. In the project’s inaugural year, the first artists to receive the Jerwood/Film and Video Umbrella Awards were Ed Atkins, Emma Hart, Naheed Raza and Corin Sworn.<br/><br/> Each artist has been awarded a bursary to develop pre-production proposals for a significant new work. These trailers, previews or outline concepts were presented in a group exhibition at JVA at Jerwood Space, London.<br/><br/> The ‘Tomorrow Never Knows’ exhibition considered the artists’ own individual ‘projects for the future’ against the larger theme of ‘futures past’ and ‘futures lost’. As well as individual calling-cards for artists for whom a bright future can be confidently predicted, the project also offered reminders of the fleeting nature or the untapped potential of earlier manifestations of the future, and a wider reflection on the uncertainties of futurology.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a>","artist_bio":"Ed Atkins was born in 1982, in the United Kingdom. He works predominantly in high-definition video, drawing, and writing to explore thoughts around materiality and corporeality. Recent solo projects include Tate Britain and Cabinet Gallery, London, both 2011; recent group exhibitions include A DYING ARTIST, ICA, London (2011), TIME AGAIN, Sculpture Center, New York (2011) and AN ECHO BUTTON, with James Richards and Haroon Mirza, for Performa 2011. He was shortlisted for the Jarman Award, 2011. In 2012 he will present solo projects at Chisenhale Gallery, London, and Galerie Isabella Bortolozzi, Berlin.","bio_dates":"b. 1982"},{"slug":"atkins_ed_warm_warm_warm_spring_mouths_teaser","ok":true,"partial":false,"title":"Warm, Warm, Warm Spring Mouths","artist":"Ed Atkins","year":"2013","startOffset":0,"sourceSecs":107.667,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":29351733,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_warm_warm_warm_spring_mouths_teaser/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/atkins_ed_warm_warm_warm_spring_mouths_teaser/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/atkins_ed_warm_warm_warm_spring_mouths_teaser.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/atkins_ed_warm_warm_warm_spring_mouths_teaser/main.mp4?v=2","description":"Ed Atkins’s “Warm, Warm, Warm Spring Mouths”<br/> ISABELLA BORTOLOZZI GALERIE, Berlin<br/> March 2–April 9, 2013<br/> Frieze<br/> <br/> If you are looking for an artist who really confronts the so-called “Digital Divide” and asks “what it means to think, see, and filter affect through the digital” (to quote from a critical dispute that recently played out in the pages of Artforum), then British filmmaker Ed Atkins is your man. Born in 1982, he has age on his side when it comes to relating to the digital experience and its effects. The pair of films on show at Isabella Bortolozzi, Paris Green (2009) and Warm, Warm, Warm Spring Mouths (2013), parenthesize a four-year development. During this time, Atkins has moved from a production process still rooted in the real world (real-time footage of recognizable things) to its total consumption through the technological possibilities of the digital (all imagery now being produced within the interface of the computer.)<br/> <br/> As tactile as its title may be, the new work, Warm, Warm, Warm Spring Mouths (2013), pictures the digitalization of existence from the inside, in all its cold alienating surrogacy. We see the head and taut, muscular torso of a man sitting on a chair in a digital no-space, with a mane of incredibly long straight hair, sometimes combed right over his face to hang down in front of his chest, or else floating in snaky tendrils around him, as if underwater. The image is composed of layers of perfectly simulated textures: synthetic glare, liquid drops, perfectly rendered skin, eyes, smears, splashes, shadows. The hair, with its gravity-defying simulated strands, seems to be there just to demonstrate the heights of digital virtuosity: it looks so real. But just what is it that we are looking at?<br/> <br/> Spoken text and written words that appear in strips across the bottom of the screen speak of despair, death, pain, estrangement. A refrain, borrowed from poet Gilberto Sorrentino, beginning “I don’t want to hear any news on the radio about the weather on the weekend,” returns at intervals. “A site of total DEPRIVATION” says the character who, through motion sensor software, replicates the mouth movements originally performed by Atkins himself. “Presence is something we need convincing of,” he (it?) says. “… And all this fucking hair.”<br/> <br/> All this fucking hair is thematically omnipresent in the exhibition. In one room, large panels lean against the wall, adorned with enlarged black-and-white photocopies of synthetic hair loops, like the hair-dye color matchers you find at the hairdressers. They make their point, but it’s hard not to see them as unnecessary space fillers (coming soon to an art fair near you?), which do little to bolster the film itself.<br/> <br/> The digital realm is like being underwater, a site of total sensory deprivation, Atkins’s film suggests. There are no warm mouths here, nor tactile surfaces. As the avatar raises his index finger towards us, he touches the screen from the inside— the digital divide itself—as if pressing a button on the interface, with a reassuring click and a simulated surface bubble. Only a tiny sliver of reality is needed from which to create all this. The creative possibilities seem inexhaustible, and the gulf between this heroic expansive horizon and the very real limits of our fragile bodies, condemned to mortality, and connected only by a keyboard, seems increasingly unbridgeable. But nevertheless, technology cannot make life. And this is the nub of Atkins’s new film, as well as its predecessor Us Dead Talk Love (2012) from which the new film’s title derives (and both of which are currently on view, at PS1 in New York.) That is to say, the impossibility, as the earlier film describes, “to create something already dead, un-lived, but with the qualities of something that had lived. DIED.” As the technical proficiencies of the digital age advance, we approach an impasse: the so-called “Uncanny Valley” itself, perhaps, whereby simulacra that become too close to human reality are met with revulsion and rejected.<br/> <br/> It is through recourse to the spoken or written word that Atkins is able to overcome the revulsion that his imagery elicits. In this exhibition, as in all of his recent shows, a printed booklet is available to take away. This contains a text by Atkins, somewhere between loose script and extended poem that acts as an analog counterpart to the film’s digital imagery. The best way to experience one of Atkins’s works, in fact, (and indeed perhaps the only way, for someone such as myself, on the wrong side of the digital age divide) is as a three-part, time-based experience: first watch the film, then read the text, then watch the film again. Atkins has described his writing as “gratuitous” as opposed to the more reductive, tightly edited films, which reduce information to such a streamlined minimum that comprehension can be haphazard, or elliptical at best. The text restores depth to the surface-rich images. Taken together, they articulate the quandaries of being human in the digital age.<br/> <br/> We are not offered the text to the earlier film shown here, Paris Green (2009), however, a nature film of sorts which remains elliptical, if more visually approachable. Footage of a bright green tropical forest, shots of sunlight shining through branches, piles of dead leaves strewn with feathers or close-ups of guitar strings are accompanied by a soundtrack of synthesized choruses, strumming guitar, or dull mechanical clicks as the edit shifts from green screen to moonlight, strobe or fluorescent strip lamps. Light sources and photosynthesis are set in opposition to the zero-backdrop of the digital green screen, while acoustic vibrations pose a counterpoint to synthesized sounds. Here there is still room for maneuver between digital effects and their real world counterparts, unlike the claustrophobic, anxiety-inducing atmosphere of Aktins’s Mouths, consumed by the interface, in which death and its digital doppelgänger attempt to switch places.<br/> <br/> Kirsty Bell is a writer and contributing editor of frieze. She lives in Berlin.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a>","artist_bio":"Ed Atkins was born in 1982, in the United Kingdom. He works predominantly in high-definition video, drawing, and writing to explore thoughts around materiality and corporeality. Recent solo projects include Tate Britain and Cabinet Gallery, London, both 2011; recent group exhibitions include A DYING ARTIST, ICA, London (2011), TIME AGAIN, Sculpture Center, New York (2011) and AN ECHO BUTTON, with James Richards and Haroon Mirza, for Performa 2011. He was shortlisted for the Jarman Award, 2011. In 2012 he will present solo projects at Chisenhale Gallery, London, and Galerie Isabella Bortolozzi, Berlin.","bio_dates":"b. 1982"},{"slug":"attar_behnam_moving_stills_1978_iphone","ok":true,"partial":false,"title":"Moving Stills","artist":"Behnam Attar","year":"1978","startOffset":0,"sourceSecs":746.824,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":50655855,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/attar_behnam_moving_stills_1978_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/attar_behnam_moving_stills_1978_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/attar_behnam_moving_stills_1978_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/attar_behnam_moving_stills_1978_iphone/main.mp4?v=2","description":"\"Moving Stills\" is a film made by Behnam Attar in the spring of 1978, to show the inner workings of a New York photojournalistic agency - Contact Press Images -... one of it's photographers - David Burnett, and the staff, including Robert Pledge, Guy Cooper, and Behnam Attar. Made in cooperation with the School of Visual Arts.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>"},{"slug":"attia_kader_inspiration_conversations","ok":true,"partial":false,"title":"Inspiration/Conversation (2010)","artist":"Kader Attia","year":"2010","startOffset":0,"sourceSecs":835.04,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":52722478,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/attia_kader_inspiration_conversations/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/attia_kader_inspiration_conversations/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/attia_kader_inspiration_conversations.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/attia_kader_inspiration_conversations/main.mp4?v=2","description":"Inspiration/Conversation,” shows two black men, face to face, blowing into an empty plastic bottle. “It was the sound of all of Africa wheezing,” Marcel Brient, a French art collector, said in an interview. “Kader’s work fits in the tradition of minimal, conceptual work, but with a French touch that is both tender and rigid.”","artist_bio":"Born in 1970 in Dugny, France, and raised in suburban Paris and Algeria, Kader Attia earned degrees from the École Supérieure des Arts Appliqués Duperré, Paris, in 1993; and École Nationale Supérieure des Arts Décoratifs, Paris, in 1998.\nAttia’s binational background informs a practice that reflects on prevailing differences between contemporary cultures and aesthetics, and on the impact of dominant Western societies on their former colonial counterparts in the context of a globalized world. In installations, photographs, and videos, Attia focuses on the liminal zones that separate contrasting sensibilities, and on attempts to close these gaps. Much of his research has been centered on the concept of repair, which he regards as a human constant envisioned in opposing ways by Western modernists and Eastern traditionalists. Attia regards as erroneous the notion that humankind invents objects, environments, or situations, as opposed to simply repairing—or adapting—existing models.\nAttia’s photographic series Rochers Carrés (Square rocks, 2008) presents young Algerians seated on large concrete blocks at a local beach, gazing out to sea in the direction of an unseen Europe. The blocks evoke the Brutalist apartment buildings of the troubled immigrant banlieues, or suburbs, in Paris where the artist grew up, while the figures’ contemplative postures suggest the desire for a better life across the Mediterranean. For his installation Untitled (Ghardaïa) (2009), Attia modeled the Algerian town of the title in couscous, a regional staple now popular worldwide, accompanying the fragile construction with photographs of architects Le Corbusier and Fernand Pouillon and a copy of a UNESCO declaration that identifies the town as a World Heritage Site. Ghardaïa was colonized by France in the nineteenth century, but its local Mozabite architecture informed Le Corbusier’s modernist designs; Attia’s structure thus embodies the impact of Algerian culture on that of the country’s former colonizer, a reversal of the expected flow of influence that “repairs” a received idea.\nAttia has had solo exhibitions at the at BALTIC Centre for Contemporary Art, Gateshead, United Kingdom (2007–08); Institute of Contemporary Art, Boston (2007–08); Henry Art Gallery, University of Washington, Seattle (2008); Musée d’art moderne de la Ville de Paris (2012); KW Institute for Contemporary Art, Berlin (2013); Whitechapel Art Gallery, London (2013); Beirut Art Center (2014); and Museum für Moderne Kunst, Frankfurt (2016). His work has also been featured in the group exhibitions Contested Terrains, Tate Modern, London (2011); Performing Histories (1), Museum of Modern Art, New York (2012); Dix Ans du Projet pour l’Art Contemporain, Centre Georges Pompidou, Paris (2012); After Year Zero, Haus der Kulturen der Welt, Berlin (2013); and Art Histories, Museum der Moderne, Salzburg (2014). Works by Attia were included in Documenta, Kassel, Germany (2013), and the Lyon Biennial: La vie moderne (2015). A retrospective of his work opened at the Musée Cantonal des Beaux-Arts, Lausanne, Switzerland, in 2015. Attia is the recipient of several awards, including the Marcel Duchamp Prize (2016) and the Joan Miro Prize (2017). Attia lives and works in Algiers, Berlin, and Paris.","bio_dates":"b. 1970"},{"slug":"auder_michel_roman_variations_1991","ok":true,"partial":false,"title":"Roman Variations","artist":"Michel Auder","year":"1991","startOffset":0,"sourceSecs":2986.617,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":507614619,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/auder_michel_roman_variations_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/auder_michel_roman_variations_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/auder_michel_roman_variations_1991.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/auder_michel_roman_variations_1991/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/auder_michel_roman_variations_1991/main/master.m3u8?v=2","hasMainHls":true,"description":"A portrait of Rome that would have made Plutarch proud, Roman Variations was made during a residency at a studio provided by the gallerist Barbara Gladstone.\n\nThe piece is structured around variations on recurring motifs large and small. These include fragmented statuary, Italian television, the view from Auder's window, and graphic violence in Renaissance painting. Replete with a cheesy Euro-Pop soundtrack, the piece follows the city's different moods and rhythms from the hustle and bustle of its piazzas and narrow, Vespa-filled streets to the quiet ruminations on the passing of history and civilization afforded through its many ruins.\n\nWhereas Rome unavoidably announces itself to the lens as one big historic landmark, Auder is interested in capturing the city's character as revealed in the unconscious and informal gestures of the city's inhabitants going about their daily lives.","artist_bio":"Michel Auder (born in Soissons France in 1945) is a French photographer and filmmaker. He lives and works in Brooklyn, New York.\nHe began making films at the age of 18. He was influenced of the French New Wave and experimental cinema, most notably Jean-Luc Godard and Andy Warhol. In 1969, Auder met and eventually married Viva, one of Warhol’s principal talents. A year later, they moved to New York City where Auder has since resided. That same year, he purchased a Sony Portapak, one of the first commercially available video cameras.\nVideo allowed Auder to translate Warhol’s talent for making the banal glamorous and the glamorous banal into a diary practice which Auder himself did not consider fine art. His earliest works are travel logs and endearing portraits of friends including Hannah Wilke, Alice Neel, Annie Sprinkle, Eric Bogosian, Louis Waldon, and Larry Rivers. The label “video artist” was applied retroactively when Auder began exhibiting his work in 1980. At that time, he produced a series of works including scripted biographical material and video collages appropriating material from television. As the quality of video cameras improved and access to editing facilities increased, Auder’s skills as an auteur became more apparent.\nAuder was married to Cindy Sherman from the early 1980s until the late 1990s. He has one daughter, Alexandra Auder.","bio_dates":"1971-2011"},{"slug":"auder_michel_voyage_to_the_center_of_the_phone_lines_1993","ok":true,"partial":false,"title":"Voyage to the Center of the Phone Lines","artist":"Michel Auder","year":"1993","startOffset":0,"sourceSecs":3166.697,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":541164825,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/auder_michel_voyage_to_the_center_of_the_phone_lines_1993/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/auder_michel_voyage_to_the_center_of_the_phone_lines_1993/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/auder_michel_voyage_to_the_center_of_the_phone_lines_1993.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/auder_michel_voyage_to_the_center_of_the_phone_lines_1993/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/auder_michel_voyage_to_the_center_of_the_phone_lines_1993/main/master.m3u8?v=2","hasMainHls":true,"artist_bio":"Michel Auder (born in Soissons France in 1945) is a French photographer and filmmaker. He lives and works in Brooklyn, New York.\nHe began making films at the age of 18. He was influenced of the French New Wave and experimental cinema, most notably Jean-Luc Godard and Andy Warhol. In 1969, Auder met and eventually married Viva, one of Warhol’s principal talents. A year later, they moved to New York City where Auder has since resided. That same year, he purchased a Sony Portapak, one of the first commercially available video cameras.\nVideo allowed Auder to translate Warhol’s talent for making the banal glamorous and the glamorous banal into a diary practice which Auder himself did not consider fine art. His earliest works are travel logs and endearing portraits of friends including Hannah Wilke, Alice Neel, Annie Sprinkle, Eric Bogosian, Louis Waldon, and Larry Rivers. The label “video artist” was applied retroactively when Auder began exhibiting his work in 1980. At that time, he produced a series of works including scripted biographical material and video collages appropriating material from television. As the quality of video cameras improved and access to editing facilities increased, Auder’s skills as an auteur became more apparent.\nAuder was married to Cindy Sherman from the early 1980s until the late 1990s. He has one daughter, Alexandra Auder.","bio_dates":"1971-2011"},{"slug":"autant_lara_claude_fait_divers_1923mp4","ok":true,"partial":false,"title":"Claude Fait Divers 1923mp4","artist":"Claude Autant-Lara","year":"1997","startOffset":0,"sourceSecs":1345.011,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":210547788,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/autant_lara_claude_fait_divers_1923mp4/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/autant_lara_claude_fait_divers_1923mp4/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/autant_lara_claude_fait_divers_1923mp4.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/autant_lara_claude_fait_divers_1923mp4/main.mp4?v=2","description":"Claude Autant-Lara (1901-2000) avant-garde debut, made a decade before his first feature and two decades before his breakthrough. It features his mother, who was a famous actress, as well as Antonin Artaud, who was a friend of the family.\n\nThe films circulates around a triangular love drama with a lot of faux avant-garde effects: filming only hands and feet, rotating camera, dream sequences expressing the tensions between the protagonists etc. etc. Given that this was made many years before Un chien andalou and most of the titles that can be found in Kino's box sets, this was pretty cutting edge in 1923.\n\nI made this HD cam recording with a camera hidden in a bag on my lap in a Paris mediathèque. Same setting as for my takes on Jean Grémillon's La Maison aux images and Lacombe's La Zone."},{"slug":"avaf_compilation_reel","ok":true,"partial":false,"title":"Compilation Reel","artist":"Smith / Stewart","year":"1994-2001","startOffset":0,"sourceSecs":1257.641,"sourceHeight":320,"sourceWidth":480,"hasAudio":false,"hasAmbientMp4":true,"bytes":61528489,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/avaf_compilation_reel/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/avaf_compilation_reel/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/avaf_compilation_reel.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/avaf_compilation_reel/main.mp4?v=2","description":"This is a compilation of Assume Vivid Astro Focus' video work. Born anytime between the 20th and 21st century in various parts of the world, nomads, AVAF is the combined name for the New York based Brazilian artist Eli Sudbrack and his ongoing 21st century aesthetic research project. AVAF is splashing in the interstices between art and entertainment, converting these gaps into mental pools of sensorial joy and/or sensorial pools of mental joy."},{"slug":"avaf_deitch","ok":true,"partial":false,"title":"Avaf Deitch","artist":"Assume Vivid Astro Focus","year":"2003","startOffset":0,"sourceSecs":277.5,"sourceHeight":320,"sourceWidth":480,"hasAudio":false,"hasAmbientMp4":true,"bytes":16628659,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/avaf_deitch/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/avaf_deitch/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/avaf_deitch.mp4","hasFrames":true,"description":"Assume Vivid Astro Focus VII, was a multimedia installation by Assume Vivid Astro Focus one of the most talked-about artistic forces to have emerged in 2003. Sampling tapestry design and softcore porn, coloring books and Tibetan thangka paintings, Pink Floyd and Picabia, A.V.A.F. spins vibrant and outrageous patterns from their personal simulacra of images. Part Brazilian Carnival, part Aubrey Beardsley, A.V.A.F.’s own brand of psychedelia washes over the senses, feeling both familiar and daringly new. A.V.A.F., begun in Brazil and practicing in New York, is a unique movement with an expansive vision of total sensory input. Moving through networks of collaboration, A.V.A.F. worked in this show with Matthew Brannon, Joseph Ari Aloi aka JK5, Gerard Maynard, Slava Mogutin, Michael Wetzel, Los Super Elegantes, action daddy and honeygunlabs. A.V.A.F.'s totalizing spirit fully transformed 76 Grand in this instantiation of the ongoing project- a vibrant, seductive kaleidoscope of contemporary experience."},{"slug":"averty_jean_christophe_alfred_jarry_la_chanson_du_decervelage","ok":true,"partial":false,"title":"La chanson du décervelage [Alfred Jarry]","artist":"Jean-Christophe Averty","year":"1965","startOffset":0,"sourceSecs":234.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":31589260,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/averty_jean_christophe_alfred_jarry_la_chanson_du_decervelage/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/averty_jean_christophe_alfred_jarry_la_chanson_du_decervelage/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/averty_jean_christophe_alfred_jarry_la_chanson_du_decervelage.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/averty_jean_christophe_alfred_jarry_la_chanson_du_decervelage/main.mp4?v=2","description":"Outtake from <a href=\"https://ubu.com/film/jarry_ubu-averty.html\" rel=\"noopener\" target=\"_blank\">Ubu roi</a> (1965) directed by Averty.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/jarry.html\" rel=\"noopener\" target=\"_blank\">Alfred Jarry in UbuWeb Sound</a></br>","artist_bio":"Alfred Jarr-y-mages (documentary on Jarry, French language, 1971)\nAlfred Jarry (8 September 1873 – 1 November 1907) was a French writer born in Laval, Mayenne, France, not far from the border of Brittany; he was of Breton descent on his mother's side. Best known for his play Ubu Roi (1896), which is often cited as a forerunner to the surrealist theatre of the 1920s and 1930s, Jarry wrote in a variety of genres and styles. He wrote plays, novels, poetry, essays and speculative journalism. His texts present some pioneering work in the field of absurdist literature. Sometimes grotesque or misunderstood (e.g. the opening line in his play Ubu Roi, \"Merdre!\", has been translated into English as \"Pshit!\", \"Shitteth!\", \"Shittr!\", \"Shikt!\", \"Shrit!\", \"Pschitt!\", and \"Shitsky!\"), he invented a pseudoscience called 'Pataphysics. -- Wikipedia","bio_dates":"1928-2017"},{"slug":"averty_jean_christophe_jarry_documentarie_1971","ok":true,"partial":false,"title":"Ubu enchaîné","artist":"Jean-Christophe Averty","year":"1971","startOffset":0,"sourceSecs":1706.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":287150522,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/averty_jean_christophe_jarry_documentarie_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/averty_jean_christophe_jarry_documentarie_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/averty_jean_christophe_jarry_documentarie_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/averty_jean_christophe_jarry_documentarie_1971/main.mp4?v=2","description":"This is the first sequel to \"Ubu roi\" (1965) directed by Averty. The second sequel \"Ubu cocu ou l'archéoptéryx\" (1981) and the third one \"Ubu sur la butte\" (1997) are still unavailable on video. <br/><br/> Father Ubu, grotesque king and symbol of the tyranny of power in Ubu king, decides to become a slave to acquire real power. <br/><br/> Réalisation : Jean-Christophe Averty<br/> Scénario : Jean-Christophe Averty, d'après la pièce éponyme d'Alfred Jarry (publiée en 1900)<br/> Décors : Raymond Nègre<br/> Costumes : Josette Verrier<br/> Photographie : Claude Gallaud<br/> Montage : Christiane Coutel<br/> Musique : Jean-Claude Pelletier<br/> Société de production : ORTF<br/> Pays : Drapeau de la France France<br/> Format : Couleur - 1,33:1 - 35 mm - Son mono<br/> Genre : Comédie<br/> Durée : 90 minutes<br/> Date de diffusion : 2 octobre 1971<br/><br/>Cast: <br> Benoît Allemane : Père Ubu<br> Nicole Croisille : Mère Ubu<br/> Sophie Cnudde : Éleuthère<br/> Angelo Bardi : Pissedoux<br/> Michel Robin : Pissembock<br/> Guy Pierauld : Lord Catoblepas, l'avocat général<br/> Michel Modo<br/> Moustache<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/jarry.html\" rel=\"noopener\" target=\"_blank\">Alfred Jarry in UbuWeb Sound</a></br></br></br>","artist_bio":"Alfred Jarr-y-mages (documentary on Jarry, French language, 1971)\nHistoire de Melody Nelson [Serge Gainsbourg, Jane Birkin] (1971)\nJean-Christophe Averty (6 August 1928 – 4 March 2017) was a French television and radio director, and Satrap of the College of 'Pataphysique.\nMany of his television productions from the 1960s were early examples of French video art. His studies were used in the following decades by the research groups of the French National Audiovisual Institute (INA).\nAverty was born in Paris. A graduate of the IDHEC film school, he started in television in 1952 at the then French Television Office. He directed over five hundred programs for television and radio, across all disciplines: fiction, documentary, drama, variety, and jazz. His many awards include an Emmy award in the United States.\nAverty was appointed Satrap of the College of 'Pataphysique in 1990, due to his fascination for Alfred Jarry and Pataphysique.\nAverty made his reputation on his strong character, his taste for provocation and his sense for innovative television. His 1963 series The Green Grapes was infamous for a recurring sequence of a baby being put through a grater.\nA keen connoisseur of jazz, Averty filmed the Jazz à Juan festival for many years. The pianist Martial Solal paid him a tribute in one of his compositions: Averty, c'est moi (Averty that's me).\nOver 28 years, he hosted 1,805 episodes of his radio show Les Cinglés du music-hall, based on his own collection of jazz and variety 78s that he had bought in flea markets around the world. The show was cancelled in 2006 under Jean-Paul Cluzel's chairmanship of Radio France. The French section of the shows was based on notebooks entrusted to him by André Cauzard, filled with daily details of pre-war jazz music events.\nAverty directed television shows where he applied his singular style to showcase the greatest francophone singers such as Françoise Hardy, Yves Montand, Johnny Hallyday, Sylvie Vartan, Juliette Gréco, Georges Brassens, Dalida, France Gall, Serge Gainsbourg, Gilbert Bécaud, Guy Marchand, Léo Ferré, Tino Rossi, and Jean Sablon.\nIn 1969 Averty directed the TV movie Le Songe d'une nuit d'été, starring Claude Jade, Christine Delaroche and Jean-Claude Drouot, and filmed entirely in bluescreen.\nHis television creations are landmarks in their use of video as a mode of artistic expression. Averty made great use of characters filmed against a blue screen, overlaid on a drawn background. Examples are Sapeur Camembert, based on the eponymous work of Georges Colomb, and a production of Edmond Rostand's classic play Chantecler.\nAverty was one of the last salaried directors of the French Production Company. In 2012, he entrusted the management, conservation and safeguarding of the rights of all of his television and radio works to the French National Audiovisual Institute (INA); nearly a thousand television programs on jazz, sports, fashion, variety and the theater.","bio_dates":"1928-2017"},{"slug":"averty_jean_christophe_serge_gainsbourg_histoire_de_melody_nelson_1971","ok":true,"partial":false,"title":"Histoire de Melody Nelson","artist":"Jean-Christophe Averty","year":"1971","startOffset":0,"sourceSecs":1673.88,"sourceHeight":512,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":280943942,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/averty_jean_christophe_serge_gainsbourg_histoire_de_melody_nelson_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/averty_jean_christophe_serge_gainsbourg_histoire_de_melody_nelson_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/averty_jean_christophe_serge_gainsbourg_histoire_de_melody_nelson_1971.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/averty_jean_christophe_serge_gainsbourg_histoire_de_melody_nelson_1971/main.mp4?v=2","description":"Dangerous Minds: <br/><br/> Serge Gainsbourg<br/> Jane Birkin<br/> Jean-Claude Vannier<br/><br/>Histoire De Melody Nelson is the great Serge Gainsbourg’s sexy Lolita-esque melodrama told in the form of a funky psychedelic rock opera, an album many (raises hand) consider to be his masterpiece.<br><br> The middle-aged narrator (Gainsbourg, doing that “talk singing” thing he was so good at) tells the tale of hitting a bike-riding British teenager, Melody Nelson (a role sung by his muse, Jane Birkin), with his Rolls Royce, and of their subsequent affair. In the end, Melody meets an untimely death in a plane crash and the despondent narrator sings of cargo cults and waiting for the return of the lost body of the “little animal” he was so in love with.<br/><br/> Not to white-wash it, the poetry, while lovely and oh so sad (En France, Gainsbourg is considered the equal of Bob Dylan in the lyrics department) is still describing statutory rape, with characteristic Gainsbourgian provocation (In 1985, he recorded a song called “Lemon Incest” with his then 12-year-old daughter, Charlotte).<br/><br/> Histoire De Melody Nelson has an amazing—and utterly unique—sound. It’s pretty much still to this day the cutting edge of what you can do with a rock group and an orchestra (no matter what The Moody Blues or Deep Purple might think). The way Gainsbourg and arranger Jean-Claude Vannier use the strings here is simply uncanny, providing a big influence on Pulp, Air and Beck (who later famously worked with Charlotte Gainsbourg). This innovative 1971 album is easily in the same class as Anglo-American contemporaries like Bitches Brew or Sticky Fingers. (Pitchfork named it #21 in the top 100 albums of the 1970s).<br/><br/> In 2011, Universal Music Group in France put out a box set of Histoire De Melody Nelson where the discs came in a hardback book about the album. I didn’t know about this until recently (my pal Adam Starr, a bigwig marketing exec at UMe told me about it), but when I found out that there was a DVD in the package containing a 5.1 surround disc of one of my favorite, favorite albums of all time, I had to have that sucker and I watched the mail like a hawk until it finally arrived on Tuesday. I was not disappointed. If ever there was an album tailor-made for the expanded sonic palette that 5.1 can offer, it’s Histoire de Melody Nelson, here remixed masterfully by Sebastien Merlet. I’ve probably already played it 30 times since I got it.<br/><br/> Oui, oui, Merlet did quite a good job with the multi-channel audio mix. The album’s slow-starting, languidly paced, seven and a half minute-long opening number “Melody” starts with just the bass and Serge “talk singing” in the center front channel. Gainsbourg’s deep voice is prominent in practically every song he ever recorded, but here it sounds like he’s standing in the room with you or sitting on your lap. Then the guitars start up in the right and left front speakers. The drums come in. It’s almost like they started recording and then the rest of the musicians sat down and started filling in as the music builds and builds. The mix takes its cue from the music and when the orchestra kicks in in full, it does so in the rear speakers, which had been reserved for, and waiting on, that moment.<br/><br/> It’s goddamned glorious... If you like 5.1 surround stuff, this is truly in the first ranks of that kind of release.<br/><br/> What is still somewhat little-known, even to fans of the album, is Melody, the half hour, shot on videotape visualization of the album created by Gainsbourg and director Jean-Christophe Averty, and starring himself and Jane Birkin. It was included in the career-spanning Gainsbourg DVD box set, Serge Gainsbourg: D’autres nouvelles des etoiles that came out in 2005. Now, of course, it’s turned up online.<br/><br/> Melody is quite something, a visual feast. First off, how do you go wrong with a soundtrack like this one? You don’t. And secondly, who was cooler and more elegantly wasted than Mister Serge Gainsbourg, hisself, circa 1971? (Keith Richards…? Maybe?). And my third point, Birkin was so freakishly beautiful then (and still is) that I could look at a still photo of her for 30 minutes, so when she’s actually moving onscreen, it’s just a bonus.<br/><br/> Trust me, this one is worth your time, rock snobs. If you’re not already a fan of Histoire de Melody Nelson, you will be…<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/jarry.html\" rel=\"noopener\" target=\"_blank\">Alfred Jarry in UbuWeb Sound</a></br></br></br>","artist_bio":"Alfred Jarr-y-mages (documentary on Jarry, French language, 1971)\nHistoire de Melody Nelson [Serge Gainsbourg, Jane Birkin] (1971)\nJean-Christophe Averty (6 August 1928 – 4 March 2017) was a French television and radio director, and Satrap of the College of 'Pataphysique.\nMany of his television productions from the 1960s were early examples of French video art. His studies were used in the following decades by the research groups of the French National Audiovisual Institute (INA).\nAverty was born in Paris. A graduate of the IDHEC film school, he started in television in 1952 at the then French Television Office. He directed over five hundred programs for television and radio, across all disciplines: fiction, documentary, drama, variety, and jazz. His many awards include an Emmy award in the United States.\nAverty was appointed Satrap of the College of 'Pataphysique in 1990, due to his fascination for Alfred Jarry and Pataphysique.\nAverty made his reputation on his strong character, his taste for provocation and his sense for innovative television. His 1963 series The Green Grapes was infamous for a recurring sequence of a baby being put through a grater.\nA keen connoisseur of jazz, Averty filmed the Jazz à Juan festival for many years. The pianist Martial Solal paid him a tribute in one of his compositions: Averty, c'est moi (Averty that's me).\nOver 28 years, he hosted 1,805 episodes of his radio show Les Cinglés du music-hall, based on his own collection of jazz and variety 78s that he had bought in flea markets around the world. The show was cancelled in 2006 under Jean-Paul Cluzel's chairmanship of Radio France. The French section of the shows was based on notebooks entrusted to him by André Cauzard, filled with daily details of pre-war jazz music events.\nAverty directed television shows where he applied his singular style to showcase the greatest francophone singers such as Françoise Hardy, Yves Montand, Johnny Hallyday, Sylvie Vartan, Juliette Gréco, Georges Brassens, Dalida, France Gall, Serge Gainsbourg, Gilbert Bécaud, Guy Marchand, Léo Ferré, Tino Rossi, and Jean Sablon.\nIn 1969 Averty directed the TV movie Le Songe d'une nuit d'été, starring Claude Jade, Christine Delaroche and Jean-Claude Drouot, and filmed entirely in bluescreen.\nHis television creations are landmarks in their use of video as a mode of artistic expression. Averty made great use of characters filmed against a blue screen, overlaid on a drawn background. Examples are Sapeur Camembert, based on the eponymous work of Georges Colomb, and a production of Edmond Rostand's classic play Chantecler.\nAverty was one of the last salaried directors of the French Production Company. In 2012, he entrusted the management, conservation and safeguarding of the rights of all of his television and radio works to the French National Audiovisual Institute (INA); nearly a thousand television programs on jazz, sports, fashion, variety and the theater.","bio_dates":"1928-2017"},{"slug":"averty_jean_christophe_ubu_enchaine_1971","ok":true,"partial":false,"title":"Ubu enchaîné","artist":"Jean-Christophe Averty","year":"1971","startOffset":0,"sourceSecs":5410.56,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":913319256,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/averty_jean_christophe_ubu_enchaine_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/averty_jean_christophe_ubu_enchaine_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/averty_jean_christophe_ubu_enchaine_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/averty_jean_christophe_ubu_enchaine_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/averty_jean_christophe_ubu_enchaine_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"This is the first sequel to \"Ubu roi\" (1965) directed by Averty. The second sequel \"Ubu cocu ou l'archéoptéryx\" (1981) and the third one \"Ubu sur la butte\" (1997) are still unavailable on video. <br/><br/> Father Ubu, grotesque king and symbol of the tyranny of power in Ubu king, decides to become a slave to acquire real power. <br/><br/> Réalisation : Jean-Christophe Averty<br/> Scénario : Jean-Christophe Averty, d'après la pièce éponyme d'Alfred Jarry (publiée en 1900)<br/> Décors : Raymond Nègre<br/> Costumes : Josette Verrier<br/> Photographie : Claude Gallaud<br/> Montage : Christiane Coutel<br/> Musique : Jean-Claude Pelletier<br/> Société de production : ORTF<br/> Pays : Drapeau de la France France<br/> Format : Couleur - 1,33:1 - 35 mm - Son mono<br/> Genre : Comédie<br/> Durée : 90 minutes<br/> Date de diffusion : 2 octobre 1971<br/><br/>Cast: <br> Benoît Allemane : Père Ubu<br> Nicole Croisille : Mère Ubu<br/> Sophie Cnudde : Éleuthère<br/> Angelo Bardi : Pissedoux<br/> Michel Robin : Pissembock<br/> Guy Pierauld : Lord Catoblepas, l'avocat général<br/> Michel Modo<br/> Moustache<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/jarry.html\" rel=\"noopener\" target=\"_blank\">Alfred Jarry in UbuWeb Sound</a></br></br></br>","artist_bio":"Alfred Jarr-y-mages (documentary on Jarry, French language, 1971)\nHistoire de Melody Nelson [Serge Gainsbourg, Jane Birkin] (1971)\nJean-Christophe Averty (6 August 1928 – 4 March 2017) was a French television and radio director, and Satrap of the College of 'Pataphysique.\nMany of his television productions from the 1960s were early examples of French video art. His studies were used in the following decades by the research groups of the French National Audiovisual Institute (INA).\nAverty was born in Paris. A graduate of the IDHEC film school, he started in television in 1952 at the then French Television Office. He directed over five hundred programs for television and radio, across all disciplines: fiction, documentary, drama, variety, and jazz. His many awards include an Emmy award in the United States.\nAverty was appointed Satrap of the College of 'Pataphysique in 1990, due to his fascination for Alfred Jarry and Pataphysique.\nAverty made his reputation on his strong character, his taste for provocation and his sense for innovative television. His 1963 series The Green Grapes was infamous for a recurring sequence of a baby being put through a grater.\nA keen connoisseur of jazz, Averty filmed the Jazz à Juan festival for many years. The pianist Martial Solal paid him a tribute in one of his compositions: Averty, c'est moi (Averty that's me).\nOver 28 years, he hosted 1,805 episodes of his radio show Les Cinglés du music-hall, based on his own collection of jazz and variety 78s that he had bought in flea markets around the world. The show was cancelled in 2006 under Jean-Paul Cluzel's chairmanship of Radio France. The French section of the shows was based on notebooks entrusted to him by André Cauzard, filled with daily details of pre-war jazz music events.\nAverty directed television shows where he applied his singular style to showcase the greatest francophone singers such as Françoise Hardy, Yves Montand, Johnny Hallyday, Sylvie Vartan, Juliette Gréco, Georges Brassens, Dalida, France Gall, Serge Gainsbourg, Gilbert Bécaud, Guy Marchand, Léo Ferré, Tino Rossi, and Jean Sablon.\nIn 1969 Averty directed the TV movie Le Songe d'une nuit d'été, starring Claude Jade, Christine Delaroche and Jean-Claude Drouot, and filmed entirely in bluescreen.\nHis television creations are landmarks in their use of video as a mode of artistic expression. Averty made great use of characters filmed against a blue screen, overlaid on a drawn background. Examples are Sapeur Camembert, based on the eponymous work of Georges Colomb, and a production of Edmond Rostand's classic play Chantecler.\nAverty was one of the last salaried directors of the French Production Company. In 2012, he entrusted the management, conservation and safeguarding of the rights of all of his television and radio works to the French National Audiovisual Institute (INA); nearly a thousand television programs on jazz, sports, fashion, variety and the theater.","bio_dates":"1928-2017"},{"slug":"ayari_kianoush_tazeh_nafas_ha_1979_iphone","ok":true,"partial":false,"title":"Tazeh Nafas-ha (The Newborns)","artist":"Kianoush Ayari","year":"1979","startOffset":0,"sourceSecs":2677.464,"sourceHeight":320,"sourceWidth":434,"hasAudio":true,"hasAmbientMp4":true,"bytes":157805844,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ayari_kianoush_tazeh_nafas_ha_1979_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ayari_kianoush_tazeh_nafas_ha_1979_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ayari_kianoush_tazeh_nafas_ha_1979_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ayari_kianoush_tazeh_nafas_ha_1979_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ayari_kianoush_tazeh_nafas_ha_1979_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Kianoush Ayari’s documentary captures rare scenes of everyday life on the streets of Tehran in the months following the revolution of 1979 — that somewhat utopian period between revolutionary violence and the formation of a full fledged Islamic Republic when a bright future seemed possible, if not probable. <br/><br/> In this Tehran, we witness books carrying conflicting ideologies sold openly on the streets, laborers debating as to the wages they have been promised, and young men donning Arab garb to have their portrait taken with a Yasser Arafat backdrop. We also witness extended scenes from three different political plays, along with street theatre in a park where a performer imitates various iconic pop singers, political figures, and even the Shah himself. <br/><br/> Still, images from slums in the south of the city remind us of lurking problems in the background, and while the film ends on an optimistic note—with footage of youth energetically campaigning for upcoming elections—33 years later and in light of current events, that optimism seems misplaced, if not bittersweet.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://bidoun.org\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Born in Ahwaz in 1951. In 1970 he joined the Ahwaz Free Cinema Group. He bagan his professional filmmaking career as director with “The First of Demon”. Short film (1976) Iranian Railway Organization (1977) Canal (1979) Newcomers (1980) The flood, I see Siumberers on teh carpet of the Earth. Features films (1985). The first of Demon (1986) Specter of the Scorpion, Beyond the fire (1988), The Grand Day (1991) Two Halves of Apple (1992) The Abadanis (1995) and The Bull’s Horn. —Iranian Film Week\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1951"},{"slug":"bacon_francis_the_south_bank_show_1985","ok":true,"partial":false,"title":"The South Bank Show","artist":"Francis Bacon","year":"1985","startOffset":0,"sourceSecs":3295.064,"sourceHeight":264,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":193296282,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bacon_francis_the_south_bank_show_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bacon_francis_the_south_bank_show_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bacon_francis_the_south_bank_show_1985.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bacon_francis_the_south_bank_show_1985/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bacon_francis_the_south_bank_show_1985/main/master.m3u8?v=2","hasMainHls":true,"description":"Episode number: 8x25 - Airdate: Sunday June 09th, 1985<br/> Produced by LWT (now branded ITV Studios)<br/> Original channel ITV (ITV1/STV/UTV)<br/><br/> Part of The South Bank Show series, David Hinton directs this documentary about British painter Francis Bacon, known for his horrifying portraits of humanity. The program consists of a series of conversations between Bacon and interviewer Melvyn Bragg, starting with commentary during a side-show presentation at the Tate Gallery in London. Later in the evening, Bacon is followed through various bars hanging out, drinking, and gambling. In another segment, Bacon provides a tour of his painting studio and a glimpse at his reference photographs of distorted humans. The artist discusses his theories, influences, and obsessions. This title won an International Emmy Award in 1985.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/bacon.html\" rel=\"noopener\" target=\"_blank\">Francis Bacon in UbuWeb Sound</a></br>","artist_bio":"Francis Bacon (28 October 1909 – 28 April 1992) was an Irish-born British figurative painter known for his bold, graphic and emotionally raw imagery. His painterly but abstracted figures typically appear isolated in glass or steel geometrical cages set against flat, nondescript backgrounds. Bacon began painting during his early 20s and worked only sporadically until his mid-30s. Unsure of his ability as a painter, he drifted and earned his living as an interior decorator and designer of furniture and rugs. Later, he admitted that his career was delayed because he had spent too long looking for a subject that would sustain his interest. His breakthrough came with the 1944 triptych Three Studies for Figures at the Base of a Crucifixion which sealed his reputation as a uniquely bleak chronicler of the human condition.\nHe often said in interviews that he saw images \"in series\", and his artistic output typically focused on a single subject or format for sustained periods. His output can be crudely drawn as consisting of sequences or variations on a single motif; beginning with the 1940s male heads isolated in rooms, the early 1950s screaming popes, and mid to late 1950s animals and lone figures suspended in geometric structures. These were followed by his early 1960s modern variations of the crucifixion in the triptych format. From the mid-1960s to early 1970s, Bacon mainly produced strikingly compassionate portraits of friends, either as single or triptych panels. Following the 1971 suicide of his lover George Dyer, his art became more personal, inward looking and preoccupied with themes and motifs of death. The climax of this period came with his 1982 \"Study for Self-Portrait\", and his late masterpiece Study for a Self Portrait -Triptych, 1985-86. Despite his bleak existentialist outlook, solidified in the public mind through his articulate and vivid set of interviews with David Sylvester, Bacon in person was a bon vivant and notably and unapologetically gay. A prolific artist, he nonetheless spent many of the evenings of his middle age eating, drinking and gambling in London's Soho with friends such as Lucian Freud, John Deakin, Muriel Belcher, Henrietta Moraes, Daniel Farson and Jeffrey Bernard. After Dyer's suicide he largely distanced himself from this circle, and while his social life was still active and his passion for gambling continued, he settled into a platonic relationship with his eventual heir, John Edwards.\nDuring his lifetime, Bacon was equally reviled and acclaimed. Margaret Thatcher described him as \"that man who paints those dreadful pictures\", and he was the subject of two Tate retrospectives and a major showing in 1971 at the Grand Palais in Paris. Since his death, his reputation and market value has steadily grown. In the late 1990s a number of major works previously assumed to have been destroyed, including popes from the early 1950s and portraits from the 1960s, surfaced on the art market and set record prices at auction. On 12 November 2013 his painting Three Studies of Lucian Freud set the record as the most expensive piece of art ever auctioned, selling for $142,405,000","bio_dates":"1909-1992"},{"slug":"bag_alex_fancy_pantz_1997","ok":true,"partial":false,"title":"Fancy Pantz","artist":"Alex Bag","year":"1997","startOffset":0,"sourceSecs":554.389,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":102106671,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bag_alex_fancy_pantz_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bag_alex_fancy_pantz_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bag_alex_fancy_pantz_1997.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bag_alex_fancy_pantz_1997/main.mp4?v=2","description":"Fancy Pantz is a mock prime-time newsmagazine report on a fictitious street-performance troupe of the same name. Described by one member as \"experimental modern dance of the ages...definitely,\" Fancy Pantz collectively dazzle the city of New York with spandex costumes and spontaneous outdoor performances. The host of the show (possibly Bag, who is anonymous behind a face mask and electronically disguised voice) narrates as Fancy Pantz auditions, rehearses, and puts on a live show at the Gramercy International Art Fair. Interviews with members of the group (played by Delia Gonzalez, Gavin Rossam and Christian Holstead) are juxtaposed with those of detractors and devotees. Rudy Giuliani makes a (fake) cameo to praise the dancers' talents.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/bacon.html\" rel=\"noopener\" target=\"_blank\">Alex Bag in UbuWeb Sound</a>","artist_bio":"In Alex Bag's ironic performance videos, the artist adopts a series of personae to create droll conceptual parodies. With her signature deadpan delivery and deliberately low-tech style, Bag mixes the vernacular of pop culture with irreverently humorous monologues. Performing in multiple guises amidst fragments of pop detritus, Bag skewers the tropes of consumer and media culture. Questioning how we define ourselves in relation to television, fashion, advertising and the artworld, she creates mediated parodies that teeter between celebration and critique. EAI is pleased to be making available, for the first time, Bag's body of video works from the 1990s and 2000s.\nAlex Bag was born in New York in 1969. She received her BFA from Cooper Union. Her first solo New York museum presentation opened at the Whitney Museum of American Art in Janaury 2009. She has also had solo exhibitions at the Zaal de Unie, Rotterdam, The Netherlands; Andy Warhol Museum, Pittsburgh; Elizabeth Dee Gallery, New York, and 303 Gallery, New York, among others. She has participated in numerous group exhibitions, including The Museum of Modern Art, New York; Philadelphia Museum of Art; Centre d'art contemporain Saint-Geneve, Geneva; Centre Georges Pompidou, Paris; Tate Modern, London; P.S. 1 Center for Contemporary Art, New York, and Pitti Immagine, Florence, Italy, among may others. In 1996 she was a Visiting Artist at the Dunedin Public Art Gallery, Dunedin, New Zealand. She has performed at The Knitting Factory and Threadwaxing Space, New York, among others.\nThis title is available for exhibitions, screenings, and institutional use\nthrough Electronic Arts Intermix (EAI), NY. Please visit the\nEAI Online\nCatalogue\nfor further information about this artist and\nwork.\nThe EAI site offers extensive resources for curators, students, artists and\neducators, including: an in-depth guide to exhibiting, collecting, and\npreserving media art; A Kinetic History: The EAI Archives Online, a\ncollection of essays, primary documents, and media charting EAI's 40-year\nhistory and the early years of the emergent video art scene; and expanded\ncontextual and educational materials.","bio_dates":"b. 1969"},{"slug":"bag_alex_untitled_fall_95_1995_iphone","ok":true,"partial":false,"title":"Untitled Fall '95","artist":"Alex Bag","year":"1995","startOffset":0,"sourceSecs":3418.456,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":198092919,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bag_alex_untitled_fall_95_1995_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bag_alex_untitled_fall_95_1995_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bag_alex_untitled_fall_95_1995_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bag_alex_untitled_fall_95_1995_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bag_alex_untitled_fall_95_1995_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"In <i>Untitled Fall '95</i>, Bag, at the time an art student, \"plays\" Bag the art student. In a series of deadpan performances, Bag gathers fragments of pop detritus, fashioning a thoroughly mediated document that is at once a celebration and a record of loss. With the narrative inevitability of a TV serial, the eight diaristic segments trace a woman's struggle to make sense of her experience at art school. As each installment marks the start of a new semester, Bag's character addresses the camera with her latest observations and frustrations. <br/><br/> Interspersed between these confessions are eight set-pieces, in which Bag performs scenes from the background noise of her imagination: a pretentious visiting artist, London shop-girls discussing their punk band, a Ronald MacDonald puppet attempting to pick up a Hello Kitty doll, the singer Bjork explaining how television works. These surreal episodes sketch out what Bag sees as the simultaneous attraction and repulsion of contemporary youth culture, and teeter on the divide between parody and complicity. <br/><br/> What emerges is a picture of anxiety, boredom, and ambivalence. As Bag despairs at one point, her culture is being sold back to her. However, popular culture, enmeshed with fashion, music, and the art world, necessarily depends on the machinations of capitalism. How does one mount a successful critique, when irony, satire and subversion have been enshrined by advertising and the popular imagination?<br/><br/>-----------------------<br> This title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. <br><br/> The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/bacon.html\" rel=\"noopener\" target=\"_blank\">Alex Bag in UbuWeb Sound</a></br></br>","artist_bio":"In Alex Bag's ironic performance videos, the artist adopts a series of personae to create droll conceptual parodies. With her signature deadpan delivery and deliberately low-tech style, Bag mixes the vernacular of pop culture with irreverently humorous monologues. Performing in multiple guises amidst fragments of pop detritus, Bag skewers the tropes of consumer and media culture. Questioning how we define ourselves in relation to television, fashion, advertising and the artworld, she creates mediated parodies that teeter between celebration and critique. EAI is pleased to be making available, for the first time, Bag's body of video works from the 1990s and 2000s.\nAlex Bag was born in New York in 1969. She received her BFA from Cooper Union. Her first solo New York museum presentation opened at the Whitney Museum of American Art in Janaury 2009. She has also had solo exhibitions at the Zaal de Unie, Rotterdam, The Netherlands; Andy Warhol Museum, Pittsburgh; Elizabeth Dee Gallery, New York, and 303 Gallery, New York, among others. She has participated in numerous group exhibitions, including The Museum of Modern Art, New York; Philadelphia Museum of Art; Centre d'art contemporain Saint-Geneve, Geneva; Centre Georges Pompidou, Paris; Tate Modern, London; P.S. 1 Center for Contemporary Art, New York, and Pitti Immagine, Florence, Italy, among may others. In 1996 she was a Visiting Artist at the Dunedin Public Art Gallery, Dunedin, New Zealand. She has performed at The Knitting Factory and Threadwaxing Space, New York, among others.\nThis title is available for exhibitions, screenings, and institutional use\nthrough Electronic Arts Intermix (EAI), NY. Please visit the\nEAI Online\nCatalogue\nfor further information about this artist and\nwork.\nThe EAI site offers extensive resources for curators, students, artists and\neducators, including: an in-depth guide to exhibiting, collecting, and\npreserving media art; A Kinetic History: The EAI Archives Online, a\ncollection of essays, primary documents, and media charting EAI's 40-year\nhistory and the early years of the emergent video art scene; and expanded\ncontextual and educational materials.","bio_dates":"b. 1969"},{"slug":"bahri_ismail_orientations_2010","ok":true,"partial":false,"title":"Orientations","artist":"Ismail Bahri","year":"2010","startOffset":0,"sourceSecs":1199.978,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":542510167,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bahri_ismail_orientations_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bahri_ismail_orientations_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bahri_ismail_orientations_2010.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bahri_ismail_orientations_2010/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bahri_ismail_orientations_2010/main/master.m3u8?v=2","hasMainHls":true,"description":"Held at arm’s length is a glass filled with ink, shot from above, walked through the urban landscape of Tunis. The camera is both just that and the projection surface, the primitive film-maker as modest as his origins. He combines up allusions to text (the ink), tea and coffee (food), the river (nature and time) and finally the instability of the image.","artist_bio":"Visual artist and experimental filmmaker Ismaïl BAHRI (1978, Tunisia) studied art at Tunis Institute of Fine Arts and Paris 1. He describes his works as visual experiments that take varying forms – drawings, videos, photographs, installations and hybrids of these. His film Foyer (2016) was in the Bright Future Short Competition at IFFR and other short films from his hand have been selected at international film festivals in Toronto, New York and Marseille.","bio_dates":"b. 1978"},{"slug":"bailey_david_beaton","ok":true,"partial":false,"title":"Beaton","artist":"David Bailey","year":"1971","startOffset":0,"sourceSecs":3134.16,"sourceHeight":560,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":538114265,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_david_beaton/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_david_beaton/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bailey_david_beaton.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_david_beaton/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_david_beaton/main/master.m3u8?v=2","hasMainHls":true,"description":"Photographer David Bailey was an early migrant from the still to moving image as this short film made for UK television in 1971 demonstrates. This film is not only a meeting of photographic generations it also acts as a time capsule of the London scene at the time featuring models Penelope Tree, Twiggy and Jean Shrimpton, artist David Hockney, and fashion designer Ossie Clark as well as New York contributions from writer Truman Capote and legendary fashion editor, director and editor Diana Vreeland. <br/>--------<br/> Beaton by Bailey is, as you might have guessed, Cecil Beaton being caught on camera (video and stills) by David Bailey. A marriage made in heaven you could say as the old guard meets with the 60s upstart - Beaton's slightly camp tones reciting his life and his work, while the camera also follows Beaton to the gentlemen's outfitters (possibly a mod before mod existed) as well as showing the man at work. Some nice talking head segments too, in particular from Twiggy, Justin de Villeneuve, Jean Shrimpton, Mick Jagger, Brian Duffy, David Hockney and Truman Capote. And if you want to see Beaton's snaps, there's plenty of those peppering the film too. Fascinating stuff. <br/><br/> The Beaton film was one of a commissioned series of three, with the others focusing on <a href=\"https://ubu.com/film/bailey_david_warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol</a> and <a href=\"https://ubu.com/film/bailey_david_visconti.html\" rel=\"noopener\" target=\"_blank\">Luchino Visconti</a>.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/bacon.html\" rel=\"noopener\" target=\"_blank\">David Bailey in UbuWeb Sound</a>","artist_bio":"Iconic photographer Cecil Beaton, born 1904, is one of the 20th Century's most celebrated photographers. Educated at Harrow and Cambridge University, Beaton always nurtured a passion for photography.\nHe started contributing to Vogue Magazine in 1931 and his reputation grew apace. Beloved by Society and the world of theatre, Beaton soon became a favourite of the Royal Family.\nHis most famous image taken in in 1953 shows HM The Queen in her coronation robes holding the orb and sceptre, against a Westminster Abbey backdrop. Beaton was also a set and costume designer of note and bought this theatricality to his photographs. He famously designed the costumes for the movies My Fair Lady and Gigi.\nHe was knighted for his contribution to photography and the arts in 1972. He died in 1980.","bio_dates":"b. 1938"},{"slug":"bailey_david_visconti","ok":true,"partial":false,"title":"Visconti","artist":"David Bailey","year":"1972","startOffset":0,"sourceSecs":1630.32,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":284372387,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_david_visconti/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_david_visconti/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bailey_david_visconti.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_david_visconti/main.mp4?v=2","description":"David Bailey interviews Italian film director Luchino Visconti whose works include Death In Venice, The Damned and The Leopard. Recorded in Bavaria whilst Visconti was on location making the film 'Ludwig', the director is refreshingly straightforward and matter-of-fact when asked about his influence on Italian neo-realist cinema and the prevalence of homosexuality in his work. Bailey also talks to the actors Helmut Berger and Romy Schneider, as they film Ludwig.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/bacon.html\" rel=\"noopener\" target=\"_blank\">David Bailey in UbuWeb Sound</a>","bio_dates":"b. 1938"},{"slug":"bailey_david_warhol","ok":true,"partial":false,"title":"Warhol","artist":"David Bailey","year":"1973","startOffset":0,"sourceSecs":2831.96,"sourceHeight":552,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":484834920,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_david_warhol/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_david_warhol/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bailey_david_warhol.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_david_warhol/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_david_warhol/main/master.m3u8?v=2","hasMainHls":true,"description":"According to the particularly stern introduction, Bailey on Warhol is 'an attempt to capture the spirit of Warhol using some of the techniques he has pioneered and several stills of his most famous work.' Pretty good summing up I'd say.<br/><br/> Bailey on Warhol uses a slightly leftfield, slightly irritating documentary format - acquaintances come and go, each with a tale, a party piece, an opinion or an anecdote, all cut up with some Warhol words from a Warhol clone under coloured light, not to mention an occasional glimpse of David Bailey himself. Yes, the words are often pretentious, usually sycophantic and now again, almost certainly an escalation of the truth for effect, but let's be honest, this is the art world. What do you expect?<br/><br/> When Warhol does initially 'speak' to Bailey in a one-to-one interview, he has one of his hangers-on answering the questions, Warhol lip-syncing just after the answer. Annoying? You bet. Thankfully, Warhol does eventually speak his own words and when he does, it's actually quite interesting - coming across as shy, slightly evasive, but surprisingly honest kind of guy. You even get to see Warhol in bed with David Bailey. All in the name of art obviously.<br/><br/> Which leaves something of a mixed bag, but a mixed bag with plenty of appeal if you are a fan of Warhol. Aside from the words, there's also a lot to enjoy visually - the artwork, the occasional movie snippet and some work in progress at The Factory for example. All of which makes it a pretty valuable document - but only if you're a Warhol fan.<br/><br/>The Beaton film was one of a commissioned series of three, with the others focusing on <a href=\"https://ubu.com/film/bailey_david_visconti.html\" rel=\"noopener\" target=\"_blank\">Luchino Visconti</a> and <a href=\"https://ubu.com/film/bailey_david_beaton.html\" rel=\"noopener\" target=\"_blank\">Cecil Beaton</a>. <br><br> --- <br/><br/> Dangerous Minds: Among the reasons given for the banning of David Bailey’s documentary on Andy Warhol were: its possibly breach of the Vagrancy Act and a suggested sex act that was not “conducive to road safety.” These were the stated opinions of lawyer and judge Lord Justice Lawton and the sports journalist and broadcaster Ross McWhirter. McWhirter was one-half of the famous twin brothers Ross and Norris McWhirter who compiled, wrote and edited the Guinness Book of Records. It was McWhirter who initiated the bizarre events that led to Bailey’s film being pulled from broadcast in January 1973, and temporarily banned until March of the same year. McWhirter was responding to the press previews for Bailey’s film that appeared in the Sunday papers on January 14th that described the film as “shocking,” “revolting,” and “offensive,” with the worst scene (erroneously) described by the Daily Mail as showing:<br/><br/> ...a fat female artist [who] dyes her breasts and then rolls about on canvas ‘painting’...<br/><br/> This was Brigid Berlin making one of her famous “Tit Prints,” which was cited by Lord Lawton as a possible source of offense.<br/><br/> Director and subject.<br/><br/> David Bailey had spent about a year working on his documentary about Andy Warhol—it was the last of three films Bailey made for Lew Grade’s television company ATV, the other two were profiles of photographer Cecil Beaton and director Luchino Visconti—and he had spent considerable time with the often monosyllabic and elusive artist, and had interviewed many of Warhol’s Factory entourage including Candy Darling, Paul Morrissey, Fred Hughes, Jane Holzer and art dealer Leo Castelli. Bailey had given over directing duties to William Verity, while he spent his time asking questions and getting close to the film’s subject.<br/><br/> When ATV gave a press screening for Bailey’s Warhol, little did they consider that the negative response of the press would lead to the film being banned. When Ross McWhirter read the press previews, he was sufficiently disgusted that he saw an opportunity to strike a blow for the silent majority—for whom he believed himself to be the obvious spokesman. In fact, he was over-reacting to some hearsay about a film he had not seen.<br/><br/> On Monday 15th, McWhirter prepared to take out an injunction against the Independent Broadcasting Authority—the TV watchdog—for allowing Bailey’s film to be screened. On Tuesday January 16th, he issued a writ against the documentary to stop it being broadcast. However, McWhirter’s writ was dismissed during a one-minute High Court hearing. Like all zealots, McWhirter was not one to have the law stop him, and he appealed the High Court’s decision.<br/><br/> McWhirter’s actions gained support from an unlikely quarter: one of the ITV broadcast regions Anglia decided, after is chairman Lord Townshend and two members of the channel’s planning committee had watched the documentary, not to screen the documentary as Bailey’s film was:<br/><br/> ...not of sufficient interest or quality.<br/><br/> McWhirter’s appeal was heard at 17:00hours on Tuesday January 16th, the day Warhol was set for broadcast. The Appeal Court consisted of Lord Justice Cairns, Lord Justice Lawton, and was presided over by Lord Denning. Although he had not seen the programme, McWhirter claimed in his writ that the press previews were sufficient to suggest the show would cause considerable offense. Any programme that was considered to be offensive to “good taste and decency” was to be banned under the guidelines of the Television Act of 1964.<br/><br/> Causing offense to the viewing public was not McWhirter’s only concern over Bailey’s film as his writ went on to describe some of its possible dangers:<br/><br/> At one point there is a conversation between a man dressed as a Hell’s Angel and a girl. In that piece, the girl discusses sex with the man and says she would like to have sex with him on the back of a motorcycle doing 60 miles an hour. Apart from anything else, that does not sound as though it is conducive to road safety.<br/><br/> Like McWhirter, none of the Lords had seen Bailey’s film, however this didn’t stop them pontificating about its possible criminal intent. According to the Guardian newspaper, Lord Justice Lawton was deeply concerned over Brigid Berlin’s breast painting:<br/><br/> ...the viewers of Britain were to be shown pictures of a fat lady doing something that sounded to him very much like a breach of the Vagrancy act, apart from anything else…<br/><br/> However, it was the IBA who received the greatest criticism from Lord Denning for their perceived failure to view the documentary before transmission. This, as it later turned out, was a major oversight by Denning and co. as they had failed to ascertain whether anyone from the IBA had actually watched the film—which in fact they had. IBA General Director Brian Young, Head of Programmes Joe Wellman, together with their deputies, had all watched Bailey’s film and suggested cuts and had even insisted on the addition of an introductory voice-over.<br/><br/> Still this did not stop the appeal judges voting 2-1 in favor of an interim injunction that temporarily banned the film from being screened on television—a documentary on craftwork was broadcast instead.<br/><br/> The problem with banning something is that it heightens audience expectations over the quality and content (or lack thereof) of the banned object. The next day, the newspaper headlines (gleefully) reported:<br/><br/> Judges Ban TV Shocker<br/><br/> Judges Halt Sex Film<br/><br/> Fury at Ban on Sex Show<br/><br/> How was it for you?<br/><br/> When asked by the Daily Mirror what he thought about the ban, Andy Warhol said:<br/><br/> Gee, how can they still think like this? It’s so old-fashioned. I haven’t seen the film, but I understand David Bailey did a pretty good job…and I don’t remember doing anything outrageous. Honestly, I didn’t know it was possible to get anything banned on television.<br/><br/> However, some “thanked God for people like Ross McWhirter,” whose actions were seen as a victory for common sense and good taste, as some members of Mary Whitehouse’s busybody National Viewers and Listeners Campaign saw it. Not everyone agreed—the IBA telephone lines were jammed by viewers complaining about the ban, while a brief demonstration was held outside Thames Television’s studios in London.<br/><br/> When Bailey’s Warhol documentary was reviewed by Lords Denning and co., it was passed by the Appeal Court this time 2-1 in favor of its screening. McWhirter was told to pay half the IBA’s costs, which according to the Daily Telegraph was “a total of £6,000, plus any damages awarded by the High Court.” McWhirter claimed his actions had been “worth it.” Two years later, McWhirter was assassinated by members of the IRA outside his home in Middlesex after he put up a £50,000 bounty on information for the arrest of a London-based IRA cell.<br/><br/> Bailey’s Warhol was screened on March 27th 1973. Viewers who hoped to see something offensive were generally disappointed as only 3% of the viewing audience thought the film obscene, while 73% thought it was a lot of fuss about nothing.<br/><br/> It may look slightly dated now, but David Bailey’s Warhol is an interesting and imaginatively produced portrait of a moment in the life of one of the twentieth century’s most famous artists—watch it while you can!<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/bacon.html\" rel=\"noopener\" target=\"_blank\">David Bailey in UbuWeb Sound</a></br></br>","bio_dates":"b. 1938"},{"slug":"bailey_derek_on_the_edge_part_1","ok":true,"partial":false,"title":"On the Edge Part 1","artist":"Derek Bailey","year":null,"startOffset":0,"sourceSecs":3146.86,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":537023421,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_derek_on_the_edge_part_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_derek_on_the_edge_part_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bailey_derek_on_the_edge_part_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_derek_on_the_edge_part_1/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_derek_on_the_edge_part_1/main/master.m3u8?v=2","hasMainHls":true,"description":"Broadcast 16 February 1992, concentrating on jazz based and free improvisation. With Max Roach at the Harlam School of the Arts; Butch Morris conducting (with, among others, Shelley Hirsch); Sang-Won Park and Korean music; Max Eastley's sound sculptures; Derek Bailey (solo and fleetingly with Phil Wachsmann, Steve Noble and Alex Ward); Steve Noble and Alex Ward duo; Nashville musicians including Buddy Emmons; Eugene Chadbourne. <br/><br/> A series of four 55 minute films shown on Channel 4 TV in the UK in early 1992. To say this was the best and most intelligent analysis of improvisation to be screened on UK television is probably unnecessary: it has in all likelihood been the only televised programme on this form of music-making. Written and narrated by Derek Bailey, produced and directed by Jeremy Marr, it developed out of the first edition of Bailey's book on improvisation (the broadcast almost coinciding with the publication of the second edition) and attempted to provide a world-view of the subject, not being bound by country, musical genre or preconception. <br/><br/> <a href=\"https://ubu.com/film/bailey_edge2.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 2</a> <br/> <a href=\"https://ubu.com/film/bailey_edge3.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 3</a> <br/> <a href=\"https://ubu.com/film/bailey_edge4.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 4</a>","artist_bio":"Playing For Friends on 5th Street\ndocumentary (2004) Directed by Robert O'Haire\nBailey was born in Sheffield, England. A third generation musician, he began playing the guitar at the age of ten, going on to study music with Sheffield City organist C.H.C. Biltcliffe and guitar with George Wing and John Duarte. As an adult he found work as a guitarist and session musician in clubs, radio, dance hall bands, and so on, playing with many performers including Gracie Fields, Bob Monkhouse and Kathy Kirby, and on television programs such as Opportunity Knocks. Bailey was also part of a Sheffield based trio founded in 1963 with Tony Oxley and Gavin Bryars called 'Joseph Holbrooke' (named after the composer, whose work they never actually played). Although originally performing relatively 'conventional' jazz this group became increasingly free in direction.\nBailey moved to London in 1966, frequenting the Little Theatre Club run by drummer John Stevens. Here he met many other like-minded musicians, such as saxophonist Evan Parker, trumpet player Kenny Wheeler and double bass player Dave Holland. These players often collaborated under the umbrella name of the Spontaneous Music Ensemble, recording the seminal album Karyobin for Island Records in 1968. In this year Bailey also formed the Music Improvisation Company with Parker, percussionist Jamie Muir and Hugh Davies on homemade electronics, a project that continued until 1971. He was also a member of the Jazz Composers Orchestra and Iskra 1903, a trio with double bass player Barry Guy and trombone player Paul Rutherford that was named after a newspaper published by the Russian revolutionary Vladimir Lenin.\nIn 1970, Bailey founded the record label Incus with Tony Oxley, Evan Parker and Michael Walters. It proved influential as the first musician-owned independent label in the UK. Oxley and Walters left early on; Parker and Bailey continued as co-directors until the mid-1980s, when friction between the men led to Parker's departure. Bailey continued the label with his partner Karen Brookman until his death in 2005.\nAlong with a number of other musicians, Bailey was a co-founder of Musics magazine in 1975. This was described as \"an impromental experivisation arts magazine\" and circulated through a network of like-minded record shops, arguably becoming one of the most significant jazz publications of the second half of the 1970s, and instrumental in the foundation of the London Musicians Collective.\n1976 saw Bailey form Company, an ever changing collection of like-minded improvisors, which at various times has included Anthony Braxton, Tristan Honsinger, Misha Mengelberg, Lol Coxhill, Fred Frith, Steve Beresford, Steve Lacy, Johnny Dyani, Leo Smith, Han Bennink, Eugene Chadbourne, Henry Kaiser, John Zorn, Buckethead and many others. Company Week, an annual week long free improvisational festival organised by Bailey, ran until 1994.\nIn 1980, he wrote the book Improvisation: Its Nature and Practice. This was adapted by UK's Channel 4 into a four part TV series in the early nineties, edited and narrated by Bailey.\nBailey died in London on Christmas Day, 2005. He had been suffering from motor neurone disease. -- Wikipedia","bio_dates":"1930-2005"},{"slug":"bailey_derek_on_the_edge_part_2","ok":true,"partial":false,"title":"On the Edge Part 2","artist":"Derek Bailey","year":null,"startOffset":0,"sourceSecs":3125.73,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":535122775,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_derek_on_the_edge_part_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_derek_on_the_edge_part_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bailey_derek_on_the_edge_part_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_derek_on_the_edge_part_2/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_derek_on_the_edge_part_2/main/master.m3u8?v=2","hasMainHls":true,"description":"Broadcast 16 February 1992, concentrating on jazz based and free improvisation. With Max Roach at the Harlam School of the Arts; Butch Morris conducting (with, among others, Shelley Hirsch); Sang-Won Park and Korean music; Max Eastley's sound sculptures; Derek Bailey (solo and fleetingly with Phil Wachsmann, Steve Noble and Alex Ward); Steve Noble and Alex Ward duo; Nashville musicians including Buddy Emmons; Eugene Chadbourne. <br/><br/> A series of four 55 minute films shown on Channel 4 TV in the UK in early 1992. To say this was the best and most intelligent analysis of improvisation to be screened on UK television is probably unnecessary: it has in all likelihood been the only televised programme on this form of music-making. Written and narrated by Derek Bailey, produced and directed by Jeremy Marr, it developed out of the first edition of Bailey's book on improvisation (the broadcast almost coinciding with the publication of the second edition) and attempted to provide a world-view of the subject, not being bound by country, musical genre or preconception. <br/><br/> <a href=\"https://ubu.com/film/bailey_edge1.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 1</a> <br/> <a href=\"https://ubu.com/film/bailey_edge3.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 3</a> <br/> <a href=\"https://ubu.com/film/bailey_edge4.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 4</a>","artist_bio":"Playing For Friends on 5th Street\ndocumentary (2004) Directed by Robert O'Haire\nBailey was born in Sheffield, England. A third generation musician, he began playing the guitar at the age of ten, going on to study music with Sheffield City organist C.H.C. Biltcliffe and guitar with George Wing and John Duarte. As an adult he found work as a guitarist and session musician in clubs, radio, dance hall bands, and so on, playing with many performers including Gracie Fields, Bob Monkhouse and Kathy Kirby, and on television programs such as Opportunity Knocks. Bailey was also part of a Sheffield based trio founded in 1963 with Tony Oxley and Gavin Bryars called 'Joseph Holbrooke' (named after the composer, whose work they never actually played). Although originally performing relatively 'conventional' jazz this group became increasingly free in direction.\nBailey moved to London in 1966, frequenting the Little Theatre Club run by drummer John Stevens. Here he met many other like-minded musicians, such as saxophonist Evan Parker, trumpet player Kenny Wheeler and double bass player Dave Holland. These players often collaborated under the umbrella name of the Spontaneous Music Ensemble, recording the seminal album Karyobin for Island Records in 1968. In this year Bailey also formed the Music Improvisation Company with Parker, percussionist Jamie Muir and Hugh Davies on homemade electronics, a project that continued until 1971. He was also a member of the Jazz Composers Orchestra and Iskra 1903, a trio with double bass player Barry Guy and trombone player Paul Rutherford that was named after a newspaper published by the Russian revolutionary Vladimir Lenin.\nIn 1970, Bailey founded the record label Incus with Tony Oxley, Evan Parker and Michael Walters. It proved influential as the first musician-owned independent label in the UK. Oxley and Walters left early on; Parker and Bailey continued as co-directors until the mid-1980s, when friction between the men led to Parker's departure. Bailey continued the label with his partner Karen Brookman until his death in 2005.\nAlong with a number of other musicians, Bailey was a co-founder of Musics magazine in 1975. This was described as \"an impromental experivisation arts magazine\" and circulated through a network of like-minded record shops, arguably becoming one of the most significant jazz publications of the second half of the 1970s, and instrumental in the foundation of the London Musicians Collective.\n1976 saw Bailey form Company, an ever changing collection of like-minded improvisors, which at various times has included Anthony Braxton, Tristan Honsinger, Misha Mengelberg, Lol Coxhill, Fred Frith, Steve Beresford, Steve Lacy, Johnny Dyani, Leo Smith, Han Bennink, Eugene Chadbourne, Henry Kaiser, John Zorn, Buckethead and many others. Company Week, an annual week long free improvisational festival organised by Bailey, ran until 1994.\nIn 1980, he wrote the book Improvisation: Its Nature and Practice. This was adapted by UK's Channel 4 into a four part TV series in the early nineties, edited and narrated by Bailey.\nBailey died in London on Christmas Day, 2005. He had been suffering from motor neurone disease. -- Wikipedia","bio_dates":"1930-2005"},{"slug":"bailey_derek_on_the_edge_part_3","ok":true,"partial":false,"title":"On the Edge Part 3","artist":"Derek Bailey","year":null,"startOffset":0,"sourceSecs":3137.735,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":538458745,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_derek_on_the_edge_part_3/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_derek_on_the_edge_part_3/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bailey_derek_on_the_edge_part_3.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_derek_on_the_edge_part_3/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_derek_on_the_edge_part_3/main/master.m3u8?v=2","hasMainHls":true,"description":"Broadcast 16 February 1992, concentrating on jazz based and free improvisation. With Max Roach at the Harlam School of the Arts; Butch Morris conducting (with, among others, Shelley Hirsch); Sang-Won Park and Korean music; Max Eastley's sound sculptures; Derek Bailey (solo and fleetingly with Phil Wachsmann, Steve Noble and Alex Ward); Steve Noble and Alex Ward duo; Nashville musicians including Buddy Emmons; Eugene Chadbourne. <br/><br/> A series of four 55 minute films shown on Channel 4 TV in the UK in early 1992. To say this was the best and most intelligent analysis of improvisation to be screened on UK television is probably unnecessary: it has in all likelihood been the only televised programme on this form of music-making. Written and narrated by Derek Bailey, produced and directed by Jeremy Marr, it developed out of the first edition of Bailey's book on improvisation (the broadcast almost coinciding with the publication of the second edition) and attempted to provide a world-view of the subject, not being bound by country, musical genre or preconception. <br/><br/> <a href=\"https://ubu.com/film/bailey_edge1.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 1</a> <br/> <a href=\"https://ubu.com/film/bailey_edge2.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 2</a> <br/> <a href=\"https://ubu.com/film/bailey_edge4.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 4</a>","artist_bio":"Playing For Friends on 5th Street\ndocumentary (2004) Directed by Robert O'Haire\nBailey was born in Sheffield, England. A third generation musician, he began playing the guitar at the age of ten, going on to study music with Sheffield City organist C.H.C. Biltcliffe and guitar with George Wing and John Duarte. As an adult he found work as a guitarist and session musician in clubs, radio, dance hall bands, and so on, playing with many performers including Gracie Fields, Bob Monkhouse and Kathy Kirby, and on television programs such as Opportunity Knocks. Bailey was also part of a Sheffield based trio founded in 1963 with Tony Oxley and Gavin Bryars called 'Joseph Holbrooke' (named after the composer, whose work they never actually played). Although originally performing relatively 'conventional' jazz this group became increasingly free in direction.\nBailey moved to London in 1966, frequenting the Little Theatre Club run by drummer John Stevens. Here he met many other like-minded musicians, such as saxophonist Evan Parker, trumpet player Kenny Wheeler and double bass player Dave Holland. These players often collaborated under the umbrella name of the Spontaneous Music Ensemble, recording the seminal album Karyobin for Island Records in 1968. In this year Bailey also formed the Music Improvisation Company with Parker, percussionist Jamie Muir and Hugh Davies on homemade electronics, a project that continued until 1971. He was also a member of the Jazz Composers Orchestra and Iskra 1903, a trio with double bass player Barry Guy and trombone player Paul Rutherford that was named after a newspaper published by the Russian revolutionary Vladimir Lenin.\nIn 1970, Bailey founded the record label Incus with Tony Oxley, Evan Parker and Michael Walters. It proved influential as the first musician-owned independent label in the UK. Oxley and Walters left early on; Parker and Bailey continued as co-directors until the mid-1980s, when friction between the men led to Parker's departure. Bailey continued the label with his partner Karen Brookman until his death in 2005.\nAlong with a number of other musicians, Bailey was a co-founder of Musics magazine in 1975. This was described as \"an impromental experivisation arts magazine\" and circulated through a network of like-minded record shops, arguably becoming one of the most significant jazz publications of the second half of the 1970s, and instrumental in the foundation of the London Musicians Collective.\n1976 saw Bailey form Company, an ever changing collection of like-minded improvisors, which at various times has included Anthony Braxton, Tristan Honsinger, Misha Mengelberg, Lol Coxhill, Fred Frith, Steve Beresford, Steve Lacy, Johnny Dyani, Leo Smith, Han Bennink, Eugene Chadbourne, Henry Kaiser, John Zorn, Buckethead and many others. Company Week, an annual week long free improvisational festival organised by Bailey, ran until 1994.\nIn 1980, he wrote the book Improvisation: Its Nature and Practice. This was adapted by UK's Channel 4 into a four part TV series in the early nineties, edited and narrated by Bailey.\nBailey died in London on Christmas Day, 2005. He had been suffering from motor neurone disease. -- Wikipedia","bio_dates":"1930-2005"},{"slug":"bailey_derek_on_the_edge_part_4","ok":true,"partial":false,"title":"On the Edge Part 4","artist":"Derek Bailey","year":null,"startOffset":0,"sourceSecs":3128.145,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":532270698,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_derek_on_the_edge_part_4/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_derek_on_the_edge_part_4/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bailey_derek_on_the_edge_part_4.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_derek_on_the_edge_part_4/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_derek_on_the_edge_part_4/main/master.m3u8?v=2","hasMainHls":true,"description":"Broadcast 23 February 1992, with Jerry Garcia and The Grateful Dead; Buddy Guy; George Lewis and computers (and in quartet with Douglas Ewart and sound and video generation); mbira music from Zimbabwe; music of the Tonga people; concluding with a house party on the Lower East side. <br/><br/> A series of four 55 minute films shown on Channel 4 TV in the UK in early 1992. To say this was the best and most intelligent analysis of improvisation to be screened on UK television is probably unnecessary: it has in all likelihood been the only televised programme on this form of music-making. Written and narrated by Derek Bailey, produced and directed by Jeremy Marr, it developed out of the first edition of Bailey's book on improvisation (the broadcast almost coinciding with the publication of the second edition) and attempted to provide a world-view of the subject, not being bound by country, musical genre or preconception. <br/><br/> <a href=\"https://ubu.com/film/bailey_edge1.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 1</a> <br/> <a href=\"https://ubu.com/film/bailey_edge2.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 2</a> <br/> <a href=\"https://ubu.com/film/bailey_edge3.html\" rel=\"noopener\" target=\"_blank\">On the Edge, Part 3</a><br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/bailey.html\" rel=\"noopener\" target=\"_blank\">Derek Bailey in UbuWeb Sound</a></br>","artist_bio":"Playing For Friends on 5th Street\ndocumentary (2004) Directed by Robert O'Haire\nBailey was born in Sheffield, England. A third generation musician, he began playing the guitar at the age of ten, going on to study music with Sheffield City organist C.H.C. Biltcliffe and guitar with George Wing and John Duarte. As an adult he found work as a guitarist and session musician in clubs, radio, dance hall bands, and so on, playing with many performers including Gracie Fields, Bob Monkhouse and Kathy Kirby, and on television programs such as Opportunity Knocks. Bailey was also part of a Sheffield based trio founded in 1963 with Tony Oxley and Gavin Bryars called 'Joseph Holbrooke' (named after the composer, whose work they never actually played). Although originally performing relatively 'conventional' jazz this group became increasingly free in direction.\nBailey moved to London in 1966, frequenting the Little Theatre Club run by drummer John Stevens. Here he met many other like-minded musicians, such as saxophonist Evan Parker, trumpet player Kenny Wheeler and double bass player Dave Holland. These players often collaborated under the umbrella name of the Spontaneous Music Ensemble, recording the seminal album Karyobin for Island Records in 1968. In this year Bailey also formed the Music Improvisation Company with Parker, percussionist Jamie Muir and Hugh Davies on homemade electronics, a project that continued until 1971. He was also a member of the Jazz Composers Orchestra and Iskra 1903, a trio with double bass player Barry Guy and trombone player Paul Rutherford that was named after a newspaper published by the Russian revolutionary Vladimir Lenin.\nIn 1970, Bailey founded the record label Incus with Tony Oxley, Evan Parker and Michael Walters. It proved influential as the first musician-owned independent label in the UK. Oxley and Walters left early on; Parker and Bailey continued as co-directors until the mid-1980s, when friction between the men led to Parker's departure. Bailey continued the label with his partner Karen Brookman until his death in 2005.\nAlong with a number of other musicians, Bailey was a co-founder of Musics magazine in 1975. This was described as \"an impromental experivisation arts magazine\" and circulated through a network of like-minded record shops, arguably becoming one of the most significant jazz publications of the second half of the 1970s, and instrumental in the foundation of the London Musicians Collective.\n1976 saw Bailey form Company, an ever changing collection of like-minded improvisors, which at various times has included Anthony Braxton, Tristan Honsinger, Misha Mengelberg, Lol Coxhill, Fred Frith, Steve Beresford, Steve Lacy, Johnny Dyani, Leo Smith, Han Bennink, Eugene Chadbourne, Henry Kaiser, John Zorn, Buckethead and many others. Company Week, an annual week long free improvisational festival organised by Bailey, ran until 1994.\nIn 1980, he wrote the book Improvisation: Its Nature and Practice. This was adapted by UK's Channel 4 into a four part TV series in the early nineties, edited and narrated by Bailey.\nBailey died in London on Christmas Day, 2005. He had been suffering from motor neurone disease. -- Wikipedia","bio_dates":"1930-2005"},{"slug":"bailey_derek_playing_for_friends_on_fifth_street_2004","ok":true,"partial":false,"title":"Playing For Friends on 5th Street","artist":"Derek Bailey","year":"2004","startOffset":0,"sourceSecs":3004.971,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":507462479,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_derek_playing_for_friends_on_fifth_street_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bailey_derek_playing_for_friends_on_fifth_street_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bailey_derek_playing_for_friends_on_fifth_street_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_derek_playing_for_friends_on_fifth_street_2004/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bailey_derek_playing_for_friends_on_fifth_street_2004/main/master.m3u8?v=2","hasMainHls":true,"description":"IDirector: Robert O'Haire<br/> Year: 2004 <br/> Time: 50 mins<br/> Music: Derek Bailey <br/><br/> The camera's movements are casual, and the post-production efforts meagre. But that is just part of the narrative strategy to convey the sense of intimacy implicit in the title: a small friendly circle of amicable ears and eyes, casually enjoying the music of someone who just happens to be the most celebrated guitar player in the history of adventurous music, but who behaves as if he were just playing a few chords while waiting for his dinner to cook. In between, a few funny stories about the man's past as a guitar teacher in London, some interactions with the \"public\", and even Django-like interludes and a Penthouse Serenade quote to boot. Both the performance and film-production were designed as an intimate portrait: of Bailey and his music, of course, but also of the DMG (Downtown Music Gallery) store in Downtown NY, where several such performances by avant and not-so-avant musicians have been hosted before. The camera effects used to spice up the film are absolutely superfluous and risible, but the sound capture is close to optimal: Bailey's surgical attacks on the strings sound as clear as in any other good recording you may have, and probably as close to the listening experience you'd have there as possible. Bailey's performance is unsurprisingly entrancing: twisting notions of tonal and atonal, at times hectic but also placid and meditative, his acoustic guitar playing covers the sometimes irreconcilable values of emotionality and artistic adventurousness. Of course, one may legitimately ask how free these improvisations actually are, given the unmistakeable \"baileyness\" of the performance; but I'd say that in view of this 2001 performance's impressive technique, passion and inventiveness, such issues sound like mere theoretical trifles.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/bacon.html\" rel=\"noopener\" target=\"_blank\">Derek Bailey in UbuWeb Sound</a>","artist_bio":"Playing For Friends on 5th Street\ndocumentary (2004) Directed by Robert O'Haire\nBailey was born in Sheffield, England. A third generation musician, he began playing the guitar at the age of ten, going on to study music with Sheffield City organist C.H.C. Biltcliffe and guitar with George Wing and John Duarte. As an adult he found work as a guitarist and session musician in clubs, radio, dance hall bands, and so on, playing with many performers including Gracie Fields, Bob Monkhouse and Kathy Kirby, and on television programs such as Opportunity Knocks. Bailey was also part of a Sheffield based trio founded in 1963 with Tony Oxley and Gavin Bryars called 'Joseph Holbrooke' (named after the composer, whose work they never actually played). Although originally performing relatively 'conventional' jazz this group became increasingly free in direction.\nBailey moved to London in 1966, frequenting the Little Theatre Club run by drummer John Stevens. Here he met many other like-minded musicians, such as saxophonist Evan Parker, trumpet player Kenny Wheeler and double bass player Dave Holland. These players often collaborated under the umbrella name of the Spontaneous Music Ensemble, recording the seminal album Karyobin for Island Records in 1968. In this year Bailey also formed the Music Improvisation Company with Parker, percussionist Jamie Muir and Hugh Davies on homemade electronics, a project that continued until 1971. He was also a member of the Jazz Composers Orchestra and Iskra 1903, a trio with double bass player Barry Guy and trombone player Paul Rutherford that was named after a newspaper published by the Russian revolutionary Vladimir Lenin.\nIn 1970, Bailey founded the record label Incus with Tony Oxley, Evan Parker and Michael Walters. It proved influential as the first musician-owned independent label in the UK. Oxley and Walters left early on; Parker and Bailey continued as co-directors until the mid-1980s, when friction between the men led to Parker's departure. Bailey continued the label with his partner Karen Brookman until his death in 2005.\nAlong with a number of other musicians, Bailey was a co-founder of Musics magazine in 1975. This was described as \"an impromental experivisation arts magazine\" and circulated through a network of like-minded record shops, arguably becoming one of the most significant jazz publications of the second half of the 1970s, and instrumental in the foundation of the London Musicians Collective.\n1976 saw Bailey form Company, an ever changing collection of like-minded improvisors, which at various times has included Anthony Braxton, Tristan Honsinger, Misha Mengelberg, Lol Coxhill, Fred Frith, Steve Beresford, Steve Lacy, Johnny Dyani, Leo Smith, Han Bennink, Eugene Chadbourne, Henry Kaiser, John Zorn, Buckethead and many others. Company Week, an annual week long free improvisational festival organised by Bailey, ran until 1994.\nIn 1980, he wrote the book Improvisation: Its Nature and Practice. This was adapted by UK's Channel 4 into a four part TV series in the early nineties, edited and narrated by Bailey.\nBailey died in London on Christmas Day, 2005. He had been suffering from motor neurone disease. -- Wikipedia","bio_dates":"1930-2005"},{"slug":"baillie_bruce_all_my_life_1966","ok":true,"partial":false,"title":"All My Life","artist":"Bruce Baillie","year":"1966","startOffset":0,"sourceSecs":167.573,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":11602861,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baillie_bruce_all_my_life_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baillie_bruce_all_my_life_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baillie_bruce_all_my_life_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baillie_bruce_all_my_life_1966/main.mp4?v=2","description":"Inspired by the magnificent daylight, All My Life (1966) is a continuous, single-shot film in which the camera pans along a flower lined, weathered fence followed by a gentle, vertical tip skyward. Shot with Ansco film, the colors are magnificent and the accompanying Ella Fitzgerald soundtrack, inspiring. <br/><br/> His passion is alive in his works and is revealed in his need to create. He shares with Scott MacDonald that the decision to make All My Life , was not an easy one. Inspired initially by the light on a beautiful day on the California coast he thought of shooting a film, but the thought of it was tiring knowing how much making a film can take out of you. When Baillie tried to drive away he said \"No, I cannot turn my back on this!\" and opted to make the film. What an incredible film it is. All My Life is a three minute film shot in one continuous movement panning a fence lined with beautiful red flowers followed by a gentle vertical tip skyward. The soundtrack is the Ella Fitzgerald song \"All My Life\" that coordinates with the movement of the camera. <br/><br/> Lenny Lipton, Berkeley Barb had this to say, \"Yet even though much of his reputation may rest on his multiple imagery compositions, he has the power to create compelling and evocative work of disarmingly simple form, like the superb All My Life.\" <br/><br/> Baillie describes himself in the early days as being \"like a gymnast without any grace.\" He certainly has grown. These films are full of beauty, light, wisdom and grace. <br/><br/> --Donna Albano, 2001<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Bruce Baillie in UbuWeb Sound</a></br>","artist_bio":"Bruce Baillie (born in 1931, Aberdeen, South Dakota) is an American experimental filmmaker and founding member of Canyon Cinema in San Francisco. In 1961, Baillie, along with Chick Strand and others, founded San Francisco Cinematheque.\nIn 1991 he was the recipient of AFI’s Maya Deren Independent Film and Video Artists Award.\nHis film Castro Street (1966) was selected in 1992 for preservation in the United States National Film Registry.","bio_dates":"1931-2020"},{"slug":"baillie_bruce_castro_street_1966","ok":true,"partial":false,"title":"Castro Street","artist":"Bruce Baillie","year":"1966","startOffset":0,"sourceSecs":625.173,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":44033738,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baillie_bruce_castro_street_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baillie_bruce_castro_street_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baillie_bruce_castro_street_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baillie_bruce_castro_street_1966/main.mp4?v=2","description":"I was so struck by the beauty of Baillie's Castro Street (1966) the first time that I saw it, that I immediately wanted to see it again. The contrasting images (steel/flowers) and sounds, (metal grinding/piano tinkling) are stunning. Shot at the Standard Oil Refinery in Richmond, California the film is full of textured images of trains, metal and machinery. Mixed in are shots of sky and vibrant flowers. One particular scene focuses on the trains which are now moving at a faster pace and opens to a field of stunningly beautiful purple violets set in a field into which another train enters the frame from the right. Baillie's use of negative black and white images in combination with vibrant color images and subtly textured images is magnificent. At times things seems to be sliding over each other, and the viewer is treated to a visual collage of color and form. Baillie describes the contrast in images as being shot in \"masculine\" and \"feminine\", and goes on to explain this in an interview with Scott MacDonald for A Critical Cinema 2, \"I wanted to visualize that ancient, universal fact of opposites that are one, both in conflict and harmony---opposing each other and abiding together.\" From the beginning to the end I found myself waiting eagerly for the next image to appear. The inclusion of a popular soft rock melody was a lovely surprise and again contrasted with the sounds of the engines, whistles, and machinery. <br/><br/> This is a stunning film Baillie describes in a note as \"The Coming of Consciousness.\" <br/><br/> --Donna Albano, 2001<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Bruce Baillie in UbuWeb Sound</a></br>","artist_bio":"Bruce Baillie (born in 1931, Aberdeen, South Dakota) is an American experimental filmmaker and founding member of Canyon Cinema in San Francisco. In 1961, Baillie, along with Chick Strand and others, founded San Francisco Cinematheque.\nIn 1991 he was the recipient of AFI’s Maya Deren Independent Film and Video Artists Award.\nHis film Castro Street (1966) was selected in 1992 for preservation in the United States National Film Registry.","bio_dates":"1931-2020"},{"slug":"baillie_bruce_mr_hayashi_1961","ok":true,"partial":false,"title":"Mr. Hayashi","artist":"Bruce Baillie","year":"1961","startOffset":0,"sourceSecs":153.707,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":10594245,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baillie_bruce_mr_hayashi_1961/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baillie_bruce_mr_hayashi_1961/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baillie_bruce_mr_hayashi_1961.mp4","hasFrames":true,"description":"Bruce Baillie's Mr. Hayashi might be thought of as a putative East Coast story transformed by a West Coast sensibility. The narrative, slight as it is, mounts a social critique of sorts, involving the difficulty the title character, a Japanese gardener, has finding work that pays adequately. But the beauty of Baillie's black-and-white photography, the misty lusciousness of the landscapes he chooses to photograph, and the powerful silence of Mr. Hayashi's figure within them make the viewer forget all about economics and ethnicity. The shots remind us of Sung scrolls of fields and mountain peaks, where the human figure is dwarfed in the middle distance. Rather than a study of unemployment, the film becomes a study of nested layers of stillness and serenity (first, the placidity of the photography; second, the brooding calm of the landscape; third, the meditativeness of Mr. Hayashi himself, walking with his head bowed in thought and uttering his thoughtful voice-over narration). The quiet inwardness of it all makes his employment situation seem relatively unimportant by comparison.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Bruce Baillie in UbuWeb Sound</a></br>","artist_bio":"Bruce Baillie (born in 1931, Aberdeen, South Dakota) is an American experimental filmmaker and founding member of Canyon Cinema in San Francisco. In 1961, Baillie, along with Chick Strand and others, founded San Francisco Cinematheque.\nIn 1991 he was the recipient of AFI’s Maya Deren Independent Film and Video Artists Award.\nHis film Castro Street (1966) was selected in 1992 for preservation in the United States National Film Registry.","bio_dates":"1931-2020"},{"slug":"bal_blanc_pierre_employment_contract_on_gonzalez_torres_1992","ok":true,"partial":false,"title":"Employment Contract (on Felix Gonzalez-Torres)","artist":"Pierre Bal-Blanc","year":"1992","startOffset":0,"sourceSecs":1328.941,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":232237613,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bal_blanc_pierre_employment_contract_on_gonzalez_torres_1992/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bal_blanc_pierre_employment_contract_on_gonzalez_torres_1992/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bal_blanc_pierre_employment_contract_on_gonzalez_torres_1992.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bal_blanc_pierre_employment_contract_on_gonzalez_torres_1992/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/bacon.html\" rel=\"noopener\" target=\"_blank\">Pierre Bal-Blanc in UbuWeb Sound</a>","artist_bio":"Pierre Bal-Blanc is director of the Centre d’Art Contemporain (CAC) in Brétigny near Paris, where he has carried out major solo exhibitions with David Lamelas, Theresa Margolles, Roman Ondák, Markus Schinwald, Santiago Sierra, Franz Erhard Walther, Clemens von Wedemeyer and Artur Zmijewski, among others. In his international travelling exhibition series La Monnaie Vivante/Living Currency he negotiates current and historical analyses of body and performative strategies in the visual arts.","bio_dates":"1992"},{"slug":"balch_antony_the_cut_ups_1966","ok":true,"partial":false,"title":"The Cut Ups","artist":"William S. Burroughs","year":"1966","startOffset":0,"sourceSecs":1179.388,"sourceHeight":320,"sourceWidth":464,"hasAudio":true,"hasAmbientMp4":true,"bytes":75071666,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/balch_antony_the_cut_ups_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/balch_antony_the_cut_ups_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/balch_antony_the_cut_ups_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/balch_antony_the_cut_ups_1966/main.mp4?v=2","description":"Open Culture: In 1920, Dadaist extraordinaire Tristian Tzara described in his manifesto how to write a poem, Dada-style. It involved cutting up the words from a text, dumping them into a bag and then pulling out the words randomly. “And there you are,” he wrote. “An infinitely original author of charming sensibility, even though unappreciated by the vulgar herd.” Who would have thought that Tzara’s avant-garde methods would be adapted into a successful line of refrigerator magnets?\n\nIn 1959, William S. Burroughs had just published his notorious non-linear masterpiece Naked Lunch (heard him read it here) when he came across the “cut-up” methods of British artist Brion Gysin, which were influenced by Tzara. Soon the author started using cut-up techniques explicitly in his own work, particularly in his The Nova Trilogy. Unlike Tzara, who believed that cut-ups would reveal the utter absurdity of the world, Burroughs argued that language was a means of control that locked us into traditional ways of thinking. The cut-up was one way of blunting that control with new, unexpected juxtapositions. Excited by the possibilities of the cut-up, he experimented with it in a number of different media.\n\nThe 1966 short The Cut-Ups is probably Burrough’s best-known foray into experimental film, which he made with filmmaker and renowned smut/horror distributor Antony Balch. The film features random, repetitive shots of Burroughs in New York, London and Tangiers spliced together in precise lengths but with little regard for the content of the image. The audio is a cut-up conversation with the words “Yes” and “Hello,” getting looped over and over and over again.\n\nThe film is a trippy, mesmerizing experience. The mind struggles to make sense of the chaos. It feels like you’re watching a dream that has somehow short-circuited. When the film first premiered, film audiences were reportedly freaked out. Some declared that the movie made them feel ill while others demanded their money back."},{"slug":"baldessari_john_an_interview","ok":true,"partial":false,"title":"An Interview","artist":"John Baldessari","year":"1983","startOffset":0,"sourceSecs":1924.379,"sourceHeight":478,"sourceWidth":706,"hasAudio":true,"hasAmbientMp4":true,"bytes":328593888,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_an_interview/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_an_interview/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldessari_john_an_interview.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldessari_john_an_interview/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldessari_john_an_interview/main/master.m3u8?v=2","hasMainHls":true,"description":"From his photo-text canvases in the 1960s to his video works in the 1970s to his installations in the 1980s, John Baldessari’s (b.1931) varied work has been seminal in the field of conceptual art. Integrating semiology and mass media imagery, he employed such strategies as appropriation, deconstruction, decontextualization, sequentiality, and text/image juxtaposition. With an ironic wit, Baldessari's work considers the gathering, sorting, and reorganizing of information. <br/><br/> “Something that is part of my personality is seeing the world slightly askew. It’s a perceptual stance. The real world is absurd sometimes, so I don’t make a conscious attempt, but because I come at it in a certain way, it seems really strange,” Baldessari says in this interview with Nancy Bowen. <br/><br/> A historical interview originally recorded in 1979 and re-edited in 2003 with support from the Lyn Blumenthal Memorial Fund. <br/><br/> Directed by Lyn Blumenthal, Kate Horsfield<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">John Baldessari in UbuWeb Sound</a></br>","artist_bio":"Six Colorful Tales: From the Emotional Spectrum (Women)\n(1977)\nPeter Kirby - John Baldessari: Some Stories (Documentary)\n(1990)\nA major figure in contemporary art, John Baldessari has been termed \"one of the most influential artists to emerge since the mid-1960s.\" From his phototext canvases of the 1960s to his composite photo collages and installations of the 1980s, Baldessari has contributed to the definition of postmodern art. His ingenious application of certain art-making strategies — including appropriation, deconstruction, decontextualization, sequentiality and text/image juxtaposition — was prescient, as was his cogent and witty integration of semiology, linguistic systems and mass media.\nAs one of the seminal figures in the language-based Conceptual Art movement of the early 1970s, Baldessari produced a series of videotapes in which he conducted ironic investigations into perception, meaning and interpretation. Rendered with deadpan, often absurdist humor, these droll conceptual exercises make use of cultural artifacts, from film stills and magazine photos to art historical in-jokes, as frameworks for irreverent philosophical inquiries into art and knowledge. With a cunning reliance on misrecognition and misinformation, Baldessari uses irony and incongruity to exploit the gap between what is heard, what is seen, and what is understood. His wry investigations of representation and sign systems succeed through strategies such as the ironic juxtaposition of photographic or video images and written or verbal texts; the use of appropriated material and found objects to underscore the embedded meaning of pop cultural genres; the construction of disjunctive narratives and surreal conjunctions from re-contextualized words and images, and the indexing of objects of actions.\nMany of his exercises take the form of parables, allegories, or \"art lessons,\" as Baldessari the performer assumes the role of teacher or storyteller. His fascination with jokes, dreams, aphorisms, sight gags and linguistic pranks, which are linked to Freudian notions of unconscious associations and verbal and written \"slips,\" evoke the visual puns and word games of Dada and Surrealism. Pervaded with reference to art-making and art history, and responding to the tenets of minimalism, performance and Conceptual Art, his tapes question the very limits of art, and form an irreverent critique of modernist practices. Baldessari playfully compels the viewer to question not only the system under investigation — language, representation, narrative, art-making — but also the tools by which the interrogation is being conducted (photography, video, cinema) as conveyers of truth. Ultimately, Baldessari's idiosyncratic, often absurdist logic questions the very process of perception, from vision and meaning to cognition and knowledge.\nBaldessari was born in 1931 in National City, California. He received a B.A. and an M.A. from San Diego State University, and also studied at U.C. Berkeley, UCLA, Otis Art Institute and Chouinard Art Institute. He was awarded an Honorary Doctorate from San Diego State University in 2003, and in 2004 was elected to the American Academy of Arts and Sciences. The recipient of a Guggenheim Fellowship in 1986 and grants from the National Endowment for the Arts, he was also awarded the Oscar Kokoschka Prize and the California Governor's Award for Lifetime Achievement in the Visual Arts. He has taught at Southwestern University, California; the University of California at San Diego; and the California Institute of the Arts, Valencia.\nHis work has been exhibited internationally in one person shows at the Stedelijk Museum, Amsterdam; Sonnabend Gallery, New York; Museum Folkwang, Essen, Germany; Contemporary Arts Museum, Houston; Santa Barbara Museum of Art, California, and Museo Nacional Centro de Arte Reina Sofía, Madrid, among other institutions; and in group shows at the Contemporary Arts Museum, Houston; Documentas 4,5 and 6, Kassel, Germany; Venice Bienale; Palais des Beaux Arts, Brussels; Everson Museum of Art, Syracuse; The Museum of Modern Art, New York; Kolnischer Kunstverein, Cologne; and the Whitney Museum of American Art Biennial, New York, among others.\nIn 1990, he was the subject of a major retrospective at the Museum of Contemporary Art, Los Angeles, which traveled to numerous sites around the country. In conjunction with this exhibition, a comprehensive catalogue of his work, entitled John Baldessari, was published in 1990.\nIn 2009, his retrospective exhibition John Baldessari: Pure Beauty opened at the Tate Modern in London. It traveled to the Los Angeles County Museum of Art, Los Angeles, and the Metropolitan Museum of Art, New York, in 2010. In 2011 it will travel to Museu d'Art Contemporani de Barcelona, Spain. The retrospective includes a catalogue publication, also entitled Pure Beauty.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nJohn Baldessari in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1931-2020"},{"slug":"baldessari_john_i_will_not_make_any_more_boring_art_1971","ok":true,"partial":false,"title":"I Will Not Make Any More Boring Art","artist":"John Baldessari","year":"1971","startOffset":0,"sourceSecs":794.027,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":53735005,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_i_will_not_make_any_more_boring_art_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_i_will_not_make_any_more_boring_art_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldessari_john_i_will_not_make_any_more_boring_art_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldessari_john_i_will_not_make_any_more_boring_art_1971/main.mp4?v=2","description":"1971, 31:17 min, b&w, sound <br/><br/> In 1971, Baldessari was commissioned by the Nova Scotia College of Art and Design in Canada to create an original, on-site work. Unable to make the journey himself, he suggested that the students voluntarily write the phrase \"I will not make any more boring art\" on the gallery walls. Inspired by the work's completion Ñ the students covered the walls with the phrase Ñ Baldessari committed his own version of the piece to videotape. Like an errant schoolboy, he dutifully writes, \"I will not make any more boring art\" over and over again in a notebook for the duration of the tape. In an ironic disjunction of form and content, Baldessari's methodical, repetitive exercise deliberately contradicts the point of the lesson Ñ to refrain from creating \"boring\" art. -- <a href=\"http://eai.org/title.htm?id=3367\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">John Baldessari in UbuWeb Sound</a></br></br></br>","artist_bio":"Six Colorful Tales: From the Emotional Spectrum (Women)\n(1977)\nPeter Kirby - John Baldessari: Some Stories (Documentary)\n(1990)\nA major figure in contemporary art, John Baldessari has been termed \"one of the most influential artists to emerge since the mid-1960s.\" From his phototext canvases of the 1960s to his composite photo collages and installations of the 1980s, Baldessari has contributed to the definition of postmodern art. His ingenious application of certain art-making strategies — including appropriation, deconstruction, decontextualization, sequentiality and text/image juxtaposition — was prescient, as was his cogent and witty integration of semiology, linguistic systems and mass media.\nAs one of the seminal figures in the language-based Conceptual Art movement of the early 1970s, Baldessari produced a series of videotapes in which he conducted ironic investigations into perception, meaning and interpretation. Rendered with deadpan, often absurdist humor, these droll conceptual exercises make use of cultural artifacts, from film stills and magazine photos to art historical in-jokes, as frameworks for irreverent philosophical inquiries into art and knowledge. With a cunning reliance on misrecognition and misinformation, Baldessari uses irony and incongruity to exploit the gap between what is heard, what is seen, and what is understood. His wry investigations of representation and sign systems succeed through strategies such as the ironic juxtaposition of photographic or video images and written or verbal texts; the use of appropriated material and found objects to underscore the embedded meaning of pop cultural genres; the construction of disjunctive narratives and surreal conjunctions from re-contextualized words and images, and the indexing of objects of actions.\nMany of his exercises take the form of parables, allegories, or \"art lessons,\" as Baldessari the performer assumes the role of teacher or storyteller. His fascination with jokes, dreams, aphorisms, sight gags and linguistic pranks, which are linked to Freudian notions of unconscious associations and verbal and written \"slips,\" evoke the visual puns and word games of Dada and Surrealism. Pervaded with reference to art-making and art history, and responding to the tenets of minimalism, performance and Conceptual Art, his tapes question the very limits of art, and form an irreverent critique of modernist practices. Baldessari playfully compels the viewer to question not only the system under investigation — language, representation, narrative, art-making — but also the tools by which the interrogation is being conducted (photography, video, cinema) as conveyers of truth. Ultimately, Baldessari's idiosyncratic, often absurdist logic questions the very process of perception, from vision and meaning to cognition and knowledge.\nBaldessari was born in 1931 in National City, California. He received a B.A. and an M.A. from San Diego State University, and also studied at U.C. Berkeley, UCLA, Otis Art Institute and Chouinard Art Institute. He was awarded an Honorary Doctorate from San Diego State University in 2003, and in 2004 was elected to the American Academy of Arts and Sciences. The recipient of a Guggenheim Fellowship in 1986 and grants from the National Endowment for the Arts, he was also awarded the Oscar Kokoschka Prize and the California Governor's Award for Lifetime Achievement in the Visual Arts. He has taught at Southwestern University, California; the University of California at San Diego; and the California Institute of the Arts, Valencia.\nHis work has been exhibited internationally in one person shows at the Stedelijk Museum, Amsterdam; Sonnabend Gallery, New York; Museum Folkwang, Essen, Germany; Contemporary Arts Museum, Houston; Santa Barbara Museum of Art, California, and Museo Nacional Centro de Arte Reina Sofía, Madrid, among other institutions; and in group shows at the Contemporary Arts Museum, Houston; Documentas 4,5 and 6, Kassel, Germany; Venice Bienale; Palais des Beaux Arts, Brussels; Everson Museum of Art, Syracuse; The Museum of Modern Art, New York; Kolnischer Kunstverein, Cologne; and the Whitney Museum of American Art Biennial, New York, among others.\nIn 1990, he was the subject of a major retrospective at the Museum of Contemporary Art, Los Angeles, which traveled to numerous sites around the country. In conjunction with this exhibition, a comprehensive catalogue of his work, entitled John Baldessari, was published in 1990.\nIn 2009, his retrospective exhibition John Baldessari: Pure Beauty opened at the Tate Modern in London. It traveled to the Los Angeles County Museum of Art, Los Angeles, and the Metropolitan Museum of Art, New York, in 2010. In 2011 it will travel to Museu d'Art Contemporani de Barcelona, Spain. The retrospective includes a catalogue publication, also entitled Pure Beauty.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nJohn Baldessari in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1931-2020"},{"slug":"baldessari_john_john_baldessari_sings_sol_lewitt_1972","ok":true,"partial":false,"title":"Baldessari Sings LeWitt","artist":"John Baldessari","year":"1972","startOffset":0,"sourceSecs":782.485,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":53242164,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_john_baldessari_sings_sol_lewitt_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_john_baldessari_sings_sol_lewitt_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldessari_john_john_baldessari_sings_sol_lewitt_1972.mp4","hasFrames":true,"description":"1972, 12:38 min, b&w, sound <br/><br/> In an ironic intersection of two systems — arcane theoretical discourse and popular music — Baldessari sings a tract by Minimalist artist Sol LeWitt. Introducing this performance by noting that \"these sentences have been hidden too long in exhibition catalogues,\" Baldessari sings Lewitt's forty-five-point tract on Conceptual Art to the tunes of The Star-Spangled Banner and Heaven, among other songs. Baldessari's witty \"art aria\" functions as a meta-conceptual exercise.. -- <a href=\"http://eai.org/title.htm?id=1853\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">John Baldessari in UbuWeb Sound</a></br>","artist_bio":"Six Colorful Tales: From the Emotional Spectrum (Women)\n(1977)\nPeter Kirby - John Baldessari: Some Stories (Documentary)\n(1990)\nA major figure in contemporary art, John Baldessari has been termed \"one of the most influential artists to emerge since the mid-1960s.\" From his phototext canvases of the 1960s to his composite photo collages and installations of the 1980s, Baldessari has contributed to the definition of postmodern art. His ingenious application of certain art-making strategies — including appropriation, deconstruction, decontextualization, sequentiality and text/image juxtaposition — was prescient, as was his cogent and witty integration of semiology, linguistic systems and mass media.\nAs one of the seminal figures in the language-based Conceptual Art movement of the early 1970s, Baldessari produced a series of videotapes in which he conducted ironic investigations into perception, meaning and interpretation. Rendered with deadpan, often absurdist humor, these droll conceptual exercises make use of cultural artifacts, from film stills and magazine photos to art historical in-jokes, as frameworks for irreverent philosophical inquiries into art and knowledge. With a cunning reliance on misrecognition and misinformation, Baldessari uses irony and incongruity to exploit the gap between what is heard, what is seen, and what is understood. His wry investigations of representation and sign systems succeed through strategies such as the ironic juxtaposition of photographic or video images and written or verbal texts; the use of appropriated material and found objects to underscore the embedded meaning of pop cultural genres; the construction of disjunctive narratives and surreal conjunctions from re-contextualized words and images, and the indexing of objects of actions.\nMany of his exercises take the form of parables, allegories, or \"art lessons,\" as Baldessari the performer assumes the role of teacher or storyteller. His fascination with jokes, dreams, aphorisms, sight gags and linguistic pranks, which are linked to Freudian notions of unconscious associations and verbal and written \"slips,\" evoke the visual puns and word games of Dada and Surrealism. Pervaded with reference to art-making and art history, and responding to the tenets of minimalism, performance and Conceptual Art, his tapes question the very limits of art, and form an irreverent critique of modernist practices. Baldessari playfully compels the viewer to question not only the system under investigation — language, representation, narrative, art-making — but also the tools by which the interrogation is being conducted (photography, video, cinema) as conveyers of truth. Ultimately, Baldessari's idiosyncratic, often absurdist logic questions the very process of perception, from vision and meaning to cognition and knowledge.\nBaldessari was born in 1931 in National City, California. He received a B.A. and an M.A. from San Diego State University, and also studied at U.C. Berkeley, UCLA, Otis Art Institute and Chouinard Art Institute. He was awarded an Honorary Doctorate from San Diego State University in 2003, and in 2004 was elected to the American Academy of Arts and Sciences. The recipient of a Guggenheim Fellowship in 1986 and grants from the National Endowment for the Arts, he was also awarded the Oscar Kokoschka Prize and the California Governor's Award for Lifetime Achievement in the Visual Arts. He has taught at Southwestern University, California; the University of California at San Diego; and the California Institute of the Arts, Valencia.\nHis work has been exhibited internationally in one person shows at the Stedelijk Museum, Amsterdam; Sonnabend Gallery, New York; Museum Folkwang, Essen, Germany; Contemporary Arts Museum, Houston; Santa Barbara Museum of Art, California, and Museo Nacional Centro de Arte Reina Sofía, Madrid, among other institutions; and in group shows at the Contemporary Arts Museum, Houston; Documentas 4,5 and 6, Kassel, Germany; Venice Bienale; Palais des Beaux Arts, Brussels; Everson Museum of Art, Syracuse; The Museum of Modern Art, New York; Kolnischer Kunstverein, Cologne; and the Whitney Museum of American Art Biennial, New York, among others.\nIn 1990, he was the subject of a major retrospective at the Museum of Contemporary Art, Los Angeles, which traveled to numerous sites around the country. In conjunction with this exhibition, a comprehensive catalogue of his work, entitled John Baldessari, was published in 1990.\nIn 2009, his retrospective exhibition John Baldessari: Pure Beauty opened at the Tate Modern in London. It traveled to the Los Angeles County Museum of Art, Los Angeles, and the Metropolitan Museum of Art, New York, in 2010. In 2011 it will travel to Museu d'Art Contemporani de Barcelona, Spain. The retrospective includes a catalogue publication, also entitled Pure Beauty.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nJohn Baldessari in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1931-2020"},{"slug":"baldessari_john_teaching_a_plant_the_alphabet_1972","ok":true,"partial":false,"title":"Teaching a Plant the Alphabet","artist":"John Baldessari","year":"1972","startOffset":0,"sourceSecs":1236.302,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":207681092,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_teaching_a_plant_the_alphabet_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_teaching_a_plant_the_alphabet_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldessari_john_teaching_a_plant_the_alphabet_1972.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldessari_john_teaching_a_plant_the_alphabet_1972/main.mp4?v=2","description":"1972, 18:40 min, b&w, sound <br/><br/> Teaching a Plant the Alphabet is an exercise in futility, an absurdist lesson in cognition and recognition. The scenario is elementary: A small potted plant sits atop a stool. In the role of teacher, Baldessari holds up a series of children's alphabet cards in sequence, repeating each letter to the plant until he has completed the alphabet. The plant, of course, does not respond. Eliciting deadpan humor from the incongruous juxtaposition of the rote instruction and the uncomprehending pupil, Baldessari creates illogic from a logical construct, making nonsense from sense. An elaboration of working notes in which Baldessari wrote, \"Is it worth it to teach ants the alphabet?\" this piece also responds to Joseph Beuys' 1965 performance How to explain pictures to a dead hare. -- <a href=\"http://www.eai.org/title.htm?id=2861\" rel=\"noopener\" target=\"_blank\">EAI</a><br><br><b>RESOURCES:</b> <br> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br>","artist_bio":"Six Colorful Tales: From the Emotional Spectrum (Women)\n(1977)\nPeter Kirby - John Baldessari: Some Stories (Documentary)\n(1990)\nA major figure in contemporary art, John Baldessari has been termed \"one of the most influential artists to emerge since the mid-1960s.\" From his phototext canvases of the 1960s to his composite photo collages and installations of the 1980s, Baldessari has contributed to the definition of postmodern art. His ingenious application of certain art-making strategies — including appropriation, deconstruction, decontextualization, sequentiality and text/image juxtaposition — was prescient, as was his cogent and witty integration of semiology, linguistic systems and mass media.\nAs one of the seminal figures in the language-based Conceptual Art movement of the early 1970s, Baldessari produced a series of videotapes in which he conducted ironic investigations into perception, meaning and interpretation. Rendered with deadpan, often absurdist humor, these droll conceptual exercises make use of cultural artifacts, from film stills and magazine photos to art historical in-jokes, as frameworks for irreverent philosophical inquiries into art and knowledge. With a cunning reliance on misrecognition and misinformation, Baldessari uses irony and incongruity to exploit the gap between what is heard, what is seen, and what is understood. His wry investigations of representation and sign systems succeed through strategies such as the ironic juxtaposition of photographic or video images and written or verbal texts; the use of appropriated material and found objects to underscore the embedded meaning of pop cultural genres; the construction of disjunctive narratives and surreal conjunctions from re-contextualized words and images, and the indexing of objects of actions.\nMany of his exercises take the form of parables, allegories, or \"art lessons,\" as Baldessari the performer assumes the role of teacher or storyteller. His fascination with jokes, dreams, aphorisms, sight gags and linguistic pranks, which are linked to Freudian notions of unconscious associations and verbal and written \"slips,\" evoke the visual puns and word games of Dada and Surrealism. Pervaded with reference to art-making and art history, and responding to the tenets of minimalism, performance and Conceptual Art, his tapes question the very limits of art, and form an irreverent critique of modernist practices. Baldessari playfully compels the viewer to question not only the system under investigation — language, representation, narrative, art-making — but also the tools by which the interrogation is being conducted (photography, video, cinema) as conveyers of truth. Ultimately, Baldessari's idiosyncratic, often absurdist logic questions the very process of perception, from vision and meaning to cognition and knowledge.\nBaldessari was born in 1931 in National City, California. He received a B.A. and an M.A. from San Diego State University, and also studied at U.C. Berkeley, UCLA, Otis Art Institute and Chouinard Art Institute. He was awarded an Honorary Doctorate from San Diego State University in 2003, and in 2004 was elected to the American Academy of Arts and Sciences. The recipient of a Guggenheim Fellowship in 1986 and grants from the National Endowment for the Arts, he was also awarded the Oscar Kokoschka Prize and the California Governor's Award for Lifetime Achievement in the Visual Arts. He has taught at Southwestern University, California; the University of California at San Diego; and the California Institute of the Arts, Valencia.\nHis work has been exhibited internationally in one person shows at the Stedelijk Museum, Amsterdam; Sonnabend Gallery, New York; Museum Folkwang, Essen, Germany; Contemporary Arts Museum, Houston; Santa Barbara Museum of Art, California, and Museo Nacional Centro de Arte Reina Sofía, Madrid, among other institutions; and in group shows at the Contemporary Arts Museum, Houston; Documentas 4,5 and 6, Kassel, Germany; Venice Bienale; Palais des Beaux Arts, Brussels; Everson Museum of Art, Syracuse; The Museum of Modern Art, New York; Kolnischer Kunstverein, Cologne; and the Whitney Museum of American Art Biennial, New York, among others.\nIn 1990, he was the subject of a major retrospective at the Museum of Contemporary Art, Los Angeles, which traveled to numerous sites around the country. In conjunction with this exhibition, a comprehensive catalogue of his work, entitled John Baldessari, was published in 1990.\nIn 2009, his retrospective exhibition John Baldessari: Pure Beauty opened at the Tate Modern in London. It traveled to the Los Angeles County Museum of Art, Los Angeles, and the Metropolitan Museum of Art, New York, in 2010. In 2011 it will travel to Museu d'Art Contemporani de Barcelona, Spain. The retrospective includes a catalogue publication, also entitled Pure Beauty.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nJohn Baldessari in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1931-2020"},{"slug":"baldessari_john_the_meaning_of_various_news_photos_to_ed_henderson_1973","ok":true,"partial":false,"title":"The Meaning of Various News Photos to Ed Henderson","artist":"John Baldessari","year":"1973","startOffset":0,"sourceSecs":773.013,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":52667223,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_the_meaning_of_various_news_photos_to_ed_henderson_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_the_meaning_of_various_news_photos_to_ed_henderson_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldessari_john_the_meaning_of_various_news_photos_to_ed_henderson_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldessari_john_the_meaning_of_various_news_photos_to_ed_henderson_1973/main.mp4?v=2","description":"1973, 15 min, b&w, sound <br/><br/> Writes Baldessari: \"For most of us, photography stands for the truth. But a good artist can make a harder truth by manipulating forms. It fascinates me how I can manipulate the truth so easily by the way I juxtapose opposites or crop the image or take it out of context.\" Here he introduces eight news photos to Ed Henderson — ranging in subject matter from geese at the zoo to an accidental electrocution — and asks him to identify them. Henderson's associative responses suggest the projection of unconscious desires and fears onto these arbitrary images, which are removed from their original contexts. The implied narratives that emerge from the seemingly random juxtapositions and sequences of photographs give rise to questions of manipulation, inference and meaning. -- <a href=\"http://eai.org/title.htm?id=4053\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">John Baldessari in UbuWeb Sound</a></br>","artist_bio":"Six Colorful Tales: From the Emotional Spectrum (Women)\n(1977)\nPeter Kirby - John Baldessari: Some Stories (Documentary)\n(1990)\nA major figure in contemporary art, John Baldessari has been termed \"one of the most influential artists to emerge since the mid-1960s.\" From his phototext canvases of the 1960s to his composite photo collages and installations of the 1980s, Baldessari has contributed to the definition of postmodern art. His ingenious application of certain art-making strategies — including appropriation, deconstruction, decontextualization, sequentiality and text/image juxtaposition — was prescient, as was his cogent and witty integration of semiology, linguistic systems and mass media.\nAs one of the seminal figures in the language-based Conceptual Art movement of the early 1970s, Baldessari produced a series of videotapes in which he conducted ironic investigations into perception, meaning and interpretation. Rendered with deadpan, often absurdist humor, these droll conceptual exercises make use of cultural artifacts, from film stills and magazine photos to art historical in-jokes, as frameworks for irreverent philosophical inquiries into art and knowledge. With a cunning reliance on misrecognition and misinformation, Baldessari uses irony and incongruity to exploit the gap between what is heard, what is seen, and what is understood. His wry investigations of representation and sign systems succeed through strategies such as the ironic juxtaposition of photographic or video images and written or verbal texts; the use of appropriated material and found objects to underscore the embedded meaning of pop cultural genres; the construction of disjunctive narratives and surreal conjunctions from re-contextualized words and images, and the indexing of objects of actions.\nMany of his exercises take the form of parables, allegories, or \"art lessons,\" as Baldessari the performer assumes the role of teacher or storyteller. His fascination with jokes, dreams, aphorisms, sight gags and linguistic pranks, which are linked to Freudian notions of unconscious associations and verbal and written \"slips,\" evoke the visual puns and word games of Dada and Surrealism. Pervaded with reference to art-making and art history, and responding to the tenets of minimalism, performance and Conceptual Art, his tapes question the very limits of art, and form an irreverent critique of modernist practices. Baldessari playfully compels the viewer to question not only the system under investigation — language, representation, narrative, art-making — but also the tools by which the interrogation is being conducted (photography, video, cinema) as conveyers of truth. Ultimately, Baldessari's idiosyncratic, often absurdist logic questions the very process of perception, from vision and meaning to cognition and knowledge.\nBaldessari was born in 1931 in National City, California. He received a B.A. and an M.A. from San Diego State University, and also studied at U.C. Berkeley, UCLA, Otis Art Institute and Chouinard Art Institute. He was awarded an Honorary Doctorate from San Diego State University in 2003, and in 2004 was elected to the American Academy of Arts and Sciences. The recipient of a Guggenheim Fellowship in 1986 and grants from the National Endowment for the Arts, he was also awarded the Oscar Kokoschka Prize and the California Governor's Award for Lifetime Achievement in the Visual Arts. He has taught at Southwestern University, California; the University of California at San Diego; and the California Institute of the Arts, Valencia.\nHis work has been exhibited internationally in one person shows at the Stedelijk Museum, Amsterdam; Sonnabend Gallery, New York; Museum Folkwang, Essen, Germany; Contemporary Arts Museum, Houston; Santa Barbara Museum of Art, California, and Museo Nacional Centro de Arte Reina Sofía, Madrid, among other institutions; and in group shows at the Contemporary Arts Museum, Houston; Documentas 4,5 and 6, Kassel, Germany; Venice Bienale; Palais des Beaux Arts, Brussels; Everson Museum of Art, Syracuse; The Museum of Modern Art, New York; Kolnischer Kunstverein, Cologne; and the Whitney Museum of American Art Biennial, New York, among others.\nIn 1990, he was the subject of a major retrospective at the Museum of Contemporary Art, Los Angeles, which traveled to numerous sites around the country. In conjunction with this exhibition, a comprehensive catalogue of his work, entitled John Baldessari, was published in 1990.\nIn 2009, his retrospective exhibition John Baldessari: Pure Beauty opened at the Tate Modern in London. It traveled to the Los Angeles County Museum of Art, Los Angeles, and the Metropolitan Museum of Art, New York, in 2010. In 2011 it will travel to Museu d'Art Contemporani de Barcelona, Spain. The retrospective includes a catalogue publication, also entitled Pure Beauty.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nJohn Baldessari in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1931-2020"},{"slug":"baldessari_john_thewaywedoartnow_1973","ok":true,"partial":false,"title":"The Way We Do Art Now and Other Sacred Tales (1973)","artist":"John Baldessari","year":"1973","startOffset":0,"sourceSecs":1720.299,"sourceHeight":464,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":298468836,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_thewaywedoartnow_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_thewaywedoartnow_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldessari_john_thewaywedoartnow_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldessari_john_thewaywedoartnow_1973/main.mp4?v=2","description":"The Way We Do Art Now and Other Sacred Tales is a series of parables concerning modes of representation, language and cognition. Often conveyed through conscious misinformation, Baldessari's witty puns and jokes play off the relation of word, image and meaning; the intersection of what is heard or written, what is seen, and what is understood. For example, he shows us an image of a duffel bag and proceeds to describe, in detail, an object bearing no resemblance to a duffel bag, which is eventually revealed to be a stool. In A Sentence with Hidden Meaning, he writes the phrase, \"A sentence with hidden meaning\" on a legal pad, hiding the word \"hidden\" so that it reads, \"A sentence with meaning.\" In The Birth of Abstract Art, Baldessari narrates an apocryphal story of a Roman artist who throws a paintbrush at his sketch of a horse in frustration at his inability to realistically depict the foam in its mouth. The result — the wet paint looks like the foam he has tried to draw — is the perfect synthesis of reality and representation. Baldessari observes dryly that \"This is probably the birth of abstract art.\" While telling the story, he repeatedly launches a wet sponge at a horse drawn on a blackboard. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"baldessari_john_time_temperature_1972_3","ok":true,"partial":false,"title":"Time/Temperature (1972-73)","artist":"John Baldessari","year":"1972-1973","startOffset":0,"sourceSecs":344.597,"sourceHeight":560,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":61552465,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_time_temperature_1972_3/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_time_temperature_1972_3/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldessari_john_time_temperature_1972_3.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldessari_john_time_temperature_1972_3/main.mp4?v=2","description":"The artist as shaman or alchemist proves to be a tedious fraud. In \"Time/Temperature\" (1972Ð73) a small hourglass and thermometer measure properties that are otherwise invisible. Like the camera, these are indexical instruments, but where the camera would ordinarily be taken for granted, these devices seem self-evident. ~~ <a href=\"http://eai.org/title.htm?id=3179\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">John Baldessari in UbuWeb Sound</a></br></br></br>","artist_bio":"Six Colorful Tales: From the Emotional Spectrum (Women)\n(1977)\nPeter Kirby - John Baldessari: Some Stories (Documentary)\n(1990)\nA major figure in contemporary art, John Baldessari has been termed \"one of the most influential artists to emerge since the mid-1960s.\" From his phototext canvases of the 1960s to his composite photo collages and installations of the 1980s, Baldessari has contributed to the definition of postmodern art. His ingenious application of certain art-making strategies — including appropriation, deconstruction, decontextualization, sequentiality and text/image juxtaposition — was prescient, as was his cogent and witty integration of semiology, linguistic systems and mass media.\nAs one of the seminal figures in the language-based Conceptual Art movement of the early 1970s, Baldessari produced a series of videotapes in which he conducted ironic investigations into perception, meaning and interpretation. Rendered with deadpan, often absurdist humor, these droll conceptual exercises make use of cultural artifacts, from film stills and magazine photos to art historical in-jokes, as frameworks for irreverent philosophical inquiries into art and knowledge. With a cunning reliance on misrecognition and misinformation, Baldessari uses irony and incongruity to exploit the gap between what is heard, what is seen, and what is understood. His wry investigations of representation and sign systems succeed through strategies such as the ironic juxtaposition of photographic or video images and written or verbal texts; the use of appropriated material and found objects to underscore the embedded meaning of pop cultural genres; the construction of disjunctive narratives and surreal conjunctions from re-contextualized words and images, and the indexing of objects of actions.\nMany of his exercises take the form of parables, allegories, or \"art lessons,\" as Baldessari the performer assumes the role of teacher or storyteller. His fascination with jokes, dreams, aphorisms, sight gags and linguistic pranks, which are linked to Freudian notions of unconscious associations and verbal and written \"slips,\" evoke the visual puns and word games of Dada and Surrealism. Pervaded with reference to art-making and art history, and responding to the tenets of minimalism, performance and Conceptual Art, his tapes question the very limits of art, and form an irreverent critique of modernist practices. Baldessari playfully compels the viewer to question not only the system under investigation — language, representation, narrative, art-making — but also the tools by which the interrogation is being conducted (photography, video, cinema) as conveyers of truth. Ultimately, Baldessari's idiosyncratic, often absurdist logic questions the very process of perception, from vision and meaning to cognition and knowledge.\nBaldessari was born in 1931 in National City, California. He received a B.A. and an M.A. from San Diego State University, and also studied at U.C. Berkeley, UCLA, Otis Art Institute and Chouinard Art Institute. He was awarded an Honorary Doctorate from San Diego State University in 2003, and in 2004 was elected to the American Academy of Arts and Sciences. The recipient of a Guggenheim Fellowship in 1986 and grants from the National Endowment for the Arts, he was also awarded the Oscar Kokoschka Prize and the California Governor's Award for Lifetime Achievement in the Visual Arts. He has taught at Southwestern University, California; the University of California at San Diego; and the California Institute of the Arts, Valencia.\nHis work has been exhibited internationally in one person shows at the Stedelijk Museum, Amsterdam; Sonnabend Gallery, New York; Museum Folkwang, Essen, Germany; Contemporary Arts Museum, Houston; Santa Barbara Museum of Art, California, and Museo Nacional Centro de Arte Reina Sofía, Madrid, among other institutions; and in group shows at the Contemporary Arts Museum, Houston; Documentas 4,5 and 6, Kassel, Germany; Venice Bienale; Palais des Beaux Arts, Brussels; Everson Museum of Art, Syracuse; The Museum of Modern Art, New York; Kolnischer Kunstverein, Cologne; and the Whitney Museum of American Art Biennial, New York, among others.\nIn 1990, he was the subject of a major retrospective at the Museum of Contemporary Art, Los Angeles, which traveled to numerous sites around the country. In conjunction with this exhibition, a comprehensive catalogue of his work, entitled John Baldessari, was published in 1990.\nIn 2009, his retrospective exhibition John Baldessari: Pure Beauty opened at the Tate Modern in London. It traveled to the Los Angeles County Museum of Art, Los Angeles, and the Metropolitan Museum of Art, New York, in 2010. In 2011 it will travel to Museu d'Art Contemporani de Barcelona, Spain. The retrospective includes a catalogue publication, also entitled Pure Beauty.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nJohn Baldessari in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1931-2020"},{"slug":"baldessari_john_title_1971","ok":true,"partial":false,"title":"Title","artist":"John Baldessari","year":"1972","startOffset":0,"sourceSecs":1151.808,"sourceHeight":560,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":202551325,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_title_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldessari_john_title_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldessari_john_title_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldessari_john_title_1971/main.mp4?v=2","description":"1972, 18:33 min, b&w and color, sound, 16 mm film on video <br/><br/> Baldessari progresses from simple, static images, such as a rock in an empty room, to complex narrative scenes, like a woman eavesdropping on her next-door neighbor. Through the gradual integration of cinematic techniques—motion, color, sound, acting, editing and arc—the artist inverts the traditional Hollywood model, stressing structure over narrative coherence. -- <a href=\"http://eai.org/title.htm?id=14627\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">John Baldessari in UbuWeb Sound</a></br>","artist_bio":"Six Colorful Tales: From the Emotional Spectrum (Women)\n(1977)\nPeter Kirby - John Baldessari: Some Stories (Documentary)\n(1990)\nA major figure in contemporary art, John Baldessari has been termed \"one of the most influential artists to emerge since the mid-1960s.\" From his phototext canvases of the 1960s to his composite photo collages and installations of the 1980s, Baldessari has contributed to the definition of postmodern art. His ingenious application of certain art-making strategies — including appropriation, deconstruction, decontextualization, sequentiality and text/image juxtaposition — was prescient, as was his cogent and witty integration of semiology, linguistic systems and mass media.\nAs one of the seminal figures in the language-based Conceptual Art movement of the early 1970s, Baldessari produced a series of videotapes in which he conducted ironic investigations into perception, meaning and interpretation. Rendered with deadpan, often absurdist humor, these droll conceptual exercises make use of cultural artifacts, from film stills and magazine photos to art historical in-jokes, as frameworks for irreverent philosophical inquiries into art and knowledge. With a cunning reliance on misrecognition and misinformation, Baldessari uses irony and incongruity to exploit the gap between what is heard, what is seen, and what is understood. His wry investigations of representation and sign systems succeed through strategies such as the ironic juxtaposition of photographic or video images and written or verbal texts; the use of appropriated material and found objects to underscore the embedded meaning of pop cultural genres; the construction of disjunctive narratives and surreal conjunctions from re-contextualized words and images, and the indexing of objects of actions.\nMany of his exercises take the form of parables, allegories, or \"art lessons,\" as Baldessari the performer assumes the role of teacher or storyteller. His fascination with jokes, dreams, aphorisms, sight gags and linguistic pranks, which are linked to Freudian notions of unconscious associations and verbal and written \"slips,\" evoke the visual puns and word games of Dada and Surrealism. Pervaded with reference to art-making and art history, and responding to the tenets of minimalism, performance and Conceptual Art, his tapes question the very limits of art, and form an irreverent critique of modernist practices. Baldessari playfully compels the viewer to question not only the system under investigation — language, representation, narrative, art-making — but also the tools by which the interrogation is being conducted (photography, video, cinema) as conveyers of truth. Ultimately, Baldessari's idiosyncratic, often absurdist logic questions the very process of perception, from vision and meaning to cognition and knowledge.\nBaldessari was born in 1931 in National City, California. He received a B.A. and an M.A. from San Diego State University, and also studied at U.C. Berkeley, UCLA, Otis Art Institute and Chouinard Art Institute. He was awarded an Honorary Doctorate from San Diego State University in 2003, and in 2004 was elected to the American Academy of Arts and Sciences. The recipient of a Guggenheim Fellowship in 1986 and grants from the National Endowment for the Arts, he was also awarded the Oscar Kokoschka Prize and the California Governor's Award for Lifetime Achievement in the Visual Arts. He has taught at Southwestern University, California; the University of California at San Diego; and the California Institute of the Arts, Valencia.\nHis work has been exhibited internationally in one person shows at the Stedelijk Museum, Amsterdam; Sonnabend Gallery, New York; Museum Folkwang, Essen, Germany; Contemporary Arts Museum, Houston; Santa Barbara Museum of Art, California, and Museo Nacional Centro de Arte Reina Sofía, Madrid, among other institutions; and in group shows at the Contemporary Arts Museum, Houston; Documentas 4,5 and 6, Kassel, Germany; Venice Bienale; Palais des Beaux Arts, Brussels; Everson Museum of Art, Syracuse; The Museum of Modern Art, New York; Kolnischer Kunstverein, Cologne; and the Whitney Museum of American Art Biennial, New York, among others.\nIn 1990, he was the subject of a major retrospective at the Museum of Contemporary Art, Los Angeles, which traveled to numerous sites around the country. In conjunction with this exhibition, a comprehensive catalogue of his work, entitled John Baldessari, was published in 1990.\nIn 2009, his retrospective exhibition John Baldessari: Pure Beauty opened at the Tate Modern in London. It traveled to the Los Angeles County Museum of Art, Los Angeles, and the Metropolitan Museum of Art, New York, in 2010. In 2011 it will travel to Museu d'Art Contemporani de Barcelona, Spain. The retrospective includes a catalogue publication, also entitled Pure Beauty.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nJohn Baldessari in the UbuWeb Anthology of Conceptual Writing","bio_dates":"1931-2020"},{"slug":"baldwin_craig_mock_up_on_mu_2008","ok":true,"partial":false,"title":"Mock Up on Mu","artist":"Craig Baldwin","year":"2008","startOffset":0,"sourceSecs":6609.311,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1120552562,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldwin_craig_mock_up_on_mu_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldwin_craig_mock_up_on_mu_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldwin_craig_mock_up_on_mu_2008.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldwin_craig_mock_up_on_mu_2008/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldwin_craig_mock_up_on_mu_2008/main/master.m3u8?v=2","hasMainHls":true,"description":"A radical hybrid of spy, sci-fi, Western, and even horror genres, Craig Baldwin's Mock Up On Mu cobbles together a feature-length \"collage-narrative\" based on (mostly) true stories of California's post-War sub-cultures of rocket pioneers, alternative religions, and Beat lifestyles. Pulp-serial snippets, industrial-film imagery, and B- (and Z-) fiction clips are intercut with newly shot live-action material, powering a playful, allegorical trajectory through the now-mythic occult matrix of Jack Parsons (Crowleyite founder of the Jet Propulsion Lab), L.Ron Hubbard (sci-fi author turned cult-leader), and Marjorie Cameron (bohemian artist and \"mother of the New Age movement\"). Their intertwined tales spin out into a speculative farce on the militarization of space, and the corporate take-over of spiritual fulfillment and leisure-time.<br/> <br/> Cast:<br/> Damon Packard as L.Ron Hubbard<br/> Michelle Silva as Marjorie Cameron<br/> Kal Spelletich as Jack Parsons<br/> Stoney Burke as Lockheed Martin<br/> <br/> Year of Production: 2008<br/> Length: 110 mins.<br/> Format: 16mm to DigiBeta<br/> Director, Producer, Writer: Craig Baldwin<br/> Director of Photography: Bill Daniel<br/> Editor: Sylvia Schedelbauer<br/> <br/>\"\"...an allegorical cyclone of images and ideas haunted by sardonic humor and gnostic longing\" Erik Davis, Techgnosis<br/> <br/>\"\"...this new work hits your synapses like a cluster bomb, assailing your tremulous gray matter with a barrage of cinematic fragments (most recycled, some newly shot), miscellaneous rants and ruminations\"––Manohla Dargis of the New York Times<br/> <br/>\"\"...Mock Up on Mu is a modern American myth fashioned from all manner of cultural detritus\"––Jim Hoberman of the Village Voice<br/> <br/>\"\"...Nuclear waste, floating space weapons, cocktail-bar seductions: All blur anarchically with footage and sound from sources ranging from The Brain That Wouldn’t Die to Capricorn One\"––Joshua Rothkopf of Time Out New York<br/> <br/>\"\"...Featuring everything from badass Spaghetti Westerns to seedy Vegas crime thrillers to papier-mâché Z-movie sci-fi extravaganzas, the lifted material forms an alternative U.S. history in which a plot by Hubbard and Martin to colonize space (and employ energy technologies in the service of militarization) is resisted by Parsons and Cameron, who enlist occult magick to fight the power\"––Michael Joshua Rowin of L Mag<br/> <br/>\"\"..an often hilarious, sometimes inscrutable, always original film that’s part pop-cultural fantasia, part capitalist critique\"––New York Magazine<br/> <br/>\"\"MOCK UP ON MU...tells the story what happened with Lockheed Martin, L. Ron Hubbard and the mother of the new age movement all got together in the California desert after World War Two.\"––Nathan Lee , WNYC Audio interview with Richard Hake. click here to listen to the review<br/> <br/>\"\"[N]o one chops and cuts the viscera of our schizoid culture with quite the glee and gusto of Baldwin, and MOCK UP ON MU will send its dazzled, slightly befuddled viewers blinking into the bright sunlight of a subtly altered world.\"–Peter Culley<br/>\"\"In MOCK UP ON MU Baldwin may have found a new method of cinematic storytelling. Don’t expect Hollywood to pick it up soon.\"–David Bordwell","artist_bio":"Rafael Ruiz Balerdi. (San Sebastián, País Vasco, 5 de mayo de 1934 - Altea, Alicante, 11 de marzo de 1992). Pintor español, de estilo abstracto.","bio_dates":"b. 1952"},{"slug":"baldwin_craig_rocketkitkongokit_1985","ok":true,"partial":false,"title":"RocketKitKongoKit (1985)","artist":"Craig Baldwin","year":"1985","startOffset":0,"sourceSecs":1799.214,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":310943964,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldwin_craig_rocketkitkongokit_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldwin_craig_rocketkitkongokit_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldwin_craig_rocketkitkongokit_1985.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldwin_craig_rocketkitkongokit_1985/main.mp4?v=2","description":"This kaleidoscopic, amphetamine-paced tour de force uses a barrage of found-footage images and rapid-fire narration to trace a history of Zaire since its independence in 1960. The CIA, German munitions manufacturers, and American popular culture are all indicted in this comic critique of neo-colonialism. Centering on President Mobutu's lease of 1/10 of the country's total land area to a West German rocket firm, the film explores both the explicit and implicit historical contradictions that this astonishing arrangement poses and is posed by. With sources of imagery ranging from corporate advertising through 50's instructional films to Tarzan flicks, and musical components oscillating between aboriginal sounds and contemporary electronic compositions, a critical irony is established between the several voice-over discourses and an energetic montage of \"found\" visuals. Self-reflexively ordered like a plastic model kit, the film perhaps proposes another, more imaginative model of historiography.<br/><br/> This is the first of Baldwin's imagined histories, or, as he puts it, \"prank documentaries.\" On the surface RocketKitKongoKit is the true story of a German rocket firm leasing land in the Congo (then called \"Zaire\" under Mobutu's reign), for testing rockets. The larger implications, that of Europe's colonial attitude towards Africain the 1960s and the exploitation of its people for a program the Europeans didn't want in their own backyard, is not an entirely inaccurate one. History is, of course, highly malleable, and interpretations of any event can continue for decades – especially with relatively recent and well-documented events. The direct links between the ESA's rocket program and deteriorating conditions in Africa are made more forcefully than would a more conservative historian, and the information is presented with the authority and integrity the documentary form affords.<br/><br/> Of course the film is also quite funny, pairing up news items from the 1960s with schlock science fiction rocket ships blasting to Mars. The result is a kind of pseudo- documentary, in which all of the re-enactments are unconnected to the material presented.<br/><br/> Baldwin is reminded of the spurious documentaries he saw in general cinema release when he was younger. Harald Reini's 1970 film Chariots of the Gods was one such work, in which the lines between the historical artifacts – undeniably extant and available for study – and the fanciful interpretation – enforced by questionable “experts” and wild half-baked theories that connect vague notions – create what appears to be a cogent and irrefutable hypothesis. Reini's and Baldwin's film are each about how human beings process information and the authority of presentations.<br/><br/> Once again, from the director: \"…my project is to liquidate distinctions between official and unofficial history.\" This includes folk history, perceived history, personal history and the extrapolated history of cinema objects retrieved from the archive. The goal is not an authoritative verisimilitude, but rather multiple points of view.","artist_bio":"Rafael Ruiz Balerdi. (San Sebastián, País Vasco, 5 de mayo de 1934 - Altea, Alicante, 11 de marzo de 1992). Pintor español, de estilo abstracto.","bio_dates":"b. 1952"},{"slug":"baldwin_craig_sonic_outlaws_1995_iphone","ok":true,"partial":false,"title":"Sonic Outlaws","artist":"Craig Baldwin","year":"1995","startOffset":0,"sourceSecs":5221.25,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":302990227,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldwin_craig_sonic_outlaws_1995_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldwin_craig_sonic_outlaws_1995_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldwin_craig_sonic_outlaws_1995_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldwin_craig_sonic_outlaws_1995_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldwin_craig_sonic_outlaws_1995_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Within days after the release of Negativland's clever parody of U2 and Casey Kasem, recording industry giant Island Records descended upon the band with a battery of lawyers intent on erasing the piece from the history of rock music. <br/><br/> Craig \"Tribulation 99\" Baldwin follows this and other intellectual property controversies across the contemporary arts scene. Playful and ironic, his cut-and-paste collage-essay surveys the prospects for an \"electronic folk culture\" in the midst of an increasingly commodified corporate media landscape. <br/><br/>\"\"Gleefully Anarchic!\" - Janet Maslin, New York Times <br/><br/>\"\"Baldwin conceptualizes history as a lurid exploitation flick\" - J. Hoberman, Village Voice <br/><br/>\"\"Our sense of the shape of creativity and of originality must always be in question if we are to flourish. Sonic Outlaws does precisely that.\" - Chris Chang, Film Comment","artist_bio":"Rafael Ruiz Balerdi. (San Sebastián, País Vasco, 5 de mayo de 1934 - Altea, Alicante, 11 de marzo de 1992). Pintor español, de estilo abstracto.","bio_dates":"b. 1952"},{"slug":"baldwin_craig_trubulation_99_iphone","ok":true,"partial":false,"title":"Trubulation 99","artist":"Craig Baldwin","year":"1991","startOffset":0,"sourceSecs":2868.71,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":166754035,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldwin_craig_trubulation_99_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldwin_craig_trubulation_99_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldwin_craig_trubulation_99_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldwin_craig_trubulation_99_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldwin_craig_trubulation_99_iphone/main/master.m3u8?v=2","hasMainHls":true},{"slug":"baldwin_craig_wild_gunman_1978","ok":true,"partial":false,"title":"Wild Gunman","artist":"Craig Baldwin","year":"1978","startOffset":0,"sourceSecs":1164.463,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":204445860,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldwin_craig_wild_gunman_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baldwin_craig_wild_gunman_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baldwin_craig_wild_gunman_1978.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldwin_craig_wild_gunman_1978/main.mp4?v=2","description":"This film is a meditation on the Marlboro Man, a compilation of images and associations designed to deconstruct this image of masculinity and consumer addiction. Not only the Man himself, but the entire myth of the cowboy and the West are its targets. <br/><br/> The film veers from heavily-manipulated optical printer work to straight advertising footage from commercials and B-movies. Though there is no “history” (which is the basis for his subsequent films) the style that characterises all his work is firmly in place. The combination of social satire/deconstruction and recovered film images is used as a detournement – a Situationist attack against the oppression of corporate advertising.","artist_bio":"Rafael Ruiz Balerdi. (San Sebastián, País Vasco, 5 de mayo de 1934 - Altea, Alicante, 11 de marzo de 1992). Pintor español, de estilo abstracto.","bio_dates":"b. 1952"},{"slug":"balerdi_rafael_ruiz_homenaje_a_tarzan_1970","ok":true,"partial":false,"title":"Homenaje a tarzan","artist":"Rafael Ruiz Balerdi","year":"1970","startOffset":0,"sourceSecs":268.715,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":47496440,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/balerdi_rafael_ruiz_homenaje_a_tarzan_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/balerdi_rafael_ruiz_homenaje_a_tarzan_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/balerdi_rafael_ruiz_homenaje_a_tarzan_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/balerdi_rafael_ruiz_homenaje_a_tarzan_1970/main.mp4?v=2","description":"After visiting the Gure Artea show last Friday I went to Galería Carreras Mugica to see an exhibition entitled: Balerdi. Homage to Tarzan, chapter 1: the unwitting hunter, curated by one of the artists selected for the Gure Artea prize, Asier Mendizabal. On show are works by the Basque artist Rafael Ruiz Balerdi 1934-1992. Balerdi is an extraordinary painter (unfortunately, little known outside Spain) and here I had the privilege of seeing an experimental film completed in 1969, which is the central piece in this exhibition. The film is a 16mm copy from the collection of the Filmoteca Española. Balerdi selected parts of a Tarzan film and traced them by hand, frame by frame directly onto celluloid. The result is a kind of dynamic animated drawing in black, white and grey in a fluid state of continual mutation and transformation. Through the specific and evident materiality of the medium of film itself, there is a constant shifting between representation and abstraction. The original Tarzan soundtrack is also maintained and lends a trance like rhythm to the images. Balerdi drew compulsively and this experimental film was an extension of this activity; taking gesture and repetition into a new realm. In the front space of the gallery a selection of wonderful drawings complements the film. There are few artists who embody so well the idea of FLOW developed by the French thinker Gilles Deleuze and although his interest in aspects of transcendental mysticism might seem unpalatable or even naïve for contemporary sensibilities it led him, indirectly, to bypass certain other concerns among his contemporaries and work with much greater liberty and directness. As a painter I feel a definite connection to his work. Credit to Asier Mendizabal for organizing this exhibition which shows that Balerdi is totally relevant today and absolutely contemporary. -- Patrick Fitzgerald<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Rafael Ruiz Balerdiin UbuWeb Sound</a>","artist_bio":"Rafael Ruiz Balerdi. (San Sebastián, País Vasco, 5 de mayo de 1934 - Altea, Alicante, 11 de marzo de 1992). Pintor español, de estilo abstracto.","bio_dates":"1934-92"},{"slug":"ballard_jg_cokeliss_harley_crash_1971","ok":true,"partial":false,"title":"Crash!","artist":"J.G. Ballard","year":"1971","startOffset":0,"sourceSecs":1061.436,"sourceHeight":720,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":475664205,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_jg_cokeliss_harley_crash_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_jg_cokeliss_harley_crash_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ballard_jg_cokeliss_harley_crash_1971.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_jg_cokeliss_harley_crash_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_jg_cokeliss_harley_crash_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"A surreal, moody short about the fetishization of automobiles and auto accidents. <br/> Dir: Harley Cokeliss <br/><br/> Short film produced by the BBC about JG Ballard’s Crash. “The film was a product of the most experimental, darkest phase of Ballard’s career. It was an era of psychological blowback from the sudden, shocking death of his wife in 1964, an era that had produced the cut-up ‘condensed novels’ of Atrocity plus a series of strange collages and ‘advertisers’ announcements’. […] After Freud’s exploration within the psyche it is now the outer world of reality which must be quantified and eroticised.’ Later there were further literary experiments, concrete poems and ‘impressionistic’ film reviews, and an aborted multimedia theatrical play based around car crashes. After that came an actual gallery exhibition of crashed cars, replete with strippers and the drunken destruction of the ‘exhibits’ by an enraged audience.” <br/><br/> The San Diego-born (but London educated) Harley Cokeliss directed a version of his own in ‘71. <br/><br/> Since Crash, the novel, was still two years down the road, Cokeliss based the film on some fragments found in Ballard’s Atrocity Exhibition. And, perhaps even more suited to the role than James Spader, Ballard himself starred as the film’s lead.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">J.G. Ballard in UbuWeb Sound</a>","artist_bio":"James Graham Ballard (15 November 1930–19 April 2009) was an English novelist, short story writer, and prominent member of the New Wave movement in science fiction. His best-known books are Crash (1973), adapted into a film by David Cronenberg, and the semi-autobiographical Empire of the Sun (1984), made into a film by Steven Spielberg, based on Ballard's boyhood in the International Settlement and internment by the Japanese Imperial Army during the Second World War.\nThe literary distinctiveness of his work has given rise to the adjective \"Ballardian\", defined by the Collins English Dictionary as \"resembling or suggestive of the conditions described in J. G. Ballard’s novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments.\"\nBallard was diagnosed with prostate cancer in June 2006, from which he died in London in April 2009.\nIn 2008, The Times included Ballard on its list of \"The 50 greatest British writers since 1945\".","bio_dates":"1930-2009"},{"slug":"ballard_jg_profile_2003","ok":true,"partial":false,"title":"Profile: J.G. Ballard","artist":"J.G. Ballard","year":"2003","startOffset":0,"sourceSecs":2190.76,"sourceHeight":464,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":380072367,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_jg_profile_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_jg_profile_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ballard_jg_profile_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_jg_profile_2003/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_jg_profile_2003/main/master.m3u8?v=2","hasMainHls":true,"description":"BBC FOUR's Sci-Fi Britannia season continues with an interview with JG Ballard. Overlooking a Ballardian landscape of a giant reservoir under a sky of aircraft on their final-approach flightpaths, writer JG Ballard talks to critic Tom Sutcliffe about his life and work.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">J.G. Ballard in UbuWeb Sound</a>","artist_bio":"James Graham Ballard (15 November 1930–19 April 2009) was an English novelist, short story writer, and prominent member of the New Wave movement in science fiction. His best-known books are Crash (1973), adapted into a film by David Cronenberg, and the semi-autobiographical Empire of the Sun (1984), made into a film by Steven Spielberg, based on Ballard's boyhood in the International Settlement and internment by the Japanese Imperial Army during the Second World War.\nThe literary distinctiveness of his work has given rise to the adjective \"Ballardian\", defined by the Collins English Dictionary as \"resembling or suggestive of the conditions described in J. G. Ballard’s novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments.\"\nBallard was diagnosed with prostate cancer in June 2006, from which he died in London in April 2009.\nIn 2008, The Times included Ballard on its list of \"The 50 greatest British writers since 1945\".","bio_dates":"1930-2009"},{"slug":"ballard_jg_shanghai_jim","ok":true,"partial":false,"title":"Shanghai Jim","artist":"J.G. Ballard","year":"1991","startOffset":0,"sourceSecs":2831.04,"sourceHeight":320,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":168472817,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_jg_shanghai_jim/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_jg_shanghai_jim/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ballard_jg_shanghai_jim.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_jg_shanghai_jim/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_jg_shanghai_jim/main/master.m3u8?v=2","hasMainHls":true,"description":"Following J.G. Ballard from Shepperton to Shanghai and back, looking at the scenes of his life which inspired his autobiographical novels. This is a BBC original production which aired in 1991, directed by James Runcie. It chronicles J.G. Ballard's first trip to Shanghai after he first left it in 1946. He discusses his ilfe and his work especially his two autobiographical novels, _Empire of the Sun_ and _The Kindness of Women_. There are also bits there about _Crash_ and _Vermilion Sands_. A must for any J.G. Ballard fan. <br/><br/> Quality is far from perfect as this is a VHS rip<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">J.G. Ballardin UbuWeb Sound</a>","artist_bio":"James Graham Ballard (15 November 1930–19 April 2009) was an English novelist, short story writer, and prominent member of the New Wave movement in science fiction. His best-known books are Crash (1973), adapted into a film by David Cronenberg, and the semi-autobiographical Empire of the Sun (1984), made into a film by Steven Spielberg, based on Ballard's boyhood in the International Settlement and internment by the Japanese Imperial Army during the Second World War.\nThe literary distinctiveness of his work has given rise to the adjective \"Ballardian\", defined by the Collins English Dictionary as \"resembling or suggestive of the conditions described in J. G. Ballard’s novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments.\"\nBallard was diagnosed with prostate cancer in June 2006, from which he died in London in April 2009.\nIn 2008, The Times included Ballard on its list of \"The 50 greatest British writers since 1945\".","bio_dates":"1930-2009"},{"slug":"ballard_jg_south_bank_show_2006","ok":true,"partial":false,"title":"The South Bank Show: J.G. Ballard","artist":"J.G. Ballard","year":"2006","startOffset":0,"sourceSecs":2955.88,"sourceHeight":416,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":174888135,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_jg_south_bank_show_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_jg_south_bank_show_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ballard_jg_south_bank_show_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_jg_south_bank_show_2006/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_jg_south_bank_show_2006/main/master.m3u8?v=2","hasMainHls":true,"description":"Melvyn Bragg and Ballard discuss his experiences as a medical student (encouraging everyone to spend some time studying anatomy), through to his discovery of science fiction.<br/><br/> Ballard talks about the influence of the Surrealist painters on his early novels, which all dealt with natural catastrophe (The Drowned World, The Crystal World, The Drought) and the death of his wife and the effect this had on his fiction.<br/><br/> They talk also about Crash, Ballard's most controversial novel, which inspired one publisher's reader to write \"This author is beyond psychiatric help. Do not publish\" - which Ballard took as a huge compliment!<br/><br/> Ballard in turn talks about the obsessions that have distinguished his fiction since he first started writing, the nature of his \"cautionary tales\" and his new book, Kingdom Come.<br/><br/> Contributors include long-time Ballard fans Will Self, Iain Sinclair and Martin Amis, with Self claiming that Ballard is \"this country's most significant post-war novelist.\"<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">J.G. Ballard in UbuWeb Sound</a>","artist_bio":"James Graham Ballard (15 November 1930–19 April 2009) was an English novelist, short story writer, and prominent member of the New Wave movement in science fiction. His best-known books are Crash (1973), adapted into a film by David Cronenberg, and the semi-autobiographical Empire of the Sun (1984), made into a film by Steven Spielberg, based on Ballard's boyhood in the International Settlement and internment by the Japanese Imperial Army during the Second World War.\nThe literary distinctiveness of his work has given rise to the adjective \"Ballardian\", defined by the Collins English Dictionary as \"resembling or suggestive of the conditions described in J. G. Ballard’s novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments.\"\nBallard was diagnosed with prostate cancer in June 2006, from which he died in London in April 2009.\nIn 2008, The Times included Ballard on its list of \"The 50 greatest British writers since 1945\".","bio_dates":"1930-2009"},{"slug":"ballard_jg_writers_in_conversation_1985","ok":true,"partial":false,"title":"Writers in Conversation: J.G. Ballard","artist":"J.G. Ballard","year":"1985","startOffset":0,"sourceSecs":2602.503,"sourceHeight":320,"sourceWidth":432,"hasAudio":true,"hasAmbientMp4":true,"bytes":155283304,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_jg_writers_in_conversation_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_jg_writers_in_conversation_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ballard_jg_writers_in_conversation_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_jg_writers_in_conversation_1985/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_jg_writers_in_conversation_1985/main/master.m3u8?v=2","hasMainHls":true,"description":"An interview and audience Q&A with Ballard during his promotion of EMPIRE OF THE SUN.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">J.G. Ballard in UbuWeb Sound</a>","artist_bio":"James Graham Ballard (15 November 1930–19 April 2009) was an English novelist, short story writer, and prominent member of the New Wave movement in science fiction. His best-known books are Crash (1973), adapted into a film by David Cronenberg, and the semi-autobiographical Empire of the Sun (1984), made into a film by Steven Spielberg, based on Ballard's boyhood in the International Settlement and internment by the Japanese Imperial Army during the Second World War.\nThe literary distinctiveness of his work has given rise to the adjective \"Ballardian\", defined by the Collins English Dictionary as \"resembling or suggestive of the conditions described in J. G. Ballard’s novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments.\"\nBallard was diagnosed with prostate cancer in June 2006, from which he died in London in April 2009.\nIn 2008, The Times included Ballard on its list of \"The 50 greatest British writers since 1945\".","bio_dates":"1930-2009"},{"slug":"ballard_moving_pictures_chris_petit_on_jg_ballard","ok":true,"partial":false,"title":"Moving Pictures - Chris Petit on JG Ballard","artist":"J.G. Ballard","year":"1990","startOffset":0,"sourceSecs":788.132,"sourceHeight":480,"sourceWidth":658,"hasAudio":true,"hasAmbientMp4":true,"bytes":131339763,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_moving_pictures_chris_petit_on_jg_ballard/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ballard_moving_pictures_chris_petit_on_jg_ballard/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ballard_moving_pictures_chris_petit_on_jg_ballard.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ballard_moving_pictures_chris_petit_on_jg_ballard/main.mp4?v=2","description":"Filmmaker Chris Petit looks at the work of author JG Ballard and asks why he ad (up to this time) been mostly ignored by British Cinema. From 13th October 1990.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">J.G. Ballard in UbuWeb Sound</a>","artist_bio":"James Graham Ballard (15 November 1930–19 April 2009) was an English novelist, short story writer, and prominent member of the New Wave movement in science fiction. His best-known books are Crash (1973), adapted into a film by David Cronenberg, and the semi-autobiographical Empire of the Sun (1984), made into a film by Steven Spielberg, based on Ballard's boyhood in the International Settlement and internment by the Japanese Imperial Army during the Second World War.\nThe literary distinctiveness of his work has given rise to the adjective \"Ballardian\", defined by the Collins English Dictionary as \"resembling or suggestive of the conditions described in J. G. Ballard’s novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments.\"\nBallard was diagnosed with prostate cancer in June 2006, from which he died in London in April 2009.\nIn 2008, The Times included Ballard on its list of \"The 50 greatest British writers since 1945\".","bio_dates":"1930-2009"},{"slug":"banksy_paris_hilton","ok":true,"partial":false,"title":"The Punking of Paris Hilton","artist":"Bansky","year":"2006","startOffset":0,"sourceSecs":202.219,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":14344686,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/banksy_paris_hilton/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/banksy_paris_hilton/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/banksy_paris_hilton.mp4","hasFrames":true,"description":"Hundreds of Paris Hilton albums have been tampered with in the latest stunt by \"guerrilla artist\" Banksy. Banksy has replaced Hilton's CD with his own remixes and given them titles such as <i>Why am I Famous?, What Have I Done?</i> and <i>What Am I For?</i> He has also changed pictures of her on the CD sleeve to show the US socialite topless and with a dog's head. A spokeswoman for Banksy said he had doctored 500 copies of her debut album Paris in 48 record shops across the UK. She told the BBC News website: \"He switched the CDs in store, so he took the old ones out and put his version in.\"<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Banskyin UbuWeb Sound</a>","artist_bio":"Banksy is a pseudonymous United Kingdom-based graffiti artist, political activist, film director, and painter.\nHis satirical street art and subversive epigrams combine dark humour with graffiti executed in a distinctive stencilling technique. Such artistic works of political and social commentary have been featured on streets, walls, and bridges of cities throughout the world.\nBanksy's work was made up of the Bristol underground scene which involved collaborations between artists and musicians. According to author and graphic designer Tristan Manco and the book Home Sweet Home, Banksy \"was born in 1974 and raised in Bristol, England. The son of a photocopier technician, he trained as a butcher, but became involved in graffiti during the great Bristol aerosol boom of the late 1980s.\" Observers have noted that his style is similar to Blek le Rat, who began to work with stencils in 1981 in Paris. Banksy says that he was inspired by \"3D\", a graffiti artist who later became a founding member of Massive Attack.\nKnown for his contempt for the government in labelling graffiti as vandalism, Banksy displays his art on publicly visible surfaces such as walls, even going as far as to build physical prop pieces. Banksy does not sell photographs or reproductions of his street graffiti, but art auctioneers have been known to attempt to sell his street art on location and leave the problem of its removal in the hands of the winning bidder. Banksy's first film, Exit Through the Gift Shop, billed as \"the world's first street art disaster movie\", made its debut at the 2010 Sundance Film Festival. The film was released in the UK on 5 March 2010. In January 2011, he was nominated for the Academy Award for Best Documentary for the film. In 2014, he was awarded person of year at the 2014 Webby Awards.","bio_dates":"2006"},{"slug":"baran_piotor_massdart_98_1998","ok":true,"partial":false,"title":"Massdart 98","artist":"Piotr Baran","year":"1998","startOffset":0,"sourceSecs":3417,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":579146652,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baran_piotor_massdart_98_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baran_piotor_massdart_98_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baran_piotor_massdart_98_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baran_piotor_massdart_98_1998/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baran_piotor_massdart_98_1998/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"baranowsky_heike_passage_1998","ok":true,"partial":false,"title":"Passage 1","artist":"Heike Baranowsky","year":"1998","startOffset":0,"sourceSecs":376.36,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":62982115,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baranowsky_heike_passage_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baranowsky_heike_passage_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baranowsky_heike_passage_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baranowsky_heike_passage_1998/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1966"},{"slug":"bardou_benjamin_paris_captial_of_the_19th_century_2010","ok":true,"partial":false,"title":"Paris, Capital of 19th Century","artist":"Walter Benjamin","year":"2010","startOffset":0,"sourceSecs":595,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":244926797,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bardou_benjamin_paris_captial_of_the_19th_century_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bardou_benjamin_paris_captial_of_the_19th_century_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bardou_benjamin_paris_captial_of_the_19th_century_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bardou_benjamin_paris_captial_of_the_19th_century_2010/main.mp4?v=2","description":"An essay/experimental film about the Passagen-Werk by Benjamin Bardou.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/benjamin.html\" rel=\"noopener\" target=\"_blank\">Walter Benjamin on UbuWeb Sound</a></br>","artist_bio":"One Way Street: Fragments for Walter Benjamin\n(1993), dir. John Hughes\nFlâneur III: Benjamin’s Shadow\n(1998), dir. Torben Skjodt Jensen\nParis, Capital of 19th Century, an essay/experimental film about the Passagen-Werk by Benjamin Bardou\n(2010)\nThe Passages of Walter Benjamin (2014)\n, dir. Judith Weschler\nWalter Bendix Schönflies Benjamin (15 July 1892 – 26 September 1940) was a German-Jewish intellectual, who functioned variously as a literary critic, philosopher, sociologist, translator, radio broadcaster and essayist. His work, combining elements of historical materialism, German idealism and Jewish mysticism, has made enduring and influential contributions to aesthetic theory and Western Marxism, and has sometimes been associated with the Frankfurt School of critical theory. As a literary critic, among his major works are essays on Goethe's novel Elective Affinities; the work of Franz Kafka; translation theory; the stories of Nikolai Leskov; the work of Marcel Proust and perhaps most significantly, the poetry of Charles Baudelaire. He also made major translations into German of the Tableaux Parisiens section of Baudelaire's Les Fleurs du mal and parts of Proust's À la recherche du temps perdu.\nHis turn to Marxism in the 1930s was partly due to the influence of Bertolt Brecht, whose critical aesthetics developed epic theatre and its Verfremdungseffekt (defamiliarisation, alienation). An earlier influence was friend Gershom Scholem, founder of the academic study of the Kabbalah and of Jewish mysticism.\nInfluenced by the Swiss anthropologist Johann Jakob Bachofen (1815–87), Walter Benjamin coined the term “auratic perception”, denoting the aesthetic faculty by means of which civilization may recover an appreciation of myth.[2] Benjamin's work is often cited in academic and literary studies, especially the essays \"The Task of the Translator\" (1923) and \"The Work of Art in the Age of Mechanical Reproduction\" (1936). -- Wikipedia","bio_dates":"1892-1940"},{"slug":"bargellini_piero_fractions_of_temporary_periods_1965_68","ok":true,"partial":false,"title":"Fractions Of Temporary Periods, (I PARTE 1965-1968 E II PARTE 1969)","artist":"Piero Bargellini","year":"1965-1968","startOffset":0,"sourceSecs":2520.171,"sourceHeight":368,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":150555677,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_fractions_of_temporary_periods_1965_68/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_fractions_of_temporary_periods_1965_68/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bargellini_piero_fractions_of_temporary_periods_1965_68.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bargellini_piero_fractions_of_temporary_periods_1965_68/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bargellini_piero_fractions_of_temporary_periods_1965_68/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Piero Bargelliniin UbuWeb Sound</a>","artist_bio":"Piero Bargellini was born in Arezzo in 1940. An agronomist, film lover and amateur filmmaker, he joined the “Cinema Indipendente” Cooperative in 1968 and became one of the most important figures of Italian underground cinema. His films are intensely poetic and reflect artisanal wisdom, based on his scientific knowledge of optics and chemistry. He made films like Morte all'orecchio di Van Gogh, Fractions of Temporary Periods, Trasferimento di modulazione, Gasoline, Stricnina, between 1966 and 1973, in a total identity of art and life. These works tell “the history, in its own way exemplary, of one of the secret protagonists, and of the famous victims, of the revolution of 1968.” Ideally conceived as a dialectic interface between the Italian Competition and Detours, this tribute (curated by Fulvio Baglivi with the help of Adriano Aprà) is also the way we have chosen to remember Marco Melani on the tenth anniversary of his death. Marco, who was a friend and collaborator of Bargellini’s, and who continues to be our inspiration and a \"hidden\" prompter, organized for the first festival in Torino (1982) a commemoration of his friend, who had recently passed away. His intent was to remove the label of “experimental”: “his cinema was cinema tout court, like that of Rossellini, Hawks, Bertolucci, Schifano, Brakhage and all the other filmmakers he loved.”\n\"\"Trasferimento di modulazione\" is impressing in its special way. It's a porn movie left in an early stage of developement. The colors and blots you will see are \"not actually there\", they are the effects of the reaction of the projector's light with the salts on the film. Obviously, a film like this changes and dies away a little at every show. So what you're seeing is a three-dimensional slice (widht-height-time of the movie) of a four-dimensional movie (width-height-time of the movie-time of the consuption).","bio_dates":"1940-1982"},{"slug":"bargellini_piero_morte_allorecchio_di_van_gogh_1968_iphone","ok":true,"partial":false,"title":"Morte All'orecchio Di Van Gogh","artist":"Piero Bargellini","year":"1968","startOffset":0,"sourceSecs":3692.226,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":215682937,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_morte_allorecchio_di_van_gogh_1968_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_morte_allorecchio_di_van_gogh_1968_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bargellini_piero_morte_allorecchio_di_van_gogh_1968_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bargellini_piero_morte_allorecchio_di_van_gogh_1968_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bargellini_piero_morte_allorecchio_di_van_gogh_1968_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Piero Bargelliniin UbuWeb Sound</a>","artist_bio":"Piero Bargellini was born in Arezzo in 1940. An agronomist, film lover and amateur filmmaker, he joined the “Cinema Indipendente” Cooperative in 1968 and became one of the most important figures of Italian underground cinema. His films are intensely poetic and reflect artisanal wisdom, based on his scientific knowledge of optics and chemistry. He made films like Morte all'orecchio di Van Gogh, Fractions of Temporary Periods, Trasferimento di modulazione, Gasoline, Stricnina, between 1966 and 1973, in a total identity of art and life. These works tell “the history, in its own way exemplary, of one of the secret protagonists, and of the famous victims, of the revolution of 1968.” Ideally conceived as a dialectic interface between the Italian Competition and Detours, this tribute (curated by Fulvio Baglivi with the help of Adriano Aprà) is also the way we have chosen to remember Marco Melani on the tenth anniversary of his death. Marco, who was a friend and collaborator of Bargellini’s, and who continues to be our inspiration and a \"hidden\" prompter, organized for the first festival in Torino (1982) a commemoration of his friend, who had recently passed away. His intent was to remove the label of “experimental”: “his cinema was cinema tout court, like that of Rossellini, Hawks, Bertolucci, Schifano, Brakhage and all the other filmmakers he loved.”\n\"\"Trasferimento di modulazione\" is impressing in its special way. It's a porn movie left in an early stage of developement. The colors and blots you will see are \"not actually there\", they are the effects of the reaction of the projector's light with the salts on the film. Obviously, a film like this changes and dies away a little at every show. So what you're seeing is a three-dimensional slice (widht-height-time of the movie) of a four-dimensional movie (width-height-time of the movie-time of the consuption).","bio_dates":"1940-1982"},{"slug":"bargellini_piero_nelda_1969","ok":true,"partial":false,"title":"Nelda","artist":"Piero Bargellini","year":"1969","startOffset":0,"sourceSecs":249.173,"sourceHeight":400,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":17617567,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_nelda_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_nelda_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bargellini_piero_nelda_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bargellini_piero_nelda_1969/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Piero Bargelliniin UbuWeb Sound</a>","artist_bio":"Piero Bargellini was born in Arezzo in 1940. An agronomist, film lover and amateur filmmaker, he joined the “Cinema Indipendente” Cooperative in 1968 and became one of the most important figures of Italian underground cinema. His films are intensely poetic and reflect artisanal wisdom, based on his scientific knowledge of optics and chemistry. He made films like Morte all'orecchio di Van Gogh, Fractions of Temporary Periods, Trasferimento di modulazione, Gasoline, Stricnina, between 1966 and 1973, in a total identity of art and life. These works tell “the history, in its own way exemplary, of one of the secret protagonists, and of the famous victims, of the revolution of 1968.” Ideally conceived as a dialectic interface between the Italian Competition and Detours, this tribute (curated by Fulvio Baglivi with the help of Adriano Aprà) is also the way we have chosen to remember Marco Melani on the tenth anniversary of his death. Marco, who was a friend and collaborator of Bargellini’s, and who continues to be our inspiration and a \"hidden\" prompter, organized for the first festival in Torino (1982) a commemoration of his friend, who had recently passed away. His intent was to remove the label of “experimental”: “his cinema was cinema tout court, like that of Rossellini, Hawks, Bertolucci, Schifano, Brakhage and all the other filmmakers he loved.”\n\"\"Trasferimento di modulazione\" is impressing in its special way. It's a porn movie left in an early stage of developement. The colors and blots you will see are \"not actually there\", they are the effects of the reaction of the projector's light with the salts on the film. Obviously, a film like this changes and dies away a little at every show. So what you're seeing is a three-dimensional slice (widht-height-time of the movie) of a four-dimensional movie (width-height-time of the movie-time of the consuption).","bio_dates":"1940-1982"},{"slug":"bargellini_piero_stricnina_1970","ok":true,"partial":false,"title":"Stricnina","artist":"Piero Bargellini","year":"1969-1973","startOffset":0,"sourceSecs":405.056,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":28445512,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_stricnina_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_stricnina_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bargellini_piero_stricnina_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bargellini_piero_stricnina_1970/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Piero Bargelliniin UbuWeb Sound</a>","artist_bio":"Piero Bargellini was born in Arezzo in 1940. An agronomist, film lover and amateur filmmaker, he joined the “Cinema Indipendente” Cooperative in 1968 and became one of the most important figures of Italian underground cinema. His films are intensely poetic and reflect artisanal wisdom, based on his scientific knowledge of optics and chemistry. He made films like Morte all'orecchio di Van Gogh, Fractions of Temporary Periods, Trasferimento di modulazione, Gasoline, Stricnina, between 1966 and 1973, in a total identity of art and life. These works tell “the history, in its own way exemplary, of one of the secret protagonists, and of the famous victims, of the revolution of 1968.” Ideally conceived as a dialectic interface between the Italian Competition and Detours, this tribute (curated by Fulvio Baglivi with the help of Adriano Aprà) is also the way we have chosen to remember Marco Melani on the tenth anniversary of his death. Marco, who was a friend and collaborator of Bargellini’s, and who continues to be our inspiration and a \"hidden\" prompter, organized for the first festival in Torino (1982) a commemoration of his friend, who had recently passed away. His intent was to remove the label of “experimental”: “his cinema was cinema tout court, like that of Rossellini, Hawks, Bertolucci, Schifano, Brakhage and all the other filmmakers he loved.”\n\"\"Trasferimento di modulazione\" is impressing in its special way. It's a porn movie left in an early stage of developement. The colors and blots you will see are \"not actually there\", they are the effects of the reaction of the projector's light with the salts on the film. Obviously, a film like this changes and dies away a little at every show. So what you're seeing is a three-dimensional slice (widht-height-time of the movie) of a four-dimensional movie (width-height-time of the movie-time of the consuption).","bio_dates":"1940-1982"},{"slug":"bargellini_piero_trasferimento_di_modulazione_1969","ok":true,"partial":false,"title":"Trasferimento di Modulazione","artist":"Piero Bargellini","year":"1969","startOffset":0,"sourceSecs":466.453,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":32758119,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_trasferimento_di_modulazione_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_trasferimento_di_modulazione_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bargellini_piero_trasferimento_di_modulazione_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bargellini_piero_trasferimento_di_modulazione_1969/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Piero Bargelliniin UbuWeb Sound</a>","artist_bio":"Piero Bargellini was born in Arezzo in 1940. An agronomist, film lover and amateur filmmaker, he joined the “Cinema Indipendente” Cooperative in 1968 and became one of the most important figures of Italian underground cinema. His films are intensely poetic and reflect artisanal wisdom, based on his scientific knowledge of optics and chemistry. He made films like Morte all'orecchio di Van Gogh, Fractions of Temporary Periods, Trasferimento di modulazione, Gasoline, Stricnina, between 1966 and 1973, in a total identity of art and life. These works tell “the history, in its own way exemplary, of one of the secret protagonists, and of the famous victims, of the revolution of 1968.” Ideally conceived as a dialectic interface between the Italian Competition and Detours, this tribute (curated by Fulvio Baglivi with the help of Adriano Aprà) is also the way we have chosen to remember Marco Melani on the tenth anniversary of his death. Marco, who was a friend and collaborator of Bargellini’s, and who continues to be our inspiration and a \"hidden\" prompter, organized for the first festival in Torino (1982) a commemoration of his friend, who had recently passed away. His intent was to remove the label of “experimental”: “his cinema was cinema tout court, like that of Rossellini, Hawks, Bertolucci, Schifano, Brakhage and all the other filmmakers he loved.”\n\"\"Trasferimento di modulazione\" is impressing in its special way. It's a porn movie left in an early stage of developement. The colors and blots you will see are \"not actually there\", they are the effects of the reaction of the projector's light with the salts on the film. Obviously, a film like this changes and dies away a little at every show. So what you're seeing is a three-dimensional slice (widht-height-time of the movie) of a four-dimensional movie (width-height-time of the movie-time of the consuption).","bio_dates":"1940-1982"},{"slug":"bargellini_piero_vi_prego_di_accettare_questo_semplice","ok":true,"partial":false,"title":"Vi prego di accettare questo semplice...","artist":"Piero Bargellini","year":"1966","startOffset":0,"sourceSecs":930.197,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":61185282,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_vi_prego_di_accettare_questo_semplice/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bargellini_piero_vi_prego_di_accettare_questo_semplice/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bargellini_piero_vi_prego_di_accettare_questo_semplice.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bargellini_piero_vi_prego_di_accettare_questo_semplice/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Piero Bargelliniin UbuWeb Sound</a>","artist_bio":"Piero Bargellini was born in Arezzo in 1940. An agronomist, film lover and amateur filmmaker, he joined the “Cinema Indipendente” Cooperative in 1968 and became one of the most important figures of Italian underground cinema. His films are intensely poetic and reflect artisanal wisdom, based on his scientific knowledge of optics and chemistry. He made films like Morte all'orecchio di Van Gogh, Fractions of Temporary Periods, Trasferimento di modulazione, Gasoline, Stricnina, between 1966 and 1973, in a total identity of art and life. These works tell “the history, in its own way exemplary, of one of the secret protagonists, and of the famous victims, of the revolution of 1968.” Ideally conceived as a dialectic interface between the Italian Competition and Detours, this tribute (curated by Fulvio Baglivi with the help of Adriano Aprà) is also the way we have chosen to remember Marco Melani on the tenth anniversary of his death. Marco, who was a friend and collaborator of Bargellini’s, and who continues to be our inspiration and a \"hidden\" prompter, organized for the first festival in Torino (1982) a commemoration of his friend, who had recently passed away. His intent was to remove the label of “experimental”: “his cinema was cinema tout court, like that of Rossellini, Hawks, Bertolucci, Schifano, Brakhage and all the other filmmakers he loved.”\n\"\"Trasferimento di modulazione\" is impressing in its special way. It's a porn movie left in an early stage of developement. The colors and blots you will see are \"not actually there\", they are the effects of the reaction of the projector's light with the salts on the film. Obviously, a film like this changes and dies away a little at every show. So what you're seeing is a three-dimensional slice (widht-height-time of the movie) of a four-dimensional movie (width-height-time of the movie-time of the consuption).","bio_dates":"1940-1982"},{"slug":"barlow_roger_even_as_you_and_i_1937","ok":true,"partial":false,"title":"Even As You and I","artist":"Roger Barlow","year":"1937","startOffset":0,"sourceSecs":734.869,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":49697529,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barlow_roger_even_as_you_and_i_1937/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barlow_roger_even_as_you_and_i_1937/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/barlow_roger_even_as_you_and_i_1937.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/barlow_roger_even_as_you_and_i_1937/main.mp4?v=2","description":"By 1937, surrealism was in its second decade as a movement. Its artists and filmmakers were making inroads into London and New York galleries, and becoming media stars. The surrealist bug also bit on the West Coast, and underground gatherings like the Hollywood Film and Foto League screened European avant-garde films regularly.<br/><br/> Such gatherings attracted politically minded actor Harry Hay and Works Progress Administration (WPA) photographers Roger Barlow and LeRoy Robbins. After seeing a magazine ad for a short film contest, these jokers sprung into action, making Even—As You and I, a short depicting themselves as broke filmmakers who cobble together clichés from their fave avant-garde films into a dorky film-within-a-film spoof called The Afternoon of a Rubber Band. In a “D’oh!”-style ending, the three realize they’ve missed the contest’s midnight deadline.<br/><br/> A damn clever little underground film moment. Hay—the curly-haired guy in the group—would go on to become the godfather of gay activism, founding the Mattachine Society in the early’50s and the Radical Faeries in the early ‘70s. -- Dangerous Minds<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Roger Barlowin UbuWeb Sound</a>","artist_bio":"Roger Barlow was born on March 4, 1912 in Minnesota, USA. He was a cinematographer and director, known for The Royal Hunt of the Sun (1969), Oedipus Rex (1957) and The Autobiography of a 'Jeep' (1943). He died on May 9, 1990 in Charlottesville, Virginia, USA.","bio_dates":"1912-1990"},{"slug":"barney_matthew_hoist_2006_mp4","ok":true,"partial":false,"title":"Hoist","artist":"Matthew Barney","year":"2006","startOffset":0,"sourceSecs":877.12,"sourceHeight":384,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":54001632,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barney_matthew_hoist_2006_mp4/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barney_matthew_hoist_2006_mp4/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/barney_matthew_hoist_2006_mp4.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/barney_matthew_hoist_2006_mp4/main.mp4?v=2","description":"Commissioned as part of the Destricted Short Film Series, 'Hoist' was shot in Bahia, Salvador as one facet of a longer film titled DE LAMA LMINA. 'Hoist' is the literal underbelly of that project: a non- site through which the history, ritual, mythology and deities invoked in DE LAMA LMINA have been refracted and processed. it is a film about the meeting of chthonic libidinal energy and the destructive forces of technology. <br/><br/> 'Hoist' describes the encounter between the two central characters of the film; the so-called ‘Green Man’ and a fifty-ton deforestation Caterpillar truck under which he is suspended. Following the three acts of traditional film narrative, it is structured according to the three phases of description, situation and condition. <br/><br/> While the initial two phases relate to the definition of 'Hoist' as an \"an apparatus or method for lifting a load and shifting it laterally by an elevating means applied through a support from which a flexible member freely suspends a load engager,\" the third or final condition of the film suggests the imperfect consummation of the human and the mechanistic.","artist_bio":"The Body as a Matrix: Matthew Barney's Cremaster Cycle\n(2002)\nA Conversation With Matthew Barney (2003)\n(dir. Michael Blackwood)\nAmerican sculptor and video artist. Barney’s early experiences of sport and modelling informed his subsequent work as an artist, in which he developed an obtuse personal mythology and a body of work often hieroglyphic in meaning. While still a student at Yale University, New Haven, CT, in 1988, Barney began working on the Drawing Restraint Series, in which he turned mark-making into a test of physical endurance. He made his New York debut in 1991 with the performance MILEHIGH Threshold: Flight with the ANAL SADISTIC WARRIOR, in which he appeared as a free climber within the gallery space. The performance was unwitnessed but documented on video and shown in the gallery space for the duration of the exhibition. Although such performances can be related to the body art of figures such as Chris Burden, Bruce Nauman and Vito Acconci, Barney’s athletic performances have an undercurrent of undifferentiated eroticism that suggests a connection between sexuality and physical endurance. Barney’s concern with the spectacle of performance found ambitious expression in the Cremaster films, conceived as a five-part cycle and incompletely filmed thoughout the 1990s: Cremaster 4 (1994), Cremaster 1 (1995), Cremaster 5 (1997) and Cremaster 2 (1999). The films are characterized by their high production values, exuberant locations, macabre dramaturgy and bizarre structure. The disturbing and fantastical scenarios that Barney plays out relate predominantly to gender and the reproductive system, constructing a highly cryptic social/sexual mythology.","bio_dates":"b. 1967"},{"slug":"barney_matthew_peyton_elizabeth_blood_of_two","ok":true,"partial":false,"title":"Blood of Two","artist":"Matthew Barney &amp Elizabeth Peyton","year":"2009","startOffset":0,"sourceSecs":1449.528,"sourceHeight":360,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":86674400,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barney_matthew_peyton_elizabeth_blood_of_two/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barney_matthew_peyton_elizabeth_blood_of_two/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/barney_matthew_peyton_elizabeth_blood_of_two.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/barney_matthew_peyton_elizabeth_blood_of_two/main.mp4?v=2"},{"slug":"barry_judith_casual_shopper_iphone","ok":true,"partial":false,"title":"Casual Shopper","artist":"Judith Barry","year":"1980-1981","startOffset":0,"sourceSecs":2304.403,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":139681728,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barry_judith_casual_shopper_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barry_judith_casual_shopper_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/barry_judith_casual_shopper_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/barry_judith_casual_shopper_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/barry_judith_casual_shopper_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Informed by conventions of Hollywood film and television commercials, Judith Barry’s Casual Shopper (1980-81) presents a female protagonist wandering through a seemingly endless array of product displays. The woman both follows and is followed by a male figure, who appears to exist somewhere between reality and fantasy, within a carefully structured and intoxicating elevator-music-filled department store. The piece conflates romantic desire with consumer desire, as both figures perpetually search.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/barry.html\" rel=\"noopener\" target=\"_blank\">Judith Barry in UbuWeb Sound</a>","bio_dates":"b. 1949"},{"slug":"barry_robert_now_and_then_2002","ok":true,"partial":false,"title":"Now and Then","artist":"Robert Barry","year":"2002","startOffset":0,"sourceSecs":3129.045,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":520258646,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barry_robert_now_and_then_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barry_robert_now_and_then_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/barry_robert_now_and_then_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/barry_robert_now_and_then_2002/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/barry_robert_now_and_then_2002/main/master.m3u8?v=2","hasMainHls":true,"description":"Duration 52'09\"<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/barry.html\" rel=\"noopener\" target=\"_blank\">Robert Barry in UbuWeb Sound</a></br>","artist_bio":"Robert Barry (born March 9, 1936 in the Bronx, New York) is an American artist. Since 1967, Barry has produced non-material works of art, installations, and performance art using a variety of otherwise invisible media. In 1968, Robert Barry is quoted as saying \"Nothing seems to me the most potent thing in the world.\" Barry's work focuses on escaping the previously known physical limits of the art object in order to express the unknown or unperceived.[2] Consequently, Barry has explored a number of different avenues toward defining the usually unseen space around objects, rather than producing the objects themselves.\nBarry was born and grew up in The Bronx. A graduate of Hunter College, he studied there under artists William Baziotes and Robert Motherwell, later joining the college's faculty. Barry moved to Teaneck, New Jersey in 1974.\nMajor nonvisible works from his early period include Carrier Wave, in which Barry used the carrier waves of a radio station for a prescribed length of time \"not as a means of transmitting information, but rather as an object.\", Radiation Piece, and Inert Gas Piece, in which Barry opened various containers of inert gases in different settings before groups of spectators, such as a canister of helium released in a desert.\nWhen asked about his piece for exhibition \"Prospect '69,\" his response was \"The piece consists of the ideas that people will have from reading this interview... The piece in its entirety is unknowable because it exists in the mind of so many people. Each person can really know that part which is in his own mind.\"","bio_dates":"b. 1936"},{"slug":"barthes_le_plaisir_du_texte","ok":true,"partial":false,"title":"Le plaisir du texte","artist":"Roland Barthes","year":"1973","startOffset":0,"sourceSecs":777.775,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":52741972,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barthes_le_plaisir_du_texte/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barthes_le_plaisir_du_texte/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/barthes_le_plaisir_du_texte.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/barthes_le_plaisir_du_texte/main.mp4?v=2","description":"Le Fond et la forme - 19.03.1973 - 12:57 - vidéo <br/><br/> Interview de R. Barthes par A. Bourin dans l'émission « Le fond et la forme » (1973). <br/><br/> Roland BARTHES interviewé chez lui pour son dernier livre \"Le Plaisir du texte\". Il explique le titre de son livre, parlant de la notion du plaisir, insistant sur la différence subtile entre la jouissance et le plaisir de la lecture. Il définit l'érotisme comme étant un investissement amoureux dans un objet quel qu'il soit, comme le texte. L'auteur explique pourquoi le plaisir est de droite et veut montrer aux gens de gauche qu'il n'y a pas contradiction entre l'engagement social, politique du texte d'une part, et d'autre part, son pouvoir de plaisir, son pouvoir érotique. Il donne sa conception de l'écrivain. Il dit ne pas aimer le stéréotype et reconnait une valeur de purification à ce qui est nouveau.","artist_bio":"Roland Gérard Barthes 12 November 1915 – 26 March 1980) was a French literary theorist, philosopher, linguist, critic, and semiotician. Barthes' ideas explored a diverse range of fields and he influenced the development of schools of theory including structuralism, semiotics, social theory, design theory, anthropology and post-structuralism.","bio_dates":"1915-1980"},{"slug":"bartlett_scott_offon","ok":true,"partial":false,"title":"OffOn","artist":"Scott Bartlett","year":"1967","startOffset":0,"sourceSecs":544.427,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":94257833,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bartlett_scott_offon/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bartlett_scott_offon/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bartlett_scott_offon.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bartlett_scott_offon/main.mp4?v=2","description":"OffOn is an experimental film created by Scott Bartlett made in 1967 and released in 1972. It is most notable for being one of the first examples in which film and video technologies were combined. The nine minute film combines a number of video loops which have been altered through re-photography or video colorization, and utilizes an electronic sound track to create its unique effect.<br/><br/> In 2004, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\".<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Scott Bartlett in UbuWeb Sound</a>","artist_bio":"Scott Bartlett (1943 – September 29, 1990 in San Francisco, CA) was one of the premiere abstract/experimental movie makers of the late 1960s and the 1970s. His acclaimed work, such as his intense abstract 16mm movie Moon 1969, is greatly admired by many filmmakers, including Francis Ford Coppola and George Lucas. His notable abstract movies and visual avant-garde films include Serpent, Medina, Metanomen, Lovemaking, and the poignant interior documentary 1970. His 1967 experiment OffOn, shot on 16mm, was groundbreaking for its use of new video imagery technologies.\nHis science fiction epic feature \"Innerseed\" was in pre-production for many years, having completed a pre-visualization version starring a then unknown William Hurt. The project was canceled during one of the many difficult periods for Francis Coppola's Zoetrope Studios. He continued to work in various artistic endeavors and was regularly consulted by special effects crews for large Hollywood films including Altered States, and George Lucas hired him to create the \"montage design\" for the sequel More American Graffiti.","bio_dates":"1944-1990"},{"slug":"bartlett_scott_vol1b_moon","ok":true,"partial":false,"title":"Moon","artist":"Scott Bartlett","year":"1969","startOffset":0,"sourceSecs":893.269,"sourceHeight":496,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":155477975,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bartlett_scott_vol1b_moon/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bartlett_scott_vol1b_moon/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bartlett_scott_vol1b_moon.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bartlett_scott_vol1b_moon/main.mp4?v=2","description":"\"\"Moon 1969 is a beautiful, eerie, haunting film, all the more wonderful for the fact we do not once see the moon: only the manifestation of its powers here on earth, the ebb and flow of the waters.. fiery rainbows into a cloudy sky... men and rockets transformed into shattering crystals... creating a picture if the cosmos in continual transformation.\"-- Gene Youngblood, Los Angeles Times \"The interrelated convolutions and spasms of image, color, and sound that filmmaker Bartlett creates is the cumulative effect of his pioneer work using negative images, polarization, television techniques, computer-film, and electronic patterns all compressed into a visual punch that directs one where he normally would not go with a film -- on a trip in search of the human soul.\" -- Paul Brawley, The Booklist, American Library Association<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Scott Bartlett in UbuWeb Sound</a>","artist_bio":"Scott Bartlett (1943 – September 29, 1990 in San Francisco, CA) was one of the premiere abstract/experimental movie makers of the late 1960s and the 1970s. His acclaimed work, such as his intense abstract 16mm movie Moon 1969, is greatly admired by many filmmakers, including Francis Ford Coppola and George Lucas. His notable abstract movies and visual avant-garde films include Serpent, Medina, Metanomen, Lovemaking, and the poignant interior documentary 1970. His 1967 experiment OffOn, shot on 16mm, was groundbreaking for its use of new video imagery technologies.\nHis science fiction epic feature \"Innerseed\" was in pre-production for many years, having completed a pre-visualization version starring a then unknown William Hurt. The project was canceled during one of the many difficult periods for Francis Coppola's Zoetrope Studios. He continued to work in various artistic endeavors and was regularly consulted by special effects crews for large Hollywood films including Altered States, and George Lucas hired him to create the \"montage design\" for the sequel More American Graffiti.","bio_dates":"1944-1990"},{"slug":"bartlett_scott_vol1c_1970","ok":true,"partial":false,"title":"1970","artist":"Scott Bartlett","year":"1972","startOffset":0,"sourceSecs":1787.17,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":300183704,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bartlett_scott_vol1c_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bartlett_scott_vol1c_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bartlett_scott_vol1c_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bartlett_scott_vol1c_1970/main.mp4?v=2","description":"Financed by the American Film Institute. A dramatic absorbing autobiographical film in the form of an interior documentary, 1970 is a multiplexed portrait of a moment in time: the San Francisco sub- culture of the 1960s. A lasting testament to a time we will never forget. --FILMEX.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Scott Bartlett in UbuWeb Sound</a>","artist_bio":"Scott Bartlett (1943 – September 29, 1990 in San Francisco, CA) was one of the premiere abstract/experimental movie makers of the late 1960s and the 1970s. His acclaimed work, such as his intense abstract 16mm movie Moon 1969, is greatly admired by many filmmakers, including Francis Ford Coppola and George Lucas. His notable abstract movies and visual avant-garde films include Serpent, Medina, Metanomen, Lovemaking, and the poignant interior documentary 1970. His 1967 experiment OffOn, shot on 16mm, was groundbreaking for its use of new video imagery technologies.\nHis science fiction epic feature \"Innerseed\" was in pre-production for many years, having completed a pre-visualization version starring a then unknown William Hurt. The project was canceled during one of the many difficult periods for Francis Coppola's Zoetrope Studios. He continued to work in various artistic endeavors and was regularly consulted by special effects crews for large Hollywood films including Altered States, and George Lucas hired him to create the \"montage design\" for the sequel More American Graffiti.","bio_dates":"1944-1990"},{"slug":"barton_colin_intestinalfortitude_1991","ok":true,"partial":false,"title":"Colin V. Barton -Intestinal Fortitude (1990)","artist":"Colin Barton","year":"1991","startOffset":0,"sourceSecs":164.715,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":28727625,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barton_colin_intestinalfortitude_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/barton_colin_intestinalfortitude_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/barton_colin_intestinalfortitude_1991.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/barton_colin_intestinalfortitude_1991/main.mp4?v=2","description":"INTESTINAL FORTITUDE, (3 min.) is a post-industrial visual monster. As a writing to the intricacies of INTESTINAL FORTITUDE, the initial idea was to have many films in one, and to have each of those films stand on their own. The multiple layers of this film each contain separate and individual films. All of them representing different ideas, and their stacked complexity give it its punch. The ideas range from enjoying coffee to an industrial hell. Driven by the pure apathy of others, this film was an alarm, or wake-up call to my then current peers in school."},{"slug":"basinski_william_the_disintegration_loops_2004","ok":true,"partial":false,"title":"The Disintegration Loops","artist":"William Basinski","year":"2004","startOffset":0,"sourceSecs":3757.728,"sourceHeight":480,"sourceWidth":712,"hasAudio":true,"hasAmbientMp4":true,"bytes":633664166,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/basinski_william_the_disintegration_loops_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/basinski_william_the_disintegration_loops_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/basinski_william_the_disintegration_loops_2004.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/basinski_william_the_disintegration_loops_2004/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/basinski_william_the_disintegration_loops_2004/main/master.m3u8?v=2","hasMainHls":true,"description":"The Disintegration Loops is a series of four albums by American avant-garde composer William Basinski released in 2002 and 2003. The recordings consist of tape loops that gradually deteriorated each time they passed the tape head, the unexpected result of Basinski's attempt to transfer his earlier recordings to digital format. <br/><br/> The completion of the recording coincided with the 9/11 attacks, which Basinski witnessed from his rooftop in Brooklyn; the artwork features Basinski's footage of the New York City skyline in the aftermath of the World Trade Center's collapse. He dedicated the music to the victims of the attacks. <br/><br/> The Disintegration Loops gathered critical acclaim. It was initially released in four parts, and was reissued in 2012 on its tenth anniversary as a nine-LP box set. Two orchestral renditions have also been performed, and were included in the album's reissue.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/maderna.html\" rel=\"noopener\" target=\"_blank\">William Basinski in UbuWeb Sound</a>","artist_bio":"William Basinski is a classically trained musician and composer who has been working in experimental media for over 25 years in NYC.\nHis haunting and melancholy soundscapes explore the temporal nature of life, resounding with the reverberations of memory and the mystery of time. His epic 4-disc masterwork, \"The Disintegration Loops\", received international critical acclaim and was chosen as one of the top 50 albums of 2004 by Pitchfork Media. The Temporary Residence deluxe LP box-set reissue from 2012 was awarded best re-issue of the year and a score of 10 on Pitchfork.\nHis concerts and installations and films made in collaboration with artist-filmmaker, James Elaine have been presented internationally, and his concerts are presented to sold out crowds around the world.\nBasinski was chosen by Music Director, Antony Hegarty to create music for the Robert Wilson opera, The Life and Death of Marina Abramović which had its world premiere at the Manchester International Festival in July 2011 and toured Europe in 2012 and North America in 2013.\nOrchestral transcriptions of The Disintegration Loops by Maxim Moston have been performed at The Metropolitan Museum of Art, Queen Elizabeth Hall and will tour Europe with various orchestras in 2013.","bio_dates":"b. 1958"},{"slug":"basquiat_interview","ok":true,"partial":false,"title":"Basquiat: An Interview","artist":"Jean-Michel Basquait","year":"1981","startOffset":0,"sourceSecs":2037.469,"sourceHeight":478,"sourceWidth":706,"hasAudio":true,"hasAmbientMp4":true,"bytes":350298790,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/basquiat_interview/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/basquiat_interview/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/basquiat_interview.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/basquiat_interview/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/basquiat_interview/main/master.m3u8?v=2","hasMainHls":true,"description":"On this program we see a rare interview with the mercurial painter, Jean-Michel Basquiat, conducted in 1981 in his studio on Crosby Street, in SOHO. Basquiat, an internationally renowed as well as the enfant terrible of the 1980's art scene, died tragically in 1988 at the age of 28. Both during his brief life and since his untimely death, stories and legends abound which chronicle his metoric rise to art world stardom. In 1996, Basquiat's life was fictionalized in the film entitled BASQUIAT, directed by fellow artist Julian Schnabel. On this ART/new york program, the 21 year old Basquiat is interviews by art historian - curator Marc. H Miller, PhD. Already a well known art world figure, Basquiat's fondness for high jinks as well as his exuberant spirit are captured as he describes his working process and comments upon his art world persona.","artist_bio":"Edo Bertoglio, \"Downtown 81 AKA New York Beat Movie\" (1981) (1981)\nTamra Davis, \"Jean-Michel Basquiat: The Radiant Child\" (2010)\nSara Driver, \"Boom for Real: The Late Teenage Years of Jean-Michel Basquiat\" (2017)\nJean-Michel Basquiat was born in Brooklyn to Haitian and Puerto Rican parents in 1960, and left home as a teenager to live in Lower Manhattan, playing in a noise band, painting, and supporting himself with odd jobs. In the late 1970s, he and Al Diaz became known for their graffiti, a series of cryptic statements, such as “Playing Art with Daddy’s Money” and “9 to 5 Clone,” tagged SAMO. In 1980, after a group of artists from the punk and graffiti underground held the “Times Square Show,” Basquiat’s paintings began to attract attention from the art world.\nIn the 1981 article “The Radiant Child,” which helped catapult Basquiat to fame, critic Rene Ricard wrote, “We are no longer collecting art we are buying individuals. This is no piece by Samo. This is a piece of Samo.” This statement captures the market-driven ethos of the 1980s art boom that coincided with polarizing views played out in government and media, known as the culture wars. In this context, Basquiat was keenly aware of the racism frequently embedded in his reception, whether it took the form of positive or negative stereotypes. In his work, he integrated critique of an art world that both celebrated and tokenized him. Basquiat saw his own status in this small circle of collectors, dealers, and writers connected to an American history rife with exclusion, invisibility, and paternalism, and he often used his work to directly call out these injustices and hypocrisies.\nBefore his tragic death in 1988 at the age of twenty-seven, Basquiat expressed seemingly boundless creative energy, producing approximately a thousand paintings and two thousand drawings. Over the decades, the study of Basquiat’s paintings and drawings has offered textured insights of the 1980s and, importantly, continued reflections on Black experience against an American and global backdrop of the white supremacist legacy of slavery and colonialism. At the same time, Basquiat’s work celebrates histories of Black art, music, and poetry, as well as religious and everyday traditions of Black life.\nMany of Basquiat’s works have been likened to the improvisational and expansive compositions of jazz. Often themes accumulate through multiple references on the surface, emerging as patterns out of gestural brushstrokes, symbols, inventories, lists, and diagrams. Most images in Basquiat’s works have double and triple meanings, some of which the artist discussed and others that he left undefined, remaining open to viewers’ interpretations. Basquiat sought and enjoyed unlikely collisions of imagery and words, massive influxes of information and stimuli that recreated the experience of being in a world by turns exciting, inspiring, oppressive, and toxic.","bio_dates":"1960-1988"},{"slug":"basquiat_the_radiant_child_tamra_davis_2010","ok":true,"partial":false,"title":"Tamra Davis, \"Jean-Michel Basquiat: The Radiant Child\"","artist":"Jean-Michel Basquait","year":"2010","startOffset":0,"sourceSecs":5593.393,"sourceHeight":480,"sourceWidth":716,"hasAudio":true,"hasAmbientMp4":true,"bytes":947126958,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/basquiat_the_radiant_child_tamra_davis_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/basquiat_the_radiant_child_tamra_davis_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/basquiat_the_radiant_child_tamra_davis_2010.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/basquiat_the_radiant_child_tamra_davis_2010/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/basquiat_the_radiant_child_tamra_davis_2010/main/master.m3u8?v=2","hasMainHls":true,"description":"Jean-Michel Basquiat shot to fame in the early ‘80s as a painter with bright strong flashes of color, streaks of black, jagged, oddly angled heads and crossed-out words, then died of a heroin overdose at age 27. His story has been told many times before—in Glenn O’Brien’s loosely crafted 1981 fiction film Downtown 81 (aka New York Beat) about a Village artist struggling to pay the bills; in Julian Schnabel’s 1996 film Basquiat, with Jeffrey Wright’s alternately shambling and alert performance in the lead; and in at least seven books, including Phoebe Hoban’s journalistic 1998 biography Basquiat: A Quick Killing in Art. Now he is the subject of friend Tamra Davis’s documentary Jean-Michel Basquiat: The Radiant Child, which announces its intentions to uphold its subject’s legacy from the title onward.<br/><br/> The film is framed inside and between an interview Davis filmed with Basquiat a few years before he died, a neat structuring device that allows him to speak for himself. But Basquiat also proves inarticulate on many points (clamming up about what his work means, for instance), and so the movie intercedes on his behalf. Beginning and ending with the Langston Hughes poem “Genius Child” (choice line: “Nobody loves a genius child”), the film offers an image of Basquiat as perpetually misunderstood, discarded, and tormented. Much of this seems fair; for instance, the film rightly points out the irony of how Basquiat’s status as a black artist in a predominately white scene, which partly helped him make him famous, soon became an easy label—and one, furthermore, which he despised.<br/><br/> Yet the film’s salvation effort feels ironic. It would be absurd to say that any one book or film could present the true Basquiat, but in attempting to rescue Basquiat from other peoples’ labels, the film also applies its own radiant genius child label to him. Example: The film shows us many of Basquiat’s paintings (I didn’t count, but at least a hundred), often zooming into or out of them while music or voiceover plays on the soundtrack. It’s true that film is not painting, and that a moving art has to do something with a static art to make it its own, but what happens with Davis’s approach is that the viewer gets a brief introductory flavor of Basquiat’s art without having the time to consider it (I even wrote down many paintings’ names to look up online later). You see the paintings and hear people praise them, without the space to consider them in between.<br/><br/> Unlike many recent documentaries, though, which drown their subjects in platitudes, the movie does mix in actual biographical and critical material with its praise; you are instructed and informed on the life. But the quick painting shots do represent the film’s light brushstroke approach: a mention of Basquiat’s increasing heroin habit late in life, but little about his earlier drug use; anecdotes about his desire to please his father, but polite looks past alleged childhood abuse. The radiant child had some dark places, darker than the movie seems willing to admit. The film’s a decent introduction to a man who walked the world of SoHo, CBGB, and Andy Warhol’s final days, but the more you know going into the movie, the more you sense it leaving out.","artist_bio":"Edo Bertoglio, \"Downtown 81 AKA New York Beat Movie\" (1981) (1981)\nTamra Davis, \"Jean-Michel Basquiat: The Radiant Child\" (2010)\nSara Driver, \"Boom for Real: The Late Teenage Years of Jean-Michel Basquiat\" (2017)\nJean-Michel Basquiat was born in Brooklyn to Haitian and Puerto Rican parents in 1960, and left home as a teenager to live in Lower Manhattan, playing in a noise band, painting, and supporting himself with odd jobs. In the late 1970s, he and Al Diaz became known for their graffiti, a series of cryptic statements, such as “Playing Art with Daddy’s Money” and “9 to 5 Clone,” tagged SAMO. In 1980, after a group of artists from the punk and graffiti underground held the “Times Square Show,” Basquiat’s paintings began to attract attention from the art world.\nIn the 1981 article “The Radiant Child,” which helped catapult Basquiat to fame, critic Rene Ricard wrote, “We are no longer collecting art we are buying individuals. This is no piece by Samo. This is a piece of Samo.” This statement captures the market-driven ethos of the 1980s art boom that coincided with polarizing views played out in government and media, known as the culture wars. In this context, Basquiat was keenly aware of the racism frequently embedded in his reception, whether it took the form of positive or negative stereotypes. In his work, he integrated critique of an art world that both celebrated and tokenized him. Basquiat saw his own status in this small circle of collectors, dealers, and writers connected to an American history rife with exclusion, invisibility, and paternalism, and he often used his work to directly call out these injustices and hypocrisies.\nBefore his tragic death in 1988 at the age of twenty-seven, Basquiat expressed seemingly boundless creative energy, producing approximately a thousand paintings and two thousand drawings. Over the decades, the study of Basquiat’s paintings and drawings has offered textured insights of the 1980s and, importantly, continued reflections on Black experience against an American and global backdrop of the white supremacist legacy of slavery and colonialism. At the same time, Basquiat’s work celebrates histories of Black art, music, and poetry, as well as religious and everyday traditions of Black life.\nMany of Basquiat’s works have been likened to the improvisational and expansive compositions of jazz. Often themes accumulate through multiple references on the surface, emerging as patterns out of gestural brushstrokes, symbols, inventories, lists, and diagrams. Most images in Basquiat’s works have double and triple meanings, some of which the artist discussed and others that he left undefined, remaining open to viewers’ interpretations. Basquiat sought and enjoyed unlikely collisions of imagery and words, massive influxes of information and stimuli that recreated the experience of being in a world by turns exciting, inspiring, oppressive, and toxic.","bio_dates":"1960-1988"},{"slug":"bataille_georges_a_perte_de_vue","ok":true,"partial":false,"title":"À perte de vue / \"As-Far-as-The-Eye-Can-See (At the Limit of Vision)\", documentary","artist":"Georges Bataille","year":"1997","startOffset":0,"sourceSecs":2872.122,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":1280755584,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bataille_georges_a_perte_de_vue/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bataille_georges_a_perte_de_vue/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bataille_georges_a_perte_de_vue.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bataille_georges_a_perte_de_vue/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bataille_georges_a_perte_de_vue/main/master.m3u8?v=2","hasMainHls":true,"description":"À perte de vue / \"As-Far-as-The-Eye-Can-See (At the Limit of Vision)\", <br/><br/>\"\"How to grasp with naked hands the most fiery thinking of the century ? How to approach through film that which shies away whenever approached ?<br/><br/> How can the cinema - \"the art of image\" as we say - welcome and let live the intolerable images woven in stories such as \"Madame Edwarda\" and \"The Dead Man\" ?<br/><br/> In short, how to talk about Georges Bataille in a film when we know that film to be impossible ?\" André S. Labarthe. \"Comment saisir à mains nues la pensée la plus volcanique du siècle ? Comment approcher par le film ce qui se dérobe à toute approche ?<br/><br/> Comment le cinéma -- \"art de l'image\", dit-on -- peut-il accueillir et laisser vivre les images inadmissibles qui tissent des récits tels que \"Madame Edwara\" et \"Le Mort\" ?<br/><br/> Bref, comment parler de Georges Bataille dans un film quand on sait ce film impossible ?\" André S. Labarthe.<br/><br/> 50-minute documentary program co-produced by Amip-France 3.<br/><br/> Director: <a href=\"https://ubu.com/film/labarthe.html\" rel=\"noopener\" target=\"_blank\">André S. Labarthe</a> well-known as co-founder and original developer of \"Cinéma, de notre temps\", here portrays the French writer Georges Bataille (1897-1962), whose work ventures, at the same time, into the fields of literature, anthropology, philosophy, economy, sociology and history of art.<br/><br/> Initially broadcasted on 30 April 1997, the film contains the interviews with Pierre Klossowski and Jacques Pimpanneau. The French title could be translated as \"As-Far-as-The-Eye-Can-See (At the Limit of Vision)\", which may well constitute a literary reference to the Bataille's first book, \"Story of the Eye\".","artist_bio":"À perte de vue / \"As-Far-as-The-Eye-Can-See (At the Limit of Vision), 1997\n(documentary, dir. André S. Labarthe)\nGeorges Albert Maurice Victor Bataille; 10 September 1897 – 9 July 1962) was a French intellectual and literary figure working in literature, philosophy, anthropology, economics, sociology and history of art. His writing, which included essays, novels, and poetry, explored such subjects as eroticism, mysticism, surrealism, and transgression. His work would prove influential on subsequent schools of philosophy and social theory, including post-structuralism.","bio_dates":"1897-1962"},{"slug":"bataille_georges_la_litterature","ok":true,"partial":false,"title":"La littérature et le mal","artist":"Georges Bataille","year":"1958","startOffset":0,"sourceSecs":974.587,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":60559233,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bataille_georges_la_litterature/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bataille_georges_la_litterature/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bataille_georges_la_litterature.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bataille_georges_la_litterature/main.mp4?v=2","description":"Entretien avec Georges Bataille à propos de son ouvrage « La littérature et le mal » (1957) avec le journaliste Pierre Dumayet. <br/> Source : Archives INA, 1958.<br/> ****<br/> English translation (thanks to Axel21651) :<br/> P. Dumayet :<br/> What is the Evil you're talking about?<br/> G. Bataille :<br/> There are, I believe, two sorts of Evil basically contrasting.<br/> On the one hand, one is linked to the necessity that everything goes right and succeed.<br/> On the other hand, the other one consists in positively breaking what is forbidden, like for instance, the ban on murder, or several sexual possibilities.<br/> D. :<br/> Does the title mean that Literature and Evil are inseparable?<br/> B. :<br/> I believe yes. Of course this isnt clear at first sight, but I think that if Literature goes away from Evil it becomes quickly boring. It is important to underline that Literature must deal with anguish, that this very anguish is based upon something that goes wrong, and eventually seriously bad. In leading the reader in some unpleasant perspective, I take the example of a novel, Literature avoids to get boring.<br/> D. :<br/> Thus a writer is always guilty of writing..?<br/> B. :<br/> Most of writers aren't fully aware of this, but I do believe in that profound guilt. Writing is basically the opposite of working. It might not appear so logical, although every amusing books are efforts submited to work.<br/> D. :<br/> Could you name 1 or 2 writers that might have felt guilty of writing?<br/> B. :<br/> Well, two of them, which I named in my book, are clearly distinct in that matter. Baudelaire and Kafka, both felt guilty being in the common \"wrong\" side. It is obvious for Baudelaire who chose the very name \"les Fleurs du Mal\" to describe his deepest thoughts. Kafka expressed himself even more clearly, he thought that by writing he was disobeying to his fellows and put himself in a situation of guilt. [...]<br/> D. :<br/> But being a writer and being guilty for Baudelaire or Kafka is because it's not a serious occupation, that's what their parents meant. They felt guilt being childish because they were writing. Do you think that Baudelaire and Kafka felt guilty by the very process of writing?<br/> B. :<br/> I think that expressly, even clearly pointed out by them a few times, they felt in the situation of a child towards his parents. The child disobeying to his parents and by then putting himself in a guitly conscience because he remember his affective parents who told him constantly what not to do, that it was bad ; in the strongest sense of the word.<br/> D. :<br/> If Literature is childish, you probably think that it is very puerile?<br/> B. :<br/> I Believe there is something essentially puerile within Literature. That may seem irreconcilable with one's admiration for it, which I share. But I think it is fundamental, that one cannot fully understand what Literature is all about if we do not put it on the childhood side. Which doesn't mean we put it on an inferior level.<br/> D. :<br/> You wrote a book about erotism, is erotism a childish behaviour in Literature?<br/> B. :<br/> I dont know if Literature distinguishes from erotism in general. But I think it is essential to underline the childish character of erotism as a whole. To be erotic is to be fascinated like a child with a game, a forbidden game. The man fascinated by erotism definitly is in the situation of a child towards his parents who is frightened of what might happen. He goes always far enough to be frightened. He doesn't content himself with what wealthy adults do, he must be frightened, he must put himself in the same situation than when he was a child always threatened of being told off harshly ; in an unbearable, intolerable way.<br/> D. :<br/> We may have understood that you are condemning this puerility and childish behaviour, but I think we should go back to the title of your book, Literature and Evil. This is not a condemnation of Literature and Evil. I'd like you to give us the bottom line of this book.<br/> B. :<br/> It is obvious that it's a warning, in this sense that we must warn against a danger, although it is possible that once we warned someone against a danger, we give him reasons to face it, and I think it is essential for us to face the danger which is Literature. I think it is a great and serious danger. But one is really a man only by facing this danger. Its within Literature that we aprehend human perspectives under their fullest shape, since Literature doesn't let us live without aprehending human things through their most violent perspectives. Wether it be tragedy, Shakespeare and so on. It is mainly Literature that allows us to see the worst. And to know how to face it, how to overcome it. on the whole the man who play finds in the game the strenght to overcome what the game leads of horror.","artist_bio":"À perte de vue / \"As-Far-as-The-Eye-Can-See (At the Limit of Vision), 1997\n(documentary, dir. André S. Labarthe)\nGeorges Albert Maurice Victor Bataille; 10 September 1897 – 9 July 1962) was a French intellectual and literary figure working in literature, philosophy, anthropology, economics, sociology and history of art. His writing, which included essays, novels, and poetry, explored such subjects as eroticism, mysticism, surrealism, and transgression. His work would prove influential on subsequent schools of philosophy and social theory, including post-structuralism.","bio_dates":"1897-1962"},{"slug":"baudelaire_eric_sic_2009","ok":true,"partial":false,"title":"[SIC]","artist":"Eric Baudelaire","year":"2008","startOffset":0,"sourceSecs":901.739,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":149017621,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baudelaire_eric_sic_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baudelaire_eric_sic_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baudelaire_eric_sic_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baudelaire_eric_sic_2009/main.mp4?v=2","description":"Duration 15 minutes <br/><br/> Chronology of events: <br/><br/> 1907: Article 175 of the Japanese Penal Code outlaws the sale and public display of \"an obscene document, drawing or other object.\" <br/><br/> 1947: Article 21, paragraph 2, of the postwar Japanese Constitution reads \"no censorship shall be maintained.\" <br/><br/> 1957: The Japanese Supreme Court upholds a ban on D.H. Lawrence's novel Lady Chatterley's Lover. In the main piece of jurisprudence seeking to clarify the apparent contradiction between Article 21 of the Constitution and Article 175 of the Penal Code, the high court upholds the ban on obscenity, which it defines as \"that which unnecessarily excites or stimulates sexual desire.\" <br/><br/> 1976: Nagisa Oshima's Ai No Corrida (In the Realm of the Senses) is shown at the Cannes Film Festival. The film was shot in Kyoto, but the negative was developed and cut in Paris. As a trial balloon for a release of the film in Japan, a book containing the script and twelve film stills is published in Tokyo. In July the publisher is charged with obscenity. During the trial, Oshima requests that the high court explain the philosophical, political, legal, conceptual and practical visual standards used to define \"that which unnecessarily excites or stimulates sexual desire.\" <br/><br/> 1982: The Japanese Supreme Court declines to clarify the concept of obscenity any further, but nonetheless acquits Oshima. <br/><br/> 2009: In a legal and semantic grey area that remains to this day, graphic materials imported into Japan are subject to subjective self-censorship: explicit anatomical representation is replaced with 'bokashi,' a fogging, blurring or scratching of male and female genitalia in films and publication<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Colin Barton in UbuWeb Sound</a>","artist_bio":"Eric Baudelaire, born in Salt Lake City in 1973, lives and works in Paris. Working in film as well as printmaking, photography and installation, Baudelaire is interested in the relationship between images and events, documents and narratives. His work was shown in La Triennale in Paris at the Palais de Tokyo, the Taiwan Biennial, and the Baltic Triennial. He has had solo exhibitions at Gasworks, London, The Hammer Museum, Los Angeles, Elizabeth Dee gallery, New York, Galeria Juana de Aizpuru, Madrid, Galerie Greta Meert in Brussels, and La Synagogue de Delme in France. His work is present in several public collections, including the Whitney Museum of American Art, the Centre Pompidou, and the Fond National d'Art Contemporain, and his films have been selected in many festivals, including FID Marseille, and International Film Festival Rotterdam, and the San Francisco Film Festival, as well as the DocAlliance competition.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Eric Baudelaire. Used with permission of Eric Baudelaire.","bio_dates":"b. 1973"},{"slug":"baudelaire_eric_sugar_water_2007","ok":true,"partial":false,"title":"Sugar Water","artist":"Eric Baudelaire","year":"2007","startOffset":0,"sourceSecs":4313.963,"sourceHeight":510,"sourceWidth":700,"hasAudio":true,"hasAmbientMp4":true,"bytes":723925117,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baudelaire_eric_sugar_water_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baudelaire_eric_sugar_water_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baudelaire_eric_sugar_water_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baudelaire_eric_sugar_water_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baudelaire_eric_sugar_water_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"Duration 72 minutes <br/><br/> 'Sugar Water': Awaiting the Time-Image <br/><br/> Henri Bergson, who didn't care much for cinema, wrote in \"Creative Evolution\" that in order to have an authentic intuition of duration, one had to experience it, and he took the example of sugar in a glass of water. The lesson seemed clear: \"I must wait for the sugar to dissolve;\" it is in the experience of vision and waiting, when my duration blends with that of the world, that the intuition of a moving reality emerges. But how does one learn to wait in a modern world that seems to be a constant flux of continuous images, yet never ceases to extract stopped images, obsessive images, and then projects these fixed images into what seems to be a perpetual cycle? \"Sugar Water\" can in a sense be seen as a vast metaphor of the days that followed September 11th experienced like a challenge to Bergson's edict: the same fixed images, almost like advertisements, constantly cycling in the very heart of our daily lives, until they produce a perfect misunderstanding: we wait to see the moment where the car explodes, while the \"real people\" in the film (for the most part) simply await the metro and don't see anything at all. But it can also be read as something else entirely: the daily nature of violence, of advertising, devoid of subject, void of significance, with the same PA announcements and the same barely audible song that create the rhythm of the sound track, in a cycle that mirrors the sequence of images overlapping on top of the blue monochrome of a billboard frame. How does the time spent waiting for the next image to reveal itself become something else than a repetitive old tune? Here, a sort of portrait of the artist as a billposter. <br/><br/> Pierre Zaoui, from \"On The Communication Of Events.\"<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Colin Barton in UbuWeb Sound</a>","artist_bio":"Eric Baudelaire, born in Salt Lake City in 1973, lives and works in Paris. Working in film as well as printmaking, photography and installation, Baudelaire is interested in the relationship between images and events, documents and narratives. His work was shown in La Triennale in Paris at the Palais de Tokyo, the Taiwan Biennial, and the Baltic Triennial. He has had solo exhibitions at Gasworks, London, The Hammer Museum, Los Angeles, Elizabeth Dee gallery, New York, Galeria Juana de Aizpuru, Madrid, Galerie Greta Meert in Brussels, and La Synagogue de Delme in France. His work is present in several public collections, including the Whitney Museum of American Art, the Centre Pompidou, and the Fond National d'Art Contemporain, and his films have been selected in many festivals, including FID Marseille, and International Film Festival Rotterdam, and the San Francisco Film Festival, as well as the DocAlliance competition.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Eric Baudelaire. Used with permission of Eric Baudelaire.","bio_dates":"b. 1973"},{"slug":"baudelaire_eric_the_makes_2009","ok":true,"partial":false,"title":"The Makes","artist":"Eric Baudelaire","year":"2009","startOffset":0,"sourceSecs":1585.067,"sourceHeight":450,"sourceWidth":800,"hasAudio":true,"hasAmbientMp4":true,"bytes":96547938,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baudelaire_eric_the_makes_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baudelaire_eric_the_makes_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baudelaire_eric_the_makes_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baudelaire_eric_the_makes_2009/main.mp4?v=2","description":"Duration 26 minutes <br/><br/> An adaptation of Michelangelo Antonioni's notes on un-made films published in \"That Bowling Alley on the Tiber.\" <br/><br/> Starring French film critic Philippe Azoury in the role of \"The Critic.\"<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Colin Barton in UbuWeb Sound</a>","artist_bio":"Eric Baudelaire, born in Salt Lake City in 1973, lives and works in Paris. Working in film as well as printmaking, photography and installation, Baudelaire is interested in the relationship between images and events, documents and narratives. His work was shown in La Triennale in Paris at the Palais de Tokyo, the Taiwan Biennial, and the Baltic Triennial. He has had solo exhibitions at Gasworks, London, The Hammer Museum, Los Angeles, Elizabeth Dee gallery, New York, Galeria Juana de Aizpuru, Madrid, Galerie Greta Meert in Brussels, and La Synagogue de Delme in France. His work is present in several public collections, including the Whitney Museum of American Art, the Centre Pompidou, and the Fond National d'Art Contemporain, and his films have been selected in many festivals, including FID Marseille, and International Film Festival Rotterdam, and the San Francisco Film Festival, as well as the DocAlliance competition.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Eric Baudelaire. Used with permission of Eric Baudelaire.","bio_dates":"b. 1973"},{"slug":"baudrillard_jean_violence_of_the_image_egs_lecture_1994","ok":true,"partial":false,"title":"The Violence of the Image","artist":"Jean Baudrillard","year":"2004","startOffset":0,"sourceSecs":5124.203,"sourceHeight":170,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":296866897,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baudrillard_jean_violence_of_the_image_egs_lecture_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/baudrillard_jean_violence_of_the_image_egs_lecture_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/baudrillard_jean_violence_of_the_image_egs_lecture_1994.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baudrillard_jean_violence_of_the_image_egs_lecture_1994/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baudrillard_jean_violence_of_the_image_egs_lecture_1994/main/master.m3u8?v=2","hasMainHls":true,"description":"Jean Baudrillard thinking and talking about the violence of the image,aggression, oppression, transgression,regression, effects and causes of violence, violence of the virtual, 3d, virtual reality, transparency, psychological and imaginary. <br/><br/> An open Lecture given by Jean Baudrillard after his seminar for the students at the European Graduate School, EGS Media and Communication Program Studies Department, Saas-Fee, Switzerland, Europe, in 2004.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Jean Baudrillard in UbuWeb Sound</a>","artist_bio":"French theorist Jean Baudrillard (1929–2007) was one of the foremost intellectual figures of the present age whose work combines philosophy, social theory, and an idiosyncratic cultural metaphysics that reflects on key events of phenomena of the epoch. A sharp critic of contemporary society, culture, and thought, Baudrillard is often seen as a major guru of French postmodern theory, although he can also be read as a thinker who combines social theory and philosophy in original and provocative ways and a writer who has developed his own style and forms of writing. He was an extremely prolific author who has published over thirty books and commented on some of the most salient cultural and sociological phenomena of the contemporary era, including the erasure of the distinctions of gender, race, and class that structured modern societies in a new postmodern consumer, media, and high tech society; the mutating roles of art and aesthetics; fundamental changes in politics, culture, and human beings; and the impact of new media, information, and cybernetic technologies in the creation of a qualitatively different social order, providing fundamental mutations of human and social life.\nFor some years a cult figure of postmodern theory, Baudrillard moved beyond the postmodern discourse from the early 1980s to the present, and has developed a highly idiosyncratic mode of philosophical and cultural analysis. This entry focuses on the development of Baudrillard's unique modes of thought and how he moved from social theory to postmodern theory to a provocative type of philosophical analysis.[1] In retrospect, Baudrillard can be seen a theorist who has traced in original ways the life of signs and impact of technology on social life, and who has systematically criticized major modes of modern thought, while developing his own philosophical perspectives.","bio_dates":"1929-2007"},{"slug":"bayrle_thomas_andreas","ok":true,"partial":false,"title":"Andreas","artist":"Thomas Bayrle","year":"1998/1999","startOffset":0,"sourceSecs":184.08,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":31675643,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_andreas/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_andreas/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bayrle_thomas_andreas.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bayrle_thomas_andreas/main.mp4?v=2","artist_bio":"Videofreex, one of the first video collectives, was founded in 1969 by David Cort, Mary Curtis Ratcliff and Parry Teasdale, after David and Parry met each other, video cameras in hand, at the Woodstock Music Festival. Working out of a loft in lower Manhattan, the group's first major project was producing a live and tape TV presentation for the CBS network, The Now Show, for which they traveled the country, interviewing countercultural figures such as Abbie Hoffman and Black Panther leader Fred Hampton.\nThe group soon grew to ten full-time members--including Chuck Kennedy, Nancy Cain, Skip Blumberg, Davidson Gigliotti, Carol Vontobel, Bart Friedman and Ann Woodward--and produced tapes, installations and multimedia events. The Videofreex trained hundreds of makers in this brand new medium though the group's Media Bus project.\nIn 1971 the Freex moved to a 17-room, former boarding house called Maple Tree Farm in Lanesville, NY, operating one of the earliest media centers. Their innovative programming ranged from artists' tapes and performances to behind-the-scenes coverage of national politics and alternate culture. They also covered their Catskill Mountain hamlet, and in early 1972 they launched the first pirate TV station, Lanesville TV. An exuberant experiment with two-way, interactive broadcasting, it used live phone-ins and stretched cameras to the highway, transmitting whatever the active minds of the Freex coupled with their early video gear could share with their rural viewers.\nDuring the decade that the Freex were together, this pioneer video group amassed an archive of 1,500+ raw tapes and edits.","bio_dates":"b. 1937"},{"slug":"bayrle_thomas_auto","ok":true,"partial":false,"title":"Auto","artist":"Thomas Bayrle","year":"1979/1980","startOffset":0,"sourceSecs":101.72,"sourceHeight":576,"sourceWidth":768,"hasAudio":false,"hasAmbientMp4":true,"bytes":14657523,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_auto/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_auto/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bayrle_thomas_auto.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bayrle_thomas_auto/main.mp4?v=2","artist_bio":"Videofreex, one of the first video collectives, was founded in 1969 by David Cort, Mary Curtis Ratcliff and Parry Teasdale, after David and Parry met each other, video cameras in hand, at the Woodstock Music Festival. Working out of a loft in lower Manhattan, the group's first major project was producing a live and tape TV presentation for the CBS network, The Now Show, for which they traveled the country, interviewing countercultural figures such as Abbie Hoffman and Black Panther leader Fred Hampton.\nThe group soon grew to ten full-time members--including Chuck Kennedy, Nancy Cain, Skip Blumberg, Davidson Gigliotti, Carol Vontobel, Bart Friedman and Ann Woodward--and produced tapes, installations and multimedia events. The Videofreex trained hundreds of makers in this brand new medium though the group's Media Bus project.\nIn 1971 the Freex moved to a 17-room, former boarding house called Maple Tree Farm in Lanesville, NY, operating one of the earliest media centers. Their innovative programming ranged from artists' tapes and performances to behind-the-scenes coverage of national politics and alternate culture. They also covered their Catskill Mountain hamlet, and in early 1972 they launched the first pirate TV station, Lanesville TV. An exuberant experiment with two-way, interactive broadcasting, it used live phone-ins and stretched cameras to the highway, transmitting whatever the active minds of the Freex coupled with their early video gear could share with their rural viewers.\nDuring the decade that the Freex were together, this pioneer video group amassed an archive of 1,500+ raw tapes and edits.","bio_dates":"b. 1937"},{"slug":"bayrle_thomas_autobahnkopf","ok":true,"partial":false,"title":"Autobahnkopf","artist":"Thomas Bayrle","year":"1988","startOffset":0,"sourceSecs":563.56,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":101314520,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_autobahnkopf/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_autobahnkopf/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bayrle_thomas_autobahnkopf.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bayrle_thomas_autobahnkopf/main.mp4?v=2","description":"One of the most impressive pieces, a 16-millimetre film of montages of black and white stills, Autobahnkopf, appears at first glance to be an image of an anatomical human head turning its face in all directions. A closer look reveals the image as constructed from many loops of footage of busy highways."},{"slug":"bayrle_thomas_dolly_animation","ok":true,"partial":false,"title":"Dolly Animation","artist":"Thomas Bayrle","year":"1984","startOffset":0,"sourceSecs":344.72,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":50632637,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_dolly_animation/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_dolly_animation/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bayrle_thomas_dolly_animation.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bayrle_thomas_dolly_animation/main.mp4?v=2","artist_bio":"Videofreex, one of the first video collectives, was founded in 1969 by David Cort, Mary Curtis Ratcliff and Parry Teasdale, after David and Parry met each other, video cameras in hand, at the Woodstock Music Festival. Working out of a loft in lower Manhattan, the group's first major project was producing a live and tape TV presentation for the CBS network, The Now Show, for which they traveled the country, interviewing countercultural figures such as Abbie Hoffman and Black Panther leader Fred Hampton.\nThe group soon grew to ten full-time members--including Chuck Kennedy, Nancy Cain, Skip Blumberg, Davidson Gigliotti, Carol Vontobel, Bart Friedman and Ann Woodward--and produced tapes, installations and multimedia events. The Videofreex trained hundreds of makers in this brand new medium though the group's Media Bus project.\nIn 1971 the Freex moved to a 17-room, former boarding house called Maple Tree Farm in Lanesville, NY, operating one of the earliest media centers. Their innovative programming ranged from artists' tapes and performances to behind-the-scenes coverage of national politics and alternate culture. They also covered their Catskill Mountain hamlet, and in early 1972 they launched the first pirate TV station, Lanesville TV. An exuberant experiment with two-way, interactive broadcasting, it used live phone-ins and stretched cameras to the highway, transmitting whatever the active minds of the Freex coupled with their early video gear could share with their rural viewers.\nDuring the decade that the Freex were together, this pioneer video group amassed an archive of 1,500+ raw tapes and edits.","bio_dates":"b. 1937"},{"slug":"bayrle_thomas_gummibaum","ok":true,"partial":false,"title":"Gummibaum","artist":"Thomas Bayrle","year":"1993-1994","startOffset":0,"sourceSecs":502.48,"sourceHeight":576,"sourceWidth":768,"hasAudio":false,"hasAmbientMp4":true,"bytes":81654386,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_gummibaum/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_gummibaum/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bayrle_thomas_gummibaum.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bayrle_thomas_gummibaum/main.mp4?v=2","description":"Il progetto Gummibaum (Albero della gomma) è iniziato con una serie di sfide, soprattutto di natura tecnica. Queste sfide all’inizio erano semplici, ma in breve tempo si sono trasformate in qualcosa di complesso. La produzione del progetto si è sviluppata parallelamente all’immagine che si proponeva di creare. A ogni passo successivo, il processo diventava più elaborato e di conseguenza l’immagine si arricchiva. Il nostro lavoro era focalizzato principalmente sullo sviluppo del processo, e il processo è coinciso poi con il lavoro stesso. Il progresso dell’opera era visibile indirettamente nei modi, tecnicamente diversi, attraverso i quali era possibile riempire i contorni delle foglie dell’albero della gomma. Direttamente questa evoluzione si può vedere nella documentazione del processo stesso… come l’immagine di un film fatta dal documentario della sua realizzazione. Il progresso può essere anche riconosciuto nei resti del materiale utilizzato per realizzare i nostri obiettivi. Le forme di questi mutevoli obiettivi personificavano il risultato finale - leggermente imperfetto - dell’operazione. Nella documentazione è risultato chiaro che, i movimenti di un gruppo di creature che hanno partecipato al processo di realizzazione, rispecchiano i movimenti ritmicamente ripetuti dello stesso albero della gomma.","artist_bio":"Videofreex, one of the first video collectives, was founded in 1969 by David Cort, Mary Curtis Ratcliff and Parry Teasdale, after David and Parry met each other, video cameras in hand, at the Woodstock Music Festival. Working out of a loft in lower Manhattan, the group's first major project was producing a live and tape TV presentation for the CBS network, The Now Show, for which they traveled the country, interviewing countercultural figures such as Abbie Hoffman and Black Panther leader Fred Hampton.\nThe group soon grew to ten full-time members--including Chuck Kennedy, Nancy Cain, Skip Blumberg, Davidson Gigliotti, Carol Vontobel, Bart Friedman and Ann Woodward--and produced tapes, installations and multimedia events. The Videofreex trained hundreds of makers in this brand new medium though the group's Media Bus project.\nIn 1971 the Freex moved to a 17-room, former boarding house called Maple Tree Farm in Lanesville, NY, operating one of the earliest media centers. Their innovative programming ranged from artists' tapes and performances to behind-the-scenes coverage of national politics and alternate culture. They also covered their Catskill Mountain hamlet, and in early 1972 they launched the first pirate TV station, Lanesville TV. An exuberant experiment with two-way, interactive broadcasting, it used live phone-ins and stretched cameras to the highway, transmitting whatever the active minds of the Freex coupled with their early video gear could share with their rural viewers.\nDuring the decade that the Freex were together, this pioneer video group amassed an archive of 1,500+ raw tapes and edits.","bio_dates":"b. 1937"},{"slug":"bayrle_thomas_kamilledampfbad","ok":true,"partial":false,"title":"Kamilledampfbad","artist":"Thomas Bayrle","year":"1996","startOffset":0,"sourceSecs":525.867,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":33115310,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_kamilledampfbad/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_kamilledampfbad/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bayrle_thomas_kamilledampfbad.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bayrle_thomas_kamilledampfbad/main.mp4?v=2","description":"Much has been made of Thomas Bayrle’s early days as a textile worker. The gallery statement for his current show, “Complete Films 1979-2007” at Gavin Brown’s Enterprise, even begins with a quote from Mr. Bayrle regarding this experience: “Standing in the weaving factory, day after day, hour after hour, I sank deep into this undergrowth of warp and weft.” The textile motif also serves as a kind of philosophical template for Mr. Bayrle, who imagines a social fabric that “is made up of individuals who are woven together but cannot move.”<br/><br/> The best works here are the earlier films, which reflect the pulsing throb of the factory and its immobilizing effects. Several of these, like “Auto” (1979-80), include black-and-white overhead shots similar to those favored by Alexander Rodchenko and Laszlo Moholy-Nagy, which reduce cars and people to abstract shapes and dots. “Autobahn-Kopf” (1988-89) features a hand-drawn human head schematic that further links the art to dehumanizing factory automation, and “Sunbeam” (1993-94) has a blistering, low-end soundtrack that recalls contemporaneous industrial music bands like Einstürzende Neubauten.<br/><br/> In those films, Mr. Bayrle used interesting techniques: printing photographs on pieces of rubber, stretching the rubber and filming it to create hallucinogenic effects. In his later films and paintings, Mr. Bayrle used computer programs to achieve similar yet less interesting results, more like trippy wallpaper or screen savers than imaginative artworks. Rather than commenting on industrial labor, aesthetics and technology in these works — and waking us from our catatonic workaday slumber — Mr. Bayrle seems to have sunk into the vapid space of the computer screen.","artist_bio":"Videofreex, one of the first video collectives, was founded in 1969 by David Cort, Mary Curtis Ratcliff and Parry Teasdale, after David and Parry met each other, video cameras in hand, at the Woodstock Music Festival. Working out of a loft in lower Manhattan, the group's first major project was producing a live and tape TV presentation for the CBS network, The Now Show, for which they traveled the country, interviewing countercultural figures such as Abbie Hoffman and Black Panther leader Fred Hampton.\nThe group soon grew to ten full-time members--including Chuck Kennedy, Nancy Cain, Skip Blumberg, Davidson Gigliotti, Carol Vontobel, Bart Friedman and Ann Woodward--and produced tapes, installations and multimedia events. The Videofreex trained hundreds of makers in this brand new medium though the group's Media Bus project.\nIn 1971 the Freex moved to a 17-room, former boarding house called Maple Tree Farm in Lanesville, NY, operating one of the earliest media centers. Their innovative programming ranged from artists' tapes and performances to behind-the-scenes coverage of national politics and alternate culture. They also covered their Catskill Mountain hamlet, and in early 1972 they launched the first pirate TV station, Lanesville TV. An exuberant experiment with two-way, interactive broadcasting, it used live phone-ins and stretched cameras to the highway, transmitting whatever the active minds of the Freex coupled with their early video gear could share with their rural viewers.\nDuring the decade that the Freex were together, this pioneer video group amassed an archive of 1,500+ raw tapes and edits.","bio_dates":"b. 1937"},{"slug":"bayrle_thomas_superstars","ok":true,"partial":false,"title":"Superstars","artist":"Thomas Bayrle","year":"1998","startOffset":0,"sourceSecs":554,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":99410938,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_superstars/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_superstars/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bayrle_thomas_superstars.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bayrle_thomas_superstars/main.mp4?v=2","description":"Thomas Bayrle's \"Superstars\" shows the face of a person watching a video. A zoom program makes it possible to look inside the pores of the face which reflect scenes of the video. <br/><br/> My work is essentially based on graphics. Over the past 30 years, I have gone through nearly all the areas where graphic events take place. Starting with old techniques lithography, sketching, screen printing, I went on to offset, photo technique, photocopy all the way to computer generated elements. Working with graphics led to film/video beginning in 1980. \"Superstars\" deals with animated graphics, in other words with graphic images that are set in motion whether with film or in the form of a video. <br/><br/>\"\"Superstars\" is based on the premise that mass media is rapidly developing into a total voyeuristic system, in which everyone and everything is constantly observing everyone and everything else. In the \"washing machine closed in on itself\", the system is constantly reproducing itself. The faces of nine people were filmed as they watched film loops. These were short scenes taken from video or television. These same loops were later mapped on the faces of the viewers. A continous zoom program makes it possible to do close-ups on the faces, revealing the points/pores which are made up of the small images. Every individual portrait consists of up to 20,000 individual small images out of which the \"Superface\" emerges and is constantly changed.","artist_bio":"Videofreex, one of the first video collectives, was founded in 1969 by David Cort, Mary Curtis Ratcliff and Parry Teasdale, after David and Parry met each other, video cameras in hand, at the Woodstock Music Festival. Working out of a loft in lower Manhattan, the group's first major project was producing a live and tape TV presentation for the CBS network, The Now Show, for which they traveled the country, interviewing countercultural figures such as Abbie Hoffman and Black Panther leader Fred Hampton.\nThe group soon grew to ten full-time members--including Chuck Kennedy, Nancy Cain, Skip Blumberg, Davidson Gigliotti, Carol Vontobel, Bart Friedman and Ann Woodward--and produced tapes, installations and multimedia events. The Videofreex trained hundreds of makers in this brand new medium though the group's Media Bus project.\nIn 1971 the Freex moved to a 17-room, former boarding house called Maple Tree Farm in Lanesville, NY, operating one of the earliest media centers. Their innovative programming ranged from artists' tapes and performances to behind-the-scenes coverage of national politics and alternate culture. They also covered their Catskill Mountain hamlet, and in early 1972 they launched the first pirate TV station, Lanesville TV. An exuberant experiment with two-way, interactive broadcasting, it used live phone-ins and stretched cameras to the highway, transmitting whatever the active minds of the Freex coupled with their early video gear could share with their rural viewers.\nDuring the decade that the Freex were together, this pioneer video group amassed an archive of 1,500+ raw tapes and edits.","bio_dates":"b. 1937"},{"slug":"bayrle_thomas_untitled","ok":true,"partial":false,"title":"Untitled","artist":"Thomas Bayrle","year":"1985","startOffset":0,"sourceSecs":662.233,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":42829256,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_untitled/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bayrle_thomas_untitled/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bayrle_thomas_untitled.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bayrle_thomas_untitled/main.mp4?v=2","artist_bio":"Videofreex, one of the first video collectives, was founded in 1969 by David Cort, Mary Curtis Ratcliff and Parry Teasdale, after David and Parry met each other, video cameras in hand, at the Woodstock Music Festival. Working out of a loft in lower Manhattan, the group's first major project was producing a live and tape TV presentation for the CBS network, The Now Show, for which they traveled the country, interviewing countercultural figures such as Abbie Hoffman and Black Panther leader Fred Hampton.\nThe group soon grew to ten full-time members--including Chuck Kennedy, Nancy Cain, Skip Blumberg, Davidson Gigliotti, Carol Vontobel, Bart Friedman and Ann Woodward--and produced tapes, installations and multimedia events. The Videofreex trained hundreds of makers in this brand new medium though the group's Media Bus project.\nIn 1971 the Freex moved to a 17-room, former boarding house called Maple Tree Farm in Lanesville, NY, operating one of the earliest media centers. Their innovative programming ranged from artists' tapes and performances to behind-the-scenes coverage of national politics and alternate culture. They also covered their Catskill Mountain hamlet, and in early 1972 they launched the first pirate TV station, Lanesville TV. An exuberant experiment with two-way, interactive broadcasting, it used live phone-ins and stretched cameras to the highway, transmitting whatever the active minds of the Freex coupled with their early video gear could share with their rural viewers.\nDuring the decade that the Freex were together, this pioneer video group amassed an archive of 1,500+ raw tapes and edits.","bio_dates":"b. 1937"},{"slug":"beat_generation_lebel_villetard_2013","ok":true,"partial":false,"title":"Beat Generation","artist":"Jean-Jacques Lebel","year":"2013","startOffset":0,"sourceSecs":3301.776,"sourceHeight":406,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":190872009,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beat_generation_lebel_villetard_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beat_generation_lebel_villetard_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beat_generation_lebel_villetard_2013.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beat_generation_lebel_villetard_2013/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beat_generation_lebel_villetard_2013/main/master.m3u8?v=2","hasMainHls":true,"description":"This French language documentary film is dedicated to the three important beat-icons: Jack Kerouak, Allen Ginsberg and William Burroughs. It traces back the origins of this literary movement, being illustrated by many rare archive staff (tv, movies, interviews, poems cited) and Lebel's own material.","artist_bio":"Jean-Jacques Lebel & Xavier Villetard - Beat Generation (2013)\nJean-Jacques Lebel (born in Paris on June 30, 1936) is a French artist, poet, translator, poetry publisher, political activist, art collector, and art historian. Besides his heterogeneous artworks and poetry, Lebel is also known for his very early work with Happenings, as an art theory writer with close ties to the American scene, and as an art curator. He is the son of Robert Lebel art critic and close friend of Marcel Duchamp.","bio_dates":"b. 1936"},{"slug":"beatty_maria_gang_of_souls_a_generation_of_beat_poets_1989","ok":true,"partial":false,"title":"Gang of Souls: A Generation of Beat Poets","artist":"Maria Beatty","year":"1989","startOffset":0,"sourceSecs":3456.32,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":593626683,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beatty_maria_gang_of_souls_a_generation_of_beat_poets_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beatty_maria_gang_of_souls_a_generation_of_beat_poets_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beatty_maria_gang_of_souls_a_generation_of_beat_poets_1989.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beatty_maria_gang_of_souls_a_generation_of_beat_poets_1989/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beatty_maria_gang_of_souls_a_generation_of_beat_poets_1989/main/master.m3u8?v=2","hasMainHls":true,"description":"Short documentary on the Beats and their influence. Features William S. Burroughs, Jim Carroll, Gregory Corso, Diane Di Prima, Marianne Faithfull, Allen Ginsberg, John Giorno, Richard Hell, Lydia Lunch, Henry Rollins, Ed Sanders, and Anne Waldman. Mostly short pieces to camera and short fragmentary performances. Copyright notices states 1989 while imdb quotes 2008.","artist_bio":"Maria Beatty & Annie Sprinkle - Sluts & Goddesses Video Workshop (1992)\nAn astute observer of the cultural aspects of the fetish world, Venezuela born Maria Beatty's artistry as a filmmaker sets new standards of quality. Her unique vision covers ground explored by artists as varied as Andy Warhol, Werner Fassbinder, Irving Klaw and Betty Page -- but presents it more explicitly and daringly. The high art quality of the films is a dramatic contrast to the (frequently) sometimes shocking images she reveals.\nIn 1997, Maria Beatty unveiled her hypnotic work THE BLACK GLOVE, an intimate portrayal of a sadomasochistic encounter between herself and a dominant female partner. The now-legendary movie made the entrancing submissive a cult star in the worldwide fetish scene and defined her \"erotic noir\" style, an atmospheric blend of lesbian hardcore and the shadowy look of old crime flicks.\nCommitted to total control over her own work, Maria Beatty has gone on to establish herself as a true independent, winning acclaim and awards for her uncompromising work. Her highly personal approach achieves an authentic sensuality rarely seen in adult cinema, leading viewers into the enticing world of fetishism: rope bondage, spanking, stilettos, latex, hot wax, golden showers, breast play, foot worship and more. In her own words, \"My films delight in the playful relationship between pleasure and pain.\"","bio_dates":"1989"},{"slug":"beaudin_jean_vertige_1969_iphone","ok":true,"partial":false,"title":"Vertige","artist":"Jean Beaudin","year":"1969","startOffset":0,"sourceSecs":2614.338,"sourceHeight":320,"sourceWidth":440,"hasAudio":true,"hasAmbientMp4":true,"bytes":151988109,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beaudin_jean_vertige_1969_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beaudin_jean_vertige_1969_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beaudin_jean_vertige_1969_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beaudin_jean_vertige_1969_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beaudin_jean_vertige_1969_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Jean Beaudin<br/> Year: 1969<br/> Time: 41 mins<br/> Music: Serge Garant<br/><br/>Many films were produced in the 60s, both emic and etic, documenting the violent and sometimes silly ideological revolutions that swept Western middle-class youngsters of the time, producing a fascinating an apparently endless vault of cinematic experimentation and increasingly conventional audiovisual tropes. Far more interesting, for instance, than The Invasion of the Thunderbolt Pagoda, is Jean Beaudin's debut work Vertige. Though its point is somewhat vague, it is both visually and sonically one of the most compelling exercises in the tradition of lysergic films of the 60s. Sympathetic but subtly critical, Vertige presents itself as a psychological portrait of the escape and/or contestation tactics of the decade's youth: while war, violence, famine and poverty continue to devastate the planet, these youngsters seek refuge in the hedonistic haven of sexual liberation, lysergic research and communal fictions. Richly textured visuals and bold scenic montage are some of the key elements in Vertige, but it is Serge Garant's fine contemporary soundtrack, and its intimate rapport with the scenic rhythms, that catapult the film beyond the conventions of psychedelic cinema. Famed as a pioneer of contemporary music in Canada, Garant provides am eclectic score that ranges from atonal symphonic exercises to psych-rock, concrète and electroacoustic soundscapes. Such diverse approaches, and their powerful connections with the screen, give Vertige a highly nuanced and refined cadence, and render it one of the finest and most compelling examples of the genre.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Jean Beaudin in UbuWeb Sound</a>","artist_bio":"Jean Beaudin (born 6 February 1939) is a Canadian film director and screenwriter. He has directed 20 films since 1969. His film J.A. Martin Photographer, was entered into the 1977 Cannes Film Festival, where Monique Mercure won the award for Best Actress. The film also won best Film, he won best Director, and Mercure won best Actress awards at the 1977 Canadian Film Awards.","bio_dates":"b. 1939"},{"slug":"beauvais_yann_duncouvrefeu_2006","ok":true,"partial":false,"title":"d'un couvre-feu","artist":"yann beauvais","year":"2006","startOffset":0,"sourceSecs":585.445,"sourceHeight":576,"sourceWidth":766,"hasAudio":true,"hasAmbientMp4":true,"bytes":99613153,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beauvais_yann_duncouvrefeu_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beauvais_yann_duncouvrefeu_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beauvais_yann_duncouvrefeu_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beauvais_yann_duncouvrefeu_2006/main.mp4?v=2","description":"d'un couvre-feu<br/> yann beauvais<br/> 2006, color, sound, 9'40<br/><br/>This film is based on several sequences recorded here and there last November, 2005. What was at stake was to redistribute these sequences by reframing while re-shooting them and by editing in such way as to see again or differently those sequences. Rap beats as much as Rio's favella funk, contribute to give another environment to these by affirming the fact that there are sound produced by blacks, as much as sounds made in the suburb and in the favelas. These songs smash through the official voiceover of the news, they permit us to consider other points of view that the rioters had already shown in questioning the white colonizer. <br><br> In November, following the electrocution of two teenagers in a power substation, while they tried get away from the cops, riots broke out in many French suburbs. Each of those days, young people of the suburbs occupied a political space, forcing the attention of the media. <br/><br/> People frequently realized that the riots revealed the glaring blindness of French society with respect to the inherent racism of its universalizing thought which disqualifies all differences in favor of an integrationism strongly tinged by colonialism. The blindness of society that the riots revealed, was felt in the laws of the \"State of Exception\" established by a neo-liberal government which was enough to justify the wave of repression for the majority of the citizens of France. The reinstatement of the law establishing the state of emergency of 1955, underscored the enduring though repressed presenc° of the War in Algeria. One could not have imagined a better means of perpetuating exclusion, except to call upon the special clean-up squad of the Minister of Interior, eager to deploy the tools of its trade.<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is curated for UbuWeb by Keith Sanborn<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">yann beauvais in UbuWeb Sound</a></br></br></br>","artist_bio":"Born in France in 1953. As a teacher in United States, he became conscious of the need to lead a « cultural battle ». Filmmaker and film critic, he organizes experimental cinema events in France and other countries. After his film and philosophy studies, he became very influenced by contemporary art (Russian formalism and minimal structuralism) and learned music, as well as by his friendship with Paul SHARITS. He strives to find a balance between formalism and lyricism. He himself explains that the common denominator between all his films is that they are all constructed according to the principle : « fragility » – « disappearance » – « disintegration». In 1982 he co-founds Light Cone with Miles MCKANE. Amongst others he has published : Musique film with Deke Dusinberre (1986), \"Mots : dites, image\" with Miles MCKANE (1988), Poussières d’images (1998) and finally, \"Monter/Sampler\" with J.-M. Bouhours (2000).","bio_dates":"1997"},{"slug":"beauvais_yann_hezraelah_2006","ok":true,"partial":false,"title":"Hezraelah","artist":"yann beauvais","year":"2006","startOffset":0,"sourceSecs":43.932,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2005097,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beauvais_yann_hezraelah_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beauvais_yann_hezraelah_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beauvais_yann_hezraelah_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beauvais_yann_hezraelah_2006/main.mp4?v=2","description":"Hezraellah lasts for 48 seconds and it's a silent film full of sound and fury and exasperated vehemence. It also \"interrogates and interpellates\" as another poet said at the end of the last world war, <a href=\"https://ubu.com/sound/dufrene.html\" rel=\"noopener\" target=\"_blank\">François Dufrêne</a>-who at that time used the words apparently beyond meaning characteristic of the lettrists. Hezraellah is crossed, striped, with breathless barely legible verbal eruptions where the usual linearity of language is lost - but finally hardly less difficult to decode than \"current reality\" itself, blurred out behind intangible official codes. These words explode on the background of a map of a city like israeli bombs on Beirut. To an Israeli ambassador, speaking of beauvais's film, who might ask him, \"You did that?\" Yann Beauvais would be able to respond as did Picasso to Otto Abetz on the subject of \"Guernica\": \"No, you did.\" -Jacques Virbel.<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is curated for UbuWeb by Keith Sanborn<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">yann beauvais in UbuWeb Sound</a></br>","artist_bio":"Born in France in 1953. As a teacher in United States, he became conscious of the need to lead a « cultural battle ». Filmmaker and film critic, he organizes experimental cinema events in France and other countries. After his film and philosophy studies, he became very influenced by contemporary art (Russian formalism and minimal structuralism) and learned music, as well as by his friendship with Paul SHARITS. He strives to find a balance between formalism and lyricism. He himself explains that the common denominator between all his films is that they are all constructed according to the principle : « fragility » – « disappearance » – « disintegration». In 1982 he co-founds Light Cone with Miles MCKANE. Amongst others he has published : Musique film with Deke Dusinberre (1986), \"Mots : dites, image\" with Miles MCKANE (1988), Poussières d’images (1998) and finally, \"Monter/Sampler\" with J.-M. Bouhours (2000).","bio_dates":"1997"},{"slug":"beauvais_yann_still_life_1997","ok":true,"partial":false,"title":"Still Life","artist":"yann beauvais","year":"1997","startOffset":0,"sourceSecs":694.037,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":44973695,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beauvais_yann_still_life_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beauvais_yann_still_life_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beauvais_yann_still_life_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beauvais_yann_still_life_1997/main.mp4?v=2","description":"This tape considers the subject of HIV and AIDS from a variety of different view points. On the one hand using textual material in both English and French which appears on screen at different speeds and rhythms, and on the other, articulated by the appearance of human voice on the sound track. <br/><br/> Both the observations and experiences concerning AIDS overlap with one another and emerge in fragmentary form, whereby the policies pursued regarding this subject are represented through the application of specific visual modalities. <br/><br/> AIDS hasn't disappear as a new result of tritherapy : AIDS is being trivialized to make it easier to conceal. By employing constant confrontation as a technique, this films manages to build bridges regarding our attitudes toward HIV and AIDS. <br/><br/> It is a story of a person confronted with a civilization which promotes deaths as a way of life: and its attempts to confirm that something else exist beyond this wonderful antiseptic-homogenous society in which we live. -yann beauvais<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is curated for UbuWeb by Keith Sanborn<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">yann beauvais in UbuWeb Sound</a></br>","artist_bio":"Born in France in 1953. As a teacher in United States, he became conscious of the need to lead a « cultural battle ». Filmmaker and film critic, he organizes experimental cinema events in France and other countries. After his film and philosophy studies, he became very influenced by contemporary art (Russian formalism and minimal structuralism) and learned music, as well as by his friendship with Paul SHARITS. He strives to find a balance between formalism and lyricism. He himself explains that the common denominator between all his films is that they are all constructed according to the principle : « fragility » – « disappearance » – « disintegration». In 1982 he co-founds Light Cone with Miles MCKANE. Amongst others he has published : Musique film with Deke Dusinberre (1986), \"Mots : dites, image\" with Miles MCKANE (1988), Poussières d’images (1998) and finally, \"Monter/Sampler\" with J.-M. Bouhours (2000).","bio_dates":"1997"},{"slug":"beauvoir_simone_de_interview_pourquoi_je_suis_feministe","ok":true,"partial":false,"title":"Pourquoi je suis féministe avec Jean-Louis Servan Schreiber dans Questionnaire","artist":"Simone de Beauvoir","year":"1975","startOffset":0,"sourceSecs":2926.573,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":170626808,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beauvoir_simone_de_interview_pourquoi_je_suis_feministe/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beauvoir_simone_de_interview_pourquoi_je_suis_feministe/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beauvoir_simone_de_interview_pourquoi_je_suis_feministe.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beauvoir_simone_de_interview_pourquoi_je_suis_feministe/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beauvoir_simone_de_interview_pourquoi_je_suis_feministe/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/tzara.html\" rel=\"noopener\" target=\"_blank\">Simone de Beauvoir in UbuWeb Sound</a>","artist_bio":"Simone de Beauvoir, in full Simone Lucie-Ernestine-Marie-Bertrand de Beauvoir, (born Jan. 9, 1908, Paris, France—died April 14, 1986, Paris), French writer and feminist, a member of the intellectual fellowship of philosopher-writers who have given a literary transcription to the themes of Existentialism. She is known primarily for her treatise Le Deuxième Sexe, 2 vol. (1949; The Second Sex), a scholarly and passionate plea for the abolition of what she called the myth of the “eternal feminine.” This seminal work became a classic of feminist literature.\nSchooled in private institutions, de Beauvoir attended the Sorbonne, where, in 1929, she passed her agrégation in philosophy and met Jean-Paul Sartre, beginning a lifelong association with him. She taught at a number of schools (1931–43) before turning to writing for her livelihood. In 1945 she and Sartre founded and began editing Le Temps modernes, a monthly review.\nHer novels expound the major Existential themes, demonstrating her conception of the writer’s commitment to the times. L’Invitée (1943; She Came To Stay) describes the subtle destruction of a couple’s relationship brought about by a young girl’s prolonged stay in their home; it also treats the difficult problem of the relationship of a conscience to “the other,” each individual conscience being fundamentally a predator to another. Of her other works of fiction, perhaps the best known is Les Mandarins (1954; The Mandarins), for which she won the Prix Goncourt. It is a chronicle of the attempts of post-World War II intellectuals to leave their “mandarin” (educated elite) status and engage in political activism. She also wrote four books of philosophy, including Pour une Morale de l’ambiguité (1947; The Ethics of Ambiguity); travel books on China (La Longue Marche: essai sur la Chine [1957]; The Long March) and the United States (L’Amérique au jour de jour [1948]; America Day by Day); and a number of essays, some of them book-length, the best known of which is The Second Sex. In 2009 a new English-language translation of The Second Sex was published, making the entire original text available to English-speaking readers for the first time; the earlier translation (1953) had been severely edited.\nSeveral volumes of her work are devoted to autobiography. These include Mémoires d’une jeune fille rangée (1958; Memoirs of a Dutiful Daughter), La Force de l’âge (1960; The Prime of Life), La Force des choses (1963; Force of Circumstance), and Tout compte fait (1972; All Said and Done). This body of work, beyond its personal interest, constitutes a clear and telling portrait of French intellectual life from the 1930s to the 1970s.\nIn addition to treating feminist issues, de Beauvoir was concerned with the issue of aging, which she addressed in Une Mort très douce (1964; A Very Easy Death), on her mother’s death in a hospital, and in La Vieillesse (1970; Old Age), a bitter reflection on society’s indifference to the elderly. In 1981 she wrote La Cérémonie des adieux (Adieux: A Farewell to Sartre), a painful account of Sartre’s last years. Simone de Beauvoir: A Biography, by Deirdre Bair, appeared in 1990. Carole Seymour-Jones’s A Dangerous Liaison (2008), a double biography of de Beauvoir and Sartre, explores the unorthodox long-term relationship between the two.\nSimone de Beauvoir revealed herself as a woman of formidable courage and integrity, whose life supported her thesis: the basic options of an individual must be made on the premises of an equal vocation for man and woman founded on a common structure of their being, independent of their sexuality.","bio_dates":"1908-1986"},{"slug":"beavers_robert_the_ground","ok":true,"partial":false,"title":"The Ground","artist":"Robert Beavers","year":"1993-2001","startOffset":0,"sourceSecs":1345.911,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":226414395,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beavers_robert_the_ground/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beavers_robert_the_ground/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beavers_robert_the_ground.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beavers_robert_the_ground/main.mp4?v=2","description":"The Ground <br/> 1993-2001, 35mm, colour, sound, 20’<br/> Cast: Robert Beavers. Filmed in Greece (Island of Hydra). <br/><br/> “What lives in the space between the stones, in the space cupped between my hand and my chest? Filmmaker/stonemason. A tower or ruin of rememberance. With each swing of the hammer I cut into the image and the sound rises from the chisel. A rhythm, marked by repetition and animated by variation; strokes of hammer and fist, resounding in dialogue. In this space which the film creates, emptiness gains a conour strong enough for the spectator to see more than the image – a space permitting vision in addition to sight”. (RB). <br/><br/> A film such as The Ground (worked on between roughly 1993 and 2001 — Beavers is deliberately circumspect about his dates) is a perfect example. In making a study of the rocky terrain of the island of Hydra, Beavers' editing and use of careful refocusing results in subtle, unforced but highly persuasive visual parallels. Most of his shots are at a straight angle to their subject, but Beavers frequently reframes his images by apparently adjusting his lens or resituating his camera in relation to the subject. So, rather than roving with a mobile camera, or fragmenting the objects with harsh edits, Beavers seems to take us gently along the X, Y and Z axes of the visual field. <br/><br/> What's more, Beavers doesn't typically move us from shot to shot of a single subject. His films are almost all sestinas or villanelles on a set of related motifs. The Ground interlaces the landscape with, for example, a stonecutter and a naked male torso with a cupped hand, moving toward us in a gesture of offering or supplication. When we see Beavers' frame circle into darkness, as if he's changing the lens plate, it's another image that slides into place. While this is a highly unique formal maneuver all on its own — given that it essentially primes the viewer to anticipate a closer view of what we are looking at and then, by giving us something else, makes Beavers' poetic condensations palpably felt — this approach is also part and parcel of the European aesthetic into which Beavers, it seems, is trying to induct the seventh art.","artist_bio":"Robert Beavers (born 1949) is an American experimental filmmaker. Born and raised in Massachusetts, he attended Deerfield Academy which he left before graduating to move to New York in 1965 to pursue filmmaking [1]. He lived in New York until 1967 when he and his partner, Gregory Markopoulos, left the United States for Europe, where they continued to live and make films until Markopoulos' death in 1992.\nBoth filmmakers restricted the screenings of their films after leaving America, and instead held yearly screenings of Markopoulos' and Beavers' work from 1980-1986 at the Temenos, a site near Lyssaraia in Arcadia, Greece. After Markopoulos' death, Beavers founded Temenos, Inc., a non-profit devoted to the preservation of Markopoulos' and Beavers' work. Beavers has worked extensively on re-editing his films to create the larger film cycle \"My Hand Outstretched to the Winged Distance and Sightless Measure.\"","bio_dates":"b. 1949"},{"slug":"beck_robert_nine_years_later_girlfriend_in_a_coma","ok":true,"partial":false,"title":"Nine Years Later (Girlfriend In A Coma)","artist":"Robert Beck","year":"1998","startOffset":0,"sourceSecs":972.4,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":60085783,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beck_robert_nine_years_later_girlfriend_in_a_coma/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beck_robert_nine_years_later_girlfriend_in_a_coma/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beck_robert_nine_years_later_girlfriend_in_a_coma.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beck_robert_nine_years_later_girlfriend_in_a_coma/main.mp4?v=2","description":"USA, 1998<br/> 12 minutes Colour, stereo<br/> Digibeta tape, DVD, SD Digital file<br/> <br/> Robert Beck recontextualises videotaped performances he created in the late 1980's to music by The Smiths. By turns gruesome and ironic, these three home-made 'music videos', including Panic, Big Mouth Strikes Again and Girlfriend In A Coma, are brought to their ultimate and canny conclusion only with Beck's long delayed return to them. Revisiting his highly self-concious and idiosyncratic performances Beck betrays the apparent ease and economy of the original clips by deftly editing them against the awkwardness and obsessiveness of their numerous out-takes. Wittingly, with intertitles and voice-over, Beck calibrates his performances retrospectively with the video technology that recorded them, and inadvertently traverses a decade of video history...from the mainstream-media inspired work of the 1980's to the more reflexive performance-based practices of the 1990's.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/barry.html\" rel=\"noopener\" target=\"_blank\">Bob Beck in UbuWeb Sound</a>","bio_dates":"b. 1959"},{"slug":"beck_robert_panic_nine_years_later","ok":true,"partial":false,"title":"Nine Years Later (Panic + Bigmouth Strikes Again)","artist":"Robert Beck","year":"1996","startOffset":0,"sourceSecs":812.733,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":51451401,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beck_robert_panic_nine_years_later/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beck_robert_panic_nine_years_later/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beck_robert_panic_nine_years_later.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beck_robert_panic_nine_years_later/main.mp4?v=2","description":"USA, 1998<br/> USA, 1996<br/> 23 minutes <br/> Digibeta tape, DVD, SD Digital file<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/barry.html\" rel=\"noopener\" target=\"_blank\">Bob Beck in UbuWeb Sound</a>","bio_dates":"b. 1959"},{"slug":"beck_stephen_illustrated_music_2and3_1973","ok":true,"partial":false,"title":"Illuminated Music 2 & 3","artist":"Stephen Beck","year":"1973","startOffset":0,"sourceSecs":1222.827,"sourceHeight":464,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":217101575,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beck_stephen_illustrated_music_2and3_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beck_stephen_illustrated_music_2and3_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beck_stephen_illustrated_music_2and3_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beck_stephen_illustrated_music_2and3_1973/main.mp4?v=2","description":"Director: Stephen Beck<br/> Year: 1973<br/> Time: 28 mins<br/> Music: Warner Jepson<br/><br/>A classic in audiovisual experimentation, Illuminated Music was a series of live performances by Stephen Beck (visuals) and Warner Jepson (music) in which the artists reworked pre-made compositions directly before an audience. While electronic video adventures were still a novelty, live experiments, both in the visual and musical arenas, were even rarer. Beck used the Direct Video Synthesizer, designed by himself, which - so the narrator claims - allowed him to \"control precisely\" the visual output in the performance (the myth of control in electronic media) and, still noteworthy at the time, to create pictures without a camera. Jepson used the now famous Buchla audio synthesizer, first explored by Subotnick in his 1963 piece Silver Apples on the Moon. Though I'd that say that Jepson's music is far richer and more engaging than the visuals (perhaps as a result of the greater possibilities of the Buchla synth and the deeper theoretical and practical range of electronic music at the time) Illuminated Music is unsurpassable in its historical significance as an early experiment in live electronics. I never could get hands on Part I, nor do I know if there are further installments in the series. -- Eye of Sound<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Stephen Beck in UbuWeb Sound</a>","artist_bio":"Electronic \"polymediast\" Stephen Beck has been sculpting video and multimedia works with electrons since the pre-digital era in 1967. Beck's video works have been broadcast on PBS-TV and on international television networks.\nHis video performances, compositions, and sculptures have been acquired by both private collectors as well as museums worldwide. Commissions for Beck's prolific range of artistic creations have led to presentations at renowned art events, including ARTEC in Nagoya, Japan, the Kwang Ju Biennale in Korea, and Ars Electronica in Linz, Austria, as well as in exhibits ranging from the Museum of Contemporary Art, in Zagreb, Croatia, to the Whitney Museum of American Art, the Museum of Modern Art New York, the San Francisco Museum of Modern Art, and the University of California, Berkeley Art Museum & Pacific Film Archive.\nBeck's work has been recognized with artist's grants from the National Endowment for the Arts, The Rockefeller Foundation, and the American Film Institute. The artist recently presented his work at the exhibit, \"Conversations with Contemporary Artists,\" at the Museum of Modern Art New York. Earlier in his career, from 1970 to 1974, Beck was an electronic video artist in residence at the Public Television System's National Center for Experiments in Television at KQED-TV in San Francisco.\nThe artist holds degrees in electronic engineering and computer science from the University of California, Berkeley, and also studied electronic music and composition with composer John Cage at the University of Illinois, Urbana. He was a founding member of the Chicago chapter of EAT (Experiments in Art and Technology) in 1968. Mr. Beck is currently serving on the faculty of the University of California, Berkeley.","bio_dates":"b. 1950"},{"slug":"beckett_adam_heavy_light_1973","ok":true,"partial":false,"title":"Heavy-Light","artist":"Adam Beckett","year":"1973","startOffset":0,"sourceSecs":375.168,"sourceHeight":512,"sourceWidth":672,"hasAudio":true,"hasAmbientMp4":true,"bytes":62061975,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_adam_heavy_light_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_adam_heavy_light_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_adam_heavy_light_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_adam_heavy_light_1973/main.mp4?v=2","description":"Music: Barry Schrader <br/><br/> This is one of those abstract animated films in which colored, richly textured light moves in a black, three-dimensional space. The pictures and the electronic score are unified in a strict structure made of three main sections which progressively develop three subsections. This film may look like it was made using computers or video to the uninitiated, but only animation and mucho optical printing are to be seen herein. <br/><br/> Awards: Sinking Creek Film & Video Festival, 1973; Athens Int'l Film Festival, 1974; Humboldt Film Festival, 1974.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Adam Beckett in UbuWeb Sound</a>","bio_dates":"1950-1979"},{"slug":"beckett_samuel_5_plays_of_samuel_beckett_by_peter_brook","ok":true,"partial":false,"title":"Five Beckett Plays directed by Peter Brook","artist":"Samuel Beckett","year":"2015","startOffset":0,"sourceSecs":3650.2,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":214205646,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_5_plays_of_samuel_beckett_by_peter_brook/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_5_plays_of_samuel_beckett_by_peter_brook/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_5_plays_of_samuel_beckett_by_peter_brook.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_5_plays_of_samuel_beckett_by_peter_brook/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_5_plays_of_samuel_beckett_by_peter_brook/main/master.m3u8?v=2","hasMainHls":true,"description":"Documentaire ARTE : Beckett by Peter Brook (2015) <br/><br/> Yes, the confusion of my ideas on the subject of death was such that I sometimes wondered, believe me or not, if it wasn’t a state of being even worse than life. –- Samuel Beckett, “Molloy”<br/><br/> Fragments. Texts by Samuel Beckett (Rough for Theatre 1, Rockaby, Act Without Words II, Come and Go, and Neither). Directed by Peter Brook and Marie-Hélène Estienne. Arts Emerson presents the Theatre Des Bouffes Du Nord staging at the Paramount Mainstage, through April 3.<br/><br/> By Bill Marx<br/><br/> That impish “believe me or not” provides a clue to at least one of the impulses that drives Samuel Beckett’s lyrical stage pieces, particularly the short playlets that make up the powerful evening (required viewing for admirers of Beckett) entitled Fragments. The scripts dramatize (comically and/or tragically) the relative merits of life and death, at times sardonically questioning if oblivion supplies a sufficiently comforting state of grace. Yes, life is miserable, solipsistic, and mechanical, but might it turn out that living is a less painful condition than dying? It is a matter of belief—lingering amid (or despite) the confusion remains the only option for characters in various conditions of dissolution, nothingness nipping at their heels.<br/><br/> Of course, Beckett’s genius as a writer is to generate a sometimes contemplative, sometimes slapstick poetry out of this uncertainty over the compensatory value of our ultimate end. What directors Peter Brook and Marie-Hélène Estienne bring to their vision of the plays is a beautifully modulated theatricality and rich humanity that gives life a fighting chance, though they wisely eschew easy sentimentality. The sense of isolation, created by lighting that isolates and shrouds Beckett’s figures, suggests that the promise of eternal night remains both frightening and enticingly “dark and deep.”<br/><br/> Yes, the human can be amusing, as in the baggy pants recreation of the killing daily grind in Act Without Words II, or heartbreaking, as in the lulling, deathbed drama of Rockaby. Productions of Rough for Theatre I, which features a troubled encounter between a blind man and a guy in a wheelchair, usually turn the pair’s awkward attempt to forge a friendship in some sort of nether world into a cruel farce. Here the match-up is cantankerous, lively, and even touching until the ending. Beckett has one of the characters simply wrench a pole from the other’s grasp; in this production, the gesture raises the possibility of assault.<br/><br/> Fragments is filled with surprising squibs of self-destruction and hostility, wit and nostalgia, acceptance and rebellion. The production’s trio of accomplished performers supply the demanding physical and vocal dynamics with ease; my major reservation is that Yoshi Oïda’s accent makes it difficult to make out his words, particularly in Rough for Theater I. His clowning is agile in Act Without Words II, his short-tempered frustration shading nicely into fervent prayers for deliverance from the life cycle. Carmichael’s vocal nuances are silky and supple; she even overcame a ringing cell phone the night I attended to present a remarkably poignant Rockaby. She also comes up with a tart Neither, a Beckett libretto that I have not seen before. Bruce Myers shifts his ground effortlessly, moving from commanding to craven with a flick of his torso or alternation in his tone of voice.<br/><br/> Brook and Estienne take no liberties with the words in the texts, though changes in the staging have been made for the sake of dramatic flair. Rough for Theatre I calls for a wheelchair, but here it is a cloth-covered platform on wheels. Rockaby is written as a duet between a live performer (who is supposed to look “prematurely old”) and a recorded voice—but Carmichael’s agile vocal gear shifting more than compensates for ditching the recording. Come and Go gives us Myers and Oïda in drag, joining Carmichael on a bench, three aging women gossiping about the ravages of time. I have never seen this piece done with such an infectious sense of fun—it is usually an exercise in the funereal.<br/><br/> The popular caricature of Beckett is that his work is dessicated and off-putting, experimental and difficult. (“I speak of an art … weary of puny exploits, weary of pretending to be able, of being able, of doing a little better the same old thing, of going a little further along a dreary road.”) The exhilaration of Fragments suggests that, on the one hand, Beckett’s modernism seems old-fashioned now, given its self-conscious, syllable-by-syllable dialogue, as well its dedication to the complex resonances of the human voice and face, its resolute focus on the rhythmic, metaphoric, and metaphysical power of the pause, which forces us to concentrate on each sound and breath because they generate lived moments on stage.<br/><br/> Yet the playwright’s painstaking art asks that the audience take pains as well, which makes it radical. Today, too much theater embraces the noisy and obvious, reveling in the delusive, futuristic spell cast by the visceral and the visual, which spoon feed the audience what it supposedly needs to know or feel. We are not encouraged to work very hard or draw on our imaginations—the primal fear is that, if challenged, we will change the channel or our allegiances in an increasingly competitive entertainment market place. Theater-as-event doesn’t offer a strong alternative to the reign of a media-crazed cultural machinery apparently bent on helping to dissipate meaning and value from human existence.<br/><br/> The difference is between theater that respects theatergoers as thinking human beings or placates them as consumers representative of demographic niches. Once, Beckett was seen (and derided) as an absurd rhapsodist of emptiness, but as theater increasingly hollows itself out, he’s looking more like a poet of abundance.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_and_scheider_alain_film_1965","ok":true,"partial":false,"title":"Film","artist":"Samuel Beckett","year":"1965","startOffset":0,"sourceSecs":1048.172,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":55568513,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_and_scheider_alain_film_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_and_scheider_alain_film_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_and_scheider_alain_film_1965.mp4","hasFrames":true,"description":"Film is a film written by Samuel Beckett, his only screenplay. It was commissioned by Barney Rosset of Grove Press. Writing began on 5 April 1963 with a first draft completed within four days. A second draft was produced by 22 May and a forty-leaf shooting script followed thereafter. It was filmed in New York in July 1964.<br/><br/> Beckett’s original choice for the lead – referred to only as “O” – was Charlie Chaplin, but his script never reached him.[1] Both Beckett and the director Alan Schneider were interested in Zero Mostel and Jack MacGowran. However, the former was unavailable and the latter, who accepted at first, became unavailable due to his role in a \"Hollywood epic.\"[2] Beckett then suggested Buster Keaton.[3] Schneider promptly flew to Los Angeles and persuaded Keaton to accept the role along with \"a handsome fee for less than three weeks' work.\" James Karen, who was to have a small part in the film, also encouraged Schneider to contact Keaton.<br/><br/> The filmed version differs from Beckett's original script but with his approval since he was on set all the time, this being his only visit to the United States. The script printed in Collected Shorter Plays of Samuel Beckett (Faber and Faber, 1984) states:<br/><br/> “This is the original film project for Film. No attempt has been made to bring it into line with the finished work. The one considerable departure from what was imagined concerns the opening sequence in the street. This was first shot as given, then replaced by a simplified version in which only the indispensable couple is retained. For the rest the shooting script followed closely the indications in the script.”<br/><br/> It was remade by the British Film Institute (1979, 16 mm, 26 minutes) without Beckett’s supervision, as Film: a screenplay by Samuel Beckett. David Rayner Clark directed Max Wall.<br/><br/> It first appeared in print in Eh Joe and Other Writings (Faber and Faber, 1967).<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/papers/beckett_schneider.html\" rel=\"noopener\" target=\"_blank\">Alan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers</a><br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a></br>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_beckett_directs_beckett_krapps_last_tape_iphone","ok":true,"partial":false,"title":"Krapp's Last Tape","artist":"Samuel Beckett","year":"2006","startOffset":0,"sourceSecs":2763.736,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":161641513,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_beckett_directs_beckett_krapps_last_tape_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_beckett_directs_beckett_krapps_last_tape_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_beckett_directs_beckett_krapps_last_tape_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_beckett_directs_beckett_krapps_last_tape_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_beckett_directs_beckett_krapps_last_tape_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"An extraordinary study of mortality, creativity and memory. A 69-year-old man sits alone on his birthday <br/>and listens to recordings of his past. A rare chance to see the sell out performance of Samuel Beckett's <br/>critically acclaimed play, starring Nobel Laureate Harold Pinter.<br><br><b>Credits</b><br> Krapp - Harold Pinter<br> Director - Ian Rickson<br/> Producer - Alan Yentob<br/> Producer - Richard Fell<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a></br></br>","artist_bio":"The farther he goes the more good it does me. I don’t want philosophies, tracts, dogmas, creeds, ways out, truths, answers, nothing from the bargain basement. He is the most courageous, remorseless writer going and the more he grinds my nose in the shit the more I am grateful to him.\nHe’s not f---ing me about, he’s not leading me up any garden path, he’s not slipping me a wink, he’s not flogging me a remedy or a path or a revelation or a basinful of breadcrumbs, he’s not selling me anything I don’t want to buy — he doesn’t give a bollock whether I buy or not — he hasn’t got his hand over his heart. Well, I’ll buy his goods, hook, line and sinker, because he leaves no stone unturned and no maggot lonely. He brings forth a body of beauty.\nHis work is beautiful.","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_comedie_play_french_marin_karmitz_1966","ok":true,"partial":false,"title":"Comédie","artist":"Samuel Beckett","year":"1966","startOffset":0,"sourceSecs":1126.25,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":69357559,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_comedie_play_french_marin_karmitz_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_comedie_play_french_marin_karmitz_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_comedie_play_french_marin_karmitz_1966.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_comedie_play_french_marin_karmitz_1966/main.mp4?v=2","description":"Dir. Marin Karmitz <br/><br/> Filmed French adaption of Beckett's play, 'Play'. <br/><br/> With Eléonore Hirt, Michael Lonsdale and Delphine Seyrig <br/><br/> Samuel Beckett's COMEDIE (PLAY) was first staged in Berlin in 1964 and subsequently in London and Paris. In the same year, Beckett met Marin Karmitz, a 24 year old film director, and they agreed to make a film of COMEDIE with the original cast, Michael Lonsdale, Eléonore Hirt and Delphine Seyrig. Beckett and Karmitz were together for a year, talking, drinking a great deal and engaging in an experiment to regress to the moment of their birth, to experience the primal scream. At the end of this period the film was made.<br/><br/> Karmitz had already made a short film with Marguerite Duras. This extraordinary work amply demonstrated his phenomenal skills with extremes of black, grey and white and a heightened sensitivity to concurrences of visual and verbal language. These concerns were totally in tune with Beckett's own. Beckett's stage directions for COMEDIE with rapid-fire speech and instantaneous lighting switches from character to character could be realised with much greater precision through the medium of film. It seems he was not happy with the speed the actors were able to deliver the lines in the theatre. In the film version, voices are speeded up to a point of near indecipherability (without altering their tonality) developing an electric intensity that is complemented by the extraordinary lighting and camerawork.<br/><br/> Beckett was involved in every stage of the production of the film and was enthusiastic about the result. COMEDIE was screened at the Venice Film Festival in 1966. Rediscovered this year, it is apparent that not only is it a masterpiece but also a remarkable precursor of some of the internationally celebrated film and video work that artists have made in the last few years.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_he_joe_1965_66","ok":true,"partial":false,"title":"He Joe","artist":"Samuel Beckett","year":"1965/1966","startOffset":0,"sourceSecs":2034.32,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":351753196,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_he_joe_1965_66/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_he_joe_1965_66/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_he_joe_1965_66.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_he_joe_1965_66/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_he_joe_1965_66/main/master.m3u8?v=2","hasMainHls":true,"description":"A disembodied voice addresses a monologue to an actor otherwise alone in a room. The voice reminds Joe of a past love affair that ended tragically because Joe drove the woman to suicide. <br/><br/> The whole play is recorded by a single travelling shot moving from a long shot to a close-up of Joe's face. <br/><br/> Excerpt from Samuel Beckett’s directions: «Joe´s opening movements followed by camera at constant remove, Joe full length in frame throughout. No need to record room as whole. After this opening pursuit, between first and final closeup of face, camera has nine slight moves in towards face, say four inches each time. Each move and voice together. ... Camera does not move between paragraphs till clear that pause (say three seconds) longer than between phrases.»<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"1944-1968"},{"slug":"beckett_samuel_hotel_riadh_de_nabeul_1969","ok":true,"partial":false,"title":"Samuel Beckett at the Riadh Hotel in Nabeul, Tunisia in 1969","artist":"Samuel Beckett","year":"1969","startOffset":0,"sourceSecs":88.259,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":13472221,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_hotel_riadh_de_nabeul_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_hotel_riadh_de_nabeul_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_hotel_riadh_de_nabeul_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_hotel_riadh_de_nabeul_1969/main.mp4?v=2","description":"Samuel Beckett at the Riadh Hotel in Nabeul, Tunisia. On the occasion of receiving his Nobel Prize in Literature, Beckett was contacted by Swedish Television. This is how the famous Mute Interview was born (1969)<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_krapps_last_tape_2000_atom_egoyan","ok":true,"partial":false,"title":"Krapp's Last Tape (2011), Directed by Atom Egoyan","artist":"Samuel Beckett","year":"2011","startOffset":0,"sourceSecs":3592.964,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":604547887,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_krapps_last_tape_2000_atom_egoyan/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_krapps_last_tape_2000_atom_egoyan/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_krapps_last_tape_2000_atom_egoyan.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_krapps_last_tape_2000_atom_egoyan/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_krapps_last_tape_2000_atom_egoyan/main/master.m3u8?v=2","hasMainHls":true,"description":"While John Hurt had already honed his magisterial interpretation on stage in London, the involvement of Egoyan is surprisingly appropriate, since a play about an old man remorsefully responding to a taped recording of his younger self obviously chimes with one of the film-maker's longstanding themes, the interaction between technology, memory and self-perception. Within a realist one-room setting, Hurt's performance strikes a compellingly intimate note, as Egoyan's camera underlines a telling sense of drifting time through attentive long takes. The uninterrupted 20-minute closing shot proves utterly hypnotic and deeply moving, a humbling display of a great actor's craft.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/papers/beckett_schneider.html\" rel=\"noopener\" target=\"_blank\">Alan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers</a><br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_making_samuel_becketts_rockaby_1982","ok":true,"partial":false,"title":"Making Samuel Beckett's \"Rockaby\"","artist":"Samuel Beckett","year":"1982","startOffset":0,"sourceSecs":3468.99,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":202258717,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_making_samuel_becketts_rockaby_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_making_samuel_becketts_rockaby_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_making_samuel_becketts_rockaby_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_making_samuel_becketts_rockaby_1982/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_making_samuel_becketts_rockaby_1982/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by D.A. Pennebaker and Chris Hedges.<br/> <br/> This film follows two of Samuel Beckett’s foremost interpreters, actress Billie Whitelaw and director Alan Schneider, as they rehearse and premiere “Rockaby,” Beckett’s haunting play written specifically for this project. Beginning with rehearsals in London through the opening performance in Buffalo, New York, various views of Beckett emerge as the play takes form, revealing the strong influence he has on modern theater and the complicated way his writing takes hold of an audience. Ms. Whitelaw won an Obie Award for her performance in “Rockaby.”<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/beckett.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a></br>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_mcwhinnie_donald_gibson_alan_krapps_eh_joe_iphone","ok":true,"partial":false,"title":"Mcwhinnie Donald Gibson Alan Krapps Eh Joe","artist":"Samuel Beckett","year":"1972","startOffset":0,"sourceSecs":3234.264,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":189181801,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_mcwhinnie_donald_gibson_alan_krapps_eh_joe_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_mcwhinnie_donald_gibson_alan_krapps_eh_joe_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_mcwhinnie_donald_gibson_alan_krapps_eh_joe_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_mcwhinnie_donald_gibson_alan_krapps_eh_joe_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_mcwhinnie_donald_gibson_alan_krapps_eh_joe_iphone/main/master.m3u8?v=2","hasMainHls":true},{"slug":"beckett_samuel_not_i_whitelaw_1973","ok":true,"partial":false,"title":"Not I","artist":"Samuel Beckett","year":"1973","startOffset":0,"sourceSecs":912.235,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":60329671,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_not_i_whitelaw_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_not_i_whitelaw_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_not_i_whitelaw_1973.mp4","hasFrames":true,"description":"1973<br/> Starring and Introduced by Billie Whitelaw<br/> <br/> Not I takes place in a pitch black space illuminated only by a single beam of light. This light illuminates an actress's mouth. The mouth utters a monologue of fragmented, jumbled sentences which gradually coelesces into a narrative about a woman who has suffered an unpleasant experience. The title comes from the character's repeated insistence that the events she describes did not happen to her. <br/><br/> The stage directions also call for a character called 'the Auditor' who wears a black robe and can be dimly seen at the back of the stage, occasionally raising its hands in a gesture of impatience. When Beckett came to be involved in staging the play, he found that he was unable to place the Auditor in a stage position that pleased him, and consequently allowed the character to be omitted from those productions. However, he did not decide to cut the character from the published script, and whether or not the character is used in production seems to be at the discretion of individual producers. As he wrote to two American directors in 1986: \"He is very difficult to stage (light--position) and may well be of more harm than good. For me the play needs him but I can do without him. I have never seen him function effectively.\" <br/><br/> -- <a href=\"http://en.wikipedia.org/wiki/Not_I\" rel=\"noopener\" target=\"_blank\">Wikipedia \"Not I\"</a><br><br><b>Not I</b> <br> By Samuel Beckett Written in English in spring 1972. First performed at the Forum Theater of the Lincoln Center, New York, in September 1972. First published by Faber and Faber, London, in 1973. First performed in Britain at the Royal Court Theatre, London, on 16 January 1973.<br> <i>Note:</i><br> Movement: this consists in simple sideways raising of arms from sides and their falling back, in a gesture of helpless compassion. It lessens with each recurrence till scarcely perceptible at third. There is just enough pause to contain it as MOUTH recovers from vehement refusal to relinquish third person.<br> <i>Stage in darkness but for MOUTH, upstage audience right, about 8 feet above stage level, faintly lit from close-up and below, rest of face in shadow. Invisible microphone.<br/> AUDITOR, downstage audience left, tall standing figure, sex undeterminable, enveloped from head to foot in loose black djellaba, with hood, fully faintly lit, standing on invisible podium about 4 feet high shown by attitude alone to be facing diagonally across stage intent on MOUTH, dead still throughout but for four brief movements where indicated. See Note.<br/> As house lights down MOUTH`S voice unintelligible behind curtain. House lights out. Voice continues unintelligible behind curtain, l0 seconds. With rise of curtain ad-libbing from text as required leading when curtain fully up and attention sufficient into:</i><br/> MOUTH: . . . . out . . . into this world . . . this world . . . tiny little thing . . . before its time . . . in a godfor– . . . what? . . girl? . . yes . . . tiny little girl . . . into this . . . out into this . . . before her time . . . godforsaken hole called . . . called . . . no matter . . . parents unknown . . . unheard of . . . he having vanished . . . thin air . . . no sooner buttoned up his breeches . . . she similarly . . . eight months later . . . almost to the tick . . . so no love . . . spared that . . . no love such as normally vented on the . . . speechless infant . . . in the home . . . no . . . nor indeed for that matter any of any kind . . . no love of any kind . . . at any subsequent stage . . . so typical affair . . . nothing of any note till coming up to sixty when– . . . what? . . seventy?. . good God! . . coming up to seventy . . . wandering in a field . . . looking aimlessly for cowslips . . . to make a ball . . . a few steps then stop . . . stare into space . . . then on . . . a few more . . . stop and stare again . . . so on . . . drifting around . . . when suddenly . . . gradually . . . all went out . . . all that early April morning light . . . and she found herself in the--– . . . what? . . who? . . no! . . she! . . [<i>Pause and movement 1</i>.] . . . found herself in the dark . . . and if not exactly . . . insentient . . . insentient . . . for she could still hear the buzzing . . . so-called . . . in the ears . . . and a ray of light came and went . . . came and went . . . such as the moon might cast . . . drifting . . . in and out of cloud . . . but so dulled . . . feeling . . . feeling so dulled . . . she did not know . . . what position she was in . . . imagine! . . what position she was in! . . whether standing . . . or sitting . . . but the brain– . . . what?. . kneeling? . . yes . . . whether standing . . . or sitting . . . or kneeling . . . but the brain– . . . what? . . lying? . . yes . . whether standing . . . or sitting . . . or kneeling . . . or lying . . . but the brain still . . . still . . . in a way . . . for her first thought was . . . oh long after . . . sudden flash . . . brought up as she had been to believe . . . with the other waifs . . . in a merciful . . . [<i>Brief laugh.</i>] . . . God . . . [<i>Good laugh</i>.] . . . first thought was . . . oh long after . . . sudden flash . . . she was being punished . . . for her sins . . . a number of which then . . . further proof if proof were needed . . . flashed through her mind . . . one after another . . . then dismissed as foolish . . . oh long after . . . this thought dismissed . . . as she suddenly realized . . . gradually realized . . . she was not suffering . . . imagine! . . not suffering! . . indeed could not remember . . . off-hand . . . when she had suffered less . . . unless of course she was . . . meant to be suffering . . . ha! . . thought to be suffering . . . just as the odd time . . . in her life . . . when clearly intended to be having pleasure . . . she was in fact . . . having none . . . not the slightest . . . in which case of course . . . that notion of punishment . . . for some sin or other . . . or for the lot . . . or no particular reason . . . for its own sake . . . thing she understood perfectly . . . that notion of punishment . . . which had first occurred to her . . . brought up as she had been to believe . . . with the other waifs . . . in a merciful . . . [<i>Brief laugh</i>.] . . . God . . . [<i>Good laugh</i>.] . . . first occurred to her . . . then dismissed . . . as foolish . . . was perhaps not so foolish . . . after all . . . so on . . . all that . . . vain reasonings . . . till another thought . . . oh long after . . . sudden flash . . . . . very foolish really but– . . . what? . . the buzzing? . . yes . . . all the time buzzing . . . so-called . . . in the ears . . . though of course actually . . . not in the ears at all . . . in the skull . . . dull roar in the skull . . . and all the time this ray or beam . . . like moonbeam . . . but probably not . . . certainly not . . . always the same spot . . . now bright . . . now shrouded . . . but always the same spot . . . as no moon could . . . no . . . no moon . . . just all part of the same wish to . . . torment . . . though actually in point of fact . . . not in the least . . . not a twinge . . . so far . . . ha! . . so far . . . this other thought then . . . oh long after . . . sudden flash . . . very foolish really but so like her . . . in a way . . . that she might do well to . . . groan . . . on and off . . . writhe she could not . . . as if in actual agony . . . but could not . . . could not bring herself . . . some flaw in her make-up . . . incapable of deceit . . . or the machine . . . more likely the machine . . . so disconnected . . . never got the message . . . or powerless to respond . . . like numbed . . . couldn't make the sound . . . not any sound . . . no sound of any kind . . . no screaming for help for example . . . should she feel so inclined . . . scream . . . [<i>Screams.</i>] . . . then listen . . . [<i>Silence.</i>] . . . scream again . . . [<i>Screams again.</i>] . . . then listen again . . . [<i>Silence</i>.] . . . no . . . spared that . . . all silent as the grave . . . no part–. . . what? . . the buzzing? . . yes . . . all silent but for the buzzing . . . so-called . . . no part of her moving . . . that she could feel . . . just the eyelids . . . presumably . . . on and off . . . shut out the light . . . reflex they call it . . . no feeling of any kind . . . but the lids . . . even best of times . . . who feels them? . . opening . . . shutting . . . all that moisture . . .but the brain still . . . still sufficiently . . . oh very much so! . . at this stage . . . in control . . . under control . . . to question even this . . . for on that April morning . . . so it reasoned . . . that April morning . . . she fixing with her eye . . . a distant bell . . . as she hastened towards it . . . fixing it with her eye . . . lest it elude her . . . had not all gone out . . . all that light . . . of itself . . . without any . . . any. . . on her part . . . so on . . . so on it reasoned . . . vain questionings . . . and all dead still . . . sweet silent as the grave . . . when suddenly . . . gradually . . . she realiz–. . . what? . . the buzzing? . . yes . . . all dead still but for the buzzing . . . when suddenly she realized . . . words were– . . . what? . . who?. . no! . . she! . . [<i>Pause and movement 2.</i>] . . . realized . . . words were coming . . . imagine! . . . words were coming . . . a voice she did not recognize at first so long since it had sounded . . . then finally had to admit . . . could be none other . . . than her own . . . certain vowel sounds . . . she had never heard . . . elsewhere . . . so that people would stare . . . the rare occasions . . . once or twice a year . . . always winter some strange reason . . . stare at her uncom-prehending . . . and now this stream . . . steady stream . . . she who had never . . . on the contrary . . . practically speechless . . . all her days . . . how she survived! . . even shopping . . . out shopping . . . busy shopping centre . . . supermart . . . just hand in the list . . . with the bag . . . old black shopping bag . . . then stand there waiting . . . any length of time . . . middle of the throng . . . motionless . . . staring into space . . . mouth half open as usual . . . till it<br/> was back in her hand . . . the bag back in her hand . . . then pay and go . . . not as much as good-bye . . . how she survived! . . and now this stream . . . not catching the half of it . . . not the quarter . . . no idea . . . what she was saying . . . imagine! . . no idea what she was saying! . . till she began trying to . . . delude herself . . . it was not hers at all . . . not her voice at all . . . and no doubt would have . . . vital she should . . . was on the point . . . after long efforts . . . when suddenly she felt . . . gradually she felt . . . her lips moving . . . imagine! . . her lips moving! . . as of course till then she had not . . . and not alone the lips . . . the cheeks . . . the jaws . . . the whole face . . . all those– . . what?. . the tongue? . . yes . . . the tongue in the mouth . . . all those contortions without which . . . no speech possible . . . and yet in the ordinary way . . . not felt at all . . . so intent one is . . . on what one is saying . . . the whole being . . . hanging on its words . . . so that not only she had . . . had she . . . not only had she . . . to give up . . . admit hers alone . . . her voice alone . . . but this other awful thought . . . oh long after . . . sudden flash . . . even more awful if possible . . . that feeling was coming back . . . imagine! . . feeling coming back! . . starting at the top . . . then working down . . . the whole machine . . . but no . . . spared that . . . the mouth alone . . . so far . . . ha! . . so far . . . then thinking . . . oh long after . . . sudden flash . . . it can't go on . . . all this . . . all that . . . steady stream . . . straining to hear . . . make some-thing of it . . . and her own thoughts . . . make something of them . . . all– . . . what? . . the buzzing? . . yes . . . all the time the buzzing . . . so-called . . . all that together . . . imagine! . . whole body like gone . . . just the mouth . . . lips . . . cheeks . . . jaws . . . never– . . . what?. . tongue? . . yes . . . lips. . . cheeks . . . jaws . . . tongue . . . never still a second . . . mouth on fire . . . stream of words . . . in her ear . . . practically in her ear . . . not catching the half . . . not the quarter . . . no idea what she's saying . . . imagine! . . no idea what she's saying! . . and can't stop . . . no stopping it . . . she who but a moment before . . . but a moment! . . could not make a sound . . . no sound of any kind . . . now can't stop . . . imagine! . . can't stop the stream . . . and the whole brain begging . . . something begging in the brain . . . begging the mouth to stop . . . pause a moment . . . if only for a moment . . . and no response . . . as if it hadn’t heard . . . or couldn’t . . . couldn't pause a second . . . like maddened . . . all that together . . . straining to hear . . . piece it together . . . and the brain . . . raving away on its own . . . trying to make sense of it . . . or make it stop . . . or in the past . . . dragging up the past . . . flashes from all over . . . walks mostly . . . walking all her days . . . day after day . . . a few steps then stop . . . stare into space . . . then on . . . a few more . . . stop and stare again . . . so on . . . drifting around . . . day after day . . . or that time she cried . . . the one time she could remember . . . since she was a baby . . . must have cried as a baby . . . perhaps not . . . not essential to life . . . just the birth cry to get her going . . . breathing . . . then no more till this . . . old hag already . . . sitting staring at her hand . . . where was it? . . Croker's Acres . . . one evening on the way home . . . home! . . a little mound in Croker's Acres . . . dusk . . . sitting staring at her hand . . . there in her lap . . . palm upward . . . suddenly saw it wet . . . the palm . . . tears presumably . . . hers presumably . . . no one else for miles . . . no sound . . . just the tears . . . sat and watched them dry . . . all over in a second . . . or grabbing at straw . . . the brain . . . flickering away on its own . . . quick grab and on. . . nothing there . . . on to the next . . . bad as the voice . . . worse . . . as little sense . . . all that together . . . can't– . . . what? . . the buzzing? . . yes . . . all the time the buzzing . . . dull roar like falls . . . and the beam . . . flickering on and off . . . starting to move around . . . like moonbeam but not . . . all part of the same . . . keep an eye on that too . . . corner of the eye . . . all that together . . . can't go on . . . God is love . . . she'll be purged . . . back in the field . . . morning sun . . . April . . . sink face down in the grass . . . nothing but the larks . . . so on . . . grabbing at the straw . . . straining to hear . . . the odd word . . . make some sense of it . . . whole body like gone . . . just the mouth . . . like maddened . . . and can't stop . . . no stopping it . . . something she– . . . something she had to– . . . what? . . who? . . no! . . she! . . [<i>Pause and movement 3</i>.] . . . something she had to–. . . what? . . the buzzing? . . yes . . . all the time the buzzing . . . dull roar . . . in the skull . . . and the beam . . . ferreting around . . . painless . . . so far . . . ha! . . so far . . . then thinking . . . oh long after . . . sudden flash . . . perhaps something she had to . . . had to . . . tell . . . could that be it? . . something she had to . . . tell . . . tiny little thing . . . before its time . . . godforsaken hole . . . no love . . . spared that . . . speechless all her days . . . practically speechless . . . how she survived! . . that time in court . . . what had she to say for herself . . . guilty or not guilty . . . stand up woman . . . speak up woman . . . stood there staring into space . . . mouth half open as usual . . . waiting to be led away . . . glad of the hand on her arm . . . now this . . . some-thing she had to tell . . . could that be it? . . something that would tell . . . how it was . . . how she– . . . what? . . had been? . . yes . . . something that would tell how it had been . . . how she had lived . . . lived on and on . . . guilty or not . . . on and on . . . to be sixty . . . something she– . . . what? . . seventy? . . good God! . . on and on to be seventy . . . something she didn't know herself . . . wouldn't know if she heard . . . then forgiven . . . God is love . . . tender mercies . . . new every morning . . . back in the field . . . April morning . . . face in the grass . . . nothing but the larks . . . pick it up there . . . get on with it from there . . . another few– . . . what? . . not that? . . nothing to do with that? . . nothing she could tell? . . all right . . . nothing she could tell . . . try something else . . . think of something else . . . oh long after . . . sudden flash . . . not that either . . . all right . . . something else again . . . so on . . . hit on it in the end . . . think everything keep on long enough . . . then forgiven . . . back in the– . . . what? . . not that either? . . nothing to do with that either? . . nothing she could think? . . all right . . . nothing she could tell . . . nothing she could think . . . nothing she– . . what? . . who? . . no! . . she! . . [<i>Pause and movement 4</i>.] . . . tiny little thing . . . out before its time . . . godforsaken hole . . . no love . . . spared that . . . speechless all her days . . . practically speechless . . . even to herself . . . never out loud . . . but not completely . . . sometimes sudden urge . . . once or twice a year . . . always winter some strange reason . . . the long evenings . . . hours of darkness . . . sudden urge to . . . tell . . . then rush out stop the first she saw . . . nearest lavatory . . . start pouring it out . . . steady stream . . . mad stuff . . . half the vowels wrong . . . no one could follow . . . till she saw the stare she was getting . . . then die of shame . . . crawl back in . . . once or twice a year . . . always winter some strange reason . . . long hours of darkness . . . now this . . . this . . . quicker and quicker . . . the words . . . the brain . . . flickering away like mad . . . quick grab and on . . . nothing there . . . on somewhere else . . . try somewhere else . . . all the time something begging . . . something in her begging . . . begging it all to stop . . . unanswered . . . prayer unanswered . . . or unheard . . . too faint . . . so on . . . keep on . . . trying . . . not knowing what . . . what she was trying . . . what to try . . . whole body like gone . . . just the mouth . . . like maddened . . . so on . . . keep– . . . what? . . the buzzing? . . yes . . . all the time the buzzing . . . dull roar like falls . . . in the skull . . . and the beam . . . poking around . . . painless . . . so far . . . ha! . . so far . . . all that . . . keep on . . . not knowing what . . . what she was– . . . what? . . who? . . no! . . she! . . SHE! . . [<i>Pause</i>.] . . . what she was trying . . . what to try . . . no matter . . . keep on . . . [<i>Curtain starts down</i>.] . . . hit on it in the end . . . then back . . . God is love . . . tender mercies . . . new every morning . . . back in the field . . . April morning . . . face in the grass . . . nothing but the larks . . . pick it up–<br/> [<i>Curtain fully down. House dark. Voice continues behind curtain, unintelligible, 10 seconds, ceases as house lights up</i>.]<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a></br></br></br></br>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_peephole_art_beckett_for_television","ok":true,"partial":false,"title":"Peephole Art: Beckett for Television -- Not I, 1988-1989","artist":"Samuel Beckett","year":"1992","startOffset":0,"sourceSecs":2132.13,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":368973563,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_peephole_art_beckett_for_television/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_peephole_art_beckett_for_television/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_peephole_art_beckett_for_television.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_peephole_art_beckett_for_television/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_peephole_art_beckett_for_television/main/master.m3u8?v=2","hasMainHls":true,"description":"A documentary that contains three performances of Samuel Beckett’s works written or adapted for the small screen: Not I, Quad I & II and What Where. It includes the American version of Not I that was filmed in 1989, performed by Margo Lee Sherman and directed by Larry Sacharow.<br/><br/> Not I is a thirteen-minute dramatic monologue that was written in 1972 and premiered that same year at the Forum Theatre, Lincoln Center, New York. In 1975 Samuel Beckett made a television version for the BBC, performed by Billie Whitelaw and directed by Bill Morton. In Not I a human mouth floats in the darkness, lit by a single beam of light and filmed in close up. It recites a fragmented monologue made up of syncopated phrases about an individual with a distressing past. Although the voice is female (performed by an actress), the text does not specify whether it is a man or a woman. The title is taken from the voice’s repeated insistence that the events she describes did not happen to her.<br/><br/> The television adaptation of the theater piece decisively influenced the work. For technical reasons, in the television version Becket eliminated a second character (of indeterminate gender) who had acted as a silent receiver in the original theater piece. On the stage, the audience saw a woman reciting a monologue, but on the screen viewers see only a mouth, an element that becomes autonomous, emphasizing its status as a physical organ. The lips of the actress maintain their original state, but they also become a sphincter and a vagina. The monologue is spoken very rapidly, broken by desperate outbursts of laughter and shouts: an incandescent mouth that speaks about itself in third person while repeatedly denying its identity.<br/><br/> Although cinema is one of Beckett’s lesser known facets, his forays into film are by no means peripheral within his body of work, and they have influenced contemporary visual artists such as Bruce Nauman and Sol LeWitt, among others. Beckett began to take an interest in the use of radio and television in the mid-sixties. Over a period of more than two decades, he wrote and produced one film (Film, 1964) and seven works for television, and made a film adaptation of his theatre piece Not I. In all these works, he continued the formal quest that had driven his playwriting, for “the strangeness and beauty of the pure image.”<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/beckett.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a></br>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_quadrat","ok":true,"partial":false,"title":"Quadrat 1+2","artist":"Samuel Beckett","year":"1982","startOffset":0,"sourceSecs":770.453,"sourceHeight":512,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":128840380,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_quadrat/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_quadrat/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_quadrat.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_quadrat/main.mp4?v=2","description":"Runtime: 12 min<br/> Language: None<br/> Country: West Germany<br/> Color: Color<br/> Director: Samuel Beckett <br/> Description: Cloaked, cowled figures wander in patterns to rhythm instruments. <br/><br/> Samuel Beckett's Quad was written in 1981 and first appeared in print in 1984 (Faber and Faber) where the work is described as \"[a] piece for four players, light and percussion\" and has also been called a \"ballet for four people.\" It resembles something the shape-theatre ensemble Mummenschanz might have conceived, a frantic mime. The only thing in the Beckett canon that is at all similar is the short mime at the beginning of What Where. <br/><br/> The play was first transmitted by the Süddeutscher Rundfunk in Germany on 8 October 1981 - as Quadrat 1 + 2. Beckett himself directed (\"assisted by Bruno Voges\"). The four performers, all \"members of the Stuttgart Preparatory Ballet School\", were, Helfried Foron, Juerg Hummel, Vlaudia Knujpfer and Susanne Rehe. The same performance was rebroadcast on 16 December 1982, by BBC Two. <br/><br/>\"\"Quad has a musical structure. It is a kind of canon or catch - a mysterious square dance. Four hooded figures move along the sides of the square. Each has his own particular itinerary. A pattern emerges and collisions are just avoided\" (Radio Times).<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_rockaby_whitelaw_converted","ok":true,"partial":false,"title":"Making Samuel Beckett's \"Rockaby\"","artist":"Samuel Beckett","year":"1982","startOffset":0,"sourceSecs":3481.078,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":597969683,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_rockaby_whitelaw_converted/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_rockaby_whitelaw_converted/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_rockaby_whitelaw_converted.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_rockaby_whitelaw_converted/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_rockaby_whitelaw_converted/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by D.A. Pennebaker and Chris Hedges.<br/> <br/> This film follows two of Samuel Beckett’s foremost interpreters, actress Billie Whitelaw and director Alan Schneider, as they rehearse and premiere “Rockaby,” Beckett’s haunting play written specifically for this project. Beginning with rehearsals in London through the opening performance in Buffalo, New York, various views of Beckett emerge as the play takes form, revealing the strong influence he has on modern theater and the complicated way his writing takes hold of an audience. Ms. Whitelaw won an Obie Award for her performance in “Rockaby.”<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/beckett.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a></br>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_searching_for_sam_paul_mcguigan_2019","ok":true,"partial":false,"title":"Searching for Sam: Adrian Dunbar on Samuel Beckett","artist":"Samuel Beckett","year":"2019","startOffset":0,"sourceSecs":3514.04,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":599406351,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_searching_for_sam_paul_mcguigan_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_searching_for_sam_paul_mcguigan_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_searching_for_sam_paul_mcguigan_2019.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_searching_for_sam_paul_mcguigan_2019/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_searching_for_sam_paul_mcguigan_2019/main/master.m3u8?v=2","hasMainHls":true,"description":"The Guardian: <br/><br/> If the work Adrian Dunbar is best known for – the police drama Line of Duty – left us with the tantalising riddle about the identity of the master criminal H, his new documentary tries to unmask an even more evasive man: Samuel Beckett. In Searching for Sam: Adrian Dunbar on Samuel Beckett (BBC Four), the actor we know and love as Superintendent Ted Hastings follows the reportedly too-small-shoe’d footsteps of his great hero.<br/><br/> It was Beckett’s play Waiting for Godot that changed Dunbar’s life while a drama student, he says, so this is something of a personal quest. Go on, Dunbar, call him “fella”! But Dunbar is too reverential for that. “I’ve often heard people say Beckett’s work is difficult and bleak, but that’s not true for me,” he says, over images of Beckett looking, as one contributor memorably says, like an “Aztec eagle”. “I find engaging with Beckett’s work both life-affirming and uplifting.”<br/><br/> Beckett was at school in Dunbar’s home town, Enniskillen, Northern Ireland. Although they never met, Beckett’s life, says Dunbar – who has a lovely turn of phrase – “while elusive, is still within touching distance”. And so he tracks down the “dwindling number” of people who knew him, and follows him from Dublin to Paris, then on to the village of Roussillon, where Beckett and his partner Suzanne fled from the Nazis.<br/><br/> Like one of the long walks into the hills Beckett used to take with his father, it covers a lot of ground, but not a huge amount of depth. There is no doubt it must be hard to make a documentary about a man so private and ambiguous, but much of it feels frustratingly shallow. Explanations are unforthcoming, which I guess Beckett would have approved of. Godot “revolutionised drama for ever,” says Dunbar, but it is not explained how or why.<br/><br/> The film seems to rely on a lot of prior knowledge of Beckett’s work, which may be fine for many BBC Four viewers, but not all (and not this one). Dunbar is an engaging guide, but his enthusiasm sometimes trips him up – at one point, he says he feels as if he is prying, but a bit more prying is what this documentary could do with. Or a bit more levity (yes, I know we’re talking about nihilist Beckett here). Take it from the man himself. Stephen Rea, one of the “inner circle” of Beckett actors, says: “He never ever talked about meaning. He only talked about adding more humour.”<br/><br/> Dunbar doesn’t always pull at interesting threads, either. Beckett falls in love with his first cousin. “You have to wonder what effect falling in love so close to home did to him,” says the historian and writer Diarmaid Ferriter, but he isn’t pushed on a theory. Beckett’s biographer, James Knowlson, says: “When he wrote about that, it really caused something of a rift with his family.” But what did he write? We are never told.<br/><br/> But in many places it is illuminating – there is curious stuff about his relationship with his mentor and kind-of boss James Joyce – and its sense of place is rich and evocative. Dunbar starts in rainy Dublin; Beckett grew up in an affluent Protestant suburb, largely shielded from the poverty in the city. He was expected to be a servant to the empire, go into the church or the army, perhaps, brought up with an ethos “of Christian, civic responsibility”, although, of course, he rejects this.<br/><br/> I’m a sucker for specifics, and here it works best when the excavation of Beckett’s life is linked to his work. So his difficult relationship with his mother is illuminated by the mother-child dynamic in his works Company, and The End, and her death is fictionalised in another play. But it’s frustrating when the influence of Beckett’s experiences are hinted at but not explained. “What do they see on their journey?” asks Ferriter about Beckett and Suzanne’s fleeing Paris for the French countryside. “What kind of landscape is that? Does that find its way into later work? I think it certainly does.” Dunbar doesn’t ask for, or offer up, an example.<br/><br/> Still, the longer the film goes on the more I like Dunbar, walking the streets in his leather jacket, and his opinions. Talking about the impact of grief – both he and Beckett lost their fathers fairly young – he says: “Pain makes you articulate,” but grief does the opposite. “Women bond face-to-face,” he opines, but men, talking about the father and son’s long walks, “bond shoulder to shoulder”.<br/><br/> Beckett’s war years are portrayed as the making of him: he joins the resistance, working as a translator (he was “a terrible shot”), before he and his partner Suzanne are forced to run away once his cell is broken. What a life. In Normandy, he volunteers for the Irish Red Cross, working as a translator, driver and rat-catcher. “It seems to me that after the second world war, Beckett finally realised he had something to write about,” offers Dunbar. There is, says Ferriter, “internalised trauma” and you don’t need to be a Beckett scholar to know that it did influence his work. “He saw the world as a place of great suffering,” says actor Barry McGovern.<br/><br/> Back in Paris, Beckett locks himself away for a couple of years and creates three novels and “the play that would change everything” – and no, I still don’t understand what that really means. It is a film that is as intriguing – but elusive – as its subject.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_shades_three_plays_by_samuel_beckett_the_lively_arts_bbc_1977","ok":true,"partial":false,"title":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]","artist":"Samuel Beckett","year":"1977","startOffset":0,"sourceSecs":3684.04,"sourceHeight":512,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":620458203,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_shades_three_plays_by_samuel_beckett_the_lively_arts_bbc_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_shades_three_plays_by_samuel_beckett_the_lively_arts_bbc_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_shades_three_plays_by_samuel_beckett_the_lively_arts_bbc_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_shades_three_plays_by_samuel_beckett_the_lively_arts_bbc_1977/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_shades_three_plays_by_samuel_beckett_the_lively_arts_bbc_1977/main/master.m3u8?v=2","hasMainHls":true,"description":"Melvyn Bragg presents a programme on Irish playwright Samuel Beckett with dramatisations of three of his works - Ghost Trio, ...but the clouds... and Not I. This invaluable resource, which includes contributions from dramatist Martin Esslin and performances by Billie Whitelaw and Ronald Pickup, was created for the BBC as part of The Lively Arts series in 1977.<br/><br/> Both Ghost Trio and ...but the clouds..., originally written for television, receive their world premiere in this fascinating documentary which also explores Beckett’s personal life and work in detail, highlighting his interest in portraying characters who are never quite able to express their emotions.<br/><br/> Ghost Trio is a television play, written in English by Samuel Beckett. It was written in 1975, taped in October 1976 and the first broadcast was on BBC2 on 17 April 1977 as part of the Lively Arts programme Beckett himself entitled Shades. Donald McWhinnie directed (supervised by Beckett) with Ronald Pickup and Billie Whitelaw. The play's original title was to be Tryst. \"On Beckett’s notebook, the word was crossed out vigorously and the new title Ghost Trio written next to it. On the title page of the BBC script the same handwritten title change can be found, indicating that it must have been corrected at the very last minute.<br/><br/> ... but the clouds ... is a television play by Samuel Beckett. Beckett wrote it between October–November 1976 \"to replace a film of Play which the BBC had sent [him] for approval (and which he had rejected)\" due to \"the poor quality of the film\". Donald McWhinnie directed Billie Whitelaw and Ronald Pickup. It was first broadcast on 17 April 1977 as part of a programme of three Beckett plays entitled 'Shades' on BBC2.<br/><br/> Not I is a short dramatic monologue written in 1972 (20 March to 1 April) by Samuel Beckett.<br/><br/> Arguably the definitive performance of the piece albeit in a completely different medium from which it was originally intended. Not I on its own was re-broadcast on 7 February 1990. The British Film Institute database says this is a film of the 1973 Royal Court Theatre performance but it appears this was actually filmed on 13 February 1975 with Billie Whitelaw reprising the role. In this production the Auditor is absent and the camera stays fixed on her mouth, everything else being blacked out with makeup.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906-1989"},{"slug":"beckett_samuel_the_lost_ones","ok":true,"partial":false,"title":"The Lost Ones","artist":"Samuel Beckett","year":"1975","startOffset":0,"sourceSecs":3127.872,"sourceHeight":360,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":184924410,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_the_lost_ones/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_the_lost_ones/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_the_lost_ones.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_the_lost_ones/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_the_lost_ones/main/master.m3u8?v=2","hasMainHls":true,"description":"The Lost Ones <br/> Premiere:1975<br/> Theater for the New City<br/> <br/> By Samuel Beckett<br/> Adapted and Directed by Lee Breuer<br/> Music Composed and Performed by Philip Glass<br/> <br/> WITH<br/> David Warrilow<br/> Linda (Hartinian) Wolfe<br/> Bill Raymond<br/> Ellen McElduff<br/> <br/> Samuel Beckett gave permission to Mabou Mines to stage The Lost Ones through the playwright Jean Reavey, who was a close friend of the author, on the condition that it was only a \"straight reading\". During rehearsals, the reading expanded into a fully realized production directed by Lee Breuer with David Warrilow performing the text in a dark, foam rubber cylindrical space with tiny HO scale plastic figures and ladders. The music was composed by Philip Glass. Beckett later wrote to Reavey, \"Sounds like a crooked straight reading to me.\" <br/><br/> AWARDS<br/> OBIE Award for distinguished acting to David Warrilow, 1976<br/> <br/> PARTIAL PRODUCTION HISTORY<br/> <br/> Theater for the New City- March 6-23, 1975<br/> Ohio Weslyan University- April 14-16, 1975<br/> The Museum of Contemporary Art, Chicago- April 26, 1975<br/> Walker Arts Center, Minneapolis- May 1-3, 1975<br/> Loeb Drama Center, Cambridge Mass- May 15-17, 1975<br/> The Public Theater, NYC- 1976<br/> <br/>\"\"I've seen many Beckett Hells, but this is the first time I've experienced one.\"<br/> - Richard Gottlieb - SOHO WEEKLY NEWS<br/> <br/>\"\"This is certainly one of the most original and magical of all Beckett productions.\"<br/> - Jack Kroll - NEWSWEEK<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/beckett.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a></br>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_walking_in_berlin_1969","ok":true,"partial":false,"title":"Samuel Beckett Walking in Berlin","artist":"Samuel Beckett","year":"1969","startOffset":0,"sourceSecs":255.118,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":88388460,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_walking_in_berlin_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_walking_in_berlin_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_walking_in_berlin_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_walking_in_berlin_1969/main.mp4?v=2","description":"Samuel Beckett se promenant à Berlin (1969)<br/> Musique : Piano Sonata in B-Flat Major, D960 <br/> II. Andante Sostenuto (Sonatas 19 & 20) by Franz Schubert<br/> (Schubert était un des compositeurs que Beckett estimait le plus)<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_samuel_what_where_german_1984","ok":true,"partial":false,"title":"What Where","artist":"Samuel Beckett","year":"1984","startOffset":0,"sourceSecs":946.454,"sourceHeight":404,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":59116230,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_what_where_german_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_samuel_what_where_german_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_samuel_what_where_german_1984.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_what_where_german_1984/main.mp4?v=2","description":"n Samuel Beckett’s What Where four disembodied faces engage in a cycle of interrogation and torture. Its treatment of this subject matter makes it one of Beckett's most overtly political works.<br/><br/> What Where was originally written for the stage and was adapted by Beckett for German television. Walter D. Asmus, who was assistant director to Beckett in adapting the work, is the director of this new production. Asmus brings an intimate understanding of the process that Beckett went through in adapting the work and has been crucial in making this the first English language version that is faithful to the original vision that Beckett had for bringing What Where to the screen. This new production of What Where also represents a significant technical updating of the original version with new production techniques adding subtleties and dimensions to the work that were not achievable with the technology that was available when What Where was first adapted for the screen.<br/><br/> Includes the documentary The Remaking of What Where which offers insights into the adaptation of the original stage play and the making of this new production of Beckett's work.<br/><br/> Walter D. Asmus worked as an assistant director to Samuel Beckett on a total of nine stage and television productions between 1975 and 1986 and has directed all of Samuel Beckett’s plays in productions that have toured the world. He has an unparalleled understanding of Beckett’s directorial vision and is widely regarded as one of the preeminent directors of Samuel Beckett’s work.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckett_saumuel_what_where_film_documentary","ok":true,"partial":false,"title":"What Where","artist":"Samuel Beckett","year":null,"startOffset":0,"sourceSecs":1614.483,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":526885252,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_saumuel_what_where_film_documentary/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckett_saumuel_what_where_film_documentary/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckett_saumuel_what_where_film_documentary.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_saumuel_what_where_film_documentary/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_saumuel_what_where_film_documentary/main/master.m3u8?v=2","hasMainHls":true,"description":"n Samuel Beckett’s What Where four disembodied faces engage in a cycle of interrogation and torture. Its treatment of this subject matter makes it one of Beckett's most overtly political works.<br/><br/> What Where was originally written for the stage and was adapted by Beckett for German television. Walter D. Asmus, who was assistant director to Beckett in adapting the work, is the director of this new production. Asmus brings an intimate understanding of the process that Beckett went through in adapting the work and has been crucial in making this the first English language version that is faithful to the original vision that Beckett had for bringing What Where to the screen. This new production of What Where also represents a significant technical updating of the original version with new production techniques adding subtleties and dimensions to the work that were not achievable with the technology that was available when What Where was first adapted for the screen.<br/><br/> Includes the documentary The Remaking of What Where which offers insights into the adaptation of the original stage play and the making of this new production of Beckett's work.<br/><br/> Walter D. Asmus worked as an assistant director to Samuel Beckett on a total of nine stage and television productions between 1975 and 1986 and has directed all of Samuel Beckett’s plays in productions that have toured the world. He has an unparalleled understanding of Beckett’s directorial vision and is widely regarded as one of the preeminent directors of Samuel Beckett’s work.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"beckman_ericka_and_mike_kelley_blind_country_1989","ok":true,"partial":false,"title":"Blind Country","artist":"Mike Kelley","year":"1989","startOffset":0,"sourceSecs":1220.723,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":208992287,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckman_ericka_and_mike_kelley_blind_country_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckman_ericka_and_mike_kelley_blind_country_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckman_ericka_and_mike_kelley_blind_country_1989.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckman_ericka_and_mike_kelley_blind_country_1989/main.mp4?v=2","description":"Writes Kelley: \"BLIND COUNTRY is a collaboration between myself and filmmaker <a href=\"https://ubu.com/film/beckman.html\" rel=\"noopener\" target=\"_blank\">Ericka Beckman</a>. It was inspired by the H.G. Wells short story <i>The Country of the Blind</i>, which was a favorite of mine as an adolescent. I was both fascinated and repulsed by this tale of a man having to give up his eyes to live in an alien sightless society. In rereading it as an adult I was struck by the obvious fact, which I was oblivious to as a boy, that it is a castration story, and by the thinly veiled sexual and racial fears within it. Blind Country bears no discernable reference to the Wells story but instead plays with these subtle underlying themes.\" <br/><br/> Script/Performance Music: Bruce Darby. On-line Editor: Enrique Aguirre. VCR Operator: Joe Briganti. Production Assistants: Bruce Fiene, Adam Gilmore, Jan Callahan. Characters: Bob Gibson, Aura Rosenberg, Lolly Lincolm, Amanda Katz, Ian Bearce, Kim Keown, Lori Desantis. -- <a href=\"http://www.eai.org/title.htm?id=3571\" rel=\"noopener\" target=\"_blank\">EAI</a><br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Mike Kelley in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/film/beckman.html\" rel=\"noopener\" target=\"_blank\">Ericka Beckman in UbuWeb Film</a></br></br>","artist_bio":"Over her three-decade career, Ericka Beckman’s playful yet formally demanding films challenge traditional aesthetic, and cultural values, that mix games with fairytales to create hybrids with new rules. Beckman uses play in every sense to shape her message.\n“The result is a ‘satisfying, even delightful slipperiness of meaning, a mental vertigo induced by the changefulness of contexts and rules in regard to a given word or object.”\nBeckman’s work has been shown at festivals, museums, and galleries around the world. Her one-woman shows include: the Museum of Modern Art, New York, the Smithsonian’s Hirshhorn Museum, Washington,D.C., and the Walker Art Center, Minneapolis. She has been in three Biennials at the Whitney Museum of American Art, New York. Amongst the numerous awards received for her work are: Two grants from the National Endowment for the Arts, two New York State Council on the Arts grants, and one from Massachusetts Council on the Arts.\nHer works are in the film collection of New York’s Museum of Modern Art, Anthology Film Archives, plus the British Film Institute, as well as The Walker Art Center Media Collection.","bio_dates":"1954-2012"},{"slug":"beckman_erika_out_of_hand_iphone","ok":true,"partial":false,"title":"Out of Hand","artist":"Ericka Beckman","year":"1988","startOffset":0,"sourceSecs":3579.143,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":207153641,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckman_erika_out_of_hand_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckman_erika_out_of_hand_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckman_erika_out_of_hand_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckman_erika_out_of_hand_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckman_erika_out_of_hand_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Produced, directed, shot and edited by Ericka Beckman<br/> Music and vocals by Beckman/Brooke Halpin<br/> Starring Paul Mc Mahon<br/><br/> Featuring James Welling, Matt Mullican, Nancy Chunn, April Gornik “OUT OF HAND is a search film, where a small boy returns to a house that is being evacuated, to search for something that he left behind. His method is to follow hidden clues in this house and to respond to the hidden aids in his memory. Back and forth, between inquisition and logic, he constructs a search with two unknowns – ‘What it is’ and ‘Where it is’. Each object he chooses has multiple functions, which extend both into the physical space of his search, and into the imaginary world of his perception and memory.” — E.B. 1980 <br/><br/> “Ericka Beckman is one of the most accomplished of younger filmmakers. The five Super-8 films she released since 1977 can be located at the “perceptual edge” of Post-structural Punk; they’re not absolute rejections of 70’s formalism. Beckman’s work has affinities to certain films of George Landow and the trickier sections of Robert Nelson and William Wiley’s The Great Blondino, but basically she is an idiosyncratic original with a full-blown out style of her own. Like primitive cartoons, Beckman’s enigmatic allegories are filled with nervous activity and comic violence, sexual imagery and syncopated energy, perceptual game-playing and ingenious homemade optical effects. Her major thematic preoccupations include “ the coordination of the self in the physical world”. There is something undeniably callisthenic about her vision. Singsong voice tracks, jerky robot motions, repetitive gestures and the iconic use of sports equipment and cheerleaders characterize Beckman’s mise en scene. Beckman frequently links her work to Piaget but, with its obsessive images of property and loss, OUT OF HAND is an Allstate Insurance commercial as it might appear to an autistic child.” — J. Hoberman, Artforum January 1981","artist_bio":"Over her three-decade career, Ericka Beckman’s playful yet formally demanding films challenge traditional aesthetic, and cultural values, that mix games with fairytales to create hybrids with new rules. Beckman uses play in every sense to shape her message.\n“The result is a ‘satisfying, even delightful slipperiness of meaning, a mental vertigo induced by the changefulness of contexts and rules in regard to a given word or object.”\nBeckman’s work has been shown at festivals, museums, and galleries around the world. Her one-woman shows include: the Museum of Modern Art, New York, the Smithsonian’s Hirshhorn Museum, Washington,D.C., and the Walker Art Center, Minneapolis. She has been in three Biennials at the Whitney Museum of American Art, New York. Amongst the numerous awards received for her work are: Two grants from the National Endowment for the Arts, two New York State Council on the Arts grants, and one from Massachusetts Council on the Arts.\nHer works are in the film collection of New York’s Museum of Modern Art, Anthology Film Archives, plus the British Film Institute, as well as The Walker Art Center Media Collection.","bio_dates":"b. 1961"},{"slug":"beckman_erika_switch_center_2003","ok":true,"partial":false,"title":"Switch Center","artist":"Ericka Beckman","year":"2003","startOffset":0,"sourceSecs":673.472,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":266039973,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckman_erika_switch_center_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beckman_erika_switch_center_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beckman_erika_switch_center_2003.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckman_erika_switch_center_2003/main.mp4?v=2","description":"6mm/color/sound<br/> 12 minutes<br/> 2003<br/> Shot, Edited and sound design by Ericka Beckman <br/><br/> Produced in collaboration with BALAZS BELA STUDIO, Budapest, Hungary, Artslink, USA, Hungarian Moving Pictures Foundation, Fóvárosi Vizmúvek Rt., Budapest, and Televizija Slovenska, Bratislava, Slovakia<br/><br/> “When I began preparing the film in Budapest in 2000, I found myself surrounded by the remnants of the Soviet’s Modernist Architecture. I was immediately captivated by these buildings – not because they were esthetically appealing – but because they embodied perfectly, not only their purpose, but also the ideology upon which they were built. They were not constructed to last but a few years, but rather to endure through millennia, corresponding to the expected lifespan of the regime. The fact that they still stood – solid, defiant even – while the empire had crumbled into dust, made them all the more appealing to me. I chose an abandoned water purification plant on the outskirts of Budapest as the setting for Switch Center. In conceiving of this film, I was inspired by Leger’s early avant-garde picture, ‘Ballet Mechanic’. In my film, the structure itself comes to life through the manipulations of the employees who work inside it. I wanted to make a tribute to the kind of futuristic pragmatism expressed by these buildings that are now being razed to allow space for shopping malls and corporate offices.” — E.B. 2002","artist_bio":"Over her three-decade career, Ericka Beckman’s playful yet formally demanding films challenge traditional aesthetic, and cultural values, that mix games with fairytales to create hybrids with new rules. Beckman uses play in every sense to shape her message.\n“The result is a ‘satisfying, even delightful slipperiness of meaning, a mental vertigo induced by the changefulness of contexts and rules in regard to a given word or object.”\nBeckman’s work has been shown at festivals, museums, and galleries around the world. Her one-woman shows include: the Museum of Modern Art, New York, the Smithsonian’s Hirshhorn Museum, Washington,D.C., and the Walker Art Center, Minneapolis. She has been in three Biennials at the Whitney Museum of American Art, New York. Amongst the numerous awards received for her work are: Two grants from the National Endowment for the Arts, two New York State Council on the Arts grants, and one from Massachusetts Council on the Arts.\nHer works are in the film collection of New York’s Museum of Modern Art, Anthology Film Archives, plus the British Film Institute, as well as The Walker Art Center Media Collection.","bio_dates":"b. 1961"},{"slug":"beecroft_vanessa_striptease","ok":true,"partial":false,"title":"Striptease","artist":"Vanessa Beecroft","year":"2011","startOffset":0,"sourceSecs":90.21,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":6285655,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beecroft_vanessa_striptease/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beecroft_vanessa_striptease/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beecroft_vanessa_striptease.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Les Levine was born in Dublin in 1935 and now lives in New York City. He Had over 100 one man shows. Several of these have been in important museums in the United States, Europe, South America and Australia. He is Considered a major precursor to the conceptual movement, He introduced the terms disposable art. software art and camera art and was one of the first artist in the world to use video tape for artistic means.\nLevine regards himself as a media sculptor, He uses technology and information media extensively. A show entitled The Troubles: An Artist's Document of Ulster, 1973 introduced the concept of art as a sociological tool. Levine continued to explore this concept with I Am Not Blind: An Informational Environment About Unsighted People, 1976, conceived by the Lions Gallery of the series. Wadsworth Atheneum, An exhibition resulting from interviews with 9 unsighted people. It was also shown at the Albright Knox and the Everson Museum. Northern landscapes and We Are Still Alive, 1974, traveled to 8 museums in North America and Europe.\nLevine has lectured extensively throughout the U.S. and has written for Arts, The Village Voice, Art in America and the Saturday Review. In 1967 Levine won first prize for sculpture in the Canadian Sculpture Biennial. He was awarded the National Endowment for the Arts Fellowship in 1974 and again in 1980.\nLevine has been guest lecturer and panelist at many Universities throughout the U.S. and Canada. He has been Artist-in-residence at Aspen, Colorado in 1967 and 1969, at the Nova Scotia College of Art & Design in 1973 and at the University of Illinois in 1975. He was Associate Professor at New york University, 1972-73 and Distinguished Professor of Video Art at William Patterson College, 1974-76. He founded in 1970 and is president of The Museum of Mott Art, Inc. a consultant organization for the arts and allied professions. He participated in Document 77. Kasel, Where he showed.","bio_dates":"b. 1969"},{"slug":"beiguelman_giselle_cgh_sdu_2010","ok":true,"partial":false,"title":"CGH-SDU (Homenagem à Mínima Informação)","artist":"Giselle Beiguelman","year":"2010","startOffset":0,"sourceSecs":305.405,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":138197982,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beiguelman_giselle_cgh_sdu_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beiguelman_giselle_cgh_sdu_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beiguelman_giselle_cgh_sdu_2010.mp4","hasFrames":true,"description":"Vídeo, single-channel, HDV, 16:9, NTSC, som stereo, 5:05 <br/><br/> In this video the landscape is reduced to its minimum informative elements – dominating colors and sounds -, converting movement in a flow of textures and volumes modulated by light. Recorded with a Flip video camera during landings and take offs, at the urban airports of São Paulo (Congonhas, CGH) and Rio de Janeiro (Santos Dumont, SDU), in one day of July. Languages: Portuguese and English. <br/><br/> Nesse vídeo, a paisagem é reduzida ao seus elementos informativos mínimos – as cores dominantes e o som--, convertendo o movimento num fluxo de texturas e volumes modulados pela luz. Gravado com uma câmera Flip de vídeo, durante decolagens e aterrissagens entre os aeroportos urbanos de São Paulo (Congonhas, CGH) e Rio de Janeiro (Santos Dumont, SDU), em um dia de julho. Falado em português e inglês.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Giselle Beiguelman in UbuWeb Sound</a>","artist_bio":"Cinema Lascado (Chipped Movie): Minhoc‹o (Paleoweb + post-cinema)\n(2010)\nGiselle Beiguelman is a new media artist, curator and researcher. She teaches Art History and Design at the School of Architecture and Urbanism of the University of São Paulo. Her art work has been presented in international venues such as Net_Condition (ZKM, Karlsruhe), el final del eclipse (Fundación Telefonica, Madrid), The 25th São Paulo Biennial, Algorithmic Revolution (ZKM), 3rd Sevilla Biennial, Transitio_MX (Mexico), YOU_ser (ZKM), Geografías Celulares (Fundacion Telefonica, Buenos Aires and Lima), artemov (Belo Horizonte and São Paulo) and Visual Foreign Correspondents (Berlin), among others. She was Curator of Nokia Trends (2007 and 2008), of the Brazilian participation in ISEA Ruhr (2009) and of the on-line festivals HTTPvideo (2008 and 2010) and HTTPpix (2010).  Artistic Director of Sergio Motta Institute (2008-2011), she was Professor of the graduate program in Communication and Semiotics of PUC-SP (São Paulo, 2001-2011). Editor of seLecT magazine, she is the author of Link-se (Peirópolis, 2005) and Nomadismos Tecnógicos (with Jorge La Ferla; Senac, 2011), among others.\nwww.desvirtual.com","bio_dates":"b. 1962"},{"slug":"beiguelman_giselle_cinema_lascado_single_channel_2011","ok":true,"partial":true,"title":"The QR-Comms","artist":"Giselle Beiguelman","year":"2011","startOffset":0,"sourceSecs":250.783,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":113389940,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beiguelman_giselle_cinema_lascado_single_channel_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beiguelman_giselle_cinema_lascado_single_channel_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beiguelman_giselle_cinema_lascado_single_channel_2011.mp4","hasFrames":true,"description":"Animation (Flash and MP4), 16:9 (1280 x 720), Loop.<br/><br/> <a href=\"http://www.qartcode.net\" rel=\"noopener\" target=\"_blank\">www.qartcode.net</a><br/><br/> The Qr-Comms remixes the Ten Commandments given by God, exploring new paradigms for artistic creation for the online environment. It investigates the fluidity of network identity and its artificial presence in our contemporary authorial (or post-authorial) condition. <br/><br/> The work is an unfolding of the 10COMMS project by Giselle Beiguelman and Mark Amerika, launched at the 2nd Buenos Aires Biennial in 2002. <br/><br/> Some of its points of departure are:<br/><br/> a) Aura is interface.<br/> b) One cannot own a thought any more than they can patent a particular walk through the desert<br/> c) The desert, like the mind it operates in, is the landscape where open source is visited and revisited.<br/> d) The Digital Aleph (re)discovers the narrative potential of open source code, of social software, in the solitude of the desert -- the desert of the real where radical intersubjectivity blooms.<br/> e) Code is code. Decode it.<br><br><b>The 10Comms</b><br> (Text by Mark Amerika and Giselle Beiguelman)<br><br> I am the Net who linked thee out of the purgatory of thy Interface<br> Thou shalt have no centralized Nets before me<br/> Thou shalt take every name in vain<br/> Honour thy codes and thy sources, that thou mayst be longlived upon the no-man's-land which thy Web will give thee<br/> Thou shalt kill all spam<br/> Thou shalt adulterate everything<br/> Thou shalt not be inspired<br/> Remember that thou keep thy passwords that thou mayst be logged in thy network<br/> Thou shalt not bear false consciousness in all media environments<br/> Thou shalt covet thy neighbour's source code<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Giselle Beiguelman in UbuWeb Sound</a></br></br></br></br>","artist_bio":"Cinema Lascado (Chipped Movie): Minhoc‹o (Paleoweb + post-cinema)\n(2010)\nGiselle Beiguelman is a new media artist, curator and researcher. She teaches Art History and Design at the School of Architecture and Urbanism of the University of São Paulo. Her art work has been presented in international venues such as Net_Condition (ZKM, Karlsruhe), el final del eclipse (Fundación Telefonica, Madrid), The 25th São Paulo Biennial, Algorithmic Revolution (ZKM), 3rd Sevilla Biennial, Transitio_MX (Mexico), YOU_ser (ZKM), Geografías Celulares (Fundacion Telefonica, Buenos Aires and Lima), artemov (Belo Horizonte and São Paulo) and Visual Foreign Correspondents (Berlin), among others. She was Curator of Nokia Trends (2007 and 2008), of the Brazilian participation in ISEA Ruhr (2009) and of the on-line festivals HTTPvideo (2008 and 2010) and HTTPpix (2010).  Artistic Director of Sergio Motta Institute (2008-2011), she was Professor of the graduate program in Communication and Semiotics of PUC-SP (São Paulo, 2001-2011). Editor of seLecT magazine, she is the author of Link-se (Peirópolis, 2005) and Nomadismos Tecnógicos (with Jorge La Ferla; Senac, 2011), among others.\nwww.desvirtual.com","bio_dates":"b. 1962"},{"slug":"beiguelman_giselle_theqrcomms_2011","ok":true,"partial":false,"title":"The QR-Comms","artist":"Giselle Beiguelman","year":"2011","startOffset":0,"sourceSecs":230.4,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":9542436,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beiguelman_giselle_theqrcomms_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beiguelman_giselle_theqrcomms_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beiguelman_giselle_theqrcomms_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beiguelman_giselle_theqrcomms_2011/main.mp4?v=2","description":"Animation (Flash and MP4), 16:9 (1280 x 720), Loop.<br/><br/> <a href=\"http://www.qartcode.net\" rel=\"noopener\" target=\"_blank\">www.qartcode.net</a><br/><br/> The Qr-Comms remixes the Ten Commandments given by God, exploring new paradigms for artistic creation for the online environment. It investigates the fluidity of network identity and its artificial presence in our contemporary authorial (or post-authorial) condition. <br/><br/> The work is an unfolding of the 10COMMS project by Giselle Beiguelman and Mark Amerika, launched at the 2nd Buenos Aires Biennial in 2002. <br/><br/> Some of its points of departure are:<br/><br/> a) Aura is interface.<br/> b) One cannot own a thought any more than they can patent a particular walk through the desert<br/> c) The desert, like the mind it operates in, is the landscape where open source is visited and revisited.<br/> d) The Digital Aleph (re)discovers the narrative potential of open source code, of social software, in the solitude of the desert -- the desert of the real where radical intersubjectivity blooms.<br/> e) Code is code. Decode it.<br><br><b>The 10Comms</b><br> (Text by Mark Amerika and Giselle Beiguelman)<br><br> I am the Net who linked thee out of the purgatory of thy Interface<br> Thou shalt have no centralized Nets before me<br/> Thou shalt take every name in vain<br/> Honour thy codes and thy sources, that thou mayst be longlived upon the no-man's-land which thy Web will give thee<br/> Thou shalt kill all spam<br/> Thou shalt adulterate everything<br/> Thou shalt not be inspired<br/> Remember that thou keep thy passwords that thou mayst be logged in thy network<br/> Thou shalt not bear false consciousness in all media environments<br/> Thou shalt covet thy neighbour's source code<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Giselle Beiguelman in UbuWeb Sound</a></br></br></br></br>","artist_bio":"Cinema Lascado (Chipped Movie): Minhoc‹o (Paleoweb + post-cinema)\n(2010)\nGiselle Beiguelman is a new media artist, curator and researcher. She teaches Art History and Design at the School of Architecture and Urbanism of the University of São Paulo. Her art work has been presented in international venues such as Net_Condition (ZKM, Karlsruhe), el final del eclipse (Fundación Telefonica, Madrid), The 25th São Paulo Biennial, Algorithmic Revolution (ZKM), 3rd Sevilla Biennial, Transitio_MX (Mexico), YOU_ser (ZKM), Geografías Celulares (Fundacion Telefonica, Buenos Aires and Lima), artemov (Belo Horizonte and São Paulo) and Visual Foreign Correspondents (Berlin), among others. She was Curator of Nokia Trends (2007 and 2008), of the Brazilian participation in ISEA Ruhr (2009) and of the on-line festivals HTTPvideo (2008 and 2010) and HTTPpix (2010).  Artistic Director of Sergio Motta Institute (2008-2011), she was Professor of the graduate program in Communication and Semiotics of PUC-SP (São Paulo, 2001-2011). Editor of seLecT magazine, she is the author of Link-se (Peirópolis, 2005) and Nomadismos Tecnógicos (with Jorge La Ferla; Senac, 2011), among others.\nwww.desvirtual.com","bio_dates":"b. 1962"},{"slug":"beiguelman_giselle_whitescapes_2009","ok":true,"partial":false,"title":"Whitescapes","artist":"Giselle Beiguelman","year":"2009","startOffset":0,"sourceSecs":109.777,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":7196059,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beiguelman_giselle_whitescapes_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beiguelman_giselle_whitescapes_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beiguelman_giselle_whitescapes_2009.m4v","hasFrames":true,"description":"Video, single channel, 16:9, loop <br/> Toronto-Montreal.","artist_bio":"Cinema Lascado (Chipped Movie): Minhoc‹o (Paleoweb + post-cinema)\n(2010)\nGiselle Beiguelman is a new media artist, curator and researcher. She teaches Art History and Design at the School of Architecture and Urbanism of the University of São Paulo. Her art work has been presented in international venues such as Net_Condition (ZKM, Karlsruhe), el final del eclipse (Fundación Telefonica, Madrid), The 25th São Paulo Biennial, Algorithmic Revolution (ZKM), 3rd Sevilla Biennial, Transitio_MX (Mexico), YOU_ser (ZKM), Geografías Celulares (Fundacion Telefonica, Buenos Aires and Lima), artemov (Belo Horizonte and São Paulo) and Visual Foreign Correspondents (Berlin), among others. She was Curator of Nokia Trends (2007 and 2008), of the Brazilian participation in ISEA Ruhr (2009) and of the on-line festivals HTTPvideo (2008 and 2010) and HTTPpix (2010).  Artistic Director of Sergio Motta Institute (2008-2011), she was Professor of the graduate program in Communication and Semiotics of PUC-SP (São Paulo, 2001-2011). Editor of seLecT magazine, she is the author of Link-se (Peirópolis, 2005) and Nomadismos Tecnógicos (with Jorge La Ferla; Senac, 2011), among others.\nwww.desvirtual.com","bio_dates":"b. 1962"},{"slug":"bek_hyunjin_wave_10_2019","ok":true,"partial":false,"title":"Wave - 10","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":214.522,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":96262658,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_10_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_10_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_10_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_11_2019","ok":true,"partial":false,"title":"Wave - 11","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":210.722,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":94807782,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_11_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_11_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_11_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_12_2019","ok":true,"partial":false,"title":"Wave - 12","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":219.887,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":98612397,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_12_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_12_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_12_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_13_2019","ok":true,"partial":false,"title":"Wave - 13","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":186.893,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":85447543,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_13_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_13_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_13_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_14_2019","ok":true,"partial":false,"title":"Wave - 14","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":216.088,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":99187025,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_14_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_14_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_14_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_15_2019","ok":true,"partial":false,"title":"Wave - 15","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":201.89,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":91749856,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_15_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_15_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_15_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_16_2019","ok":true,"partial":false,"title":"Wave - 16","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":209.19,"sourceHeight":320,"sourceWidth":568,"hasAudio":true,"hasAmbientMp4":true,"bytes":14675830,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_16_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_16_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_16_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_1_2019","ok":true,"partial":false,"title":"Wave - 1","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":221.62,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":101787676,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_1_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_1_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_1_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_2_2019","ok":true,"partial":false,"title":"Wave - 2","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":224.153,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":74604118,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_2_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_2_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_2_2019.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bek_hyunjin_wave_2_2019/main.mp4?v=2","description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_3_2019","ok":true,"partial":false,"title":"Wave - 3","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":220.687,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":100786637,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_3_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_3_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_3_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_4_2019","ok":true,"partial":false,"title":"Wave - 4","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":228.418,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":103341133,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_4_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_4_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_4_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_5_2019","ok":true,"partial":false,"title":"Wave - 5","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":227.052,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":102400548,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_5_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_5_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_5_2019.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bek_hyunjin_wave_5_2019/main.mp4?v=2","description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_6_2019","ok":true,"partial":false,"title":"Wave - 6","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":212.088,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":95598162,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_6_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_6_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_6_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_7_2019","ok":true,"partial":false,"title":"Wave - 7","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":220.887,"sourceHeight":320,"sourceWidth":568,"hasAudio":true,"hasAmbientMp4":true,"bytes":15623092,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_7_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_7_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_7_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_8_2019","ok":true,"partial":false,"title":"Wave - 8","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":214.655,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":93526197,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_8_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_8_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_8_2019.mov","hasFrames":true,"description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bek_hyunjin_wave_9_2019","ok":true,"partial":false,"title":"Wave - 9","artist":"Bek Hyunjin","year":"2019","startOffset":0,"sourceSecs":227.285,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":99794403,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_9_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bek_hyunjin_wave_9_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bek_hyunjin_wave_9_2019.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bek_hyunjin_wave_9_2019/main.mp4?v=2","description":"UBU DESCRIPTION Bek Hyunjin, Wave, video series (16 videos), 2019 <br/> Courtesy of the artist and PKM gallery <br/> <br/> Wave is regular and abrupt. It's a video-series by Korean artist Bek Hyunjuin especially conceived for the Fifth Floor. A series of landscapes from the daily life of the artist around Seoul are portrayed in vertical videoclips. Moments of poetry and suspension flow throughout the city breaking its surface. The deep voice of the artist sings this wound while his eyes and his body film the reverberation. Bek Hyunjin (19712) is a singer, composer, painter, performance artist, poet, and film director. Not only here.","artist_bio":"Bek Hyunjin(b. 1972) is one of the noteworthy Korean artists. He has been actively performing as an artist across diverse areas, including painter, installation artist, performance artist, musician, actor, film director, and graphic designer. The keyword encompassing these various activities might be 'impromptu amusement,' which means avoiding any pre-set narratives or composition. As a performer, he had been invited to be performed in major art institutions such as the Korean Pavilion at the International Architecture Exhibition in Italy(2004), National Museum of Modern and Contemporary Art in Korea(2012, 2014, 2017) and Plateau, Samsung Museum of Art in Korea(2012, 2014).\nNot only in the fine-art world, but Bek is also well-known in the field of pop culture. He is a solo singer-songwriter as well as a vocalist of a legendary indie band, Uhuhboo Project, project-based music group Bahngbek. Furthermore, He often shows up in the films by distinguished directors such as Park Chan-wook and Hong Sang-soo and even directed his own movies named The End(2009) and Endless Joke(2011).\nBek Hyunjin has held numerous solo exhibitions in various places including Korea, UK, Germany, Italy. In 2017, Bek was chosen as the nominee/sponsored artist for the 'Korea Art Prize 2017' of the National Museum of Modern and Contemporary Art. Bek is steadily practicing his omnidirectional artistic activities.","bio_dates":"2019"},{"slug":"bekcett_samuel_silence_to_silence_documentary_1991","ok":true,"partial":false,"title":"Silence to Silence","artist":"Samuel Beckett","year":"1991","startOffset":0,"sourceSecs":4673.503,"sourceHeight":720,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":2080590004,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bekcett_samuel_silence_to_silence_documentary_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bekcett_samuel_silence_to_silence_documentary_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bekcett_samuel_silence_to_silence_documentary_1991.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bekcett_samuel_silence_to_silence_documentary_1991/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bekcett_samuel_silence_to_silence_documentary_1991/main/master.m3u8?v=2","hasMainHls":true,"description":"The elusive author of Waiting for Godot cooperated in the production of this portrait, which traces Beckett’s artistic life through his prose, plays, and poetry. Billie Whitelaw, Jack McGowran, and Patrick Magee—Beckett’s great dramatic interpreters—appear in selected extracts from the plays; Beckett specialist David Warrilow narrates a variety of texts.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/beckett.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a></br>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906 - 1989"},{"slug":"bellydancing_a_history_an_art_1979","ok":true,"partial":false,"title":"Bellydancing: A History & An Art","artist":"Alicia Dhanifu","year":"1979","startOffset":0,"sourceSecs":1296.862,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":225195521,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bellydancing_a_history_an_art_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bellydancing_a_history_an_art_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bellydancing_a_history_an_art_1979.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bellydancing_a_history_an_art_1979/main.mp4?v=2","description":"From L.A. Rebellion: Creating a New Black Cinema (1971-2006)\n\nYEAR: 1979\n\nFORMAT: Digital video, color\n\nFilmmaker Alicia Dhanifu, who appears in director Jamaa Fanaka’s Emma Mae, constructs a rigorous and beautifully rendered history of belly dancing — its roots and history, forms and meanings. The filmmaker performs this art as well, alone and with other dancers.\n\n—Shannon Kelley"},{"slug":"beloff_zoe_dream_film_ark","ok":true,"partial":false,"title":"My Dream of Dental Irritation","artist":"Zoe Beloff","year":"2009","startOffset":0,"sourceSecs":256.661,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":42141645,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_ark/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_ark/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beloff_zoe_dream_film_ark.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beloff_zoe_dream_film_ark/main.mp4?v=2","description":"In 2009 the Coney Island Museum invited Zoe Beloff to create an exhibition to celebrate the centennial of Sigmund Freud's visit to Coney Island. She titled the show \"Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972. <br/><br/> The Society might be considered something of an urban myth. They were mostly working people from a variety of cultural backgrounds. Beloff describes them as \"visionaries, who, undeterred by lack of finances or professional training, decided to explore their inner life, to share their dreams with each other and in doing so attempted to free the psyche from the constraints of class and of cultural and sexual mores of their time. <br/><br/> In 1926, the Society's first president and founder Albert Grass proposed that members attempt to recreate their dreams on film and analyze them. Here is an excerpt of his speech from the first prize giving ceremony, \"Sigmund Freud has written that the royal road to the unconscious lies in our dreams. Each night we are plunged into a fantastical world as amazing as anything we see in Saturday night Photoplays. But how to capture the most effervescent of experiences so that they can be properly analyzed and recorded for future generations? The answer, my friends, lies in our new tools, the Cine-Kodak Camera and the Kodascope Projector enabling us to reenact our dreams on film, producing a perfect reproduction of our mind's nocturnal wanderings, the strange adventures of our souls. As it will surely be soon with sound and color to perfect the illusion, we will open up our darkest dreams to the bright light of reason\"<br/><br/>These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Zoe Beloff. Used with permission of Zoe Beloff.<br/><br/><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/benjamin.html\" rel=\"noopener\" target=\"_blank\">Zoe Beloff on UbuWeb Sound</a></br>","artist_bio":"Zoe Beloff grew up in Edinburgh, Scotland. In 1980 she moved to New York to study at Columbia University where she received an MFA in Film. Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Center in Paris. She recently participated in the 2009 Athens Biennale, and has an upcoming project with MuHKA Museum in Antwerp. Her most recently completed work is the exhibition \"The Coney Island Amateur Psychoanalytic Society and their Circle.\nZoe works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation.Her artistic interest lies in finding ways to graphically manifest the unconscious processes of the mind. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Sometimes she uses archaic apparatuses, sometimes, new analog/digital hybrids. Each project aims to connect the present with the past, to create new visual languages where modern media will once again be invested with the uncanny. She has collaborated with artists from other disciplines including composer John Cale, the Wooster Group Theater Company and composer, singer and performance artist Shelley Hirsch.\nZoe has been awarded fellowships from Guggenheim Foundation (2003), The Foundation for Contemporary Performance Arts (1997) and NYFA (1997, 2001). She has received individual artist grants from foundations that include NYSCA, The Jerome Foundation and Experimental Television Center Finishing Funds Award. She has had residences at Harvestworks Digital Media Arts, Hallwalls in Buffalo and Tesla in Berlin.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to\nZoe Beloff\n. Used with permission of\nZoe Beloff\n.","bio_dates":"b. 1958"},{"slug":"beloff_zoe_dream_film_bear_dream","ok":true,"partial":false,"title":"The Bear Dream","artist":"Zoe Beloff","year":"2009","startOffset":0,"sourceSecs":124.864,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":21364482,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_bear_dream/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_bear_dream/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beloff_zoe_dream_film_bear_dream.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beloff_zoe_dream_film_bear_dream/main.mp4?v=2","description":"In 2009 the Coney Island Museum invited Zoe Beloff to create an exhibition to celebrate the centennial of Sigmund Freud's visit to Coney Island. She titled the show \"Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972. <br/><br/> The Society might be considered something of an urban myth. They were mostly working people from a variety of cultural backgrounds. Beloff describes them as \"visionaries, who, undeterred by lack of finances or professional training, decided to explore their inner life, to share their dreams with each other and in doing so attempted to free the psyche from the constraints of class and of cultural and sexual mores of their time. <br/><br/> In 1926, the Society's first president and founder Albert Grass proposed that members attempt to recreate their dreams on film and analyze them. Here is an excerpt of his speech from the first prize giving ceremony, \"Sigmund Freud has written that the royal road to the unconscious lies in our dreams. Each night we are plunged into a fantastical world as amazing as anything we see in Saturday night Photoplays. But how to capture the most effervescent of experiences so that they can be properly analyzed and recorded for future generations? The answer, my friends, lies in our new tools, the Cine-Kodak Camera and the Kodascope Projector enabling us to reenact our dreams on film, producing a perfect reproduction of our mind's nocturnal wanderings, the strange adventures of our souls. As it will surely be soon with sound and color to perfect the illusion, we will open up our darkest dreams to the bright light of reason\"<br/><br/>These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Zoe Beloff. Used with permission of Zoe Beloff.<br/><br/><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/benjamin.html\" rel=\"noopener\" target=\"_blank\">Zoe Beloff on UbuWeb Sound</a></br>","artist_bio":"Zoe Beloff grew up in Edinburgh, Scotland. In 1980 she moved to New York to study at Columbia University where she received an MFA in Film. Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Center in Paris. She recently participated in the 2009 Athens Biennale, and has an upcoming project with MuHKA Museum in Antwerp. Her most recently completed work is the exhibition \"The Coney Island Amateur Psychoanalytic Society and their Circle.\nZoe works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation.Her artistic interest lies in finding ways to graphically manifest the unconscious processes of the mind. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Sometimes she uses archaic apparatuses, sometimes, new analog/digital hybrids. Each project aims to connect the present with the past, to create new visual languages where modern media will once again be invested with the uncanny. She has collaborated with artists from other disciplines including composer John Cale, the Wooster Group Theater Company and composer, singer and performance artist Shelley Hirsch.\nZoe has been awarded fellowships from Guggenheim Foundation (2003), The Foundation for Contemporary Performance Arts (1997) and NYFA (1997, 2001). She has received individual artist grants from foundations that include NYSCA, The Jerome Foundation and Experimental Television Center Finishing Funds Award. She has had residences at Harvestworks Digital Media Arts, Hallwalls in Buffalo and Tesla in Berlin.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to\nZoe Beloff\n. Used with permission of\nZoe Beloff\n.","bio_dates":"b. 1958"},{"slug":"beloff_zoe_dream_film_chasing","ok":true,"partial":false,"title":"Chasing Louis Schnekowitz","artist":"Zoe Beloff","year":"2009","startOffset":0,"sourceSecs":226.005,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":40413896,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_chasing/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_chasing/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beloff_zoe_dream_film_chasing.mp4","hasFrames":true,"description":"In 2009 the Coney Island Museum invited Zoe Beloff to create an exhibition to celebrate the centennial of Sigmund Freud's visit to Coney Island. She titled the show \"Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972. <br/><br/> The Society might be considered something of an urban myth. They were mostly working people from a variety of cultural backgrounds. Beloff describes them as \"visionaries, who, undeterred by lack of finances or professional training, decided to explore their inner life, to share their dreams with each other and in doing so attempted to free the psyche from the constraints of class and of cultural and sexual mores of their time. <br/><br/> In 1926, the Society's first president and founder Albert Grass proposed that members attempt to recreate their dreams on film and analyze them. Here is an excerpt of his speech from the first prize giving ceremony, \"Sigmund Freud has written that the royal road to the unconscious lies in our dreams. Each night we are plunged into a fantastical world as amazing as anything we see in Saturday night Photoplays. But how to capture the most effervescent of experiences so that they can be properly analyzed and recorded for future generations? The answer, my friends, lies in our new tools, the Cine-Kodak Camera and the Kodascope Projector enabling us to reenact our dreams on film, producing a perfect reproduction of our mind's nocturnal wanderings, the strange adventures of our souls. As it will surely be soon with sound and color to perfect the illusion, we will open up our darkest dreams to the bright light of reason\"<br/><br/>These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Zoe Beloff. Used with permission of Zoe Beloff.<br/><br/><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/benjamin.html\" rel=\"noopener\" target=\"_blank\">Zoe Beloff on UbuWeb Sound</a></br>","artist_bio":"Zoe Beloff grew up in Edinburgh, Scotland. In 1980 she moved to New York to study at Columbia University where she received an MFA in Film. Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Center in Paris. She recently participated in the 2009 Athens Biennale, and has an upcoming project with MuHKA Museum in Antwerp. Her most recently completed work is the exhibition \"The Coney Island Amateur Psychoanalytic Society and their Circle.\nZoe works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation.Her artistic interest lies in finding ways to graphically manifest the unconscious processes of the mind. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Sometimes she uses archaic apparatuses, sometimes, new analog/digital hybrids. Each project aims to connect the present with the past, to create new visual languages where modern media will once again be invested with the uncanny. She has collaborated with artists from other disciplines including composer John Cale, the Wooster Group Theater Company and composer, singer and performance artist Shelley Hirsch.\nZoe has been awarded fellowships from Guggenheim Foundation (2003), The Foundation for Contemporary Performance Arts (1997) and NYFA (1997, 2001). She has received individual artist grants from foundations that include NYSCA, The Jerome Foundation and Experimental Television Center Finishing Funds Award. She has had residences at Harvestworks Digital Media Arts, Hallwalls in Buffalo and Tesla in Berlin.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to\nZoe Beloff\n. Used with permission of\nZoe Beloff\n.","bio_dates":"b. 1958"},{"slug":"beloff_zoe_dream_film_dental","ok":true,"partial":false,"title":"My Dream of Dental Irritation","artist":"Zoe Beloff","year":"2009","startOffset":0,"sourceSecs":309.184,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":55972520,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_dental/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_dental/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beloff_zoe_dream_film_dental.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beloff_zoe_dream_film_dental/main.mp4?v=2","description":"In 2009 the Coney Island Museum invited Zoe Beloff to create an exhibition to celebrate the centennial of Sigmund Freud's visit to Coney Island. She titled the show \"Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972. <br/><br/> The Society might be considered something of an urban myth. They were mostly working people from a variety of cultural backgrounds. Beloff describes them as \"visionaries, who, undeterred by lack of finances or professional training, decided to explore their inner life, to share their dreams with each other and in doing so attempted to free the psyche from the constraints of class and of cultural and sexual mores of their time. <br/><br/> In 1926, the Society's first president and founder Albert Grass proposed that members attempt to recreate their dreams on film and analyze them. Here is an excerpt of his speech from the first prize giving ceremony, \"Sigmund Freud has written that the royal road to the unconscious lies in our dreams. Each night we are plunged into a fantastical world as amazing as anything we see in Saturday night Photoplays. But how to capture the most effervescent of experiences so that they can be properly analyzed and recorded for future generations? The answer, my friends, lies in our new tools, the Cine-Kodak Camera and the Kodascope Projector enabling us to reenact our dreams on film, producing a perfect reproduction of our mind's nocturnal wanderings, the strange adventures of our souls. As it will surely be soon with sound and color to perfect the illusion, we will open up our darkest dreams to the bright light of reason\"<br/><br/>These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Zoe Beloff. Used with permission of Zoe Beloff.<br/><br/><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/benjamin.html\" rel=\"noopener\" target=\"_blank\">Zoe Beloff on UbuWeb Sound</a></br>","artist_bio":"Zoe Beloff grew up in Edinburgh, Scotland. In 1980 she moved to New York to study at Columbia University where she received an MFA in Film. Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Center in Paris. She recently participated in the 2009 Athens Biennale, and has an upcoming project with MuHKA Museum in Antwerp. Her most recently completed work is the exhibition \"The Coney Island Amateur Psychoanalytic Society and their Circle.\nZoe works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation.Her artistic interest lies in finding ways to graphically manifest the unconscious processes of the mind. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Sometimes she uses archaic apparatuses, sometimes, new analog/digital hybrids. Each project aims to connect the present with the past, to create new visual languages where modern media will once again be invested with the uncanny. She has collaborated with artists from other disciplines including composer John Cale, the Wooster Group Theater Company and composer, singer and performance artist Shelley Hirsch.\nZoe has been awarded fellowships from Guggenheim Foundation (2003), The Foundation for Contemporary Performance Arts (1997) and NYFA (1997, 2001). She has received individual artist grants from foundations that include NYSCA, The Jerome Foundation and Experimental Television Center Finishing Funds Award. She has had residences at Harvestworks Digital Media Arts, Hallwalls in Buffalo and Tesla in Berlin.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to\nZoe Beloff\n. Used with permission of\nZoe Beloff\n.","bio_dates":"b. 1958"},{"slug":"beloff_zoe_dream_film_document","ok":true,"partial":false,"title":"Dream Film Document","artist":"Zoe Beloff","year":"2009","startOffset":0,"sourceSecs":327.982,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":55215430,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_document/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_document/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beloff_zoe_dream_film_document.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beloff_zoe_dream_film_document/main.mp4?v=2","description":"In 2009 the Coney Island Museum invited Zoe Beloff to create an exhibition to celebrate the centennial of Sigmund Freud's visit to Coney Island. She titled the show \"Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972.\n\nThe Society might be considered something of an urban myth. They were mostly working people from a variety of cultural backgrounds. Beloff describes them as \"visionaries, who, undeterred by lack of finances or professional training, decided to explore their inner life, to share their dreams with each other and in doing so attempted to free the psyche from the constraints of class and of cultural and sexual mores of their time.\n\nIn 1926, the Society's first president and founder Albert Grass proposed that members attempt to recreate their dreams on film and analyze them. Here is an excerpt of his speech from the first prize giving ceremony, \"Sigmund Freud has written that the royal road to the unconscious lies in our dreams. Each night we are plunged into a fantastical world as amazing as anything we see in Saturday night Photoplays. But how to capture the most effervescent of experiences so that they can be properly analyzed and recorded for future generations? The answer, my friends, lies in our new tools, the Cine-Kodak Camera and the Kodascope Projector enabling us to reenact our dreams on film, producing a perfect reproduction of our mind's nocturnal wanderings, the strange adventures of our souls. As it will surely be soon with sound and color to perfect the illusion, we will open up our darkest dreams to the bright light of reason\"\n\nThese videos are being made available for noncommercial and educational use only.\n\nAll rights to this recorded material belong to Zoe Beloff. Used with permission of Zoe Beloff."},{"slug":"beloff_zoe_dream_film_lion_dream","ok":true,"partial":false,"title":"The Dream Films:The Lion Dream","artist":"Zoe Beloff","year":"2009","startOffset":0,"sourceSecs":174.315,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":26634097,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_lion_dream/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_lion_dream/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beloff_zoe_dream_film_lion_dream.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beloff_zoe_dream_film_lion_dream/main.mp4?v=2","description":"In 2009 the Coney Island Museum invited Zoe Beloff to create an exhibition to celebrate the centennial of Sigmund Freud's visit to Coney Island. She titled the show \"Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972. <br/><br/> The Society might be considered something of an urban myth. They were mostly working people from a variety of cultural backgrounds. Beloff describes them as \"visionaries, who, undeterred by lack of finances or professional training, decided to explore their inner life, to share their dreams with each other and in doing so attempted to free the psyche from the constraints of class and of cultural and sexual mores of their time. <br/><br/> In 1926, the Society's first president and founder Albert Grass proposed that members attempt to recreate their dreams on film and analyze them. Here is an excerpt of his speech from the first prize giving ceremony, \"Sigmund Freud has written that the royal road to the unconscious lies in our dreams. Each night we are plunged into a fantastical world as amazing as anything we see in Saturday night Photoplays. But how to capture the most effervescent of experiences so that they can be properly analyzed and recorded for future generations? The answer, my friends, lies in our new tools, the Cine-Kodak Camera and the Kodascope Projector enabling us to reenact our dreams on film, producing a perfect reproduction of our mind's nocturnal wanderings, the strange adventures of our souls. As it will surely be soon with sound and color to perfect the illusion, we will open up our darkest dreams to the bright light of reason\"<br/><br/>These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Zoe Beloff. Used with permission of Zoe Beloff.<br/><br/><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/benjamin.html\" rel=\"noopener\" target=\"_blank\">Zoe Beloff on UbuWeb Sound</a></br>","artist_bio":"Zoe Beloff grew up in Edinburgh, Scotland. In 1980 she moved to New York to study at Columbia University where she received an MFA in Film. Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Center in Paris. She recently participated in the 2009 Athens Biennale, and has an upcoming project with MuHKA Museum in Antwerp. Her most recently completed work is the exhibition \"The Coney Island Amateur Psychoanalytic Society and their Circle.\nZoe works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation.Her artistic interest lies in finding ways to graphically manifest the unconscious processes of the mind. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Sometimes she uses archaic apparatuses, sometimes, new analog/digital hybrids. Each project aims to connect the present with the past, to create new visual languages where modern media will once again be invested with the uncanny. She has collaborated with artists from other disciplines including composer John Cale, the Wooster Group Theater Company and composer, singer and performance artist Shelley Hirsch.\nZoe has been awarded fellowships from Guggenheim Foundation (2003), The Foundation for Contemporary Performance Arts (1997) and NYFA (1997, 2001). She has received individual artist grants from foundations that include NYSCA, The Jerome Foundation and Experimental Television Center Finishing Funds Award. She has had residences at Harvestworks Digital Media Arts, Hallwalls in Buffalo and Tesla in Berlin.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to\nZoe Beloff\n. Used with permission of\nZoe Beloff\n.","bio_dates":"b. 1958"},{"slug":"beloff_zoe_dream_film_lonely_chicken","ok":true,"partial":false,"title":"The Lonely Chicken Dream","artist":"Zoe Beloff","year":"2009","startOffset":0,"sourceSecs":184.533,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":30215591,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_lonely_chicken/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_lonely_chicken/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beloff_zoe_dream_film_lonely_chicken.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beloff_zoe_dream_film_lonely_chicken/main.mp4?v=2","description":"In 2009 the Coney Island Museum invited Zoe Beloff to create an exhibition to celebrate the centennial of Sigmund Freud's visit to Coney Island. She titled the show \"Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972. <br/><br/> The Society might be considered something of an urban myth. They were mostly working people from a variety of cultural backgrounds. Beloff describes them as \"visionaries, who, undeterred by lack of finances or professional training, decided to explore their inner life, to share their dreams with each other and in doing so attempted to free the psyche from the constraints of class and of cultural and sexual mores of their time. <br/><br/> In 1926, the Society's first president and founder Albert Grass proposed that members attempt to recreate their dreams on film and analyze them. Here is an excerpt of his speech from the first prize giving ceremony, \"Sigmund Freud has written that the royal road to the unconscious lies in our dreams. Each night we are plunged into a fantastical world as amazing as anything we see in Saturday night Photoplays. But how to capture the most effervescent of experiences so that they can be properly analyzed and recorded for future generations? The answer, my friends, lies in our new tools, the Cine-Kodak Camera and the Kodascope Projector enabling us to reenact our dreams on film, producing a perfect reproduction of our mind's nocturnal wanderings, the strange adventures of our souls. As it will surely be soon with sound and color to perfect the illusion, we will open up our darkest dreams to the bright light of reason\"<br/><br/>These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Zoe Beloff. Used with permission of Zoe Beloff.<br/><br/><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/benjamin.html\" rel=\"noopener\" target=\"_blank\">Zoe Beloff on UbuWeb Sound</a></br>","artist_bio":"Zoe Beloff grew up in Edinburgh, Scotland. In 1980 she moved to New York to study at Columbia University where she received an MFA in Film. Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Center in Paris. She recently participated in the 2009 Athens Biennale, and has an upcoming project with MuHKA Museum in Antwerp. Her most recently completed work is the exhibition \"The Coney Island Amateur Psychoanalytic Society and their Circle.\nZoe works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation.Her artistic interest lies in finding ways to graphically manifest the unconscious processes of the mind. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Sometimes she uses archaic apparatuses, sometimes, new analog/digital hybrids. Each project aims to connect the present with the past, to create new visual languages where modern media will once again be invested with the uncanny. She has collaborated with artists from other disciplines including composer John Cale, the Wooster Group Theater Company and composer, singer and performance artist Shelley Hirsch.\nZoe has been awarded fellowships from Guggenheim Foundation (2003), The Foundation for Contemporary Performance Arts (1997) and NYFA (1997, 2001). She has received individual artist grants from foundations that include NYSCA, The Jerome Foundation and Experimental Television Center Finishing Funds Award. She has had residences at Harvestworks Digital Media Arts, Hallwalls in Buffalo and Tesla in Berlin.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to\nZoe Beloff\n. Used with permission of\nZoe Beloff\n.","bio_dates":"b. 1958"},{"slug":"beloff_zoe_dream_film_midget_crane","ok":true,"partial":false,"title":"The Dream Films: The Midget Crane","artist":"Zoe Beloff","year":"2009","startOffset":0,"sourceSecs":160.405,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":24948814,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_midget_crane/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_midget_crane/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beloff_zoe_dream_film_midget_crane.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beloff_zoe_dream_film_midget_crane/main.mp4?v=2","description":"In 2009 the Coney Island Museum invited Zoe Beloff to create an exhibition to celebrate the centennial of Sigmund Freud's visit to Coney Island. She titled the show \"Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972. <br/><br/> The Society might be considered something of an urban myth. They were mostly working people from a variety of cultural backgrounds. Beloff describes them as \"visionaries, who, undeterred by lack of finances or professional training, decided to explore their inner life, to share their dreams with each other and in doing so attempted to free the psyche from the constraints of class and of cultural and sexual mores of their time. <br/><br/> In 1926, the Society's first president and founder Albert Grass proposed that members attempt to recreate their dreams on film and analyze them. Here is an excerpt of his speech from the first prize giving ceremony, \"Sigmund Freud has written that the royal road to the unconscious lies in our dreams. Each night we are plunged into a fantastical world as amazing as anything we see in Saturday night Photoplays. But how to capture the most effervescent of experiences so that they can be properly analyzed and recorded for future generations? The answer, my friends, lies in our new tools, the Cine-Kodak Camera and the Kodascope Projector enabling us to reenact our dreams on film, producing a perfect reproduction of our mind's nocturnal wanderings, the strange adventures of our souls. As it will surely be soon with sound and color to perfect the illusion, we will open up our darkest dreams to the bright light of reason\"<br/><br/>These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Zoe Beloff. Used with permission of Zoe Beloff.<br/><br/><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/benjamin.html\" rel=\"noopener\" target=\"_blank\">Zoe Beloff on UbuWeb Sound</a></br>","artist_bio":"Zoe Beloff grew up in Edinburgh, Scotland. In 1980 she moved to New York to study at Columbia University where she received an MFA in Film. Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Center in Paris. She recently participated in the 2009 Athens Biennale, and has an upcoming project with MuHKA Museum in Antwerp. Her most recently completed work is the exhibition \"The Coney Island Amateur Psychoanalytic Society and their Circle.\nZoe works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation.Her artistic interest lies in finding ways to graphically manifest the unconscious processes of the mind. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Sometimes she uses archaic apparatuses, sometimes, new analog/digital hybrids. Each project aims to connect the present with the past, to create new visual languages where modern media will once again be invested with the uncanny. She has collaborated with artists from other disciplines including composer John Cale, the Wooster Group Theater Company and composer, singer and performance artist Shelley Hirsch.\nZoe has been awarded fellowships from Guggenheim Foundation (2003), The Foundation for Contemporary Performance Arts (1997) and NYFA (1997, 2001). She has received individual artist grants from foundations that include NYSCA, The Jerome Foundation and Experimental Television Center Finishing Funds Award. She has had residences at Harvestworks Digital Media Arts, Hallwalls in Buffalo and Tesla in Berlin.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to\nZoe Beloff\n. Used with permission of\nZoe Beloff\n.","bio_dates":"b. 1958"},{"slug":"beloff_zoe_dream_film_praying_mantis","ok":true,"partial":false,"title":"The Dream Films: The Praying Mantis","artist":"Zoe Beloff","year":"2009","startOffset":0,"sourceSecs":385.557,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":70624163,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_praying_mantis/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beloff_zoe_dream_film_praying_mantis/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beloff_zoe_dream_film_praying_mantis.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beloff_zoe_dream_film_praying_mantis/main.mp4?v=2","description":"In 2009 the Coney Island Museum invited Zoe Beloff to create an exhibition to celebrate the centennial of Sigmund Freud's visit to Coney Island. She titled the show \"Dreamland: The Coney Island Amateur Psychoanalytic Society and its Circle 1926-1972. <br/><br/> The Society might be considered something of an urban myth. They were mostly working people from a variety of cultural backgrounds. Beloff describes them as \"visionaries, who, undeterred by lack of finances or professional training, decided to explore their inner life, to share their dreams with each other and in doing so attempted to free the psyche from the constraints of class and of cultural and sexual mores of their time. <br/><br/> In 1926, the Society's first president and founder Albert Grass proposed that members attempt to recreate their dreams on film and analyze them. Here is an excerpt of his speech from the first prize giving ceremony, \"Sigmund Freud has written that the royal road to the unconscious lies in our dreams. Each night we are plunged into a fantastical world as amazing as anything we see in Saturday night Photoplays. But how to capture the most effervescent of experiences so that they can be properly analyzed and recorded for future generations? The answer, my friends, lies in our new tools, the Cine-Kodak Camera and the Kodascope Projector enabling us to reenact our dreams on film, producing a perfect reproduction of our mind's nocturnal wanderings, the strange adventures of our souls. As it will surely be soon with sound and color to perfect the illusion, we will open up our darkest dreams to the bright light of reason\"<br/><br/>These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Zoe Beloff. Used with permission of Zoe Beloff.<br/><br/><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/benjamin.html\" rel=\"noopener\" target=\"_blank\">Zoe Beloff on UbuWeb Sound</a></br>","artist_bio":"Zoe Beloff grew up in Edinburgh, Scotland. In 1980 she moved to New York to study at Columbia University where she received an MFA in Film. Her work has been featured in international exhibitions and screenings; venues include the Whitney Museum of American Art and the Museum of Modern Art in New York, the Freud Dream Museum in St. Petersburg, and the Pompidou Center in Paris. She recently participated in the 2009 Athens Biennale, and has an upcoming project with MuHKA Museum in Antwerp. Her most recently completed work is the exhibition \"The Coney Island Amateur Psychoanalytic Society and their Circle.\nZoe works with a variety of cinematic imagery: film, stereoscopic projection performance, interactive media and installation.Her artistic interest lies in finding ways to graphically manifest the unconscious processes of the mind. She considers herself a medium, an interface between the living and the dead, the real and the imaginary. Sometimes she uses archaic apparatuses, sometimes, new analog/digital hybrids. Each project aims to connect the present with the past, to create new visual languages where modern media will once again be invested with the uncanny. She has collaborated with artists from other disciplines including composer John Cale, the Wooster Group Theater Company and composer, singer and performance artist Shelley Hirsch.\nZoe has been awarded fellowships from Guggenheim Foundation (2003), The Foundation for Contemporary Performance Arts (1997) and NYFA (1997, 2001). She has received individual artist grants from foundations that include NYSCA, The Jerome Foundation and Experimental Television Center Finishing Funds Award. She has had residences at Harvestworks Digital Media Arts, Hallwalls in Buffalo and Tesla in Berlin.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to\nZoe Beloff\n. Used with permission of\nZoe Beloff\n.","bio_dates":"b. 1958"},{"slug":"bender_gretchen_reality_fever_1983","ok":true,"partial":false,"title":"Reality Fever (1983)","artist":"Gretchen Bender","year":"1983","startOffset":0,"sourceSecs":380.28,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":64275908,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bender_gretchen_reality_fever_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bender_gretchen_reality_fever_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bender_gretchen_reality_fever_1983.mkv","hasFrames":true,"description":"Gretchen Bender (1951 – 2004) was a pioneering post-appropriation artist who worked in video, sculpture, computer graphics, photography, and print. She is best known for her works of “electronic theater” – immersive installations of television monitors displaying moving images culled from mass media. Reality Fever is an early, single-channel version of Bender’s video collages, one with found, created, and manipulated imagery, including a Folgers coffee commercial, a children’s superhero cartoon, and Stanley Kubrick’s 2001: A Space Odyssey.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/borges.html\" rel=\"noopener\" target=\"_blank\">Gretchen Bender in UbuWeb Sound</a>","artist_bio":"With a number of recent exhibitions on both sides of the atlantic recognising her practice, the work of American multi-media artist Gretchen Bender is experiencing something of a moment. What took so long, asks Mike Pinnington.\nIn the 1980s Gretchen Bender was immersed in New York's vibrant art scene, a contemporary of the 'Pictures' generation of artists (Robert Longo, Barbara Kruger and Cindy Sherman et al) who appropriated mass media imagery for critical ends. Working with TV, video and computer generated graphics, her own work put her in the vanguard of new media artists. Commenting on the cultural landscape of late twentieth century capitalism which was, as she saw it, 'a culture saturated by corporate self-representation', Bender was artist as saboteur, infiltrating mass media and – as argued in Compass, our guide to Tate Liverpool's programme – 'attacking the zeitgeist on its own terms'.\nEarlier in the decade she had experimented with combining multiple images in static form, perhaps most notably in The Pleasure is Back 1982, where imagery scanned from TV and art history is applied to sign-tin and highlights processes of signification and mediation. But it was works such as Wild Dead 1984 and Total Recall 1987 – examples of what Bender referred to as 'electronic theatre' – that displayed her tendency toward and real proficiency with cutting edge technology. This subversion of mainstream platforms went a step further still in her more commercial endeavours – music videos for REM and New Order, among others, as well as the title sequence for reality TV show America's Most Wanted; all of which utilised Bender's by-now-signature barrage-editing style.\nHer most seminal work, which takes centre stage in the exhibition at Tate Liverpool, remains Total Recall (its name a result of Bender's trawling through movie industry trade publications such as Variety for as yet unreleased film titles): the large-scale installation consisting of 24 colour monitors and three projection screens is a startlingly pointed piece, splicing together and juxtaposing imagery from ostensibly disparate sources. The result is deeply affecting. A disconcerting, almost sinister assault on the senses ('veteran cyberpunk composer' Stuart Argabright's soundtrack only augments the experience) combines clips from movies, TV commercials and broadcast news, to reframe the effect of mass media imagery on an audience, whose expectations of a traditionally passive relationship with the 'box in the corner' of our living rooms, is repackaged to become anything but.\nGiven all of this, you may be forgiven for thinking: 'She sounds great; why haven't I heard of her before now?'. In the intervening years it is true that, unlike peers such as Barbara Kruger, Bender's work hadn't so much fallen out of vogue as it had been largely forgotten; passed over and side-lined as trends changed and moved on. Just as her work had astutely foreshadowed the coming unfettered cultural surfeit of the digital age, Bender predicted (and accepted) that her work, given its reliance on then-current technology, was likely to have a shelf-life. In a 1987 interview with Cindy Sherman (in Bomb Magazine), Bender, at a point where conversation turns to how works can run the risk of becoming 'neutralized', says:\nI think that the time limit to media-oriented artwork is an element that many media involved artists are unwilling to confront: art as I practice it or develop my ideas or aesthetics, has to do with a temporal limit to its meaningfulness in the culture – and that's real tough.' Acknowledging that 'Style gets absorbed really fast by the culture,' she continued: 'You have to make some kind of break or glitch in the media somewhere else with a different style and shove your content into it there. It's constantly having to accept the fact that your work will lose its strength.\nWhile the technology with which Bender was working at the height of her creative powers may have changed exponentially, the prevailing concerns that informed and were at the centre of her practice, remain and continue to resonate today. If anything society's reliance on the now commonplace accoutrements of twenty first century living: email, iPhones, social networking and YouTube, to name a few, renders Bender's investigations into the mass media and political and corporate ideology increasingly relevant. So, no wonder that, if a little belatedly (and around a decade since her death), this has led to a subsequent critical re-evaluation of her work; following retrospectives in her home country in recent years, the Gretchen Bender show at Tate Liverpool represents the first solo exhibition of the artist's work in the UK to date.","bio_dates":"1951-2004"},{"slug":"benglis_lynda_collage","ok":true,"partial":false,"title":"Collage","artist":"Lynda Benglis","year":"1973","startOffset":0,"sourceSecs":562.432,"sourceHeight":486,"sourceWidth":648,"hasAudio":true,"hasAmbientMp4":true,"bytes":103408990,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benglis_lynda_collage/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benglis_lynda_collage/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benglis_lynda_collage.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benglis_lynda_collage/main.mp4?v=2","description":"Three basic compositions are played and recombined in Collage: a hockey game; arms swinging across the screen; and a hand holding one, two, then three oranges. As in her other work, Benglis plays with several generations of each shot, rescanning the screen, and placing objects in front of the monitor. Organized around color and rhythm, each segment uses bright colors, rapid movements, and complex layers of images to present a mesmerizing compendium of information that frustrates any sense of narrative. The accompanying soundtrack is an independent collage of noises, feedback and static that create a gritty aural texture.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Lynda Benglis in UbuWeb Sound</a>","artist_bio":"Lynda Benglis (born October 25, 1941 in Lake Charles, Louisiana) is an American sculptor known for her wax paintings and poured latex sculptures. Benglis' work is noted for an unusual blend of organic imagery and confrontation with newer media incorporating influences such as Barnett Newman and Andy Warhol. Her early work used materials such as beeswax before moving on large polyurethane pieces in the 1970s and later to gold-leaf, zinc, and aluminum. The validity of much of her work was questioned until the 1980s due to its use of sensuality and physicality.\nLike other artists such as Yves Klein, Benglis' mimicked Jackson Pollock's flinging and dripping methods of painting.[3] Works such as Fallen Painting (1968) inform the approach with a feminist perspective. For this work, Benglis smeared Day-Glo paint across the gallery floor invoking \"the depravity of the 'fallen' woman\" or, from a feminist perspective, a \"prone victim of phallic male desire\". These brightly colored organic floor pieces were intended to disrupt the male-dominated minimalism movement with their suggestiveness and openness. In 1971, Benglis began to collaborate with Robert Morris, creating Benglis' video Mumble (1972) and Morris' Exchange (1973).\nVittorio of 1979; gold leaf, gesso, plaster, cotton, and chicken wire; in the collection of the National Gallery of Art\nBenglis felt underrepresented in the male-run artistic community and so confronted the \"male ethos\" in a series of magazine advertisements satirizing pin-up girls and Hollywood actresses. Benglis chose the medium of magazine advertisements as it allowed her complete control of an image rather than allowing it to be run through critical commentary. This series culminated with a particularly controversial one in the November 1974 issue of Artforum featuring Benglis aggressively posed with a giant latex dildo and wearing only a pair of sunglasses promoting an upcoming exhibition of hers at the Paula Cooper Gallery. One of her original ideas for the advertisement had been for her and collaborative partner Robert Morris to work together as a double pin-up, but eventually found that using a double dildo was sufficient as she found it to be \"both male and female\". Morris, too, put out an advertisement for his work in that month's Artforum which featured himself in full \"butch\" S&M regalia. Artist Barbara Wagner claims that Benglis shows that even with the appropriation of the phallus as a Freudian sign of power, it does not cover her female identity and still emphasizes a female inferiority. Rosalind Krauss and other Artforum personnel attacked Benglis' work in the following month's issue of Artforum describing the advertisement as \"exploitative\" and \"brutalizing\". Critic Cindy Nemser of The Feminist Art Journal dismissed the advertisement as well, claiming that the picture showed that Benglis had \"so little confidence in her art that she had to resort to kinky cheesecake to push herself over the top.\" Morris' advertisement, however, generated little commentary, providing evidence for Benglis' view that male artists were encouraged to promote themselves, whereas women were chastised for doing so.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- Wiki","bio_dates":"b. 1941"},{"slug":"benglis_lynda_femalesensibility_1973","ok":true,"partial":false,"title":"Female Sensibility","artist":"Lynda Benglis","year":"1974","startOffset":0,"sourceSecs":788.373,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":141942194,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benglis_lynda_femalesensibility_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benglis_lynda_femalesensibility_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benglis_lynda_femalesensibility_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benglis_lynda_femalesensibility_1973/main.mp4?v=2","description":"Two women, faces framed in tight focus, kiss and caress. Their interaction is silent, muted by Benglis' superimposition of a noisy, distracting soundtrack of appropriated AM radio: bawdy wisecracks of talk-show hosts and male callers, interacting in the gruff terms of normative masculinity; male country-western singers plying women with complaints about bad love and bad coffee; a man preaching on the creation of Adam and Eve. The tape's challenge may, in part, direct itself at the viewer. While one might find it easy to dismiss the gender clichés of the soundtrack, it may be harder to resolve the hermetically-sealed indifference and disconcerting ambiguity (lovers? performers?) of the two women. By turns conscious of the camera and seemingly oblivious to it, their dreamy indifference is a rebuke to the disruptive chatter hovering around them, and perhaps also to the expectations of those who watch. --<a href=\"http://eai.org/title.htm?id=7097\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Lynda Benglis in UbuWeb Sound</a>","artist_bio":"Lynda Benglis (born October 25, 1941 in Lake Charles, Louisiana) is an American sculptor known for her wax paintings and poured latex sculptures. Benglis' work is noted for an unusual blend of organic imagery and confrontation with newer media incorporating influences such as Barnett Newman and Andy Warhol. Her early work used materials such as beeswax before moving on large polyurethane pieces in the 1970s and later to gold-leaf, zinc, and aluminum. The validity of much of her work was questioned until the 1980s due to its use of sensuality and physicality.\nLike other artists such as Yves Klein, Benglis' mimicked Jackson Pollock's flinging and dripping methods of painting.[3] Works such as Fallen Painting (1968) inform the approach with a feminist perspective. For this work, Benglis smeared Day-Glo paint across the gallery floor invoking \"the depravity of the 'fallen' woman\" or, from a feminist perspective, a \"prone victim of phallic male desire\". These brightly colored organic floor pieces were intended to disrupt the male-dominated minimalism movement with their suggestiveness and openness. In 1971, Benglis began to collaborate with Robert Morris, creating Benglis' video Mumble (1972) and Morris' Exchange (1973).\nVittorio of 1979; gold leaf, gesso, plaster, cotton, and chicken wire; in the collection of the National Gallery of Art\nBenglis felt underrepresented in the male-run artistic community and so confronted the \"male ethos\" in a series of magazine advertisements satirizing pin-up girls and Hollywood actresses. Benglis chose the medium of magazine advertisements as it allowed her complete control of an image rather than allowing it to be run through critical commentary. This series culminated with a particularly controversial one in the November 1974 issue of Artforum featuring Benglis aggressively posed with a giant latex dildo and wearing only a pair of sunglasses promoting an upcoming exhibition of hers at the Paula Cooper Gallery. One of her original ideas for the advertisement had been for her and collaborative partner Robert Morris to work together as a double pin-up, but eventually found that using a double dildo was sufficient as she found it to be \"both male and female\". Morris, too, put out an advertisement for his work in that month's Artforum which featured himself in full \"butch\" S&M regalia. Artist Barbara Wagner claims that Benglis shows that even with the appropriation of the phallus as a Freudian sign of power, it does not cover her female identity and still emphasizes a female inferiority. Rosalind Krauss and other Artforum personnel attacked Benglis' work in the following month's issue of Artforum describing the advertisement as \"exploitative\" and \"brutalizing\". Critic Cindy Nemser of The Feminist Art Journal dismissed the advertisement as well, claiming that the picture showed that Benglis had \"so little confidence in her art that she had to resort to kinky cheesecake to push herself over the top.\" Morris' advertisement, however, generated little commentary, providing evidence for Benglis' view that male artists were encouraged to promote themselves, whereas women were chastised for doing so.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- Wiki","bio_dates":"b. 1941"},{"slug":"benglis_lynda_monitor","ok":true,"partial":false,"title":"Monitor","artist":"Lynda Benglis","year":"1999","startOffset":0,"sourceSecs":2879.136,"sourceHeight":476,"sourceWidth":700,"hasAudio":true,"hasAmbientMp4":true,"bytes":496606017,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benglis_lynda_monitor/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benglis_lynda_monitor/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benglis_lynda_monitor.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benglis_lynda_monitor/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benglis_lynda_monitor/main/master.m3u8?v=2","hasMainHls":true,"description":"Cyclops / \"monitor\" / minotaur. <br/> Note: A 20-second video loop self-portrait.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Lynda Benglis in UbuWeb Sound</a>","artist_bio":"Lynda Benglis (born October 25, 1941 in Lake Charles, Louisiana) is an American sculptor known for her wax paintings and poured latex sculptures. Benglis' work is noted for an unusual blend of organic imagery and confrontation with newer media incorporating influences such as Barnett Newman and Andy Warhol. Her early work used materials such as beeswax before moving on large polyurethane pieces in the 1970s and later to gold-leaf, zinc, and aluminum. The validity of much of her work was questioned until the 1980s due to its use of sensuality and physicality.\nLike other artists such as Yves Klein, Benglis' mimicked Jackson Pollock's flinging and dripping methods of painting.[3] Works such as Fallen Painting (1968) inform the approach with a feminist perspective. For this work, Benglis smeared Day-Glo paint across the gallery floor invoking \"the depravity of the 'fallen' woman\" or, from a feminist perspective, a \"prone victim of phallic male desire\". These brightly colored organic floor pieces were intended to disrupt the male-dominated minimalism movement with their suggestiveness and openness. In 1971, Benglis began to collaborate with Robert Morris, creating Benglis' video Mumble (1972) and Morris' Exchange (1973).\nVittorio of 1979; gold leaf, gesso, plaster, cotton, and chicken wire; in the collection of the National Gallery of Art\nBenglis felt underrepresented in the male-run artistic community and so confronted the \"male ethos\" in a series of magazine advertisements satirizing pin-up girls and Hollywood actresses. Benglis chose the medium of magazine advertisements as it allowed her complete control of an image rather than allowing it to be run through critical commentary. This series culminated with a particularly controversial one in the November 1974 issue of Artforum featuring Benglis aggressively posed with a giant latex dildo and wearing only a pair of sunglasses promoting an upcoming exhibition of hers at the Paula Cooper Gallery. One of her original ideas for the advertisement had been for her and collaborative partner Robert Morris to work together as a double pin-up, but eventually found that using a double dildo was sufficient as she found it to be \"both male and female\". Morris, too, put out an advertisement for his work in that month's Artforum which featured himself in full \"butch\" S&M regalia. Artist Barbara Wagner claims that Benglis shows that even with the appropriation of the phallus as a Freudian sign of power, it does not cover her female identity and still emphasizes a female inferiority. Rosalind Krauss and other Artforum personnel attacked Benglis' work in the following month's issue of Artforum describing the advertisement as \"exploitative\" and \"brutalizing\". Critic Cindy Nemser of The Feminist Art Journal dismissed the advertisement as well, claiming that the picture showed that Benglis had \"so little confidence in her art that she had to resort to kinky cheesecake to push herself over the top.\" Morris' advertisement, however, generated little commentary, providing evidence for Benglis' view that male artists were encouraged to promote themselves, whereas women were chastised for doing so.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- Wiki","bio_dates":"b. 1941"},{"slug":"benglis_lynda_mumble_1972","ok":true,"partial":false,"title":"Mumble","artist":"Lynda Benglis","year":"1972","startOffset":0,"sourceSecs":1120.725,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":196964207,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benglis_lynda_mumble_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benglis_lynda_mumble_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benglis_lynda_mumble_1972.mp4","hasFrames":true,"description":"In Mumble, Benglis investigates an aesthetic of distraction that could only have emerged from the nascent field of video art. The piece portrays a monitor, and on it the image of another monitor, containing yet a third: recordings nested within recordings. Fixed cameras are trained on static poses by Benglis' family and friends (including artist Robert Morris, sipping wine and smoking a cigar); the action comes from the mechanism of the taping itself: abrupt, in-camera editing that shuffles characters disjunctively. The soundtrack is a chorus of voices: ruminations from those on-screen (from \"production is the object of labor\" to Morris' musings on psychoanalysis) as well as Benglis' own commentary, which mixes observations on her surroundings (\"the phone is ringing\") with deadpan repetition of what we hear from the other characters. With its portrayal of video en abyme, Mumble suggests video recursion as a metaphor for consciousness. -- <a href=\"http://eai.org/title.htm?id=7095\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Lynda Benglis in UbuWeb Sound</a>","artist_bio":"Lynda Benglis (born October 25, 1941 in Lake Charles, Louisiana) is an American sculptor known for her wax paintings and poured latex sculptures. Benglis' work is noted for an unusual blend of organic imagery and confrontation with newer media incorporating influences such as Barnett Newman and Andy Warhol. Her early work used materials such as beeswax before moving on large polyurethane pieces in the 1970s and later to gold-leaf, zinc, and aluminum. The validity of much of her work was questioned until the 1980s due to its use of sensuality and physicality.\nLike other artists such as Yves Klein, Benglis' mimicked Jackson Pollock's flinging and dripping methods of painting.[3] Works such as Fallen Painting (1968) inform the approach with a feminist perspective. For this work, Benglis smeared Day-Glo paint across the gallery floor invoking \"the depravity of the 'fallen' woman\" or, from a feminist perspective, a \"prone victim of phallic male desire\". These brightly colored organic floor pieces were intended to disrupt the male-dominated minimalism movement with their suggestiveness and openness. In 1971, Benglis began to collaborate with Robert Morris, creating Benglis' video Mumble (1972) and Morris' Exchange (1973).\nVittorio of 1979; gold leaf, gesso, plaster, cotton, and chicken wire; in the collection of the National Gallery of Art\nBenglis felt underrepresented in the male-run artistic community and so confronted the \"male ethos\" in a series of magazine advertisements satirizing pin-up girls and Hollywood actresses. Benglis chose the medium of magazine advertisements as it allowed her complete control of an image rather than allowing it to be run through critical commentary. This series culminated with a particularly controversial one in the November 1974 issue of Artforum featuring Benglis aggressively posed with a giant latex dildo and wearing only a pair of sunglasses promoting an upcoming exhibition of hers at the Paula Cooper Gallery. One of her original ideas for the advertisement had been for her and collaborative partner Robert Morris to work together as a double pin-up, but eventually found that using a double dildo was sufficient as she found it to be \"both male and female\". Morris, too, put out an advertisement for his work in that month's Artforum which featured himself in full \"butch\" S&M regalia. Artist Barbara Wagner claims that Benglis shows that even with the appropriation of the phallus as a Freudian sign of power, it does not cover her female identity and still emphasizes a female inferiority. Rosalind Krauss and other Artforum personnel attacked Benglis' work in the following month's issue of Artforum describing the advertisement as \"exploitative\" and \"brutalizing\". Critic Cindy Nemser of The Feminist Art Journal dismissed the advertisement as well, claiming that the picture showed that Benglis had \"so little confidence in her art that she had to resort to kinky cheesecake to push herself over the top.\" Morris' advertisement, however, generated little commentary, providing evidence for Benglis' view that male artists were encouraged to promote themselves, whereas women were chastised for doing so.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- Wiki","bio_dates":"b. 1941"},{"slug":"benglis_lynda_on_screen_1972","ok":true,"partial":false,"title":"On Screen","artist":"Lynda Benglis","year":"1972","startOffset":0,"sourceSecs":444.143,"sourceHeight":486,"sourceWidth":648,"hasAudio":true,"hasAmbientMp4":true,"bytes":70682540,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benglis_lynda_on_screen_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benglis_lynda_on_screen_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benglis_lynda_on_screen_1972.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benglis_lynda_on_screen_1972/main.mp4?v=2","description":"\"\"Benglis manipulates generations of video footage to confound our sense of time; she implies an infinite regression of time and space — Benglis making faces in front of a monitor of her making faces in front of a monitor of her... ad infinitum. The viewer retains a sense of the images sequentiality, although the sequence of creation is not revealed in a logical, orderly fashion, and is heavily obscured by the random layering and continual repetition of aural and visual components.\"<br/><br/> — Carrie Przybilla,\"Synopses of Videotapes\", Lynda Benglis: Dual Natures (Atlanta: High Museum of Art, 1991)<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Lynda Benglis in UbuWeb Sound</a>","artist_bio":"Lynda Benglis (born October 25, 1941 in Lake Charles, Louisiana) is an American sculptor known for her wax paintings and poured latex sculptures. Benglis' work is noted for an unusual blend of organic imagery and confrontation with newer media incorporating influences such as Barnett Newman and Andy Warhol. Her early work used materials such as beeswax before moving on large polyurethane pieces in the 1970s and later to gold-leaf, zinc, and aluminum. The validity of much of her work was questioned until the 1980s due to its use of sensuality and physicality.\nLike other artists such as Yves Klein, Benglis' mimicked Jackson Pollock's flinging and dripping methods of painting.[3] Works such as Fallen Painting (1968) inform the approach with a feminist perspective. For this work, Benglis smeared Day-Glo paint across the gallery floor invoking \"the depravity of the 'fallen' woman\" or, from a feminist perspective, a \"prone victim of phallic male desire\". These brightly colored organic floor pieces were intended to disrupt the male-dominated minimalism movement with their suggestiveness and openness. In 1971, Benglis began to collaborate with Robert Morris, creating Benglis' video Mumble (1972) and Morris' Exchange (1973).\nVittorio of 1979; gold leaf, gesso, plaster, cotton, and chicken wire; in the collection of the National Gallery of Art\nBenglis felt underrepresented in the male-run artistic community and so confronted the \"male ethos\" in a series of magazine advertisements satirizing pin-up girls and Hollywood actresses. Benglis chose the medium of magazine advertisements as it allowed her complete control of an image rather than allowing it to be run through critical commentary. This series culminated with a particularly controversial one in the November 1974 issue of Artforum featuring Benglis aggressively posed with a giant latex dildo and wearing only a pair of sunglasses promoting an upcoming exhibition of hers at the Paula Cooper Gallery. One of her original ideas for the advertisement had been for her and collaborative partner Robert Morris to work together as a double pin-up, but eventually found that using a double dildo was sufficient as she found it to be \"both male and female\". Morris, too, put out an advertisement for his work in that month's Artforum which featured himself in full \"butch\" S&M regalia. Artist Barbara Wagner claims that Benglis shows that even with the appropriation of the phallus as a Freudian sign of power, it does not cover her female identity and still emphasizes a female inferiority. Rosalind Krauss and other Artforum personnel attacked Benglis' work in the following month's issue of Artforum describing the advertisement as \"exploitative\" and \"brutalizing\". Critic Cindy Nemser of The Feminist Art Journal dismissed the advertisement as well, claiming that the picture showed that Benglis had \"so little confidence in her art that she had to resort to kinky cheesecake to push herself over the top.\" Morris' advertisement, however, generated little commentary, providing evidence for Benglis' view that male artists were encouraged to promote themselves, whereas women were chastised for doing so.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- Wiki","bio_dates":"b. 1941"},{"slug":"benjamin_walter_flaneur","ok":true,"partial":false,"title":"The Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn","artist":"Keith Sanborn","year":"1936/1996","startOffset":0,"sourceSecs":2401.453,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":140478477,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benjamin_walter_flaneur/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benjamin_walter_flaneur/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benjamin_walter_flaneur.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benjamin_walter_flaneur/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benjamin_walter_flaneur/main/master.m3u8?v=2","hasMainHls":true,"description":"© 1936 Jayne Austen<br/> 1936/1996. 3:38. Color. Stereo sound.<br/> <br/> An attempt to problematize ownership and authorship in the age of digital reproduction. Inspired by the Walter Benjamin essay of the same name and the activities of the Situationists. If it could be authenticated that it were produced in 1936, this would make it the oldest known digital video work.","artist_bio":"Semi-private sub-Hegelian Panty Fantasy (with sound)\n(2001)\nThe Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn\n(1936/1996)\nKeith Sanborn is a media artist, theorist, curator and translator based in New York. Besides a number of one-person shows his work has been included in the Whitney Biennial, the Pompidou Monter/Sampler exhibition, and festivals such as OVNI, Video Vortex, Rotterdam, EMAF, and Oberhausen. His theoretical work has appeared in contexts ranging from Artforum to Kunst nach Ground Zero to catalogues for MoMA , Exit Art, and the San Francisco Cinematheque. He has translated the work of Debord, Viénet, Wolman, Bataille, Napoleon, Kuleshov and Gioli among others. He has also worked as an independent curator with the Oberhausen Short Film Festival, Exit Art, Artists Space, the Pacific Film Archive, and others.","bio_dates":"2007"},{"slug":"benner_guy_stealing_beauty_2007","ok":true,"partial":false,"title":"Stealing Beauty","artist":"Guy Ben-Ner","year":"2007","startOffset":0,"sourceSecs":1080.213,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":182511759,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benner_guy_stealing_beauty_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benner_guy_stealing_beauty_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benner_guy_stealing_beauty_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benner_guy_stealing_beauty_2007/main.mp4?v=2","description":"A boy comes home from school with a note indicating he was caught stealing money from his peer at school. <br/><br/> His family is put to the challenge to educate him about the meaning and border lines separating private property from its \"other\". <br/><br/> The movie starts as a TV \"family sit-com\", shot in IKEA \"show rooms\" in 3 different countries, without permission, and explores the ideas of private property, stealing and the family as a piggy bank (a social structure built in order to \"keep property from leaking out\"). <br/><br/> the sitcom family is played out by a real family. <br/><br/> The apartment looks like a Tv set. <br/><br/> Like a family photo album it inhabits the one contradiction: It is very private yet the same everywhere for everybody. <br/><br/> But if in the classical American sitcom the economy is separated from the show (the commercial brake) as the great repressed of that genre- here the price tags, in view everywhere,make the two spheres collapse into a single one. <br/><br/> since we do not ask for permission to shoot the movie there, we need to find a different store-branch every time we get caught, and asked to leave, or stop the shootings. <br/><br/>\"\"being caught\", than, disturbs the movie's smooth continuity, but engenders more and more kitchens or living-rooms, to take part in one scene, as a visual catalog of ideal living spaces. <br/><br/> In this way the director allows the IKEA staff and workers to interfere, even dictate, the editing of the movie. <br/><br/> since we do not ask for permission everything is shot in secrecy, like an act of theft. <br/><br/> Sound becomes an issue.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Guy Ben-Ner in UbuWeb Sound</a>","artist_bio":"Guy Ben-Ner was born in Israel in 1969 and currently lives in Tel Aviv. Since the early 90s, Ben-Ner has filmed a series of videos starring himself and his family, sometimes using the intimate spaces of their home as ad-hoc set or, conversely, in one well known work, using the display sets of Ikea as a setting for a domestic drama. More recent works move away from the use of his family, but often still focus on the ethical question of where to draw the line between art making and personal and professional relations. The videos wittily mix the home-made and a sophisticated range of literary and art historical references.","bio_dates":"b. 1969"},{"slug":"bennett_vicki_parade_2009","ok":true,"partial":false,"title":"Parade","artist":"People Like Us (Vicki Bennett)","year":"2009","startOffset":0,"sourceSecs":341.995,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":44117590,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bennett_vicki_parade_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bennett_vicki_parade_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bennett_vicki_parade_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bennett_vicki_parade_2009/main.mp4?v=2","description":"Duration 5'41\" minutes <br/><br/> A word from the artist... While viewing and sourcing content from the Great North Run film archive, it occurred to me that the huge crowds that come to spectate this event are as important as the participator. <br/><br/> I arranged film frame layers across the screen so that they strayed outwards in the direction of the natural panning of the original shots - much more in accordance with the natural gaze of the spectator, revealing a unique panoramic view of the content. The irregular angles and shifting perspectives bring to mind Cubist photomontage and Cubist/Vorticist painting/collage, with the added dimension of the moving image naturally taking this to another level. <br/><br/> Given that this is a celebration of human achievement, and as a nod of appreciation to the Cubist influence within this work, it seemed appropriate to use \"Parade\" by Erik Satie as the musical backdrop.\" <br/><br/> <a href=\"http://peoplelikeus.org/2009/parade/\" rel=\"noopener\" target=\"_blank\">More about the film</a><br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"benning_james_easy_rider","ok":true,"partial":false,"title":"Easy Rider","artist":"James Benning","year":"2012","startOffset":0,"sourceSecs":5746.777,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":329186501,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_easy_rider/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_easy_rider/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_easy_rider.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_easy_rider/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_easy_rider/main/master.m3u8?v=2","hasMainHls":true,"description":"James Benning’s Easy Rider is a re-creation of Dennis Hopper’s 1969 classic film by the same name. For his 2012 film, Benning drove across the United States and re-filmed scenes in their original locations, raising questions about the legacy of 1960s counterculture in America’s landscape today.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_james_faces_iphone","ok":true,"partial":false,"title":"Faces","artist":"James Benning","year":"2011","startOffset":0,"sourceSecs":7807.803,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":331226655,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_faces_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_faces_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_faces_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_faces_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_faces_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"James Benning’s “remake” of John Cassavetes’s Faces (1968) is an unexpected venture into the world of found footage filmmaking. As Benning explains, he’s reconstructed Cassavetes’s Faces in such a way that it’s comprised entirely of shots of single faces, each actor and actress is on screen as long as he or she is in the original and each scene is exactly as long as it is in the original. This reconstruction, he notes, remains steadfastly true to its title<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_james_landscape_suicide_1986_iphone","ok":true,"partial":false,"title":"Landscape Suicide (1987)<","artist":"James Benning","year":"1987","startOffset":0,"sourceSecs":5491.72,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":317511239,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_landscape_suicide_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_landscape_suicide_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_landscape_suicide_1986_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_landscape_suicide_1986_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_landscape_suicide_1986_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"In Landscape Suicide Benning continues his examination of Americana through the stories of two murderers. Ed Gein was a Wisconsin farmer and multiple murderer who taxidermied his victims in the 1950s. Bernadette Protti was a California teenager who stabbed a friend to death over an insult in 1984.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_james_one_way_boogie_woogie","ok":true,"partial":false,"title":"One Way Boogie Woogie/27 Years Later","artist":"James Benning","year":"2012","startOffset":0,"sourceSecs":5427.177,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":312842486,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_one_way_boogie_woogie/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_one_way_boogie_woogie/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_one_way_boogie_woogie.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_one_way_boogie_woogie/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_one_way_boogie_woogie/main/master.m3u8?v=2","hasMainHls":true,"description":"The mid-1970s saw James Benning's first feature films attract the attention of critics, establishing him as a representative of the »New Narrative Movement.« In films like 11╳14 and One Way Boogie Woogie, he combines the structural analysis of image, sound and narrative with auto-biographical traces, as well as with an almost »classical« interest in composition, color, light and landscape. This 2-disc set features 11╳14 (1977), one of the central U.S. avant-garde films of the 1970s, in a restored version. Also included is Benning's recurring view of his hometown Milwaukee at three different points in time: One Way Boogie Woogie (1978), 27 Years Later (2005) and One Way Boogie Woogie 2012. Documents of change and transience.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_james_ruhr_2009","ok":true,"partial":false,"title":"Ruhr","artist":"James Benning","year":"2009","startOffset":0,"sourceSecs":7291.84,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":413068273,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_ruhr_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_ruhr_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_ruhr_2009.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_ruhr_2009/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_ruhr_2009/main/master.m3u8?v=2","hasMainHls":true,"description":"James Benning is not quite Stravinsky, and his first high-definition video (and first film shot outside the US) is not exactly the Rite of Spring, but a trip to the heart of the Ruhr Valley for the premiere of Ruhr at the Duisberg Film Week carried a certain nervous anticipation. After years of shooting on 16mm and finally abandoning it for HD because of an endless series of processing and projection errors, Benning was about to enter further unexplored territory: digital projection. I wish I could say it went off without a hitch, but after a seamless technical check and a marathon of political pomp, the first digital image left the hard drive and gloriously filled the screen—accompanied by a sound meltdown. Thankfully, the auditory disruptions both on screen and off (the latter provided by an audience of vocally incensed Germans) died down for the film’s monumental second half. No damage was done; ultimately, this was more a statement about the present and a harbinger for the future.<br/><br/> Benning’s move from 16mm to digital is not as drastic as it might seem: he’s been editing and experimenting with sound digitally on Protools for a few years. What full HD shooting has afforded him is the possibility of playing with other forms of editorial shorthand, as announced with his Viennale trailer Fire and Rain, a Ruhr outtake that condenses one stage of the steel-making process into about 60 seconds, via invisible edits. One could say “cheats,” but such language would seem to invalidate most contemporary mechanical art from the photoshopped images of Jeff Wall to anything made by the American entertainment-industrial complex involving a digital intermediary. With digital filmmaking, we’re in a cinematic space where the “real” has no meaning; rather, Benning is using all the means at his disposal to create what we could call a reality-directed document. The most immediately noticeable result of Benning’s technological-methodological move is an undeniable change in the quality of the image, in terms of what and how we register what we’re looking at. The high-definition image is more painterly than 16mm, with sharp deep focus allowing for previously unimaginable detail, and Benning is indeed painting on a grand, at times even Romantic scale here, with deliberately composed images designed to engulf the viewer and a soundtrack (at times incorporating what sounds like an electronic drone) that attempts the same—which is why the cinema is still where his filmmaking belongs.<br/><br/> Even though Benning’s previous feature RR was not a nature film per se, the only legitimate criticism I’ve heard directed at it is that Benning left too little time in his shots before and after each train bisected the frame, denying the locations their essential stasis and depriving them of that temporal “breathing space” where they could be adequately registered by the viewer. Shooting Ruhr, Benning has taken this criticism to heart: in the first six shots, which range in length from six to 17 minutes, the places Benning has chosen to record are registered with almost encyclopaedic detail, from the clothes worn by Muslims at prayer (filmed from the rear) to the colours of the window shutters and houses on a typical working-class street. Benning’s primary strategy is to record actions that are repeated over the duration of each stable take, starting with the stream of cars passing through the tunnel seen in the centrefold of Cinema Scope #40. We see and hear both cause and effect: the sound of cars rumbling as they approach, and the small scattering of debris over the asphalt after they have driven into the distance; elsewhere, the slight rush of wind through the branches and leaves of trees preceding the arrival of an airplane over the Dusseldorf airport, and, then, a magnificent whoosh through the trees after it has passed. In Ruhr Benning shows that nothing is ever “at rest” but only in a state of in-betweenness, the digital camera capturing both the anticipation of imminent arrival and departure and the subtle sensuality of things simply being alive for their own sake.<br/><br/> This is a philosophical position, a way of experiencing the beauty of the world that leans towards an implication that the substance of the action doesn’t matter—what’s important is that we register the images simply as images (and, really, we need to be inside of a cinema, free of distraction, to give them the proper attention). But, being human, we are moved to search for meaning. If there is a thesis running through Ruhr, perhaps it should be related back to what Benning was after in the California Trilogy, which likewise examines social and labour relationships in another valley. In the case of a shot of graffiti being removed from a Richard Serra sculpture, Ruhr broadens out to question who decides what is art—the sculpture itself, or the graffiti being removed by soda blasting, with a declaration of love turned into a broken heart. (Here one especially felt the sound failures in Duisberg, though a proper auditory experience of this scene would leave many enervated viewers with splitting headaches.)<br/><br/> The tension between registering and interpreting all comes to a head in the last shot, which due both to its material and its hour-long duration is set apart from the rest of the film (the first six shots, lasting an hour in total, are labeled “1.”, the last shot “2.”). Relieved of the necessity of changing camera rolls, Benning goes all out with a mesmerizing shot of a coke-processing tower in Schwelgern, where every ten minutes water pours down onto the base and creates a billowing pillar of steam leaking through the steel-latticed structure and into the atmosphere; the tower looks like it’s on fire. As it repeats, surrounded by clouds it itself creates, the image takes on a psychedelic quality, with each billowing blossoming into differing colours, a function of both the material being processed as well as the changing quality of the light. By the end of this mind-numbing hour, too, came something that may have been an hallucination: as the shot grew darker faster than time allows—Benning condensed 90 minutes to 60, in effect speeding up the sunset—I swear I saw digital pixelation in the darkest points of the image. Whether or not this even exists—Benning claims it doesn’t—this breaking down of the image into smaller units had the impact of reinforcing the digital source, allowing the medium, if only for a moment, to take the reins.<br/><br/> The tower shot, perhaps inspired by Warhol’s Empire (1964)—imagine what Warhol would have done with digital—brings with it associations of another New York building engulfed in smoke and flame. Despite the sound of airplanes invading the space of the tower in the shot’s first minute (soon followed by sirens), Benning says he didn’t think of the World Trade Center until sometime during the editing process. Take or leave that statement as you will: when placed in context of a number of other shots in Ruhr—the airplanes over Dusseldorf, that complex, always changing shot of the mosque where the standing and sitting bodies of men at prayer at times block the camera completely—well, you do the math. But, as Benning said during one of Duisberg’s famous discussions that lasted well into the night, the images that we have come to associate with 9/11 are not the property of anyone; we need to reclaim them from those responsible. In other words, what you take the images to mean tells more about viewers than the film. Along with being one hell of a head trip, Benning’s first digital feature is his closest to theory. More than a series of specific images, Ruhr is best considered a film about image-making itself. -- BY MARK PERANSON<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_james_small_roads_iphone","ok":true,"partial":false,"title":"Small Roads","artist":"James Benning","year":"2011","startOffset":0,"sourceSecs":5167.346,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":295636288,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_small_roads_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_small_roads_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_small_roads_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_small_roads_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_small_roads_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Lengthy static shots of various backroads, smaller interstates, quieter roads, and lonely highways.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_james_ten_skies_2004_iphone","ok":true,"partial":false,"title":"Ten Skies","artist":"James Benning","year":"2004","startOffset":0,"sourceSecs":5865.08,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":338049055,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_ten_skies_2004_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_ten_skies_2004_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_ten_skies_2004_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_ten_skies_2004_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_ten_skies_2004_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This 16-millimeter experimental feature (2004) by James Benning consists of ten upward views from a stationary camera, each ten minutes long and filmed with sync sound from his backyard in southern California. I expected something minimalist, but in fact this is remarkably full—a mesmerizing study in time, light, movement, and moisture that traces the shifting relations between clouds and earth, nature and people. Benning is so attentive that he teaches us how to look and listen, and once we adjust our plot-driven expectations, things that might have seemed static at first are revealed as constantly changing. If you're expecting a test or an ordeal, you could be as surprised by this masterpiece, and as grateful for it, as I was. 101 min. -- Jonathan Rosenbaum<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_james_the_war_iphone","ok":true,"partial":false,"title":"The War","artist":"James Benning","year":"2012","startOffset":0,"sourceSecs":3347.784,"sourceHeight":284,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":137871106,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_the_war_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_the_war_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_the_war_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_the_war_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_the_war_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This short feature was initially scheduled at the festival before the Russian activist group Voina (“war”), whose footage makes up the bulk of the war's imagetrack, requested that Benning not show the work publicly. I was lucky enough to see it at a private screening in Vienna, where, in the context of Benning's other new work here, it also appears as a re-visitation, but of a different kind: neither precisely personal (as when he re-finds his old movies in his old city) nor contemplatively analytically cinephilic (as with Easy Rider, and 2011's Faces), but rather starting from a kind of private curiosity then shared with the public. It is a simple but powerful archival record of present history, configured in such a way as to challenge the audience's engagement with contemporary digital video in a highly politicized, and dangerous, context.<br/><br/> The first two-thirds of the 55 minute video is a selection of activist/art-activist videos produced by Voina: several acts against the police and the Russian state, both violent (turning over cop cars, setting fires) and prankish (staging a protest concert during a courtroom hearing, women activists kissing female police officers, painting a giant penis on a drawbridge facing the old KGB building), as well as more narrative or conceptual videos, including Pussy Riot's Orthodox church musical intervention / music video and the disturbing integration of children of group members into their protests and art.<br/><br/> With footage ranging from, I believe, 2006 to 2012, originally found on the Internet and much of it now no longer available (or at least easily watchable) online, these individual vignettes vary in image quality and legibility in terms of what is happening to who and why and what it could mean. They are presented by Benning in unmediated form except for his curatorial selection and ordering of them, and the accompaniment of an opening photograph with the audio of a news report about the group. Most importantly, they remain unlabeled, dated, or contextualized, and no dialog, signs or lyrics are translated. After the sequence of videos ends—with an image of the newborn girl of what can only be described as the leading couple of the videos, just as an image of the couple and the girl opened the movie—the war begins providing a linear series of title cards and subtitles, identifying each video piece, providing the translations that were missing during the videos, and some minor explanations and exposition, all over a black screen.<br/><br/> This simple structure asks the ignorant viewer—as the work marvelously targets a very specific audience: those not fluent in Russian and unfamiliar with these videos or their events—to imagine the world, the state, society, culture, and populace that these actualities and staged events are extracted from, comment upon, and attempt to intercede in. They are aggressive, passionate acts of action and creation, but exhibited in the vacuum of the video work, thus their qualities, their successes or failures, their truths, the world they exist in, what they do or intend to do, are all question marks for us to consider. The key information provided later over darkness requires something further: imagination and memory. This later section called to my mind both Hollis Frampton, whose structural works challenged the viewer to form and reform the viewing experience in his or her head, as much as it did the 2012 film by Nicolas Rey, anders, Molussia (also playing at the Viennale), whose act of translating into English a previously inaccessible political text, like Benning's act of translation, is a work of select and essential editorial publication, archiving and intervention: suddenly we have a record, brief, elliptical, explosively suggestive, of a very specific world, and of a fresh, vital turmoil.<br/><br/> Yet this record is not just the text but the intervention between the videos, stripped and presented, and their minimalist “explanation” and labeling—one without the other feels potent but hobbled, if not crippled. Formally separated, one can let each “track”—image and sound, then text—retain a stark, confrontational individuality and political charge. They also contain, of course, and ambivalently, the sense of having stumbled upon them online, as if the first part is a hyperlink trail of engrossing but confusing revelations of a new kind of video weapon wielded at and from within a country whose interior politics and society is generally a mystery. Similarly, the second part can feel like a dense text of works cited from an article whose actual content one doesn't have access to. Thus the war in a way mimics the way an audience member / user (and perhaps Benning himself) can discover traces of international political activism, and then, with considerable promise and optimism, proceed to research deeper into their meanings. It radiates an extremely strong, genuine sense of discovery; and I wonder how that will change and/or fade on repeated viewings.<br/><br/> The act of the mind and sensibility of the viewer in combinin<br/><br/>g these two parts into semi-coherent, separate pieces or a kind of muddled flow of mottled video footage and radical proclamation is certainly one meaning of the “war” of the title. In that meeting place, the place between the consumption of media and an impossible, complete comprehension of its meaning, expression and intent/extent, is the location for the battle to make sense of reality, of radical political activism, of the recording and presentation of that activism, of “evidence” and its context, of the power and limitations of both. Ultimately, it is the fight to retain records of this reality, work, and the intervention produced, in the archive that is cinema.-- Daniel Kasman<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_james_twenty_cigarettes_iphone","ok":true,"partial":false,"title":"Twenty Cigarettes","artist":"James Benning","year":"2011","startOffset":0,"sourceSecs":5897.474,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":336169800,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_twenty_cigarettes_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_twenty_cigarettes_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_twenty_cigarettes_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_twenty_cigarettes_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_twenty_cigarettes_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Celebrated for his minimal, monumental landscape studies, James Benning turns to the intimacy of the portrait in his latest film, TWENTY CIGARETTES. Referencing Warhol’s screen tests, 1930s Hollywood glamour, and the disappearing cigarette break, the film captures 20 of Benning’s friends (including filmmaker Sharon Lockhart, cultural theorist Dick Hebdige, and book editor Janet Jenkins) satiating their smoke cravings. Each shot’s length is determined by the time it takes each subject to smoke a cigarette, and over the course of the film a dynamic range of personalities emerges out of an array of physical characteristics, distinctive settings, and personal relationships to the camera. (Amy Beste and Jessica Bardsley)<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_james_two_cabins","ok":true,"partial":false,"title":"Two Faces","artist":"James Benning","year":"2010","startOffset":0,"sourceSecs":1845.592,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":111535350,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_two_cabins/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_two_cabins/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_two_cabins.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_two_cabins/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_two_cabins/main/master.m3u8?v=2","hasMainHls":true,"description":"Between July, 2007 and June, 2008, veteran independent film-maker,James Benning built replicas of two iconic American Cabins in a remote part of the High Sierras- Henry David Thoreau’s hut from Walden Pond and the one-room plywood shack in rural Montana from which Theodore John Kaczynski (the ‘Unabomber’) conducted his 16-year bombing campaign via the U.S. mail. The juxtaposition of these two simple structures invokes and implicates deeply conflicted and enduring foundational American myths concerning the scope and meaning of personal liberty, civic responsibility and the rule of law; individual conscience, democracy and civil disobedience; the transcendental value of nature, wilderness and the god-given right to exploit natural resources; American exceptionalism, environmental conservationism and faith in technological progress; the imperative to make oneself (anew), to ’succeed’ and, if necessary, to secede.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_james_youtube_iphone","ok":true,"partial":false,"title":"YouTube Trilogy: 4 Songs, History, Asian Girls","artist":"James Benning","year":"2011","startOffset":0,"sourceSecs":2024.525,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":121744682,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_youtube_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_james_youtube_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_james_youtube_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_youtube_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_james_youtube_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director James Benning turned his attention to phenomena of the digital world such as Web 2.0 in YouTube Trilogy, organising found material around three thematic clusters which apparently have little in common.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1942"},{"slug":"benning_sadie_a_place_called_lovely_1991","ok":true,"partial":false,"title":"A Place Called Lovely","artist":"Sadie Benning","year":"1990","startOffset":0,"sourceSecs":826.04,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":147588573,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_a_place_called_lovely_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_a_place_called_lovely_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_sadie_a_place_called_lovely_1991.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_sadie_a_place_called_lovely_1991/main.mp4?v=2","description":"\"\"Nicky is seven. His parents are older and meaner.\" A Place Called Lovely references the types of violence individuals find in life, from actual beatings, accidents and murders, to the more insidious violence of lies, social expectations, and betrayed faith. Benning collects images of this socially-pervasive violence from a variety of sources, tracing events from childhood: movies, tabloids, children's games (like mumbledy-peg), personal experiences, and those of others. Throughout, Benning uses small toys as props and examples--handling and controlling them the way we are, in turn, controlled by larger violent forces.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1973"},{"slug":"benning_sadie_girlpower_1992","ok":true,"partial":false,"title":"Girl Power","artist":"Sadie Benning","year":"1992","startOffset":0,"sourceSecs":833.04,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":139116833,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_girlpower_1992/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_girlpower_1992/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_sadie_girlpower_1992.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/benning_sadie_girlpower_1992/main.mp4?v=2","description":"Set to music by Bikini Kill (an all-girl band from Washington), Girl Power is a raucous vision of what it means to be a radical girl in the 1990s. Benning relates her personal rebellion against school, family, and female stereotypes as a story of personal freedom, telling how she used to model like Matt Dillon and skip school to have adventures alone. Informed by the underground \"riot grrrl\" movement, this tape transforms the image politics of female youth, rejecting traditional passivity and polite compliance in favor of radical independence and a self-determined sexual identity.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1973"},{"slug":"benning_sadie_if_every_girl_had_a_diary_1990","ok":true,"partial":false,"title":"If Every Girl Had a Diary","artist":"Sadie Benning","year":"1990","startOffset":0,"sourceSecs":540.04,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":99391344,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_if_every_girl_had_a_diary_1990/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_if_every_girl_had_a_diary_1990/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_sadie_if_every_girl_had_a_diary_1990.avi","hasFrames":true,"description":"Setting her pixelvision camera on herself and her room, Benning searches for a sense of identity and respect as a woman and a lesbian. Acting alternately as confessor and accuser, the camera captures Benning's anger and frustration at feeling trapped by social prejudices.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1973"},{"slug":"benning_sadie_it_wasnt_love_1992","ok":true,"partial":false,"title":"It Wasn't Love","artist":"Sadie Benning","year":"1992","startOffset":0,"sourceSecs":1159.04,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":204922648,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_it_wasnt_love_1992/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_it_wasnt_love_1992/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_sadie_it_wasnt_love_1992.avi","hasFrames":true,"description":"Benning illustrates a lustful encounter with a \"bad girl,\" through the gender posturing and genre interplay of Hollywood stereotypes: posing for the camera as the rebel, the platinum blonde, the gangster, the 50s crooner, and the heavy-lidded vamp. Cigarette poses, romantic slow dancing, and fast-action heavy metal street shots propel the viewer through the story of the love affair. Benning's video goes farther than romantic fantasy, describing other facets of physical attraction including fear, violence, lust, guilt and total excitement. As she puts it, \"It wasn't love, but it was something...\" It was a chance to feel glamorous, sexy and famous, all at the same time.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1973"},{"slug":"benning_sadie_jollies_1990","ok":true,"partial":false,"title":"Jollies","artist":"Sadie Benning","year":"1990","startOffset":0,"sourceSecs":687.04,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":125137752,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_jollies_1990/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_jollies_1990/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_sadie_jollies_1990.avi","hasFrames":true,"description":"Benning gives a chronology of her crushes and kisses, tracing the development of her nascent sexuality. Addressing the camera with an air of seduction and romance, giving the viewer a sense of her anxiety and special delight as she came to realize her lesbian identity.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1973"},{"slug":"benning_sadie_living_inside_1989","ok":true,"partial":false,"title":"Living Inside","artist":"Sadie Benning","year":"1989","startOffset":0,"sourceSecs":315.04,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":57731113,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_living_inside_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_living_inside_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_sadie_living_inside_1989.avi","hasFrames":true,"description":"When she was 16, Benning stopped going to high school for three weeks and stayed inside with her camera, her TV set, and a pile of dirty laundry. This tape mirrors her psyche during this time. With the image breaking up between edits, the rough quality of this early tape captures Benning's sense of isolation and sadness, her retreat from the world. As such, Living Inside is the confession of a chronic outsider.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1973"},{"slug":"benning_sadie_me_and_rubyfruit_1990","ok":true,"partial":false,"title":"Me & Rubyfruit","artist":"Sadie Benning","year":"1989","startOffset":0,"sourceSecs":337.04,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":61853359,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_me_and_rubyfruit_1990/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/benning_sadie_me_and_rubyfruit_1990/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/benning_sadie_me_and_rubyfruit_1990.avi","hasFrames":true,"description":"Based on a novel by Rita Mae Brown, Me and Rubyfruit chronicles the enchantment of teenage lesbian love against a backdrop of pornographic images and phone sex ads. Benning portrays the innocence of female romance and the taboo prospect of female marriage.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","bio_dates":"b. 1973"},{"slug":"berio_i_overture_iphone","ok":true,"partial":false,"title":"C'è musica e musica - Episode I - Overture","artist":"Luciano Berio","year":"1972","startOffset":0,"sourceSecs":2615.938,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":154761260,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berio_i_overture_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berio_i_overture_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/berio_i_overture_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/berio_i_overture_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/berio_i_overture_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Date: 1972<br/> Production: RAI, Italian National Television<br/> Written and hosted by: Luciano Berio<br/> Directed by: Gianfranco Mingozzi<br/> Language: Italian<br/> Special thanks to Giorgio Sancristoforo.<br/> <a href=\"https://ubu.com/film/berio_musica2.html\" rel=\"noopener\" target=\"_blank\">Part 2 is here</a><br/><br/><i>C'è musica e musica (There is music and music)</i>, was a documentary written and hosted by Luciano Berio in 1972 for the RAI Italian National Television. <br><br> The documentary was made by ten 40 minutes episodes, and tried to get the italian audience closer to the music world. <br/><br/> This extraordinary document includes interviews with the most important composers of the XX Century like: John Cage, Bruno Maderna, Karlheinz Stockhausen, Luigi Nono, Pierre Schaeffer, Christof Penderecki, Iannis Xenakis, Gyorgy Ligeti, Henry Pousseur, Morton Subotnick, Leonard Bernstein, Aaron Copland, Milton Babbitt, Michael Tippett, Cornelius Cardew, Olivier Messiaen, Pierre Boulez, Luigi Dallapiccola, Pietro Grossi,… and many more! <br/><br/> The first episode Overture deals with three questions: what is music? why music? and is there music and music? Composers and musicologists try to answer these philosophical questions, exposing their idea of music. <br/><br/> The second episode Due nell'orchestra (Two in the orchestra) start off with the question \"why music?\" but from a different point of view: the life of two students that meet at the Spoleto Festival, one coming from Firenze Conservatory and the other from the Julliard School of New York. Although Berio at that time was a teacher at the Julliard, he was not given permission to film inside the american school. <br/><br/> The theme slowly moves to a point where the question is \"why music if the city is burning?\". Can we make music while in Vietnam people is dying? And then, what do musicians want after the school?<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/berio.html\" rel=\"noopener\" target=\"_blank\">Luciano Berio in UbuWeb Sound</a></br></br></br>","artist_bio":"Luciano Berio, Cavaliere di Gran Croce OMRI (October 24, 1925 – May 27, 2003) was an Italian composer. He is noted for his experimental work (in particular his 1968 composition Sinfonia for voices and orchestra and his series of numbered solo pieces titled\nSequenza\n) and also for his pioneering work in electronic music.","bio_dates":"1925-2003"},{"slug":"berio_ii_due_iphone","ok":true,"partial":false,"title":"C'è musica e musica - Episode II - Due nell'orchestra","artist":"Luciano Berio","year":"1972","startOffset":0,"sourceSecs":2943.981,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":173930617,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berio_ii_due_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berio_ii_due_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/berio_ii_due_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/berio_ii_due_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/berio_ii_due_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Date: 1972<br/> Production: RAI, Italian National Television<br/> Written and hosted by: Luciano Berio<br/> Directed by: Gianfranco Mingozzi<br/> Language: Italian<br/> Special thanks to Giorgio Sancristoforo.<br/> <a href=\"https://ubu.com/film/berio_musica1.html\" rel=\"noopener\" target=\"_blank\">Part 1 is here</a> <br/><br/> <i>C'è musica e musica (There is music and music)</i>, was a documentary written and hosted by Luciano Berio in 1972 for the RAI Italian National Television. <br/><br/> The documentary was made by ten 40 minutes episodes, and tried to get the italian audience closer to the music world. <br/><br/> This extraordinary document includes interviews with the most important composers of the XX Century like: John Cage, Bruno Maderna, Karlheinz Stockhausen, Luigi Nono, Pierre Schaeffer, Christof Penderecki, Iannis Xenakis, Gyorgy Ligeti, Henry Pousseur, Morton Subotnick, Leonard Bernstein, Aaron Copland, Milton Babbitt, Michael Tippett, Cornelius Cardew, Olivier Messiaen, Pierre Boulez, Luigi Dallapiccola, Pietro Grossi,… and many more! <br/><br/> The first episode Overture deals with three questions: what is music? why music? and is there music and music? Composers and musicologists try to answer these philosophical questions, exposing their idea of music. <br/><br/> The second episode Due nell'orchestra (Two in the orchestra) start off with the question \"why music?\" but from a different point of view: the life of two students that meet at the Spoleto Festival, one coming from Firenze Conservatory and the other from the Julliard School of New York. Although Berio at that time was a teacher at the Julliard, he was not given permission to film inside the american school. <br/><br/> The theme slowly moves to a point where the question is \"why music if the city is burning?\". Can we make music while in Vietnam people is dying? And then, what do musicians want after the school?<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/berio.html\" rel=\"noopener\" target=\"_blank\">Luciano Berio in UbuWeb Sound</a></br>","artist_bio":"Luciano Berio, Cavaliere di Gran Croce OMRI (October 24, 1925 – May 27, 2003) was an Italian composer. He is noted for his experimental work (in particular his 1968 composition Sinfonia for voices and orchestra and his series of numbered solo pieces titled\nSequenza\n) and also for his pioneering work in electronic music.","bio_dates":"1925-2003"},{"slug":"berkeley_s_island_1999","ok":true,"partial":false,"title":"Berkeley's Island","artist":"Guy Ben-Ner","year":"1999","startOffset":0,"sourceSecs":912.2,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":149138813,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berkeley_s_island_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berkeley_s_island_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/berkeley_s_island_1999.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/berkeley_s_island_1999/main.mp4?v=2"},{"slug":"berman_wallace_aleph_1958_1976","ok":true,"partial":false,"title":"Aleph","artist":"Wallace Berman","year":"1958-1976","startOffset":0,"sourceSecs":462.997,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":78663074,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berman_wallace_aleph_1958_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berman_wallace_aleph_1958_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/berman_wallace_aleph_1958_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/berman_wallace_aleph_1958_1976/main.mp4?v=2","description":"\"Aleph is an artist's meditation on life, death, mysticism, politics, and pop culture. In an eight-minute loop of film, Wallace Berman uses Hebrew letters to frame a hypnotic, rapid-fire montage that captures the go-go energy of the 1960s. Aleph includes stills of collages created using a Verifax machine, Eastman Kodak's precursor to the photocopier. These collages depict a hand-held radio that seems to broadcast or receive popular and esoteric icons. Signs, symbols, and diverse mass-media images (e.g., Flash Gordon, John F. Kennedy, Mick Jagger) flow like a deck of tarot cards, infinitely shuffled in order that the viewer may construct his or her own set of personal interpretations. The transistor radio, the most ubiquitous portable form of mass communication in the 1960s, exemplifies the democratic potential of electronic culture and serves as a metaphor for Jewish mysticism. The Hebrew term kabbalah translates as \"reception\" for knowledge, enlightenment, and divinity. <br/><br/> According to the artist's son Tosh Berman, Wallace Berman treated Aleph \"...as a creative notebook, and like a true diary, it has no beginning and no end.\" The hand-painted 8mm film was shot over a ten-year period with some images photographed on 16mm. After Berman's death, the late experimental filmmaker Stan Brakhage preserved the damaged print and transferred the reel to 16mm. The Jewish Museum recently acquired this version of the film as a limited edition DVD. <br/><br/> Wallace Berman (1926-1976) is gaining wider recognition today for a visionary body of work that encompassed assemblage, photography, collage, drawing, sculpture, poetry, and mail art. [His Verifax collage Silent, 1967-69 is currently on view in the second floor exhibition Collective Perspectives: New Acquisitions Celebrate the Centennial.] Berman's engagement with kabbalah reflected the Beat Generation's wider exploration of esoteric spiritual practices such as Zen, palm reading, astrology...and psychedelic drugs. Born on Staten Island, Berman moved with his family to Los Angeles during the 1930's. In the Jewish neighborhood of Boyle Heights and the Fairfax district, the decorative shapes of Hebrew letters on storefront windows and in Yiddish-language newspapers fascinated Berman. According to historian Richard Candida Smith, \"Berman's interest in the Hebrew alphabet and its functions in Jewish mysticism was part of an effort to reclaim his ethnic identity.\"<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/historical/berman/index.html\" rel=\"noopener\" target=\"_blank\">Wallace Berman in UbuWeb Historical</a></br>","artist_bio":"Wallace Berman was born in Staten Island, New York and moved with his family to Los Angeles, California in 1930. He was expelled from high school for gambling, and became involved in the world of jazz. He enrolled in and attended the Jepson Art School and Chouinard but did not complete studies there. Instead of pursuing a formal art 'career' he worked in a factory finishing antique furniture. This work gave him the opportunity to salvage reject materials and scraps which he used to make sculptures. He began a mail art publication called SEMINA The format was a letterpress text printed on an assemblage of colored paper, photos, and essentially found material. Contributors included John Altoon, Antonin Artaud, Charles Brittin, Charles Bukowski, William S. Burroughs, Jean Cocteau, Allen Ginsberg, Marion Grogan, Walter Hopps, Larry Jordan, Philip Lamantia, Michael McClure, David Meltzer, Stuart Perkoff, and John Weiners.\nHe exhibited pieces in the Ferus Gallery in 1957, became part of the beat communities in Los Angeles and in San Francisco, and started the Semina Art Gallery in Larkspur, CA in 1960. He made his first and only film,\nAleph\n, from 1956-1966. Berman did not give the film a title, referring to it just as 'my film' or 'my movie' and never showed it to large audiences, preferring to screen it on his studio wall on a one-to-one basis. The title\nAleph\nwas given to the work by Berman's son, Tosh, after the artist's death.\nHe used verifax collages in his work, allowing for creation of serial and multiple images. From artist Ed Ruscha: \"There were a lot of artists then that were doing serial imagery in that way, including Llyn Foulkes and Andy Warhol himself, of course, who really popularized it. I had done some things like that. It came about at a time where it had completely reached its time. It was inevitable, It's like a genealogy. I think it was about Wally- and even Andy of course, who came out of the commercial world - seeing not paintings in museums but more popular imagery.\" This development in the art world seems directly related to the growth of mass production, consumption, and mass disposal that the US embraced in the 1950s.\nHe was killed after being struck by a drunk driver on the eve of his fiftieth birthday in Topanga Canyon in 1976.","bio_dates":"1926-1976"},{"slug":"bernadette_corporation_abc","ok":true,"partial":false,"title":"ABC [w/Sylvère Lotringer]","artist":"Bernadette Corporation","year":"2017","startOffset":0,"sourceSecs":2336.9,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":1021229680,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bernadette_corporation_abc/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bernadette_corporation_abc/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bernadette_corporation_abc.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bernadette_corporation_abc/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bernadette_corporation_abc/main/master.m3u8?v=2","hasMainHls":true,"description":"This video art from Bernadette Corporation's The Gay Signs exhibition in House of GAGA,LA. A conceptual dialog with French literary critic and cultural theorist Sylvère Lotringer (born 1938).<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Bernadette Corporation in UbuWeb Sound</a></br>","artist_bio":"Claire Fontaine, Bernadette Corporation & Reena Spaulings - Imperio (2007)\nSince 1994, the anonymous, non-hierarchical group of artists known as Bernadette Corporation has explored strategies of cultural resistance and détournement. Adopting a quasi-corporate identity, complete with logo, \"training\" videos, and a dispersed, multi-national membership, the mutable collective has appropriated contemporary entertainment modes for their own experimental purposes. From the New York-based BC fashion label, which garnered a cult following from 1995 to 1997, and the magazine Made In USA, launched in 1999, to the collectively-authored novel Reena Spaulings (Semiotexte, 2005) and a series of videos starring the likes of Sylvère Lotringer and Chloe Sevigny, Bernadette Corporation's interventionist projects amount to a precisely-calibrated critique of a global culture that constructs identity through consumption and branding.\nBernadette Corporation was formed in a Manhattan nightclub in 1994, and began organizing DIY social events that evolved into unauthorized art carnivals in SoHo parking lots. From 1995 to 1997, the group worked under the guise of an underground fashion label. In 1999 it self-published a magazine, Made in USA, and began producing videos. In 2005 Bernadette Corporation authored the collective novel Reena Spaulings, which was published by Semiotext(e). Bernadette Corporation has exhibited works at international venues including Gavin Brown's Enterprise, New York (2002); Yvon Lambert, Paris (2004); Whitechapel Gallery, London (2004); Hammer Museum, Los Angeles (2005); Stedelijk Museum, Amsterdam (2005); Der Kunstverein, Hamburg, Germany (2006), and Perros Negros, Mexico City (2007), among others. --\nEAI","bio_dates":"1954-2012"},{"slug":"bernadette_corporation_hell_frozen_over_2000","ok":true,"partial":false,"title":"Hell Frozen Over","artist":"Bernadette Corporation","year":"2000","startOffset":0,"sourceSecs":1181.995,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":205740610,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bernadette_corporation_hell_frozen_over_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bernadette_corporation_hell_frozen_over_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bernadette_corporation_hell_frozen_over_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bernadette_corporation_hell_frozen_over_2000/main.mp4?v=2","description":"2000, 19:22 min, color, sound <br/><br/> Bernadette Corporation describes this work as \"A fashion film about the poetry of Stéphane Mallarmé and the color white.\" Produced for the 2000 Walker Art Center exhibition Let's Entertain, this short film employs a range of strategies to approach the idea of nothingness, emptiness, and vacuity, with an eye to how these notions relate to contemporary mass-cultural entertainment. Juxtaposing \"documentary\" takes on a fashion shoot with footage of semiologist Sylvère Lotringer giving an impromptu lecture on Mallarmé on a frozen lake, Hell Frozen Over maintains an ambiguous stance from which to both critique and celebrate the power of surface. <br/><br/> With: Sylvere Lotringer, Bianca (New York Models), Arielle (Next). Voice-overs: Liz Bougatsos, Colin DeLand. Hair: Rick Radone. Make-up: Yuko Mizuno. Clothes: Vikor & Rolf, Andre Walker, Seth Shapiro. Music: Ben Williams, The Beatles, Kippenberger, Mozart, Cat Stevens, Schubert. Video Editing Equipment/Software: The Bohen Foundation. -- <a href=\"http://www.eai.org/title.htm?id=10178\" rel=\"noopener\" target=\"_blank\">EAI</a><br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Bernadette Corporation in UbuWeb Sound</a></br>","artist_bio":"Claire Fontaine, Bernadette Corporation & Reena Spaulings - Imperio (2007)\nSince 1994, the anonymous, non-hierarchical group of artists known as Bernadette Corporation has explored strategies of cultural resistance and détournement. Adopting a quasi-corporate identity, complete with logo, \"training\" videos, and a dispersed, multi-national membership, the mutable collective has appropriated contemporary entertainment modes for their own experimental purposes. From the New York-based BC fashion label, which garnered a cult following from 1995 to 1997, and the magazine Made In USA, launched in 1999, to the collectively-authored novel Reena Spaulings (Semiotexte, 2005) and a series of videos starring the likes of Sylvère Lotringer and Chloe Sevigny, Bernadette Corporation's interventionist projects amount to a precisely-calibrated critique of a global culture that constructs identity through consumption and branding.\nBernadette Corporation was formed in a Manhattan nightclub in 1994, and began organizing DIY social events that evolved into unauthorized art carnivals in SoHo parking lots. From 1995 to 1997, the group worked under the guise of an underground fashion label. In 1999 it self-published a magazine, Made in USA, and began producing videos. In 2005 Bernadette Corporation authored the collective novel Reena Spaulings, which was published by Semiotext(e). Bernadette Corporation has exhibited works at international venues including Gavin Brown's Enterprise, New York (2002); Yvon Lambert, Paris (2004); Whitechapel Gallery, London (2004); Hammer Museum, Los Angeles (2005); Stedelijk Museum, Amsterdam (2005); Der Kunstverein, Hamburg, Germany (2006), and Perros Negros, Mexico City (2007), among others. --\nEAI","bio_dates":"1954-2012"},{"slug":"bertoia_harry_harry_bertoias_sculpture_1965","ok":true,"partial":false,"title":"Harry Bertoia's Sculpture","artist":"Harry Bertoia","year":"1965","startOffset":0,"sourceSecs":1382.099,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":235468901,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bertoia_harry_harry_bertoias_sculpture_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bertoia_harry_harry_bertoias_sculpture_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bertoia_harry_harry_bertoias_sculpture_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bertoia_harry_harry_bertoias_sculpture_1965/main.mp4?v=2","description":"Dir. Clifford B. West <br/><br/> From a cinemagraphic and sound perspective, this is West's most progressive film, as abstract in filmmaking technique as the sculptures themselves. Opening with the camera slowly moving over what appears to be the surface of the moon, it suddenly falls back to reveal instead the texture of a sculpture. The film is one of constant motion, resulting from the vertiginous movements of West's camera, or the movement built into the sculptures themselves. The music, played by Bertoia, utilizing various objects alternately hammering or caressing his sculptures, is reminiscent of the work of Xenakis. From the perspective of West's career, the film marked the beginning of a new, bolder approach to camera movement, as seen in later films such as Bronze: River of Metal(1972), and The Art of Rolf Nesch: Material Pictures(1972).","artist_bio":"Harry Bertoia (March 10, 1915 in San Lorenzo, Pordenone, Italy – November 6, 1978 in Barto, Pennsylvania), was an Italian-born American artist, sound art sculptor, and modern furniture designer.\nAt the age of 15, given the choice to stay in drought ridden Italy or move to Detroit , Harry chose to adventure to America and live with his older brother, Oreste. After learning the language and the bus schedule, he enrolled in Cass Technical High School, where he studied art and design and learned the skill of handmade jewelry making. In 1936 he attended the Art School of the Detroit Society of Arts and Crafts, now known as the College for Creative Studies. The following year in 1937 he received a scholarship to study at the Cranbrook Academy of Art where he encountered Walter Gropius, Edmund N. Bacon and Ray and Charles Eames and Florence Knoll for the first time.","bio_dates":"1915-1978"},{"slug":"berwick_street_film_collective_36_to_77_1978","ok":true,"partial":false,"title":"'36 to '77","artist":"Berwick St Collective","year":"1978","startOffset":0,"sourceSecs":5870.059,"sourceHeight":480,"sourceWidth":556,"hasAudio":true,"hasAmbientMp4":true,"bytes":994892645,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berwick_street_film_collective_36_to_77_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berwick_street_film_collective_36_to_77_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/berwick_street_film_collective_36_to_77_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/berwick_street_film_collective_36_to_77_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/berwick_street_film_collective_36_to_77_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"In 1977 Marc Karlin, James Scott and Humphry Trevelyan started work on a sequel to Nightcleaners that was to focus on the impact of the Cleaners Campaign on one of the women who had been part of a successful strike in 1972.<br/><br/> Myrtle Wardally was by then out of work at home, looking after her children and babysitting for friends. Represented in a series of time lapse portraits and audio interviews, she reflects on her childhood in Grenada, the impact of the strike, the comradeship of the cleaners in struggle, the burdens of childbirth and childcare, and her isolation in a disinterested world.<br/><br/> '36 to '77 inverts conventional documentary narratives, integrating the struggle for memory with the struggle for representation itself; not only for Wardally, who sat for hours in front of the time lapse camera and the tape recorder, but for the filmmakers and the viewers as well, whose perception of film narrative itself is challenged and transformed during the slow progression of refilmed images and halting voices, as if in a dream.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/borges.html\" rel=\"noopener\" target=\"_blank\">Berwick St Collective in UbuWeb Sound</a>","artist_bio":"The Berwick Street Film collective was formed in 1970, and produced a series of feature documentaries until around 1980. The work of the collective was based on the film making, both individual and collaborative, of its small group of members – Richard Mordaunt, Marc Karlin, and Humphry Trevelyan. Broadly speaking, these films were seen as being part of the avant garde of British documentary film in the 1970s.\nInfluenced in part by film makers like Godard and Marker, their films dealt with some of the major political/cultural issues of the day, such as the conflict between groups of under-represented workers and working-class communities, and the political hierarchies in the trade unions and governments (Nightcleaners 1974): the internment of Republican activists in the north of Ireland by the British government, and the growth of a new Republican consciousness (Ireland Behind the Wire): and the experience of immigrant families in West London (36 to 77).\n‘Nightcleaners’ achieved considerable fame or notoriety, depending on the audience’s response to its radical contestation of the then-established orthodoxy of observational film in British television. It was one of the first British documentaries to make the examination of the means of filmic representation a central part of its purpose and structure. It remains as one of the landmark films of the period, and signalled the beginning of what is often called the reflexive tradition in documentary film in the UK.","bio_dates":"1970-1980"},{"slug":"berwick_street_film_collective_nightcleaners_1974","ok":true,"partial":false,"title":"Nightcleaners","artist":"Berwick St Collective","year":"1974","startOffset":0,"sourceSecs":5726.699,"sourceHeight":480,"sourceWidth":702,"hasAudio":true,"hasAmbientMp4":true,"bytes":963219690,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berwick_street_film_collective_nightcleaners_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/berwick_street_film_collective_nightcleaners_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/berwick_street_film_collective_nightcleaners_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/berwick_street_film_collective_nightcleaners_1974/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/berwick_street_film_collective_nightcleaners_1974/main/master.m3u8?v=2","hasMainHls":true,"description":"Nightcleaners Part 1 was a documentary made by members of the Berwick Street Collective (Marc Karlin , Mary Kelly, James Scott and Humphry Trevelyan ), about the campaign to unionize the women who cleaned office blocks at night and who were being victimized and underpaid. Intending at the outset to make a campaign film, the Collective was forced to turn to new forms in order to represent the forces at work between the cleaners, the Cleaner’s Action Group and the unions – and the complex nature of the campaign itself. The result was an intensely self-reflexive film, which implicated both the filmmakers and the audience in the processes of precarious, invisible labour . It is increasingly recognised as a key work of the 1970s and as an important precursor, in both subject matter and form, to current political art practice. <br/><br/> “A film that places the nightcleaners ‘ campaign within a series of broader political discussions formulated as an `open text’ which asks as many questions about its own status as a film as it does about the socio-political issues that are its subject. No engaged person should overlook its challenge” (Tony Rayns , Time Out). <br/><br/> “A landmark work of British political cinema and of collective and feminist film-making” – Annette Kuhn <br/><br/> Nightcleaners Part 1 was originally conceived as the first of an ongoing series; material subsequently shot for Part 2 eventually became ’36 to ’77 (1978), a documentary focused on Myrtle Wardally who was a leader of the Cleaners’ Action Group strike in Fulham.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/borges.html\" rel=\"noopener\" target=\"_blank\">Berwick St Collective in UbuWeb Sound</a>","artist_bio":"The Berwick Street Film collective was formed in 1970, and produced a series of feature documentaries until around 1980. The work of the collective was based on the film making, both individual and collaborative, of its small group of members – Richard Mordaunt, Marc Karlin, and Humphry Trevelyan. Broadly speaking, these films were seen as being part of the avant garde of British documentary film in the 1970s.\nInfluenced in part by film makers like Godard and Marker, their films dealt with some of the major political/cultural issues of the day, such as the conflict between groups of under-represented workers and working-class communities, and the political hierarchies in the trade unions and governments (Nightcleaners 1974): the internment of Republican activists in the north of Ireland by the British government, and the growth of a new Republican consciousness (Ireland Behind the Wire): and the experience of immigrant families in West London (36 to 77).\n‘Nightcleaners’ achieved considerable fame or notoriety, depending on the audience’s response to its radical contestation of the then-established orthodoxy of observational film in British television. It was one of the first British documentaries to make the examination of the means of filmic representation a central part of its purpose and structure. It remains as one of the landmark films of the period, and signalled the beginning of what is often called the reflexive tradition in documentary film in the UK.","bio_dates":"1970-1980"},{"slug":"bettina_corke_poet_philosopher_1970","ok":true,"partial":false,"title":"The Poet and the Philospher","artist":"Bettina Corke","year":"1973","startOffset":0,"sourceSecs":1173.888,"sourceHeight":478,"sourceWidth":630,"hasAudio":true,"hasAmbientMp4":true,"bytes":200928747,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bettina_corke_poet_philosopher_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bettina_corke_poet_philosopher_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bettina_corke_poet_philosopher_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bettina_corke_poet_philosopher_1970/main.mp4?v=2","description":"Bettina Corke's The Poet and The Philosopher is a documentary on modern sculpture in Iran and the foundation and opening of the bronze foundry at Tehran University of Fine Arts. The film was commissioned by the collector Abby Weed Grey, and features interviews with the sculptor Parviz Tanavoli, who was head of the department of sculpture at the time, as well as other members of faculty and students. The narrator follows the history of sculpting in Iran and its subsequent influences on the modern scene.<br><br><b>RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Bettina Corke started her career as an experimental film maker, often combining animation, live action and experimentation with sound and film. For example, one film (35mm) used the poetry of Wallace Stevens, GREEN & BLUE, NORTH AMERICA, WALLACE STEVENS. This film was screened at the Edinburgh Film Festival. It is the only film devoted to the work of Wallace Stevens... \"the major American poet since Whitman and Dickinson, and the only authentic rival to Yeats among 20th-century poets writing in English\" Harold Bloom, Professor of English, Yale University, USA.\nThe film constitutes a significant departure from the static approach and single dimension of traditional poetry films, for, \".the rapidly juxtaposed imasges jar us into awareness as they take on a rhythm of their own that....both counterpoints and complements the feeling and thoughts in the poems\" Robert Buttel, Chair, Department of English, Temple University USA. This imaginative use of film is a superb way to introduce and explore poetry in the classroom\" Elaine Lynn, Garden City High School, New York.\nFor the last ten years, she has moved more and more into producing documentaries of a political and social nature on development issues, women, peace, war and tyranny. She has made films for the United Nations as an independent producer, writer and director. Some of her more recent productions include: \"What's Global\" - a New Movement? taped at the\" First European Social Forum\" held in Firenze 2002 & at the Rome Manifestation for \" Peace and No to War,\" 2003. Presently, she is completing a short film on Rodin's \"The Burgers of Calais\" Her last production is \" Together They Lit Up The World - Gandhi & Nelson Mandela in South Africa.\" She is currently working on a documentary \"New Economics for Peace - Co-operatives for Change. She opened her film company Decade Media in 1983 in New York. In 1990 she founded CD Resources, an alternative publishing outlet producing full text \"libraries to go\" on CD Rom. In 1996, she returned to the UK and to Europe. In addition to Decade Media she is the co-ordinator and member of artsCOOP a co-operative operating out of Central Italy offering in addition to production and alternative media educational approaches, seminars and small conferences on experimental cinema and documentary TV production. She lives in L'Aquila, Central Italy and she is very happy to be classified as an European.","bio_dates":"1973"},{"slug":"beuys_2017","ok":true,"partial":false,"title":"Andres Veiel - Beuys","artist":"Joseph Beuys","year":"2017","startOffset":0,"sourceSecs":6430,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":1078220226,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_2017/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_2017/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_2017.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_2017/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_2017/main/master.m3u8?v=2","hasMainHls":true,"description":"Thirty years after his death, Joseph Beuys still feels like a visionary and is widely considered one of the most influential artists of his generation. Known for his contributions to the Fluxus movement and his work across diverse media -- from happening and performance to sculpture, installation, and graphic art -- Beuys' expanded concept of the role of the artist places him in the middle of socially relevant discourses on media, community, and capitalism. <br/><br/> Using previously untapped visual and audio sources, director Andres Veiel has created a one-of-a-kind chronicle: BEUYS is not a portrait in the traditional sense, but an intimate and in-depth look at a human being, his art and ideas, and the way they have impacted the world.","artist_bio":"Ich versuche Dich freizulassen (machen) (I Am Trying to Set [Make] You Free)\n(1969)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast\n(1977)\nJoseph Beuys remains one of the major, influential figures in postwar German and European Art. As an artist, teacher, curator and activist Beuys holds a central position in the acceptance and appreciation of performance and conceptual art. His theories on the social utility of art influenced a generation of artists.\nBeuys' work took the form of sculptural objects, drawings, installations, performance \"actions\" and lectures. In 1963 he began to make performances and concerts as part of Fluxus. In 1972 Beuys was dramatically dismissed from his post at the Kunstacademie in Dusseldorf for accepting students who had been officially refused admission. By the time of his first visit to the United States in 1974, Beuys had already been recognized internationally for the protests following his dismissal. Beuys used his first American tour to promote his plans for a new model of art institution, which found form later that year with the operation for one hundred days of the International Free University in Dusseldorf.\nThis unique collection of video material charts Beuys' developing relationship with an American audience, from the time of his long-awaited first tour of 1974 through to the 1980s.\nJoseph Beuys was born in 1921, in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf. He served as Professor there from 1961 until 1972. Beuys' numerous international one-person shows include a major retrospective at the Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Rene Block Gallery, New York. His work was featured in Documentas III-VII, Kassel, Germany, and at the 1976 and 1978 Venice Biennales. Major holdings of Beuys' work are in the collections of The Hessiches Landesmuseum, Darmstadt, Germany; the Städtisches Museum Abteiberg Mönchengladbach, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. --\nEAI","bio_dates":"1921-1986"},{"slug":"beuys_joseph_ausfegen_1972","ok":true,"partial":false,"title":"Ausfegen (Sweeping Up)","artist":"Joseph Beuys","year":"1972","startOffset":0,"sourceSecs":1982.383,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":341987733,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_ausfegen_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_ausfegen_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_joseph_ausfegen_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_ausfegen_1972/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_ausfegen_1972/main/master.m3u8?v=2","hasMainHls":true,"description":"On May 1, 1972, after the Labor Day demonstrations, artist Joseph Beuys was sweeping up the Karl-Marx-Platz in West Berlin together with two foreign students. This action took place at a time when Beuys had become politicized after the events of 1968 and had first founded the “Deutsche Studentenpartei (German Student Party)” in 1971, then the “Organisation für Direkte Demokratie durch Volksabstimmung (Organization for Direct Democracy Through Plebiscites).” In 1972, he was also expelled from the Kunstakademie Düsseldorf. Since then, Beuys was performing political and ecological actions and interventions, in addition to the more elaborate art performances.<br/><br/> The cleaning squad from May 1, 1972 only requires a small gesture to make plain what Beuys meant by his extended concept of art. He refers to social differences and to a problem of leftist politics: Those who had to clean up after the Labour Day celebrations and demonstrations were the “guest workers.” Yet, the unions had never done much for the foreign workers who were paid low wages. On the other hand, throughout the 1970s the political Left kept mentioning international solidarity between the lower classes. In this respect, the group of three also achieved some considerable social clearing work. It is no coincidence that the two students and Beuys swept up not only on May 1, but also at Karl-Marx-Platz. While Beuys subscribed to Marx’s analysis of the economic relations, he had a different conception of alienation. Beuys shared the view that every form of capital is a form of slavery, but he saw actions as a way out. Moreover, to him every person was a subject and not an object of history. Hence, picking up the broom is a step towards Beuys’s ideal of self determination.","artist_bio":"Ich versuche Dich freizulassen (machen) (I Am Trying to Set [Make] You Free)\n(1969)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast\n(1977)\nJoseph Beuys remains one of the major, influential figures in postwar German and European Art. As an artist, teacher, curator and activist Beuys holds a central position in the acceptance and appreciation of performance and conceptual art. His theories on the social utility of art influenced a generation of artists.\nBeuys' work took the form of sculptural objects, drawings, installations, performance \"actions\" and lectures. In 1963 he began to make performances and concerts as part of Fluxus. In 1972 Beuys was dramatically dismissed from his post at the Kunstacademie in Dusseldorf for accepting students who had been officially refused admission. By the time of his first visit to the United States in 1974, Beuys had already been recognized internationally for the protests following his dismissal. Beuys used his first American tour to promote his plans for a new model of art institution, which found form later that year with the operation for one hundred days of the International Free University in Dusseldorf.\nThis unique collection of video material charts Beuys' developing relationship with an American audience, from the time of his long-awaited first tour of 1974 through to the 1980s.\nJoseph Beuys was born in 1921, in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf. He served as Professor there from 1961 until 1972. Beuys' numerous international one-person shows include a major retrospective at the Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Rene Block Gallery, New York. His work was featured in Documentas III-VII, Kassel, Germany, and at the 1976 and 1978 Venice Biennales. Major holdings of Beuys' work are in the collections of The Hessiches Landesmuseum, Darmstadt, Germany; the Städtisches Museum Abteiberg Mönchengladbach, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. --\nEAI","bio_dates":"1921-1986"},{"slug":"beuys_joseph_celtic_1970","ok":true,"partial":false,"title":"Celtic","artist":"Joseph Beuys","year":"1970","startOffset":0,"sourceSecs":615.448,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":109166710,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_celtic_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_celtic_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_joseph_celtic_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_celtic_1970/main.mp4?v=2","description":"10 minute documentation excerpt <br/><br/> In 1970, a version was brought to Edinburgh as part of Beuys's presence for the action Celtic (Kinloch Rannoch) <a href=\"https://ubu.com/sound/beuys.html\" rel=\"noopener\" target=\"_blank\">Scottish Symphony</a>. Beuys's performance was described by Alastair MacKintosh as taking place in a large studio in the Edinburgh College of Art. Five tape recorders under the operation of Beuys's collaborator <a href=\"https://ubu.com/sound/christiansen.html\" rel=\"noopener\" target=\"_blank\">Henning Christiansen</a> were running. Beuys's action was to sit, but with a \"sense of concentration, of possessing himself...[he] scribbles on a board and pushes it around the floor with a stick in a forty minute circuit of Christiansen.\" (MacKintosh, Alastair, \"Beuys in Edinburgh,\" Art and Artists, Vol. 5, No. 8, November 1970, p. 10) Films by Beuys, or rather from his studio, are shown, including one of Beuys traipsing around Rannoch Moor. He spends an hour and a half peeling bits of gelatin off the walls, putting them onto a tray and, with a convulsive movement, emptying it. Finally, he stands still for forty minutes. MacKintosh, though astounded at what is going on, admits he and the audience were impressed.","artist_bio":"Ich versuche Dich freizulassen (machen) (I Am Trying to Set [Make] You Free)\n(1969)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast\n(1977)\nJoseph Beuys remains one of the major, influential figures in postwar German and European Art. As an artist, teacher, curator and activist Beuys holds a central position in the acceptance and appreciation of performance and conceptual art. His theories on the social utility of art influenced a generation of artists.\nBeuys' work took the form of sculptural objects, drawings, installations, performance \"actions\" and lectures. In 1963 he began to make performances and concerts as part of Fluxus. In 1972 Beuys was dramatically dismissed from his post at the Kunstacademie in Dusseldorf for accepting students who had been officially refused admission. By the time of his first visit to the United States in 1974, Beuys had already been recognized internationally for the protests following his dismissal. Beuys used his first American tour to promote his plans for a new model of art institution, which found form later that year with the operation for one hundred days of the International Free University in Dusseldorf.\nThis unique collection of video material charts Beuys' developing relationship with an American audience, from the time of his long-awaited first tour of 1974 through to the 1980s.\nJoseph Beuys was born in 1921, in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf. He served as Professor there from 1961 until 1972. Beuys' numerous international one-person shows include a major retrospective at the Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Rene Block Gallery, New York. His work was featured in Documentas III-VII, Kassel, Germany, and at the 1976 and 1978 Venice Biennales. Major holdings of Beuys' work are in the collections of The Hessiches Landesmuseum, Darmstadt, Germany; the Städtisches Museum Abteiberg Mönchengladbach, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. --\nEAI","bio_dates":"1921-1986"},{"slug":"beuys_joseph_coyote","ok":true,"partial":false,"title":"Filz TV","artist":"Joseph Beuys","year":"1970","startOffset":0,"sourceSecs":1684.381,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":100454457,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_coyote/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_coyote/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_joseph_coyote.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_coyote/main.mp4?v=2","description":"\"\"\"As a contribution to Gerry Schum's 'Identifications', Beuys adapted for television the 'Felt TV' action previously staged for a live audience at a Happening festival in Copenhagen in 1966. It was the only Beuys action executed specifically for the camera. It opens with Beuys seated in front of a TV set showing a programme which is invisible because the screen is covered by felt. The boxing-gloves used later in the action lie at the ready beneath his chair.\"","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"1921-1986"},{"slug":"beuys_joseph_filz_tv_1970","ok":true,"partial":false,"title":"Filz TV","artist":"Joseph Beuys","year":"1970","startOffset":0,"sourceSecs":608.277,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":111049233,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_filz_tv_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_filz_tv_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_joseph_filz_tv_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_filz_tv_1970/main.mp4?v=2","description":"\"\"\"As a contribution to Gerry Schum's 'Identifications', Beuys adapted for television the 'Felt TV' action previously staged for a live audience at a Happening festival in Copenhagen in 1966. It was the only Beuys action executed specifically for the camera. It opens with Beuys seated in front of a TV set showing a programme which is invisible because the screen is covered by felt. The boxing-gloves used later in the action lie at the ready beneath his chair.\"","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"1921-1986"},{"slug":"beuys_joseph_ich_versuche_dich_freizulassen_machen_1969","ok":true,"partial":false,"title":"Ich versuche Dich freizulassen (machen)","artist":"Joseph Beuys","year":"1969","startOffset":0,"sourceSecs":516.417,"sourceHeight":480,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":93335658,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_ich_versuche_dich_freizulassen_machen_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_ich_versuche_dich_freizulassen_machen_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_joseph_ich_versuche_dich_freizulassen_machen_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_ich_versuche_dich_freizulassen_machen_1969/main.mp4?v=2","description":"Haupttitel Ich versuche dich freizulassen-machen <br/> Produktionsland BRD <br/> Produktionsjahr 1969 <br/> Laufzeit (min) 10 <br/> Aufnahmetechnik 16 mm, schwarzweiß, Ton <br/> Sprache ohne <br/> Genre Performance/Aktion <br/> Inhalt Fragmentarische Aufzeichnung einer Fluxus-Aktion am 27.2.1969 in der Akademie der Künste, Berlin, die von Zuschauern gestört wurde. Wichtigstes Requisit war ein Flügel und ein Notenständer, den Beuys mit Sauerkraut behängte. Künstler(in) im Bild. Werkreproduktionen. <br/> Namen Beuys, Joseph <br/> Christiansen, Henning <br/> Stichworte Performance/Aktion <br/> Zeitraum von 1922 bis 1986 <br/> Verantwortliche / Mitwirkende<br/> Produktion Galerie René Block, Berlin <br/> Kamera Brehmer, KP <br/> Hödicke, Karl Horst","artist_bio":"Ich versuche Dich freizulassen (machen) (I Am Trying to Set [Make] You Free)\n(1969)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast\n(1977)\nJoseph Beuys remains one of the major, influential figures in postwar German and European Art. As an artist, teacher, curator and activist Beuys holds a central position in the acceptance and appreciation of performance and conceptual art. His theories on the social utility of art influenced a generation of artists.\nBeuys' work took the form of sculptural objects, drawings, installations, performance \"actions\" and lectures. In 1963 he began to make performances and concerts as part of Fluxus. In 1972 Beuys was dramatically dismissed from his post at the Kunstacademie in Dusseldorf for accepting students who had been officially refused admission. By the time of his first visit to the United States in 1974, Beuys had already been recognized internationally for the protests following his dismissal. Beuys used his first American tour to promote his plans for a new model of art institution, which found form later that year with the operation for one hundred days of the International Free University in Dusseldorf.\nThis unique collection of video material charts Beuys' developing relationship with an American audience, from the time of his long-awaited first tour of 1974 through to the 1980s.\nJoseph Beuys was born in 1921, in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf. He served as Professor there from 1961 until 1972. Beuys' numerous international one-person shows include a major retrospective at the Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Rene Block Gallery, New York. His work was featured in Documentas III-VII, Kassel, Germany, and at the 1976 and 1978 Venice Biennales. Major holdings of Beuys' work are in the collections of The Hessiches Landesmuseum, Darmstadt, Germany; the Städtisches Museum Abteiberg Mönchengladbach, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. --\nEAI","bio_dates":"1921-1986"},{"slug":"beuys_joseph_interview_1980","ok":true,"partial":false,"title":"Interview","artist":"Joseph Beuys","year":"1980","startOffset":0,"sourceSecs":2635.347,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":158151533,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_interview_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_interview_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_joseph_interview_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_interview_1980/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_interview_1980/main/master.m3u8?v=2","hasMainHls":true,"description":"Über den erweiterten Kunstbegriff, Biografisches, den Willen im Denken, seine tiefe seelische Krise, den gewandelten Kapitalbegriff & die Kandidatur bei den Grünen (\"Lebensläufe\", 1980, 45 Min.)","artist_bio":"Ich versuche Dich freizulassen (machen) (I Am Trying to Set [Make] You Free)\n(1969)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast\n(1977)\nJoseph Beuys remains one of the major, influential figures in postwar German and European Art. As an artist, teacher, curator and activist Beuys holds a central position in the acceptance and appreciation of performance and conceptual art. His theories on the social utility of art influenced a generation of artists.\nBeuys' work took the form of sculptural objects, drawings, installations, performance \"actions\" and lectures. In 1963 he began to make performances and concerts as part of Fluxus. In 1972 Beuys was dramatically dismissed from his post at the Kunstacademie in Dusseldorf for accepting students who had been officially refused admission. By the time of his first visit to the United States in 1974, Beuys had already been recognized internationally for the protests following his dismissal. Beuys used his first American tour to promote his plans for a new model of art institution, which found form later that year with the operation for one hundred days of the International Free University in Dusseldorf.\nThis unique collection of video material charts Beuys' developing relationship with an American audience, from the time of his long-awaited first tour of 1974 through to the 1980s.\nJoseph Beuys was born in 1921, in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf. He served as Professor there from 1961 until 1972. Beuys' numerous international one-person shows include a major retrospective at the Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Rene Block Gallery, New York. His work was featured in Documentas III-VII, Kassel, Germany, and at the 1976 and 1978 Venice Biennales. Major holdings of Beuys' work are in the collections of The Hessiches Landesmuseum, Darmstadt, Germany; the Städtisches Museum Abteiberg Mönchengladbach, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. --\nEAI","bio_dates":"1921-1986"},{"slug":"beuys_joseph_sonne_statt_reagan","ok":true,"partial":false,"title":"Sonne Statt Reagan","artist":"Joseph Beuys","year":"1982","startOffset":0,"sourceSecs":161.703,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":11170877,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_sonne_statt_reagan/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_sonne_statt_reagan/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_joseph_sonne_statt_reagan.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_sonne_statt_reagan/main.mp4?v=2","description":"Beuys tried his luck as a pop singer as part of his political commitment. His song 'Sonne statt Reagan' attacks Ronald Reagan's arms policy. The song was issued as a record and Beuys appeared before big audiences with it during the peace movement's demonstrations and also with the group Die Desserteure in the ARD television broadcast 'Bananas' on 3.7.1982. <br/><br/> 'Regen'', pronounced like 'Reagan', is the German for 'rain'.","artist_bio":"Ich versuche Dich freizulassen (machen) (I Am Trying to Set [Make] You Free)\n(1969)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast\n(1977)\nJoseph Beuys remains one of the major, influential figures in postwar German and European Art. As an artist, teacher, curator and activist Beuys holds a central position in the acceptance and appreciation of performance and conceptual art. His theories on the social utility of art influenced a generation of artists.\nBeuys' work took the form of sculptural objects, drawings, installations, performance \"actions\" and lectures. In 1963 he began to make performances and concerts as part of Fluxus. In 1972 Beuys was dramatically dismissed from his post at the Kunstacademie in Dusseldorf for accepting students who had been officially refused admission. By the time of his first visit to the United States in 1974, Beuys had already been recognized internationally for the protests following his dismissal. Beuys used his first American tour to promote his plans for a new model of art institution, which found form later that year with the operation for one hundred days of the International Free University in Dusseldorf.\nThis unique collection of video material charts Beuys' developing relationship with an American audience, from the time of his long-awaited first tour of 1974 through to the 1980s.\nJoseph Beuys was born in 1921, in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf. He served as Professor there from 1961 until 1972. Beuys' numerous international one-person shows include a major retrospective at the Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Rene Block Gallery, New York. His work was featured in Documentas III-VII, Kassel, Germany, and at the 1976 and 1978 Venice Biennales. Major holdings of Beuys' work are in the collections of The Hessiches Landesmuseum, Darmstadt, Germany; the Städtisches Museum Abteiberg Mönchengladbach, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. --\nEAI","bio_dates":"1921-1986"},{"slug":"beuys_joseph_stahltisch_handaktion_eckenaktion_1968","ok":true,"partial":false,"title":"Stahltisch / Handaktion/Eckenaktion","artist":"Joseph Beuys","year":"1968","startOffset":0,"sourceSecs":1006.407,"sourceHeight":480,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":168532263,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_stahltisch_handaktion_eckenaktion_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_stahltisch_handaktion_eckenaktion_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_joseph_stahltisch_handaktion_eckenaktion_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_stahltisch_handaktion_eckenaktion_1968/main.mp4?v=2","description":"This film records a public action held at the Creamcheese in Düsseldorf, Germany on December 6, 1968. With the assistance of three students, Beuys and Anatol Herzfeld performed Herzfeld's Drama 'Stahltisch' and Beuys's Handaktion/Eckenaktion. In Beuys's 'hand-action' performance, he intuitively translates thought into physical action, reflecting his belief that the hands and arms are direct links to the mind and soul.","artist_bio":"Ich versuche Dich freizulassen (machen) (I Am Trying to Set [Make] You Free)\n(1969)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast\n(1977)\nJoseph Beuys remains one of the major, influential figures in postwar German and European Art. As an artist, teacher, curator and activist Beuys holds a central position in the acceptance and appreciation of performance and conceptual art. His theories on the social utility of art influenced a generation of artists.\nBeuys' work took the form of sculptural objects, drawings, installations, performance \"actions\" and lectures. In 1963 he began to make performances and concerts as part of Fluxus. In 1972 Beuys was dramatically dismissed from his post at the Kunstacademie in Dusseldorf for accepting students who had been officially refused admission. By the time of his first visit to the United States in 1974, Beuys had already been recognized internationally for the protests following his dismissal. Beuys used his first American tour to promote his plans for a new model of art institution, which found form later that year with the operation for one hundred days of the International Free University in Dusseldorf.\nThis unique collection of video material charts Beuys' developing relationship with an American audience, from the time of his long-awaited first tour of 1974 through to the 1980s.\nJoseph Beuys was born in 1921, in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf. He served as Professor there from 1961 until 1972. Beuys' numerous international one-person shows include a major retrospective at the Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Rene Block Gallery, New York. His work was featured in Documentas III-VII, Kassel, Germany, and at the 1976 and 1978 Venice Biennales. Major holdings of Beuys' work are in the collections of The Hessiches Landesmuseum, Darmstadt, Germany; the Städtisches Museum Abteiberg Mönchengladbach, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. --\nEAI","bio_dates":"1921-1986"},{"slug":"beuys_joseph_transformer_1979_iphone","ok":true,"partial":false,"title":"Transformer","artist":"Joseph Beuys","year":"1979","startOffset":0,"sourceSecs":3515.821,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":205707779,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_transformer_1979_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_transformer_1979_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_joseph_transformer_1979_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_transformer_1979_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_transformer_1979_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This 60-minute documentary features avant-garde German artist Joseph Beuys and his unique sculpture art during a 1979 exhibit at the Guggenheim Museum in New York City. The tape features Beuys' work, interviews with him, and footage of him speaking before the patrons at his Guggenheim showing. The main feature of the video is Beuys telling a little of his own history -- how his life changed when the Russians shot down his German airplane during World War II, as well as his opinions on art, mankind, the state of the world, and some of his artistic inspirations. This documentary captures the world of an artist at the pinnacle of his fame.","artist_bio":"Ich versuche Dich freizulassen (machen) (I Am Trying to Set [Make] You Free)\n(1969)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast\n(1977)\nJoseph Beuys remains one of the major, influential figures in postwar German and European Art. As an artist, teacher, curator and activist Beuys holds a central position in the acceptance and appreciation of performance and conceptual art. His theories on the social utility of art influenced a generation of artists.\nBeuys' work took the form of sculptural objects, drawings, installations, performance \"actions\" and lectures. In 1963 he began to make performances and concerts as part of Fluxus. In 1972 Beuys was dramatically dismissed from his post at the Kunstacademie in Dusseldorf for accepting students who had been officially refused admission. By the time of his first visit to the United States in 1974, Beuys had already been recognized internationally for the protests following his dismissal. Beuys used his first American tour to promote his plans for a new model of art institution, which found form later that year with the operation for one hundred days of the International Free University in Dusseldorf.\nThis unique collection of video material charts Beuys' developing relationship with an American audience, from the time of his long-awaited first tour of 1974 through to the 1980s.\nJoseph Beuys was born in 1921, in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf. He served as Professor there from 1961 until 1972. Beuys' numerous international one-person shows include a major retrospective at the Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Rene Block Gallery, New York. His work was featured in Documentas III-VII, Kassel, Germany, and at the 1976 and 1978 Venice Biennales. Major holdings of Beuys' work are in the collections of The Hessiches Landesmuseum, Darmstadt, Germany; the Städtisches Museum Abteiberg Mönchengladbach, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. --\nEAI","bio_dates":"1921-1986"},{"slug":"beuys_joseph_willoughby_sharp_videoviews_joseph_beuys_1972","ok":true,"partial":false,"title":"Willoughby Sharp Videoviews Joseph Beuys","artist":"Joseph Beuys","year":"1973","startOffset":0,"sourceSecs":1648.272,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":284419877,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_willoughby_sharp_videoviews_joseph_beuys_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/beuys_joseph_willoughby_sharp_videoviews_joseph_beuys_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/beuys_joseph_willoughby_sharp_videoviews_joseph_beuys_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beuys_joseph_willoughby_sharp_videoviews_joseph_beuys_1972/main.mp4?v=2","description":"1973, 27:45 min, b&w, sound <br/><br/> A videotaped interview (\"videoview\") of Beuys by Willoughby Sharp develops into a compelling conversation, as Beuys discusses life, art and work. -- <a href=\"http://eai.org/title.htm?id=2643\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Ich versuche Dich freizulassen (machen) (I Am Trying to Set [Make] You Free)\n(1969)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast\n(1977)\nJoseph Beuys remains one of the major, influential figures in postwar German and European Art. As an artist, teacher, curator and activist Beuys holds a central position in the acceptance and appreciation of performance and conceptual art. His theories on the social utility of art influenced a generation of artists.\nBeuys' work took the form of sculptural objects, drawings, installations, performance \"actions\" and lectures. In 1963 he began to make performances and concerts as part of Fluxus. In 1972 Beuys was dramatically dismissed from his post at the Kunstacademie in Dusseldorf for accepting students who had been officially refused admission. By the time of his first visit to the United States in 1974, Beuys had already been recognized internationally for the protests following his dismissal. Beuys used his first American tour to promote his plans for a new model of art institution, which found form later that year with the operation for one hundred days of the International Free University in Dusseldorf.\nThis unique collection of video material charts Beuys' developing relationship with an American audience, from the time of his long-awaited first tour of 1974 through to the 1980s.\nJoseph Beuys was born in 1921, in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf. He served as Professor there from 1961 until 1972. Beuys' numerous international one-person shows include a major retrospective at the Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Rene Block Gallery, New York. His work was featured in Documentas III-VII, Kassel, Germany, and at the 1976 and 1978 Venice Biennales. Major holdings of Beuys' work are in the collections of The Hessiches Landesmuseum, Darmstadt, Germany; the Städtisches Museum Abteiberg Mönchengladbach, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. --\nEAI","bio_dates":"1921-1986"},{"slug":"bhqf_argumenta_promo","ok":true,"partial":false,"title":"Promo","artist":"Bruce High Quality Foundation","year":"2011","startOffset":0,"sourceSecs":90.535,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":6156983,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bhqf_argumenta_promo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bhqf_argumenta_promo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bhqf_argumenta_promo.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bhqf_argumenta_promo/main.mp4?v=2","description":"Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice."},{"slug":"bill_max_das_absolute_augenmass","ok":true,"partial":false,"title":"Das absolute Augenmass (2008, documentary), dir. Max Bill: Das absolute Augenmass","artist":"Max Bill","year":"2008","startOffset":0,"sourceSecs":5625.8,"sourceHeight":320,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":324760307,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bill_max_das_absolute_augenmass/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bill_max_das_absolute_augenmass/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bill_max_das_absolute_augenmass.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bill_max_das_absolute_augenmass/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bill_max_das_absolute_augenmass/main/master.m3u8?v=2","hasMainHls":true,"description":"This is a great film about Max Bill, the artist, architect, painter, sculptor--what didn't he do? Unfortunately, I have the film without subtitles and hoping someone here has the film and can extract them. I grabbed this on the net some time ago and came here hoping it was uploaded with subtitles so I could nab them. When I saw the film wasn't here, I thought I'd get it up because everyone should have a little Max Bill in their life. <br/><br/> The film about Max Bill (1908-1994) moves between the dynamic fields of art, aesthetics and politics. Max Bill was probably the most important swiss artist of the 20th century and the most famous student to come out of the legendary Bauhaus in Dessau. He was an ardent anti-fascist and all his avant-garde work as an artist, sculptor, architect and typographer showed a social responsibility and environmental awareness right through his life. His views have become incredibly topical.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Max Bill on UbuWeb Sound</a>","artist_bio":"Max Bill: Das absolute Augenmass (2008, documentary), dir. Max Bill: Das absolute Augenmass (2008)\nMax Bill, (born December 22, 1908, Winterthur, Switzerland—died December 9, 1994, Berlin, Germany), Swiss graphic artist, industrial designer, architect, sculptor, and painter, primarily important for his sophisticated, disciplined advertising designs.\nBill’s early ambition was to become a silversmith, but the work of the architect Le Corbusier influenced him to study architecture at the Bauhaus, Germany’s foremost school of design. While there (1927–29), he also studied metalwork, stage design, and painting. In 1930 he set up his own studio in Zürich and concentrated on sculpture, painting, and architecture while earning his living by designing advertisements. In 1937 he formed the Allianz group of Swiss abstract artists. After 1944 he became increasingly active in industrial design, creating products as diverse as chairs and wall sprockets with the same elegance of line and form that characterized his marble sculpture Construction from a Circle (1942). His use of austere geometric forms echoed his Bauhaus training.\nFrom symbolism to sculpture, this quiz will put you in touch with your artistic side.\nBill cofounded and was rector (1951–56) of the Ulm School of Design, Germany. He designed the school’s buildings, planned its curriculum, and was director of the department of architecture and product design there. He then served as a professor of environmental design at the State Institute of Fine Arts, Hamburg (1967–74). In 1987 he received the Frank J. Malina Leonardo Award for lifetime achievement, presented by Leonardo/The International Society for the Arts, Sciences and Technology to artists who have “achieved a synthesis of contemporary art, science and technology,” and in 1993 he received the Japan Art Association’s Praemium Imperiale prize for sculpture.","bio_dates":"1908-1994"},{"slug":"biswas_moinak_shobder_jwalanto_path_aka_across_the_burning_track_2016","ok":true,"partial":false,"title":"Jwalanto Shobder Path AKA Across the Burning Track","artist":"Moinak Biswas","year":"2016","startOffset":0,"sourceSecs":1492.207,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":496215224,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/biswas_moinak_shobder_jwalanto_path_aka_across_the_burning_track_2016/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/biswas_moinak_shobder_jwalanto_path_aka_across_the_burning_track_2016/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/biswas_moinak_shobder_jwalanto_path_aka_across_the_burning_track_2016.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/biswas_moinak_shobder_jwalanto_path_aka_across_the_burning_track_2016/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/biswas_moinak_shobder_jwalanto_path_aka_across_the_burning_track_2016/main/master.m3u8?v=2","hasMainHls":true,"description":"The video, originally involving two screens and four channels of sound, works through Ritwik Ghatak's autobiographical last film Jukti, Takko ar Gappo ('Arguments and Stories', 1974). It was created for the 11th Shanghai Biennale, 2016. In one stream, we present a reconstruction of the film, which tells the story of an intellectual (Nilakantha/Ghatak) caught in the turmoil of the 1970s, marked by the Bangladesh Liberation War and the Naxalbari movement. Nilakantha is a wandering figure killed by a stray bullet at the end of the film. The other stream involves the writer Manik Bandyopadhyay, and the playwright Bijan Bhattacharya who acts in the film. Manik and Bijan were representative figures of the radical culture of the 1940s. Two moments of great misery and creativity, 1940s and 1970s, syncopate each other. We present moving and still images, texts and voices that spectrally connect these moments with other times and lives. Ghatak's Jukti Takko, a perilously autobiographical narrative, sets in motion flows touching the shores of a distant present.<br><br><b>RESOURCES:</b> <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/sound/bowles.html\" rel=\"noopener\" target=\"_blank\">Moinak Biswas in UbuWeb Sound</a>","artist_bio":"Moinak Biswas is Professor of Film Studies at Jadavpur University, Kolkata, and the Coordinator of The Media Lab at Jadavpur. He edits the Journal of the Moving Image, and co-edits BioScope, South Asian Screen Studies. He writes on Indian film and culture.","bio_dates":"2016"},{"slug":"blake_jeremy_century21_2004_iphone","ok":true,"partial":false,"title":"Century 21","artist":"Jeremy Blake","year":"2004","startOffset":0,"sourceSecs":3582.317,"sourceHeight":266,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":210107854,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blake_jeremy_century21_2004_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blake_jeremy_century21_2004_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blake_jeremy_century21_2004_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blake_jeremy_century21_2004_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blake_jeremy_century21_2004_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Jeremy Blake studied traditional painting in art school. \"If you had asked me if I was interested in computers as a tool to make art, I would have said no,\" he says. But when Blake graduated from Cal Arts in 1995, he needed a job - and found a gig in New York as a digital photo retoucher. \"I worked for a Corsican guy who berated me in French because I was so bad,\" Blake recalls. \"After a few months he said, 'Jeremy, I'm very sorry because you are cool guy, but you have no future in computer!'\" The job was a disaster, but the experience of manipulating images pixel by pixel lit a fuse. \"The computer is the visual equivalent of an electric guitar,\" Blake says. \"I was trained on an acoustic.\"<br/> <br/> Ten years later, Blake has combined painting and computers to produce a techno take on traditional portraiture. His latest subject is Sarah Winchester, the eccentric heir to a firearm fortune. After her husband and infant daughter died in the 1880s, she concluded that the family was cursed, haunted by the spirits of those killed with Winchester rifles. On the advice of a medium, she built an enormous mansion in San Jose, California, to appease the ghosts. \"I had read about it as a kid,\" Blake says. \"I knew it was a house built around superstition - a fear of dead gunfighters - and it seemed to reflect contemporary events.\" Blake's 51-minute portrait of Winchester is contained on three DVDs, which will screen together in the US for the first time at the San Francisco Museum of Modern Art beginning February 19.<br/> <br/> The first film, Winchester (2002), opens with the family mansion fading in and out of focus as the shadow of a gunman drifts across the screen. Odd elements are juxtaposed - cowboys from old ads morph into tracings of the house's art nouveau wallpaper. The second DVD, 1906 (2003), returns to the mansion after the great '06 earthquake. A maze of cracked plaster, winding corridors, and stairways to nowhere becomes a metaphor for Winchester's deteriorating mental state. Blake widens the view in the final chapter, Century 21 (2004), to explore the sickness - and the sexiness - of American violence. Each film runs in a continuous a loop - no titles, no credits. \"Neurosis,\" Blake says, \"is a broken record in your head.\" The cumulative effect is somewhere between a great expressionist painting and a bad acid trip.<br/> <br/> Each frame of the trilogy is constructed in layers, like a conventional painting. Blake combines video, drawings, gouache, still photography, 8- and 16-mm film, and CG graphics. \"For me,\" he says, \"the computer is a way to get all your favorite mediums around the dinner table - and get them arguing.\" The technique places Blake among the new masters working with computers today who have moved beyond whizbang effects to celebrate pure aesthetics. \"There are many people working with an individual medium,\" says Christiane Paul, a curator at New York's Whitney Museum of American Art, where two of Blake's DVDs are in the permanent collection. \"What distinguishes Jeremy is that he works in a variety of mediums in a very painterly way.\"<br/> <br/> Blake has taken his craft beyond the gallery walls. He designed the cover for Beck's Sea Change album and produced abstract visuals for Paul Thomas Anderson's film Punch-Drunk Love. Trading art-world pretensions for the practicalities of the music and film studio were welcome changes: \"I like artists who don't feel superior to the culture they critique.\" <br/> <br/> ---<br/><br/>The Winchester trilogy was inspired by my interest in the Winchester Mystery House in San Jose, California. The Mansion is an architectural wonder that Sarah Winchester, widow of the heir to the Winchester rifle fortune, constructed over the course of 38 years, beginning in the late 1800's. After suffering the premature death of her child and then her husband, Winchester, informed by her deep belief in Spiritualism, concluded that the angry spirits of those struck down by her family's guns had cursed her. An advisor agreed and suggested that she build an enormously large house--an endeavor that would both accommodate good spirits and ward off evil ones with the sounds of never ending construction. The result is an eccentric, sprawling 160-room mansion, well outfitted for the undead with staircases going nowhere, doorways leading out into open air several stories above ground, and miles of darkened hallways for the spirits to roam.<br> <br> The Winchester films combine 8mm film footage, static 16mm shots of old photographs, hundreds of ink drawings, and intricate frame-by-frame digital retouching. They are meant to provide an abstract and emotional tour--not so much of the architecture, but of some of the more fearful chambers of Sarah Winchester's mind. The abstract imagery represents supernatural activity, heightened by paranoiac glimpses of shadowy gunfighters, painterly gunshot wounds blossoming into Rorschach patterns, and a spectrum of images from Winchester rifle advertisements. The entire series is informed by the idea that the Victorian aesthetic (embodied by the Mansion's architecture) and the psychedelic sensibility (referenced through hallucinatory manipulation of the film) are sympathetic opposites.<br/> <br/> My interest in the Mansion is rooted in an understanding that the site is more than just a monument to one person's eccentric preoccupation-it is the tangible outcome from a collision of social and historical narratives. The series ties together several mythic strands fundamental to an American national identity in an attempt to justify Winchester's architectural free-for-all. The figure of the gunfighter facilitates spiritual regeneration through violence, and lawmen and outlaws are thus treated with reverent trepidation-as are the ghosts of their victims.<br/> <br/> Beneath the dreamlike flow of images, the structure of the films is very deliberate:<br/> <br/> Winchester combines static 16mm historical photographs of the house, drawings, and laborious digital manipulation to convey a psychological portrait of the house. Accompanied by a moody soundtrack, the piece opens with a black-and-white shot of the architectural facade. Superimposed over the house, the silhouette of a gunfighter fills the frame, alluding to the Winchester legacy. As the film unfolds, both mansion and rifleman are eclipsed by veils of saturated color and kinetic abstractions. Painterly shapes resembling gunshot wounds morph into RorschachÐlike inkblots and back again into rifleÐbearing specters.<br/> <br/> 1906 takes much the same approach with synthesized film footage as well as images from my paintings and drawings, but it shifts its focus to the interior of the mansion and the parts of the house that suffered most in the earthquake of 1906. Sarah Winchester chose not to repair certain damaged sections, preferring to build around them, as she imagined that the house's resident spirits disapproved of these accommodations. To shoot live footage for this DVD, I used Kodak 8mm for its simultaneous painterly and touristy quality. The film begins and ends at the highest point of the house, creating a continuous sense of descent, and uses the sounds of construction mixed with period music.<br/> <br/> Century 21 moves from the roof of the Winchester house to zoom in on a complex of three domed, space-age movie theaters situated across the street: Century 21, Century 22 and Century 23, alluding to the fact that it is film, TV and the media that perpetuate the icon of the gunfighter. The work consists of three short sections intended to represent what is ÒplayingÓ in each of the theaters. These include richly layered montages of the Old West and pop-culture imagery, as well as art and film celebrities who appear as phantom stand-ins to embody the specters of the Cowboy and of Sarah Winchester herself.<br/> <br/> The Winchester series distills and abstracts American myths of violence and spiritual reconciliation.<br><br><b>How the West Was Projected: Jeremy Blake's 'Century 21' mingles images from the movies and myth.</b><br> <br> Rifling The Past<br> <br> Sarah Winchester's compulsion to sprawl lives on in Jeremy Blake's motion-picture paintings<br/> <br/> By Richard von Busack<br/> <br/> A MADWOMAN'S wooden folly sums up the spirit of the valley. Just as the towers of great cities represent civic aspirations to grow skyward, the Winchester Mystery House symbolizes the Santa Clara Valley's urge to sprawl laterally.<br/> <br/> The valley's most famous tourist attraction forms the basis for Jeremy Blake's Winchester trilogy at the San Francisco Museum of Modern Art. The Winchester House's history is the stuff of local legend. Sarah Winchester, heiress to the rifle fortune, lost her husband and her son and inherited $20 million. A medium told the unhappy widow that she must move West and build a home that would hold the spirits of the numberless dead killed by her family's weapons.<br/> <br/> As long as Sarah Winchester lived in her house, the construction never stopped. From 1884 until 1922, the mansion sprouted new doors and floors and wings. The windows were ornamented with motifs of the number 13. The mad Sarah died, but the building continues apace, from the Coyote Valley to the Palo Alto foothills.<br/> <br/> Blake's \"time-based paintings\"-Winchester (2002, 18 min.), 1906 (2003, 21 min.) and Century 21 (2004, 12 min.)-are looped DVDs projected side by side. The first two explore the house itself, before and after the San Francisco earthquake. But what really piqued Blake's interest was the World's Fair futurism of the domes of the nearby Century movie theaters.<br/> <br/> Either it is coincidence or a clever reference, but as Mitchell Schwartzer notes in the catalog, Century 21 was built for Cinerama and used for spectacles like How the West Was Won. Three projectors side by side threw their light on a curved 34-by-84-foot screen.<br/> <br/> The trilogy is almost cinema but not quite. The shifting light on a flat surface comes closer to pixilation and stop-motion animation. Yet Blake doesn't go in for the stutter and jitter of most digital filmmaking. He favors calm, often slow dissolves.<br/> <br/> Figures emerge from abstractions. In Century 21, we can see a cowboy-hatted woman with cat's-yellow eyes-Raquel Welch in the cheesecake Western Hannie Caulder (she is Blake's Sarah Winchester surrogate). Drilled through the eyes, a gunslinger sits as an airbrushed rainbow snake emerging from the bullet hole. Appropriated drawings materialize and fade: an off-register print of Peter Pan's Lost Boys amid neon bars and flurries of white light; an image from a Charles Addams cartoon of a group of 1950s children playing cowboy and chasing a little green man with their guns back into his space ship. In its cowboys vs. flying saucers imagery, the cartoon seems to link the extraterrestrial Century Domes and the House That Rifles Built.<br/> <br/> A sound collage murmurs as the soundtracks for the three sections merge. We hear sound effects of the Western movies: the wail of a harmonica, the creaking of wagon wheels. A trilling music-box version of \"The Stars and Stripes Forever\" fades into the psychedelic intro to the Rolling Stones' \"2,000 Light Years from Home.\"<br/> <br/> Blake's work overcomes the problem of computer-generated color-how cold and flat the uniform saturation of color can be. His hues make you think of stained glass, not plastic. His \"brush strokes\" of light represent a giant step past spray-painted graffiti art, which is his art's nearest cousin.</br></br></br></br></br></br>","artist_bio":"A graduate of the California Institute of the Arts, he was selected for the Whitney Biennial in 2000, 2002 and 2004. His \"Winchester\" series, inspired by the story of Sarah Winchester and the Winchester Mystery House, was shown at the San Francisco Museum of Modern Art in 2005.\nBlake also created the painted abstract hallucination scenes in the 2002 Paul Thomas Anderson film Punch Drunk Love, and contributed artwork and video for Beck's album Sea Change. Blake was also involved in creating and commissioning a soundtrack album called The Forty Million Dollar Beatnik with Neil Landstrumm and Mike Fellows in 2000 on Scandinavia Records and Pork Salad Press to accompany an LA drawings/script show by Blake of the same title.\nHis work is held in the collections of the Museum of Modern Art and the San Francisco Museum of Modern Art.\nBlake was the boyfriend of filmmaker, cultural critic and pioneering video game creator Theresa Duncan. In February 2007, the couple moved from Los Angeles to New York City, and resided in the East Village.\nOn July 10, 2007, Blake found Duncan dead, the result of suicide. On July 17, 2007, Blake was reported missing off New York's Rockaway Beach. According to news accounts, a woman called 911 to report that she saw a man walking out into the ocean. Blake's clothes and wallet were reportedly found along with a suicide note that referred to Duncan.\nAccording to statements by acquaintances of the couple that have appeared in published reports (including an article in the January 2008 Vanity Fair), Blake said that he and Duncan were being followed and harassed by Scientologists prior to his disappearance. Blake also included his allegations of harassment by Scientologists and others in a 27-page \"chronicle\" he prepared for a lawsuit he planned to file.\nThe couple was posthumously profiled in the September 10, 2007 issue of Newsweek.\nOn November 30, 2008 the New York Post's Page Six reported that Bret Easton Ellis is writing a screenplay about Duncan and Blake. Director Gus Van Sant has signed on as a consultant for the movie, which is being produced by Braxton Pope and Andrew Weiner of Ithaka films along with Lionsgate.","bio_dates":"1971-2007"},{"slug":"blake_jeremy_guccinam_2000","ok":true,"partial":false,"title":"Guccinam","artist":"Jeremy Blake","year":"2000","startOffset":0,"sourceSecs":852.203,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":56596573,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blake_jeremy_guccinam_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blake_jeremy_guccinam_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blake_jeremy_guccinam_2000.mp4","hasFrames":true,"description":"One of the few truly high-tech works is the duo of Jeremy Blake digital paintings, Guccinam and Liquid Villa, displayed on a pair of mouthwatering plasma screens. With colors so rich they palpitate and a rock-steady image devoid of flickering, this is what television ought to be, and for 10 grand a pop it can. Like a slow-burn acid trip, Blake's kaleidoscopic morphings are gorgeous and mesmerizing Ñ digital wallpaper at its best.","artist_bio":"A graduate of the California Institute of the Arts, he was selected for the Whitney Biennial in 2000, 2002 and 2004. His \"Winchester\" series, inspired by the story of Sarah Winchester and the Winchester Mystery House, was shown at the San Francisco Museum of Modern Art in 2005.\nBlake also created the painted abstract hallucination scenes in the 2002 Paul Thomas Anderson film Punch Drunk Love, and contributed artwork and video for Beck's album Sea Change. Blake was also involved in creating and commissioning a soundtrack album called The Forty Million Dollar Beatnik with Neil Landstrumm and Mike Fellows in 2000 on Scandinavia Records and Pork Salad Press to accompany an LA drawings/script show by Blake of the same title.\nHis work is held in the collections of the Museum of Modern Art and the San Francisco Museum of Modern Art.\nBlake was the boyfriend of filmmaker, cultural critic and pioneering video game creator Theresa Duncan. In February 2007, the couple moved from Los Angeles to New York City, and resided in the East Village.\nOn July 10, 2007, Blake found Duncan dead, the result of suicide. On July 17, 2007, Blake was reported missing off New York's Rockaway Beach. According to news accounts, a woman called 911 to report that she saw a man walking out into the ocean. Blake's clothes and wallet were reportedly found along with a suicide note that referred to Duncan.\nAccording to statements by acquaintances of the couple that have appeared in published reports (including an article in the January 2008 Vanity Fair), Blake said that he and Duncan were being followed and harassed by Scientologists prior to his disappearance. Blake also included his allegations of harassment by Scientologists and others in a 27-page \"chronicle\" he prepared for a lawsuit he planned to file.\nThe couple was posthumously profiled in the September 10, 2007 issue of Newsweek.\nOn November 30, 2008 the New York Post's Page Six reported that Bret Easton Ellis is writing a screenplay about Duncan and Blake. Director Gus Van Sant has signed on as a consultant for the movie, which is being produced by Braxton Pope and Andrew Weiner of Ithaka films along with Lionsgate.","bio_dates":"1971-2007"},{"slug":"blake_jeremy_liquid_villa_2000","ok":true,"partial":false,"title":"Liquid Villa","artist":"Jeremy Blake","year":"2000","startOffset":0,"sourceSecs":913.749,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":59910484,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blake_jeremy_liquid_villa_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blake_jeremy_liquid_villa_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blake_jeremy_liquid_villa_2000.mp4","hasFrames":true,"description":"One of the few truly high-tech works is the duo of Jeremy Blake digital paintings, Guccinam and Liquid Villa, displayed on a pair of mouthwatering plasma screens. With colors so rich they palpitate and a rock-steady image devoid of flickering, this is what television ought to be, and for 10 grand a pop it can. Like a slow-burn acid trip, Blake's kaleidoscopic morphings are gorgeous and mesmerizing Ñ digital wallpaper at its best.","artist_bio":"A graduate of the California Institute of the Arts, he was selected for the Whitney Biennial in 2000, 2002 and 2004. His \"Winchester\" series, inspired by the story of Sarah Winchester and the Winchester Mystery House, was shown at the San Francisco Museum of Modern Art in 2005.\nBlake also created the painted abstract hallucination scenes in the 2002 Paul Thomas Anderson film Punch Drunk Love, and contributed artwork and video for Beck's album Sea Change. Blake was also involved in creating and commissioning a soundtrack album called The Forty Million Dollar Beatnik with Neil Landstrumm and Mike Fellows in 2000 on Scandinavia Records and Pork Salad Press to accompany an LA drawings/script show by Blake of the same title.\nHis work is held in the collections of the Museum of Modern Art and the San Francisco Museum of Modern Art.\nBlake was the boyfriend of filmmaker, cultural critic and pioneering video game creator Theresa Duncan. In February 2007, the couple moved from Los Angeles to New York City, and resided in the East Village.\nOn July 10, 2007, Blake found Duncan dead, the result of suicide. On July 17, 2007, Blake was reported missing off New York's Rockaway Beach. According to news accounts, a woman called 911 to report that she saw a man walking out into the ocean. Blake's clothes and wallet were reportedly found along with a suicide note that referred to Duncan.\nAccording to statements by acquaintances of the couple that have appeared in published reports (including an article in the January 2008 Vanity Fair), Blake said that he and Duncan were being followed and harassed by Scientologists prior to his disappearance. Blake also included his allegations of harassment by Scientologists and others in a 27-page \"chronicle\" he prepared for a lawsuit he planned to file.\nThe couple was posthumously profiled in the September 10, 2007 issue of Newsweek.\nOn November 30, 2008 the New York Post's Page Six reported that Bret Easton Ellis is writing a screenplay about Duncan and Blake. Director Gus Van Sant has signed on as a consultant for the movie, which is being produced by Braxton Pope and Andrew Weiner of Ithaka films along with Lionsgate.","bio_dates":"1971-2007"},{"slug":"blake_jeremy_winchester_2001_2002","ok":true,"partial":false,"title":"Winchester","artist":"Jeremy Blake","year":"2002","startOffset":0,"sourceSecs":3342.357,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":197471371,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blake_jeremy_winchester_2001_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blake_jeremy_winchester_2001_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blake_jeremy_winchester_2001_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blake_jeremy_winchester_2001_2002/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blake_jeremy_winchester_2001_2002/main/master.m3u8?v=2","hasMainHls":true,"description":"Heiress Sarah Winchester and her Winchester Mystery House — the bizarre gothic mansion she built to defend herself from the ghosts of those killed by the rifles that made her family famous — are the inspiration for Jeremy Blake's suite of digital animations, the Winchester trilogy. Employing hand-painted imagery, film footage, vector graphics, and sound in a process the artist calls \"time-based painting\" Blake's visually opulent works offer an empathetic experience of Winchester's madness. Representational images morph into kinetic inkblots and back again. Traditional modes of storytelling are questioned, as are the relationships between reality and simulation. Shown together for the first time, Winchester (2002), 1906 (2003), and Century 21 (2004) are presented as a triptych in three adjacent projections.","artist_bio":"A graduate of the California Institute of the Arts, he was selected for the Whitney Biennial in 2000, 2002 and 2004. His \"Winchester\" series, inspired by the story of Sarah Winchester and the Winchester Mystery House, was shown at the San Francisco Museum of Modern Art in 2005.\nBlake also created the painted abstract hallucination scenes in the 2002 Paul Thomas Anderson film Punch Drunk Love, and contributed artwork and video for Beck's album Sea Change. Blake was also involved in creating and commissioning a soundtrack album called The Forty Million Dollar Beatnik with Neil Landstrumm and Mike Fellows in 2000 on Scandinavia Records and Pork Salad Press to accompany an LA drawings/script show by Blake of the same title.\nHis work is held in the collections of the Museum of Modern Art and the San Francisco Museum of Modern Art.\nBlake was the boyfriend of filmmaker, cultural critic and pioneering video game creator Theresa Duncan. In February 2007, the couple moved from Los Angeles to New York City, and resided in the East Village.\nOn July 10, 2007, Blake found Duncan dead, the result of suicide. On July 17, 2007, Blake was reported missing off New York's Rockaway Beach. According to news accounts, a woman called 911 to report that she saw a man walking out into the ocean. Blake's clothes and wallet were reportedly found along with a suicide note that referred to Duncan.\nAccording to statements by acquaintances of the couple that have appeared in published reports (including an article in the January 2008 Vanity Fair), Blake said that he and Duncan were being followed and harassed by Scientologists prior to his disappearance. Blake also included his allegations of harassment by Scientologists and others in a 27-page \"chronicle\" he prepared for a lawsuit he planned to file.\nThe couple was posthumously profiled in the September 10, 2007 issue of Newsweek.\nOn November 30, 2008 the New York Post's Page Six reported that Bret Easton Ellis is writing a screenplay about Duncan and Blake. Director Gus Van Sant has signed on as a consultant for the movie, which is being produced by Braxton Pope and Andrew Weiner of Ithaka films along with Lionsgate.","bio_dates":"1971-2007"},{"slug":"blasco_antonio_maenza_el_obby_contra_el_cordero_1968","ok":true,"partial":false,"title":"El lobby contra el cordero","artist":"Antonio Maenza Blasco","year":"1968","startOffset":0,"sourceSecs":6064.76,"sourceHeight":528,"sourceWidth":704,"hasAudio":false,"hasAmbientMp4":true,"bytes":951305553,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blasco_antonio_maenza_el_obby_contra_el_cordero_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blasco_antonio_maenza_el_obby_contra_el_cordero_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blasco_antonio_maenza_el_obby_contra_el_cordero_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blasco_antonio_maenza_el_obby_contra_el_cordero_1968/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blasco_antonio_maenza_el_obby_contra_el_cordero_1968/main/master.m3u8?v=2","hasMainHls":true,"description":"This is a brilliant and funny experimental film from Zaragoza in 1968. <br/><br/> There is no audio track: Maenza's films were never mastered or fitted with sound. This rip comes from a digitized work print. His films were sometimes screened with live voice performance commenting on and/or enacting what unrolls visually. This film was based on Händelequia, an experimental piece of concrete writing and collage by Maenza that may have been published in some form though I have found no traces of it yet. <br/><br/> El lobby contra el cordero (1967-68), [Maenza's] debut, was devised as a truly revolutionary film in the broadest sense (not only ideological but also formal).<br/><br/> Maenza plunges into a genuinely delirious narrative of unintelligible accumulations where it makes no sense to try to find causes and effects. It takes shape from the liturgy's symbolic sacrifice of the lamb, meta-cinematic reflections and declarations, and what might be called a \"testimonials of the time\" (student demonstrations, all reference to mass culture, etc.. ).<br/><br/> The film is constructed as if through automatic writing, in the spirit of Surrealism and Dada. Maenza seems, in particular, to be emulating the patterns (cumulative action) of Un chien andalou (1929): where action occurs in an apparently random fashion without any cause-and-effect. Thus, the starting script (Händelequia) is made ​​with elements taken from the everyday experience of the filmmaker (comics, advertisements, photographs, etc..) and reassembled. The heterogeneous nature of the project results in complete destruction of the logic of continuity of mainstream cinema, demolishing one stroke fundamentals as raccord and therefore the suture, plunging the viewer into a total confusion.<br/><br/> The film, therefore, reveals a fundamentally discontinuous and fragmented structure, typical of collage and assemblage (carried to its logical conclusion by integrating into itself several lengthy fragments from other films - Night Owls ([Laurel & Hardy]1930) among others -, which makes it even closer to the appropriation or the ready-made). In this way, the film declares an affinity with the period's pop aesthetics which similarly employed these techniques. Can be traced in this regard over the footage, a compendium iconographic certainly lead us to think about the works of Lichtenstein and Warhol. But this fascination (or idolatry) by a playful and media iconography is not nothing but ironic and critical reflection on the banality of the image in the consumer society, just as Godard had been doing since the mid-60. We find, in fact, many reminiscent of the French filmmaker such as the sequence filmed on the porches of the Paseo de la Independencia where the streets are decorated with large colorful posters that remind us inevitably of Made in USA (1966).<br/><br/> Maenza, from all this, build a dynamic space where architectural elements (a cemetery, a pond, a church, a ditch of a street works, etc..) as well as objects are participants in the characters' liturgical processions.<br/><br/> All scenes are mounted in the manner of happenings. Very in tune with the dérives practiced by the Situationists (which was intended to transform urban space into a makeshift living and collaborative stage), each scene builds Maenza from creating improvised situations and out of context. Recall for example the scene where one of the \"characters\" placed a mannequin interrupting the circulation (real) of a tram, or sequences in which a woman wanders (to the amazement of pedestrians) in a dance- ritual in front of the statue of Justice and the monument to Juan de Lanuza. This form of \"staging\" is crucial to formal and stylistic level in both frames (apparently little care, mainly due to constant use of improvisation) and the movements and movements of the camera. The latter is explicitly evident in the lobby where the camera moves Maenza with such freedom that seems to be an extension of your body. For if there is anything particularly striking in the realization of the film, it is precisely this sense of freedom they breathe their images - where anything is possible - and this is precisely this attitude apparently \"innocent\" and \"coarse\" almost \"primitive\" (an aspect which relates this film with Pasolini's first film, which Maenza greatly admired), a filmmaker is confronted for the first time with a camera, without prejudice, as if it were a new toy that has fallen for the first time into his hands. But on the other hand, make no mistake, the film also reflects a desire to intentionally break from any kind of academic structure or orthodoxy in order to find a unique mode of expression.<br/><br/> Note that there is occasional ghosting from an imperfect deinterlace somewhere along the way.","artist_bio":"Not very prolific writer and film director born in Cella, where he was born in 1948. As a film producer he stood out for his avant-garde and minority themes. He studied at the University of Zaragoza, where he shot his first film. Later he went to Valencia, coming into contact with avant-garde environments. He has been considered a cursed writer, both because of his subject matter and because of his psychological problems that led to his suicide. He died in Zaragoza in 1979. The writer Vicente Molina-Foix made him the protagonist of his work The Letter Opener (2006).","bio_dates":"b. 1948"},{"slug":"blasco_antonio_maenza_orfeo_filmado_en_el_campo_de_batalla_1969","ok":true,"partial":false,"title":"Orfeo filmado en el campo de batalla","artist":"Antonio Maenza Blasco","year":"1969","startOffset":0,"sourceSecs":2223.32,"sourceHeight":528,"sourceWidth":704,"hasAudio":false,"hasAmbientMp4":true,"bytes":348248150,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blasco_antonio_maenza_orfeo_filmado_en_el_campo_de_batalla_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blasco_antonio_maenza_orfeo_filmado_en_el_campo_de_batalla_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blasco_antonio_maenza_orfeo_filmado_en_el_campo_de_batalla_1969.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blasco_antonio_maenza_orfeo_filmado_en_el_campo_de_batalla_1969/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blasco_antonio_maenza_orfeo_filmado_en_el_campo_de_batalla_1969/main/master.m3u8?v=2","hasMainHls":true,"description":"NB: there is no audio track: Maenza's films were never mastered or fitted with sound. This rip comes from a digitized work print. His films were sometimes screened with live voice performance commenting on and/or enacting what unrolls visually.<br/><br/> This is a digitally transferred work print of an exceptionally rare film. There is some light residual ghosting here and there.<br/><br/> According to developing legends about this film, Maenza ran into trouble collaborating with another young poet in developing this retelling of the story of Orpheus as a \"happening\" where a bourgeois youth descends into the \"underground\" and discovers himself so transformed by its polymorphous-perverse possibilities that the world as it is must be renounced. This film should be of interest to anyone who likes Adolfo Arrieta's revisions of Cocteau's work (Orpheus among others) and it is one of the most intriguing new pieces of historical queer erotica that I've come across in quite a while. A little essay by me providing more details will be posted here in a few days.<br/><br/> Luis Puig (the source for<br/><br/> the performance text) remembers (my trans.): Quote: <br/> In December 1968 I participated in the film Orpheus Shot on the Battlefield, which originated as a collective work, a movie without an author, but which would ultimately be attributed to Antonio Maenza in the end even though he only played the role of the director in the film. The film, which was never provided a soundtrack, was screened on several occasions with a soundtrack performed live consisting of a text for three voices and a number of musical pieces, among which were the \"descent into hell\" from the opera L'Orfeo by Monteverdi in the version by Edward H. Tarr, released in 1968 by Erato, \"New York 1963 - America 1968\" from Every One of Us by Eric Burdon and the Animals; and \"The Return of the Son of the Monster Magnet\" from Freak Out by [Frank Zappa and] The Mothers of Invention. After the \"state of emergency\" in January 1969, an epilogue was shot but it was never developed.","artist_bio":"Not very prolific writer and film director born in Cella, where he was born in 1948. As a film producer he stood out for his avant-garde and minority themes. He studied at the University of Zaragoza, where he shot his first film. Later he went to Valencia, coming into contact with avant-garde environments. He has been considered a cursed writer, both because of his subject matter and because of his psychological problems that led to his suicide. He died in Zaragoza in 1979. The writer Vicente Molina-Foix made him the protagonist of his work The Letter Opener (2006).","bio_dates":"b. 1948"},{"slug":"blightman_juliette_an_autonomous_sphere_of_activity_2007_iphone","ok":true,"partial":false,"title":"An Autonomous Sphere of Activity","artist":"Juliette Blightman","year":"2007","startOffset":0,"sourceSecs":193.96,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":404602,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliette_an_autonomous_sphere_of_activity_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliette_an_autonomous_sphere_of_activity_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blightman_juliette_an_autonomous_sphere_of_activity_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blightman_juliette_an_autonomous_sphere_of_activity_2007_iphone/main.mp4?v=2","description":"In 2005, Juliette Blightman began a series of 16mm films, each showing a static view of an interior in a home or apartment belonging to a friend or family member. In several of these, the film’s three minute length was determined by the length of the film reel itself, and showed a single unedited shot, still and silent except for the sounds of traffic, weather, or maybe a television playing in the background. The image remained stationary until the last twenty seconds, when the camera panned across to take in the rest of the room. Revealing what is beyond the fixed frame, this move describes the parameters of what we have been looking at, and positions the artist physically here, behind the camera. But it is also a positioning of intentions that reveals the artist’s control of what we see, how and when. The films portray the settings of ordinary lives and though what they picture may be incidental, it is also deliberate. They show life going on inside the frame, but also at its edges to suggest the texture of an everyday beyond the limits of the work itself.<br/><br/> -- Kirsty Bell<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"The work of Juliette Blightman (born Farnham, 1980, lives in London) demands that the viewer refocus his or her attention. Using film and slide works, and direct yet subtle interventions in the gallery space, Blightman's work frames and enacts a certain kind of unadorned reality. Within a structure marked out by deliberately simple gestures, the marking of time gradually gives way to a sense of epiphany.\nIn a series of 16mm films made since 2005, Blightman uses the basic parameters of the medium to emphasise the reality of what is in front of her camera. Each work consists of a single shot, the length of which is dictated by the standard three-minute duration of the film stock. In as a period\nin which nothing happens\n(2007), the shot frames a domestic living room. Central to the composition is a single armchair directed towards a television, upon which can be made out the flickering image of Agatha Christie's\nPoirot\n. The shot lingers, a still composition in which the only evidence of time passing is the movement on the television screen, an occasional car on the road outside, and the pattern of sunlight falling through a pair of French windows. The vignette concludes when the camera pans unexpectedly to the left, coming to rest on a second set of windows.\nBlightman's compositions are characterised by an objectivism that is gradually infected with the minute and shifting experience of passing time. The rigid, almost schematic approach to representation is reminiscent of the novels of Alain Robbe-Grillet, in which the perspective is limited to the surface of visual experience, and in which – to use the words of Roland Barthes – the object \"never conceals a secret, vulnerable heart beneath its shell\". Another characteristic of Blightman's work is the clear ordering of time (the clatter of the film projector serving as an ever-present metronome). In certain exhibitions she has asked that a film be played just once a day, at a designated time. This device perhaps presents a parallel to the 'represented' time in the film, but it also emphasises personal and associative qualities – and the attempt to recapture the lucidity of a certain period. The processes through which time is measured are shown to be fluid, their slippages invested with a sense of memory and loss. Blightman's work\nfor Nought to Sixty\n, entitled\nPlease Water the Plant and Feed the Fish\n(2008), employs the simple placement of objects and turns the gallery into a live composition. A houseplant and fish bowl, placed in front of the gallery's windows, activate internal frames that echo the way in which the windows frame the external world. Blightman has asked that her brother perform the action requested in the title of the work, and he will visit the gallery at 3pm every day, a function which requires the restructuring of his daily routine. This performance creates an enforced shift of attention towards the banal and the non-event, and the way in which its repeated structure is used to impose order offers a parallel to the artist's films, but it is also a highly personal intervention. Once again, as in other pieces by Blightman, the world's stubbornly objective quality is balanced by the essentially emotive experience of the passing of time.","bio_dates":"b. 1980"},{"slug":"blightman_juliette_as_a_period_in_which_nothing_happens_2007","ok":true,"partial":false,"title":"As A Period in Which Nothing Happens","artist":"Juliette Blightman","year":"2007","startOffset":0,"sourceSecs":184.84,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":10683407,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliette_as_a_period_in_which_nothing_happens_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliette_as_a_period_in_which_nothing_happens_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blightman_juliette_as_a_period_in_which_nothing_happens_2007.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blightman_juliette_as_a_period_in_which_nothing_happens_2007/main.mp4?v=2","description":"In 2005, Juliette Blightman began a series of 16mm films, each showing a static view of an interior in a home or apartment belonging to a friend or family member. In several of these, the film’s three minute length was determined by the length of the film reel itself, and showed a single unedited shot, still and silent except for the sounds of traffic, weather, or maybe a television playing in the background. The image remained stationary until the last twenty seconds, when the camera panned across to take in the rest of the room. Revealing what is beyond the fixed frame, this move describes the parameters of what we have been looking at, and positions the artist physically here, behind the camera. But it is also a positioning of intentions that reveals the artist’s control of what we see, how and when. The films portray the settings of ordinary lives and though what they picture may be incidental, it is also deliberate. They show life going on inside the frame, but also at its edges to suggest the texture of an everyday beyond the limits of the work itself.<br/><br/> -- Kirsty Bell<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"The work of Juliette Blightman (born Farnham, 1980, lives in London) demands that the viewer refocus his or her attention. Using film and slide works, and direct yet subtle interventions in the gallery space, Blightman's work frames and enacts a certain kind of unadorned reality. Within a structure marked out by deliberately simple gestures, the marking of time gradually gives way to a sense of epiphany.\nIn a series of 16mm films made since 2005, Blightman uses the basic parameters of the medium to emphasise the reality of what is in front of her camera. Each work consists of a single shot, the length of which is dictated by the standard three-minute duration of the film stock. In as a period\nin which nothing happens\n(2007), the shot frames a domestic living room. Central to the composition is a single armchair directed towards a television, upon which can be made out the flickering image of Agatha Christie's\nPoirot\n. The shot lingers, a still composition in which the only evidence of time passing is the movement on the television screen, an occasional car on the road outside, and the pattern of sunlight falling through a pair of French windows. The vignette concludes when the camera pans unexpectedly to the left, coming to rest on a second set of windows.\nBlightman's compositions are characterised by an objectivism that is gradually infected with the minute and shifting experience of passing time. The rigid, almost schematic approach to representation is reminiscent of the novels of Alain Robbe-Grillet, in which the perspective is limited to the surface of visual experience, and in which – to use the words of Roland Barthes – the object \"never conceals a secret, vulnerable heart beneath its shell\". Another characteristic of Blightman's work is the clear ordering of time (the clatter of the film projector serving as an ever-present metronome). In certain exhibitions she has asked that a film be played just once a day, at a designated time. This device perhaps presents a parallel to the 'represented' time in the film, but it also emphasises personal and associative qualities – and the attempt to recapture the lucidity of a certain period. The processes through which time is measured are shown to be fluid, their slippages invested with a sense of memory and loss. Blightman's work\nfor Nought to Sixty\n, entitled\nPlease Water the Plant and Feed the Fish\n(2008), employs the simple placement of objects and turns the gallery into a live composition. A houseplant and fish bowl, placed in front of the gallery's windows, activate internal frames that echo the way in which the windows frame the external world. Blightman has asked that her brother perform the action requested in the title of the work, and he will visit the gallery at 3pm every day, a function which requires the restructuring of his daily routine. This performance creates an enforced shift of attention towards the banal and the non-event, and the way in which its repeated structure is used to impose order offers a parallel to the artist's films, but it is also a highly personal intervention. Once again, as in other pieces by Blightman, the world's stubbornly objective quality is balanced by the essentially emotive experience of the passing of time.","bio_dates":"b. 1980"},{"slug":"blightman_juliette_even_when_the_time_comes_2007_iphone","ok":true,"partial":false,"title":"Even When The Time Comes","artist":"Juliette Blightman","year":"2007","startOffset":0,"sourceSecs":192.04,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":1754446,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliette_even_when_the_time_comes_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliette_even_when_the_time_comes_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blightman_juliette_even_when_the_time_comes_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blightman_juliette_even_when_the_time_comes_2007_iphone/main.mp4?v=2","description":"In 2005, Juliette Blightman began a series of 16mm films, each showing a static view of an interior in a home or apartment belonging to a friend or family member. In several of these, the film’s three minute length was determined by the length of the film reel itself, and showed a single unedited shot, still and silent except for the sounds of traffic, weather, or maybe a television playing in the background. The image remained stationary until the last twenty seconds, when the camera panned across to take in the rest of the room. Revealing what is beyond the fixed frame, this move describes the parameters of what we have been looking at, and positions the artist physically here, behind the camera. But it is also a positioning of intentions that reveals the artist’s control of what we see, how and when. The films portray the settings of ordinary lives and though what they picture may be incidental, it is also deliberate. They show life going on inside the frame, but also at its edges to suggest the texture of an everyday beyond the limits of the work itself.<br/><br/> -- Kirsty Bell<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"The work of Juliette Blightman (born Farnham, 1980, lives in London) demands that the viewer refocus his or her attention. Using film and slide works, and direct yet subtle interventions in the gallery space, Blightman's work frames and enacts a certain kind of unadorned reality. Within a structure marked out by deliberately simple gestures, the marking of time gradually gives way to a sense of epiphany.\nIn a series of 16mm films made since 2005, Blightman uses the basic parameters of the medium to emphasise the reality of what is in front of her camera. Each work consists of a single shot, the length of which is dictated by the standard three-minute duration of the film stock. In as a period\nin which nothing happens\n(2007), the shot frames a domestic living room. Central to the composition is a single armchair directed towards a television, upon which can be made out the flickering image of Agatha Christie's\nPoirot\n. The shot lingers, a still composition in which the only evidence of time passing is the movement on the television screen, an occasional car on the road outside, and the pattern of sunlight falling through a pair of French windows. The vignette concludes when the camera pans unexpectedly to the left, coming to rest on a second set of windows.\nBlightman's compositions are characterised by an objectivism that is gradually infected with the minute and shifting experience of passing time. The rigid, almost schematic approach to representation is reminiscent of the novels of Alain Robbe-Grillet, in which the perspective is limited to the surface of visual experience, and in which – to use the words of Roland Barthes – the object \"never conceals a secret, vulnerable heart beneath its shell\". Another characteristic of Blightman's work is the clear ordering of time (the clatter of the film projector serving as an ever-present metronome). In certain exhibitions she has asked that a film be played just once a day, at a designated time. This device perhaps presents a parallel to the 'represented' time in the film, but it also emphasises personal and associative qualities – and the attempt to recapture the lucidity of a certain period. The processes through which time is measured are shown to be fluid, their slippages invested with a sense of memory and loss. Blightman's work\nfor Nought to Sixty\n, entitled\nPlease Water the Plant and Feed the Fish\n(2008), employs the simple placement of objects and turns the gallery into a live composition. A houseplant and fish bowl, placed in front of the gallery's windows, activate internal frames that echo the way in which the windows frame the external world. Blightman has asked that her brother perform the action requested in the title of the work, and he will visit the gallery at 3pm every day, a function which requires the restructuring of his daily routine. This performance creates an enforced shift of attention towards the banal and the non-event, and the way in which its repeated structure is used to impose order offers a parallel to the artist's films, but it is also a highly personal intervention. Once again, as in other pieces by Blightman, the world's stubbornly objective quality is balanced by the essentially emotive experience of the passing of time.","bio_dates":"b. 1980"},{"slug":"blightman_juliettte_fruit_and_jug_on_a_table_1890","ok":true,"partial":false,"title":"Fruit and Jug on a Table 1890 – 4","artist":"Juliette Blightman","year":"2009","startOffset":0,"sourceSecs":414.32,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":65274574,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_fruit_and_jug_on_a_table_1890/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_fruit_and_jug_on_a_table_1890/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blightman_juliettte_fruit_and_jug_on_a_table_1890.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blightman_juliettte_fruit_and_jug_on_a_table_1890/main.mp4?v=2","description":"Blightman’s short films and subsequent works often show an artwork in surroundings, whether a framed print on a living room wall, or a painting by Cézanne hanging in a museum. Blightman’s work concerns itself with the relation of art (the work itself and the making of it) to the rest of life, her own and others’. As such, the panning shot that appears in her early films, or the deliberate opening up of a work’s parameters to take in more of life, is emblematic: it transposes the relation of centre to periphery, or subject to surroundings, and shifts the emphasis to all the things going on around the edges that you don’t usually look at: car parks, bus stops, radiators. The panning shot is both a formal, compositional device, and a statement of intent.<br/><br/> -- Kirsty Bell<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"The work of Juliette Blightman (born Farnham, 1980, lives in London) demands that the viewer refocus his or her attention. Using film and slide works, and direct yet subtle interventions in the gallery space, Blightman's work frames and enacts a certain kind of unadorned reality. Within a structure marked out by deliberately simple gestures, the marking of time gradually gives way to a sense of epiphany.\nIn a series of 16mm films made since 2005, Blightman uses the basic parameters of the medium to emphasise the reality of what is in front of her camera. Each work consists of a single shot, the length of which is dictated by the standard three-minute duration of the film stock. In as a period\nin which nothing happens\n(2007), the shot frames a domestic living room. Central to the composition is a single armchair directed towards a television, upon which can be made out the flickering image of Agatha Christie's\nPoirot\n. The shot lingers, a still composition in which the only evidence of time passing is the movement on the television screen, an occasional car on the road outside, and the pattern of sunlight falling through a pair of French windows. The vignette concludes when the camera pans unexpectedly to the left, coming to rest on a second set of windows.\nBlightman's compositions are characterised by an objectivism that is gradually infected with the minute and shifting experience of passing time. The rigid, almost schematic approach to representation is reminiscent of the novels of Alain Robbe-Grillet, in which the perspective is limited to the surface of visual experience, and in which – to use the words of Roland Barthes – the object \"never conceals a secret, vulnerable heart beneath its shell\". Another characteristic of Blightman's work is the clear ordering of time (the clatter of the film projector serving as an ever-present metronome). In certain exhibitions she has asked that a film be played just once a day, at a designated time. This device perhaps presents a parallel to the 'represented' time in the film, but it also emphasises personal and associative qualities – and the attempt to recapture the lucidity of a certain period. The processes through which time is measured are shown to be fluid, their slippages invested with a sense of memory and loss. Blightman's work\nfor Nought to Sixty\n, entitled\nPlease Water the Plant and Feed the Fish\n(2008), employs the simple placement of objects and turns the gallery into a live composition. A houseplant and fish bowl, placed in front of the gallery's windows, activate internal frames that echo the way in which the windows frame the external world. Blightman has asked that her brother perform the action requested in the title of the work, and he will visit the gallery at 3pm every day, a function which requires the restructuring of his daily routine. This performance creates an enforced shift of attention towards the banal and the non-event, and the way in which its repeated structure is used to impose order offers a parallel to the artist's films, but it is also a highly personal intervention. Once again, as in other pieces by Blightman, the world's stubbornly objective quality is balanced by the essentially emotive experience of the passing of time.","bio_dates":"b. 1980"},{"slug":"blightman_juliettte_girlfriend","ok":true,"partial":false,"title":"Girlfriend","artist":"Juliette Blightman","year":"2008","startOffset":0,"sourceSecs":232.12,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":99845124,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_girlfriend/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_girlfriend/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blightman_juliettte_girlfriend.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blightman_juliettte_girlfriend/main.mp4?v=2","description":"(Soundtrack Girlfriend originally by Jonathan Richman covered by Anthony Silvester)<br/><br/> Blightman’s images, films and installations are based on moments and relationships at different points in time of her life. The places and people to which her objects stand in relation have points of overlap within her own life and a significance related to it. There’s tension between the intimate relationship of the artist to her contents and the personal experience of her works. It’s an exchange that mutually informs the making and the beholding, which gives it reciprocal meaning.<br/><br/> These aren’t simple confessions.<br/><br/> Her images, spaces and situations are much more elements of a coherent language of form, with which the artist successively fills up the world in order to blend into our viewing habits and thereby our reality. She makes them transparent, which pulls her way of acting in life into the art – and back. Tenderness and brutality, rapture and apathy play equally important roles in this model of artistic intervention.<br/> -- Tenzing Barshee<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"The work of Juliette Blightman (born Farnham, 1980, lives in London) demands that the viewer refocus his or her attention. Using film and slide works, and direct yet subtle interventions in the gallery space, Blightman's work frames and enacts a certain kind of unadorned reality. Within a structure marked out by deliberately simple gestures, the marking of time gradually gives way to a sense of epiphany.\nIn a series of 16mm films made since 2005, Blightman uses the basic parameters of the medium to emphasise the reality of what is in front of her camera. Each work consists of a single shot, the length of which is dictated by the standard three-minute duration of the film stock. In as a period\nin which nothing happens\n(2007), the shot frames a domestic living room. Central to the composition is a single armchair directed towards a television, upon which can be made out the flickering image of Agatha Christie's\nPoirot\n. The shot lingers, a still composition in which the only evidence of time passing is the movement on the television screen, an occasional car on the road outside, and the pattern of sunlight falling through a pair of French windows. The vignette concludes when the camera pans unexpectedly to the left, coming to rest on a second set of windows.\nBlightman's compositions are characterised by an objectivism that is gradually infected with the minute and shifting experience of passing time. The rigid, almost schematic approach to representation is reminiscent of the novels of Alain Robbe-Grillet, in which the perspective is limited to the surface of visual experience, and in which – to use the words of Roland Barthes – the object \"never conceals a secret, vulnerable heart beneath its shell\". Another characteristic of Blightman's work is the clear ordering of time (the clatter of the film projector serving as an ever-present metronome). In certain exhibitions she has asked that a film be played just once a day, at a designated time. This device perhaps presents a parallel to the 'represented' time in the film, but it also emphasises personal and associative qualities – and the attempt to recapture the lucidity of a certain period. The processes through which time is measured are shown to be fluid, their slippages invested with a sense of memory and loss. Blightman's work\nfor Nought to Sixty\n, entitled\nPlease Water the Plant and Feed the Fish\n(2008), employs the simple placement of objects and turns the gallery into a live composition. A houseplant and fish bowl, placed in front of the gallery's windows, activate internal frames that echo the way in which the windows frame the external world. Blightman has asked that her brother perform the action requested in the title of the work, and he will visit the gallery at 3pm every day, a function which requires the restructuring of his daily routine. This performance creates an enforced shift of attention towards the banal and the non-event, and the way in which its repeated structure is used to impose order offers a parallel to the artist's films, but it is also a highly personal intervention. Once again, as in other pieces by Blightman, the world's stubbornly objective quality is balanced by the essentially emotive experience of the passing of time.","bio_dates":"b. 1980"},{"slug":"blightman_juliettte_lacan_girl","ok":true,"partial":false,"title":"Lacan, girl","artist":"Juliette Blightman","year":"2015","startOffset":0,"sourceSecs":102.52,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":45999732,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_lacan_girl/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_lacan_girl/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blightman_juliettte_lacan_girl.mp4","hasFrames":true,"description":"Blightman’s short films and subsequent works often show an artwork in surroundings, whether a framed print on a living room wall, or a painting by Cézanne hanging in a museum. Blightman’s work concerns itself with the relation of art (the work itself and the making of it) to the rest of life, her own and others’. As such, the panning shot that appears in her early films, or the deliberate opening up of a work’s parameters to take in more of life, is emblematic: it transposes the relation of centre to periphery, or subject to surroundings, and shifts the emphasis to all the things going on around the edges that you don’t usually look at: car parks, bus stops, radiators. The panning shot is both a formal, compositional device, and a statement of intent.<br/><br/> -- Kirsty Bell<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"The work of Juliette Blightman (born Farnham, 1980, lives in London) demands that the viewer refocus his or her attention. Using film and slide works, and direct yet subtle interventions in the gallery space, Blightman's work frames and enacts a certain kind of unadorned reality. Within a structure marked out by deliberately simple gestures, the marking of time gradually gives way to a sense of epiphany.\nIn a series of 16mm films made since 2005, Blightman uses the basic parameters of the medium to emphasise the reality of what is in front of her camera. Each work consists of a single shot, the length of which is dictated by the standard three-minute duration of the film stock. In as a period\nin which nothing happens\n(2007), the shot frames a domestic living room. Central to the composition is a single armchair directed towards a television, upon which can be made out the flickering image of Agatha Christie's\nPoirot\n. The shot lingers, a still composition in which the only evidence of time passing is the movement on the television screen, an occasional car on the road outside, and the pattern of sunlight falling through a pair of French windows. The vignette concludes when the camera pans unexpectedly to the left, coming to rest on a second set of windows.\nBlightman's compositions are characterised by an objectivism that is gradually infected with the minute and shifting experience of passing time. The rigid, almost schematic approach to representation is reminiscent of the novels of Alain Robbe-Grillet, in which the perspective is limited to the surface of visual experience, and in which – to use the words of Roland Barthes – the object \"never conceals a secret, vulnerable heart beneath its shell\". Another characteristic of Blightman's work is the clear ordering of time (the clatter of the film projector serving as an ever-present metronome). In certain exhibitions she has asked that a film be played just once a day, at a designated time. This device perhaps presents a parallel to the 'represented' time in the film, but it also emphasises personal and associative qualities – and the attempt to recapture the lucidity of a certain period. The processes through which time is measured are shown to be fluid, their slippages invested with a sense of memory and loss. Blightman's work\nfor Nought to Sixty\n, entitled\nPlease Water the Plant and Feed the Fish\n(2008), employs the simple placement of objects and turns the gallery into a live composition. A houseplant and fish bowl, placed in front of the gallery's windows, activate internal frames that echo the way in which the windows frame the external world. Blightman has asked that her brother perform the action requested in the title of the work, and he will visit the gallery at 3pm every day, a function which requires the restructuring of his daily routine. This performance creates an enforced shift of attention towards the banal and the non-event, and the way in which its repeated structure is used to impose order offers a parallel to the artist's films, but it is also a highly personal intervention. Once again, as in other pieces by Blightman, the world's stubbornly objective quality is balanced by the essentially emotive experience of the passing of time.","bio_dates":"b. 1980"},{"slug":"blightman_juliettte_marcelle_are_you_feeling_bored_with_life","ok":true,"partial":false,"title":"Marcelle, are you feeling bored with life?","artist":"Juliette Blightman","year":"2005","startOffset":0,"sourceSecs":417.72,"sourceHeight":576,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":64293983,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_marcelle_are_you_feeling_bored_with_life/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_marcelle_are_you_feeling_bored_with_life/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blightman_juliettte_marcelle_are_you_feeling_bored_with_life.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blightman_juliettte_marcelle_are_you_feeling_bored_with_life/main.mp4?v=2","description":"This takes place through a process of transmission that becomes apparent in her early film works and her handling of language, in which the artist imposes her intimate sphere on the viewer and allows a space in the generality of her pictures to bring in other perspectives, which underlines the violence and the eros of this dynamic. In 2005, Blightman made “Marcelle, are you feeling bored with life?”, her first 16mm film – two shots, no people, no action.<br/><br/> “I went to visit my father,” she says. “The first time I was 11 or 12 years old and I remembered the many plants my stepmother had. I wasn’t well at 24, my mother was out of town and she told my father not to let me out of his sight. I was frustrated, but it was my own fault. I sat in the house and filmed the plants. Like all of the 16mm films, I filmed this one at 3pm, a time of nothing when it’s too late and too early.”<br/><br/> The title of the work is borrowed from Jean Paul Sartre’s L’âge de raison. Somewhere in the novel the protagonist Marcelle is asked about her remorse, to which she replies: “I regret the life I could have had.” The negation of what could have happened if she had lived another life and would regret that one instead of real life affirms real life and emphasizes its existential hopelessness. In “Marcelle, are you feeling bored with life?” Blightman shows the hopelessness of existence, which takes place inside and outside in two settings. In the first image, she holds the camera on a window that sits in the darkness of an interior, the silhouette of a lampshade is visible, but the light comes from outside. The mise-en-scène concentrates in the window as if one camera were in front of the other. The exclusion of life from the outside reflects the human experience, which life must translate into the darkness of inner emotional and sensual processes in order to make it tangible.<br/><br/> Through the window you can see plants, domestic objects, a mobile that moves imperceptibly, and behind it a wall and above it a roof; the outside is fenced in; the view is fenced in. The gaze from the unfathomability of the dark interior into the hopelessness of the outside creates an uneasiness that makes clear the inherent horror of the cinematic and links it to the violence inherent in the lust of indifferent contemplation. The second picture is filmed outside and it speaks of invisible adolescence: In front of a wall are potted succulents that glow in the changing sunlight. “I was attracted to the solitude of plants. I grew up in a big family and shared a room until I was sixteen years old. These plants stood alone and proud. Later I found a quote from Simone de Beauvoir: ‘I admired the proud isolation of the oak tree and felt sorry for the communal blades of grass.’ That was the confusion of motherhood, it’s the opposite. You take responsibility for another life that I have learned to love.<br/><br/> -- Tenzing Barshee<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"The work of Juliette Blightman (born Farnham, 1980, lives in London) demands that the viewer refocus his or her attention. Using film and slide works, and direct yet subtle interventions in the gallery space, Blightman's work frames and enacts a certain kind of unadorned reality. Within a structure marked out by deliberately simple gestures, the marking of time gradually gives way to a sense of epiphany.\nIn a series of 16mm films made since 2005, Blightman uses the basic parameters of the medium to emphasise the reality of what is in front of her camera. Each work consists of a single shot, the length of which is dictated by the standard three-minute duration of the film stock. In as a period\nin which nothing happens\n(2007), the shot frames a domestic living room. Central to the composition is a single armchair directed towards a television, upon which can be made out the flickering image of Agatha Christie's\nPoirot\n. The shot lingers, a still composition in which the only evidence of time passing is the movement on the television screen, an occasional car on the road outside, and the pattern of sunlight falling through a pair of French windows. The vignette concludes when the camera pans unexpectedly to the left, coming to rest on a second set of windows.\nBlightman's compositions are characterised by an objectivism that is gradually infected with the minute and shifting experience of passing time. The rigid, almost schematic approach to representation is reminiscent of the novels of Alain Robbe-Grillet, in which the perspective is limited to the surface of visual experience, and in which – to use the words of Roland Barthes – the object \"never conceals a secret, vulnerable heart beneath its shell\". Another characteristic of Blightman's work is the clear ordering of time (the clatter of the film projector serving as an ever-present metronome). In certain exhibitions she has asked that a film be played just once a day, at a designated time. This device perhaps presents a parallel to the 'represented' time in the film, but it also emphasises personal and associative qualities – and the attempt to recapture the lucidity of a certain period. The processes through which time is measured are shown to be fluid, their slippages invested with a sense of memory and loss. Blightman's work\nfor Nought to Sixty\n, entitled\nPlease Water the Plant and Feed the Fish\n(2008), employs the simple placement of objects and turns the gallery into a live composition. A houseplant and fish bowl, placed in front of the gallery's windows, activate internal frames that echo the way in which the windows frame the external world. Blightman has asked that her brother perform the action requested in the title of the work, and he will visit the gallery at 3pm every day, a function which requires the restructuring of his daily routine. This performance creates an enforced shift of attention towards the banal and the non-event, and the way in which its repeated structure is used to impose order offers a parallel to the artist's films, but it is also a highly personal intervention. Once again, as in other pieces by Blightman, the world's stubbornly objective quality is balanced by the essentially emotive experience of the passing of time.","bio_dates":"b. 1980"},{"slug":"blightman_juliettte_onkawara","ok":true,"partial":false,"title":"Onkawara","artist":"Juliette Blightman","year":"2007","startOffset":0,"sourceSecs":202.827,"sourceHeight":480,"sourceWidth":600,"hasAudio":true,"hasAmbientMp4":true,"bytes":37087877,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_onkawara/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_onkawara/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blightman_juliettte_onkawara.mp4","hasFrames":true,"description":"Video for single Onkawara by artists Juliette Blightman and Anthony Silvester<br/> Music by XX Teens<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"The work of Juliette Blightman (born Farnham, 1980, lives in London) demands that the viewer refocus his or her attention. Using film and slide works, and direct yet subtle interventions in the gallery space, Blightman's work frames and enacts a certain kind of unadorned reality. Within a structure marked out by deliberately simple gestures, the marking of time gradually gives way to a sense of epiphany.\nIn a series of 16mm films made since 2005, Blightman uses the basic parameters of the medium to emphasise the reality of what is in front of her camera. Each work consists of a single shot, the length of which is dictated by the standard three-minute duration of the film stock. In as a period\nin which nothing happens\n(2007), the shot frames a domestic living room. Central to the composition is a single armchair directed towards a television, upon which can be made out the flickering image of Agatha Christie's\nPoirot\n. The shot lingers, a still composition in which the only evidence of time passing is the movement on the television screen, an occasional car on the road outside, and the pattern of sunlight falling through a pair of French windows. The vignette concludes when the camera pans unexpectedly to the left, coming to rest on a second set of windows.\nBlightman's compositions are characterised by an objectivism that is gradually infected with the minute and shifting experience of passing time. The rigid, almost schematic approach to representation is reminiscent of the novels of Alain Robbe-Grillet, in which the perspective is limited to the surface of visual experience, and in which – to use the words of Roland Barthes – the object \"never conceals a secret, vulnerable heart beneath its shell\". Another characteristic of Blightman's work is the clear ordering of time (the clatter of the film projector serving as an ever-present metronome). In certain exhibitions she has asked that a film be played just once a day, at a designated time. This device perhaps presents a parallel to the 'represented' time in the film, but it also emphasises personal and associative qualities – and the attempt to recapture the lucidity of a certain period. The processes through which time is measured are shown to be fluid, their slippages invested with a sense of memory and loss. Blightman's work\nfor Nought to Sixty\n, entitled\nPlease Water the Plant and Feed the Fish\n(2008), employs the simple placement of objects and turns the gallery into a live composition. A houseplant and fish bowl, placed in front of the gallery's windows, activate internal frames that echo the way in which the windows frame the external world. Blightman has asked that her brother perform the action requested in the title of the work, and he will visit the gallery at 3pm every day, a function which requires the restructuring of his daily routine. This performance creates an enforced shift of attention towards the banal and the non-event, and the way in which its repeated structure is used to impose order offers a parallel to the artist's films, but it is also a highly personal intervention. Once again, as in other pieces by Blightman, the world's stubbornly objective quality is balanced by the essentially emotive experience of the passing of time.","bio_dates":"b. 1980"},{"slug":"blightman_juliettte_september_the_10th","ok":true,"partial":false,"title":"September 10th","artist":"Juliette Blightman","year":"2006","startOffset":0,"sourceSecs":163.92,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":23321249,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_september_the_10th/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_september_the_10th/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blightman_juliettte_september_the_10th.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blightman_juliettte_september_the_10th/main.mp4?v=2","description":"Blightman’s images, films and installations are based on moments and relationships at different points in time of her life. The places and people to which her objects stand in relation have points of overlap within her own life and a significance related to it. There’s tension between the intimate relationship of the artist to her contents and the personal experience of her works. It’s an exchange that mutually informs the making and the beholding, which gives it reciprocal meaning.<br/><br/> These aren’t simple confessions.<br/><br/> Her images, spaces and situations are much more elements of a coherent language of form, with which the artist successively fills up the world in order to blend into our viewing habits and thereby our reality. She makes them transparent, which pulls her way of acting in life into the art – and back. Tenderness and brutality, rapture and apathy play equally important roles in this model of artistic intervention.<br/><br/> --Tenzing Barshee<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"The work of Juliette Blightman (born Farnham, 1980, lives in London) demands that the viewer refocus his or her attention. Using film and slide works, and direct yet subtle interventions in the gallery space, Blightman's work frames and enacts a certain kind of unadorned reality. Within a structure marked out by deliberately simple gestures, the marking of time gradually gives way to a sense of epiphany.\nIn a series of 16mm films made since 2005, Blightman uses the basic parameters of the medium to emphasise the reality of what is in front of her camera. Each work consists of a single shot, the length of which is dictated by the standard three-minute duration of the film stock. In as a period\nin which nothing happens\n(2007), the shot frames a domestic living room. Central to the composition is a single armchair directed towards a television, upon which can be made out the flickering image of Agatha Christie's\nPoirot\n. The shot lingers, a still composition in which the only evidence of time passing is the movement on the television screen, an occasional car on the road outside, and the pattern of sunlight falling through a pair of French windows. The vignette concludes when the camera pans unexpectedly to the left, coming to rest on a second set of windows.\nBlightman's compositions are characterised by an objectivism that is gradually infected with the minute and shifting experience of passing time. The rigid, almost schematic approach to representation is reminiscent of the novels of Alain Robbe-Grillet, in which the perspective is limited to the surface of visual experience, and in which – to use the words of Roland Barthes – the object \"never conceals a secret, vulnerable heart beneath its shell\". Another characteristic of Blightman's work is the clear ordering of time (the clatter of the film projector serving as an ever-present metronome). In certain exhibitions she has asked that a film be played just once a day, at a designated time. This device perhaps presents a parallel to the 'represented' time in the film, but it also emphasises personal and associative qualities – and the attempt to recapture the lucidity of a certain period. The processes through which time is measured are shown to be fluid, their slippages invested with a sense of memory and loss. Blightman's work\nfor Nought to Sixty\n, entitled\nPlease Water the Plant and Feed the Fish\n(2008), employs the simple placement of objects and turns the gallery into a live composition. A houseplant and fish bowl, placed in front of the gallery's windows, activate internal frames that echo the way in which the windows frame the external world. Blightman has asked that her brother perform the action requested in the title of the work, and he will visit the gallery at 3pm every day, a function which requires the restructuring of his daily routine. This performance creates an enforced shift of attention towards the banal and the non-event, and the way in which its repeated structure is used to impose order offers a parallel to the artist's films, but it is also a highly personal intervention. Once again, as in other pieces by Blightman, the world's stubbornly objective quality is balanced by the essentially emotive experience of the passing of time.","bio_dates":"b. 1980"},{"slug":"blightman_juliettte_under_one_umbrella","ok":true,"partial":false,"title":"Under one umbrella","artist":"Juliette Blightman","year":"2010","startOffset":0,"sourceSecs":307.76,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":141505739,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_under_one_umbrella/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blightman_juliettte_under_one_umbrella/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blightman_juliettte_under_one_umbrella.mp4","hasFrames":true,"description":"Blightman’s images, films and installations are based on moments and relationships at different points in time of her life. The places and people to which her objects stand in relation have points of overlap within her own life and a significance related to it. There’s tension between the intimate relationship of the artist to her contents and the personal experience of her works. It’s an exchange that mutually informs the making and the beholding, which gives it reciprocal meaning.<br/><br/> These aren’t simple confessions.<br/><br/> Her images, spaces and situations are much more elements of a coherent language of form, with which the artist successively fills up the world in order to blend into our viewing habits and thereby our reality. She makes them transparent, which pulls her way of acting in life into the art – and back. Tenderness and brutality, rapture and apathy play equally important roles in this model of artistic intervention.<br/><br/> --Tenzing Barshee<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"The work of Juliette Blightman (born Farnham, 1980, lives in London) demands that the viewer refocus his or her attention. Using film and slide works, and direct yet subtle interventions in the gallery space, Blightman's work frames and enacts a certain kind of unadorned reality. Within a structure marked out by deliberately simple gestures, the marking of time gradually gives way to a sense of epiphany.\nIn a series of 16mm films made since 2005, Blightman uses the basic parameters of the medium to emphasise the reality of what is in front of her camera. Each work consists of a single shot, the length of which is dictated by the standard three-minute duration of the film stock. In as a period\nin which nothing happens\n(2007), the shot frames a domestic living room. Central to the composition is a single armchair directed towards a television, upon which can be made out the flickering image of Agatha Christie's\nPoirot\n. The shot lingers, a still composition in which the only evidence of time passing is the movement on the television screen, an occasional car on the road outside, and the pattern of sunlight falling through a pair of French windows. The vignette concludes when the camera pans unexpectedly to the left, coming to rest on a second set of windows.\nBlightman's compositions are characterised by an objectivism that is gradually infected with the minute and shifting experience of passing time. The rigid, almost schematic approach to representation is reminiscent of the novels of Alain Robbe-Grillet, in which the perspective is limited to the surface of visual experience, and in which – to use the words of Roland Barthes – the object \"never conceals a secret, vulnerable heart beneath its shell\". Another characteristic of Blightman's work is the clear ordering of time (the clatter of the film projector serving as an ever-present metronome). In certain exhibitions she has asked that a film be played just once a day, at a designated time. This device perhaps presents a parallel to the 'represented' time in the film, but it also emphasises personal and associative qualities – and the attempt to recapture the lucidity of a certain period. The processes through which time is measured are shown to be fluid, their slippages invested with a sense of memory and loss. Blightman's work\nfor Nought to Sixty\n, entitled\nPlease Water the Plant and Feed the Fish\n(2008), employs the simple placement of objects and turns the gallery into a live composition. A houseplant and fish bowl, placed in front of the gallery's windows, activate internal frames that echo the way in which the windows frame the external world. Blightman has asked that her brother perform the action requested in the title of the work, and he will visit the gallery at 3pm every day, a function which requires the restructuring of his daily routine. This performance creates an enforced shift of attention towards the banal and the non-event, and the way in which its repeated structure is used to impose order offers a parallel to the artist's films, but it is also a highly personal intervention. Once again, as in other pieces by Blightman, the world's stubbornly objective quality is balanced by the essentially emotive experience of the passing of time.","bio_dates":"b. 1980"},{"slug":"blumberg_skip_nam_june_paik_lessons_from_the_video_master_bonus_art_video_2006_iphone","ok":true,"partial":false,"title":"Skip Blumberg - Nam June Paik: Lessons from the video master","artist":"Nam June Paik","year":"2006","startOffset":0,"sourceSecs":2210.584,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":133006131,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blumberg_skip_nam_june_paik_lessons_from_the_video_master_bonus_art_video_2006_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/blumberg_skip_nam_june_paik_lessons_from_the_video_master_bonus_art_video_2006_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/blumberg_skip_nam_june_paik_lessons_from_the_video_master_bonus_art_video_2006_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blumberg_skip_nam_june_paik_lessons_from_the_video_master_bonus_art_video_2006_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/blumberg_skip_nam_june_paik_lessons_from_the_video_master_bonus_art_video_2006_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Being first in anything is exhilarating. In the avant-garde, artists express their own individuality without any boundaries or comparisons. Creative experiments are not always successful (it's a breakthrough only if there's a risk of failure), but it's the only way to the leading edge of culture. <br/><br/> Nam June Paik was the first video artist and did almost everything in video art first. His work broke the rules of art, television, graphics, and, because TV can use all possible art and information, practically everything else, too. <br/><br/> His first video sculptures, such as a Buddha watching his own image on TV and a magnet on the side of a TV set that pulls the TV image into abstractions, were shown at the Galeria Bonino, the Howard Wise Gallery, the Rose Art Museum and many others, beginning in 1965. <br/><br/> Subsequently, he has had many museum and gallery exhibitions in the U.S., Korea, Japan, Germany and countries around the world and also produced 3 live satellite TV broadcast performance art extravaganzas from as many as 10 countries simultaneously. In 2000 there was a spectacular retrospective of his work throughout the Guggenheim Museum of Art in New York City. <br/><br/> This video that is posted on MY HERO in the link below was produced at Nam June Paik's funeral, in February 2006. Rather than a nostalgic recounting of the life of a great and important man, it is a light-hearted and lyrical recollection of the man's offbeat wisdom (with wild eye-boggling video effects). <br/><br/> Excerpted from a longer video, Nam June Paik: Lessons from the Video Master, #1 Video Artist: Nam June Paik includes interviews with many of his friends and colleagues including avant-garde luminaries like Yoko Ono, Merce Cunningham, Ryuichi Sakamoto, Liz Phillips, and the Videofreex. <br/><br/> Nam June was a friend and colleague of mine, a man I knew well and enjoyed always. With the permission of his wife, the video artist Shigeko Kubota, I was able to produce this tribute to a wonderful friend and also to portray many other pioneer video artists in attendance at the funeral who had been in the early art video community. <br/><br/> Nam June Paik's funeral was a magical event with all the good will, recognition and love to a great, fun-loving and important person. And, for the 50 or so video artists who had been there at the beginning of the art form, it was an affectionate reunion. Davidson Gigliotti, Beryl Korot, Julia Heyward, Blondelle, Cummings, Paul Garrin, Paul Doherty, Bill Etra, Bill Viola, Andor Orand, Phyllis Gershuny, Dara Birnbaum, Carlotta Schoolman (a/k/a Fifi Corday), Kit Fitzgerald, Bob Harris, and, of course, Shigeko Kubota. Also, Russell Connor, Carol Brandenburg, John Hanhardt, Barbara London (Mr Nam June called her \"Barbara Paris\"), Sally Berger. And Gerry O'Grady and Chi Tien Lui! plus many many other long lasting friends and colleagues. There were also lots of faces among the couple hundred assembled whom I didn't know and, since Paik always has lots of young artists around, I met some fresh, bright, enthusiastic young media professionals. <br/><br/> The funeral was mostly serious (although John Hanhardt conjured up the spirit of the artist with magician's flourish). It was surprisingly staid until Paik's nephew (and director of NJP Studios) Ken Paik Hakuta told the story of Nam June Paik dropping his trousers in the White House reception line (an accident in getting up from his wheelchair or an art performance?) and then lead the suits in the audience in cutting each other's ties off and putting them onto the deceased in his open coffin. <br/><br/> I arrived right as it started and managed to get a great front seat on the side a few feet from the speakers until Merce Cunningham came a few minutes later and for whom I gave up the choice seat. I managed to see the podium a little between Merce's head and a Japanese kid's tripod camcorder. <br/><br/> I brought my camcorder but, without a good shooting position and several cameras with, I put the camera down during the ceremony. However, afterwards, at the lively reception in the Hotel Mark a few blocks away, I recorded dozens of friends (missed Shalom Gorewitz, Lori Zippay and other EAI'ers, Tom Zafian, and Muntadas, but did get lots of the early art video crowd - including all mentioned above, Yoko Ono, Merce Cunningham, Riyuchi Sakamoto and 30 others) with a theme: I asked everyone to briefly tell me something they learned from Paik and his work - advice, inspirations, aphorisms. (He once told me: \"If it's not good don't use it even once; if it's good you can use it more than once.\")... lessons from a video master. <br/><br/> Whether Paik's death is the end of the beginning of video art or not, it is now a period of great change in what he always called the media superhighway - and specifically the production, distribution and display of a medium that we still call video. We say good-bye to Mr. Paik Nam June and know that, despite what the medium becomes or is called, he will be remembered probably forever (even though his last name is his first name in Korea). <br/><br/> -- Skip Blumberg 2/4/06<br><br><b>RESOURCES:</b> <br><br> <a href=\"https://ubu.com/historical/paik/index.html\" rel=\"noopener\" target=\"_blank\">Nam June Paik in UbuWeb Historical</a> <br> <a href=\"https://ubu.com/sound/paik.html\" rel=\"noopener\" target=\"_blank\">Nam June Paik in UbuWeb Sound</a></br></br></br>","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I), Cunningham, Paik, Cage (1978)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast (1977)\nMerce by Merce by Paik [Charles Atlas, Shigeko Kobuta & Nam June Paik] (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nThirty Second Spots: TV Commercials for Arists - Nam June Paik (1982-83)\nNam June Paik is a major contemporary artist and a seminal figure in video art. His video sculptures, installations, performances and single-channel videos encompass one of the most influential and significant bodies of work in the medium.\nFrom his Fluxus-based performances and altered television sets of the early 1960s, to his ground-breaking videotapes and multi-media installations of the 1970s, '80s and '90s, Paik has made an enormous contribution to the history and development of video as an art form. Exercising radical art-making strategies with irreverent humor, he deconstructs and demystifies the language, content and technology of television. Merging global communications theories with an antic Pop sensibility, his iconoclastic works explore the juncture of art and popular culture.\nIn the 1970s, Paik began a series of tapes, including Global Groove (1973), that were extraordinarily influential and innovative. Applying surreal conceptual wit and \"neo-Dada\" irony, he established a radical syntax of video based on the visual and aural grammar of television, appropriating and then derailing its very language. Densely layered with witty intertextual references and transcultural content, his exuberant, disjunctive collages function as a stream-of-consciousness flow of images, music and electronic effects.\nPaik engages in kinetic cultural explorations as a form of global communications, as if he were switching television channels around the world. In vibrantly textured audio and visual pastiches, his emblematic motifs of Pop iconography, international avant-garde figures, multicultural performances and media appropriations are subjected to a disruptive barrage of exquisite electronic techniques — hyperbolic fragmentations, alterations and juxtapositions.\nPaik's early works display the signature image manipulations and colorizations of the Paik/Abe Synthesizer, a device he developed in 1969 with electronics engineer Shuya Abe. Paik's experiments with the Paik/Abe Synthesizer helped to revolutionize the technological grammar of the medium. The richly layered and textured alterations of his later works exhibit the tour-de-force imaging techniques of longtime collaborator Paul Garrin. Images multiply and divide within the frame; temporal and spatial shifts proliferate, visuals and sound are juxtaposed in ironic contexts. Paik's tapes often take the form of collaborations with or tributes to the avant-garde artists who were his friends and colleagues, including John Cage (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Paik, 1978), Allen Ginsberg and Allan Kaprow (Allan 'n' Allen's Complaint, 1982), Julien Beck and Judith Malina (Living with the Living Theatre, 1989) and (MAJORCA-fantasia, 1989).\nPaik began working in music and performance while a student in Germany, where he participated in the international Fluxus movement. His European Fluxus performances, actions and events included \"prepared\" pianos and musical instruments, and later, altered television sets. In Germany, Paik collaborated with such artists as Wolf Vostell and Joseph Beuys, and met avant-garde composer John Cage, whose ideas and art had a tremendous influence on his work. In 1964, Paik came to New York, where his \"discovery\" of the Sony Portapak and video art has become one of video's most enduring, if apocryphal, legends. (According to this tale, Paik bought one of the first Sony Portapaks to be manufactured for the consumer market. He made his first tape the same day, recording Pope Paul VI's visit to New York from a cab window; the tape was then exhibited at the Cafe a Go Go.)\nIn New York, Paik began a longtime collaboration with avant-garde cellist Charlotte Moorman, with whom he produced a series of important performance-based works. Among their most notorious pieces are the Opera Sextronique (1967), the TV Bra for Living Sculpture (1969), and TV Cello (1971). Paik is perhaps most widely recognized for his prodigious body of video installations and sculptures, from the landmark works of the 1970s, including TV Buddha (1974), TV Garden (1974-78), and Fish Flies on Sky (1975), to the 1986 Family of Robot and the 1995 Megatron.\nPaik's experiments with satellite technology began in 1977 at Documenta 6 in Kassel, Germany, where he collaborated on a live telecast with Joseph Beuys and Douglas Davis. His \"live\" international satellite broadcasts of the 1980s, including Good Morning Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the the World (1988), are global video installations that conjoin disparate spatial, contextual and temporal elements.\nLinking the artworld and the media, pop culture and the avant-garde, technology and philosophy, Paik's works resonate with an irreverent humor and subversive brilliance that have influenced contemporary art, video and television.\nPaik was born in Seoul, Korea in 1932, and died in 2006. He studied music and art history at the University of Tokyo, producing a thesis on Arnold Schoenberg, and graduated in 1956 with a degree in aesthetics. Paik's studies continued in Germany at the Universities of Munich and Cologne, and the Conservatory of Music in Freiburg. From 1958-63, Paik worked with Karlheinz Stockhausen at the WDR Studio fur elektronsiche Musik in Cologne. After meeting Fluxus founder George Maciunas in 1961, he participated in numerous European Fluxus performances, actions and events.\nPaik's first one-man exhibition was the 1963 Exposition of Electronic Music — Electronic Television at the Galerie Parnass in Wuppertal, Germany. Paik came to New York in 1964; his first one-person exhibition in New York was at the Bonino Gallery in 1966. In 1969, Paik participated in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in New York. Also in 1969, Paik and electronics engineer Shuya Abe created the Paik/Abe Synthesizer at the New Television Workshop at WGBH in Boston. Many of his tapes were produced in the 1970s while he was artist-in-residence at the Television Laboratory at WNET/Thirteen in New York. Since 1979, he has taught at Staatlichen Kunstakademie in Dusseldorf, Germany.\nPaik is the recipient of numerous awards, including a Rockefeller Foundation grant, the American Film Institute's Maya Deren Award for Independent Film and Video, The New York State Governor's Art Award, and The New York City Mayor's Award to Distinguished Immigrants. He won 1st Prize/Best Pavilion at the 1993 Venice Biennale for Artist as Nomad in the German Pavilion. In 1998 he was honored with the prestigious Kyoto Award in Japan, and in 1999 he was named among \"The Century's 25 Most Influential Artists\" by ARTnews. He was given the National Arts Club Artists Award in 2000.\nPaik's works have been the subject of numerous exhibitions, including his first United States retrospective at the Everson Museum, Syracuse, in 1974, and a 1976 retrospective at the Kolnischer Kunstverein, Cologne. In 1982, the Whitney Museum of American Art in New York honored him with a comprehensive retrospective of videotapes, video sculptures, installations and performances, which traveled to the Museum of Contemporary Art in Chicago.\nIn recent years, his installations have been widely exhibited internationally, including one-man shows at institutions including Tokyo Metropolitan Art Museum; Centre Georges Pompidou, Paris; and Holly Solomon Gallery, New York, among many others. His work has also been seen in group shows at festivals and institutions including the Whitney Museum of American Art Biennial, New York; Documentas 6 and 8, Kassel, Germany; Japan Society, New York; San Francisco Museum of Modern Art; and Video Sculpture, DuMont Kunsthalle, Cologne. In 1988 he was the subject of a retrospective at the Hayward Gallery in London. His live, international satellite extravaganzas have been broadcast around the world.\nThe Worlds of Nam June Paik, a major retrospective exhibition at the Solomon R. Guggenheim Museum in New York, opened in 2000, and traveled to Bilbao, Spain and Seoul, South Korea. In 2013 the retrospective exhibition Nam June Paik: Global Visionary was organized by the Smithsonian American Art Museum in Washington, D.C. --\nEAI","bio_dates":"1932-2006"},{"slug":"bogawa_roddy_im_simply_overwhelmed_2002","ok":true,"partial":false,"title":">i’m Simply Overwhelmed, I Just Don’t Know What to Say - Thank You All Very Much. Good Night.","artist":"Roddy Bogawa","year":"2002","startOffset":0,"sourceSecs":1257.691,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":211991432,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bogawa_roddy_im_simply_overwhelmed_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bogawa_roddy_im_simply_overwhelmed_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bogawa_roddy_im_simply_overwhelmed_2002.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bogawa_roddy_im_simply_overwhelmed_2002/main.mp4?v=2","description":"21 mins., B&W/color, Beta-SP <br/><br/> These found footage films are part of a project I had about making “compilation films” – much like the idea of a compilation of a compilation record (samplers I used to collect on punk, surf music, etc.) Through a process of sifting images out of their context (removed though unaltered) and re-connecting them, the sequences dictate their own constructions, become investigations and examinations all their own – a simultaneous micro/macro look at culture, its representation, and its participants.","artist_bio":"THE IMAGINED, THE LONGED-FOR, THE CONQUERED, AND THE SUBLIME (1994)\nI’M SIMPLY OVERWHELMED, I JUST DON’T KNOW WHAT TO SAY - THANK YOU ALL VERY MUCH. GOOD NIGHT. (2002)\nBorn in Los Angeles, Japanese-American Roddy Bogawa studied art and played in punk bands before turning to filmmaking. He received his MFA degree from the University of California at San Diego where he made his first two short films which have screened extensively in festivals, museums, and national and international art galleries. In 1991, he directed his first feature, the experimental narrative SOME DIVINE WIND. A mixture of fictional and documentary material, this expressionistic film focused on the paradox of assimilation while trying to hold on to one’s cultural perspective. The film was selected for the Sundance Film Festival (Dramatic Competition), the Mannheim International Film Festival (Germany), the Asian American International Film Festival (New York), the Hawaii International Film Festival, and the Fukuoka Asian Film Festival (Japan). SOME DIVINE WIND has also shown at the Museum of Modern Art in New York, the Moderna Museet in Stockholm, the 1993 Biennial Exhibition of the Whitney Museum of American Art and has been broadcast on New York WNET’s Independent Focus and WDR First German Television. His second feature film JUNK was praised by critic Amy Taubin as ‘everything indie film no longer is’ having its premiere at the New York Underground and as well as screening at the Museum of Modern Art, Chicago Underground Film Festival, Asian American International Film Festival and Exground Filmfest in Wiesbaden. His more recent short films have been featured in the New York Film Festival, Oberhausen Festival Internationale, the Black Maria Film and Video Festival (Director’s Choice Prize), and the 1995 Biennial Exhibition of the Whitney Museum of American Art and the Cinematexas Short Film Festival. TAKEN BY STORM: THE ART OF STORM THORGERSON AND HIPGNOSIS, a documentary on the work the British graphic designer Storm Thorgerson had its premiere at South By Southwest and was the centerpiece film at Documentary Fortnight at MoMA in 2012. In 2013, he was the subject of a mid-career retrospective at the Museum of Modern Art titled IF FILMS COULD SMELL. A book on his work is forthcoming in September of 2015 published by Kaya Press.","bio_dates":"b. 1962"},{"slug":"bogawa_roddy_memyselfandi_2010","ok":true,"partial":false,"title":"Memyselfandi","artist":"Roddy Bogawa","year":"2010","startOffset":0,"sourceSecs":254.963,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":33732880,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bogawa_roddy_memyselfandi_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bogawa_roddy_memyselfandi_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bogawa_roddy_memyselfandi_2010.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bogawa_roddy_memyselfandi_2010/main.mp4?v=2","description":"12 mins., color, Beta-Sp <br/><br/> These found footage films are part of a project I had about making “compilation films” – much like the idea of a compilation of a compilation record (samplers I used to collect on punk, surf music, etc.) Through a process of sifting images out of their context (removed though unaltered) and re-connecting them, the sequences dictate their own constructions, become investigations and examinations all their own – a simultaneous micro/macro look at culture, its representation, and its participants.","artist_bio":"THE IMAGINED, THE LONGED-FOR, THE CONQUERED, AND THE SUBLIME (1994)\nI’M SIMPLY OVERWHELMED, I JUST DON’T KNOW WHAT TO SAY - THANK YOU ALL VERY MUCH. GOOD NIGHT. (2002)\nBorn in Los Angeles, Japanese-American Roddy Bogawa studied art and played in punk bands before turning to filmmaking. He received his MFA degree from the University of California at San Diego where he made his first two short films which have screened extensively in festivals, museums, and national and international art galleries. In 1991, he directed his first feature, the experimental narrative SOME DIVINE WIND. A mixture of fictional and documentary material, this expressionistic film focused on the paradox of assimilation while trying to hold on to one’s cultural perspective. The film was selected for the Sundance Film Festival (Dramatic Competition), the Mannheim International Film Festival (Germany), the Asian American International Film Festival (New York), the Hawaii International Film Festival, and the Fukuoka Asian Film Festival (Japan). SOME DIVINE WIND has also shown at the Museum of Modern Art in New York, the Moderna Museet in Stockholm, the 1993 Biennial Exhibition of the Whitney Museum of American Art and has been broadcast on New York WNET’s Independent Focus and WDR First German Television. His second feature film JUNK was praised by critic Amy Taubin as ‘everything indie film no longer is’ having its premiere at the New York Underground and as well as screening at the Museum of Modern Art, Chicago Underground Film Festival, Asian American International Film Festival and Exground Filmfest in Wiesbaden. His more recent short films have been featured in the New York Film Festival, Oberhausen Festival Internationale, the Black Maria Film and Video Festival (Director’s Choice Prize), and the 1995 Biennial Exhibition of the Whitney Museum of American Art and the Cinematexas Short Film Festival. TAKEN BY STORM: THE ART OF STORM THORGERSON AND HIPGNOSIS, a documentary on the work the British graphic designer Storm Thorgerson had its premiere at South By Southwest and was the centerpiece film at Documentary Fortnight at MoMA in 2012. In 2013, he was the subject of a mid-career retrospective at the Museum of Modern Art titled IF FILMS COULD SMELL. A book on his work is forthcoming in September of 2015 published by Kaya Press.","bio_dates":"b. 1962"},{"slug":"bogawa_roddy_the_imagined_1995","ok":true,"partial":false,"title":"The Imagined, the Longed-for, the Conquered, and the Sublime","artist":"Roddy Bogawa","year":"1994","startOffset":0,"sourceSecs":473.941,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":86227054,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bogawa_roddy_the_imagined_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bogawa_roddy_the_imagined_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bogawa_roddy_the_imagined_1995.m4v","hasFrames":true,"description":"8 1/2 mins., Color, Beta-SP <br/><br/> These found footage films are part of a project I had about making “compilation films” – much like the idea of a compilation of a compilation record (samplers I used to collect on punk, surf music, etc.) Through a process of sifting images out of their context (removed though unaltered) and re-connecting them, the sequences dictate their own constructions, become investigations and examinations all their own – a simultaneous micro/macro look at culture, its representation, and its participants.","artist_bio":"THE IMAGINED, THE LONGED-FOR, THE CONQUERED, AND THE SUBLIME (1994)\nI’M SIMPLY OVERWHELMED, I JUST DON’T KNOW WHAT TO SAY - THANK YOU ALL VERY MUCH. GOOD NIGHT. (2002)\nBorn in Los Angeles, Japanese-American Roddy Bogawa studied art and played in punk bands before turning to filmmaking. He received his MFA degree from the University of California at San Diego where he made his first two short films which have screened extensively in festivals, museums, and national and international art galleries. In 1991, he directed his first feature, the experimental narrative SOME DIVINE WIND. A mixture of fictional and documentary material, this expressionistic film focused on the paradox of assimilation while trying to hold on to one’s cultural perspective. The film was selected for the Sundance Film Festival (Dramatic Competition), the Mannheim International Film Festival (Germany), the Asian American International Film Festival (New York), the Hawaii International Film Festival, and the Fukuoka Asian Film Festival (Japan). SOME DIVINE WIND has also shown at the Museum of Modern Art in New York, the Moderna Museet in Stockholm, the 1993 Biennial Exhibition of the Whitney Museum of American Art and has been broadcast on New York WNET’s Independent Focus and WDR First German Television. His second feature film JUNK was praised by critic Amy Taubin as ‘everything indie film no longer is’ having its premiere at the New York Underground and as well as screening at the Museum of Modern Art, Chicago Underground Film Festival, Asian American International Film Festival and Exground Filmfest in Wiesbaden. His more recent short films have been featured in the New York Film Festival, Oberhausen Festival Internationale, the Black Maria Film and Video Festival (Director’s Choice Prize), and the 1995 Biennial Exhibition of the Whitney Museum of American Art and the Cinematexas Short Film Festival. TAKEN BY STORM: THE ART OF STORM THORGERSON AND HIPGNOSIS, a documentary on the work the British graphic designer Storm Thorgerson had its premiere at South By Southwest and was the centerpiece film at Documentary Fortnight at MoMA in 2012. In 2013, he was the subject of a mid-career retrospective at the Museum of Modern Art titled IF FILMS COULD SMELL. A book on his work is forthcoming in September of 2015 published by Kaya Press.","bio_dates":"b. 1962"},{"slug":"bordowitz_gregg_fast_trip_long_drop_1993","ok":true,"partial":false,"title":"Fast Trip, Long Drop","artist":"Gregg Bordowitz","year":"1993","startOffset":0,"sourceSecs":3274.773,"sourceHeight":432,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":189631092,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bordowitz_gregg_fast_trip_long_drop_1993/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bordowitz_gregg_fast_trip_long_drop_1993/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bordowitz_gregg_fast_trip_long_drop_1993.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bordowitz_gregg_fast_trip_long_drop_1993/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bordowitz_gregg_fast_trip_long_drop_1993/main/master.m3u8?v=2","hasMainHls":true,"description":"Duration - 00:53:58 <br/><br/> In the spring of 1988, video-maker/activist Gregg Bordowitz tested HIV-antibody positive. He then quit drinking and taking drugs and came out to his parents as a gay man. This imaginative autobiographical documentary began as an inquiry into these events and the cultural climate surrounding them. While writing the film, a close friend was diagnosed with breast cancer and his grandparents were killed in a car accident. The cumulative impact of these events challenged his sense of identity, the way he understood his own diagnosis, and the relationships between illness and history.","artist_bio":"Gregg Bordowitz is a writer, AIDS activist, and film-and videomaker. His work, including\nFast Trip, Long Drop\n(1993) and\nHabit\n(2001), documents his personal experiences of testing positive and living with HIV within the context of a personal and global crisis. His writings are collected in\nThe AIDS Crisis is Ridiculous and Other Writings:1986-2003\n. He is currently on faculty in the Film Video and New Media department at The School of the Art Institute of Chicago.","bio_dates":"b. 1964"},{"slug":"boredoms_superseeeeee_1998","ok":true,"partial":false,"title":"Super Seeeeee!!!!!!","artist":"Boredomse","year":"1998","startOffset":0,"sourceSecs":1632.683,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":274422453,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/boredoms_superseeeeee_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/boredoms_superseeeeee_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/boredoms_superseeeeee_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/boredoms_superseeeeee_1998/main.mp4?v=2","description":"Super Seeeeee!!!!!! is a live video released by Japanese noise rock band Boredoms, and is their first official video.[1] It was released in 1998 by Warner Music Japan on VHS, and reissued later in 2004 and 2006 on DVD. <br/><br/> Track listing <br/><br/>\"\"ETOT\" – 13:54 (remix of \"Super You\" from Super æ, set to animation by Naohiro Ukawa; includes 3:50 remix of SMPTE color bars at the beginning) <br/><br/>\"\"SUPER GO!!!!!→shine in◯shine on\" – 11:26 (collage of live performances shot at Meiji University on November 23, 1996 and Vitamin Q & Scared Cave in Nagano on September 17, 1997, during the lunar eclipse)","artist_bio":"Boredoms (ボアダムス (Boadamusu)) (later known as V∞redoms) is a rock band from Osaka, Japan. The band was officially formed in 1986, although some date the band to bedroom tape experiments from 1982. The band's output is usually referred to as noise rock or sometimes Japanoise, though their more recent records have been largely based around repetitive minimalism, ambient music, and tribal drumming.\nThe band has a vast and sometimes confusing discography. Many band members have rotated through the group over the years, often using a number of various stage names. Singer Yamantaka Eye is the closest the band has to a frontman; his style includes a range of baffling screams, babbling, electronic effects, and very heavy post-production. Drummer/keyboard player/vocalist Yoshimi P-We is featured on most Boredoms recordings.","bio_dates":"1998"},{"slug":"borges_jl_profile_of_a_writer_1983_iphone","ok":true,"partial":false,"title":"Profile Of A Writer: Borges","artist":"Jorge Luis Borges","year":"1983","startOffset":0,"sourceSecs":5043.565,"sourceHeight":320,"sourceWidth":386,"hasAudio":true,"hasAmbientMp4":true,"bytes":292919817,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borges_jl_profile_of_a_writer_1983_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borges_jl_profile_of_a_writer_1983_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borges_jl_profile_of_a_writer_1983_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borges_jl_profile_of_a_writer_1983_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borges_jl_profile_of_a_writer_1983_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Playlength: 80 minutes<br/> Director: David Wheatley <br/> Acclaimed writer, Jorge Luis Borges, discusses his life, his work and his influences. <br/><br/> The film consists of interviews in English with Borges, as well as short dramatizations in Spanish of several of his stories. There are no subtitles, but the dialogue in the dramatizations is fairly sparse. <br/><br/> Dramatizations include: <br/><br/> Funes the Memorious<br/> The Circular Ruins<br/> The South<br/> Death and the Compass<br/> The Encounter<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/borges.html\" rel=\"noopener\" target=\"_blank\">Jorge Luis Borges in UbuWeb Sound</a></br>","artist_bio":"Jorge Francisco Isidoro Luis Borges (24 August 1899 – 14 June 1986), known as Jorge Luis Borges, was an Argentine short-story writer, essayist, poet and translator born in Buenos Aires. His work embraces the \"character of unreality in all literature\". His most famous books, Ficciones (1944) and The Aleph (1949), are compilations of short stories interconnected by common themes such as dreams, labyrinths, libraries, mirrors, animals, fictional writers, philosophy, religion and God. His works have contributed to philosophical literature and also to the fantastic genre, a genre that reacted against the realism/naturalism of the nineteenth century. In fact, critic Angel Flores, the first to use the term, set the beginning of this movement with Borges's Historia universal de la infamia (A Universal History of Infamy) (1935). Scholars have also suggested that Borges's progressive blindness helped him to create innovative literary symbols through imagination. His late poems dialogue with such cultural figures as Spinoza, Camões, and Virgil.\nIn 1914 his family moved to Switzerland where he attended school, receiving his baccalauréat from the Collège de Genève in 1918. The family travelled widely in Europe, including stays in Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955 he was appointed director of the National Public Library (Biblioteca Nacional) and professor of Literature at the University of Buenos Aires. In 1961 he came to international attention when he received the first ever Prix International, sharing the award with Samuel Beckett. In 1971 he won the Jerusalem Prize. His work was translated and published widely in the United States and in Europe. Borges himself was fluent in several languages. Borges had dedicated his final work, Los Conjurados (The Conspirators), to the city of Geneva, Switzerland, and it was there, in 1986, that he chose to die.\nHis international fame was consolidated in the 1960s, aided by the \"Latin American Boom\" and the success of Gabriel García Márquez's Cien Años de Soledad (One Hundred Years of Solitude). Writer and essayist J. M. Coetzee said of him: \"He, more than anyone, renovated the language of fiction and thus opened the way to a remarkable generation of Spanish American novelists.\"","bio_dates":"1899-1986"},{"slug":"borges_jorge_luis_arena_borges_and_i","ok":true,"partial":false,"title":"Arena: Borges and I","artist":"Jorge Luis Borges","year":"1983","startOffset":0,"sourceSecs":4559.85,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":266601677,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borges_jorge_luis_arena_borges_and_i/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borges_jorge_luis_arena_borges_and_i/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borges_jorge_luis_arena_borges_and_i.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borges_jorge_luis_arena_borges_and_i/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borges_jorge_luis_arena_borges_and_i/main/master.m3u8?v=2","hasMainHls":true,"description":"Tonight the new series of Arena opens with a unique profile of one of the great literary figures of our time: the blind Argentine poet and storyteller, Jorge Luis Borges.<br/><br/> Now 84, he is the acknowledged master of the rich new literature of South America. Above all, Borges’s stories are a dazzling exploration of his own mind and limitless curiosity. His magical tales are often rooted in puzzles and paradoxes. Imagine a man who can forget absolutely nothing, a knife that mysteriously controls the destinies of those who handle it, a point in space that contains everything that exists.<br/><br/> Bringing together an exotic miscellany of incident and reference, Borges’s work draws on the extraordinary landscape of Argentina and Uruguay – with their traditions of gauchos, horses, and old-time knife fighters – and on his profound and vivid love of books, especially those of other times and other places.<br/><br/> Filmed in Uruguay, Buenos Aires, and Paris, tonight’s programme re-creates some of Borges’s most memorable stories; among them Death and the Compass, The Meeting and Funes the Memorious.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/borges.html\" rel=\"noopener\" target=\"_blank\">Jorge Luis Borges in UbuWeb Sound</a></br>","artist_bio":"Jorge Francisco Isidoro Luis Borges (24 August 1899 – 14 June 1986), known as Jorge Luis Borges, was an Argentine short-story writer, essayist, poet and translator born in Buenos Aires. His work embraces the \"character of unreality in all literature\". His most famous books, Ficciones (1944) and The Aleph (1949), are compilations of short stories interconnected by common themes such as dreams, labyrinths, libraries, mirrors, animals, fictional writers, philosophy, religion and God. His works have contributed to philosophical literature and also to the fantastic genre, a genre that reacted against the realism/naturalism of the nineteenth century. In fact, critic Angel Flores, the first to use the term, set the beginning of this movement with Borges's Historia universal de la infamia (A Universal History of Infamy) (1935). Scholars have also suggested that Borges's progressive blindness helped him to create innovative literary symbols through imagination. His late poems dialogue with such cultural figures as Spinoza, Camões, and Virgil.\nIn 1914 his family moved to Switzerland where he attended school, receiving his baccalauréat from the Collège de Genève in 1918. The family travelled widely in Europe, including stays in Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955 he was appointed director of the National Public Library (Biblioteca Nacional) and professor of Literature at the University of Buenos Aires. In 1961 he came to international attention when he received the first ever Prix International, sharing the award with Samuel Beckett. In 1971 he won the Jerusalem Prize. His work was translated and published widely in the United States and in Europe. Borges himself was fluent in several languages. Borges had dedicated his final work, Los Conjurados (The Conspirators), to the city of Geneva, Switzerland, and it was there, in 1986, that he chose to die.\nHis international fame was consolidated in the 1960s, aided by the \"Latin American Boom\" and the success of Gabriel García Márquez's Cien Años de Soledad (One Hundred Years of Solitude). Writer and essayist J. M. Coetzee said of him: \"He, more than anyone, renovated the language of fiction and thus opened the way to a remarkable generation of Spanish American novelists.\"","bio_dates":"1899-1986"},{"slug":"borges_jorge_luis_borges_75","ok":true,"partial":false,"title":"Borges 75","artist":"Jorge Luis Borges","year":"1975","startOffset":0,"sourceSecs":615.88,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":110687805,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borges_jorge_luis_borges_75/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borges_jorge_luis_borges_75/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borges_jorge_luis_borges_75.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borges_jorge_luis_borges_75/main.mp4?v=2","description":"Dir. Beda Docampo Feijóo & G. Zorraquin <br/><br/> This short interview with Jorge Luis Borges about his life and work in Buenos Aires was made as a student film. It was released recently on a DVD featuring student films by people who have since become feature filmmakers in Argentina.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/borges.html\" rel=\"noopener\" target=\"_blank\">Jorge Luis Borges in UbuWeb Sound</a></br>","artist_bio":"Jorge Francisco Isidoro Luis Borges (24 August 1899 – 14 June 1986), known as Jorge Luis Borges, was an Argentine short-story writer, essayist, poet and translator born in Buenos Aires. His work embraces the \"character of unreality in all literature\". His most famous books, Ficciones (1944) and The Aleph (1949), are compilations of short stories interconnected by common themes such as dreams, labyrinths, libraries, mirrors, animals, fictional writers, philosophy, religion and God. His works have contributed to philosophical literature and also to the fantastic genre, a genre that reacted against the realism/naturalism of the nineteenth century. In fact, critic Angel Flores, the first to use the term, set the beginning of this movement with Borges's Historia universal de la infamia (A Universal History of Infamy) (1935). Scholars have also suggested that Borges's progressive blindness helped him to create innovative literary symbols through imagination. His late poems dialogue with such cultural figures as Spinoza, Camões, and Virgil.\nIn 1914 his family moved to Switzerland where he attended school, receiving his baccalauréat from the Collège de Genève in 1918. The family travelled widely in Europe, including stays in Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955 he was appointed director of the National Public Library (Biblioteca Nacional) and professor of Literature at the University of Buenos Aires. In 1961 he came to international attention when he received the first ever Prix International, sharing the award with Samuel Beckett. In 1971 he won the Jerusalem Prize. His work was translated and published widely in the United States and in Europe. Borges himself was fluent in several languages. Borges had dedicated his final work, Los Conjurados (The Conspirators), to the city of Geneva, Switzerland, and it was there, in 1986, that he chose to die.\nHis international fame was consolidated in the 1960s, aided by the \"Latin American Boom\" and the success of Gabriel García Márquez's Cien Años de Soledad (One Hundred Years of Solitude). Writer and essayist J. M. Coetzee said of him: \"He, more than anyone, renovated the language of fiction and thus opened the way to a remarkable generation of Spanish American novelists.\"","bio_dates":"1899-1986"},{"slug":"borges_jorge_luis_borges_conferencia_la_ceguera","ok":true,"partial":false,"title":"Borges y la ceguera (Borges on Blindness)","artist":"Jorge Luis Borges","year":"1977","startOffset":0,"sourceSecs":2903.937,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":489692175,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borges_jorge_luis_borges_conferencia_la_ceguera/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borges_jorge_luis_borges_conferencia_la_ceguera/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borges_jorge_luis_borges_conferencia_la_ceguera.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borges_jorge_luis_borges_conferencia_la_ceguera/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borges_jorge_luis_borges_conferencia_la_ceguera/main/master.m3u8?v=2","hasMainHls":true,"description":"Señoras, Señores:<br><br><b>Blindness</b> <br><br> In the course of the many lectures-too many lectures-! have given, I've observed that people tend to prefer the personal to the general, the concrete to the abstract. I will begin, then, by referring to my own modest blindness.<br/><br/> Modest, because it is total blindness in one eye, but only partial in the other. I can still make out certain colors; I can still see blue and green. And yellow, in particular, has remained faithful to me. I remember when I was young I used to linger in front of certain cages in the Palermo zoo: the cages of the tigers and leopards. I lingered before the tigers' gold and black. Yellow is still with me, even now. I have written a poem, entitled \"The Gold of the Tigers,\" in which I refer to this friendship.<br/><br/> People generally imagine the blind as enclosed in a black world. There is, for example, Shakespeare's line: \"Looking on darkness which the blind do see.\" If we understand \"darkness\" as \"blackness,\" then Shakespeare is wrong.<br/><br/> One of the colors that the blind-or at least this blind man-do not see is black; another is red. Le rouge et le nair are the colors denied us. I, who was accustomed to sleeping in total darkness, was bothered for a long time at having to sleep in this world of mist, in the greenish or bluish mist, vaguely luminous, which is the world of the blind. I wanted to lie down in dar ess. The world of the blind is not the night that people imagine. (I should say that I am speaking for myself, and for my father and my grand­ mother, who both died blind-blind, laughing, and brave, as I also hope to die. They inherited many things-blindness, for example-but one does not inherit courage. I know that they were brave.)<br/><br/> The blind live in a world that is inconvenient, an unde ned world from which certain colors emerge: for me, yellow, blue (except that the blue may be green), and green (except that the green may be blue). White has disap­ peared, or is con sed with grey. As for red, it has vanished completely. But I hope some day-1 am following a treatment-to improve and to be able to see that great color, that color which shines in poetry, and which has so many beauti l names in many languages. Think of scharlach in German, scarlet in English, escarlata in Spanish, ecarlate in French. Words that are worthy of that great color. In contrast, amarillo, yellow, sounds weak in Spanish; in English it seems more like yellow. I think that in Old Spanish it was amariello.<br/><br/> I live in that world of colors, and if I speak of my own modest blind­ ness, I do so, rst, because it is not the total blindness that people imagine, and second, because it deals with me. My case is not especially dramatic. What is dramatic are those who suddenly lose their sight. In my case, that slow nightfall, that slow loss of sight, began when I began to see. It has con­ tinued since 1899 without dramatic moments, a slow nightfall that haslasted more than three quarters of a century. In 1955, the pathetic moment came when I knew I had lost my sight, my reader's and writer's sight.<br/><br/> In my life I have received many unmerited honors, but there is one that has made me happier than all the others: the directorship of the National Library. For reasons more political than literary, I was appointed by the Aramburu government.<br/><br/> I was named director of the library, and I returned to that building of which I had so many memories, on the Calle Mexico in Monserrat, in the south of the city. I had never dreamed of the possibility of being director of the library. I had memories of another kind. I would go there with my fa­ ther, at night. My father, a professor of psychology, would ask for some book by Bergson or William James, who were his favorite writers, or per­ haps by Gustav Spiller. I, too timid to ask for a book, would look through some volume of the Encyclopedia Britannica or the German encyclopedias of Brockhaus or of Meyer. I would take a volume at random from the shelf and read. I remember one night when I was particularly rewarded, for I read three articles: on the Druids, the Druses, and Dryden-a gi of the let­ ters DR. Other nights I was less fortunate.<br/><br/> I knew that Paul Groussac was in the building. I could have met him personally, but I was then quite shy; almost as shy as I am now. At the time, I believed that shyness was very important, but now I know that shyness is one of the evils one must try to overcome, that in reality to be shy doesn't matter-it is like so many other things to which one gives an exaggerated importance.<br/><br/> I received the nomination at the end of 1955. I was in charge, I was told, of a million books. Later I found out it was nine hundred thousand-a number that's more than enough. (And perhaps nine hundred thousand seems more than a million.)<br/><br/> Little by little I came to realize the strange irony of events. I had always imagined Paradise as a kind of library. Others think of a garden or of a palace. There I was, the center, in a way, of nine hundred thousand books in various languages, but I found I could barely make out the title pages and the spines. I wrote the \"Poem of the Gi s,\" which begins:<br/><br/> No one should read self-pity or reproach<br/> into this statement of the majesty<br/> of God; who with such splendid irony<br/> granted me books and blindness at one touch.<br/> <br/> Those two gi s contradicted each other: the countless books and the night, the inability to read them. I imagined the author of that poem to be Groussac, for Groussac was also the director of the library and also blind. Groussac was more coura­ geous than I: he kept his silence. But I knew that there had certainly been moments when our lives had coincided, as we both had become blind and we both loved books. He honored literature with books far superior to mine. But we were both men of letters, and we both passed through the li­ brary of forbidden books-one might say, for our darkened eyes, of blank books, books without letters. I wrote of the irony of God, and in the end I asked myself which of us had written that poem of a plural I and a single shadow.<br/><br/> At the time I did not know that there had been another director of the library who was blind, Jose Marmol. Here appears the number three, which seals everything. Two is a mere coincidence; three, a con rmation. A con r­ mation of a ternary order, a divine or theological con rmation.<br/><br/> Marmol was director of the library when it was on the Calle Venezuela. These days it is usual to speak badly of Marmol, or not to mention him at all. But we must remember that when we speak of the time of Rosas, we do not think of the admirable book by Ramos Mejia, Rosas and His Time, but of the era as it is described in Marmol's wonderfully gossipy novel, La Amalia. To bequeath the image of an age or of a country is no small glory.<br/><br/> We have, then, three people who shared the same fate. And, for me, the joy of returning to the Monserrat section, in the Southside. For everyone in Buenos Aires, the Southside is, in a mysterious way, the secret center of the city. Not the other, somewhat ostentatious center we show to tourists-in those days there was not that bit of public relations called the Barrio de San Telmo. But the Southside has come to be the modest secret center of Buenos Aires.<br/><br/> hen I think of Buenos Aires, I think of the Buenos Aires I knew as a child: the low houses, the patios, the porches, the cisterns with turtles in them, the grated windows. That Buenos Aires was all of Buenos Aires. Now only the southern section has been preserved. I felt that I had returned to the neighborhood of my elders.<br/><br/> There were the books, but I had to ask my friends the titles of them. I remembered a sentence from Rudolf Steiner, in his books on anthroposo­ phy, which was the name he gave to his theosophy. He said that when some­ thing ends, we must think that something begins. His advice is salutary, but the execution is di cult, for we only know what we have lost, not what we will gain. We have a very precise image-an image at times shameless-of what we have lost, but we are ignorant ofwhat may follow or replace it.<br/><br/> I made a decision. I said to myself: since I have lost the beloved world of appearances, I must create something else. At the time I was a professor of English at the university. What could I do to teach that almost in nite lit­ erature, that literature which exceeds the life of a man, and even generations of men? What could I do in four Argentine months of national holidays and strikes? I did what I could to teach the love of that literature, and I re ained as much as possible from dates and names.<br/><br/> Some female students came to see me. They had taken the exam and passed. ( l students pass with me!) To the girls-there were nine or ten-I said: \"I have an idea. Now that you have passed and I have ful lled my obli­ gation as a professor, wouldn't it be interesting to embark on the study of a language or a literature we hardly know?\" They asked which language and which literature. \"Well, naturally the English language and English litera­ ture. Let us begin to study them, now that we are free from the frivolity of the exams; let us begin at the beginning.\"<br/><br/> I remembered that at home there were two books I could retrieve. I had placed them on the highest shelf, thinking I would never use them. They were Sweet's Anglo-Saxon Reader and The Anglo-Saxon Chronicle. Both had glossaries. And so we gathered one morning in the National Library.<br/><br/> I thought: I have lost the visible world, but now I am going to recover another, the world of my distant ancestors, those tribes of men who rowed across the stormy northern seas, from Germany, Denmark, and the Low Countries, who conquered England, and a er whom we name England­ since Angle-land, land of the Angles, had previously been called the land of the Britons, who were Celts.<br/><br/> It was a Saturday morning. We gathered in Groussac's o ce, and we be­ gan to read. There was a detail that pleased and morti ed us, and at the same time lled us with a certain pride. It was the fact that the Saxons, like the Scandinavians, used two runic letters to signi the two sounds of th, as in \"thing\" and \"the.\" This conferred an air of mystery to the page.<br/><br/> We were encountering a language that seemed di erent from English but similar to German. What always happens, when one studies a language, happened. Each one of the words stood out as though it had been carved, as though it were a talisman. For that reason poems in a foreign language have a prestige they do not enjoy in their own language, for one hears, one sees, each one of the words individually. We think of the beauty, of the power, or simply of the strangeness of them.<br/><br/> We had good luck that morning. We discovered the sentence, \"Julius Caesar was the rst Roman to discover England.\" Finding ourselves with the Romans in a text of the North, we were moved. You must remember we knew nothing of the language; each word was a kind of talisman we un­ earthed. We found two words. And with those two words we became almost drunk. ( It's true that I was an old man, and they were young women-likely stages for inebriation.) I thought: \"I am returning to the language my an­ cestors spoke y generations ago; I am returning to that language; I am re­ claiming it. It is not the rst time I speak it; when I had other names this was the language I spoke.\" Those two words were the name of London,<br/><br/> \"Lundenburh,\" and the name of Rome, which moved us even more, think­ ing of the light that had fallen on those northern islands, \"Romeburh.\" I think we le crying, \"Lundenburh, Romeburh . . .\" in the streets.<br/><br/> So I began my study ofAnglo-Saxon, which blindness brought me. And now I have a memory full of poetry that is elegiac, epic, Anglo-Saxon.<br/><br/> I had replaced the visible world with the aural world of the Anglo­ Saxon language. Later I moved on to the richer world of Scandinavian lit­ erature: I went on to the Eddas and the sagas. I wro e Ancient Germanic Literature and many poems based on those themes, but most of all I en­ joyed it. I am now preparing a book on Scandinavian literature.<br/><br/> I did not allow blindness to intimidate me. And besides, my publisher made me an excellent offer: he told me that if I produced thirty poems in a year, he would produce a book. Thirty poems means discipline, especially when one must dictate every line, but at the same time it allows for a su ­ cient freedom, as it is impossible that in one year there will not be thirty occasions for poetry. Blindness has not been for me a total misfortune; it should not be seen in a pathetic way. It should be seen as a way of life: one of the styles of living.<br/><br/> Being blind has its advantages. I owe to the darkness some gi s: the gi ofAnglo-Saxon,mylimitedknowledgeofIcelandic,thejoyofsomanylines of poetry, of so many poems, and of having written another book, entitled, with a certain falsehood, with a certain arrogance, In Praise ofDarkness.<br/><br/> I would like to speak now of other cases, of illustrious cases. I will begin with that obvious example of the iendship of poetry and blindness, with the one who has been called the greatest of poets: Homer. (We know of another blind Greek poet, Tamiris, whose work has been lost. Tamiris was defeated in a battle with the Muses, who broke his lyre and took away his sight.)<br/><br/> Oscar Wilde had a curious hypothesis, one which I don't think is his­ torically correct but which is intellectually agreeable. In general, writers try to make what they say seem profound; Wilde was a profound man who tried to seem frivolous. He wanted us to think of him as a conversationalist; he wanted us to consider him as Plato considered poetry, as \"that winged, c e, sacred thing.\" Well, that winged, ckle, sacred thing called Oscar Wilde said that Antiquity had deliberately represented Homer as blind.<br/><br/> We do not know if Homer existed. The fact that seven cities vie for his name is enough to make us doubt his historicity. Perhaps there was no sin­ gle Homer; perhaps there were many Greeks whom we conceal under the name of Homer. The traditions are unanimous in showing us a blind poet, yet Homer's poetry is visual, o en splendidly visual-as was, to a far lesser degree, that of Oscar Wilde.<br/><br/> Wilde realized that his own poetry was too visual, and he wanted to cure himself of that defect. He wanted to make poetry that was aural, musical-let us say like the poetry of Tennyson, or of Verlaine, whom he loved and admired so. Wilde said that the Greeks claimed that Homer was blind in order to emphasize that poetry must be aural, not visual. From that comes the \"de la musique avant toute chose\" ofVerlaine and the symbolism contemporary to Wilde.<br/><br/> We may believe that Homer never existed, but that the Greeks imagined him as blind in order to insist on the fact that poetry is, above all, music; that poetry is, above all, the lyre; that the visual can or cannot exist in a poet. I know of great visual poets and great poets who are not visual-intellectual poets, mental ones-there's no need to mention names.<br/><br/> Let us go on to the example of Milton. Milton's blindness was volun­ tary. He knew from the beginning that he was going to be a great poet. This has occurred to other poets: Coleridge and De Quincey, before they wrote a single line, knew that their destiny was literary. I too, if I may mention my­ self, have always known that my destiny was, above all, a literary destiny­ that bad things and some good things would happen to me, but that, in the long run, all of it would be converted into words. Particularly the bad things, since happiness does not need to be transformed: happiness is its own end.<br/><br/> Let us return to Milton. He destroyed his sight writing pamphlets in support of the execution of the king by Parliament. Milton said that he lost his sight voluntarily, defending freedom; he spoke of that noble task and never complained of being blind. He sacri ced his sight, and then he re­ membered his rst desire, that of being a poet. They have discovered at Cambridge University a manuscript in which the young Milton proposes various subjects for a long poem.<br/><br/> \"I might perhaps leave something so written to a ertimes, as they should not willingly let it die;' he declared. He listed some ten or fi een subjects, not knowing that one of them would prove prophetic: the subject of Samson. He did not know that his fate would, in a way, be that of Sam­ son; that Samson, who had prophesied Christ in the Old Testament, also prophesied Milton, and with greater accuracy. Once he knew himself to be permanently blind, he embarked on two historical works, A BriefHistory of Muscovia and A History of England, both of which remained un nished. And then the long poem Paradise Lost. He sought a theme that would inter­ est all men, not merely the English. That subject was Adam, our common father.<br/><br/> He spent a good part of his time alone, composing verses, and his memory had grown. He would hold forty or y hendecasyllables of blank verse in his memory and then dictate them to whomever came to visit. The whole poem was written in this way. He thought of the fate of Samson, so close to his own, for now Cromwell was dead and the hour of the Restora­ tion had come. Milton was persecuted and could have been condemned to death for having supported the execution of the king. But when they brought Charles 11-son of Charles I, \"The Executed\"-the list of those condemned to death, he put down his pen and said, not without nobility, \"There is something in my right hand which will not allow me to sign a sen­ tence of death.\" Milton was saved, and many others with him.<br/><br/> He then wrote Samson Agonistes. He wanted to create a Greek tragedy. The action takes place in a single day, Samson's last. Milton thought on the similarity of destinies, since he, like Samson, had been a strong man who was ultimately defeated. He was blind. And he wrote those verses which, ac­ cording to Landor, he punctuated badly, but which in fact had to be \"Eye­ less, in Gaza, at the mill, with the slaves\"-as if the misfortunes were accumulating on Samson.<br/><br/> Milton has a sonnet in which he speaks of his blindness. There is a line one can tell was written by a blind man. When he has to describe the world, he says, \"In this dark world and wide.\" It is precisely the world of the blind when they are alone, walking with hands outstretched, searching for props. Here we have an example-much more important than mine-of a man who overcomes blindness and does his work: Paradise Lost, Paradise Re­ gained, Samson Agonistes, his best sonnets, part of A History of England, from the beginnings to the Norman Conquest. All of this was executed while he was blind; all of it had to be dictated to casual visitors.<br/><br/> The Boston aristocrat Prescott was helped by his wife. An accident, when he was a student at Harvard, had caused him to lose one eye and le him almost blind in the other. He decided that his life would be dedicated to literature. He studied, and learned, the literatures of England, France, Italy, and Spain. Imperial Spain offered him a world that was agreeable to his own rigid rejection of a democratic age. From an erudite he became a writer, and he dictated to his wife the histories of the conquest of Mexico and Peru, of the reign of the Catholic Kings and of Phillip II. It was a happy labor, almost impeccable, which took more than twenty years.<br/><br/> There are two examples that are closer to us. One I have already men­ tioned, Paul Groussac, who has been unjustly forgotten. People see him now as a French interloper in Argentina. It is said that his historical work has become dated, that today one makes use of greater documentation. But they forget that Groussac, like every writer, le two works: rst, his subject, and second, the manner of its execution. Groussac revitalized Spanish prose. Alfonso Reyes, the greatest prose writer in Spanish in any era, once told me, \"Groussac taught me how Spanish should be written.\" Groussac over­ came his blindness and left some of the best pages in prose that have been written in our country. It will always please me to remember this.<br/><br/> Let us recall another example, one more famous than Groussac. In James Joyce we are also given a twofold work. We have those two vast and­ why not say it?-unreadable novels, Ulysses and Finnegans Wake. But that is only half of his work (which also includes beautiful poems and the ad­ mirable Portrait ofan Artist as a Young Man). The other half, and perhaps the most redeeming aspect (as they now say) is the fact that he took on the almost in nite English language. That language-which is statistically larger than all the others and o ers so many possibilities for the writer, par­ ticularly in its concrete verbs-was not enough for him. Joyce, an Irishman, recalled that Dublin had been founded by Danish Vikings. He studied Norwegian-he wrote a letter to Ibsen in Norwegian-and then he studied Greek, Latin. . . . He knew all the languages, and he wrote in a language in­ vented by himself, dif cult to understand but marked by a strange music. Joyce brought a new music to English. And he said, valorously (and menda­ ciously) that \"of all the things that have happened to me, I think the least important was having been blind.\" Part of his vast work was executed in darkness: polishing the sentences in his memory, working at times for a whole day on a single phrase, and then writing it and correcting it. All in the midst of blindness or periods of blindness. In comparison, the impotence of Boileau, Swi , Kant, Ruskin, and George Moore was a melancholic in­ strument for the successful execution of their work; one might say the same of perversion, whose bene ciaries today have ensured that no one will ig­ nore their names. Democritus of Abdera tore his eyes out in a garden so that the spectacle of reality would not distract him; Origen castrated himself.<br/><br/> I have enumerated enough examples. Some are so illustrious that I am ashamed to have spoken of my own personal case-except for the fact that people always hope for confessions, and I have no reason to deny them mine. But, of course, it seems absurd to place my name next to those I have recalled.<br/><br/> I have said that blindness is a way of life, a way of life that is not entirely unfortunate. Let us recall those lines of the greatest Spanish poet, Fray Luis de Leon:<br/><br/> Vivir quiero conmigo,<br/> gozar quiero del bien que debo al cielo, a solas sin testigo,<br/> libre de amor, de celo,<br/> de odio, de esperanza, de recelo.<br/> <br/> [I want to live with myself,/I want to enjoy the good that I owe to heaven,/alone, without witnesses,/free of love, of jealousy,/of hate, of hope, of fear.] <br/><br/> Edgar Allan Poe knew this stanza by heart. For me, to live without hate is easy, for I have never felt hate. To live without love I think is impossible, happily impossible for each one of us. But the rst part-\"I want to live with myself,/I want to enjoy the good that I owe to heaven\"-if we accept that in the good of heaven there can also be darkness, then who lives more with themselves? Who can explore them­ selves more? Who can know more of themselves? According to the Socratic phrase, who can know himself more than the blind man?<br/><br/> A writer lives. The task of being a poet is not completed at a xed schedule. No one is a poet from eight to twelve and from two to six. Who­ ever is a poet is always one, and continually assaulted by poetry. I suppose a painter feels that colors and shapes are besieging him. Or a musician feels that the strange world of sounds-the strangest world of art-is always seeking him out, that there are melodies and dissonances looking for him. For the task of an artist, blindness is not a total misfortune. It may be an in­ strument. Fray Luis de Leon dedicated one of his most beauti l odes to Francisco Salinas, a blind musician.<br/><br/> A writer, or any man, must believe that whatever happens to him is an instrument; everything has been given for an end. This is even stronger in the case of the artist. Everything that happens, including humiliations, em­ barrassments, misfortunes, all has been given like clay, like material for one's art. One must accept it. For this reason I speak in a poem of the an­ cient food of heroes: humiliation, unhappiness, discord. Those things are given to us to transform, so that we may make om the miserable circum­ stances of our lives things that are eternal, or aspire to be so.<br/><br/> If a blind man thinks this way, he is saved. Blindness is a gi . I have ex­ hausted you with the gifts it has given me. It gave me Anglo-Saxon, it gave me some Scandinavian, it gave me a knowledge of a medieval literature I didn't know, it gave me the writing of various books, good or bad, but which justi ed the moment in which they were written. Moreover, blind­ ness has made me feel surrounded by the kindness of others. People always feel good will toward the blind.<br/><br/> I want to end with a line of Goethe: ' lles Nahe werde fern,\" everything near becomes far. Goethe was referring to the evening twilight. Everything near becomes far. It is true. At nightfall, the things closest to us seem to move away from our eyes. So the visible world has moved away from my eyes, perhaps forever.<br/><br/> Goethe could be referring not only to twilight but to life. All things go o , leaving us. Old age is probably the supreme solitude-except that the supreme solitude is death. And \"everything near becomes far\" also refers to the slow process of blindness, of which I hoped to show, speaking tonight, that it is not a complete misfortune. It is one more instrument among the many-all of them so strange-that fate or chance provide.<br/><br/> [19771 [EW]<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/borges.html\" rel=\"noopener\" target=\"_blank\">Jorge Luis Borges in UbuWeb Sound</a></br></br></br>","artist_bio":"Jorge Francisco Isidoro Luis Borges (24 August 1899 – 14 June 1986), known as Jorge Luis Borges, was an Argentine short-story writer, essayist, poet and translator born in Buenos Aires. His work embraces the \"character of unreality in all literature\". His most famous books, Ficciones (1944) and The Aleph (1949), are compilations of short stories interconnected by common themes such as dreams, labyrinths, libraries, mirrors, animals, fictional writers, philosophy, religion and God. His works have contributed to philosophical literature and also to the fantastic genre, a genre that reacted against the realism/naturalism of the nineteenth century. In fact, critic Angel Flores, the first to use the term, set the beginning of this movement with Borges's Historia universal de la infamia (A Universal History of Infamy) (1935). Scholars have also suggested that Borges's progressive blindness helped him to create innovative literary symbols through imagination. His late poems dialogue with such cultural figures as Spinoza, Camões, and Virgil.\nIn 1914 his family moved to Switzerland where he attended school, receiving his baccalauréat from the Collège de Genève in 1918. The family travelled widely in Europe, including stays in Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955 he was appointed director of the National Public Library (Biblioteca Nacional) and professor of Literature at the University of Buenos Aires. In 1961 he came to international attention when he received the first ever Prix International, sharing the award with Samuel Beckett. In 1971 he won the Jerusalem Prize. His work was translated and published widely in the United States and in Europe. Borges himself was fluent in several languages. Borges had dedicated his final work, Los Conjurados (The Conspirators), to the city of Geneva, Switzerland, and it was there, in 1986, that he chose to die.\nHis international fame was consolidated in the 1960s, aided by the \"Latin American Boom\" and the success of Gabriel García Márquez's Cien Años de Soledad (One Hundred Years of Solitude). Writer and essayist J. M. Coetzee said of him: \"He, more than anyone, renovated the language of fiction and thus opened the way to a remarkable generation of Spanish American novelists.\"","bio_dates":"1899-1986"},{"slug":"borges_jorge_luis_the_mirror_man","ok":true,"partial":false,"title":"The Mirror Man","artist":"Jorge Luis Borges","year":"1999","startOffset":0,"sourceSecs":2852.885,"sourceHeight":224,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":133570965,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borges_jorge_luis_the_mirror_man/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borges_jorge_luis_the_mirror_man/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borges_jorge_luis_the_mirror_man.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borges_jorge_luis_the_mirror_man/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borges_jorge_luis_the_mirror_man/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Philippe Molins<br/> Runtime: 47mins<br/> Language: English<br/> <br/> Although honors came late in life to Jorge Luis Borges, his unique worldview had begun to emerge even as a child. This program examines the life and literary career of the charismatic Argentine writer, as well as the thematic, symbolic, and mythological underpinnings of his works. Archival interviews with Borges; his mother, Leonor Acevedo de Borges; his second wife, Maria Kodama; and collaborator Adolfo Bioy Casares provide insights into the private Borges, while readings from \"The Mirrors,\" \"Dreamtigers,\" \"The Plot,\" \"The South,\" \"The Aleph,\" and other landmarks of Latin American fiction demonstrate his virtuosity as a transformer of experiences. —– <em>Reviewed by Orlando Archibeque, Auraria Library, University of Colorado at Denver</em> Jorge Luis Borges, Argentina's most famous and beloved literary figure, was born in 1899. On the occasion of the 100th anniversary of his birth, many scholars and filmmakers took the opportunity to look back at the life and writings of this extraordinary short story writer, essayist, and poet. He is the winner of 46 national and international literary prizes, though the Nobel has eluded him. Numerous monographs in many languages about Borges have been released since 1999, as well as a number of documentaries. This documentary's major strength (others would say its major weakness) is that it is a bit of everything — part biography, part literary criticism, part hero-worship, part book reading, and part psychology. The subtitle \"Mirror Man\" is a reference to the frequent occurrence of mirrors in his works. One of the most interesting subjects in this video is a discussion of Borges's fascination with and fear of mirrors during his formative years, and how these fears are manifested in his writings. Archival footage gives a flavor of the significant historic events in 20th century Argentina and their influences on Borges from childhood until his death in 1986. Still photographs from a variety of repositories and personal collections bring to life the young Borges, who began writing seriously at the very early age of 9. The filmmaker, Philippe Molins, also makes use of dramatic reenactments showing Borges as a child and young adult. Additionally, archival interviews with Borges and with significant others, including his second wife, Mar'a Kodama Borges (an Argentinian of Japanese descent), his mother, Leonor Acevedo de Borges, and friend and author-collaborator Adolfo Bioy Casares, provide important insights into the life and literature of Borges in his middle- and later-years. The interviews with his second wife and mother are the most captivating sequences in the video. Finally, at appropriate times in the video, there are brief readings from both well known and lesser-known works. The documentary's technical qualities are superb, particularly because of the difficulties involved in incorporating so many different techniques in the production. This reviewer was especially impressed with the audio, which complement the visual aspects very well. The female narrator's voice is strong and melodious; the male's voice used in the selected readings of literary works is deep and pleasantly resonant. The video is mostly in English; when the interviewees speak in Spanish, there is an English voiceover.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/borges.html\" rel=\"noopener\" target=\"_blank\">Jorge Luis Borges in UbuWeb Sound</a> </br>","artist_bio":"Jorge Francisco Isidoro Luis Borges (24 August 1899 – 14 June 1986), known as Jorge Luis Borges, was an Argentine short-story writer, essayist, poet and translator born in Buenos Aires. His work embraces the \"character of unreality in all literature\". His most famous books, Ficciones (1944) and The Aleph (1949), are compilations of short stories interconnected by common themes such as dreams, labyrinths, libraries, mirrors, animals, fictional writers, philosophy, religion and God. His works have contributed to philosophical literature and also to the fantastic genre, a genre that reacted against the realism/naturalism of the nineteenth century. In fact, critic Angel Flores, the first to use the term, set the beginning of this movement with Borges's Historia universal de la infamia (A Universal History of Infamy) (1935). Scholars have also suggested that Borges's progressive blindness helped him to create innovative literary symbols through imagination. His late poems dialogue with such cultural figures as Spinoza, Camões, and Virgil.\nIn 1914 his family moved to Switzerland where he attended school, receiving his baccalauréat from the Collège de Genève in 1918. The family travelled widely in Europe, including stays in Spain. On his return to Argentina in 1921, Borges began publishing his poems and essays in surrealist literary journals. He also worked as a librarian and public lecturer. In 1955 he was appointed director of the National Public Library (Biblioteca Nacional) and professor of Literature at the University of Buenos Aires. In 1961 he came to international attention when he received the first ever Prix International, sharing the award with Samuel Beckett. In 1971 he won the Jerusalem Prize. His work was translated and published widely in the United States and in Europe. Borges himself was fluent in several languages. Borges had dedicated his final work, Los Conjurados (The Conspirators), to the city of Geneva, Switzerland, and it was there, in 1986, that he chose to die.\nHis international fame was consolidated in the 1960s, aided by the \"Latin American Boom\" and the success of Gabriel García Márquez's Cien Años de Soledad (One Hundred Years of Solitude). Writer and essayist J. M. Coetzee said of him: \"He, more than anyone, renovated the language of fiction and thus opened the way to a remarkable generation of Spanish American novelists.\"","bio_dates":"1899-1986"},{"slug":"bornstein_jennifer_what_it_was","ok":true,"partial":false,"title":"What It Was","artist":"Jennifer Bornstein","year":"2000","startOffset":0,"sourceSecs":44.96,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":6079283,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bornstein_jennifer_what_it_was/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bornstein_jennifer_what_it_was/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bornstein_jennifer_what_it_was.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bornstein_jennifer_what_it_was/main.mp4?v=2","description":"16 mm film <br/> TRT: 48 seconds<br/> Courtesy of the artist and Blum & Poe, Los Angeles<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"Based in Los Angeles, Jennifer Bornstein received her MFA from University of California, Los Angeles. Her work explores the possibility of setting up physical and conceptual interactions between people, and between bodies and objects, heightening the viewer's awareness of the relationship between spectator and performer. A filmmaker, Bornstein is equally well known for her small, detailed etchings and her evocative studies for films that she may or may not make. She has had solo exhibitions at Blum & Poe, Los Angeles; greengrassi, London; Gavin Brown, New York; Studio Guenzani, Milan; Färgfabriken, Stockholm; and Museum of Contemporary Art, Los Angeles.","bio_dates":"b. 1970"},{"slug":"borowczyk_walerian_and_marker_les_astronautes_1959","ok":true,"partial":false,"title":"Walerian Borowczyk and Chris Marker - Les Astronautes","artist":"Walerian Borowczyk","year":"1959","startOffset":0,"sourceSecs":725.077,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":120533496,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_and_marker_les_astronautes_1959/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_and_marker_les_astronautes_1959/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borowczyk_walerian_and_marker_les_astronautes_1959.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borowczyk_walerian_and_marker_les_astronautes_1959/main.mp4?v=2","description":"Dir. Walerian Borowczyk [co-directed by <a href=\"https://ubu.com/film/marker.html\" rel=\"noopener\" target=\"_blank\">Chris Marker</a>] (France, 1959) 12 mins<br/><br/> Chris Marker contributed his owl to this knock-about sketch about an inventor and his makeshift spaceship.","artist_bio":"\"Matter is the most passive and defenseless essence in the cosmos. Anyone can mould or shape it; it obeys everybody. All attempts at organizing matter are transient and temporary, easy to reverse and to dissolve.\" —\nBruno Schulz\nBringing objects to \"life\" is the essence of\nBorowczyk\n's cinema. Buster Keaton aside, he is cinema's greatest prop specialist. Borowczyk has made clear his \"positive feelings towards objects\", not to mention a mania for those crafted in the 19th century. Why? Because in these objects we still find \"traces of man's hand\".\nNonetheless, hands are conspicuously absent from Borowczyk's early shorts. At first glance\nRenaissance\n(1963) and\nLe Phonograph\n(1969) appear eerily materialistic. After the catastrophic explosions that both initiate and complete\nRenaissance\n, the charred piles of wood and twisted scrap metal may well stand as \"evidence\" of the fate that has met the bodies of which these objects once belonged. But they are only wrecked objects. Nonetheless, we're amused (if not comforted) by the knowledge that the cycle will occur again (eternally!). Also, the faint sound beneath the rubble of smashed up wax drums and broken glass suggests that there may be a ghost in\nLe phonograph\nafter all. Borowczyk isn't pessimistic, rather \"catastrophic\". Such catastrophism belies a worry that craftsmanship is dying. \"Vivacity\" is being displaced by what Borowczyk describes as the \"mechanical society\" - one based on excess.\nIf Borowczyk's overt preoccupation is with the 19th century fin-de-siecle era, then it's one undercut by motifs of 20th century excesses: the atom bomb \"gags\" in\nLe theatre de Monsieur et Madame Kabal\n(1967) and the concentration camps in\nLes jeux des anges\n(1964) and\nGoto, l'ile d'amour\n(1968). But images of overproduction and saturation suggest commercial excess too. If the latter result in a \"dulling of our senses\", Borowczyk's obsessive studies of handcrafted objects now appear as genuinely \"erotic\", the accent less on their symbolic properties, more on the visual qualities, their sounds and textures.\nOf the shorts,\nRosalie\n(1966),\nGavotte\n(1967),\nDiptyque\n(1967) and\nUne Collection Particulire\n(1972) involve at least one visible human element, albeit one often obscured. To act in front of Borowczyk's camera, the actor has to surrender his (or usually her) will entirely, and become, not so much one of Bresson's \"models\", but one of Keaton's \"props\". But like Bresson, Borowczyk discarded character \"psychology\" as superficial - he's more interested in \"how\" rather than \"why\". A fascination for objects can degenerate into fetishism when it serves little or no narrative \"function\". Barthes gives us an idea of what that function could be in an essay on Bataille's\nHistoire de l'Oeil\n:\n\"How can an object have a story? Well, it can pass from hand to hand, giving rise to the sort of tame fancy authors call The History of my Pipe or Memoirs of an Armchair, or alternatively it can pass from image to image, in which case its story is that of migration, the cycle of the avatars it passes through, far removed from its original being, down the path of a particular imagination that distorts but never drops it.\"\nIf we grant a \"poetics\" of cinema, then it's obvious that Borowczyk's shorts are of the second kind. Of the features, the most successful \"object stories\" are neither entirely fanciful nor metaphorical, as Barthes later has object \"novels\" and \"poems\", but rather amalgams of the two. For example,\nGoto, l'ile d'amour\nand\nLa Bete\n(1975) could be conceived as sequential transactions of binoculars and shoes, roses and corsets between human (and in the case of\nLa Bete\n, not-so-human!) characters, but that would ignore the considerable metaphorical play taking place. As Ray Durgnat noted, in\nGoto, l'ile d'amour\n, Borowczyk relishes a linguistic, satirical fetishization of Grozo's tasks: brushing ch-auseurs, taking care of ch-iens and drowning mou-ch-es. In\nLa Bete\n(and to a lesser extent,\nDzieje Grzechu\n, 1975), rose petals are put to good use in female masturbatory fantasies Ð female genitalia is so often compared to rose petals (e.g. Kane's \"Rosebud\") Ð here Borowczyk offers a literal on-screen deflowering! —© Daniel Bird, 2003\nI saw in a basket thousands of live snails. Some, diverging from their number, crept along the edge. Terror staggered me: each was completely indistinguishable from another. William Rowney (1223-1264)\nSurrealism is a program of absolute non-conformity, in life and in poetry, that speaks equally to the cinema. I'm all for it.\nIf I speak of\nsurrealism\n, or if I intend to speak, I'm not thinking about Art. Art? This is the disciplines, constraints, the models, the artistic talents, psychology, theories, the schools. Art, that's \"the artistes\". Only creators are free.\nIn the domain of creation, all that exists without subscribing to a school always risks being dismissed as worthless.\nIt is not a genuinely surrealist film that's determined by its script, the cinematic blueprint. That would require that a filmmaker could give birth to the camera, to the film and to the projector, so that the film would be the direct communication from his mind to that of another. For this diffusion of dreams not to bore, the sender would have to be unalike to the receiver.\nOne is unable to accurately reproduce one's dreams from memory. Dissembling and rationalisation of their constituent parts is therefore inevitable. The definitive form of a work depends on the extent and control of this operation.\nInevitably, we arrive at the point at which we're unable to avoid the application of aesthetic criteria.\nIn relation to sleep. I have invented and realised some of my films during the slumber of my producers and collaborators.\nMy criteria for evaluating a work of art, whether surrealist or marginal to that project, is the proportion of interest and tedium found within it.\nA masterpiece is never tedious. What's more, its interest is more durable than fashion.\nI prefer those works which are the proof of an instinctive imagination, but not affectation or plagiarism. I admire humour, but never when its gratuitous or facile. I applaud rebellion, but not when its opposed to life.\nIn Dom, I gave a glass of milk to an orange, because it needed to quench its thirst.\nI never work with recourse to the state of psychic automatism. But that's not to say I'm incapable of employing a \"modest apparatus of self-interrogation\".\nThe traditions of surrealism in past eras, heralded only now - the whole of that same involuntary surrealism - demonstrate that it is the beholder who is the source of surrealism. It is the virtue of these contemporary prospectors to be the creators of surrealism. The same subjectivity has allowed for the inventory of a number of passing impressions of involuntarily surrealist films. Rarely have these films been distinguished by their merits.\nIf we consider the cinematic apparatus, its luminous singularity, as a manifestation of surrealism, its not important what film is being projected to a surrealist.\nThe fact that cinema possesses the appropriate potential doesn't constitute sufficient reason to really think that it is automatically predisposed to a place in the landscape of surrealist expression.\nExtracts of a film, successive frames of a particular sequence - this tendency among surrealists - are like a film the complete print of which doesn't exist. All film is a strip of celluloid, with images placed in the emulsion upon the surface of its length. Its not impossible to perceive, within a film, images that are good for their precision. Take your choice. That culminates in one composing anthologies.\n\"\"Nothing of nine!\" exclaimed a woman after watching Renaissance. \"Progress in reverse! Its taken 40 years for film to turn-about and go backwards!\" And in 50 years, how many films have gone forwards? Nowadays, moreover, we exaggerate more and more (to the point of ridicule) form and technique. Neither one, nor the other possesses in other respects the primacy in film. It isn't possible for any film to unspool in reverse. Film and action are shown today in fast forward (excluding projectionist error). The method of shooting (the means with which the author obtains the desired distortion) is of no importance. That's a curiosity, merely a footnote.\nI call for \"Goyaesque scenes\", because they'll provoke debate on scenes of war. Otherwise: \"a film is surrealist because a gentleman walks upon the ceiling of a room\". The majority of film critics are the captives of a literary vision. They do not trouble with how, why; in what manner; for whom, is sufficient. It is not their duty to make a statement.\nWalerian Borowczyk collaborated with Jan Lenica on \"Dom\", the film which won the gold medal in the experimental film competition at the 1958 Brussels Word Fair. The short animations \"Renaissance\" and \"Game of Angels\" won him further acclaim. Among his most celebrated features are \"Goto, Island of Love\", \"Blanche\", \"Immoral Stories\" and \"The Beast\". Borowczyk enjoys an international cult following but the best source of information in English has been the (now, sadly defunct) Australian magazine, Cinema Papers. See also: Colin Davis' essay in Shock Express #2.\nTranslated by Jim Knox from the French. Originally published in Etudes Cinematographiques # 41/42 (1965) \"Surrealisme et Cinema\"; Yves Kovacs, editor.","bio_dates":"1923-2006"},{"slug":"borowczyk_walerian_borowczyk_walerian_dom_1958","ok":true,"partial":false,"title":"Dom","artist":"Walerian Borowczyk","year":"1957","startOffset":0,"sourceSecs":672.725,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":110794066,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_borowczyk_walerian_dom_1958/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_borowczyk_walerian_dom_1958/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borowczyk_walerian_borowczyk_walerian_dom_1958.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borowczyk_walerian_borowczyk_walerian_dom_1958/main.mp4?v=2","description":"Dirs. Walerian Borowczyk & Jan Lenica (Poland, 1957) 12 mins<br/><br/> An eclectic collage of film fragments and styles bound together by a shared preoccupation of self-consciousness as being trapped in a cruel world.","artist_bio":"\"Matter is the most passive and defenseless essence in the cosmos. Anyone can mould or shape it; it obeys everybody. All attempts at organizing matter are transient and temporary, easy to reverse and to dissolve.\" —\nBruno Schulz\nBringing objects to \"life\" is the essence of\nBorowczyk\n's cinema. Buster Keaton aside, he is cinema's greatest prop specialist. Borowczyk has made clear his \"positive feelings towards objects\", not to mention a mania for those crafted in the 19th century. Why? Because in these objects we still find \"traces of man's hand\".\nNonetheless, hands are conspicuously absent from Borowczyk's early shorts. At first glance\nRenaissance\n(1963) and\nLe Phonograph\n(1969) appear eerily materialistic. After the catastrophic explosions that both initiate and complete\nRenaissance\n, the charred piles of wood and twisted scrap metal may well stand as \"evidence\" of the fate that has met the bodies of which these objects once belonged. But they are only wrecked objects. Nonetheless, we're amused (if not comforted) by the knowledge that the cycle will occur again (eternally!). Also, the faint sound beneath the rubble of smashed up wax drums and broken glass suggests that there may be a ghost in\nLe phonograph\nafter all. Borowczyk isn't pessimistic, rather \"catastrophic\". Such catastrophism belies a worry that craftsmanship is dying. \"Vivacity\" is being displaced by what Borowczyk describes as the \"mechanical society\" - one based on excess.\nIf Borowczyk's overt preoccupation is with the 19th century fin-de-siecle era, then it's one undercut by motifs of 20th century excesses: the atom bomb \"gags\" in\nLe theatre de Monsieur et Madame Kabal\n(1967) and the concentration camps in\nLes jeux des anges\n(1964) and\nGoto, l'ile d'amour\n(1968). But images of overproduction and saturation suggest commercial excess too. If the latter result in a \"dulling of our senses\", Borowczyk's obsessive studies of handcrafted objects now appear as genuinely \"erotic\", the accent less on their symbolic properties, more on the visual qualities, their sounds and textures.\nOf the shorts,\nRosalie\n(1966),\nGavotte\n(1967),\nDiptyque\n(1967) and\nUne Collection Particulire\n(1972) involve at least one visible human element, albeit one often obscured. To act in front of Borowczyk's camera, the actor has to surrender his (or usually her) will entirely, and become, not so much one of Bresson's \"models\", but one of Keaton's \"props\". But like Bresson, Borowczyk discarded character \"psychology\" as superficial - he's more interested in \"how\" rather than \"why\". A fascination for objects can degenerate into fetishism when it serves little or no narrative \"function\". Barthes gives us an idea of what that function could be in an essay on Bataille's\nHistoire de l'Oeil\n:\n\"How can an object have a story? Well, it can pass from hand to hand, giving rise to the sort of tame fancy authors call The History of my Pipe or Memoirs of an Armchair, or alternatively it can pass from image to image, in which case its story is that of migration, the cycle of the avatars it passes through, far removed from its original being, down the path of a particular imagination that distorts but never drops it.\"\nIf we grant a \"poetics\" of cinema, then it's obvious that Borowczyk's shorts are of the second kind. Of the features, the most successful \"object stories\" are neither entirely fanciful nor metaphorical, as Barthes later has object \"novels\" and \"poems\", but rather amalgams of the two. For example,\nGoto, l'ile d'amour\nand\nLa Bete\n(1975) could be conceived as sequential transactions of binoculars and shoes, roses and corsets between human (and in the case of\nLa Bete\n, not-so-human!) characters, but that would ignore the considerable metaphorical play taking place. As Ray Durgnat noted, in\nGoto, l'ile d'amour\n, Borowczyk relishes a linguistic, satirical fetishization of Grozo's tasks: brushing ch-auseurs, taking care of ch-iens and drowning mou-ch-es. In\nLa Bete\n(and to a lesser extent,\nDzieje Grzechu\n, 1975), rose petals are put to good use in female masturbatory fantasies Ð female genitalia is so often compared to rose petals (e.g. Kane's \"Rosebud\") Ð here Borowczyk offers a literal on-screen deflowering! —© Daniel Bird, 2003\nI saw in a basket thousands of live snails. Some, diverging from their number, crept along the edge. Terror staggered me: each was completely indistinguishable from another. William Rowney (1223-1264)\nSurrealism is a program of absolute non-conformity, in life and in poetry, that speaks equally to the cinema. I'm all for it.\nIf I speak of\nsurrealism\n, or if I intend to speak, I'm not thinking about Art. Art? This is the disciplines, constraints, the models, the artistic talents, psychology, theories, the schools. Art, that's \"the artistes\". Only creators are free.\nIn the domain of creation, all that exists without subscribing to a school always risks being dismissed as worthless.\nIt is not a genuinely surrealist film that's determined by its script, the cinematic blueprint. That would require that a filmmaker could give birth to the camera, to the film and to the projector, so that the film would be the direct communication from his mind to that of another. For this diffusion of dreams not to bore, the sender would have to be unalike to the receiver.\nOne is unable to accurately reproduce one's dreams from memory. Dissembling and rationalisation of their constituent parts is therefore inevitable. The definitive form of a work depends on the extent and control of this operation.\nInevitably, we arrive at the point at which we're unable to avoid the application of aesthetic criteria.\nIn relation to sleep. I have invented and realised some of my films during the slumber of my producers and collaborators.\nMy criteria for evaluating a work of art, whether surrealist or marginal to that project, is the proportion of interest and tedium found within it.\nA masterpiece is never tedious. What's more, its interest is more durable than fashion.\nI prefer those works which are the proof of an instinctive imagination, but not affectation or plagiarism. I admire humour, but never when its gratuitous or facile. I applaud rebellion, but not when its opposed to life.\nIn Dom, I gave a glass of milk to an orange, because it needed to quench its thirst.\nI never work with recourse to the state of psychic automatism. But that's not to say I'm incapable of employing a \"modest apparatus of self-interrogation\".\nThe traditions of surrealism in past eras, heralded only now - the whole of that same involuntary surrealism - demonstrate that it is the beholder who is the source of surrealism. It is the virtue of these contemporary prospectors to be the creators of surrealism. The same subjectivity has allowed for the inventory of a number of passing impressions of involuntarily surrealist films. Rarely have these films been distinguished by their merits.\nIf we consider the cinematic apparatus, its luminous singularity, as a manifestation of surrealism, its not important what film is being projected to a surrealist.\nThe fact that cinema possesses the appropriate potential doesn't constitute sufficient reason to really think that it is automatically predisposed to a place in the landscape of surrealist expression.\nExtracts of a film, successive frames of a particular sequence - this tendency among surrealists - are like a film the complete print of which doesn't exist. All film is a strip of celluloid, with images placed in the emulsion upon the surface of its length. Its not impossible to perceive, within a film, images that are good for their precision. Take your choice. That culminates in one composing anthologies.\n\"\"Nothing of nine!\" exclaimed a woman after watching Renaissance. \"Progress in reverse! Its taken 40 years for film to turn-about and go backwards!\" And in 50 years, how many films have gone forwards? Nowadays, moreover, we exaggerate more and more (to the point of ridicule) form and technique. Neither one, nor the other possesses in other respects the primacy in film. It isn't possible for any film to unspool in reverse. Film and action are shown today in fast forward (excluding projectionist error). The method of shooting (the means with which the author obtains the desired distortion) is of no importance. That's a curiosity, merely a footnote.\nI call for \"Goyaesque scenes\", because they'll provoke debate on scenes of war. Otherwise: \"a film is surrealist because a gentleman walks upon the ceiling of a room\". The majority of film critics are the captives of a literary vision. They do not trouble with how, why; in what manner; for whom, is sufficient. It is not their duty to make a statement.\nWalerian Borowczyk collaborated with Jan Lenica on \"Dom\", the film which won the gold medal in the experimental film competition at the 1958 Brussels Word Fair. The short animations \"Renaissance\" and \"Game of Angels\" won him further acclaim. Among his most celebrated features are \"Goto, Island of Love\", \"Blanche\", \"Immoral Stories\" and \"The Beast\". Borowczyk enjoys an international cult following but the best source of information in English has been the (now, sadly defunct) Australian magazine, Cinema Papers. See also: Colin Davis' essay in Shock Express #2.\nTranslated by Jim Knox from the French. Originally published in Etudes Cinematographiques # 41/42 (1965) \"Surrealisme et Cinema\"; Yves Kovacs, editor.","bio_dates":"1923-2006"},{"slug":"borowczyk_walerian_escargot_de_venus","ok":true,"partial":false,"title":"Escargot de Venus","artist":"Walerian Borowczyk","year":"1975","startOffset":0,"sourceSecs":278.848,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":40132949,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_escargot_de_venus/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_escargot_de_venus/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borowczyk_walerian_escargot_de_venus.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borowczyk_walerian_escargot_de_venus/main.mp4?v=2","description":"Dir. Walerian Borowczyk (France, 1975)<br/><br/> This is the portrait of painter Bona Tibertelli De Pisis - wife of writer Pieyre De Mandiargues Ð while working in her atelier, together with fragments of her graphic works inspired by one of Remy de Gourmont's writings.","artist_bio":"\"Matter is the most passive and defenseless essence in the cosmos. Anyone can mould or shape it; it obeys everybody. All attempts at organizing matter are transient and temporary, easy to reverse and to dissolve.\" —\nBruno Schulz\nBringing objects to \"life\" is the essence of\nBorowczyk\n's cinema. Buster Keaton aside, he is cinema's greatest prop specialist. Borowczyk has made clear his \"positive feelings towards objects\", not to mention a mania for those crafted in the 19th century. Why? Because in these objects we still find \"traces of man's hand\".\nNonetheless, hands are conspicuously absent from Borowczyk's early shorts. At first glance\nRenaissance\n(1963) and\nLe Phonograph\n(1969) appear eerily materialistic. After the catastrophic explosions that both initiate and complete\nRenaissance\n, the charred piles of wood and twisted scrap metal may well stand as \"evidence\" of the fate that has met the bodies of which these objects once belonged. But they are only wrecked objects. Nonetheless, we're amused (if not comforted) by the knowledge that the cycle will occur again (eternally!). Also, the faint sound beneath the rubble of smashed up wax drums and broken glass suggests that there may be a ghost in\nLe phonograph\nafter all. Borowczyk isn't pessimistic, rather \"catastrophic\". Such catastrophism belies a worry that craftsmanship is dying. \"Vivacity\" is being displaced by what Borowczyk describes as the \"mechanical society\" - one based on excess.\nIf Borowczyk's overt preoccupation is with the 19th century fin-de-siecle era, then it's one undercut by motifs of 20th century excesses: the atom bomb \"gags\" in\nLe theatre de Monsieur et Madame Kabal\n(1967) and the concentration camps in\nLes jeux des anges\n(1964) and\nGoto, l'ile d'amour\n(1968). But images of overproduction and saturation suggest commercial excess too. If the latter result in a \"dulling of our senses\", Borowczyk's obsessive studies of handcrafted objects now appear as genuinely \"erotic\", the accent less on their symbolic properties, more on the visual qualities, their sounds and textures.\nOf the shorts,\nRosalie\n(1966),\nGavotte\n(1967),\nDiptyque\n(1967) and\nUne Collection Particulire\n(1972) involve at least one visible human element, albeit one often obscured. To act in front of Borowczyk's camera, the actor has to surrender his (or usually her) will entirely, and become, not so much one of Bresson's \"models\", but one of Keaton's \"props\". But like Bresson, Borowczyk discarded character \"psychology\" as superficial - he's more interested in \"how\" rather than \"why\". A fascination for objects can degenerate into fetishism when it serves little or no narrative \"function\". Barthes gives us an idea of what that function could be in an essay on Bataille's\nHistoire de l'Oeil\n:\n\"How can an object have a story? Well, it can pass from hand to hand, giving rise to the sort of tame fancy authors call The History of my Pipe or Memoirs of an Armchair, or alternatively it can pass from image to image, in which case its story is that of migration, the cycle of the avatars it passes through, far removed from its original being, down the path of a particular imagination that distorts but never drops it.\"\nIf we grant a \"poetics\" of cinema, then it's obvious that Borowczyk's shorts are of the second kind. Of the features, the most successful \"object stories\" are neither entirely fanciful nor metaphorical, as Barthes later has object \"novels\" and \"poems\", but rather amalgams of the two. For example,\nGoto, l'ile d'amour\nand\nLa Bete\n(1975) could be conceived as sequential transactions of binoculars and shoes, roses and corsets between human (and in the case of\nLa Bete\n, not-so-human!) characters, but that would ignore the considerable metaphorical play taking place. As Ray Durgnat noted, in\nGoto, l'ile d'amour\n, Borowczyk relishes a linguistic, satirical fetishization of Grozo's tasks: brushing ch-auseurs, taking care of ch-iens and drowning mou-ch-es. In\nLa Bete\n(and to a lesser extent,\nDzieje Grzechu\n, 1975), rose petals are put to good use in female masturbatory fantasies Ð female genitalia is so often compared to rose petals (e.g. Kane's \"Rosebud\") Ð here Borowczyk offers a literal on-screen deflowering! —© Daniel Bird, 2003\nI saw in a basket thousands of live snails. Some, diverging from their number, crept along the edge. Terror staggered me: each was completely indistinguishable from another. William Rowney (1223-1264)\nSurrealism is a program of absolute non-conformity, in life and in poetry, that speaks equally to the cinema. I'm all for it.\nIf I speak of\nsurrealism\n, or if I intend to speak, I'm not thinking about Art. Art? This is the disciplines, constraints, the models, the artistic talents, psychology, theories, the schools. Art, that's \"the artistes\". Only creators are free.\nIn the domain of creation, all that exists without subscribing to a school always risks being dismissed as worthless.\nIt is not a genuinely surrealist film that's determined by its script, the cinematic blueprint. That would require that a filmmaker could give birth to the camera, to the film and to the projector, so that the film would be the direct communication from his mind to that of another. For this diffusion of dreams not to bore, the sender would have to be unalike to the receiver.\nOne is unable to accurately reproduce one's dreams from memory. Dissembling and rationalisation of their constituent parts is therefore inevitable. The definitive form of a work depends on the extent and control of this operation.\nInevitably, we arrive at the point at which we're unable to avoid the application of aesthetic criteria.\nIn relation to sleep. I have invented and realised some of my films during the slumber of my producers and collaborators.\nMy criteria for evaluating a work of art, whether surrealist or marginal to that project, is the proportion of interest and tedium found within it.\nA masterpiece is never tedious. What's more, its interest is more durable than fashion.\nI prefer those works which are the proof of an instinctive imagination, but not affectation or plagiarism. I admire humour, but never when its gratuitous or facile. I applaud rebellion, but not when its opposed to life.\nIn Dom, I gave a glass of milk to an orange, because it needed to quench its thirst.\nI never work with recourse to the state of psychic automatism. But that's not to say I'm incapable of employing a \"modest apparatus of self-interrogation\".\nThe traditions of surrealism in past eras, heralded only now - the whole of that same involuntary surrealism - demonstrate that it is the beholder who is the source of surrealism. It is the virtue of these contemporary prospectors to be the creators of surrealism. The same subjectivity has allowed for the inventory of a number of passing impressions of involuntarily surrealist films. Rarely have these films been distinguished by their merits.\nIf we consider the cinematic apparatus, its luminous singularity, as a manifestation of surrealism, its not important what film is being projected to a surrealist.\nThe fact that cinema possesses the appropriate potential doesn't constitute sufficient reason to really think that it is automatically predisposed to a place in the landscape of surrealist expression.\nExtracts of a film, successive frames of a particular sequence - this tendency among surrealists - are like a film the complete print of which doesn't exist. All film is a strip of celluloid, with images placed in the emulsion upon the surface of its length. Its not impossible to perceive, within a film, images that are good for their precision. Take your choice. That culminates in one composing anthologies.\n\"\"Nothing of nine!\" exclaimed a woman after watching Renaissance. \"Progress in reverse! Its taken 40 years for film to turn-about and go backwards!\" And in 50 years, how many films have gone forwards? Nowadays, moreover, we exaggerate more and more (to the point of ridicule) form and technique. Neither one, nor the other possesses in other respects the primacy in film. It isn't possible for any film to unspool in reverse. Film and action are shown today in fast forward (excluding projectionist error). The method of shooting (the means with which the author obtains the desired distortion) is of no importance. That's a curiosity, merely a footnote.\nI call for \"Goyaesque scenes\", because they'll provoke debate on scenes of war. Otherwise: \"a film is surrealist because a gentleman walks upon the ceiling of a room\". The majority of film critics are the captives of a literary vision. They do not trouble with how, why; in what manner; for whom, is sufficient. It is not their duty to make a statement.\nWalerian Borowczyk collaborated with Jan Lenica on \"Dom\", the film which won the gold medal in the experimental film competition at the 1958 Brussels Word Fair. The short animations \"Renaissance\" and \"Game of Angels\" won him further acclaim. Among his most celebrated features are \"Goto, Island of Love\", \"Blanche\", \"Immoral Stories\" and \"The Beast\". Borowczyk enjoys an international cult following but the best source of information in English has been the (now, sadly defunct) Australian magazine, Cinema Papers. See also: Colin Davis' essay in Shock Express #2.\nTranslated by Jim Knox from the French. Originally published in Etudes Cinematographiques # 41/42 (1965) \"Surrealisme et Cinema\"; Yves Kovacs, editor.","bio_dates":"1923-2006"},{"slug":"borowczyk_walerian_lamour_monstre_de_tous_les_temps","ok":true,"partial":false,"title":"L’amour monstre de tous les temps","artist":"Walerian Borowczyk","year":"1977","startOffset":0,"sourceSecs":573.333,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":93083787,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_lamour_monstre_de_tous_les_temps/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_lamour_monstre_de_tous_les_temps/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borowczyk_walerian_lamour_monstre_de_tous_les_temps.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borowczyk_walerian_lamour_monstre_de_tous_les_temps/main.mp4?v=2","artist_bio":"\"Matter is the most passive and defenseless essence in the cosmos. Anyone can mould or shape it; it obeys everybody. All attempts at organizing matter are transient and temporary, easy to reverse and to dissolve.\" —\nBruno Schulz\nBringing objects to \"life\" is the essence of\nBorowczyk\n's cinema. Buster Keaton aside, he is cinema's greatest prop specialist. Borowczyk has made clear his \"positive feelings towards objects\", not to mention a mania for those crafted in the 19th century. Why? Because in these objects we still find \"traces of man's hand\".\nNonetheless, hands are conspicuously absent from Borowczyk's early shorts. At first glance\nRenaissance\n(1963) and\nLe Phonograph\n(1969) appear eerily materialistic. After the catastrophic explosions that both initiate and complete\nRenaissance\n, the charred piles of wood and twisted scrap metal may well stand as \"evidence\" of the fate that has met the bodies of which these objects once belonged. But they are only wrecked objects. Nonetheless, we're amused (if not comforted) by the knowledge that the cycle will occur again (eternally!). Also, the faint sound beneath the rubble of smashed up wax drums and broken glass suggests that there may be a ghost in\nLe phonograph\nafter all. Borowczyk isn't pessimistic, rather \"catastrophic\". Such catastrophism belies a worry that craftsmanship is dying. \"Vivacity\" is being displaced by what Borowczyk describes as the \"mechanical society\" - one based on excess.\nIf Borowczyk's overt preoccupation is with the 19th century fin-de-siecle era, then it's one undercut by motifs of 20th century excesses: the atom bomb \"gags\" in\nLe theatre de Monsieur et Madame Kabal\n(1967) and the concentration camps in\nLes jeux des anges\n(1964) and\nGoto, l'ile d'amour\n(1968). But images of overproduction and saturation suggest commercial excess too. If the latter result in a \"dulling of our senses\", Borowczyk's obsessive studies of handcrafted objects now appear as genuinely \"erotic\", the accent less on their symbolic properties, more on the visual qualities, their sounds and textures.\nOf the shorts,\nRosalie\n(1966),\nGavotte\n(1967),\nDiptyque\n(1967) and\nUne Collection Particulire\n(1972) involve at least one visible human element, albeit one often obscured. To act in front of Borowczyk's camera, the actor has to surrender his (or usually her) will entirely, and become, not so much one of Bresson's \"models\", but one of Keaton's \"props\". But like Bresson, Borowczyk discarded character \"psychology\" as superficial - he's more interested in \"how\" rather than \"why\". A fascination for objects can degenerate into fetishism when it serves little or no narrative \"function\". Barthes gives us an idea of what that function could be in an essay on Bataille's\nHistoire de l'Oeil\n:\n\"How can an object have a story? Well, it can pass from hand to hand, giving rise to the sort of tame fancy authors call The History of my Pipe or Memoirs of an Armchair, or alternatively it can pass from image to image, in which case its story is that of migration, the cycle of the avatars it passes through, far removed from its original being, down the path of a particular imagination that distorts but never drops it.\"\nIf we grant a \"poetics\" of cinema, then it's obvious that Borowczyk's shorts are of the second kind. Of the features, the most successful \"object stories\" are neither entirely fanciful nor metaphorical, as Barthes later has object \"novels\" and \"poems\", but rather amalgams of the two. For example,\nGoto, l'ile d'amour\nand\nLa Bete\n(1975) could be conceived as sequential transactions of binoculars and shoes, roses and corsets between human (and in the case of\nLa Bete\n, not-so-human!) characters, but that would ignore the considerable metaphorical play taking place. As Ray Durgnat noted, in\nGoto, l'ile d'amour\n, Borowczyk relishes a linguistic, satirical fetishization of Grozo's tasks: brushing ch-auseurs, taking care of ch-iens and drowning mou-ch-es. In\nLa Bete\n(and to a lesser extent,\nDzieje Grzechu\n, 1975), rose petals are put to good use in female masturbatory fantasies Ð female genitalia is so often compared to rose petals (e.g. Kane's \"Rosebud\") Ð here Borowczyk offers a literal on-screen deflowering! —© Daniel Bird, 2003\nI saw in a basket thousands of live snails. Some, diverging from their number, crept along the edge. Terror staggered me: each was completely indistinguishable from another. William Rowney (1223-1264)\nSurrealism is a program of absolute non-conformity, in life and in poetry, that speaks equally to the cinema. I'm all for it.\nIf I speak of\nsurrealism\n, or if I intend to speak, I'm not thinking about Art. Art? This is the disciplines, constraints, the models, the artistic talents, psychology, theories, the schools. Art, that's \"the artistes\". Only creators are free.\nIn the domain of creation, all that exists without subscribing to a school always risks being dismissed as worthless.\nIt is not a genuinely surrealist film that's determined by its script, the cinematic blueprint. That would require that a filmmaker could give birth to the camera, to the film and to the projector, so that the film would be the direct communication from his mind to that of another. For this diffusion of dreams not to bore, the sender would have to be unalike to the receiver.\nOne is unable to accurately reproduce one's dreams from memory. Dissembling and rationalisation of their constituent parts is therefore inevitable. The definitive form of a work depends on the extent and control of this operation.\nInevitably, we arrive at the point at which we're unable to avoid the application of aesthetic criteria.\nIn relation to sleep. I have invented and realised some of my films during the slumber of my producers and collaborators.\nMy criteria for evaluating a work of art, whether surrealist or marginal to that project, is the proportion of interest and tedium found within it.\nA masterpiece is never tedious. What's more, its interest is more durable than fashion.\nI prefer those works which are the proof of an instinctive imagination, but not affectation or plagiarism. I admire humour, but never when its gratuitous or facile. I applaud rebellion, but not when its opposed to life.\nIn Dom, I gave a glass of milk to an orange, because it needed to quench its thirst.\nI never work with recourse to the state of psychic automatism. But that's not to say I'm incapable of employing a \"modest apparatus of self-interrogation\".\nThe traditions of surrealism in past eras, heralded only now - the whole of that same involuntary surrealism - demonstrate that it is the beholder who is the source of surrealism. It is the virtue of these contemporary prospectors to be the creators of surrealism. The same subjectivity has allowed for the inventory of a number of passing impressions of involuntarily surrealist films. Rarely have these films been distinguished by their merits.\nIf we consider the cinematic apparatus, its luminous singularity, as a manifestation of surrealism, its not important what film is being projected to a surrealist.\nThe fact that cinema possesses the appropriate potential doesn't constitute sufficient reason to really think that it is automatically predisposed to a place in the landscape of surrealist expression.\nExtracts of a film, successive frames of a particular sequence - this tendency among surrealists - are like a film the complete print of which doesn't exist. All film is a strip of celluloid, with images placed in the emulsion upon the surface of its length. Its not impossible to perceive, within a film, images that are good for their precision. Take your choice. That culminates in one composing anthologies.\n\"\"Nothing of nine!\" exclaimed a woman after watching Renaissance. \"Progress in reverse! Its taken 40 years for film to turn-about and go backwards!\" And in 50 years, how many films have gone forwards? Nowadays, moreover, we exaggerate more and more (to the point of ridicule) form and technique. Neither one, nor the other possesses in other respects the primacy in film. It isn't possible for any film to unspool in reverse. Film and action are shown today in fast forward (excluding projectionist error). The method of shooting (the means with which the author obtains the desired distortion) is of no importance. That's a curiosity, merely a footnote.\nI call for \"Goyaesque scenes\", because they'll provoke debate on scenes of war. Otherwise: \"a film is surrealist because a gentleman walks upon the ceiling of a room\". The majority of film critics are the captives of a literary vision. They do not trouble with how, why; in what manner; for whom, is sufficient. It is not their duty to make a statement.\nWalerian Borowczyk collaborated with Jan Lenica on \"Dom\", the film which won the gold medal in the experimental film competition at the 1958 Brussels Word Fair. The short animations \"Renaissance\" and \"Game of Angels\" won him further acclaim. Among his most celebrated features are \"Goto, Island of Love\", \"Blanche\", \"Immoral Stories\" and \"The Beast\". Borowczyk enjoys an international cult following but the best source of information in English has been the (now, sadly defunct) Australian magazine, Cinema Papers. See also: Colin Davis' essay in Shock Express #2.\nTranslated by Jim Knox from the French. Originally published in Etudes Cinematographiques # 41/42 (1965) \"Surrealisme et Cinema\"; Yves Kovacs, editor.","bio_dates":"1923-2006"},{"slug":"borowczyk_walerian_scherzo_infernal_1984","ok":true,"partial":false,"title":"Scherzo Infernal","artist":"Walerian Borowczyk","year":"1984","startOffset":0,"sourceSecs":301.397,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":43821971,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_scherzo_infernal_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_scherzo_infernal_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borowczyk_walerian_scherzo_infernal_1984.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borowczyk_walerian_scherzo_infernal_1984/main.mp4?v=2"},{"slug":"borowczyk_walerian_une_collection_particuliere","ok":true,"partial":false,"title":"Une collection particulière","artist":"Walerian Borowczyk","year":"1973","startOffset":0,"sourceSecs":704,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":117555504,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_une_collection_particuliere/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/borowczyk_walerian_une_collection_particuliere/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/borowczyk_walerian_une_collection_particuliere.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/borowczyk_walerian_une_collection_particuliere/main.mp4?v=2","description":"Dir. Walerian Borowczyk (1973)<br/> A representation of Mandiargues’s collection of pornographic items","artist_bio":"\"Matter is the most passive and defenseless essence in the cosmos. Anyone can mould or shape it; it obeys everybody. All attempts at organizing matter are transient and temporary, easy to reverse and to dissolve.\" —\nBruno Schulz\nBringing objects to \"life\" is the essence of\nBorowczyk\n's cinema. Buster Keaton aside, he is cinema's greatest prop specialist. Borowczyk has made clear his \"positive feelings towards objects\", not to mention a mania for those crafted in the 19th century. Why? Because in these objects we still find \"traces of man's hand\".\nNonetheless, hands are conspicuously absent from Borowczyk's early shorts. At first glance\nRenaissance\n(1963) and\nLe Phonograph\n(1969) appear eerily materialistic. After the catastrophic explosions that both initiate and complete\nRenaissance\n, the charred piles of wood and twisted scrap metal may well stand as \"evidence\" of the fate that has met the bodies of which these objects once belonged. But they are only wrecked objects. Nonetheless, we're amused (if not comforted) by the knowledge that the cycle will occur again (eternally!). Also, the faint sound beneath the rubble of smashed up wax drums and broken glass suggests that there may be a ghost in\nLe phonograph\nafter all. Borowczyk isn't pessimistic, rather \"catastrophic\". Such catastrophism belies a worry that craftsmanship is dying. \"Vivacity\" is being displaced by what Borowczyk describes as the \"mechanical society\" - one based on excess.\nIf Borowczyk's overt preoccupation is with the 19th century fin-de-siecle era, then it's one undercut by motifs of 20th century excesses: the atom bomb \"gags\" in\nLe theatre de Monsieur et Madame Kabal\n(1967) and the concentration camps in\nLes jeux des anges\n(1964) and\nGoto, l'ile d'amour\n(1968). But images of overproduction and saturation suggest commercial excess too. If the latter result in a \"dulling of our senses\", Borowczyk's obsessive studies of handcrafted objects now appear as genuinely \"erotic\", the accent less on their symbolic properties, more on the visual qualities, their sounds and textures.\nOf the shorts,\nRosalie\n(1966),\nGavotte\n(1967),\nDiptyque\n(1967) and\nUne Collection Particulire\n(1972) involve at least one visible human element, albeit one often obscured. To act in front of Borowczyk's camera, the actor has to surrender his (or usually her) will entirely, and become, not so much one of Bresson's \"models\", but one of Keaton's \"props\". But like Bresson, Borowczyk discarded character \"psychology\" as superficial - he's more interested in \"how\" rather than \"why\". A fascination for objects can degenerate into fetishism when it serves little or no narrative \"function\". Barthes gives us an idea of what that function could be in an essay on Bataille's\nHistoire de l'Oeil\n:\n\"How can an object have a story? Well, it can pass from hand to hand, giving rise to the sort of tame fancy authors call The History of my Pipe or Memoirs of an Armchair, or alternatively it can pass from image to image, in which case its story is that of migration, the cycle of the avatars it passes through, far removed from its original being, down the path of a particular imagination that distorts but never drops it.\"\nIf we grant a \"poetics\" of cinema, then it's obvious that Borowczyk's shorts are of the second kind. Of the features, the most successful \"object stories\" are neither entirely fanciful nor metaphorical, as Barthes later has object \"novels\" and \"poems\", but rather amalgams of the two. For example,\nGoto, l'ile d'amour\nand\nLa Bete\n(1975) could be conceived as sequential transactions of binoculars and shoes, roses and corsets between human (and in the case of\nLa Bete\n, not-so-human!) characters, but that would ignore the considerable metaphorical play taking place. As Ray Durgnat noted, in\nGoto, l'ile d'amour\n, Borowczyk relishes a linguistic, satirical fetishization of Grozo's tasks: brushing ch-auseurs, taking care of ch-iens and drowning mou-ch-es. In\nLa Bete\n(and to a lesser extent,\nDzieje Grzechu\n, 1975), rose petals are put to good use in female masturbatory fantasies Ð female genitalia is so often compared to rose petals (e.g. Kane's \"Rosebud\") Ð here Borowczyk offers a literal on-screen deflowering! —© Daniel Bird, 2003\nI saw in a basket thousands of live snails. Some, diverging from their number, crept along the edge. Terror staggered me: each was completely indistinguishable from another. William Rowney (1223-1264)\nSurrealism is a program of absolute non-conformity, in life and in poetry, that speaks equally to the cinema. I'm all for it.\nIf I speak of\nsurrealism\n, or if I intend to speak, I'm not thinking about Art. Art? This is the disciplines, constraints, the models, the artistic talents, psychology, theories, the schools. Art, that's \"the artistes\". Only creators are free.\nIn the domain of creation, all that exists without subscribing to a school always risks being dismissed as worthless.\nIt is not a genuinely surrealist film that's determined by its script, the cinematic blueprint. That would require that a filmmaker could give birth to the camera, to the film and to the projector, so that the film would be the direct communication from his mind to that of another. For this diffusion of dreams not to bore, the sender would have to be unalike to the receiver.\nOne is unable to accurately reproduce one's dreams from memory. Dissembling and rationalisation of their constituent parts is therefore inevitable. The definitive form of a work depends on the extent and control of this operation.\nInevitably, we arrive at the point at which we're unable to avoid the application of aesthetic criteria.\nIn relation to sleep. I have invented and realised some of my films during the slumber of my producers and collaborators.\nMy criteria for evaluating a work of art, whether surrealist or marginal to that project, is the proportion of interest and tedium found within it.\nA masterpiece is never tedious. What's more, its interest is more durable than fashion.\nI prefer those works which are the proof of an instinctive imagination, but not affectation or plagiarism. I admire humour, but never when its gratuitous or facile. I applaud rebellion, but not when its opposed to life.\nIn Dom, I gave a glass of milk to an orange, because it needed to quench its thirst.\nI never work with recourse to the state of psychic automatism. But that's not to say I'm incapable of employing a \"modest apparatus of self-interrogation\".\nThe traditions of surrealism in past eras, heralded only now - the whole of that same involuntary surrealism - demonstrate that it is the beholder who is the source of surrealism. It is the virtue of these contemporary prospectors to be the creators of surrealism. The same subjectivity has allowed for the inventory of a number of passing impressions of involuntarily surrealist films. Rarely have these films been distinguished by their merits.\nIf we consider the cinematic apparatus, its luminous singularity, as a manifestation of surrealism, its not important what film is being projected to a surrealist.\nThe fact that cinema possesses the appropriate potential doesn't constitute sufficient reason to really think that it is automatically predisposed to a place in the landscape of surrealist expression.\nExtracts of a film, successive frames of a particular sequence - this tendency among surrealists - are like a film the complete print of which doesn't exist. All film is a strip of celluloid, with images placed in the emulsion upon the surface of its length. Its not impossible to perceive, within a film, images that are good for their precision. Take your choice. That culminates in one composing anthologies.\n\"\"Nothing of nine!\" exclaimed a woman after watching Renaissance. \"Progress in reverse! Its taken 40 years for film to turn-about and go backwards!\" And in 50 years, how many films have gone forwards? Nowadays, moreover, we exaggerate more and more (to the point of ridicule) form and technique. Neither one, nor the other possesses in other respects the primacy in film. It isn't possible for any film to unspool in reverse. Film and action are shown today in fast forward (excluding projectionist error). The method of shooting (the means with which the author obtains the desired distortion) is of no importance. That's a curiosity, merely a footnote.\nI call for \"Goyaesque scenes\", because they'll provoke debate on scenes of war. Otherwise: \"a film is surrealist because a gentleman walks upon the ceiling of a room\". The majority of film critics are the captives of a literary vision. They do not trouble with how, why; in what manner; for whom, is sufficient. It is not their duty to make a statement.\nWalerian Borowczyk collaborated with Jan Lenica on \"Dom\", the film which won the gold medal in the experimental film competition at the 1958 Brussels Word Fair. The short animations \"Renaissance\" and \"Game of Angels\" won him further acclaim. Among his most celebrated features are \"Goto, Island of Love\", \"Blanche\", \"Immoral Stories\" and \"The Beast\". Borowczyk enjoys an international cult following but the best source of information in English has been the (now, sadly defunct) Australian magazine, Cinema Papers. See also: Colin Davis' essay in Shock Express #2.\nTranslated by Jim Knox from the French. Originally published in Etudes Cinematographiques # 41/42 (1965) \"Surrealisme et Cinema\"; Yves Kovacs, editor.","bio_dates":"1923-2006"},{"slug":"bourdin_guy_the_films","ok":true,"partial":false,"title":"The Films of Guy Bourdin","artist":"Guy Bourdin","year":"1960","startOffset":0,"sourceSecs":630.635,"sourceHeight":400,"sourceWidth":424,"hasAudio":true,"hasAmbientMp4":true,"bytes":40292841,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bourdin_guy_the_films/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bourdin_guy_the_films/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bourdin_guy_the_films.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bourdin_guy_the_films/main.mp4?v=2","description":"Films: Guy Bourdin<br/> <br/> Music and Sound Design: Ensemble/Olivier Alary<br/> <br/> Guy Bourdin’s first fashion shoot for Vogue France in 1955 included an image of a woman wearing a hat below three butchered cow heads with their tongues hanging out. And his oeuvre didn’t exactly get less sensational or surreal from there. <br/><br/> Both renowned and reviled for photographs that were often sexually charged and sinister, but always masterfully composed and visually complex, Bourdin revolutionized fashion photography in the latter part of the 20th century. In addition to working with Vogue in France, the United States, Britain and Italy for more than 30 years, the photographer shot for Harper’s Bazaar and Photo and created arresting advertising campaigns for Charles Jourdan, Issey Miyake, Chanel, Emanuel Ungaro and Pentax. In an era when wholesome smiles and polyester pantsuits blended into the (faux) woodwork, Bourdin shocked with bare bottoms, bleeding nipples and atmospheres as seedy as Amber Wave’s San Fernando Valley and as slick as Joan Collins’s lip-gloss. <br/><br/> While his photographs themselves are like mini cinematic experiences, plunging you into daring and thrilling scenarios, Bourdin actually shot 8mm, super 8 and 16mm films. Excerpts from these films will be shown for the first time at Le Bon Marché Rive Gauche in Paris with the exhibition “Guy Bourdin: Ses Films” (through Oct. 29). <br/><br/> A legendary fashion landmark in its own right, Le Bon Marché is using floating screens, panoramic projections and infinite mirrored boxes throughout darkened galleries to bring Bourdin’s stylized worlds to life. The exhibition, curated with the help of his only son, Samuel, encompasses a series of 15 clips of digitized and edited cine films, shot between the ’60s and ’80s. Fashion meets landscape, black and white merges with color, collages combine with close-ups, and ethereal beauty mixes with hard-core sexuality — the films are every bit as mesmerizing and taunting as his stills. <br/><br/> The work of Bourdin, a born-and-bred Parisian and Man Ray protégé, isn’t being confined to his hometown’s appreciative gaze — stay tuned for Sean Brandt’s forthcoming feature, “When the Sky Fell Down: The Myth of Guy Bourdin.” <br/><br/> New York Times<br/> By AMY THOMAS<br/> September 24, 2009","artist_bio":"Guy Bourdin was a groundbreaking image-maker who had a profoundly influential impact on fashion photography. His fashion editorial and advertising was published principally in French Vogue from the mid-1950s through to the late 1980s, where it had its greatest impact in the decade of the 1970s. Born in 1928 in Paris, Bourdin grew up in an age of intense cultural anxiety, precipitated by the uncertainties and disruption of the wartime occupation of France, and the subsequent challenge to human rationality typified by the philosophies of Existentialism. His early inspiration was from Surrealism, and specifically the work of Man Ray, with whom he struck up a relationship, the Surrealist whose vision had reconfigured notions of what a photograph might be. The art Bourdin made without his camera enjoyed a modest success, with exhibitions in Paris and New York, but it was in his experiments with the camera, which he first brought to Vogue in 1954, that he excelled. Bourdin rejected the descriptive roles of photography in favour of an exploration of the medium's capacity for the divergent. In the practice of certain American photographers, notably Edward Weston, Bourdin recognised a concern with formal perfection and extremely high finish that became his own objective, one perfectly adapted to the deceptive sophistication of fashion imagery, the terrain in which he developed his ideas for over thirty years.\nAt French Vogue, Bourdin demanded and was allowed unique editorial control-and amazingly, he extended this to his principal client in advertising, shoe company Charles Jourdan, who first commissioned him in the 1960s. Bourdin's approach to campaigns reflected a distinct change for advertising in this period. Where it had once been dominated by selling the intangibles of class, alongside the merchandise, Bourdin rejected the 'product shot' in favour of atmospheric tableaux and suggestions of narrative. Bourdin was not alone in demystifying the object, but he was the most radical in his approach. The photographs of Guy Bourdin and contemporaries such as Helmut Newton, proved that advertising need not be an elaboration of a safe, prescribed fantasy. Bourdin emphasised fetishism, power relationships, and the potential for sexual violence, as well as the artificiality of the image, its gloss rather than its reality. Bourdin's success at exposing the contrivance of fashion imagery precipitated this becoming a mainstream rhetorical manoeuvre within mass-circulation magazines, but the unique preserve of his images was to refuse to explain themselves, despite their formal sharpness and clarity. Their enduring strength lies in their beguiling potential to intrigue and disturb.","bio_dates":"1928-1991"},{"slug":"bowles_paul_let_it_come_down_the_life_of_paul_bowles_jennifer_baichwal_1998","ok":true,"partial":false,"title":"Let It Come Down: The Life of Paul Bowles","artist":"Paul Bowles","year":"1998","startOffset":0,"sourceSecs":4439.072,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":756496494,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bowles_paul_let_it_come_down_the_life_of_paul_bowles_jennifer_baichwal_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bowles_paul_let_it_come_down_the_life_of_paul_bowles_jennifer_baichwal_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bowles_paul_let_it_come_down_the_life_of_paul_bowles_jennifer_baichwal_1998.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bowles_paul_let_it_come_down_the_life_of_paul_bowles_jennifer_baichwal_1998/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bowles_paul_let_it_come_down_the_life_of_paul_bowles_jennifer_baichwal_1998/main/master.m3u8?v=2","hasMainHls":true,"description":"Let It Come Down: The Life of Paul Bowles (1998)<br/> Jennifer Baichwal<br/> 1999 (USA)<br/> cast: Paul Bowles, William S. Burroughs, Allen Ginsberg<br/> <br/> This documentary is a fascinating, poignant effort to assess the life of mysterious expatriate writer Paul Bowles. It includes archival \"home movie\" footage, as well as interviews with William Burroughs, Allen Ginsberg, and other \"beat\" era writers who knew Bowles and his wife Jane during his 50 years in Morocco. We see a man who is obviously on death's doorstep, but who has made a semblance of peace with himself and his past. He discusses his philosophy on writing (he basically doesn't have one), his life with Jane, his homosexuality, and his complex relationship with his adopted country. This film does not earn a higher rating, because it teases more than it tells . . . probably due to the difficulty of getting information from Bowles. It will make you want to read his autobiography and all his other literary works, if you haven't already done so.<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Let It Come Down: The Life of Paul Bowles (1998)\nDir. Jennifer Baichwal\nPaul Frederic Bowles (December 30, 1910 - November 18, 1999) was an American expatriate composer, author, and translator. Following a cultured middle-class upbringing in New York City, during which he displayed a talent for music and writing, Bowles pursued his education at the University of Virginia before making various trips to Paris in the 1930s. He studied music with Aaron Copland and in New York wrote music for various theatrical productions, as well as other compositions. He achieved critical and popular success with the publication in 1949 of his first novel The Sheltering Sky, set in what was known as French North Africa, which he had visited in 1931.\nIn 1947 Bowles settled in Tangier, Morocco, and his wife, Jane Bowles followed in 1948. Except for winters spent in Sri Lanka (then known as Ceylon) during the early 1950s, Tangier was his home for the remainder of his life.","bio_dates":"1910-1999"},{"slug":"box_1977_bucure_ti_romania_1977","ok":true,"partial":false,"title":"Box","artist":"Ion Grigorescu","year":"1977","startOffset":0,"sourceSecs":165.56,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":28595308,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/box_1977_bucure_ti_romania_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/box_1977_bucure_ti_romania_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/box_1977_bucure_ti_romania_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/box_1977_bucure_ti_romania_1977/main.mp4?v=2"},{"slug":"brakahge_stan_theactofseeingwithonesown_eyes","ok":true,"partial":false,"title":"The Act of Seeing with One's Own Eyes","artist":"Stan Brakhage","year":"1971","startOffset":0,"sourceSecs":1913.787,"sourceHeight":384,"sourceWidth":512,"hasAudio":false,"hasAmbientMp4":true,"bytes":5734723,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brakahge_stan_theactofseeingwithonesown_eyes/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brakahge_stan_theactofseeingwithonesown_eyes/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brakahge_stan_theactofseeingwithonesown_eyes.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brakahge_stan_theactofseeingwithonesown_eyes/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brakahge_stan_theactofseeingwithonesown_eyes/main/master.m3u8?v=2","hasMainHls":true,"description":"The Act of Seeing with One's Own Eyes is a 1971 American experimental film by Stan Brakhage. It was filmed on 16mm without synchronized sound in a Pittsburgh morgue. The title is based on a literal translation of the term autopsy. The film is part of Brakhage's \"Pittsburgh trilogy\", a trio of \"documentary\" films Brakhage made about the city's various institutions in 1971; the other two are Eyes, about the city police, and Deus Ex, filmed in a hospital. Writing about the film, American critic Jonathan Rosenbaum referred to The Act of Seeing with One's Own Eyes as \"one of the most direct confrontations with death ever recorded on film.\"\n\nBrakhage shot The Act of Seeing with One's Own Eyes during a visit to a morgue. The film documented highly graphic typical autopsy procedures such as the removing of organs and embalming.\n\nTrue to its title, The Act of Seeing With One’s Own Eyes is a study in observation and immersion. Brakhage’s films are all about the visual and this film is no exception. He can be described as a 'documentarian of subjectivity' as the film techniques he used are partly about 'giving form to his eyesight' (In other words, the camera lens as the human eyes). However, the aim is always to ‘sensitize each viewer to his own subjectivity’. The stripped-down filming style (silent thus free of all voice over typical in documentaries) enables the viewer to form their own interpretations and judgements. Indeed, for all its gore, the general viewing experience and observation can be something like what Fred Camper has described, “The Act of Seeing with one’s own eyes (1971) will soon discover that the film is also a curious, admittedly creepy, study of the varieties of light reflected off of skin, with luminous fluid appearing to dance with the camera”.\n\nIn a Senses of Cinema profile of the filmmaker, filmmaker and curator Brian Frye wrote: \"The key image of The Act of Seeing With One's Own Eyes is quite likely the bluntest statement on the human condition ever filmed. In the course of an autopsy, the skin around the scalp is slit with a scalpel, and in preparation for exposing and examining the brain, the face of each cadaver is literally peeled off, like a mask, revealing the raw meat beneath. That image, once seen, will never leave you.\""},{"slug":"brakhage_stan_lovemaking","ok":true,"partial":false,"title":"Lovemaking","artist":"Stan Brakhage","year":"1968","startOffset":0,"sourceSecs":2156.922,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":371314009,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brakhage_stan_lovemaking/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brakhage_stan_lovemaking/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brakhage_stan_lovemaking.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brakhage_stan_lovemaking/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brakhage_stan_lovemaking/main/master.m3u8?v=2","hasMainHls":true,"description":"Working completely outside the mainstream, the wildly prolific, visionary Stan Brakhage made more than 350 films over a half century. Challenging all taboos in his exploration of \"birth, sex, death, and the search for God,\" he has turned his camera on explicit lovemaking, childbirth, even autopsy. Many of his most famous works pursue the nature of vision itself and transcend the act of filming. Some, including the legendary Mothlight, were made without using a camera at all, as he pioneered the art of making images directly on film, by drawing, painting, and scratching.","artist_bio":"Legendary Epics Yarns and Fables: Stan Brakhage (Directed by Stephen E. Gebhardt and Robert Fries)\n(early 1970s)\nJames Stanley Brakhage (January 14, 1933 – March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker. He is considered to be one of the most important figures in 20th-century experimental film.\nOver the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film, collage film and the use of multiple exposures. Interested in mythology and inspired by music, poetry, and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality,sexuality, and innocence.","bio_dates":"1933-2003"},{"slug":"brakhage_stan_text_of_light_1974","ok":true,"partial":false,"title":"The Text of Light","artist":"Stan Brakhage","year":"1974","startOffset":0,"sourceSecs":4058.059,"sourceHeight":384,"sourceWidth":512,"hasAudio":false,"hasAmbientMp4":true,"bytes":187666247,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brakhage_stan_text_of_light_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brakhage_stan_text_of_light_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brakhage_stan_text_of_light_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brakhage_stan_text_of_light_1974/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brakhage_stan_text_of_light_1974/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>Disclaimer: This is a VHS rip of what is perhaps the most delicate and beautiful film ever made. In classical terms, this verison doesn't begin to do the work justice. At best, it gives you a hint of the extraordinary vision that Brakhage captured on film and acts as a prompt for you to go see it in a theatre -- that is, if you can. Most likely, you can't. It's rarely shown in major metropolitan areas and never shown outside of them. <br/><br/> But there is another way to think about it. In the digital age, the many format manipulations that this particular copy has been through make it just as -- but differently -- extraordinary as Brakhage's original vision. New colors and fields of light appear, all as a result of several generations of copying, not dissimilar to Alvin Lucier's <a href=\"https://ubu.com/sound/lucier.html\" rel=\"noopener\" target=\"_blank\">I Am Sitting in a Room</a>, So, perhaps it's best to think of this not as merely a poor quality copy, but in fact, a remix of the original, with the VJ not being one person, but being the technology itself. -- UbuWeb </b><br/><br/>The feature-length The Text of Light (1974) consists entirely of abstracted patterns of light photographed through a thick, deep-green ashtray. Anticipating his non-photographic abstract films of the ’80s and ’90s, it reduces photography to its ratio ultima, the influence of light on photographic emulsion. <br><br> …in photographing this ashtray for instance, I’m sitting for hours to get 30 seconds of film. I’m sitting watching what’s happening and clicking a frame, and sitting and watching, and further than that, I had shot several hundred feet and they seemed dead. They didn’t reflect at all my excitement and emotion and feeling. They had no anima in them, except for two or three shots where the lens which was on a tripod, pressed against the desk, had jerked. Those were just random, but what gave me the clue. What I began doing was always holding the camera in hand. For hours. Clicking. Waiting. Seeing what the sun did to the scene. As I saw what was happening in the frame to these little particles of light, changing, I would shoot the camera very slightly. <br/><br/> Cinema is consciousness and light is intelligence. 'All that is is light' (Duns Scotus Erigena) was a guiding quote and credo for Brakhage throughout the making of The Text of Light. Brakhage is exquisitely 'photosensitive', exploring all the visual registers of light across the known spectrum and through its unassigned frequencies and physiological and emotional manifestations. Cinema as consciousness and light as intelligence. Bookending this visually resplendent programme of non-representational 'imagnostic' film and landscape as engendering source are two of Brakhage's evocations of the 'filtered' sublime. Jonas Mekas was perhaps the first to refer to The Text of Light as 'cathedrals of light'. The vibrantly hand painted Chartres Series (propelled by a life changing visitation to see the incomparable stained glass windows of the Gothic cathedral in Chartres) and The Text of Light (a near microphotographic contemplation of the minute changes of refracted light painstakingly filmed through a crystal ashtray) have an affinity through their concern with light projecting through vitreous elements. Brakhage peered clairvoyantly into this crystal ashtray this Blakean grain of sand and found the basic makeup of all things a universe of colour and shape as living entities, a history of painting from Turner's mists to Cézanne's forests to De Kooning's 'Door to the River' and unnameable angelic beings and spectral emanations.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Stan Brakahge in UbuWeb Sound</a></br></br></br>","artist_bio":"Legendary Epics Yarns and Fables: Stan Brakhage (Directed by Stephen E. Gebhardt and Robert Fries)\n(early 1970s)\nJames Stanley Brakhage (January 14, 1933 – March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker. He is considered to be one of the most important figures in 20th-century experimental film.\nOver the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film, collage film and the use of multiple exposures. Interested in mythology and inspired by music, poetry, and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality,sexuality, and innocence.","bio_dates":"1933-2003"},{"slug":"brambilla_marco_rorschach","ok":true,"partial":false,"title":"Rorschach","artist":"Marco Brambilla","year":"2011","startOffset":0,"sourceSecs":90.21,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":6336039,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brambilla_marco_rorschach/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brambilla_marco_rorschach/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brambilla_marco_rorschach.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brambilla_marco_rorschach/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Filmmaker and artist. Born in Milan in 1960, Brambilla worked as a commercial and feature film director with credits including DEMOLITION MAN before turning to video and photography projects.\nBrambilla has exhibited in international venues such as the Kunsthalle in Bern, Switzerland, and his work is included in the collections of both the Guggenheim Museum and San Francisco Museum of Modern Art.\nIn 2001, he was commissioned by Creative Time to present a project on the Times Square Jumbotron Screen. Brambilla won the Tiffany Comfort Foundation, NY, Biennal Award 2002 and the Colbert Foundation, NY, Downtown emerging Artists Award, 2000 for Film and Video Show at The New Museum, NYC.","bio_dates":"b. 1960"},{"slug":"brambilla_marco_sync_2006_mp4","ok":true,"partial":false,"title":"Sync","artist":"Marco Brambilla","year":"2006","startOffset":0,"sourceSecs":135.28,"sourceHeight":384,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":7670188,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brambilla_marco_sync_2006_mp4/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brambilla_marco_sync_2006_mp4/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brambilla_marco_sync_2006_mp4.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brambilla_marco_sync_2006_mp4/main.mp4?v=2","description":"Marco Brambilla’s 'Sync' is made up of sampled images from sex scenes in mainstream and adult films. The formulaic and often derivative nature of the way this subject is interpreted in cinema is emphasised, creating a strong subliminal impression which gradually builds to a state of sensory overload. <br/><br/> 'Sync' uses samples as short as single frames edited together to create the impression of motion. The original continuity and narrative in the source material is eliminated, and a new visual choreography emreges.","artist_bio":"Filmmaker and artist. Born in Milan in 1960, Brambilla worked as a commercial and feature film director with credits including DEMOLITION MAN before turning to video and photography projects.\nBrambilla has exhibited in international venues such as the Kunsthalle in Bern, Switzerland, and his work is included in the collections of both the Guggenheim Museum and San Francisco Museum of Modern Art.\nIn 2001, he was commissioned by Creative Time to present a project on the Times Square Jumbotron Screen. Brambilla won the Tiffany Comfort Foundation, NY, Biennal Award 2002 and the Colbert Foundation, NY, Downtown emerging Artists Award, 2000 for Film and Video Show at The New Museum, NYC.","bio_dates":"b. 1960"},{"slug":"branca_antonello_whats_happening_1967_iphone","ok":true,"partial":false,"title":"What's Happening?","artist":"Antonello Branca","year":"1967","startOffset":0,"sourceSecs":2804.824,"sourceHeight":320,"sourceWidth":388,"hasAudio":true,"hasAmbientMp4":true,"bytes":165860777,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/branca_antonello_whats_happening_1967_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/branca_antonello_whats_happening_1967_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/branca_antonello_whats_happening_1967_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/branca_antonello_whats_happening_1967_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/branca_antonello_whats_happening_1967_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"46 minutes\n\nAntonello Branca's \"What's Happening?\": an irreverent portrait of America of the 60s seen through the experiences of artists of the Beat Generation and Pop Art. The America of the Vietnam war, ploughed by contradictions and explosive social tensions but potentially saturated with expectations for the future. With: Andy Warhol, Allen Ginsberg, Roy Lichtenstein, Robert Rauschenberg, Gregory Corso, Marie Benois and Leon Kraushar."},{"slug":"branca_glenn_dissonance_cincinati_1980","ok":true,"partial":false,"title":"Dissonance (Cincinnati)","artist":"Glenn Branca","year":"1980","startOffset":0,"sourceSecs":1361.131,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":227490746,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/branca_glenn_dissonance_cincinati_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/branca_glenn_dissonance_cincinati_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/branca_glenn_dissonance_cincinati_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/branca_glenn_dissonance_cincinati_1980/main.mp4?v=2","description":"\"Dissonance\" released on album Lesson No. 1, 1980, 99 Records, NYC <br/> Guitars: <br/> Glenn Branca<br/> Lee Ranaldo<br/> David Rosenbloom<br/> Ned Sublette<br/> <br/> Bass:<br/> Jeffrey Glenn<br/> <br/> Drums: <br/> Stephen Vischerlin<br/><br/>This New Music video was shot and edited by Mr. Rosenberger and showcases New York City guitarist/composer Glenn Branca in a Cincinnati performance and his \"guitar attack squad\" in a performance from 1980. <br><br> It has appeared in numerous clubs in NYC, on cable TV in Athens and Cincinnati and won the VIDEOGRAPHY AWARD at the 1982 Three Rivers Arts Festival in Pittsburgh.</br></br>","bio_dates":"1948-2018"},{"slug":"brancusi_constantin_brancusi_filmed","ok":true,"partial":false,"title":"Brancusi Filmed","artist":"Constantin Brâncuși","year":"2008","startOffset":0,"sourceSecs":3563.56,"sourceHeight":480,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":563936216,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brancusi_constantin_brancusi_filmed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brancusi_constantin_brancusi_filmed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brancusi_constantin_brancusi_filmed.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brancusi_constantin_brancusi_filmed/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brancusi_constantin_brancusi_filmed/main/master.m3u8?v=2","hasMainHls":true,"description":"In the early 1920's, Man Ray, who had previously taught Constantin Brancusi how to handle a still camera, introduced him to the movie camera. These fifty minutes of film, shot between 1923 and 1939, representing the sum total of all the images ever filmed by Brancusi, have never been shown before.\n\nThis is both an exceptional document on the sculptor filming himself at work in the studio and an integral part of his creative output. As with his photography, Brancusi makes use of framing, shadows, incident light and refraction in order to activate the plastic properties of his sculptures, and opens up this visual analysis to movement and to time. Leda and Fish can therefore be seen revolving slowly on their plinths, the coloums are given life in long upward panning shots and the changes in light play on the glass roof of the studio, now transformed into a film set. A long sequence is devoted to Brancusi's journey to Romania and the construction of the endless column in Târgu Jiu."},{"slug":"brand_bill_angular_momentum_1974","ok":true,"partial":false,"title":"Angular Momentum","artist":"Bill Brand","year":"1973","startOffset":0,"sourceSecs":1191.36,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":199476558,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brand_bill_angular_momentum_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brand_bill_angular_momentum_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brand_bill_angular_momentum_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brand_bill_angular_momentum_1974/main.mp4?v=2","description":"16mm, 20 minutes <br/><br/> Nearly continuous color changes rotate around a spectrum, but this time at varying speeds of rotation and degrees of intensity. The colors on the left start white and rotate very slowly. As the film progresses the color values become darker and the speed of rotation increases until, by the end, the color is nearly black and rotates around the spectrum about once per second. On the right, the opposite occurs, starting black and progressing nearly to white. The film has an improvised electronic soundtrack by Richard Teitelbaum.","artist_bio":"Bill Brand's experimental films and videos have screened extensively since 1973 in the US and abroad in museums, festivals and independent film showcases. His feature documentary Home Less Home has been seen worldwide on television and was featured at major film festivals including the Berlin Film Festival and New Directors/ New Films Festival. His 1980 Masstransiscope, a mural installed in the subway system of New York City which is animated by the movement of passing trains, is a widely regarded work of public art. In 1973 he founded Chicago Filmmakers, the showcase and workshop and until 1991 served on the Board of Directors of the Collective for Living Cinema in New York City. He is currently an Artistic Director of Parabola Arts Foundation which he co-founded in 1981. Bill Brand lives in New York CIty and is Professor of Film and Photography at Hampshire College in Amherst, Massachusetts. Since 1976 he has operated BB Optics, an optical printing service specializing in 8mm blow-ups and archival preservation for independent filmmakers, libraries, museums and archives.","bio_dates":"b. 1949"},{"slug":"brand_bill_chucks_wills_widow_1982","ok":true,"partial":false,"title":"Chuck Will's Widow","artist":"Bill Brand","year":"1982","startOffset":0,"sourceSecs":719.542,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":111180489,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brand_bill_chucks_wills_widow_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brand_bill_chucks_wills_widow_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brand_bill_chucks_wills_widow_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brand_bill_chucks_wills_widow_1982/main.mp4?v=2","description":"16mm, silent, 12 minutes <br/><br/> This eulogy is shot in the mountain woods where my mother's remains and those of my father and his father are scattered. Jagged shapes swarm the surface acting variously as frames, veils, and fragments of recognizable photographic scenes. Formally complex, the film's emotional qualities emerge in unexpected and subtle ways bringing to the surface themes of mourning, loss and tradition.","artist_bio":"Bill Brand's experimental films and videos have screened extensively since 1973 in the US and abroad in museums, festivals and independent film showcases. His feature documentary Home Less Home has been seen worldwide on television and was featured at major film festivals including the Berlin Film Festival and New Directors/ New Films Festival. His 1980 Masstransiscope, a mural installed in the subway system of New York City which is animated by the movement of passing trains, is a widely regarded work of public art. In 1973 he founded Chicago Filmmakers, the showcase and workshop and until 1991 served on the Board of Directors of the Collective for Living Cinema in New York City. He is currently an Artistic Director of Parabola Arts Foundation which he co-founded in 1981. Bill Brand lives in New York CIty and is Professor of Film and Photography at Hampshire College in Amherst, Massachusetts. Since 1976 he has operated BB Optics, an optical printing service specializing in 8mm blow-ups and archival preservation for independent filmmakers, libraries, museums and archives.","bio_dates":"b. 1949"},{"slug":"brand_bill_moment_1972","ok":true,"partial":false,"title":"Moment","artist":"Bill Brand","year":"1972","startOffset":0,"sourceSecs":1415.382,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":244985315,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brand_bill_moment_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brand_bill_moment_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brand_bill_moment_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brand_bill_moment_1972/main.mp4?v=2","description":"16mm, 23 minutes <br/><br/> A view of a gas station is seen from inside, behind a multi-paneled tire ad display. In a 2 1/2 minute sequence, ordinary events are seen intermittently through the opening display. This sequence is then divided and rearranged seven times in reverse order, each time in smaller units until finally the film appears to move smoothly backwards. In information theory a \"moment\" is defined as the shortest duration at which no distinctions can be made between units of information. This film dynamically reveals film's basic unit, the frame.","artist_bio":"Bill Brand's experimental films and videos have screened extensively since 1973 in the US and abroad in museums, festivals and independent film showcases. His feature documentary Home Less Home has been seen worldwide on television and was featured at major film festivals including the Berlin Film Festival and New Directors/ New Films Festival. His 1980 Masstransiscope, a mural installed in the subway system of New York City which is animated by the movement of passing trains, is a widely regarded work of public art. In 1973 he founded Chicago Filmmakers, the showcase and workshop and until 1991 served on the Board of Directors of the Collective for Living Cinema in New York City. He is currently an Artistic Director of Parabola Arts Foundation which he co-founded in 1981. Bill Brand lives in New York CIty and is Professor of Film and Photography at Hampshire College in Amherst, Massachusetts. Since 1976 he has operated BB Optics, an optical printing service specializing in 8mm blow-ups and archival preservation for independent filmmakers, libraries, museums and archives.","bio_dates":"b. 1949"},{"slug":"brand_bill_zip_tone_cat_tune_1972","ok":true,"partial":false,"title":"Zip Tone Cat Tune","artist":"Bill Brand","year":"1972","startOffset":0,"sourceSecs":336.959,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":57207988,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brand_bill_zip_tone_cat_tune_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brand_bill_zip_tone_cat_tune_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brand_bill_zip_tone_cat_tune_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brand_bill_zip_tone_cat_tune_1972/main.mp4?v=2","description":"16mm, 5'36\" minutes <br/><br/> A simple home movie of a cat is reprocessed through a \"Zip-a-tone\" dot pattern making a complex of layers. In combination with freeze frames, positive and negative, and color motion, this work attempts to visually construct a system of overlays like those in Baroque musical composition.","artist_bio":"Bill Brand's experimental films and videos have screened extensively since 1973 in the US and abroad in museums, festivals and independent film showcases. His feature documentary Home Less Home has been seen worldwide on television and was featured at major film festivals including the Berlin Film Festival and New Directors/ New Films Festival. His 1980 Masstransiscope, a mural installed in the subway system of New York City which is animated by the movement of passing trains, is a widely regarded work of public art. In 1973 he founded Chicago Filmmakers, the showcase and workshop and until 1991 served on the Board of Directors of the Collective for Living Cinema in New York City. He is currently an Artistic Director of Parabola Arts Foundation which he co-founded in 1981. Bill Brand lives in New York CIty and is Professor of Film and Photography at Hampshire College in Amherst, Massachusetts. Since 1976 he has operated BB Optics, an optical printing service specializing in 8mm blow-ups and archival preservation for independent filmmakers, libraries, museums and archives.","bio_dates":"b. 1949"},{"slug":"breakwell_ian_continuous_diary_1984_iphone","ok":true,"partial":false,"title":"Ian Breakwell's Continuous Diary","artist":"Ian Breakwell","year":"1984","startOffset":0,"sourceSecs":3444.632,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":201126306,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breakwell_ian_continuous_diary_1984_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breakwell_ian_continuous_diary_1984_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/breakwell_ian_continuous_diary_1984_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/breakwell_ian_continuous_diary_1984_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/breakwell_ian_continuous_diary_1984_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Produced by Anna Ridley.<br/> An Annalogue Production for Channel 4 Television.<br/> Copyright 1984.<br/> Courtesy of Anna Ridley and Felicity Sparrow Ian Breakwell’s Continuous Diary is a series of 21 episodes commissioned as part of the Dadarama series for the launch of Channel 4. Presented here is a selection of episodes made by the late Ian Breakwell. The producer and commissioner Anna Ridley writes: Ian had decided that he wanted to develop his “Continuous Diary” for television. Annalogue, my production company, received an initial budget to produce several episodes as a pilot. Despite C4’s free-wheeling philosophy, I guess the idea was “risky’ especially as the Channel had yet to launched. The pilot received a very favourable response and full production commenced […]. Ian’s “Continuous Diary” episodes were of varying running times, the shortest being 2’46” and the longest 12’39”, with a total duration of 2 hours and 17 minutes. Some draw on Ian’s existing Diaries and adapted; others were made especially. “13th May 1984”, for example, is about the London Marathon and was shot on that day whilst the marathon was taking place and transmitted the following day. Ian decided on a transmission schedule of one episode per evening Monday to Friday preferably after the pubs closed! I think he both wanted his audience in a mellow mood and not to have to curtail his own time in the pub, one of his evening rituals. Ian Breakwell’s Continuous Diary (Programme 2) Untitled 2:46 mins<br/> Ian Breakwell’s Continuous Diary (Programme 3) The Walking Man 5.05 mins<br/> Ian Breakwell’s Continuous Diary (Programme 7) Untitled 5:03 mins<br/> Ian Breakwell’s Continuous Diary (Programme 9) Oct 12 1982 6:55 mins<br/> Ian Breakwell’s Continuous Diary (Programme 10) Growth 12:39 mins<br/> Ian Breakwell’s Continuous Diary (Programme 13) 13 May 1984 8:19 mins<br/> Ian Breakwell’s Continuous Diary (Programme 21) The Birthday after the Night Before 10:55 mins<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Ian Breakwell on UbuWeb Sound</a>","artist_bio":"Ian Breakwell (26 May 1943 - 14 October 2005) was a world renowned British fine artist. He was a prolific artist who took a multi-media approach to his observation of society. Breakwell was born in Derby and studied at Derby College of Art, graduating in 1964.\nDuring the 1970s Breakwell worked with the Artist Placement Group (APG), which dropped artists into government departments in the perhaps forlorn hope that their intuition would improve the decision-making process. Breakwell's placements included the Department of Health and Social Security; under its auspices, he worked in Broadmoor and Rampton hospitals. The results included a report, co-written with a group of architects, recommending top-to-bottom changes at Rampton, and a film, The Institution (1978), made with the singer-songwriter and artist Kevin Coyne. A diary entry recalls Breakwell's first APG visit to Rampton, which immediately stirred memories of performing there as a child-conjuror: the incongruous juxtaposition is entirely characteristic.\nIn 1986 Pluto Press published Ian Breakwell's Diary 1964-1985, his idiosyncratic journal, observing fine details of modern society typically overlooked by most people. In the 1980s, he made a number of adaptations of his diary for Channel 4. Later he co-edited (with Paul Hammond) two important anthologies, akin to the work of Mass Observation: Seeing in the Dark (1990), an assemblage of hundreds of accounts of cinema-going; and Brought to Book (1994), which documented the myriad forms of bibliophiliac obsession. Although he had a longstanding relationship with the Anthony Reynolds Gallery in London, his keenness to develop new ways of working led to residencies with, among others, Tyne Tees Television (1985) and Durham Cathedral (1994-95).\nWorks of this period included Auditorium (1994), a film made with composer Ron Geesin, in which we are taken to a variety show, but are only allowed to see the audience's reactions; the results are hilarious and touching. Auditorium is currently on show at The De La Warr Pavilion, Bexhill, part of an exhibition, co-curated by Breakwell, called Variety, the title taken from another Breakwell/Geesin film. The pavilion itself was the setting for The Other Side (2002), in which ballroom dancers float serenely through its dreamlike architecture, to the accompaniment of a Schubert nocturne for piano trio.\nIt was in 2004 that Breakwell was diagnosed with cancer. Typically, he responded with renewed creative energy, creating a series of works that looked unblinkingly at his condition. The resulting images are both painful and beautiful - just as the last pages of his diary will no doubt reveal not only the artist who created them, but unexpected facets of our own experience.\nBreakwell is survived by his wife Felicity Sparrow, and by his mother Nancy. -- Wikipedia","bio_dates":"1943-2005"},{"slug":"brecht_bertolt_mann_ist_mann_1931","ok":true,"partial":false,"title":"Bertolt Brecht & Carl Koch - Mann ist Mann AKA A Man's a Man AKA Man Equals Man","artist":"Bertolt Brecht","year":"1931","startOffset":0,"sourceSecs":3108,"sourceHeight":576,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":531364131,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brecht_bertolt_mann_ist_mann_1931/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brecht_bertolt_mann_ist_mann_1931/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brecht_bertolt_mann_ist_mann_1931.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brecht_bertolt_mann_ist_mann_1931/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brecht_bertolt_mann_ist_mann_1931/main/master.m3u8?v=2","hasMainHls":true,"description":"The story of this rip is a long one: I got a hint from a Lorre authority about the Berthold Brecht Archive in Berlin holding a copy of this rare footage. Countless telephone calls to a large number of people and a year of begging and being polite later the permission for one copy was given, with no further reproduction rights whatsoever. Anyway, here we go... The original play by Berthold Brecht, \"Mann ist Mann\", premiered in Darmstast in 1927. On February 6, 1931, this revised version of the play opened for just 6 performances - Lorre took a one week leave of absence from the set of \"M\" - at the Staatstheater in Berlin. A 35mm film role of about 50 meter in length - showing parts of the play from different perspectives - is what´s left of Carl Koch´s filmed material, although the original was shot in 16mm. It was transferred to Betacam SP and from there to DVD, from which I made this copy. No rezising was necessary, but due to interlacing artifacts (Beta SP!) I had to deinterlace the source. I blurred a logo in the upper left corner, cropped a little off the sides and encoded it whith a reasonable bitrate.<br/><br/> Note: Screens are taken with VLC, which means you see the original height of 576, but the width is blown up to 733 pixel!<br/><br/> Did I mention that there is no sound at all? Or that you just get one new frame for about every second, so this looks more like a blurry slideshow than an actual movie? And that the overall quality is - and here we go again: Beta SP! - rather poor, in other words: Pretty shitty?<br/><br/> Anyway: This is the only copy available worldwide, a true gem for you and me Lorre lovers out there.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Bertolt Brecht on UbuWeb Sound</a>","bio_dates":"1898-1956"},{"slug":"brecht_engel_die_mysterien_eines_frisiersalons_1922","ok":true,"partial":false,"title":"Bertolt Brecht & Erich Engel - Mysterien eines Frisiersalons aka Mysteries of a Hairdresser's Shop","artist":"Bertolt Brecht","year":"1923","startOffset":0,"sourceSecs":1433.92,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":244823543,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brecht_engel_die_mysterien_eines_frisiersalons_1922/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brecht_engel_die_mysterien_eines_frisiersalons_1922/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brecht_engel_die_mysterien_eines_frisiersalons_1922.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brecht_engel_die_mysterien_eines_frisiersalons_1922/main.mp4?v=2","description":"The Mysteries of a Hairdresser’s Shop describes the absurd goings-on of a by no means ordinary hair salon, where men with great beards wait in vain for a shave while the barber takes a nap.<br/><br/> One customer, wanting a pimple removed from his chin, is treated with a hammer and chisel. The head of a distinguished professor is shaven bald. Panic stricken, he grabs for his hat, getting into a fight with another guest. The quarrel ends in a sword fight, but while sharpening their weapons, the barber inadvertently cuts off the professor’s head. So that the sword fight may go on, the man’s head is stuck back on. The professor is eventually victorious, but only thanks to the energetic support of the barber, who robs his opponent’s head with a fishing hook.<br/><br/> The background and realization of The Mysteries of a Hairdresser’s Shop are also something of a mystery in film history. While Erich Engel, Karl Valentin and Bertolt Brecht certainly helped to form and create the scene for the film’s development, the realization was more so due to the spontaneous, cooperative efforts of the entire “team”. Staged in the storage loft of a private house in Munich, legend has it that the real motive for the film gag was to create an acting role for the brother of the film’s unknown patron.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Bertolt Brecht on UbuWeb Sound</a>","bio_dates":"1898-1956"},{"slug":"breer_robert_69_1968","ok":true,"partial":false,"title":"69","artist":"Robert Breer","year":"1968","startOffset":0,"sourceSecs":259.541,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":18311552,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_69_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_69_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/breer_robert_69_1968.mp4","hasFrames":true,"description":"69 (Robert Breer, 1968, 5 min, 16mm)<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Robert Breer on UbuWeb Sound</a>","artist_bio":"\"\"A founding member of the American avant-garde,\" Robert Breer was most well known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials His aesthetic philosophy and technique were influenced by an earlier generation of abstract filmmakers that included Hans Richter, Viking Eggeling, Walter Ruttmann, and Fernand Léger, whose work he discovered while living in Europe. Breer was also influenced by the concept of Neo-plasticism as described by Piet Mondrian and Vasarely.\nAfter experimenting with cartoon animation as a child, he started making his first abstract experimental films while living in Paris from 1949 to 1959, a period during which he also showed paintings and kinetic sculptures at galleries such as the renowned Galerie Denise René.\nBreer explained some of the reasons behind his move from painting to filmmaking in a 1976 interview:\nThis was 1950 or '51... I was having trouble with a concept, a very rigid notion about painting that I was interested in, that I was involved with, and that was the school of Mondrian. [...] The notion that everything had to be reduced to the bare minimum, put in its place and kept there. It seemed to me overly rigid since I could, at least once a week, arrive at a new 'absolute.' I had a feeling there was something there that suggested change as being a kind of absolute. So that's how I got into film.\n—Robert Breer, Transcription of 'Screening Room with Robert Breer (1976)'\nBreer also taught at Cooper Union in New York from 1971 to 2001.\nScholarly publications on Breer's work and interviews with the artist can be found in Robert Breer, A Critical Cinema 2: Interviews with Independent Filmmakers by Scott MacDonald, An Introduction to the American Underground Film by Sheldon Renan, Animation in the Cinema by Ralph Stephenson, and Film Culture magazine.\nBreer won the 1987 Maya Deren Independent Film and Video Artists' Award, presented by the prestigious American Film Institute.\nHis film \"Eyewash\" was included in Treasures IV: American Avant-Garde Film 1947-1986.[17]","bio_dates":"1926-2011"},{"slug":"breer_robert_a_man_and_his_dog_out_for_air_1957","ok":true,"partial":false,"title":"A Man And His Dog Out For Air","artist":"Robert Breer","year":"1957","startOffset":0,"sourceSecs":116.16,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":8211081,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_a_man_and_his_dog_out_for_air_1957/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_a_man_and_his_dog_out_for_air_1957/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/breer_robert_a_man_and_his_dog_out_for_air_1957.mp4","hasFrames":true,"description":"A key work of experimental animation is \"A Man and His Dog Out For Air\", in which Breer plays with the viewers' expectations by using the minimal techniques of line drawing and an associative level of sound. At the same time, the film demonstrates the possibilities of animation: Representation, transformation, and oscillation between abstraction and figuration. \"A Man and His Dog Out For Air\" nevertheless is not one of Robert Breer's typical films, as they almost always contain heterogeneous and disparate sequences of pictures. <br/><br/> When I was first told that I had to do this project I thought that it would be one of the hardest things that I was going to be asked to do, but it turned out to be something that I enjoyed. I got a chance to take a look at the work of Robert Breer, whose work, while it is abstract, in its own way it is remarkably clear and easy to understand even if you are not familiar with interpreting art. I would think that Breer's work would be the way to start someone into studying and looking into film and video art. --Miguel Pickering <br/><br/> Breer's work is done in animation. It is somewhat like cartoons and it contains abstract images and figures that can be interpreted. Breer is known for drawing on simple 3x5 cards and photographing them in sequence. This causes somewhat of a flip book effect and is how he made some of his films. One film \"A Man and His Dog Out for Air\" was an experience that I enjoyed. This film was done in animation and it contained lines that were continuously shaped into different positions. The new figures were formed fluidly and there were no abrupt changes. Some images that were shown were a building, birds, clouds, bushes, and the man and his dog. The film was broken into two parts. The first part was shown through the man and the dog's point of view. The second part separated from this viewpoint and showed the man and his dog. The film then quickly ends once we do see the man and the dog. This film was one that was meant to be enjoyed and not interpreted. It was meant for people to watch and relax. --Erica Ferry, 2000<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Robert Breer on UbuWeb Sound</a>","artist_bio":"\"\"A founding member of the American avant-garde,\" Robert Breer was most well known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials His aesthetic philosophy and technique were influenced by an earlier generation of abstract filmmakers that included Hans Richter, Viking Eggeling, Walter Ruttmann, and Fernand Léger, whose work he discovered while living in Europe. Breer was also influenced by the concept of Neo-plasticism as described by Piet Mondrian and Vasarely.\nAfter experimenting with cartoon animation as a child, he started making his first abstract experimental films while living in Paris from 1949 to 1959, a period during which he also showed paintings and kinetic sculptures at galleries such as the renowned Galerie Denise René.\nBreer explained some of the reasons behind his move from painting to filmmaking in a 1976 interview:\nThis was 1950 or '51... I was having trouble with a concept, a very rigid notion about painting that I was interested in, that I was involved with, and that was the school of Mondrian. [...] The notion that everything had to be reduced to the bare minimum, put in its place and kept there. It seemed to me overly rigid since I could, at least once a week, arrive at a new 'absolute.' I had a feeling there was something there that suggested change as being a kind of absolute. So that's how I got into film.\n—Robert Breer, Transcription of 'Screening Room with Robert Breer (1976)'\nBreer also taught at Cooper Union in New York from 1971 to 2001.\nScholarly publications on Breer's work and interviews with the artist can be found in Robert Breer, A Critical Cinema 2: Interviews with Independent Filmmakers by Scott MacDonald, An Introduction to the American Underground Film by Sheldon Renan, Animation in the Cinema by Ralph Stephenson, and Film Culture magazine.\nBreer won the 1987 Maya Deren Independent Film and Video Artists' Award, presented by the prestigious American Film Institute.\nHis film \"Eyewash\" was included in Treasures IV: American Avant-Garde Film 1947-1986.[17]","bio_dates":"1926-2011"},{"slug":"breer_robert_fuji_1974","ok":true,"partial":false,"title":"Fuji","artist":"Robert Breer","year":"1974","startOffset":0,"sourceSecs":522.923,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":36882607,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_fuji_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_fuji_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/breer_robert_fuji_1974.mp4","hasFrames":true,"description":"A dreamy, hand-drawn and rotoscoped film by a pioneer in the fields of animation and kinetic art, depicting a voyage through Japan and impressions of the seashore. Breer was a founding member of the American avant-garde and was heavily influenced by the concept of Neo-plasticism as described by Piet Mondrian and Vasarely, finally making the jump from painting to experimental film in 1950.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Robert Breer on UbuWeb Sound</a>","artist_bio":"\"\"A founding member of the American avant-garde,\" Robert Breer was most well known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials His aesthetic philosophy and technique were influenced by an earlier generation of abstract filmmakers that included Hans Richter, Viking Eggeling, Walter Ruttmann, and Fernand Léger, whose work he discovered while living in Europe. Breer was also influenced by the concept of Neo-plasticism as described by Piet Mondrian and Vasarely.\nAfter experimenting with cartoon animation as a child, he started making his first abstract experimental films while living in Paris from 1949 to 1959, a period during which he also showed paintings and kinetic sculptures at galleries such as the renowned Galerie Denise René.\nBreer explained some of the reasons behind his move from painting to filmmaking in a 1976 interview:\nThis was 1950 or '51... I was having trouble with a concept, a very rigid notion about painting that I was interested in, that I was involved with, and that was the school of Mondrian. [...] The notion that everything had to be reduced to the bare minimum, put in its place and kept there. It seemed to me overly rigid since I could, at least once a week, arrive at a new 'absolute.' I had a feeling there was something there that suggested change as being a kind of absolute. So that's how I got into film.\n—Robert Breer, Transcription of 'Screening Room with Robert Breer (1976)'\nBreer also taught at Cooper Union in New York from 1971 to 2001.\nScholarly publications on Breer's work and interviews with the artist can be found in Robert Breer, A Critical Cinema 2: Interviews with Independent Filmmakers by Scott MacDonald, An Introduction to the American Underground Film by Sheldon Renan, Animation in the Cinema by Ralph Stephenson, and Film Culture magazine.\nBreer won the 1987 Maya Deren Independent Film and Video Artists' Award, presented by the prestigious American Film Institute.\nHis film \"Eyewash\" was included in Treasures IV: American Avant-Garde Film 1947-1986.[17]","bio_dates":"1926-2011"},{"slug":"breer_robert_lmno_1978","ok":true,"partial":false,"title":"Lmno","artist":"Robert Breer","year":"1978","startOffset":0,"sourceSecs":544.256,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":38828114,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_lmno_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_lmno_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/breer_robert_lmno_1978.mp4","hasFrames":true,"description":"It seems like an under-appreciated gem from Breer’s filmography and shows off a particularly cartoony sensibility amid the unrelenting kinetic energy and avant-garde moves. To make a list of recognizable images in the film is to get a hint of what it’s about: a breakfast table, a man slipping on a banana peel and then being run over by a train, various small animals, backyard leisure activities, a man falling, and so on. The title has a certain Dada quality to it, which resonates with the elegantly anarchic spirit present in Breer’s films. Like most of Breer’s work, LMNO is absolutely mesmerizing and absorbing when seen as a film print in a theater. There, the individual frames pop crisply, and the mind can wander and make intuitive connections within the film.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Robert Breer on UbuWeb Sound</a>","artist_bio":"\"\"A founding member of the American avant-garde,\" Robert Breer was most well known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials His aesthetic philosophy and technique were influenced by an earlier generation of abstract filmmakers that included Hans Richter, Viking Eggeling, Walter Ruttmann, and Fernand Léger, whose work he discovered while living in Europe. Breer was also influenced by the concept of Neo-plasticism as described by Piet Mondrian and Vasarely.\nAfter experimenting with cartoon animation as a child, he started making his first abstract experimental films while living in Paris from 1949 to 1959, a period during which he also showed paintings and kinetic sculptures at galleries such as the renowned Galerie Denise René.\nBreer explained some of the reasons behind his move from painting to filmmaking in a 1976 interview:\nThis was 1950 or '51... I was having trouble with a concept, a very rigid notion about painting that I was interested in, that I was involved with, and that was the school of Mondrian. [...] The notion that everything had to be reduced to the bare minimum, put in its place and kept there. It seemed to me overly rigid since I could, at least once a week, arrive at a new 'absolute.' I had a feeling there was something there that suggested change as being a kind of absolute. So that's how I got into film.\n—Robert Breer, Transcription of 'Screening Room with Robert Breer (1976)'\nBreer also taught at Cooper Union in New York from 1971 to 2001.\nScholarly publications on Breer's work and interviews with the artist can be found in Robert Breer, A Critical Cinema 2: Interviews with Independent Filmmakers by Scott MacDonald, An Introduction to the American Underground Film by Sheldon Renan, Animation in the Cinema by Ralph Stephenson, and Film Culture magazine.\nBreer won the 1987 Maya Deren Independent Film and Video Artists' Award, presented by the prestigious American Film Institute.\nHis film \"Eyewash\" was included in Treasures IV: American Avant-Garde Film 1947-1986.[17]","bio_dates":"1926-2011"},{"slug":"breer_robert_recreation_1956_57","ok":true,"partial":false,"title":"Recreation","artist":"Robert Breer","year":"1956-1957","startOffset":0,"sourceSecs":83.861,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":5830464,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_recreation_1956_57/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_recreation_1956_57/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/breer_robert_recreation_1956_57.mp4","hasFrames":true,"description":"Featuring a commentary by Noel Burch (in nonsense French), Recreation's rapid-fire montage of single-frame images of incredible density and intensity has been compared to contemporary Beat poetry. <br/><br/> There is something addictive and fascinating about this film. The way the film uses rapid montage of ambiguous and unrecognizable images makes you totally confused and awed, but it has the power to control what to be seen and told and truly draw your attention. From the given environment of continuously and rapidly changing colors and shapes, you instinctively try to find a recognizable shape or image, and you feel satisfied and settled when you finally identify one. But, this film gives you no time to grasp and understand each image, so it keeps you insecure and confused throughout the film. The beat and tempo of the voice and the dynamic movement of images are also synchronized, and it seems to make a comment on exuberant and revolutionary culture of contemporary Beat poetry.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Robert Breer on UbuWeb Sound</a>","artist_bio":"\"\"A founding member of the American avant-garde,\" Robert Breer was most well known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials His aesthetic philosophy and technique were influenced by an earlier generation of abstract filmmakers that included Hans Richter, Viking Eggeling, Walter Ruttmann, and Fernand Léger, whose work he discovered while living in Europe. Breer was also influenced by the concept of Neo-plasticism as described by Piet Mondrian and Vasarely.\nAfter experimenting with cartoon animation as a child, he started making his first abstract experimental films while living in Paris from 1949 to 1959, a period during which he also showed paintings and kinetic sculptures at galleries such as the renowned Galerie Denise René.\nBreer explained some of the reasons behind his move from painting to filmmaking in a 1976 interview:\nThis was 1950 or '51... I was having trouble with a concept, a very rigid notion about painting that I was interested in, that I was involved with, and that was the school of Mondrian. [...] The notion that everything had to be reduced to the bare minimum, put in its place and kept there. It seemed to me overly rigid since I could, at least once a week, arrive at a new 'absolute.' I had a feeling there was something there that suggested change as being a kind of absolute. So that's how I got into film.\n—Robert Breer, Transcription of 'Screening Room with Robert Breer (1976)'\nBreer also taught at Cooper Union in New York from 1971 to 2001.\nScholarly publications on Breer's work and interviews with the artist can be found in Robert Breer, A Critical Cinema 2: Interviews with Independent Filmmakers by Scott MacDonald, An Introduction to the American Underground Film by Sheldon Renan, Animation in the Cinema by Ralph Stephenson, and Film Culture magazine.\nBreer won the 1987 Maya Deren Independent Film and Video Artists' Award, presented by the prestigious American Film Institute.\nHis film \"Eyewash\" was included in Treasures IV: American Avant-Garde Film 1947-1986.[17]","bio_dates":"1926-2011"},{"slug":"breer_robert_swiss_army_knife_with_rats_and_pigeons_1981","ok":true,"partial":false,"title":"Swiss Army Knife with Rats and Pigeons","artist":"Robert Breer","year":"1981","startOffset":0,"sourceSecs":391.765,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":27700202,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_swiss_army_knife_with_rats_and_pigeons_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_swiss_army_knife_with_rats_and_pigeons_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/breer_robert_swiss_army_knife_with_rats_and_pigeons_1981.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/breer_robert_swiss_army_knife_with_rats_and_pigeons_1981/main.mp4?v=2","description":"In the final, melancholic passage of Maurice Pialat's L'amour existe, a narrator contemplates the double entendre image of a victory commemorative sculpture that appears to equally articulate strength and human frailty, noting that \"the hand of glory, ordering and directing, can also beg - a simple change in angle is sufficient.\" This intrinsic contextual duality of images based on the observer's perspective similarly provides the inspired methodology to Robert Breer's visually dense, yet integrally cohesive film, Swiss Army Knife with Rats and Pigeons. The introductory sequence of a rough sketch illustrating a closed Swiss army knife that is interlaced with images of a hand drawn rat presents the eccentric association of seemingly mutually exclusive objects presented in the film as the mundane pocket knife begins to associatively resemble the characteristic profile of a rodent waiting to pounce with its accipitral, nail inset eye, corkscrew tail, and jagged blade teeth. Breer uses spiral images - a tape dispenser, turning windmills, and rolling soda cans - in order to illustrate the recursive, abstract (and fanciful) transfiguration of mundane objects (a pigeon's eye into a tape dispenser, a partially opened folding knife into a stapler, the deployment of the pocket knife into propulsive flight) into a permutation of kinetic art. Moreover, Breer's extensive incorporation of recurring imagery throughout the film (bold, reinforcing colors, the juxtaposition of stapler and mousetrap that employ a similar hinge mechanism, silo windmills and single-engine propeller aircraft, the curve of the pocket knife mimicked in the outline of bicyclist racing through a public park) further serve to reinforce the interconnection of successive images, creating conceptual cohesion through the cumulative, perceptional impression of the linked images rather than direct (or even inferential), causal correlation of individual images. In its articulation of conceptual multiplicity through rapid-fire, transfixing, highly textural imagery, the film ingeniously derives meaning through the interdependent, contextual reference of other images rather than their interrelation to each other - an abstract, ephemeral afterimage that exists (and derives logic) only in the imaginary and the transient.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Robert Breer on UbuWeb Sound</a>","artist_bio":"\"\"A founding member of the American avant-garde,\" Robert Breer was most well known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials His aesthetic philosophy and technique were influenced by an earlier generation of abstract filmmakers that included Hans Richter, Viking Eggeling, Walter Ruttmann, and Fernand Léger, whose work he discovered while living in Europe. Breer was also influenced by the concept of Neo-plasticism as described by Piet Mondrian and Vasarely.\nAfter experimenting with cartoon animation as a child, he started making his first abstract experimental films while living in Paris from 1949 to 1959, a period during which he also showed paintings and kinetic sculptures at galleries such as the renowned Galerie Denise René.\nBreer explained some of the reasons behind his move from painting to filmmaking in a 1976 interview:\nThis was 1950 or '51... I was having trouble with a concept, a very rigid notion about painting that I was interested in, that I was involved with, and that was the school of Mondrian. [...] The notion that everything had to be reduced to the bare minimum, put in its place and kept there. It seemed to me overly rigid since I could, at least once a week, arrive at a new 'absolute.' I had a feeling there was something there that suggested change as being a kind of absolute. So that's how I got into film.\n—Robert Breer, Transcription of 'Screening Room with Robert Breer (1976)'\nBreer also taught at Cooper Union in New York from 1971 to 2001.\nScholarly publications on Breer's work and interviews with the artist can be found in Robert Breer, A Critical Cinema 2: Interviews with Independent Filmmakers by Scott MacDonald, An Introduction to the American Underground Film by Sheldon Renan, Animation in the Cinema by Ralph Stephenson, and Film Culture magazine.\nBreer won the 1987 Maya Deren Independent Film and Video Artists' Award, presented by the prestigious American Film Institute.\nHis film \"Eyewash\" was included in Treasures IV: American Avant-Garde Film 1947-1986.[17]","bio_dates":"1926-2011"},{"slug":"breer_robert_t_z_1979","ok":true,"partial":false,"title":"T.Z.","artist":"Robert Breer","year":"1979","startOffset":0,"sourceSecs":502.741,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":35513753,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_t_z_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_t_z_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/breer_robert_t_z_1979.mp4","hasFrames":true,"description":"\"\"Breerworld is homey but tumultuous, filled with sudden shifts in scale or color, flash frame jolts, and a steady back beat of good-natured apocalypse. ... [H]e towers over a field where gimmicks are common currency and cuteness is as virulent as malaria in the tropics .... T. Z. offers a typically witty barrage of domestic imagery and eclectic technique.\" -- J. Hoberman, American Film \"Within the film's brief length, numerous dramas take place, puzzling and enthralling us with their restless, enigmatic denouements.\" -- B. Ruby Rich, Chicago Reader \"An elegant home movie, its subject is Breer's new apartment which faces the Tappan Zee (T. Z.) bridge. It is permeated, as are all his films, with subtle humor, eroticism and a sense of imminent chaos and catastrophe.\" -- Amy Taubin,<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Robert Breer on UbuWeb Sound</a>","artist_bio":"\"\"A founding member of the American avant-garde,\" Robert Breer was most well known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials His aesthetic philosophy and technique were influenced by an earlier generation of abstract filmmakers that included Hans Richter, Viking Eggeling, Walter Ruttmann, and Fernand Léger, whose work he discovered while living in Europe. Breer was also influenced by the concept of Neo-plasticism as described by Piet Mondrian and Vasarely.\nAfter experimenting with cartoon animation as a child, he started making his first abstract experimental films while living in Paris from 1949 to 1959, a period during which he also showed paintings and kinetic sculptures at galleries such as the renowned Galerie Denise René.\nBreer explained some of the reasons behind his move from painting to filmmaking in a 1976 interview:\nThis was 1950 or '51... I was having trouble with a concept, a very rigid notion about painting that I was interested in, that I was involved with, and that was the school of Mondrian. [...] The notion that everything had to be reduced to the bare minimum, put in its place and kept there. It seemed to me overly rigid since I could, at least once a week, arrive at a new 'absolute.' I had a feeling there was something there that suggested change as being a kind of absolute. So that's how I got into film.\n—Robert Breer, Transcription of 'Screening Room with Robert Breer (1976)'\nBreer also taught at Cooper Union in New York from 1971 to 2001.\nScholarly publications on Breer's work and interviews with the artist can be found in Robert Breer, A Critical Cinema 2: Interviews with Independent Filmmakers by Scott MacDonald, An Introduction to the American Underground Film by Sheldon Renan, Animation in the Cinema by Ralph Stephenson, and Film Culture magazine.\nBreer won the 1987 Maya Deren Independent Film and Video Artists' Award, presented by the prestigious American Film Institute.\nHis film \"Eyewash\" was included in Treasures IV: American Avant-Garde Film 1947-1986.[17]","bio_dates":"1926-2011"},{"slug":"breer_robert_trial_balloons_1982","ok":true,"partial":false,"title":"Trial Balloons","artist":"Robert Breer","year":"1982","startOffset":0.3,"sourceSecs":293.965,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":20613326,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_trial_balloons_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breer_robert_trial_balloons_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/breer_robert_trial_balloons_1982.mp4","hasFrames":true,"description":"A mix of rephotographed live action and animation using hand-cut traveling mattes. <br/><br/>\"\"The strongest film by Robert Breer in several seasons.\" - J. Hoberman,The Village Voice<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Robert Breer on UbuWeb Sound</a>","artist_bio":"\"\"A founding member of the American avant-garde,\" Robert Breer was most well known for his films, which combine abstract and representational painting, hand-drawn rotoscoping, original 16mm and 8mm film footage, photographs, and other materials His aesthetic philosophy and technique were influenced by an earlier generation of abstract filmmakers that included Hans Richter, Viking Eggeling, Walter Ruttmann, and Fernand Léger, whose work he discovered while living in Europe. Breer was also influenced by the concept of Neo-plasticism as described by Piet Mondrian and Vasarely.\nAfter experimenting with cartoon animation as a child, he started making his first abstract experimental films while living in Paris from 1949 to 1959, a period during which he also showed paintings and kinetic sculptures at galleries such as the renowned Galerie Denise René.\nBreer explained some of the reasons behind his move from painting to filmmaking in a 1976 interview:\nThis was 1950 or '51... I was having trouble with a concept, a very rigid notion about painting that I was interested in, that I was involved with, and that was the school of Mondrian. [...] The notion that everything had to be reduced to the bare minimum, put in its place and kept there. It seemed to me overly rigid since I could, at least once a week, arrive at a new 'absolute.' I had a feeling there was something there that suggested change as being a kind of absolute. So that's how I got into film.\n—Robert Breer, Transcription of 'Screening Room with Robert Breer (1976)'\nBreer also taught at Cooper Union in New York from 1971 to 2001.\nScholarly publications on Breer's work and interviews with the artist can be found in Robert Breer, A Critical Cinema 2: Interviews with Independent Filmmakers by Scott MacDonald, An Introduction to the American Underground Film by Sheldon Renan, Animation in the Cinema by Ralph Stephenson, and Film Culture magazine.\nBreer won the 1987 Maya Deren Independent Film and Video Artists' Award, presented by the prestigious American Film Institute.\nHis film \"Eyewash\" was included in Treasures IV: American Avant-Garde Film 1947-1986.[17]","bio_dates":"1926-2011"},{"slug":"bressane_juilio_cinema_inocente_1980","ok":true,"partial":false,"title":"Cinema Inocente","artist":"Júlio Bressane","year":"1980","startOffset":0,"sourceSecs":2375.448,"sourceHeight":400,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":141236097,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bressane_juilio_cinema_inocente_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bressane_juilio_cinema_inocente_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bressane_juilio_cinema_inocente_1980.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bressane_juilio_cinema_inocente_1980/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bressane_juilio_cinema_inocente_1980/main/master.m3u8?v=2","hasMainHls":true,"description":"I made a chiasmus, an about-turn: innocent cinema is pornographic cinema. From there, using a passage of Pessoa's, I made a fictitious documentary. I was also auto-ironical, the editor treats me as though I were a film club member, he messes up my name, he tells stories I use as though they were real. But there is another aspect to the film, which is hidden in Pessoa's text, and that is exclusion. Not only official censorship, but an attitude that involves us all. Why can't a certain type of cinema be included in the history of cinema? So I made this about-turn: innocent cinema (Júlio. Bressane).","artist_bio":"Lágrima Pantera [Fragmento] AKA Panther Tear [Fragment] (1972)\nJúlio Eduardo Bressane de Azevedo (born February 13, 1946) is a Brazilian filmmaker and writer.\nA representative of the Brazilian cinema marginal, Julio Bressane began making films as an assistant director of Walter Lima Jr., in 1965.\nIn 1967 Bressane debuted as director with Face to Face, being selected for the Festival of Brasilia. In 1970 he founded Belair Movies in company with fellow filmmaker Rogério Sganzerla. They chose a model of making films and low-cost production and thereby managed to run six feature films in just six months.\nHe came into exile in London in the early 1970s, but returned to Brazil several years later and made one film after another, using slapstick and debauchery as its main features. An acclaimed film of this period was the provocative Tabu, released in 1982. Critics consider Bressane the most scholarly of the Brazilian film directors, and his work is notable for the diversity of its narrative language. Another feature of his filmography is the comprehensive approach to historical and literary characters. He is also noted by his low-budget, short-time shootings, with an average of 11 to 14 days to make and edit a film.\nHis film Cleopatra was presented at the Venice Film Festival in 2007, as part of the Mostra Venezia Maestri (Venice Masters Exhibition), as well as being named best film of the 40th Festival de Brasília Film in November 2007.","bio_dates":"b. 1946"},{"slug":"bressane_julio_lagrima_pantera_1972","ok":true,"partial":false,"title":"Lágrima Pantera [Fragmento] AKA Panther Tear [Fragment]","artist":"Júlio Bressane","year":"1972","startOffset":0,"sourceSecs":3037.84,"sourceHeight":288,"sourceWidth":384,"hasAudio":false,"hasAmbientMp4":true,"bytes":141955415,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bressane_julio_lagrima_pantera_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bressane_julio_lagrima_pantera_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bressane_julio_lagrima_pantera_1972.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bressane_julio_lagrima_pantera_1972/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bressane_julio_lagrima_pantera_1972/main/master.m3u8?v=2","hasMainHls":true,"description":"[...] During the ’70s I went to the atelier-home of an artist, Hèlio Oiticica, who lived in New York. [...] Part of Lágrima pantera was shot there. [...] Hèlio Oiticica at the time was experimenting in his ‘infinitistic’ cosmos. In another corner of his work, he was trying it out on herself with a Super8 camera. [...] These small clips (1 or 2 minutes) attracted my attention; I saw in them a way to start over again, to unlearn, to detach myself form myself, from my clichés. Inside these uncertain frames, that he had made step by step, I found an ideal, unexpected passage. To the unprepared eye, the aspect of the world of May-June 1971 – that was marked by great fear – might seem today like the still life of a living painting. Certain pioneering mental states, narcotic delights, men bursting in laughing and stumbling, archaic gestures reborn, these are still the fleeting ghosts of a curious and invisible space… Antonio Vieira said that even the stones talk. They talk and respond, he said. These images talk and respond to something dark; they are unconscious memories of time. (J. Bressane) <br/><br/> Director Of Photography: Miguel Rio Branco<br/> Art Direction: Hélio Oiticica<br/> Actors: Rosa Dias<br/> Cildo Meireles<br/> Hélio Oiticica<br/> Júlio Bressane<br/> Patricia Simpson<br/> Honey<br/> Bob Grass","artist_bio":"Lágrima Pantera [Fragmento] AKA Panther Tear [Fragment] (1972)\nJúlio Eduardo Bressane de Azevedo (born February 13, 1946) is a Brazilian filmmaker and writer.\nA representative of the Brazilian cinema marginal, Julio Bressane began making films as an assistant director of Walter Lima Jr., in 1965.\nIn 1967 Bressane debuted as director with Face to Face, being selected for the Festival of Brasilia. In 1970 he founded Belair Movies in company with fellow filmmaker Rogério Sganzerla. They chose a model of making films and low-cost production and thereby managed to run six feature films in just six months.\nHe came into exile in London in the early 1970s, but returned to Brazil several years later and made one film after another, using slapstick and debauchery as its main features. An acclaimed film of this period was the provocative Tabu, released in 1982. Critics consider Bressane the most scholarly of the Brazilian film directors, and his work is notable for the diversity of its narrative language. Another feature of his filmography is the comprehensive approach to historical and literary characters. He is also noted by his low-budget, short-time shootings, with an average of 11 to 14 days to make and edit a film.\nHis film Cleopatra was presented at the Venice Film Festival in 2007, as part of the Mostra Venezia Maestri (Venice Masters Exhibition), as well as being named best film of the 40th Festival de Brasília Film in November 2007.","bio_dates":"b. 1946"},{"slug":"bressane_julio_tabu_1982","ok":true,"partial":false,"title":"Tabu","artist":"Júlio Bressane","year":"1982","startOffset":0,"sourceSecs":4699.695,"sourceHeight":456,"sourceWidth":706,"hasAudio":true,"hasAmbientMp4":true,"bytes":271110432,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bressane_julio_tabu_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bressane_julio_tabu_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bressane_julio_tabu_1982.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bressane_julio_tabu_1982/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bressane_julio_tabu_1982/main/master.m3u8?v=2","hasMainHls":true,"description":"Bressane created an imaginary encounter between three 20th-century geniuses, in which he portrayed the composer Lamartine Babo (a role by Caetano Veloso), the revolutionary author Oswald De Andrade and subversive reporter Joao Do Rio. Imaginative film comprises a mixture of erudite and popular elements.<br/><br/> Quote:<br/><br/> Lamartine Babo dominated the early days of radio; a highly sophisticated composer, rooted in the samba tradition, he is best remembered for creating some of the biggest all-time carnival hits. Oswald De Andrade revolutionized Brazilian literature; in the twenties he was a leader of the celebrated - and subversive - semana de arte moderna in Sao Paulo. His mordant critique of Homo Brasiliensis culminated in the epic Macunaima, the most influential book of its time - and still revered as a turning point in Latin American literature. Joao Do Rio was a prolific journalist whose chronicles of turn-of-the-century Rio brought much chagrin to politicians and celebrities alike. He was the 'incomparable archetype of those sinister times: mulatto, fat, and homosexual (sic)'. Júlio Bressane's first major appropriation of the life of a popular composer - Lamartine Babo - gives him the chance to portray an imaginary encounter of those three geniuses. This 'what if' film gives Bressane plenty of material to, in his own words, 'suggest a mixture of elements, of signs, erudite and popular, which will later be formulated by Oswald in his writings, and Lamartine in his songs, signs of Brazilian culture, tropical and anthropophagic.' Lamartine is played by Caetano Veloso, arguably the greatest songwriter from Brazil of the twentieth century; Oswald by Colé, a wonderful if not appreciated comedian, a discovery of Alberto Cavalcanti; and the devilish Joao by José Lewgoy, the most celebrated character actor from Brazil; he is the host with the mostest. To see it is to believe it.<br/><br/> French wrote:<br/><br/> Voilà un cinéma capable d'embrasser l'intime et le collectif dans une même ivresse jubilatoire. Un acte de cinéaste libéré de l'explication et aussi libre que mille récits dansants, flottants dans l'atmosphère.<br/><br/> Trois hommes, quatre parfois, discutent comme des papes, joyeux de leur joie contagieuse, contagieux de leur amitié intellectuelle et sensible. Trois hommes qui parlent en chantant, chantent en parlant, en extase devant la beauté de leur pays et des femmes.<br/><br/> La scansion est une opération magique, un enchantement du réel, et Bressane la met au point ici, définitivement.<br/><br/> D'un même élan, il tire des chansons un suc nouveau pour son cinéma, une sorte de condensé d'histoire, de vies passées et futures, la ligne de force de l'âme d'un pays. Sa mise en scène se fait au plaisir du temps et des corps. Le Tabou de Murnau et la pornographie sont réintégrés à leur origine sensuelle, quasi innocente, comme si le rythme, la musique, la langue, les gestes, les actions, tout ceci revu, revivifié par le cinéma, par sa capacité à retisser toutes les émotions humaines, à en révéler l'extraordinaire invention, comme si tout ceci pouvait nous rendre à nouveau vierges pour un pays de Cocagne, nous refaire sans fautes pour un paradis sans menace, définitif.<br/><br/> Merci Monsieur Bressane, on reviendra chez vous dès qu'il s'agira de quitter notre enfer, sincèrement, honnêtement, intelligemment.","artist_bio":"Lágrima Pantera [Fragmento] AKA Panther Tear [Fragment] (1972)\nJúlio Eduardo Bressane de Azevedo (born February 13, 1946) is a Brazilian filmmaker and writer.\nA representative of the Brazilian cinema marginal, Julio Bressane began making films as an assistant director of Walter Lima Jr., in 1965.\nIn 1967 Bressane debuted as director with Face to Face, being selected for the Festival of Brasilia. In 1970 he founded Belair Movies in company with fellow filmmaker Rogério Sganzerla. They chose a model of making films and low-cost production and thereby managed to run six feature films in just six months.\nHe came into exile in London in the early 1970s, but returned to Brazil several years later and made one film after another, using slapstick and debauchery as its main features. An acclaimed film of this period was the provocative Tabu, released in 1982. Critics consider Bressane the most scholarly of the Brazilian film directors, and his work is notable for the diversity of its narrative language. Another feature of his filmography is the comprehensive approach to historical and literary characters. He is also noted by his low-budget, short-time shootings, with an average of 11 to 14 days to make and edit a film.\nHis film Cleopatra was presented at the Venice Film Festival in 2007, as part of the Mostra Venezia Maestri (Venice Masters Exhibition), as well as being named best film of the 40th Festival de Brasília Film in November 2007.","bio_dates":"b. 1946"},{"slug":"bressane_julio_viola_chinesa_1975","ok":true,"partial":false,"title":"Viola Chinesa AKA Viola Chinesa - Meu Encontro com o Cinema Brasileiro","artist":"Júlio Bressane","year":"1975","startOffset":0,"sourceSecs":477.518,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":86998482,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bressane_julio_viola_chinesa_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bressane_julio_viola_chinesa_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bressane_julio_viola_chinesa_1975.avi","hasFrames":true,"description":"An improvisation of poetic art featuring Bressane conversing with Grande Otelo, the star of Chanchada. It is also a total provocation against Brazilian cinema: \"Art is conflict, abnormality, to me cinema is eminently erotic\". \"Viola Chinesa establishes the rhythm of Bressane's later filmed dialogs (ìwith all the eras in my brain\"). The encounter with Grande Otelo (an improvised interview? A deliberated manifesto?), standing in the middle of a bend in the road with a view of the sea, is a spontaneous snapshot of a production error which calls forth considerations which are not systematic, which proceed by association regarding procedure and the process of creation. - Carlos Adriano","artist_bio":"Lágrima Pantera [Fragmento] AKA Panther Tear [Fragment] (1972)\nJúlio Eduardo Bressane de Azevedo (born February 13, 1946) is a Brazilian filmmaker and writer.\nA representative of the Brazilian cinema marginal, Julio Bressane began making films as an assistant director of Walter Lima Jr., in 1965.\nIn 1967 Bressane debuted as director with Face to Face, being selected for the Festival of Brasilia. In 1970 he founded Belair Movies in company with fellow filmmaker Rogério Sganzerla. They chose a model of making films and low-cost production and thereby managed to run six feature films in just six months.\nHe came into exile in London in the early 1970s, but returned to Brazil several years later and made one film after another, using slapstick and debauchery as its main features. An acclaimed film of this period was the provocative Tabu, released in 1982. Critics consider Bressane the most scholarly of the Brazilian film directors, and his work is notable for the diversity of its narrative language. Another feature of his filmography is the comprehensive approach to historical and literary characters. He is also noted by his low-budget, short-time shootings, with an average of 11 to 14 days to make and edit a film.\nHis film Cleopatra was presented at the Venice Film Festival in 2007, as part of the Mostra Venezia Maestri (Venice Masters Exhibition), as well as being named best film of the 40th Festival de Brasília Film in November 2007.","bio_dates":"b. 1946"},{"slug":"breuning_olaf_home2_2007_iphone","ok":true,"partial":false,"title":"Home 2","artist":"Olaf Breuning","year":"2007","startOffset":0,"sourceSecs":1825.645,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":110171295,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breuning_olaf_home2_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/breuning_olaf_home2_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/breuning_olaf_home2_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/breuning_olaf_home2_2007_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/breuning_olaf_home2_2007_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"My work, Home 2, was about an idealized Western person approaching other countries, about the different perspectives collapsing. For the Metro Pictures show, I will take a step back to deal with the big questions in life; so, in short, at the moment when I care about these things, I would like to share them with other people. I was never so arrogant that I would really believe that my art would be any kind of an education, that I would show people a way of looking that they couldn’t figure out for themselves. I talk about something in this life and this world, and I would be happy to have other people join me. I try to understand the world and the complexity of being completely blind to it. -- Olaf Breuning","artist_bio":"Born 1970 in Schaffhausen, Switzerland; lives in New York, New York\nCommingling reality and illusion, authenticity and artifice, barbarism and civility, Olaf Breuning creates photographs, films, sculptures, and installations that draw heavily from popular culture and a collective visual iconography. He combines these contemporary aesthetics with more primal shared drives: violence, sexuality, ritual, and companionship. The divergent impulses collide, often with absurd and hilarious results, as Breuning exploits the thin line between humor and pain.\nIn his 2007 exhibition at Zurich’s Migros Museum für Gegenwartskunst, Breuning employed art transport boxes as supports for his photographs, drawings, and sculptures. The crates and packing material, which also frame the exhibition’s architecture, take on multiple connotations as vehicles of transport and change. Arranged in a plexiglass showcase, dozens of small ceramic pieces, each incongruously fitted with a pair of large cartoonish eyes, comprise The Collectors (2007). These comical figures, mounted on the side of a carton and staring into the exhibition space, conjure comparisons to the collectors who roam international art fairs, frenziedly purchasing and packaging works. In the chromogenic print 20 Dollars (2007), five young African boys, slightly bemused but smiling broadly, present to the camera $20 bills given to them by the photographer. The detritus of a smoldering garbage heap is strewn around their feet. Mounted on and framed by an oversize shipping crate balanced on a smaller box, the glossy photograph appears broadcast from a largescreen entertainment center, underlining the distance between subject and viewer. The disparities illustrated by the image, especially between the entrenched poverty and easily gained currency, suggest the futility— and perhaps offensiveness—of looking to tourism and globalization as effective vehicles for change in this impoverished scene.\nAt the center of the Migros exhibition is Home 2 (2007), a video in which Breuning expands on themes of dislocation, homelessness, and cultural identity explored in his 2004 video Home. Here the original narrator, again played by actor Brian Kerstetter, joins a tourist group traveling through Papua New Guinea. He stumbles his way through assorted villages and tribes, variously charming or insulting his fellow tourists and the “natives” he encounters. In this foreign environment his mind is transported to locations of previous travel or fantasy as he sifts through notions of identity and belonging. Home is a universal, but also a specific, construct. “Each has a home they want to go to, like me,” the narrator opines as his journey comes to an end. The viewer is left with the distinct notion that neither the traveler nor the world he has left is enriched by the experience. Contextualizing the helplessness of today’s global citizen, Breuning examines a basic human quest for commonality in an increasingly global, but ever more fragmented, world. STACEY GOERGEN","bio_dates":"b. 1970"},{"slug":"brick_by_brick_1982","ok":true,"partial":false,"title":"Brick by Brick","artist":"Shirikiana Aina","year":"1982","startOffset":0,"sourceSecs":2167.031,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":373300753,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brick_by_brick_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brick_by_brick_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brick_by_brick_1982.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brick_by_brick_1982/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brick_by_brick_1982/main/master.m3u8?v=2","hasMainHls":true},{"slug":"bridget_adrian_and_i_danced","ok":true,"partial":false,"title":"And I Danced To Make A Man Again","artist":"Adrian Bridget","year":"2016","startOffset":0,"sourceSecs":445.055,"sourceHeight":1080,"sourceWidth":1350,"hasAudio":true,"hasAmbientMp4":true,"bytes":186450440,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bridget_adrian_and_i_danced/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bridget_adrian_and_i_danced/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bridget_adrian_and_i_danced.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bridget_adrian_and_i_danced/main.mp4?v=2","description":"And I Danced To Make A Man Again (2016) is an exploration of love and image. Its episodic structure navigates through the gap between one's loved object and one's image of the loved object. The film features existing footage, quotations by Roland Barthes and sound collages with fragments from Karlheinz Stockhausen's oeuvre. <br/><br/> Credits: Created and produced by Adrian Bridget and Afra Eisma<br/> Main cast: Afra Eisma and Joshua Clow<br/> Narration: Jacqueline Cloake and Adam Rohan<br/> Written and directed by Adrian Bridget","artist_bio":"Adrian Bridget (b. 1990) is a London-based artist and writer. His work - in theatre, poetry, and film - uses drama as a research method to investigate human affect, \"how Absurd and Cruelty take form in 21st Century theatrical states.\" Born in Brazil, he studied Fine Arts at the Royal Academy of Art in The Hague, The Netherlands, and, later, Dramatic Writing at Central Saint Martins in London. With emphasis on text as performative matter, and a post-author lyricism, Bridget's pieces expand and subvert traditional storytelling techniques in order to become \"scores of a process\".","bio_dates":"b. 1990"},{"slug":"brigates_artists_serial_killer_1996","ok":true,"partial":false,"title":"Artists’ serial killer","artist":"Brigataes","year":"1996","startOffset":0,"sourceSecs":237.28,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":36296961,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_artists_serial_killer_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_artists_serial_killer_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_artists_serial_killer_1996.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_artists_serial_killer_1996/main.mp4?v=2","description":"From the frontiers of the pulp comes a serial killer specialized in eliminating those who claim to be artists. He enters in the study of the Brigataes and finishes the members of the group one after the other. No apparent motivation other than an alleged mission on behalf of God. Art wishes to enter crime news. The self-styled artists as corpses re-enter in the circuit of reality as fiction.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_cittalimbo_archives_installation_at_madre_napoli_2016","ok":true,"partial":false,"title":"Cittàlimbo Archives, installation at MADRE","artist":"Brigataes","year":"2016","startOffset":0,"sourceSecs":193.68,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":72754108,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_cittalimbo_archives_installation_at_madre_napoli_2016/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_cittalimbo_archives_installation_at_madre_napoli_2016/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_cittalimbo_archives_installation_at_madre_napoli_2016.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_cittalimbo_archives_installation_at_madre_napoli_2016/main.mp4?v=2","description":"In ten years of work I have recorded the voices and faces of those who - in Naples and Campania in the thirty years 1950-1980 - lived and created art, accumulating a TB of mixed memory of known and forgotten existences. Cittàlimbo Archives is the container of an informal story with multiple voices that reconstructs a creative period through individual stories and the relationships between these stories, captured and presented as fragments before merging into the uniqueness of History. Cittàlimbo Archives challenges the city of oblivion.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_es_citta_vesuvio_1995","ok":true,"partial":false,"title":"Es + città + Vesuvio","artist":"Brigataes","year":"1995","startOffset":0,"sourceSecs":288.64,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":39221355,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_es_citta_vesuvio_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_es_citta_vesuvio_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_es_citta_vesuvio_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_es_citta_vesuvio_1995/main.mp4?v=2","description":"We climb all the impossible possible stairs of the city until we reach the crater of Vesuvius where - urged by Malevich - we plant the flag of our ideas.<br/> Brigataes - as the future of the Futurists - takes up the ascensional path of the daring artist of the historical avant-gardes.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_esmigranti_1997","ok":true,"partial":false,"title":"Esmigranti","artist":"Brigataes","year":"1997","startOffset":0,"sourceSecs":267.72,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":32327526,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_esmigranti_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_esmigranti_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_esmigranti_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_esmigranti_1997/main.mp4?v=2","description":"Compulsion to repeat a departure that never becomes a journey. Failed migrations.<br/> Unreachable landing places.<br/> Destinies blocked.<br/> No shift of direction expected. Idle ride.<br/> Lost history train.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_guardiesladri_2002","ok":true,"partial":false,"title":"Guardiesladri","artist":"Brigataes","year":"2002","startOffset":0,"sourceSecs":263.8,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":41780610,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_guardiesladri_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_guardiesladri_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_guardiesladri_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_guardiesladri_2002/main.mp4?v=2","description":"The hunt for thief or criminal is one of the classic topoi of cinematography. It always catches us as it is one of the primary scenes of social play. Order and disorder, power and anarchy, civilization and barbarism, obedience and transgression: all the dualisms of an ethical history of the West run after each other in this stage action.<br/> The artist runs away like a thief because now in the postmodern era, aesthetic doing / thinking by definition is virtual looting, sampling, receiving stolen goods in a path whose extremes are detournement and plagiarism.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_horror_home_movie_n_1_1999","ok":true,"partial":false,"title":"Horror home movie N.1","artist":"Brigataes","year":"1999","startOffset":0,"sourceSecs":142.76,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":22130806,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_horror_home_movie_n_1_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_horror_home_movie_n_1_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_horror_home_movie_n_1_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_horror_home_movie_n_1_1999/main.mp4?v=2","description":"I live like you in the fifth dimension, that of the show. I live according to the ways and times of movies. I choose a role, I speak-I dress-I love-I die-I laugh-I walk like the characters of TV and cinema.<br/> I am producer-director-actor of daily horror.<br/> Like you I use the mass media repertoire to set up the set of my life as a showman.<br/> Like you I dress up and produce junk images.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_il_piu_grande_artista_del_mondo_2015","ok":true,"partial":false,"title":"Il più grande artista del mondo","artist":"Brigataes","year":"2015","startOffset":0,"sourceSecs":224.16,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":33282668,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_il_piu_grande_artista_del_mondo_2015/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_il_piu_grande_artista_del_mondo_2015/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_il_piu_grande_artista_del_mondo_2015.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_il_piu_grande_artista_del_mondo_2015/main.mp4?v=2","description":"In 1938, the workers of the archaeologist Amedeo Maiuri, during excavations on the summit of the Cumana acropolis, discovered - on the western front of the so-called Temple of Jupiter - some enormous bone fragments. The famous paleontologist Ralph von Koenigswald, already engaged in the research of the gigantopitecus, warned of the discovery, went to the place joining the researchers and bringing to light the finds we have available. Exceptional skeletal remains emerged from the ground and a fraction of a stone slab with traces of rock painting that revealed an unknown symbolic form to which von Koenigswald, an attentive reader of Joyce, gave the name of Chaosmos. And precisely this painted element, immediately associated with the size of the bones of the hand, led the scholar to consider the newly found creature the greatest artist in the world. This is the vintage film shot in the place of the discovery, restored by the Brigataes.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_il_piu_grande_artista_del_mondo_installation_at_mann_napoli_2015","ok":true,"partial":false,"title":"Il più grande artista del mondo; installation at MANN","artist":"Brigataes","year":"2015","startOffset":0,"sourceSecs":154.32,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":12579846,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_il_piu_grande_artista_del_mondo_installation_at_mann_napoli_2015/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_il_piu_grande_artista_del_mondo_installation_at_mann_napoli_2015/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_il_piu_grande_artista_del_mondo_installation_at_mann_napoli_2015.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_il_piu_grande_artista_del_mondo_installation_at_mann_napoli_2015/main.mp4?v=2","description":"In this exhibition Brigataes offers to public viewing for the first time anthropological finds and excavation materials from an alleged discovery, which took place in the 1930s at the acropolis of Cuma, which would document the existence of an artist of gigantic proportions who lived forty thousand years ago. The installation leads the user adrift in the shifting of temporal, spatial and evaluative planes. It offers reflections on scientific paradigms and protocols, on the true/false dialectic, on the quantity/quality ratio, on the mechanisms of the attribution of value operated by the museum institution. It all provides extra memory.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_les_amants_2004","ok":true,"partial":false,"title":"Les amants","artist":"Brigataes","year":"2004","startOffset":0,"sourceSecs":364.12,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":59469935,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_les_amants_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_les_amants_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_les_amants_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_les_amants_2004/main.mp4?v=2","description":"Brigataes uses the famous Magritte canvas as an iconic reference to propose a reflection on the theme of the artist's identity.<br/> In the video we face the disappearance of the author and the appearance of the work.<br/> The unidentified flying artist wanders among the works in search of the aesthetic / libidinal object capable of restoring the strength of his lost image.<br/> But the encounter can only take place on the level of disidentity and disappearance.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_les_invisibles_1995","ok":true,"partial":false,"title":"Les invisibles","artist":"Brigataes","year":"1995","startOffset":0,"sourceSecs":189.44,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":20941781,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_les_invisibles_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_les_invisibles_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_les_invisibles_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_les_invisibles_1995/main.mp4?v=2","description":"The invisibility of the contemporary artist against the visibility of known architectures and landscapes.<br/> The absurd and foreign artist wanders around the obvious city.<br/> Its immaterial condition as an unidentified flying subject challenges the heaviness of history.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_no_lives_were_lost_installation_at_madre_napoli_2009","ok":true,"partial":false,"title":"No lives were lost","artist":"Brigataes","year":"2009","startOffset":0,"sourceSecs":144.405,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":14045086,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_no_lives_were_lost_installation_at_madre_napoli_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_no_lives_were_lost_installation_at_madre_napoli_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_no_lives_were_lost_installation_at_madre_napoli_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_no_lives_were_lost_installation_at_madre_napoli_2009/main.mp4?v=2","description":"Installation project and archive in progress of an artist's life.<br/> The idea behind this project is the virtual preservation of a life so that it does not get lost.<br/> In the three video projections 108 testimonies of friends, relatives, gallery owners, artists, common people, fellow travelers of the many identities I have crossed.<br/>\"\"We are\" is the only thing I can say about myself with certainty. And so I live not a life but a succession of lives that run parallel, rarely overlapping. These lives can only be saved by art - which while using the same media technology - does not destroy what it welcomes but creates objects of affection that seek to live forever. Art serves once again to record and archive over time. The result is a multiple portrait that is no longer self but straight.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_the_prisoners_2002","ok":true,"partial":false,"title":"The prisoners","artist":"Brigataes","year":"2002","startOffset":0,"sourceSecs":209.24,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":36274855,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_the_prisoners_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_the_prisoners_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_the_prisoners_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_the_prisoners_2002/main.mp4?v=2","description":"All that is real is virtual - all that is virtual is real.<br/> and everything that is virtual I re-elaborate and insert it in the schedule of my media existence. Today I make a piece of real TV and I propose it in prime time.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"brigates_ultimatum_agli_artisti_della_terra_2018","ok":true,"partial":false,"title":"Ultimatum agli artisti della Terra","artist":"Brigataes","year":"2018","startOffset":0,"sourceSecs":569.08,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":233086403,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_ultimatum_agli_artisti_della_terra_2018/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brigates_ultimatum_agli_artisti_della_terra_2018/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brigates_ultimatum_agli_artisti_della_terra_2018.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brigates_ultimatum_agli_artisti_della_terra_2018/main.mp4?v=2","description":"The video, which explicitly refers to the film \"The Day the Earth Stood Still\" (1951) by Robert Wise, is made up of long sequences in which the artist Enrico Bugli, a leading exponent of the Neapolitan neo-avant-garde, in a spacesuit stands in front of Martian architectures traced in the metropolitan territory. In the end, in front of Zaha Hadid's spaceship he pronounces his ultimatum to the artists of the Earth, requiring them to practice authentic art and threatening immediate \"cancellation\" if they do not accept. The video is centered on the idea of the artist as a terrestrial alien and Bugli was chosen to represent this condition precisely because of his declared extraneousness to any art system, which became explicit in the 1960s in the renunciation of the social role of artist with abandonment of the art scene.","artist_bio":"Il più grande artista del mondo; installation at MANN (2015)\nBrigataes. Déjà vu.artist book. Napoli (1992) [PDF, 4.5mb]\nArtista volante non identificato. exhibition catalogue. Ferrara (2003) [PDF, 3mb]\nI have a dream. exhibition catalogue. Napoli (2005) [PDF, 5.6]\nIl più grande artista del mondo. exhibition catalogue. Napoli (2015) [PDF, 6.2mb]\nCittàlimbo Archives. Installation brochure. Napoli (2016) [PDF, 532kb]\nAesthetic production mark created by Aldo Elefante in 1992. During his career he made videos, performances, installations, urban interventions.\nBrigataes questions, with a taste for irony and paradox, about the position of the artist and the meaning of art in contemporary.\nBrigataes name comes from the idea of confusing rationality and irrationality, chaos and discipline, in addition to being assonant with a destabilizing abbreviation.","bio_dates":"1995"},{"slug":"broughton_james_high_kukus_1973","ok":true,"partial":false,"title":"High Kukus","artist":"James Broughton","year":"1973","startOffset":0,"sourceSecs":215.765,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":14851491,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/broughton_james_high_kukus_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/broughton_james_high_kukus_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/broughton_james_high_kukus_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/broughton_james_high_kukus_1973/main.mp4?v=2","description":"\"A visualization of the Zen dictum of 'sitting quietly, doing nothing,' HIGH KUKUS uses a single beautiful visual image while it delights with a poetic soundtrack composed of 14 gems of Broughton's wit and wonder.\" - Freude Bartlett <br/><br/>\"\"A High Kuku is, of course, a cuckoo haiku. In inventing this form James Broughton has concocted zany verses which are 'high' in the sense that they are often metaphysical and are keenly aware of the metacomedy of things.... In the contemplation of lofty themes most people are serious, though not always sincere. Broughton, however, is always sincere but hardly ever serious. Indeed, seriousness is a questionable virtue; it is gravity rather than levity, and it was that devout Catholic, G.K. Chesterton, who maintained that the angels fly because they take themselves lightly. And, in company with the angels, Broughton laughs with God rather than at him.\" - Alan Watts","artist_bio":"James Broughton (November 10, 1913 – May 17, 1999) was an American poet and poetic filmmaker. He was part of the San Francisco Renaissance, a precursor to the Beat poets. He was an early bard of the Radical Faeries as well as a member of The Sisters of Perpetual Indulgence, serving her community as Sister Sermonetta.\n\"Seeing the Light\" by James Broughton (City Lights, 1977) [PDF, 764k]","bio_dates":"1928-2007"},{"slug":"broughton_james_testament_1974","ok":true,"partial":false,"title":"Testament","artist":"James Broughton","year":"1974","startOffset":0,"sourceSecs":1183.68,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":75409536,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/broughton_james_testament_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/broughton_james_testament_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/broughton_james_testament_1974.mp4","hasFrames":true,"description":"“TESTAMENT is James Broughton’s exquisite self-portrait. A major figure in avant-garde filmmaking and poetry since the 1940s, Broughton views his life and life’s work with irony, charm, humor, and a combination of joyous self-love and gentle self-depreciation. Scenes from his earlier films mix the elements of humor, magic, slapstick, melodrama, and romance which mark his aesthetic. A plethora of rich personal symbols is woven throughout the film, tied together by verbal games, Zen poems, anecdotes, songs, a child’s prayer, dreams, and visions.” – Karen Coopery with the angels, Broughton laughs with God rather than at him.\" - Alan Watts","artist_bio":"James Broughton (November 10, 1913 – May 17, 1999) was an American poet and poetic filmmaker. He was part of the San Francisco Renaissance, a precursor to the Beat poets. He was an early bard of the Radical Faeries as well as a member of The Sisters of Perpetual Indulgence, serving her community as Sister Sermonetta.\n\"Seeing the Light\" by James Broughton (City Lights, 1977) [PDF, 764k]","bio_dates":"1928-2007"},{"slug":"broughton_james_the_gardener_of_eden_1981","ok":true,"partial":false,"title":"The Gardener of Eden","artist":"James Broughton","year":"1981","startOffset":0,"sourceSecs":473.557,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":33306123,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/broughton_james_the_gardener_of_eden_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/broughton_james_the_gardener_of_eden_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/broughton_james_the_gardener_of_eden_1981.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/broughton_james_the_gardener_of_eden_1981/main.mp4?v=2","description":"Filmed on the paradise island of Sri Lanka, this intense poetic work celebrates the eternal dance of nature's sexuality, and sings of the lost Eden we all search for but do not expect to find. <br/><br/> In the midst of his fertile garden, while he awaits Adam's return, God tries to keep his eye on all the flowering exuberance he has seeded. The film is written and narrated by James Broughton, and photographed by Joel Singer. The music is performed on twin conch shells, and the central actor is in real life the most famous horticulturalist in Ceylon. <br/><br/>\"\"... the meshing of ancient philosophy and modern technology in a song of the mysteries of protoplasm!\" - Lenore Rinder <br/><br/>\"\"An ecstatic masterpiece!\" - Stan Brakhage Awa<br/><br/>rds: Ann Arbor Film Festival, 1981; SF Int'l Film Festival, 1981; Baltimore Film Festival, 1981.","artist_bio":"James Broughton (November 10, 1913 – May 17, 1999) was an American poet and poetic filmmaker. He was part of the San Francisco Renaissance, a precursor to the Beat poets. He was an early bard of the Radical Faeries as well as a member of The Sisters of Perpetual Indulgence, serving her community as Sister Sermonetta.\n\"Seeing the Light\" by James Broughton (City Lights, 1977) [PDF, 764k]","bio_dates":"1928-2007"},{"slug":"broughton_james_this_is_it_1971","ok":true,"partial":false,"title":"This Is It","artist":"James Broughton","year":"1971","startOffset":0,"sourceSecs":542.72,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":36800934,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/broughton_james_this_is_it_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/broughton_james_this_is_it_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/broughton_james_this_is_it_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/broughton_james_this_is_it_1971/main.mp4?v=2","description":"\"James Broughton's creation myth, THIS IS IT, places a 2-year-old Adam and a bright apple-red balloon in a backyard garden of Eden, and works a small miracle of the ordinary. And since that miracle is what his film is about, he achieves a kind of casual perfection in matching means and ends.\" - Robert Greenspun, The New York Times <br/><br/>\"\"It's simple, inspired, and ecstatic. To watch Broughton's film you need a certain silence, a certain descending to the more subtle, more fragile levels of your being - otherwise, the film and its content will not reach you, it will break to pieces. I figure this is the main reason why films of the stature and subtlety and ecstasy of THIS IS IT never reach the New York Film Festival screen.\" - Jonas Mekas, The Village Voice <br/><br/>\"\"A seminal film that promises to affect the course of film art for some time to come.\" - Hollis Frampton <br/><br/> Awards: First Prize, Yale Film Festival, 1972; First Prize, Hawaii Int'l Film Festival, 1972; First Prize, Sinking Creek Film & Video Festival, 1972; First Prize, Kenyon Film Festival, 1972.","artist_bio":"James Broughton (November 10, 1913 – May 17, 1999) was an American poet and poetic filmmaker. He was part of the San Francisco Renaissance, a precursor to the Beat poets. He was an early bard of the Radical Faeries as well as a member of The Sisters of Perpetual Indulgence, serving her community as Sister Sermonetta.\n\"Seeing the Light\" by James Broughton (City Lights, 1977) [PDF, 764k]","bio_dates":"1928-2007"},{"slug":"brown_trisha_watermotor_1978","ok":true,"partial":false,"title":"Watermotor","artist":"Trisha Brown","year":"1978","startOffset":0,"sourceSecs":472.339,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":75092127,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brown_trisha_watermotor_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brown_trisha_watermotor_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brown_trisha_watermotor_1978.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brown_trisha_watermotor_1978/main.mp4?v=2","description":"Choreography: Trisha Brown <br/> Music: Silence <br/> Costumes: Original Costume by Susan Zucker <br/> Lighting: Edward Effron <br/> Length of Full Work: 2.5 minutes <br/> Performer: Trisha Brown <br/> First Performance: <br/> Public Theater <br/> New York, NY <br/> May 22, 1978 <br/> Recording: <br/> Merce Cunningham Studio <br/> New York, NY <br/> 1978 <br/> Film and Photo © <a href=\"https://ubu.com/film/mangolte.html\" rel=\"noopener\" target=\"_blank\">Babette Mangolte</a> 1978","artist_bio":"Babette Mangolte is an experimental filmmaker living in New York City. She had two complete retrospectives of her films and camerawork in 2000 in Germany (organized by Madeleine Bernstorff and Klaus Volkmer) at the Berlin and Munich Cinematheque and in 2004 at Anthology\nFilms Archives in New York City with the opening of her 2003 film\nLes Modèles de Pickpocket.\nIn 2007 her film\nSeven Easy Pieces\nby Marina Abramović\n(2007) premiered at the Berlinale 2007.\nHer films and photo work were included in \"\nThe\nAmerican Century\n\" show in 1999 at the Whitney\nMuseum in New York and \"\nCentury City\n\" at the\nTate Britain in London in 2001.\nMangolte is also known for her photography of dance,\ntheater and performances. Her work was included with\nseveral performance photographs and two film\ninstallations in a show titled \"\nArt, Lies and\nVideotapes: Exposing Performance\n\" organized by\nAdrian George at TATE Liverpool (United Kingdom) in\n2003.\nAmong her more recent shows, “Live Art on Camera” at John Hansard Gallery, Southampton, UK, Curator Alice Maude-Roxby, “ Un teatre sense teatre” at Museu d’Art Contemporari de Barcelona, Curator Bernard Blistene (tour to Museu Berardo, Lisboa, Portugal) and Mangolte’s first solo show in the US at BROADWAY 1602, New York, curated by Anke Kempkes, all in 2007 and in 2008 a two films installation titled\nPresence\na t the Berlin Biennale 2008 and a second solo show at Broadway 1602 titled “Collision”. A new photo installation TOUCHING was included in a show at Akademie der Künste “re.act.feminism – performancekunst der 1960er & 70er jahre heute” curated by Bettina Knaup und Beatrice E. Stammer, till February 8, 2009.\nShe did a one month residency at OCA in Oslo, Norway in May 2009.\nIn 2010 she was included in numerous shows, in particular in the Whitney Biennial 2010 with “How to look ….”, and in a show at Migros Museum in Zurich, “While Bodies get mirrored… “, Mangolte also had two solo shows, one at Broadway 1602, New York in summer 2010 titled “Movement and Stills” and another solo show at Scorcha Dallas in Glasgow, UK titled “Yvonne Rainer: Testimony to Improvisation 1972-5”. In addition she was included in “Mixed Use: Manhattan” at Museo Reina Sofia in Madrid, Spain, curated by Lynne Cook and Douglas Crimp.","bio_dates":"b. 1936"},{"slug":"bruce_lenny_thank_you_mask_man","ok":true,"partial":false,"title":"Thank You Mask Man","artist":"Lenny Bruce","year":"1971","startOffset":0,"sourceSecs":440.085,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":31285455,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bruce_lenny_thank_you_mask_man/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bruce_lenny_thank_you_mask_man/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bruce_lenny_thank_you_mask_man.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bruce_lenny_thank_you_mask_man/main.mp4?v=2","description":"Directed by Jeff Hale<br/> Produced by John Magnuson<br/> Written by Lenny Bruce<br/> Starring Lenny Bruce<br/> Editing by Tom Bullock<br/> Release date(s) September 28, 1971<br/> Running time 8 min.<br/> Country United States<br/> Language English<br/><br/>Thank You Mask Man is an animated short film based upon a comedy routine by Lenny Bruce involving The Lone Ranger and Tonto. The film was produced by John Magnuson, and directed by Jeff Hale.<br> <br> Plot<br/> <br/> After years of saving a small town, its population is angered that The Lone Ranger never stays long enough to receive gratitude for his deeds. He stays, and finds that he likes hearing the phrase \"Thank you, Mask Man\". When asked what the community could give him in return for his services, The Lone Ranger points to an Indian, Tonto, and says that he wants him. Asked why The Lone Ranger wants Tonto, he replies that he wants to have sex with him, explaining that he is not a homosexual, but that he had \"heard a lot about it and read exposés\" and would like to \"try now to see how bad it is. Just once.\" The Lone Ranger also requests a horse, suggesting that he wants to perform bestiality. The townspeople react in disgust as The Lone Ranger and Tonto ride off into the sunset. Bruce intended to deconstruct homophobia and other issues explored within the routine. <br/><br/> Production<br/> <br/> The film was completed in 1968. Its audio is derived from a recording of Bruce's routine. The short was made by San Francisco-based company Imagination, Inc. and directed by Jeff Hale, a former member of the National Film Board of Canada. <br/><br/> Reception<br/> <br/> The film was scheduled to premiere on the opening night of Z, as a supplement preceding the main feature, but was not shown. According to a former staff member of the festival, Magnuson ran up the aisle and shouted \"They crucified Lenny when he was alive and now that he is dead they are screwing him again!\" The festival's director told Magnuson that the producer of Z did not want any short shown that night. Rumors suggested that the wife of one of the festival's financiers hated Bruce, and threatened to withdraw her husband's money if the short was screened. <br/><br/> Magnuson requested that Bill Meléndez, a chairman for the Academy Award animation nominations, nominate the film. Meléndez told Magnuson that he loved the film, and agreed to nominate it. Magnuson filled out the forms required for the film to qualify, but it was not nominated. When Meléndez asked Magnuson why it was not submitted for consideration, he learned that it was never shown for the screening committee. Magnuson believed that a member of the Academy hated Bruce, and hid the entry form so it would not qualify. Hale suggested that \"the projectionist took it upon himself to act as a censor.\" <br/><br/> Screenings did not perform well enough financially for Magnuson to profit from the film, although he states that he never expected to turn a profit. Magnuson recalls that multiple theaters booked the short, and later canceled for unexplained reasons. George Evelyn, a former animator for Colossal Pictures, was working as a programmer at a theater in Texas, and booked the short without viewing it first, because the rental catalog \"made it sound interesting\". After several audience members complained about the film, Evelyn was fired by the theater. Initially, the gay community disliked the film, perceiving it as homophobic, but it was later shown at gay film festivals. Along with Marv Newland's Bambi Meets Godzilla, Thank You Mask Man was screened at a in-person showing of Blazing Saddles. Magnuson and Newland appeared to answer questions about their films. -- Wikipedia<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/bruce.html\" rel=\"noopener\" target=\"_blank\">Lenny Bruce on UbuWeb Sound</a></br></br></br>","artist_bio":"Leonard Alfred Schneider (October 13, 1925 – August 3, 1966), better known by the stage name Lenny Bruce, was a Jewish-American comedian, social critic and satirist. His 1964 conviction in an obscenity trial was followed by a posthumous pardon, the first in New York state history. -- Wiki","bio_dates":"1925-1966"},{"slug":"brus_bauer_impudenz_1969","ok":true,"partial":false,"title":"Impudenz im Grunewald - Teil 1, Teil 2, Teil 3","artist":"Otmar Bauer","year":"1969","startOffset":0.4,"sourceSecs":722.368,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":49747869,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brus_bauer_impudenz_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brus_bauer_impudenz_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brus_bauer_impudenz_1969.mp4","hasFrames":true,"artist_bio":"Otmar Bauer (* 9. Januar 1945 in Schärding; † 17. Oktober 2004 in Petersbaumgarten/Niederösterreich) ist ein österreichischer Aktionskünstler des Wiener Aktionismus.\nOtmar Bauer kam aus der Studentenrevolte zum Wiener Aktionismus, wo er Otto Muehl kennenlernte, der Anfang der 1970er Jahre durch die Gründung einer reichianisch inspirierten Kommune, der Aktionsanalytischen Organisation (AAO), von sich reden machte.\nEnde der 80er Jahren sagte sich Otmar Bauer von Mühl los und lebte als freier Künstler teils im österreichischen Burgenland, teils auf Santa Maria/Azoren.\n2004 veröffentlichte Otmar Bauer „1968 - autobiographische Notizen“, in dem er seinen Weg von seinen Studententagen bis in die '90 er Jahre beschreibt. -- Wiki","bio_dates":"1945-2004"},{"slug":"brzozowska_natalia_kopalnia_1947","ok":true,"partial":false,"title":"The Coal Mine/Kopalnia","artist":"Natalia Brzozowska","year":"1947","startOffset":0,"sourceSecs":613.269,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":245235000,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brzozowska_natalia_kopalnia_1947/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/brzozowska_natalia_kopalnia_1947/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/brzozowska_natalia_kopalnia_1947.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/brzozowska_natalia_kopalnia_1947/main.mp4?v=2","description":"Dedicated to the courage and tireless perseverance of the workingmen, unlike other titles that at the time were highly commended by Communist critics, The Coal Mine doesn’t contain any voice-over commentary.\n\nEven though its original editing technique somewhat resembles Soviet films by Sergei Eisenstein (1898-1948) and Lev Kuleshov (1899-1970), neither Brzozowska’s stylised imagery nor her tragic portrayal of destructive industrialisation could appeal to the Communist Party leaders at the end of the 1940s when they bet on socialist realism.\n\nIn the film, silent shots of human figures seemingly dissolving into the black, bottomless chasm of the mine rhythmically play to the sound of music composed by Kazimierz Serocki (1922-1981).\n\nThe dynamically cut, dark and underlit images show miners getting ready for work and then performing their daily underground tasks. The film culminates with the stillness of their wives desperately waiting for the husbands to come out after an underground accident. The mine turns into a deadly abyss. Nature wins over human effort.\n\nMany shots with dimming lights in horror-like corridors are intercut with observational images of women standing over ground near the mineshaft. These widow-like figures with black headscarves are presented in a series of tracking shots mixed with close-ups of hands and faces that appear frozen in expressions full of fear.\n\nThis wait doesn’t bear any fruit. We only observe heaps of coal transported up the corridors using waggons and conveyor belts. Not a single man comes out. The final underground shots show ghost-like silhouettes of men, presumably either trapped or already dead. It is impossible to establish the difference between the reality and the projection of the women’s stress and fear.\n\nEarlier the viewer witnesses the tragedy of an underground accident, whose scale is amplified by many extreme close-ups of frightened miners’ faces. Several shots later, the women still wait in vain.\n\nWhen in the final frame of the film clouds sail by the mineshaft, life just goes on. The heavy industry keeps working, and the significance of a few lost lives of the workers doesn’t change the grand scheme of its operations.\n\nWith its expressionistic shots and the overall pessimism, at the turn of the 1940s and the 1950s, The Coal Mine didn’t fit into the socialist realist style. Heavily criticised, it was shelved for a few years after the Congress in Wisła.","artist_bio":"Born and raised in a Polish family in Lithuania, Natalia Brzozowska came as a repatriate to Łódź in 1945. With her, she had her husband Jarosław Brzozowski (1911-1969), a documentary filmmaker and a diploma from a painting course at Vilnius University, which equipped her with a taste in poetic imagery. Both the man and the qualification in arts would later become her biggest filmmaking inspirations, helping her develop a unique style, where formal creativity would become the staple of her factual method.\nBrzozowska began her documentary film career in Cracow where she participated in the first film course ever available in the country. In 1946, she completed her first short. Co-directed with Konstanty Gordon (1917-1983), Sport for Everyone/Gimnastyka dla wszystkich consisted of rhythmic edits of brief shots from sports clubs in Łódź, where happy-looking factory workers performed their exercise routines.\nPromoting fitness among the working classes, overall the film championed the lines of the ruling Communist elite, who also heavily engaged in media promotion of physical activity among both men and women. Even though Sport for Everyone doesn’t depart from the typical style of early propaganda documentaries, a sharp critic may notice its camera’s particular attention to frame composition and the almost painterly movement of human bodies on the screen that dominates at least some of, if not all, its shots.\nHaving completed their first short, Brzozowska and Gordon moved in two separate professional directions. While she dedicated her factual film projects to lyrical experiments with sound and image, he specialised in observational shooting techniques mixed with re-enacted scenes that were edited to voice-over narration to praise the achievements of the political regime.\nIn the wake of socialist realism, Gordon produced The Wide Road/Szeroka droga (1949), a monumental, almost fifty-minute propaganda film on the construction of a motorway in Warsaw. It wasn’t surprising that when in November 1949, the delegates from the Ministry of Culture and the Central Committee of the Communist Party met the filmmakers during the Congress of Filmmakers/Zjazd Filmowców in Wisła to proclaim socialist realism as the only acceptable style of any future Polish film, The Wide Road was their model and an almost perfect example. When Gordon held his head high, Brzozowska struggled to keep her cool, quite rightly suspecting that the Congress could mark the end of her career.\nBefore 1949, she made four films, developing her own documentary style that relied on a poetic interplay of moving images and sound. Some of her visual inspirations probably came from her husband’s work, whose Wieliczka (1949)— his most successful film from the 1940s and the winner of the first prize for a short educational film in Cannes— contained sequences with chiaroscuro shots, somewhat reminiscent of German Expressionist films.\nWhen optimistic realism was at the top of the government’s agenda, Brzozowska’s films— now praised for their innovative style— appeared too formalist according to some of the Party critics.\nEnding with a mining disaster, her then most recent title, The Coal Mine/Kopalnia (1948) was even considered a threat to the development of the Communist society. The documentary, which had already been accepted as an official entry at the 1948 film festival in Venice, was accused of displaying potential dissatisfaction among miners and those who aspired to work in the profession. With its tragic conclusion, the creative experiment—departing from the then-conventionalised norms of representing workers in a positive light in their triumph over natural forces—led to an outburst of Brzozowska’s condemnation at the Congress in Wisła.\nEarlier that year, Brzozowska saw her husband arrested by the police under an accusation of spying for the British. Already frightened and in a gesture of desperation, she decided to save face when confronted with unjust accusations. She thus spoke during the Congress in self-critical terms, confessing her anti-socialist sins in line with the Stalinist fashion of ‘samokrytyka’. By 1949, the Soviet obsession with such methods had already swept through the ranks of the Polish Communist Party. However, Brzozowska’s speech fell on dead ears. The Coal Mine was shelved. For exploiting her margin of creative freedom, the director paid a high price. First with an emotional breakdown and then by being suspended from making films.\nAlthough earlier in the 1940s Brzozowska had produced quite a few documentaries that could well serve the Communist propaganda—including, for example, Sport for Everyone and Palaces/Pałace (1946) —she did not make a single new film over the whole following decade. Her only two documentaries completed after the Congress, The Skiers/Narciarze (1958) and Climbing/Na wspinaczce (1958) were both compiled out of footage shot in the Tatra Mountains before 1949.\nBrzozowska wasn’t officially banned from working, but in an interview from 1957, having discussed her artistic visions, stylistic preferences and ideas for potential future productions, she concluded: ‘Yes, I have quite extensive plans, yet they are all left hanging in the air. In reality, I don’t have any possibilities to develop my projects’. Depressed and broken, she never returned to directing documentary films.","bio_dates":"915 - 1988"},{"slug":"burckhardt_rudy_145_w_21_1936","ok":true,"partial":false,"title":"145 W. 21","artist":"Rudy Burckhardt","year":"1936","startOffset":0,"sourceSecs":603.27,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":103517514,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_145_w_21_1936/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_145_w_21_1936/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_145_w_21_1936.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_145_w_21_1936/main.mp4?v=2","description":"145 W 21<br/> 1936, silent, black and white, 10 min.<br/> With Paul Bowles, Aaron Copland, Edwin Denby, John Latouche, Virgil Thomson.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_a_day_in_the_life_of_a_cleaning_woman_1953","ok":true,"partial":false,"title":"A Day in the Life of a Cleaning Woman","artist":"Rudy Burckhardt","year":"1953","startOffset":0,"sourceSecs":825.492,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":129378673,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_a_day_in_the_life_of_a_cleaning_woman_1953/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_a_day_in_the_life_of_a_cleaning_woman_1953/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_a_day_in_the_life_of_a_cleaning_woman_1953.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_a_day_in_the_life_of_a_cleaning_woman_1953/main.mp4?v=2","description":"A Day in the Life of a Cleaning Woman<br/> 1953, silent, black and white, 13 min.<br/> With Anne Porter, Fairfield Porter, Larry Rivers, Edith Schloss.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_caterpillar_1973","ok":true,"partial":false,"title":"Caterpillar","artist":"Rudy Burckhardt","year":"1973","startOffset":0,"sourceSecs":378.712,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":67938001,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_caterpillar_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_caterpillar_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_caterpillar_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_caterpillar_1973/main.mp4?v=2","description":"Caterpillar<br/> 1973, color, 6 min.<br/> Looking down at nature’s small works in the woods of Maine, then straight up at the sky, then down again at the daylong journey of an inchworm. Bird sounds recorded by Jacob Burckhardt.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_cerveza_bud_1981","ok":true,"partial":false,"title":"Cerveza Bud","artist":"Rudy Burckhardt","year":"1981","startOffset":0,"sourceSecs":1298.398,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":226550307,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_cerveza_bud_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_cerveza_bud_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_cerveza_bud_1981.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_cerveza_bud_1981/main.mp4?v=2","description":"Cerveza Bud<br/> 1981, color, 22 min.<br/> “This filmic slice of life coalesces into an ethnographic view of a possible future: the city as a constantly bubbling, delirious playground where yesterday’s monuments are symbols to be triumphed over, and tomorrow never arrives. Perhaps this is why the ultimate effect is one of wistfulness, due also to the unexpected intrusion of a memento mori in the guise of a nude traversing the Maine woods…” —Trevor Winkfield","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_default_averted_1975","ok":true,"partial":false,"title":"Default Averted","artist":"Rudy Burckhardt","year":"1975","startOffset":0,"sourceSecs":1194.027,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":210034143,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_default_averted_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_default_averted_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_default_averted_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_default_averted_1975/main.mp4?v=2","description":"Default Averted<br/> 1975, black and white, 19.75 min.<br/> When New York was about to go bankrupt, all construction had stopped and an architect tried to become a wrecker. This is the story of the demolition of a large factory building on 23rd Street and 6th Avenue. Meanwhile daily business—grimy or funny, money or no money—goes on as usual. Music by Thelonius Monk and Edgar Varèse.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_doldrums_1972","ok":true,"partial":false,"title":"Doldrums","artist":"Rudy Burckhardt","year":"1972","startOffset":0,"sourceSecs":1053.553,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":183905164,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_doldrums_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_doldrums_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_doldrums_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_doldrums_1972/main.mp4?v=2","description":"Doldrums<br/> 1972, color, 18 min.<br/> “The New Jersey Turnpike and downtown New York in rain and shine. Trailer trucks, overpasses, and industrial wastes become natural wonders. The stream of trucks is often gay, buts sometimes ominous. After a thunderstorm, the pike gives way to charming and sexy shoppers on 14th Street. Real sounds and wonderful color.” —Edmund Leites","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_eastside_summer_1959","ok":true,"partial":false,"title":"Eastside Summer","artist":"Rudy Burckhardt","year":"1959","startOffset":0,"sourceSecs":684.217,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":123784416,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_eastside_summer_1959/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_eastside_summer_1959/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_eastside_summer_1959.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_eastside_summer_1959/main.mp4?v=2","description":"A portrait of Manhattan's East Side strolls along at an easy pace accompanied by Thelonious Monk's piano score. Where most city symphonies prize grandiose views of the urban organism, Burckhardt sticks to the walker's view. <br/><br/> East Side Summer<br/> 1959, black & White, 11 min.<br/> Piano by Thelonius Monk.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_inside_dope_1971","ok":true,"partial":false,"title":"Inside Dope","artist":"Rudy Burckhardt","year":"1971","startOffset":0,"sourceSecs":1979.978,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":342453962,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_inside_dope_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_inside_dope_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_inside_dope_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_inside_dope_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_inside_dope_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"Inside Dope<br/> 1971, black and white, 33 min.<br/> “A pseudo-educational, fictitious documentary survey of the ups, downs, ins and far-outs of Dope. Very funny and slightly sinister, like Red Skelton in the sky with diamonds. —Ron Padgett. With Jacob Burckhardt, Jim Carroll, Edwin Denby, William Dunas, Larry Fagin, Joan Fagin, Red Grooms, Yvonne Jacquette, Edmund Leites, Tessie Mitchell, Larry Rivers, Peter Schjeldahl, Anne Waldman. Music by Tony Ackerman and John Cage.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_julie_1980","ok":true,"partial":false,"title":"Julie","artist":"Rudy Burckhardt","year":"1980","startOffset":0,"sourceSecs":173.574,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":31215126,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_julie_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_julie_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_julie_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_julie_1980/main.mp4?v=2","description":"Julie<br/> 1980, black and white, 3 min","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_looking_at_trinidad_bwi_1943","ok":true,"partial":false,"title":"Trinidad","artist":"Rudy Burckhardt","year":"1943","startOffset":0,"sourceSecs":470.604,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":85356114,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_looking_at_trinidad_bwi_1943/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_looking_at_trinidad_bwi_1943/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_looking_at_trinidad_bwi_1943.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_looking_at_trinidad_bwi_1943/main.mp4?v=2","description":"Trinidad<br/> 1943, color, 8 min.<br/> With Calypso music.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_lurk_1964","ok":true,"partial":false,"title":"Lurk","artist":"Rudy Burckhardt","year":"1964","startOffset":0,"sourceSecs":2149.314,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":371238788,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_lurk_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_lurk_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_lurk_1964.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_lurk_1964/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_lurk_1964/main/master.m3u8?v=2","hasMainHls":true,"description":"Lurk<br/> 1965, black and white, 36.5 min.<br/> “Happy with his luscious daughter Aurora in a rustic setting, Professor Borealis has devised an improved brain and is ready to transplant it. The humor is tenderly black. Burckhardt’s fusion of documentary-type photography with fairytale storyline is nearer Keystone than avant-garde with its visual honesty and particular virtuosity.” —Edwin Denby. With Edwin Denby, Red Grooms, Mimi Gross. Music selected by Frank O’Hara.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_money_1968","ok":true,"partial":false,"title":"Money","artist":"Rudy Burckhardt","year":"1968","startOffset":0,"sourceSecs":2692.69,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":462914046,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_money_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_money_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_money_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_money_1968/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_money_1968/main/master.m3u8?v=2","hasMainHls":true,"description":"Money<br/> 1968, black and white, 45 min.<br/> A silent screen-type comedy starring Edwin Denby as Hemlock Stinge, the unlovable billionaire. “The characters are all pretty bad, money is the root of all evil, and they ought not to enjoy themselves but they do anyway.” —Edwin Denby. With John Ashbery, Alex Katz, John Bernard Myers, Titus Welliver(These four are bit players. The main actors, besides Edwin, are Neil Welliver, Red Grooms, Mimi Gross, Rackstraw Downes, Selina Strong). Text by Joe Brainard. “Money” song by Tony Ackerman and Kim Brody.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_montgomery_alabama_1941","ok":true,"partial":false,"title":"Montgomery, Alabama","artist":"Rudy Burckhardt","year":"1941","startOffset":0,"sourceSecs":235.302,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":42352293,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_montgomery_alabama_1941/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_montgomery_alabama_1941/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_montgomery_alabama_1941.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_montgomery_alabama_1941/main.mp4?v=2","description":"1941, color, 4 min.<br/> A soldier on a weekend pass, with Kodachrome in his camera, takes a leisurely walk on both sides of the tracks. Piano by Earl Hines.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_mounting_tension_1950","ok":true,"partial":false,"title":"Mounting Tension","artist":"Rudy Burckhardt","year":"1950","startOffset":0,"sourceSecs":1145.078,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":195767551,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_mounting_tension_1950/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_mounting_tension_1950/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_mounting_tension_1950.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_mounting_tension_1950/main.mp4?v=2","description":"Mounting Tension<br/> 1950, black and white, 20 min.<br/> Larry is a madly energetic, oversexed artist. Jane, a combination of palm reader and psychoanalyst, is trying to straighten him out. John is a straight boy interested in baseball who ends up an abstract painter. Partially shot at the Museum of Modern Art. With John Ashbery, Jane Freilicher, Larry Rivers. Music by Duke Ellington and Thelonius Monk.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_night_fantasies_1991","ok":true,"partial":false,"title":"Night Fantasies","artist":"Rudy Burckhardt","year":"1991","startOffset":0,"sourceSecs":1148.481,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":199081845,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_night_fantasies_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_night_fantasies_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_night_fantasies_1991.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_night_fantasies_1991/main.mp4?v=2","description":"Night Fantasies<br/> 1991, color, 22 min.<br/> Elliott Carter’s composition of the same title inspired Rudy Burckhardt, in collaboration with Yvonne Jacquette, to photograph this collage-style film. Mostly shot in New York City, but also in Hong Kong and Searsmont, Maine. Dance by Robert Black, Yoshiko Chuma, Grazia Della-Terza, Douglas Dunn, Dana Reitz, Harry Sheppard.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_one_flight_up_1969","ok":true,"partial":false,"title":"One Flight Up","artist":"Rudy Burckhardt","year":"1969","startOffset":0,"sourceSecs":317.451,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":53264190,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_one_flight_up_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_one_flight_up_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_one_flight_up_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_one_flight_up_1969/main.mp4?v=2","description":"One Flight Up<br/> 1969, sound, color, 5 min.<br/> With Alex Katz. (To me this doesn’t sound adequate, but I’m not sure exactly what would be. “filmed around a work by AK”?)","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_ostensibly_1989","ok":true,"partial":false,"title":"Ostensibly","artist":"Rudy Burckhardt","year":"1989","startOffset":0,"sourceSecs":950.583,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":164606305,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_ostensibly_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_ostensibly_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_ostensibly_1989.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_ostensibly_1989/main.mp4?v=2","description":"Ostensibly<br/> 1989, color, 16 min.<br/> Poem by John Ashbery. Piano music by Alvin Curran (Era Ora and For Cornelius).<br/><br/>JA reading poem<br> Kia Heath nude poses in front of Rudy's De Kooning then dresses, walks in snow<br> Nice family hops backward up steps<br/> Maine log-throwing competition<br/> A woman (Rochelle Kraut?) reads same poem<br/> Shots of pond details of trees<br/> Man jogs shirtless on Maine road<br/> NY intersection (23rd &amp; Broadway?) in rain reflection<br/> Dancers at party (Skowhegan?)<br/> RB pushing garbage to gutter (NY) and trees to ground (Maine)<br/> Lichen details<br/> NY walkers, skylines, water towers, sped up clouds</br></br>","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_scattered_showers_1999","ok":true,"partial":false,"title":"Scattered Showers","artist":"Rudy Burckhardt","year":"1999","startOffset":0,"sourceSecs":631.198,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":115668897,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_scattered_showers_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_scattered_showers_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_scattered_showers_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_scattered_showers_1999/main.mp4?v=2","description":"Night Fantasies<br/> 1991, color, 22 min.<br/> Elliott Carter’s composition of the same title inspired Rudy Burckhardt, in collaboration with Yvonne Jacquette, to photograph this collage-style film. Mostly shot in New York City, but also in Hong Kong and Searsmont, Maine. Dance by Robert Black, Yoshiko Chuma, Grazia Della-Terza, Douglas Dunn, Dana Reitz, Harry Sheppard.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_sodom_and_gomorrah_new_york_10036_1976","ok":true,"partial":false,"title":"Sodom and Gomorrah, New York, 10036","artist":"Rudy Burckhardt","year":"1976","startOffset":0,"sourceSecs":367.034,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":66772569,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_sodom_and_gomorrah_new_york_10036_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_sodom_and_gomorrah_new_york_10036_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_sodom_and_gomorrah_new_york_10036_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_sodom_and_gomorrah_new_york_10036_1976/main.mp4?v=2","description":"Sodom and Gomorrah, New York 10036 Abe Beame Mayor<br/> 1976, color, 6.5 min.<br/> A documentary about the sex industry around 8th Avenue and 42nd Street.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_square_times_1967","ok":true,"partial":false,"title":"Square Times","artist":"Rudy Burckhardt","year":"1967","startOffset":0,"sourceSecs":393.193,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":71906787,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_square_times_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_square_times_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_square_times_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_square_times_1967/main.mp4?v=2","description":"Square Times<br/> 1967, color, 6.5 min.<br/> A Saturday night on 42nd Street, from dusk to dawn: the glamour, the garbage, the hot dogs, the movies, the sex, and the violence in the air. Music by The Supremes.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_the_apple_1967","ok":true,"partial":false,"title":"The Apple","artist":"Rudy Burckhardt","year":"1967","startOffset":0,"sourceSecs":116.717,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":19836362,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_the_apple_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_the_apple_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_the_apple_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_the_apple_1967/main.mp4?v=2","description":"The Apple<br/> 1967, color, 2 min.<br/> Poem by Kenneth Koch. Music by Tony Ackerman and Brad Burg. Singing by Kim Brody.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burckhardt_rudy_under_the_brooklyn_bridge_1953","ok":true,"partial":false,"title":"Under the Brooklyn Bridge","artist":"Rudy Burckhardt","year":"1953","startOffset":0,"sourceSecs":887.787,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":158286419,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_under_the_brooklyn_bridge_1953/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burckhardt_rudy_under_the_brooklyn_bridge_1953/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burckhardt_rudy_under_the_brooklyn_bridge_1953.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burckhardt_rudy_under_the_brooklyn_bridge_1953/main.mp4?v=2","description":"Under The Brooklyn Bridge<br/> 1953, black and white, 15 min.<br/> “…one cannot deny its documentary value or Burckhardt’s eye for detail, his unpretentiousness. There are sequences—the children swimming under the Brooklyn Bridge is one—which belong with the best footage on New York by anybody.” —Jonas Mekas, The Village Voice. Music by Claude Debussy and Francis Poulenc played on two pianos by Arthur Gold and Robert Fizdale.","artist_bio":"The Aviary\n(made in collaboration with\nJoseph Cornell\n) (1955)\nThe Swiss American photographer and filmmaker Rudy Burckhardt was a robust contributor to the New York art scene as a documentarian and participant, from 1935 until the end of the century. Burckhardt witnessed and photographed the birth and rise of such groups as the Abstract Expressionists and the New York School. In his own work Burckhardt captured quotidian moments of the city, its people, the demolition & construction of its changing neighborhoods. He brings an acute eye to his random yet formal & playful compositions. Amidst the quantities of photographs Rudy shot, several of them are some of the most iconic of New York City, such as the Flatiron Building, The Brooklyn Waterfront, Queens and the water towers of Chelsea rooftops.\nIn 1914 Rudolph Burckhardt was born in Basel to the notable Swiss family, which included the historian Jacob Burckhardt. He was, from an early age, encouraged to study medicine. However with the discovery of photography and a new friendship with the writer and poet Edwin Denby, Burckhardt’s life changed course. He immigrated to New York City in 1935. For the remainder of the 1930s and 1940s he traveled, photographed and filmed much of the American South, the Caribbean and Europe. Over the years Rudy fostered friendships with many key figures of the New York art scene such as Willem de Kooning, Alex Katz, Jane Freilicher, Red Grooms and Jackson Pollock. Rudy collaborated with many artists on his various films such as Red Grooms, Mimi Gross, Larry Rivers, Yvonne Jacquette, John Ashbery, Jane Freilicher, and Edwin Denby. In the 1950’s and 1960’s he frequently photographed artists such as DeKooning, Pollock, Joan Mitchel and Mark Rothko for Artnews, as well as for many institutions and the legendary Leo Castelli Gallery. Later in life he married the painter Yvonne Jacquette. Amongst their collaborations, is their son, the contemporary artist Tom Burckhardt.\nThe work of Rudy Burckhardt has been extensively exhibited in galleries and museums both nationally and internationally in such institutions as The Metropolitan Museum of Art, The Museum of Modern Art, Museum der Moderne, Salzburg, Austria, Fotostiftung Schweitz, Winterthur, Switzerland and the Kunstmuseum, Basel, Switzerland. Many of his works are now in these permanent collections. Given the breadth of Rudy’s documentation of New York City and its artists, Burckhardt’s photographs have been reproduced hundreds of times for commercial and academic purposes.","bio_dates":"1914-1999"},{"slug":"burden_chris_documentation_of_selected_works_1971_74_iphone","ok":true,"partial":false,"title":"Documentation of Selected Works","artist":"Chris Burden","year":"1971-1974","startOffset":0,"sourceSecs":2123.032,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":126825067,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burden_chris_documentation_of_selected_works_1971_74_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burden_chris_documentation_of_selected_works_1971_74_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burden_chris_documentation_of_selected_works_1971_74_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burden_chris_documentation_of_selected_works_1971_74_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burden_chris_documentation_of_selected_works_1971_74_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Chris Burden's provocative, often shocking conceptual performance pieces of the early 1970s retain their raw and confrontational force in these dramatic visual records, shot on Super-8, 16mm film, and half-inch video. Guided by the artist's candid, explanatory comments on both the works and the documentative process, these segments reveal the major themes of Burden's work -- the psychological experience of danger, pain, and physical risk, the aggressive abuse of the body as an art object, and the psychology of the artist/spectator relationship. This compilation is an historical document of one of the most extreme manifestations of 1970s conceptual performance art. Included are the infamous <i>Shoot</i> (1971), in which Burden allows himself to be shot in the arm; <i>Bed Piece</i> (1972), in which he stayed in bed in a gallery for twenty-two days; and the notorious <i>Through the Night Softly</i> (1973), which featured Burden, arms tied behind his naked torso, dragging himself over shards of broken glass. Also included are: <i>220</i> (1971) <i>Deadman</i> (1972) <i>Fire Roll</i> (1973) <i>Icarus</i> (1973) <i>B.C. Mexico</i> (1973) <i>TV Ad</i> (1973) <i> Back to You </i> (1974) <i>Velvet Water</i> (1974). <br/><br/> Film: Michael Brewster, Barbara Burden, Don Von Valkenburg, Phyllis Lutjeans, Paula Sweet, Charles Hill. Video: Andy Mann. -- <a href=\"http://eai.org/title.htm?id=4343\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"A Twenty-Year Survey, Newport Harbor Art Museum - A Video Portrait\n(1989) directed by Peter Kirby\nChris Burden first gained international attention in the 1970s as an influential and often controversial figure in the West Coast body art, performance and Conceptual Art movements. Once ironically termed the \"Evel Knieval of contemporary art,\" Conceptual Art, Burden allowed himself to be shot, crucified, almost drowned and electrocuted.\nIn 1974, he began working with video, using it as an integral component of his performances, as well as for the documentation of his works and in the production of conceptual TV \"commercials.\"\nIn the late 1970s, Burden began producing sculptural objects, installations and technological or mechanical inventions, including the monumental\nBCar\nand\nThe Big Wheel\n. In these extensions of his conceptual works, Burden addresses the artist's relationship to an industrialized and technological society.\nBurden was born in 1946. He received a B.A. from Pomona College, Claremont, California, and an M.F.A. from the University of California, Irvine. A major retrospective of his work,\nChris Burden: A Twenty Year Survey\n, was organized in 1988 by the Newport Harbor Art Museum, California. He has performed and exhibited his work internationally, at institutions including Centre Georges Pompidou, Paris; de Appel, Amsterdam; The Tate Museum, London; The Baltic Centre, Newcastle, England; The 48th Venice Biennale, Venice; The Museum of Modern Art, New York; The Museum of Contemporary Art, LA; Museum of Conceptual Art, San Francisco; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Institute of Contemporary Art, Boston; and the Whitney Museum of American Art Biennial, New York. He is the recipient of numerous awards, including grants from the National Endowment for the Arts and a Guggenheim Fellowship, and currently teaches at the University of California, Los Angeles.\nBurden lives in Topanga, California.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- Wiki","bio_dates":"b. 1946"},{"slug":"burden_chris_the_tv_commericals","ok":true,"partial":false,"title":"The TV Commercials 1973-1977","artist":"Chris Burden","year":"1973","startOffset":0,"sourceSecs":547.691,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":34888285,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burden_chris_the_tv_commericals/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burden_chris_the_tv_commericals/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burden_chris_the_tv_commericals.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burden_chris_the_tv_commericals/main.mp4?v=2","description":"1973-77/2000, 9:08 min, color, sound<br/><br/>The TV Commercials is a recent compilation of Burden's four legendary television interventions, which date from 1973 to 1977. For each of these conceptual projects, Burden purchased commercial time on broadcast television and aired his own subversive \"ads.\" Included are TV Ad: Through the Night Softly; Poem for L.A.; Chris Burden Promo, and Full Financial Disclosure. Burden's on-screen text adds precise details about the airing of these pieces. <br><br> Writes Burden: \"During the early seventies I conceived a way to break the omnipotent stranglehold of the airwaves that broadcast television had. The solution was to simply purchase commercial advertising time and have the stations play my tapes along with their other commercials.\" -- <a href=\"http://eai.org/title.htm?id=14282\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This UbuWeb resource is presented in partnership with <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>. This title is available for exhibitions, screenings, and institutional use through EAI, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br></br>","artist_bio":"A Twenty-Year Survey, Newport Harbor Art Museum - A Video Portrait\n(1989) directed by Peter Kirby\nChris Burden first gained international attention in the 1970s as an influential and often controversial figure in the West Coast body art, performance and Conceptual Art movements. Once ironically termed the \"Evel Knieval of contemporary art,\" Conceptual Art, Burden allowed himself to be shot, crucified, almost drowned and electrocuted.\nIn 1974, he began working with video, using it as an integral component of his performances, as well as for the documentation of his works and in the production of conceptual TV \"commercials.\"\nIn the late 1970s, Burden began producing sculptural objects, installations and technological or mechanical inventions, including the monumental\nBCar\nand\nThe Big Wheel\n. In these extensions of his conceptual works, Burden addresses the artist's relationship to an industrialized and technological society.\nBurden was born in 1946. He received a B.A. from Pomona College, Claremont, California, and an M.F.A. from the University of California, Irvine. A major retrospective of his work,\nChris Burden: A Twenty Year Survey\n, was organized in 1988 by the Newport Harbor Art Museum, California. He has performed and exhibited his work internationally, at institutions including Centre Georges Pompidou, Paris; de Appel, Amsterdam; The Tate Museum, London; The Baltic Centre, Newcastle, England; The 48th Venice Biennale, Venice; The Museum of Modern Art, New York; The Museum of Contemporary Art, LA; Museum of Conceptual Art, San Francisco; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Institute of Contemporary Art, Boston; and the Whitney Museum of American Art Biennial, New York. He is the recipient of numerous awards, including grants from the National Endowment for the Arts and a Guggenheim Fellowship, and currently teaches at the University of California, Los Angeles.\nBurden lives in Topanga, California.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- Wiki","bio_dates":"b. 1946"},{"slug":"burian_ef_maj_1936","ok":true,"partial":false,"title":"Máj","artist":"E.F. Burian","year":"1936","startOffset":0,"sourceSecs":576.683,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":32720669,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burian_ef_maj_1936/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burian_ef_maj_1936/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burian_ef_maj_1936.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burian_ef_maj_1936/main.mp4?v=2","description":"Director: E.F. Burian and Cenek Zahradnícek<br/> Year: 1936<br/> Time: 16 mins<br/> Language: Czech","artist_bio":"Burian was born in Plzeň, Czechoslovakia, where he came from a musical family. His father, Emil Burian, was an opera singer. E. F. Burian is the father of singer and writer Jan Burian. In 1927, he graduated from the Prague Conservatory, in the class of J. B. Foerster, but he began participating in cultural life much sooner. E. F. Burian was a member of Devětsil, an association of Czech avant-garde artists. In 1926 - 1927, he worked with Osvobozene divadlo, but after disputes with Jindřich Honzl, he and Jiři Frejka left the theatre. Later, they founded their own theatre, Da-Da. He also worked with the Moderni studio theatre scene. In 1927 he founded the musical and elocutionary ensemble Voiceband.\nIn 1923, he joined the Communist Party of Czechoslovakia. His work, strongly influenced by communist ideas, bordered on political agitation. In May 1933, he founded the D 34 theatre, with a strongly leftist-oriented program.\nIn 1941, Burian was arrested and spent the rest of World War II in German concentration camps at the Small Fortress Theresienstadt, Dachau and finally in Neuengamme. He helped to organize illegal cultural programs for the inmates. In 1945, he survived the RAF attack against the prison ship Cap Arcona, and returned to Czechoslovakia, where he was already presumed dead. After the war, he founded D 46 and D 47 theatre, and led theatres in Brno and the operetta house in Karlin. After Victorious February in 1948, he worked as a member of the Czechoslovak communist parliament. In the post-war time, he became one of the leading promoters of the communist cultural nomenclature. He attempted to reorganize theatres, with a goal of placing communists into leadership posts of theatres.","bio_dates":"1904-1959"},{"slug":"burroughs_william_bill_and_tony","ok":true,"partial":false,"title":"Bill and Tony","artist":"William S. Burroughs","year":"1972","startOffset":0,"sourceSecs":315.755,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":47057470,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_bill_and_tony/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_bill_and_tony/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burroughs_william_bill_and_tony.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_bill_and_tony/main.mp4?v=2","description":"1972, UK, 5' 11\", Color<br/> Cinematography: Antony Balch<br/> Screenplay: William S. Burroughs<br/> Cast: Antony Balch, William S. Burroughs<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/burroughs.html\" rel=\"noopener\" target=\"_blank\">William S. Burroughs in UbuWeb Sound</a></br>","artist_bio":"Robert Wilson, Tom Waits & William S. Burroughs - The Black Rider\n(1992)\nFrench Television Interview [French language w/ Burroughs responses in English]\n(1990)\nWilliam S. Burroughs On The Road - Words of Advice\n(2010, dir. Lars Movin and Steen Moller Rasmussen\n[Extras]","bio_dates":"1914-1997"},{"slug":"burroughs_william_buys_a_parrot","ok":true,"partial":false,"title":"William Buys a Parrot","artist":"William S. Burroughs","year":"1963","startOffset":0,"sourceSecs":90.283,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":15639776,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_buys_a_parrot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_buys_a_parrot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burroughs_william_buys_a_parrot.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_buys_a_parrot/main.mp4?v=2","description":"1963, USA, 1' 25\", Color<br/> Cinematography: Antony Balch<br/> Screenplay: William S. Burroughs<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/burroughs.html\" rel=\"noopener\" target=\"_blank\">William S. Burroughs in UbuWeb Sound</a></br>","artist_bio":"Robert Wilson, Tom Waits & William S. Burroughs - The Black Rider\n(1992)\nFrench Television Interview [French language w/ Burroughs responses in English]\n(1990)\nWilliam S. Burroughs On The Road - Words of Advice\n(2010, dir. Lars Movin and Steen Moller Rasmussen\n[Extras]","bio_dates":"1914-1997"},{"slug":"burroughs_william_ghosts","ok":true,"partial":false,"title":"The Final Academy Documents","artist":"William S. Burroughs","year":"1983","startOffset":0,"sourceSecs":2606.763,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":446263890,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_ghosts/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_ghosts/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burroughs_william_ghosts.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_ghosts/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_ghosts/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"In 1983 William S. Burroughs participated in a tour of Britain called \"The Final Academy\" which showcased Burrough's work and performances by artists influenced by this iconoclastic writer and artist. On October 4, 1983 the show came to Manchester at the Hacienda club, famous for the Factory record label. A special edit of Burrough's film Ghosts at No. 9 by Genesis P.Orridge, and the Gysin/Burroughs/Balch film Towers Open Fire were aired. John Giorno also performed. And then Burroughs himself performed readings from his written work, including \"The Place of Dead Roads.\" Originally released on Factory as a two VHS box set, this long unavailable set has been restored, making an excellent addition to any Burroughs collection, or a great introduction to the uninitiated.\"<br/><br/> \"\"William Burroughs’ reading in the city of Manchester took place on the 4th of October, 1982, at Factory Records’ Haçienda club, as part of the Manchester “edition” of The Final Academy, a Burroughs-themed art event put together by Psychic TV (Genesis P Orridge & Peter Christopherson) and others. The Final Academy Documents is the shoddily-produced DVD made from the low-grade video recordings that captured the event (originally an Ikon Video production from Factory). The DVD is so badly presented by Cherry Red that no one should feel guilty about downloading this.<br/><br/> Burroughs appearance was the magical part of a scaled-down version of the larger two-day Final Academy that had taken place earlier that week in London. The rest of the event was either strange or underwhelming, not helped by the chilly and elitist atmosphere of Manchester’s newest and most famous club. In the days before “Madchester” and the rave scene (the period that gets excised from the city’s cultural history), the Haçienda was a cold, grey concrete barn with terrible acoustics and a members-only policy that required the flourishing of a Peter Saville-designed card at the door. The place was usually half-empty and the clientèle tended to be students living nearby.<br/><br/> Burroughs’ presence that evening at least managed to fill out the space, even if a large portion of the audience didn’t seem to know why they were there or what the whole thing was about. Some of the films made by Burroughs’ collaborator Antony Balch were shown on the club’s big projection screens then John Giorno took to the stage to give a spirited and funny presentation of his performance poetry. I hadn’t heard of Giorno before, or his Giorno Poetry Systems, which had been putting readings by Burroughs and others on record, but he was very entertaining.<br/><br/> Burroughs followed, reading from The Place of Dead Roads and The Western Lands. It later became apparent that this was part of an ongoing scheme by his manager, James Grauerholz, to get the aged writer in front of audiences and earning some much-needed money. Whatever money he made was well-earned since few writers can deliver their work in public with as much style and wit, as the numerous recordings of his later readings testify. I’m not sure now what I expected from his reading but I remember being surprised at the degree of humour involved. What might seem cold and dead on the page came to life dripping with satiric vitriol under the stress of that snarling delivery. After this, the screening of a lengthy video by Psychic TV was something of an anti-climax, even if the blood and other fluids on display did provoke one audience member to exclaim “Why are you watching this?!” before storming out.<br/><br/> The programme booklets and posters for the Final Academy were designed by Neville Brody. It would have been nice to see the DVD release use Brody’s designs but that’s obviously expecting too much of the incompetents at Cherry Red.<br/><br/> The Final Academy was a defining moment in what, for want of a better term, is now seen as the Industrial Culture scene, Burroughs having been adopted as godfather by most of the prime movers in that movement-that-wasn’t-quite-a-movement. Psychic TV grew out of Throbbing Gristle, of course, and one of the last releases on TG’s Industrial Records label was Nothing Here Now but the Recordings, a collection of Burroughs’ early tape experiments. 23 Skidoo sampled (in the days before sampling…) a snatch of those recordings for The Gospel Comes to New <br/><br/>Guinea, a single produced by Cabaret Voltaire, and both these bands played at the London Final Academy event. At the time this meeting of literary and avant garde musical culture didn’t seem so surprising but 24 years on it seems increasingly unique and unrepeatable. Despite Burroughs’ considerable influence, the events in London and Manchester weren’t the inspirational moment that the organisers and participants might have wished as the 1980s turned out to be a decade of pop trivia and much political and cultural conservatism. Burroughs continued to produce good work (his musical collaborations, Seven Souls with Material and the Dead City Radio readings were high points) but Brion Gysin died in 1986 and many of the musical performers gradually ran out of steam or lost their way as the decade progressed. The “final” part of The Final Academy was more of a terminal declaration than anyone realised at the time.\"<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/burroughs.html\" rel=\"noopener\" target=\"_blank\">William S. Burroughs in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/sound/giorno.html\" rel=\"noopener\" target=\"_blank\">John Giorno in UbuWeb Sound</a></br></br>","artist_bio":"The Final Academy Documents (1983)\nwith\nWilliam S. Burroughs\nJohn Giorno (born 1936) is an American poet and performance artist. He founded the not-for-profit production company Giorno Poetry Systems and organized a number of early multimedia poetry experiments and events, including Dial-A-Poem. He became prominent as the subject of Andy Warhol's film Sleep (1963). He is also an AIDS activist and fundraiser, and a long-time practitioner of the Nyingma tradition of Tibetan Buddhism.\nGiorno was born in New York. He graduated from Columbia University in 1958, where he was a \"college chum\" of physicist Hans Christian von Baeyer. In 1962, while in his early twenties he briefly worked in New York as a stockbroker. In 1962 he met Andy Warhol during Warhol's first New York Pop Art solo exhibit at Eleanor Ward's Stable Gallery. They became lovers and Warhol remained an important influence for Giorno's developments on poetry, performance and recordings. Giorno and Warhol are said to have remained very close until 1964, after which time their meetings were rare. Their relationship was revived somewhat in the last year before Warhol's death. Inspired by Warhol, and subsequent relationships with Robert Rauschenberg and Jasper Johns, Giorno began applying Pop Art techniques of appropriation of found imagery to his poetry, producing The American Book of the Dead in 1964 (published in part in his first book, Poems, in 1967). Meetings with William S. Burroughs and Brion Gysin in 1964 contributed to his interest in applying cut up and montage techniques to found texts, and (via Gysin) his first audio poem pieces, one of which was played at the Paris Museum of Modern Art Biennale in 1965.\nInspired by Rauschenberg's Experiments in Art and Technology events of 1966, Giorno began making \"Electronic Sensory Poetry Environments\", working in collaboration with synthesizer creator Robert Moog and others to create psychedelic poetry installation/happenings at venues such as St. Mark's Church in New York. In 1965, Giorno founded a not-for-profit production company, Giorno Poetry Systems in order to connect poetry to new audiences, using innovative technologies. In 1967, Giorno organized the first Dial-A-Poem event at the Architectural League of New York, making short poems by various contemporary poets available over the telephone. The piece was repeated to considerable acclaim at the Museum of Modern Art in 1970, and resulted in a series of LP records compiling the recordings, which were issued by Giorno Poetry Systems. Some of the poets and artists who recorded or collaborated with Giorno Poetry Systems were Burroughs, John Ashbery, Ted Berrigan, Patti Smith, Laurie Anderson, Philip Glass, Robert Rauschenberg and Robert Mapplethorpe.\nGiorno's text-based poetry evolved rapidly in the late 1960s from direct appropriation of entire texts from newspapers, to montage of radically different types of textual material, to the development of his signature double-column poems, which feature extensive use of repetition both across columns and down the page. This device allowed Giorno to mimic the echoes and distortions he was applying to his voice in performance. A number of these poems were collected in Balling Buddha (1970). The poems also feature increasingly radical political content, and Giorno was involved in a number of protests against the Vietnam war. Spiro Agnew called Giorno and Abbie Hoffman \"would be Hanoi Hannahs\" after their WPAX radio broadcasts made to the US troops in South Vietnam on Radio Hanoi.\nGiorno travelled to India in 1971 where he met H.H. Dudjom Rinpoche, head of the Nyingma order of Tibetan Buddhism. He became one of the earliest Western students of Tibetan Buddhism, and has participated in Buddhist communities for several decades, inviting various Tibetan teachers to New York and hosting them. His poetry has reflected Buddhist and other Asian religious themes from the beginning, but the poems in Cancer In My Left Ball (1972) and those that follow involve a highly original interpenetration of Buddhist and Western avant-garde practices and poetics.\nTouring rock clubs in the 1970s with Burroughs, Giorno continued to develop an amplified, confrontational performance poetry that was highly influential on what became the Poetry Slam scene, as well as the performance art of Karen Finley and Penny Arcade, and the early Industrial music of Throbbing Gristle and Suicide. In 1982 he made the album Who Are You Staring At? with Glenn Branca and is prominently featured in Ron Mann's 1982 film Poetry in Motion. He stopped using found elements in his poetry in the early 1980s and has since pursued a kind of experimental realism, incantatory and repetitive yet at the same time lyrical.\nGiorno has celebrated queer sexuality from the 1964 \"Pornographic Poem\", through his psychedelic evocations of gay New York nightlife in the 1970s, to more recent poems such as \"Just Say No To Family Values\". He founded an AIDS charity, the AIDS Treatment Project in 1984, which continues to give direct financial and other support to individuals with AIDS to the present day.\nIn addition to his collaborations with Burroughs, Giorno has produced 55 LPs, tapes, videos and books. He continues to perform at poetry festivals and events, notably in Europe where he has been an active participant in the sound poetry scene for several decades.\nIn 2007 he appeared in Nine Poems in Basilicata, a film directed by Antonello Faretta based on his poems and his performances. In addition to his solo performances in live poetry shows, he has collaborated since 2005 in some music-poetry shows with Spanish rock singer and composer Javier Colis.\nThe first career-spanning collection of Giorno's poems, Subduing Demons in America: Selected Poems 1962-2007, edited by Marcus Boon, was published by Soft Skull in 2008.\nIn 2010, Giorno had his first one-person gallery show in New York, entitled Black Paintings and Drawings, at Nicole Klagsbrun Gallery, wherein he exhibited works that chronicled the evolution of the poem painting. The first Poem Prints were part of the Dial-A-Poem installation in the 1970 exhibition Information at the Museum of Modern Art. Connecting words and images, the poet uses the materiality of the written word to confront audiences with poetry in different contexts.\nIn 2011, he starred in one of two versions for the music video to R.E.M.'s final single \"We All Go Back to Where We Belong\". -- Wikipedia","bio_dates":"1914-1997"},{"slug":"burroughs_william_interview_france_2_1990_1990_iphone","ok":true,"partial":false,"title":"French Television Interview (French / English language)","artist":"William S. Burroughs","year":"1990","startOffset":0,"sourceSecs":4176.344,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":244721819,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_interview_france_2_1990_1990_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_interview_france_2_1990_1990_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burroughs_william_interview_france_2_1990_1990_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_interview_france_2_1990_1990_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_interview_france_2_1990_1990_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/burroughs.html\" rel=\"noopener\" target=\"_blank\">William S. Burroughs in UbuWeb Sound</a>","artist_bio":"Robert Wilson, Tom Waits & William S. Burroughs - The Black Rider\n(1992)\nFrench Television Interview [French language w/ Burroughs responses in English]\n(1990)\nWilliam S. Burroughs On The Road - Words of Advice\n(2010, dir. Lars Movin and Steen Moller Rasmussen\n[Extras]","bio_dates":"1914-1997"},{"slug":"burroughs_william_s_commissioner_of_sewers_iphone","ok":true,"partial":false,"title":"Commissioner of Sewers","artist":"William S. Burroughs","year":"1991","startOffset":0,"sourceSecs":3283.349,"sourceHeight":264,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":191026772,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_s_commissioner_of_sewers_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_s_commissioner_of_sewers_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burroughs_william_s_commissioner_of_sewers_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_s_commissioner_of_sewers_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_s_commissioner_of_sewers_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Art makes people aware of what they know and don’t know.”<br/><br/> William Burroughs said in this interview with (“pilot & writer”) Jürgen Ploog.<br/><br/> “Once the breakthrough has been made there’s a permanent expansion of awareness. But there’s always a reaction of outrage at the first breakthrough.<br/><br/> The artist expands awareness, and once the breakthrough is made, it becomes part of the general awareness.”<br/><br/> The conversation between the two men forms the basis of Klaus Meck’s documentary William S. Burroughs: Commissioner of Sewers. Filmed in what looks like a hotel room, the duo’s dialog is inter-cut with clips of Burroughs reading extracts from his work, including “The Do Goods” and “Advice for Young People.”<br/><br/> Ploog’s questions rather randomly move from writing (where Burroughs claims if he hadn’t succeeded getting his novel Junkie published, he might never have become a writer); to religion and reincarnation; through Cezanne and Art and onto animals (where WSB discusses why humans empathize more with predatory animals than with their prey). Their disjointed Q&A has a strange “episodic” quality to it but Burroughs (and his encyclopedic knowledge) is fascinating throughout. -- Dangerous Minds<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/burroughs.html\" rel=\"noopener\" target=\"_blank\">William S. Burroughs in UbuWeb Sound</a></br>","artist_bio":"Robert Wilson, Tom Waits & William S. Burroughs - The Black Rider\n(1992)\nFrench Television Interview [French language w/ Burroughs responses in English]\n(1990)\nWilliam S. Burroughs On The Road - Words of Advice\n(2010, dir. Lars Movin and Steen Moller Rasmussen\n[Extras]","bio_dates":"1914-1997"},{"slug":"burroughs_william_s_interviewed_by_kathy_acker","ok":true,"partial":false,"title":"William S. Burroughs Interviewed by Kathy Acker","artist":"William S. Burroughs","year":"1988","startOffset":0,"sourceSecs":2058.48,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":125448866,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_s_interviewed_by_kathy_acker/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_s_interviewed_by_kathy_acker/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burroughs_william_s_interviewed_by_kathy_acker.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_s_interviewed_by_kathy_acker/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_s_interviewed_by_kathy_acker/main/master.m3u8?v=2","hasMainHls":true,"description":"From 1988, on the occasion of the opening of his inaugural show of his shotgun paintings, at the October Gallery. This is a fairly rare interview with William Burroughs by Kathy Acker, a great punk/postmodern/experimental writer, originally released, I think, on video by the Institute of Contemporary Art in London although it is no longer listed in their catalog. This particular copy comes from Dutch television. <br/><br/> The interview was filmed at the October Gallery in London, some time before the deaths of both participants in 1997.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/burroughs.html\" rel=\"noopener\" target=\"_blank\">William S. Burroughs in UbuWeb Sound</a></br>","artist_bio":"Wer hat Angst vor Kathy Acker? aka Who´s Afraid of Kathy Acker ? (2007)\ndir. Barbara Caspar\nKathy Acker, (born April 18, 1948, New York, New York, U.S.—died Nov. 30, 1997, Tijuana, Mex.), American novelist whose writing style and subject matter reflect the so-called punk sensibility that emerged in the 1970s.\nAcker studied classics at Brandeis University and the University of California, San Diego. Her early employment ranged from clerical work to performing in pornographic films. In 1972 she began publishing willfully crude, disjointed prose that drew heavily from her personal experience and constituted a literary analog to contemporary developments in music, fashion, and the visual arts. From the outset, Acker blatantly lifted material from other writers, manipulating it for her own often unsettling purposes. In the early novel The Childlike Life of the Black Tarantula (1973), this process of appropriation is central to the narrator’s quest for identity. The book’s themes of alienation and objectified sexuality recur in such later novels as Great Expectations (1982), Blood and Guts in High School (1984), Don Quixote (1986), and Empire of the Senseless (1988). In 1991 a collection of some of Acker’s early works were published under the title Hannibal Lecter, My Father. This was followed by My Mother: Demonology (1993), which consists of seven love stories. Her 1996 novel, Pussy, King of the Pirates, was adapted for the stage by the seminal punk band the Mekons. The band and Acker released a CD under the same title.\nHer works elicited frequent comparison with those of William S. Burroughs and Jean Genet, and Acker herself cited the influence of the French nouveau roman, or antinovel.","bio_dates":"1914-1997"},{"slug":"burroughs_william_s_the_junkys_christmas","ok":true,"partial":false,"title":"The Junky's Christmas","artist":"William S. Burroughs","year":"1993","startOffset":0,"sourceSecs":1287.808,"sourceHeight":280,"sourceWidth":340,"hasAudio":true,"hasAmbientMp4":true,"bytes":80623116,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_s_the_junkys_christmas/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_s_the_junkys_christmas/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burroughs_william_s_the_junkys_christmas.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_s_the_junkys_christmas/main.mp4?v=2","description":"Runtime: 21 min<br/> Language: English<br/> Country: USA<br/> Color: Black and White<br/> <br/> Director: Nick Donkin & Melodie McDaniel<br/> Cast: William S. Burroughs ... Narrator (voice) <br/><br/> Description: Burroughs takes down a book and reads us the story of Danny the Carwiper, who spends Christmas Day trying to score a fix, but finds the Christmas spirit instead. <br/> Francis Ford Coppola produced this short Claymation film based on William S. Burroughs excellent story The Junky's Christmas. Directed by Nick Donkin and Melodie McDaniel, it opens with live action footage of Burroughs as he begins his tale: <br/><br/> It was Christmas Day and Danny the Car Wiper hit the street junksick and broke after seventy-two hours in the precinct jail. It was a clear bright day, but there was warmth in the sun. Danny shivered with an inner cold. He turned up the collar of his worn, greasy black overcoat. This beat benny wouldn't pawn for a deuce, he thought.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/burroughs.html\" rel=\"noopener\" target=\"_blank\">William S. Burroughs in UbuWeb Sound</a></br>","artist_bio":"Robert Wilson, Tom Waits & William S. Burroughs - The Black Rider\n(1992)\nFrench Television Interview [French language w/ Burroughs responses in English]\n(1990)\nWilliam S. Burroughs On The Road - Words of Advice\n(2010, dir. Lars Movin and Steen Moller Rasmussen\n[Extras]","bio_dates":"1914-1997"},{"slug":"burroughs_william_s_words_of_advice_lars_movin_2010","ok":true,"partial":false,"title":"William S. Burroughs On The Road - Words of Advice","artist":"William S. Burroughs","year":"2010","startOffset":0,"sourceSecs":4459.922,"sourceHeight":416,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":256875728,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_s_words_of_advice_lars_movin_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_s_words_of_advice_lars_movin_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burroughs_william_s_words_of_advice_lars_movin_2010.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_s_words_of_advice_lars_movin_2010/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_s_words_of_advice_lars_movin_2010/main/master.m3u8?v=2","hasMainHls":true,"description":"Words of Advice: William S. Burroughs on the Road, is a 2007 documentary about William S. Burroughs directed by Lars Movin and Steen Møller Rasmussen and produced in Denmark. The documentary is based on never-before-seen footage from his visit to Denmark in October 1983, and from his later years in Lawrence, Kansas.<br/><br/> Shortly thereafter he began touring and reading his work to new generations of readers and thus establishing himself as a cult figure. The film focuses on Burroughs' unique talent as a performer, and on his later work, especially what is known as The Last Trilogy. In addition to the historic footage there are new interviews with friends and colleagues such as James Grauerholz, John Giorno, Hal Willner, Jennie Skerl, Regina Weinreich, Ann Douglas. Music by Material, Patti Smith, and Islamic Diggers.<br/><br/> The film premiered on 9 November 2007 at the Copenhagen International Documentary Festival in Copenhagen and the book and a Burroughs photo exhibition were launched the same night. The first international screening took place at the Paradiso in Amsterdam, as part of a Burroughs tribute event on 10 November 2007. Rasmussen was awarded the Danish Film Institute's Roos Award 2007, for \"outstanding efforts in documentary filmmaking\" on the basis of the film.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/burroughs.html\" rel=\"noopener\" target=\"_blank\">William S. Burroughs in UbuWeb Sound</a></br>","artist_bio":"William S. Burroughs On The Road - Words of Advice\n(2010, dir. Lars Movin and Steen Moller Rasmussen\n[Extras]\nLars Movin is a writer, filmmaker and editor based in Denmark. He has written Beat – på Sporet af den Amerikanske Beatgeneration, a general overview of the history of the Beat Generation, which includes research on William S. Burroughs’ visit in Denmark in 1957. In 2007 he co-edited and co-wrote William S. Burroughs i Danmark which documents Burroughs’ visit in Copenhagen on October 29th, 1983 (with more than 80 never before published photos from the event). His latest publications include a monograph on Captain Beefheart and a 688 page volume on the downtown scene in New York in the 1970s and 80’s.\nAs a filmmaker Lars directed the documentary Words of Advice – William S. Burroughs on the Road (with Steen Møller Rasmussen) (2007). The film was published on DVD by American distributor Microcinema in 2010. Lars also made two shorter films: Lowell Celebrates Kerouac (with Steen Møller Rasmussen) (1998), which is about Kerouac in Lowell; and Angkor Wat – a poem by Allen Ginsberg (2004), a poetic video notebook from Angkor Wat with fragments of Ginsberg’s poem (read by Lawrence Weiner) on the soundtrack.\nHe has also published for books (as editor/author) and made a portrait film about the most prominent Danish Beat writer Dan Turèll (1946-1993).","bio_dates":"1914-1997"},{"slug":"burroughs_william_shotgun_paintings_date_unknown","ok":true,"partial":false,"title":"Shotgun Paintings","artist":"William S. Burroughs","year":null,"startOffset":0,"sourceSecs":282.667,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":48781226,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_shotgun_paintings_date_unknown/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_shotgun_paintings_date_unknown/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burroughs_william_shotgun_paintings_date_unknown.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_shotgun_paintings_date_unknown/main.mp4?v=2","description":"During his later years in Kansas, Burroughs also developed a painting technique whereby he created abstract compositions by placing spray paint cans in front of, and some distance from, blank canvasses, and then shooting at the paint cans with a shot gun. These splattered canvasses were shown in at least one New York City gallery in the early 1990s. <br/><br/> In an interview with Gregory Ego, entitled \"William Burroughs & the Flicker Machine,\" as published in David Kerekes' 2003 \"Headpress (the journal of sex religion death),\" William explains how he made ths shotgun art painting, and others. <br/><br/> Here's is an excerpt from the interview: <br/><br/> EGO: Are you still doing your \"shotgun art?\" <br/><br/> BURROUGHS: Oh, all kinds. Brushwork. Shotgun. Paint. Knife. <br/><br/> EGO: What exact process do you use for your visual art? <br/><br/> BURROUGHS: There is no exact process. If you want to do shotgun art, you take a piece of plywood, put a can of spracy paint in front of it, and shoot it with a shotgun or high powered rifle. The paint's under high pressure so it explodes! Throws the can 300 feed. The paint sprays in exploding color across your surface. You can have as many colors as you want. Turn it around, do it sideways, and have one color coming in from this side and this side. Of course, they hit. Mix in all kinds of unpredictable patterns. This is related to Pollack's drip canvases, although this is a rather more basically random process, there's no possibility of predicting what patterns you're going to get. <br/> I've had some I've worked over for months. Get the original after the explosions and work it over with brushes and spray paints and silhouettes until I'm satisfied. So, there isn't any set procedure. Sometimes you get it right there and you don't touch it. The most important thing in painting is to know when to stop, when everything is finished. Doesn't mean anything in writing. <br/><br/> EGO: It does rely to a high degree on chance -- the shotgun art? <br/><br/> BURROUGHS: It introduces a random factor, certainly. <br/><br/> EGO: Just like the cut-up method. <br/><br/> BURROUGHS: Yes. But you don't have to use it all, you can use that as background. There're a lot of other randomizing procedures like \"marbling.\" Take water and spray your paint on top of the water and then put your paper or whatever in the water and pull it out and it sticks in all sorts of random patterns. And then there's the old inkblot. [Ruffles imaginary paper] Like that. Sometimes they're good only as background or sometimes you get a picture that you're satisfied with at once. There is no certain procedure. <br/><br/> EGO: Allen Ginsberg proposed to me that the cut-up technique you developed with Brion Gysin is a sort of counter-brainwashing technique. Do you agree with that? <br/><br/> BURROUGHS: It has that aspect in that you're breaking down the word, you're creating new words. Right as soon as you start cutting, you're getting new words, new combinations of words. Yes, it has that aspect, sure. <br/> But remember that all this brainwashing and propaganda, etc., is not by any means expected to reach any intelligent corners. It isn't expected to convince anybody that has any sense. If they can get ten percent, that's good. That's the aim of propaganda; to get ten percent. They're not trying to convince people that have a grain of sense.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/burroughs.html\" rel=\"noopener\" target=\"_blank\">William S. Burroughs in UbuWeb Sound</a></br>","artist_bio":"Robert Wilson, Tom Waits & William S. Burroughs - The Black Rider\n(1992)\nFrench Television Interview [French language w/ Burroughs responses in English]\n(1990)\nWilliam S. Burroughs On The Road - Words of Advice\n(2010, dir. Lars Movin and Steen Moller Rasmussen\n[Extras]","bio_dates":"1914-1997"},{"slug":"burroughs_william_towers_open_fire","ok":true,"partial":false,"title":"Towers Open Fire","artist":"William S. Burroughs","year":"1963","startOffset":0,"sourceSecs":574.485,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":100490839,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_towers_open_fire/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/burroughs_william_towers_open_fire/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/burroughs_william_towers_open_fire.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/burroughs_william_towers_open_fire/main.mp4?v=2","description":"1963, UK, 9' 29\", Black and White<br/> Cinematography: Antony Balch<br/> Screenplay: William S. Burroughs<br/> Cast: Antony Balch, William S. Burroughs, David Jacobs, Bachoo Sen, Alexander Trocchi<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/burroughs.html\" rel=\"noopener\" target=\"_blank\">William S. Burroughs in UbuWeb Sound</a></br>","artist_bio":"Robert Wilson, Tom Waits & William S. Burroughs - The Black Rider\n(1992)\nFrench Television Interview [French language w/ Burroughs responses in English]\n(1990)\nWilliam S. Burroughs On The Road - Words of Advice\n(2010, dir. Lars Movin and Steen Moller Rasmussen\n[Extras]","bio_dates":"1914-1997"},{"slug":"bute_mary_ellen_1934_rythm_in_light","ok":true,"partial":false,"title":"Rhythm in Light – 1934","artist":"Mary Ellen Bute","year":"1934","startOffset":0,"sourceSecs":299.541,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":47728293,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1934_rythm_in_light/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1934_rythm_in_light/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bute_mary_ellen_1934_rythm_in_light.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bute_mary_ellen_1934_rythm_in_light/main.mp4?v=2","description":"By Melville Webber, Mary Ellen Bute, and Theodore Nemeth, 1934, 5 minutes<br/> Music: „Peer Gynt Suite“ by Edvard Grieg<br/> Courtesy: Mary Ellen Bute, Theodore Nemeth, Anthology Film Archives <br/><br/> Bute used Webber’s experience with making cardboard models and with photographing in soft focus and through prisms to produce multiple refractions and reflections. In addition, she used cellophane, ping-pong balls, sparklers, eggbreaters, and bracelets to create a work that, while pushing toward abstraction, does not completely leave the objective world behind. (R. Bruce Elder)","artist_bio":"A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s to the 1950s. Set to classical music by the likes of Bach, Saint-Saens or Shostakovich, and filled with colorful forms, elegant design and sprightly, dance-like-rhythms, Bute's filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute's films were \"composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.\" Bute herself wrote that she sought to \"bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.\" (Ed Halter)\nKnown for her pioneering early abstract films (some of which were screened regularly at Radio City Music Hall, New York in the 1930s), Bute made a series of Visual Music films which she called \"Seeing Sound.\" The Retrospective Program (see below) features all 14 of her short abstract films, including some rarely-seen films, in 16mm prints: Rhythm in Light, 1934; Synchromy No. 2, 1935; Dada, 1936; Parabola, 1937; Escape, 1937; Spook Sport (animated by Norman McLaren), 1939; Tarantella, 1940; Polka Graph, 1947; Color Rhapsody, 1948; Imagination, 1948; New Sensations in Sound, 1949 (RCA Commercial); Pastorale, 1950, Abstronic, 1952 and Mood Contrasts, 1953.\n‘In 1940 the Museum of Modern Art (MoMA) Film Library actively began to document a rich international experimental cinema, and staged a show featuring the works of Hans Richter, Fernand Léger, Man Ray, Marcel Duchamp, Len Lye, Ted Nemeth and Mary Ellen Bute. Richter, Duchamp, Léger, Man Ray, and Lye – filmmakers working in Europe – have all become familiar names in any standard text of avant-garde cinema, and their films included in this show have become cinema classics. Mary Ellen Bute and her movies, however, are practically unknown today.\n‘Such a fate was not unusual for prewar American experimental filmmakers. They worked in the 1930s and 1940s within a fragile support network and, after World War II, received only sporadic attention from serious film critics when a new generation of filmmakers achieved prominence. The individual filmmaker of the prewar era had to be not only a filmmaker but also a distributor, critic, and educator for an experimental cinema. The reclamation of the individual filmmaker can reveal a great deal about the definition and workings of an experimental cine- ma in the United States before World War II. Bute’s career exemplifies how the artist-filmmaker during this period successfully invented experimental cinema at both the individual and the systemic levels. She achieved an individual aesthetic style, separate and distinct from her European counterparts, and she devised strategies for the distribution, exhibition, and reception of experimental cinema in the United States.\nTen of Bute’s films, made between 1934 and 1953, belong to the category of cinema known as “abstract films,” “motion paintings,” or “experimental anima- tion.” They place Bute in a painterly-filmic tradition alongside Richter, Viking Eggeling, Oskar Fischinger, Lye, and Norman McLaren. Yet if Bute’s films today seem easily contained within a discrete aesthetic category and tradition of cinema, they were less easily situated within the contemporary avant-garde’s rigorous and exclusionary measures for film art. Unlike most experimental filmmakers before and after World War II, Bute did not explicitly claim an anti-Hollywood stance for her aesthetic principles. In- deed, she publicly situated her films not in resistance to Hollywood, but in conjunction with it, since she marketed her films as short subjects for commercial, theatrical bookings. In the 1940s and 1950s, Bute’s films opened for Hollywood features in Radio City Music hall as well as theaters across the country. It is, however, precisely this tension between the films’ elitist modernist aesthetics and their popular reception as pretty amusements that is worth further exploration.\n‘Trained as a painter at the Pennsylvania Academy of Fine Arts in the early 1920s, Bute identified with the dominant intellectual preoccupations of the mod- ernist avant-garde. Like Richter and Eggeling in Europe, Bute tried to express movement and con- trolled rhythms in time-sequence paintings. Like Richter and Eggeling, she subsequently decided that painting itself was too limited a medium to represent time and motion. Throughout the 1920s and early 1930s, she extended painterly concerns to music and light so as to represent the kinetics of modern, fast-paced, highly technologized life. Like many other painters, she understood that such concerns were within the mainstream of contemporary art, the logi- cal outcome of a linear tradition established through Paul Cézanne’s abstractions of form and color, Cubism’s attempts to produce “surface sensations to the eye,” the Italian Futurists, the American Synchronists, and Wassily Kandinsky’s paintings of relationships between colors and music, works that Bute herself called “abstract compositions based on an arbitrary chromatic scale of senses.”\n‘After she graduated from art school and moved to New York City, Bute attempted to transcend the limitations of painting through combining theatrical performance, music, colored lighting, and two dimensional pieces in stage lighting and design. She at- tended the Yale School of Drama, and following her graduation in 1925 and a subsequent trip around the world as a drama director for a “floating university,” Bute worked with the inventors of the new light organs, musical keyboard instruments that could simultaneously produce and create moving colors on a screen. From the Russian physicist and color organ inventor Leon Theremin, in particular, Bute developed a sophisticated orientation to art as an elaboration of the scientific phenomena of color and light. Theremin taught her to use light on a static surface and how not to use light haphazardly. While Bute was working with Theremin, a third person joined the team. Russian-born Joseph Schillinger ranked among America’s most sought-after composition teachers for his methodology which reduced musical elements to geometric relationships. Schillinger’s students included popular music icons Tommy Dorsey, George Gershwin, and Glenn Miller. With his application of mathematical concepts to music composition, Schillinger taught Bute a central means by which she could coordinate musical composition with painting in shared terms of light, form, time and color. Bute went on to apply concepts from her collaborative experimentations with Theremin and Schillinger in her own “absolute film” titled “Rhythm in Light” (1934).\n‘Bute’s four films released between 1940 and 1950 represent a third phase of “absolute films” and the most mature of her drawn films. Textual inscriptions that introduced each of these films marked Bute’s cinema as educationally edifying by announcing the film’s intention “to present a new type of film-ballet.” Such titles presented Bute’s cinema from the outset as promoting appreciation for tunes already popularly canonized as acceptable highbrow music.\n‘“Tarantella” (1940) is a five-minute color film animat- ed from more than seven thousand drawings and set to original piano music performed by Edwin Gerschefski. Bute positioned her short films in commercial movie theaters as toney introductions, “class” or “art” acts that would precede specific Hollywood prestige productions. “Tarantella” opened for “Paris Waltz” at New York City’s Paris Theatre, where Bute’s original animation art was displayed in the lobby.\n‘The commercial premieres of Bute’s films often occurred a few years after their completion. But if the films did not always win immediate commercial success, they enjoyed longevity without regard for timeliness or topicality. Bute attributed their long runs to the films’ abstract nature: “It’s just like music. You can see it over and over.”’ — Lauren Rabinovitz","bio_dates":"1906-1983"},{"slug":"bute_mary_ellen_1936_38_parabola","ok":true,"partial":false,"title":"Parabola – 1936/38","artist":"Mary Ellen Bute","year":"1936","startOffset":0,"sourceSecs":525.973,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":85313914,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1936_38_parabola/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1936_38_parabola/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bute_mary_ellen_1936_38_parabola.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bute_mary_ellen_1936_38_parabola/main.mp4?v=2","description":"Rutherford Boyd, Mary Ellen Bute, and Theodore Nemeth, 1936-38, 9 minutes<br/> Music: „La Creation du Monde” by Darius Milhaud<br/> Courtesy: Mary Ellen Bute, Theodore Nemeth, Anthology Film Archives <br/><br/> Sculptor Rutherford Boyd worked in collaboration with Nemeth and Bute, whose NYC production facilities were placed at his disposal. Filmed, frame by frame, in a sequence of stills that varied the arrangement of sculptural pieces under controlled illumination, Parabola introduced the potential of an new design technique. (Douglas Dreishpoon)","artist_bio":"A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s to the 1950s. Set to classical music by the likes of Bach, Saint-Saens or Shostakovich, and filled with colorful forms, elegant design and sprightly, dance-like-rhythms, Bute's filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute's films were \"composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.\" Bute herself wrote that she sought to \"bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.\" (Ed Halter)\nKnown for her pioneering early abstract films (some of which were screened regularly at Radio City Music Hall, New York in the 1930s), Bute made a series of Visual Music films which she called \"Seeing Sound.\" The Retrospective Program (see below) features all 14 of her short abstract films, including some rarely-seen films, in 16mm prints: Rhythm in Light, 1934; Synchromy No. 2, 1935; Dada, 1936; Parabola, 1937; Escape, 1937; Spook Sport (animated by Norman McLaren), 1939; Tarantella, 1940; Polka Graph, 1947; Color Rhapsody, 1948; Imagination, 1948; New Sensations in Sound, 1949 (RCA Commercial); Pastorale, 1950, Abstronic, 1952 and Mood Contrasts, 1953.\n‘In 1940 the Museum of Modern Art (MoMA) Film Library actively began to document a rich international experimental cinema, and staged a show featuring the works of Hans Richter, Fernand Léger, Man Ray, Marcel Duchamp, Len Lye, Ted Nemeth and Mary Ellen Bute. Richter, Duchamp, Léger, Man Ray, and Lye – filmmakers working in Europe – have all become familiar names in any standard text of avant-garde cinema, and their films included in this show have become cinema classics. Mary Ellen Bute and her movies, however, are practically unknown today.\n‘Such a fate was not unusual for prewar American experimental filmmakers. They worked in the 1930s and 1940s within a fragile support network and, after World War II, received only sporadic attention from serious film critics when a new generation of filmmakers achieved prominence. The individual filmmaker of the prewar era had to be not only a filmmaker but also a distributor, critic, and educator for an experimental cinema. The reclamation of the individual filmmaker can reveal a great deal about the definition and workings of an experimental cine- ma in the United States before World War II. Bute’s career exemplifies how the artist-filmmaker during this period successfully invented experimental cinema at both the individual and the systemic levels. She achieved an individual aesthetic style, separate and distinct from her European counterparts, and she devised strategies for the distribution, exhibition, and reception of experimental cinema in the United States.\nTen of Bute’s films, made between 1934 and 1953, belong to the category of cinema known as “abstract films,” “motion paintings,” or “experimental anima- tion.” They place Bute in a painterly-filmic tradition alongside Richter, Viking Eggeling, Oskar Fischinger, Lye, and Norman McLaren. Yet if Bute’s films today seem easily contained within a discrete aesthetic category and tradition of cinema, they were less easily situated within the contemporary avant-garde’s rigorous and exclusionary measures for film art. Unlike most experimental filmmakers before and after World War II, Bute did not explicitly claim an anti-Hollywood stance for her aesthetic principles. In- deed, she publicly situated her films not in resistance to Hollywood, but in conjunction with it, since she marketed her films as short subjects for commercial, theatrical bookings. In the 1940s and 1950s, Bute’s films opened for Hollywood features in Radio City Music hall as well as theaters across the country. It is, however, precisely this tension between the films’ elitist modernist aesthetics and their popular reception as pretty amusements that is worth further exploration.\n‘Trained as a painter at the Pennsylvania Academy of Fine Arts in the early 1920s, Bute identified with the dominant intellectual preoccupations of the mod- ernist avant-garde. Like Richter and Eggeling in Europe, Bute tried to express movement and con- trolled rhythms in time-sequence paintings. Like Richter and Eggeling, she subsequently decided that painting itself was too limited a medium to represent time and motion. Throughout the 1920s and early 1930s, she extended painterly concerns to music and light so as to represent the kinetics of modern, fast-paced, highly technologized life. Like many other painters, she understood that such concerns were within the mainstream of contemporary art, the logi- cal outcome of a linear tradition established through Paul Cézanne’s abstractions of form and color, Cubism’s attempts to produce “surface sensations to the eye,” the Italian Futurists, the American Synchronists, and Wassily Kandinsky’s paintings of relationships between colors and music, works that Bute herself called “abstract compositions based on an arbitrary chromatic scale of senses.”\n‘After she graduated from art school and moved to New York City, Bute attempted to transcend the limitations of painting through combining theatrical performance, music, colored lighting, and two dimensional pieces in stage lighting and design. She at- tended the Yale School of Drama, and following her graduation in 1925 and a subsequent trip around the world as a drama director for a “floating university,” Bute worked with the inventors of the new light organs, musical keyboard instruments that could simultaneously produce and create moving colors on a screen. From the Russian physicist and color organ inventor Leon Theremin, in particular, Bute developed a sophisticated orientation to art as an elaboration of the scientific phenomena of color and light. Theremin taught her to use light on a static surface and how not to use light haphazardly. While Bute was working with Theremin, a third person joined the team. Russian-born Joseph Schillinger ranked among America’s most sought-after composition teachers for his methodology which reduced musical elements to geometric relationships. Schillinger’s students included popular music icons Tommy Dorsey, George Gershwin, and Glenn Miller. With his application of mathematical concepts to music composition, Schillinger taught Bute a central means by which she could coordinate musical composition with painting in shared terms of light, form, time and color. Bute went on to apply concepts from her collaborative experimentations with Theremin and Schillinger in her own “absolute film” titled “Rhythm in Light” (1934).\n‘Bute’s four films released between 1940 and 1950 represent a third phase of “absolute films” and the most mature of her drawn films. Textual inscriptions that introduced each of these films marked Bute’s cinema as educationally edifying by announcing the film’s intention “to present a new type of film-ballet.” Such titles presented Bute’s cinema from the outset as promoting appreciation for tunes already popularly canonized as acceptable highbrow music.\n‘“Tarantella” (1940) is a five-minute color film animat- ed from more than seven thousand drawings and set to original piano music performed by Edwin Gerschefski. Bute positioned her short films in commercial movie theaters as toney introductions, “class” or “art” acts that would precede specific Hollywood prestige productions. “Tarantella” opened for “Paris Waltz” at New York City’s Paris Theatre, where Bute’s original animation art was displayed in the lobby.\n‘The commercial premieres of Bute’s films often occurred a few years after their completion. But if the films did not always win immediate commercial success, they enjoyed longevity without regard for timeliness or topicality. Bute attributed their long runs to the films’ abstract nature: “It’s just like music. You can see it over and over.”’ — Lauren Rabinovitz","bio_dates":"1906-1983"},{"slug":"bute_mary_ellen_1936_dada","ok":true,"partial":false,"title":"Dada","artist":"Mary Ellen Bute","year":"1936","startOffset":0,"sourceSecs":74.411,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":9547352,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1936_dada/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1936_dada/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bute_mary_ellen_1936_dada.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bute_mary_ellen_1936_dada/main.mp4?v=2","description":"Dada (1936) 2-minute short for Universal Newsreel. <br/> By Mary Ellen Bute and Ted Nemeth","artist_bio":"A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s to the 1950s. Set to classical music by the likes of Bach, Saint-Saens or Shostakovich, and filled with colorful forms, elegant design and sprightly, dance-like-rhythms, Bute's filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute's films were \"composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.\" Bute herself wrote that she sought to \"bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.\" (Ed Halter)\nKnown for her pioneering early abstract films (some of which were screened regularly at Radio City Music Hall, New York in the 1930s), Bute made a series of Visual Music films which she called \"Seeing Sound.\" The Retrospective Program (see below) features all 14 of her short abstract films, including some rarely-seen films, in 16mm prints: Rhythm in Light, 1934; Synchromy No. 2, 1935; Dada, 1936; Parabola, 1937; Escape, 1937; Spook Sport (animated by Norman McLaren), 1939; Tarantella, 1940; Polka Graph, 1947; Color Rhapsody, 1948; Imagination, 1948; New Sensations in Sound, 1949 (RCA Commercial); Pastorale, 1950, Abstronic, 1952 and Mood Contrasts, 1953.\n‘In 1940 the Museum of Modern Art (MoMA) Film Library actively began to document a rich international experimental cinema, and staged a show featuring the works of Hans Richter, Fernand Léger, Man Ray, Marcel Duchamp, Len Lye, Ted Nemeth and Mary Ellen Bute. Richter, Duchamp, Léger, Man Ray, and Lye – filmmakers working in Europe – have all become familiar names in any standard text of avant-garde cinema, and their films included in this show have become cinema classics. Mary Ellen Bute and her movies, however, are practically unknown today.\n‘Such a fate was not unusual for prewar American experimental filmmakers. They worked in the 1930s and 1940s within a fragile support network and, after World War II, received only sporadic attention from serious film critics when a new generation of filmmakers achieved prominence. The individual filmmaker of the prewar era had to be not only a filmmaker but also a distributor, critic, and educator for an experimental cinema. The reclamation of the individual filmmaker can reveal a great deal about the definition and workings of an experimental cine- ma in the United States before World War II. Bute’s career exemplifies how the artist-filmmaker during this period successfully invented experimental cinema at both the individual and the systemic levels. She achieved an individual aesthetic style, separate and distinct from her European counterparts, and she devised strategies for the distribution, exhibition, and reception of experimental cinema in the United States.\nTen of Bute’s films, made between 1934 and 1953, belong to the category of cinema known as “abstract films,” “motion paintings,” or “experimental anima- tion.” They place Bute in a painterly-filmic tradition alongside Richter, Viking Eggeling, Oskar Fischinger, Lye, and Norman McLaren. Yet if Bute’s films today seem easily contained within a discrete aesthetic category and tradition of cinema, they were less easily situated within the contemporary avant-garde’s rigorous and exclusionary measures for film art. Unlike most experimental filmmakers before and after World War II, Bute did not explicitly claim an anti-Hollywood stance for her aesthetic principles. In- deed, she publicly situated her films not in resistance to Hollywood, but in conjunction with it, since she marketed her films as short subjects for commercial, theatrical bookings. In the 1940s and 1950s, Bute’s films opened for Hollywood features in Radio City Music hall as well as theaters across the country. It is, however, precisely this tension between the films’ elitist modernist aesthetics and their popular reception as pretty amusements that is worth further exploration.\n‘Trained as a painter at the Pennsylvania Academy of Fine Arts in the early 1920s, Bute identified with the dominant intellectual preoccupations of the mod- ernist avant-garde. Like Richter and Eggeling in Europe, Bute tried to express movement and con- trolled rhythms in time-sequence paintings. Like Richter and Eggeling, she subsequently decided that painting itself was too limited a medium to represent time and motion. Throughout the 1920s and early 1930s, she extended painterly concerns to music and light so as to represent the kinetics of modern, fast-paced, highly technologized life. Like many other painters, she understood that such concerns were within the mainstream of contemporary art, the logi- cal outcome of a linear tradition established through Paul Cézanne’s abstractions of form and color, Cubism’s attempts to produce “surface sensations to the eye,” the Italian Futurists, the American Synchronists, and Wassily Kandinsky’s paintings of relationships between colors and music, works that Bute herself called “abstract compositions based on an arbitrary chromatic scale of senses.”\n‘After she graduated from art school and moved to New York City, Bute attempted to transcend the limitations of painting through combining theatrical performance, music, colored lighting, and two dimensional pieces in stage lighting and design. She at- tended the Yale School of Drama, and following her graduation in 1925 and a subsequent trip around the world as a drama director for a “floating university,” Bute worked with the inventors of the new light organs, musical keyboard instruments that could simultaneously produce and create moving colors on a screen. From the Russian physicist and color organ inventor Leon Theremin, in particular, Bute developed a sophisticated orientation to art as an elaboration of the scientific phenomena of color and light. Theremin taught her to use light on a static surface and how not to use light haphazardly. While Bute was working with Theremin, a third person joined the team. Russian-born Joseph Schillinger ranked among America’s most sought-after composition teachers for his methodology which reduced musical elements to geometric relationships. Schillinger’s students included popular music icons Tommy Dorsey, George Gershwin, and Glenn Miller. With his application of mathematical concepts to music composition, Schillinger taught Bute a central means by which she could coordinate musical composition with painting in shared terms of light, form, time and color. Bute went on to apply concepts from her collaborative experimentations with Theremin and Schillinger in her own “absolute film” titled “Rhythm in Light” (1934).\n‘Bute’s four films released between 1940 and 1950 represent a third phase of “absolute films” and the most mature of her drawn films. Textual inscriptions that introduced each of these films marked Bute’s cinema as educationally edifying by announcing the film’s intention “to present a new type of film-ballet.” Such titles presented Bute’s cinema from the outset as promoting appreciation for tunes already popularly canonized as acceptable highbrow music.\n‘“Tarantella” (1940) is a five-minute color film animat- ed from more than seven thousand drawings and set to original piano music performed by Edwin Gerschefski. Bute positioned her short films in commercial movie theaters as toney introductions, “class” or “art” acts that would precede specific Hollywood prestige productions. “Tarantella” opened for “Paris Waltz” at New York City’s Paris Theatre, where Bute’s original animation art was displayed in the lobby.\n‘The commercial premieres of Bute’s films often occurred a few years after their completion. But if the films did not always win immediate commercial success, they enjoyed longevity without regard for timeliness or topicality. Bute attributed their long runs to the films’ abstract nature: “It’s just like music. You can see it over and over.”’ — Lauren Rabinovitz","bio_dates":"1906-1983"},{"slug":"bute_mary_ellen_1936_synchromy_no2","ok":true,"partial":false,"title":"Synchromy No. 2 – 1935","artist":"Mary Ellen Bute","year":"1935","startOffset":0,"sourceSecs":338.773,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":50235033,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1936_synchromy_no2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1936_synchromy_no2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bute_mary_ellen_1936_synchromy_no2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bute_mary_ellen_1936_synchromy_no2/main.mp4?v=2","description":"by Mary Ellen Bute and Theodore Nemeth, 1936, 6 minutes<br/><br/> Music: „The Evening Star“ by Richard Wagner sung by Reinald Werrenrath<br/><br/> Courtesy: Mary Ellen Bute, Theodore Nemeth, Anthology Film Archives<br/><br/> While German absolute filmmakers often drew on J. S. Bach for their understanding of form, Bute derived hers from mathematician Joseph Schillinger, as the Synchromy series shows. The visuals are reflections and refractions of light from glass colanders. The music is Wagner’s O’ Evening Star – a Venus statue represents the star. (R. Bruce Elder)<br/><br/> This film is a pioneer effort in a new art form – It is a modern artist’s impression of what goes on in the mind while listening to music.<br/><br/> SEEING SOUND<br/> Music, in addition to pleasing the EAR<br/> brings something to the EYE.<br/> The following film is designed<br/> by a modern artist to create<br/> MOODS THROUGH THE EYE<br/> as music creates<br/> MOODS THROUGH THE EAR.<br/> <br/> SEEING SOUND<br/> Do you see anything like this when<br/> SEEING SOUND","artist_bio":"A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s to the 1950s. Set to classical music by the likes of Bach, Saint-Saens or Shostakovich, and filled with colorful forms, elegant design and sprightly, dance-like-rhythms, Bute's filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute's films were \"composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.\" Bute herself wrote that she sought to \"bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.\" (Ed Halter)\nKnown for her pioneering early abstract films (some of which were screened regularly at Radio City Music Hall, New York in the 1930s), Bute made a series of Visual Music films which she called \"Seeing Sound.\" The Retrospective Program (see below) features all 14 of her short abstract films, including some rarely-seen films, in 16mm prints: Rhythm in Light, 1934; Synchromy No. 2, 1935; Dada, 1936; Parabola, 1937; Escape, 1937; Spook Sport (animated by Norman McLaren), 1939; Tarantella, 1940; Polka Graph, 1947; Color Rhapsody, 1948; Imagination, 1948; New Sensations in Sound, 1949 (RCA Commercial); Pastorale, 1950, Abstronic, 1952 and Mood Contrasts, 1953.\n‘In 1940 the Museum of Modern Art (MoMA) Film Library actively began to document a rich international experimental cinema, and staged a show featuring the works of Hans Richter, Fernand Léger, Man Ray, Marcel Duchamp, Len Lye, Ted Nemeth and Mary Ellen Bute. Richter, Duchamp, Léger, Man Ray, and Lye – filmmakers working in Europe – have all become familiar names in any standard text of avant-garde cinema, and their films included in this show have become cinema classics. Mary Ellen Bute and her movies, however, are practically unknown today.\n‘Such a fate was not unusual for prewar American experimental filmmakers. They worked in the 1930s and 1940s within a fragile support network and, after World War II, received only sporadic attention from serious film critics when a new generation of filmmakers achieved prominence. The individual filmmaker of the prewar era had to be not only a filmmaker but also a distributor, critic, and educator for an experimental cinema. The reclamation of the individual filmmaker can reveal a great deal about the definition and workings of an experimental cine- ma in the United States before World War II. Bute’s career exemplifies how the artist-filmmaker during this period successfully invented experimental cinema at both the individual and the systemic levels. She achieved an individual aesthetic style, separate and distinct from her European counterparts, and she devised strategies for the distribution, exhibition, and reception of experimental cinema in the United States.\nTen of Bute’s films, made between 1934 and 1953, belong to the category of cinema known as “abstract films,” “motion paintings,” or “experimental anima- tion.” They place Bute in a painterly-filmic tradition alongside Richter, Viking Eggeling, Oskar Fischinger, Lye, and Norman McLaren. Yet if Bute’s films today seem easily contained within a discrete aesthetic category and tradition of cinema, they were less easily situated within the contemporary avant-garde’s rigorous and exclusionary measures for film art. Unlike most experimental filmmakers before and after World War II, Bute did not explicitly claim an anti-Hollywood stance for her aesthetic principles. In- deed, she publicly situated her films not in resistance to Hollywood, but in conjunction with it, since she marketed her films as short subjects for commercial, theatrical bookings. In the 1940s and 1950s, Bute’s films opened for Hollywood features in Radio City Music hall as well as theaters across the country. It is, however, precisely this tension between the films’ elitist modernist aesthetics and their popular reception as pretty amusements that is worth further exploration.\n‘Trained as a painter at the Pennsylvania Academy of Fine Arts in the early 1920s, Bute identified with the dominant intellectual preoccupations of the mod- ernist avant-garde. Like Richter and Eggeling in Europe, Bute tried to express movement and con- trolled rhythms in time-sequence paintings. Like Richter and Eggeling, she subsequently decided that painting itself was too limited a medium to represent time and motion. Throughout the 1920s and early 1930s, she extended painterly concerns to music and light so as to represent the kinetics of modern, fast-paced, highly technologized life. Like many other painters, she understood that such concerns were within the mainstream of contemporary art, the logi- cal outcome of a linear tradition established through Paul Cézanne’s abstractions of form and color, Cubism’s attempts to produce “surface sensations to the eye,” the Italian Futurists, the American Synchronists, and Wassily Kandinsky’s paintings of relationships between colors and music, works that Bute herself called “abstract compositions based on an arbitrary chromatic scale of senses.”\n‘After she graduated from art school and moved to New York City, Bute attempted to transcend the limitations of painting through combining theatrical performance, music, colored lighting, and two dimensional pieces in stage lighting and design. She at- tended the Yale School of Drama, and following her graduation in 1925 and a subsequent trip around the world as a drama director for a “floating university,” Bute worked with the inventors of the new light organs, musical keyboard instruments that could simultaneously produce and create moving colors on a screen. From the Russian physicist and color organ inventor Leon Theremin, in particular, Bute developed a sophisticated orientation to art as an elaboration of the scientific phenomena of color and light. Theremin taught her to use light on a static surface and how not to use light haphazardly. While Bute was working with Theremin, a third person joined the team. Russian-born Joseph Schillinger ranked among America’s most sought-after composition teachers for his methodology which reduced musical elements to geometric relationships. Schillinger’s students included popular music icons Tommy Dorsey, George Gershwin, and Glenn Miller. With his application of mathematical concepts to music composition, Schillinger taught Bute a central means by which she could coordinate musical composition with painting in shared terms of light, form, time and color. Bute went on to apply concepts from her collaborative experimentations with Theremin and Schillinger in her own “absolute film” titled “Rhythm in Light” (1934).\n‘Bute’s four films released between 1940 and 1950 represent a third phase of “absolute films” and the most mature of her drawn films. Textual inscriptions that introduced each of these films marked Bute’s cinema as educationally edifying by announcing the film’s intention “to present a new type of film-ballet.” Such titles presented Bute’s cinema from the outset as promoting appreciation for tunes already popularly canonized as acceptable highbrow music.\n‘“Tarantella” (1940) is a five-minute color film animat- ed from more than seven thousand drawings and set to original piano music performed by Edwin Gerschefski. Bute positioned her short films in commercial movie theaters as toney introductions, “class” or “art” acts that would precede specific Hollywood prestige productions. “Tarantella” opened for “Paris Waltz” at New York City’s Paris Theatre, where Bute’s original animation art was displayed in the lobby.\n‘The commercial premieres of Bute’s films often occurred a few years after their completion. But if the films did not always win immediate commercial success, they enjoyed longevity without regard for timeliness or topicality. Bute attributed their long runs to the films’ abstract nature: “It’s just like music. You can see it over and over.”’ — Lauren Rabinovitz","bio_dates":"1906-1983"},{"slug":"bute_mary_ellen_1938_escape","ok":true,"partial":false,"title":"Escape (Synchromy No. 4) – 1938/39","artist":"Mary Ellen Bute","year":"1938","startOffset":0,"sourceSecs":265.579,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":41637249,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1938_escape/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1938_escape/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bute_mary_ellen_1938_escape.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bute_mary_ellen_1938_escape/main.mp4?v=2","description":"Escape (Synchromy No. 4) 1938/39 35mm, limited release, 4 min","artist_bio":"A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s to the 1950s. Set to classical music by the likes of Bach, Saint-Saens or Shostakovich, and filled with colorful forms, elegant design and sprightly, dance-like-rhythms, Bute's filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute's films were \"composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.\" Bute herself wrote that she sought to \"bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.\" (Ed Halter)\nKnown for her pioneering early abstract films (some of which were screened regularly at Radio City Music Hall, New York in the 1930s), Bute made a series of Visual Music films which she called \"Seeing Sound.\" The Retrospective Program (see below) features all 14 of her short abstract films, including some rarely-seen films, in 16mm prints: Rhythm in Light, 1934; Synchromy No. 2, 1935; Dada, 1936; Parabola, 1937; Escape, 1937; Spook Sport (animated by Norman McLaren), 1939; Tarantella, 1940; Polka Graph, 1947; Color Rhapsody, 1948; Imagination, 1948; New Sensations in Sound, 1949 (RCA Commercial); Pastorale, 1950, Abstronic, 1952 and Mood Contrasts, 1953.\n‘In 1940 the Museum of Modern Art (MoMA) Film Library actively began to document a rich international experimental cinema, and staged a show featuring the works of Hans Richter, Fernand Léger, Man Ray, Marcel Duchamp, Len Lye, Ted Nemeth and Mary Ellen Bute. Richter, Duchamp, Léger, Man Ray, and Lye – filmmakers working in Europe – have all become familiar names in any standard text of avant-garde cinema, and their films included in this show have become cinema classics. Mary Ellen Bute and her movies, however, are practically unknown today.\n‘Such a fate was not unusual for prewar American experimental filmmakers. They worked in the 1930s and 1940s within a fragile support network and, after World War II, received only sporadic attention from serious film critics when a new generation of filmmakers achieved prominence. The individual filmmaker of the prewar era had to be not only a filmmaker but also a distributor, critic, and educator for an experimental cinema. The reclamation of the individual filmmaker can reveal a great deal about the definition and workings of an experimental cine- ma in the United States before World War II. Bute’s career exemplifies how the artist-filmmaker during this period successfully invented experimental cinema at both the individual and the systemic levels. She achieved an individual aesthetic style, separate and distinct from her European counterparts, and she devised strategies for the distribution, exhibition, and reception of experimental cinema in the United States.\nTen of Bute’s films, made between 1934 and 1953, belong to the category of cinema known as “abstract films,” “motion paintings,” or “experimental anima- tion.” They place Bute in a painterly-filmic tradition alongside Richter, Viking Eggeling, Oskar Fischinger, Lye, and Norman McLaren. Yet if Bute’s films today seem easily contained within a discrete aesthetic category and tradition of cinema, they were less easily situated within the contemporary avant-garde’s rigorous and exclusionary measures for film art. Unlike most experimental filmmakers before and after World War II, Bute did not explicitly claim an anti-Hollywood stance for her aesthetic principles. In- deed, she publicly situated her films not in resistance to Hollywood, but in conjunction with it, since she marketed her films as short subjects for commercial, theatrical bookings. In the 1940s and 1950s, Bute’s films opened for Hollywood features in Radio City Music hall as well as theaters across the country. It is, however, precisely this tension between the films’ elitist modernist aesthetics and their popular reception as pretty amusements that is worth further exploration.\n‘Trained as a painter at the Pennsylvania Academy of Fine Arts in the early 1920s, Bute identified with the dominant intellectual preoccupations of the mod- ernist avant-garde. Like Richter and Eggeling in Europe, Bute tried to express movement and con- trolled rhythms in time-sequence paintings. Like Richter and Eggeling, she subsequently decided that painting itself was too limited a medium to represent time and motion. Throughout the 1920s and early 1930s, she extended painterly concerns to music and light so as to represent the kinetics of modern, fast-paced, highly technologized life. Like many other painters, she understood that such concerns were within the mainstream of contemporary art, the logi- cal outcome of a linear tradition established through Paul Cézanne’s abstractions of form and color, Cubism’s attempts to produce “surface sensations to the eye,” the Italian Futurists, the American Synchronists, and Wassily Kandinsky’s paintings of relationships between colors and music, works that Bute herself called “abstract compositions based on an arbitrary chromatic scale of senses.”\n‘After she graduated from art school and moved to New York City, Bute attempted to transcend the limitations of painting through combining theatrical performance, music, colored lighting, and two dimensional pieces in stage lighting and design. She at- tended the Yale School of Drama, and following her graduation in 1925 and a subsequent trip around the world as a drama director for a “floating university,” Bute worked with the inventors of the new light organs, musical keyboard instruments that could simultaneously produce and create moving colors on a screen. From the Russian physicist and color organ inventor Leon Theremin, in particular, Bute developed a sophisticated orientation to art as an elaboration of the scientific phenomena of color and light. Theremin taught her to use light on a static surface and how not to use light haphazardly. While Bute was working with Theremin, a third person joined the team. Russian-born Joseph Schillinger ranked among America’s most sought-after composition teachers for his methodology which reduced musical elements to geometric relationships. Schillinger’s students included popular music icons Tommy Dorsey, George Gershwin, and Glenn Miller. With his application of mathematical concepts to music composition, Schillinger taught Bute a central means by which she could coordinate musical composition with painting in shared terms of light, form, time and color. Bute went on to apply concepts from her collaborative experimentations with Theremin and Schillinger in her own “absolute film” titled “Rhythm in Light” (1934).\n‘Bute’s four films released between 1940 and 1950 represent a third phase of “absolute films” and the most mature of her drawn films. Textual inscriptions that introduced each of these films marked Bute’s cinema as educationally edifying by announcing the film’s intention “to present a new type of film-ballet.” Such titles presented Bute’s cinema from the outset as promoting appreciation for tunes already popularly canonized as acceptable highbrow music.\n‘“Tarantella” (1940) is a five-minute color film animat- ed from more than seven thousand drawings and set to original piano music performed by Edwin Gerschefski. Bute positioned her short films in commercial movie theaters as toney introductions, “class” or “art” acts that would precede specific Hollywood prestige productions. “Tarantella” opened for “Paris Waltz” at New York City’s Paris Theatre, where Bute’s original animation art was displayed in the lobby.\n‘The commercial premieres of Bute’s films often occurred a few years after their completion. But if the films did not always win immediate commercial success, they enjoyed longevity without regard for timeliness or topicality. Bute attributed their long runs to the films’ abstract nature: “It’s just like music. You can see it over and over.”’ — Lauren Rabinovitz","bio_dates":"1906-1983"},{"slug":"bute_mary_ellen_1940_spook_sport","ok":true,"partial":false,"title":"Spook Sport (Seeing Sound) – 1939","artist":"Mary Ellen Bute","year":"1939","startOffset":0,"sourceSecs":470.976,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":75442036,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1940_spook_sport/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1940_spook_sport/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bute_mary_ellen_1940_spook_sport.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bute_mary_ellen_1940_spook_sport/main.mp4?v=2","description":"Mary Ellen Bute (with extra animation by <a href=\"https://ubu.com/film/mclaren.html\" rel=\"noopener\" target=\"_blank\">Norman McLaren</a>)<br/> Colour, 9 minutes, 1939","artist_bio":"A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s to the 1950s. Set to classical music by the likes of Bach, Saint-Saens or Shostakovich, and filled with colorful forms, elegant design and sprightly, dance-like-rhythms, Bute's filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute's films were \"composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.\" Bute herself wrote that she sought to \"bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.\" (Ed Halter)\nKnown for her pioneering early abstract films (some of which were screened regularly at Radio City Music Hall, New York in the 1930s), Bute made a series of Visual Music films which she called \"Seeing Sound.\" The Retrospective Program (see below) features all 14 of her short abstract films, including some rarely-seen films, in 16mm prints: Rhythm in Light, 1934; Synchromy No. 2, 1935; Dada, 1936; Parabola, 1937; Escape, 1937; Spook Sport (animated by Norman McLaren), 1939; Tarantella, 1940; Polka Graph, 1947; Color Rhapsody, 1948; Imagination, 1948; New Sensations in Sound, 1949 (RCA Commercial); Pastorale, 1950, Abstronic, 1952 and Mood Contrasts, 1953.\n‘In 1940 the Museum of Modern Art (MoMA) Film Library actively began to document a rich international experimental cinema, and staged a show featuring the works of Hans Richter, Fernand Léger, Man Ray, Marcel Duchamp, Len Lye, Ted Nemeth and Mary Ellen Bute. Richter, Duchamp, Léger, Man Ray, and Lye – filmmakers working in Europe – have all become familiar names in any standard text of avant-garde cinema, and their films included in this show have become cinema classics. Mary Ellen Bute and her movies, however, are practically unknown today.\n‘Such a fate was not unusual for prewar American experimental filmmakers. They worked in the 1930s and 1940s within a fragile support network and, after World War II, received only sporadic attention from serious film critics when a new generation of filmmakers achieved prominence. The individual filmmaker of the prewar era had to be not only a filmmaker but also a distributor, critic, and educator for an experimental cinema. The reclamation of the individual filmmaker can reveal a great deal about the definition and workings of an experimental cine- ma in the United States before World War II. Bute’s career exemplifies how the artist-filmmaker during this period successfully invented experimental cinema at both the individual and the systemic levels. She achieved an individual aesthetic style, separate and distinct from her European counterparts, and she devised strategies for the distribution, exhibition, and reception of experimental cinema in the United States.\nTen of Bute’s films, made between 1934 and 1953, belong to the category of cinema known as “abstract films,” “motion paintings,” or “experimental anima- tion.” They place Bute in a painterly-filmic tradition alongside Richter, Viking Eggeling, Oskar Fischinger, Lye, and Norman McLaren. Yet if Bute’s films today seem easily contained within a discrete aesthetic category and tradition of cinema, they were less easily situated within the contemporary avant-garde’s rigorous and exclusionary measures for film art. Unlike most experimental filmmakers before and after World War II, Bute did not explicitly claim an anti-Hollywood stance for her aesthetic principles. In- deed, she publicly situated her films not in resistance to Hollywood, but in conjunction with it, since she marketed her films as short subjects for commercial, theatrical bookings. In the 1940s and 1950s, Bute’s films opened for Hollywood features in Radio City Music hall as well as theaters across the country. It is, however, precisely this tension between the films’ elitist modernist aesthetics and their popular reception as pretty amusements that is worth further exploration.\n‘Trained as a painter at the Pennsylvania Academy of Fine Arts in the early 1920s, Bute identified with the dominant intellectual preoccupations of the mod- ernist avant-garde. Like Richter and Eggeling in Europe, Bute tried to express movement and con- trolled rhythms in time-sequence paintings. Like Richter and Eggeling, she subsequently decided that painting itself was too limited a medium to represent time and motion. Throughout the 1920s and early 1930s, she extended painterly concerns to music and light so as to represent the kinetics of modern, fast-paced, highly technologized life. Like many other painters, she understood that such concerns were within the mainstream of contemporary art, the logi- cal outcome of a linear tradition established through Paul Cézanne’s abstractions of form and color, Cubism’s attempts to produce “surface sensations to the eye,” the Italian Futurists, the American Synchronists, and Wassily Kandinsky’s paintings of relationships between colors and music, works that Bute herself called “abstract compositions based on an arbitrary chromatic scale of senses.”\n‘After she graduated from art school and moved to New York City, Bute attempted to transcend the limitations of painting through combining theatrical performance, music, colored lighting, and two dimensional pieces in stage lighting and design. She at- tended the Yale School of Drama, and following her graduation in 1925 and a subsequent trip around the world as a drama director for a “floating university,” Bute worked with the inventors of the new light organs, musical keyboard instruments that could simultaneously produce and create moving colors on a screen. From the Russian physicist and color organ inventor Leon Theremin, in particular, Bute developed a sophisticated orientation to art as an elaboration of the scientific phenomena of color and light. Theremin taught her to use light on a static surface and how not to use light haphazardly. While Bute was working with Theremin, a third person joined the team. Russian-born Joseph Schillinger ranked among America’s most sought-after composition teachers for his methodology which reduced musical elements to geometric relationships. Schillinger’s students included popular music icons Tommy Dorsey, George Gershwin, and Glenn Miller. With his application of mathematical concepts to music composition, Schillinger taught Bute a central means by which she could coordinate musical composition with painting in shared terms of light, form, time and color. Bute went on to apply concepts from her collaborative experimentations with Theremin and Schillinger in her own “absolute film” titled “Rhythm in Light” (1934).\n‘Bute’s four films released between 1940 and 1950 represent a third phase of “absolute films” and the most mature of her drawn films. Textual inscriptions that introduced each of these films marked Bute’s cinema as educationally edifying by announcing the film’s intention “to present a new type of film-ballet.” Such titles presented Bute’s cinema from the outset as promoting appreciation for tunes already popularly canonized as acceptable highbrow music.\n‘“Tarantella” (1940) is a five-minute color film animat- ed from more than seven thousand drawings and set to original piano music performed by Edwin Gerschefski. Bute positioned her short films in commercial movie theaters as toney introductions, “class” or “art” acts that would precede specific Hollywood prestige productions. “Tarantella” opened for “Paris Waltz” at New York City’s Paris Theatre, where Bute’s original animation art was displayed in the lobby.\n‘The commercial premieres of Bute’s films often occurred a few years after their completion. But if the films did not always win immediate commercial success, they enjoyed longevity without regard for timeliness or topicality. Bute attributed their long runs to the films’ abstract nature: “It’s just like music. You can see it over and over.”’ — Lauren Rabinovitz","bio_dates":"1906-1983"},{"slug":"bute_mary_ellen_1940_tarantella","ok":true,"partial":false,"title":"Tarantella","artist":"Mary Ellen Bute","year":"1940","startOffset":0,"sourceSecs":268.587,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":44670267,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1940_tarantella/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_1940_tarantella/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bute_mary_ellen_1940_tarantella.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bute_mary_ellen_1940_tarantella/main.mp4?v=2","description":"Tarantella seems Mary Ellen's best film. Using an eccentric modern composition by Edwin Gershefski, Mary Ellen herself animated most of the imagery, using jagged lines to choreograph dissonant scales. Even the sensuous McLaren interlude is not totally out of character. Another of her finest films, Pastorale (1953), reverts to the technique of the early black-and-white films, creating continuous flows of colored light, swirling in various directions to mime the multiple voices of J.S.Bach's Sheep May Safely Graze. The music's conductor/arranger, Leopold Stokowski, appears at the end superimposed over the abstract images--reminiscent of Fantasia!","artist_bio":"A pioneer of visual music and electronic art, Mary Ellen Bute produced over a dozen short abstract animations between the 1930s to the 1950s. Set to classical music by the likes of Bach, Saint-Saens or Shostakovich, and filled with colorful forms, elegant design and sprightly, dance-like-rhythms, Bute's filmmaking is at once formally rigorous and energetically high-spirited, like a marriage of high modernism and Merrie Melodies. In the late 1940s, Lewis Jacobs observed that Bute's films were \"composed upon mathematical formulae depicting in ever-changing lights and shadows, growing lines and forms, deepening colors and tones, the tumbling, racing impressions evoked by the musical accompaniment.\" Bute herself wrote that she sought to \"bring to the eyes a combination of visual forms unfolding along with the thematic development and rhythmic cadences of music.\" (Ed Halter)\nKnown for her pioneering early abstract films (some of which were screened regularly at Radio City Music Hall, New York in the 1930s), Bute made a series of Visual Music films which she called \"Seeing Sound.\" The Retrospective Program (see below) features all 14 of her short abstract films, including some rarely-seen films, in 16mm prints: Rhythm in Light, 1934; Synchromy No. 2, 1935; Dada, 1936; Parabola, 1937; Escape, 1937; Spook Sport (animated by Norman McLaren), 1939; Tarantella, 1940; Polka Graph, 1947; Color Rhapsody, 1948; Imagination, 1948; New Sensations in Sound, 1949 (RCA Commercial); Pastorale, 1950, Abstronic, 1952 and Mood Contrasts, 1953.\n‘In 1940 the Museum of Modern Art (MoMA) Film Library actively began to document a rich international experimental cinema, and staged a show featuring the works of Hans Richter, Fernand Léger, Man Ray, Marcel Duchamp, Len Lye, Ted Nemeth and Mary Ellen Bute. Richter, Duchamp, Léger, Man Ray, and Lye – filmmakers working in Europe – have all become familiar names in any standard text of avant-garde cinema, and their films included in this show have become cinema classics. Mary Ellen Bute and her movies, however, are practically unknown today.\n‘Such a fate was not unusual for prewar American experimental filmmakers. They worked in the 1930s and 1940s within a fragile support network and, after World War II, received only sporadic attention from serious film critics when a new generation of filmmakers achieved prominence. The individual filmmaker of the prewar era had to be not only a filmmaker but also a distributor, critic, and educator for an experimental cinema. The reclamation of the individual filmmaker can reveal a great deal about the definition and workings of an experimental cine- ma in the United States before World War II. Bute’s career exemplifies how the artist-filmmaker during this period successfully invented experimental cinema at both the individual and the systemic levels. She achieved an individual aesthetic style, separate and distinct from her European counterparts, and she devised strategies for the distribution, exhibition, and reception of experimental cinema in the United States.\nTen of Bute’s films, made between 1934 and 1953, belong to the category of cinema known as “abstract films,” “motion paintings,” or “experimental anima- tion.” They place Bute in a painterly-filmic tradition alongside Richter, Viking Eggeling, Oskar Fischinger, Lye, and Norman McLaren. Yet if Bute’s films today seem easily contained within a discrete aesthetic category and tradition of cinema, they were less easily situated within the contemporary avant-garde’s rigorous and exclusionary measures for film art. Unlike most experimental filmmakers before and after World War II, Bute did not explicitly claim an anti-Hollywood stance for her aesthetic principles. In- deed, she publicly situated her films not in resistance to Hollywood, but in conjunction with it, since she marketed her films as short subjects for commercial, theatrical bookings. In the 1940s and 1950s, Bute’s films opened for Hollywood features in Radio City Music hall as well as theaters across the country. It is, however, precisely this tension between the films’ elitist modernist aesthetics and their popular reception as pretty amusements that is worth further exploration.\n‘Trained as a painter at the Pennsylvania Academy of Fine Arts in the early 1920s, Bute identified with the dominant intellectual preoccupations of the mod- ernist avant-garde. Like Richter and Eggeling in Europe, Bute tried to express movement and con- trolled rhythms in time-sequence paintings. Like Richter and Eggeling, she subsequently decided that painting itself was too limited a medium to represent time and motion. Throughout the 1920s and early 1930s, she extended painterly concerns to music and light so as to represent the kinetics of modern, fast-paced, highly technologized life. Like many other painters, she understood that such concerns were within the mainstream of contemporary art, the logi- cal outcome of a linear tradition established through Paul Cézanne’s abstractions of form and color, Cubism’s attempts to produce “surface sensations to the eye,” the Italian Futurists, the American Synchronists, and Wassily Kandinsky’s paintings of relationships between colors and music, works that Bute herself called “abstract compositions based on an arbitrary chromatic scale of senses.”\n‘After she graduated from art school and moved to New York City, Bute attempted to transcend the limitations of painting through combining theatrical performance, music, colored lighting, and two dimensional pieces in stage lighting and design. She at- tended the Yale School of Drama, and following her graduation in 1925 and a subsequent trip around the world as a drama director for a “floating university,” Bute worked with the inventors of the new light organs, musical keyboard instruments that could simultaneously produce and create moving colors on a screen. From the Russian physicist and color organ inventor Leon Theremin, in particular, Bute developed a sophisticated orientation to art as an elaboration of the scientific phenomena of color and light. Theremin taught her to use light on a static surface and how not to use light haphazardly. While Bute was working with Theremin, a third person joined the team. Russian-born Joseph Schillinger ranked among America’s most sought-after composition teachers for his methodology which reduced musical elements to geometric relationships. Schillinger’s students included popular music icons Tommy Dorsey, George Gershwin, and Glenn Miller. With his application of mathematical concepts to music composition, Schillinger taught Bute a central means by which she could coordinate musical composition with painting in shared terms of light, form, time and color. Bute went on to apply concepts from her collaborative experimentations with Theremin and Schillinger in her own “absolute film” titled “Rhythm in Light” (1934).\n‘Bute’s four films released between 1940 and 1950 represent a third phase of “absolute films” and the most mature of her drawn films. Textual inscriptions that introduced each of these films marked Bute’s cinema as educationally edifying by announcing the film’s intention “to present a new type of film-ballet.” Such titles presented Bute’s cinema from the outset as promoting appreciation for tunes already popularly canonized as acceptable highbrow music.\n‘“Tarantella” (1940) is a five-minute color film animat- ed from more than seven thousand drawings and set to original piano music performed by Edwin Gerschefski. Bute positioned her short films in commercial movie theaters as toney introductions, “class” or “art” acts that would precede specific Hollywood prestige productions. “Tarantella” opened for “Paris Waltz” at New York City’s Paris Theatre, where Bute’s original animation art was displayed in the lobby.\n‘The commercial premieres of Bute’s films often occurred a few years after their completion. But if the films did not always win immediate commercial success, they enjoyed longevity without regard for timeliness or topicality. Bute attributed their long runs to the films’ abstract nature: “It’s just like music. You can see it over and over.”’ — Lauren Rabinovitz","bio_dates":"1906-1983"},{"slug":"bute_mary_ellen_finnegans_wake_1966_iphone","ok":true,"partial":false,"title":"Passages from Finnegans Wake – 1965-67","artist":"Mary Ellen Bute","year":"1965","startOffset":0,"sourceSecs":5370.434,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":307927647,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_finnegans_wake_1966_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/bute_mary_ellen_finnegans_wake_1966_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/bute_mary_ellen_finnegans_wake_1966_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bute_mary_ellen_finnegans_wake_1966_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/bute_mary_ellen_finnegans_wake_1966_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<i>Passages from James Joyce's Finnegans Wake</i><br/> Directed by Mary Ellen Bute<br/> Screenplay by Mary Manning<br/> Cinematography by Ted Nemeth<br/> Music by Elliot Kaplan<br/> <br/> Cast (in alphabetical order)<br/> Ray Flanagan . . .Young Shem<br/> Peter Haskell . . . Shem<br/> Page Johnson . . . Shaun<br/> Martin J. Kelley . . . Finnegan<br/> Jane Reilly . . . Anna Livia<br/> <br/> There are currently no copies of this film availabe on VHS or DVD. <br/><br/> A half-forgotten, half-legendary pioneer in American abstract and animated filmmaking, Mary Ellen Bute, late in her career as an artist, created this adaptation of James Joyce, her only feature. In the transformation from Joyce's polyglot prose to the necessarily concrete imagery of actors and sets, Passages discovers a truly oneiric film style, a weirdly post-New Wave rediscovery of Surrealism, and in her panoply of allusion - 1950s dance crazes, atomic weaponry, ICBMs, and television all make appearances - she finds a cinematic approximation of the novel's nearly impenetrable vertically compressed structure. <br/><br/> With Passages from Finnegans Wake Bute was the first to adapt a work of James Joyce to film and was honored for this project at the Cannes Film Festival in 1965 as best debut.<br/><br/>John Coulthart: <br><br> Ubuweb continues to come up with the very obscure goods. Mary Ellen Bute’s Passages from James Joyce’s Finnegans Wake is the kind of thing you would have been lucky to see on television even in the days when non-Hollywood fare was screened regularly. Joyce is almost the definitive example of the unfilmable author although that didn’t prevent Joseph Strick from having a go at Ulysses in 1967 and A Portrait of the Artist as a Young Man ten years later. Ulysses if it was filmed at all should probably be done as eighteen hour-long films rather than Strick’s truncated skate through the novel. Some passages work better than others but I’ve never been able to accept Milo O’Shea as Leopold Bloom. Bosco Hogan on the other hand is permanently fixed in my head as Stephen Dedalus having seen Portrait before reading the book. <br/><br/> As to the success of Mary Ellen Bute’s opus, I still haven’t watched it properly so you’ll have to go and look for yourself. It’s little more than an illustrated reading but that’s not necessarily as misguided as it seems. Finnegans Wake for many people is one of English literature’s impregnable fortresses; anything that helps break down the doors is surely worthwhile.</br></br>","artist_bio":"Passages from James Joyce's \"Finnegans Wake\" (1965-67)\ndirected by\nMary Ellen Bute\nJames Augustine Aloysius Joyce (2 February 1882 – 13 January 1941) was an Irish novelist and poet, considered to be one of the most influential writers in the modernist avant-garde of the early 20th century. Joyce is best known for Ulysses (1922), a landmark work in which the episodes of Homer's Odyssey are paralleled in an array of contrasting literary styles, perhaps most prominent among these the stream of consciousness technique he perfected. Other major works are the short-story collection Dubliners (1914), and the novels A Portrait of the Artist as a Young Man (1916) and Finnegans Wake (1939). His complete oeuvre includes three books of poetry, a play, occasional journalism, and his published letters.\nJoyce was born into a middle-class family in Dublin, where he excelled as a student at the Jesuit schools Clongowes and Belvedere, then at University College Dublin. In his early twenties he emigrated permanently to continental Europe, living in Trieste, Paris and Zurich. Though most of his adult life was spent abroad, Joyce's fictional universe does not extend far beyond Dublin, and is populated largely by characters who closely resemble family members, enemies and friends from his time there; Ulysses in particular is set with precision in the streets and alleyways of the city. Shortly after the publication of Ulysses he elucidated this preoccupation somewhat, saying, \"For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal.\"","bio_dates":"1906-1983"},{"slug":"byars_james_lee_world_question_center_1969_iphone","ok":true,"partial":false,"title":"The World Question Center","artist":"James Lee Byars","year":"1969","startOffset":0,"sourceSecs":7444.098,"sourceHeight":268,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":425775535,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/byars_james_lee_world_question_center_1969_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/byars_james_lee_world_question_center_1969_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/byars_james_lee_world_question_center_1969_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/byars_james_lee_world_question_center_1969_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/byars_james_lee_world_question_center_1969_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Jef Cornelis, James Lee Byars: The World Question Center, 1969, single channel video, b/w, sound, 01:02:06. <br/><br/> In 1969, the American artist James Lee Byars developed a performance piece entitled The World Question Center. The original idea, which was not brought to fruition, entailed gathering one hundred brilliant minds including thinkers, scientists and artists together in a room, locking them behind closed doors and inviting them to ask each other questions they had been asking themselves. The final version of this project, produced for Belgian Radio and Television, is a performance piece in which Byars contacts all of them by telephone.","artist_bio":"At age four, receives a tuxedo from his parents to wear on special occasions.\nAttends Edgar Allan Poe School.\nStudies art and philosophy at Wayne State University and attends Merrill Palmer School for Human Developement in Detroit.\nByars empties his family's house of all furniture, doors, and windows to display large, spherical\nstones for a one-day thesis exhibition.\nRents a sod farm for the exhibition of his abstract figure sculptures at midnight under a full moon.\nInvited guests view sculptures from sleds pulled over the snow.\nLives with a patron in Detroit who commissions a garden for his backyard. Admiring neighbors offer\nByars a one year travel stipend.\nTravels to Japan, where he lives in Kyoto, while frequently visiting other areas. Studies art, philosophy,\nand language, and supports himself teaching English. Meets Morris Graves and aristocrat Yanagi Soetsu, Director\nof Tokyo Folk Art Museum, whose letter of introduction permits him to study with ceramics and papermaking masters.\nPerforms a series of events influenced by Zen, inviting students or friends to participate. Byars will remain in Japan\nfor ten years, traveling often to the United States. On his first return trip, sees work of Mark Rothko at Cranbrook\nAcademy of Art near Detroit and hitchhikes to New York to meet the artist. At the Museum of Modern Art, he requests an\nintroduction to Rothko. Dorothy Miller, meets with Byars, buys two paper works, and allows him an exhibition lasting a\nfew hours in an emergency stairwell at MoMA.\nThe Black Figure, an abstract rendering of the human form (a treatment Byars later calls ÈarbitrizationÇ). Explores the nature\nof the ephemeral, asserts that concept alone is sufficient. Abandons durable materials for paper and fabric.\nAt Kyoto University produces Thanks for All Thought? in which one hundred students standing in a circle recite one hundred lines by Gertrude Stein. Receives William Copley Prize, Cassandra Foundations New York. For The Tantric Figures, drills two holes for eyes in each of two similar stones found in a granite quarry. Performs a piece consisting of studying one hundred eggs for twelve days to find the roundest, whitest egg.\nTen Philosophical Sentences, or The Exhibition of What Do you know Mister, at Jisha University, Kyoto, introducing Byars theme of Question. Dorothy Miller promotes his work in New York.\nIn Japan, creates large performable paper works, inspired by Zen and Noh theater, in which solid geometric shapes are slowly unfolded by a performer. In New York, distributes thousands of clear balloons printed white with tiny question marks.\nLeaves from Los Angeles to New York on a 99-day, $ 99 bus trip, performing actions along the route. One-day exhibition at Green Gallery, New York, in which the gallery is painted black and illuminated with a single light bulb. One hundred white boxes made by Chinese artist, each delivered to the gallery by a Chinese child, are shown as stands for pieces. Andy Warhol attends exhibition. Byars requests an aircraft from the Federal Aviation Agency from which to drop a ten-mile-long sheet of paper, but is refused. Dressed in black , acts as a mute servant for a day to a stranger he meets on the bus. Chooses the most egg-shaped passenger. With a policeman, performs Twelve-hour Bus Trip for Two throughout the American South. Paperworks exhibited at Shokokuji Monastery in Kyoto; one piece, A 1,000 Foot White Chinese Paper, folded like\nan accordion, is unfolded by a woman in ceremonial dress into an oval shape.\nThe Performable Square, a giant paper piece which, when folded, reduces to 1 1/2 feet per side. The work, exhibited in the empty gallery of the in the National Museum of Modern Art, Kyoto, is not unfolded, but visitors are presented with white fans. In New York, produces embossed cellophane announcement for James Lee Byars at the Castelli Gallery, November 11.\nTo the annoyance of Leo Castelli, these invitations are mailed without informing the gallery. While making a thousand-foot-long pink paper tribute to Shakespear in Central Park, Byars meets Gordon Bailey Washburn, Director of the Carnegie Museum in Pittsburgh. At Washburn's invitation, Byars presents three performances in the museum's sculpture court during the Carnegie International. In the first of these, the one-hour 1x 50 Foot Drawing, a Catholic nun carries a paper piece to the center of the court, slowly and delicately unfolds it into a cross shape, then refolds it.\nSecond and third actions presented at Carnegie: A 1,000-Foot Chinese Paper performed by a nun, and A Mile-long Paper Walk by dancer Lucinda Childs dressed in an ostrich-feather costume.\nPeace performed in the Kyoto garden of Byars's friend and patron, British Shakespeare professor William Lindley Hubbell. At midnight, a Japanese woman dressed in white feathers appears in the garden and silently hands the astonished Hubbell a tiny sheet of paper on which is written ÈpeaceÇ in the smallest letter legible to the human eye.*1 In New York, Byars lives for several months in a hallway of the appartment of architect Robert Landsman. Anonymously donates large paperworks to museums.\nUnable to secure new teaching positions in Japan, Byars leaves for Los Angeles with no intention of returning (to Japan) *2 Staying with Stanley and Elyse Grinstein in L.A., on most mornings he places a pile of fan-folded computer paper on their piano bench and remains seated on the bench until he has written a phrase on each sheet. Prepares an all-white meal at the Grinsteins'. .....\nthe information on the missing years is in the process of being formatted for this website\nWhen The Monument of Language is presented at the Henry Moore Institute in Leeds, a man inside the sphere reads from the writings of W.B. Yeats. Performs The Santa Fe River with Peter Ehlers and Joan Halifax on the shore of the eponymous river. Byars and Ehlers , dressed identically in white linen suits, black top hats, and black blindfolds represent the Saint of the Santa Fe river. As Halifax reads out from Lao Tzu, ÈWater is the highest goodÇ Ehlers collects litter from the river in a black silk bag and Byars stands among the onlookers. Travels to Japan. In Tokyo proposes an exhibition, The Treasures of James Lee Byars, which is not realized. In Nara, makes a daily pilgrimage to the Todaiji temple to place a grain of rice on the belly of the fifty-foot gilt statue of Buddha. *3A performance at the Nara Hotel, includes Byars showing his works one by one, then entertaining Zenlike questions from the audience.*4\nPlans to make a black silk carpet, The Dialectic for the End of Race. Also plans Monument to the End of Race, a ten-square-meter black rug woven from goat hair. Proposes it be submitted to the Holocaust memorial discussions in Berlin. Demands that Michael Werner be made Minister of Culture for Germany. Travels to Cairo in February. Commissions weavers for the Monument to the End of Race . Becomes ill from cancer, which he has been fighting for several years. Discusses with Mc Evilly, who visits him, his desire to construct the perfect sphere. Dies on 23 Mai, and is buried in Egypt. *5\nExcerpts from the book \"James Lee Byars - The Epitaph of Con. Art is which Questions have disappeared?\" 1999 Kestner Gesellschaft, ed. Carl Haenlein\n\"\"The chronology is a form that most aptly reflects James Lee Byars's life and work. This selected version is drawn from the more complete chronology by James Elliott in The Perfect Thought: Works by James Lee Byars (University of California, Berkeley, 1990), updated in The Perfect Moment (IVAM Centre del Carme, Valncia, 1994) and The Palace of Perfect (Funda‹o de Serralves, Porto, 1997) \"\nfootnotes marked * were added by the author of the website, who shared many moments with James Lee Byars since 1986 and particularly during his last stay in Japan.\n*1 Having heard from Byars about Hubbell, I went in the late eighties to Doshisha University in Kyoto in 1988 and inquired about Hubbell. I was given his address in a suburb of Osaka, and was told to write him a postcard, rather than calling him. He replied and gave me an appointment in the lobby of a Hotel on top of Umeda trainstation. There sat the skinny, sharp looking man, a woolen scarf casually thrown around his neck, and recalled his encounters with Byars. We met since then occasionally, the last time in a clinic in the hills north of Kyoto, where Hubbell lay paralyzed with age in his bed. He could talk. \"I am not bored-I am reading Shakespeare to myself. I have memorized all he wrote.\"\n*2 Byars told me that he had a sudden hearing disability, which made it difficult for him to teach language in Japan. He left Japan to have the symptoms verified in L.A., hoping to come back in good health. Byars described the house he left in Kyoto, painted silver, filled with his early works. The house was sold due to his girl friend's infidelity, even though she had promissed to wait for him and make sure nothing would get lost. During his last stay in Japan, winter 1996/97 he tried to recreate some of these early works lost, such as The Sacrifice of the Flower, a rose left to dry out, The Poetical Walk, a piece of gold thread about 2m long to be held while walking, allowing it to move freely in the air, The Philosopher's Toothpick a toothpick painted black with calligrapher's ink.\n* 3 Actually Byars, while staying in Nara, devoted part of his daily routine to produce spheres each from one grain of cooked rice. He asked his visitors to help him choose the most perfect one. Among several other visions, the dominant stipulation during his last stay in Japan, was to place the most perfect of these One Grain Rice Buddhas in the tiny drawer, which is supposedly hidden in the chest of the big Buddha in Todaiji temple. Probably the repeated pilgrimages to the temple served both to feed the holy deer and to negotiate with the monchs the realization of his proposal. The belly of the Buddha is beyond any visitors' reach.\n* 4 The presentation took place in the emperor's dining room of the Nara Hotel, which was rented with the support of three Japanese Galleries. One of the works was an homage to the late Lindley Hubbell, who participated in Byars' performances in 1966 (see above) Byars had invited his friend Stephan Kohler to present as well a set of his works, on the condition that he would wear a black Ninja suit and be 'invisible.' A video of this performance in NTSC format was made. Please inquire if interested in a copy.\n*5 Already in Japan, he began to submit plans for Monument to the End of Race, triggered by an article he read in an English speaking newspaper about the never ending discussion on which artist's project to realize. His first proposal consisted on creating an empty lawn on the site, which he sent by fax all over the world, along with the stipulation that Michael Werner should become Cultural Minister. January 1997, staying at the 3m Hotel in Nara, the news, that his mother died in Detroit reaches James Lee Byars. He lay on his bed, morning amidst various small objects and black sheets of paper and black silk scarfs. He doubted that she received the medical care she needed and deserved in her last moments.\nHe was buried in Egypt, even though his friends and family knew, that his biggest wish was to be burried in Venice in the graveyard of St. Michele island.","bio_dates":"1932-1997"},{"slug":"byrne_gerard_new_sexual_lifetstyles_2003","ok":true,"partial":false,"title":"New Sexual Lifestyles","artist":"Gerard Byrne","year":"2003","startOffset":0,"sourceSecs":347.371,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":61157297,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/byrne_gerard_new_sexual_lifetstyles_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/byrne_gerard_new_sexual_lifetstyles_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/byrne_gerard_new_sexual_lifetstyles_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/byrne_gerard_new_sexual_lifetstyles_2003/main.mp4?v=2","description":"FRANKFURTER KUNSTVEREIN, FRANKFURT, GERMANY <br/> Amanda Coulson<br/> <i>Frieze</i><br/> Issue 80 January-February 2004<br/><br/>Gerard Byrne’s mini-retrospective opens with the installation New Sexual Lifestyles (2002), a more complex expansion of the approach also seen here in Why it’s Time for Imperial, Again (1998-2000), a 16mm/DVD piece with photographic elements that was shown at ‘Manifesta 4’. There Byrne was presented to a wider international audience with this humorous re-enactment of a conversation between Lee Iaccoca and Frank Sinatra used as an advertisement for the new Chrysler car in a 1980 National Geographic magazine. By situating actors in shabby locations - which contrast with the glossy aesthetic of both the highbrow magazine and the car manufacturer’s desired image - and accentuating the stilted dialogue by focusing on their faltering delivery, Byrne addressed the construction of reality in the media and how, over time, accepted contemporary attitudes and desires can become amusing, peculiar or even aberrant. <br><br> In the new piece, a series of five large-format photographs depicts a spacious 1970s interior, the setting of another re-staged conversation that is screened on three television monitors. The original debate was published by Playboy in 1972, with questions ranging from the prosaic (‘Do affairs ever help a marriage?’) to the more particular (‘When many swinging couples get back together, is it true they belittle their lovers’ performance to decrease jealousy?’). In the re-enactment the same attention to fluffed lines underscores the unease between actors and dialogue: their speech and surroundings are decidedly 1970s, but their dress is contemporary. Here, though, an innovation heightens the exaggerated staginess of the scenarios: in moving from one monitor to another, you realized that not only are the same questions and answers refilmed and recaptured from new angles time and time again, but also that the multi-channel DVD is set to select and play these randomly, endlessly re-presenting the re-performances. <br/><br/> While the work’s eminent artificiality and bluntness of dialogue are unsettling, even more so is the temporal displacement effected by the incongruity in costume and settings. In an era marked by AIDS, it is chilling rather than amusing that one character’s only worry in contemplating an orgy’s ‘social rules’ was ‘What should I wear? How should I get out of what I wear?’ Another subtle element that creates dissonance is that, to judge by their accents, many of the actors are from Ireland - a country associated with sexual repression rather than freedom. Indeed, at the time of this conversation’s original publication Playboy was prohibited there.</br></br>","bio_dates":"b. 1967"},{"slug":"cage_john_49_waltzes_for_the_five_boroughs_1995","ok":true,"partial":false,"title":"49 Waltzes for the Five Boroughs","artist":"John Cage","year":"1995","startOffset":0,"sourceSecs":7297.44,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":1235738720,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_49_waltzes_for_the_five_boroughs_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_49_waltzes_for_the_five_boroughs_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_49_waltzes_for_the_five_boroughs_1995.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_49_waltzes_for_the_five_boroughs_1995/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_49_waltzes_for_the_five_boroughs_1995/main/master.m3u8?v=2","hasMainHls":true,"description":"Dir. Roberta Friedman and Don Gillespie <br/><br/> Cage constructed his \"waltzes\" through chance operations as a series of 49 multi-colored triangles superimposed on the Hagstrom map of New York City. Later, he published a score for \"performer(s) or listener(s) or record maker(s)\" with the exact street locations depicted by each point of the triangle. <br/><br/> Cage was an inveterate New Yorker. After Cage's death in 1992, Don Gillespie, his long time colleague, decided to celebrate his memory by videotaping each of the 147 locations indicated in the score. An impartial rotating camera was used to capture every location, the durations of each determined by the I-Ching. <br/><br/> The result is a joyful, Cagean celebration of the sounds and the, sometimes unexpected, sights of New York City - and a time capsule travelog of how it appeared in the years 1994-95. It is a combination of spirited and zen-like visuals accompanied by the dynamic and musical soundtrack of the city's natural environment.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"cage_john_american_masters_nothing_to_say","ok":true,"partial":false,"title":"\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It","artist":"John Cage","year":"1990","startOffset":0,"sourceSecs":3363.051,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":197590287,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_american_masters_nothing_to_say/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_american_masters_nothing_to_say/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_american_masters_nothing_to_say.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_american_masters_nothing_to_say/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_american_masters_nothing_to_say/main/master.m3u8?v=2","hasMainHls":true,"description":"Vivian Perlis (writer)<br/> TV Series: \"American Masters\" (1983)<br/> Original Air Date: 17 September 1990 <br/> Country: UK<br/> 55 min<br><br><b>John Cage On His Way With Sound</b><br> By JOHN J. O'CONNOR<br> New York Times<br> Published: September 17, 1990<br> <br/> Perhaps the most striking thing about John Cage is his ability to reduce just about anyone in his vicinity to a gentle smile. For more than 50 years, the distinguished, influential and often provocative composer has been challenging audiences with his work and his ideas. All the while, his primary goal has been disarmingly simple. Mr. Cage is interested, as he puts it, in ''increasing one's enjoyment of life, to become more open.'' <br/><br/> The man and his philosophy are delineated skillfully and with warm admiration in ''John Cage: I Have Nothing To Say And I'm Am Saying It,'' a film directed by Allan Miller of the Music Project for Television. Vivian Perlis is the writer. The hourlong documentary, being presented as part of the ''American Masters'' series, can be seen at 9 tonight on Channel 13. <br/><br/> Mr. Cage, who was born in Los Angeles in 1912, became a student of the composer Arnold Schoenberg. The pupil soon realized he had absolutely no feeling for harmony. <br/><br/> Schoenberg was not encouraging: ''You'll come to a wall. You won't be able to get through.'' <br/><br/> Mr. Cage was unfazed. ''Well, I'll bang my head against that wall,'' he said. <br/><br/> He then went on to defy most of the standard notions concerning serious music. He experimented with theories of chance. For Mr. Cage, one sound, or noise, was as useful as another. Is the sound of a moving truck musical, he says, then adds with characteristic impishness, ''Which is more musical, a truck passing by a factory or a truck passing by a music school?'' <br/><br/> Using a format that is less chronological than thematic, the documentary homes in on the most important aspects of Mr. Cage's career, most notably his longtime collaboration with the choreographer Merce Cunninham. The two men are seen working together and their are clips from several dances, demonstrating how the music and the choreography proceed independently of each other. <br/><br/> Mr. Cunningham says two things are actually happening, ''not necessarily connected or disconnected.'' Meanwhile, amplifying everything from the plucking of cactus to bird-calls for his scores, Mr. Cage says he finds all noises ''as useful to new music as the so-called musical tones, for the simple reason that they are sounds.'' <br/><br/> Several of Mr. Cage's compositions are sampled in performance. One work, described as central, is performed nearly in full (for some reason there is a slight cut). This is the famous 1952 piece ''Four Minutes and 33 Seconds.'' <br/><br/> That's precisely how long the pianist, in this instance David Tudor, sits at a piano reading the score but never playing a note, leaving the audience to listen to the room's ambient sounds. <br/><br/> During the program, Jack Rockwell, a music critic for The New York Times, says, ''What Cage is doing is letting the listener contemplate art as life.'' <br/><br/> And that is the point of Mr. Cage's art and life. The writer Calvin Tomkins says the composer is really a missionary, eager for us to be artists and wake up to the world around us. The performance artist Laurie Anderson notes how he is always encouraging others ''to just see what's right in front of them.'' <br/><br/> This consistently insightful film leaves Mr. Cage in a country setting looking for mushrooms under a bed of autumn leaves. <br/><br/> ''Our intention,'' he says softly, ''is to affirm this life.'' Here's to gentle smiles all around.</br></br></br></br>","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"cage_john_and_kirk_roland_sound_1966","ok":true,"partial":false,"title":"John Cage and Rahsaan Roland Kirk - Sound??","artist":"John Cage","year":"1966","startOffset":0,"sourceSecs":1482.56,"sourceHeight":432,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":92415398,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_and_kirk_roland_sound_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_and_kirk_roland_sound_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_and_kirk_roland_sound_1966.mp4","hasFrames":true,"description":"Although Rahsaan Roland Kirk and John Cage never actually meet in this film (Cage's enigmatic questions about sound are intercut with some of Kirk's more ambitious experiments with it) these two very different musical iconoclasts share a similar vision of the boundless possibilities of music. Kirk plays three saxes at once, switches to flute, incorporates tapes of birds played backwards, and finally hands out whistles to his audience and encourages them to accompany him, \"in the key of W, if you please.\" Cage, on the other hand, is preparing a work for musical bicycle with David Tudor and Merce Cunningham at the Seville Theatre in London. Cage meets Rahsaan's music in an echo chamber, and he ends his search for the sound of silence in his favorite spot -- the anechoic chamber -- where it turns out to be the uproar of \"your nervous system in operation.\" -- Martin Williams, JAZZ TIMES"},{"slug":"cage_john_catch_44_1971","ok":true,"partial":false,"title":"Catch 44","artist":"John Cage","year":"1971","startOffset":0,"sourceSecs":2346.39,"sourceHeight":470,"sourceWidth":694,"hasAudio":true,"hasAmbientMp4":true,"bytes":406046281,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_catch_44_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_catch_44_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_catch_44_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_catch_44_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_catch_44_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"1971, 39:15 min, color, sound <br/><br/> Catch 44, co-produced by Nam June Paik, fuses Cage's compositional precepts with the immediacy and real time of video. Cage is seen performing and preparing for the program \"WGBX: A Telecast for Composers and Technicians,\" presented by the Boston public television station WGBX-TV (Channel 44). Subverting audience expectations and underlining Cage's belief that improvisation is a critical element of composition, here the act of scoring music becomes the performance. For Cage, whose work embraces paradox, the ambient noise of the broadcast studio and the alternation of sound and silence determine the nature and direction of the performance from moment to moment. Through his use of repetition, absurdity, found sound and silence, Cage compels the audience to rethink traditional assumptions of musical theory and composition. -- <a href=\"http://www.eai.org/title.htm?id=2487\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> Director: David Atwood. Produced by WGBH. Producers: Henry Becton, Nam June Paik.<br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"cage_john_from_zero_19_questions","ok":true,"partial":false,"title":"Nineteen Questions","artist":"John Cage","year":"1995","startOffset":0,"sourceSecs":880.447,"sourceHeight":432,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":56443827,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_from_zero_19_questions/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_from_zero_19_questions/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_from_zero_19_questions.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_from_zero_19_questions/main.mp4?v=2","description":"Frank Scheffer & Andrew Culver - John Cage: From Zero (1995) <br/><br/> Cage answers 19 questions on a variety of subjects, using chance operations to determine the duration of his colorful and often witty answers. A unique opportunity to view the Cagean process of chance in real-time.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"cage_john_from_zero_fourteen","ok":true,"partial":false,"title":"Fourteen","artist":"John Cage","year":"1995","startOffset":0,"sourceSecs":1337.671,"sourceHeight":432,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":78007774,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_from_zero_fourteen/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_from_zero_fourteen/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_from_zero_fourteen.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_from_zero_fourteen/main.mp4?v=2","description":"Frank Scheffer & Andrew Culver - John Cage: From Zero (1995) <br/><br/> The acclaimed Ives Ensemble perform Cage's piece of the same name. Filmed with multiple cameras using chance operations to determine the position, angle, focus and aperture settings of each shot-as well as to determine the editing process-make this a uniquely remarkable performance film. The extraordinary lighting was created by Andrew Culver, who did similar chance derived lighting plans for Cage's Europeras.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"cage_john_from_zero_making_of_fourteen","ok":true,"partial":false,"title":"Fourteen","artist":"John Cage","year":"1995","startOffset":0,"sourceSecs":836.472,"sourceHeight":432,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":55011836,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_from_zero_making_of_fourteen/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_from_zero_making_of_fourteen/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_from_zero_making_of_fourteen.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_from_zero_making_of_fourteen/main.mp4?v=2","description":"Frank Scheffer & Andrew Culver - John Cage: From Zero (1995) <br/><br/> The acclaimed Ives Ensemble perform Cage's piece of the same name. Filmed with multiple cameras using chance operations to determine the position, angle, focus and aperture settings of each shot-as well as to determine the editing process-make this a uniquely remarkable performance film. The extraordinary lighting was created by Andrew Culver, who did similar chance derived lighting plans for Cage's Europeras.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"cage_john_from_zero_overpopulation_art","ok":true,"partial":false,"title":"Overpopulation and Art with Ryoanji","artist":"John Cage","year":"1995","startOffset":0,"sourceSecs":1678.946,"sourceHeight":432,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":101557577,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_from_zero_overpopulation_art/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_from_zero_overpopulation_art/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_from_zero_overpopulation_art.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_from_zero_overpopulation_art/main.mp4?v=2","description":"Frank Scheffer & Andrew Culver - John Cage: From Zero (1995) <br/><br/> The audio combines Cage's spoken performance of his text Overpopulation and Art simultaneously with his Ryoanji for four voices and percussion. The video was shot at two locations where Cage lived: 6th Avenue in Manhattan and at Stony Point, New York. Scheffer used the graphic score of Ryoanji to track the camera's movements for much of this work.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"cage_john_how_to_get_out_of_the_cage_scheffer_frank_2012","ok":true,"partial":false,"title":"How to Get Out of the Cage","artist":"John Cage","year":"2012","startOffset":0,"sourceSecs":3379.41,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":566769366,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_how_to_get_out_of_the_cage_scheffer_frank_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_how_to_get_out_of_the_cage_scheffer_frank_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_how_to_get_out_of_the_cage_scheffer_frank_2012.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_how_to_get_out_of_the_cage_scheffer_frank_2012/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_how_to_get_out_of_the_cage_scheffer_frank_2012/main/master.m3u8?v=2","hasMainHls":true,"description":"HOW TO GET OUT OF THE CAGE - A year with John Cage (2012)<br/> A film by Frank Scheffer<br/> with 5 Experimental films by Frank Scheffer<br/> - Wagner’s Ring (1987)<br/> - Stoperas I and II (1987)<br/> - Nopera (1995)<br/> - ChessFilmNoise (1988)<br/> - Ryoanji (2011)<br/> <br/> ***<br/> <br/> John Cage filmed by Frank Scheffer in a documentary which sums up 10 years of collaboration.<br/> <br/> From 1982 to 1992 Frank Scheffer worked with John Cage on many different occasions, which resulted in a unique archive of audio-visual material. The material of this Cage-archive consists of interviews, musical performances and images of different locations related to his life and work – Filmed on 16mm and transferred to Digi-Beta.<br/> <br/> In all of Scheffer's works related to John Cage he uses the old Chinese method of chance operations based on the I Ching – as often used by John Cage himself in his compositions. For this new documentary he decided for another approach: instead of using these chance operations he edited the film in the usual way that is based on choice. \"I wanted the documentary to be informative and appealing to a bigger audience,\" said Scheffer.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"cage_john_john_cage_performs_james_joyce_takahiko_iimura_1985","ok":true,"partial":false,"title":"Takahiko Iimura - John Cage performs James Joyce","artist":"John Cage","year":"1985","startOffset":0,"sourceSecs":901.944,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":152579488,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_john_cage_performs_james_joyce_takahiko_iimura_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_john_cage_performs_james_joyce_takahiko_iimura_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_john_cage_performs_james_joyce_takahiko_iimura_1985.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_john_cage_performs_james_joyce_takahiko_iimura_1985/main.mp4?v=2","description":"1985, 15min., color<br/><br/> A private performance by John Cage realizing his \"Writing For The Fifth Time Through Finnegans Wake\" in three ways: reading, singing, and whispering using I-Chin chance-operation: Chinese fortune-telling.<br/><br/> Exhibited at \"Rolywholyover: A Circus by John Cage\", Museum of Contemporary Art, Los Angeles; Guggenheim Museum, New York; Mito Art Museum, Mito, Japan.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"cage_john_musik_im_technischen_zeitalter_1963","ok":true,"partial":false,"title":"Musik im technischen Zeitalter: John Cage","artist":"John Cage","year":"1965","startOffset":0,"sourceSecs":4647.92,"sourceHeight":564,"sourceWidth":696,"hasAudio":true,"hasAmbientMp4":true,"bytes":793276072,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_musik_im_technischen_zeitalter_1963/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_john_musik_im_technischen_zeitalter_1963/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_john_musik_im_technischen_zeitalter_1963.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_musik_im_technischen_zeitalter_1963/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_john_musik_im_technischen_zeitalter_1963/main/master.m3u8?v=2","hasMainHls":true,"description":"Concert interview with John Cage, David Tudor and Hans Heinz Stuckenschmidt in Berlin. 21 January 1963","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"cage_lohner_the_making_of_one11_iphone","ok":true,"partial":false,"title":"The Making Of One11","artist":"John Cage","year":"1992","startOffset":0,"sourceSecs":2588.418,"sourceHeight":320,"sourceWidth":410,"hasAudio":true,"hasAmbientMp4":true,"bytes":154734263,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_lohner_the_making_of_one11_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cage_lohner_the_making_of_one11_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cage_lohner_the_making_of_one11_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_lohner_the_making_of_one11_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cage_lohner_the_making_of_one11_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Some sceptics will say that it is more interesting to read about John Cage than it is to actually engage with his body of work. Although I would not endorse this point of view, I understand its rationale and I believe that Cage would himself feel comfortable with it. Part of that position can be understood from a de-authorized perspective: just like mythology comprises, in the words of LŽvi-Strauss, both the actual telling of the myth and the exegetical apparatus offered by the scholar analyst - his interpretation being an internal extension of the myth itself -, so too the growing body of reflections on Cage's thought and work can be seen as a natural flourishing of some of the seeds spread by he author in the fertile field of 20th century art. This fascinating documentary offers a detailed insight into the making of Cage's sole feature film, One11, revealing both its technically exhausting complexities and its \"soft-core\" theoretical and philosophical underpinnings. Narrated by Joan LaBarbara, the film becomes a truly essential part of the One11 experience, \"just like a man cannot be said to exist until he is completed by his grandson\". -- Sound of Eye"},{"slug":"cahun_claude_magic_mirror_sara_pucill_2013","ok":true,"partial":false,"title":"Magic Mirror","artist":"Sarah Pucill","year":"2013","startOffset":0,"sourceSecs":4476.139,"sourceHeight":576,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":738551935,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cahun_claude_magic_mirror_sara_pucill_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cahun_claude_magic_mirror_sara_pucill_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cahun_claude_magic_mirror_sara_pucill_2013.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cahun_claude_magic_mirror_sara_pucill_2013/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cahun_claude_magic_mirror_sara_pucill_2013/main/master.m3u8?v=2","hasMainHls":true,"description":"‘An association is made between the hand-held mirror and a camera. Both close in on the face as make-up is applied; the camera beat, the click of the shutter, runs into the rhythm of the sentence, the full stop. And so the motion of the camera pan turns into that of a sentence. She [Cahun] plays with the grammar of the image, with the camera and the word.’– Sarah Pucill, Printed Project, issue 15, 2012, p.94Part essay, part film poem, Magic Mirror translates the startling force of Claude Cahun’s ouvre into a choreographed series of Vivantes Tableaux. Re-staging the French Surrealist’s black and white photographs with selected extracts from her book Aveux Non Avenus (Confessions Cut Off), the film explores the links between Cahun’s photographs and writings.Cahun’s multi-subjectivity, as expressed in both her photographs and book, set the scene for the film, where she dresses and makes her face up in many different ways, swapping identities between gender, age and the inanimate. Three women masquerade as Cahun’s characters: often it is hard to tell them apart. The splitting of identity appears as a double which persists throughout; as literal double through super imposition, as shadow, imprints in sand, reflections in water, mirror or distorting glass. Likewise, the voice is split between differently dressed voices, which at times overlap, and at times are in conversation. The kaleidoscope aesthetic that runs through the film serves not only to weave between image and word but also between the work of Cahun and the films of Sarah Pucill, creating a dialogue between two artists who share similar iconography and concerns.<br><br><b>RESOURCES:</b> <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/sound/bowles.html\" rel=\"noopener\" target=\"_blank\">Sarah Pucill in UbuWeb Sound</a>","artist_bio":"Sarah Pucill has been making 16mm films since completing her MA at the Slade in 1990. Since then her films, which have all received public funding, have been screened and won awards internationally at festivals, and have been staged in museums and galleries. Her retrospective screenings have included the Tate Britain, BFI Southbank, Anthology Film Archives (NY), Pleasure Dome (Toronto), Ecole des Beaux Arts, and LA FilmForum.","bio_dates":"2013"},{"slug":"calder_alexander_le_cirque","ok":true,"partial":false,"title":"Le Cirque de Calder","artist":"Alexander Calder","year":"1961","startOffset":0,"sourceSecs":1114.475,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":195035116,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/calder_alexander_le_cirque/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/calder_alexander_le_cirque/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/calder_alexander_le_cirque.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/calder_alexander_le_cirque/main.mp4?v=2","description":"Alexander Calder’s fascination with the circus began in his mid-twenties, when he published illustrations in a New York journal of Barnum and Bailey’s Circus, for which he held a year’s pass. It was in Paris in 1927 that he created the miniature circus celebrated in this film - tiny wire performers, ingeniously articulated to walk tightropes, dance, lift weights and engage in acrobatics in the ring. The Parisian avant-garde would gather in Calder’s studio to see the circus in operation. It was, as critic James Johnson Sweeney noted, `a laboratory in which some of the most original features of his later work were to be developed.’ This film exudes the great personal charm of Calder himself, moving and working the tiny players like a ringmaster, while his wife winds up the gramophone in the background. The Circus is now housed at the Whitney Museum in New York. —The Roland Collection of Films & Videos on Art <br/><br/> ---- <br/> Le Cirque as made in 1961 by Carlos Vilardebó, and it's been shown widely around the world--and in the lobby of the Whitney Museum--ever since. Since the Circus's actual figures are now too fragile to leave the Whitney, the film usually serves as a proxy, providing a window into this crucial, early body of Calder's work. <br/><br/> Calder's fascination with movement and working with wire led him first to create wire sculpture 'portraits,' and later informed his creation of mobiles. But the popularity of le Cirque Calder in 1920's and 1930's Paris helped Calder form relationships with artists like Miro and Mondrian who were themselves extremely influential on Calder's work. <br/><br/> Live performances lasted up to two hours and included twenty or more acts and an intermission. [The Calder Foundation's website rather irrelevantly points out that Circus performances predate so-called \"performance art\" by several decades. The work is important enough not to try to stretch it so far beyond its obvious theatrical and puppet show precedents.] <br/><br/> A note about distribution-uber-alles, the Vilardebo film is at least the second filmed version of the Calder Circus. In 1953, the pioneering science filmmaker Jean Painlevé made Cirque de Calder, which exists in both 40- and 60-minute versions. But it's Vilardebo's later film--and the shorter version of it--which has gained the biggest audience. -- Greg Allen","artist_bio":"Alexander Calder was an American sculptor best known as the originator of the mobile, a type of kinetic sculpture made with delicately balanced or suspended components which move in response to motor power or air currents. By contrast, Calder’s stationary sculptures are called stabiles. He also produced numerous wire figures, notably for a miniature circus.","bio_dates":"1898-1976"},{"slug":"camplin_bonnie_a_like_akarova","ok":true,"partial":false,"title":"A (Like Akarova)","artist":"Bonnie Camplin","year":"2006","startOffset":0,"sourceSecs":181.525,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":21648280,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_a_like_akarova/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_a_like_akarova/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/camplin_bonnie_a_like_akarova.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/camplin_bonnie_a_like_akarova/main.mp4?v=2","description":"In Collaboration with Paulina Olowska<br/> Commissioned by Wiels<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"Bonnie Camplin born in London 1970, lives and works in London. She graduated from St Martins School of Art London 1992 with a degree in Fine art, specializing in film and video and spent the next ten years as a dancer, performer, host, DJ and director/ promoter of experimental avant-garde club nights in Soho London. During this time she also gained a post-grad in advanced photography from Central St Martins London. Her practice she broadly describes as the Invented Life and has worked in photography, film and video, sculpture, performance, music, drawing, painting. She was in the band DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has also collaborated with Paulina Olowska and Lucy McKenzie. In 2005 she released a solo LP vinyl recording of music/ spoken word,\nHeavy Epic\non the Decemberism label. She taught the Fine-art Film class at Städelschule Frankfurt from April 2008- July 2010 and has taught and lectured at various institutions including Ruskin School Oxford, Goldsmiths University London, The University of Manchester, The Architectural Biennale Venice and The Architectural Association (AA) London. She describes her life and work thus: \"I make it up as I go along...\"","bio_dates":"b. 1970"},{"slug":"camplin_bonnie_cancer","ok":true,"partial":false,"title":"Cancer","artist":"Bonnie Camplin","year":"2004","startOffset":0,"sourceSecs":275.115,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":48372188,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_cancer/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_cancer/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/camplin_bonnie_cancer.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/camplin_bonnie_cancer/main.mp4?v=2","description":"<b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Bonnie Camplin born in London 1970, lives and works in London. She graduated from St Martins School of Art London 1992 with a degree in Fine art, specializing in film and video and spent the next ten years as a dancer, performer, host, DJ and director/ promoter of experimental avant-garde club nights in Soho London. During this time she also gained a post-grad in advanced photography from Central St Martins London. Her practice she broadly describes as the Invented Life and has worked in photography, film and video, sculpture, performance, music, drawing, painting. She was in the band DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has also collaborated with Paulina Olowska and Lucy McKenzie. In 2005 she released a solo LP vinyl recording of music/ spoken word,\nHeavy Epic\non the Decemberism label. She taught the Fine-art Film class at Städelschule Frankfurt from April 2008- July 2010 and has taught and lectured at various institutions including Ruskin School Oxford, Goldsmiths University London, The University of Manchester, The Architectural Biennale Venice and The Architectural Association (AA) London. She describes her life and work thus: \"I make it up as I go along...\"","bio_dates":"b. 1970"},{"slug":"camplin_bonnie_colonial_fanny","ok":true,"partial":false,"title":"Colonial Fanny","artist":"Bonnie Camplin","year":"2005","startOffset":0,"sourceSecs":94.037,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":13431282,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_colonial_fanny/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_colonial_fanny/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/camplin_bonnie_colonial_fanny.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/camplin_bonnie_colonial_fanny/main.mp4?v=2","description":"<b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Bonnie Camplin born in London 1970, lives and works in London. She graduated from St Martins School of Art London 1992 with a degree in Fine art, specializing in film and video and spent the next ten years as a dancer, performer, host, DJ and director/ promoter of experimental avant-garde club nights in Soho London. During this time she also gained a post-grad in advanced photography from Central St Martins London. Her practice she broadly describes as the Invented Life and has worked in photography, film and video, sculpture, performance, music, drawing, painting. She was in the band DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has also collaborated with Paulina Olowska and Lucy McKenzie. In 2005 she released a solo LP vinyl recording of music/ spoken word,\nHeavy Epic\non the Decemberism label. She taught the Fine-art Film class at Städelschule Frankfurt from April 2008- July 2010 and has taught and lectured at various institutions including Ruskin School Oxford, Goldsmiths University London, The University of Manchester, The Architectural Biennale Venice and The Architectural Association (AA) London. She describes her life and work thus: \"I make it up as I go along...\"","bio_dates":"b. 1970"},{"slug":"camplin_bonnie_get_me_a_mirror","ok":true,"partial":false,"title":"Get me a Mirror","artist":"Bonnie Camplin","year":"2006","startOffset":0,"sourceSecs":359.317,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":52186437,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_get_me_a_mirror/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_get_me_a_mirror/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/camplin_bonnie_get_me_a_mirror.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/camplin_bonnie_get_me_a_mirror/main.mp4?v=2","description":"<b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Bonnie Camplin born in London 1970, lives and works in London. She graduated from St Martins School of Art London 1992 with a degree in Fine art, specializing in film and video and spent the next ten years as a dancer, performer, host, DJ and director/ promoter of experimental avant-garde club nights in Soho London. During this time she also gained a post-grad in advanced photography from Central St Martins London. Her practice she broadly describes as the Invented Life and has worked in photography, film and video, sculpture, performance, music, drawing, painting. She was in the band DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has also collaborated with Paulina Olowska and Lucy McKenzie. In 2005 she released a solo LP vinyl recording of music/ spoken word,\nHeavy Epic\non the Decemberism label. She taught the Fine-art Film class at Städelschule Frankfurt from April 2008- July 2010 and has taught and lectured at various institutions including Ruskin School Oxford, Goldsmiths University London, The University of Manchester, The Architectural Biennale Venice and The Architectural Association (AA) London. She describes her life and work thus: \"I make it up as I go along...\"","bio_dates":"b. 1970"},{"slug":"camplin_bonnie_good_health_1","ok":true,"partial":false,"title":"Good Health","artist":"Bonnie Camplin","year":"2003","startOffset":0,"sourceSecs":169.557,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":29940903,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_good_health_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_good_health_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/camplin_bonnie_good_health_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/camplin_bonnie_good_health_1/main.mp4?v=2","description":"<b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Bonnie Camplin born in London 1970, lives and works in London. She graduated from St Martins School of Art London 1992 with a degree in Fine art, specializing in film and video and spent the next ten years as a dancer, performer, host, DJ and director/ promoter of experimental avant-garde club nights in Soho London. During this time she also gained a post-grad in advanced photography from Central St Martins London. Her practice she broadly describes as the Invented Life and has worked in photography, film and video, sculpture, performance, music, drawing, painting. She was in the band DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has also collaborated with Paulina Olowska and Lucy McKenzie. In 2005 she released a solo LP vinyl recording of music/ spoken word,\nHeavy Epic\non the Decemberism label. She taught the Fine-art Film class at Städelschule Frankfurt from April 2008- July 2010 and has taught and lectured at various institutions including Ruskin School Oxford, Goldsmiths University London, The University of Manchester, The Architectural Biennale Venice and The Architectural Association (AA) London. She describes her life and work thus: \"I make it up as I go along...\"","bio_dates":"b. 1970"},{"slug":"camplin_bonnie_heygate_for_life","ok":true,"partial":false,"title":"Heygate for Life","artist":"Bonnie Camplin","year":"2011","startOffset":0,"sourceSecs":320,"sourceHeight":576,"sourceWidth":1050,"hasAudio":true,"hasAmbientMp4":true,"bytes":52001957,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_heygate_for_life/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_heygate_for_life/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/camplin_bonnie_heygate_for_life.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/camplin_bonnie_heygate_for_life/main.mp4?v=2","description":"Around the time of making this film I was very into my dreams, had been attending a lucid dream workshop, and I was having a lot of apocolyptic nightmares and during the day, very deliberately, I was focussing on the possible and potential circumstances of my own death, but especially focussed on the fact and the moment of my death. And I realised...WHEN I FOCUS ON THE FACT OF MY OWN DEATH EVERYTHING VIBRATES WITH THE POSSIBLILITY OF NOT EXISTING and this profoundly intensifies my sense of being in the present, intensifies my awareness of \"now time\". This concept of survivalist temporality re-appeared over and over in the dialogue I was sharing with my neighbour John. We both share a Deep-Topographical curiosity and went to investigate the ruins of the Heygate Council Estate in South-East London. The Heygate is a large 70's Brutalist estate which has been condemmed now for more than 3 years, having been sold off by Southwark Council to property developers. What we found there was an amplified materiality. For some reason I remembered a film I had seen years ago about an autistic woman who became deeply aroused in the presence of concrete; which then made me think of the autistic activist Amanda Baggs and how she talks about her own cognitive, cosmic interaction with the matter. so I showed John her film \"In My Language\" and I would say that the \"Heygate for Life\" film owes a lot to this Amanda Baggs film. <br/><br/> The Heygate became as a crucible that concentrates our mind in its materials. You will notice in this film a complete absence of \"the figure\", an absence of protagonist. Instead we summoned an intensely subjective presence between \"us\" and the Heygate. In observing the Heygate, in loving the Heygate we generated an energetic interaction which we recorded..In other words our combined perception of Heygate weaving in and out of consciousness is a game of \" looking and not looking\", stimulating and collapsing the wave function at will. <br/><br/> The Heygate Estate could have been seen as, a place of material disintegration, ideological failure, or death, but \"Heygate for Life\" sees beauty, love, sex, energy, life, the soul, in its Now-ness- in its state of possibility, in a moment without past, or future, anarchic space, un-designated, un-defined. The meaning of it, now generated by the observer, who is the participant, who is the epistemological adventurer, who is the radicalised Cognitarian.. This idea of Franco Berardi's; that is the Cognitive Proletariat, or the knowledge workers, the Cognitariat. I wanted to extend to the anomalous, precarious artist-worker that I call the Epistemological Adventurer. <br/><br/> Since cognition and subjectivity and desire are intimately bound up with the functioning of capitalism, daily life- immediacy is the field of political struggle. What is to be done? as the model is built in the present; from moment to moment? Subjective Emergence Where Theory is Manifest in Practice. The Epistemological Adventurer is produced out of precarity, anomaly, necessity in the midst of their epistemological crisis. <br/><br/> In refusing the role of cultural servant they become the critics, cartographers and utopia makers, whose intellectual work is to show the present as it is, as a construct. <br/><br/> It's interesting to witness the demise of the specialised, legitemised intellectual who previously would have come from the comfortable and privileged class and who always played a crucial role in the production of the class-war propaganda that says, the \"other side\" has no intellectual agency, no mind. No soul. <br/><br/> And It's interesting to witness the demise of the prescribed concept of \"social mobility\" as an aspirant notion of, say the poor \"escaping\" from a council estate and working their way \"up\" to join the ranks of the middle classes into a new form of psychic slavery called \"being middle class\". We know that when it comes to ideas, social mobility works both ways, works all ways at once. <br/><br/> In making our film we rejected the model that produced the \"aspirant\" notion of quality of life. \"Heygate for Life\" is all about the liberation of psychic space. <br/><br/> If we understand the faculty of Memory as a perceived epistemic access to the past then, is it possible that, in the unconscious we have epistemic access to the Future? <br/><br/> I think this is the meaning of Utopian agency. I think this is what they mean when they say \"Take your Dreams as Reality\".<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"Bonnie Camplin born in London 1970, lives and works in London. She graduated from St Martins School of Art London 1992 with a degree in Fine art, specializing in film and video and spent the next ten years as a dancer, performer, host, DJ and director/ promoter of experimental avant-garde club nights in Soho London. During this time she also gained a post-grad in advanced photography from Central St Martins London. Her practice she broadly describes as the Invented Life and has worked in photography, film and video, sculpture, performance, music, drawing, painting. She was in the band DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has also collaborated with Paulina Olowska and Lucy McKenzie. In 2005 she released a solo LP vinyl recording of music/ spoken word,\nHeavy Epic\non the Decemberism label. She taught the Fine-art Film class at Städelschule Frankfurt from April 2008- July 2010 and has taught and lectured at various institutions including Ruskin School Oxford, Goldsmiths University London, The University of Manchester, The Architectural Biennale Venice and The Architectural Association (AA) London. She describes her life and work thus: \"I make it up as I go along...\"","bio_dates":"b. 1970"},{"slug":"camplin_bonnie_my_name_is_ko_ko","ok":true,"partial":false,"title":"My Name is Ko Ko","artist":"Bonnie Camplin","year":"2001","startOffset":0,"sourceSecs":251.157,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":42156207,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_my_name_is_ko_ko/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_my_name_is_ko_ko/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/camplin_bonnie_my_name_is_ko_ko.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/camplin_bonnie_my_name_is_ko_ko/main.mp4?v=2","description":"<b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Bonnie Camplin born in London 1970, lives and works in London. She graduated from St Martins School of Art London 1992 with a degree in Fine art, specializing in film and video and spent the next ten years as a dancer, performer, host, DJ and director/ promoter of experimental avant-garde club nights in Soho London. During this time she also gained a post-grad in advanced photography from Central St Martins London. Her practice she broadly describes as the Invented Life and has worked in photography, film and video, sculpture, performance, music, drawing, painting. She was in the band DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has also collaborated with Paulina Olowska and Lucy McKenzie. In 2005 she released a solo LP vinyl recording of music/ spoken word,\nHeavy Epic\non the Decemberism label. She taught the Fine-art Film class at Städelschule Frankfurt from April 2008- July 2010 and has taught and lectured at various institutions including Ruskin School Oxford, Goldsmiths University London, The University of Manchester, The Architectural Biennale Venice and The Architectural Association (AA) London. She describes her life and work thus: \"I make it up as I go along...\"","bio_dates":"b. 1970"},{"slug":"camplin_bonnie_special_afflictions_by_roy_harryhozen","ok":true,"partial":false,"title":"Special Afflictions by Roy Harryhozen","artist":"Bonnie Camplin","year":"2006","startOffset":0,"sourceSecs":314.197,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":46549346,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_special_afflictions_by_roy_harryhozen/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_special_afflictions_by_roy_harryhozen/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/camplin_bonnie_special_afflictions_by_roy_harryhozen.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/camplin_bonnie_special_afflictions_by_roy_harryhozen/main.mp4?v=2","description":"Co-commissioned by LUX and Frieze Projects with support from Arts Council England, the Independent Cinema Office and the Culture 2000 Programme of EU.<br><br><b>Cast:</b><br> Lady Silba ....... Simone Bowkett<br> Scratch the Hat ....... Jason Buckle<br/> John Prolong ....... Camille McMillan<br/> Fox ....... Enrico David<br/> Assistant Director ....... Tim Bacon<br/> Director of Photographer ....... Guy Corbishley<br/> 1st Assistant Camera ....... Miriam Hermann<br/> Sound Recordist ....... Simon Gillma<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br></br></br>","artist_bio":"Bonnie Camplin born in London 1970, lives and works in London. She graduated from St Martins School of Art London 1992 with a degree in Fine art, specializing in film and video and spent the next ten years as a dancer, performer, host, DJ and director/ promoter of experimental avant-garde club nights in Soho London. During this time she also gained a post-grad in advanced photography from Central St Martins London. Her practice she broadly describes as the Invented Life and has worked in photography, film and video, sculpture, performance, music, drawing, painting. She was in the band DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has also collaborated with Paulina Olowska and Lucy McKenzie. In 2005 she released a solo LP vinyl recording of music/ spoken word,\nHeavy Epic\non the Decemberism label. She taught the Fine-art Film class at Städelschule Frankfurt from April 2008- July 2010 and has taught and lectured at various institutions including Ruskin School Oxford, Goldsmiths University London, The University of Manchester, The Architectural Biennale Venice and The Architectural Association (AA) London. She describes her life and work thus: \"I make it up as I go along...\"","bio_dates":"b. 1970"},{"slug":"camplin_bonnie_terrezzo","ok":true,"partial":false,"title":"Terrezzo","artist":"Bonnie Camplin","year":"2008","startOffset":0,"sourceSecs":178.56,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":29254503,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_terrezzo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/camplin_bonnie_terrezzo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/camplin_bonnie_terrezzo.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/camplin_bonnie_terrezzo/main.mp4?v=2","description":"Produced with kind assistance from the Elephant Trust<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"Bonnie Camplin born in London 1970, lives and works in London. She graduated from St Martins School of Art London 1992 with a degree in Fine art, specializing in film and video and spent the next ten years as a dancer, performer, host, DJ and director/ promoter of experimental avant-garde club nights in Soho London. During this time she also gained a post-grad in advanced photography from Central St Martins London. Her practice she broadly describes as the Invented Life and has worked in photography, film and video, sculpture, performance, music, drawing, painting. She was in the band DonAteller with Mark Leckey, Ed Laliq and Enrico David. She has also collaborated with Paulina Olowska and Lucy McKenzie. In 2005 she released a solo LP vinyl recording of music/ spoken word,\nHeavy Epic\non the Decemberism label. She taught the Fine-art Film class at Städelschule Frankfurt from April 2008- July 2010 and has taught and lectured at various institutions including Ruskin School Oxford, Goldsmiths University London, The University of Manchester, The Architectural Biennale Venice and The Architectural Association (AA) London. She describes her life and work thus: \"I make it up as I go along...\"","bio_dates":"b. 1970"},{"slug":"candeias_ozualdo_zezero_1974","ok":true,"partial":false,"title":"Zézero","artist":"Ozualdo Ribeiro Candeias","year":"1974","startOffset":0,"sourceSecs":1957.205,"sourceHeight":320,"sourceWidth":432,"hasAudio":true,"hasAmbientMp4":true,"bytes":115923653,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/candeias_ozualdo_zezero_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/candeias_ozualdo_zezero_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/candeias_ozualdo_zezero_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/candeias_ozualdo_zezero_1974/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/candeias_ozualdo_zezero_1974/main/master.m3u8?v=2","hasMainHls":true,"description":"Man leaves the country and heads for the big city, where in middle of deprivation, he wins a lottery.","artist_bio":"Filho de agricultores, passou a infância e a juventude entre São Paulo e Mato Grosso.8 Ozualdo abandonou a escola ainda no primário e trabalhou no campo, foi militar, caminhoneiro, chofer de táxi, office-boy, lustrador de móveis, metalúrgico, operário e funcionário público.1 4 4 Começou sua carreira cinematográfica em 1955, com o curta-metragem Tambau - Cidade dos Milagres, no qual já trazia elementos comuns à sua obra, como a ironia e a provocação.3 Visando ampliar seus conhecimentos na área cursou o Seminário de Cinema, no MASP e depois na Fundação Armando Álvares Pentneado, durante quase três anos.\nCom o financiamento do governo do estado de São Paulo, Candeias dirigiu dois curtas documentais: Polícia Feminina lançado em 1959 e Ensino Industrial, três anos mais tarde.4 Em 1963, trabalhou no roteiro de Meu Destino em Tuas Mãos junto de José Mojica Marins, com que trabalhou no ano seguinte, como assistente de direção, em À Meia-Noite Levarei Sua Alma.6 Seu primeiro longa-metragem de ficção foi A Margem, de 1967. Realizado praticamente por conta própria, o filme \"espantava a crítica cinematográfica\",8 4 fez com que ele passasse a ser \"cultuado\"1 e deu início ao movimento conhecido como cinema marginal constituído de filmes de baixo orçamento produzidos principalmente na Boca do Lixo.\nAinda em 1967, trabalhou como produtor em Esta Noite Encarnarei no Teu Cadáver,1 de José Mojica Marins e no ano seguinte dirigiu um dos segmentos do filme Trilogia do Terror, de José Mojica Marins, o Zé do Caixão: Acordo.4 Ainda com Mojica, co-dirigu Ritual dos Sádicos, produzido em 1969, no qual também atuou.3 Dirigiu ainda Meu Nome É Tonho em 1969, A Herança,nota 5 Caçada Sangrenta em 1973, que não foi exibido devido a censura, mesmo problema que afetou as médias-metragens Zézero e Candinho.5 Sete anos depois lança A Opção e nos anos seguintes Manelão, o Caçador de Orelhas e A Freira e a Tortura. Após quatro anos sem fazer filmes, dirige As Belas da Billings. Seu último filme foi O Vigilante, de 1992, que mesmo não tendo sido lançado comercialmente, recebeu o prêmio especial do júri no XXV Festival de Brasília.\nEm 2002, um documentário dirigido por Celso Gonçalves sobre Candeias ganhou os prêmios, Marcos Antônio Guimarães e Aruanda de melhor documentário entregues no 35º Festival de Brasília.10 Sobre seus filmes disse que eles \"sempre têm algo de crítica social\" e que o cinema, para ele, \"tem que ter proposta crítica, cultural, ou documental. Sem isso, é vazio.\"7 Ozualdo faleceu na tarde do dia 8 de fevereiro de 2007, aos 88 anos, no Hospital Brigadeiro, devido a uma insuficiência respiratória.","bio_dates":"1922-2007"},{"slug":"cantor_mircea_deeparture_2005","ok":true,"partial":false,"title":"Deeparture","artist":"Mircea Cantor","year":"2005","startOffset":0,"sourceSecs":164.117,"sourceHeight":368,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":9752830,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cantor_mircea_deeparture_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cantor_mircea_deeparture_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cantor_mircea_deeparture_2005.mp4","hasFrames":true,"description":"Cantor’s Deeparture (2005) is as severely economical in its setup as it is intense in its poetic potential. It involves two unwitting players, a wolf and a deer, in perhaps the most unlikely and artificial environment in which they can find themselves—a white-cube gallery. The artist shot the animals in 16mm film with a seemingly unforgiving eye, structuring a series of taut close-ups from various angles into a seamlessly looping video. Confounding expectations, the “natural” predator-prey relationship does not play itself out here. Instead, both animals keep their distance from each other and appear in turn tense, confused, exhausted, and dejected, even oblivious. As viewers are gradually roped into emotional engagement with the ultimately unreadable animals, they’re led to wonder if these nonhuman players serve as a blank screen upon which human emotions and psychological attachments are projected.","artist_bio":"Mircea Cantor (born 1977, in Romania) is a visual artist who has received wide acclaim for his subtle commentary on issues of contemporary society. This includes, on a larger scale, the positives and negatives of globalization. On a more specific scale, this includes characteristics of Romanian folk traditions such as with his photograph \"'Hiatus\"' (2008) which presents scaled-up version of traditional wool spindle or his other monumental work the \"'Arch of triumph\"' (2008).\nHis work follows in the tradition of Marcel Duchamp in that he employs Readymade objects or iconography to elicit the ambiguities of everyday life in this postmodern era of cultural overlap with the disintegration of cultural boundaries. Cantor's choice of media is diverse, in that he has employed video, animation, sculpture, drawing, painting, and installation in his practice.\nCantor's 2005 video work, \"'Deeparture\", which was on view in the contemporary galleries at The Museum of Modern Art, features a deer and a wolf together in a pristine white box environment which works to heighten the palpable tension. His visual effect is often ambiguous - often left for the viewer to make sense of. Cantor's work is included in The Museum of Modern Art, New York, the Walker Art Center, Minneapolis, The Philadelphia Museum of Art, Pennsylvania as well as in other collections worldwide.\nMircea Cantor is represented in Paris by Yvon Lambert Gallery, in Tel Aviv by Dvir Gallery by and in Rome by Magazzino. -- Wiki","bio_dates":"b. 1977"},{"slug":"carasco_raymonde_gradiva_sketch_1978","ok":true,"partial":false,"title":"Gradiva Sketch 1","artist":"Raymonde Carasco","year":"1978","startOffset":0,"sourceSecs":1563.883,"sourceHeight":400,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":97144229,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/carasco_raymonde_gradiva_sketch_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/carasco_raymonde_gradiva_sketch_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/carasco_raymonde_gradiva_sketch_1978.mp4","hasFrames":true,"description":"Director: Raymonde Carasco<br/> Year: 1978<br/> Time: 26 mins<br/> Music: Paul Mefano, Irène Jarsky, Pierre-Yves Artaud <br/><br/> Step by step, delusions escape us like a snake between two stones. The solemn, ritualized repetition of a maiden's foot stepping on ancient stones has been described as a synecdoche, a trope by which the part represents the whole. The whole in this case is W. Jensen's novel Gradiva, immortalized by Freud, Bréton and many later French intellectuals like Jean Rouch or Derrida. It is a story about a archeologist who is entranced by the of figure an ancient bas-relief depicting the walk of a young woman from Pompei. Shot with the assistance of Bruno Nuytten (known for his work with Duras), Carasco's Gradiva is a poetic construction about the fetishization of desire, one that seems to go against Freud's reading: the gracious movement of the maiden's foot is seen to be the object itself, not a mere referent, of male desire. The apparently endless succession of steps and its differing rhythms draw us closer to the unrreal enchantment of the fetish - the naked foot tenderly caressing Pompei's stones as if to consciously entice and elude the viewer; the textures and whimsical lighting of decaying walls and stones; movement and flesh in themselves. Based on contemporary flute techniques and tape, Paul Mefano's score is an appropriately poetic succession of long and short movements that often seem to elude perception. At some points, Gradiva's long-held notes slowly evolve around themselves, confounding tone and hiss and allowing acoustic space to breathe softly like a spring breeze; at others, phrases seem to be repeated and echoed into patterns that never emerge or disclose completely. Beautiful and enticing as few films have ever been. -- Eye of Sound","artist_bio":"On discovering the work of Raymonde Carasco -- an exemplary poetic enterprise in contemporary cinema -- suddenly it seems that film is at last accomplishing the ideals of German Romanticism. 'If you wish to enter into the depths of the physical', wrote Schlegel, 'you must first be initiated into the mysteries of poetry'. How can cinema reach the poetic truth of phenomena, how should the sensual description of appearances and particularities be converted into such a 'magnetic song'?\nWe must thus go back to the very origin of Carasco's quest. She did not set out for Mexico in the late 1970s in order to rape and pillage the imaginary of the Tarahumaras, but rather to follow the traces of Antonin Artaud, to empirically verify the encounter between a sacred text of modernity and its reality. With the result that her research does not comprise a classical type of investigation (to hide, discover, expose), but an alliance of the senses: to enjoy the privilege of being there, to accept that that she will never see everything, to acquiesce in the gradual revelation of only a few traces, to grasp some movements, some signs that testify to the beauty of friendship, before pretending to understand anything -- to share not the secret but the cult of the secret, the cult of mystery and trance.\nEven before finding her place on those Mexican plains (in film and video works dating from 1978 to 2003), the formal elegance that structures Carasco's style in Gradiva -- esquisse I (1978) exhibited the plastic structures associated with ritual: fragmentation, monumentality, fetishisation, seriality. But here, cinema monumentalises nothing other than the real itself -- at the heart of which Carasco isolated a privileged motif: gesture.\nCarasco shows us that every human gesture -- beginning (as in Muybridge and Marey) with walking and running -- results less from the singular characteristics of an individual, concrete body than from the total relationship of man to his world. Every gesture is a mythography; and what Raymonde Carasco captured of the Tarahumaras (like Jean Rouch with the Dogons) shows us how we, too, are turbulent marionettes ... albeit pulled by less magical strings.","bio_dates":"1933-2009"},{"slug":"cardiff_janet_alter_bahnhof_video_walk","ok":true,"partial":false,"title":"Alter Bahnhof Video Walk","artist":"Janet Cardiff","year":"2012","startOffset":0,"sourceSecs":507.32,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":190335463,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cardiff_janet_alter_bahnhof_video_walk/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cardiff_janet_alter_bahnhof_video_walk/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cardiff_janet_alter_bahnhof_video_walk.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cardiff_janet_alter_bahnhof_video_walk/main.mp4?v=2","description":"The Alter Bahnhof Video Walk was designed for the old train station in Kassel, Germany as part of dOCUMENTA (13). Participants are able to borrow an iPod and headphones from a check-out booth. They are then directed by Cardiff and Miller through the station. An alternate world opens up where reality and fiction meld in a disturbing and uncanny way that has been referred to as \"physical cinema\". The participants watch things unfold on the small screen but feel the presence of those events deeply because of being situated in the exact location where the footage was shot. As they follow the moving images (and try to frame them as if they were the camera operator) a strange confusion of realities occurs. In this confusion, the past and present conflate and Cardiff and Miller guide us through a meditation on memory and reveal the poignant moments of being alive and present.","artist_bio":"Janet Cardiff (born 15 March 1957) is a Canadian artist who works chiefly with sound and sound installations; especially a form she calls audio walks. She works in collaboration with her husband and partner George Bures Miller. Cardiff and Miller currently live and work in Berlin. Janet Cardiff first gained international recognition in the art world for her audio walks in 1995.","bio_dates":"b. 1957"},{"slug":"cardiff_janet_km_and_other_stories","ok":true,"partial":false,"title":"The Killing Machine and Other Stories","artist":"Janet Cardiff","year":"1995-2007","startOffset":0,"sourceSecs":1172.067,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":71237901,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cardiff_janet_km_and_other_stories/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cardiff_janet_km_and_other_stories/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cardiff_janet_km_and_other_stories.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cardiff_janet_km_and_other_stories/main.mp4?v=2","description":"Partly inspired by Franz Kafka's 'In the Penal Colony' and partly by the American system of capital punishment as well as the current political situation, the piece is an ironic approach to killing and torture machines. A moving megaphone speaker encircles an electric dental chair. The chair is covered in pink fun fur with leather straps and spikes. In the installation are two robotic arms that hover and move- sometimes like a ballet, and sometimes attacking the invisible prisoner in the chair with pneumonic pistons. A disco ball turns above the mechanism reflecting an array of coloured lights while a guitar hit by a robotic wand wails and a wall of old TV’s turns on and off creating an eerie glow. <br/><br/> In our culture right now there is a strange deliberate and indifferent approach to killing. I think that our interest in creating this piece comes from a response to that.","artist_bio":"Janet Cardiff (born 15 March 1957) is a Canadian artist who works chiefly with sound and sound installations; especially a form she calls audio walks. She works in collaboration with her husband and partner George Bures Miller. Cardiff and Miller currently live and work in Berlin. Janet Cardiff first gained international recognition in the art world for her audio walks in 1995.","bio_dates":"b. 1957"},{"slug":"cardiff_janet_louisianna","ok":true,"partial":false,"title":"Louisianna","artist":"Janet Cardiff","year":"2004","startOffset":0,"sourceSecs":911.933,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":57063669,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cardiff_janet_louisianna/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cardiff_janet_louisianna/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cardiff_janet_louisianna.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cardiff_janet_louisianna/main.mp4?v=2","description":"The artists found a carousel of slides, mostly of empty landscapes, that originally belonged to George’s grandfather. His grandfather, whom he had never met, had traveled across Canada to meet with a doctor in New York for the cancer that he was dying from. The slides are projected onto a screen, while out of two audio speakers a conversation between the artists can be heard discussing the order and reason for the slides, trying to discover the mystery behind the images."},{"slug":"cardoso_ivan_ho_1979","ok":true,"partial":false,"title":"H.O. 1979","artist":"Ivan Cardoso","year":"1979","startOffset":0,"sourceSecs":780.468,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":49601278,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cardoso_ivan_ho_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cardoso_ivan_ho_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cardoso_ivan_ho_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cardoso_ivan_ho_1979/main.mp4?v=2","description":"Oiticica’s ideas about the embodiment of colour and his intentions for the Parangolés are demonstrated in Ivan Cardoso’s film HO. This film presents original footage of Oiticica and his collaborators manipulating works including the Parangolés, showing how he intended them to be worn and displayed. Some of the most important members of the Brazilian avant-garde appear in Cardoso’s film, including singer Caetano Veloso, writers Waly Salomão and Ferreira Gullar, and the artist Lygia Clark. Also included are some of Oiticica’s friends from the Mangueira shanty town, whose participation is equally important to the life of the Parangolés.","artist_bio":"Ivan CARDOSO (1952, Brazil) is a filmmaker known for his particular style called 'Terrir', which is a combination of the words terror and rir, which means to laugh in Portuguese. His films are immediately identifiable by their bombastic combination of classical horror tropes, 'pornochanchada' (a genre of sex comedy films produced in Brazil) and parody. He began making films in 1970 and continues to make films that Cardoso himself describes as speaking \"the universal language of the genre film\" with a distinct \"Brazilian swing\".","bio_dates":"b. 1952"},{"slug":"carne_michel_nogent_eldorado_du_dimanche","ok":true,"partial":false,"title":"Nogent, Eldorado du dimanche","artist":"Marcel Carné","year":"1929","startOffset":0,"sourceSecs":900,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":150254440,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/carne_michel_nogent_eldorado_du_dimanche/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/carne_michel_nogent_eldorado_du_dimanche/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/carne_michel_nogent_eldorado_du_dimanche.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/carne_michel_nogent_eldorado_du_dimanche/main.mp4?v=2","description":"It is a magnificent journey back in time to be taken by anyone harking back to pre 1930's visions of the Marne Valley close to Paris. The area in question is situated some four miles to the east of the Capital, and hordes of Parisian's would take the train on sundays out from La Bastille station towards localities such as Nogent-sur-Marne and Joinville-le-Pont where they could bathe in the waters of the Marne river (chance would be a fine thing nowadays ! ) and above all dance and drink in the \"guinguettes\" which were local dance halls where one could eat and drink ( the name coming from 'guinget' a cheap local white wine.) The guinguettes ( seen at length in the famous film \"La Belle Equipe\" starring Jean Gabin ) are an integral part of French popular culture, like the \"valse musettes\" which were danced therein to the sound of roving accordionists. Nogent, El Dorado du dimanche is a documentary which traces the story of one such Sunday in 1929 from morning till evening. Today the scene is much changed, there are only a couple of guinguettes left ( only open in summer)but this film harks back to the glorious days when a four mile outing was considered a treat !! That said, since the late 1990's, the guinguettes are once again coming back into fashion and are frequented by many middle class people. The two mentioned earlier, called \"Chez Gégène\" and \"Le Petit Robinson\" are now doing good business and have been tarted up quite well.","artist_bio":"Marcel Carné, (born August 18, 1906, Paris, France—died October 31, 1996, Clamart, near Paris), motion-picture director noted for the poetic realism of his pessimistic dramas. He led the French cinema revival of the late 1930s.\nAfter holding various jobs, Carné joined the director Jacques Feyder as an assistant in 1928, and he also assisted René Clair on the popular comedy Sous les toits de Paris (1930; “Under the Roofs of Paris”). Carné’s first picture was a short documentary, Nogent, Eldorado du dimanche (1929; Nogent, Sunday’s Eldorado). Later the success of his film Jenny (1936) ensured his position as a leading director.\nThe screenplay for Jenny was by the poet Jacques Prévert, who would write the scripts for all but one of Carné’s finest films. Carné’s next picture, the comic crime fantasy Drôle de drame (1937; Bizarre, Bizarre), had sets designed by Alexandre Trauner, and both he and the composer Joseph Kosma also became regular collaborators on Carné’s films. Quai des brumes (1938; Port of Shadows) and Le Jour se lève (1939; Daybreak) established Carné as the preeminent director of the revival. In these films, whose fatalism was typical of the French cinema of the late 1930s, a pair of lovers find a few brief moments of happiness in a gloomy, mist-shrouded world of violence and hopelessness. The actor Jean Gabin became famous for his roles as the doomed hero in these films.\nDuring World War II, when it was impossible to deal effectively with contemporary subjects under the German occupation, Carné made two important period films. Les Visiteurs du soir (1942; The Devil’s Envoys), a costume drama that combines spectacle with romantic passion, is photographed with the lyricism and flowing smoothness characteristic of all Carné’s films. Les Enfants du paradis (1945; Children of Paradise), a fictionalized portrait of the mime Jean-Gaspard Deburau, paints a rich and powerfully evocative picture of 19th-century French theatrical society and is regarded as Carné’s masterpiece.\nCarné continued to make films into the 1970s but with declining popular success. Les Portes de la nuit (1946; Gates of Night) was his last collaboration with Prévert, and his subsequent films, such as Thérèse Raquin (1953) and Les Tricheurs (1958; The Cheaters), rarely approach the quality of his best work. He was gradually reduced to a peripheral figure on the French film scene as a result of changing tastes and attitudes. The freedom and spontaneity of the New Wave cinema in the early 1960s made his own carefully scripted and rehearsed films seem cold and old-fashioned. Les Enfants du paradis, however, is still one of the most admired of all French motion pictures. He attempted to make another film in 1992, based on Guy de Maupassant’s short story “Mouche,” but he fell ill and it was not seen through to completion. In 1989 he received the Japan Art Association’s Praemium Imperiale prize for theatre/film.","bio_dates":"1906-1996"},{"slug":"carpi_cioni_3_short_films_1960_1962","ok":true,"partial":false,"title":"Three Short Films","artist":"Cioni Carpi","year":"1960-1962","startOffset":0,"sourceSecs":676.651,"sourceHeight":400,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":43668466,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/carpi_cioni_3_short_films_1960_1962/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/carpi_cioni_3_short_films_1960_1962/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/carpi_cioni_3_short_films_1960_1962.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/carpi_cioni_3_short_films_1960_1962/main.mp4?v=2","description":"Punto e contrappunto (Point and Counterpoint), 1960<br/>\"\"L'uccello di Maya\" (The Maya Bird), 1961<br/>\"\"I Will... I Shant: A Study on Human Behavior\" (1962)","artist_bio":"Cioni Carpi is a director and cinematographer, known for Un giorno un aereo (1963), Nero pi bianco fa legge (1977) and 55cm Above Sea Level (1972).","bio_dates":"b. 1932"},{"slug":"cattelan_maurizio_pierpaolo_ferrari_toiletpaper","ok":true,"partial":false,"title":"Pierpaolo Ferrari Toiletpaper 1","artist":"Maurizio Cattelan","year":"2011","startOffset":0,"sourceSecs":47.323,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":9973,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cattelan_maurizio_pierpaolo_ferrari_toiletpaper/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cattelan_maurizio_pierpaolo_ferrari_toiletpaper/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cattelan_maurizio_pierpaolo_ferrari_toiletpaper.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cattelan_maurizio_pierpaolo_ferrari_toiletpaper/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Hailed simultaneously as a provocateur, prankster, and tragic poet of our times, Maurizio Cattelan has created some of the most unforgettable images in recent contemporary art. His source materials range widely, from popular culture, history, and organized religion to a meditation on the self that is at once humorous and profound. Working in a vein that can be described as hyperrealist, Cattelan creates unsettlingly veristic sculptures that reveal contradictions at the core of today’s society. While bold and irreverent, the work is also deadly serious in its scathing critique of authority and the abuse of power.","bio_dates":"b. 1960"},{"slug":"cattelan_maurizio_pierpaolo_ferrari_toiletpaper_2","ok":true,"partial":false,"title":"Pierpaolo Ferrari Toiletpaper 2","artist":"Maurizio Cattelan","year":"2011","startOffset":0,"sourceSecs":29.629,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":9793,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cattelan_maurizio_pierpaolo_ferrari_toiletpaper_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cattelan_maurizio_pierpaolo_ferrari_toiletpaper_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cattelan_maurizio_pierpaolo_ferrari_toiletpaper_2.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cattelan_maurizio_pierpaolo_ferrari_toiletpaper_2/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Hailed simultaneously as a provocateur, prankster, and tragic poet of our times, Maurizio Cattelan has created some of the most unforgettable images in recent contemporary art. His source materials range widely, from popular culture, history, and organized religion to a meditation on the self that is at once humorous and profound. Working in a vein that can be described as hyperrealist, Cattelan creates unsettlingly veristic sculptures that reveal contradictions at the core of today’s society. While bold and irreverent, the work is also deadly serious in its scathing critique of authority and the abuse of power.","bio_dates":"b. 1960"},{"slug":"cattelan_maurizio_pierpaolo_ferrari_toiletpaper_3","ok":true,"partial":false,"title":"Pierpaolo Ferrari Toiletpaper 3","artist":"Maurizio Cattelan","year":"2011","startOffset":0,"sourceSecs":28.561,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":3898317,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cattelan_maurizio_pierpaolo_ferrari_toiletpaper_3/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cattelan_maurizio_pierpaolo_ferrari_toiletpaper_3/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cattelan_maurizio_pierpaolo_ferrari_toiletpaper_3.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cattelan_maurizio_pierpaolo_ferrari_toiletpaper_3/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Hailed simultaneously as a provocateur, prankster, and tragic poet of our times, Maurizio Cattelan has created some of the most unforgettable images in recent contemporary art. His source materials range widely, from popular culture, history, and organized religion to a meditation on the self that is at once humorous and profound. Working in a vein that can be described as hyperrealist, Cattelan creates unsettlingly veristic sculptures that reveal contradictions at the core of today’s society. While bold and irreverent, the work is also deadly serious in its scathing critique of authority and the abuse of power.","bio_dates":"b. 1960"},{"slug":"caux_jacqueline_presque_rien_avec_luc_ferrari_2005_iphone","ok":true,"partial":false,"title":"Presque Rien Avec Luc Ferrari","artist":"Luc Ferrari","year":"2005","startOffset":0,"sourceSecs":3017.325,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":177598260,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/caux_jacqueline_presque_rien_avec_luc_ferrari_2005_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/caux_jacqueline_presque_rien_avec_luc_ferrari_2005_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/caux_jacqueline_presque_rien_avec_luc_ferrari_2005_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/caux_jacqueline_presque_rien_avec_luc_ferrari_2005_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/caux_jacqueline_presque_rien_avec_luc_ferrari_2005_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Directors: Jacqueline Caux & Olivier Pascal<br/> Year: 2005<br/> Time: 50 mins<br/><br/> Music:<br/> Luc Ferrari<br/> Nouvel Ensemble Contemporain<br/> Elise Caron<br/> Claude Berset<br/> Christof Schlaeger<br/> Erik M<br/> <br/> Eye of Sound: The decision to retain the original title of this documentary, instead of following the rule of translating all film names, can be justified by the fact that anyone familiar with Luc Ferrari will recognize the reference to some of the composer's most famous works, the Presque Rien series, and particularly his 1989 piece Presque Rien avec Filles (Almost Nothing with Girls). Much more than a mere music-documentary, Caux's and Pascal's Presque Rien is possibly the definitive Ferrari doc, not only because of the composer's willingness to play along with the directors' playful design but mostly because of their creative assimilation of his artistic and philosophical mischievousness. Although comprising several different sections that use different aesthetical and narrative strategies, Presque Rien almost seamlessly flows between these often contradictory approaches, its multifarious form being in itself an implicit tribute to the chronic deviancy of Ferrari's career. The film's narrative linchpin is a series of autobiographical notes taken from an homonymous book by Caux herself. But the use of these fragments is far from conventional, since Caux and Pascal decide to pull a narrative trick rarely seen outside Chris Marker's works: to subvert the tradition of the \"voice of god\" documentary voice-over by having an actress, Elise Caron, deliver Ferrari's most intimate confessions and remembrances - perhaps to reinforce the association between the composer and the Filles allegedly lacking in his life but so deeply present in his music, as well as to multiply the myriad personas emerging from his oeuvre. Ferrari also plays himself, but mostly on more \"technical\" notes (in which, nevertheless, his generosity and inability to take himself too seriously are absolutely transparent). There is the more conventional melange of live and backstage footage, including rehearsals for his Cahier du Soir \"opera\" with Elise Caron and the Nouvel Ensemble Contemporain, live collaborations with Christof Schlaeger and Erik M (this one using old Ferrari raw materials), and short excerpts from a 2003 Claude Berset performance of the 36 Enfilades piece for piano and magnetophone. Some of the most beautiful moments, however, stem from an audiovisual installation Ferrari produced between 1995 and 2000: entitled Cycle de Souvenirs (Cycle of Remembrances), it was composed of footage captured in key locations of Ferrari's personal and artistic life, supported by a random composition in which six discs comprising recordings of anodinous urban and domestic soundscapes were constantly shuffled and rearranged, bearing the mark of the composer's concern with chance events and the relations between memory and biography. Several other events contribute to the narrative's richness and density: the perhaps surprising election of John Cage as his major aesthetic and philosophical influence (upon whom Ferrari's early escape from serialism and life-time commitment with non-alignment are implicitly predicated), the identification of the soundtrack for Honegger's classic Pacific 231 (soon on SOE) as a decisive moment in his aural formation, or the jocose justification of his early involvement in concrète explorations as the most barbaric possibility available at the time. If forced to choose one single highlight, however, I'd go for Ferrari's hilarious audio stroll through a parisian suburb amusement park: surrounded by excessive chromatic and sonic stimuluses, the composer's posture betrays neither the shyness of the guilt-ridden voyeur nor the blind aggressiveness of the artist ready to devour his source materials at the cost of their dignity; like a child in a candy store, his is a gaze of sheer delight, immersed in the overwhelming and unembellished pleasures of his senses.","artist_bio":"Luc Ferrari was born in Paris, and was trained in music at a very young age, studying the piano under Alfred Cortot, musical analysis under Olivier Messiaen and composition under Arthur Honegger. His first works were freely atonal. A case of tuberculosis in his youth interrupted his career as a pianist. From then on he mostly concentrated on musical composition. During this illness he had the opportunity to become acquainted with the radio receiver, with pioneers such as Schönberg, Berg, and Webern.\nIn 1954, Ferrari went to the United States to meet Edgard Varèse, whose Déserts he had heard on the radio, and had impressed him. This seems to have had a great effect on him, with the tape part in Déserts serving as inspiration for Ferrari to use magnetic tape in his own music. In 1958 he co-founded the Groupe de Recherches Musicales with Pierre Schaeffer and François-Bernard Mâche. He taught in institutions around the world, and worked for film, theatre and radio. By the early 1960, Ferrari had begun work on his Hétérozygote, a piece for magnetic tape which uses ambient environmental sounds to suggest a dramatic narrative. The use of ambient recordings was to become a distinctive part of Ferrari's musical language.\nFerrari's Presque rien No. 1 'Le Lever du jour au bord de la mer' (1970) is regarded as a classic of its kind. In it, Ferrari takes a day-long recording of environmental sounds at a Yugoslavian beach and, through editing, makes a piece that lasts just twenty-one minutes. It has been seen as an affirmation of John Cage's idea that music is always going on all around us, and if only we were to stop to listen to it, we would realise this. Ferrari continued to write purely instrumental music as well as his tape pieces. He also made a number of documentary films on contemporary composers in rehearsal, including Olivier Messiaen and Karlheinz Stockhausen.","bio_dates":"1929-2005"},{"slug":"celan_paul_lit_ses_poemes_en_allemand","ok":true,"partial":false,"title":"Lit Ses Poemes En Allemand","artist":"Paul Celan","year":"1957","startOffset":0,"sourceSecs":188.221,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":9219545,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/celan_paul_lit_ses_poemes_en_allemand/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/celan_paul_lit_ses_poemes_en_allemand/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/celan_paul_lit_ses_poemes_en_allemand.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/celan_paul_lit_ses_poemes_en_allemand/main.mp4?v=2"},{"slug":"cendras_blaise_prose_du_transsiberien_david_epiney_2014","ok":true,"partial":false,"title":"Prose du Transsibérien","artist":"Blaise Cendrars","year":"2014","startOffset":0,"sourceSecs":656.576,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":43302373,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cendras_blaise_prose_du_transsiberien_david_epiney_2014/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cendras_blaise_prose_du_transsiberien_david_epiney_2014/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cendras_blaise_prose_du_transsiberien_david_epiney_2014.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cendras_blaise_prose_du_transsiberien_david_epiney_2014/main.mp4?v=2","description":"Short animated film by David Epiney, 11', DCP, 2014, color <br/><br/> Accompanied by voice-over extracts from Prose du Transsibérien et de la petite Jeanne de France by Blaise Cendrars, Prose of the Trans-Siberian follows the train journey of the same name, via footage shot from a carriage window. These calm and linear images are combined with abstract animation, sometimes geometric, sometimes more organic, expressing the sensations of this journey, of the horizontal shifting, with its tempo, ist pauses, its agitations and the proliferation of thoughts that this particular space-time makes possible.","artist_bio":"Blaise Cendrars, pseudonym of Frédéric Sauser, (born Sept. 1, 1887, La Chaux-de-Fonds, Switz.—died Jan. 21, 1961, Paris, Fr.), French-speaking poet and essayist who created a powerful new poetic style to express a life of action and danger. His poems Pâques à New York (1912; “Easter in New York”) and La Prose du Transsibérien et de la petite Jehanne de France (1913; “The Prose of the Trans-Siberian and of Little Jehanne of France”) are combination travelogues and laments.\nPoetry, to Cendrars, was action sealed into words by bold new devices: simultaneous impressions in a jumble of images, feelings, associations, surprise effects, conveyed in a halting, syncopated rhythm. His novel Bourlinguer (1948; “Knocking About”) glorifies the dangerous life. His abundant, mainly autobiographical writings were a strong influence on his contemporaries.\nThe critics long ignored Cendrars, but the American avant-garde writer Henry Miller saw in him a “continent of modern letters.” Cendrars received his recognition in 1961 (Grand Prix Littéraire de la Ville de Paris), the year of his death.","bio_dates":"887-1961"},{"slug":"cha_theresa_mouth_to_mouth_1975","ok":true,"partial":false,"title":"Mouth to Mouth","artist":"Theresa Hak Kyung Cha","year":"1975","startOffset":0,"sourceSecs":478.277,"sourceHeight":466,"sourceWidth":702,"hasAudio":true,"hasAmbientMp4":true,"bytes":85289424,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cha_theresa_mouth_to_mouth_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cha_theresa_mouth_to_mouth_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cha_theresa_mouth_to_mouth_1975.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cha_theresa_mouth_to_mouth_1975/main.mp4?v=2","description":"1975, 8 min, b&w, sound<br/> English and Korean words appear on the screen, a mouth forms the shape of an \"O,\" then opens and closes. Is this the beginning of language? In this early videotape, Cha isolates and repeats a simple, physical act — a mouth forming the eight Korean vowel graphemes — so that this ordinary action becomes something primal and riveting. -- <a href=\"https://www.eai.org/titles/mouth-to-mouth\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"From the mid-1970s until her death at age 31 in 1982, Korean-born artist Theresa Hak Kyung Cha created a rich body of conceptual art that explored displacement and loss. Her works included artists' books, mail art, performance, audio, video, film, and installation. Although grounded in French psychoanalytic film theory, her art is also informed by far-ranging cultural and symbolic references, from shamanism to Confucianism and Catholicism. Her collage-like book Dictée, which was published posthumously in 1982, is recognized as an influential investigation of identity in the context of history, ethnicity and gender.\nIn her highly theoretical yet poetic video works, Cha uses performance, speech and text to explore interactions of language, meaning and memory. Much of Cha's work balances a rigorous analytical approach with an almost spiritual evocation of transformation and suffering. Themes of displacement and rupture are articulated in forms derived from French psychoanalytic cinema and linguistic theory of the 1970s; Cha studied in France with Christian Metz, Raymond Bellour and Thierry Kuntzel, among others. Drawing on sources and strategies as diverse as concrete poetry, Korean cultural traditions and conceptual art, Cha speaks with a distinctive voice.\nCha's exploration of exile and dislocation in her art is informed by her own history. Uprooted during the Korean War, her family immigrated to America in 1962, moving first to Hawaii and then to San Francisco. After years in the Bay Area and time in Europe, Cha moved to New York City in 1980. As an editor and writer at Tanam Press, she produced two well-known works, Dictée (1982) and Apparatus, an important anthology of essays on the cinematic apparatus.\nTheresa Hak Kyung Cha was born in 1951 in Pusan, South Korea and died in New York City in 1982. Over a ten-year period in the 1970s, she received four degrees from the University of California at Berkeley: a B.A. in Comparative Literature, a B.A. in Art, an M.A. in Art, and an M.F.A. in Art. In 1976 she studied at the Centre d'Etudes Americaine du Cinema in Paris. Cha was awarded an artist's residence at the Nova Scotia College of Art and Design, taught video art at Elizabeth Seton College and worked in the design department of the Metropolitan Museum of Art. From 1980 until her death in 1982, she was an editor and writer at Tanam Press in New York. Her work has been shown at the Berkeley Art Museum, Berkeley, CA; Artists Space, New York; Whitney Museum of American Art, New York, and the Bronx Museum of Art, New York, among other venues. A major retrospective exhibition of her work, entitled The Dream of the Audience: Theresa Hak Kyung Cha (1951-1982) was organized by University of California, Berkeley Art Museum and Pacific Film Archive in 2001, and traveled to five cities, including Seoul, Korea. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1951-1982"},{"slug":"cha_theresa_videome_1976","ok":true,"partial":false,"title":"Vidéoème","artist":"Theresa Hak Kyung Cha","year":"1976","startOffset":0,"sourceSecs":283.917,"sourceHeight":478,"sourceWidth":650,"hasAudio":true,"hasAmbientMp4":true,"bytes":51682119,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cha_theresa_videome_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cha_theresa_videome_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cha_theresa_videome_1976.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cha_theresa_videome_1976/main.mp4?v=2","description":"1976, 3 min, b&w, sound<br/> In this meditation on speech and language, Cha juxtaposes English and French words to form new relationships and meanings. -- <a href=\"https://www.eai.org/titles/videoeme\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. <br/><br/> These titles are available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"From the mid-1970s until her death at age 31 in 1982, Korean-born artist Theresa Hak Kyung Cha created a rich body of conceptual art that explored displacement and loss. Her works included artists' books, mail art, performance, audio, video, film, and installation. Although grounded in French psychoanalytic film theory, her art is also informed by far-ranging cultural and symbolic references, from shamanism to Confucianism and Catholicism. Her collage-like book Dictée, which was published posthumously in 1982, is recognized as an influential investigation of identity in the context of history, ethnicity and gender.\nIn her highly theoretical yet poetic video works, Cha uses performance, speech and text to explore interactions of language, meaning and memory. Much of Cha's work balances a rigorous analytical approach with an almost spiritual evocation of transformation and suffering. Themes of displacement and rupture are articulated in forms derived from French psychoanalytic cinema and linguistic theory of the 1970s; Cha studied in France with Christian Metz, Raymond Bellour and Thierry Kuntzel, among others. Drawing on sources and strategies as diverse as concrete poetry, Korean cultural traditions and conceptual art, Cha speaks with a distinctive voice.\nCha's exploration of exile and dislocation in her art is informed by her own history. Uprooted during the Korean War, her family immigrated to America in 1962, moving first to Hawaii and then to San Francisco. After years in the Bay Area and time in Europe, Cha moved to New York City in 1980. As an editor and writer at Tanam Press, she produced two well-known works, Dictée (1982) and Apparatus, an important anthology of essays on the cinematic apparatus.\nTheresa Hak Kyung Cha was born in 1951 in Pusan, South Korea and died in New York City in 1982. Over a ten-year period in the 1970s, she received four degrees from the University of California at Berkeley: a B.A. in Comparative Literature, a B.A. in Art, an M.A. in Art, and an M.F.A. in Art. In 1976 she studied at the Centre d'Etudes Americaine du Cinema in Paris. Cha was awarded an artist's residence at the Nova Scotia College of Art and Design, taught video art at Elizabeth Seton College and worked in the design department of the Metropolitan Museum of Art. From 1980 until her death in 1982, she was an editor and writer at Tanam Press in New York. Her work has been shown at the Berkeley Art Museum, Berkeley, CA; Artists Space, New York; Whitney Museum of American Art, New York, and the Bronx Museum of Art, New York, among other venues. A major retrospective exhibition of her work, entitled The Dream of the Audience: Theresa Hak Kyung Cha (1951-1982) was organized by University of California, Berkeley Art Museum and Pacific Film Archive in 2001, and traveled to five cities, including Seoul, Korea. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1951-1982"},{"slug":"chalayan_hussein_place_to_passage_2003","ok":true,"partial":false,"title":"Place to Passage","artist":"Hussein Chalayan","year":"2003","startOffset":0,"sourceSecs":877.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":134005475,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chalayan_hussein_place_to_passage_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chalayan_hussein_place_to_passage_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chalayan_hussein_place_to_passage_2003.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chalayan_hussein_place_to_passage_2003/main.mp4?v=2","description":"INSTALLATION SIMULATION <br/><br/> In the film, Chalayan takes the viewer on a complex psychological journey through the contemporary urban landscapes of London and Istanbul, via the barren setting of Dungeness and an icy wilderness. As in F1 reportage, the perspective fluctuates from the objective to the subjective. At times the viewer is a mere bystander, following the speeding 'pod', with its androgynous female passenger, as it pursues its relentless route around them. At other times they find themselves cocooned on the inside, the pod acting as a calm refuge for reflection. Strands of the passenger's life begin to flash past, and we become aware of the symbolic dimension to the journey. As the pod tracChalayan examines how velocity affects our senses and memories.<br/><br/> The Artwise Solution: Artwise selected cutting-edge fashion designer Hussein Chalayan as the recipient of Tribe Art Commission2, based on his uncompromising vision and characteristically genre-defying practice. Chalayan responded to the challenge with place to passage, a highly complex project that incorporated such diverse elements as film footage, conceptual animation by neutral, and a soundtrack by Jean-Paul Dessy. Taking the viewer on a virtual journey in a pod-like vehicle, the five-screen installation is a highly poetic meditation on the effect of speed and technology on the contemporary psyche.","artist_bio":"Cypriot-British fashion designer best known for infusing intellectual concepts and artistic elements into his designs and shows.\nChalayan was born to Muslim parents and attended Turk Maarif Koleji (“Turkish Education College”) in Cyprus. In 1978 he moved to England with his family, and in 1982 they began living in London. After graduating with a bachelor’s degree from Central Saint Martins College of Art and Design, London, in 1993, he established his own independent design label and his own company, Cartesia Ltd. (1994). Chalayan’s big break came soon thereafter, when a collection that he developed was presented during London Fashion Week.\nHis Fashion Week debut was critically acclaimed, as were his subsequent shows, which often featured body-inhibiting designs—such as his cocoon dress, a sleeveless creation that bound the arms of its wearer to the sides of the body but provided slits for the release of the hands. In 1995 he won a design competition sponsored by the Absolut Vodka distillers. Two years later the Victoria and Albert Museum included his creations in an exhibition titled “The Cutting Edge: 50 Years of British Fashion,” and that same year his aubergine-coloured silk beaded gown was chosen as the dress of the year by the Museum of Costume in Bath.\nThe 2000 autumn-winter ready-to-wear show staged by Chalayan at Sadler’s Wells, a London dance theatre, was such a critical hit that it propelled him to be designated British Designer of the Year—for the second consecutive year—by the British Fashion Council. The audience compared his presentation with performance art. Chalayan’s stage set consisted of modernist furniture—just four chairs and a circular coffee table set up at the foot of his catwalk. Throughout the show, models wearing his signature elegant, skillfully designed ensembles—floral-sprigged tops and skirts and black coats made of layered fabric and edged in white—moved by those pieces of furniture. At the finale of the show, a model approached the table, removed an inner wood ring from it, and stepped into the table; the furniture piece was instantly fashioned as a skirt.\nBy blending such clever theatrics with his beautiful designs, Chalayan became known as one of fashion’s most intellectual designers. In a previous season, he had dressed a troupe of models in traditional female Muslim headdresses but left their bodies naked. His presentation outraged the Muslim community, of which he was a member, but attracted the attention of the press. At another show, models wore metal prongs that twisted their facial expressions into screams. In explaining his penchant for going to such stylistic extremes, Chalayan said simply, “Fashion is so transient. I am trying to give my work constant development, both conceptually and aesthetically.” Though the catwalk theatrics of some designers can overshadow the clothes, Chalayan’s work was remembered as clearly as his avant-garde staging. Shortly after his 2000 autumn-winter show, the London department store Harvey Nichols stocked his work for the first time.\nAlso in 2000 Chalayan voluntarily liquidated Cartestia Ltd., fraught with accumulated debt. The following year, after securing financial backing, he debuted a new collection on the runways of Paris. He launched a men’s line in 2002; a more affordable secondary line, Chalayan by Hussein Chalayan, in 2004; and a women’s line in 2005. In 2006 he was named a Member of the Most Excellent Order of the British Empire (MBE) for his contributions to the fashion industry.","bio_dates":"b. 1970"},{"slug":"chamberlain_john_the_secret_life_of_hernando_cortez_excerpt_1968","ok":true,"partial":false,"title":"The Secret Life of Hernando Cortez (excerpt)","artist":"John Chamberlain","year":"1968","startOffset":0,"sourceSecs":1183.427,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":72482863,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chamberlain_john_the_secret_life_of_hernando_cortez_excerpt_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chamberlain_john_the_secret_life_of_hernando_cortez_excerpt_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chamberlain_john_the_secret_life_of_hernando_cortez_excerpt_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chamberlain_john_the_secret_life_of_hernando_cortez_excerpt_1968/main.mp4?v=2","description":"Underground classic The Secret Life of Hernando Cortez, directed by sculptor John Chamberlain. For the first time in decades New York audiences will have an opportunity to see this visually lush and humorous improvisation starring Taylor Mead in the role of Spanish conqueror, Hernando Cortez, and the divine Ultra Violet as his consort, the daughter of Aztec emperor Montezuma.<br/><br/> The filmmaker and producer met at Max's Kansas City, they asked themselves 'what kind of film could we make if we brought our stars to the Yucatan and invented a narrative, while visiting places that Hernando Cortez had been...’ Cortez was a Spanish soldier who assembled several armies in the new world between 1518-1521 to oppose the Aztecs, killing their last emperor and effectively ending the civilization.<br/><br/> The film mixes common activities in an uncommon way; there is a blood sacrifice and a symbolic scene where a mountain lion eats an antelope in a tree. Aided and abetted by the local population, Cortez with his consort, delivers proclamations on his campaign, and we get an inside look at their private lives. The filmmaker has a cameo role as a Clark Gable type, Blackie Norton, who gets shot by a firing squad for seducing the consort. The grand finale is a feast scene, held at the ocean's edge, it features Ultra Violet's cover version of \"I love you more than you'll ever know\" by Blood Sweat and Tears.<br/><br/> John Chamberlain's only complete feature film, whose wonderful actors invent a witty romp with serious undertones, it is not to be missed.<br/><br/> Produced by Alan Power. Cinematography by Carol Williams, Richard Davis and John Chamberlain. Costumes by Tiger Morse. With the participation of Octavio, Mary Easy, Tarzan and Fats.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/maderna.html\" rel=\"noopener\" target=\"_blank\">John Chamberlain in UbuWeb Sound</a>","artist_bio":"John Chamberlain was born in 1927 in Rochester, Indiana. He grew up in Chicago and, after serving in the navy from 1943 to 1946, attended the Art Institute of Chicago from 1950 to 1952. At that time, he began making welded steel sculptures influenced by the work of David Smith. In 1955 and 1956, Chamberlain studied and taught sculpture at Black Mountain College, near Asheville, North Carolina, where most of his friends were poets, including Robert Creeley, Robert Duncan, and Charles Olson. By 1958, he began to incorporate scrap metal from cars in his work, and from 1959 on he concentrated on sculpture built entirely of crushed automobile parts welded together. Chamberlain's first major solo show was presented at the Martha Jackson Gallery, New York, in 1960.\nChamberlain's work achieved critical acclaim in the early 1960s, gaining him a reputation as a three-dimensional Abstract Expressionist. His sculpture was included in The Art of Assemblage at the Museum of Modern Art, New York, in 1961, the same year he participated in the São Paulo Biennial. From 1962, Chamberlain showed frequently at the Leo Castelli Gallery, New York, and in 1964 his work was exhibited at the Venice Biennale. While he continued to make sculpture from auto parts, Chamberlain also experimented with other materials. From 1963 to 1965, he made geometric paintings with sprayed automobile paint. In 1966, the same year he received the first of two fellowships from the John Simon Guggenheim Memorial Foundation, he began a series of sculptures with urethane foam, which he rolled, folded, cut, and tied. He then applied methods of crushing and compression to galvanized steel and paper bags. These were followed in 1970 by sculptures of heat-crumpled Plexiglas. During this period he also made the film The Secret Life of Hernando Cortez (1968), starring Andy Warhol's superstars Taylor Mead and Ultra Violet. Chamberlain's work was presented in a retrospective at the Guggenheim Museum, New York, in 1971. Small examples of his newest engagement with aluminum foil were exhibited for the first time.\nIn 1972, Chamberlain began once more to make large works from automobile parts. Until the mid-1970s, the artist assembled these auto sculptures on the ranch of collector Stanley Marsh in Amarillo, Texas. From 1977 on, Chamberlain pursued photography with a panoramic Widelux camera. His next major retrospective was held at the Museum of Contemporary Art, Los Angeles, in 1986, accompanied by the publication of John Chamberlain: A Catalogue Raisonné of the Sculpture 1954–1985. Chamberlain has received numerous honors for his artistic achievements, including the Skowhegan Medal for Sculpture and the Lifetime Achievement Award in Contemporary Sculpture from the International Sculpture Center, Washington, D.C. (both 1993); Gold Medal from the National Arts Club, New York (1997); and Distinction in Sculpture from the Sculpture Center, New York (1999). In the last decade of his life, the artist expanded his oeuvre by undertaking a new medium: large-format photographs printed on canvas, altered with digital visual effects, cut into regular vertical segments, and collaged to create new compositions. In 2007, he began to create a new body of work recasting his miniature foil sculptures from the mid-1980s in monumental scale. He also acquired a cache of vintage automobiles, from which he culled the materials for his last sculptures—confident and majestic in their imposing dimensions, displaying the maturation of his earliest sculptural explorations of abstraction, stance, and fit. Chamberlain died on December 21, 2011, in New York;","bio_dates":"1927-2011"},{"slug":"chamberlain_wynn_brand_x_watermark","ok":true,"partial":false,"title":"Brand X","artist":"Wynn Chamberlain","year":"1970","startOffset":0,"sourceSecs":5009.44,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":841474618,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chamberlain_wynn_brand_x_watermark/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chamberlain_wynn_brand_x_watermark/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chamberlain_wynn_brand_x_watermark.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chamberlain_wynn_brand_x_watermark/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chamberlain_wynn_brand_x_watermark/main/master.m3u8?v=2","hasMainHls":true,"description":"Unearthing a Celluloid Artifact of the ’60s<br/> By Rachel Wolff<br/> April 8, 2011<br/> New York Times<br/><br/>In the 1960s, the Pop artist Wynn Chamberlain often toyed with making a movie and spent time visiting various avant-garde filmmakers on their sets. In 1963 he bought 10 rolls of 16-millimeter film, only to come across Andy Warhol using them, on a visit to Mr. Chamberlain’s country house, to shoot the poet John Giorno sleeping for the early “anti-film” “Sleep.”<br><br> When Mr. Chamberlain finally did make a film, “Brand X,” in 1969, it did not turn out to be the sort of hard-to-penetrate work that friends like Mr. Warhol had been creating.<br/><br/> “We thought we were making an art film,” Mr. Chamberlain, now 83 and based in Morocco, said in an interview recently. But eventually “we realized that it was a populist film.” A satirical take on television, with fake programs and commercials, “Brand X” anticipated TV and movie comedies of the next decade like “Saturday Night Live,” “SCTV” and “The Kentucky Fried Movie,” though in a more absurdist vein and with a more political view.<br/><br/> The film, which featured Abbie Hoffman, Sam Shepard, Sally Kirkland and the Warhol superstars Ultra Violet, Candy Darling and Taylor Mead, was released in 1970 in New York, Washington and Los Angeles. Vincent Canby endorsed it in The New York Times as “a tacky, vulgar, dirty, sometimes dull, often hilarious movie” with the tone of “a liberated college humor magazine.”<br/><br/> After that initial run, it turned up for a while on college campuses, and then it vanished, never to be screened again or released on video. Even Mr. Chamberlain did not have a copy. He believes it was the victim of a Nixonian conspiracy to suppress its countercultural message; New Line Cinema, its on-campus distributor, says the company simply moved on from underground film. In any case, “Brand X” gained a reputation as a lost relic of its era — something many underground film fanatics have read about but few if any have actually seen.<br/><br/> But now Mr. Chamberlain, who reclaimed a print of the film from New Line in 2007, has brought it to New York, and on Saturday afternoon it will be screened for the first time in nearly 40 years, at the New Museum on the Bowery (newmuseum.org). A panel discussion will follow.<br/><br/> “To finally see a film like that is very exciting,” said Jed Rapfogel, the film programmer at Anthology Film Archives in the East Village. “It fills in a kind of gap.”<br/><br/> “Brand X” was born on a snowy weekend in early 1969 in Staatsburg, N.Y., where Mr. Chamberlain and his wife, Sally, had a weekend cottage.<br/><br/> “We couldn’t get out; the only thing to do was watch television,” Mrs. Chamberlain recalled during an interview at the Upper East Side apartment that the couple is borrowing during theirNew York stay. “We hadn’t watched much daytime television, and Wynn was immediately struck by its banality and superficiality.”<br/><br/> Mr. Chamberlain was by then an established Pop-realist painter and a fixture in the New York art scene, with work in the Whitney Museum of American Art and what is now the Smithsonian American Art Museum and a social set that included Allen Ginsberg, Frank O’Hara and John Cage as well as Warhol and the Factory denizens. He was also, like most of his friends, enamored of the counterculture and dismayed by the conservatism of mainstream culture, as embodied by the television he watched that day.<br/><br/> He wrote a script, cast Mr. Mead as his lead and cobbled together $10,000 from supporters. Much of the rest of the cast came together “sort of by osmosis,” Mr. Mead, now 86, said in a telephone interview. “There were just 100 of us downtown hanging out at Max’s Kansas City,” he said, “and we melded.”<br/><br/> The 87-minute film that resulted follows the on- and off-air shenanigans of Mr. Mead’s Wally Right, the manic head of a television station. It takes on President Nixon, the Vietnam War, sex, drugs, technology and advertising, alternating between vignettes riffing on TV programming — an exercise show, a soap opera, a financial report — and Dadaist commercials like one for “Food,” in which the film’s cinematographer, John Harnish, is seen sitting with a naked blond woman at a table covered with fruit.<br/><br/> “Eat more, think less,” he quips to the camera. Abbie Hoffman plays a corrupt cop who bathes in a tub full of money; Mr. Mead portrays an indignant American president holding a news conference; and Ultra Violet gives an off-key performance on “The Tomorrow Show.”<br/><br/> The film was shot over several months in the spring and summer, in and around places where the Chamberlain family lived and worked: Bard College, where Mr. Chamberlain taught art history; the Staatsburg house; a loft in the Bowery building where Mr. Chamberlain kept a studio. The process, according to Mr. Chamberlain, was “always chaos.”<br/><br/> “It wasn’t like nowadays when you have a project, and it’s all orderly,” he said. “We worked as far away from Hollywood ideas as possible.” There were frequent delays, he added, as when shooting at Bard was held up because students and members of the cast “were all having a big orgy in the kitchen.”<br/><br/> “Brand X” had its debut at the Elgin Theater on Eighth Avenue (now the Joyce) in 1970, to throngs of appreciative downtowners.<br/><br/> “These sort of potpourri parodies were very popular among the underground set,” said Robert Shaye, who founded New Line Cinema in 1967, at 27. “‘Brand X’ was a parody that kids responded to — that I responded to; I was a kid too.”<br/><br/> Mr. Chamberlain signed a distribution deal with Mr. Shaye after the initial run, and “Brand X” went on to tour several college campuses. When Mr. Shaye’s rights to the film expired a few years later, he insists, a print was sent to Mr. Chamberlain.<br/><br/> Mr. Chamberlain says he never got it, and even goes so far as to speculate that a wider conspiracy kept him from his movie: The Nixon administration “certainly didn’t want this film out there,” he said. “The American government does not like to be laughed at. No governments do.”<br/><br/> The artist moved on, too. In 1971 he took his family to Madras, India, where he more or less gave up painting and wrote the first of several novels, “Gates of Fire.” The family returned to the United States in 1975 and built a home 200 miles north of San Francisco, where they grew their own food and their twin son and daughter were home-schooled. “I wanted my children away from television,” Mr. Chamberlain said.<br/><br/> “We didn’t have a lot of time to concentrate on ‘Brand X,’ ” Mrs. Chamberlain added. “But from time to time Wynn would write to New Line. We never could get an answer.”<br/><br/> In 1983 the family went back to India, and Mr. and Mrs. Chamberlain moved to Marrakesh in 1997. Then a few years back an acquaintance suggested that they try again to retrieve “Brand X,” and this time they were successful.<br/><br/> Mr. Chamberlain said he was now eager to have the film remastered and is looking into holding more screenings. In the meantime, he is fiercely protective of his one print; as of Friday, not even staff members at the New Museum had been given a chance to watch it.<br/><br/> Perched right across the Bowery from the loft building where much of “Brand X” was shot, the New Museum was a natural choice for the film’s 21st-century premiere. “It’s an opportunity to look at the neighborhood — how it was,” said the screening’s organizer, Ethan Swan, who manages Bowery Artists Tribute, the museum’s ever-growing archive of information about the artists who, like Mr. Chamberlain, lived and worked in the area.<br/><br/> “There was this creative richness that came from a really interesting combination of cheap rent and minimal police presence,” Mr. Swan said. “There was nobody saying, ‘You can’t weld on the sidewalk,’ ‘You can’t live in a loft.’ It allowed for so much to happen.”<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/maderna.html\" rel=\"noopener\" target=\"_blank\">Wynn Chamberlain in UbuWeb Sound</a></br></br>","bio_dates":"1927-2011"},{"slug":"chambers_jack_thehartoflondonpart1_1970_iphone","ok":true,"partial":false,"title":"The Hart of London (1970), Part 1","artist":"Jack Chambers","year":"1970","startOffset":0,"sourceSecs":2322.477,"sourceHeight":320,"sourceWidth":410,"hasAudio":true,"hasAmbientMp4":true,"bytes":139555169,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chambers_jack_thehartoflondonpart1_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chambers_jack_thehartoflondonpart1_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chambers_jack_thehartoflondonpart1_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chambers_jack_thehartoflondonpart1_1970_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chambers_jack_thehartoflondonpart1_1970_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"The Hart of London, a film by Jack Chambers<br/> by Fred Camper<br/><br/> Jack Chambers's 80-minute The Hart of London (1970) is a sprawling, ambitious film that combines newsreel footage of disasters, urban and nature imagery, and footage evoking the cycles of life and death. It is one of those rare films that succeeds precisely because of its sprawl; raw and open-ended almost to the point of anticipating the postmodern rejection of \"master narratives,\" it cannot be reduced to a simple summary, and changes on you from one viewing to the next.<br/><br/> This is a film that is hardly ever screened — I know of only one public showing in Chicago some two decades ago; making the upcoming June 24 Chicago Filmmakers screening the second — and has divided opinion even among devotees of avant-garde film (though only 3 of the 11 Chicago critics, curators, filmmakers, and film professors especially interested in non-narrative or experimental film that I've asked have even seen it). Some regard it as a masterpiece (Stan Brakhage, an early advocate who helped arrange U.S. distribution, has written of it as \"one of the few GREAT films of all cinema\"); some give it mixed reviews; others admit they don't know what to make of it. I hated it on first viewing, finding it confusing and disorganized, and have loved it each of the four times I've seen it since. It's a film of startling juxtapositions — the birth of a baby in black and white is intercut with the slaughter of lambs in color (Christian symbolism intended) — that seems to be speaking to elemental issues of life and death, yet it also manages to interweave five or six grand themes and let viewer feel that they are logically interrelated.<br/><br/> The \"London\" of the film is not British: Jack Chambers was born in 1931 in London, Ontario. He studied art there, worked construction, traveled to Mexico, and spent eight years in Europe He lived mostly in Spain, studying art in Madrid and converting to Roman Catholicism, returning to London in 1961when he learned that his mother was dying of cancer. He became well-known as a painter (examples are in major Canadian museums) while also writing poetry, and in 1966 began making films. There are five completed films, all extraordinary in different ways; The Hart of London is the last and longest.<br/><br/> Chambers told an early writer on the film, Avis Lang (whose article is reprinted in a 1984 issue on Chambers of the Canadian journal, The Capilano Review), that its whole theme of the film is \"generation,\" and that's certainly present here, in the many juxtapositions of life and death and references to disasters. Chambers himself was diagnosed with leukemia in 1969, the year he began work on the film; he aggressively managed his own care, and lived until 1978. But there are other major threads as well. As in many avant-garde films, objective versus subjective perception is explored. More uniquely, the theme of civilization's alienation from nature is intertwined with a brilliant analysis of newsreel cinematography, which is shown as treating its subjects not from a sympathetic or humanizing perspective but as objects for the viewer's voyeuristic gaze, almost like items in a window display. There's also an underlying light mysticism; Chambers frequently suggests an underlying unity of all things in light.<br/><br/> * * *<br/><br/> The Hart of London begins with 1954 television news footage of a hart that wanders into a suburban-looking portion of London. We see it first in woods, then streaking trough backyards and leaping a fence. There is a tension between the subdivided yards and the deer's graceful movements: this animal was not made for rectilinear housing plots. There's also some puzzlement, on the part of the viewer, as to how to react. Townspeople point to it, and the footage seems to be displaying the deer as some sort of spectacle, almost like an animal in a zoo. Officials chase, capture, and finally kill it, and its corpse is displayed too, for the camera.<br/><br/> The imagery seems inviting, but as one realizes it is created with the hart as spectacle, alive and dead, in mind, one is also repulsed. The hart is seen as a fleetingly-observed other; even mainstream nature documentaries do a better job of capturing the way animals look and move. The viewer feels at once attracted and pushed away. And yet, there is a way in which every person seen subsequently echoes the hart; every other major scene of the film recapitulates, thematically and formally, this opening.<br/><br/> Late in the film, for example, we see a young man in shorts swim across an icy river in winter. Almost from the start, the police are there; soon the youth is hustled into a van. He presumably encouraged the filming of his stunt by local news; it all looks a bit like he's created a performance for our viewing pleasure. Further, his capture echoes the hart's, though the fact that he meets a happier end reminds us of the privilege we humans have arrogated for ourselves. But next we see footage of people being led from a hole in the ground, victims of some sort of bombing or mine collapse in another part of the world. Now the swimmer's dangerous stunt seems glib, a \"safe\" bit of play compared to what befalls others. But the image of emerging victims treats them as just another parade for the lens, a succession of faces seen only briefly. This footage is as reductive of humanity as the way we parse land into rectangular lots is of nature.<br/><br/> Chambers tells a very Canadian tale. That nation, which has arguably the vastest area of surviving wilderness on the planet (how far does an acre of Siberia have to be from a mine, or former labor camp, to be called \"wilderness\"?), tends, particularly in its most industrialized province, Ontario, to turn its back on nature. Toronto, Canada's most populous city, features ornate, Victorian architecture that has absolutely nothing to do with its surrounding locale, making the tackiest Chicago Prairie School knockoff look magnificently eco-centric. The city is mostly cut off from Lake Ontario by high-rises. London, which seemed merely bland to me as I passed through twice, is, according to Brakhage, \"one of the grungiest, most uninteresting, industrial towns imaginable.\" Brakhage says he thinks Chambers would not have disagreed with this assessment; is the \"Come to London\" banner we see early in the film ironic? Certainly the youth swimming the icy river is more likely conceiving of nature as something hostile or an excuse for publicity than connecting with it.<br/><br/> Another juxtaposition, about halfway through the film, uses two overhead shots to contrast benign and deadly nature while also offering a biting implied critique of the newsreel style. The first shows of a body of water with a few swimmers dispersed across it; if taken from an airplane, the aircraft's movements are masked by the camera's handheld pans from swimmer to swimmer. This image is crisp, high-contrast, and summery. Then we cut to a shot of a catastrophic flood, homes surrounded by water in lower-contrast gray. Here the aggressive motion of the plane carrying the cameraperson, passing rapidly over the landscape, is unmistakable. The second shot is obviously from some newsreel, and we notice the way the plane's movement maximizes the number of flooded homes we see, spreading disaster out before us as if it in a moving panorama. The nature/civilization opposition is also present, in the way nature can turn deadly for us — especially if one also knows that most flood disasters result from of humans building homes on land that is known to be flooded regularly (\"floodplain\").<br/><br/> An extremely lush and soft close-up of leaves fills the frame as if we are lost in wild nature. Suddenly, in a focus-change, a pair of metal clippers is revealed, and we realize these plants are being trimmed. The clippers seem to emerge so gently, as if a natural part of the scene, that it would seem that our very conception of nature includes our plans to reshape it for display. Very near the end of the film, a single shot shows Chambers himself trimming his lawn with a power mower, the rectangles of other lawns stretched out behind him reminding us that we are all implicated in the human subdivision of nature. It's hard not to notice a connection to the filmmaking process too - clippers to trim hedges, just as one cuts film; the remaking of nature into rectangles echoes the film frame. This is another way that Chambers implicates himself, as filmmaker or lawn-cutter, into the process of taming and destroying that the initial capture and killing of the hart sets in motion. Chambers follows this image with an overhead shot of the stone ruins of a very ancient city, another move from apparent ordinariness to ruin, returning to his theme of \"generation\" while also suggesting that decay is civilization's ultimate end.<br/><br/> * * *<br/><br/> Though often thematically clear, The Hart of London also seems to deliberately embrace contradiction, both visual and thematic. Intercutting black and white and color — most notably in the cut between the childbirth and lambs (the latter filmed in the Spanish slaughterhouse Chambers first visited in his youth) tends to startle the viewer out of making the obvious connections that the content suggests. Discussing his own art-making practice in articles published in artscanada in October 1969 and Arts and Artists in December 1972, he named it \"perceptual realism\" and later \"perceptualism.\" The articles are dense and theoretical, but one of his goals seems to have been to address the moment of perception before the mind is able to interpret a scene, thus placing the viewer in \"a state of receptive passivity that somehow releases a higher…sense.\" Chambers's goal was not simple verisimilitude: \"Those who see appearances as the only reality have not experienced...wonder.\" Rather, the viewer should be enabled to \"perceive the Invisible Body 'behind' the world.\" In his distrust of accepted interpretations of objects, his writing and filmmaking resembles Brakhage's — and it was Brakhage's own film on the birth of his first child, Window Water Baby Moving (1959), that partly inspired Chambers to begin filmmaking.<br/><br/> Chambers's writings and film have an undercurrent of both Christian and Gnostic mysticism. His early plans for The Hart of London included images of Jesus descending that are nowhere in the film we see, but the finished version does set up a kind of Gnostic dialogue around objects and light. For the Gnostics, the created world, trapping energy in concrete forms, keeps us from experiencing the original \"spark\"; Chambers wrote about another of his films, Circle: \"Reality….is an invisible pattern of energy which in its attenuated, material form becomes trees, river, people, sky.\" And Chambers's use of dense superimpositions in the film's first half, which occasionally bleach almost to white, sets up a contrast between image as container of recognizable object and image as pure light. The final pans from river to sky echo this theme.<br/><br/> The superimpositions consist largely of images of London, some of them old snapshots that Chambers obtained by advertising. One becomes lost in an almost engulfing flow, but there is also a push-pull attraction-repulsion present: the tactility and depth that multiple layers create is often hardened into an almost solid, rebuffing surface, as when Chambers incorporates images in negative with harsh blacks. Amid the flow is a man with a rifle, a businessman's face, and a tall and wide downtown building whose windows form an imposing grid. Interwoven, they suggest the aggression inherent in culture: the building replaces the light of the sky; the rifleman echoes the killing of the deer. But if even trees \"attenuate\" reality, human constructions, The Hart of London seems to argue, do so more severely.<br/><br/> Avis Lang takes the film's penultimate scene and the final pans up as optimistic assertions that \"the world is a miracle,\" echoing Chambers's response to seeing his film for the second time: \"Things really are full of wonder the way they are.\" But there's more going on here. In color home-movie-like footage, we see some deer, first next to a fence, in the town's outdoor zoo. Even though these are not wild deer, Chambers's two young sons approach cautiously as their mother's voice repeatedly whispers on the sound track, \"You have to be very careful.\" Eventually they succeed in feeding the deer. Yet the voice hints that those deer have the potential to harm. Swimming has become disaster twice before in the film's editing. The natural world, full of wonder, also has the potential to kill us.","artist_bio":"Jack Chambers was born in 1931 in London, Ontario. He studied art there, worked construction, traveled to Mexico, and spent eight years in Europe He lived mostly in Spain, studying art in Madrid and converting to Roman Catholicism, returning to London in 1961 when he learned that his mother was dying of cancer. He became well-known as a painter (examples are in major Canadian museums) while also writing poetry, and in 1966 began making films. There are five completed films, all extraordinary in different ways.","bio_dates":"1931-1978"},{"slug":"chambers_jack_thehartoflondonpart2_1970_iphone","ok":true,"partial":false,"title":"The Hart of London (1970), Part 1","artist":"Jack Chambers","year":"1970","startOffset":0,"sourceSecs":2395.629,"sourceHeight":320,"sourceWidth":410,"hasAudio":true,"hasAmbientMp4":true,"bytes":143423726,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chambers_jack_thehartoflondonpart2_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chambers_jack_thehartoflondonpart2_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chambers_jack_thehartoflondonpart2_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chambers_jack_thehartoflondonpart2_1970_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chambers_jack_thehartoflondonpart2_1970_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"The Hart of London, a film by Jack Chambers<br/> by Fred Camper<br/><br/> Jack Chambers's 80-minute The Hart of London (1970) is a sprawling, ambitious film that combines newsreel footage of disasters, urban and nature imagery, and footage evoking the cycles of life and death. It is one of those rare films that succeeds precisely because of its sprawl; raw and open-ended almost to the point of anticipating the postmodern rejection of \"master narratives,\" it cannot be reduced to a simple summary, and changes on you from one viewing to the next.<br/><br/> This is a film that is hardly ever screened — I know of only one public showing in Chicago some two decades ago; making the upcoming June 24 Chicago Filmmakers screening the second — and has divided opinion even among devotees of avant-garde film (though only 3 of the 11 Chicago critics, curators, filmmakers, and film professors especially interested in non-narrative or experimental film that I've asked have even seen it). Some regard it as a masterpiece (Stan Brakhage, an early advocate who helped arrange U.S. distribution, has written of it as \"one of the few GREAT films of all cinema\"); some give it mixed reviews; others admit they don't know what to make of it. I hated it on first viewing, finding it confusing and disorganized, and have loved it each of the four times I've seen it since. It's a film of startling juxtapositions — the birth of a baby in black and white is intercut with the slaughter of lambs in color (Christian symbolism intended) — that seems to be speaking to elemental issues of life and death, yet it also manages to interweave five or six grand themes and let viewer feel that they are logically interrelated.<br/><br/> The \"London\" of the film is not British: Jack Chambers was born in 1931 in London, Ontario. He studied art there, worked construction, traveled to Mexico, and spent eight years in Europe He lived mostly in Spain, studying art in Madrid and converting to Roman Catholicism, returning to London in 1961when he learned that his mother was dying of cancer. He became well-known as a painter (examples are in major Canadian museums) while also writing poetry, and in 1966 began making films. There are five completed films, all extraordinary in different ways; The Hart of London is the last and longest.<br/><br/> Chambers told an early writer on the film, Avis Lang (whose article is reprinted in a 1984 issue on Chambers of the Canadian journal, The Capilano Review), that its whole theme of the film is \"generation,\" and that's certainly present here, in the many juxtapositions of life and death and references to disasters. Chambers himself was diagnosed with leukemia in 1969, the year he began work on the film; he aggressively managed his own care, and lived until 1978. But there are other major threads as well. As in many avant-garde films, objective versus subjective perception is explored. More uniquely, the theme of civilization's alienation from nature is intertwined with a brilliant analysis of newsreel cinematography, which is shown as treating its subjects not from a sympathetic or humanizing perspective but as objects for the viewer's voyeuristic gaze, almost like items in a window display. There's also an underlying light mysticism; Chambers frequently suggests an underlying unity of all things in light.<br/><br/> * * *<br/><br/> The Hart of London begins with 1954 television news footage of a hart that wanders into a suburban-looking portion of London. We see it first in woods, then streaking trough backyards and leaping a fence. There is a tension between the subdivided yards and the deer's graceful movements: this animal was not made for rectilinear housing plots. There's also some puzzlement, on the part of the viewer, as to how to react. Townspeople point to it, and the footage seems to be displaying the deer as some sort of spectacle, almost like an animal in a zoo. Officials chase, capture, and finally kill it, and its corpse is displayed too, for the camera.<br/><br/> The imagery seems inviting, but as one realizes it is created with the hart as spectacle, alive and dead, in mind, one is also repulsed. The hart is seen as a fleetingly-observed other; even mainstream nature documentaries do a better job of capturing the way animals look and move. The viewer feels at once attracted and pushed away. And yet, there is a way in which every person seen subsequently echoes the hart; every other major scene of the film recapitulates, thematically and formally, this opening.<br/><br/> Late in the film, for example, we see a young man in shorts swim across an icy river in winter. Almost from the start, the police are there; soon the youth is hustled into a van. He presumably encouraged the filming of his stunt by local news; it all looks a bit like he's created a performance for our viewing pleasure. Further, his capture echoes the hart's, though the fact that he meets a happier end reminds us of the privilege we humans have arrogated for ourselves. But next we see footage of people being led from a hole in the ground, victims of some sort of bombing or mine collapse in another part of the world. Now the swimmer's dangerous stunt seems glib, a \"safe\" bit of play compared to what befalls others. But the image of emerging victims treats them as just another parade for the lens, a succession of faces seen only briefly. This footage is as reductive of humanity as the way we parse land into rectangular lots is of nature.<br/><br/> Chambers tells a very Canadian tale. That nation, which has arguably the vastest area of surviving wilderness on the planet (how far does an acre of Siberia have to be from a mine, or former labor camp, to be called \"wilderness\"?), tends, particularly in its most industrialized province, Ontario, to turn its back on nature. Toronto, Canada's most populous city, features ornate, Victorian architecture that has absolutely nothing to do with its surrounding locale, making the tackiest Chicago Prairie School knockoff look magnificently eco-centric. The city is mostly cut off from Lake Ontario by high-rises. London, which seemed merely bland to me as I passed through twice, is, according to Brakhage, \"one of the grungiest, most uninteresting, industrial towns imaginable.\" Brakhage says he thinks Chambers would not have disagreed with this assessment; is the \"Come to London\" banner we see early in the film ironic? Certainly the youth swimming the icy river is more likely conceiving of nature as something hostile or an excuse for publicity than connecting with it.<br/><br/> Another juxtaposition, about halfway through the film, uses two overhead shots to contrast benign and deadly nature while also offering a biting implied critique of the newsreel style. The first shows of a body of water with a few swimmers dispersed across it; if taken from an airplane, the aircraft's movements are masked by the camera's handheld pans from swimmer to swimmer. This image is crisp, high-contrast, and summery. Then we cut to a shot of a catastrophic flood, homes surrounded by water in lower-contrast gray. Here the aggressive motion of the plane carrying the cameraperson, passing rapidly over the landscape, is unmistakable. The second shot is obviously from some newsreel, and we notice the way the plane's movement maximizes the number of flooded homes we see, spreading disaster out before us as if it in a moving panorama. The nature/civilization opposition is also present, in the way nature can turn deadly for us — especially if one also knows that most flood disasters result from of humans building homes on land that is known to be flooded regularly (\"floodplain\").<br/><br/> An extremely lush and soft close-up of leaves fills the frame as if we are lost in wild nature. Suddenly, in a focus-change, a pair of metal clippers is revealed, and we realize these plants are being trimmed. The clippers seem to emerge so gently, as if a natural part of the scene, that it would seem that our very conception of nature includes our plans to reshape it for display. Very near the end of the film, a single shot shows Chambers himself trimming his lawn with a power mower, the rectangles of other lawns stretched out behind him reminding us that we are all implicated in the human subdivision of nature. It's hard not to notice a connection to the filmmaking process too - clippers to trim hedges, just as one cuts film; the remaking of nature into rectangles echoes the film frame. This is another way that Chambers implicates himself, as filmmaker or lawn-cutter, into the process of taming and destroying that the initial capture and killing of the hart sets in motion. Chambers follows this image with an overhead shot of the stone ruins of a very ancient city, another move from apparent ordinariness to ruin, returning to his theme of \"generation\" while also suggesting that decay is civilization's ultimate end.<br/><br/> * * *<br/><br/> Though often thematically clear, The Hart of London also seems to deliberately embrace contradiction, both visual and thematic. Intercutting black and white and color — most notably in the cut between the childbirth and lambs (the latter filmed in the Spanish slaughterhouse Chambers first visited in his youth) tends to startle the viewer out of making the obvious connections that the content suggests. Discussing his own art-making practice in articles published in artscanada in October 1969 and Arts and Artists in December 1972, he named it \"perceptual realism\" and later \"perceptualism.\" The articles are dense and theoretical, but one of his goals seems to have been to address the moment of perception before the mind is able to interpret a scene, thus placing the viewer in \"a state of receptive passivity that somehow releases a higher…sense.\" Chambers's goal was not simple verisimilitude: \"Those who see appearances as the only reality have not experienced...wonder.\" Rather, the viewer should be enabled to \"perceive the Invisible Body 'behind' the world.\" In his distrust of accepted interpretations of objects, his writing and filmmaking resembles Brakhage's — and it was Brakhage's own film on the birth of his first child, Window Water Baby Moving (1959), that partly inspired Chambers to begin filmmaking.<br/><br/> Chambers's writings and film have an undercurrent of both Christian and Gnostic mysticism. His early plans for The Hart of London included images of Jesus descending that are nowhere in the film we see, but the finished version does set up a kind of Gnostic dialogue around objects and light. For the Gnostics, the created world, trapping energy in concrete forms, keeps us from experiencing the original \"spark\"; Chambers wrote about another of his films, Circle: \"Reality….is an invisible pattern of energy which in its attenuated, material form becomes trees, river, people, sky.\" And Chambers's use of dense superimpositions in the film's first half, which occasionally bleach almost to white, sets up a contrast between image as container of recognizable object and image as pure light. The final pans from river to sky echo this theme.<br/><br/> The superimpositions consist largely of images of London, some of them old snapshots that Chambers obtained by advertising. One becomes lost in an almost engulfing flow, but there is also a push-pull attraction-repulsion present: the tactility and depth that multiple layers create is often hardened into an almost solid, rebuffing surface, as when Chambers incorporates images in negative with harsh blacks. Amid the flow is a man with a rifle, a businessman's face, and a tall and wide downtown building whose windows form an imposing grid. Interwoven, they suggest the aggression inherent in culture: the building replaces the light of the sky; the rifleman echoes the killing of the deer. But if even trees \"attenuate\" reality, human constructions, The Hart of London seems to argue, do so more severely.<br/><br/> Avis Lang takes the film's penultimate scene and the final pans up as optimistic assertions that \"the world is a miracle,\" echoing Chambers's response to seeing his film for the second time: \"Things really are full of wonder the way they are.\" But there's more going on here. In color home-movie-like footage, we see some deer, first next to a fence, in the town's outdoor zoo. Even though these are not wild deer, Chambers's two young sons approach cautiously as their mother's voice repeatedly whispers on the sound track, \"You have to be very careful.\" Eventually they succeed in feeding the deer. Yet the voice hints that those deer have the potential to harm. Swimming has become disaster twice before in the film's editing. The natural world, full of wonder, also has the potential to kill us.","artist_bio":"Jack Chambers was born in 1931 in London, Ontario. He studied art there, worked construction, traveled to Mexico, and spent eight years in Europe He lived mostly in Spain, studying art in Madrid and converting to Roman Catholicism, returning to London in 1961 when he learned that his mother was dying of cancer. He became well-known as a painter (examples are in major Canadian museums) while also writing poetry, and in 1966 began making films. There are five completed films, all extraordinary in different ways.","bio_dates":"1931-1978"},{"slug":"chan_paul_7_lights_2005_07","ok":true,"partial":false,"title":"The 7","artist":"Paul Chan","year":"2005","startOffset":0,"sourceSecs":1288.512,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":184091087,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_7_lights_2005_07/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_7_lights_2005_07/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chan_paul_7_lights_2005_07.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chan_paul_7_lights_2005_07/main.mp4?v=2","description":"American artist Paul Chan has achieved international acclaim for his drawings, videos and installations that blend a novel drawing aesthetic with philosophical reflections on politics, religion, sex and life today. The Serpentine Gallery is pleased to present the world premiere of the complete series of The 7 Lights, 2005–07, largescale digital projections and drawings that ‘hallucinate’ the seven days of creation from dawn to dusk. The series explores themes of the sacred and the profane, and temptation and renunciation, in relation to world. The projections are presented on floors, walls and corners, appearing like light and shadows emanating from nearby windows. The 7 Lights compress and animate moving images from the past and the present into the stark fleetingness of shadows as they float in and out of a picture frame that is neither televisual nor cinematic. <br/><br/> Chan’s early works include single-channel videos and digital animations projected onto panoramic screens that sample and reference a range of sources from art history to popular culture. The lo-fi digital style of drawing and the inclusion of cultural figures, such as rapper Biggie Smalls and Italian fi lmmaker Pier Paolo Pasolini, belies more serious refl ections on suffering and survival examined in the dystopian narratives. A number of single-channel video works produced by Chan were initially made available for viewing through his <a href=\"http://www.nationalphilistine.com\" rel=\"noopener\" target=\"_blank\">website</a>. <br/><br/> These include an ‘ambient video essay’ on everyday life in Baghdad four weeks prior to the invasion of Iraq, a film shot in the ‘red state’ of Nebraska and a portrait of the activist defence lawyer Lynne Stewart who was the first lawyer in the United States to be convicted of aiding terrorists. Born in 1973, Chan spent his childhood in Nebraska and now lives in New York. In 1996 he completed a Bachelor of Fine Arts in Video / Digital Arts at the Art Institute of Chicago and graduated from Bard College with a Master of Fine Arts in Film / Video / New Media in 2002. Chan has had solo exhibitions at: Magasin 3, Stockholm; Portikus, Frankfurt and Fabric Workshop and Museum, Philadelphia, all 2006. He recently presented Untitled Video on Lynne Stewart and Her Conviction, the Law and Poetry at the 2007 Sundance Film Festival, Utah, and his work has also been featured in: Carnegie International, Carnegie Museum of Art, Pittsburgh, 2004; I still believe in miracles, Musée d’Art moderne de la Ville Paris 2005; 8th Biennale d’Art Contemporain de Lyon, France 2005; and Whitney Biennial, Whitney Museum of American Art, New York, 2006.","artist_bio":"Untitled Video on Lynne Stewart and Her Conviction, The Law, and Poetry\n(2006)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nPaul Chan lives and works in New York. His recent solo exhibitions have been presented at the New Museum, New York (2008); Stedelijk Museum, Amsterdam, (2007); Serpentine Gallery, London (2007); The Fabric Workshop and Museum, Philadelphia, (2006-07); Portikus, Frankfurt, (2006); Magasin 3, Stockholm Konsthall (2006); Para/Site Art Space, Hong Kong (2006); UCLA Hammer Museum, Los Angeles (2005); and The Institute of Contemporary Art Boston (2005). Selected group exhibitions include The Turin Triennale, Turin (2008); The Istanbul Biennale, Istanbul (2007), The 2006 Whitney Biennial, Whitney Museum of American Art, New York; New Work/New Acquisitions, The Museum of Modern Art, New York (2005); 8th Biennale d'Art Contemporain de Lyon, France (2005); Carnegie International, Carnegie Museum of Art, Pittsburgh (2004).\nIn 2002, Chan was a part of the American aid group Voices in the Wilderness that broke U.S. sanctions and federal law by working in Baghdad before the U.S. invasion and occupation. In 2004 he garnered police attention for\nThe People's Guide to the Republican National Convention\n, a free map distributed throughout New York to help protesters to get in or out of the way of the RNC. Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett's play\nWaiting for Godot\nin New Orleans.","bio_dates":"b. 1973"},{"slug":"chan_paul_baghdadinnoparticularorder_2003","ok":true,"partial":false,"title":"Baghdad in No Particular Order","artist":"Paul Chan","year":"2003","startOffset":0,"sourceSecs":3066.944,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":521403846,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_baghdadinnoparticularorder_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_baghdadinnoparticularorder_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chan_paul_baghdadinnoparticularorder_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chan_paul_baghdadinnoparticularorder_2003/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chan_paul_baghdadinnoparticularorder_2003/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>Director(s)</b>: Paul Chan<br><br><b>Released</b>: January 2003<br><br><b>Running Time</b>: 51 min<br><br><b>Format(s)</b>: VHS<br><br><b>Language(s)</b>: English, French, Spanish, German, Italian, Arabic, Mandarin Chinese<br><br><b>The F Rating</b>: This film is recommended viewing for anyone who has hungered for more than the few watered-down images of Iraq that the U.S. government and its complicit media censors have chosen to air. <br> <br> Paul Chan's <i>Baghdad in No Particular Order</i> brings the viewer beyond the boundaries of nationality, place, and ethnicity, showing Iraqis in their homes, neighborhoods, cafés, and places of worship. We glimpse at the lives of people who, despite war, dictatorship, and severe privation are remarkably open and human. Within its disjointed visual narrative and unconventional focus is this film's genius. <br> <br> Among the many short clips that we witness (even during a sequence in which we watch a caged monkey sleeping), a kind of impersonal intimacy integrates everything, unifying the whole. <br> In one particularly enchanting clip, pre-adolescent twin sisters perform a sinuous dance in their homes. They engage in a good-natured and innocent competition to seduce the camera. Behind their smiling faces we see a vista of floral-papered wall that is marked by deep cracks. The world filmed here, as with all of the other vignettes, is one of mystery, stories not told and only hinted at. Some of this poignancy has to do with the viewer's knowledge that many of the Iraqis witnessed in this film have survived war and are presently re-experiencing another wave of war, oppression, and occupation. As viewers, we find ourselves wondering if the people shown are still alive.<br/> <br/> Chan has artfully given the viewer a taste of the Iraqi world, both bitter and sweet, and it is more intimate because it is not overly explained. Whatever we understand about the people and the places we see, we grasp largely without narration. Hence we are required to read for all the silent human cues: the crowd that pities a fledgling male singer, the young girl selling books on the street who becomes self-conscious and shy in front of the camera, or the man who draws a picture for the child he cherishes. These images are engaging because they are universal. <br/> <br/> Paul Chan subordinates political concerns to a visual commentary. The film begins with footage shot from a moving vehicle, the kind of footage that Western viewers became accustomed to seeing during the first Gulf War. Yet the film ends while forwarding a recurrent motif of human faces in motion. We see mostly children engaging in often comical interchanges with the camera. <br/> <br/> The film encourages the scrutiny of the anonymous and the under-noticed. Even small isolated patches of dirt seem to warrant Chan's probing eye; they speak about human presence. Their familiarity lays siege to our assumptions, causing us to question the Western perception of Iraq as a great big empty desert. These visions of everyday life in Baghdad speak eloquently. They reveal the lie in such convenient appellations as \"Desert Storm.\" Chan's film challenges American denial. It makes it far more difficult to say that the United States hasn't been laying siege to human beings, but only attacking a desert. Surprisingly, there is catharsis in seeing the faces of those whom we've attacked. <br/> <br/> Choosing to end his film focused on people is subtly political in the best sense of the word. As for explicit political commentary, there are only a few such moments. In one of them we witness a man moved to tears while listening to an Iraqi remake of the Whitney Houston hit \"I will always love you\" played on the car radio. A passing convoy of oil tankers barrels down the highway, while words flash on the screen impersonally relating the amount of oil in each tanker. <br/> <br/> Chan alternates between hot and cool. This is the visual tourist's guide to Iraq--we travel between the sun and the shade. We are moved from the heat of a mosque's drums and uninhibited worship to a small tinny radio playing in a dim and shabby hotel room. <br/> <br/> These subtle reflections on Baghdad's people and its humblest spaces reiterate that, far from being enriched, most of the people of Iraq have paid a cruel price for being born to a land situated above one of the world's richest sources of oil.<br/> The varied visual experiences Chan has artfully strung together cause us to become a roving eye, a kind of clairvoyant. As Chan puts it, \"I submit to blindness because it is the prerequisite of clairvoyance.\" This quote from the film is a summary of the director's technique in the formation of this work. Chan essentially submitted to what is, seemingly without preconceived narrative conclusions. As his viewers, we also submit to this kind of blindness, and its benefit for us is that we are privileged to skim the surface of hundreds of distant, yet vibrant realities. We are able, from the vantage of our armchair, to take a revelatory look between these disparate visions and to identify what lies between them, the glue that binds them all together. What we find there is humanity. Ours, theirs, by the film's end it doesn't matter, and that seems to be Paul Chan's intention.<br/> <br/> <i>Editor's Note:</i><br/> <br/> Through his unique vision and formal consideration, Paul Chan explores political landscapes and makes evident things not typically seen. As exhibited in <i>Baghdad in No Particular Order</i>, the visual intensity of Chan's work pushes the viewer to consider what they're seeing regarding the political and the personal. His most recent work, My birds . . . trash . . . the future (2004), consists of a suspended, two-sided screen, long and narrow, with projections on both sides. Ambiguous, yet evocative, animated scenes of desolation are displayed: apocalyptic images of nature, an army of suicide bombers, background sounds of chirping birds and ringing cell phones. The dual vision, or two-sidedness, of the film functions on many levels to directly address the disparate ways in which things are seen--S.S.</br></br></br></br></br></br></br></br></br></br>","artist_bio":"Untitled Video on Lynne Stewart and Her Conviction, The Law, and Poetry\n(2006)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nPaul Chan lives and works in New York. His recent solo exhibitions have been presented at the New Museum, New York (2008); Stedelijk Museum, Amsterdam, (2007); Serpentine Gallery, London (2007); The Fabric Workshop and Museum, Philadelphia, (2006-07); Portikus, Frankfurt, (2006); Magasin 3, Stockholm Konsthall (2006); Para/Site Art Space, Hong Kong (2006); UCLA Hammer Museum, Los Angeles (2005); and The Institute of Contemporary Art Boston (2005). Selected group exhibitions include The Turin Triennale, Turin (2008); The Istanbul Biennale, Istanbul (2007), The 2006 Whitney Biennial, Whitney Museum of American Art, New York; New Work/New Acquisitions, The Museum of Modern Art, New York (2005); 8th Biennale d'Art Contemporain de Lyon, France (2005); Carnegie International, Carnegie Museum of Art, Pittsburgh (2004).\nIn 2002, Chan was a part of the American aid group Voices in the Wilderness that broke U.S. sanctions and federal law by working in Baghdad before the U.S. invasion and occupation. In 2004 he garnered police attention for\nThe People's Guide to the Republican National Convention\n, a free map distributed throughout New York to help protesters to get in or out of the way of the RNC. Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett's play\nWaiting for Godot\nin New Orleans.","bio_dates":"b. 1973"},{"slug":"chan_paul_godot_bootleg_2007_iphone","ok":true,"partial":false,"title":"Waiting for Godot in New Orleans: The bootleg video","artist":"Paul Chan","year":"2007","startOffset":0,"sourceSecs":5652.461,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":321886455,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_godot_bootleg_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_godot_bootleg_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chan_paul_godot_bootleg_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chan_paul_godot_bootleg_2007_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chan_paul_godot_bootleg_2007_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"For five nights in November 2007, artist Paul Chan, working with New York's Classical Theatre of Harlem, and the public arts group Creative Time, staged free site-specific outdoor performances of Samuel Beckett's emblematic play Waiting for Godot in two New Orleanian neighborhoods destroyed by the flooding from the levee breaks during Hurricane Katrina. The play featured Wendell Pierce, a native of New Orleans and star of the HBO television series The Wire. Over 5,000 people attended the performances, one staged in the middle of the street in the Lower Ninth Ward, and the other in front of an abandoned house in the Gentilly neighborhood. The performances were part of the larger project which also consisted of a fund to help local rebuilding and reorganizing efforts, and a series of dinners, lectures, classes, and events that unfolded throughout the city during the fall of 2007. The project was entitled Waiting for Godot in New Orleans: a play in two acts, a project in three parts. <br/><br/> Because Godot was never meant to be seen outside its original context and form, and because of legal issues, there was hardly any video documentation of the performances themselves. But there are some. And tonight, he’ll show them for the first time in New York.","artist_bio":"Untitled Video on Lynne Stewart and Her Conviction, The Law, and Poetry\n(2006)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nPaul Chan lives and works in New York. His recent solo exhibitions have been presented at the New Museum, New York (2008); Stedelijk Museum, Amsterdam, (2007); Serpentine Gallery, London (2007); The Fabric Workshop and Museum, Philadelphia, (2006-07); Portikus, Frankfurt, (2006); Magasin 3, Stockholm Konsthall (2006); Para/Site Art Space, Hong Kong (2006); UCLA Hammer Museum, Los Angeles (2005); and The Institute of Contemporary Art Boston (2005). Selected group exhibitions include The Turin Triennale, Turin (2008); The Istanbul Biennale, Istanbul (2007), The 2006 Whitney Biennial, Whitney Museum of American Art, New York; New Work/New Acquisitions, The Museum of Modern Art, New York (2005); 8th Biennale d'Art Contemporain de Lyon, France (2005); Carnegie International, Carnegie Museum of Art, Pittsburgh (2004).\nIn 2002, Chan was a part of the American aid group Voices in the Wilderness that broke U.S. sanctions and federal law by working in Baghdad before the U.S. invasion and occupation. In 2004 he garnered police attention for\nThe People's Guide to the Republican National Convention\n, a free map distributed throughout New York to help protesters to get in or out of the way of the RNC. Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett's play\nWaiting for Godot\nin New Orleans.","bio_dates":"b. 1973"},{"slug":"chan_paul_re_the_operation_2002","ok":true,"partial":false,"title":"Re:the Operation","artist":"Paul Chan","year":"2002","startOffset":0,"sourceSecs":1631.999,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":283137221,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_re_the_operation_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_re_the_operation_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chan_paul_re_the_operation_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chan_paul_re_the_operation_2002/main.mp4?v=2","description":"Quote:<br/> Ideas were pressing against one another like rams. Hate had a sanitary pace. Old age drew laughter and the child was encouraged to bite. The world was all flags.\" <br/>-Henri Michaux <br/><br/> Based on a set of drawings that depict George W. Bush's administration as wounded soldiers in the war against terrorism, RE:THE_OPERATION explores the sexual and philosophical dynamics of war through the lives of the members as they physically engage each other and the \"enemy\". <br/><br/> Letters, notes, and digital snapshots \"produced\" by the members on their tour of duty become the basis of video portraits that articulate the neuroses and obsessions compelling them toward an infinite war. <br/><br/> Part M*A*S*H*, part Three's Company, part philosophical meditation, with a dash of character assassination thrown in, RE:THE_OPERATION exists as a single channel video and a set of desktop replacement icons for MAC and PC. <br/><br/>\"\"\"The public to which Mr. Chan's video speaks is mostly anti-war, although whatever your views on the conflict, you cannot help laughing at what appears to be the voice of Colin Powell reading from the writings of Michel Foucault on the inevitability of history, or Condoleeza Rice at the front line dictating a letter to her family back home. My favorite is a voice sample of Donald Rumsfeld saying, \"We must learn to live with low-density hope.\"\" <br/>--Benjamin Genocchio, The New York Times, 3/30/03","artist_bio":"Untitled Video on Lynne Stewart and Her Conviction, The Law, and Poetry\n(2006)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nPaul Chan lives and works in New York. His recent solo exhibitions have been presented at the New Museum, New York (2008); Stedelijk Museum, Amsterdam, (2007); Serpentine Gallery, London (2007); The Fabric Workshop and Museum, Philadelphia, (2006-07); Portikus, Frankfurt, (2006); Magasin 3, Stockholm Konsthall (2006); Para/Site Art Space, Hong Kong (2006); UCLA Hammer Museum, Los Angeles (2005); and The Institute of Contemporary Art Boston (2005). Selected group exhibitions include The Turin Triennale, Turin (2008); The Istanbul Biennale, Istanbul (2007), The 2006 Whitney Biennial, Whitney Museum of American Art, New York; New Work/New Acquisitions, The Museum of Modern Art, New York (2005); 8th Biennale d'Art Contemporain de Lyon, France (2005); Carnegie International, Carnegie Museum of Art, Pittsburgh (2004).\nIn 2002, Chan was a part of the American aid group Voices in the Wilderness that broke U.S. sanctions and federal law by working in Baghdad before the U.S. invasion and occupation. In 2004 he garnered police attention for\nThe People's Guide to the Republican National Convention\n, a free map distributed throughout New York to help protesters to get in or out of the way of the RNC. Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett's play\nWaiting for Godot\nin New Orleans.","bio_dates":"b. 1973"},{"slug":"chan_paul_society_of_the_spectacle_an_english_version_iphone","ok":true,"partial":false,"title":"The 7","artist":"Paul Chan","year":"2005","startOffset":0,"sourceSecs":5226.209,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":299681581,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_society_of_the_spectacle_an_english_version_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_society_of_the_spectacle_an_english_version_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chan_paul_society_of_the_spectacle_an_english_version_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chan_paul_society_of_the_spectacle_an_english_version_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chan_paul_society_of_the_spectacle_an_english_version_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"American artist Paul Chan has achieved international acclaim for his drawings, videos and installations that blend a novel drawing aesthetic with philosophical reflections on politics, religion, sex and life today. The Serpentine Gallery is pleased to present the world premiere of the complete series of The 7 Lights, 2005–07, largescale digital projections and drawings that ‘hallucinate’ the seven days of creation from dawn to dusk. The series explores themes of the sacred and the profane, and temptation and renunciation, in relation to world. The projections are presented on floors, walls and corners, appearing like light and shadows emanating from nearby windows. The 7 Lights compress and animate moving images from the past and the present into the stark fleetingness of shadows as they float in and out of a picture frame that is neither televisual nor cinematic. <br/><br/> Chan’s early works include single-channel videos and digital animations projected onto panoramic screens that sample and reference a range of sources from art history to popular culture. The lo-fi digital style of drawing and the inclusion of cultural figures, such as rapper Biggie Smalls and Italian fi lmmaker Pier Paolo Pasolini, belies more serious refl ections on suffering and survival examined in the dystopian narratives. A number of single-channel video works produced by Chan were initially made available for viewing through his <a href=\"http://www.nationalphilistine.com\" rel=\"noopener\" target=\"_blank\">website</a>. <br/><br/> These include an ‘ambient video essay’ on everyday life in Baghdad four weeks prior to the invasion of Iraq, a film shot in the ‘red state’ of Nebraska and a portrait of the activist defence lawyer Lynne Stewart who was the first lawyer in the United States to be convicted of aiding terrorists. Born in 1973, Chan spent his childhood in Nebraska and now lives in New York. In 1996 he completed a Bachelor of Fine Arts in Video / Digital Arts at the Art Institute of Chicago and graduated from Bard College with a Master of Fine Arts in Film / Video / New Media in 2002. Chan has had solo exhibitions at: Magasin 3, Stockholm; Portikus, Frankfurt and Fabric Workshop and Museum, Philadelphia, all 2006. He recently presented Untitled Video on Lynne Stewart and Her Conviction, the Law and Poetry at the 2007 Sundance Film Festival, Utah, and his work has also been featured in: Carnegie International, Carnegie Museum of Art, Pittsburgh, 2004; I still believe in miracles, Musée d’Art moderne de la Ville Paris 2005; 8th Biennale d’Art Contemporain de Lyon, France 2005; and Whitney Biennial, Whitney Museum of American Art, New York, 2006.","artist_bio":"Untitled Video on Lynne Stewart and Her Conviction, The Law, and Poetry\n(2006)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nPaul Chan lives and works in New York. His recent solo exhibitions have been presented at the New Museum, New York (2008); Stedelijk Museum, Amsterdam, (2007); Serpentine Gallery, London (2007); The Fabric Workshop and Museum, Philadelphia, (2006-07); Portikus, Frankfurt, (2006); Magasin 3, Stockholm Konsthall (2006); Para/Site Art Space, Hong Kong (2006); UCLA Hammer Museum, Los Angeles (2005); and The Institute of Contemporary Art Boston (2005). Selected group exhibitions include The Turin Triennale, Turin (2008); The Istanbul Biennale, Istanbul (2007), The 2006 Whitney Biennial, Whitney Museum of American Art, New York; New Work/New Acquisitions, The Museum of Modern Art, New York (2005); 8th Biennale d'Art Contemporain de Lyon, France (2005); Carnegie International, Carnegie Museum of Art, Pittsburgh (2004).\nIn 2002, Chan was a part of the American aid group Voices in the Wilderness that broke U.S. sanctions and federal law by working in Baghdad before the U.S. invasion and occupation. In 2004 he garnered police attention for\nThe People's Guide to the Republican National Convention\n, a free map distributed throughout New York to help protesters to get in or out of the way of the RNC. Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett's play\nWaiting for Godot\nin New Orleans.","bio_dates":"b. 1973"},{"slug":"chan_paul_untitled_video_on_lynne_stewart_2006","ok":true,"partial":false,"title":"Untitled Video on Lynne Stewart and Her Conviction, The Law, and Poetry","artist":"Paul Chan","year":"2006","startOffset":0,"sourceSecs":1062.251,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":178618343,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_untitled_video_on_lynne_stewart_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chan_paul_untitled_video_on_lynne_stewart_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chan_paul_untitled_video_on_lynne_stewart_2006.mp4","hasFrames":true,"description":"On February 10, 2005, Lynne Stewart was convicted of providing material support for a terrorist conspiracy. She is the first lawyer to be convicted of aiding terrorism in the United States. Stewart faces thirty years of prison and will be sentenced in September 2006. <br/><br/> Untitled... is a video portrait of Stewart. The video focuses on the relationship between the language of poetry and the language of the law. Stewart speaks both languages, and employs poetry as a \"knotting point\" to connect ideas of beauty and justice for juries and judges alike. The film takes Stewart's understanding of poetry and the law as a departure point to explore the possibilities of a poetics capable of articulating the pressures of terror and justice. <br/><br/>\"\"Paul Chan's portrait [is] of Lynne F. Stewart, the New York lawyer convicted last year of aiding Islamic terrorism by smuggling messages out of jail from a client she was defending, Sheik Omar Abdel Rahman. Now disbarred, Ms. Stewart faces a 30-year jail sentence. <br/><br/> The film, which Mr. Chan calls a work-in-progress, simply shows Ms Stewart talking; in a sense it is a self-portrait. She talks about her trial, about her career as an activist lawyer and about a personal politics that sounds instinctual rather than ideological. She also read poetry. <br/><br/> One of the poems she reads is William Blake's \"On Another's Sorrow\" from \"Songs of Innocence\". It isn't \"political\" in any overt way. It is filled with both questions and answers. While she reads, Mr. Chan turns the screen into a field of changing colors, so that we concentrate on the music of the words, the activism of the soul that poetry is, the power outlet that art can be. It's a simple device, and like any effective political action, right or wrong, brilliant because it works.\" --Holland-Cotter, New York Times, January 17th 2006","artist_bio":"Untitled Video on Lynne Stewart and Her Conviction, The Law, and Poetry\n(2006)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nPaul Chan lives and works in New York. His recent solo exhibitions have been presented at the New Museum, New York (2008); Stedelijk Museum, Amsterdam, (2007); Serpentine Gallery, London (2007); The Fabric Workshop and Museum, Philadelphia, (2006-07); Portikus, Frankfurt, (2006); Magasin 3, Stockholm Konsthall (2006); Para/Site Art Space, Hong Kong (2006); UCLA Hammer Museum, Los Angeles (2005); and The Institute of Contemporary Art Boston (2005). Selected group exhibitions include The Turin Triennale, Turin (2008); The Istanbul Biennale, Istanbul (2007), The 2006 Whitney Biennial, Whitney Museum of American Art, New York; New Work/New Acquisitions, The Museum of Modern Art, New York (2005); 8th Biennale d'Art Contemporain de Lyon, France (2005); Carnegie International, Carnegie Museum of Art, Pittsburgh (2004).\nIn 2002, Chan was a part of the American aid group Voices in the Wilderness that broke U.S. sanctions and federal law by working in Baghdad before the U.S. invasion and occupation. In 2004 he garnered police attention for\nThe People's Guide to the Republican National Convention\n, a free map distributed throughout New York to help protesters to get in or out of the way of the RNC. Chan collaborated with the Classical Theatre of Harlem and Creative Time to produce a site-specific outdoor presentation of Samuel Beckett's play\nWaiting for Godot\nin New Orleans.","bio_dates":"b. 1973"},{"slug":"chang_patty_calendar_girl_2000","ok":true,"partial":false,"title":"Calendar Girl","artist":"Patty Chang","year":"2000","startOffset":0,"sourceSecs":354.02,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":64288042,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_calendar_girl_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_calendar_girl_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_calendar_girl_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_calendar_girl_2000/main.mp4?v=2","description":"I had this calendar from Fredricks of Hollywood on my wall and there was an air purifier that I used to prop the door open. I would hear rhythmic fluttering of paper and the calendar was moving between images in a sort of dance."},{"slug":"chang_patty_come_with_me_swim_with_you_1999","ok":true,"partial":false,"title":"Come With Me Swim With You","artist":"Patty Chang","year":"1999","startOffset":0,"sourceSecs":125.392,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":22297173,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_come_with_me_swim_with_you_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_come_with_me_swim_with_you_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_come_with_me_swim_with_you_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_come_with_me_swim_with_you_1999/main.mp4?v=2","description":"Come With Me Swim With You, 1999, 3 minutes, super 8 film transferred to video <br/> Wrestling in the water with a blow up doll.","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_contortion_2001","ok":true,"partial":false,"title":"Contortion","artist":"Patty Chang","year":"2001","startOffset":0,"sourceSecs":148.882,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":27138408,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_contortion_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_contortion_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_contortion_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_contortion_2001/main.mp4?v=2","description":"Contortion, 2001, 2 minutes, video <br/> Two bodies make up one in this send up of the exotic stereotype.","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_current_full","ok":true,"partial":false,"title":"Current","artist":"Patty Chang","year":"2012","startOffset":0,"sourceSecs":321.178,"sourceHeight":472,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":42997497,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_current_full/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_current_full/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_current_full.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_current_full/main.mp4?v=2","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_death_of_game_2000","ok":true,"partial":false,"title":"Death of Game","artist":"Patty Chang","year":"2000","startOffset":0,"sourceSecs":137.337,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":24408195,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_death_of_game_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_death_of_game_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_death_of_game_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_death_of_game_2000/main.mp4?v=2","description":"Death of Game, 2000, 2 minutes <br/><br/> Death of Game is the remake of a scene from Bruce Lee's film, Game of Death. The mid seventies was a period of growing visibility of actors of color in Blaxploitation and Asian action films. These genres both gave mainstream exposure to but also paradoxically reinforced the stereotypes of Blacks and Asians. The moment of the meeting and subsequent fight between Bruce Lee and Kareem Abdul Jabar represents a point of contact defiantly outside of a dominant, white culture.","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_eels_2001","ok":true,"partial":false,"title":"(Untitled) Eels","artist":"Patty Chang","year":"2001","startOffset":0,"sourceSecs":1014.146,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":180479533,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_eels_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_eels_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_eels_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_eels_2001/main.mp4?v=2","description":"(Untitled) Eels, 2001 17 minutes <br/> Video of eels in my shirt while laying on my back. <br/><br/> Eve Oishi writes of Patty Chang’s work in Camera Obscura, “Her performance pieces can be best described as balancing acts, not only in the way she manipulates her body but in her ability to create works that juxtapose absolute stillness with explosive tension, sly humor with incisive revelation, and penetrating commentary with emotional force.”","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_falling_1120_feet","ok":true,"partial":false,"title":"Falling At 1120 Feet Above Sea Level","artist":"Patty Chang","year":"2000","startOffset":0,"sourceSecs":88.689,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":15781384,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_falling_1120_feet/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_falling_1120_feet/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_falling_1120_feet.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_falling_1120_feet/main.mp4?v=2","description":"Falling At 1120 Feet Above Sea Level, 2000, 2 minutes <br/><br/> Made on the 89th floor of the World trade center during a residency with the Lower Manhattan Cultural Council.","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_flotsam_jetsam","ok":true,"partial":false,"title":"Flotsam Jetsam (2007) with David Kelley","artist":"Patty Chang","year":"2007","startOffset":0,"sourceSecs":1669.083,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":98868929,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_flotsam_jetsam/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_flotsam_jetsam/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_flotsam_jetsam.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_flotsam_jetsam/main.mp4?v=2","description":"Exploring what they describe as “the intersection of site and the imaginary,” the work of Patty Chang and David Kelley merges performance, photography, and digital video. Set near the Three Gorges Dam, on China’s Yangtze River, Flotsam Jetsam is inspired by a broad collection of sources: Chairman Mao’s much-publicized swims in the river, Jules Verne’s 20,000 Leagues Under the Sea, journalistic accounts of China’s rapid economic development, and Western ideas about Asian modernization. Wavering between documentary and fictional forms, the project examines the relationship between landscape and identity in the midst of the dam’s construction, which required the relocation of more than one million people. The film details the fabrication of a large submarine, its launch on the Yangtze with a crew of local actors, and its progress through a hydroelectric dam to a reservoir. Along the journey, various performances are enacted, dreams are recounted during a psychotherapy session in a swimming pool, and a play is filmed in a ship factory to elicit submerged realities both literal and symbolic.","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_for_abramovic_love_cocteau_2000","ok":true,"partial":false,"title":"For Abramović Love Cocteau","artist":"Patty Chang","year":"2000","startOffset":0.434,"sourceSecs":258.425,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":47458286,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_for_abramovic_love_cocteau_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_for_abramovic_love_cocteau_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_for_abramovic_love_cocteau_2000.mp4","hasFrames":true,"description":"In Love was inspired in part by a performance by Marina Abramović and Jean Cocteau’s Orpheus. I eat an onion with a woman, then we kiss. The footage is played backwards and starts with kissing and crying before the onion emerges.","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_fountain_1999","ok":true,"partial":false,"title":"Fountain","artist":"Patty Chang","year":"1999","startOffset":0,"sourceSecs":331.031,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":49652685,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_fountain_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_fountain_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_fountain_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_fountain_1999/main.mp4?v=2","description":"Fountain, 1999, 6 minutes, SD video <br/><br/> Fountain is a video that originated from a live performance of drinking water from a mirror. The image of confronting one’s own image recalls Narcissus, the Greek god that fell in love with his own image without recognizing it as his own, in some way being a splitting of the interior and exterior selves. In Fountain the image attempts to become whole again by drinking in the image of itself.","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_hand_to_mouth_2000","ok":true,"partial":false,"title":"Hand to Mouth","artist":"Patty Chang","year":"2000","startOffset":0,"sourceSecs":358.091,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":65561245,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_hand_to_mouth_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_hand_to_mouth_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_hand_to_mouth_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_hand_to_mouth_2000/main.mp4?v=2","description":"Hand To Mouth, 2000, 6 minutes, Super 8 film transferred to video <br/> Wearing different wigs, I am fed water filled helium balloons.","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_melons_at_a_loss_1998","ok":true,"partial":false,"title":"Melons","artist":"Patty Chang","year":"1998","startOffset":0,"sourceSecs":228.395,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":41310320,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_melons_at_a_loss_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_melons_at_a_loss_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_melons_at_a_loss_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_melons_at_a_loss_1998/main.mp4?v=2","description":"Melons, 1998, 4 minute, SD video <br/><br/> A performance juggling a narrative of an imaginary cultural ritual of receiving a plate at a relatives death with the act of cutting and eating a melon while balancing a plate on the head. <br/><br/> Melons is a video based on images and script about my aunt’s death from breast cancer and the emotion void in my memory. The text is a construction of rituals that plays with notions of the authentic. The act of juggling too much text and imagery immerses the viewer in a third, imagined narrative. <br/><br/> Eve Oishi writes of Patty Chang’s work in Camera Obscura, “Her performance pieces can be best described as balancing acts, not only in the way she manipulates her body but in her ability to create works that juxtapose absolute stillness with explosive tension, sly humor with incisive revelation, and penetrating commentary with emotional force.”","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_minor","ok":true,"partial":false,"title":"Minor","artist":"Patty Chang","year":"2011","startOffset":0,"sourceSecs":1448.447,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":87503964,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_minor/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_minor/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_minor.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_minor/main.mp4?v=2","description":"“Shot in Xinjiang province in Western China two months after the riots between Uighur and Han Chinese that left over 200 people dead, Minor is a video about the indefinable properties of history, language, geological formations and adolescence. Originally inspired by Sven Hedin’s The Wandering Lake (1937), Minor examines indeterminate ways in which culture and landscape are linked. ‘In Minor, I worked with local non-actors of Uighur and Chinese descent to create ephemeral sculptures manipulated by the wind. (…) The act of collaboratively doing created a space of dialog.’ (Patty Chang)","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_rather_to_potentialities_part_2","ok":true,"partial":false,"title":"Rather to Potentialities","artist":"Patty Chang","year":"2009","startOffset":0,"sourceSecs":486.062,"sourceHeight":288,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":30145654,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_rather_to_potentialities_part_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_rather_to_potentialities_part_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_rather_to_potentialities_part_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_rather_to_potentialities_part_2/main.mp4?v=2","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_shangri_la","ok":true,"partial":false,"title":"Shangri-La","artist":"Patty Chang","year":"2005","startOffset":0,"sourceSecs":2402.332,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":413335981,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_shangri_la/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_shangri_la/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_shangri_la.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_shangri_la/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_shangri_la/main/master.m3u8?v=2","hasMainHls":true,"description":"Patty Chang: Shangri-La is part of the Three M Project, a series by the Hammer Museum, Los Angeles; Museum of Contemporary Art, Chicago; and the New Museum, New York to commission, organize, and co-present new works of art. Generous support for the series has been provided by the Peter Norton Family Foundation and the American Center Foundation. Patty Chang: Shangri-La James Hilton's 1933 novel Lost Horizon tells the story of an intrepid but alienated British diplomat, Hugh Conway, who, after a plane crash, finds himself stranded in the Tibetan lamasery of Shangri-La. Soon enough, though, Conway discovers the mysteries of this \"heaven on earth,\" whose inhabitants are graced with extreme longevity. The monks, anticipating cataclysmic disaster in the outside world, plan to preserve knowledge and civilization for future generations within the confines of their peaceful land. Lost Horizon was a best seller and put Hilton's myth of a Shangri-La into wide circulation, followed in 1937 by the equally popular film adaptation by Frank Capra. Sixty years later, in 1997, a rural Chinese town named Zhongdian, in Yunnan province near the Tibetan border, declared itself to be the place upon which Hilton's Shangri-La was modeled. This pronouncement was motivated by the hope of attracting tourists from the newly wealthy Chinese middle class; a dozen other towns in the region immediately followed suit in claiming the distinction, thereby precipitating a marketing battle that came to be known as the \"Shangri-La war.\" The ensuing chaos eventually compelled the Chinese government to intervene and it ended the conflict by acknowledging Zhongdian as Shangri-La, thereby granting official recognition of the town as the \"real\" location of a completely fictional place. This type of conflation of the real and the fictional has long fascinated Patty Chang, whose work often explores such juxtapositions. Chang decided to visit Shangri-La, to take a real journey to a mythical place, an experience that became the basis for her approximately 40 minute video installation Shangri-La (2005), shot on location. As in the original story, Chang's video begins with a flight that descends through clouds shrouding a spectacular mountain landscape. The scene continues with her meeting a group of monks in the mountains that turn out to be part of the atrium decoration of a tourist hotel. Within the first few moments of the video, the viewer is caught up in a rapid oscillation as fictional elements are supplanted by real-world footage of Zhongdian. The video also includes a number of objects Chang created to help tell the story of this place - from models of an oxygen chamber used to treat altitude sickness, to a cake made at a local bakery decorated with images of a mountain and the chamber. The key component is a scale model of a mountain which acts as both a mirrored version of the mountains that surround Shangri-La and an homage to the holy peak of Hilton's mythic novel. Chang's exploration of such a highly constructed, and indeed fictionalized, version of Chinese culture is evident in a number of earlier works. In Death of Game (2000), she took on the role of Bruce Lee, reenacting the iconic scene in the martial arts film Game of Death (1978) in which Lee fights with Kareem Abdul-Jabbar. Chang's version is a parody of an already super-fictionalized presentation of Chinese culture. In Contortion (2000-2001), she appears as a Chinese contortionist holding a visually convincing but physically impossible pose. The semi-fictional world of Shangri-La, similarly offers a perfect real-world counterpart to the variously constructed versions of Chinese culture and identity that Chang had already been making use of in her work. Chang is perhaps best known for her performance work and for videos and photographs that derive from performances. In Shangri-La, the mirrors, which show mostly empty landscapes, are the successors to any number of mirrors or mirror-substitutes that in Chang's earlier work typically reflected the artist herself. She has described how over the last couple of years she has tried to shift the focus of her performances off her own physical self, turning it instead into what she refers to as \"a catalyst for specific situations.\" This withdrawal is all the more striking considering that her position as protagonist in earlier works was often highly dramatic, consistently testing the limits of both herself and her audience. In Untitled (Eels) (2001), for example, Chang confronts the camera in obvious discomfort. Her shirt has damp spots and seems to be moving - the audience gradually realizes that the moisture and motion are produced by live eels placed down the front of her shirt. In Shangri-La, Chang is perhaps the least visible she has ever been in her work, directing others in the construction of the work from behind the scenes. Apart from a brief scene of her \"wedding,\" she appears only occasionally in the video. And in this wedding fantasy, she allows herself to be a kind of passive prop for the photographer, an experience she compares to the process of making photographs of her own earlier performances, since she is unable to see the results of the shoot until the performance is over. This visible surrender to the manipulations of another elucidates the broader theme of identity construction that runs throughout the entire video. There is one sense, however, in which the artist is present in an almost hidden form. Early in Lost Horizon, when Conway and his companions who have survived the crash landing of their plane are lost in the mountains, the monk who will soon offer them sanctuary in Shangri-La approaches the party: Conway bowed again, and after a suitable pause began to explain briefly the circumstances that had brought him and his three companions to such an unfrequented part of the world. At the end of the recital the Chinese made a gesture of understanding. \"It is indeed remarkable,\" he said, and gazed reflectively at the damaged aeroplane. Then he added: \"My name is Chang.\" The monk Chang is self-effacing yet ever-present. He guides the visitors to the lamasery with an all but invisible hand. In Shangri-La, Patty Chang's role is seemingly behind the scenes but she is actually directing the action - something that has much in common with the unobtrusive yet crucially important Chang of the novel. -Text by Russell Ferguson, Chief Curator at the Hammer Museum, Los Angeles","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_shaved_1998","ok":true,"partial":false,"title":"Shaved","artist":"Patty Chang","year":"1998","startOffset":0,"sourceSecs":321.788,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":58299289,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_shaved_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_shaved_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_shaved_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_shaved_1998/main.mp4?v=2","description":"Shaved, 1998, 5 minutes, SD video <br/><br/> Chang shaved her pubic hair with Perrier while blindfolded using touch to guide action. <br/><br/> Eve Oishi writes of Patty Chang’s work in Camera Obscura, “Her performance pieces can be best described as balancing acts, not only in the way she manipulates her body but in her ability to create works that juxtapose absolute stillness with explosive tension, sly humor with incisive revelation, and penetrating commentary with emotional force.”","artist_bio":"Patty Chang was born in 1972 in San Francisco. Originally trained as a painter, she graduated with a BA from the University of California at San Diego in 1994 and shortly after moved to New York, where she became involved with the Performance scene. Her performances, recorded in short films, became notorious for testing the limits of endurance and taste. In Gong Li With the Wind (1996), performed at the New York University Film Center, she consumed and defecated a staggering quantity of beans. For Paradise (1996), an indictment of the international sex trade in Asia, she played a prostitute servicing a customer. In a series of performances titled Alter Ergo (1997), the artist balanced her body in a variety of torturously uncomfortable poses as a critique of female passivity. In recent years, she has incorporated photography and video into her performances. For Fountain (1999), Chang drank water from a mirror placed on the floor while projecting the performance onto monitors behind her and outside the gallery as though she were upright and “drinking” her own image. The photographs of Chang in seemingly impossible physical positions in the Contortion series (2000–02) were faked, adding an element of play while again commenting on exoticized images of Asian women in popular culture. Stage Fright (2003), performed at the Contemporary Arts Center in Cincinnati, incorporated video projection, more excessive eating, and the 1950 Alfred Hitchcock film of the same name. Chang’s 2005 video installation Shangri-La examines the effect of the James Hilton novel Lost Horizon (1933) and the subsequent film by Frank Capra (1937) on China, since they catapulted the mythic utopia into the collective imagination and catalyzed the resultant competition amongst rural Chinese towns to declare themselves the “real” Shangri-la.","bio_dates":"b. 1972"},{"slug":"chang_patty_the_whale_11_8_11","ok":true,"partial":false,"title":"The Whale 11 8 11","artist":"Patty Chang","year":"2014","startOffset":0,"sourceSecs":859.903,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":390027829,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_the_whale_11_8_11/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chang_patty_the_whale_11_8_11/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chang_patty_the_whale_11_8_11.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_the_whale_11_8_11/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chang_patty_the_whale_11_8_11/main/master.m3u8?v=2","hasMainHls":true,"description":"The Wandering Lake is a personal, associative, narrative meditation on mourning, caregiving, geopolitics and landscape. Patty Chang is interested in looking at water resource as a political and poetical infrastructure. The project is, inspired by a turn-of-the-century colonial explorer Sven Hedin’s book Wandering Lake, in which he attempts to map location of a migrating body of water in the Chinese desert. The first trip was to Xinjiang province in Western China, a predominantly ethnic Uighar province, rich in oil where the wandering lake is located. Chang collaborated with local Uighar and Han girls on ephemeral sculptures. The second phase was a journey to Aral Sea in Uzbekistan that lost 70% of its water due to ill-planned Soviet irrigation projects. The artist traveled to the water line while pumping her breast milk along the way into empty fish cans and photographing them. In the third phase, Chang followed the longest aqueduct in the world, which brings water from southern China to the capital Beijing. She urinated every time she came upon the aqueduct, attempting to connect the aquaduct to the historic flooding of the Yellow River and Chinese imperial history, and to think about the massive infrastructure compared to the scale of the body."},{"slug":"chapman_warehouse","ok":true,"partial":false,"title":"Fucking Hell: Warehouse","artist":"Jake and Dinos Chapman","year":"2007","startOffset":0,"sourceSecs":201.189,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":25707824,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chapman_warehouse/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chapman_warehouse/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chapman_warehouse.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chapman_warehouse/main.mp4?v=2","artist_bio":"Jack Early (born August 16, 1962) is a contemporary artist known for exploring American identity. Early works with a Pop vocabulary combining it with biographical details and personal elements of his life. His work builds on cultural references and continues to evolve through his experience with the media and an ever-changing self. Early currently lives and works in Brooklyn, New York.\nEarly was born in 1962 in Raleigh, North Carolina, graduating from North Carolina School of the Arts. His ascent to fame began in the late 1980s as one-half of the duo Pruitt-Early. Pruitt-Early’s irreverent work challenged prevailing orthodoxies and blurred the boundaries between low culture and high art.\nTheir first solo show, Artwork for Teenage Boys, was held in 1990 at 303 Gallery, New York. Pruitt-Early quickly garnered attention, and in 1992 they presented an exhibition at Leo Castelli Gallery. Following the Castelli show, which was misunderstood and infamously panned, Early went into self-imposed exile from the art world. In recent years, Pruitt-Early’s artworks have been reappraised and increasingly hailed by collectors, critics, and museums.\nEarly began writing songs, which have become integral to many of his new art objects. Since 2009, he has been making objects that explore the breadth of American pop culture. Glenn O’Brien describes Early as a “new sort of bluesman…making work that reflects the lonesome road he’s been on, a road that goes through Jesus, Jesus Christ Superstar, John and Yoko, protest movements, and the United Federation of Planets.”","bio_dates":"b. 1962/1966"},{"slug":"cheang_shu_lea_color_schemes_1989","ok":true,"partial":false,"title":"Color Schemes","artist":"Shu Lea Cheang","year":"1989","startOffset":0,"sourceSecs":1721.429,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":300649361,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cheang_shu_lea_color_schemes_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cheang_shu_lea_color_schemes_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cheang_shu_lea_color_schemes_1989.mkv","hasFrames":true,"description":"An upbeat, ironic look at America's multicultural society, Color Schemes uses the metaphor of \"color wash\" to tackle conceptions of racial assimilation. Challenging stereotypes, twelve writer/performers collaborate on four performance sequences—soak, wash, rinse and extract. Spinning through this tumble- jumble of America's washload, the performers scheme to claim racial images that remain color vivid. Color Schemes was also exhibited in its installation form (with a self-service washing machine) at the Whitney Museum in 1990.","artist_bio":"Shu Lea Cheang & Jun Jieh Wang - How History Was Wounded: An Exclusive Report on Taiwanese Media (1990)\nShu Lea Cheang (born 1954, Taiwan) is a multimedia artist who works in the fields of net-based installation, social interface and film production.\nOver the past decade, she has emerged as a prominent figure in new media art. Cheang is one of the leading multimedia artists dealing with multidisciplinary studies. Her work is unique in allowing viewer interaction. She is most noted for her individual approach in the realm of art and technology, creatively intermingling social issues with artistic methods.\nCheang's art ranges in mediums such as film, video, net-based installation, and interface, which explore \"...ethnic stereotyping, the nature and excesses of popular media, institutional - and especially governmental - power, race relations, and sexual politics.\" (\"Shu Lea Cheang\") Most recently, she has moved to 35mm feature filmmaking.\nShe has been a member of the\nPaper Tiger Television\ncollective since 1981. Though originally based in New York, Cheang is currently living and working in Paris, France.","bio_dates":"1989"},{"slug":"cheang_shu_lea_coming_home_1995","ok":true,"partial":false,"title":"Coming Home","artist":"Shu Lea Cheang","year":"1995","startOffset":0,"sourceSecs":322.048,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":58216719,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cheang_shu_lea_coming_home_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cheang_shu_lea_coming_home_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cheang_shu_lea_coming_home_1995.mkv","hasFrames":true,"description":"She loves her, and she loves her too. She is Japanese and she is Australian. The awkward fitting of bodies into a small space is just one of the allegorical scenarios dramatized in a pressing appeal for lesbian rights.","artist_bio":"Shu Lea Cheang & Jun Jieh Wang - How History Was Wounded: An Exclusive Report on Taiwanese Media (1990)\nShu Lea Cheang (born 1954, Taiwan) is a multimedia artist who works in the fields of net-based installation, social interface and film production.\nOver the past decade, she has emerged as a prominent figure in new media art. Cheang is one of the leading multimedia artists dealing with multidisciplinary studies. Her work is unique in allowing viewer interaction. She is most noted for her individual approach in the realm of art and technology, creatively intermingling social issues with artistic methods.\nCheang's art ranges in mediums such as film, video, net-based installation, and interface, which explore \"...ethnic stereotyping, the nature and excesses of popular media, institutional - and especially governmental - power, race relations, and sexual politics.\" (\"Shu Lea Cheang\") Most recently, she has moved to 35mm feature filmmaking.\nShe has been a member of the\nPaper Tiger Television\ncollective since 1981. Though originally based in New York, Cheang is currently living and working in Paris, France.","bio_dates":"1989"},{"slug":"cheang_shu_lea_i_k_u_2000_iphone","ok":true,"partial":false,"title":"I.K.U.","artist":"Shu Lea Cheang","year":"2000","startOffset":0,"sourceSecs":3946.968,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":227272844,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cheang_shu_lea_i_k_u_2000_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cheang_shu_lea_i_k_u_2000_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cheang_shu_lea_i_k_u_2000_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cheang_shu_lea_i_k_u_2000_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cheang_shu_lea_i_k_u_2000_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"A Japanese sci-fi porn feature. Early in the 21st Century, The Genom Corporation advanced the sexual revolution into the GEN-XXX phase - a virtual human being - known as an I.K.U Coder. The GEN-XXX I.K.U. Coders were superior in their harddrive bodies, and at least equal in insatiability, to the programming engineers who created them. I.K.U Coders were used in the night-world as XXX data hunters, in the orgasmic exploration and sexualization of other couples. After a non-stop sexing journey by a GEN-XXX I.K.U. Coder team in the night-world, Coders were declared fulldata - ready for retrieval. Special data collectors - I.K.U. RUNNER UNITS- had orders to fuck to retrieve, upon detection, any full data I.K.U. Coders. This was not called love, this was called sex.","artist_bio":"Shu Lea Cheang & Jun Jieh Wang - How History Was Wounded: An Exclusive Report on Taiwanese Media (1990)\nShu Lea Cheang (born 1954, Taiwan) is a multimedia artist who works in the fields of net-based installation, social interface and film production.\nOver the past decade, she has emerged as a prominent figure in new media art. Cheang is one of the leading multimedia artists dealing with multidisciplinary studies. Her work is unique in allowing viewer interaction. She is most noted for her individual approach in the realm of art and technology, creatively intermingling social issues with artistic methods.\nCheang's art ranges in mediums such as film, video, net-based installation, and interface, which explore \"...ethnic stereotyping, the nature and excesses of popular media, institutional - and especially governmental - power, race relations, and sexual politics.\" (\"Shu Lea Cheang\") Most recently, she has moved to 35mm feature filmmaking.\nShe has been a member of the\nPaper Tiger Television\ncollective since 1981. Though originally based in New York, Cheang is currently living and working in Paris, France.","bio_dates":"1989"},{"slug":"cheang_shu_lea_sex_fish_1993","ok":true,"partial":false,"title":"Sex Fish","artist":"Shu Lea Cheang","year":"1993","startOffset":0,"sourceSecs":380.394,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":69610278,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cheang_shu_lea_sex_fish_1993/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cheang_shu_lea_sex_fish_1993/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cheang_shu_lea_sex_fish_1993.mkv","hasFrames":true,"description":"Dripping from the faucet, spraying against a shower curtain, swirling down a toilet, water leads viewers from one sex scene to another, private to public and back again. Swimming through the video are various fish, seemingly unaware of the derogatory pun they enact...","artist_bio":"Shu Lea Cheang & Jun Jieh Wang - How History Was Wounded: An Exclusive Report on Taiwanese Media (1990)\nShu Lea Cheang (born 1954, Taiwan) is a multimedia artist who works in the fields of net-based installation, social interface and film production.\nOver the past decade, she has emerged as a prominent figure in new media art. Cheang is one of the leading multimedia artists dealing with multidisciplinary studies. Her work is unique in allowing viewer interaction. She is most noted for her individual approach in the realm of art and technology, creatively intermingling social issues with artistic methods.\nCheang's art ranges in mediums such as film, video, net-based installation, and interface, which explore \"...ethnic stereotyping, the nature and excesses of popular media, institutional - and especially governmental - power, race relations, and sexual politics.\" (\"Shu Lea Cheang\") Most recently, she has moved to 35mm feature filmmaking.\nShe has been a member of the\nPaper Tiger Television\ncollective since 1981. Though originally based in New York, Cheang is currently living and working in Paris, France.","bio_dates":"1989"},{"slug":"cheang_shu_lee_how_history_was_wounded_an_exclusive_report_on_taiwanese_media_mkv","ok":true,"partial":false,"title":"Lea Cheang & Jun Jieh Wang - How History Was Wounded: An Exclusive Report on Taiwanese Media","artist":"Shu Lea Cheang","year":"1990","startOffset":0,"sourceSecs":1747.946,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":103617856,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cheang_shu_lee_how_history_was_wounded_an_exclusive_report_on_taiwanese_media_mkv/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cheang_shu_lee_how_history_was_wounded_an_exclusive_report_on_taiwanese_media_mkv/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cheang_shu_lee_how_history_was_wounded_an_exclusive_report_on_taiwanese_media_mkv.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cheang_shu_lee_how_history_was_wounded_an_exclusive_report_on_taiwanese_media_mkv/main.mp4?v=2","description":"An exclusive report from Taiwan by collective member Shu Lea Cheang who investigates how Taiwanese news media covered the Tiananmen Square massacre. The tape compares the media clampdown in mainland China with the Taiwanese government’s suppression of political movements. The news coverage focused on sensationalizing and simplifying the student movement so that it became almost commercialized, as the real meaning behind the historic demonstrations were ignored. Taiwanese journalists served as “Political Prostitutes” for the Chinese government as the news was used to designate the political agenda. The call for democratic reform in the nation’s politics must also be reflected in the media in order to create a more democratic society. Directed and produced by Shu Lea Cheang and Jun Jieh Wang with commentators in silhouette: Guan shin Chen, Shange Zen Lee and Lee Shi Kuo.","artist_bio":"Shu Lea Cheang & Jun Jieh Wang - How History Was Wounded: An Exclusive Report on Taiwanese Media (1990)\nShu Lea Cheang (born 1954, Taiwan) is a multimedia artist who works in the fields of net-based installation, social interface and film production.\nOver the past decade, she has emerged as a prominent figure in new media art. Cheang is one of the leading multimedia artists dealing with multidisciplinary studies. Her work is unique in allowing viewer interaction. She is most noted for her individual approach in the realm of art and technology, creatively intermingling social issues with artistic methods.\nCheang's art ranges in mediums such as film, video, net-based installation, and interface, which explore \"...ethnic stereotyping, the nature and excesses of popular media, institutional - and especially governmental - power, race relations, and sexual politics.\" (\"Shu Lea Cheang\") Most recently, she has moved to 35mm feature filmmaking.\nShe has been a member of the\nPaper Tiger Television\ncollective since 1981. Though originally based in New York, Cheang is currently living and working in Paris, France.","bio_dates":"1989"},{"slug":"chen_yin_ju_hong_james_t_suprematist_kapital_2006","ok":true,"partial":false,"title":"Suprematist Kapital","artist":"Yin-Ju Chen & James T. Hong","year":"2006","startOffset":0,"sourceSecs":316.843,"sourceHeight":496,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":15236378,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chen_yin_ju_hong_james_t_suprematist_kapital_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chen_yin_ju_hong_james_t_suprematist_kapital_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chen_yin_ju_hong_james_t_suprematist_kapital_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chen_yin_ju_hong_james_t_suprematist_kapital_2006/main.mp4?v=2","description":"Synopsis: A symbolic history of Kapital -- a symbolic history of the West. <br/><br/> Inspired by Kasimir Malevich's minimalist artworks and the struggles for resources in the age of peak oil, Suprematist Kapital was born of the want to create a visual artwork that could be displayed on many different-sized mediums regardless of resolution, e.g., theater screens, mobile devices, ipod's, etc. <br/><br/> When once technology as progress was an end in itself, it became the handmaiden of capitalist accumulation and war, and is now a form of capital itself in the age of peak oil and its interpretation in contemporary Chinese culture and politics.","artist_bio":"Chen Yin-ju and James T. Hong are an interdisciplinary art team, producing installations, performances, and film and video works. They have exhibited in the Pompidou Center in Paris and Riena Sofia Museum in Madrid and shown films in the San Francisco International Film Festival, Rotterdam Film Festival and International Documentary Festival, Amsterdam. They are best known for experimental documentaries portray some of histories deepest ironies in a style that is highly watchable and often funny, despite the grave overtones of their larger message.","bio_dates":"2006"},{"slug":"chernysheva_olga_march","ok":true,"partial":false,"title":"March","artist":"Olga Chernysheva","year":"2005","startOffset":0,"sourceSecs":437.65,"sourceHeight":288,"sourceWidth":360,"hasAudio":true,"hasAmbientMp4":true,"bytes":28635454,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chernysheva_olga_march/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chernysheva_olga_march/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chernysheva_olga_march.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chernysheva_olga_march/main.mp4?v=2","description":"The Overheard March* Walking around with a video camera, you inevitably become an onlooker or witness to processes that other people are involved in. Some are planting trees, others are building a new shopping center, and others have become walking sandwiches. You can see all kinds of things going on in the streets! The flaneur with the video camera stops in surprise and tries to understand, to investigate thoroughly what is going on, trying to allow the aesthetic form of reality to emerge like \"The Man with the Camera\"**, simply to fix something extraneous \"just in case.\" Not every recording can become a document of its time. It is hard to count on any observation's capacity for symbolization. Allegories and attributes do not grow wild, but are products of the laboratory. Instead, all one needs is an intimation, a hint, a moment of life, and not all of it \"as it is\", in order to later use this small, embryonic piece to create an artistic form. Anyway, not so long ago, while I was out walking with my video camera, I heard the sounds of a marching band. The volitive music of triumph carried over all the way from Suvorov Square. Near the Theater of the Soviet Army, a band was playing a march. So why not? \"Rally the ranks into a march!\"***, let's go and film a military ceremony: an attractive task. In our time, we constantly experience a deficit of large, organized forms, unified rhythms, and clearly structured festivities. Hoping to capture images that are easily envisioned to the sound of a march, I hurried to the square. At first glance, the ceremony resembled deeply rooted Soviet traditions in many ways. The path leading up to the building of the Theater of Soviet Army was temporarily flanked by little boys between the ages of 8 to 10 in black uniforms. This parade path culminated in a red carpet and the marching band. But then again, it was nearly impossible to understand what exactly this parade of cadets was celebrating. The main word of the celebration was \"Glory!\" In the Russian language, \"Glory!\" is always attributed to something (i.e. \"Glory to Russia!\", \"Glory to the Communist Party!\", etc.) Yet in this case, the object of glorification seemed to be absent, even if there was another inscription that read \"The Academy of Excellent Athletic Achievements.\" On red, blue, and white balloons, one could also read the word \"Glory\" along with smaller lettering, again \"Academy of Excellent Athletic Achievements.\" When the balloons were turned by the wind, the blue balloons said \"Gazprom\", while the white balloons said \"Panasonic. Ideas for Life.\" The red balloons revealed the symbol of the pentathlon. The resulting image was rather indeterminate and hard to define. Apparently, the main festivities were taking place inside the theater, and only those who had been invited knew what was actually going on. It was for them that everyone was trying so hard: the marching band was playing, balloons had been inflated, and a living corridor of cadets has taken position. But I was set on filming the whole affair anyway... What I got was the outer, somewhat sad side of this celebration, so characteristic of our time, and images of its participants who weren't very involved, but quite sympathetic. This became a separate event of its own. *This film was shot in May 2005<br/> ** The name of a film by Dziga Vertov, 1929<br/> *** V. Mayakovsky, \"Left March\"","artist_bio":"Olga Chernysheva (born 1962 in Moscow, Russia) is a contemporary artist who lives and works in Moscow. Her work spans film, photography, drawing and object-based mediums, where she draws on quotidian moments and marginal spaces from everyday life as a way of exploring the increasing fragmentation of master narratives in contemporary Russian culture.\nShe holds a BA from the Moscow Cinema Academy, Moscow and an MA from the Rijksakademie Van Beeldende Kunsten, Amsterdam.\nOLGA CHERNYSHEVA's often unwitting subjects are observed negotiating a society in turbulence, where the sense of a common future is rapidly dissolving. Her films, photographs, paintings, drawings and object-based works lyrically investigate the fabric of individuality and self-sufficiency, and meditate upon the role of the artist in a time of flux. Chernysheva has a vital interest in the relations between object and figure, in particular in the ways that people and the spaces they inhabit seem often to co-exist uneasily. Her backgrounds with their fluctuating tonalities and psychological charge vie with her subjects for center stage.","bio_dates":"b. 1962"},{"slug":"chernysheva_olga_marmot","ok":true,"partial":false,"title":"Marmot","artist":"Olga Chernysheva","year":"1999","startOffset":0,"sourceSecs":177.656,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":28640147,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chernysheva_olga_marmot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chernysheva_olga_marmot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chernysheva_olga_marmot.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chernysheva_olga_marmot/main.mp4?v=2","description":"This is how it all was. One day in November I decided to take my camera and go to a park, where I had been shooting dances on an open dance floor a couple of times before. It was November 7, the day of October revolution, but it doesn’t matter. It was just a common day off for me, as it was the year 1999, there were no big public celebrations anymore. Everyone was just staying at home or went out for a walk. On my way to the subway I heard the buzz of megaphones and loudspeakers. There was a demonstration walking up Tverskaya street. Red banners, poorly dressed people. Communist mottos. <br/><br/> There was a woman. She was standing near the subway and fidgeting, making some fussy movements. Looking at her I had a feeling that this force of collectivism that makes people go out for a demonstration is not that powerful. It tries to overwhelm a person in full, with one’s insecurities. <br/><br/> I shot this episode on my camera. Later on, at home when I was looking at the footage, my daughter was playing Beethoven’s Marmot in another room. The song of a lonely wayfarer, mistakes of a young pianist and a video portrait of a person out of her usual surroundings – all this joined together forming a single whole.","artist_bio":"Olga Chernysheva (born 1962 in Moscow, Russia) is a contemporary artist who lives and works in Moscow. Her work spans film, photography, drawing and object-based mediums, where she draws on quotidian moments and marginal spaces from everyday life as a way of exploring the increasing fragmentation of master narratives in contemporary Russian culture.\nShe holds a BA from the Moscow Cinema Academy, Moscow and an MA from the Rijksakademie Van Beeldende Kunsten, Amsterdam.\nOLGA CHERNYSHEVA's often unwitting subjects are observed negotiating a society in turbulence, where the sense of a common future is rapidly dissolving. Her films, photographs, paintings, drawings and object-based works lyrically investigate the fabric of individuality and self-sufficiency, and meditate upon the role of the artist in a time of flux. Chernysheva has a vital interest in the relations between object and figure, in particular in the ways that people and the spaces they inhabit seem often to co-exist uneasily. Her backgrounds with their fluctuating tonalities and psychological charge vie with her subjects for center stage.","bio_dates":"b. 1962"},{"slug":"chernysheva_olga_steamboat","ok":true,"partial":false,"title":"Steamboat \"Dionysus\"","artist":"Olga Chernysheva","year":"2004","startOffset":0,"sourceSecs":1646.713,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":100063238,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chernysheva_olga_steamboat/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chernysheva_olga_steamboat/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chernysheva_olga_steamboat.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chernysheva_olga_steamboat/main.mp4?v=2","description":"Chernysheva masterfully employs disruptions in the soundtrack in Self-sufficient Activities; or the titles describing the action in advance in Steamboat Dionysius creating 'memories of the future' in which the viewer has already taken part together with the characters; or life unfolding, falling into pieces and reassembling itself again, a process which the viewers can rewind, pause or let go of in their imagination. Two opposing impressions - the disrupted rhythm of visual and audio elements and the special force of endless return, reappearance of the beginning - find peace with each other in the same stream of being which is possible not thanks to orderliness and the laws of society but solely to the absurd desire, the pure drive of life. From the seemingly pointless events, words and sounds Chernysheva extracts the desire of fullness. It is this desire that is reflected in the delirious 'poetry and songs' accompanying Train and Steamboat Dionysius in the zone of happiness: bread and salt / on a clean cloth / steaming cabbage soup / wine in a glass; or completely down to earth: dance-balls / beauties / man-servants / cadets. There is a clear call to admire and enjoy in this: in the same sky hover both The Sky Dance ballet and the picturesque images of the Spaso-Prilutsky monastery.","artist_bio":"Olga Chernysheva (born 1962 in Moscow, Russia) is a contemporary artist who lives and works in Moscow. Her work spans film, photography, drawing and object-based mediums, where she draws on quotidian moments and marginal spaces from everyday life as a way of exploring the increasing fragmentation of master narratives in contemporary Russian culture.\nShe holds a BA from the Moscow Cinema Academy, Moscow and an MA from the Rijksakademie Van Beeldende Kunsten, Amsterdam.\nOLGA CHERNYSHEVA's often unwitting subjects are observed negotiating a society in turbulence, where the sense of a common future is rapidly dissolving. Her films, photographs, paintings, drawings and object-based works lyrically investigate the fabric of individuality and self-sufficiency, and meditate upon the role of the artist in a time of flux. Chernysheva has a vital interest in the relations between object and figure, in particular in the ways that people and the spaces they inhabit seem often to co-exist uneasily. Her backgrounds with their fluctuating tonalities and psychological charge vie with her subjects for center stage.","bio_dates":"b. 1962"},{"slug":"chernysheva_olga_train","ok":true,"partial":false,"title":"The Train","artist":"Olga Chernysheva","year":"2006","startOffset":0,"sourceSecs":123.809,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":8834520,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chernysheva_olga_train/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chernysheva_olga_train/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chernysheva_olga_train.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chernysheva_olga_train/main.mp4?v=2","description":"The vast expanses of Russia make trains into more than means of transportation: instead, they become places of residence where singular forms of life unfold. In Olga Chernysheva's work, the inhabitation of trains gains its inner form from the economics of beggary and traveling trade with cheap goods and from the aesthetics of wandering musicians and rhapsodic poets. The film's ethical mood is underlined by the \"timeless\" music of Mozart, which supplies the recognizable social texture of the image with an exalted well-temperedness, as if to tell the spectator: you don't have to hurry, you have already reached where you wanted to go to. For the duration of the journey, it is you who belong to this space and not it to you. Chernysheva's train can be likened to a monad, whose movement through physical space (movement to…) runs opposite to the forces that supply it with its form. The camera moves from the tail of the train to its head wagon, while the train's inner forces (traders, beggars, rhapsodic poets) move in our direction. These forces are obviously recognizable as images of the past, coming toward us from the future. It is this sequence of image-memories from the future moving toward the spectator that construct what could be called the film's ethos, its ethical frame. Another aspect that reveals the ethos of Chernysheva's film can be characterized as the immobility of movement. The illusion of perspectivism, which the camera's movement toward a vanishing point of covergance would seem to entail, is destroyed by the repetition of one and the same musical phrase and the reversed (anti-perspectivistic) movement of figures, but it culminates in what is probably one of the film's most important episodes, its \"punctum\", the appearance of a woman between the cars who gazes into the camera for a long time. It is in this episode that the camera first reveals its own physical presence. All movement comes to a halt. In the mutual reflection of the figure and the camera, the reversibility of what is taking place emerges. The consecutive \"movement to…\" has ultimately been interrupted. In this sense, Olga Chernysheva is effectively speaking of the fictionality of any purposeful movement. Not to move toward something, but to learn to the art of living within something always already available, something always nearby. It is precisely by existing within this \"nearby\" that we can gain what one could name with the grandiloquent word of \"freedom\".","artist_bio":"Olga Chernysheva (born 1962 in Moscow, Russia) is a contemporary artist who lives and works in Moscow. Her work spans film, photography, drawing and object-based mediums, where she draws on quotidian moments and marginal spaces from everyday life as a way of exploring the increasing fragmentation of master narratives in contemporary Russian culture.\nShe holds a BA from the Moscow Cinema Academy, Moscow and an MA from the Rijksakademie Van Beeldende Kunsten, Amsterdam.\nOLGA CHERNYSHEVA's often unwitting subjects are observed negotiating a society in turbulence, where the sense of a common future is rapidly dissolving. Her films, photographs, paintings, drawings and object-based works lyrically investigate the fabric of individuality and self-sufficiency, and meditate upon the role of the artist in a time of flux. Chernysheva has a vital interest in the relations between object and figure, in particular in the ways that people and the spaces they inhabit seem often to co-exist uneasily. Her backgrounds with their fluctuating tonalities and psychological charge vie with her subjects for center stage.","bio_dates":"b. 1962"},{"slug":"cherry_don_delamane_1967","ok":true,"partial":false,"title":"Don Cherry","artist":"Don Cherry","year":"1973","startOffset":0,"sourceSecs":987.661,"sourceHeight":404,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":60601232,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cherry_don_delamane_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cherry_don_delamane_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cherry_don_delamane_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cherry_don_delamane_1967/main.mp4?v=2","description":"Director: Jean-Noël Delamare, Nathalie Perrey, Philippe Gras<br/> Place of Publication/Creation: France<br/> Date: 1973<br/> Form: motion picture<br/> <br/> Personnel on Camera: Don Cherry, trumpet, illustrating an Andre Breton poem in various Paris locations.<br/><br/>Un homme noir, trompettiste de free-jazz, débarque sur la terre, venu d'un autre monde. Il recherche la vérité de ce monde, mais ne sait quel chemin prendre? Il parcourt plusieurs chemins, abat des monstres, pour enfin découvrir les trois vérités : musique, sagesse, amour.","artist_bio":"DON CHERRY\n(1973) dir. Jean-Noël Delamare, Nathalie Perrey, Philippe Gras\nDon Cherry (1936-1995) created an influential legacy by contrasting his Bebop-style Jazz with genres such as Free Jazz and World music. His rise to prominence came in the late 1950s performing Free Jazz with Ornette Coleman. Their music not only shook up the Jazz community with their avant garde sound and inventive compositional structure, but became part of the liberating social revolution that resonated in 1960s American culture. Cherry's interest expanded beyond the gamut of American styles into exotic musical structure and composition. His arrangements often juxtaposed instrumental experimentation with the solemn and ancient musical traditions of the ethnic lands he traveled. Cherry's Bebop-infused solos provided the controversial genre with a traditional Jazz sensibility, helping to maintain an enduring Jazz narrative.","bio_dates":"1936-1995"},{"slug":"cherry_don_multikulti_iphone","ok":true,"partial":false,"title":"Don Cherry's \"Multikulti\"","artist":"Don Cherry","year":"1994","startOffset":0,"sourceSecs":3425.548,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":199122831,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cherry_don_multikulti_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cherry_don_multikulti_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cherry_don_multikulti_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cherry_don_multikulti_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cherry_don_multikulti_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Ywe Jalander <br/><br/> Don Cherry is a musician of endless versatility. An innovative jazz trumpeter, he combined be-bop, middle eastern and African music to create a diverse music style that became his own. \"Multikulti\" is a quartet featuring international music, mainstream and reggae. <br/><br/> In a live concert recorded at the Days of Jazz Festival in Stuttgart, Germany, trumpeter/keyboardist/vocals Don Cherry, saxophonist/flutist/keyboardist Peter Apfelbaum, bassist Bo Freeman, and drummer Joshua Jones. <br/><br/> In this performance from the Days of Jazz Festival in Stuttgart, Don Cherry continues his fusion of jazz and world beat music, featuring African percussion and instruments. Peter Apfelbaum, Bo Freeman and Joshua Jones provide backing on such selections as \"Trans Love Airways,\" \"Rhumba Multikulti/Race Face,\" \"Walk to the Mountain\" and more. <br/><br/> Recorded live in concert at the Days of Jazz Festival in Stuttgart, Germany. Don Cherry, as well as singing vocals, plays the following instruments: Pocket Trumpet, Keyboards, Doussin Gouni, Melodica, African Percussion, and Flute. Tracks include: \"Walk to the Mountain\" \"Rhumba Multikulti/Race Face\" \"When the Rain Comes\" \"Bemsha Swing\" \"Trans Love Airways\"","artist_bio":"DON CHERRY\n(1973) dir. Jean-Noël Delamare, Nathalie Perrey, Philippe Gras\nDon Cherry (1936-1995) created an influential legacy by contrasting his Bebop-style Jazz with genres such as Free Jazz and World music. His rise to prominence came in the late 1950s performing Free Jazz with Ornette Coleman. Their music not only shook up the Jazz community with their avant garde sound and inventive compositional structure, but became part of the liberating social revolution that resonated in 1960s American culture. Cherry's interest expanded beyond the gamut of American styles into exotic musical structure and composition. His arrangements often juxtaposed instrumental experimentation with the solemn and ancient musical traditions of the ethnic lands he traveled. Cherry's Bebop-infused solos provided the controversial genre with a traditional Jazz sensibility, helping to maintain an enduring Jazz narrative.","bio_dates":"1936-1995"},{"slug":"chetwynd_spartacus_hermitos_children_2009","ok":true,"partial":false,"title":"Hermitos Children","artist":"Spartacus Chetwynd","year":"2009","startOffset":0,"sourceSecs":1242.987,"sourceHeight":404,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":75808756,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chetwynd_spartacus_hermitos_children_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chetwynd_spartacus_hermitos_children_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chetwynd_spartacus_hermitos_children_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chetwynd_spartacus_hermitos_children_2009/main.mp4?v=2","description":"Spartacus Chetwynd's Hermito's Children is presented on a wall of monitors, it is a bonkers ride into a zone where trash television meets raunchy underground culture; where transgender detectives investigate the case of a girl who died of too many orgasms on a dildo see-saw, to a soundtrack swinging between death metal and lisped monologues about opening a Jewish restaurant (Chetwynd ran an improvised Jewish restaurant during the making of her film, channeling the experience into her recorded scenario.) - from <i>Frieze</i> review of the Tate Triennial 2009<br/><br/>\"\"In 'Hermitos Children' I was referencing Pasolini's 'Acetone' (1961). I tried to film a narrative in front of the live performance events. For example a character would say something in front of the chaotic events going on behind them. In this way documenting the performances I produced in the year 2008 and making them into a continuous narrative.\" -- Spartacus Chetwynd<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"Spartacus Chetwynd (b. 1973, London) is a British artist whose practice intertwines performance, sculpture, painting, installation and video. Her performances resemble folk plays or street spectacles, involving a fluid troupe of friends and family members. Their improvised props, costumes and scenery often form sculptural installations in their own right. Addressing subjects as diverse as Adam and Eve in the poetry of John Milton (The Fall of Man, Tate Britain, 2006) or ancient and modern systems of democracy (Odd Man Out, Sadie Coles, London, 2011), the performances strike a darkly carnivalesque note, and tread an ambiguous line between melodrama, arcane ritual, and pop-cultural spoof.\nSpartacus Chetwynd studied Social Anthropology at University College London before studying art at the Slade and the RCA. She has performed and exhibited internationally. Major solo exhibitions include Help! I'm trapped in a Muzuzah Factory, Le Consortium, Dijon, France, 2008, and Spartacus Chetywnd, Migros Museum für Gegenwartskunst, Zürich, Switzerland, 2007. Recent performances include 'The Visionary Vineyard: Dreaming of Free Energy', Hayward Gallery, London, 2011, and A Tax Haven Run By Women, Frieze Art Fair London, 2010. In 2010 she was shortlisted for the Jarman Award for video artists.","bio_dates":"b. 1973"},{"slug":"chetwynd_spartacus_the_call_of_the_wild_2007","ok":true,"partial":false,"title":"The Walk to Dover","artist":"Spartacus Chetwynd","year":"2006","startOffset":0,"sourceSecs":1507.52,"sourceHeight":404,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":86957185,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chetwynd_spartacus_the_call_of_the_wild_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chetwynd_spartacus_the_call_of_the_wild_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chetwynd_spartacus_the_call_of_the_wild_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chetwynd_spartacus_the_call_of_the_wild_2007/main.mp4?v=2","description":"\"\"Aping the narrative from Charles Dickens' semi-autobiographical novel, David Copperfield, Chetwynd leads a group of 'urchins' from London to Dover. They retrace Copperfield’s miserible journey from St. George's Circus where he was mugged to Dover. He ate roots from the ground and slept where he could, Chetwynd's group are also seen to 'live off the land'. Working in collage, painting and performance, Chetwynd combines elements from literature, music and cinema, to make very messy irreverent art. Past reviews have been undecided 'At Best this is 'Punk' or is it simply abysmal'? -- Jarman Film nomination<br/><br/>\"\"'The Walk to Dover' was an experiment, we took a camera that predated digital cameras so we could not see the images we snapped. Also the edit of 16mm film at the end of the 12 min video, this is meant to communicate the adventures we had on the 100 mile walk. It was an experiment and a reaction to video diary and reality TV.\"<br><br> -- Spartacus Chetwynd<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br></br></br>","artist_bio":"Spartacus Chetwynd (b. 1973, London) is a British artist whose practice intertwines performance, sculpture, painting, installation and video. Her performances resemble folk plays or street spectacles, involving a fluid troupe of friends and family members. Their improvised props, costumes and scenery often form sculptural installations in their own right. Addressing subjects as diverse as Adam and Eve in the poetry of John Milton (The Fall of Man, Tate Britain, 2006) or ancient and modern systems of democracy (Odd Man Out, Sadie Coles, London, 2011), the performances strike a darkly carnivalesque note, and tread an ambiguous line between melodrama, arcane ritual, and pop-cultural spoof.\nSpartacus Chetwynd studied Social Anthropology at University College London before studying art at the Slade and the RCA. She has performed and exhibited internationally. Major solo exhibitions include Help! I'm trapped in a Muzuzah Factory, Le Consortium, Dijon, France, 2008, and Spartacus Chetywnd, Migros Museum für Gegenwartskunst, Zürich, Switzerland, 2007. Recent performances include 'The Visionary Vineyard: Dreaming of Free Energy', Hayward Gallery, London, 2011, and A Tax Haven Run By Women, Frieze Art Fair London, 2010. In 2010 she was shortlisted for the Jarman Award for video artists.","bio_dates":"b. 1973"},{"slug":"chetwynd_spartacus_the_walk_to_dover_2007","ok":true,"partial":false,"title":"The Walk to Dover","artist":"Spartacus Chetwynd","year":"2006","startOffset":0,"sourceSecs":694.507,"sourceHeight":404,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":43362343,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chetwynd_spartacus_the_walk_to_dover_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chetwynd_spartacus_the_walk_to_dover_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chetwynd_spartacus_the_walk_to_dover_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chetwynd_spartacus_the_walk_to_dover_2007/main.mp4?v=2","description":"\"\"Aping the narrative from Charles Dickens' semi-autobiographical novel, David Copperfield, Chetwynd leads a group of 'urchins' from London to Dover. They retrace Copperfield’s miserible journey from St. George's Circus where he was mugged to Dover. He ate roots from the ground and slept where he could, Chetwynd's group are also seen to 'live off the land'. Working in collage, painting and performance, Chetwynd combines elements from literature, music and cinema, to make very messy irreverent art. Past reviews have been undecided 'At Best this is 'Punk' or is it simply abysmal'? -- Jarman Film nomination<br/><br/>\"\"'The Walk to Dover' was an experiment, we took a camera that predated digital cameras so we could not see the images we snapped. Also the edit of 16mm film at the end of the 12 min video, this is meant to communicate the adventures we had on the 100 mile walk. It was an experiment and a reaction to video diary and reality TV.\"<br><br> -- Spartacus Chetwynd<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br></br></br>","artist_bio":"Spartacus Chetwynd (b. 1973, London) is a British artist whose practice intertwines performance, sculpture, painting, installation and video. Her performances resemble folk plays or street spectacles, involving a fluid troupe of friends and family members. Their improvised props, costumes and scenery often form sculptural installations in their own right. Addressing subjects as diverse as Adam and Eve in the poetry of John Milton (The Fall of Man, Tate Britain, 2006) or ancient and modern systems of democracy (Odd Man Out, Sadie Coles, London, 2011), the performances strike a darkly carnivalesque note, and tread an ambiguous line between melodrama, arcane ritual, and pop-cultural spoof.\nSpartacus Chetwynd studied Social Anthropology at University College London before studying art at the Slade and the RCA. She has performed and exhibited internationally. Major solo exhibitions include Help! I'm trapped in a Muzuzah Factory, Le Consortium, Dijon, France, 2008, and Spartacus Chetywnd, Migros Museum für Gegenwartskunst, Zürich, Switzerland, 2007. Recent performances include 'The Visionary Vineyard: Dreaming of Free Energy', Hayward Gallery, London, 2011, and A Tax Haven Run By Women, Frieze Art Fair London, 2010. In 2010 she was shortlisted for the Jarman Award for video artists.","bio_dates":"b. 1973"},{"slug":"child_abigail_mayhem_1987","ok":true,"partial":false,"title":"Mayhem","artist":"Abigail Child","year":"1987","startOffset":0,"sourceSecs":999.317,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":65548344,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/child_abigail_mayhem_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/child_abigail_mayhem_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/child_abigail_mayhem_1987.mp4","hasFrames":true,"description":"Part 6 of Is This What You Were Born For? Film (16 mm, b/w, sound, 20 min.).","artist_bio":"\"\"Abigail Child's series IS THIS WHAT YOU WERE BORN FOR? is one of the most assured and important projects to have emerged over the last decade. Constructing from and subverting a wide galaxy of source materials, these films are archeological digs into the very stuff, the conceptions, we are born into. Child decomposes the materials and gestures that would compose us. The films are charged with a startling and playful musicality and poetic and rigorous compression. Each image and sound cuts deep and works over time containing hidden and unhidden detonations working against the manufactured ambush that images have in store. Agile dances through treacherous debris, they negotiate an obstacle course of polar anatomies zig-zagging with corkscrew twists and nuclear splits -- a gambol against the hazards.\nDetournments, deviations, disruptions, allures. Can aggression be sumptuous? These films are volatile and they have bite. Here the subliminal cannot caress, it comes out with its hands up, the smile wiped from its face. The accelerated velocity of these films doesn't create an alternate camouflage. At this speed viewer passivity is unsafe and active viewing is a necessary pleasure. We are provoked to get up to speed, to be resourceful, dance, break step. These films put a spin on things. Shift the coordinates. The peripheries relocate to the core drawn by the centrifugal force of the editing. Posing a threat to threatening poses these frictions erupt with new clarity.\"\nMARK MCELHATTEN Associate Curator of Film & Video American Museum of the Moving Image 1990 [currently curator of AVANTGARDE VISIONS, New York Film Festival]\nAvant-garde filmmaker Abigail Child began her career in San Francisco in 1977 with the experimental film Some Exterior Presence. She had been originally trained to make documentary films, but as her interests primarily lay in the technicalities of film form, she switched to the cutting edge where she became recognized for her fast-paced, whimsical short films. From 1981 through 1989, she began producing a seven-part film, Is This What You Were Born For?, a reworking of different film genres, such as film noir, pornography, and the documentary, designed to explore their underlying content and social setting. In 1987 Child created Mayhem, a film about lesbianism. She moved to New York in 1980 where in addition to filmmaking, she was also active in the avant-garde film movement: teaching, putting together public screenings, and publishing theoretical writings in several film and poetics journals across the U.S. ~ Sandra Brennan, All Movie Guide","bio_dates":"b. 1948"},{"slug":"child_abigail_mercy_1989","ok":true,"partial":false,"title":"Mercy","artist":"Abigail Child","year":"1989","startOffset":0,"sourceSecs":612.45,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":42999715,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/child_abigail_mercy_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/child_abigail_mercy_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/child_abigail_mercy_1989.mp4","hasFrames":true,"description":"Part 7 of Is This What You Were Born For? Film.(l6mm, color, sound, 10 min.)","artist_bio":"\"\"Abigail Child's series IS THIS WHAT YOU WERE BORN FOR? is one of the most assured and important projects to have emerged over the last decade. Constructing from and subverting a wide galaxy of source materials, these films are archeological digs into the very stuff, the conceptions, we are born into. Child decomposes the materials and gestures that would compose us. The films are charged with a startling and playful musicality and poetic and rigorous compression. Each image and sound cuts deep and works over time containing hidden and unhidden detonations working against the manufactured ambush that images have in store. Agile dances through treacherous debris, they negotiate an obstacle course of polar anatomies zig-zagging with corkscrew twists and nuclear splits -- a gambol against the hazards.\nDetournments, deviations, disruptions, allures. Can aggression be sumptuous? These films are volatile and they have bite. Here the subliminal cannot caress, it comes out with its hands up, the smile wiped from its face. The accelerated velocity of these films doesn't create an alternate camouflage. At this speed viewer passivity is unsafe and active viewing is a necessary pleasure. We are provoked to get up to speed, to be resourceful, dance, break step. These films put a spin on things. Shift the coordinates. The peripheries relocate to the core drawn by the centrifugal force of the editing. Posing a threat to threatening poses these frictions erupt with new clarity.\"\nMARK MCELHATTEN Associate Curator of Film & Video American Museum of the Moving Image 1990 [currently curator of AVANTGARDE VISIONS, New York Film Festival]\nAvant-garde filmmaker Abigail Child began her career in San Francisco in 1977 with the experimental film Some Exterior Presence. She had been originally trained to make documentary films, but as her interests primarily lay in the technicalities of film form, she switched to the cutting edge where she became recognized for her fast-paced, whimsical short films. From 1981 through 1989, she began producing a seven-part film, Is This What You Were Born For?, a reworking of different film genres, such as film noir, pornography, and the documentary, designed to explore their underlying content and social setting. In 1987 Child created Mayhem, a film about lesbianism. She moved to New York in 1980 where in addition to filmmaking, she was also active in the avant-garde film movement: teaching, putting together public screenings, and publishing theoretical writings in several film and poetics journals across the U.S. ~ Sandra Brennan, All Movie Guide","bio_dates":"b. 1948"},{"slug":"child_abigail_perils_1986","ok":true,"partial":false,"title":"Perils","artist":"Abigail Child","year":"1986","startOffset":0,"sourceSecs":216.516,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":14485839,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/child_abigail_perils_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/child_abigail_perils_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/child_abigail_perils_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/child_abigail_perils_1986/main.mp4?v=2","description":"16 mm, b/w, sound, 5 min.<br/> Part 4 of Is This What You Were Born For?","artist_bio":"\"\"Abigail Child's series IS THIS WHAT YOU WERE BORN FOR? is one of the most assured and important projects to have emerged over the last decade. Constructing from and subverting a wide galaxy of source materials, these films are archeological digs into the very stuff, the conceptions, we are born into. Child decomposes the materials and gestures that would compose us. The films are charged with a startling and playful musicality and poetic and rigorous compression. Each image and sound cuts deep and works over time containing hidden and unhidden detonations working against the manufactured ambush that images have in store. Agile dances through treacherous debris, they negotiate an obstacle course of polar anatomies zig-zagging with corkscrew twists and nuclear splits -- a gambol against the hazards.\nDetournments, deviations, disruptions, allures. Can aggression be sumptuous? These films are volatile and they have bite. Here the subliminal cannot caress, it comes out with its hands up, the smile wiped from its face. The accelerated velocity of these films doesn't create an alternate camouflage. At this speed viewer passivity is unsafe and active viewing is a necessary pleasure. We are provoked to get up to speed, to be resourceful, dance, break step. These films put a spin on things. Shift the coordinates. The peripheries relocate to the core drawn by the centrifugal force of the editing. Posing a threat to threatening poses these frictions erupt with new clarity.\"\nMARK MCELHATTEN Associate Curator of Film & Video American Museum of the Moving Image 1990 [currently curator of AVANTGARDE VISIONS, New York Film Festival]\nAvant-garde filmmaker Abigail Child began her career in San Francisco in 1977 with the experimental film Some Exterior Presence. She had been originally trained to make documentary films, but as her interests primarily lay in the technicalities of film form, she switched to the cutting edge where she became recognized for her fast-paced, whimsical short films. From 1981 through 1989, she began producing a seven-part film, Is This What You Were Born For?, a reworking of different film genres, such as film noir, pornography, and the documentary, designed to explore their underlying content and social setting. In 1987 Child created Mayhem, a film about lesbianism. She moved to New York in 1980 where in addition to filmmaking, she was also active in the avant-garde film movement: teaching, putting together public screenings, and publishing theoretical writings in several film and poetics journals across the U.S. ~ Sandra Brennan, All Movie Guide","bio_dates":"b. 1948"},{"slug":"chomette_henri_cinq_minutes_de_cinema_pure_1926","ok":true,"partial":false,"title":"Cinq minutes de cinéma pur","artist":"Henri Chomette","year":"1925","startOffset":0,"sourceSecs":279.189,"sourceHeight":478,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":50097690,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chomette_henri_cinq_minutes_de_cinema_pure_1926/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chomette_henri_cinq_minutes_de_cinema_pure_1926/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chomette_henri_cinq_minutes_de_cinema_pure_1926.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chomette_henri_cinq_minutes_de_cinema_pure_1926/main.mp4?v=2","description":"France, 1925-1926, 6', 35mm <br/><br/> Speeds, forms, surfaces, a film in which the action lies not in representation, but in itself. Chomette describes it as pure or intrinsic cinema. Not images for images sake, but an exposition-juxtaposition of objects and landscapes activated by cinematographic operations (acceleration, double-exposure, printing in negative): \"A series of incongruous visions - inconceivable outside the marriage of the camera lens and mobile film\", the effect of which is to deny us meaning, representation, the intellectual cinema of reflection. A cinema of physical and visual sensation, precisely that visual emotion of which Germaine Dulac speaks. The cinema as transport. A cinema of the eye and the heart, a cinemotion\". (Prosper Hillairet)","artist_bio":"Henri Chomette est un réalisateur français né le 30 mars 1896 à Paris Ier1, mort le 12 août 1941 à Rabat (Maroc). Frère de René Clair, il a réalisé en 1927 un reportage sur l'Indochine. Parti en repérages avec Jacques Feyder, il en reste un documentaire sur les ruines d'Angkor.\nFrère aîné de René Clair et plutôt méconnu, ce qui lui valut plus tard le sobriquet de Clair-obscur2,3, il s'intéresse d'abord - après avoir été figurant et assistant réalisateur, notamment de Jacques de Baroncelli - à la théorie cinématographique et tourne des films muets d'avant-garde qu'il qualifie de « cinéma pur », notamment Jeu des reflets et de la vitesse (1923), À quoi rêvent les jeunes filles? (1924), Cinq minutes de cinéma pur (1925).\nÀ partir du Requin (1930), premier film parlant tourné en France, il décide de se détourner de la théorie et de diriger des films plus accessibles. Il part pour Berlin qui était alors la capitale du cinéma moderne en Europe et tourne des versions françaises de films allemands2, pour se familiariser avec le monde des cinéastes allemands. De retour en France en 1933, son film Prenez garde à la peinture est bien accueilli2, mais dans des cercles restreints. Il poursuit sa collaboration avec des cinéastes tels qu'Ucicky, et tourne en 1934 Rêve éternel avec Arnold Fanck, film de montagne dont le genre est alors très en vogue, mais la version allemande a plus de succès. Après une dernière comédie Êtes-vous jalouse? en 1937, il abandonne le cinéma commercial et se tourne pour des raisons économiques et politiques vers le cinéma des armées.\nIl meurt dans l'oubli au Maroc, alors sous protectorat français.\nIl est inhumé dans la chapelle funéraire familiale du cimetière ancien de Neuilly-sur-Seine, où l'a rejoint son frère René Clair en 1981.","bio_dates":"1896-1941"},{"slug":"chomon_segundo_de_collected_works_1902_14_iphone","ok":true,"partial":false,"title":"Selected Works","artist":"Segundo de Chomón","year":"1902-1914","startOffset":0,"sourceSecs":5851.821,"sourceHeight":320,"sourceWidth":414,"hasAudio":true,"hasAmbientMp4":true,"bytes":339417881,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chomon_segundo_de_collected_works_1902_14_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chomon_segundo_de_collected_works_1902_14_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chomon_segundo_de_collected_works_1902_14_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chomon_segundo_de_collected_works_1902_14_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chomon_segundo_de_collected_works_1902_14_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Spanish film pioneer Segundo de Chomón spent most of his influential career associated with Pathé Laboratories. Chomón joined the company in 1901 and set up a laboratory for adding color to film in Barcelona. He started directing newsreels the following year. Chomón's innovations include the development of several camera tricks, including single-frame techniques, optical dissolves, and complicated traveling shots. In 1902, Chomón successfully combined live-action with miniatures in the short Choque de Trenes/Collision of Trains. In 1905, he was the first Spanish filmmaker to use stop-motion techniques in Eclipse de Sol/Eclipse of the Sun. Toward the end of 1905, Chomón relocated to Paris to direct over 100 short films for Pathé; he also shared his techniques with other directors. He first used the traveling shot (the first time it was ever used) in a scene for La Vie et la Passion de Notre Seigneur Jesus Christ/The Life and Passion of Jesus Christ (1907), which was directed by Ferdinand Zecca and Lucien Nonguet. Chomón accomplished the shot by devising a special skating device, and perfected the special shot while filming Cabiria for Italian director Giovanni Pastrone in 1914. In 1909, Chomón was among the first to use silhouettes in one of the first animated films, the surreal Une Excursion Incoherente/Traveler's Nightmare. Chomón returned to Barcelona in 1910 and worked closely with Juan Fuster to create a series of short fiction films. In 1911, he produced a series of travel documentaries for Pathé and later in the year founded Ibérico, his own production company (he released his films through Pathé). Chomón moved to Italy in 1912 and worked as a cinematographer and special effects technician with the Italia Film company, for whom Chomón also directed several animated shorts. Chomón co-invented a two-tone color process in the 1920s with Swiss engineer Ernest Zollinger. The pair later exhibited two color films at various science expos. Chomón died of illness in Paris in 1929 shortly after returning from Morocco where he was shooting color footage. - All Movie Guide","artist_bio":"Spanish film pioneer Segundo de Chomón spent most of his influential career associated with Pathé Laboratories. Chomón joined the company in 1901 and set up a laboratory for adding color to film in Barcelona. He started directing newsreels the following year. Chomón's innovations include the development of several camera tricks, including single-frame techniques, optical dissolves, and complicated traveling shots. In 1902, Chomón successfully combined live-action with miniatures in the short Choque de Trenes/Collision of Trains. In 1905, he was the first Spanish filmmaker to use stop-motion techniques in Eclipse de Sol/Eclipse of the Sun. Toward the end of 1905, Chomón relocated to Paris to direct over 100 short films for Pathé; he also shared his techniques with other directors. He first used the traveling shot (the first time it was ever used) in a scene for La Vie et la Passion de Notre Seigneur Jesus Christ/The Life and Passion of Jesus Christ (1907), which was directed by Ferdinand Zecca and Lucien Nonguet. Chomón accomplished the shot by devising a special skating device, and perfected the special shot while filming Cabiria for Italian director Giovanni Pastrone in 1914. In 1909, Chomón was among the first to use silhouettes in one of the first animated films, the surreal Une Excursion Incoherente/Traveler's Nightmare. Chomón returned to Barcelona in 1910 and worked closely with Juan Fuster to create a series of short fiction films. In 1911, he produced a series of travel documentaries for Pathé and later in the year founded Ibérico, his own production company (he released his films through Pathé). Chomón moved to Italy in 1912 and worked as a cinematographer and special effects technician with the Italia Film company, for whom Chomón also directed several animated shorts. Chomón co-invented a two-tone color process in the 1920s with Swiss engineer Ernest Zollinger. The pair later exhibited two color films at various science expos. Chomón died of illness in Paris in 1929 shortly after returning from Morocco where he was shooting color footage. - All Movie Guide","bio_dates":"1871-1929"},{"slug":"chong_heman_the_man_in_the_high_castle","ok":true,"partial":false,"title":"The Man in the High Castle","artist":"Heman Chong","year":"2011","startOffset":0,"sourceSecs":25.101,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1476374,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chong_heman_the_man_in_the_high_castle/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chong_heman_the_man_in_the_high_castle/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chong_heman_the_man_in_the_high_castle.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Heman Chong is an artist, curator and writer. His art practice involves an investigation into the philosophies, reasons and methods of individuals and communities imagining the future. Charged with a conceptual drive, this research is then adapted into objects, images, installations, situations or texts.\nIn 2006, he produced a writing workshop with Leif Magne Tangen at Project Arts Center in Dublin, where they co-authored \"PHILIP\", a science fiction novel, with Mark Aerial Waller, Cosmin Costinas, Rosemary Heather, Francis McKee, David Reinfurt and Steve Rushton.\nThe artist has held solo exhibitions at Wilkinson (London), Rossi & Rossi (London), SOTA Gallery (Singapore), NUS Museum (Singapore), Kunstverein Milano (Milan), Motive Gallery (Amsterdam), Hermes Third Floor (Singapore), Vitamin Creative Space (Guangzhou), Art In General (New York), Project Arts Centre (Dublin), Ellen de Bruijne Projects (Amsterdam), The Substation (Singapore), Kuenstlerhaus Bethanien (Berlin) and at Sparwasser HQ (Berlin).\nHis work has also been shown extensively in group exhibitions, including at the Sharjah Art Foundation, Taipei Contemporary Art Center, San Francisco Asian Art Museum, Kumho Museum of Art, Museu d'Art Contemporani de Barcelona, Kroeller-Muller Museum, Stedelijk Museum Bureau, Nam June Paik Art Center, Gertrude Contemporary, Arnolfini, Thyssen-Bornemisza Art Contemporary, Museum of Contemporary Art Denver, Museum of Contemporary Art North Miami, Hamburger Bahnhof, Fukuoka Asian Art Museum, Kadist Art Foundation and at the Daejeon Museum of Art.\nHe has participated in numerous international biennales, including Asia Pacific Triennale 7 (2012), Performa 11 (2011), Momentum 6 (2011), Manifesta 8 (2010), 2nd Singapore Biennale (2008), SCAPE Christchurch Biennale (2006), Busan Biennale (2004), 10th India Triennale (2000) and represented Singapore in the 50th Venice Biennale (2003).\nHis work has been featured prominently in A Prior, ArtAsiaPacific, Artforum International, ArtInfo, Art-iT, Art Lies, Frieze, LEAP, SITE and Visionaire.","bio_dates":"b. 1977"},{"slug":"chong_heman_the_wind_up_bird_chronicle","ok":true,"partial":false,"title":"The Wind-Up Bird Chronicle","artist":"Heman Chong","year":"2011","startOffset":0,"sourceSecs":25.101,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1389748,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chong_heman_the_wind_up_bird_chronicle/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chong_heman_the_wind_up_bird_chronicle/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chong_heman_the_wind_up_bird_chronicle.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Heman Chong is an artist, curator and writer. His art practice involves an investigation into the philosophies, reasons and methods of individuals and communities imagining the future. Charged with a conceptual drive, this research is then adapted into objects, images, installations, situations or texts.\nIn 2006, he produced a writing workshop with Leif Magne Tangen at Project Arts Center in Dublin, where they co-authored \"PHILIP\", a science fiction novel, with Mark Aerial Waller, Cosmin Costinas, Rosemary Heather, Francis McKee, David Reinfurt and Steve Rushton.\nThe artist has held solo exhibitions at Wilkinson (London), Rossi & Rossi (London), SOTA Gallery (Singapore), NUS Museum (Singapore), Kunstverein Milano (Milan), Motive Gallery (Amsterdam), Hermes Third Floor (Singapore), Vitamin Creative Space (Guangzhou), Art In General (New York), Project Arts Centre (Dublin), Ellen de Bruijne Projects (Amsterdam), The Substation (Singapore), Kuenstlerhaus Bethanien (Berlin) and at Sparwasser HQ (Berlin).\nHis work has also been shown extensively in group exhibitions, including at the Sharjah Art Foundation, Taipei Contemporary Art Center, San Francisco Asian Art Museum, Kumho Museum of Art, Museu d'Art Contemporani de Barcelona, Kroeller-Muller Museum, Stedelijk Museum Bureau, Nam June Paik Art Center, Gertrude Contemporary, Arnolfini, Thyssen-Bornemisza Art Contemporary, Museum of Contemporary Art Denver, Museum of Contemporary Art North Miami, Hamburger Bahnhof, Fukuoka Asian Art Museum, Kadist Art Foundation and at the Daejeon Museum of Art.\nHe has participated in numerous international biennales, including Asia Pacific Triennale 7 (2012), Performa 11 (2011), Momentum 6 (2011), Manifesta 8 (2010), 2nd Singapore Biennale (2008), SCAPE Christchurch Biennale (2006), Busan Biennale (2004), 10th India Triennale (2000) and represented Singapore in the 50th Venice Biennale (2003).\nHis work has been featured prominently in A Prior, ArtAsiaPacific, Artforum International, ArtInfo, Art-iT, Art Lies, Frieze, LEAP, SITE and Visionaire.","bio_dates":"b. 1977"},{"slug":"chopin_henri_at_home","ok":true,"partial":false,"title":"Henri Chopin at Home, 15/05/04, Dereham, England","artist":"Henri Chopin","year":null,"startOffset":0,"sourceSecs":245.458,"sourceHeight":450,"sourceWidth":600,"hasAudio":true,"hasAmbientMp4":true,"bytes":13842668,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chopin_henri_at_home/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chopin_henri_at_home/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chopin_henri_at_home.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chopin_henri_at_home/main.mp4?v=2","artist_bio":"Henri Chopin, Syntax International Festival of Sound Poetry (1978)\nLe Dernier Poete Du Monde, 14 Dec 2007. Directed by AM Dumitran (2007)\nHenri Chopin, explorer of the body's voices. For the last forty years, with his sound poetry revue OU (1964-1974), then through his participation in various international sound poetry festivals, through his personal experience in the experimental studios of radio stations in Köln, Paris, Australia, Canada or Sweden and in his concert/performances throughout Europe, Henri Chopin has consistently and unceasingly opened the ways to unexplored spaces beyond all known languages. Thanks to the systematic use of microphones, amplifiers, tape recorders, editing and mixing consoles, he has given a voice to realms beyond modern or experimental music, beyond any note system and headed for spaces without norms, categories, definitions or limits: spaces of permanent metamorphosis. But despite misleading appearances, Henri Chopin is not merely doing a new kind of music; he is not just a consequence of Pierre Schaeffer's concrete music principles and Pierre Henry's experiments in the fifties. Henri Chopin is an individual (in Stirner's sense: the ego and its own) who has always resisted absurd attempts to reduce him to part of a movement, a school, an academism; what one perceives are Henry Chopin's bio-psychical vibrations, that he himself constructed by electronically recording, then modifying, amplifying and transforming the energies of his own body. This language is beyond institutionalised language or indeed beyond any language, it precedes all idioms (sound signs, playful energy signs like those of whales and dolphins), it is a breath language, a soul language (the language of anima), the unfettered respiration of the cosmic energies we are, who belong neither to factions nor clans. The energy of live beings, whose individuality is irreducible, and impossible to break down. Solitary and strange cosmic creatures, mysterious yet showing solidarity, resonating with all those who dared breach shackles and rules, escape vile obedience, submission and compromise, reject complacency and blind allegiance to traditional or experimental academism. With Henri Chopin let go and bid farewell to all that: here's a plunge into the unknown, an exploration of the inside of voice, of the other side of voice, a sort of submarine navigation, of potholing into the unmapped tunnels and grottoes of the glottis, oesophagus, stomach and lungs, the places where pneuma (breath) is formed. Henri Chopin uses electronic devices to explore the pneumatic body relentlessly, but never gives way to the temptation of artificially fiddling with noises. He remains a-live, energetic vibration of the pulsating, cosmic soul. -- Erratum","bio_dates":"1922-2008"},{"slug":"chopin_henri_besancon1995","ok":true,"partial":false,"title":"Besancon1995","artist":"Henri Chopin","year":"1995","startOffset":0,"sourceSecs":2153.604,"sourceHeight":374,"sourceWidth":500,"hasAudio":true,"hasAmbientMp4":true,"bytes":126971908,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chopin_henri_besancon1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chopin_henri_besancon1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chopin_henri_besancon1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chopin_henri_besancon1995/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chopin_henri_besancon1995/main/master.m3u8?v=2","hasMainHls":true},{"slug":"chopin_henri_gantner_2005","ok":true,"partial":false,"title":"Live at Espcace Gantner, Bourgone, France","artist":"Henri Chopin","year":"2005","startOffset":0,"sourceSecs":1697.728,"sourceHeight":374,"sourceWidth":500,"hasAudio":true,"hasAmbientMp4":true,"bytes":103740972,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chopin_henri_gantner_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chopin_henri_gantner_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chopin_henri_gantner_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chopin_henri_gantner_2005/main.mp4?v=2","artist_bio":"Henri Chopin, Syntax International Festival of Sound Poetry (1978)\nLe Dernier Poete Du Monde, 14 Dec 2007. Directed by AM Dumitran (2007)\nHenri Chopin, explorer of the body's voices. For the last forty years, with his sound poetry revue OU (1964-1974), then through his participation in various international sound poetry festivals, through his personal experience in the experimental studios of radio stations in Köln, Paris, Australia, Canada or Sweden and in his concert/performances throughout Europe, Henri Chopin has consistently and unceasingly opened the ways to unexplored spaces beyond all known languages. Thanks to the systematic use of microphones, amplifiers, tape recorders, editing and mixing consoles, he has given a voice to realms beyond modern or experimental music, beyond any note system and headed for spaces without norms, categories, definitions or limits: spaces of permanent metamorphosis. But despite misleading appearances, Henri Chopin is not merely doing a new kind of music; he is not just a consequence of Pierre Schaeffer's concrete music principles and Pierre Henry's experiments in the fifties. Henri Chopin is an individual (in Stirner's sense: the ego and its own) who has always resisted absurd attempts to reduce him to part of a movement, a school, an academism; what one perceives are Henry Chopin's bio-psychical vibrations, that he himself constructed by electronically recording, then modifying, amplifying and transforming the energies of his own body. This language is beyond institutionalised language or indeed beyond any language, it precedes all idioms (sound signs, playful energy signs like those of whales and dolphins), it is a breath language, a soul language (the language of anima), the unfettered respiration of the cosmic energies we are, who belong neither to factions nor clans. The energy of live beings, whose individuality is irreducible, and impossible to break down. Solitary and strange cosmic creatures, mysterious yet showing solidarity, resonating with all those who dared breach shackles and rules, escape vile obedience, submission and compromise, reject complacency and blind allegiance to traditional or experimental academism. With Henri Chopin let go and bid farewell to all that: here's a plunge into the unknown, an exploration of the inside of voice, of the other side of voice, a sort of submarine navigation, of potholing into the unmapped tunnels and grottoes of the glottis, oesophagus, stomach and lungs, the places where pneuma (breath) is formed. Henri Chopin uses electronic devices to explore the pneumatic body relentlessly, but never gives way to the temptation of artificially fiddling with noises. He remains a-live, energetic vibration of the pulsating, cosmic soul. -- Erratum","bio_dates":"1922-2008"},{"slug":"chopin_henri_ledernierpoetedumonde_14dec2007","ok":true,"partial":false,"title":"Le Dernier Poete Du Monde, 14 Dec","artist":"Henri Chopin","year":"2007","startOffset":0,"sourceSecs":670.92,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":281897217,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chopin_henri_ledernierpoetedumonde_14dec2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chopin_henri_ledernierpoetedumonde_14dec2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chopin_henri_ledernierpoetedumonde_14dec2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chopin_henri_ledernierpoetedumonde_14dec2007/main.mp4?v=2","description":"Directed by AM Dumitran <br/><br/> An atmospheric document of French sound-poet and -pioneer Henri Chopin visiting Flanders for the last time in December of 2007, <br/>giving an interview and a performance on 'Tyfustijd' at Radio Centraal in Antwerp.","artist_bio":"Henri Chopin, Syntax International Festival of Sound Poetry (1978)\nLe Dernier Poete Du Monde, 14 Dec 2007. Directed by AM Dumitran (2007)\nHenri Chopin, explorer of the body's voices. For the last forty years, with his sound poetry revue OU (1964-1974), then through his participation in various international sound poetry festivals, through his personal experience in the experimental studios of radio stations in Köln, Paris, Australia, Canada or Sweden and in his concert/performances throughout Europe, Henri Chopin has consistently and unceasingly opened the ways to unexplored spaces beyond all known languages. Thanks to the systematic use of microphones, amplifiers, tape recorders, editing and mixing consoles, he has given a voice to realms beyond modern or experimental music, beyond any note system and headed for spaces without norms, categories, definitions or limits: spaces of permanent metamorphosis. But despite misleading appearances, Henri Chopin is not merely doing a new kind of music; he is not just a consequence of Pierre Schaeffer's concrete music principles and Pierre Henry's experiments in the fifties. Henri Chopin is an individual (in Stirner's sense: the ego and its own) who has always resisted absurd attempts to reduce him to part of a movement, a school, an academism; what one perceives are Henry Chopin's bio-psychical vibrations, that he himself constructed by electronically recording, then modifying, amplifying and transforming the energies of his own body. This language is beyond institutionalised language or indeed beyond any language, it precedes all idioms (sound signs, playful energy signs like those of whales and dolphins), it is a breath language, a soul language (the language of anima), the unfettered respiration of the cosmic energies we are, who belong neither to factions nor clans. The energy of live beings, whose individuality is irreducible, and impossible to break down. Solitary and strange cosmic creatures, mysterious yet showing solidarity, resonating with all those who dared breach shackles and rules, escape vile obedience, submission and compromise, reject complacency and blind allegiance to traditional or experimental academism. With Henri Chopin let go and bid farewell to all that: here's a plunge into the unknown, an exploration of the inside of voice, of the other side of voice, a sort of submarine navigation, of potholing into the unmapped tunnels and grottoes of the glottis, oesophagus, stomach and lungs, the places where pneuma (breath) is formed. Henri Chopin uses electronic devices to explore the pneumatic body relentlessly, but never gives way to the temptation of artificially fiddling with noises. He remains a-live, energetic vibration of the pulsating, cosmic soul. -- Erratum","bio_dates":"1922-2008"},{"slug":"chopin_henri_performance","ok":true,"partial":false,"title":"Henri Chopin Performance, Undated","artist":"Henri Chopin","year":null,"startOffset":0,"sourceSecs":304.623,"sourceHeight":374,"sourceWidth":500,"hasAudio":true,"hasAmbientMp4":true,"bytes":17273052,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chopin_henri_performance/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chopin_henri_performance/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chopin_henri_performance.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chopin_henri_performance/main.mp4?v=2","artist_bio":"Henri Chopin, Syntax International Festival of Sound Poetry (1978)\nLe Dernier Poete Du Monde, 14 Dec 2007. Directed by AM Dumitran (2007)\nHenri Chopin, explorer of the body's voices. For the last forty years, with his sound poetry revue OU (1964-1974), then through his participation in various international sound poetry festivals, through his personal experience in the experimental studios of radio stations in Köln, Paris, Australia, Canada or Sweden and in his concert/performances throughout Europe, Henri Chopin has consistently and unceasingly opened the ways to unexplored spaces beyond all known languages. Thanks to the systematic use of microphones, amplifiers, tape recorders, editing and mixing consoles, he has given a voice to realms beyond modern or experimental music, beyond any note system and headed for spaces without norms, categories, definitions or limits: spaces of permanent metamorphosis. But despite misleading appearances, Henri Chopin is not merely doing a new kind of music; he is not just a consequence of Pierre Schaeffer's concrete music principles and Pierre Henry's experiments in the fifties. Henri Chopin is an individual (in Stirner's sense: the ego and its own) who has always resisted absurd attempts to reduce him to part of a movement, a school, an academism; what one perceives are Henry Chopin's bio-psychical vibrations, that he himself constructed by electronically recording, then modifying, amplifying and transforming the energies of his own body. This language is beyond institutionalised language or indeed beyond any language, it precedes all idioms (sound signs, playful energy signs like those of whales and dolphins), it is a breath language, a soul language (the language of anima), the unfettered respiration of the cosmic energies we are, who belong neither to factions nor clans. The energy of live beings, whose individuality is irreducible, and impossible to break down. Solitary and strange cosmic creatures, mysterious yet showing solidarity, resonating with all those who dared breach shackles and rules, escape vile obedience, submission and compromise, reject complacency and blind allegiance to traditional or experimental academism. With Henri Chopin let go and bid farewell to all that: here's a plunge into the unknown, an exploration of the inside of voice, of the other side of voice, a sort of submarine navigation, of potholing into the unmapped tunnels and grottoes of the glottis, oesophagus, stomach and lungs, the places where pneuma (breath) is formed. Henri Chopin uses electronic devices to explore the pneumatic body relentlessly, but never gives way to the temptation of artificially fiddling with noises. He remains a-live, energetic vibration of the pulsating, cosmic soul. -- Erratum","bio_dates":"1922-2008"},{"slug":"chris_and_cosey_european_rendezvous_1984_iphone","ok":true,"partial":false,"title":"European Rendez-Vous","artist":"Chris & Cosey","year":"1984","startOffset":0,"sourceSecs":2973.186,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":176010170,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chris_and_cosey_european_rendezvous_1984_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chris_and_cosey_european_rendezvous_1984_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chris_and_cosey_european_rendezvous_1984_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chris_and_cosey_european_rendezvous_1984_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chris_and_cosey_european_rendezvous_1984_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: John Lacey<br/> Year: 1984<br/> Time: 50 mins<br/> Music: Chris & Cosey<br/> <br/> Eye of Sound: Those were the days: when the future wasn't bright and dystopia was your daily bread; when apocalypse was just now and the winters cold as dead. Flower-power dreams withered, post-industrial gloom remained. Chris & Cosey's rendez-vous is one with an era, a new stage in the history of gray when synth was to reign supreme paving Europe's way to a new fantasy: the utopia of electric dreams.","artist_bio":"Born in London, England Chris Carter is best known for being a founder member Throbbing Gristle and one half of electronic duo Chris & Cosey (aka Carter Tutti). His long time partner Cosey Fanni Tutti is the mother of his son, Nick and is also a member of TG.\nHe began his career in the late 1960's working for various TV stations (Thames, Granada and LWT) as a sound engineer on numerous TV shows and documentaries. This gave him an invaluable grounding in working with sound, audio techniques and theories. He also got more involved in the visual side of entertainment and performance, which eventually progressed into designing and presenting light shows and visual effects for numerous festivals, events and performances, including bands as diverse as Yes and Hawkwind. This work led to commissions for BBC TV shows, Colour Me Pop and The Old Grey Whistle Test.\nBy the early 70s' Chris was touring universities and colleges with a solo, multimedia show playing self-built synthesizers and keyboards and incorporating a myriad of lighting effects gleaned from his previous work. During this time he also worked extensively with visual artist John Lacey on many 8 mm & 16 mm experimental films and multimedia presentations. In the mid 1970s', and through his connection with John Lacey, Chris began an experimental music/sound collaboration with Cosey Fanni Tutti and Genesis P-Orridge, who at the time were also performing as COUM Transmissions with Peter Christopherson.\nThe results of this musical collaboration was the creation of the now legendary Throbbing Gristle, Industrial Records and the birth of the 'Industrial Music' phenomenon. In 1976 Chris also worked at the London bureau of the ABC News agency as a sound engineer and during that time designed and constructed their London radio studio. In 1977 he was offered a contract to build another ABC studio in Rome but turned it down to continue his involvement as a member of Throbbing Gristle.\nDuring the early years of TG the four members each continued with other solo projects and work. It was during this period (1980) when Chris recorded his first solo album for Industrial Records titled 'The Space Between', (now available on Mute Records). Shortly after the demise of Throbbing Gristle in 1982 Chris Carter and Cosey Fanni Tutti formed the Conspiracy International record label CTI (with backing from Rough Trade Records) and began working together as Chris & Cosey and also as CTI. Initially releasing only music they soon moved into producing video works and with the help of Doublevision released a number of CTI experimental video films and soundtracks. In 1985 Chris released his second solo album Mondo Beat. As well as successfully touring all over the world Chris & Cosey also recorded and collaborated on innumerable releases, most notably with Annie Lennox and Dave Stewart, Robert Wyatt, Coil, Boyd Rice, Lustmord, Monte Cazazza and many more. Chris & Cosey have also remixed tracks for Mortal Loom and Erasure. In 1994 Chris moved also into journalism and regularly has technical articles and reviews published in UK magazine Sound On Sound.\nChris is also a keen photographer and in collaboration with Cosey Fanni Tutti has designed and produced numerous album covers, posters and art works. 1995 saw Chris return to solo performance work after a gap of some 15 years. In 1998 Chris released a compilation CD of tracks from his 1995 Disobey tour: Disobedient, and In 2000 he released a solo studio album: Small Moon. 1998 also saw the release of Caged, a collaboration album with electro musician Ian Boddy.\nIn 2000 Chris, in collaboration with Cosey Fanni Tutti, began producing and releasing a series albums titled: Electronic Ambient Remixes. The first of these, EAR ONE, consisted of remixes of his 1980 'The Space Between' album. In 2002 he released EAR THREE a further solo ambient CD, which consists of remixes of his original Throbbing Gristle industrial rhythm tracks. In 2003 Chris Carter and Cosey Fanni Tutti stopped releasing material and performing as Chris & Cosey and now produce all their work under the title of CARTER TUTTI. Their most recent performance was in February 2005 at the LA MOCA 'See Hear Now' festival, in Los Angeles.\nChris Carter and the other original members of Throbbing Gristle regrouped in 2002 for a series of TG related releases and events. These include the TG24 CD boxed set and accompanying art exhibition in London and performances in 2004 at the Astoria, London, Camber Sands, Sussex and Turin, Italy in 2005.\nChris Carter and Cosey Fanni Tutti again worked on numerous Throbbing Gristle projects, recordings, installations, exhibitions and performances. Their more recent activities included their groundbreaking audio/visual performance at Tate Modern turbine hall with a full choir, their 3-day 'public recording session' at the I.C.A London and their 2009 sell-out USA tour.\nIn recent years Carter Tutti performed in Pisa, Venice, Madrid, Barcelona, Athens Wroclaw, Berlin and London. They also appeared on the recent Current 93 album 'Black Ships Ate The Sky' and are currently working with a number of other musicians on collaborations and projects. The most recent Carter Tutti album 'Feral Vapours of the Silver Ether' was released in 2007 and heaped with praise, acclaim and rave reviews.\nChris continues to work solo and with both Throbbing Gristle Cosey on various projects. During the latter part of 2009 Chris has been extensively involved in the realisation and production of the TG loop playback machine 'Gristleism'. He is also currently working on a new solo experimental audio project titled CCCL (Chris Carter's Chemistry Lessons). During 2010 his acclaimed solo album 'The Space Between' is being re-released as a limited-edition remastered vinyl album. He has also been commissioned by The Technology & Innovation Research Centre to write an experimental piece of music in 2010 for the Dirty Electronics Ensemble.\nBorn in Hull, Cosey began her career in music and art during 1969, appearing in art performances and musical improvisations in Hull until 1972.\nIn 1973, Cosey moved to London and continued working as a performance artist representing Britain at the 9th Paris Biennale, 1975 and Arte Inglese Oggi, 1976. She also performed in Belgium, Germany, Holland, France, Italy, Austria, USA and Canada until 1980.\nThroughout the period 1973 - 1980 Cosey was exhibiting, contributing to mail art exhibitions and performing in other group exhibitions around the world. Often working naked in her performances, Cosey went on to investigate self-image within the context of sex magazines and sex films, glamour modelling and striptease acts. Her experiences within these industries during the period 1973 - 1984 were brought into her art work as she explored the many aspects of sex as it is perceived and transacted as commercial product. She placed conventional beauty in a situation where it was subjected to simulated mutilation before a live audience. This provided a visual contrast highlighting and questioning the notion of what is presentable as 'beauty'.\nIn her infamous exhibition 'Prostitution' at the Institute of Contemporary Art, London, 1976 Cosey Fanni Tutti occupied multiple roles; artist, model, musician, and herself. Music was used in some of Cosey's performances in preference to spoken language, which she considered an obstacle to her visual presentations. She continued to explore\nthe use of sound, scientifically, politically, commercially and as a means of physical pleasure or pain. In 1976 she co-founded the group Throbbing Gristle with Chris Carter, Peter Christopherson and Genesis P-Orridge. They broke the rules of established music and its contextual business practice, ultimately becoming successful with their own record label, Industrial Records. In 1981 Cosey immersed herself in creating music and video with partner Chris Carter under the name Chris & Cosey most recently performing and recording as Carter Tutti. Their joint musical and video collaborations, some 32 albums, have met with continuing international success.\n1994 marked Cosey's re-entry into the art world since which time her works have been widely exhibited in Museums and Galleries in the UK, USA, Italy, Austria, Germany, Lisbon, Japan, Spain, Portugal, Switzerland and Sweden.\nCosey's continuing multi disciplinary approach to her work has generated many audio and visual works contributing to a prolific output in the past 15 years alongside her guest lectures, discussion panel appearances and numerous presentations.\nHer approach to her work also inspired the one day event in March 2010 'COSEY COMPLEX' at the ICA, London in which a range of artists, writers and other practitioners were invited to present works inspired by the notion of 'Cosey as Methodology', culminating in a music event 'COSEY CLUB-ICA'.\nIn 2009 - 2010 Cosey's work was part of the travelling exhibition 'Pop Life:Art in a Material World' at Tate Modern, London. Also in 2010 Cosey performed a solo audio visual piece in the Turbine Hall at Tate Modern as part of the Tate Modern 10th birthday celebrations.\nHer art practice takes its place alongside her continuing music work with Chris Carter (as CARTER TUTTI) and the re-grouping of Throbbing Gristle and their continuing world-wide performances and recordings. Her work continues to be exhibited internationally, most recently in 'Pop Life' at the National Gallery of Canada, Ottawa, Canada and 'Picture Industry' at Regen Projects summer show in Los Angeles in 2010.","bio_dates":"1984"},{"slug":"chris_burden_big_wrench_1980","ok":true,"partial":false,"title":"Big Wrench","artist":"Chris Burden","year":"1980","startOffset":0,"sourceSecs":939.712,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":61355894,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chris_burden_big_wrench_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chris_burden_big_wrench_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chris_burden_big_wrench_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chris_burden_big_wrench_1980/main.mp4?v=2","description":"In this narrative performance for video, Burden tells the story of his relationship with a truck named \"Big Job.\" To relate his autobiographical monologue, he sits deadpan before the camera with moving images of the truck behind him. Writes Burden, \"During a six-month period, while the artist wrestles with the problem of owning an antique 16,000 lb. freight-truck, Big Job becomes a metaphor for personal insanity. [I] talk about the 'curse of Big Job,' my foiled plans to transform the truck into a rolling communications command post or a traveling museum, and my difficulty in getting rid of the rig. A true story.\" <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- <a href=\"http://eai.org/title.htm?id=2283\" rel=\"noopener\" target=\"_blank\">EAI</a>","artist_bio":"A Twenty-Year Survey, Newport Harbor Art Museum - A Video Portrait\n(1989) directed by Peter Kirby\nChris Burden first gained international attention in the 1970s as an influential and often controversial figure in the West Coast body art, performance and Conceptual Art movements. Once ironically termed the \"Evel Knieval of contemporary art,\" Conceptual Art, Burden allowed himself to be shot, crucified, almost drowned and electrocuted.\nIn 1974, he began working with video, using it as an integral component of his performances, as well as for the documentation of his works and in the production of conceptual TV \"commercials.\"\nIn the late 1970s, Burden began producing sculptural objects, installations and technological or mechanical inventions, including the monumental\nBCar\nand\nThe Big Wheel\n. In these extensions of his conceptual works, Burden addresses the artist's relationship to an industrialized and technological society.\nBurden was born in 1946. He received a B.A. from Pomona College, Claremont, California, and an M.F.A. from the University of California, Irvine. A major retrospective of his work,\nChris Burden: A Twenty Year Survey\n, was organized in 1988 by the Newport Harbor Art Museum, California. He has performed and exhibited his work internationally, at institutions including Centre Georges Pompidou, Paris; de Appel, Amsterdam; The Tate Museum, London; The Baltic Centre, Newcastle, England; The 48th Venice Biennale, Venice; The Museum of Modern Art, New York; The Museum of Contemporary Art, LA; Museum of Conceptual Art, San Francisco; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Institute of Contemporary Art, Boston; and the Whitney Museum of American Art Biennial, New York. He is the recipient of numerous awards, including grants from the National Endowment for the Arts and a Guggenheim Fellowship, and currently teaches at the University of California, Los Angeles.\nBurden lives in Topanga, California.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- Wiki","bio_dates":"b. 1946"},{"slug":"chris_burden_newport_harbor_museum_1988","ok":true,"partial":false,"title":"A Twenty-Year Survey, Newport Harbor Art Museum - A Video Portrait","artist":"Chris Burden","year":"1989","startOffset":0,"sourceSecs":1689.131,"sourceHeight":304,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":103973747,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chris_burden_newport_harbor_museum_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/chris_burden_newport_harbor_museum_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/chris_burden_newport_harbor_museum_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/chris_burden_newport_harbor_museum_1988/main.mp4?v=2","description":"Directed and Edited by <a href=\"https://ubu.com/film/kirby.html\" rel=\"noopener\" target=\"_blank\">Peter Kirby</a><br/> Director of Photography: Dan Zimbaldi<br/> Co-production of<br/> Newport Harbor Art Museum<br/> Media Art Services<br/> Zona Productions<br/> length 27:45<br/><br/>Accompanying video to the exhibition \"Chris Burden: A Twenty-Year Survey\", Newport Harbor Art Museum, California, USA, 1988. Survey, interviews, etc. <br><br> Video courtesy of <a href=\"http://mediart.ws/index.html\" rel=\"noopener\" target=\"_blank\">Peter Kirby</a>.</br></br>","artist_bio":"A Twenty-Year Survey, Newport Harbor Art Museum - A Video Portrait\n(1989) directed by Peter Kirby\nChris Burden first gained international attention in the 1970s as an influential and often controversial figure in the West Coast body art, performance and Conceptual Art movements. Once ironically termed the \"Evel Knieval of contemporary art,\" Conceptual Art, Burden allowed himself to be shot, crucified, almost drowned and electrocuted.\nIn 1974, he began working with video, using it as an integral component of his performances, as well as for the documentation of his works and in the production of conceptual TV \"commercials.\"\nIn the late 1970s, Burden began producing sculptural objects, installations and technological or mechanical inventions, including the monumental\nBCar\nand\nThe Big Wheel\n. In these extensions of his conceptual works, Burden addresses the artist's relationship to an industrialized and technological society.\nBurden was born in 1946. He received a B.A. from Pomona College, Claremont, California, and an M.F.A. from the University of California, Irvine. A major retrospective of his work,\nChris Burden: A Twenty Year Survey\n, was organized in 1988 by the Newport Harbor Art Museum, California. He has performed and exhibited his work internationally, at institutions including Centre Georges Pompidou, Paris; de Appel, Amsterdam; The Tate Museum, London; The Baltic Centre, Newcastle, England; The 48th Venice Biennale, Venice; The Museum of Modern Art, New York; The Museum of Contemporary Art, LA; Museum of Conceptual Art, San Francisco; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Institute of Contemporary Art, Boston; and the Whitney Museum of American Art Biennial, New York. He is the recipient of numerous awards, including grants from the National Endowment for the Arts and a Guggenheim Fellowship, and currently teaches at the University of California, Los Angeles.\nBurden lives in Topanga, California.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials. -- Wiki","bio_dates":"b. 1946"},{"slug":"cinema_of_transgression_01_tessa_hughes_freeland_1993_nymphomania","ok":true,"partial":false,"title":"Nymphomania","artist":"Tessa Hughes-Freeland","year":"1993","startOffset":0,"sourceSecs":532.968,"sourceHeight":280,"sourceWidth":376,"hasAudio":true,"hasAmbientMp4":true,"bytes":37610607,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_01_tessa_hughes_freeland_1993_nymphomania/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_01_tessa_hughes_freeland_1993_nymphomania/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cinema_of_transgression_01_tessa_hughes_freeland_1993_nymphomania.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cinema_of_transgression_01_tessa_hughes_freeland_1993_nymphomania/main.mp4?v=2","description":"Co. dir. by Holly Adams<br/> Starring Holly Adams and Bob Mook <br/> From <a href=\"https://ubu.com/film/transgression.html\" rel=\"noopener\" target=\"_blank\">Cinema of Transgression</a> <br/><br/> \"NYMPHOMANIA deptics the archetypal personification of female sexuality via the motif if a beautiful, graceful, dancing Nymph. Against the nymph, Hughes-Freeland & Adams present a massively phallicised Pan who is aroused by the nymph's neauty and watches her. The film is a parody of myths of an 'ancient/pagan' essential plentitude and is thus a blackly Comedic critique of attitudes toward the dialectic of male/female sexuality. It locates a sexual mythology specific to Western Culture and deconstructs it via a depiction of its inherent power relationships and by pursuing this trajectory to its logical conclusion.\" –Jack Sargeant, \"Death Tripping\", 1995","artist_bio":"Tessa Hughes-Freeland’s films have been shown in a variety of venues, from international museums to seedy bars. The subject matter of her films is confrontational, transgressive, provocative and poetic. She works in a wide variety of mediums and formats. The personality of her work makes it hard to categorise.Her videotape performance Little Frank and His Carp (2001) targets architectural dominance of modern gallery spaces. Using the original soundtrack of an acoustic guide at the Guggenheim Museum Bilbao, she \"... writhes with pleasure as the recorded voice draws attention to the undulating curves and textured surfaces of the surrounding space\" which she takes literally in an \"erotic encounter\".","bio_dates":"1982"},{"slug":"cinema_of_transgression_03_tessa_hughes_freeland_1982_baby_doll","ok":true,"partial":false,"title":"Baby Doll","artist":"Tessa Hughes-Freeland","year":"1982","startOffset":0,"sourceSecs":196.046,"sourceHeight":280,"sourceWidth":376,"hasAudio":true,"hasAmbientMp4":true,"bytes":13947897,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_03_tessa_hughes_freeland_1982_baby_doll/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_03_tessa_hughes_freeland_1982_baby_doll/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cinema_of_transgression_03_tessa_hughes_freeland_1982_baby_doll.mp4","hasFrames":true,"description":"Featuring Feme and Irene <br/> From <a href=\"https://ubu.com/film/transgression.html\" rel=\"noopener\" target=\"_blank\">Cinema of Transgression</a>","artist_bio":"Tessa Hughes-Freeland’s films have been shown in a variety of venues, from international museums to seedy bars. The subject matter of her films is confrontational, transgressive, provocative and poetic. She works in a wide variety of mediums and formats. The personality of her work makes it hard to categorise.Her videotape performance Little Frank and His Carp (2001) targets architectural dominance of modern gallery spaces. Using the original soundtrack of an acoustic guide at the Guggenheim Museum Bilbao, she \"... writhes with pleasure as the recorded voice draws attention to the undulating curves and textured surfaces of the surrounding space\" which she takes literally in an \"erotic encounter\".","bio_dates":"1982"},{"slug":"cinema_of_transgression_08_m_henry_jones_unknown","ok":true,"partial":false,"title":"M Henry Jones - Soul City","artist":"The Cinema of Transgression","year":null,"startOffset":0,"sourceSecs":51.757,"sourceHeight":280,"sourceWidth":376,"hasAudio":true,"hasAmbientMp4":true,"bytes":3631973,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_08_m_henry_jones_unknown/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_08_m_henry_jones_unknown/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cinema_of_transgression_08_m_henry_jones_unknown.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cinema_of_transgression_08_m_henry_jones_unknown/main.mp4?v=2","artist_bio":"“If it’s not transgressive, it’s not underground. It has to be threatening the status quo by doing something surprising, not just imitating what’s been done before.” -\nNick Zedd\nNew York City’s Lower East Side in the early Eighties saw an explosion of the downtown film scene, as a variety of film-makers, photographers, performers and artists, inspired by the post-punk No Wave music scene, began to explore new, direct, and confrontational cinematic forms.\nIn 1984 the manifesto for the Cinema of Transgression was announced, a movement looking to transform values by breaking all taboos of cinematic expression, conservative religion, politics and aesthetics.\nWe who have violated the laws, commands and duties of the avant-garde; i.e. to bore, tranquilize and obfuscate through a fluke process dictated by practical convenience stand guilty as charged. We openly renounce and reject the entrenched academic snobbery which erected a monument to laziness known as structuralism and proceeded to lock out those filmmakers who possesed the vision to see through this charade.\nWe refuse to take their easy approach to cinematic creativity; an approach which ruined the underground of the sixties when the scourge of the film school took over. Legitimising every mindless manifestation of sloppy movie making undertaken by a generation of misled film students, the dreary media arts centres and geriatic cinema critics have totally ignored the exhilarating accomplishments of those in our rank - such underground invisibles as Zedd, Kern, Turner, Klemann, DeLanda, Eros and Mare, and DirectArt Ltd, a new generation of filmmakers daring to rip out of the stifling straight jackets of film theory in a direct attack on every value system known to man.\nWe propose that all film schools be blown up and all boring films never be made again. We propose that a sense of humour is an essential element discarded by the doddering academics and further, that any film which doesn’t shock isn’t worth looking at. All values must be challenged. Nothing is sacred. Everything must be questioned and reassessed in order to free our minds from the faith of tradition.Intellectual growth demands that risks be taken and changes occur in political, sexual and aesthetic alignments no matter who disapproves. We propose to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men. We pass beyond and go over boundaries of millimeters, screens and projectors to a state of expanded cinema.\nWe violate the command and law that we bore audiences to death in rituals of circumlocution and propose to break all the taboos of our age by sinning as much as possible. There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagined. None shall emerge unscathed. Since there is no afterlife, the only hell is the hell of praying, obeying laws, and debasing yourself before authority figures, the only heaven is the heaven of sin, being rebellious, having fun, fucking, learning new things and breaking as many rules as you can. This act of courage is known as transgression. We propose transformation through transgression - to convert, transfigure and transmute into a higher plane of existence in order to approach freedom in a world full of unknowing slaves.","bio_dates":"1979-1993"},{"slug":"cinema_of_transgression_09_beth_b_1991_stigmata","ok":true,"partial":false,"title":"Stigmata","artist":"Beth B","year":"1991","startOffset":0,"sourceSecs":2293.418,"sourceHeight":280,"sourceWidth":376,"hasAudio":true,"hasAmbientMp4":true,"bytes":137719037,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_09_beth_b_1991_stigmata/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_09_beth_b_1991_stigmata/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cinema_of_transgression_09_beth_b_1991_stigmata.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cinema_of_transgression_09_beth_b_1991_stigmata/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cinema_of_transgression_09_beth_b_1991_stigmata/main/master.m3u8?v=2","hasMainHls":true,"description":"Stigmata. 38:13 min., color, 1991. Part of The Cinema of Transgression. By Beth B.<br/><br/> Colin Marshall: If, like me, you grew up in the 1990s, you remember with great resentment how your Saturday-morning cartoons were saturated with public service announcements. Maybe you only realize it now; back then, after all, it just seemed normal to hear, every few minutes, a mini-sermon about drugs or the environment or shoplifting or the ozone hole or informing your priest or rabbi if you've been inappropriately touched every few minutes. I hope, for the sake of the children, that media preachiness has since descended from this zenith. I pray for a generation that can grow up watching Yu-Gi-Oh and commercials in peace.<br/><br/> Stigmata strikes me as not hugely dissimilar to those ceaseless PSAs, and in fact has its roots in that same squirrely era. It's sort of their extended 12\" mix, non-radio edit: more people telling their stories of drug-related shame and degradation, more music of despair, more talk about rape. Six talking heads, intercut, take you through their personal histories. Despite each having a suite of distinctive details, they all follow pretty much the same lines: crappy childhood; incompetent parents; oppressive schools; self-loathing; a turn to the sweet, sweet brain medicine; descent into dissolution; greater self-loathing; bottoming-out, perhaps with a suicide attempt or something equally dire; the beginning of the long, slow, agonizing grind to get at least semi-clean.<br/><br/> I don't pretend to know what Beth B. intended with project, nor do I really think that's important. She could have meant it in essentially the same way the Ad Council meant all those 30-second spots with the junior-high kids shoving those potheads right back. If so, I find the subjects as difficult to relate to now as I did back then. This, I think, has been the fatal flaw of anti-drug PSAs since the dawn of man: you can't scare anyone straight without horror stories, but horror stories tend, by their very horrific nature, to seem unrelatable and thus irrelevant. I actually fear the probable lack of productivity brought on by a, say, a slightly too-regular weed habit. I do not particularly fear the possibility of slashing my wrists in a den of child prostitutes.<br/><br/> Piling atop that, most of these speakers seem to have been pre-screwed. \"I never had a chance,\" goes one fellow's repeated lament. (I also detect a certain anti-Catholic school theme, which might explain the title. Stigmata is a Catholic thing, right?) Hence the impression that, hey, I didn't grow up in such an apocalyptically troubled household — I'm gonna be okay! Their stories thus gain an even more tragic edge, but they also get more alien. It all ends up like one of those action movies whose extremity ensures a certain blah hermeticism. The only addiction I worry about is to the immediate information access of the internet, and even then, I'm far from the Polk Street harem. Well, reasonably far. Far enough. Certainly out of shouting distance. I should probably close this web browser now. <br/><br/> From <a href=\"https://ubu.com/film/transgression.html\" rel=\"noopener\" target=\"_blank\">Cinema of Transgression</a>","artist_bio":"“If it’s not transgressive, it’s not underground. It has to be threatening the status quo by doing something surprising, not just imitating what’s been done before.” -\nNick Zedd\nNew York City’s Lower East Side in the early Eighties saw an explosion of the downtown film scene, as a variety of film-makers, photographers, performers and artists, inspired by the post-punk No Wave music scene, began to explore new, direct, and confrontational cinematic forms.\nIn 1984 the manifesto for the Cinema of Transgression was announced, a movement looking to transform values by breaking all taboos of cinematic expression, conservative religion, politics and aesthetics.\nWe who have violated the laws, commands and duties of the avant-garde; i.e. to bore, tranquilize and obfuscate through a fluke process dictated by practical convenience stand guilty as charged. We openly renounce and reject the entrenched academic snobbery which erected a monument to laziness known as structuralism and proceeded to lock out those filmmakers who possesed the vision to see through this charade.\nWe refuse to take their easy approach to cinematic creativity; an approach which ruined the underground of the sixties when the scourge of the film school took over. Legitimising every mindless manifestation of sloppy movie making undertaken by a generation of misled film students, the dreary media arts centres and geriatic cinema critics have totally ignored the exhilarating accomplishments of those in our rank - such underground invisibles as Zedd, Kern, Turner, Klemann, DeLanda, Eros and Mare, and DirectArt Ltd, a new generation of filmmakers daring to rip out of the stifling straight jackets of film theory in a direct attack on every value system known to man.\nWe propose that all film schools be blown up and all boring films never be made again. We propose that a sense of humour is an essential element discarded by the doddering academics and further, that any film which doesn’t shock isn’t worth looking at. All values must be challenged. Nothing is sacred. Everything must be questioned and reassessed in order to free our minds from the faith of tradition.Intellectual growth demands that risks be taken and changes occur in political, sexual and aesthetic alignments no matter who disapproves. We propose to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men. We pass beyond and go over boundaries of millimeters, screens and projectors to a state of expanded cinema.\nWe violate the command and law that we bore audiences to death in rituals of circumlocution and propose to break all the taboos of our age by sinning as much as possible. There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagined. None shall emerge unscathed. Since there is no afterlife, the only hell is the hell of praying, obeying laws, and debasing yourself before authority figures, the only heaven is the heaven of sin, being rebellious, having fun, fucking, learning new things and breaking as many rules as you can. This act of courage is known as transgression. We propose transformation through transgression - to convert, transfigure and transmute into a higher plane of existence in order to approach freedom in a world full of unknowing slaves.","bio_dates":"1979-1993"},{"slug":"cinema_of_transgression_10_jeri_cain_rossi_1992_black_hearts_bleed_red","ok":true,"partial":false,"title":"Black Hearts Bleed Red","artist":"The Cinema of Transgression","year":"1992","startOffset":0,"sourceSecs":936.368,"sourceHeight":280,"sourceWidth":376,"hasAudio":true,"hasAmbientMp4":true,"bytes":61584012,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_10_jeri_cain_rossi_1992_black_hearts_bleed_red/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_10_jeri_cain_rossi_1992_black_hearts_bleed_red/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cinema_of_transgression_10_jeri_cain_rossi_1992_black_hearts_bleed_red.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cinema_of_transgression_10_jeri_cain_rossi_1992_black_hearts_bleed_red/main.mp4?v=2","description":"-A stark adaptation of Flannery O’Connor’s short story <em>A Good Man Is Hard To Find</em>. Starring <a href=\"https://ubu.com/film/coleman.html\" rel=\"noopener\" target=\"_blank\">Joe Coleman</a>, Zemlya Vaudaux, Miss Xanna Don’t, Tod Allen, Nathaniel Roman, Dana Hatch, Marya Zoya Greene, Tommy Turner.","artist_bio":"“If it’s not transgressive, it’s not underground. It has to be threatening the status quo by doing something surprising, not just imitating what’s been done before.” -\nNick Zedd\nNew York City’s Lower East Side in the early Eighties saw an explosion of the downtown film scene, as a variety of film-makers, photographers, performers and artists, inspired by the post-punk No Wave music scene, began to explore new, direct, and confrontational cinematic forms.\nIn 1984 the manifesto for the Cinema of Transgression was announced, a movement looking to transform values by breaking all taboos of cinematic expression, conservative religion, politics and aesthetics.\nWe who have violated the laws, commands and duties of the avant-garde; i.e. to bore, tranquilize and obfuscate through a fluke process dictated by practical convenience stand guilty as charged. We openly renounce and reject the entrenched academic snobbery which erected a monument to laziness known as structuralism and proceeded to lock out those filmmakers who possesed the vision to see through this charade.\nWe refuse to take their easy approach to cinematic creativity; an approach which ruined the underground of the sixties when the scourge of the film school took over. Legitimising every mindless manifestation of sloppy movie making undertaken by a generation of misled film students, the dreary media arts centres and geriatic cinema critics have totally ignored the exhilarating accomplishments of those in our rank - such underground invisibles as Zedd, Kern, Turner, Klemann, DeLanda, Eros and Mare, and DirectArt Ltd, a new generation of filmmakers daring to rip out of the stifling straight jackets of film theory in a direct attack on every value system known to man.\nWe propose that all film schools be blown up and all boring films never be made again. We propose that a sense of humour is an essential element discarded by the doddering academics and further, that any film which doesn’t shock isn’t worth looking at. All values must be challenged. Nothing is sacred. Everything must be questioned and reassessed in order to free our minds from the faith of tradition.Intellectual growth demands that risks be taken and changes occur in political, sexual and aesthetic alignments no matter who disapproves. We propose to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men. We pass beyond and go over boundaries of millimeters, screens and projectors to a state of expanded cinema.\nWe violate the command and law that we bore audiences to death in rituals of circumlocution and propose to break all the taboos of our age by sinning as much as possible. There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagined. None shall emerge unscathed. Since there is no afterlife, the only hell is the hell of praying, obeying laws, and debasing yourself before authority figures, the only heaven is the heaven of sin, being rebellious, having fun, fucking, learning new things and breaking as many rules as you can. This act of courage is known as transgression. We propose transformation through transgression - to convert, transfigure and transmute into a higher plane of existence in order to approach freedom in a world full of unknowing slaves.","bio_dates":"1979-1993"},{"slug":"cinema_of_transgression_11_m_henry_jones_1979_soul_city","ok":true,"partial":false,"title":"M Henry Jones - Soul City","artist":"The Cinema of Transgression","year":"1979","startOffset":0,"sourceSecs":132.818,"sourceHeight":280,"sourceWidth":376,"hasAudio":true,"hasAmbientMp4":true,"bytes":9264434,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_11_m_henry_jones_1979_soul_city/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_11_m_henry_jones_1979_soul_city/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cinema_of_transgression_11_m_henry_jones_1979_soul_city.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cinema_of_transgression_11_m_henry_jones_1979_soul_city/main.mp4?v=2","artist_bio":"“If it’s not transgressive, it’s not underground. It has to be threatening the status quo by doing something surprising, not just imitating what’s been done before.” -\nNick Zedd\nNew York City’s Lower East Side in the early Eighties saw an explosion of the downtown film scene, as a variety of film-makers, photographers, performers and artists, inspired by the post-punk No Wave music scene, began to explore new, direct, and confrontational cinematic forms.\nIn 1984 the manifesto for the Cinema of Transgression was announced, a movement looking to transform values by breaking all taboos of cinematic expression, conservative religion, politics and aesthetics.\nWe who have violated the laws, commands and duties of the avant-garde; i.e. to bore, tranquilize and obfuscate through a fluke process dictated by practical convenience stand guilty as charged. We openly renounce and reject the entrenched academic snobbery which erected a monument to laziness known as structuralism and proceeded to lock out those filmmakers who possesed the vision to see through this charade.\nWe refuse to take their easy approach to cinematic creativity; an approach which ruined the underground of the sixties when the scourge of the film school took over. Legitimising every mindless manifestation of sloppy movie making undertaken by a generation of misled film students, the dreary media arts centres and geriatic cinema critics have totally ignored the exhilarating accomplishments of those in our rank - such underground invisibles as Zedd, Kern, Turner, Klemann, DeLanda, Eros and Mare, and DirectArt Ltd, a new generation of filmmakers daring to rip out of the stifling straight jackets of film theory in a direct attack on every value system known to man.\nWe propose that all film schools be blown up and all boring films never be made again. We propose that a sense of humour is an essential element discarded by the doddering academics and further, that any film which doesn’t shock isn’t worth looking at. All values must be challenged. Nothing is sacred. Everything must be questioned and reassessed in order to free our minds from the faith of tradition.Intellectual growth demands that risks be taken and changes occur in political, sexual and aesthetic alignments no matter who disapproves. We propose to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men. We pass beyond and go over boundaries of millimeters, screens and projectors to a state of expanded cinema.\nWe violate the command and law that we bore audiences to death in rituals of circumlocution and propose to break all the taboos of our age by sinning as much as possible. There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagined. None shall emerge unscathed. Since there is no afterlife, the only hell is the hell of praying, obeying laws, and debasing yourself before authority figures, the only heaven is the heaven of sin, being rebellious, having fun, fucking, learning new things and breaking as many rules as you can. This act of courage is known as transgression. We propose transformation through transgression - to convert, transfigure and transmute into a higher plane of existence in order to approach freedom in a world full of unknowing slaves.","bio_dates":"1979-1993"},{"slug":"cinema_of_transgression_13_m_henry_jones_unknown","ok":true,"partial":false,"title":"M Henry Jones - Soul City","artist":"The Cinema of Transgression","year":null,"startOffset":0,"sourceSecs":59.095,"sourceHeight":280,"sourceWidth":376,"hasAudio":true,"hasAmbientMp4":true,"bytes":3988296,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_13_m_henry_jones_unknown/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_13_m_henry_jones_unknown/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cinema_of_transgression_13_m_henry_jones_unknown.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cinema_of_transgression_13_m_henry_jones_unknown/main.mp4?v=2","artist_bio":"“If it’s not transgressive, it’s not underground. It has to be threatening the status quo by doing something surprising, not just imitating what’s been done before.” -\nNick Zedd\nNew York City’s Lower East Side in the early Eighties saw an explosion of the downtown film scene, as a variety of film-makers, photographers, performers and artists, inspired by the post-punk No Wave music scene, began to explore new, direct, and confrontational cinematic forms.\nIn 1984 the manifesto for the Cinema of Transgression was announced, a movement looking to transform values by breaking all taboos of cinematic expression, conservative religion, politics and aesthetics.\nWe who have violated the laws, commands and duties of the avant-garde; i.e. to bore, tranquilize and obfuscate through a fluke process dictated by practical convenience stand guilty as charged. We openly renounce and reject the entrenched academic snobbery which erected a monument to laziness known as structuralism and proceeded to lock out those filmmakers who possesed the vision to see through this charade.\nWe refuse to take their easy approach to cinematic creativity; an approach which ruined the underground of the sixties when the scourge of the film school took over. Legitimising every mindless manifestation of sloppy movie making undertaken by a generation of misled film students, the dreary media arts centres and geriatic cinema critics have totally ignored the exhilarating accomplishments of those in our rank - such underground invisibles as Zedd, Kern, Turner, Klemann, DeLanda, Eros and Mare, and DirectArt Ltd, a new generation of filmmakers daring to rip out of the stifling straight jackets of film theory in a direct attack on every value system known to man.\nWe propose that all film schools be blown up and all boring films never be made again. We propose that a sense of humour is an essential element discarded by the doddering academics and further, that any film which doesn’t shock isn’t worth looking at. All values must be challenged. Nothing is sacred. Everything must be questioned and reassessed in order to free our minds from the faith of tradition.Intellectual growth demands that risks be taken and changes occur in political, sexual and aesthetic alignments no matter who disapproves. We propose to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men. We pass beyond and go over boundaries of millimeters, screens and projectors to a state of expanded cinema.\nWe violate the command and law that we bore audiences to death in rituals of circumlocution and propose to break all the taboos of our age by sinning as much as possible. There will be blood, shame, pain and ecstasy, the likes of which no one has yet imagined. None shall emerge unscathed. Since there is no afterlife, the only hell is the hell of praying, obeying laws, and debasing yourself before authority figures, the only heaven is the heaven of sin, being rebellious, having fun, fucking, learning new things and breaking as many rules as you can. This act of courage is known as transgression. We propose transformation through transgression - to convert, transfigure and transmute into a higher plane of existence in order to approach freedom in a world full of unknowing slaves.","bio_dates":"1979-1993"},{"slug":"cinema_of_transgression_14_kembra_pfahler_1985_cornella_the_story_of_a_burning_bush","ok":true,"partial":false,"title":"Cornella: The Story of a Burning Bush","artist":"The Cinema of Transgression","year":"1985","startOffset":0,"sourceSecs":329.282,"sourceHeight":280,"sourceWidth":376,"hasAudio":true,"hasAmbientMp4":true,"bytes":23258176,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_14_kembra_pfahler_1985_cornella_the_story_of_a_burning_bush/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_14_kembra_pfahler_1985_cornella_the_story_of_a_burning_bush/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cinema_of_transgression_14_kembra_pfahler_1985_cornella_the_story_of_a_burning_bush.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cinema_of_transgression_14_kembra_pfahler_1985_cornella_the_story_of_a_burning_bush/main.mp4?v=2"},{"slug":"cinema_of_transgression_15_jon_moritsugu_1986_mommy_mommy_wheres_my_brain","ok":true,"partial":false,"title":"Mommy, Mommy, Where’s My Brain?","artist":"Jon Moritsugu","year":"1986","startOffset":0.4,"sourceSecs":560.251,"sourceHeight":280,"sourceWidth":376,"hasAudio":true,"hasAmbientMp4":true,"bytes":39503468,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_15_jon_moritsugu_1986_mommy_mommy_wheres_my_brain/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cinema_of_transgression_15_jon_moritsugu_1986_mommy_mommy_wheres_my_brain/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cinema_of_transgression_15_jon_moritsugu_1986_mommy_mommy_wheres_my_brain.mp4","hasFrames":true,"description":"From <a href=\"https://ubu.com/film/transgression.html\" rel=\"noopener\" target=\"_blank\">The Cinema of Transgression</a> <br/><br/> If, like me, you grew up in the 1990s, you remember with great resentment how your Saturday-morning cartoons were saturated with public service announcements. Maybe you only realize it now; back then, after all, it just seemed normal to hear, every few minutes, a mini-sermon about drugs or the environment or shoplifting or the ozone hole or informing your priest or rabbi if you've been inappropriately touched every few minutes. I hope, for the sake of the children, that media preachiness has since descended from this zenith. I pray for a generation that can grow up watching Yu-Gi-Oh and commercials in peace.<br/><br/> Stigmata strikes me as not hugely dissimilar to those ceaseless PSAs, and in fact has its roots in that same squirrely era. It's sort of their extended 12\" mix, non-radio edit: more people telling their stories of drug-related shame and degradation, more music of despair, more talk about rape. Six talking heads, intercut, take you through their personal histories. Despite each having a suite of distinctive details, they all follow pretty much the same lines: crappy childhood; incompetent parents; oppressive schools; self-loathing; a turn to the sweet, sweet brain medicine; descent into dissolution; greater self-loathing; bottoming-out, perhaps with a suicide attempt or something equally dire; the beginning of the long, slow, agonizing grind to get at least semi-clean.<br/><br/> I don't pretend to know what Beth B. intended with project, nor do I really think that's important. She could have meant it in essentially the same way the Ad Council meant all those 30-second spots with the junior-high kids shoving those potheads right back. If so, I find the subjects as difficult to relate to now as I did back then. This, I think, has been the fatal flaw of anti-drug PSAs since the dawn of man: you can't scare anyone straight without horror stories, but horror stories tend, by their very horrific nature, to seem unrelatable and thus irrelevant. I actually fear the probable lack of productivity brought on by a, say, a slightly too-regular weed habit. I do not particularly fear the possibility of slashing my wrists in a den of child prostitutes.<br/><br/> Piling atop that, most of these speakers seem to have been pre-screwed. \"I never had a chance,\" goes one fellow's repeated lament. (I also detect a certain anti-Catholic school theme, which might explain the title. Stigmata is a Catholic thing, right?) Hence the impression that, hey, I didn't grow up in such an apocalyptically troubled household — I'm gonna be okay! Their stories thus gain an even more tragic edge, but they also get more alien. It all ends up like one of those action movies whose extremity ensures a certain blah hermeticism. The only addiction I worry about is to the immediate information access of the internet, and even then, I'm far from the Polk Street harem. Well, reasonably far. Far enough. Certainly out of shouting distance. I should probably close this web browser now. -- Colin Marshall","artist_bio":"Writer/director JON MORITSUGU has been making films since 1985. In 1989, Village Voice critic J.Hoberman called Moritsugu's Brown University thesis short, DER ELVIS, one of the \"Top 50 films of the 80's.\" Since then his features MOD FUCK EXPLOSION, MY DEGENERATION, FAME WHORE, SCUMROCK, and HIPPY PORN have scorched eyeballs worldwide from Sundance to MOMA to Cannes to the Guggenheim to Berlin to Toronto to name a few. In 1993 James Schamus (Focus Features) produced Moritsugu's PBS television comedy, TERMINAL USA. Moritsugu has garnered critical acclaim and top awards at the New York Underground Film Festival (Best Feature 3 times in a row) as well as the Screenwriting Award at the Austin Film Fest and Oscar consideration for his feature FAME WHORE. He has worked with his wife/leading lady Amy Davis for 20 years. She was co-writer of his last feature, SCUMROCK, as well his newest magnum opus. Moritsugu is currently shopping around this brand new Punk Horror script.","bio_dates":"b. 1965"},{"slug":"ciocci_jacob_am_i_evil","ok":true,"partial":false,"title":"Am I Evil?? (single-channel-version)","artist":"Jacob Ciocci","year":"2012","startOffset":0,"sourceSecs":103.583,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":46202793,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ciocci_jacob_am_i_evil/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ciocci_jacob_am_i_evil/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ciocci_jacob_am_i_evil.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ciocci_jacob_am_i_evil/main.mp4?v=2","description":"“In her essay, “Mirror Horror”, Trinie Dalton describes how the 15th century witch-hunts are tied to the history of the mirror. “In early times, since mirrors were rare commodities, only qualified shamans had mirrors. But in 1438, when Guttenberg started a mirror-making business, . . . anyone untrained in magic could use and be tempted by one. This proliferation of mirrors perpetuated myths of witchcraft, since some theorized that mirrors were being used for maleficence by those corruptible , vain and immoral enough to admire their own reflections. ”<br/><br/> The good witch (Harry Potter?) tries to understand his reflection but the mirror shatters as soon as he touches it. The evil witch (Wicked Witch of the West?) tries the same thing but the mirror again shatters. We are watching reflections of faces forever falling apart. The mirror always shatters just before a fixed identity can be sustained. A mirror is magic in much the same way many newer image-making tools are magic: for a brief moment you are put under a spell, you believe in it. But the longer and the closer you look, everything begins to fall apart. That is the real magic.<br/><br/> This is the 3rd piece in Ciocci’s ongoing series “Trapped and Frozen Forever”, an investigation into the relationships between online and off-line images: images trapped (not tangible) on-screen and images frozen (not moving) in the physical world. In this iteration Ciocci has scanned section by section each of the 2 large collages on the wall, using them as the basis for the animated projection.”","artist_bio":"Jack Early (born August 16, 1962) is a contemporary artist known for exploring American identity. Early works with a Pop vocabulary combining it with biographical details and personal elements of his life. His work builds on cultural references and continues to evolve through his experience with the media and an ever-changing self. Early currently lives and works in Brooklyn, New York.\nEarly was born in 1962 in Raleigh, North Carolina, graduating from North Carolina School of the Arts. His ascent to fame began in the late 1980s as one-half of the duo Pruitt-Early. Pruitt-Early’s irreverent work challenged prevailing orthodoxies and blurred the boundaries between low culture and high art.\nTheir first solo show, Artwork for Teenage Boys, was held in 1990 at 303 Gallery, New York. Pruitt-Early quickly garnered attention, and in 1992 they presented an exhibition at Leo Castelli Gallery. Following the Castelli show, which was misunderstood and infamously panned, Early went into self-imposed exile from the art world. In recent years, Pruitt-Early’s artworks have been reappraised and increasingly hailed by collectors, critics, and museums.\nEarly began writing songs, which have become integral to many of his new art objects. Since 2009, he has been making objects that explore the breadth of American pop culture. Glenn O’Brien describes Early as a “new sort of bluesman…making work that reflects the lonesome road he’s been on, a road that goes through Jesus, Jesus Christ Superstar, John and Yoko, protest movements, and the United Federation of Planets.”","bio_dates":"b. 1976"},{"slug":"ciocci_jacob_pictureplane_body_mods_remix_by_extreme_a","ok":true,"partial":false,"title":"Pictureplane Body Mods Remix By Extreme A","artist":"Jacob Ciocci","year":"2012","startOffset":0,"sourceSecs":267.563,"sourceHeight":472,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":36685652,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ciocci_jacob_pictureplane_body_mods_remix_by_extreme_a/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ciocci_jacob_pictureplane_body_mods_remix_by_extreme_a/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ciocci_jacob_pictureplane_body_mods_remix_by_extreme_a.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ciocci_jacob_pictureplane_body_mods_remix_by_extreme_a/main.mp4?v=2","description":"“In Trapped and Frozen Forever 1, A large HD video projection is juxtaposed with a large collage (7 x13 feet). An image of the young girl from the film Poltergeist is repeated in the foreground of both the still and moving images, as a maelstrom of cultural material encircles her. The electronic version of the girl attempts to reach out and connect with the physical version, and vice versa. One version is infinitely trapped inside an ephemeral, ever-changing space, while the other is frozen forever in the realms of the physical.”"},{"slug":"ciocci_jacob_trapped_and_frozen_forever_1","ok":true,"partial":false,"title":"Trapped And Frozen Forever","artist":"Jacob Ciocci","year":"2009","startOffset":0,"sourceSecs":30.03,"sourceHeight":720,"sourceWidth":1280,"hasAudio":false,"hasAmbientMp4":true,"bytes":12325835,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ciocci_jacob_trapped_and_frozen_forever_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ciocci_jacob_trapped_and_frozen_forever_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ciocci_jacob_trapped_and_frozen_forever_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ciocci_jacob_trapped_and_frozen_forever_1/main.mp4?v=2","description":"“In Trapped and Frozen Forever 1, A large HD video projection is juxtaposed with a large collage (7 x13 feet). An image of the young girl from the film Poltergeist is repeated in the foreground of both the still and moving images, as a maelstrom of cultural material encircles her. The electronic version of the girl attempts to reach out and connect with the physical version, and vice versa. One version is infinitely trapped inside an ephemeral, ever-changing space, while the other is frozen forever in the realms of the physical.”","artist_bio":"Jack Early (born August 16, 1962) is a contemporary artist known for exploring American identity. Early works with a Pop vocabulary combining it with biographical details and personal elements of his life. His work builds on cultural references and continues to evolve through his experience with the media and an ever-changing self. Early currently lives and works in Brooklyn, New York.\nEarly was born in 1962 in Raleigh, North Carolina, graduating from North Carolina School of the Arts. His ascent to fame began in the late 1980s as one-half of the duo Pruitt-Early. Pruitt-Early’s irreverent work challenged prevailing orthodoxies and blurred the boundaries between low culture and high art.\nTheir first solo show, Artwork for Teenage Boys, was held in 1990 at 303 Gallery, New York. Pruitt-Early quickly garnered attention, and in 1992 they presented an exhibition at Leo Castelli Gallery. Following the Castelli show, which was misunderstood and infamously panned, Early went into self-imposed exile from the art world. In recent years, Pruitt-Early’s artworks have been reappraised and increasingly hailed by collectors, critics, and museums.\nEarly began writing songs, which have become integral to many of his new art objects. Since 2009, he has been making objects that explore the breadth of American pop culture. Glenn O’Brien describes Early as a “new sort of bluesman…making work that reflects the lonesome road he’s been on, a road that goes through Jesus, Jesus Christ Superstar, John and Yoko, protest movements, and the United Federation of Planets.”","bio_dates":"b. 1976"},{"slug":"clah_alfred_intrepid_shadows_1966","ok":true,"partial":false,"title":"Through Navajo Eyes: The Intrepid Shadows","artist":"Alfred Clah","year":"1966","startOffset":0,"sourceSecs":1080.247,"sourceHeight":448,"sourceWidth":592,"hasAudio":false,"hasAmbientMp4":true,"bytes":54361885,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clah_alfred_intrepid_shadows_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clah_alfred_intrepid_shadows_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/clah_alfred_intrepid_shadows_1966.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/clah_alfred_intrepid_shadows_1966/main.mp4?v=2","description":"Description exerpted from Through Navajo Eyes (271-2).<br/><br/> “The film opens with a long series of shots showing the varieties of landscape around our schoolhouse. We see rocks, earth, trees, sky, in a variety of shapes but mostly in still or static shots. The shadows are very small or short. When we have familiarized ourselves with the things that comprise the “world” we see [Johnny Nelson] come walking into the landscape. He picks up a stick, kneels down, and begins to poke at a huge spider web.”<br/><br/> “At this point the tone of the film changes. Suddenly a hand appears rolling an old metal hoop. The hoop is cut in intermittently throughout the rest of the film, rolling as if propelled by unseen hands through the variations in the landscape. A Yeibechai mask appears in the film at this point, wandering and walking through the landscape seemingly looking for something.”<br/><br/> “The Yeibechai wanders behind trees, seen always through bushes, looking at the sky, looking in all directions, and is inter-cut in an extremely complex manner with continuing scenes of the landscape and of the legs and body of a person dressed in white.”<br/><br/> “As the Yeibechai mask wanders, the camera work depicting the landscape begins to change from static to complex circular, spiral, and almost indescribable movements. As the hoop, and then a rolling ball, and then the pages of a notebook turn and move faster and faster, so do the movements of the camera as they seemingly search along trees and rocks and bushes for whatever the Yeibechai is searching for.”<br/><br/> “Now the shadows in the film are long and some of the scenes are deliberately dark. Suddenly we see what is very clearly the shadow of the camera man walking through the landscape trying to lengthen itself, and merging with the various parts of the landscape, the rocks, the bushes, and the trees, until at the very end the shadow of the man is almost a hundred feet long.”<br/><br/> “There follows the last shot in the film, a long shot showing the shadow of the hoop whirling and twirling for almost fifteen seconds; suddenly in the corner of the frame the hoop itself appears, and as the spinning, which can now be seen as the hoop and its shadow, grows slower, both come into the frame so that at the very end we see the hoop spinning and the shadow that it makes. The film is ended abruptly.”<br/><br/> In a later conversation with Worth, he explained his motivations for making the film:<br/><br/> AC Oh yes, I had it in my mind all this time during the, when I was making the shots, people asked me why you make this shots and you have to explain it. All this time and I guess I tried anyway to make you understand it, or John understand, that he really got confused. Then I have to do it in a way so that you can understand it. Then I just chose an actor. There you saw it the little sequence that happened on the film.<br/><br/> SW What do you mean? You mean that you were going to do the film another way, but you thought we wouldn’t understand it?<br/><br/> …<br/><br/> AC It was so personal at first, at first, then I lay down during the night to think about it and was up in town and thought about it. Continued, this is continued ’cause it’s on my mind why and this…I was trying to figure out a way to make the whole film be understandable. Then I found the solution in Johnny. Said yeah, this is what I’m going to do. I’m going to do it my way. MY action, my actor.<br/><br/> SW So actually you had the idea of the intruder and it was really you, and you were making a film about how it feels to be an intruder.<br/><br/> AC um-hum.<br/><br/> SW And you felt we didn’t understand that just from the shots you had already shot.<br/><br/> AC Yeah, I was going to make you an intruder yourself.<br/><br/> SW You were going to make me the intruder?<br/><br/> AC The audience, and you to feel this and you…but I thought that was too complicated so I just have to get Johnny…<br/><br/> Later in that conversation, Clah explained more about the idea of the intruder,<br/><br/> The center is, was the story goes that that guy really intrudes, you know, intrudes and maybe he was the…intruder. Maybe why, whether he really did these things and what he got that reaction from the nature and the, what did that boy was there, cause that boy was there as a mysterious image that pushed this wheel out that made the kind of noise because he was there to intrude (3).<br/><br/> He also explained that Intrepid Shadows was a self-portrait:<br/><br/> Its a self-portrait, yeah. There you can begin to understand the self-portrait of an artist. He portrays himself with a new, with a new theme he’s learning. Like I’m learning this film. There’s no other way I can do it with this. And I can do it the other way too. With sketches, self-portrait and other…I can go back and forth uh, paint my families, my home, and paint myself when I was a little kid, what I have done. But it’s going to be just one motion, I have to paint so many paintings to me, portrait, my life, my feeling. Well this is my feeling (4).<br/><br/> Clah also explained his use of the Yeibichai mask,<br/><br/> I’m not supposed to paint the Yeibichai faces. Sometime I make the mask, the people feel very strong about that. My own teacher says, it’s very strong, don’t over do it, just simplify and don’t put the everything in there. Just a little bit, that’s all. There I intrude the mask, the sacred mask. And people can’t understand this mask is very sacred, very ritual, then they ask me, how come you’re doing this. You know, you shouldn’t be doing this, you shouldn’t even touch these things. So there I thought about why did I do it. I am intruder. Then I find myself the intruder everywhere (5).<br/><br/> Post-Project<br/><br/> Clah was proactive about showing Intrepid Shadows. In 1967, he contacted Worth to ask for a copy of the film, with the intention of showing it to film clubs in Santa Fe. Worth wrote back to say that he had mailed the films. However, the 1969 correspondence between Worth and Clifford P. Wolfsehr, a public libarian in Oregon who got in touch on behalf of Clah, suggests that this copy never reached its owner.<br/><br/> Wolfsehr wrote to Worth to request a copy of the film because Clah wanted to present “a special program” in his community. While the correspondence between them indicates that Worth did send a copy, it is unknown whether or not this copy arrived or whether the program occurred.<br/><br/> Worth Showed Intrepid Shadows at Swarthmore College and at the Flaherty Film Festival in 1966, and in Washington, DC in 1967. No documentation has been discovered which suggests that Clah was informed about these screenings.<br/><br/> In addition, Clah’s 1967 letter to Worth reported that, “Evidently, quite a few people have seen my film, “Intrepid Shadows” in San Francisco. Of course, I was not there last year.” The meaning of this statement is unclear, but it could be inferred that Adair had shown the film at San Francisco state.<br/><br/> The film was also shown in 1980 at a panel discussion at the University of New Mexico, [Elizabeth Weatherford, National Museum of the American Indian].<br/><br/> The film was recetly shown in 2011, at the Navajo Nation Museum in Window Rock, Arizona.<br/><br/> -- Source: https://www.penn.museum/sites/navajofilmthemselves/the-films-2/intrepid-shadows/<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/creed.html\" rel=\"noopener\" target=\"_blank\">Alfred Clah in UbuWeb Sound</a>","artist_bio":"Alfred Clah was an artist from a community outside of Pine Springs. As Sol Worth and John Adair never did a formal life history interview with Clah, we don't know as much about his early life as we know about the other students. Similarly, there are no images of or by Clah included in the Worth Papers. We do know that at the time of the project, he was a 19 year old student at the Institute of American Indian Art at Santa Fe. There, he studied painting and sculpting, and he had watched around a hundred documentary films.\nIn an interview with Worth about Intrepid Shadows, Clah explained his identity as an artist:\n\"\"Well, engineer, he just repeat things over and over, buildings and like that mechanics. But artist, he, his mind's working. He wants to see this other things, he want to do these things. He doesn't actually have to touch it, he just have to do it with spirit, uh, recapturing the image, on his pad. There he touch the world, like I touch, I mean, like, I make a portrait of you, there I touched the man's face, throw it out. This is the face, I can't say it, can't describe this, you know, I can't touch it. If I want to make a drawing of this, sure I touch it. By drawing I learn more the mass and the form, solid…Examines closely…I would never know this until I want to start taking apart and draw everything that…and I would, see this, and unscrew this, unscrew that, take that out, look in there. Things happen down there and I never saw it before. Then I could take the pencil and try to draw. Then I would understand more about the…reel (\n1\n).\"","bio_dates":"b. 1954"},{"slug":"clair_rene_an_evening_with_rene_clair_arena_1981_gavin_millar","ok":true,"partial":false,"title":"Arena: René Clair - An Evening with René Clair","artist":"René Clair","year":"1981","startOffset":0,"sourceSecs":3225.96,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":553673790,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clair_rene_an_evening_with_rene_clair_arena_1981_gavin_millar/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clair_rene_an_evening_with_rene_clair_arena_1981_gavin_millar/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/clair_rene_an_evening_with_rene_clair_arena_1981_gavin_millar.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/clair_rene_an_evening_with_rene_clair_arena_1981_gavin_millar/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/clair_rene_an_evening_with_rene_clair_arena_1981_gavin_millar/main/master.m3u8?v=2","hasMainHls":true,"description":"Yet another gem from the BBC Arena documentary series, this time on the French film director, René Clair.\n\nFeatures archival interviews with Clair and more recent interviews for the programme with Claude Autant-Lara, Gina Lollobrigida, Claude Chabrol, Leslie Caron and Jean-Pierre Cassel.\n\nThe documentary features many clips of films from Clair's career and has a running time of approximately 55mins.\n\nThis was first broadcast on the BBC in 1981 and was originally recorded onto VHS and that time.","artist_bio":"Clair was born in Paris and grew up in the Les Halles quarter. He attended the Lycée Montaigne and the Lycée Louis-le-Grand. During World War I, he served as an ambulance driver. After the war, he started a career as a journalist under the pseudonym René Desprès. He also made his debut as an actor and, after an introduction from his brother Henri Chomette, he became an assistant to Jacques de Baroncelli.\nIn 1924, he produced his first films, Entr'acte and Paris qui dort, which were followed by a quick succession of notable films. During World War II, he went to Hollywood and was stripped of his French citizenship by the Vichy government.\nHe was given an honorary doctorate by the University of Cambridge and received the Grand Prix du Cinéma Français in 1953. In 1960, he was elected to the Académie Française. He came to personify French film, and the prize for film awarded by the Académie Française bears his name.\nClair started making films before the advent of sound, and therefore had very conflicting views of its uses; he was forced to use sound in his films for financial success. However, in lieu of creating films from theater plays like other French directors, Clair used sound to take the audience out of the narrative and into a different reality.\nClair's films And Then There Were None and Le Silence est d'or both won best picture at the Locarno International Film Festival making him as of 2009 one of only two directors to do so.\nOne of his notable films, À nous la liberté led to a controversy involving Modern Times. -- Wiki","bio_dates":"1898-1981"},{"slug":"clair_rene_bbc_documentary","ok":true,"partial":false,"title":"BBC Documentary","artist":"René Clair","year":"1981","startOffset":0,"sourceSecs":1063.097,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":187511701,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clair_rene_bbc_documentary/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clair_rene_bbc_documentary/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/clair_rene_bbc_documentary.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/clair_rene_bbc_documentary/main.mp4?v=2","description":"On the occasion of the release of his 32nd film - Les Fetes Galantes - this master of the French cinema talks to Dilys Powell.","artist_bio":"Clair was born in Paris and grew up in the Les Halles quarter. He attended the Lycée Montaigne and the Lycée Louis-le-Grand. During World War I, he served as an ambulance driver. After the war, he started a career as a journalist under the pseudonym René Desprès. He also made his debut as an actor and, after an introduction from his brother Henri Chomette, he became an assistant to Jacques de Baroncelli.\nIn 1924, he produced his first films, Entr'acte and Paris qui dort, which were followed by a quick succession of notable films. During World War II, he went to Hollywood and was stripped of his French citizenship by the Vichy government.\nHe was given an honorary doctorate by the University of Cambridge and received the Grand Prix du Cinéma Français in 1953. In 1960, he was elected to the Académie Française. He came to personify French film, and the prize for film awarded by the Académie Française bears his name.\nClair started making films before the advent of sound, and therefore had very conflicting views of its uses; he was forced to use sound in his films for financial success. However, in lieu of creating films from theater plays like other French directors, Clair used sound to take the audience out of the narrative and into a different reality.\nClair's films And Then There Were None and Le Silence est d'or both won best picture at the Locarno International Film Festival making him as of 2009 one of only two directors to do so.\nOne of his notable films, À nous la liberté led to a controversy involving Modern Times. -- Wiki","bio_dates":"1898-1981"},{"slug":"clair_rene_francis_picabia_entracte","ok":true,"partial":false,"title":"Francis Picabia Entracte","artist":"René Clair","year":"1928","startOffset":0,"sourceSecs":1207.72,"sourceHeight":432,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":76675003,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clair_rene_francis_picabia_entracte/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clair_rene_francis_picabia_entracte/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/clair_rene_francis_picabia_entracte.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/clair_rene_francis_picabia_entracte/main.mp4?v=2","description":"The great French filmmaker René Clair crafted this elegant sepia-toned profile of Paris’s iconic landmark almost forty years after the Eiffel Tower took its first bow. It clearly still fascinates and awes in this loving and playful tribute."},{"slug":"clair_rene_paris_qui_dort_1924","ok":true,"partial":false,"title":"Paris qui dort","artist":"René Clair","year":"1925","startOffset":0,"sourceSecs":2079.525,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":125467468,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clair_rene_paris_qui_dort_1924/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clair_rene_paris_qui_dort_1924/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/clair_rene_paris_qui_dort_1924.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/clair_rene_paris_qui_dort_1924/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/clair_rene_paris_qui_dort_1924/main/master.m3u8?v=2","hasMainHls":true,"description":"Credits Director: René Clair<br/> Script: René Clair<br/> Photo: Maurice Desfassiaux, Paul Guichard<br/> Cast: Henri Rollan (Albert), Louis Pré Fils, Albert Préjean (Pilot), Madeleine Rodrigue (Hesta), Myla Seller (Niece), Antoine Stacquet (Rich man), Marcel Vallée<br/> Country: France<br/> Language: French<br/> Runtime: 36 min; B&W, silent<br/> Aka: Paris Asleep; The Crazy Ray<br/> <br/> <i>Paris qui dort</i> is a French film comedy first released in 1925, directed by René Clair. The film stars Henri Rollan, Louis Pré Fils, Albert Préjean, Madeleine Rodrigue and Myla Seller. It has also been released under the title: <i>Paris Asleep</i>. <br/><br/> The young keeper of the Eiffel Tower awakes one morning and, from his vantage point at the top of the tower, finds that the whole of Paris is at a standstill. On descending the tower, he finds the streets are filled with stationary cars and motionless people. He meets up with a group of tourists who have just landed in a biplane at Paris airport. Unable to explain what has happened, they waste no time profiting from their situation - acquiring new clothes, jewels and wads of bank notes. But they soon grow tired of their new-found freedom and return, bored, to the Eiffel Tower. There, they receive a radio message from a girl, asking to be rescued. She claims to know what has happened to Paris...","artist_bio":"Clair was born in Paris and grew up in the Les Halles quarter. He attended the Lycée Montaigne and the Lycée Louis-le-Grand. During World War I, he served as an ambulance driver. After the war, he started a career as a journalist under the pseudonym René Desprès. He also made his debut as an actor and, after an introduction from his brother Henri Chomette, he became an assistant to Jacques de Baroncelli.\nIn 1924, he produced his first films, Entr'acte and Paris qui dort, which were followed by a quick succession of notable films. During World War II, he went to Hollywood and was stripped of his French citizenship by the Vichy government.\nHe was given an honorary doctorate by the University of Cambridge and received the Grand Prix du Cinéma Français in 1953. In 1960, he was elected to the Académie Française. He came to personify French film, and the prize for film awarded by the Académie Française bears his name.\nClair started making films before the advent of sound, and therefore had very conflicting views of its uses; he was forced to use sound in his films for financial success. However, in lieu of creating films from theater plays like other French directors, Clair used sound to take the audience out of the narrative and into a different reality.\nClair's films And Then There Were None and Le Silence est d'or both won best picture at the Locarno International Film Festival making him as of 2009 one of only two directors to do so.\nOne of his notable films, À nous la liberté led to a controversy involving Modern Times. -- Wiki","bio_dates":"1898-1981"},{"slug":"claire_fontaine_126419","ok":true,"partial":false,"title":"126419","artist":"Claire Fontaine","year":"2008","startOffset":0,"sourceSecs":469.673,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":86272950,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claire_fontaine_126419/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claire_fontaine_126419/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/claire_fontaine_126419.mp4","hasFrames":true,"description":"Installation view, Feux de détresse, Galerie Chantal Crousel, Paris","artist_bio":"Claire Fontaine, Bernadette Corporation & Reena Spaulings - Imperio (2007)\nClaire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a “readymade artist” and began to elaborate a version of neo-conceptual art that often looks like other people’s work.\nWorking in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box – as displaced, deprived of its use value, and exchangeable as the products she makes – there is always the possibility of what she calls the “human strike.”\nClaire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property.","bio_dates":"2015"},{"slug":"claire_fontaine_a_fire_is_a_fire_is_not_a_fire","ok":true,"partial":false,"title":"A fire is a fire is not a fire","artist":"Claire Fontaine","year":"2005","startOffset":0,"sourceSecs":136.405,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":14628873,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claire_fontaine_a_fire_is_a_fire_is_not_a_fire/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claire_fontaine_a_fire_is_a_fire_is_not_a_fire/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/claire_fontaine_a_fire_is_a_fire_is_not_a_fire.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/claire_fontaine_a_fire_is_a_fire_is_not_a_fire/main.mp4?v=2","description":"Colour, no sound, continuous loop for projection. 2′ 16″","artist_bio":"Claire Fontaine, Bernadette Corporation & Reena Spaulings - Imperio (2007)\nClaire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a “readymade artist” and began to elaborate a version of neo-conceptual art that often looks like other people’s work.\nWorking in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box – as displaced, deprived of its use value, and exchangeable as the products she makes – there is always the possibility of what she calls the “human strike.”\nClaire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property.","bio_dates":"2015"},{"slug":"claire_fontaine_bernadette_corporation_reena_spaulings_imperio_2007_converted","ok":true,"partial":false,"title":"Claire Fontaine, Bernadette Corporation & Reena Spaulings - Imperio","artist":"Bernadette Corporation","year":"2007","startOffset":0,"sourceSecs":1207.106,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":199225945,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claire_fontaine_bernadette_corporation_reena_spaulings_imperio_2007_converted/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claire_fontaine_bernadette_corporation_reena_spaulings_imperio_2007_converted/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/claire_fontaine_bernadette_corporation_reena_spaulings_imperio_2007_converted.mp4","hasFrames":true,"description":"Imperio is the Mexican remake of Andy Warhol's film Empire by Reena Spaulings, Bernadette Corporation, and Claire Fontaine, a collective work of the three fictitious women artist's collectives.","artist_bio":"Claire Fontaine, Bernadette Corporation & Reena Spaulings - Imperio (2007)\nSince 1994, the anonymous, non-hierarchical group of artists known as Bernadette Corporation has explored strategies of cultural resistance and détournement. Adopting a quasi-corporate identity, complete with logo, \"training\" videos, and a dispersed, multi-national membership, the mutable collective has appropriated contemporary entertainment modes for their own experimental purposes. From the New York-based BC fashion label, which garnered a cult following from 1995 to 1997, and the magazine Made In USA, launched in 1999, to the collectively-authored novel Reena Spaulings (Semiotexte, 2005) and a series of videos starring the likes of Sylvère Lotringer and Chloe Sevigny, Bernadette Corporation's interventionist projects amount to a precisely-calibrated critique of a global culture that constructs identity through consumption and branding.\nBernadette Corporation was formed in a Manhattan nightclub in 1994, and began organizing DIY social events that evolved into unauthorized art carnivals in SoHo parking lots. From 1995 to 1997, the group worked under the guise of an underground fashion label. In 1999 it self-published a magazine, Made in USA, and began producing videos. In 2005 Bernadette Corporation authored the collective novel Reena Spaulings, which was published by Semiotext(e). Bernadette Corporation has exhibited works at international venues including Gavin Brown's Enterprise, New York (2002); Yvon Lambert, Paris (2004); Whitechapel Gallery, London (2004); Hammer Museum, Los Angeles (2005); Stedelijk Museum, Amsterdam (2005); Der Kunstverein, Hamburg, Germany (2006), and Perros Negros, Mexico City (2007), among others. --\nEAI","bio_dates":"2000"},{"slug":"claire_fontaine_digital","ok":true,"partial":false,"title":"Digital","artist":"Claire Fontaine","year":"2004","startOffset":0,"sourceSecs":255.85,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":44749696,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claire_fontaine_digital/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claire_fontaine_digital/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/claire_fontaine_digital.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/claire_fontaine_digital/main.mp4?v=2","description":"Plasma screen with headphones. 4’15” (Please watch the video with headphones)","artist_bio":"Claire Fontaine, Bernadette Corporation & Reena Spaulings - Imperio (2007)\nClaire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a “readymade artist” and began to elaborate a version of neo-conceptual art that often looks like other people’s work.\nWorking in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box – as displaced, deprived of its use value, and exchangeable as the products she makes – there is always the possibility of what she calls the “human strike.”\nClaire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. 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She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property.","bio_dates":"2015"},{"slug":"claire_fontaine_you_can_cut_anyone","ok":true,"partial":false,"title":"Untitled (You can cut anyone)","artist":"Claire Fontaine","year":"2015","startOffset":0,"sourceSecs":2078.08,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":928576303,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claire_fontaine_you_can_cut_anyone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claire_fontaine_you_can_cut_anyone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/claire_fontaine_you_can_cut_anyone.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/claire_fontaine_you_can_cut_anyone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/claire_fontaine_you_can_cut_anyone/main/master.m3u8?v=2","hasMainHls":true,"description":"Digital HD video for 50″ smart tv, 16:9, colour and sound. 38′ 48″","artist_bio":"Claire Fontaine, Bernadette Corporation & Reena Spaulings - Imperio (2007)\nClaire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a “readymade artist” and began to elaborate a version of neo-conceptual art that often looks like other people’s work.\nWorking in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box – as displaced, deprived of its use value, and exchangeable as the products she makes – there is always the possibility of what she calls the “human strike.”\nClaire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property.","bio_dates":"2015"},{"slug":"clampett_robert_russian_rhapsody_1944","ok":true,"partial":false,"title":"Russian Rhapsody","artist":"Robert Clampett","year":"1944","startOffset":0,"sourceSecs":420.011,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":74684060,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clampett_robert_russian_rhapsody_1944/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clampett_robert_russian_rhapsody_1944/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/clampett_robert_russian_rhapsody_1944.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/clampett_robert_russian_rhapsody_1944/main.mp4?v=2","description":"Directed by Robert Clampett<br/> Story by Lou Lilly<br/> Animation by Rod Scribner<br/> Voices by Mel Blanc<br/> Music by Carl Stalling<br/> Produced by Leon Schlesinger<br/> Distributed by Warner Brothers<br/> Release date May 20, 1944 (USA)<br/> Format Color, 7 min, 04 sec<br/> Language English","artist_bio":"Robert Emerson \"Bob\" Clampett (May 8, 1913 – May 2, 1984) was an American animator, producer, director, and puppeteer best known for his work on the Looney Tunes animated series from Warner Bros., and the television shows Time for Beany and Beany and Cecil. Clampett was born and raised not far from Hollywood, and early on expressed an interest in animation and puppetry. After leaving high school a few months shy of graduating in 1931, Clampett joined the team at Harman-Ising Productions and began working on the studio's newest short subjects, titled Looney Tunes and Merrie Melodies.\nClampett was promoted to a directorial position in 1937 and during his fifteen years at the studio, directed 84 cartoons later deemed classic and designed some of the studio's most famous characters, including Porky Pig and Tweety. Among Clampett's most acclaimed films are Porky in Wackyland (1938), Coal Black and de Sebben Dwarfs (1943) and The Great Piggy Bank Robbery (1946). Clampett left Warner Bros. Cartoons in 1946 and turned his attention to television, creating the famous puppet show Time for Beany in 1949. A later animated version of the series, titled Beany and Cecil, ran on ABC for five years beginning in 1962 and ending in 1967, which was well loved by millions, and credited \"a Bob Clampett Cartoon\".\nIn his later years, Bob Clampett toured college campuses and animation festivals as a lecturer on the history of animation. Clampett died of a heart attack in Detroit, Michigan on May 2, 1984. After his death, he was criticized by many peers at Warner Bros. with accusations of egotism and plagiarism, with many notable figures, including Chuck Jones and Mel Blanc, expressing a general dislike for Clampett. Despite this, his Warner cartoons have seen renewed praise in decades since for their surrealistic qualities, energetic and outrageous animation, and irreverent humor. Animation historian Jerry Beck lauded Clampett for \"putting the word 'looney' in Looney Tunes.\"","bio_dates":"1913-1984"},{"slug":"clark_larry_impaled_2006_mp4","ok":true,"partial":false,"title":"Impaled","artist":"Larry Clark","year":"2006","startOffset":0,"sourceSecs":2248.08,"sourceHeight":384,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":135394567,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clark_larry_impaled_2006_mp4/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/clark_larry_impaled_2006_mp4/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/clark_larry_impaled_2006_mp4.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/clark_larry_impaled_2006_mp4/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/clark_larry_impaled_2006_mp4/main/master.m3u8?v=2","hasMainHls":true,"description":"Synopsis:<br/> Everyone who was born after 1980 grew up with easy access to pornographic videos. Many children see explicit videos at a young age. Clark interviews people between the ages of 19 and 23 and asks how seeing pornography at such a young age shaped how they think about sex.<br/> <br/> What are their sex fantasies and how are they directly related to growing up with pornograhpy?<br/> <br/> This will be the background for acting out these fantasies.<br/> <br/> Title: Impaled<br/> Director: Larry Clark<br/> <br/> From Destricted (2006)","artist_bio":"Lawrence Donald \"Larry\" Clark (born January 19, 1943) is an American film director, photographer, writer and film producer who is best known for the movie Kids and his photography book Tulsa. His most common subject is youth who casually engage in illegal drug use, underage sex, and violence, and who are part of a specific subculture, such as surfing, punk rock or skateboarding.","bio_dates":"b. 1943"},{"slug":"claus_carlfreidrich_documentary","ok":true,"partial":false,"title":"Documentary","artist":"Carlfriedrich Claus","year":"1997","startOffset":0,"sourceSecs":3870.528,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":649780009,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claus_carlfreidrich_documentary/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/claus_carlfreidrich_documentary/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/claus_carlfreidrich_documentary.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/claus_carlfreidrich_documentary/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/claus_carlfreidrich_documentary/main/master.m3u8?v=2","hasMainHls":true,"description":"Wittig, Heinz: Carlfriedrich Claus. Menschliche Existenz als Experiment. Ein Film von Heinz Wittig. Nürnberg: Verlag für moderne Kunst 1997. Buch, Kamera, Regie und Schnitt: Heinz Wittig (68') ISBN 3-928342-80.0 (Videofilm)"},{"slug":"close_chuck_bob_1973","ok":true,"partial":false,"title":"Slow Pan for Bob","artist":"Chuck Close","year":"1973","startOffset":0,"sourceSecs":608.448,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":103723348,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/close_chuck_bob_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/close_chuck_bob_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/close_chuck_bob_1973.mp4","hasFrames":true,"description":"16mm, 10'08\" min, b&w, silent <br/><br/> Made with the help of Richard Landry, the camera scans in extreme closeup, the face of Bob Isreal, which at no time is seen in its entirety. <br/><br/> Chuck Close: \"It was called Slow Pan For Bob,' and it was an image of the painting Robert Israel made which Dickie Landry helped me make. He was also one of Phil Glass's musicians and a sometime helper of Richard Serra as well and a great musician. He supported himself by making films. He was a film maker/musician/everything. He helped me make the movie. It was about scanning an image and knowing everything about it. One little piece of the face would fill the whole frame and you saw every pore and every hair follicle. But because it was continuously scanning from top to bottom, left to right you never saw the whole image. It required you to remember what you had seen and put it all together in your head. It was quite impossible. Even though you knew all this information about a head you couldn't put it together and make a whole until you had seen the movie three or four times. It was about ten minutes long and we had it on a loop so it just played continuously in the back room.\"","artist_bio":"Chuck Thomas Close (born July 5, 1940, Monroe, Washington) is an American painter and photographer who achieved fame as a photorealist, through his massive-scale portraits. Though a catastrophic spinal artery collapse in 1988 left him severely paralyzed, he has continued to paint and produce work which remains sought after by museums and collectors.\nChuck Close's father died when he was ten years old. Most of his early works are very large portraits based on photographs (Photorealism or Hyperrealism technique) of family and friends, often other artists. In 1962, he received his B.A. from the University of Washington in Seattle. He then attended graduate school at Yale University, where he received his MFA in 1964. After Yale, he lived in Europe for a while on a Fulbright grant. When he returned to the US, he worked as an art teacher at the University of Massachusetts.\nClose's first one-man show was in 1970. His work was first exhibited at the New York Museum of Modern Art in early 1973. In 1979 his work was included in the Whitney Biennial. \"One demonstration of the way photography became assimilated into the art world is the success of photorealist painting in the late 1960s and early 1970s. It is also called super-realism or hyper-realism and painters like Richard Estes, Denis Peterson, Audrey Flack, and Chuck Close often worked from photographic stills to create paintings that appeared to be photographs. The everyday nature of the subject matter of the paintings likewise worked to secure the painting as a realist object.\"\nOne photo of Philip Glass was included in his black and white series in 1969, redone with water colors in 1977, again redone with stamp pad and fingerprints in 1978, and also done as gray handmade paper in 1982.\nAlthough his later paintings differ in method from his earlier canvases, the preliminary process remains the same. To create his grid work copies of photos, Close puts a grid on the photo and on the canvas and copies cell by cell. Typically, each square within the grid is filled with roughly executed regions of color (usually consisting of painted rings on a contrasting background) which give the cell a perceived 'average' hue which makes sense from a distance. His first tools for this included an airbrush, rags, razor blade, and an eraser mounted on a power drill. His first picture with this method was Big Self Portrait, a black and white enlargement of his face to a 107.5 in by 83.5 in (2.73 m by 2.12 m) canvas, made in over four months in 1968, and acquired by the Walker Art Center in 1969. He made seven more black and white portraits during this period. He has been quoted as saying that he used such diluted paint in the airbrush that all eight of the paintings were made with a single tube of mars black acrylic.\nLater work has branched into non-rectangular grids, topographic map style regions of similar colors, CMYK color grid work, and using larger grids to make the cell by cell nature of his work obvious even in small reproductions. The Big Self Portrait is so finely done that even a full page reproduction in an art book is still indistinguishable from a regular photograph.\nClose has also continued to explore difficult photographic processes such as daguerreotype in collaboration with Jerry Spagnoli and sophisticated modular/cell-based forms such as tapestry. Close's wall-size tapestry portraits, in which each image is composed of thousands of combinations of woven colored thread, depict subjects including Kate Moss, Cindy Sherman, Lorna Simpson, Philip Glass, and Close himself They are produced in collaboration with Donald Farnsworth of Magnolia Editions in Oakland, CA.\nClose currently lives and paints in Bridgehampton, New York. He has been represented by PaceWildenstein, in New York since 1977.","bio_dates":"1940-2021"},{"slug":"closky_claude_200_mouths","ok":true,"partial":true,"title":"200 Mouths To Feed","artist":"Claude Closky","year":"1994","startOffset":0,"sourceSecs":313.8,"sourceHeight":432,"sourceWidth":540,"hasAudio":false,"hasAmbientMp4":true,"bytes":18057582,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/closky_claude_200_mouths/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/closky_claude_200_mouths/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/closky_claude_200_mouths.mp4","hasFrames":true,"description":"Claude Closky, ‘200 Mouths To Feed,’ 1994, video presented on a monitor, silent, 5 minutes. Coproduction Centre pour l’Image Contemporaine (S-G,G), Geneva.<br/><br/> Bodies, faces, lips, disembodied mouths, couples feeding each other and families at table. Swallowing, biting, drinking – chocolates, chewing gum, sandwiches, ice cream, hamburgers and various drinks. The human being is propelled into centre stage, viewed through a combination of gestures and looks: advertising works on bodies. Children, young people, old people, redheads, brunettes, blonds – so many ideas of beauty to the standards of television signifiers. A video that reflects the idealised image of the middle class in Western countries – a mass that lives well, that consumes; a succession of chromos of human lives. Glacial images that vaunt the warmth of a prosperous world, which encourages the spirit of covetousness and the thirst of ambition. The work is the result of three days of television programmes recorded continuously. From this, Claude Closky has taken only the sequences that involve the absorption of nourishment, a Perec-style survey where advertising has the starring role – that of offering images of peace and happiness, the opposite of the violence of our world as seem by the news media. In the glare of these media representations, which offer themselves as models and sing the praises of the products of the world of markets, we plunge into a conformity of cultures. Out of this universal quality of advertising, a territory emerges: the geography without frontiers of brands where consumers communicate. \"[Consumption], because of its quality of total penetration into the fabric of society, institutes a kind of indiscreet hyper-conviviality, that is never-ending and inescapable – it is something that the subject incorporates and which provides him/her with a most ordinarily present substance\" 1. The indifferentiation that is growing in the world flows through this video.<br/><br/> Contrary to its original principle, this imagery ends up by cancelling all illusions and gives the feeding function a strange, absurd air. A loop of images to the point of visual indigestion. Claude Closky shows those little, everyday actions, which are anodyne, but which become more and more artificial as they are tirelessly repeated. The images, made in different manners (video or photogramme), are not retouched in any way. They all have the same value; nothing is taken away or lost. Except perhaps a feeling: the lie of the messages; here, the stereotypes coupled with all of the products, sends the gregarious spirit sought into the realms of stupidity. Everything passes in a loop, with an air of déjà vu. In this advertising mix, each image has a superlative and drowns the consumer in his/her consumption.<br/><br/> 200 bouches à nourrir depicts \"a society where it seems that everything must be consumed, agitated by a principle of fundamental self-cannibalism: la société de consommation de soi.\"<br/><br/> Dominique Garrigues","artist_bio":"Claude Closky is a French contemporary artist born in 1963. Working in a variety of media, Closky uses images, texts, numbers, and sounds sampled from our environment to create his art.\nClaude Closky: The first thousand numbers classified in alphabetical order","bio_dates":"b. 1963"},{"slug":"closky_claude_flow","ok":true,"partial":true,"title":"Flow","artist":"Claude Closky","year":"2002-2004","startOffset":0,"sourceSecs":1049.067,"sourceHeight":405,"sourceWidth":540,"hasAudio":false,"hasAmbientMp4":true,"bytes":38472408,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/closky_claude_flow/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/closky_claude_flow/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/closky_claude_flow.mp4","hasFrames":false,"description":"Claude Closky, ‘Flow,’ 2002-2004, art-netart, Paris. Video, silent. Coproduction art-netart, Noël Solutions, realisation Sandrine Rivière, unlimited duration.<br/><br/> Claude Closky’s 2000s work clings to the hyper-consumption of signs, and particularly advertising signs, among which one will easily include the graphic vocabulary of economics, in so far as one agrees to accept that its significance, its capacity of effective representation of a reality, fades away behind a diverting abstraction, which produces a tapestry effect. Closky upgrades these signs by taking into account only the stating of meaning, and its function overwhelming reality, cancelling any message in favour of a decorative reason, whose infinite variations produce only one tireless reproduction of same. flux uses in a simplified way, reduced with the logotypic sweetening of forms inherited from a modernistic geometric abstraction (circle and line), one of the characteristic patterns of contemporary economics, consisting in representing displacements, material and immaterial, between masses. In extracting these fluxes from any intention and any context, Closky makes their movements intransitive until absurdity, but also shows how they raise to value, without it being interrogated nor called in question, concepts of mobility, adaptability, flexibility... Beyond the smooth surface of the spheres and vectors, beyond the fluidity of their quiet animation, the violence of a reality cleverly cleared of these invariably positivist representations is revealed: the violence of the obliteration of the possible causes and consequences of these exchanges.<br/><br/> François Piron, March 2004","artist_bio":"Claude Closky is a French contemporary artist born in 1963. Working in a variety of media, Closky uses images, texts, numbers, and sounds sampled from our environment to create his art.\nClaude Closky: The first thousand numbers classified in alphabetical order","bio_dates":"b. 1963"},{"slug":"closky_claude_paris_bures","ok":true,"partial":true,"title":"Paris - Bures-sur-Yvette in 2 Minutes 22 Secondes 7 Tenth","artist":"Claude Closky","year":"1996","startOffset":0,"sourceSecs":149.08,"sourceHeight":432,"sourceWidth":540,"hasAudio":true,"hasAmbientMp4":true,"bytes":10422369,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/closky_claude_paris_bures/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/closky_claude_paris_bures/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/closky_claude_paris_bures.mp4","hasFrames":true,"description":"Claude Closky, ‘Paris - Bures-sur-Yvette in 2 Minutes 22 Secondes 7 Tenth,’ 1996, video projection, stereo, dimensions variable, 2 minutes 22 secondes. <br/><br/> Not a disruption of the programming language of video games, but a diversion of its possibilities – amidst a system of competing distractions, it permits detours, gratuitousness, the vacancy of signs. Move from the-performance of the game to-the-wanderings of the player. -- Olivier Zahm","artist_bio":"Claude Closky is a French contemporary artist born in 1963. Working in a variety of media, Closky uses images, texts, numbers, and sounds sampled from our environment to create his art.\nClaude Closky: The first thousand numbers classified in alphabetical order","bio_dates":"b. 1963"},{"slug":"closky_claude_paris_ringroad","ok":true,"partial":true,"title":"Around Paris on the Ringroad in 2 Minutes 31 Secondes","artist":"Claude Closky","year":"1996","startOffset":0,"sourceSecs":155.52,"sourceHeight":432,"sourceWidth":540,"hasAudio":true,"hasAmbientMp4":true,"bytes":10798176,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/closky_claude_paris_ringroad/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/closky_claude_paris_ringroad/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/closky_claude_paris_ringroad.mp4","hasFrames":true,"description":"Claude Closky, ‘Around Paris on the Ringroad in 2 Minutes 31 Secondes,’ 1996, video projection, stereo, dimensions variable, 2 minutes 31 seconds. <br/><br/> Not a disruption of the programming language of video games, but a diversion of its possibilities – amidst a system of competing distractions, it permits detours, gratuitousness, the vacancy of signs. Move from the-performance of the game to-the-wanderings of the player. -- Olivier Zahm","artist_bio":"Claude Closky is a French contemporary artist born in 1963. Working in a variety of media, Closky uses images, texts, numbers, and sounds sampled from our environment to create his art.\nClaude Closky: The first thousand numbers classified in alphabetical order","bio_dates":"b. 1963"},{"slug":"closky_claude_photos","ok":true,"partial":true,"title":"Photos","artist":"Claude Closky","year":"1994","startOffset":0,"sourceSecs":496.872,"sourceHeight":432,"sourceWidth":540,"hasAudio":false,"hasAmbientMp4":true,"bytes":29006782,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/closky_claude_photos/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/closky_claude_photos/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/closky_claude_photos.mp4","hasFrames":true,"description":"video presented on a monitor, silent, 8 minutes. Coproduction Centre pour l’Image Contemporaine (S-G,G), Geneva. <br/><br/> Closky’s work refers in various media to the paradox of the growing flood of information and the increasing lack of content. Photosshows photography, film, and advertising with human faces, reflecting on the stereotypical constructedness and the absurdity of media poses.","artist_bio":"Claude Closky is a French contemporary artist born in 1963. Working in a variety of media, Closky uses images, texts, numbers, and sounds sampled from our environment to create his art.\nClaude Closky: The first thousand numbers classified in alphabetical order","bio_dates":"b. 1963"},{"slug":"cobbing_bob_fencott_pc_performing_concrete_poetry_1985","ok":true,"partial":false,"title":"PC Fencott","artist":"Bob Cobbing","year":"1985","startOffset":0,"sourceSecs":1861.611,"sourceHeight":480,"sourceWidth":630,"hasAudio":true,"hasAmbientMp4":true,"bytes":317951157,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cobbing_bob_fencott_pc_performing_concrete_poetry_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cobbing_bob_fencott_pc_performing_concrete_poetry_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cobbing_bob_fencott_pc_performing_concrete_poetry_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cobbing_bob_fencott_pc_performing_concrete_poetry_1985/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cobbing_bob_fencott_pc_performing_concrete_poetry_1985/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Josephine Johnson<br/> from The Josephine Johnson Papers<br/> <br/> Josephine Johnson is the former head of the University of Miami's Department of Communication and a former faculty member of its School of Communication. While at the University of Miami, Johnson organized a series of poetry events for the university's Richter Library, among them a 1982 \"performance of Concrete and Sound Poetry\" featuring Bob Cobbing and P.C. Fencott. The event took place in conjunction with an exhibition of the artists' work from the Sackner Archive of Concrete and Visual Poetry. Performing Concrete Poetry, filmed in a studio around this same time, features a collaborative performance by Cobbing and Fencott, including an interview with Judy Merriman. <br/><br/> Performing Concrete Poetry. A half‐hour videotape featuring Bob Cobbing and P. C. Fencott, concrete poets and performers. Produced by Josephine Johnson, University of Miami, Coral Gables. <br/><br/> The exhibition was curated by Ruth and Marvin Sackner. The catalogue was issued on the occasion of the exhibition and performance of Cobbing and Fencott at the Richter Library, University of Miami, February 25, 1982. The exhibition and performance was sponsored by Josephine Johnson, University of Miami. -- Source of annotation: Marvin or Ruth Sackner. Dates: 1982 <br/><br/> Directed by Josephine Johnson<br/> Performed by the University of Miami's Chamber Theater.","artist_bio":"Publisher and poet Bob Cobbing was born in Enfield, England and raised a member of the Plymouth Brethren. Trained as an accountant and teacher, Cobbing is best known for his work as publisher of Writers Forum and pioneering visual, concrete, and sound poetry and performances. An important force in avant-garde British poetry, Cobbing managed Better Books, home to many literary and artistic happenings in London’s underground literary scene in the 1960s. Cobbing also helped found the Association of Little Presses and Poets Conference, as well as serving on the Poetry Society council. From 1963 to 2002 he published hundreds of pamphlets and books of experimental poetry under the Writers’ Forum aegis.\nCobbing’s work drew on elements of concrete and sound poetry; he foregrounded language as material, as sign or mark, while developing sound as an element of non-semantic meaning. Cobbing wrote of his practice in “Some Statements on Sound Poetry”: “Gone is the word as word, though the word may still be used as sound or shape. Poetry now resides in other elements.” Those other elements, as Robert Sheppard noted in his obituary for Cobbing, included not just “any mark—whether letter-shape, lip imprint, or inkblot…on the page,” but “moaning, sighing, shouting, even sneezing.” Cobbing’s first work of visual poetry was the sequence “ABC In Sound” (1964); other works include Kurrirrurriri (1967), So: Six Sound Poems (1968), Whisper Piece (1969), Etcetera: A New Collection of Found and Sound Poems (1970), Chronology Sound Poetry (1974), And Avocado (1977), and The Kollekted Kris Kringle Volume IV (1979), among others. Cobbing died in 2002.\nMatthew Abess on Bob Cobbing \"Make Perhaps This Out Sense of Can You\" [PDF]","bio_dates":"1920-2002"},{"slug":"cocteau_jean_la_villa_santo_sospir_1952_iphone","ok":true,"partial":false,"title":"La villa Santo Sospir","artist":"Jean Cocteau","year":"1952","startOffset":0,"sourceSecs":2189.664,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":131408309,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cocteau_jean_la_villa_santo_sospir_1952_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cocteau_jean_la_villa_santo_sospir_1952_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cocteau_jean_la_villa_santo_sospir_1952_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cocteau_jean_la_villa_santo_sospir_1952_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cocteau_jean_la_villa_santo_sospir_1952_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/media/video/Cocteau-Jean_La-villa-Santo-Sospir_1952.srt\" rel=\"noopener\" target=\"_blank\">English Subtitles</a> <br/><br/> A 35-minute color film by Cocteau entitled \"La Villa Santo Sospir.\" Shot in 1952, this is an \"amateur film\" done in 16mm, a sort of home movie in which Cocteau takes the viewer on a tour of a friend's villa on the French coast (a major location used in Testament of Orpheus). The house itself is heavily decorated, mostly by Cocteau (and a bit by Picasso), and we are given an extensive tour of the artwork. Cocteau also shows us several dozen paintings as well. Most cover mythological themes, of course. He also proudly shows paintings by Edouard Dermithe and Jean Marais and plays around his own home in Villefranche. This informal little project once again shows the joy Cocteau takes in creating art, in addition to showing a side of his work (his paintings and drawings) that his films often overshadow.","artist_bio":"8 x 8: A Chess Sonata in 8 Movements\nJean Cocteau, Marcel Duchamp, Hans Richter\n(1957)\nProfile of a Writer: Jean Cocteau - Autobiography of an Unknown\n(1985 - French Language)\nJean Maurice Eugène Clément Cocteau (5 July 1889 – 11 October 1963) was a French poet, novelist, dramatist, designer, boxing manager, playwright, artist and filmmaker. Along with other avant-garde artists of his generation (Jean Anouilh and René Char for example) Cocteau grappled with the algebra of verbal codes old and new, mise en scène language and technologies of modernism to create a paradox: a classical avant-garde. His circle of associates, friends and lovers included Kenneth Anger, Pablo Picasso, Jean Hugo, Jean Marais, Henri Bernstein, Marlene Dietrich, Coco Chanel, Erik Satie, María Félix, Édith Piaf (whom he cast in one of his one-act plays entitled Le Bel Indifferent in 1940), and Raymond Radiguet.\nHis work was played out in the theatrical world of the Grands Theatres, the Boulevards and beyond during the Parisian epoque he both lived through and helped define and create. His versatile, unconventional approach and enormous output brought him international acclaim. -- Wiki","bio_dates":"1889-1963"},{"slug":"cocteau_jean_s_adresse_1962","ok":true,"partial":false,"title":"Jean Cocteau s'adresse... à l'an 2000","artist":"Jean Cocteau","year":"1962","startOffset":0,"sourceSecs":1427.28,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":249545172,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cocteau_jean_s_adresse_1962/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cocteau_jean_s_adresse_1962/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cocteau_jean_s_adresse_1962.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cocteau_jean_s_adresse_1962/main.mp4?v=2","description":"23'51 - En 1962, à la télévision, Jean Cocteau rêve à l'an 2000 et adresse ses vœux à la jeunesse : “J'espère que vous n'êtes pas devenus des robots, et qu'au contraire vous serez très humanisés”. L'anniversaire de sa naissance (il est né le 5 juillet 1889) est l'occasion de (re)voir ce monologue du poète qui s'interroge sur son époque, et sur le futur.","artist_bio":"8 x 8: A Chess Sonata in 8 Movements\nJean Cocteau, Marcel Duchamp, Hans Richter\n(1957)\nProfile of a Writer: Jean Cocteau - Autobiography of an Unknown\n(1985 - French Language)\nJean Maurice Eugène Clément Cocteau (5 July 1889 – 11 October 1963) was a French poet, novelist, dramatist, designer, boxing manager, playwright, artist and filmmaker. Along with other avant-garde artists of his generation (Jean Anouilh and René Char for example) Cocteau grappled with the algebra of verbal codes old and new, mise en scène language and technologies of modernism to create a paradox: a classical avant-garde. His circle of associates, friends and lovers included Kenneth Anger, Pablo Picasso, Jean Hugo, Jean Marais, Henri Bernstein, Marlene Dietrich, Coco Chanel, Erik Satie, María Félix, Édith Piaf (whom he cast in one of his one-act plays entitled Le Bel Indifferent in 1940), and Raymond Radiguet.\nHis work was played out in the theatrical world of the Grands Theatres, the Boulevards and beyond during the Parisian epoque he both lived through and helped define and create. His versatile, unconventional approach and enormous output brought him international acclaim. -- Wiki","bio_dates":"1889-1963"},{"slug":"cocteau_richter_8x8_a_chess_sonata_iphone","ok":true,"partial":false,"title":"8 x 8: A Chess Sonata in 8 Movements","artist":"Jean Cocteau, Marcel Duchamp, Hans Richter","year":"1957","startOffset":0,"sourceSecs":4225.09,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":246880497,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cocteau_richter_8x8_a_chess_sonata_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cocteau_richter_8x8_a_chess_sonata_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cocteau_richter_8x8_a_chess_sonata_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cocteau_richter_8x8_a_chess_sonata_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cocteau_richter_8x8_a_chess_sonata_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"8 x 8: A Chess Sonata in 8 Movements (1957) is an American experimental film directed by Hans Richter, Marcel Duchamp, and Jean Cocteau released on March 15, 1957 in New York City. It features original music by Robert Abramson, John Gruen and Douglas Townsend. <br/><br/> Described by Richter as \"part Freud, part Lewis Carroll,\" it is a fairy tale for the subconscious based on the game of chess. <br/><br/> While living in New York, Hans Richter directed two feature films, Dreams That Money Can Buy and 8x8: A Chess Sonata in collaboration with Max Ernst, Cocteau, Paul Bowles, Fernand Leger, Alexander Calder, Duchamp, and others, which was partially filmed on the lawn of his summer house in Southbury, Connecticut.","artist_bio":"8 x 8: A Chess Sonata in 8 Movements\nJean Cocteau, Marcel Duchamp, Hans Richter\n(1957)\nProfile of a Writer: Jean Cocteau - Autobiography of an Unknown\n(1985 - French Language)\nJean Maurice Eugène Clément Cocteau (5 July 1889 – 11 October 1963) was a French poet, novelist, dramatist, designer, boxing manager, playwright, artist and filmmaker. Along with other avant-garde artists of his generation (Jean Anouilh and René Char for example) Cocteau grappled with the algebra of verbal codes old and new, mise en scène language and technologies of modernism to create a paradox: a classical avant-garde. His circle of associates, friends and lovers included Kenneth Anger, Pablo Picasso, Jean Hugo, Jean Marais, Henri Bernstein, Marlene Dietrich, Coco Chanel, Erik Satie, María Félix, Édith Piaf (whom he cast in one of his one-act plays entitled Le Bel Indifferent in 1940), and Raymond Radiguet.\nHis work was played out in the theatrical world of the Grands Theatres, the Boulevards and beyond during the Parisian epoque he both lived through and helped define and create. His versatile, unconventional approach and enormous output brought him international acclaim. -- Wiki","bio_dates":"1889-1963"},{"slug":"cohl_emilie_le_ratelier_de_la_belle_mere_1909","ok":true,"partial":false,"title":"Le ratelier de la belle mere","artist":"Émile Cohl","year":"1909","startOffset":0,"sourceSecs":486.763,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":34964862,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cohl_emilie_le_ratelier_de_la_belle_mere_1909/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cohl_emilie_le_ratelier_de_la_belle_mere_1909/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cohl_emilie_le_ratelier_de_la_belle_mere_1909.mp4","hasFrames":true,"description":"Mother in law gets a new set of dentures. Despite being initially happy, the family soon discovers the teeth have a life of their own and jump from their owner's mouth and bite everyone who comes near--from ladies to gentlemen to policemen.","artist_bio":"Émile Cohl (January 4, 1857, Paris – January 20, 1938), born Émile Eugène Jean Louis Courtet, was a French caricaturist of the largely forgotten Incoherent Movement, cartoonist, and animator, called \"The Father of the Animated Cartoon\" and \"The Oldest Parisian\".","bio_dates":"1857-1938"},{"slug":"cointet_guy_de_an_interview_with_dr_hun","ok":true,"partial":false,"title":"An Interview with Dr Hun » with an Extract of « the Paintings of Sophie Rummel","artist":"Guy de Cointet","year":"1974","startOffset":0,"sourceSecs":381.688,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":66912471,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_an_interview_with_dr_hun/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_an_interview_with_dr_hun/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cointet_guy_de_an_interview_with_dr_hun.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_an_interview_with_dr_hun/main.mp4?v=2","description":"« AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL » performer : Viva 1974 B&W video (6 mn 00) The text of this play is written in a unique code invented by the artist and includes pieces of license plates, phone numbers, movie ratings, and words.","artist_bio":"AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL (1974)\nAT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING (1974)\nGuy de Cointet (1934 – 1983) was a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces.\nuy de Cointet was born in Paris in 1934, the son of a military officer. He attended high school with Yves Saint Laurent and the fashion photographer Jérôme Ducrot, both of whom shared and influenced de Cointet's interest in fashion. After unsuccessfully competing in a 1952 clothing design competition sponsored by the Chambre Syndicale de la Haute Couture, de Cointet attended the École des Beaux-Arts de Nancy. In 1956 he moved to Paris, where he worked as an illustrator for the magazines Vogue and Jardin des Mondes.\nde Cointet moved to New York in 1965, following brief stays in the Canary Islands and in central France near Limoges. Shortly after arriving in New York, de Cointet was introduced to the sculptor Larry Bell by their mutual friend Susan Hoffman. Bell hired de Cointet as an assistant, working first at Bell's studio in New York. He later followed Bell to Venice Beach, California, where de Cointet would reside until his death in 1983.[1] Between 1975 and 1977 he taught at the Otis Art Institute in Los Angeles, giving courses focusing on performance art.\nGuy de Cointet's text works on canvas and on paper were based on systems of encoding or abstracting text, such as by mirror writing. These pieces used found text from popular culture, everyday conversation or literary sources, often creating a humorous, droll, ironic, or melancholic effect. He produced several encrypted publications, including a completely encrypted newspaper titled ACRCIT. Silkscreen printed by Pierre Picot, a French artist teaching at CalArts, ACRCIT was distributed for free through newspaper boxes across Los Angeles.\nHis performance pieces combined literary puzzle or codes and the tropes of TV soap opera, drawing inspiration from the works of Raymond Roussel. The pieces were performed by actors such as Factory 'superstar' Viva and diminutive comedian Billy Barty. Theater critic Frantisek Deak once wrote of Cointet's structuralist approach that the artist juxtaposed \"lifelike casual conversation with contrived literary language ... [pointing] out that both are particular styles and that, with a certain distance, the casual conversation will appear contrived as well.\" Deak was specifically referring to plays such as Tell Me (1979), in which fashionably attired actresses variously describe a white cardboard square featuring the black capital letters A, D, M, and T.\nHis work has influenced that of Paul McCarthy, Mike Kelley, and Catherine Sullivan, among others.","bio_dates":"1934-1983"},{"slug":"cointet_guy_de_at_sunrise_a_cry_was_heard_or_the_halved_painting","ok":true,"partial":false,"title":"AT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING","artist":"Guy de Cointet","year":"1974","startOffset":0,"sourceSecs":923.295,"sourceHeight":496,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":161970840,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_at_sunrise_a_cry_was_heard_or_the_halved_painting/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_at_sunrise_a_cry_was_heard_or_the_halved_painting/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cointet_guy_de_at_sunrise_a_cry_was_heard_or_the_halved_painting.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_at_sunrise_a_cry_was_heard_or_the_halved_painting/main.mp4?v=2","description":"Performer : Jane Zingale<br/> The Temporary Contemporary<br/> MOCA, Los Angeles<br/> color video<br/> (4 mn 20)","artist_bio":"AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL (1974)\nAT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING (1974)\nGuy de Cointet (1934 – 1983) was a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces.\nuy de Cointet was born in Paris in 1934, the son of a military officer. He attended high school with Yves Saint Laurent and the fashion photographer Jérôme Ducrot, both of whom shared and influenced de Cointet's interest in fashion. After unsuccessfully competing in a 1952 clothing design competition sponsored by the Chambre Syndicale de la Haute Couture, de Cointet attended the École des Beaux-Arts de Nancy. In 1956 he moved to Paris, where he worked as an illustrator for the magazines Vogue and Jardin des Mondes.\nde Cointet moved to New York in 1965, following brief stays in the Canary Islands and in central France near Limoges. Shortly after arriving in New York, de Cointet was introduced to the sculptor Larry Bell by their mutual friend Susan Hoffman. Bell hired de Cointet as an assistant, working first at Bell's studio in New York. He later followed Bell to Venice Beach, California, where de Cointet would reside until his death in 1983.[1] Between 1975 and 1977 he taught at the Otis Art Institute in Los Angeles, giving courses focusing on performance art.\nGuy de Cointet's text works on canvas and on paper were based on systems of encoding or abstracting text, such as by mirror writing. These pieces used found text from popular culture, everyday conversation or literary sources, often creating a humorous, droll, ironic, or melancholic effect. He produced several encrypted publications, including a completely encrypted newspaper titled ACRCIT. Silkscreen printed by Pierre Picot, a French artist teaching at CalArts, ACRCIT was distributed for free through newspaper boxes across Los Angeles.\nHis performance pieces combined literary puzzle or codes and the tropes of TV soap opera, drawing inspiration from the works of Raymond Roussel. The pieces were performed by actors such as Factory 'superstar' Viva and diminutive comedian Billy Barty. Theater critic Frantisek Deak once wrote of Cointet's structuralist approach that the artist juxtaposed \"lifelike casual conversation with contrived literary language ... [pointing] out that both are particular styles and that, with a certain distance, the casual conversation will appear contrived as well.\" Deak was specifically referring to plays such as Tell Me (1979), in which fashionably attired actresses variously describe a white cardboard square featuring the black capital letters A, D, M, and T.\nHis work has influenced that of Paul McCarthy, Mike Kelley, and Catherine Sullivan, among others.","bio_dates":"1934-1983"},{"slug":"cointet_guy_de_ethiopia_1_guy_de_cointet","ok":true,"partial":false,"title":"Ethiopia, Part 1","artist":"Guy de Cointet","year":"1976","startOffset":0,"sourceSecs":1609.32,"sourceHeight":496,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":277905455,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_ethiopia_1_guy_de_cointet/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_ethiopia_1_guy_de_cointet/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cointet_guy_de_ethiopia_1_guy_de_cointet.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_ethiopia_1_guy_de_cointet/main.mp4?v=2","description":"Guy de Cointet & Bob Wilhite, 1976<br/> 42min06<br/> « Ethiopia », collaboration by GdC and Robert Wilhite (Performers : Mary Ann Duganne, Jesse Ferguson, Bryan Jones) ; Barnsdall Park Theatre, Los Angeles","artist_bio":"AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL (1974)\nAT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING (1974)\nGuy de Cointet (1934 – 1983) was a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces.\nuy de Cointet was born in Paris in 1934, the son of a military officer. He attended high school with Yves Saint Laurent and the fashion photographer Jérôme Ducrot, both of whom shared and influenced de Cointet's interest in fashion. After unsuccessfully competing in a 1952 clothing design competition sponsored by the Chambre Syndicale de la Haute Couture, de Cointet attended the École des Beaux-Arts de Nancy. In 1956 he moved to Paris, where he worked as an illustrator for the magazines Vogue and Jardin des Mondes.\nde Cointet moved to New York in 1965, following brief stays in the Canary Islands and in central France near Limoges. Shortly after arriving in New York, de Cointet was introduced to the sculptor Larry Bell by their mutual friend Susan Hoffman. Bell hired de Cointet as an assistant, working first at Bell's studio in New York. He later followed Bell to Venice Beach, California, where de Cointet would reside until his death in 1983.[1] Between 1975 and 1977 he taught at the Otis Art Institute in Los Angeles, giving courses focusing on performance art.\nGuy de Cointet's text works on canvas and on paper were based on systems of encoding or abstracting text, such as by mirror writing. These pieces used found text from popular culture, everyday conversation or literary sources, often creating a humorous, droll, ironic, or melancholic effect. He produced several encrypted publications, including a completely encrypted newspaper titled ACRCIT. Silkscreen printed by Pierre Picot, a French artist teaching at CalArts, ACRCIT was distributed for free through newspaper boxes across Los Angeles.\nHis performance pieces combined literary puzzle or codes and the tropes of TV soap opera, drawing inspiration from the works of Raymond Roussel. The pieces were performed by actors such as Factory 'superstar' Viva and diminutive comedian Billy Barty. Theater critic Frantisek Deak once wrote of Cointet's structuralist approach that the artist juxtaposed \"lifelike casual conversation with contrived literary language ... [pointing] out that both are particular styles and that, with a certain distance, the casual conversation will appear contrived as well.\" Deak was specifically referring to plays such as Tell Me (1979), in which fashionably attired actresses variously describe a white cardboard square featuring the black capital letters A, D, M, and T.\nHis work has influenced that of Paul McCarthy, Mike Kelley, and Catherine Sullivan, among others.","bio_dates":"1934-1983"},{"slug":"cointet_guy_de_five_sisters_1985","ok":true,"partial":false,"title":"Five Sisters","artist":"Guy de Cointet","year":"1985","startOffset":0,"sourceSecs":2408.853,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":414539679,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_five_sisters_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_five_sisters_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cointet_guy_de_five_sisters_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_five_sisters_1985/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_five_sisters_1985/main/master.m3u8?v=2","hasMainHls":true,"description":"Original performance from 1982.<br/> Performance at MoCA, Los Angeles, 1985.<br/> Performed by Sharon Barr, Rikky George, Peggy Margaret, Jane Zingale<br/> Light and sound by Eric Orr","artist_bio":"AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL (1974)\nAT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING (1974)\nGuy de Cointet (1934 – 1983) was a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces.\nuy de Cointet was born in Paris in 1934, the son of a military officer. He attended high school with Yves Saint Laurent and the fashion photographer Jérôme Ducrot, both of whom shared and influenced de Cointet's interest in fashion. After unsuccessfully competing in a 1952 clothing design competition sponsored by the Chambre Syndicale de la Haute Couture, de Cointet attended the École des Beaux-Arts de Nancy. In 1956 he moved to Paris, where he worked as an illustrator for the magazines Vogue and Jardin des Mondes.\nde Cointet moved to New York in 1965, following brief stays in the Canary Islands and in central France near Limoges. Shortly after arriving in New York, de Cointet was introduced to the sculptor Larry Bell by their mutual friend Susan Hoffman. Bell hired de Cointet as an assistant, working first at Bell's studio in New York. He later followed Bell to Venice Beach, California, where de Cointet would reside until his death in 1983.[1] Between 1975 and 1977 he taught at the Otis Art Institute in Los Angeles, giving courses focusing on performance art.\nGuy de Cointet's text works on canvas and on paper were based on systems of encoding or abstracting text, such as by mirror writing. These pieces used found text from popular culture, everyday conversation or literary sources, often creating a humorous, droll, ironic, or melancholic effect. He produced several encrypted publications, including a completely encrypted newspaper titled ACRCIT. Silkscreen printed by Pierre Picot, a French artist teaching at CalArts, ACRCIT was distributed for free through newspaper boxes across Los Angeles.\nHis performance pieces combined literary puzzle or codes and the tropes of TV soap opera, drawing inspiration from the works of Raymond Roussel. The pieces were performed by actors such as Factory 'superstar' Viva and diminutive comedian Billy Barty. Theater critic Frantisek Deak once wrote of Cointet's structuralist approach that the artist juxtaposed \"lifelike casual conversation with contrived literary language ... [pointing] out that both are particular styles and that, with a certain distance, the casual conversation will appear contrived as well.\" Deak was specifically referring to plays such as Tell Me (1979), in which fashionably attired actresses variously describe a white cardboard square featuring the black capital letters A, D, M, and T.\nHis work has influenced that of Paul McCarthy, Mike Kelley, and Catherine Sullivan, among others.","bio_dates":"1934-1983"},{"slug":"cointet_guy_de_going_to_the_market_1975","ok":true,"partial":false,"title":"Going to the Market","artist":"Guy de Cointet","year":"1975","startOffset":0,"sourceSecs":469.695,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":85669126,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_going_to_the_market_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_going_to_the_market_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cointet_guy_de_going_to_the_market_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_going_to_the_market_1975/main.mp4?v=2","description":"Performance at MOCA, Los Angeles, 1975.<br/> Performed by Mary Ann Duganne.","artist_bio":"AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL (1974)\nAT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING (1974)\nGuy de Cointet (1934 – 1983) was a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces.\nuy de Cointet was born in Paris in 1934, the son of a military officer. He attended high school with Yves Saint Laurent and the fashion photographer Jérôme Ducrot, both of whom shared and influenced de Cointet's interest in fashion. After unsuccessfully competing in a 1952 clothing design competition sponsored by the Chambre Syndicale de la Haute Couture, de Cointet attended the École des Beaux-Arts de Nancy. In 1956 he moved to Paris, where he worked as an illustrator for the magazines Vogue and Jardin des Mondes.\nde Cointet moved to New York in 1965, following brief stays in the Canary Islands and in central France near Limoges. Shortly after arriving in New York, de Cointet was introduced to the sculptor Larry Bell by their mutual friend Susan Hoffman. Bell hired de Cointet as an assistant, working first at Bell's studio in New York. He later followed Bell to Venice Beach, California, where de Cointet would reside until his death in 1983.[1] Between 1975 and 1977 he taught at the Otis Art Institute in Los Angeles, giving courses focusing on performance art.\nGuy de Cointet's text works on canvas and on paper were based on systems of encoding or abstracting text, such as by mirror writing. These pieces used found text from popular culture, everyday conversation or literary sources, often creating a humorous, droll, ironic, or melancholic effect. He produced several encrypted publications, including a completely encrypted newspaper titled ACRCIT. Silkscreen printed by Pierre Picot, a French artist teaching at CalArts, ACRCIT was distributed for free through newspaper boxes across Los Angeles.\nHis performance pieces combined literary puzzle or codes and the tropes of TV soap opera, drawing inspiration from the works of Raymond Roussel. The pieces were performed by actors such as Factory 'superstar' Viva and diminutive comedian Billy Barty. Theater critic Frantisek Deak once wrote of Cointet's structuralist approach that the artist juxtaposed \"lifelike casual conversation with contrived literary language ... [pointing] out that both are particular styles and that, with a certain distance, the casual conversation will appear contrived as well.\" Deak was specifically referring to plays such as Tell Me (1979), in which fashionably attired actresses variously describe a white cardboard square featuring the black capital letters A, D, M, and T.\nHis work has influenced that of Paul McCarthy, Mike Kelley, and Catherine Sullivan, among others.","bio_dates":"1934-1983"},{"slug":"cointet_guy_de_my_fathers_diary_1975","ok":true,"partial":false,"title":"My Father's Diary","artist":"Guy de Cointet","year":"1975","startOffset":0,"sourceSecs":698.282,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":126421445,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_my_fathers_diary_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_my_fathers_diary_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cointet_guy_de_my_fathers_diary_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_my_fathers_diary_1975/main.mp4?v=2","description":"Performance at MOCA, Los Angeles, 1975.<br/> Performed by Mary Ann Duganne.","artist_bio":"AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL (1974)\nAT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING (1974)\nGuy de Cointet (1934 – 1983) was a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces.\nuy de Cointet was born in Paris in 1934, the son of a military officer. He attended high school with Yves Saint Laurent and the fashion photographer Jérôme Ducrot, both of whom shared and influenced de Cointet's interest in fashion. After unsuccessfully competing in a 1952 clothing design competition sponsored by the Chambre Syndicale de la Haute Couture, de Cointet attended the École des Beaux-Arts de Nancy. In 1956 he moved to Paris, where he worked as an illustrator for the magazines Vogue and Jardin des Mondes.\nde Cointet moved to New York in 1965, following brief stays in the Canary Islands and in central France near Limoges. Shortly after arriving in New York, de Cointet was introduced to the sculptor Larry Bell by their mutual friend Susan Hoffman. Bell hired de Cointet as an assistant, working first at Bell's studio in New York. He later followed Bell to Venice Beach, California, where de Cointet would reside until his death in 1983.[1] Between 1975 and 1977 he taught at the Otis Art Institute in Los Angeles, giving courses focusing on performance art.\nGuy de Cointet's text works on canvas and on paper were based on systems of encoding or abstracting text, such as by mirror writing. These pieces used found text from popular culture, everyday conversation or literary sources, often creating a humorous, droll, ironic, or melancholic effect. He produced several encrypted publications, including a completely encrypted newspaper titled ACRCIT. Silkscreen printed by Pierre Picot, a French artist teaching at CalArts, ACRCIT was distributed for free through newspaper boxes across Los Angeles.\nHis performance pieces combined literary puzzle or codes and the tropes of TV soap opera, drawing inspiration from the works of Raymond Roussel. The pieces were performed by actors such as Factory 'superstar' Viva and diminutive comedian Billy Barty. Theater critic Frantisek Deak once wrote of Cointet's structuralist approach that the artist juxtaposed \"lifelike casual conversation with contrived literary language ... [pointing] out that both are particular styles and that, with a certain distance, the casual conversation will appear contrived as well.\" Deak was specifically referring to plays such as Tell Me (1979), in which fashionably attired actresses variously describe a white cardboard square featuring the black capital letters A, D, M, and T.\nHis work has influenced that of Paul McCarthy, Mike Kelley, and Catherine Sullivan, among others.","bio_dates":"1934-1983"},{"slug":"cointet_guy_de_the_paintings_of_sophie_rummel_1974","ok":true,"partial":false,"title":"An Interview with Dr Hun » with an Extract of « the Paintings of Sophie Rummel","artist":"Guy de Cointet","year":"1974","startOffset":0,"sourceSecs":45.845,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":8698,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_the_paintings_of_sophie_rummel_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_the_paintings_of_sophie_rummel_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cointet_guy_de_the_paintings_of_sophie_rummel_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_the_paintings_of_sophie_rummel_1974/main.mp4?v=2","description":"« AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL » performer : Viva 1974 B&W video (6 mn 00) The text of this play is written in a unique code invented by the artist and includes pieces of license plates, phone numbers, movie ratings, and words.","artist_bio":"AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL (1974)\nAT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING (1974)\nGuy de Cointet (1934 – 1983) was a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces.\nuy de Cointet was born in Paris in 1934, the son of a military officer. He attended high school with Yves Saint Laurent and the fashion photographer Jérôme Ducrot, both of whom shared and influenced de Cointet's interest in fashion. After unsuccessfully competing in a 1952 clothing design competition sponsored by the Chambre Syndicale de la Haute Couture, de Cointet attended the École des Beaux-Arts de Nancy. In 1956 he moved to Paris, where he worked as an illustrator for the magazines Vogue and Jardin des Mondes.\nde Cointet moved to New York in 1965, following brief stays in the Canary Islands and in central France near Limoges. Shortly after arriving in New York, de Cointet was introduced to the sculptor Larry Bell by their mutual friend Susan Hoffman. Bell hired de Cointet as an assistant, working first at Bell's studio in New York. He later followed Bell to Venice Beach, California, where de Cointet would reside until his death in 1983.[1] Between 1975 and 1977 he taught at the Otis Art Institute in Los Angeles, giving courses focusing on performance art.\nGuy de Cointet's text works on canvas and on paper were based on systems of encoding or abstracting text, such as by mirror writing. These pieces used found text from popular culture, everyday conversation or literary sources, often creating a humorous, droll, ironic, or melancholic effect. He produced several encrypted publications, including a completely encrypted newspaper titled ACRCIT. Silkscreen printed by Pierre Picot, a French artist teaching at CalArts, ACRCIT was distributed for free through newspaper boxes across Los Angeles.\nHis performance pieces combined literary puzzle or codes and the tropes of TV soap opera, drawing inspiration from the works of Raymond Roussel. The pieces were performed by actors such as Factory 'superstar' Viva and diminutive comedian Billy Barty. Theater critic Frantisek Deak once wrote of Cointet's structuralist approach that the artist juxtaposed \"lifelike casual conversation with contrived literary language ... [pointing] out that both are particular styles and that, with a certain distance, the casual conversation will appear contrived as well.\" Deak was specifically referring to plays such as Tell Me (1979), in which fashionably attired actresses variously describe a white cardboard square featuring the black capital letters A, D, M, and T.\nHis work has influenced that of Paul McCarthy, Mike Kelley, and Catherine Sullivan, among others.","bio_dates":"1934-1983"},{"slug":"cointet_guy_de_tsnx_1974_guy_de_cointet","ok":true,"partial":false,"title":"Tsnx","artist":"Guy de Cointet","year":"1974","startOffset":0,"sourceSecs":786.413,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":138913914,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_tsnx_1974_guy_de_cointet/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_tsnx_1974_guy_de_cointet/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cointet_guy_de_tsnx_1974_guy_de_cointet.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_tsnx_1974_guy_de_cointet/main.mp4?v=2","description":"New York Readings, 1978 : from « TSNX» (Performers : Mary Ann Duganne, Jane Zingale) ; Franklin Furnace, New York","artist_bio":"AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL (1974)\nAT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING (1974)\nGuy de Cointet (1934 – 1983) was a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces.\nuy de Cointet was born in Paris in 1934, the son of a military officer. He attended high school with Yves Saint Laurent and the fashion photographer Jérôme Ducrot, both of whom shared and influenced de Cointet's interest in fashion. After unsuccessfully competing in a 1952 clothing design competition sponsored by the Chambre Syndicale de la Haute Couture, de Cointet attended the École des Beaux-Arts de Nancy. In 1956 he moved to Paris, where he worked as an illustrator for the magazines Vogue and Jardin des Mondes.\nde Cointet moved to New York in 1965, following brief stays in the Canary Islands and in central France near Limoges. Shortly after arriving in New York, de Cointet was introduced to the sculptor Larry Bell by their mutual friend Susan Hoffman. Bell hired de Cointet as an assistant, working first at Bell's studio in New York. He later followed Bell to Venice Beach, California, where de Cointet would reside until his death in 1983.[1] Between 1975 and 1977 he taught at the Otis Art Institute in Los Angeles, giving courses focusing on performance art.\nGuy de Cointet's text works on canvas and on paper were based on systems of encoding or abstracting text, such as by mirror writing. These pieces used found text from popular culture, everyday conversation or literary sources, often creating a humorous, droll, ironic, or melancholic effect. He produced several encrypted publications, including a completely encrypted newspaper titled ACRCIT. Silkscreen printed by Pierre Picot, a French artist teaching at CalArts, ACRCIT was distributed for free through newspaper boxes across Los Angeles.\nHis performance pieces combined literary puzzle or codes and the tropes of TV soap opera, drawing inspiration from the works of Raymond Roussel. The pieces were performed by actors such as Factory 'superstar' Viva and diminutive comedian Billy Barty. Theater critic Frantisek Deak once wrote of Cointet's structuralist approach that the artist juxtaposed \"lifelike casual conversation with contrived literary language ... [pointing] out that both are particular styles and that, with a certain distance, the casual conversation will appear contrived as well.\" Deak was specifically referring to plays such as Tell Me (1979), in which fashionably attired actresses variously describe a white cardboard square featuring the black capital letters A, D, M, and T.\nHis work has influenced that of Paul McCarthy, Mike Kelley, and Catherine Sullivan, among others.","bio_dates":"1934-1983"},{"slug":"cointet_guy_de_two_drawings_1975","ok":true,"partial":false,"title":"Two Drawings","artist":"Guy de Cointet","year":"1975","startOffset":0,"sourceSecs":953.365,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":167763882,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_two_drawings_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_two_drawings_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cointet_guy_de_two_drawings_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_two_drawings_1975/main.mp4?v=2","description":"Performance at MOCA, Los Angeles, 1975.<br/> Performed by Mary Ann Duganne.","artist_bio":"AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL (1974)\nAT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING (1974)\nGuy de Cointet (1934 – 1983) was a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces.\nuy de Cointet was born in Paris in 1934, the son of a military officer. He attended high school with Yves Saint Laurent and the fashion photographer Jérôme Ducrot, both of whom shared and influenced de Cointet's interest in fashion. After unsuccessfully competing in a 1952 clothing design competition sponsored by the Chambre Syndicale de la Haute Couture, de Cointet attended the École des Beaux-Arts de Nancy. In 1956 he moved to Paris, where he worked as an illustrator for the magazines Vogue and Jardin des Mondes.\nde Cointet moved to New York in 1965, following brief stays in the Canary Islands and in central France near Limoges. Shortly after arriving in New York, de Cointet was introduced to the sculptor Larry Bell by their mutual friend Susan Hoffman. Bell hired de Cointet as an assistant, working first at Bell's studio in New York. He later followed Bell to Venice Beach, California, where de Cointet would reside until his death in 1983.[1] Between 1975 and 1977 he taught at the Otis Art Institute in Los Angeles, giving courses focusing on performance art.\nGuy de Cointet's text works on canvas and on paper were based on systems of encoding or abstracting text, such as by mirror writing. These pieces used found text from popular culture, everyday conversation or literary sources, often creating a humorous, droll, ironic, or melancholic effect. He produced several encrypted publications, including a completely encrypted newspaper titled ACRCIT. Silkscreen printed by Pierre Picot, a French artist teaching at CalArts, ACRCIT was distributed for free through newspaper boxes across Los Angeles.\nHis performance pieces combined literary puzzle or codes and the tropes of TV soap opera, drawing inspiration from the works of Raymond Roussel. The pieces were performed by actors such as Factory 'superstar' Viva and diminutive comedian Billy Barty. Theater critic Frantisek Deak once wrote of Cointet's structuralist approach that the artist juxtaposed \"lifelike casual conversation with contrived literary language ... [pointing] out that both are particular styles and that, with a certain distance, the casual conversation will appear contrived as well.\" Deak was specifically referring to plays such as Tell Me (1979), in which fashionably attired actresses variously describe a white cardboard square featuring the black capital letters A, D, M, and T.\nHis work has influenced that of Paul McCarthy, Mike Kelley, and Catherine Sullivan, among others.","bio_dates":"1934-1983"},{"slug":"cointet_guy_de_whos_that_guy_iphone","ok":true,"partial":false,"title":"Who's That Guy?","artist":"Guy de Cointet","year":null,"startOffset":0,"sourceSecs":5006.664,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":286806387,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_whos_that_guy_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cointet_guy_de_whos_that_guy_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cointet_guy_de_whos_that_guy_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_whos_that_guy_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cointet_guy_de_whos_that_guy_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"82 minutes <br/><br/> A film, a portrait of Guy de Cointet (1934-1983), a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces. The film is composed of interviews and documents compiled by art critic Marie de Brugerolle over a period of 10 years. Artists including John Baldessari, Christophe Bourseiller, Larry Bell and Paul McCarthy talk about their contemporary Guy de Cointet and unreleased original documents provided insight into the singularity of his work.","artist_bio":"AN INTERVIEW WITH DR HUN » WITH AN EXTRACT OF « THE PAINTINGS OF SOPHIE RUMMEL (1974)\nAT SUNRISE A CRY WAS HEARD… » or « THE HALVED PAINTING (1974)\nGuy de Cointet (1934 – 1983) was a French-born artist based in California who created text and sculptural works, often combining them as props and stage sets in theatrical performance pieces.\nuy de Cointet was born in Paris in 1934, the son of a military officer. He attended high school with Yves Saint Laurent and the fashion photographer Jérôme Ducrot, both of whom shared and influenced de Cointet's interest in fashion. After unsuccessfully competing in a 1952 clothing design competition sponsored by the Chambre Syndicale de la Haute Couture, de Cointet attended the École des Beaux-Arts de Nancy. In 1956 he moved to Paris, where he worked as an illustrator for the magazines Vogue and Jardin des Mondes.\nde Cointet moved to New York in 1965, following brief stays in the Canary Islands and in central France near Limoges. Shortly after arriving in New York, de Cointet was introduced to the sculptor Larry Bell by their mutual friend Susan Hoffman. Bell hired de Cointet as an assistant, working first at Bell's studio in New York. He later followed Bell to Venice Beach, California, where de Cointet would reside until his death in 1983.[1] Between 1975 and 1977 he taught at the Otis Art Institute in Los Angeles, giving courses focusing on performance art.\nGuy de Cointet's text works on canvas and on paper were based on systems of encoding or abstracting text, such as by mirror writing. These pieces used found text from popular culture, everyday conversation or literary sources, often creating a humorous, droll, ironic, or melancholic effect. He produced several encrypted publications, including a completely encrypted newspaper titled ACRCIT. Silkscreen printed by Pierre Picot, a French artist teaching at CalArts, ACRCIT was distributed for free through newspaper boxes across Los Angeles.\nHis performance pieces combined literary puzzle or codes and the tropes of TV soap opera, drawing inspiration from the works of Raymond Roussel. The pieces were performed by actors such as Factory 'superstar' Viva and diminutive comedian Billy Barty. Theater critic Frantisek Deak once wrote of Cointet's structuralist approach that the artist juxtaposed \"lifelike casual conversation with contrived literary language ... [pointing] out that both are particular styles and that, with a certain distance, the casual conversation will appear contrived as well.\" Deak was specifically referring to plays such as Tell Me (1979), in which fashionably attired actresses variously describe a white cardboard square featuring the black capital letters A, D, M, and T.\nHis work has influenced that of Paul McCarthy, Mike Kelley, and Catherine Sullivan, among others.","bio_dates":"1934-1983"},{"slug":"cokes_tonuy_evil_35_carlin_owners_2012","ok":true,"partial":false,"title":"Evil 35: Carlin / Owners","artist":"Tony Cokes","year":"2012","startOffset":0,"sourceSecs":475.903,"sourceHeight":720,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":62337239,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cokes_tonuy_evil_35_carlin_owners_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cokes_tonuy_evil_35_carlin_owners_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cokes_tonuy_evil_35_carlin_owners_2012.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cokes_tonuy_evil_35_carlin_owners_2012/main.mp4?v=2","description":"Tony Cokes<br/> Evil 35: Carlin / Owners, 2012<br/> Digital video, color, stereo<br/> 7:56 minutes","artist_bio":"In a series of videotapes and installations produced since the mid-1980s, Tony Cokes engages in cogent investigations of identity and opposition. His works question how race influences the construction of subjectivities (personal, cultural and historical), and how race, gender and class are perceived through what he terms the \"representational regimes of image and sound,\" as perpetuated by Hollywood, the media and popular culture.\nCokes' analytical strategy is one of reframing and repositioning. His critiques are informed by contemporary cultural studies, poststructuralist theory, and popular texts; he quotes from sources ranging from Louis Althusser, Malcolm X and Catherine Clement to Public Enemy and William Burroughs. His works are often assemblages of archival footage, images from Hollywood films, text commentary, voiceover, and popular music.\nFor the past several years Cokes has also been creating installations and tapes as part of the collective X-PRZ. Founded in 1991, X-PRZ is a biracial \"art band\" of four artists Ñ Cokes, Doug Anderson, Kenseth Armstead, and Mark Pierson Ñ working in installation, photography, painting, sculpture, and video. Cokes states: \"We tend to manipulate cultural readings, desires and effects rather than attempt to address the social in documentary or realist styles... The work relies on vernacular material (found images, texts) which are contextualized to provoke questioning, instabilities... We see our work as a willful misreading and perverse misapplication of the histories of various cultural practices, from critical theory to pop music.\"\nTony Cokes was born in 1956. He received a B.A. from Goddard College, Vermont, participated in the Whitney Museum Independent Study Program, and gained an M.F.A. from Virginia Commonwealth University, Richmond. He has received grants and fellowships from the Rockefeller Foundation, the Guggenheim Foundation, the National Endowment for the Arts, the New York State Council for the Arts, and the New York Foundation for the Arts. Cokes' video and multimedia installation works have been included in exhibitions at The Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum Soho, and The New Museum of Contemporary Art in New York; the Institute of Contemporary Art, Boston, and in Documenta X, Kassel, Germany. Cokes currently teaches at Brown University. He lives in Providence, Rhode Island. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nTony Cokes in Tony Cokes in the UbuWeb Anthology of Conceptual Writing","bio_dates":"b. 1956"},{"slug":"cokes_tony_black_celebration_1988","ok":true,"partial":false,"title":"Black Celebration","artist":"Tony Cokes","year":"1988","startOffset":0,"sourceSecs":1039.572,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":183271517,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cokes_tony_black_celebration_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cokes_tony_black_celebration_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cokes_tony_black_celebration_1988.mp4","hasFrames":true,"description":"1988, 17:11 min, b&w, sound <br/><br/> In Black Celebration, Cokes merges newsreel footage of riots in urban black neighborhoods in the 1960s with popular music and text commentary to create an incisive counter-reading. Writes Cokes: \"This videotape involves the riots that took place in the Watts section of Los Angeles, California in August, 1965 and the Black neighborhoods of other American cities during the 1960s. The black and white work uses newsreel footage from events in Watts, Boston, Newark, and Detroit interspersed with text commentary. The newsreel voiceovers are replaced by music. The intent of the piece is to introduce a reading that will contradict received ideas which characterize these riots as criminal or irrational.\" Black Celebration was made for the Bronx Museum of the Arts. <br/><br/> Text: Morrissey, Martin L. Gore, Barbara Kruger, The Situationists International. Music: Skinny Puppy. Editor: Eleanor Goldsmith, Electronic Arts Intermix. Funded by the New York State Council on the Arts.-- <a href=\"https://www.eai.org/titles/black-celebration\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"In a series of videotapes and installations produced since the mid-1980s, Tony Cokes engages in cogent investigations of identity and opposition. His works question how race influences the construction of subjectivities (personal, cultural and historical), and how race, gender and class are perceived through what he terms the \"representational regimes of image and sound,\" as perpetuated by Hollywood, the media and popular culture.\nCokes' analytical strategy is one of reframing and repositioning. His critiques are informed by contemporary cultural studies, poststructuralist theory, and popular texts; he quotes from sources ranging from Louis Althusser, Malcolm X and Catherine Clement to Public Enemy and William Burroughs. His works are often assemblages of archival footage, images from Hollywood films, text commentary, voiceover, and popular music.\nFor the past several years Cokes has also been creating installations and tapes as part of the collective X-PRZ. Founded in 1991, X-PRZ is a biracial \"art band\" of four artists Ñ Cokes, Doug Anderson, Kenseth Armstead, and Mark Pierson Ñ working in installation, photography, painting, sculpture, and video. Cokes states: \"We tend to manipulate cultural readings, desires and effects rather than attempt to address the social in documentary or realist styles... The work relies on vernacular material (found images, texts) which are contextualized to provoke questioning, instabilities... We see our work as a willful misreading and perverse misapplication of the histories of various cultural practices, from critical theory to pop music.\"\nTony Cokes was born in 1956. He received a B.A. from Goddard College, Vermont, participated in the Whitney Museum Independent Study Program, and gained an M.F.A. from Virginia Commonwealth University, Richmond. He has received grants and fellowships from the Rockefeller Foundation, the Guggenheim Foundation, the National Endowment for the Arts, the New York State Council for the Arts, and the New York Foundation for the Arts. Cokes' video and multimedia installation works have been included in exhibitions at The Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum Soho, and The New Museum of Contemporary Art in New York; the Institute of Contemporary Art, Boston, and in Documenta X, Kassel, Germany. Cokes currently teaches at Brown University. He lives in Providence, Rhode Island. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nTony Cokes in Tony Cokes in the UbuWeb Anthology of Conceptual Writing","bio_dates":"b. 1956"},{"slug":"cokliss_harely_christopher_petit_the_unmade_films_of_jg_ballard_1990","ok":true,"partial":false,"title":"The Unmade films of JG Ballard [1990]","artist":"J.G. Ballard","year":"1990","startOffset":0,"sourceSecs":523.32,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":96958788,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cokliss_harely_christopher_petit_the_unmade_films_of_jg_ballard_1990/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cokliss_harely_christopher_petit_the_unmade_films_of_jg_ballard_1990/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cokliss_harely_christopher_petit_the_unmade_films_of_jg_ballard_1990.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cokliss_harely_christopher_petit_the_unmade_films_of_jg_ballard_1990/main.mp4?v=2","description":"The Unmade films of JG Ballard [1990] [aka (I think) Moving Pictures: JG Ballard] directed by Christopher Petit. <br/><br/> A film essay on Ballard's fiction, and its unrealised cinematic potential, with particular reference to David Cronenberg's (yet to be filmed) Crash, featuring an interview with the director, prior to making of his film. <br/><br/> PLEASE NOTE:Unfortunately this second film is incomplete (the tape ran out) - I have been unable to find a running time listed anywhere, but it looks like it's between 2 and 5 mins short (the whole program of both films was no more than about 25 / 30 mins long).<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">J.G. Ballard in UbuWeb Sound</a>","artist_bio":"James Graham Ballard (15 November 1930–19 April 2009) was an English novelist, short story writer, and prominent member of the New Wave movement in science fiction. His best-known books are Crash (1973), adapted into a film by David Cronenberg, and the semi-autobiographical Empire of the Sun (1984), made into a film by Steven Spielberg, based on Ballard's boyhood in the International Settlement and internment by the Japanese Imperial Army during the Second World War.\nThe literary distinctiveness of his work has given rise to the adjective \"Ballardian\", defined by the Collins English Dictionary as \"resembling or suggestive of the conditions described in J. G. Ballard’s novels and stories, especially dystopian modernity, bleak man-made landscapes and the psychological effects of technological, social or environmental developments.\"\nBallard was diagnosed with prostate cancer in June 2006, from which he died in London in April 2009.\nIn 2008, The Times included Ballard on its list of \"The 50 greatest British writers since 1945\".","bio_dates":"1930-2009"},{"slug":"colab_all_color_news_sampler_1978","ok":true,"partial":false,"title":"All Color News Sampler","artist":"COLAB","year":"1978","startOffset":0,"sourceSecs":1361.173,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":238426150,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colab_all_color_news_sampler_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colab_all_color_news_sampler_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/colab_all_color_news_sampler_1978.mp4","hasFrames":true,"description":"A remarkable collection of clips from the feature news program for cable TV. Hard, gritty, this is the early political and socially oriented work by artists now well-known as sculptors and filmmakers. Includes John Ahearn, Tom Otterness (Subways, Golden Gloves Boxing and Rats in Chinatown);Scott and Beth B (NYPD Arson and Explosions Squad vs. FALN); Charlie Ahearn (Bums Under the Brooklyn Bridge). Also includes Virge Piersol and Alan Moore (Bombing of JP Morgan) and Michael McClard.","artist_bio":"Colab is the commonly used abbreviation of the New York City artists' group Collaborative Projects, which was formed after a series of open meetings between artists of various disciplines. Colab came together as a collective in 1977, first using the name Green Corporation, and initially received an NEA Workshop Grant through Center for New Art Activities, Inc., a small not-for-profit formed in 1974. The grant was divided equally among the artist members in groups of three, two of which were required to be Colab members.\nIn 1978, Collaborative Projects was incorporated as a not-for-profit and later received its tax-exempt status from the IRS, so that it could apply for grants from the NEA and other sources independently. Colab was active for about 10 years and became distinguished by the raw energy of its members and sometimes politically engaged open membership. By raising its own sources of funding, Colab was in control of its own exhibitions and cable TV shows, and bypassed the bigger, more established alternative spaces\nFrom November 1978, different artist members organized and installed original one-off group shows in their own studios or other temporary sites, such as The Batman Show,\" (591 Broadway 1979), \"Income and Wealth Show\" (5 Bleecker Store 1979), \"Doctors & Dentists Show\" (591 Broadway 1979), The Manifesto Show (5 Bleecker Store 1979), \"The Dog Show\" (591 Broadway 1979), \"Just Another Asshole Show\" (5 Bleecker Store), The Real Estate Show (Delancey Street, Jan. 1980), Jay St film shows 1979, Exhibit A (93 Grand Street, 1979) and, notably, The Times Square Show (201 W 41st, June 1980), a large open exhibition near the center of New York's entertainment (and pornography) district (Times Square) put on with Bronx-based Fashion Moda. Seed money from the first Colab (Green Corp.) workshop grant through Center for New Art Inc. led to the creation of Colab artists' TV series on Manhattan Cable (1978–1984) \"All Color News,\" \"Potato Wolf\" and \"Red Curtain\", New Cinema, a screening room on St. Mark's Place for narrative Super 8 films transferred to video and projected on an Advent screen; the continued publication of X Motion Picture Magazine(1979), whose first issue preceded the formation of Colab ;[3] support and inspiration for the ABC No Rio cultural center (1980-82 (ongoing) created from the Real Estate Show; support of the Tellus Audio Cassette Magazine (1984), NightShift Theater 1979, Spanner Magazine (3 issues 1979), MWF Video Club (established in 1986) and Bomb Magazine (1981). Members of the original group are presently highly active making art, and the membership has shifted and evolved. ABC No Rio was recently awarded a $1.6 million capital construction grant from the City of New York.","bio_dates":"1978"},{"slug":"colab_potato_wolf_1980","ok":true,"partial":false,"title":"Potato Wolf, Colab Compilation","artist":"COLAB","year":"1980","startOffset":0,"sourceSecs":1879.381,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":326667773,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colab_potato_wolf_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colab_potato_wolf_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/colab_potato_wolf_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colab_potato_wolf_1980/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colab_potato_wolf_1980/main/master.m3u8?v=2","hasMainHls":true,"description":"Potato Wolf was an artists' cable TV show produced by Collaborative Projects from approximately 1979-84. Each week a different artist would produce a new, mostly always, \"live\" program in which other member would participate, improvising with acting, set design, costumes, music, etc. This compilation includes Ulli Rimkus, Chris Kohlhoffer, Liz X, Kiki Smith, Ellen Cooper, Cara Perlman, Matthew Geller, Sally White, Bobby G., Peter Moehnig, Rebecca Howland, Alan Moore, Jim Sutcliffe, David Levine, Peter Fend, Taro Suzuki.","artist_bio":"Colab is the commonly used abbreviation of the New York City artists' group Collaborative Projects, which was formed after a series of open meetings between artists of various disciplines. Colab came together as a collective in 1977, first using the name Green Corporation, and initially received an NEA Workshop Grant through Center for New Art Activities, Inc., a small not-for-profit formed in 1974. The grant was divided equally among the artist members in groups of three, two of which were required to be Colab members.\nIn 1978, Collaborative Projects was incorporated as a not-for-profit and later received its tax-exempt status from the IRS, so that it could apply for grants from the NEA and other sources independently. Colab was active for about 10 years and became distinguished by the raw energy of its members and sometimes politically engaged open membership. By raising its own sources of funding, Colab was in control of its own exhibitions and cable TV shows, and bypassed the bigger, more established alternative spaces\nFrom November 1978, different artist members organized and installed original one-off group shows in their own studios or other temporary sites, such as The Batman Show,\" (591 Broadway 1979), \"Income and Wealth Show\" (5 Bleecker Store 1979), \"Doctors & Dentists Show\" (591 Broadway 1979), The Manifesto Show (5 Bleecker Store 1979), \"The Dog Show\" (591 Broadway 1979), \"Just Another Asshole Show\" (5 Bleecker Store), The Real Estate Show (Delancey Street, Jan. 1980), Jay St film shows 1979, Exhibit A (93 Grand Street, 1979) and, notably, The Times Square Show (201 W 41st, June 1980), a large open exhibition near the center of New York's entertainment (and pornography) district (Times Square) put on with Bronx-based Fashion Moda. Seed money from the first Colab (Green Corp.) workshop grant through Center for New Art Inc. led to the creation of Colab artists' TV series on Manhattan Cable (1978–1984) \"All Color News,\" \"Potato Wolf\" and \"Red Curtain\", New Cinema, a screening room on St. Mark's Place for narrative Super 8 films transferred to video and projected on an Advent screen; the continued publication of X Motion Picture Magazine(1979), whose first issue preceded the formation of Colab ;[3] support and inspiration for the ABC No Rio cultural center (1980-82 (ongoing) created from the Real Estate Show; support of the Tellus Audio Cassette Magazine (1984), NightShift Theater 1979, Spanner Magazine (3 issues 1979), MWF Video Club (established in 1986) and Bomb Magazine (1981). Members of the original group are presently highly active making art, and the membership has shifted and evolved. ABC No Rio was recently awarded a $1.6 million capital construction grant from the City of New York.","bio_dates":"1978"},{"slug":"coleman_joe_rip_1997_iphone","ok":true,"partial":false,"title":"R.I.P., Rest in Pieces: A Portrait of Joe Coleman","artist":"Joe Coleman","year":"1997","startOffset":0,"sourceSecs":5316.372,"sourceHeight":304,"sourceWidth":464,"hasAudio":true,"hasAmbientMp4":true,"bytes":304455345,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/coleman_joe_rip_1997_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/coleman_joe_rip_1997_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/coleman_joe_rip_1997_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/coleman_joe_rip_1997_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/coleman_joe_rip_1997_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Runtime: 89 min<br/> Language: English<br/> Country: Austria<br/> Color: color<br/> Director: Robert-Adrian Pejo<br><br><b>Cast:</b><br> Joe Coleman<br> Hasil Adkins<br/> Katharine Gates<br/> Jim Jarmusch<br/> Nancy Pivar<br/> Harold Schechter<br/><br/>Description: From jackasscritics.com:<br> A lot of people say they are weird, or seem moderately eccentric, but few truly are. And sadly, when we do find people that are far from the path of the supposed norm we don’t celebrate those people, we run from them, hands in the air, shrieking like banshees. Well, consider this documentary nothing less than a love letter to the oddball, and to one in particular – artist Joe Coleman. The documentary focuses mainly on the many artistic endeavors of Mr. Coleman. Known in his early years as a provocative performance artist, Coleman was not a stranger to controversy. Drawn to the world of sideshows, Coleman took the idea of becoming a ‘geek’ to new levels – biting the heads off of live mice, wiring his body for explosives, and basically pushing people into a place where they had no choice but to confront his art. Since those early days Coleman has found other artistic pursuits to take up his time, and a better forum to let people see his demons. In moving from a performance artist to a painter, Coleman has found the perfect outlet for his view of the world. Creating paintings that are like the works of a madman, Coleman has taken his darker thoughts and view of the world and has created a nightmarish world of serial killers and the world that needs them. Each painting is done with obsessive attention to detail, the viewer having to get almost inside the painting just to catch all of the messages and imagery hidden within. Coleman’s paintings are certainly not for everyone, as they deal with, as I stated before, the darker nature of humanity. Many feature killers or killed, his paintings as much tribute as damnation. His view that humans have created serial killers to thin the human herd playing a very strong role in much of his art. Joe Coleman is also a great appreciator of the world of the human oddity and lover of the macabre as well and there is a lot of time spent showcasing his many ‘treasures’, his prize being his ‘adopted son’, who is a dead baby now residing in a jar of formaldehyde. Yikes! We are also given a glimpse into Mr. Coleman’s past, his childhood, and are shown some of his friends – as well as an ex.</br></br></br>","artist_bio":"Joe Coleman Gets a Retrospective at the Tilton Gallery in Manhattan\nIF P. T. Barnum had hired Breughel or Bosch to paint sideshow banners, they might have resembled the art of Joe Coleman. Obsessively depicting a grim moral universe of transgression and retribution, Mr. Coleman paints grotesque images of murderers and victims, freaks and monsters, disease, depravity and perversities of every kind.\nIn his painstakingly detailed paintings, Charles Manson leers, JonBenet Ramsey pouts, pinheads dance, drunkards lie with poxied whores, and corpses display their wounds like obscene stigmata. Drug addicts loll in ruined cityscapes under boiling H-bomb skies, 1930’s gangsters grin on their way to the gallows, and Mr. Coleman and his wife, Whitney Ward, reign over the apocalypse, enthroned on the head of a giant Satan. In a startlingly prophetic vision of his from 2000, the twin towers burn.\nA retrospective of Mr. Coleman’s art over the last 16 years will open at the Tilton Gallery in Manhattan on Thursday. With 33 paintings and installations, it will be the largest exhibition of his work ever held in New York, the city where he has lived for 30 years, yet where he has always operated outside the fine-art mainstream.\nSimultaneously a miniaturist and a maximalist, Mr. Coleman wears jeweler’s magnifying lenses and uses single-hair brushes to cover every micron of his surfaces, including the frames, with minute pictorial detail and tiny text. He paints “one square inch at a time,” he said, never sketching or plotting out the completed work in advance.\n“The composition reveals itself to me,” he explained in an interview. A large work, roughly three by two feet, painted in acrylic on wood, can take up to a year to complete.\nMr. Coleman says his obsession with religion and death goes back to his childhood. Growing up in Norwalk, Conn., he recalled, he played in the cemetery across the street, lived in fear of his alcoholic father and went to church with his mother, an excommunicated Roman Catholic. Placed in a school for disturbed children, he doodled bloody martyrs and once “confessed” to a priest that he had committed several murders.\nAfter moving to New York in the mid-1970’s, he studied briefly and unhappily at the School of Visual Arts, before being expelled, he said, for making art that his teachers called “fascist” and “schizophrenic.” Meanwhile he drew underground comics, began to exhibit in small East Village galleries and appeared in independent films like David Wojnarowicz’s “Where Evil Dwells,” in which he was typecast as Satan.\nThrough the 1980’s Mr. Coleman acted out his shocking and violent cosmology in infamous performances at performing arts spaces and galleries. He revived the sideshow geek act of biting the heads off live mice, outraging animal rights advocates. He set fires onstage, once threatened an arty crowd with a loaded shotgun, and often concluded his act by igniting a chest-pack of dynamite, an explosive stunt for which he was arrested in Boston in 1989 on charges of operating an “infernal machine.” He framed the arrest warrant.\nNow 50, his Mephistophelean beard streaked with gray, Mr. Coleman mostly confines his provocations to his paintings and expresses his sideshow interests through the Odditorium, his name for the small Brooklyn Heights apartment he and Ms. Ward share with a dime museum’s worth of curiosities.\nWax effigies of O. J. Simpson, Lenin and the serial killer Richard Speck stand near photographs of Mr. Coleman and Ms. Ward’s 2000 wedding, a sideshow affair in itself, held at the American Visionary Art Museum in Baltimore. (Mr. Coleman, dressed like a carny pitchman, came to the altar in a coffin, while dwarfs carried Ms. Ward’s train.) A lock of Charles Manson’s hair lies near a reliquary that supposedly holds a bit of Jesus’ bone marrow. John Dillinger’s death mask, a bullet from Jack Ruby’s pistol and other outré bric-a-brac crowd the living room, leaving only enough space for an antique settee as furniture.\nFor most of Mr. Coleman’s career his macabre visions and unironically primitive style earned him a cult following even as they positioned him far outside the mainstream.\nThough his work hasn’t changed much, curators and gallerists have expanded their purviews. After Damien Hirst’s dissections, Henry Darger’s drawings and shows of graffiti taggers, it’s not such a surprise that Mr. Coleman has become more of an insider recently. His paintings now sell for $100,000 and up. He has had solo exhibitions at the Wadsworth Atheneum in Hartford and the Corcoran Gallery in Los Angeles, and has put on an extravagant multimedia presentation at the Barbican Theater in London. Even the School of Visual Arts invited him back as a student adviser.\nNow he goes uptown for his first solo gallery exhibition in New York City since 1992. “I always knew,” he said. “I take the work very seriously. I knew where it belonged.”\nThe Tilton Gallery’s owner, Jack Tilton, said he was introduced to Mr. Coleman’s work “eight or nine years ago” by a collector, Mickey Cartin, who helped organize the exhibition.\n“I’m into eclecticism and individuality,” Mr. Tilton said in an interview. “Most of what we show has an edge. It’s got to move my gut.” He argued that it was appropriate for an eccentric like Mr. Coleman to be showing on the Upper East Side, rather than in the Chelsea art zone, with what he called its “mall” atmosphere.\nIn a telephone interview, Mr. Cartin, a well-known collector of outsider and contemporary art, said: “I’ve been encouraging Joe to do this for some time. Joe’s the real thing, truly one of a kind. I just thought it was sad that nobody knows about him in the New York art world.”\nThe paintings in the show date from 1990 to a new portrait of Johnny Eck, the “half man” who appeared in Todd Browning’s film “Freaks.” Another recent portrait is of Mr. Coleman’s friend Larry Desmedt, a Coney Island legend known as Indian Larry who died in a motorcycle accident in 2004. Installations will include selections from the Odditorium and a large construction from 2003, “As You Look Into the Eye of the Cyclops, So the Eye of the Cyclops Looks Into You.” It represents a giant, old-fashioned television console, 66 inches high by 38 inches wide, a homage to the electronic monolith he says he worshiped from the floor as a child.","bio_dates":"b. 1955"},{"slug":"colen_dan_lowman_nate_riding_spinners","ok":true,"partial":false,"title":"Riding Spinners","artist":"Dan Colen","year":"2011","startOffset":0,"sourceSecs":90.164,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":2345883,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colen_dan_lowman_nate_riding_spinners/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colen_dan_lowman_nate_riding_spinners/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/colen_dan_lowman_nate_riding_spinners.m4v","hasFrames":true,"description":"Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice."},{"slug":"colin_knapp_dada_1917_1_naissance_de_lesprit_dada","ok":true,"partial":false,"title":"1. Naissance de l'esprit Dada","artist":"Colin Knapp","year":"1917","startOffset":0,"sourceSecs":3185.92,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":189909301,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colin_knapp_dada_1917_1_naissance_de_lesprit_dada/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colin_knapp_dada_1917_1_naissance_de_lesprit_dada/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/colin_knapp_dada_1917_1_naissance_de_lesprit_dada.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colin_knapp_dada_1917_1_naissance_de_lesprit_dada/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colin_knapp_dada_1917_1_naissance_de_lesprit_dada/main/master.m3u8?v=2","hasMainHls":true,"description":"A french documentary in 5 parts includes interviews and archives. Directed by Philippe Colin and produced by Jean-José Marchand. Interviews by Hubert Knapp. <br/><br/> Ce documentaire a été diffusé pour la première fois sur la RTF le 28.03.1971, 267 min. <br/><br/> With : Man Ray, Marcel Janco, Raoul Hausmann, Walter Mehring, Richard Huelsenbeck, Hans Richter, Christian Schad, Julius Evola, Georges Ribemont-Dessaignes, Juliette Roche, Maximilien Gauthier, Marcel Duchamp, Gabrielle Buffet-Picabia, Béatrice Wood, Jef Golyscheff, Philippe Soupault, Pierre Deval, Simone Collinet, René Hilsum, Henri Cliquennois, Germaine Everling, Jacques Baron, Georges Auric, Serge Charchoune...","bio_dates":"DaDa (1971"},{"slug":"colin_knapp_dada_1917_2_dada_a_zurich","ok":true,"partial":false,"title":"2. Dada à Zurich","artist":"Colin Knapp","year":"1917","startOffset":0,"sourceSecs":3233.24,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":192209331,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colin_knapp_dada_1917_2_dada_a_zurich/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colin_knapp_dada_1917_2_dada_a_zurich/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/colin_knapp_dada_1917_2_dada_a_zurich.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colin_knapp_dada_1917_2_dada_a_zurich/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colin_knapp_dada_1917_2_dada_a_zurich/main/master.m3u8?v=2","hasMainHls":true,"description":"A french documentary in 5 parts includes interviews and archives. Directed by Philippe Colin and produced by Jean-José Marchand. Interviews by Hubert Knapp. <br/><br/> Ce documentaire a été diffusé pour la première fois sur la RTF le 28.03.1971, 267 min. <br/><br/> With : Man Ray, Marcel Janco, Raoul Hausmann, Walter Mehring, Richard Huelsenbeck, Hans Richter, Christian Schad, Julius Evola, Georges Ribemont-Dessaignes, Juliette Roche, Maximilien Gauthier, Marcel Duchamp, Gabrielle Buffet-Picabia, Béatrice Wood, Jef Golyscheff, Philippe Soupault, Pierre Deval, Simone Collinet, René Hilsum, Henri Cliquennois, Germaine Everling, Jacques Baron, Georges Auric, Serge Charchoune...","bio_dates":"DaDa (1971"},{"slug":"colin_knapp_dada_1917_3_dada_a_berlin","ok":true,"partial":false,"title":"3. Dada à Berlin","artist":"Colin Knapp","year":"1917","startOffset":0,"sourceSecs":3530.36,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":208537135,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colin_knapp_dada_1917_3_dada_a_berlin/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colin_knapp_dada_1917_3_dada_a_berlin/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/colin_knapp_dada_1917_3_dada_a_berlin.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colin_knapp_dada_1917_3_dada_a_berlin/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colin_knapp_dada_1917_3_dada_a_berlin/main/master.m3u8?v=2","hasMainHls":true,"description":"A french documentary in 5 parts includes interviews and archives. Directed by Philippe Colin and produced by Jean-José Marchand. Interviews by Hubert Knapp. <br/><br/> Ce documentaire a été diffusé pour la première fois sur la RTF le 28.03.1971, 267 min. <br/><br/> With : Man Ray, Marcel Janco, Raoul Hausmann, Walter Mehring, Richard Huelsenbeck, Hans Richter, Christian Schad, Julius Evola, Georges Ribemont-Dessaignes, Juliette Roche, Maximilien Gauthier, Marcel Duchamp, Gabrielle Buffet-Picabia, Béatrice Wood, Jef Golyscheff, Philippe Soupault, Pierre Deval, Simone Collinet, René Hilsum, Henri Cliquennois, Germaine Everling, Jacques Baron, Georges Auric, Serge Charchoune...","bio_dates":"DaDa (1971"},{"slug":"colin_knapp_dada_1917_4_dada_a_paris","ok":true,"partial":false,"title":"4. Dada à Paris","artist":"Colin Knapp","year":"1917","startOffset":0,"sourceSecs":3637.92,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":214917303,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colin_knapp_dada_1917_4_dada_a_paris/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colin_knapp_dada_1917_4_dada_a_paris/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/colin_knapp_dada_1917_4_dada_a_paris.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colin_knapp_dada_1917_4_dada_a_paris/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colin_knapp_dada_1917_4_dada_a_paris/main/master.m3u8?v=2","hasMainHls":true,"description":"A french documentary in 5 parts includes interviews and archives. Directed by Philippe Colin and produced by Jean-José Marchand. Interviews by Hubert Knapp. <br/><br/> Ce documentaire a été diffusé pour la première fois sur la RTF le 28.03.1971, 267 min. <br/><br/> With : Man Ray, Marcel Janco, Raoul Hausmann, Walter Mehring, Richard Huelsenbeck, Hans Richter, Christian Schad, Julius Evola, Georges Ribemont-Dessaignes, Juliette Roche, Maximilien Gauthier, Marcel Duchamp, Gabrielle Buffet-Picabia, Béatrice Wood, Jef Golyscheff, Philippe Soupault, Pierre Deval, Simone Collinet, René Hilsum, Henri Cliquennois, Germaine Everling, Jacques Baron, Georges Auric, Serge Charchoune...","bio_dates":"DaDa (1971"},{"slug":"colin_knapp_dada_1917_5_declin_et_mort_de_dada","ok":true,"partial":false,"title":"5. Déclin et mort de Dada","artist":"Colin Knapp","year":"1917","startOffset":0,"sourceSecs":2482.96,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":149724495,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colin_knapp_dada_1917_5_declin_et_mort_de_dada/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/colin_knapp_dada_1917_5_declin_et_mort_de_dada/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/colin_knapp_dada_1917_5_declin_et_mort_de_dada.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colin_knapp_dada_1917_5_declin_et_mort_de_dada/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/colin_knapp_dada_1917_5_declin_et_mort_de_dada/main/master.m3u8?v=2","hasMainHls":true,"description":"A french documentary in 5 parts includes interviews and archives. Directed by Philippe Colin and produced by Jean-José Marchand. Interviews by Hubert Knapp. <br/><br/> Ce documentaire a été diffusé pour la première fois sur la RTF le 28.03.1971, 267 min. <br/><br/> With : Man Ray, Marcel Janco, Raoul Hausmann, Walter Mehring, Richard Huelsenbeck, Hans Richter, Christian Schad, Julius Evola, Georges Ribemont-Dessaignes, Juliette Roche, Maximilien Gauthier, Marcel Duchamp, Gabrielle Buffet-Picabia, Béatrice Wood, Jef Golyscheff, Philippe Soupault, Pierre Deval, Simone Collinet, René Hilsum, Henri Cliquennois, Germaine Everling, Jacques Baron, Georges Auric, Serge Charchoune...","bio_dates":"DaDa (1971"},{"slug":"collins_phil_dunya_dinlemiyor_2005_iphone","ok":true,"partial":false,"title":"dünya dinlemiyor","artist":"Phil Collins","year":"2005","startOffset":0,"sourceSecs":3568.258,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":206350548,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/collins_phil_dunya_dinlemiyor_2005_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/collins_phil_dunya_dinlemiyor_2005_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/collins_phil_dunya_dinlemiyor_2005_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/collins_phil_dunya_dinlemiyor_2005_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/collins_phil_dunya_dinlemiyor_2005_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"dünya dinlemiyor, 2005<br/> Single-channel color video installation with audio, 58 min. <br/><br/> British artist Phil Collins has made work in conflicted geopolitical sites around the world, including Baghdad, Belfast, Bogotá, and Ramallah, creating nuanced representations of people and places. In a departure from much documentary and site-specific practice, Collins engages politics and pop culture in tandem, often soliciting the participation of the communities in which he works. His video installation dünya dinlemiyor (Turkish for \"the world won't listen\") features young people in Istanbul performing karaoke versions of songs by the 1980s band The Smiths. Within the politically fraught context of Istanbul, The Smiths' melancholic pop takes on new poignancy, asking us to listen to what the rest of the world won't. Collins was a nominee for the 2006 Turner Prize.","artist_bio":"Phil Collins was born in Runcorn, England and now lives in Berlin He studied Drama and English at the University of Manchester, graduating in 1994. During his time there he worked as a cloak-room boy and pint-puller at the Hacienda nightclub on Whitworth Street. After a stint teaching performance and film theory at Royal Holloway, University of London, he joined London-based performance group Max Factory whose live art projects showed all over the UK.\nIn 1998 he moved to Belfast to do a Master of Fine Arts at the College of Art and Design, part of the University of Ulster. His teachers included Alistair Maclennan and Willie Doherty. During his time in Northern Ireland he became an active member of the artist-run collective Catalyst Arts.\nWhile still a student he was selected, as one of just four other artists from Northern Ireland, to show at Manifesta 3 in Ljubljana, Slovenia. He showed the first video he had ever made called How To Make A Refugee - an 11-minute film shot on the refugee camps at Stenkovec and Chegrane in Macedonia during the Kosovo crisis of 1999.\nAfter completing his MA he spent some time living and working in Belgrade. In 2000 he was picked as one of the New Contemporaries and in the same year won the Absolut Prize]. In 2001 he won a Paul Hamlyn Award for visual arts.\nHe was nominated for the 2006 Turner Prize for solo shows at Milton Keynes Gallery, Tanya Bonakdar Gallery, New York, and also for his work in the British Art Show 6. The Tate Gallery describes his work as \"engaging photographic and video installations involving diverse social groups. Acting as a catalyst, he encourages people to reveal their individuality, making the personal public with sensitivity and generosity.\"\nFor the 2006 Frieze Show in London, a £33-million art fair, Collins created a fully-functioning 'Shady Lane Productions' office and did 9am-5pm office work in it for the duration of the show, with the room open to passing visitors. The office workers are said to be making Return Of The Real,[1] a documentary about people whose lives have been ruined by reality TV. Turner Prize judge Andrew Renton said, \"To call Phil Collins a prankster would be to underestimate the seriousness of his work. His work is clearly political and connected to social engagement.\"\nIn Return of the Real, former participants from shows as diverse as Wife Swap, Brand New You, and Supernanny, seize the opportunity to candidly recount their grievances in unedited conversations with renowned media lawyer Mark Stephens (solicitor). Stephens said, \"I am troubled by the way in which television has exploited its subjects in the cynical pursuit of commercial gain and infotainment. My interest in this project arises from those concerns and I was pleased to be able to help facilitate the voices of those involved, voices which are so often censored by the media which has already misrepresented them.\"\nStill from They Shoot Horses video by Phil Collins (2004)\nHis best-known works are video art, often featuring teenagers. In 2002 he travelled to Saddam Hussein's Baghdad, before the start of the Iraq war, and filmed Iraqis sitting silently for screen tests for a non-existent Hollywood movie (Baghdad Screen Tests, 2002). His best known work is They Shoot Horses (2004) consisting of two videos each lasting seven hours and shown at the same time on different walls. This is a record of a disco dance marathon staged by the artist with nine Palestinians in Ramallah. Music from the last three decades is played and the young people are captured in a single camera take, as they dance or, at times, stand round or slump to the floor. Another similar work was The World Won't Listen (2005), which features young people in Turkey, Colombia, and Indonesia performing karaoke versions of Smiths songs.\nAbout his work Collins has said, \"A camera brings interested parties together. It attracts and repels according to circumstance or whim. A camera makes me interested in you and you maybe interested in me. In this sense, it's all about love. And exploitation. You could say that [this work] is driven by an emotional relationship with the subjects, rather than the rational or sensational standards of journalism, which also inhabit these territories.\"\nHe is represented by Victoria Miro Gallery in London, Kerlin Gallery in Dublin and Tanya Bonakdar Gallery in New York.","bio_dates":"b. 1970"},{"slug":"collins_phil_el_mundo_no_eschuchara_2005","ok":true,"partial":false,"title":"El Mundo No Escuchará","artist":"Phil Collins","year":"2005","startOffset":0,"sourceSecs":3362.069,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":557699846,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/collins_phil_el_mundo_no_eschuchara_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/collins_phil_el_mundo_no_eschuchara_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/collins_phil_el_mundo_no_eschuchara_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/collins_phil_el_mundo_no_eschuchara_2005/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/collins_phil_el_mundo_no_eschuchara_2005/main/master.m3u8?v=2","hasMainHls":true,"description":"In his installation at Lora Reynolds Gallery, British-born, Belfast-based artist Phil Collins continues a practice of immersing himself, culturally speaking, in regions engaged in political turmoil. Whether his city of choice is Baghdad, where in 2002 the artist invited aspiring local actors to sit for screen tests (Baghdad Screen Test), or Ramallah, where Collins documented the city’s youth partaking in a sixteen-hour disco dance-a-thon (They Shoot Horses), the artist bypasses associations propagated through mass media images of certain places, offering poignant glances into the personal lives of their inhabitants. For the project presented at Lora Reynolds Gallery, El mundo no escucha/The world won’t listen, Collins took up temporary residence in Bogotá, Colombia. Borrowing his piece’s title from the seminal British cult band The Smiths’ 1987 album, Collins’ project began with an invitation. The artist wheatpasted large, silk-screened posters throughout the city of Bogotá, inviting “the shy, the dissatisfied, the narcissistic, the shower superstars and anyone who wants to be someone else for a night” to perform Karaoke de los Smiths. These same posters now paper a wall of the Lora Reynolds Gallery from floor to ceiling, providing a bit of context for the hour-long video that is the exhibition’s centerpiece. Comprised of a series of stationary medium shots, Collins’ video captures each volunteer standing on stage in front of a backdrop, which alternates between a kitschy Hawaiian sunset and a treelined Tuscan lake. The piece plays on a small monitor, which forces the viewer to move in close to get a good look and listen. In nearly every sequence, performers begin timidly, but their initial bashfulness gives way to bravado as they become immersed in song. With mouths extended in the widest and sincerest of smiles, they seem to forsake all embarrassment or self-consciousness about their off-key performances and tender dancing. Some close their eyes while singing Morrissey’s perpetually maudlin lyrics, in some cases bilingually. A few performers sing in Spanish, indicating these songs were already committed to memory and translated before they ever arrived. (It is important to note that the artist did not provide Spanish translations of the Smiths’ lyrics). Others take the stage boldly, posturing from the start, striking poses and obviously ready for the spotlight—and, in some cases, equipped with Smith’s paraphernalia. I even caught myself—more than once—singing along with these on-screen wannabe Morrisseys. For all its goofy sincerity, El mundo no escucha/The world won’t listen is not, as one might think, the mere exploration of the cultural manifestations of fandom in a foreign place. Rather than ignoring political unrest in Colombia, Collins’ video looks past thoughts and images of victimization and trauma and straight to the core of what makes us human—what moves us, what compels us, what touches an individual deeply. The Smiths obviously permeated the cultural consciousness of a generation most certainly raised in perpetual turmoil. As in all his work, Collins draws personal connections—through tenuous and seemingly superficial cultural commodities like pop music—as a means of constructing a community, however brief or ephemeral. Collins’ work clearly articulates this and reminds us that the personal is always political. Collins will take his Karaoke project to the Istanbul Biennial this fall, where another community of Smiths’ fans will have the opportunity to gather together and revel in “the music that changed their lives.” Will the world listen? -- Risa Puleo","artist_bio":"Phil Collins was born in Runcorn, England and now lives in Berlin He studied Drama and English at the University of Manchester, graduating in 1994. During his time there he worked as a cloak-room boy and pint-puller at the Hacienda nightclub on Whitworth Street. After a stint teaching performance and film theory at Royal Holloway, University of London, he joined London-based performance group Max Factory whose live art projects showed all over the UK.\nIn 1998 he moved to Belfast to do a Master of Fine Arts at the College of Art and Design, part of the University of Ulster. His teachers included Alistair Maclennan and Willie Doherty. During his time in Northern Ireland he became an active member of the artist-run collective Catalyst Arts.\nWhile still a student he was selected, as one of just four other artists from Northern Ireland, to show at Manifesta 3 in Ljubljana, Slovenia. He showed the first video he had ever made called How To Make A Refugee - an 11-minute film shot on the refugee camps at Stenkovec and Chegrane in Macedonia during the Kosovo crisis of 1999.\nAfter completing his MA he spent some time living and working in Belgrade. In 2000 he was picked as one of the New Contemporaries and in the same year won the Absolut Prize]. In 2001 he won a Paul Hamlyn Award for visual arts.\nHe was nominated for the 2006 Turner Prize for solo shows at Milton Keynes Gallery, Tanya Bonakdar Gallery, New York, and also for his work in the British Art Show 6. The Tate Gallery describes his work as \"engaging photographic and video installations involving diverse social groups. Acting as a catalyst, he encourages people to reveal their individuality, making the personal public with sensitivity and generosity.\"\nFor the 2006 Frieze Show in London, a £33-million art fair, Collins created a fully-functioning 'Shady Lane Productions' office and did 9am-5pm office work in it for the duration of the show, with the room open to passing visitors. The office workers are said to be making Return Of The Real,[1] a documentary about people whose lives have been ruined by reality TV. Turner Prize judge Andrew Renton said, \"To call Phil Collins a prankster would be to underestimate the seriousness of his work. His work is clearly political and connected to social engagement.\"\nIn Return of the Real, former participants from shows as diverse as Wife Swap, Brand New You, and Supernanny, seize the opportunity to candidly recount their grievances in unedited conversations with renowned media lawyer Mark Stephens (solicitor). Stephens said, \"I am troubled by the way in which television has exploited its subjects in the cynical pursuit of commercial gain and infotainment. My interest in this project arises from those concerns and I was pleased to be able to help facilitate the voices of those involved, voices which are so often censored by the media which has already misrepresented them.\"\nStill from They Shoot Horses video by Phil Collins (2004)\nHis best-known works are video art, often featuring teenagers. In 2002 he travelled to Saddam Hussein's Baghdad, before the start of the Iraq war, and filmed Iraqis sitting silently for screen tests for a non-existent Hollywood movie (Baghdad Screen Tests, 2002). His best known work is They Shoot Horses (2004) consisting of two videos each lasting seven hours and shown at the same time on different walls. This is a record of a disco dance marathon staged by the artist with nine Palestinians in Ramallah. Music from the last three decades is played and the young people are captured in a single camera take, as they dance or, at times, stand round or slump to the floor. Another similar work was The World Won't Listen (2005), which features young people in Turkey, Colombia, and Indonesia performing karaoke versions of Smiths songs.\nAbout his work Collins has said, \"A camera brings interested parties together. It attracts and repels according to circumstance or whim. A camera makes me interested in you and you maybe interested in me. In this sense, it's all about love. And exploitation. You could say that [this work] is driven by an emotional relationship with the subjects, rather than the rational or sensational standards of journalism, which also inhabit these territories.\"\nHe is represented by Victoria Miro Gallery in London, Kerlin Gallery in Dublin and Tanya Bonakdar Gallery in New York.","bio_dates":"b. 1970"},{"slug":"collins_phil_the_louder_you_scream_the_faster_we_go_2005","ok":true,"partial":false,"title":"The louder you scream, the faster we go","artist":"Phil Collins","year":"2005","startOffset":0,"sourceSecs":591.24,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":97850165,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/collins_phil_the_louder_you_scream_the_faster_we_go_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/collins_phil_the_louder_you_scream_the_faster_we_go_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/collins_phil_the_louder_you_scream_the_faster_we_go_2005.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/collins_phil_the_louder_you_scream_the_faster_we_go_2005/main.mp4?v=2","description":"<i>The louder you scream, the faster we go</i> was produced as a public art project in Bristol. There Collins established a temporary video company and sent out a call to local unsigned acts to submit their demos. He then selected three bands and made promo videos to accompany their music. Bands were denied any input into the creative process; instead they received a final copy to use as they see fit. Filmed at a summer music festival, a ballet class for the over-50s, and an adult-films production company, the promos are Collin’s personal homage to the heroic era of early pop video. Adhering to firm formal rigour of popular music as a deep-set indicative marker of both belonging and difference, they are imbued with his trademark combination of uneasy affection and subtle exploitation.","artist_bio":"Phil Collins was born in Runcorn, England and now lives in Berlin He studied Drama and English at the University of Manchester, graduating in 1994. During his time there he worked as a cloak-room boy and pint-puller at the Hacienda nightclub on Whitworth Street. After a stint teaching performance and film theory at Royal Holloway, University of London, he joined London-based performance group Max Factory whose live art projects showed all over the UK.\nIn 1998 he moved to Belfast to do a Master of Fine Arts at the College of Art and Design, part of the University of Ulster. His teachers included Alistair Maclennan and Willie Doherty. During his time in Northern Ireland he became an active member of the artist-run collective Catalyst Arts.\nWhile still a student he was selected, as one of just four other artists from Northern Ireland, to show at Manifesta 3 in Ljubljana, Slovenia. He showed the first video he had ever made called How To Make A Refugee - an 11-minute film shot on the refugee camps at Stenkovec and Chegrane in Macedonia during the Kosovo crisis of 1999.\nAfter completing his MA he spent some time living and working in Belgrade. In 2000 he was picked as one of the New Contemporaries and in the same year won the Absolut Prize]. In 2001 he won a Paul Hamlyn Award for visual arts.\nHe was nominated for the 2006 Turner Prize for solo shows at Milton Keynes Gallery, Tanya Bonakdar Gallery, New York, and also for his work in the British Art Show 6. The Tate Gallery describes his work as \"engaging photographic and video installations involving diverse social groups. Acting as a catalyst, he encourages people to reveal their individuality, making the personal public with sensitivity and generosity.\"\nFor the 2006 Frieze Show in London, a £33-million art fair, Collins created a fully-functioning 'Shady Lane Productions' office and did 9am-5pm office work in it for the duration of the show, with the room open to passing visitors. The office workers are said to be making Return Of The Real,[1] a documentary about people whose lives have been ruined by reality TV. Turner Prize judge Andrew Renton said, \"To call Phil Collins a prankster would be to underestimate the seriousness of his work. His work is clearly political and connected to social engagement.\"\nIn Return of the Real, former participants from shows as diverse as Wife Swap, Brand New You, and Supernanny, seize the opportunity to candidly recount their grievances in unedited conversations with renowned media lawyer Mark Stephens (solicitor). Stephens said, \"I am troubled by the way in which television has exploited its subjects in the cynical pursuit of commercial gain and infotainment. My interest in this project arises from those concerns and I was pleased to be able to help facilitate the voices of those involved, voices which are so often censored by the media which has already misrepresented them.\"\nStill from They Shoot Horses video by Phil Collins (2004)\nHis best-known works are video art, often featuring teenagers. In 2002 he travelled to Saddam Hussein's Baghdad, before the start of the Iraq war, and filmed Iraqis sitting silently for screen tests for a non-existent Hollywood movie (Baghdad Screen Tests, 2002). His best known work is They Shoot Horses (2004) consisting of two videos each lasting seven hours and shown at the same time on different walls. This is a record of a disco dance marathon staged by the artist with nine Palestinians in Ramallah. Music from the last three decades is played and the young people are captured in a single camera take, as they dance or, at times, stand round or slump to the floor. Another similar work was The World Won't Listen (2005), which features young people in Turkey, Colombia, and Indonesia performing karaoke versions of Smiths songs.\nAbout his work Collins has said, \"A camera brings interested parties together. It attracts and repels according to circumstance or whim. A camera makes me interested in you and you maybe interested in me. In this sense, it's all about love. And exploitation. You could say that [this work] is driven by an emotional relationship with the subjects, rather than the rational or sensational standards of journalism, which also inhabit these territories.\"\nHe is represented by Victoria Miro Gallery in London, Kerlin Gallery in Dublin and Tanya Bonakdar Gallery in New York.","bio_dates":"b. 1970"},{"slug":"conceptual_drawings_for_a_chandelier_1965_2005","ok":true,"partial":false,"title":"Conceptual Drawings for a Chandelier, 1965","artist":"Josiah McElheny","year":"2005","startOffset":0,"sourceSecs":349.083,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":58714602,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/conceptual_drawings_for_a_chandelier_1965_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/conceptual_drawings_for_a_chandelier_1965_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/conceptual_drawings_for_a_chandelier_1965_2005.mp4","hasFrames":true},{"slug":"condo_george_condo_painting_dir_john_mcnaughton_2000_iphone","ok":true,"partial":false,"title":"Condo Painting","artist":"George Condo","year":"2000","startOffset":0,"sourceSecs":5146.946,"sourceHeight":320,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":296813417,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/condo_george_condo_painting_dir_john_mcnaughton_2000_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/condo_george_condo_painting_dir_john_mcnaughton_2000_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/condo_george_condo_painting_dir_john_mcnaughton_2000_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/condo_george_condo_painting_dir_john_mcnaughton_2000_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/condo_george_condo_painting_dir_john_mcnaughton_2000_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: John McNaughton<br><br><b>Cast:</b><br> George Condo ... Himself<br> William S. Burroughs ... Himself<br/> Anna Condo ... Herself<br/> Eleonore Condo ... Herself<br/> Raphaelle Condo ... Herself<br/> Allen Ginsberg ... Himself<br/> Bernard Picasso ... Himself<br/> Jim Sampas ... Himself<br/> John Sampas ... Himself<br/> Patrick Achdjian ... Big Red<br/> <br/> Description: ''Condo Painting'' is not, as the title might seem to suggest, an instructional film for apartment owners, but rather an 86-minute documentary on the life, work and thought of George Condo, a garrulous painter with a mischievous sense of humor and an eccentric, quasi-mystical view of art and the world it inhabits. To call the film a documentary may be a bit misleading. Directed by the Chicago filmmaker John McNaughton ('Henry: Portrait of a Serial Killer, Wild Things) in close collaboration with its subject, ''Condo Painting'' tries not only to record the artist's aesthetic theories but also to apply them. What results is a free-form excursion, studded with abstract music-video effects (and accompanied by a soundtrack featuring music by DJ Spooky, Tom Waits and the Residents), through the sensibility of a man who is sometimes enlightening, sometimes amusing and sometimes annoying. <br/><br/> ----- John McNaughton is a filmmaker who made his mark peering into the abyss of human evil, as in his truly disturbing film Henry: Portrait of a Serial Killer (1990) or the gloriously disposable Wild Things (1998). With the release of this documentary, Condo Painting (2000) audiences will see what happens when McNaughton dabbles in art history. Is there an equation here between art and murder? Not exactly. Let’s just say the film could have easily been titled George Condo: Portrait of a Serial Painter. The cliché of the tortured artist plagued by demonic visions and faced with the eternally returning void of the studio or blank canvas is given new and preposterous life by the whimsy inherent to the world of George Condo. Slightly dishevelled and with an all-knowing glint in his eye, Condo is the type of individual who might arouse mild suspicion in public. You could imagine him wandering the streets openly muttering about creatures inhabiting an alternate reality to which only he has privileged access. He speaks excitedly of ‘antipods’, capricious, Huxleyesque creatures suspended somewhere in the nether world, waiting patiently to be brought to life by the act of painting. As he states late in the film, his job is to deliver them from ‘invisibility’. As well as his own personal metaphysic of aliens, Condo is the first to admit that the work is also informed by the detritus of mass media. He has a fetishistic attachment to, for example, the Beverly Hillbillies. Those interested would do well to consult his book, Grannie’s Guide to Art History or Just Plain Old Madness (1997). Condo’s imagery - a dialectic between classic portraiture and Disneyland - is unmistakable. He asks himself why his subjects share common features: the balloon eyes, the heads begetting heads, the nightmare in the nursery, etc. This visual repetition, the style that puts the serial in serial painter, is all the proof he needs. Time and again they appear on his canvas; therefore, he announces, they must exist. Madness, however, is not the final word. Instead, one can diagnose a certain regressive infantilism - a return to the freedom and imagination of childhood. As Baudelaire remarked, ‘This ease in gratifying the imagination is evidence of the spirituality of childhood in its artistic conceptions. The toy is the child’s earliest initiation to art, or rather for him it is the first example of art, and when the mature age comes, the perfected examples will not give his mind the same feelings of warmth, nor the same enthusiasms, nor the same sense of conviction.’ Not true for the ‘mature’ Condo. The toys that appear to fascinate him endlessly are, we learn, portals for extraterrestrial communion. A yo-yo or a wind-up animal are further proof of the interpenetration of the invisible into the visible. Give Condo a cheap Halloween mask and he becomes tour guide to the realm of the antipods. The film is loosely structured around a single painting, a large portrait whose original ‘face’ is all but obliterated by a year-long artistic struggle. During the process of making the film, William Burroughs and Allen Ginsburg, two of Condo’s friends, passed away. Through the spirit medium of paint Condo revives them into the phenomenal world as subjects of the painting in question. Burroughs, according to Condo, is the impetus for the final image. The darker visage of the finished portrait negates an underpainting of a more colourful and assuredly more playful conception of Ginsburg. Although the original is no longer visible, the audience begins to surmise that it may perhaps live on in Condo’s self-proclaimed quest for a ‘unified presence of all presences’ - no easy task. Upon the painting’s completion, Condo declared ‘this is the last time I am signing this’. McNaughton is more than willing to collude with Condo’s flight of fancy. As the documentary nears its end, the two collaborators abandon fact for fiction. Condo, armed with an electronic ‘pod detector’, runs amok in search of a creature named Big Red, the title of the film’s central painting. McNaughton uses delirious video effects, including electronic superimpositions and reverse playback to underscore and enhance the idea of planar flux. It sounds modern, practically sci-fi, but it once again returns to the roots of Condo’s re-imagination of art history. ‘Could I be the court painter for an alien king?’ Can art bring fantasy to life? -- Chris Chang, Frieze (http://www.frieze.com/issue/review/condo_painting/)</br></br>","artist_bio":"George Condo works in the medium of painting and sculpture. He has exhibited in the United States and in Europe, including exhibitions at the Whitney Museum, New York; the Museum of Modern Art, New York; the Contemporary Arts Museum Houston; the Guggenheim, New York; the Albright-Knox Art Gallery, Buffalo; Fonds National d'Art Contemporain, Salzburg; Ministere de la Culture, Paris; Museu d'Art Contemporani, Barcelona; the Museum of Fine Arts, Houston; the Kunsthalle Bielefeld in Germany and most recently at the Wrong Gallery in the Tate Modern, London and The New Museum in New York City.\nIn 2000 he was the subject of the documentary film Condo Painting, directed by John McNaughton. His work is held in the collection of the Museum of Modern Art. In 2010, Condo created the artwork for Kanye West's single, \"Power\" and West's album My Beautiful Dark Twisted Fantasy. He takes inspiration from American caricature, European history portraits as well as Greek mythological figures, often in a dark yet humorous style.\nHe currently lives and works in New York City, USA occupied with investigating the genre of portraiture.","bio_dates":"b. 1957"},{"slug":"conrad_tony_chant_2012","ok":true,"partial":false,"title":"Chant","artist":"Tony Conrad","year":"2012","startOffset":0,"sourceSecs":3447.19,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":201194357,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/conrad_tony_chant_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/conrad_tony_chant_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/conrad_tony_chant_2012.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/conrad_tony_chant_2012/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/conrad_tony_chant_2012/main/master.m3u8?v=2","hasMainHls":true,"description":"In Tony Conrad’s Three Loops for Performers and Tape Recorders, musicians and tape players are equal partners. The score gives instructions for the performing musicians to choose from a number of instruments and play pre-defined intervals in an arbitrary order. The sounds thus produced are recorded with a tape recorder, with a short delay, that tape is played back on a second recorder. The sound created in that way not only mixes with the sequences of notes produced live, but is also immediately recorded again, with a small delay, and so on. During the only performance of this piece at the Harvard-Radcliffe Music Club in December 1961, each of the three sections (Chant, Aria, Din) ended in cacophonic feedback which, as Conrad remarked, provide an intrinsic part of the performance, and need not be deplored.","artist_bio":"Music in the Afternoon, with Tony Conrad (2002)\n, dir. Woody and Steina Vasulka\nWith a background in mathematics and computer programming, Tony Conrad became active in performance and music composition during the 1960s, and was associated with the founding of both minimal music and underground film in New York City. Along with Marian Zeezela, La Monte Young, John Cale, and Angus MacLise, Conrad was a co-founder of the Theater of Eternal Music, which utilized non-Western musical forms and sustained sound to produce what they called \"dream music.\"\nConrad's work in film ranged from experiments in physically transforming the film's surface to theatrical productions featuring New York's underground scene. The Flicker (1966) is considered a key early work of the structural film movement. Conrad began working in video and performance in the 1970s while teaching at Antioch College in Ohio and the Center for Media Study, State University of New York at Buffalo. Conrad observed that his early tapes \"deal with the construction of the viewer, in the authorizing context of the art environment or within a broader sociopolitical context.\"\nConrad's commitment to developing and sustaining a decentralized cultural infrastructure is evident in his active involvement with Hallwalls Contemporary Arts Center, Squeaky Wheel Media Coalition, and Buffalo Cable Access Media.","bio_dates":"1940-2016"},{"slug":"conrad_tony_four_square_1971","ok":true,"partial":false,"title":"Four Square","artist":"Tony Conrad","year":"1971","startOffset":0,"sourceSecs":1645.92,"sourceHeight":540,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":277466535,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/conrad_tony_four_square_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/conrad_tony_four_square_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/conrad_tony_four_square_1971.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/conrad_tony_four_square_1971/main.mp4?v=2","description":"FOUR SQUARE<br/><br/> Tony and Beverley Conrad<br/><br/> performance documentation with talk by Conrad following the performance<br/><br/> Tony and Beverley Conrad recently showed in London (under very inadequate conditions) two works for spatially distributed projection. Four Square is a film designed for four screens surrounding the audience. Through its spatial distribution of abstract image and sound it begins to build up a TIME/SPACE experience where the mental construction of the events do not clearly differentiate between separation/ distribution in time from separation/ distribution in space. A unified field TIME/SPACE experience. - Malcolm LeGrice","artist_bio":"Music in the Afternoon, with Tony Conrad (2002)\n, dir. Woody and Steina Vasulka\nWith a background in mathematics and computer programming, Tony Conrad became active in performance and music composition during the 1960s, and was associated with the founding of both minimal music and underground film in New York City. Along with Marian Zeezela, La Monte Young, John Cale, and Angus MacLise, Conrad was a co-founder of the Theater of Eternal Music, which utilized non-Western musical forms and sustained sound to produce what they called \"dream music.\"\nConrad's work in film ranged from experiments in physically transforming the film's surface to theatrical productions featuring New York's underground scene. The Flicker (1966) is considered a key early work of the structural film movement. Conrad began working in video and performance in the 1970s while teaching at Antioch College in Ohio and the Center for Media Study, State University of New York at Buffalo. Conrad observed that his early tapes \"deal with the construction of the viewer, in the authorizing context of the art environment or within a broader sociopolitical context.\"\nConrad's commitment to developing and sustaining a decentralized cultural infrastructure is evident in his active involvement with Hallwalls Contemporary Arts Center, Squeaky Wheel Media Coalition, and Buffalo Cable Access Media.","bio_dates":"1940-2016"},{"slug":"conrad_tony_recent_video_works","ok":true,"partial":false,"title":"Video Works","artist":"Tony Conrad","year":"1981-1989","startOffset":0,"sourceSecs":3467.952,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":594247239,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/conrad_tony_recent_video_works/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/conrad_tony_recent_video_works/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/conrad_tony_recent_video_works.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/conrad_tony_recent_video_works/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/conrad_tony_recent_video_works/main/master.m3u8?v=2","hasMainHls":true,"description":"That far Away Look, 1988<br/> Teddy tells Jokes, 1980<br/> Long-Shot/Run-Dead (excerpt), 1986<br/> In Line, 1985<br/> Lookers (excerpt), 1984<br/> Movie show (excerpt), 1985","artist_bio":"Music in the Afternoon, with Tony Conrad (2002)\n, dir. Woody and Steina Vasulka\nWith a background in mathematics and computer programming, Tony Conrad became active in performance and music composition during the 1960s, and was associated with the founding of both minimal music and underground film in New York City. Along with Marian Zeezela, La Monte Young, John Cale, and Angus MacLise, Conrad was a co-founder of the Theater of Eternal Music, which utilized non-Western musical forms and sustained sound to produce what they called \"dream music.\"\nConrad's work in film ranged from experiments in physically transforming the film's surface to theatrical productions featuring New York's underground scene. The Flicker (1966) is considered a key early work of the structural film movement. Conrad began working in video and performance in the 1970s while teaching at Antioch College in Ohio and the Center for Media Study, State University of New York at Buffalo. Conrad observed that his early tapes \"deal with the construction of the viewer, in the authorizing context of the art environment or within a broader sociopolitical context.\"\nConrad's commitment to developing and sustaining a decentralized cultural infrastructure is evident in his active involvement with Hallwalls Contemporary Arts Center, Squeaky Wheel Media Coalition, and Buffalo Cable Access Media.","bio_dates":"1940-2016"},{"slug":"conrad_tony_the_flicker","ok":true,"partial":false,"title":"The Flicker","artist":"Tony Conrad","year":"1966","startOffset":0,"sourceSecs":1686.192,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":105014203,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/conrad_tony_the_flicker/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/conrad_tony_the_flicker/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/conrad_tony_the_flicker.avi","hasFrames":true,"description":"The Flicker is a 1966 experimental film by Tony Conrad. The film consists of only 5 different frames: a warning frame, two title frames, a black frame, and a white frame. It changes the rate at which it switches between black and white frames to produce stroboscopic effects. <br/><br/> Conrad spent several months designing the film before shooting it in a matter of days. He produced and distributed The Flicker with the help of Jonas Mekas. The film is now recognized as a key work of structural filmmaking.","artist_bio":"Music in the Afternoon, with Tony Conrad (2002)\n, dir. Woody and Steina Vasulka\nWith a background in mathematics and computer programming, Tony Conrad became active in performance and music composition during the 1960s, and was associated with the founding of both minimal music and underground film in New York City. Along with Marian Zeezela, La Monte Young, John Cale, and Angus MacLise, Conrad was a co-founder of the Theater of Eternal Music, which utilized non-Western musical forms and sustained sound to produce what they called \"dream music.\"\nConrad's work in film ranged from experiments in physically transforming the film's surface to theatrical productions featuring New York's underground scene. The Flicker (1966) is considered a key early work of the structural film movement. Conrad began working in video and performance in the 1970s while teaching at Antioch College in Ohio and the Center for Media Study, State University of New York at Buffalo. Conrad observed that his early tapes \"deal with the construction of the viewer, in the authorizing context of the art environment or within a broader sociopolitical context.\"\nConrad's commitment to developing and sustaining a decentralized cultural infrastructure is evident in his active involvement with Hallwalls Contemporary Arts Center, Squeaky Wheel Media Coalition, and Buffalo Cable Access Media.","bio_dates":"1940-2016"},{"slug":"contaminator_2010","ok":true,"partial":false,"title":"Contaminator","artist":"Josephine Meckseper","year":"2010","startOffset":0,"sourceSecs":194.795,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":13187561,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/contaminator_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/contaminator_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/contaminator_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/contaminator_2010/main.mp4?v=2"},{"slug":"convergence_1997","ok":true,"partial":false,"title":"Convergence","artist":"Vladislav Knežević","year":"1997","startOffset":0,"sourceSecs":414.72,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":63033003,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/convergence_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/convergence_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/convergence_1997.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/convergence_1997/main.mp4?v=2"},{"slug":"cooper_julian_reynerbanhamloveslosangeles_1972_iphone","ok":true,"partial":false,"title":"Reyner Banham Loves Los Angeles","artist":"Julian Cooper","year":"1972","startOffset":0,"sourceSecs":3120.685,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":184092000,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cooper_julian_reynerbanhamloveslosangeles_1972_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cooper_julian_reynerbanhamloveslosangeles_1972_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cooper_julian_reynerbanhamloveslosangeles_1972_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cooper_julian_reynerbanhamloveslosangeles_1972_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cooper_julian_reynerbanhamloveslosangeles_1972_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Long before Los Angeles's contribution to modern culture became widely recognized, British architectural historian Reyner Banham proclaimed it one of the world's great cities.\n\nBanham's influential yet controversial book Los Angeles: The Architecture of Four Ecologies (1971) saw beauty in the city's sprawling layout and car-based urbanism.\n\nShortly after the book's publication, the BBC documented Banham's vision of Los Angeles for an episode of its series One Pair of Eyes.\n\nThe documentary, Reyner Banham Loves Los Angeles (1972, 52 min.), takes the viewer on a tongue-in-cheek tour of the city's cultural landscape.\n\nThe trip includes stops at iconic landmarks such as Simon Rodia's Watts Towers and the Lovell \"Health\" House designed by Richard Neutra (a photograph of the latter is on view in the Getty Research Institute's current exhibition Julius Shulman, Modernity and the Metropolis), as well as mini-malls, drive-thrus, and strip clubs.\n\nAn entertaining and thoughtful examination of a metropolis in motion, the film documents a city situated at the divide between the modern era's clean lines and faith in progress—as captured in the work of architectural photographer Julius Shulman—and what has been described as Banham's \"Pop Art\" view, with its sparkle-front houses, Tiki huts, and jarring juxtapositions.\n\nReyner Banham (1922-1988) was a prolific architectural critic and writer best known for his 1960 theoretical treatise \"Theory and Design in the First Machine Age\", and his 1971 book \"Los Angeles: The Architecture of Four Ecologies\" in which he categorized the Angelean experience into four ecological models (Surfurbia, Foothills, The Plains of Id, and Autopia) and explored the distinct architectural cultures of each ecology."},{"slug":"coppola_horacio_auerbach_walter_traum_1933","ok":true,"partial":false,"title":"Horacio Coppola & Walter Auerbach - Traum (Sueño) AKA Dream","artist":"Horacio Coppola","year":"1933","startOffset":0,"sourceSecs":137.584,"sourceHeight":564,"sourceWidth":692,"hasAudio":false,"hasAmbientMp4":true,"bytes":22111667,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/coppola_horacio_auerbach_walter_traum_1933/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/coppola_horacio_auerbach_walter_traum_1933/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/coppola_horacio_auerbach_walter_traum_1933.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/coppola_horacio_auerbach_walter_traum_1933/main.mp4?v=2","description":"n the 1920s Horacio Coppola studied modern languages, photography and film, set up the first cinema club in Buenos Aires, and travelled to Italy, France, Spain and Germany, where he trained with the Bauhaus photographer Walter Peterhans. <br/><br/> After visiting Vienna, Budapest and Prague, still hotbeds of secessionist art, Coppola returned to Berlin and made the experimental film Traum (Dream, 1933) with the theatre director Walter Auerbach, a nice short influenced by the French & German surrealists.","bio_dates":"1906-2012"},{"slug":"corbijn_anton_some_yoyo_stuff_don_van_vliet","ok":true,"partial":false,"title":"Some YoYo Stuff: An observation of the observations of Don Van Vliet by Anton Corbijn","artist":"Anton Corbijn","year":"1993","startOffset":0,"sourceSecs":754.368,"sourceHeight":512,"sourceWidth":672,"hasAudio":true,"hasAmbientMp4":true,"bytes":123281219,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/corbijn_anton_some_yoyo_stuff_don_van_vliet/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/corbijn_anton_some_yoyo_stuff_don_van_vliet/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/corbijn_anton_some_yoyo_stuff_don_van_vliet.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/corbijn_anton_some_yoyo_stuff_don_van_vliet/main.mp4?v=2","description":"Don van Vliet, alias \"Captain Beefheart\", is one of the most influential, misunderstood, talked about, admired, copied, treasured, loved and quoted musicians and yet he is still an obscure and mysterious artist. His quite abrupt artistic transformation from working with a microphone to a paintbrush in 1982 and his consequent move from the desert to the ocean meant even less direct contact with the outside world than before. Subsequently there is very little information about Don from this time onwards and this short black-and-white film made in 1993 is an unique opportunity to see and hear this unique man. The film is approximately 13 minutes long, directed and photographed in black and white. <br/><br/> One of Van Vliet’s last public appearances was in the 1993 short documentary Some Yo Yo Stuff by filmmaker Anton Corbijn, described as an “observation of his observations”. Around 13 minutes and shot entirely in black and white, with appearances by his mother and David Lynch, the film showed a noticeably weakened and dysarthric Van Vliet at his residence in California, reading poetry, and philosophically discussing his life, environment, music and art. In 2000, he appeared on Gary Lucas’ album Improve the Shining Hour and Moris Tepper’s Moth to Mouth, and spoke on Tepper’s 2004 song “Ricochet Man” from the album Head Off. He is credited for naming Tepper’s 2010 album A Singer Named Shotgun Throat.","artist_bio":"Anton Johannes Gerrit Corbijn van Willenswaard (Dutch pronunciation: [ˈɑntɔn kɔrˈbɛin]; born 20 May 1955) is a Dutch photographer, music video director, and film director. He is the creative director behind the visual output of Depeche Mode and U2, having handled the principal promotion and sleeve photography for both bands for almost 3 decades. Some of his works include music videos for Depeche Mode's \"Enjoy the Silence\" (1990), U2's \"One\" (version 1) (1991), Bryan Adams' \"Do I Have to Say the Words? and Nirvana's \"Heart-Shaped Box\" (1993), as well as the Ian Curtis biographical film Control (2007), George Clooney's The American (2010), and A Most Wanted Man (2014) based on John le Carré's 2008 novel of the same name.","bio_dates":"b. 1955"},{"slug":"cornell1965_1978_larryjordan","ok":true,"partial":false,"title":"Larryjordan","artist":"Joseph Cornell","year":"1965","startOffset":0,"sourceSecs":426,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":75972881,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell1965_1978_larryjordan/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell1965_1978_larryjordan/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell1965_1978_larryjordan.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell1965_1978_larryjordan/main.mp4?v=2","description":"I worked as Joseph Cornell's assistant during the summer and fall of 1965, during which time I shot four rolls of Kodachrome 16mm film in and around Cornell's house. The scenes included a brief biographical glimpse of Cornell and his work, as well as his working environment, which is perhaps the more valuable record now since it no longer exists. I found the film difficult to complete as evidence by the full thirteen years between the filming and the editing. I believe the fascination with Cornell's work that was felt while he was alive (and the continuing fascination) centers around a quality which is hard for me to describe. It is that quality, since I experienced it at first hand and over a long period of time, which I have tried to elucidate in this film: an aesthetic personality which never backed off from aesthetic experience, never divided personal enjoyment from art, never worked and then got drunk to relax from working, or horsed around with the creative process, and at the same time could encompass sentiment in the strongest displays of his art. This intensity finds a ready and willing audience. It is not merely the result of an individual style but embodies much more universal qualities and, I feel, is quite worthy of perpetuation among artists of succeeding generations. - Lawrence Jordan"},{"slug":"cornell_joseph_1930s_bookstalls","ok":true,"partial":false,"title":"Bookstalls (c. late 1930s)","artist":"Joseph Cornell","year":"1930","startOffset":0,"sourceSecs":563.349,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":95517579,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1930s_bookstalls/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1930s_bookstalls/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_1930s_bookstalls.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_1930s_bookstalls/main.mp4?v=2","description":"Bookstalls shows a young boy at the Paris bookstalls, dreaming of travel: dramatic sea voyages, tourists milling about, buying post cards. But we also see the day-to-day life of the Isle of Marken in this found footage; people forking hay and hanging the wash. There's a sharp cut, then, to an Asian country, and for a few moments before the return to Paris, there's the reality, again, of the dream of travel: a rice paddy being harvested, fields being cleared, no labor-saving devices. The bookstalls re-appear, and the boy is done with the fantasy. Within a few a dissolves, the boy seems to have grown into a young man. Cornell's travels through secondhand bookstores were vital to his art, but the film doesn't feel like Cornell's dream life; it feels more like a tentative exercise. -- Sarah Nichols<br/><br/>Bookstalls is interesting in that its footage looks old and is thus clothed with a feeling of nostalgia. It is also interesting as an exercise in putting pieces of film together. A boy leafs through volumes at a Paris bookstall and he imagines faraway places. <br><br> The whole film has a homely quality which is endearing. But I don't think it really comes off. The transition from when the boy is seen holding the volume to the still pictures which represent illustrations in the volume is abrupt. You don't quite know what is happening. In fact, there is an abruptness to the editing which I assume was deliberate, but I don't know why. To really work, I think that the boy would have to imagine himself in the place described, which wasn't possible in a collage film. <br/><br/> The speeded-up image of the boat was interesting because that is how people describe their trips--saying that the boat sped through the water at a breakneck pace, etc. <br/><br/> I think there was a little bit too much footage establishing the locale as Paris, but that is just my own taste. <br/><br/> I should note that Bookstalls (the title was supplied by someone other than Cornell) is a reel which was found among Cornell's film collection. He never made any attempt to present it and we don't know if he considered it finished. <br/><br/> -- Source: Filmnotes by John C.<br/><br/>The films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta</br></br>","artist_bio":"Cotillion / The Midnight Party (made with\nLarry Jordan\n)\n(1938/1969)\nA Legend for Fountains (made with Rudolph Burckhardt)\n(1957/1965)\nThe first and greatest American Surrealist, Joseph Cornell is best known for his boxes. The best of his mysterious assemblages of dime-store tchochkes and paper ephemera in little hand-made cabinets perfectly realize the elusive sublime at the heart of Surrealism, while avoiding the juvenile theatrics of his European colleagues.\nHowever, Cornell was also one of the most original and accomplished filmmakers to emerge from the Surrealist movement, and one of the most peculiar. Just as the ascetic and introverted Cornell himself held Surrealism at arms length, borrowing only those elements that suited his interests and temperament, his films superficially resemble those made by other Surrealists, they are in truth\nsui generis\n. Only a handful of his contemporaries understood the genius of films like his\nRose Hobart\n— an unfortunate situation exacerbated by Cornell's own obstinate resistance to public screenings. No one made films even remotely similar to Cornell's for almost thirty years, and even now the perfect opacity of his montage remains unrivalled.","bio_dates":"1903-1972"},{"slug":"cornell_joseph_1930s_jacksdream","ok":true,"partial":false,"title":"Cornell, 1965","artist":"Joseph Cornell","year":"1965","startOffset":0,"sourceSecs":232.768,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":41699561,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1930s_jacksdream/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1930s_jacksdream/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_1930s_jacksdream.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_1930s_jacksdream/main.mp4?v=2","description":"The films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta"},{"slug":"cornell_joseph_1938_cotillionandthemidnightparty","ok":true,"partial":false,"title":"Cornell, 1965","artist":"Joseph Cornell","year":"1965","startOffset":0,"sourceSecs":649.792,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":110087227,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1938_cotillionandthemidnightparty/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1938_cotillionandthemidnightparty/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_1938_cotillionandthemidnightparty.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_1938_cotillionandthemidnightparty/main.mp4?v=2","description":"Cotillion; The Children's Party; The Midnight Party. 1940, completed 1968. By Joseph Cornell and Larry Jordan.\n\nThese three films were run together, so I couldn't tell where one ended and the other began, except that The Midnight Party was printed in sepia. These films are fun. They are about children and we have a lot of fun watching them. Cornell picks humorous moments--I especially remember the face of one little tyke who eats and coughs or sneezes on what he is eating. Freeze frames are used to good effect. There is a lot of footage of performers--acrobats, tightrope walkers, knife throwers, chorus girls--who, we assume, perform for the children.\n\nWhat is fascinating about these pieces, in addition to the success with which Cornell culled together bits of film from disparate sources to make a new reality, is the streak of eroticism and child sexuality. Two little girls dance like chorus girls and there is something provocative aqbout them even if it seems to be innocent.\n\nMost impressive, disturbing and provocative of all is the image of a little girl riding a horse in the manner of Lady Godiva. Where on earth did Cornell come up with this piece of film? Is this a child's fantasy of being sexually desirable? We see the girl's face and she doesn't look innocent. It is a haunting moment.\n\nThe films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta"},{"slug":"cornell_joseph_1954_theaviary","ok":true,"partial":false,"title":"Cornell, 1965","artist":"Joseph Cornell","year":"1965","startOffset":0,"sourceSecs":842.88,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":140332428,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1954_theaviary/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1954_theaviary/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_1954_theaviary.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_1954_theaviary/main.mp4?v=2","description":"The Aviary is about a park in New York and the birds that inhabit it. The black-and-white photography gives it a very nice feel of a past. I especially liked the bare branches of trees. This film captures a feel of New York in the past as some of us remember it. -- John C., Film Notes\n\nThe films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta"},{"slug":"cornell_joseph_1955_centuriesofjune","ok":true,"partial":false,"title":"Cornell, 1965","artist":"Joseph Cornell","year":"1965","startOffset":0,"sourceSecs":817.131,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":136470033,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1955_centuriesofjune/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1955_centuriesofjune/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_1955_centuriesofjune.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_1955_centuriesofjune/main.mp4?v=2","description":"This is a film about an old house which was to be torn down. I think Cornell was interested in showing us the beauty of this fine old structure, but it seems dead and lifeless and cut off from the life all around it. We see children and workmen and insects. The neighborhood really is alive and vital, but the house has had its day.\n\nThis film has unusual color. I would describe it as \"hot\" color and I found it very appealing. But I don't know if this was the way the film looked originally or if the color has changed over the years. -- John C., Film Notes\n\nThe films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta"},{"slug":"cornell_joseph_1957_alegendforfountains","ok":true,"partial":false,"title":"Cornell, 1965","artist":"Joseph Cornell","year":"1965","startOffset":0,"sourceSecs":1169.515,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":192046665,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1957_alegendforfountains/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1957_alegendforfountains/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_1957_alegendforfountains.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_1957_alegendforfountains/main.mp4?v=2","description":"Suzanne Miller strolling through Little Italy. Cornell has intercut the movies with lines and phrases from García Lorca's\n\nAfter a week I don't remember much about this film. A sad young woman wanders around. Sometimes she holds a cat. It does have a mood of melancholy.\n\nThis film was inspired by a poem. (I think it is a poem by Garcia-Lorca.) Lines of the poem are used as intertitles. I am unfamiliar with the poem so much of this film is lost on me. I should see it again. I think it is probably one of the more interesting of Cornell's films. -- John C., Film Notes\n\nThe films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta"},{"slug":"cornell_joseph_1957_angel","ok":true,"partial":false,"title":"Angel (made with Rudolph Burckhardt)","artist":"Joseph Cornell","year":"1957","startOffset":0,"sourceSecs":226.304,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":37690622,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1957_angel/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1957_angel/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_1957_angel.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_1957_angel/main.mp4?v=2","description":"This is a lovely little film. A statue of an angel stands over a fountain. (I think it is a fountain.) We see the surface of the water and the reflections on it. It has a Monet-like quality to it. <br/><br/> Cornell (or Rudy Burckhardt who did the cinematography) gives the statue virtually a living presence. I felt it as having a personality. There is one really beautiful shot of the statue as a silhouette. The angel has a calmness and a protective quality. -- John C., Film Notes<br/><br/>The films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta","artist_bio":"Cotillion / The Midnight Party (made with\nLarry Jordan\n)\n(1938/1969)\nA Legend for Fountains (made with Rudolph Burckhardt)\n(1957/1965)\nThe first and greatest American Surrealist, Joseph Cornell is best known for his boxes. The best of his mysterious assemblages of dime-store tchochkes and paper ephemera in little hand-made cabinets perfectly realize the elusive sublime at the heart of Surrealism, while avoiding the juvenile theatrics of his European colleagues.\nHowever, Cornell was also one of the most original and accomplished filmmakers to emerge from the Surrealist movement, and one of the most peculiar. Just as the ascetic and introverted Cornell himself held Surrealism at arms length, borrowing only those elements that suited his interests and temperament, his films superficially resemble those made by other Surrealists, they are in truth\nsui generis\n. Only a handful of his contemporaries understood the genius of films like his\nRose Hobart\n— an unfortunate situation exacerbated by Cornell's own obstinate resistance to public screenings. No one made films even remotely similar to Cornell's for almost thirty years, and even now the perfect opacity of his montage remains unrivalled.","bio_dates":"1903-1972"},{"slug":"cornell_joseph_1957_nymphlight","ok":true,"partial":false,"title":"Nymphlight (made with Rudolph Burckhardt)","artist":"Joseph Cornell","year":"1957","startOffset":0,"sourceSecs":575.552,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":97849916,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1957_nymphlight/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_1957_nymphlight/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_1957_nymphlight.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_1957_nymphlight/main.mp4?v=2","description":"A young girl in a frilly, old-fashioned gown walks hurriedly through New York's Bryant Park. She is out of place, like a figure from another era. She has a broken parasol. We see shots of the people in the park and at the end we see a man emptying out the trash barrels who misses the parasol. <br/><br/> I liked this particularly for showing a slice of New York life from the 1950s. It is interesting to see the people in the park, especially in color. I wish more had been done with the girl in the old-fashioned dress. She doesn't really do anything and nothing really happens to her. She could have just appeared for a moment in the background, but she is given prominence at the beginning of the film so we are led to pay attention to her and then nothing happens. <br/><br/> -- Film Notes, John C.<br/><br/>The films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta","artist_bio":"Cotillion / The Midnight Party (made with\nLarry Jordan\n)\n(1938/1969)\nA Legend for Fountains (made with Rudolph Burckhardt)\n(1957/1965)\nThe first and greatest American Surrealist, Joseph Cornell is best known for his boxes. The best of his mysterious assemblages of dime-store tchochkes and paper ephemera in little hand-made cabinets perfectly realize the elusive sublime at the heart of Surrealism, while avoiding the juvenile theatrics of his European colleagues.\nHowever, Cornell was also one of the most original and accomplished filmmakers to emerge from the Surrealist movement, and one of the most peculiar. Just as the ascetic and introverted Cornell himself held Surrealism at arms length, borrowing only those elements that suited his interests and temperament, his films superficially resemble those made by other Surrealists, they are in truth\nsui generis\n. Only a handful of his contemporaries understood the genius of films like his\nRose Hobart\n— an unfortunate situation exacerbated by Cornell's own obstinate resistance to public screenings. No one made films even remotely similar to Cornell's for almost thirty years, and even now the perfect opacity of his montage remains unrivalled.","bio_dates":"1903-1972"},{"slug":"cornell_joseph_by_night_with_torch_and_spear_1942","ok":true,"partial":false,"title":"By Night with Torch and Spear","artist":"Joseph Cornell","year":"1942","startOffset":0,"sourceSecs":459.712,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":84395410,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_by_night_with_torch_and_spear_1942/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_by_night_with_torch_and_spear_1942/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_by_night_with_torch_and_spear_1942.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_by_night_with_torch_and_spear_1942/main.mp4?v=2","description":"Director: Joseph Cornell<br/> Music: John Zorn, Marc Ribot, Carol Emmanuel, Shanir Blumenkranz<br/> Year: 1942<br/> Time: 8 mins<br/> Eye of Sound: Found-footage upside-down, backwards spinning. Industrialization reversed, or the charm of the noble savage.<br/><br/>The films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta","artist_bio":"Cotillion / The Midnight Party (made with\nLarry Jordan\n)\n(1938/1969)\nA Legend for Fountains (made with Rudolph Burckhardt)\n(1957/1965)\nThe first and greatest American Surrealist, Joseph Cornell is best known for his boxes. The best of his mysterious assemblages of dime-store tchochkes and paper ephemera in little hand-made cabinets perfectly realize the elusive sublime at the heart of Surrealism, while avoiding the juvenile theatrics of his European colleagues.\nHowever, Cornell was also one of the most original and accomplished filmmakers to emerge from the Surrealist movement, and one of the most peculiar. Just as the ascetic and introverted Cornell himself held Surrealism at arms length, borrowing only those elements that suited his interests and temperament, his films superficially resemble those made by other Surrealists, they are in truth\nsui generis\n. Only a handful of his contemporaries understood the genius of films like his\nRose Hobart\n— an unfortunate situation exacerbated by Cornell's own obstinate resistance to public screenings. No one made films even remotely similar to Cornell's for almost thirty years, and even now the perfect opacity of his montage remains unrivalled.","bio_dates":"1903-1972"},{"slug":"cornell_joseph_childrens_party_1938","ok":true,"partial":false,"title":"The Children's Party","artist":"Joseph Cornell","year":"1938","startOffset":0,"sourceSecs":588.455,"sourceHeight":438,"sourceWidth":658,"hasAudio":true,"hasAmbientMp4":true,"bytes":41150206,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_childrens_party_1938/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_childrens_party_1938/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_childrens_party_1938.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_childrens_party_1938/main.mp4?v=2","description":"Director Joseph Cornell evokes the nostalgia of childhood by filming a children's party.","artist_bio":"Cotillion / The Midnight Party (made with\nLarry Jordan\n)\n(1938/1969)\nA Legend for Fountains (made with Rudolph Burckhardt)\n(1957/1965)\nThe first and greatest American Surrealist, Joseph Cornell is best known for his boxes. The best of his mysterious assemblages of dime-store tchochkes and paper ephemera in little hand-made cabinets perfectly realize the elusive sublime at the heart of Surrealism, while avoiding the juvenile theatrics of his European colleagues.\nHowever, Cornell was also one of the most original and accomplished filmmakers to emerge from the Surrealist movement, and one of the most peculiar. Just as the ascetic and introverted Cornell himself held Surrealism at arms length, borrowing only those elements that suited his interests and temperament, his films superficially resemble those made by other Surrealists, they are in truth\nsui generis\n. Only a handful of his contemporaries understood the genius of films like his\nRose Hobart\n— an unfortunate situation exacerbated by Cornell's own obstinate resistance to public screenings. No one made films even remotely similar to Cornell's for almost thirty years, and even now the perfect opacity of his montage remains unrivalled.","bio_dates":"1903-1972"},{"slug":"cornell_joseph_gnir_rednow_1955","ok":true,"partial":false,"title":"Gnir Rednow (with Stan Brakhage)","artist":"Joseph Cornell","year":"1960","startOffset":0,"sourceSecs":322.24,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":43890844,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_gnir_rednow_1955/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_gnir_rednow_1955/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_gnir_rednow_1955.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_gnir_rednow_1955/main.mp4?v=2","description":"Gnir Rednow (1960) 16mm, color, silent, 10 min <br/><br/> After Joseph Cornell asked Stan Brakhage to film Manhattan's Third Avenue Elevated Train, Brakhage photographed and edited his film \"The Wonder Ring.\" Not satisfied with the results, Cornell then took the outtakes from \"The Wonder Ring\" (Brakhage keeping his original intact), and edited his own version, with those outtakes, calling it \"Gnir Rednow.\" There has been a long-standing misconception that the film \"Gnir Rednow\" is simply \"The Wonder Ring\" projected in reverse. However, Mark Toscano, of the Academy Film Archive, has definitively established that the original roll of each one of these two films is \"unmistakably, completely comprised of camera original Kodachrome,\" and that no two shots are precisely the same from one film to the other. Rather, the pieces of film used for \"Gnir Rednow\" are those unused portions of the shots that had been incorporated into \"The Wonder Ring.\" Brakhage referred to \"Gnir Rednow\" as \"Cornell's mirrored version of The Wonder Ring,\" stating that Cornell had made it to be \"projectionable four ways: head-to-tail, tail-to-head (projector always running forward), and the film-flipped versions of the above two.\" It was perhaps his use of the term \"mirrored version\" which led to the confusion. However, Brakhage also noted that Cornell had considered the film unfinished; that Cornell had sent it to him, several years before his death, with several strips of film loose in the can, requesting that Brakhage finish it. Brakhage wrote, \"As I was never able to improve upon his 'unfinished' edit of it, this print is exactly as he sent it to me then. The five or six seconds he couldn't' find any place for have, accordingly, been left out.\"","artist_bio":"Cotillion / The Midnight Party (made with\nLarry Jordan\n)\n(1938/1969)\nA Legend for Fountains (made with Rudolph Burckhardt)\n(1957/1965)\nThe first and greatest American Surrealist, Joseph Cornell is best known for his boxes. The best of his mysterious assemblages of dime-store tchochkes and paper ephemera in little hand-made cabinets perfectly realize the elusive sublime at the heart of Surrealism, while avoiding the juvenile theatrics of his European colleagues.\nHowever, Cornell was also one of the most original and accomplished filmmakers to emerge from the Surrealist movement, and one of the most peculiar. Just as the ascetic and introverted Cornell himself held Surrealism at arms length, borrowing only those elements that suited his interests and temperament, his films superficially resemble those made by other Surrealists, they are in truth\nsui generis\n. Only a handful of his contemporaries understood the genius of films like his\nRose Hobart\n— an unfortunate situation exacerbated by Cornell's own obstinate resistance to public screenings. No one made films even remotely similar to Cornell's for almost thirty years, and even now the perfect opacity of his montage remains unrivalled.","bio_dates":"1903-1972"},{"slug":"cornell_joseph_rose_hobart_1936","ok":true,"partial":false,"title":"Rose Hobart (1936), 20 min.","artist":"Joseph Cornell","year":"1936","startOffset":0,"sourceSecs":1123.968,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":198089527,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_rose_hobart_1936/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_rose_hobart_1936/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_rose_hobart_1936.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_rose_hobart_1936/main.mp4?v=2","description":"<i>Rose Hobart</i> consists almost entirely of footage taken from <i>East of Borneo</i>, a 1931 jungle B-film starring the nearly forgotten actress Rose Hobart. Cornell condensed the 77-minute feature into a 20-minute short, removing virtually every shot that didn't feature Hobart, as well as all of the action sequences. In so doing, he utterly transforms the images, stripping away the awkward construction and stilted drama of the original to reveal the wonderful sense of mystery that saturates the greatest early genre films. While <i>East of Borneo</i> is a sound film, <i>Rose Hobart</i> must be projected at silent speed, accompanied by a tape of \"Forte Allegre\" and \"Belem Bayonne\" from Nestor Amaral's <i>Holiday in Brazil</i>, a kitschy record Cornell found in a Manhattan junk store. As a result, the characters move with a peculiar, lugubrious lassitude, as if mired deep in a dream. In addition, the film should be projected through a deep blue filter, unless the print is already tinted blue. The rich blue tint it imparts is the same hue universally used in the silent era to signify night. <i>Rose Hobart</i> was only one of several mythologized actresses who populated Cornell's hermetic world. Many of his boxes were homages to the actresses that formed his pantheon: Lauren Bacall, Hedy Lamarr, Greta Garbo and Deanna Durbin, among others. In <i>Rose Hobart</i>, Cornell holds Hobart in a state of semi-suspension, turning the film itself into a sort of box. She moves her hands, shifts her gaze, gestures briefly, smiles enigmatically, perhaps steps slightly to the side, and little more. The world appears as a sort of strange theatre, staged for her alone. But the root of Cornell's genius as a filmmaker is his singular version of montage. Cornell's version of continuity is the continuity of the dream. He does not juxtapose images so much as suggest unlikely — but still vaguely plausible — connections between them. Hobart's clothing may change suddenly between shots, but her gesture is continued or she remains at a similar point in the frame. Unlike most collage filmmakers, Cornell does not rely on cheap irony or <i>non sequitur</i>. His films are unsettling because their inexplicable strings of images are like reflections from the deep well of the subconscious. In fact, one of the most arresting images in <i>Rose Hobart</i> comes when a solar or lunar eclipse is paired with the image of an object falling into a circular pool of water. Hobart simply gazes bemusedly at this spectacle, as if it were little more than a parlour trick. <i>Rose Hobart</i> premiered in December, 1936 at the Julian Levy Gallery. Cornell included it in a matinee program of short films from his collection, which Levy titled “Goofy Newsreels.” The first Surrealist exhibition at The Museum of Modern Art was about to open, and many of the artists were in town, including Salvador Dali, who attended Cornell's film program. During the screening of Rose Hobart, Dali became extremely agitated. Halfway through the film he began shouting \"Salaud!\" — bastard — and overturned the projector. Reportedly, Dali ruefully explained his actions to Levy, \"My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made…. I never wrote it or told anyone, but it is as if he had stolen it (Solomon 89).” Some prefer an apocryphal — but far more poetic — explanation also attributed to Dali: “He stole it from my subconscious.” Brian Frye, November 2001 <br/> Senses of Cinema<br/><br/>The films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta","artist_bio":"Cotillion / The Midnight Party (made with\nLarry Jordan\n)\n(1938/1969)\nA Legend for Fountains (made with Rudolph Burckhardt)\n(1957/1965)\nThe first and greatest American Surrealist, Joseph Cornell is best known for his boxes. The best of his mysterious assemblages of dime-store tchochkes and paper ephemera in little hand-made cabinets perfectly realize the elusive sublime at the heart of Surrealism, while avoiding the juvenile theatrics of his European colleagues.\nHowever, Cornell was also one of the most original and accomplished filmmakers to emerge from the Surrealist movement, and one of the most peculiar. Just as the ascetic and introverted Cornell himself held Surrealism at arms length, borrowing only those elements that suited his interests and temperament, his films superficially resemble those made by other Surrealists, they are in truth\nsui generis\n. Only a handful of his contemporaries understood the genius of films like his\nRose Hobart\n— an unfortunate situation exacerbated by Cornell's own obstinate resistance to public screenings. No one made films even remotely similar to Cornell's for almost thirty years, and even now the perfect opacity of his montage remains unrivalled.","bio_dates":"1903-1972"},{"slug":"cornell_joseph_thimble_theater_1938","ok":true,"partial":false,"title":"Thimble Theater","artist":"Joseph Cornell","year":"1938","startOffset":0,"sourceSecs":368.81,"sourceHeight":1072,"sourceWidth":1448,"hasAudio":true,"hasAmbientMp4":true,"bytes":155850679,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_thimble_theater_1938/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cornell_joseph_thimble_theater_1938/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cornell_joseph_thimble_theater_1938.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cornell_joseph_thimble_theater_1938/main.mp4?v=2","description":"Thimble Theater c. 1930s-1968; 6’55<br/> by Joseph Cornell, completed by Lawrence Jordan<br/> New music: Vintage organ music<br/> <br/> Joseph Cornell's editing tactic is to seduce through the use of dislodged movie tropes. Hence the viewer is cut loose from any normal meanings to pursue the snippets of clips and fragments taken from long-forgotten obscure movies. One is encouraged to let the Cornellian montages wash over them in an endles reverie of ecstatic moments. - Bruce Posner","artist_bio":"Cotillion / The Midnight Party (made with\nLarry Jordan\n)\n(1938/1969)\nA Legend for Fountains (made with Rudolph Burckhardt)\n(1957/1965)\nThe first and greatest American Surrealist, Joseph Cornell is best known for his boxes. The best of his mysterious assemblages of dime-store tchochkes and paper ephemera in little hand-made cabinets perfectly realize the elusive sublime at the heart of Surrealism, while avoiding the juvenile theatrics of his European colleagues.\nHowever, Cornell was also one of the most original and accomplished filmmakers to emerge from the Surrealist movement, and one of the most peculiar. Just as the ascetic and introverted Cornell himself held Surrealism at arms length, borrowing only those elements that suited his interests and temperament, his films superficially resemble those made by other Surrealists, they are in truth\nsui generis\n. Only a handful of his contemporaries understood the genius of films like his\nRose Hobart\n— an unfortunate situation exacerbated by Cornell's own obstinate resistance to public screenings. No one made films even remotely similar to Cornell's for almost thirty years, and even now the perfect opacity of his montage remains unrivalled.","bio_dates":"1903-1972"},{"slug":"correction_2004","ok":true,"partial":false,"title":"Correction","artist":"Fiona Tan","year":"2004","startOffset":0,"sourceSecs":317.68,"sourceHeight":326,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":18378577,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/correction_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/correction_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/correction_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/correction_2004/main.mp4?v=2"},{"slug":"cosey_fanni_tutti_a_study_in_scarlet_1987","ok":true,"partial":false,"title":"Cosey Fanni Tutti - A Study in Scarlet","artist":"Chris & Cosey","year":"1987","startOffset":0,"sourceSecs":3396.075,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":587408973,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cosey_fanni_tutti_a_study_in_scarlet_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cosey_fanni_tutti_a_study_in_scarlet_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cosey_fanni_tutti_a_study_in_scarlet_1987.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cosey_fanni_tutti_a_study_in_scarlet_1987/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cosey_fanni_tutti_a_study_in_scarlet_1987/main/master.m3u8?v=2","hasMainHls":true,"description":"From limited edition VHS hand numbered 13 of 160 (presumably by Cosey herself)<br/><br/> A compilation of 4 COSEY FANNI TUTTI (of COUM / THROBBING GRISTLE / CTI / CHRIS AND COSEY) performance videos (3 live / 1 pre-recorded). Please note these are NOT GIGS these are edited documents of PERFORMANCE ART events.<br/><br/> Description taken from rear of VHS sleeve ><br/><br/> \"Expression of oneself and of the hidden voice so seldom heard or heeded is an action of unequal power. Releasing and acknowledging all that you are to yourself allows growth of spirit. Creativity on every level begins with ourselves. Suppression brings us only screaming souls locked within empty lives. I wish for every voice to be heard, even as a whisper …..<br/><br/> COSEY FANNI TUTTI 1986<br/><br/> This video is composed of three live performances and one commissioned video piece.<br/><br/> DIORAMA 21st August 1983 London<br/><br/> A ritual of transformation and awakening within the walls of the only existing original ‘diorama’ building in London.<br/><br/> SUCH IS LIFE 27th / 29th September 1984 Bloomsbury Theatre London<br/><br/> A celebration of the body and mind. The admission of sexual awakening and freedom. A tribute to Georges Bataille. This performance was part of the ‘Violent Silence’ festival which included readings, films, music and performance from people who work with the same freedom of thought.<br/><br/> OPINIONS 15th August Zap Club Brighton<br/><br/> As always the actions are improvised and feed off the energy and attitude absorbed prior to the event. The video was shot through cling film and a live mix was projected above the stage onto a 6’ screen<br/><br/> PUSSY GOT THE CREAM 6th March 1986 Zap Club Brighton<br/><br/> A video piece specially commissioned for the ‘taboo’ festival. Unfortunately this is the edited version made necessary by the new censorship laws now in force.<br/><br/> A STUDY IN SCARLET<br/><br/> Running time approx 60min<br/><br/> Colour with some sections B/W<br/><br/> This video was created using only domestic VHS equipment and therefore should not be compared to conventional commercial recordings.<br/><br/> Camera work by Chris Carter, John Lacey, David Dawson.<br/><br/> Vision Mixing and editing by Chris Carter and Cosey Fanni Tutti<br/><br/> VHS Post Production Studio 47 Norfolk<br/><br/> All music composed and performed by Cosey Fanni Tutti and Chris Carter.\"<br/><br/>This is another rescued rarity from my local carboot where I was utterly astounded to see this video on a grubby stall while dark rain clouds amassed overhead. I grabbed this and every other rare VHS there (all for 50p each) as the rain began to fall. Unfortunately the tapes had been stored somewhere damp (see water damage on the photo on the front sleeve – which is literally a colour photographic print hand glued to the sleeve) Fortunately the prior poor storage conditions had not irreparably damaged them and almost all of the rare tapes including this one were fully recoverable with a bit of care and fiddly effort. The self censorship of the 4th video PUSSY GOT THE CREAM comprises of brief shots of Cosey’s crotch in rubber knickers with a ginger moggy face video mixed over (see screengrabs) substituting (presumably) more explicit PUSSY shots.","artist_bio":"Born in London, England Chris Carter is best known for being a founder member Throbbing Gristle and one half of electronic duo Chris & Cosey (aka Carter Tutti). His long time partner Cosey Fanni Tutti is the mother of his son, Nick and is also a member of TG.\nHe began his career in the late 1960's working for various TV stations (Thames, Granada and LWT) as a sound engineer on numerous TV shows and documentaries. This gave him an invaluable grounding in working with sound, audio techniques and theories. He also got more involved in the visual side of entertainment and performance, which eventually progressed into designing and presenting light shows and visual effects for numerous festivals, events and performances, including bands as diverse as Yes and Hawkwind. This work led to commissions for BBC TV shows, Colour Me Pop and The Old Grey Whistle Test.\nBy the early 70s' Chris was touring universities and colleges with a solo, multimedia show playing self-built synthesizers and keyboards and incorporating a myriad of lighting effects gleaned from his previous work. During this time he also worked extensively with visual artist John Lacey on many 8 mm & 16 mm experimental films and multimedia presentations. In the mid 1970s', and through his connection with John Lacey, Chris began an experimental music/sound collaboration with Cosey Fanni Tutti and Genesis P-Orridge, who at the time were also performing as COUM Transmissions with Peter Christopherson.\nThe results of this musical collaboration was the creation of the now legendary Throbbing Gristle, Industrial Records and the birth of the 'Industrial Music' phenomenon. In 1976 Chris also worked at the London bureau of the ABC News agency as a sound engineer and during that time designed and constructed their London radio studio. In 1977 he was offered a contract to build another ABC studio in Rome but turned it down to continue his involvement as a member of Throbbing Gristle.\nDuring the early years of TG the four members each continued with other solo projects and work. It was during this period (1980) when Chris recorded his first solo album for Industrial Records titled 'The Space Between', (now available on Mute Records). Shortly after the demise of Throbbing Gristle in 1982 Chris Carter and Cosey Fanni Tutti formed the Conspiracy International record label CTI (with backing from Rough Trade Records) and began working together as Chris & Cosey and also as CTI. Initially releasing only music they soon moved into producing video works and with the help of Doublevision released a number of CTI experimental video films and soundtracks. In 1985 Chris released his second solo album Mondo Beat. As well as successfully touring all over the world Chris & Cosey also recorded and collaborated on innumerable releases, most notably with Annie Lennox and Dave Stewart, Robert Wyatt, Coil, Boyd Rice, Lustmord, Monte Cazazza and many more. Chris & Cosey have also remixed tracks for Mortal Loom and Erasure. In 1994 Chris moved also into journalism and regularly has technical articles and reviews published in UK magazine Sound On Sound.\nChris is also a keen photographer and in collaboration with Cosey Fanni Tutti has designed and produced numerous album covers, posters and art works. 1995 saw Chris return to solo performance work after a gap of some 15 years. In 1998 Chris released a compilation CD of tracks from his 1995 Disobey tour: Disobedient, and In 2000 he released a solo studio album: Small Moon. 1998 also saw the release of Caged, a collaboration album with electro musician Ian Boddy.\nIn 2000 Chris, in collaboration with Cosey Fanni Tutti, began producing and releasing a series albums titled: Electronic Ambient Remixes. The first of these, EAR ONE, consisted of remixes of his 1980 'The Space Between' album. In 2002 he released EAR THREE a further solo ambient CD, which consists of remixes of his original Throbbing Gristle industrial rhythm tracks. In 2003 Chris Carter and Cosey Fanni Tutti stopped releasing material and performing as Chris & Cosey and now produce all their work under the title of CARTER TUTTI. Their most recent performance was in February 2005 at the LA MOCA 'See Hear Now' festival, in Los Angeles.\nChris Carter and the other original members of Throbbing Gristle regrouped in 2002 for a series of TG related releases and events. These include the TG24 CD boxed set and accompanying art exhibition in London and performances in 2004 at the Astoria, London, Camber Sands, Sussex and Turin, Italy in 2005.\nChris Carter and Cosey Fanni Tutti again worked on numerous Throbbing Gristle projects, recordings, installations, exhibitions and performances. Their more recent activities included their groundbreaking audio/visual performance at Tate Modern turbine hall with a full choir, their 3-day 'public recording session' at the I.C.A London and their 2009 sell-out USA tour.\nIn recent years Carter Tutti performed in Pisa, Venice, Madrid, Barcelona, Athens Wroclaw, Berlin and London. They also appeared on the recent Current 93 album 'Black Ships Ate The Sky' and are currently working with a number of other musicians on collaborations and projects. The most recent Carter Tutti album 'Feral Vapours of the Silver Ether' was released in 2007 and heaped with praise, acclaim and rave reviews.\nChris continues to work solo and with both Throbbing Gristle Cosey on various projects. During the latter part of 2009 Chris has been extensively involved in the realisation and production of the TG loop playback machine 'Gristleism'. He is also currently working on a new solo experimental audio project titled CCCL (Chris Carter's Chemistry Lessons). During 2010 his acclaimed solo album 'The Space Between' is being re-released as a limited-edition remastered vinyl album. He has also been commissioned by The Technology & Innovation Research Centre to write an experimental piece of music in 2010 for the Dirty Electronics Ensemble.\nBorn in Hull, Cosey began her career in music and art during 1969, appearing in art performances and musical improvisations in Hull until 1972.\nIn 1973, Cosey moved to London and continued working as a performance artist representing Britain at the 9th Paris Biennale, 1975 and Arte Inglese Oggi, 1976. She also performed in Belgium, Germany, Holland, France, Italy, Austria, USA and Canada until 1980.\nThroughout the period 1973 - 1980 Cosey was exhibiting, contributing to mail art exhibitions and performing in other group exhibitions around the world. Often working naked in her performances, Cosey went on to investigate self-image within the context of sex magazines and sex films, glamour modelling and striptease acts. Her experiences within these industries during the period 1973 - 1984 were brought into her art work as she explored the many aspects of sex as it is perceived and transacted as commercial product. She placed conventional beauty in a situation where it was subjected to simulated mutilation before a live audience. This provided a visual contrast highlighting and questioning the notion of what is presentable as 'beauty'.\nIn her infamous exhibition 'Prostitution' at the Institute of Contemporary Art, London, 1976 Cosey Fanni Tutti occupied multiple roles; artist, model, musician, and herself. Music was used in some of Cosey's performances in preference to spoken language, which she considered an obstacle to her visual presentations. She continued to explore\nthe use of sound, scientifically, politically, commercially and as a means of physical pleasure or pain. In 1976 she co-founded the group Throbbing Gristle with Chris Carter, Peter Christopherson and Genesis P-Orridge. They broke the rules of established music and its contextual business practice, ultimately becoming successful with their own record label, Industrial Records. In 1981 Cosey immersed herself in creating music and video with partner Chris Carter under the name Chris & Cosey most recently performing and recording as Carter Tutti. Their joint musical and video collaborations, some 32 albums, have met with continuing international success.\n1994 marked Cosey's re-entry into the art world since which time her works have been widely exhibited in Museums and Galleries in the UK, USA, Italy, Austria, Germany, Lisbon, Japan, Spain, Portugal, Switzerland and Sweden.\nCosey's continuing multi disciplinary approach to her work has generated many audio and visual works contributing to a prolific output in the past 15 years alongside her guest lectures, discussion panel appearances and numerous presentations.\nHer approach to her work also inspired the one day event in March 2010 'COSEY COMPLEX' at the ICA, London in which a range of artists, writers and other practitioners were invited to present works inspired by the notion of 'Cosey as Methodology', culminating in a music event 'COSEY CLUB-ICA'.\nIn 2009 - 2010 Cosey's work was part of the travelling exhibition 'Pop Life:Art in a Material World' at Tate Modern, London. Also in 2010 Cosey performed a solo audio visual piece in the Turbine Hall at Tate Modern as part of the Tate Modern 10th birthday celebrations.\nHer art practice takes its place alongside her continuing music work with Chris Carter (as CARTER TUTTI) and the re-grouping of Throbbing Gristle and their continuing world-wide performances and recordings. Her work continues to be exhibited internationally, most recently in 'Pop Life' at the National Gallery of Canada, Ottawa, Canada and 'Picture Industry' at Regen Projects summer show in Los Angeles in 2010.","bio_dates":"1984"},{"slug":"coum_transmissions_after_cease_to_exist_1977","ok":true,"partial":false,"title":"After Cease To Exist","artist":"Throbbing Gristle","year":"1977","startOffset":0,"sourceSecs":1202.32,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":202872569,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/coum_transmissions_after_cease_to_exist_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/coum_transmissions_after_cease_to_exist_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/coum_transmissions_after_cease_to_exist_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/coum_transmissions_after_cease_to_exist_1977/main.mp4?v=2","description":"'AFTER CEASE TO EXIST' (16mm, b&w). Film by Coum Transmissions, Features Cosey Fanni Tutti, Chris Carter and Soo Catwoman. Original soundtrack by Throbbing Gristle.\n\n\"\"A film dealing with the borderline between evidence, crime, fetish and dream...\" -- BFI"},{"slug":"courant_gerard_living_is_a_solution_1980_iphone","ok":true,"partial":false,"title":"Living is a Solution","artist":"Gérard Courant","year":"1980","startOffset":0,"sourceSecs":4500.589,"sourceHeight":320,"sourceWidth":434,"hasAudio":true,"hasAmbientMp4":true,"bytes":171971898,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/courant_gerard_living_is_a_solution_1980_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/courant_gerard_living_is_a_solution_1980_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/courant_gerard_living_is_a_solution_1980_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/courant_gerard_living_is_a_solution_1980_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/courant_gerard_living_is_a_solution_1980_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Once again, Courant uses his own love for cinema as a source of inspiration; in this case, the trigger is Hotel du Nord (1938), directed by Marcel Carné and starred by Arletty. Vivre est une solution is a tribute to this actress, portrayed as if she was a new heroine that carries on every rite of passage in the two previous episodes of the Le Jardin des Abymes tetralogy. Yet now she is absent, and evoked as a ghost. Immersing himself in Paris after travelling through the Pyrenees in the previous segment, Courant approaches the sensitivity of the Nouvelle Vague to shoot his love letter for the French capital, including a cinephile evocation. It is not a coincidence that the movie he chose as an inspiration belongs to the French poetic realism, a period that took place before the war. In the same way as French poetic realism did, Courant seems to reconfigure over and over again the unforeseeable crossroads where lyric experimentation and documentary filmmaking meet.","artist_bio":"Gérard Courant is likely the most radical figure of conceptual cinema in France. An important section of his filmography consists of series dealing with otherness (in places, in people) through the same aesthetic options applied to different subjects. Courant is one of the purest descendants of Lumière Brothers: every date, place and title always corresponds strictly to reality – of characters (and their functions,) of places, and the moment of shooting.\nBorn in Lyon, Gérard Courant moved after a few months to Valence with his parents. To this city he would dedicate one of his most remarkable late works: Inventaire filmé des rues de la croix-rousse à Lyon (Film Inventory of the Red Cross streets in Lyon, 2002). He settles in Paris in 1975. Once there, he takes part in the turbulent lifestyle of the experimental film-maker, firstly writing for the critic revue Cinéma as well as for the avant-garde journal Cinéma Différent, and later on becoming a film-maker himself.\nHis cinematic debut was clearly influenced by both Dada and Pop Art movements, as you can see in his short film Marilyn, Guy Lux et les Nonnes (Marilyn, Guy Lux and the Nuns, 1976).\nIn his first feature, Urgent ou à quoi bon exécuter des projets puisque le projet est en lui-meme une jouissance suffisante (Urgent aka why carry out any project when the project in itself offers sufficient enjoyment, 1977), he frees himself through a kind of exorcism, of integration and rejection of a particular culture and its myths, of a working method typical of the avant-garde.\nAll these collages of things falling, film perforations, scratching and coloring, addition of texts and music, seem to represent for him a more or less direct homage to Marcel Duchamp and the spirit he was driven by throughout his life.\nThus, Courant doesn’t find his way through the use of found footage – as in the case of the Lettrists – but within the serial cinema partly inherited from Andy Warhol (The 13 most beautiful women, 1964) as well as by his attraction for the series, most present in his filmography and in his life and philosophy.\nThe Cinématons series began in February 1978, first on 16mm film and later with the simpler super8. Now after 32 years it includes today more than 2300 portraits. Started with avant-garde film-makers and supporter of experimental cinema – Dominique Noguez, Katerina Thomadaki, Joseph Morder, Raphael Bassan, Stéphane Marti and others – the series expands quickly to the world of cinema, art and society. So, also Jean-Luc Godard, Wim Wenders, Nagisa Oshima and Sandrine Bonnaire got to have their own Cinématon.\nSince the first year of shooting, Courant has fixed the structural rules: a camera on a stand, still, a silent close-up of the face, no change of focus or framing during the 3 minutes 25 seconds, only one take, no editing. Within the frame, everyone can control his/her own image as well as choose the background.\nWhat at the beginning seemed to be only a provocation, after more than a quarter of a century has become an essential work, impossible to stop, producing also a chain of deviations ( Couple, Trio, Portrait de Groupe, Lire, Mes Lieux d’Habitation). It is the result of a deep understanding of the notion of series – so popular among the American artists of the 60′s – an osmosis of the realm of serial music (Steven Reich, Philip Glass).\nThe minimal, serial aspect is coupled with a strong documentary potential: you can see how everybody reacts to these constraints. The professional actors are usually less at ease than the others, because they are used to being directed. The way of posing, dressing, behaving of people change along the years and decades, showing an interesting social and anthropologic variation.\nCinématons represent a very singular panorama on the artistic ‘milieu’ between the end of the 20th century and the beginning of the 21st, and they are at the same time a work of highly formal coherence.\nA great admirer of Werner Schroeter and Philippe Garrel’s films (he wrote a book on each of them), Gérard Courant has himself realized very lyrical and hypnotic films around the presence and beauty of certain women, stars of the modern underground, in parallel with the icons of Hollywood cinema. The most ambitious example of this inspiration can be found in the tetralogy Le Jardin des Abymes (The Garden of the Abysses) which includes Aditya (with Martine Elzingre, 1980), Coeur Bleu (Blue Heart, with Gina Lola Benzina, 1980), Vivre est une Solution (Living is a Solution, 1980) and She’s a Very Nice Lady (1982). In this last work, Courant goes back to his old practice of working on found footage, in order to compare the image of the legendary Gene Tierney with those of two actress friends, Kristin Kirkconnel and Doreen Canto, whom he films live.\n“My tetralogy Le Jardin Des Abymes – the filmmaker makes clear – is like a nostalgic collection of a lost time. The project – ambitious – dealt with this idea: if you want to do something new, you can’t erase your past. In the last movement of the tetralogy She’s a Very Nice Lady, when I place as epitaph the maxim Bunuel was fond of – ‘all that is not tradition, is plagiarism’ – I’m just resuming the subject of all 4 films”.\nThis lyrical tendency can also be found in two more recent feature films, able to expand the notion of series into a wider philosophical domain. 24 Passions (2003) is an edited sequence made of 24 takes that Courant shot between 1980 and 2003, of the ritual ‘path to the cross’ executed on the Holy Friday by the inhabitants of Burzet, in Ardèche: from one year to the other, you can notice the same people getting old. The series stopped when he decided to complete the feature.\nThe approach of Inventaire Filmé des Rues de la Croix-Rousse à Lyon (2002) is different, though, or even the opposite. Here, the practice of serialism is completely changed. Located in the northern part of Lyon, in the neighborhood of the Red Cross, which is elevated above the rest of the town, this film presents all the 195 streets existing in the neighborhood, as well as alleys, paths, avenues, boulevards, routes… Every street is filmed in a single 16-second-long shot. Courant built this feature as he would do with a serial work. Except for the fact that here every fragment is not independent of itself – as for instance in Cinématons – but it’s conceived as an ‘ensemble’ from the very beginning. -- by Film Critic & Journalist Raphaël Bassan, for Encylopaedia Universalis 2005","bio_dates":"b. 1951"},{"slug":"cozarinsky_edgardo_jean_cocteau_autoportrait_dun_inconnu","ok":true,"partial":false,"title":"Jean Cocteau Autoportrait Dun Inconnu","artist":"Jean Cocteau","year":"1985","startOffset":0,"sourceSecs":4009.045,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":233689627,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cozarinsky_edgardo_jean_cocteau_autoportrait_dun_inconnu/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cozarinsky_edgardo_jean_cocteau_autoportrait_dun_inconnu/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cozarinsky_edgardo_jean_cocteau_autoportrait_dun_inconnu.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cozarinsky_edgardo_jean_cocteau_autoportrait_dun_inconnu/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cozarinsky_edgardo_jean_cocteau_autoportrait_dun_inconnu/main/master.m3u8?v=2","hasMainHls":true,"description":"This excellent biographical documentary focuses on Jean Cocteau (1889-1963) the acclaimed French writer, painter, film director, screenwriter, set designer, and actor who had published poetry and was editing a magazine at the age of 16. Using audio and video interviews with Cocteau before his death, director Edgardo Cozarinsky adeptly brings out Cocteau's multitalented genius, sharp wit, and perceptive views of people, places, and past eras. An admirer of Igor Stravinsky, Pablo Picasso, and Claude Debussy -- to name a few of the major artists and composers he knew -- Cocteau provides both moving and amusing anecdotes about his famous and not-so-famous favorite people. (For example, Sarah Bernhardt considered the acclaimed, innovative Ballets Russes \"jumping fleas.\") Clips from a few of Cocteau's films are included, as well as footage of himself with well-known personalities from the first half of the 20th century. Both entertaining and enlightening, this is a well-crafted and clear approach to one of the century's most unusual and gifted personalities."},{"slug":"crasset_matali_d_fuse","ok":true,"partial":false,"title":"d fuse 05","artist":"Matali Crasset","year":"2005","startOffset":0,"sourceSecs":450.304,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":81256110,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/crasset_matali_d_fuse/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/crasset_matali_d_fuse/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/crasset_matali_d_fuse.mp4","hasFrames":true,"description":"D-Fuse is a collaboration between matali crasset, industrial designer, and Jori Hulkkonen, DJ.<br/><br/> In addition to inviting a hypnotic reverie, d_fuse reveals how matali crasset's work serves a renewed conception of design. Without artifice, it abolishes the boundaries between forms, objects, function and space. This film offers an immersion in a living universe, where the near and far form a single entity, and which never ceases to pulsate and emit.<br/><br/> matali crasset, is an industrial designer. It develops new typologies based on principles such as hospitality, modularity, mobility... d_fuse_05 is his second DVD, a second walk in his imagination.<br/><br/> Jori Hulkkonen is one of the leading artists of the F Com label, on which he has signed five albums. A guest DJ by the world's biggest clubs, a well-known composer, he has championed a music that is both dance and melancholy.","artist_bio":"Matali Crasset was born in 1965 in Châlons-en-Champagne. Her parents are farmers and she spent her childhood in Normée, a small village of 80 inhabitants. After her graduation at the E.N.S.C.I. workshops in 1991, she participated in the Milan Triennial with her project \"Domestic Trilogy\", a set of three appliances diffusing warmth - whispers and intimacy -, light - images and memories -, and water - scents and swirls. She first stayed in Milan where she worked with Denis Santachiara on architecture and design projects, and on the organization of exhibitions. Back in Paris, she began working with Philippe Starck at the Agency and for Thomson Multimedia, where she stayed five years and became head of Thomson's design centre, Thim Thom. In 1998, she founded her own company. Her reflection on domestic and urban rituals inspired her to create objects and furniture for Artemide, Authentics, Cristal Saint-Louis, Delta, DIM, Domodinamica, Domeau & Perès, Dornbracht, Edra, LaCie, Lexon, Möve, nekt /Pantone-Universe, Néotu, Orangina, Peyroulet & cie, Ricard, Sam Laïk, Seb, s.m.a.k., ThomsonS?, and to design a street furniture project, ?The empathic chair?, for which she received a grant form the Sandberg Institute in Amsterdam\nIn 1996, thanks to the V.I.A., she could freely develop her domestic office furniture project, \"W at hôm?, an evidence of her deep interest in new technologies. In 1997, she was awarded the Grand Prize for Design of the city of Paris, and was chosen by the Sue Ryder Foundation to design the church furniture for the \"Maison de Marie\" chapel in Lourdes. In 1998, she received a F.I.A.C.R.E. grant from the Ministry of Culture to help her develop her project for an \"autogenous design\". In 1999, she was awarded the \"Grand Prix de la Presse Internationale de la Critique du Meuble Contemporain\". In 2000 and 2001, she designed the interior of a private villa in Nontron in the Dordogne and, together with professionals of the artistic milieu, she imagined \"Pol'arisation\", the future furniture for the Experimental Center of Artistic Professions.\nMatali Crasset has worked on numerous exhibitions. She has designed the exhibition scenography for the shows ?Paris-Milano? and ?Bulb? organized by Intramuros, and for ?Wash the future? at the Espace Carole de Bona, and she is the creator of the \"Morroccan Bar\" of the exhibition \"Le Maroc Désorienté\" at the Musée des Arts Décoratifs. Furthermore, she has imagined a touring exhibtion for the Comité Colbert and the Camif in 1999, and in 2001, has conceived a show on the famous Hermes silk \"carré\" in the United States, and designed the \"Archilab\" show in Orléans. She is in charge of the \"Première Vision\" forum since 1999, has designed the \"Who's next\" (1998/2000) and \"Première Classe\" shows (2000), and the ?Extra trend show : open? at the \"Tendence\" fair in Frankfurt in 2000. In 2002, she has created the installation ?Casaderme?, the house that breathes, for the Pitti Immagine Uomo show in Florence, an experimental bathroom project ?Update/ 3 spaces in one? for Dornbracht, on display at the Ulrich Fieder gallery in Cologne, and has designed the scenography for the Hermes exhibition \"Cheval, figure d'espace\" in Moscow.\nMatali Crasset is regularly invited to design schools as a visiting lecturer, in France (Ecole des Beaux-arts, Bordeaux and Reims, Les Ateliers, Paris) and abroad (Danmarksdesignskole, Copenhagen, Domus Academy, Milan, Ecal, Lausanne, Gerrit Rietveld Academy, Amsterdam). In 2001, she began exploring the new field of interior design: the advertisement agency Red Cell in Paris, her own home and workshop, and a private villa near Annecy. She also created the interior design of a high-class hotel in Nice, \"Hi. hôtel\". She is currently working on a project for a pigeon house commissioned by the Fondation de France, in Caudry in the Nord-Pas-de-Calais.","bio_dates":"b. 1965"},{"slug":"crasset_matali_hometrack_2003","ok":true,"partial":false,"title":"Hometrack 01/02","artist":"Matali Crasset","year":"2003","startOffset":0,"sourceSecs":2453.851,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":350702062,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/crasset_matali_hometrack_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/crasset_matali_hometrack_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/crasset_matali_hometrack_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/crasset_matali_hometrack_2003/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/crasset_matali_hometrack_2003/main/master.m3u8?v=2","hasMainHls":true,"description":"Let your imagination go, make an urban hypothesis. A visual hole, a milky white break, while emerging quasi-house forms, structures born from a simple folding, origami games, half a dream, half a 3D language. Get into the logic of each element or take a ride in an \"extraordinary garden\". matali crasset, mai 2003","artist_bio":"Matali Crasset was born in 1965 in Châlons-en-Champagne. Her parents are farmers and she spent her childhood in Normée, a small village of 80 inhabitants. After her graduation at the E.N.S.C.I. workshops in 1991, she participated in the Milan Triennial with her project \"Domestic Trilogy\", a set of three appliances diffusing warmth - whispers and intimacy -, light - images and memories -, and water - scents and swirls. She first stayed in Milan where she worked with Denis Santachiara on architecture and design projects, and on the organization of exhibitions. Back in Paris, she began working with Philippe Starck at the Agency and for Thomson Multimedia, where she stayed five years and became head of Thomson's design centre, Thim Thom. In 1998, she founded her own company. Her reflection on domestic and urban rituals inspired her to create objects and furniture for Artemide, Authentics, Cristal Saint-Louis, Delta, DIM, Domodinamica, Domeau & Perès, Dornbracht, Edra, LaCie, Lexon, Möve, nekt /Pantone-Universe, Néotu, Orangina, Peyroulet & cie, Ricard, Sam Laïk, Seb, s.m.a.k., ThomsonS?, and to design a street furniture project, ?The empathic chair?, for which she received a grant form the Sandberg Institute in Amsterdam\nIn 1996, thanks to the V.I.A., she could freely develop her domestic office furniture project, \"W at hôm?, an evidence of her deep interest in new technologies. In 1997, she was awarded the Grand Prize for Design of the city of Paris, and was chosen by the Sue Ryder Foundation to design the church furniture for the \"Maison de Marie\" chapel in Lourdes. In 1998, she received a F.I.A.C.R.E. grant from the Ministry of Culture to help her develop her project for an \"autogenous design\". In 1999, she was awarded the \"Grand Prix de la Presse Internationale de la Critique du Meuble Contemporain\". In 2000 and 2001, she designed the interior of a private villa in Nontron in the Dordogne and, together with professionals of the artistic milieu, she imagined \"Pol'arisation\", the future furniture for the Experimental Center of Artistic Professions.\nMatali Crasset has worked on numerous exhibitions. She has designed the exhibition scenography for the shows ?Paris-Milano? and ?Bulb? organized by Intramuros, and for ?Wash the future? at the Espace Carole de Bona, and she is the creator of the \"Morroccan Bar\" of the exhibition \"Le Maroc Désorienté\" at the Musée des Arts Décoratifs. Furthermore, she has imagined a touring exhibtion for the Comité Colbert and the Camif in 1999, and in 2001, has conceived a show on the famous Hermes silk \"carré\" in the United States, and designed the \"Archilab\" show in Orléans. She is in charge of the \"Première Vision\" forum since 1999, has designed the \"Who's next\" (1998/2000) and \"Première Classe\" shows (2000), and the ?Extra trend show : open? at the \"Tendence\" fair in Frankfurt in 2000. In 2002, she has created the installation ?Casaderme?, the house that breathes, for the Pitti Immagine Uomo show in Florence, an experimental bathroom project ?Update/ 3 spaces in one? for Dornbracht, on display at the Ulrich Fieder gallery in Cologne, and has designed the scenography for the Hermes exhibition \"Cheval, figure d'espace\" in Moscow.\nMatali Crasset is regularly invited to design schools as a visiting lecturer, in France (Ecole des Beaux-arts, Bordeaux and Reims, Les Ateliers, Paris) and abroad (Danmarksdesignskole, Copenhagen, Domus Academy, Milan, Ecal, Lausanne, Gerrit Rietveld Academy, Amsterdam). In 2001, she began exploring the new field of interior design: the advertisement agency Red Cell in Paris, her own home and workshop, and a private villa near Annecy. She also created the interior design of a high-class hotel in Nice, \"Hi. hôtel\". She is currently working on a project for a pigeon house commissioned by the Fondation de France, in Caudry in the Nord-Pas-de-Calais.","bio_dates":"b. 1965"},{"slug":"creed_martin_ballet","ok":true,"partial":false,"title":"Ballet [Work No. 1020]","artist":"Martin Creed","year":"2013","startOffset":0,"sourceSecs":145,"sourceHeight":480,"sourceWidth":852,"hasAudio":true,"hasAmbientMp4":true,"bytes":15662759,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/creed_martin_ballet/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/creed_martin_ballet/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/creed_martin_ballet.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/creed_martin_ballet/main.mp4?v=2","description":"Martin Creed choreographs a piece for classically trained dancers featuring live music. Using video and music composed by Creed and played by his band, Work No. 1020 is performed by five dancers who are restricted to using the five core classical ballet positions, each of which are ascribed a musical note. By limiting the dancers to the five positions, Creed establishes a tight framework in which to examine the changing effects of time, speed, and direction. <br/><br/> Most ballet is not very funny. But by using just the five basic positions of ballet, Martin Creed — better known for his art than his choreographic skills — offers a playful and engaging 70 minutes of repetitions where the limitations actually become the springboard of creativity. It's a bit like watching a giggly game of chess or perhaps a game of Scrabble created with the human body, which has been intercut with a bit of chat from Creed, some video (including some of Creed's more notorious vomiting and defecating films) and some songs played by Creed and a band, who limit their musical palate just as the dancers' physical movement is limited.<br/><br/> At one point Creed plays a song mischievously entitled What's the Point? – something audiences may want to ask too. The trick here is to go with the flow, and enter into the spirit of a piece which often seems to have used Sesame Street's letter-and-word songs as its model. What becomes gradually apparent is that there are distinct patterns emerging from the chaos, plus there is some great footage of Creed's dogs, which might seem incidental but pointedly shows up the differences in the way animals walk. Best not to rise to the bait and get upset when Creed launches into a ditty called Fuck Off or offers a movie of his rising and deflating penis, which looks like one of those David Attenborough natural history films. This is too slight and self-consciously jokey to feel really meaningful, but its gleeful structured shambles has its place on the structured shambles of the fringe.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/creed.html\" rel=\"noopener\" target=\"_blank\">Martin Creed in UbuWeb Sound</a></br>","artist_bio":"Martin Creed (born 1968) is a British artist and musician. He won the Turner Prize in 2001 for exhibitions during the preceding year, with the jury praising his audacity for exhibiting a single installation, Work No. 227: The lights going on and off, in the Turner Prize show. Creed lives and works in London.","bio_dates":"b. 1968"},{"slug":"creed_martin_the_sick_film","ok":true,"partial":false,"title":"Sick Film [Work No.837]","artist":"Martin Creed","year":"2007","startOffset":0,"sourceSecs":2529.66,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":429295756,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/creed_martin_the_sick_film/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/creed_martin_the_sick_film/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/creed_martin_the_sick_film.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/creed_martin_the_sick_film/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/creed_martin_the_sick_film/main/master.m3u8?v=2","hasMainHls":true,"description":"Creed spoke about the film for Time Out and saying: “Vomiting is a good example of trying to get something from the inside out; its painful and making work can be painful too; its also uncontrollable. I want to make work that is more like a vomit than a rumination. “ <br/><br/> Work No.837 2007 is a four-channel video work with sound, shown on four monitors which are stacked on the floor on top of each other in a two by two grid. The video players are arranged behind the monitors. Each screen shows either a casually dressed young man or woman in an entirely empty, white environment where even the distinction between floor and wall is blurred by the luminous white background. Against this emptiness, a single person on each screen vomits profusely and repeatedly, before walking out of shot. The footage is looped.<br/><br/> In the year before he made Work No.837 Creed created several works featuring people vomiting. The first of these was Work No.503, a 35 mm colour film with sound of a young woman entering a white studio space and being sick before exiting the field of view. Other works of the same subject made in 2007 include the photographic print Work No.509, two 35 mm films called Work No.546 and Work No.547 (the latter produced as a DVD for commercial release), and Work No.583, which consisted of four synchronised films. To make these works Creed used footage he had shot for Work No. 610. Sick Film 2006 (35 mm, 21 minutes).<br/><br/> Critics have commented on the abject subject matter of Creed’s ‘sick’ works and on the experience of watching them. As Jonathan Watkins writes: ‘We are witnessing a kind of casual-smart regurgitation, a vomiting that is not desperate, but still tugs at our sympathetic nervous systems, tending to make us feel sick as well ... Sick, in particular, suggests a problem, and results from a fast involuntary reaction to something bad, or too much of a good thing.’ (Jonathan Watkins, ‘Shit, Sex and Sick’, in Ikon Gallery 2008, p.14.) Moreover, the fact that the footage is looped means that ‘any sense of relief is short-lived due to their [the actors’] reappearance seconds later’ (Jonathan Watkins, ‘Foreword’, in Ikon Gallery 2008, p.8). The critic Tom Eccles, however, has detected a satirical aspect to the work, suggesting that it parodies the manner in which the celebrated abstract expressionist painter Jackson Pollock dripped and splashed paint over canvases placed on the floor, captured most famously by the photographer Hans Namuth (Tom Eccles, ‘Interview with Martin Creed’, in Creed, Eccles, Gioni and others 2010, p.xvii).<br/><br/> According to Creed, however, Work No.837 seems in part to be a reflection on the creative act:<br/><br/> I was doing a talk and I was thinking that what I was trying to describe – the process of working – is a process of trying to get from the inside out. Being sick is a good example of that. And it’s a good example of something making something. It puts your insides out. You don’t really know what’s going to come out, it’s painful, but you feel better afterwards. The films are like portraits of people expressing themselves ... something uncontrolled. I am sick and tired of thinking. I want my work to be more like a vomit than a rumination. I just want to go ‘Blah!’ or ‘Woosh!’.<br/><br/> (Cited in Creed, Eccles, Gioni and others 2010, p.xvii.)<br/><br/> The work can be considered in the context of video and performance art, which came to prominence in the 1960s in the United States and Europe in particular. Such work was often based on somewhat absurd, deliberately childish, visceral, abject or dramatic actions performed before an audience or to camera. Examples include Paul McCarthy’s video Rocky 1976 (Tate T07713), Bruce Nauman’s Violent Incident 1986 (Tate T06732) and Raw Material Washing Hands, Normal 1996 (Tate AR00579), Marina Abramović’s Cleaning the Mirror #1, 1995 (Solomon R. Guggenheim Museum, New York) and Roderick Buchanan’s Sodastream 1997 (Tate T07599).<br/><br/> Creed’s work is generally linked to a wide range of art movements from conceptualism, minimalism, situationism, abstraction and the Young British Artists movement of the 1990s. However, Creed often resists categorising his work according to such a lineage, remarking with an air of naivety and humour that ‘everything is kind of a little experiment in trying to make enough decisions to be able to come up with something I am happy with’ (Creed, Eccles, Gioni and others 2010, p.x).<br/><br/> Work No.837 was first exhibited at Ikon Gallery in Birmingham in 2008. Creed became the first new artist to join the ARTIST ROOMS collection after its formal establishment in 2008 when he donated a complete ‘room’ of his work in 2012, including this work.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/creed.html\" rel=\"noopener\" target=\"_blank\">Martin Creed in UbuWeb Sound</a></br>","artist_bio":"Martin Creed (born 1968) is a British artist and musician. He won the Turner Prize in 2001 for exhibitions during the preceding year, with the jury praising his audacity for exhibiting a single installation, Work No. 227: The lights going on and off, in the Turner Prize show. Creed lives and works in London.","bio_dates":"b. 1968"},{"slug":"creed_martin_thinking_not_thinking","ok":true,"partial":false,"title":"Thinking / Not Thinking (Work #1090)","artist":"Martin Creed","year":"2011","startOffset":0,"sourceSecs":99.4,"sourceHeight":480,"sourceWidth":853,"hasAudio":true,"hasAmbientMp4":true,"bytes":15600189,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/creed_martin_thinking_not_thinking/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/creed_martin_thinking_not_thinking/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/creed_martin_thinking_not_thinking.mov","hasFrames":true,"description":"Last week Martin Creed and his band showcased their new single Thinking/Not Thinking. One might view this sort of pursuit from an artist primarily known for creating visual works as an amusing side project, but the Turner Prize winner has always seen music as an integral part of his practice. To demonstrate this Thinking/Not Thinking is Work #1090, is numbered in the same manner as the rest of his visual works, although the single is also released in a conventional manner in line with standard music releases.<br/><br/> The evening started with a special showing of Work #610 Sick Film, a 21 minute film of people entering a completely white space and vomiting. The camera is fixed on the space and the performers enter by themselves and vomit with varying degrees of volume then leaves the space and before the next person enters the space is completely cleared. One feels that it is a private act that is being viewed in a very public forum and watching it is quite compelling. Sound plays a huge part in the piece and there are a range of noises that are produced by the different performers. The film seemed to engage a great deal of the audience in a context where film can be hard to concentrate on, and I feel that this was particularly due to the nature of the sounds.<br/><br/> Martin Creed took to the stage with his band, a five piece consisting of Creed on guitar and vocals, bass, synthesiser, percussion and drums. Creed’s stage presence seemed at first to be tinged with shyness but as the set progressed he became more relaxed in his role and imparted real warmth in his performance. The music started and there felt to be immediate stylistic references to the post-punk genre. The songs are simplistic in structure, but not necessarily in rhythm, often with driving bass and drums, and the band play together very tightly.<br/><br/> Lyrically there are clear themes/subjects in each song and Creed’s vocals are often accompanied by his band building up layers of voices. In line with much of his visual works that explore language and text, the songs have sparse phrases that seem quite apart from an average pop or rock track. Creed maybe trying to impart advice in some songs (If you’re low/If you’re lonely), exploring ideas (Thinking/Not Thinking) or in two songs he counts to 100 and goes through the alphabet. A number of songs were also accompanied by projected visuals that had a coordinated minimal aesthetic and referenced the songs directly with text.<br/><br/> Thinking/Not Thinking has a distinctive guitar line with two different chords attached to lyrics ‘thinking’ and ‘not thinking’. The tone has a definite melancholy to it and the distorted synthesiser adds to the slightly atonal feel. It is a compact song but one feels that all that needs to be said is said within the stripped back lyrics.<br/><br/> Attending an event which has an artist, who is primarily known for visual work, performing music rather than sound provokes questions about the lines between visual art and sound art, music and noise that are too vast to be discussed here. Instead one can experience Creed’s performance as music and, as a credit to the artist, enjoy it in the same manner as music. I was reminded of a quote from the American artist Robert Morris that states that: “Simplicity of form does not necessarily equate with simplicity of experience” and this is certainly true from a performance of Creed’s music.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/creed.html\" rel=\"noopener\" target=\"_blank\">Martin Creed in UbuWeb Sound</a></br>","artist_bio":"Martin Creed (born 1968) is a British artist and musician. He won the Turner Prize in 2001 for exhibitions during the preceding year, with the jury praising his audacity for exhibiting a single installation, Work No. 227: The lights going on and off, in the Turner Prize show. Creed lives and works in London.","bio_dates":"b. 1968"},{"slug":"creischer_alice_siekmann_andreas_es_gibt_immer_nur_mehr_2002","ok":true,"partial":false,"title":"Es gibt immer nur mehr","artist":"Alice Creischer, Andreas Siekmann","year":"2002","startOffset":0,"sourceSecs":585.2,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":101096031,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/creischer_alice_siekmann_andreas_es_gibt_immer_nur_mehr_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/creischer_alice_siekmann_andreas_es_gibt_immer_nur_mehr_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/creischer_alice_siekmann_andreas_es_gibt_immer_nur_mehr_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/creischer_alice_siekmann_andreas_es_gibt_immer_nur_mehr_2002/main.mp4?v=2","description":"A sailing boat is cruising into the wind. The camera detaches itself from the scenery to enlarge the field of vision and pans over a suburb tinged in faded light: a still life of white fences, all absolutely identical, little green lawns and red gabled roofs ~~ just as much models as the miniature schooner. The tranquil progress of the camera over the raster of stereotyped detached and terrace houses presents an artificial idyll dominated by exclusions and norms. Life is only lived here on the soundtrack: wind, bird calls, the sound of a motor muttering in the distance, the noise made by a piece of wheeled luggage being dragged, then a telephone interminably ringing. An answering machine comes into play. An insurance broker asks to be called back in order to dscuss 'Ms Schnitt's' old-age provisions ~~ only to make a point of reminding her that a ballpoint pen must be returned. The unsure voice off switches the situation to absurdity: the writing utensil has become a fetish seemingly linked to identity and power. In the meantime the camera eye lights on a terrace door opening into a living room and focuses on a painting: Jan Vermeer's 'A Girl Asleep' (1657). The picture, which looks bacchantic indeed in these dead surroundings, exposes the normed, typical notions of life for what they are: cliché-ridden and phantasmagorical alike and succinctly closes the circle leading to the opening sequence.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"crosswaite_david_film_no_1_david_crosswaite","ok":true,"partial":false,"title":"Film No. 1","artist":"David Crosswaite","year":"1971","startOffset":0,"sourceSecs":562.04,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":102661209,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/crosswaite_david_film_no_1_david_crosswaite/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/crosswaite_david_film_no_1_david_crosswaite/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/crosswaite_david_film_no_1_david_crosswaite.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/crosswaite_david_film_no_1_david_crosswaite/main.mp4?v=2","description":"Part of <a href=\"https://ubu.com/film/shoot.html\" rel=\"noopener\" target=\"_blank\">Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s (1966 - 1976)</a> <br/><br/> Originally a 1971 16mm film made from standard 8mm footage (one frame in each quarter). This version made into a 2 screen film.<br/><br/> \"Crosswaite, like the best English film makers can be labelled a 'structuralist', though his definition limits too severely the various aesthetic concepts at work. Film No. 1 is a ten minute loop film. The systems of super-imposed loops are mathematically in a complex manner. The starting and cut off points for each loop are not clearly exposed, but through repetitions of sequences in different colours, in different 'material' realities (i.e. a negative, positive, bas-relief, neg-pos overlay) yet in constant rhythm (both visually and on the soundtrack hum) one is manipulated to attempt to work out the system structure. One relates to the repetitions in such a way that one concentrates on working out the serial formula while visually experiencing (and enjoying) the film at the same time. One of the superimposed loops is made of alternating mattes, so that the screen is broken up into four more or less equal rectangles of which, at any one moment, two or three are blocked out (matted). The matte-positioning is rhythmically structured, thus allowing each of the two represented images to flickeringly appear in only one frame-corner at a time. This film powerfully strengthens the film's existence as selective reality manipulated by the film-maker and exposed as such. The mattes are slightly 'off', there is no perfect mechanical fit, so that the process of the physical matte-construction by the film-maker, is constantly noticeable, as one matte (at times of different hue, of different colour) blends in with the edge of the matte next to it (horizontally or vertically). The film deals with permutations of material, in a prescribed manner but one by no means 'necessary' or logical (except within the film's own constructed system/serial.)<br/><br/> The dyeing of the films in colours is never set up in a pattern suggesting some sort of logical progression of constancy, on the contrary, the viewer at first reacts as if this were the case (colour narrative) but eventually realises the open situation and deals with the film's colours for what they are and not in terms of ultimate 'design' or 'purpose'. The films are non-climactic, they ultimately lead you, not to resolution, but to yourself.\" - Peter Gidal.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Taylor Mead in UbuWeb Sound</a>","bio_dates":"b."},{"slug":"curtis_jackie_superstar_in_a_housedress","ok":true,"partial":false,"title":"Superstar in a Housedress","artist":"Jackie Curtis","year":"2004","startOffset":0,"sourceSecs":5541.803,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":943105374,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/curtis_jackie_superstar_in_a_housedress/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/curtis_jackie_superstar_in_a_housedress/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/curtis_jackie_superstar_in_a_housedress.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/curtis_jackie_superstar_in_a_housedress/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/curtis_jackie_superstar_in_a_housedress/main/master.m3u8?v=2","hasMainHls":true,"description":"Jackie Curtis was a superstar before Andy Warhol found him. And, as this entertaining documentary makes clear, the witty, wisecracking, son-of-a-Marine drag queen was an artist in his own right. Curtis was an innovator in gender-bent performance, taking on whatever part of drag suited him (torn stockings, shoulder pads on his already large frame) and ignoring whatever didn't (fake breasts). <br/><br/> He also created late-1960s stage shows like Glamour, Glory and Gold, which featured a then-unknown Robert De Niro. And his influence on his contemporaries was, if not always profound, at least great fun to hear about. Harvey Fierstein, Penny Arcade, Holly Woodlawn and Lily Tomlin share stories of the man whose larger-than-life manner is captured in vintage performance footage and anecdotes that inflate the Curtis legend. But Jackie was a messed-up, glittery persona who did everything big, so it fits perfectly...<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Ira Cohen in UbuWeb Sound</a>","artist_bio":"Superstar in a Housedress (2004)\ndirected by Craig Highberger\nJackie's friendship and professional association with Andy Warhol began in the mid-1960's. He appeared in Director Paul Morrissey's \"Women in Revolt\" with Candy Darling and Holly Woodlawn and \"Flesh\" with Joe Dallesandro and Candy Darling, presented by Andy Warhol. For these unique films director Morrissey gave the actors information about their character, the scene and suggested lines. The camera (frequently manned by Warhol) rolled and everyone improvised much of the content in a single take.\nAfter his death in 1985, a friend found a note Jackie had written reading: \"You are not truly a Warhol superstar unless you are dead.\"","bio_dates":"1947-1985"},{"slug":"cutler_ivor_looking_for_truth_with_a_pin_2005","ok":true,"partial":false,"title":"Looking for Truth with a Pin","artist":"Ivor Cutler","year":"2005","startOffset":0,"sourceSecs":3536.683,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":604846928,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cutler_ivor_looking_for_truth_with_a_pin_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cutler_ivor_looking_for_truth_with_a_pin_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cutler_ivor_looking_for_truth_with_a_pin_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cutler_ivor_looking_for_truth_with_a_pin_2005/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cutler_ivor_looking_for_truth_with_a_pin_2005/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Paul Spencer<br/> Year: 2005<br/> Time: 59 mins<br/> Music: Ivor Cutler<br/> With: Paul McCartney, Robert Wyatt, and many others.<br/><br/>Perhaps it is appropriate that a documentary on Ivor Cutler shouldn't focus exclusively on what made him relatively popular: his music. And, in fact, Looking for Truth with a Pin does not pay particular attention to any of the other fields through which Cutler mischievously exorcised his inner demons and dreams: drawing, poetry, film, radio, children's literature. Although these are all briefly touched upon, Looking for Truth is, first and foremost, an attempt at a psychological sketch vaguely veiled in the conventions of biography. His childhood traumas, including a now humorous fratricidal attempt, are revisited once and again by Cutler himself and several artists and companions (like Robert Wyatt and Paul McCartney), all of them trying to understand the \"terrifying sadness of the comedian\" and the sources for his sometimes bitter joie de vivre. Critical moments are discussed at some length, such as his teaching years in an alternative school for misfits of all sorts, his Magical Mystery Tour flick with the Beatles or his long-time partnership with poetess Phyllis King, but the easy temptation of linear life-narrative, in which A explains B, is fortunately avoided. What is offered instead is a multi-layered, direction-free diagram of Cutler's psyche, interspersed with live footage and archival material - one that seems to run in circles instead of dishonestly pretending to have found the truth. His pythonesque humour and and child-like mischievousness are gayly portrayed but there are also some snippets of the unforgiving ageing process and its effect on the artist and the man. Several excerpts of live and TV performances displaying his unique brand of surrealist folk and existential humour are presented, making Looking for Truth an invaluable document for Cutlerologists and a fine introduction for newbies. It may be true that \"a Scottish jew is an unbelievably heavy thing to be\", but not if you truly believe in bugs. -- Eye of Sound","artist_bio":"Ivor Cutler (15 January 1923 – 3 March 2006) was a Scottish poet, songwriter and humorist. He became known for his regular performances on BBC radio, and in particular his numerous sessions recorded for John Peel's influential radio programme, and later for Andy Kershaw's programme. He appeared in the Beatles' Magical Mystery Tour film in 1967 and on Neil Innes' television programmes. Cutler also wrote books for children and adults and was a teacher at A. S. Neill's Summerhill School and for 30 years in inner-city schools in London.\nIn live performances Cutler would often accompany himself on a harmonium. Phyllis King appears on several of his records, and for a number of years was a part of his concerts. She usually read small phrases but also read a few short stories. The two starred in a BBC radio series, King Cutler, in which they performed their material jointly and singly. Cutler was known to have had a long term relationship with King, but they never married or set up home together. Cutler also collaborated with pianist Neil Ardley and singer Robert Wyatt.\nCutler was an anti-intellectual and noted eccentric, dressing in a distinctive style including plus-fours and hats adorned with many badges, travelling mainly by bicycle and often communicating by means of sticky labels printed with \"Cutlerisms\", one of which, \"never knowingly understood\" came to be summary applied by supporters and detractors alike. Others included \"Kindly disregard\", reserved for official correspondence, and \"to remove this label take it off\", designed to confuse pedants.\nMany of Cutler's poems and songs involve conversations delivered as a monologue and, in these, one party is often Cutler as a child, a part of his intended \"bypassing the intellect\". Cutler describes poverty and neglect from his parents with great stoicism. He focuses on acceptance and gratitude for the basic elements of life, nature and love, which allows him to make points about mother-love in particular. The humour develops from the child's curiosity and the playful or self-serving lies the parent tells him to get, for example, a chore done or simply to stop the incessant questions. Cutler recited his poems in a gentle Scottish burr, and this, combined with the absurdity of the subject matter, is a mix that earned him a faithful cult following. John Peel once remarked that Cutler was probably the only performer whose work had been featured on Radio 1, 2, 3 and 4. Cutler was a member of the Noise Abatement Society and the Voluntary Euthanasia Society. He retired from performing in 2004, and died on 3 March 2006. The reception room of his home contained a number of pieces of ivory cutlery, deliberately intended as a pun on his name. -- Wiki","bio_dates":"1923-2006"},{"slug":"cycles_1989","ok":true,"partial":false,"title":"Cycles","artist":"Zeinabu irene Davis","year":"1989","startOffset":0,"sourceSecs":978.511,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":174586044,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cycles_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cycles_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cycles_1989.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cycles_1989/main.mp4?v=2"},{"slug":"cytter_keren_continuity_2005","ok":true,"partial":false,"title":"Continuity","artist":"Keren Cytter","year":"2005","startOffset":0,"sourceSecs":280.597,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":48753440,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cytter_keren_continuity_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cytter_keren_continuity_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cytter_keren_continuity_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cytter_keren_continuity_2005/main.mp4?v=2","description":"with: <br/><br/> Julia Münstermann<br/> Georg Hobmeier<br/> Rogier Trietsch<br/> <br/> A short film based on Julio Cortazar's short story - 'Continuity of Parks.' <br/> A man reads about his own murder. Variety of styles lead to the thrilling end.","artist_bio":"Keren Cytter was born in Israel in 1977, she currently lives and works in Berlin. She studied painting at the Avni institute in Tel-Aviv, Israel, and she holds a post-graduate degree from de Ateliers in Amsterdam, Holland. Her work has been exhibited in numerous museums, art-center shows, and several international biennials. She has had solo shows at Kunsthalle Zurich, Switzerland; Frankfurter Kunstverein, Frankfurt; KW Institute for Contemporary Art, Berlin, Germany; and at the Galleria d'Arte Moderna e Contemporanea, Bergamo, Italy. Her work was also exhibited at The 2007 Moscow Biennial, Moscow, Russia; The Stedelijk Museum, and de Appel in Amsterdam, Holland; as well as at The Irish Museum of Modern Art, Dublin, Ireland. Cytter's work will also be included in the forthcoming Lyon Biennial, Lyon, France, and in The Herzliya Biennial, Herzliya, Israel. She will also have a solo show at the Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria, at the end of the year.\nKeren Cytter was the recipient of the prestigious Baloise Art Prize for her Art Statements presentation at the 2006 edition of Art Basel. Reviews and essays of her work were published in Artforum, Frieze, and Flash Art magazines. She is also a writer herself, having published two novels Yesterday's Sunset and The Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats.","bio_dates":"b. 1977"},{"slug":"cytter_keren_der_spiegel_2007","ok":true,"partial":false,"title":"Der Spiegel","artist":"Keren Cytter","year":"2007","startOffset":0.48,"sourceSecs":295.531,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":51673611,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cytter_keren_der_spiegel_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cytter_keren_der_spiegel_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cytter_keren_der_spiegel_2007.mp4","hasFrames":true,"description":"with: <br/><br/> Man1: Assaf Hochman<br/> Man2: Peter Priegann<br/> Woman: Susanne Sachsse <br/> Chor1: Ruth Rosenfeld<br/> Chor2: Stefanie Frauwallner<br/> Chor3: Cathrin Romeis <br/> <br/> One shot describes the story of a woman who's waiting for a young man to save from her loneliness. The camera is moving endlessly in the shape of 8. The choir is following the woman's discoveries and adventures, and reaches repeatedly to a moral collapse.","artist_bio":"Keren Cytter was born in Israel in 1977, she currently lives and works in Berlin. She studied painting at the Avni institute in Tel-Aviv, Israel, and she holds a post-graduate degree from de Ateliers in Amsterdam, Holland. Her work has been exhibited in numerous museums, art-center shows, and several international biennials. She has had solo shows at Kunsthalle Zurich, Switzerland; Frankfurter Kunstverein, Frankfurt; KW Institute for Contemporary Art, Berlin, Germany; and at the Galleria d'Arte Moderna e Contemporanea, Bergamo, Italy. Her work was also exhibited at The 2007 Moscow Biennial, Moscow, Russia; The Stedelijk Museum, and de Appel in Amsterdam, Holland; as well as at The Irish Museum of Modern Art, Dublin, Ireland. Cytter's work will also be included in the forthcoming Lyon Biennial, Lyon, France, and in The Herzliya Biennial, Herzliya, Israel. She will also have a solo show at the Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria, at the end of the year.\nKeren Cytter was the recipient of the prestigious Baloise Art Prize for her Art Statements presentation at the 2006 edition of Art Basel. Reviews and essays of her work were published in Artforum, Frieze, and Flash Art magazines. She is also a writer herself, having published two novels Yesterday's Sunset and The Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats.","bio_dates":"b. 1977"},{"slug":"cytter_keren_les_ruissellements_du_diable_2008","ok":true,"partial":false,"title":"Les Ruissellements du Diable","artist":"Keren Cytter","year":"2008","startOffset":0,"sourceSecs":645.803,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":286570371,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cytter_keren_les_ruissellements_du_diable_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cytter_keren_les_ruissellements_du_diable_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cytter_keren_les_ruissellements_du_diable_2008.mp4","hasFrames":true,"description":"with: <br/><br/> Christophe Chemin<br/> Susie Meyer <br/> <br/> A video based on a story by Julio Cortazar: A man takes a photo in the park and discovers it is vivid than his own life. <br/><br/> Under this basic narration lays a unique philosophical tale, that combines explicit images with oriental music, and stretches the borders of manhood and femininity. Not recommended for sexually disoriented audience. moral collapse.","artist_bio":"Keren Cytter was born in Israel in 1977, she currently lives and works in Berlin. She studied painting at the Avni institute in Tel-Aviv, Israel, and she holds a post-graduate degree from de Ateliers in Amsterdam, Holland. Her work has been exhibited in numerous museums, art-center shows, and several international biennials. She has had solo shows at Kunsthalle Zurich, Switzerland; Frankfurter Kunstverein, Frankfurt; KW Institute for Contemporary Art, Berlin, Germany; and at the Galleria d'Arte Moderna e Contemporanea, Bergamo, Italy. Her work was also exhibited at The 2007 Moscow Biennial, Moscow, Russia; The Stedelijk Museum, and de Appel in Amsterdam, Holland; as well as at The Irish Museum of Modern Art, Dublin, Ireland. Cytter's work will also be included in the forthcoming Lyon Biennial, Lyon, France, and in The Herzliya Biennial, Herzliya, Israel. She will also have a solo show at the Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria, at the end of the year.\nKeren Cytter was the recipient of the prestigious Baloise Art Prize for her Art Statements presentation at the 2006 edition of Art Basel. Reviews and essays of her work were published in Artforum, Frieze, and Flash Art magazines. She is also a writer herself, having published two novels Yesterday's Sunset and The Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats.","bio_dates":"b. 1977"},{"slug":"cytter_keren_mfpig_2003","ok":true,"partial":false,"title":"Mfpig","artist":"Keren Cytter","year":"2003","startOffset":0,"sourceSecs":1130.325,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":190845507,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cytter_keren_mfpig_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cytter_keren_mfpig_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cytter_keren_mfpig_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cytter_keren_mfpig_2003/main.mp4?v=2","description":"Frank de Graaf<br/> Johan Klapper<br/> Verena Grothe<br/> Jetty Bühne <br/> <br/> A teen movie about a young man who infects his best friend with syphilis. He is an irresponsible womanizer and he is very fond of musicals -- the colors, the tunes, and the atmosphere. Very gay.","artist_bio":"Keren Cytter was born in Israel in 1977, she currently lives and works in Berlin. She studied painting at the Avni institute in Tel-Aviv, Israel, and she holds a post-graduate degree from de Ateliers in Amsterdam, Holland. Her work has been exhibited in numerous museums, art-center shows, and several international biennials. She has had solo shows at Kunsthalle Zurich, Switzerland; Frankfurter Kunstverein, Frankfurt; KW Institute for Contemporary Art, Berlin, Germany; and at the Galleria d'Arte Moderna e Contemporanea, Bergamo, Italy. Her work was also exhibited at The 2007 Moscow Biennial, Moscow, Russia; The Stedelijk Museum, and de Appel in Amsterdam, Holland; as well as at The Irish Museum of Modern Art, Dublin, Ireland. Cytter's work will also be included in the forthcoming Lyon Biennial, Lyon, France, and in The Herzliya Biennial, Herzliya, Israel. She will also have a solo show at the Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria, at the end of the year.\nKeren Cytter was the recipient of the prestigious Baloise Art Prize for her Art Statements presentation at the 2006 edition of Art Basel. Reviews and essays of her work were published in Artforum, Frieze, and Flash Art magazines. She is also a writer herself, having published two novels Yesterday's Sunset and The Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats.","bio_dates":"b. 1977"},{"slug":"cytter_keren_nothing_2003","ok":true,"partial":false,"title":"Nothing","artist":"Keren Cytter","year":"2003","startOffset":0,"sourceSecs":778.155,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":127545156,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cytter_keren_nothing_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/cytter_keren_nothing_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/cytter_keren_nothing_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cytter_keren_nothing_2003/main.mp4?v=2","description":"Constant Dullaart. <br/><br/> A man is moving to a new apartment and discovers traces of the former tenants. The next day he wants to transform to the former tenants. He makes drawings on the window and drawings of the furniture in the apartment. Will it help him? Only the patience viewers will be rewarded with a happy end.","artist_bio":"Keren Cytter was born in Israel in 1977, she currently lives and works in Berlin. She studied painting at the Avni institute in Tel-Aviv, Israel, and she holds a post-graduate degree from de Ateliers in Amsterdam, Holland. Her work has been exhibited in numerous museums, art-center shows, and several international biennials. She has had solo shows at Kunsthalle Zurich, Switzerland; Frankfurter Kunstverein, Frankfurt; KW Institute for Contemporary Art, Berlin, Germany; and at the Galleria d'Arte Moderna e Contemporanea, Bergamo, Italy. Her work was also exhibited at The 2007 Moscow Biennial, Moscow, Russia; The Stedelijk Museum, and de Appel in Amsterdam, Holland; as well as at The Irish Museum of Modern Art, Dublin, Ireland. Cytter's work will also be included in the forthcoming Lyon Biennial, Lyon, France, and in The Herzliya Biennial, Herzliya, Israel. She will also have a solo show at the Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria, at the end of the year.\nKeren Cytter was the recipient of the prestigious Baloise Art Prize for her Art Statements presentation at the 2006 edition of Art Basel. Reviews and essays of her work were published in Artforum, Frieze, and Flash Art magazines. She is also a writer herself, having published two novels Yesterday's Sunset and The Man Who Climbed Up the Stairs of Life and Found Out They Were Cinema Seats.","bio_dates":"b. 1977"},{"slug":"czech_natalie_if_you_can_do_it_why_do_it_a_found_quote_of_gertrude_stein","ok":true,"partial":false,"title":"If You Can Do It, Why Do It, A Found Quote of Gertrude Stein","artist":"Natalie Czech","year":"2011","startOffset":0,"sourceSecs":31.046,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":2159678,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/czech_natalie_if_you_can_do_it_why_do_it_a_found_quote_of_gertrude_stein/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/czech_natalie_if_you_can_do_it_why_do_it_a_found_quote_of_gertrude_stein/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/czech_natalie_if_you_can_do_it_why_do_it_a_found_quote_of_gertrude_stein.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"If You Can Do It, Why Do It, A Found Quote of Gertrude Stein (2011)\nThe photographic works of Natalie Czech (b. 1976, lives in Berlin) oscillate between concrete poetry and conceptual photography. She highlights the relationships and interactions between images and texts, poetry and the visual arts whilst also exploring the lyrical potential that lays hidden in newspaper articles and books. For her new series “Poems by Repetition,” she singled out existing poems by Aram Saroyan, Hart Crane, Allen Ginsberg, Gertrude Stein and others, which are characterized by the rhetorical device of repetition. These poems only become completely visible and readable in the repeated depiction of the same photographed text material and its serialization as a group. Czech’s visual motifs draw on different media, such as magazines, record covers, books, iPads and Kindle readers. Her painstakingly researched and selected textual fragments (a film review, a set of dance instructions, an essay on the significance of record-cover design for the marketing of music, for example) make reference to both the poem in question and to music. Repeatedly photographing the same texts produces stylistic variations such as minimal shifts in frame and perspective, altered exposure times and the juxtaposition of different resolutions. The photographs are also taken at various times of day, using similar techniques of repetition to those adopted by the writer of the respective poem. The works portray an “allegory of writing” through the complex interaction of meaning, repetition and variation.","bio_dates":"b. 1976"},{"slug":"dacorte_alex_bad_blood","ok":true,"partial":false,"title":"Bad Blood","artist":"Alex Da Corte","year":"2012","startOffset":0,"sourceSecs":239.806,"sourceHeight":384,"sourceWidth":682,"hasAudio":true,"hasAmbientMp4":true,"bytes":12361161,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dacorte_alex_bad_blood/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dacorte_alex_bad_blood/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dacorte_alex_bad_blood.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dacorte_alex_bad_blood/main.mp4?v=2","description":"Bad Blood<br/> Running time 3.59<br/> Standard digital video<br/> 2012<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Alex Da Corte in UbuWeb Sound</a>","artist_bio":"Alex Da Corte was born in Camden, New Jersey, in 1980. He received a Bachelor of Fine Arts from the University of the Arts, Philadelphia, and a Master of Fine Arts from the Yale University School of Art. His first survey exhibition Free Roses was held at MASS MoCA, North Adams in 2016. Other recent solo exhibitions include Slow Graffiti, Secession Building, Vienna, Austria; A Man Full Of Trouble at Maccarone Gallery, New York; 50 Wigs at the Herning Museum of Contemporary Art, Herning, Denmark; A Season in He'll at Art + Practice, Hammer Museum, Los Angeles (2016); Die Hexe at Luxembourg & Dayan Gallery, New York; Devil Town at Gio Marconi, Milan; Le Miroir Vivant at The Museum Boijmans van Beuningen, Rotterdam, Netherlands (2015); Easternsports at the Institute of Contemporary Art, Philadelphia (2014, together with Jayson Musson). Da Corte's work was also included in the group exhibition Dreamlands: Immersive Cinema and Art, 1905–2016 at the Whitney Museum of American Art, New York. Past group exhibitions include the Louisiana Museum of Modern Art, Humlebæk, Denmark; the 13th Biennale de Lyon, Lyon, France among many others. In 2012, Da Corte was awarded a Pew Fellowship in the Arts from the Pew Center for Arts & Heritage.","bio_dates":"1980"},{"slug":"dacorte_alex_chelsea_hotel_no_2","ok":true,"partial":false,"title":"Chelsea Hotel No. 2","artist":"Alex Da Corte","year":"2010","startOffset":0,"sourceSecs":184.482,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":55157343,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dacorte_alex_chelsea_hotel_no_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dacorte_alex_chelsea_hotel_no_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dacorte_alex_chelsea_hotel_no_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dacorte_alex_chelsea_hotel_no_2/main.mp4?v=2","description":"Alex Da Corte<br/> TRUƎ LIFƎ<br/> Running time 3.44<br/> Standard digital video<br/> 2013<br/> Music Leonard Cohen<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Alex Da Corte in UbuWeb Sound</a>","artist_bio":"Alex Da Corte was born in Camden, New Jersey, in 1980. He received a Bachelor of Fine Arts from the University of the Arts, Philadelphia, and a Master of Fine Arts from the Yale University School of Art. His first survey exhibition Free Roses was held at MASS MoCA, North Adams in 2016. Other recent solo exhibitions include Slow Graffiti, Secession Building, Vienna, Austria; A Man Full Of Trouble at Maccarone Gallery, New York; 50 Wigs at the Herning Museum of Contemporary Art, Herning, Denmark; A Season in He'll at Art + Practice, Hammer Museum, Los Angeles (2016); Die Hexe at Luxembourg & Dayan Gallery, New York; Devil Town at Gio Marconi, Milan; Le Miroir Vivant at The Museum Boijmans van Beuningen, Rotterdam, Netherlands (2015); Easternsports at the Institute of Contemporary Art, Philadelphia (2014, together with Jayson Musson). Da Corte's work was also included in the group exhibition Dreamlands: Immersive Cinema and Art, 1905–2016 at the Whitney Museum of American Art, New York. Past group exhibitions include the Louisiana Museum of Modern Art, Humlebæk, Denmark; the 13th Biennale de Lyon, Lyon, France among many others. In 2012, Da Corte was awarded a Pew Fellowship in the Arts from the Pew Center for Arts & Heritage.","bio_dates":"1980"},{"slug":"dacorte_alex_daggering","ok":true,"partial":false,"title":"Daggering","artist":"Alex Da Corte","year":"2011","startOffset":0,"sourceSecs":346.138,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":20234032,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dacorte_alex_daggering/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dacorte_alex_daggering/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dacorte_alex_daggering.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dacorte_alex_daggering/main.mp4?v=2","description":"Daggering<br/> Running time 5.46<br/> HD iphone 4g video<br/> 2011<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Alex Da Corte in UbuWeb Sound</a>","artist_bio":"Alex Da Corte was born in Camden, New Jersey, in 1980. He received a Bachelor of Fine Arts from the University of the Arts, Philadelphia, and a Master of Fine Arts from the Yale University School of Art. His first survey exhibition Free Roses was held at MASS MoCA, North Adams in 2016. Other recent solo exhibitions include Slow Graffiti, Secession Building, Vienna, Austria; A Man Full Of Trouble at Maccarone Gallery, New York; 50 Wigs at the Herning Museum of Contemporary Art, Herning, Denmark; A Season in He'll at Art + Practice, Hammer Museum, Los Angeles (2016); Die Hexe at Luxembourg & Dayan Gallery, New York; Devil Town at Gio Marconi, Milan; Le Miroir Vivant at The Museum Boijmans van Beuningen, Rotterdam, Netherlands (2015); Easternsports at the Institute of Contemporary Art, Philadelphia (2014, together with Jayson Musson). Da Corte's work was also included in the group exhibition Dreamlands: Immersive Cinema and Art, 1905–2016 at the Whitney Museum of American Art, New York. Past group exhibitions include the Louisiana Museum of Modern Art, Humlebæk, Denmark; the 13th Biennale de Lyon, Lyon, France among many others. In 2012, Da Corte was awarded a Pew Fellowship in the Arts from the Pew Center for Arts & Heritage.","bio_dates":"1980"},{"slug":"dacorte_alex_slow_graffiti","ok":true,"partial":false,"title":"Slow Graffiti","artist":"Alex Da Corte","year":"2017","startOffset":0,"sourceSecs":780.33,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":128602024,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dacorte_alex_slow_graffiti/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dacorte_alex_slow_graffiti/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dacorte_alex_slow_graffiti.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dacorte_alex_slow_graffiti/main.mp4?v=2","description":"Alex Da Corte<br/> Slow Graffiti<br/> Running time 13.00<br/> HD Digitial Video<br/> 2017<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Alex Da Corte in UbuWeb Sound</a>","artist_bio":"Alex Da Corte was born in Camden, New Jersey, in 1980. He received a Bachelor of Fine Arts from the University of the Arts, Philadelphia, and a Master of Fine Arts from the Yale University School of Art. His first survey exhibition Free Roses was held at MASS MoCA, North Adams in 2016. Other recent solo exhibitions include Slow Graffiti, Secession Building, Vienna, Austria; A Man Full Of Trouble at Maccarone Gallery, New York; 50 Wigs at the Herning Museum of Contemporary Art, Herning, Denmark; A Season in He'll at Art + Practice, Hammer Museum, Los Angeles (2016); Die Hexe at Luxembourg & Dayan Gallery, New York; Devil Town at Gio Marconi, Milan; Le Miroir Vivant at The Museum Boijmans van Beuningen, Rotterdam, Netherlands (2015); Easternsports at the Institute of Contemporary Art, Philadelphia (2014, together with Jayson Musson). Da Corte's work was also included in the group exhibition Dreamlands: Immersive Cinema and Art, 1905–2016 at the Whitney Museum of American Art, New York. Past group exhibitions include the Louisiana Museum of Modern Art, Humlebæk, Denmark; the 13th Biennale de Lyon, Lyon, France among many others. In 2012, Da Corte was awarded a Pew Fellowship in the Arts from the Pew Center for Arts & Heritage.","bio_dates":"1980"},{"slug":"dacorte_alex_tru_lif_hd","ok":true,"partial":false,"title":"TRUƎ LIFƎ","artist":"Alex Da Corte","year":"2013","startOffset":0,"sourceSecs":224.277,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":74253295,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dacorte_alex_tru_lif_hd/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dacorte_alex_tru_lif_hd/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dacorte_alex_tru_lif_hd.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dacorte_alex_tru_lif_hd/main.mp4?v=2","description":"Alex Da Corte<br/> TRUƎ LIFƎ<br/> Running time 3.44<br/> Standard digital video<br/> 2013<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Alex Da Corte in UbuWeb Sound</a>","artist_bio":"Alex Da Corte was born in Camden, New Jersey, in 1980. He received a Bachelor of Fine Arts from the University of the Arts, Philadelphia, and a Master of Fine Arts from the Yale University School of Art. His first survey exhibition Free Roses was held at MASS MoCA, North Adams in 2016. Other recent solo exhibitions include Slow Graffiti, Secession Building, Vienna, Austria; A Man Full Of Trouble at Maccarone Gallery, New York; 50 Wigs at the Herning Museum of Contemporary Art, Herning, Denmark; A Season in He'll at Art + Practice, Hammer Museum, Los Angeles (2016); Die Hexe at Luxembourg & Dayan Gallery, New York; Devil Town at Gio Marconi, Milan; Le Miroir Vivant at The Museum Boijmans van Beuningen, Rotterdam, Netherlands (2015); Easternsports at the Institute of Contemporary Art, Philadelphia (2014, together with Jayson Musson). Da Corte's work was also included in the group exhibition Dreamlands: Immersive Cinema and Art, 1905–2016 at the Whitney Museum of American Art, New York. Past group exhibitions include the Louisiana Museum of Modern Art, Humlebæk, Denmark; the 13th Biennale de Lyon, Lyon, France among many others. In 2012, Da Corte was awarded a Pew Fellowship in the Arts from the Pew Center for Arts & Heritage.","bio_dates":"1980"},{"slug":"dahlberg_jonas_invisiblecities_2004_2005_iphone","ok":true,"partial":false,"title":"Invisible Cities","artist":"Jonas Dahlberg","year":"2004-2005","startOffset":0,"sourceSecs":2842.946,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":132999363,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dahlberg_jonas_invisiblecities_2004_2005_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dahlberg_jonas_invisiblecities_2004_2005_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dahlberg_jonas_invisiblecities_2004_2005_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dahlberg_jonas_invisiblecities_2004_2005_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dahlberg_jonas_invisiblecities_2004_2005_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Silent<br/><br/> The artist chose this title as a linkage with the book by Italo Calvino and, just like the author, he is keen to construct his work like an architecture, like a \"space which the reader can enter and explore, in which he can even get lost, but possibly also find the way out too.\" Here it is the spectator's eye and the way it sees which inform the space, because there are no inhabitants present, and the city is given over in all its architectural obviousness. <br/><br/> It is worth emphasizing that Jonas Dahlberg studied architecture, and that he finds in the art world the means to pursue his lines of thinking. In this sense, Invisible Cities deals with forgotten cities, cities \"between\", forgotten by politicians, newspapers and architects themselves. The way the artist's eye sees aims at underscoring what is alike in all these spaces, and spectators have the impression of moving about in a single place, whereas the artist traveled six months from city to city. As he himself hails from one such city, he casts a critical eye thereupon, but an eye imbued with a certain affection. Through its content and its spatial positioning, the Invisible Cities project thus wavers between politics and poetics.","artist_bio":"Jonas Dahlberg (born 1970, Borås) is a Swedish artist who lives in Stockholm, Sweden. He is mostly known for his video installation work. He is mostly known for his video installation work. One of his more notorious works involved placing surveillance cameras in toilets.\nDahlberg studied architecture at Lunds University from 1993 to 1995. From 1995 to 2000 he studied art at Malmö Art Academy where he received his M.F.A. in 2000. Since 2000 he has developed a series of videos that primarily consist of slow movements through architectural spaces. The videos are created by building miniaturized architectural sets that are filmed through experimental methods. In addition to video and video installation, his practice includes public art works, sculptures, commissions, book projects and photography.","bio_dates":"b. 1970"},{"slug":"dahlberg_jonas_weightlessspace_2004","ok":true,"partial":false,"title":"Weightless Space","artist":"Jonas Dahlberg","year":"2004","startOffset":0,"sourceSecs":2659.925,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":417990771,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dahlberg_jonas_weightlessspace_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dahlberg_jonas_weightlessspace_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dahlberg_jonas_weightlessspace_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dahlberg_jonas_weightlessspace_2004/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dahlberg_jonas_weightlessspace_2004/main/master.m3u8?v=2","hasMainHls":true,"description":"Year 2004. Single channel video installation. Projection size 400 x 300 cm., Silent <br/><br/> In Jonas Dahlberg’s video Weightless Space, the work that comes closest of any in the exhibition to expressing pure abstract space, the walls are the only feature of which one can be certain. Projected onto a false wall, creating the illusion of an extension of the box made to house it, the video shows a conventional, empty 1970s room, with a door slightly open to a brightly lit outside. The only object is a pot with a green plant that floats slowly around the room as if unaffected by gravity. The process of watching this endless film that focuses solely on weightlessness changes the viewer’s perception of their own body, bound by gravity, as unusually heavy. Having been seduced by the mesmeric movement of the pot, the viewer’s reactions shift to physical discomfort and loneliness, caught between his being and empty space. Although the room presented is the kind of neutral environment that we pass through on a daily basis, because the room itself is stripped back to the fundamentals of floor, walls and ceiling, our normal experiences of time and space become disorientated, the familiar uncanny. <br/><br/> Weightless Space appears to be digitally manipulated, but is in fact created by a camera movement through an artificially constructed space. A model of the room, placed in an aquarium filled with glycerol, was connected to a camera and the entire structure attached to a gyroscope which rotated the model in front of the camera. Dahlberg’s comment that ‘as an artist I can command a space perhaps even more fully than an architect who always has to hand over his creation’ affects one’s reading of Weightless Space. Although the model is an autonomous environment, not dissimilar from an architect’s model, it is designed purely to produce an illusory image of a timeless, science-fiction type environment. <br/><br/> -- Felicity Lunn, Interior View; Artists explore the language of architecture. (Catalogue text)","artist_bio":"Jonas Dahlberg (born 1970, Borås) is a Swedish artist who lives in Stockholm, Sweden. He is mostly known for his video installation work. He is mostly known for his video installation work. One of his more notorious works involved placing surveillance cameras in toilets.\nDahlberg studied architecture at Lunds University from 1993 to 1995. From 1995 to 2000 he studied art at Malmö Art Academy where he received his M.F.A. in 2000. Since 2000 he has developed a series of videos that primarily consist of slow movements through architectural spaces. The videos are created by building miniaturized architectural sets that are filmed through experimental methods. In addition to video and video installation, his practice includes public art works, sculptures, commissions, book projects and photography.","bio_dates":"b. 1970"},{"slug":"dailey_richard_luna_ms_y","ok":true,"partial":false,"title":"Luna & Ms.Y","artist":"Richard Dailey","year":"2004","startOffset":0,"sourceSecs":4312.534,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":703027503,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dailey_richard_luna_ms_y/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dailey_richard_luna_ms_y/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dailey_richard_luna_ms_y.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dailey_richard_luna_ms_y/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dailey_richard_luna_ms_y/main/master.m3u8?v=2","hasMainHls":true,"description":"A twisted story of the art-world gone bad.<br/><br/> The film follows Luna, an artist living in Paris fraught with creative block and lost in a repetitive rut of restless sleeping and uninspired artwork.<br/><br/> Unbeknownst to her, an ex-lover and art-school classmate turned internationally renown artist Ms.Y has come to Paris, along with her video camera wielding assistant, to mount a major gallery show of new work.<br/><br/> Ms. Y arrives back in Luna’s life with a Faustian bargain and the two begin a dangerous collaboration that goes horribly wrong and ends only in tears, blood, and carnage.<br/><br/> A deeply odd no-budget slasher film set in the art world of Paris; the film brings a searing critique of the selfish motivations of artist. <br/><br/> Its DIY charms produce a disturbing fever dream from the gutters of Paris and the cruelness of the denizens of the dog eat dog world of art.<br/><br/> Directed by Richard Dailey an American ex-patriot writer and media artist living in Paris, France.<br/><br/> Staring Eugénie Alquezar, Juliette Failevic, and Agnès Roland.<br/><br/> Soundtrack by the kings of 70’s French Punk Rock: Metal Urbain.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/creed.html\" rel=\"noopener\" target=\"_blank\">Richard Dailey in UbuWeb Sound</a>","artist_bio":"Richard Dailey is a American writer, artist and independent film maker based in Paris. His second one-man show of current and past work took place at Gallery sometimeStudio in Paris in February 2018. He is founder and president of Afterart Productions and serves on the executive board of Eurica Media Lab. Opium Books published his first novel, Unplugged Yellow, in 2016. His poetry, prose and art criticism have appeared in numerous journals internationally and Onestar Press published a book of his photography, DETAILS - private parts in public spaces, in 2002. His recent film projects include NOS STATES, a feature length documentary about French/American relations as seen from the French banlieues, and a political get-out-the-vote music video involving numerous French personalities. His films have been screened at Spectacle Theater, the Anthology Film Archives, La Mama, London Independent Film Festival, the Portobello Film Festival, the New Filmmakers Film Festival (N.Y.C.), the Cannes Independent Film Festival, the Africa World Documentary Festival, La Peniche Cinema, the Jonkoping Film Festival & E.S.R.A. as well as Les Voûtes in Paris.","bio_dates":"b. 1954"},{"slug":"dakic_danica_ny_diary_2001_2","ok":true,"partial":false,"title":"NY diary","artist":"Danica Dakić","year":"2001/2002","startOffset":0,"sourceSecs":1572.48,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":249148564,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dakic_danica_ny_diary_2001_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dakic_danica_ny_diary_2001_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dakic_danica_ny_diary_2001_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dakic_danica_ny_diary_2001_2/main.mp4?v=2","description":"A sailing boat is cruising into the wind. The camera detaches itself from the scenery to enlarge the field of vision and pans over a suburb tinged in faded light: a still life of white fences, all absolutely identical, little green lawns and red gabled roofs ~~ just as much models as the miniature schooner. The tranquil progress of the camera over the raster of stereotyped detached and terrace houses presents an artificial idyll dominated by exclusions and norms. Life is only lived here on the soundtrack: wind, bird calls, the sound of a motor muttering in the distance, the noise made by a piece of wheeled luggage being dragged, then a telephone interminably ringing. An answering machine comes into play. An insurance broker asks to be called back in order to dscuss 'Ms Schnitt's' old-age provisions ~~ only to make a point of reminding her that a ballpoint pen must be returned. The unsure voice off switches the situation to absurdity: the writing utensil has become a fetish seemingly linked to identity and power. In the meantime the camera eye lights on a terrace door opening into a living room and focuses on a painting: Jan Vermeer's 'A Girl Asleep' (1657). The picture, which looks bacchantic indeed in these dead surroundings, exposes the normed, typical notions of life for what they are: cliché-ridden and phantasmagorical alike and succinctly closes the circle leading to the opening sequence.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1962"},{"slug":"dali_1986_documentary_low_iphone","ok":true,"partial":false,"title":"Documentary Low","artist":"Salvador Dalí","year":"1986","startOffset":0,"sourceSecs":4513.602,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":261604397,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_1986_documentary_low_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_1986_documentary_low_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_1986_documentary_low_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_1986_documentary_low_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_1986_documentary_low_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This documentary chronicles the life of Salvador Dali, and is probably the most informative and comprehensive film on the subject. It contains rare footage of Dali, as well as interviews with him, which creates an in-depth journey through the various episodes of his career. All in all, a very personal portrait of the artist is rendered in this film. After opening with a terrific interview portion where Dali speaks of the masters, the film uncovers Dali’s early years, family life, art education, his inclusion in the French Surrealist scene, his expulsion from said scene, and his nearly life-long muse, Gala."},{"slug":"dali_salvador_a_soft_self_portrait_iphone","ok":true,"partial":false,"title":"A Soft Self Portrait","artist":"Salvador Dalí","year":"1967","startOffset":0,"sourceSecs":3151.725,"sourceHeight":320,"sourceWidth":428,"hasAudio":true,"hasAmbientMp4":true,"bytes":185616907,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_a_soft_self_portrait_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_a_soft_self_portrait_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_a_soft_self_portrait_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_a_soft_self_portrait_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_a_soft_self_portrait_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Of the many films that were made about Dalí’s life and art, perhaps none captures his clownish personality paired with extraordinary artistry as effectively as <i>Soft Self-Portrait of Salvador Dalí</i> (1967). This “creative documentary” by director Jean-Christophe Averty and narrated in English by Orson Welles was shot on location at Dalí’s home in Port Lligat, Spain, and includes such arresting (and suitably “surrealistic”) scenes as Dalí ecstatically playing a piano filled with cats – a reconstruction of a ‘cat organ’ in which a line of cats is fixed in place with their tails stretched out underneath a keyboard so that the cats cry out in pain when a key is pressed. Dalí, it seems, also associated pianos with sexuality – a link formed in his childhood by a book of venereal diseases that his father left open on the family piano to teach his son the perils of promiscuity. Other episodes in the film are no less peculiar: The artist marching triumphantly across the Spanish landscape throwing fistfuls of feathers into the air with a plaster rhinoceros head in a wheelbarrow at two children dressed as cherubs in tow is a prime example, as is the moment in which he emerges from a giant egg, spraying milk, “symbolic blood”, and “symbolic fish” across the Mediterranean beach. <br/><br/> Welles describes Dalí as a “prince of paradox”, but amidst the humorous hijiniks, <i>Soft Self-Portrait</i> proves to be one of the most informative documentaries on the artist’s life, detailing his emergence as an artist in the 1920s, his important contributions to Surrealism in the 1930s, and even his antecedence to 1960s Pop Art (Andy Warhol would later admit that he loved Dalí “because he’s so big”). The film is certainly not as well known as it should be, and the final sequence – an elaborate “happening” in which Dalí encloses himself in a clear plastic dome to “paint the sky” – confirms that Dalí was an extraordinary artist well beyond his heyday in the 1930s.","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_anuncis","ok":true,"partial":false,"title":"Lanvin, Alka-Seltzer, Veterano","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":56.448,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":3993913,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_anuncis/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_anuncis/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_anuncis.mp4","hasFrames":true},{"slug":"dali_salvador_ads_barretina_usa","ok":true,"partial":false,"title":"Barretina","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":29.768,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":1923470,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_barretina_usa/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_barretina_usa/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_barretina_usa.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_ads_barretina_usa/main.mp4?v=2","description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali_tv.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_boliograf_hotel","ok":true,"partial":false,"title":"Saint-Regis Hotel","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":45.372,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":3231550,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_boliograf_hotel/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_boliograf_hotel/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_boliograf_hotel.mp4","hasFrames":true},{"slug":"dali_salvador_ads_chien_andalou","ok":true,"partial":false,"title":"Chien Andalou II","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":44.164,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2885331,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_chien_andalou/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_chien_andalou/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_chien_andalou.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_ads_chien_andalou/main.mp4?v=2","description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali_tv.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_de_pequeno","ok":true,"partial":false,"title":"De pequeño...","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":27.841,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2085897,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_de_pequeno/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_de_pequeno/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_de_pequeno.mp4","hasFrames":true,"description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali_tv.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_escarxofes_tendres","ok":true,"partial":false,"title":"Escarxofes tendres","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":23.8,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":1600258,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_escarxofes_tendres/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_escarxofes_tendres/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_escarxofes_tendres.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_ads_escarxofes_tendres/main.mp4?v=2","description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali_tv.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_le_charleston","ok":true,"partial":false,"title":"Le Charleston","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":31.045,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2203916,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_le_charleston/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_le_charleston/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_le_charleston.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_ads_le_charleston/main.mp4?v=2","description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali_tv.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_oota_mongolia","ok":true,"partial":false,"title":"Oota Mongolia","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":6.014,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":335588,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_oota_mongolia/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_oota_mongolia/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_oota_mongolia.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_ads_oota_mongolia/main.mp4?v=2","description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_pippermint","ok":true,"partial":false,"title":"Pippermint","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":47.531,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":3344505,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_pippermint/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_pippermint/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_pippermint.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_ads_pippermint/main.mp4?v=2","description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali_tv.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_quixot","ok":true,"partial":false,"title":"Quixot","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":45.72,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":3416486,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_quixot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_quixot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_quixot.mp4","hasFrames":true,"description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali_tv.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_robespierre","ok":true,"partial":false,"title":"Robespierre","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":27.725,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":1899165,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_robespierre/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_robespierre/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_robespierre.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_ads_robespierre/main.mp4?v=2","description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali_tv.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_surrealis_mo","ok":true,"partial":false,"title":"Surrealis-mo","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":27.376,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":1952961,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_surrealis_mo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_surrealis_mo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_surrealis_mo.mp4","hasFrames":true,"description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali_tv.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_ads_una_polla_xica","ok":true,"partial":false,"title":"Una polla Xica","artist":"Salvador Dalí","year":null,"startOffset":0,"sourceSecs":31.595,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2272495,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_una_polla_xica/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_ads_una_polla_xica/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_ads_una_polla_xica.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_ads_una_polla_xica/main.mp4?v=2","description":"from Salvador Dalí - <a href=\"https://ubu.com/film/dali_tv.html\" rel=\"noopener\" target=\"_blank\">Television Advertisements, Spots, &amp; Appearances</a>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_destino_1945","ok":true,"partial":false,"title":"Destino","artist":"Salvador Dalí","year":"1945","startOffset":0,"sourceSecs":406.549,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":73410503,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_destino_1945/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_destino_1945/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_destino_1945.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_destino_1945/main.mp4?v=2","description":"Destino is an animated short film released in 2003 by The Walt Disney Company. Destino is unique in that its production originally began in 1945, 58 years before its eventual completion. The project was a collaboration between American animator Walt Disney and Spanish painter Salvador Dalí, and features music written by Mexican songwriter Armando Dominguez and performed by Dora Luz. It was included in the Animation Show of Shows in 2003. <br/><br/> Destino (the Galician, Spanish, Portuguese and Italian word for \"destiny\") was storyboarded by Disney studio artist John Hench and artist Salvador Dalí for eight months in late 1945 and 1946; however production ceased not long after. The Walt Disney Company, then Walt Disney Studios, was plagued by many financial woes in the World War II era. Hench compiled a short animation test of about 17 seconds in the hopes of rekindling Disney's interest in the project, but the production was no longer deemed financially viable and put on indefinite hiatus. <br/><br/> In 1999, Walt Disney's nephew Roy E. Disney, while working on Fantasia 2000, unearthed the dormant project and decided to bring it back to life. Disney Studios France, the company's small Parisian production department, was brought on board to complete the project. The short was produced by Baker Bloodworth and directed by French animator Dominique Monfréy in his first directorial role. A team of approximately 25 animators deciphered Dalí and Hench's cryptic storyboards (with a little help from the journals of Dalí's wife Gala Dalí and guidance from Hench himself), and finished Destino's production. The end result is mostly traditional animation, including Hench's original footage, but it also contains some computer animation. The 17 second original footage that is included in the finished product is the segment with the two tortoises (this original footage is referred to in Bette Midler's host sequence for The Steadfast Tin Soldier in Fantasia 2000, as an \"idea that featured baseball as a metaphor for life\"). <br/><br/> Destino premiered on June 2, 2003 at the Annecy International Animated Film Festival in Annecy, France. The six-minute short follows the love story of Chronos and the ill-fated love he has for a mortal female. The story continues as the female dances through surreal scenery inspired by Dalí's paintings. There is no dialogue, but the soundtrack features a song by the Mexican composer Armando Dominguez. <br/><br/> The short film was very well received; it won many awards and was nominated for the 2003 Academy Award for Best Animated Short Film. Destino was released theatrically in a very limited release with the film Calendar Girls. The film was shown as part of the exhibition Dalí & Film at Tate Modern from June to September 2007, as part of the Dalí exhibit at the LA County Museum of Art from October 2007 to January 2008, and at an exhibition at New York's Museum of Modern Art called Dalí: Painting and Film from June to September 2008 as well as at an exhibit at the Dalí Museum in St. Petersburg, Florida in 2008. In mid-2009, it had exposure in Melbourne, Australia at the National Gallery of Victoria through the Dalí exhibition Liquid Desire, and from late 2009 through April 2010 at the Dayton Art Institute in Dayton, Ohio, in an exhibit entitled Dalí and Disney: The Art and Animation of Destino. <br/><br/> The Disney DVD \"True-Life Adventures, Volume 3\" has a trailer for Destino and mentions a DVD release. In 2007, the True-Life Adventure series was suspended and those titles previously announced were moved to the Walt Disney Treasures line. Destino was subsequently scheduled for release on November 11, 2008. From the January 20, 2008 press release: <br/><br/> Destino began in 1946 as a collaboration between Walt Disney and the famed surrealist painter Salvador Dalí. A first-hand example of Disney's interest in avant garde and experimental work in animation, Destino was to be awash with Dalí's iconic melting clocks, marching ants and floating eyeballs. However, Destino was not completed at that time. In 2003, it was rediscovered by Walt’s nephew, Roy E. Disney, who took on the challenge of bringing the creation of these two great artists to fruition. In addition to the completed Destino, this exciting addition to the Walt Disney Treasures line also includes an all-new feature-length documentary that examines the surprising partnership between Dalí and Disney plus two new featurettes; \"The Disney That Almost Was\", an examination of the studio's unfinished projects; and \"Encounters with Walt\", which addresses the surprisingly diverse group of celebrities and artists who were attracted to Walt Disney's early work. <br/><br/> A June 2008 press release for the Walt Disney Treasures line revealed Destino was being excluded from a 2008 Treasures release. According to Treasures host Leonard Maltin, the film was still likely to see an eventual DVD release, yet not necessarily within the Treasures moniker. <br/><br/> Destino is available as a special feature on the Fantasia & Fantasia 2000 Special Edition Blu-ray released on November 30, 2010. -- Wikipedia","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"dali_salvador_impressions_de_la_haute_mongolie_1976","ok":true,"partial":false,"title":"Impressions de la Haute Mongolie - Hommage á Raymond Roussel","artist":"Salvador Dalí","year":"1976","startOffset":0,"sourceSecs":3001.579,"sourceHeight":504,"sourceWidth":630,"hasAudio":true,"hasAmbientMp4":true,"bytes":506784214,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_impressions_de_la_haute_mongolie_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dali_salvador_impressions_de_la_haute_mongolie_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dali_salvador_impressions_de_la_haute_mongolie_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_impressions_de_la_haute_mongolie_1976/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dali_salvador_impressions_de_la_haute_mongolie_1976/main/master.m3u8?v=2","hasMainHls":true,"description":"Salvador Dalí's romance with film and the visual arts is a relatively well-known chapter in the life of the original and controversial Spanish (Catalan) artist (1904-1989). His collaboration with Luis Buñuel in the writing of Un Chien Andalou (1929) and L'Age D'Or (1930) has been extensively examined and documented. However, his explorations of video art with the production of the \"documentary\" Impressions de la haute Mongolie. Hommage a Raymond Roussel (1974-75) remain an episode of his long and successful creative career only acknowledged by the specialist. The fact that the video production has not been commercialized by, more or less, vague reasons related to copyright disputes did not help to make this innovative work better known. The \"videografía\", written in collaboration with its director José Montes Baquer and produced with Sony-Cologne and WDR, narrates the exploration of Dalí to the remote land of Mongolia in search of the Great White Mushroom. Salvador Dalí, a consummate expert in media manipulation, invites the spectator to become his accomplice and partner in what it seems a drug-induced \"trip\" to a faraway and distant land where wonderful treasures are hidden. By means of advanced technology in film and the visual arts of the time (video, electronics, macro photography), Dalí strives to reveal optically the metamorphoses of matter with the purpose of revealing a new artistic reality. The journey --inspired by the psychedelic aesthetic of the seventies and narrated by Dalí in Catalan, with French subtitles that roughly translates his words-- will offer the possibility of exploring the cosmos through the observation of a small metal piece magically transformed by Dalí's secret techniques. The adventure concludes in a Catalan town where the crowd participates in a public ceremony of communal painting (a true \"happening\") conducted and directed by Dalí. The multitude will worship him as a king (or so he intends) who does not shy away from acting as a clown. The homage that Dalí pays to himself in the film is made extensive to the figure of his beloved Raymond Roussel (1877-1933), the author of Locus Solus (1914) and Nouvelle Impressions d'Afrique (1932) whose homonymic puns where so celebrated by the Surrealists, and are the base for Dali's explorations of the double-image and the macro/micro reality on which his own impressions are based. (Source: http://www.dartmouth.edu/~lhc/////////institutes/fall2007/roussel.html)<br><br><b>RESOURCES:</b><br/><br/><a href=\"https://ubu.com/sound/dali.html\" rel=\"noopener\" target=\"_blank\">Salvador Dali in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/historical/dali/index.html\" rel=\"noopener\" target=\"_blank\">Salvador Dali in UbuWeb Historical</a></br>","artist_bio":"Television Advertisements, Spots, & Appearances\n(1960s-70s)","bio_dates":"1904-1989"},{"slug":"damian_hirst_samuel_beckett_breath","ok":true,"partial":false,"title":"Breath, Directed by Damien Hirst","artist":"Samuel Beckett","year":null,"startOffset":0,"sourceSecs":81.259,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1887388,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/damian_hirst_samuel_beckett_breath/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/damian_hirst_samuel_beckett_breath/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/damian_hirst_samuel_beckett_breath.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/damian_hirst_samuel_beckett_breath/main.mp4?v=2","description":"Directed by Damien Hirst, from <i>Beckett on Film</i>, 1 minute, 21 seconds<br><br><b>Synopsis</b> <br><br> Breath was written in 1969 in response to Kenneth Tynan's request for a piece for his show Oh, Calcutta, which featured a series of risqué sketches. It lasts less than a minute. On a set full of rubbish, a person cries out, then breathes in again. <br/><br/> 'Faint brief cry and immediately inspiration and slow increase of light together reaching maximum together in about ten seconds. Silence and hold about five seconds.' – Breath<br><br><b>Director</b> <br><br> Damien Hirst was born in Bristol in 1965. He attended Goldsmiths' College, University of London from 1986 until 1989. While still a student, Damien curated the widely acclaimed 'Freeze' exhibition, which launched the career of many successful artists including himself. He has had many solo shows in London, New York and Zurich. He exhibited at the Tate Gallery and recently showed pieces in the 'Sensation' exhibition at the Royal Academy. He was short-listed for the Turner Prize in 1992 and won it in 1995. <br/><br/> 'When I was asked to direct this film, I read the text and thought it was incredibly precise and strict. While preparing to shoot, I kept reading the text over and over and what really focused me was Beckett's direction \"Hold for about five seconds\". That was when I realised that Beckett had this massive sense of humour.' – Damien Hirst<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/papers/beckett_schneider.html\" rel=\"noopener\" target=\"_blank\">Alan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers</a><br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a></br></br></br></br></br>","artist_bio":"A Couple of Cannibals Eating a Clown (I Should Coco)\n(dir. Damien Hirst and Angus Fairhurst)\nDamien Steven Hirst (born 7 June 1965) is an English artist, entrepreneur and art collector. He is the most prominent member of the group known as the Young British Artists (or YBAs), who dominated the art scene in the UK during the 1990s. He is internationally renowned, and is reportedly the United Kingdom's richest living artist, with his wealth valued at £215m in the 2010 Sunday Times Rich List During the 1990s his career was closely linked with the collector Charles Saatchi, but increasing frictions came to a head in 2003 and the relationship ended.\nDeath is a central theme in Hirst's works. He became famous for a series of artworks in which dead animals (including a shark, a sheep and a cow) are preserved—sometimes having been dissected—in formaldehyde. The best known of these being The Physical Impossibility of Death in the Mind of Someone Living, a 14-foot (4.3 m) tiger shark immersed in formaldehyde in a vitrine (clear display case). He has also made \"spin paintings,\" created on a spinning circular surface, and \"spot paintings\", which are rows of randomly coloured circles created by his assistants.\nIn September 2008, he took an unprecedented move for a living artist by selling a complete show, Beautiful Inside My Head Forever, at Sotheby's by auction and by-passing his long-standing galleries. The auction exceeded all predictions, raising £111 million ($198 million), breaking the record for a one-artist auction= as well as Hirst's own record with £10.3 million for The Golden Calf, an animal with 18-carat gold horns and hooves, preserved in formaldehyde.=\nIn several instances since 1999, sources for certain of Hirst's works have been challenged and contested as plagiarised, both in written articles by journalists and artists, and, in one instance, through legal proceedings which led to an out-of-court settlement","bio_dates":"1906 - 1989"},{"slug":"dash_julie_the_rosa_parks_story_2002","ok":true,"partial":false,"title":"The Rosa Parks Story","artist":"Julie Dash","year":"2002","startOffset":0,"sourceSecs":5680.022,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":323478511,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dash_julie_the_rosa_parks_story_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dash_julie_the_rosa_parks_story_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dash_julie_the_rosa_parks_story_2002.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dash_julie_the_rosa_parks_story_2002/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dash_julie_the_rosa_parks_story_2002/main/master.m3u8?v=2","hasMainHls":true,"description":"A seamstress recalls events leading to her act of peaceful defiance that prompted the 1955 bus boycott in Montgomery, Alabama. This is a true story. <br/><br/> Starring: Angela Bassett, Peter Francis James, Tonea Stewart, Von Coulter, Dexter King, Afemo Omilami, Sonny Shroyer & Mike Pniewski.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Julie Dash in UbuWeb Sound</a>","artist_bio":"Nigerian-born, Ijeoma Iloputaife, artist name Omah Diegu, was among the first generation of U.S.-trained African filmmakers. She studied filmmaking at the University of California Los Angeles (UCLA) during the \"L.A. Rebellion\", a film movement whose objective was to legitimised African, African American and Native experiences and visual representation by confronting Eurocentric aesthetics and questioning western culture as the point of reference in film language and elements of style. Omah Diegu, who lives and works in the United States, talks about her experiences during this historic period and her evolution as artist and cultural producer.","bio_dates":"b. 1952"},{"slug":"davey_moira_50_minutes_iphone","ok":true,"partial":false,"title":"50 Minutes","artist":"Moyra Davey","year":"2006","startOffset":0,"sourceSecs":3036.66,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":182908280,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/davey_moira_50_minutes_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/davey_moira_50_minutes_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/davey_moira_50_minutes_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/davey_moira_50_minutes_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/davey_moira_50_minutes_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"“What to read?” is a recurring dilemma in my life.<br/><br/> The question always conjures up an image: a woman at home, half-dressed, moving restlessly from room to room, picking up a book, reading a page or two and no sooner feeling her mind drift, telling herself, “You should be reading something else, you should be doing something else.” The image also has a mise-en-scène: overstuffed, disorderly shelves of dusty and yellowing books, many of them unread; books in piles around the bed or faced down on a table; work prints of photographs, also with a faint covering of dust, taped to the walls of the studio; a pile of bills; a sink full of dishes. She is trying to concentrate on the page in front of her but a distracting blip in her head travels from one desultory scene to the next, each one competing for her attention. It is not just a question of which book will absorb her, for there are plenty that will do that, but rather, which book, in a nearly cosmic sense, will choose her, redeem her. Often what is at stake, should she want to spell it out, is the idea that something is missing, as in: what is the crucial bit of urgently needed knowledge that will save her, at least for this day? She has the idea that if she can simply plug into the right book then all will be calm, still, and right with the world. - Moyra Davey, The Problem of Reading (2003) -- <a href=\"http://www.eai.org/title.htm?id=12245\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Moyra Davey (born 1958) is a Canadian visual artist. Over the past three decades, Davey has built an increasingly influential body of work composed of photographs, writings, and video. As opposed to a current predilection for large-scale, digitally manipulated photographs, her seemingly modest works reclaim a practice of photography grown out of contingency and accident. Her camera often turns towards the unseen or the overlooked, as her subjects include dust, books, records, coins, empty whiskey bottles, coffee cups, gravestones, and people writing on the subway. Her practice presents a wide-ranging model of engagement with the world: a reflection on possibilities of producing and consuming, on writing and reading, on novelty and obsolescence, and on the future of images amidst an economy of profuse reproduction.\nShe currently lives and works in New York City and is a faculty member at the Bard College International Center of Photography Program. Her work, \"Copperheads\", has been exhibited at the Guggenheim in New York City.","bio_dates":"b. 1958"},{"slug":"davey_moira_my_necropolis","ok":true,"partial":false,"title":"My Necropolis","artist":"Moyra Davey","year":"2009","startOffset":0,"sourceSecs":1938.282,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":322225190,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/davey_moira_my_necropolis/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/davey_moira_my_necropolis/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/davey_moira_my_necropolis.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/davey_moira_my_necropolis/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/davey_moira_my_necropolis/main/master.m3u8?v=2","hasMainHls":true,"description":"My Necropolis, pairs footage of cemeteries with attempts at interpreting an enigmatic line from a letter that Walter Benjamin wrote to his friend Gershom Scholem in 1931. Benjamin, living in very difficult financial circumstances, mentions a clock outside his window which increasingly becomes a luxury that “it is difficult to do without.” Alongside the film are a number of new photographs taken over the past year while Davey was on a residency at the Cité des Arts in Paris. Mailed to friends in New York and unfolded on the gallery walls, these photographs trace the passage of time, showing graves and tombstones, clocks, coffee cups, maps, tabletops, and interiors. As Miwon Kwon writes: “Daveyʼs works remind us of ʻslow time,ʼ the cyclical and durational experience of our daily existence that is the site of magic and drudgery, identity and history. . . not the truth of reality but what is true of a life lived attentively.”","artist_bio":"Moyra Davey (born 1958) is a Canadian visual artist. Over the past three decades, Davey has built an increasingly influential body of work composed of photographs, writings, and video. As opposed to a current predilection for large-scale, digitally manipulated photographs, her seemingly modest works reclaim a practice of photography grown out of contingency and accident. Her camera often turns towards the unseen or the overlooked, as her subjects include dust, books, records, coins, empty whiskey bottles, coffee cups, gravestones, and people writing on the subway. Her practice presents a wide-ranging model of engagement with the world: a reflection on possibilities of producing and consuming, on writing and reading, on novelty and obsolescence, and on the future of images amidst an economy of profuse reproduction.\nShe currently lives and works in New York City and is a faculty member at the Bard College International Center of Photography Program. Her work, \"Copperheads\", has been exhibited at the Guggenheim in New York City.","bio_dates":"b. 1958"},{"slug":"davey_moira_notes_on_blue","ok":true,"partial":false,"title":"Notes On Blue","artist":"Moyra Davey","year":"2015","startOffset":0,"sourceSecs":1680.703,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":741342373,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/davey_moira_notes_on_blue/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/davey_moira_notes_on_blue/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/davey_moira_notes_on_blue.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/davey_moira_notes_on_blue/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/davey_moira_notes_on_blue/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>Notes from the Interior: Moyra Davey’s Notes on Blue</b><br/><br/>The first in a series of Moving Image Commissions premiered in the Walker Cinema and released online June 1 for a limited run, Moyra Davey’s new 28-minute film, Notes on Blue (2015) is a response to the late British filmmaker Derek Jarman. Here, Bentson Scholar Isla Leaver-Yap discusses the artist’s exploration of mortality, color, and identity. <br><br> Moyra Davey’s Notes on Blue begins with a frank explanation of how it came to be: “I began with a first note to myself,” says Davey as she walks back and forth in front of the camera. “I made a list. But I’ll start in the middle with Blue Ruin, a one-minute movie shot on outdated film stock about a woman at the end of the day, threading her bra out from under her t-shirt, while pouring shots of gin from the freezer.”<br/> <br/> Braiding together disparate observations and personal accounts, Notes on Blue is an episodic meditation on blindness, color, and the life and work of British filmmaker Derek Jarman (1942–1994). From the opening scene of her 28-minute video and throughout the work, Davey continually folds time back on itself. In her prefatory monologue the artist establishes a new orientation; she states that the beginning is not actually the beginning at all, but the middle. The middle to which she refers is, meanwhile, an anachronistic fragment: Blue Ruin, a film storyboarded ten years ago, a year before the artist went blind in one eye.<br/> <br/> Notes on Blue is the result of Davey’s enquiry and responses to the work and legacy of Jarman the filmmaker, gardener, political activist and, perhaps most significantly for Davey, Jarman the writer. At the invitation of the Walker Art Center last year, Davey began her commission by poring over the late filmmakers notes and journals. Jarman was a prolific writer, whose voluminous autobiographical books and personal sketchbooks occasionally spilled over into autofiction. His style of writing — intimate and uninhibited — is an intriguing complement to Davey’s own confessional and lyrical writing that often takes the form of short essays and personal notes, published in parallel with her exhibitions of photographic work or else employed as spoken-word monologues to her essay films, including Fifty Minutes (2006), Les Goddesses (2011), and, now, Notes on Blue. Davey amassed her personal reflections on Jarman, rewriting them into her own pre-existing texts, spawning new ones, and incorporating these alongside her own Super-8 and digital video footage both recent and old.<br/> <br/> In Notes on Blue, Jarman’s experience with blindness as a consequence of AIDS is paralleled with Davey’s own blindness as a consequence of Multiple Sclerosis. Both draw on illness as a site of production, a catalyst for thought as much as a subject. Jarman’s blindness was the subject of his final film Blue (1994), a single continuous shot of Yves Klein’s International Blue (the color Jarman said he could see when he went blind), accompanied by a 79-minute autobiographical monologue. It is this Blue to which Davey’s work refers, occasionally paraphrases, and intersperses with her own typically wry reflections on illness: “My first reaction was relief I didn’t have a brain tumor and, like many patients, I enjoyed being the actor at the center of my own drama,” says Davey on finding the cause of her blindness. “Thus began a different way of life.” (Unsentimental and direct, both Davey’s responses and her invocation of Jarman’s are reminiscent of Virginia Woolf’s own reflections in her book On Being Ill. As the latter wrote: “Incomprehensibility has an enormous power over us in illness, more legitimately perhaps than the upright will allow. In health meaning has encroached upon sound.”)<br/> <br/> Together with an associative and personalized array of quotations, diary entries, and anecdotes, the reflective thrust of Notes on Blue also takes detours into the personal lives of American poet Anne Sexton, Argentinian writer Jorge Luis Borges, German filmmaker Rainer Werner Fassbinder, and British musician PJ Harvey. Each of these figures are amalgamated into Davey’s personal constellation of equivalences, and their words are suspended epigraphically within her own narrative — a spoken monologue that is itself mediated through a prerecorded audio prompt that plays over headphones worn by the artist as a form of aide memoire.<br/> <br/> The structuring principle of Notes on Blue — the form of the personal note — is embedded both in the work’s title and its opening monologue. As something that always seeks to encapsulate an event or impression, the primary function of the personal note is to preserve and transport intimate observations about the present into the future; and, as the future becomes the present, the personal note becomes an archive. Maintaining some details at the cost of obscuring others, the personal note can be a compulsive form. Responding sympathetically to Roland Barthes’s apparent addiction to note-taking (a habit that regularly interrupted his conversations and walks with friends), Davey wrote in her 2007 essay “Notes on Photography and Accident,”<br/> <br/> Reading and thinking about note-taking gives me a form of security, a thrill even. […] I’m drawn to fragmentary forms, to lists, diaries, notebooks and letters. Even just reading the word ‘diary’ elicits a frisson, a touch of promise. It’s the concreteness of these forms, the clarity of their address, that appeals and brings to mind Virginia Woolf’s dictum about writing, that “to know whom to write for is to know how to write.”<br/> <br/> As Davey explains by way of Woolf, the inner logic of the personal note collapses reader and writer together. It excuses the need for linear narrative and permits content to jump between times and places. Subject matter is meanwhile arbitrarily bound together by physical proximity on the page as much as in the mind of its author. It is in this vein that Notes on Blue traverses its episodic sketches, purposefully constituting its own interior sense of time.<br/> <br/> Davey’s preoccupation with noting and recording the quality of time and its effects has recurred throughout her expansive practice. Her art directly engages with the interplay between personal time and the narratives it produces, whether through her analogue photographs of fridge-freezers, clocks, or dust (all portraits of time accrued or suspended); videos that re-examine her formative family portraits and illustratively places them alongside the diarized lives of Mary Wollstonecraft and her family and lovers; or her short and informal collection of published texts that intersperse quotes from critics, poets and artists with her own reminiscences and responses. Integral to Davey’s inquiry, too, is the artist’s inhabitation of domestic time and space — a site that might offer respite from the industrialized clock of work time, as well as the potential to withdraw from social interactions that would inhibit personal reflection and interiority.<br/> <br/> In many of Davey’s previous photographs and videos, her New York apartment has served as the private backdrop, where the residue of home living is observed and captured: lint is glimpsed gathering under furniture, incongruous patches of floor tiling are flattened out photographically in two dimensions, groaning bookshelves and stacks of old records provide their own indexical drama. But in Notes on Blue the space of the artists’ home is not simply a feature to be observed, but an architecture that is subjected to a domestic choreography. As Davey recites her monologue, she paces the corridors, moving back and forth between doors that swing open and closed as if she and the architecture are part of the same metronome, her movement demonstrating depth and space for the benefit of the screen. Rooms become a stage for the recitations of her personal notes, and Davey’s wandering is akin to didactic memory game of Roman Rooms. As the artist’s voice attentively heeds her audio prompts, so too her movement through the apartment finds its own rhythm and familiar, measured gravity. The home gradually takes on its own character, becoming an unlikely witness and container to histories that would otherwise remain separate.<br/> <br/> Windows, too, are a key feature in Notes on Blue. They initially appear as occlusions to vision; their brightness casts the room in shadow, and the artist stands before the camera in murky silhouette. The intensity of the interior is amplified, and the brilliance of the outside is rendered a blank — an extremity of vision, or perhaps a lack. Such qualities recall the attitudes of Austrian architect Adolf Loos, who once remarked that a cultivated man does not look out of the window, “his window is ground glass; it is there only to let the light in, not to let the gaze pass through.” And yet, as Notes on Blue begins to unfold to include dream-like sequences that appear like tarot cards evenly distributed through the work — an abandoned bird’s nest, a dazzling moon, a dog vanished through jump-cut, a young woman wearing angel wings in a New Jersey train station, and an auspicious shot of construction laborers suspended between Davey’s apartment block and her neighbor’s — the apartment windows emerge as dilating apertures opening out onto the world, climaxing with a wide open shot of the city at dawn.<br/> <br/> Notes on Blue is a work that is always attempting to gather an atomizing identity. Just as she compares Jarman to “Pasolini, by way of Fellini,” so too Davey’s own subjectivity is similarly distributed among her sources and influences. Her irrepressible stream of personal notes and lyrical associations occasionally tip the narrative over into the fantastic, where the spoken monologue and the images to which it is tied abrade each other in perpetual and productive tension. Towards the end of the film, Davey acknowledges that the shift between her use of the analogue technologies she once knew but is quickly forgetting and the digital ones she is struggling to learn has produced a “strange suspension” in her life. Notes on Blue shrewdly articulates this particular feeling of suspension by straddling different technologies, eras, mediums and ideas. Its common thread, then, is not only the figure of the artist — the conduit and protagonist who reorders events and materials into a personal pattern of correspondences — but the sustained register of intimacy, whose language composes a delicate treatise on the daily experience of aesthetics and mortality.</br></br>","artist_bio":"Moyra Davey (born 1958) is a Canadian visual artist. Over the past three decades, Davey has built an increasingly influential body of work composed of photographs, writings, and video. As opposed to a current predilection for large-scale, digitally manipulated photographs, her seemingly modest works reclaim a practice of photography grown out of contingency and accident. Her camera often turns towards the unseen or the overlooked, as her subjects include dust, books, records, coins, empty whiskey bottles, coffee cups, gravestones, and people writing on the subway. Her practice presents a wide-ranging model of engagement with the world: a reflection on possibilities of producing and consuming, on writing and reading, on novelty and obsolescence, and on the future of images amidst an economy of profuse reproduction.\nShe currently lives and works in New York City and is a faculty member at the Bard College International Center of Photography Program. Her work, \"Copperheads\", has been exhibited at the Guggenheim in New York City.","bio_dates":"b. 1958"},{"slug":"davey_moyra_my_saints_2014","ok":true,"partial":false,"title":"My Saints","artist":"Moyra Davey","year":"2014","startOffset":0,"sourceSecs":1846.059,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":111565557,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/davey_moyra_my_saints_2014/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/davey_moyra_my_saints_2014/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/davey_moyra_my_saints_2014.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/davey_moyra_my_saints_2014/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/davey_moyra_my_saints_2014/main/master.m3u8?v=2","hasMainHls":true,"description":"Following Jean-Pierre Gorin, and other New Wave filmmakers, Moyra Davey’s transparency allows us to explore the space between the text and the writer’s construction of the narrative, between text and reader, between word and interpretation. The film My Saints is a collective portrait of friends and family as they interpret a passage from Genet’s journal—in which he watches a friend frantically search for money that he stole—and elaborate their own experiences of deception. Davey’s project is one in which a text becomes a source for delving into a rigorous scrutiny of one’s self.","artist_bio":"Moyra Davey (born 1958) is a Canadian visual artist. Over the past three decades, Davey has built an increasingly influential body of work composed of photographs, writings, and video. As opposed to a current predilection for large-scale, digitally manipulated photographs, her seemingly modest works reclaim a practice of photography grown out of contingency and accident. Her camera often turns towards the unseen or the overlooked, as her subjects include dust, books, records, coins, empty whiskey bottles, coffee cups, gravestones, and people writing on the subway. Her practice presents a wide-ranging model of engagement with the world: a reflection on possibilities of producing and consuming, on writing and reading, on novelty and obsolescence, and on the future of images amidst an economy of profuse reproduction.\nShe currently lives and works in New York City and is a faculty member at the Bard College International Center of Photography Program. Her work, \"Copperheads\", has been exhibited at the Guggenheim in New York City.","bio_dates":"b. 1958"},{"slug":"davey_moyra_weddingloop_2017","ok":true,"partial":false,"title":"Weddingloop","artist":"Moyra Davey","year":"2017","startOffset":0,"sourceSecs":1373.398,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":86129724,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/davey_moyra_weddingloop_2017/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/davey_moyra_weddingloop_2017/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/davey_moyra_weddingloop_2017.m4v","hasFrames":true,"description":"In Wedding Loop (2017), Davey takes up the enigmas of identity, cycling through ruminations on her dysfunctional family and who she is in their midst. She includes meditations on Julia Margaret Cameron, another of her artistic “mothers,” who permissions her own love and doubt and artistic practice. Davey speaks about “decreating” herself. Whether she plumbs her fear of failure and feelings of worthlessness or is distracted by the sheer banality of life, the viewer senses she is continuously deposing herself as a means of arrest in an attempt to grasp life at all."},{"slug":"david_moffett_and_ornette_the_ornette_coleman_trio_1966_dir_dick_fonatine_1966","ok":true,"partial":false,"title":"David, Moffett, and Ornette: The Ornette Coleman Trio (1966), dir. Dick Fonatine","artist":"Ornette Coleman","year":"1966","startOffset":0,"sourceSecs":1680.32,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":103620066,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/david_moffett_and_ornette_the_ornette_coleman_trio_1966_dir_dick_fonatine_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/david_moffett_and_ornette_the_ornette_coleman_trio_1966_dir_dick_fonatine_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/david_moffett_and_ornette_the_ornette_coleman_trio_1966_dir_dick_fonatine_1966.mkv","hasFrames":true,"description":"David, Moffett, and Ornette: The Ornette Coleman Trio (1966), dir. Dick Fonatine)\n\nRealized by Richard \"Dick\" Fontaine -who is considered to be one of the founding fathers of erotic gay cinema (with such titles as \"the days of greek gods\") and that years later realized the full length film \"Art Blakey : The jazz messenger\"-, the film was made in 3 days and offers a portrait of the trio that becomes an \"ironic essay in dignity in the face of insanity\". Ornette, who in this era was one of the leaders of the jazz avant-garde movement, faced the challenge with his two fellow musicians by responding with passionate improvisations to the stimuli that reached him from the screen where the images are projected. (uploader's note : to be more precise, this is the recording session of the soundtrack for the film \"who's crazy ?\"). A priceless testimony to the innovations which revolutionized the world of jazz in the sixties."},{"slug":"daydream_therapy_1977","ok":true,"partial":false,"title":"Daydream Therapy","artist":"Bernard Nicolas","year":"1977","startOffset":0,"sourceSecs":475.642,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":87391065,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/daydream_therapy_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/daydream_therapy_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/daydream_therapy_1977.mp4","hasFrames":true,"description":"From L.A. Rebellion: Creating a New Black Cinema (1971-2006)\n\nDaydream Therapy is set to Nina Simone’s haunting rendition of “Pirate Jenny” and concludes with Archie Shepp’s “Things Have Got to Change.” Filmed in Burton Chace Park in Marina del Rey by activist-turned-filmmaker Bernard Nicolas as his first project at UCLA, this short film poetically envisions the fantasy life of a hotel worker whose daydreams provide an escape from workplace indignities. —Allyson Nadia Field"},{"slug":"daydream_therapy_1977_ac0104","ok":true,"partial":false,"title":"Daydream Therapy","artist":"Bernard Nicolas","year":"1977","startOffset":0,"sourceSecs":475.642,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":87394323,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/daydream_therapy_1977_ac0104/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/daydream_therapy_1977_ac0104/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/daydream_therapy_1977_ac0104.mp4","hasFrames":true,"description":"From L.A. Rebellion: Creating a New Black Cinema (1971-2006)\n\nDaydream Therapy is set to Nina Simone’s haunting rendition of “Pirate Jenny” and concludes with Archie Shepp’s “Things Have Got to Change.” Filmed in Burton Chace Park in Marina del Rey by activist-turned-filmmaker Bernard Nicolas as his first project at UCLA, this short film poetically envisions the fantasy life of a hotel worker whose daydreams provide an escape from workplace indignities. —Allyson Nadia Field"},{"slug":"de_beer_disappear_here_2004","ok":true,"partial":false,"title":"Disappear Here","artist":"Sue de Beer","year":"2004","startOffset":0,"sourceSecs":265.067,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":13338149,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_beer_disappear_here_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_beer_disappear_here_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/de_beer_disappear_here_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/de_beer_disappear_here_2004/main.mp4?v=2","description":"Playlength, 4 mins<br/> Monologue text by Alissa Bennett<br/> Originally an installation: 2 channel video, with sculptural elements.<br/> Shot in NYC, December 2004.<br/><br/>\"\"De Beer does not pass judgment on [her] characters, instead allowing them the space necessary to reach for an uneasy eloquence. The juxtaposition of conversational tics—the everpresent “likes” and “ums” of youthful speech—with a disarming self-awareness makes her portraits of lives in limbo uncommonly convincing.  <br><br> De Beer's characters are not only concerned with their futures. Disappear Here, 2004, looks back: The video focuses on the porous border between memory and desire by looking at a teenage girl who recalls a third grade field trip and takes a Polaroid self-portrait.  <br/><br/> De Beer's theatrically stylized videos round out our understanding of the jumbled episodes we've all lived through, humanely outlining their intricate mental and emotional sphere.\" <br/><br/> -Brian Shollis, ISSUE, Fall 2004<br><br><b>RESOURCES:</b> <br><br> These videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Sue de Beer. Used with permission of Sue de Beer. <br><br> Used with the kind permission of <a href=\"https://ubu.com/film/www.marianneboeskygallery.com/\" rel=\"noopener\" target=\"_blank\">Marianne Boesky Gallery</a> in NYC and <a href=\"http://www.christianehrentraut.com/\" rel=\"noopener\" target=\"_blank\">Galerie Christian Ehrentraut </a>in Berlin.</br></br></br></br></br></br>","artist_bio":"Sue de Beer (born 1973 in Tarrytown, New York) is a contemporary artist who lives and works in New York City. As an artist, de Beer uses multiple media including photography, video, installation, and sculpture, to explore the relationships between time and memory.\nDe Beer was raised in New England, and lives in New York City. She cites the aesthetic of 1700 and 1900 New England as an early influence on her work:\nGrowing up in a rambling Victorian house with a widow's walk in Salem, Mass., which still exudes an air of its witchy past, she felt that mysticism was a kind of birthright, and it has been a more prominent element of her work in recent years. Ms. de Beer has also borrowed from the dark, violent post-religious mysticism of the novelist Dennis Cooper. (From his novel \"Period,\" used in a 2005 de Beer video: \"I could open the other dimension right now if I wanted. Or I could stay here with you. I'm kind of like a god.\") --Randy Kennedy\nTime itself is the most often repeated subject of de Beer's work, emerging from images and ideas related to the passage of time. Ghosts, haunting, adolescence, trace memory and erasure find a common ground within this theme.\nMs. de Beer said that her fascination with ghosts is in one sense simply about finding a way to explore how we all must deal with the past and with loss as we grow older, a struggle that finds a metaphor in the artistic process itself.--Randy Kennedy\nDe Beer lived in Berlin, Germany between 2002-2008. She produced and shot three films in Berlin: 'Hans & Grete' (2003), 'Black Sun' (2005), and 'the Quickening' (2006).\nHer work has been the subject of several major solo exhibitions including \"Hans & Grete\", at the Kunst Werke, Berlin, \"Black Sun\", at the Whitney Museum of American Art at Altria, \"Permanent Revolution\" at the MuHKA Museum in Antwerp, Belgium, and \"the Ghosts\" at the Park Avenue Armory in New York. She has exhibited widely in the United States and abroad at venues including but not limited to the New Museum of Contemporary Art, the Whitney Museum of American Art, MoMA PS1, the Brooklyn Museum, the Park Avenue Armory, and Marianne Boesky Gallery in New York, Los Angeles Contemporary Exhibitions in Los Angeles, the Reina Sofia in Madrid, the Kunst-Werke, the Zentrum für Kunst und Medientechnologie, and the Schirn Kunsthalle Frankfurt in Germany, the Neue Galerie am Landesmuseum Joanneum in Graz, Austria, the MuHKA Museum in Antwerp, Belgium, and the Museum of Modern Art, Busan, in Busan, South Korea.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Sue de Beer. Used with permission of Sue de Beer.\nUsed with the kind permission of\nMarianne Boesky Gallery\nin NYC and\nGalerie Christian Ehrentraut\nin Berlin.","bio_dates":"b. 1973"},{"slug":"de_beer_silver_and_gold_2011","ok":true,"partial":false,"title":"Silver and Gold","artist":"Sue de Beer","year":"2011","startOffset":0.334,"sourceSecs":91.755,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":6111686,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_beer_silver_and_gold_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_beer_silver_and_gold_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/de_beer_silver_and_gold_2011.mp4","hasFrames":true,"description":"Playlength: 1 min 40 secs <br/><br/> Silver and Gold is a re-constuction of a lost photograph taken of de Beer's grandmother, when she was in her early 20's. The photograph showed her in a nightgown, combing her hair in front of a mirror. The film takes the moment of the photograph and moves it backwards and forwards in time, marking imagined memories created for an inaccessible subject. \"When I walk down the street, I will see someone with a compelling face, and I try to fill them with the experiences I think they might have had. They come in fragments. Images from their mysterious, fragile lives.\"<br><br><b>RESOURCES:</b> <br> These videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Sue de Beer. Used with permission of Sue de Beer. <br><br> Used with the kind permission of <a href=\"https://ubu.com/film/www.marianneboeskygallery.com/\" rel=\"noopener\" target=\"_blank\">Marianne Boesky Gallery</a> in NYC and <a href=\"http://www.christianehrentraut.com/\" rel=\"noopener\" target=\"_blank\">Galerie Christian Ehrentraut </a>in Berlin.</br></br></br>","artist_bio":"Sue de Beer (born 1973 in Tarrytown, New York) is a contemporary artist who lives and works in New York City. As an artist, de Beer uses multiple media including photography, video, installation, and sculpture, to explore the relationships between time and memory.\nDe Beer was raised in New England, and lives in New York City. She cites the aesthetic of 1700 and 1900 New England as an early influence on her work:\nGrowing up in a rambling Victorian house with a widow's walk in Salem, Mass., which still exudes an air of its witchy past, she felt that mysticism was a kind of birthright, and it has been a more prominent element of her work in recent years. Ms. de Beer has also borrowed from the dark, violent post-religious mysticism of the novelist Dennis Cooper. (From his novel \"Period,\" used in a 2005 de Beer video: \"I could open the other dimension right now if I wanted. Or I could stay here with you. I'm kind of like a god.\") --Randy Kennedy\nTime itself is the most often repeated subject of de Beer's work, emerging from images and ideas related to the passage of time. Ghosts, haunting, adolescence, trace memory and erasure find a common ground within this theme.\nMs. de Beer said that her fascination with ghosts is in one sense simply about finding a way to explore how we all must deal with the past and with loss as we grow older, a struggle that finds a metaphor in the artistic process itself.--Randy Kennedy\nDe Beer lived in Berlin, Germany between 2002-2008. She produced and shot three films in Berlin: 'Hans & Grete' (2003), 'Black Sun' (2005), and 'the Quickening' (2006).\nHer work has been the subject of several major solo exhibitions including \"Hans & Grete\", at the Kunst Werke, Berlin, \"Black Sun\", at the Whitney Museum of American Art at Altria, \"Permanent Revolution\" at the MuHKA Museum in Antwerp, Belgium, and \"the Ghosts\" at the Park Avenue Armory in New York. She has exhibited widely in the United States and abroad at venues including but not limited to the New Museum of Contemporary Art, the Whitney Museum of American Art, MoMA PS1, the Brooklyn Museum, the Park Avenue Armory, and Marianne Boesky Gallery in New York, Los Angeles Contemporary Exhibitions in Los Angeles, the Reina Sofia in Madrid, the Kunst-Werke, the Zentrum für Kunst und Medientechnologie, and the Schirn Kunsthalle Frankfurt in Germany, the Neue Galerie am Landesmuseum Joanneum in Graz, Austria, the MuHKA Museum in Antwerp, Belgium, and the Museum of Modern Art, Busan, in Busan, South Korea.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Sue de Beer. Used with permission of Sue de Beer.\nUsed with the kind permission of\nMarianne Boesky Gallery\nin NYC and\nGalerie Christian Ehrentraut\nin Berlin.","bio_dates":"b. 1973"},{"slug":"de_beer_the_ghosts_2011","ok":true,"partial":false,"title":"The Ghosts","artist":"Sue de Beer","year":"2011","startOffset":0,"sourceSecs":1900.949,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":109483044,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_beer_the_ghosts_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_beer_the_ghosts_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/de_beer_the_ghosts_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/de_beer_the_ghosts_2011/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/de_beer_the_ghosts_2011/main/master.m3u8?v=2","hasMainHls":true,"description":"Playlength: 30 minutes<br/> Originally an installation: two channel video with sculptural elements presented by Art Production Fund in collaboration with the Park Avenue Armory and Sothebys<br/> Monologue texts by Alissa Bennett <br/><br/>\"\"The new 30-minute two-screen video grew out of a period of desperation in her life, after a year in which she made no art at all. At that time, in 2007, she was traveling almost nonstop, mostly between Berlin, where she lived for several years, and New York, where she is now an assistant professor at New York University.  <br/><br/> In the winter of that year, the sun would set in Berlin before 4 in the afternoon, she said. She started venturing out only at night, riding the U-Bahn subway trains alone with a notebook, trying to write. Then for two months she locked herself in a room with only a desk, a chair and a blanket, rarely coming out.  <br/><br/> When she did, she had written the basic script for “The Ghosts,” which follows three characters — a young woman, a record-store clerk and a money manager (played by Jon Spencer, singer and guitarist for the Jon Spencer Blues Explosion, whom Ms. de Beer persuaded to act for the first time) — as they seek the help of the hypnotist to deal with loss and longing.  <br/><br/> In doing so, they conjure up ghosts — frightening-looking ones, who owe a visual debt to Ms. de Beer’s long fascination with horror films and, lately, to the particularly bloody 1970s Italian subgenre known as giallo. The ghosts seem to be challenging the viewer to decide whether they are mere memories or phantasms of a more substantial sort — or whether, in the end, it really matters.\" --Randy Kennedy, the New York Times, January 26, 2011<br><br><b>RESOURCES:</b> <br><br> These videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Sue de Beer. Used with permission of Sue de Beer. <br><br> Used with the kind permission of <a href=\"https://ubu.com/film/www.marianneboeskygallery.com/\" rel=\"noopener\" target=\"_blank\">Marianne Boesky Gallery</a> in NYC and <a href=\"http://www.christianehrentraut.com/\" rel=\"noopener\" target=\"_blank\">Galerie Christian Ehrentraut </a>in Berlin.</br></br></br></br>","artist_bio":"Sue de Beer (born 1973 in Tarrytown, New York) is a contemporary artist who lives and works in New York City. As an artist, de Beer uses multiple media including photography, video, installation, and sculpture, to explore the relationships between time and memory.\nDe Beer was raised in New England, and lives in New York City. She cites the aesthetic of 1700 and 1900 New England as an early influence on her work:\nGrowing up in a rambling Victorian house with a widow's walk in Salem, Mass., which still exudes an air of its witchy past, she felt that mysticism was a kind of birthright, and it has been a more prominent element of her work in recent years. Ms. de Beer has also borrowed from the dark, violent post-religious mysticism of the novelist Dennis Cooper. (From his novel \"Period,\" used in a 2005 de Beer video: \"I could open the other dimension right now if I wanted. Or I could stay here with you. I'm kind of like a god.\") --Randy Kennedy\nTime itself is the most often repeated subject of de Beer's work, emerging from images and ideas related to the passage of time. Ghosts, haunting, adolescence, trace memory and erasure find a common ground within this theme.\nMs. de Beer said that her fascination with ghosts is in one sense simply about finding a way to explore how we all must deal with the past and with loss as we grow older, a struggle that finds a metaphor in the artistic process itself.--Randy Kennedy\nDe Beer lived in Berlin, Germany between 2002-2008. She produced and shot three films in Berlin: 'Hans & Grete' (2003), 'Black Sun' (2005), and 'the Quickening' (2006).\nHer work has been the subject of several major solo exhibitions including \"Hans & Grete\", at the Kunst Werke, Berlin, \"Black Sun\", at the Whitney Museum of American Art at Altria, \"Permanent Revolution\" at the MuHKA Museum in Antwerp, Belgium, and \"the Ghosts\" at the Park Avenue Armory in New York. She has exhibited widely in the United States and abroad at venues including but not limited to the New Museum of Contemporary Art, the Whitney Museum of American Art, MoMA PS1, the Brooklyn Museum, the Park Avenue Armory, and Marianne Boesky Gallery in New York, Los Angeles Contemporary Exhibitions in Los Angeles, the Reina Sofia in Madrid, the Kunst-Werke, the Zentrum für Kunst und Medientechnologie, and the Schirn Kunsthalle Frankfurt in Germany, the Neue Galerie am Landesmuseum Joanneum in Graz, Austria, the MuHKA Museum in Antwerp, Belgium, and the Museum of Modern Art, Busan, in Busan, South Korea.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Sue de Beer. Used with permission of Sue de Beer.\nUsed with the kind permission of\nMarianne Boesky Gallery\nin NYC and\nGalerie Christian Ehrentraut\nin Berlin.","bio_dates":"b. 1973"},{"slug":"de_beer_the_quickening_2006","ok":true,"partial":false,"title":"The Quickening","artist":"Sue de Beer","year":"2006","startOffset":0,"sourceSecs":1618.731,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":258992303,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_beer_the_quickening_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_beer_the_quickening_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/de_beer_the_quickening_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/de_beer_the_quickening_2006/main.mp4?v=2","description":"Playlength 30 minutes<br/> Originally an installation: single channel video with sculptural elements<br/><br/>'The Quickening' was shot in an abandoned tobacco factory in Berlin in November 2005 - a building with no heat, running water, and electricity pulled from power lines on the street outside the building. De Beer had the exterior doors of the building welded shut before shooting to prevent squatters from looting the film equipment. The Berlin electro-clash group the 'Cobra Killers' (Gina D'Orio and Annika Trost') play the unnamed lead charters in the film. The shoot took place over an 11 day period, with the cast and crew locked into the building in the morning, and exiting the set in the Berlin evening, after the sun had set. <br><br>\"\"Sue de Beer's latest video, \"The Quickening\", 2006, is a morality tale without a moral, a murder mystery with no solution. It's set in Puritan New England - although de Beer seems unconcerned with creating the realist mis-en-scene of the conventional period piece. The movie puts incongruity to use as a narrative strategy. When John Denver launches into the second stanza of \"The Eagle and the Hawk\" following the unceremonious hanging of one of the characters, the music is jarring, but the effect is oddly felicitous.  <br/><br/> The story of \"the Quickening\" is fairly simple, beginning and ending with the unexplained murder of the two female leads (both of whom are chased, stabbed, then hung by an unidentified creature). These events themselves are bookended by excerpts, narrated by the male character (Travis Jeppesen), from Joris Karl Huysmans's 1903 preface to his 184 novel \"À Rebours\" (Against Nature). In a voiceover immediately following the demise of the first victim, Annika Line Trost, Gina V. D'Orio reads a passage from Johnathon Edwards's fiery sermon \"Sinners in the Hands of an Angry God\" (1741), strenly excoriating the \"wicked unbelievers,\" and in the scene that follows, a mysterious, hypnotic machine triggers a dream sequence in which D'Orio dances with forest animals in a leafy clearing. \" David Velasco, Artforum, February 2007<br><br><b>RESOURCES:</b> <br><br> These videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Sue de Beer. Used with permission of Sue de Beer. <br><br> Used with the kind permission of <a href=\"https://ubu.com/film/www.marianneboeskygallery.com/\" rel=\"noopener\" target=\"_blank\">Marianne Boesky Gallery</a> in NYC and <a href=\"http://www.christianehrentraut.com/\" rel=\"noopener\" target=\"_blank\">Galerie Christian Ehrentraut </a>in Berlin.</br></br></br></br></br></br>","artist_bio":"Sue de Beer (born 1973 in Tarrytown, New York) is a contemporary artist who lives and works in New York City. As an artist, de Beer uses multiple media including photography, video, installation, and sculpture, to explore the relationships between time and memory.\nDe Beer was raised in New England, and lives in New York City. She cites the aesthetic of 1700 and 1900 New England as an early influence on her work:\nGrowing up in a rambling Victorian house with a widow's walk in Salem, Mass., which still exudes an air of its witchy past, she felt that mysticism was a kind of birthright, and it has been a more prominent element of her work in recent years. Ms. de Beer has also borrowed from the dark, violent post-religious mysticism of the novelist Dennis Cooper. (From his novel \"Period,\" used in a 2005 de Beer video: \"I could open the other dimension right now if I wanted. Or I could stay here with you. I'm kind of like a god.\") --Randy Kennedy\nTime itself is the most often repeated subject of de Beer's work, emerging from images and ideas related to the passage of time. Ghosts, haunting, adolescence, trace memory and erasure find a common ground within this theme.\nMs. de Beer said that her fascination with ghosts is in one sense simply about finding a way to explore how we all must deal with the past and with loss as we grow older, a struggle that finds a metaphor in the artistic process itself.--Randy Kennedy\nDe Beer lived in Berlin, Germany between 2002-2008. She produced and shot three films in Berlin: 'Hans & Grete' (2003), 'Black Sun' (2005), and 'the Quickening' (2006).\nHer work has been the subject of several major solo exhibitions including \"Hans & Grete\", at the Kunst Werke, Berlin, \"Black Sun\", at the Whitney Museum of American Art at Altria, \"Permanent Revolution\" at the MuHKA Museum in Antwerp, Belgium, and \"the Ghosts\" at the Park Avenue Armory in New York. She has exhibited widely in the United States and abroad at venues including but not limited to the New Museum of Contemporary Art, the Whitney Museum of American Art, MoMA PS1, the Brooklyn Museum, the Park Avenue Armory, and Marianne Boesky Gallery in New York, Los Angeles Contemporary Exhibitions in Los Angeles, the Reina Sofia in Madrid, the Kunst-Werke, the Zentrum für Kunst und Medientechnologie, and the Schirn Kunsthalle Frankfurt in Germany, the Neue Galerie am Landesmuseum Joanneum in Graz, Austria, the MuHKA Museum in Antwerp, Belgium, and the Museum of Modern Art, Busan, in Busan, South Korea.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Sue de Beer. Used with permission of Sue de Beer.\nUsed with the kind permission of\nMarianne Boesky Gallery\nin NYC and\nGalerie Christian Ehrentraut\nin Berlin.","bio_dates":"b. 1973"},{"slug":"de_gruyter_jos_thys_harald_01","ok":true,"partial":false,"title":"Untitled 1 (no date)","artist":"Jos De Gruyter and Harald Thys","year":"1965","startOffset":0,"sourceSecs":1014.1,"sourceHeight":480,"sourceWidth":600,"hasAudio":true,"hasAmbientMp4":true,"bytes":175414283,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_gruyter_jos_thys_harald_01/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_gruyter_jos_thys_harald_01/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/de_gruyter_jos_thys_harald_01.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/de_gruyter_jos_thys_harald_01/main.mp4?v=2","artist_bio":"For 20-odd years, Belgian artists Jos De Gruyter and Harald Thys have created a body of 21 video works possessed of the darkly divided spirit of collaboration, their peculiar productions being those of artists acting not only in consort with one another, but also with the hidden forces occupying the territories (both physical and psychological) in which their haunting narratives take place.\nSite readings illuminate their realm: sparse, constructed spaces that sometimes look like stages, at other times, fall-out shelters for deflated characters who always seem to be post-something: -trauma, -language, -human. The stories stutter along, stunted hybrids of eviscerated fairy tales and exhausted melodramas. The actors – untrained, and largely drawn from the artists’ circles of family and friends – do not perform so much as gesture and pose in a style so stripped of theatrics it could be mistaken for a list of symptoms: unmoving, unspeaking, punctured, perverse. (Imagine Bresson’s mannequins rendered spiritless, or Herzog’s hypnotized cast of Heart of Glass relieved of panic’s propeller). On top of that, the artists film their numbskulls in sheer stupidity – in transparent veils of formal dumbness that rightly refuse classic cinematic modes of storytelling. (After all, doesn’t inaction inherently resist the relevance of coverage, continuity, and cutting?) Divested of the usual seductions, the disquieting world of De Gruyter and Thys seems to lay the groundwork for a particular kind of insurrection, one that rebuffs certain standards and practices of art-making in order to return our attentions to the subversive powers of the artist.\nHaving met in 1987 as disgruntled film/video students at the Sint-Lukas Brussels University College of Art and Design, De Gruyter and Thys began their collaboration with a 5-minute middle finger-wagger titled Mime in the Videostudio (1988). The video stars a young Thys – all gangly limbs in a white vest and underwear – imitating gymnastic exercises to hokey Europop songs in the school’s video studio. He marches, pretends to swim, and performs graceless acrobatics, anemic goose steps, and stiff-legged kicks that are as funny as they are sad sack, his movements reminiscent of the disarming flails of Taylor Mead, Warhol superstar cum court jester. Thys then parades around carrying unidentified objects that belong to the ex-priest who runs the school’s video studio, and who hides his pornography there. The young artist ends his show by enthusiastically mouthing the lyrics to one of the songs (\"Big city!/Big, big city!\") out of time with the recording. Bumbling and puckish, Thys performs a kind of failed fascism – of the body, of art education, of religion – as well as a playful, if pointed, interrogation of the space in which art is made."},{"slug":"de_gruyter_jos_thys_harald_02","ok":true,"partial":false,"title":"Untitled 1 (no date)","artist":"Jos De Gruyter and Harald Thys","year":"1965","startOffset":0,"sourceSecs":2536.32,"sourceHeight":540,"sourceWidth":738,"hasAudio":true,"hasAmbientMp4":true,"bytes":436425352,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_gruyter_jos_thys_harald_02/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_gruyter_jos_thys_harald_02/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/de_gruyter_jos_thys_harald_02.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/de_gruyter_jos_thys_harald_02/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/de_gruyter_jos_thys_harald_02/main/master.m3u8?v=2","hasMainHls":true,"artist_bio":"For 20-odd years, Belgian artists Jos De Gruyter and Harald Thys have created a body of 21 video works possessed of the darkly divided spirit of collaboration, their peculiar productions being those of artists acting not only in consort with one another, but also with the hidden forces occupying the territories (both physical and psychological) in which their haunting narratives take place.\nSite readings illuminate their realm: sparse, constructed spaces that sometimes look like stages, at other times, fall-out shelters for deflated characters who always seem to be post-something: -trauma, -language, -human. The stories stutter along, stunted hybrids of eviscerated fairy tales and exhausted melodramas. The actors – untrained, and largely drawn from the artists’ circles of family and friends – do not perform so much as gesture and pose in a style so stripped of theatrics it could be mistaken for a list of symptoms: unmoving, unspeaking, punctured, perverse. (Imagine Bresson’s mannequins rendered spiritless, or Herzog’s hypnotized cast of Heart of Glass relieved of panic’s propeller). On top of that, the artists film their numbskulls in sheer stupidity – in transparent veils of formal dumbness that rightly refuse classic cinematic modes of storytelling. (After all, doesn’t inaction inherently resist the relevance of coverage, continuity, and cutting?) Divested of the usual seductions, the disquieting world of De Gruyter and Thys seems to lay the groundwork for a particular kind of insurrection, one that rebuffs certain standards and practices of art-making in order to return our attentions to the subversive powers of the artist.\nHaving met in 1987 as disgruntled film/video students at the Sint-Lukas Brussels University College of Art and Design, De Gruyter and Thys began their collaboration with a 5-minute middle finger-wagger titled Mime in the Videostudio (1988). The video stars a young Thys – all gangly limbs in a white vest and underwear – imitating gymnastic exercises to hokey Europop songs in the school’s video studio. He marches, pretends to swim, and performs graceless acrobatics, anemic goose steps, and stiff-legged kicks that are as funny as they are sad sack, his movements reminiscent of the disarming flails of Taylor Mead, Warhol superstar cum court jester. Thys then parades around carrying unidentified objects that belong to the ex-priest who runs the school’s video studio, and who hides his pornography there. The young artist ends his show by enthusiastically mouthing the lyrics to one of the songs (\"Big city!/Big, big city!\") out of time with the recording. Bumbling and puckish, Thys performs a kind of failed fascism – of the body, of art education, of religion – as well as a playful, if pointed, interrogation of the space in which art is made."},{"slug":"de_hirsch_storm_peyote_queen_1965","ok":true,"partial":false,"title":"Peyote Queen","artist":"Storm de Hirsch","year":"1965","startOffset":0,"sourceSecs":536.085,"sourceHeight":496,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":85382183,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_hirsch_storm_peyote_queen_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_hirsch_storm_peyote_queen_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/de_hirsch_storm_peyote_queen_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/de_hirsch_storm_peyote_queen_1965/main.mp4?v=2","description":"1965, sound, colour, 8 mins, 16mm.<br/> 'A journey through the underground of sensory derangement, where the mysteries are enacted in the theatre of the soul.'<br/> 'Among my favourite...beauty and excitement.'- Jonas Mekas<br/> 'Like a ritual of incantation with its drum punctuated visual changes.'-Sheldon Renan.<br/> 'A very beautiful work...the abstractions drawn directly on film are like the paintings of Miro moving at full speed to the rhythm of an African beat.'- Dominique Noguez.<br><br><b>BIOGRAPHY</b> <br> Storm de Hirsch was a very important player in the New York Avant-Garde film scene of the 1960s, though her biography and work are generally left out of the history. <br><br> Like many experimental filmmakers at the time, she did not begin her artistic career as a filmmaker. She had been a poet and published a number of works in the early 60's. She wanted to find a new mode of expression for her thoughts that went beyond words on the page, which is when she turned to filmmaking. Despite lack of recognition, she was very present in the underground film movement and socialized with every big name on the scene, filmmakers such as Stan Brakhage, Jonas Mekas, Shirley Clarke and others. She mentions Jack Smith, Ingmar Bergman, Gregory Markopoulos, Michaelangelo Antoniono, Vittorio De Seta, Ken Jacobs, Federico Fellini and Jonas and Adolphus Mekas as her favorite film-makers. <br><br/> Much of her work is abstract and employs a number of experimental techniques. In an interview with Jonas Mekas on the making of Divinations she says \"I wanted badly to make an animated short and had no camera available. I did have some old, unused film stock and several roles of 16mm. sound tape. So I used that - plus a variety of discarded surgical instruments and the sharp edge of a screwdriver - by cutting, etching, and painting directly on both film and tape.\" Sometimes these animations are superimposed over live-action footage. Her films are clearly influenced by her poetic background, and continued publishing books of poetry throughout her life. Her films also reveal an interest in eastern religious practices and rituals. Her work explores the possibilities of light and is concerned with spatial elements. In one film, Third Eye Butterfly, she uses a two-screen projection with split-screen frames to create a kaleidoscopic effect.</br></br></br></br>"},{"slug":"de_palma_brian_dionysus_1970_iphone","ok":true,"partial":false,"title":"Dionysus in '69","artist":"Brian De Palma","year":"1969","startOffset":0,"sourceSecs":5141.144,"sourceHeight":202,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":237361125,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_palma_brian_dionysus_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/de_palma_brian_dionysus_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/de_palma_brian_dionysus_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/de_palma_brian_dionysus_1970_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/de_palma_brian_dionysus_1970_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Runtime: 85 minutes<br/> Language: English<br/> Country: USA<br/> Color: b/w<br/> Director: Brian De Palma and Richard Schechner<br/> Cast:<br/> Remy Barclay<br/> Samuel Blazer<br/> Jason Bosseau<br/><br/> A Celebration of Feeling, Loving, Wanting, Killing, Hearing, Tasting, Touching, Living. <br/><br/> NY Times wrote: RICHARD SCHECHNER'S \"Dionysus in 69\" played during 1968 and 1969 in a converted garage on Wooster Street. Brian De Palma made his movie version in the course of just two actual performances. It opened yesterday at the Kips Bay Theater. Although rough in a few technical details, it is a film of extraordinary grace and power. With exceptional imagination and intelligence, De Palma has managed both to preserve the complex immediacies of Schechner's dramatic event (based on \"The Bacchae\" of Euripides) and to work those immediacies into the passionate and formal properties of his own creation. Schechner approached \"The Bacchae\" not so much to re-interpret the play as to re-experience some of the impulses surrounding and informing it—to which end Euripides's lines were sometimes useful, and sometimes not. Schechner's troupe, the Performance Group, would by turns chant, or dance, make love, plot murder, whisper to the audience, or among themselves hold group therapy sessions. With its nudity (partial in the actual production I saw; total in the film), its audience-participation orgies (timid and embarrassing in the production; sensual and enthusiastic in the film) and its range of theatrical invention, \"Dionysus in 69\" strives for a degree of sensuous presence that, paradoxically, I think it best achieves as filtered through the film. De Palma uses a split screen, and he uses it in a variety of ways. Both sides of the screen always record the same moment in the production. But sometimes they will show different parts of the arena (the Performing Garage was a kind of multi-level theater in the round, with cast and audience often sharing spaces). Sometimes they will develop different points of view toward a single action. Sometimes they will place an apparently random event in formal perspective, and at the same time isolate important detail. The sequences in which the chorus of Bacchantes in effect give birth to Pentheus (William Shephard) and Dionysus (William Finley, in a fine performance) is so treated, and it makes a kind of patterned energetic sense on film that it did not, for me, make in production. And yet the film is a record of the production, slightly cut (the group therapy, blessedly, is gone), and not an attempt to extend the boundaries of theater through \"cinema.\" Partly for this reason it is exciting as a movie, approaching its material with great brilliance and ingenuity, but never trying to supersede the material. Between the two principal personalities involved (I'll except Euripides, who really deserves most of the credit—but in a different kind of review) a mutually enriching tension seems to exist. For if Richard Schechner's power looks the greater for being framed within Brian De Palma's cameras, so De Palma, a witty, elegant, understated young director (for example, \"Greetings\") seems to have found new ease and vigor and a taste for risks in meeting the challenge of this film. <br/> ROGER GREENSPUN","artist_bio":"Brian De Palma is one of the well-known directors who spear-headed the new movement in Hollywood during the 1970s. He is known for his many films that go from violent pictures, to Hitchcock-like thrillers.\nBorn on the 11th of September in 1940, De Palma was born in New Jersey in an American-Italian family. Originally entering university as a physics student, de Palma became attracted to films after seeing such classics as Citizen Kane (1941). Enrolling in Sarah Lawrence College, he found lasting influences from such varied teachers as Alfred Hitchcock and Andy Warhol.\nAt first, his films comprised of such black-and-white films as Bridge That Gap (1965). He then discovered a young actor whose fame would influence Hollywood forever. In 1968, de Palma made the comedic film Greetings (1968) starring Robert de Niro in his first ever credited film role. The two followed up immediately with the film The Wedding Party (1969) and Hi, Mom! (1970).\nAfter making such small-budget thrillers such as Sisters (1973) and Obsession (1976), De Palma was offered the chance to direct a film based on the Stephen King novel \"Carrie\". The story deals with a tormented teenage girl who finds she has the power of telekinesis. The film starred Sissy Spacek, Piper Laurie and John Travolta, and was for De Palma, a chance to try out the split screen technique for which he would later become famous.\nCarrie (1976) was a massive success, and earned the two lead females (Laurie and Spacek) Oscar nominations. The film was praised by most critics, and De Palma's reputation was now permanently secured. He followed up this success with the horror film The Fury (1978), the comedic Home Movies (1980) (both these films featured Kirk Douglas, the crime film Dressed to Kill (1980), and another crime thriller entitled Blow Out (1981) starring John Travolta.\nHis next major success was the controversial, ultra-violent film Scarface (1983). Written by Oliver Stone and starring Al Pacino, the film concerned Cuban immigrant Tony Montana's rise to power in the United States through the drug trade. The film, while being a critical failure, was a major success commercially.\nMoving on from Scarface (1983), De Palma made two more movies before landing another one of his now-classics: The Untouchables (1987), starring old friend 'Robert de Niro' in the role of Chicago gangster Al Capone. Also starring in the film were Kevin Costner as the man who commits himself to bring Capone down, and Sean Connery, an old policeman who helps Costner's character to form a group known as the Untouchables. The film was one of de Palma's most successful films, earning Connery an Oscar, and gave Ennio Morricone a nomination for Best Score.\nAfter The Untouchables (1987), De Palma made the Vietnam film Casualties of War (1989) starring Michael J. Fox and Sean Penn. The film focuses on a new soldier who is helpless to stop his dominating sergeant from kidnapping a Vietnamese girl with the help of the coerced members of the platoon. The film did reasonably well at the box office, but it was his next film that truly displayed the way he could make a hit and a disaster within a short time. The Bonfire of the Vanities (1990) starred a number of well-known actors such as Bruce Willis and Morgan Freeman, yet it was still a commercial flop and earned him two Razzie nominations.\nBut the roller coaster success that De Palma had gotten so far did not let him down. He made the horror film Raising Cain (1992), and the criminal drama Carlito's Way (1993) starring Al Pacino and Sean Penn. The latter film is about a former criminal just released from prison that is trying to avoid his past and move on. It was in the year 1996 that brought one of his most well-known movies. This was the suspense-filled Mission: Impossible (1996) starring Tom Cruise and Jon Voight.\nFollowing up this film was the interesting but unsuccessful film Snake Eyes (1998) starring Nicolas Cage as a detective who finds himself in the middle of a murder scene at a boxing ring. De Palma continued on with the visually astounding but equally unsuccessful film Mission to Mars (2000) which earned him another Razzie nomination. He met failure again with the crime/thriller Femme Fatale (2002) the murder conspiracy The Black Dahlia (2006) and the controversial film Redacted (2007) which deals with individual stories from the war in Iraq.\nBrian De Palma may be down for the moment, but if his box office history has taught us anything, it is that he always returns with a major success that is remembered for years and years afterwards.","bio_dates":"b. 1941"},{"slug":"deantonio_emile_point_of_order_1964_iphone","ok":true,"partial":false,"title":"Point of Order","artist":"Emile de Antonio","year":"1963","startOffset":0,"sourceSecs":5817.538,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":297719301,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deantonio_emile_point_of_order_1964_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deantonio_emile_point_of_order_1964_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/deantonio_emile_point_of_order_1964_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/deantonio_emile_point_of_order_1964_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/deantonio_emile_point_of_order_1964_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Emile de Antonio<br/><br/> Cast:<br/> Roy M. Cohn ... Himself (archive footage)<br/> Joseph McCarthy ... Himself (archive footage)<br/> Joseph N. Welch ... Himself (archive footage)<br/> <br/> Description: The first and still most important documentary about the McCarthy era of American politics, Point of Order! is a distillation of 188 hours of television coverage of the 1954 hearings during which Senator Joseph McCarthy, through his Senate Permanent Committee on Investigations, accused the U.S. Army of harboring communists in its ranks. The Army countercharged that McCarthy and Roy M. Cohn, the committee's chief counsel, had threatened the Army as a means of obtaining special privileges for Cohn's friend and the committee's special investigator, David Schine, then serving as a private at Fort Dix. The focus is on McCarthy and Cohn behind the hearing room's massive staff tables, and Secretary of the Army Robert Stephens, Army counselor John G. Adams, and special counsel Joseph Welch behind the more modest witness table. McCarthy's fellow committee members become increasingly uneasy with his personal and reckless attacks on anyone who would question his motives, but it is the memorable exchange between McCarthy and Welch, concluding with the counsel admonishing the senator for having no sense of shame that proved to be the highlight of the proceedings. Because the hearings were on national television, it was a moment that also served to undermine McCarthy's support by the White House, his own party, and the American public. As strong as some of director Emile de Antonio's subsequent work was (In the Year of the Pig, Painters Painting), this is the film for which he will be remembered. <br/><br/> The second audio track is commentary, although it's probably better described as the recordings of several interviews with Emile de Antonio, underneath which they've mixed the film's original audio track. Also, there might be minor problems with the audio here. For some reason, every time a friend tried to rip the film, the primary audio track would end up getting desynchronized from the video. So I took the screwed up file, set a delay on the primary audio track, and then remuxed the AVI, but it's possible that it might still be slightly out of sync. If you have a problem with it and you think you can match the sound/video better than what I have here, then remux it yourself and upload the new AVI. Otherwise, this is it. (I'm probably overstating the problems here. I watched this myself, and didn't really have a problem with the release.)","artist_bio":"Emile de Antonio (1919-1989) was a preeminent force in independent film and political documentary. The ten documentaries he made between 1963 and 1989 dissect the power structures governing Cold War America, critiquing the power elite and lionizing dissenters. A gifted raconteur, de Antonio socialized with both groups while remaining a fierce leftist intellectual. A self-described \"radical scavenger,\" he reinvigorated the art of compilation documentary, building critical or subversive arguments out of archival footage. Choosing a bohemian life in New York, de Antonio also became an animateur for a significant cast of artists that included Cage, Rauschenberg, and Warhol. In 1959, inspired by Alfred Leslie and Robert Frank's Pull My Daisy, he joined the group of New Yorkers whose 1960 manifesto called for a \"New American Cinema\" that would make films \"the color of blood.\"\nThe success of de Antonio's debut film, Point of Order (1963), transformed him, at mid-life, into a fulltime filmmaker. For each project, he cobbled together funding, film stock, footage and young talent. Rush To Judgment (1966) was an early rebuttal of the Warren Report, In The Year of The Pig (1968) was the first major anti-war film about Vietnam, and his satirical attack on Richard Milhous Nixon, Millhouse: A White Comedy (1971), brought de Antonio heightened political scrutiny. The government surveillance that had followed him from his youth came to a head in 1975 when de Antonio filmed interviews with the incendiary Weather Underground, whose members the FBI could not find. In an era dominated by cinema vérité conceptions of documentary filmmaking, de Antonio insisted on perpetual experimentation. In a time of liberal convention, he stuck to his maverick Marxism. Before there was a vogue for \"independent film,\" Emile de Antonio was simply independent-making challenging work and getting it theatrical distribution.","bio_dates":"1919-1989"},{"slug":"deantonio_emile_underground_1976_iphone","ok":true,"partial":false,"title":"Underground","artist":"Emile de Antonio","year":"1976","startOffset":0,"sourceSecs":5265.261,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":304439047,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deantonio_emile_underground_1976_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deantonio_emile_underground_1976_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/deantonio_emile_underground_1976_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/deantonio_emile_underground_1976_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/deantonio_emile_underground_1976_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Underground is a 1976 documentary film about the Weathermen, the militant faction of the Students for a Democratic Society (SDS) who fought to overthrow the U.S. government during the 1960’s and 1970’s. The film consists of interviews with members of the group after they went underground and footage of the anti-war and civil rights protests during this time period. It was directed by Emile de Antonio, Haskell Wexler and Mary Lampson, who were subpoenaed by the Federal Bureau of Investigation in an attempt to confiscate the film footage in order to gain information that would help them arrest the Weathermen. <br/><br/> Underground combines interviews with and archival footage of the Weathermen to provide a picture of this group, their opinions on American society, and their hopes for the future. The filmmakers use the material from their interactions with the Weathermen Bill Ayers, Kathy Boudin, Bernadine Dohrn, Jeff Jones and Cathy Wilkerson to structure its exploration of the formation and direction of the group. The film begins by presenting images and words that describe the Weathermen’s process of being radicalized in the 1960’s through the Civil Rights Movement, the anti-war movement, and communist revolutionary struggles in Cuba, Russia and China, as well as historical struggles in the United States over Native American Rights and labor issues. The film moves on to discuss the Weathermen’s analysis of American society, addressing those who have inspired them, and further explaining the reasons behind their militancy, while also introducing the issue of tactics. The final section of the film addresses the group’s use of property destruction as a way to bring about change and destabilize the current, and in their view, corrupt system. They state that “no revolution can take place successfully without an armed confrontation with the state.” While the radicals themselves are reluctant to discuss the specifics of their bombings due to their unstable position as underground fugitives, the filmmakers provide us with a list of actions which they have undertaken. Underground provides an intimate look at the inner workings of the Weather Underground, and we see their discomfort with being filmed, their strong internal collective identity, and their isolation from society at large. The filmmakers do not use the interviews and juxtaposed images to promote the group or support their actions, and it is apparent that their motives for the film differ from those of the subjects that they are presenting. In the end this film provides an unprecedented look at how a bunch of middle-class Americans became self-styled militant revolutionaries, raising questions not only about the merits of their struggle, but also about past and future radical actions. --Wikipedia","artist_bio":"Emile de Antonio (1919-1989) was a preeminent force in independent film and political documentary. The ten documentaries he made between 1963 and 1989 dissect the power structures governing Cold War America, critiquing the power elite and lionizing dissenters. A gifted raconteur, de Antonio socialized with both groups while remaining a fierce leftist intellectual. A self-described \"radical scavenger,\" he reinvigorated the art of compilation documentary, building critical or subversive arguments out of archival footage. Choosing a bohemian life in New York, de Antonio also became an animateur for a significant cast of artists that included Cage, Rauschenberg, and Warhol. In 1959, inspired by Alfred Leslie and Robert Frank's Pull My Daisy, he joined the group of New Yorkers whose 1960 manifesto called for a \"New American Cinema\" that would make films \"the color of blood.\"\nThe success of de Antonio's debut film, Point of Order (1963), transformed him, at mid-life, into a fulltime filmmaker. For each project, he cobbled together funding, film stock, footage and young talent. Rush To Judgment (1966) was an early rebuttal of the Warren Report, In The Year of The Pig (1968) was the first major anti-war film about Vietnam, and his satirical attack on Richard Milhous Nixon, Millhouse: A White Comedy (1971), brought de Antonio heightened political scrutiny. The government surveillance that had followed him from his youth came to a head in 1975 when de Antonio filmed interviews with the incendiary Weather Underground, whose members the FBI could not find. In an era dominated by cinema vérité conceptions of documentary filmmaking, de Antonio insisted on perpetual experimentation. In a time of liberal convention, he stuck to his maverick Marxism. Before there was a vogue for \"independent film,\" Emile de Antonio was simply independent-making challenging work and getting it theatrical distribution.","bio_dates":"1919-1989"},{"slug":"debord_guy_critique_de_la_separation_1961_iphone","ok":true,"partial":false,"title":"Critique de la séparation","artist":"Guy Debord","year":"1961","startOffset":0,"sourceSecs":1043.08,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":67652706,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_critique_de_la_separation_1961_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_critique_de_la_separation_1961_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/debord_guy_critique_de_la_separation_1961_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_guy_critique_de_la_separation_1961_iphone/main.mp4?v=2","description":"Debord's eighteen-minute <em>Critique of Separation</em> directs its experimental attentions to \"the documentary.\" Debord draws from a catalogue of newsreel footage and book covers, rephotographed photographs, views of Paris and its neighborhoods, and a catalogue of disabused, seemingly offhand footage of him and his friends in the porous zone comprising the cafŽ and the street. In <em>Critique</em> Debord makes his first tactical use of subtitles to problematize the receptions of the image and even of his own voice-over critique. He also expands the role of intertitles in an ironic vein (\"One of the greatest anti-films of all time!\"). Here the focus is the explicit development of the notion of \"situations\" and the problematics of their representation in film. He makes equally explicit, however, that his interest is not principally in a critique of film, but rather in a critique of existing conditions using film's paradigmatic mechanisms. —From <em>Return of the Supressed</em> by Keith Sanborn","artist_bio":"Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle”\n(1975)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nGuy Debord was born in Paris on December 28, 1931. In 1950 Debord began his association with the Lettrist International, which was being led by Isidore Isou at the time. The Lettrists were attempting to fuse poetry and music, and were interested in transforming the urban landscape. In 1953 they mapped out what they called the \"psychogeography\" of Paris by walking through the city in a free-associative manner, or \"drifts\". Texts on this activity were first published in Naked Lips in 1955 and 1956, in essays titled \"Detournement: How to Use\" and \"Theory of the Derive.\"\nIn 1957 the Lettrist International joined another group of avant-garde artists, called Movement for an Imaginist Bauhaus, to form the Situationist International (SI), and founded the magazine called Situationiste Internationale. Debord proclaimed himself the leader of the SI, and saw himself responsible for maintaining the high ideals he had in mind for the group, but to equate Debord with the SI in all its activities would be misleading. He had a major role in unifying Situationist practice, but he also prevented its expansion into areas he felt would undermine his own goals.\nThe original membership of the SI were Parisian intellectuals and artists who were influenced by the Dada and Surrealist movements, and the group never grew to more than a dozen members. Members were rapidly admitted and expelled, and by 1963 all the original members had left or had been pushed out, including Asger Jorn, who was one of the most prominent members. At the beginning of the SI movement their goal was to transgress the boundary separating art and culture from the everyday and make them part of common life. They theorized that Capitalism has the effect of diverting and stifling creativity, dividing the social body into producers and consumers, or actors and spectators. The SI saw art and poetry as a production by all people, that this was a way to make art the dominant power rather than having power rest in a small group of designated men. They argued for complete divertissement, and were against work. By 1962 they were applying their critique to all aspects of capitalist society, and no longer limiting it to arts and culture. They were inspired by the history of the anarchist movement, and looked to the First International, Spain, Kronstadt, and the Makhnovists in their research. They accused the USSR of being a \"capitalist bureaucracy\", and were advocates for workers' councils. They retained, however, Marxist elements and never identified as entirely anarchistic.\nIn 1967 Debord published Society of the Spectacle, his major work. In the book he takes the position that the spectacle, or the domination of life by images, has subsumed all other forms of domination. He attacks wage labor and commodity production, indeed all forms of hierarchy, in an elaboration of Situationist theory, but claiming that they continue to wield power only in their subsumption into the spectacle. He writes that the spectacle is \"capital to such a degree of accumulation that it becomes an image\" and that images are the currency of contemporary society. Society of the Spectacle had an enormous influence on the student rebellion in 1968. Many quotations were taken from the text to become graffiti on the walls of Paris at the time. Members of the SI acted with the Enrages from Nanterre University in the assembly held in permanent session: the Occupations Committee of the Sorbonne. In 1973 Debord made a film version of Society of the Spectacle (Simar Films) and in 1989 he updated the text in Commentaries on Society of the Spectacle, proving its holding power as a definitive text on cultural imperialism, capital, and mediation in society.\nThe analysis that life has been reduced to a spectacle, as the result of all relationships becoming transactional in capitalist society, can be seen as a reworking of Marx's early writing on alienation. The Situationist addition to this theory is the recognition of \"pseudo-needs\", created by capitalism to continually ensure increased consumption. They switched consciousness from its determination at the point of production to the point of consumption, seeing modern capitalism as a consumer society. The individual, or worker, is no longer recognized as a producer, but courted as a consumer.\nThe Situationists believed that it was necessary to think of the immediate moment as the highest potential for change, and that to liberate oneself was to transform society by effecting power relations. They believed that to transform the structure of society we need only change our perception of the world. Their praxis was based in constructing situations that were disruptive to social norms. It was in this spirit that they created the idea of the 'derive,' as a flow of acts and encounters, and the 'detournement,' as a redirection of images and events. As methods of undermining consumer society and the constructed spectacle they encouraged vandalism, wildcat strikes and sabotage, seeing these as creative acts. The SI saw it their responsibility to make apparent to the masses the system in which they were already implicated. They hoped to be catalysts in a revolutionary process that would eventually make the SI redundant and cause their dissolution. This fantasy was not to come about, however, as the group disbanded over tactical disputes in 1972. Their ideas continue to have a lasting influence on art, politics and philosophy.\nIn 1971 Debord became friends with Gerard Lebovici, who would become his publisher and producer. In 1984 Lebovici was assassinated, and Debord was tangentially implicated. He was subjected to police interrogation, and suffered defamation in the press. Debord was infuriated by the accusations, and as a consequence, prohibited the screening of his films in France during his lifetime. He won his subsequent libel suits, and he published Considerations on the Assassination of Gerard Lebovici in 1985.\nIn 1987 Debord wrote The Game of War with his second wife, Alice Becker-Ho. In 1989 he published his Commentaries on the Society of the Spectacle, expanding on the earlier text by writing of the \"integrated\" spectacle, the new, more insidious form of the spectacle.\nIn 1994, Debord committed suicide in Champot, Upper Loire. It was not his first attempt, having tried to asphyxiate himself once before in 1955. His ashes were scattered on the point of Ile de la Cité, Paris. The French press promptly made him a celebrity, never before having acknowledged the significance of the Situationist International or Debord's work.","bio_dates":"1931-1994"},{"slug":"debord_guy_debord_son_art_et_son_temps_brigitte_cornand_1994","ok":true,"partial":false,"title":"Guy Debord, son art et son temps","artist":"Guy Debord","year":"1995","startOffset":0,"sourceSecs":3585.046,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":206877910,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_debord_son_art_et_son_temps_brigitte_cornand_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_debord_son_art_et_son_temps_brigitte_cornand_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/debord_guy_debord_son_art_et_son_temps_brigitte_cornand_1994.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_guy_debord_son_art_et_son_temps_brigitte_cornand_1994/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_guy_debord_son_art_et_son_temps_brigitte_cornand_1994/main/master.m3u8?v=2","hasMainHls":true,"description":"Except for a few brief evocations of Debord’s “art” during the first ten minutes or so, most of this “antitelevisual” video consists of television clips illustrating the extreme degradation and delirium of the present society. It’s a powerful denunciation, but not so deft and subtle as Debord’s films, perhaps because it was made during the worsening stages of his final illness. Presumably intended as a parting shot at the society he detested, it was completed shortly before his death in November 1994 and shown January 9, 1995, on a French cable channel along with La Société du Spectacle and Réfutation de tous les jugements (whence the video copies that have since circulated). Debord stated that In girum was his last film and does not seem to have considered this video as part of his “complete cinematic works.","artist_bio":"Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle”\n(1975)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nGuy Debord was born in Paris on December 28, 1931. In 1950 Debord began his association with the Lettrist International, which was being led by Isidore Isou at the time. The Lettrists were attempting to fuse poetry and music, and were interested in transforming the urban landscape. In 1953 they mapped out what they called the \"psychogeography\" of Paris by walking through the city in a free-associative manner, or \"drifts\". Texts on this activity were first published in Naked Lips in 1955 and 1956, in essays titled \"Detournement: How to Use\" and \"Theory of the Derive.\"\nIn 1957 the Lettrist International joined another group of avant-garde artists, called Movement for an Imaginist Bauhaus, to form the Situationist International (SI), and founded the magazine called Situationiste Internationale. Debord proclaimed himself the leader of the SI, and saw himself responsible for maintaining the high ideals he had in mind for the group, but to equate Debord with the SI in all its activities would be misleading. He had a major role in unifying Situationist practice, but he also prevented its expansion into areas he felt would undermine his own goals.\nThe original membership of the SI were Parisian intellectuals and artists who were influenced by the Dada and Surrealist movements, and the group never grew to more than a dozen members. Members were rapidly admitted and expelled, and by 1963 all the original members had left or had been pushed out, including Asger Jorn, who was one of the most prominent members. At the beginning of the SI movement their goal was to transgress the boundary separating art and culture from the everyday and make them part of common life. They theorized that Capitalism has the effect of diverting and stifling creativity, dividing the social body into producers and consumers, or actors and spectators. The SI saw art and poetry as a production by all people, that this was a way to make art the dominant power rather than having power rest in a small group of designated men. They argued for complete divertissement, and were against work. By 1962 they were applying their critique to all aspects of capitalist society, and no longer limiting it to arts and culture. They were inspired by the history of the anarchist movement, and looked to the First International, Spain, Kronstadt, and the Makhnovists in their research. They accused the USSR of being a \"capitalist bureaucracy\", and were advocates for workers' councils. They retained, however, Marxist elements and never identified as entirely anarchistic.\nIn 1967 Debord published Society of the Spectacle, his major work. In the book he takes the position that the spectacle, or the domination of life by images, has subsumed all other forms of domination. He attacks wage labor and commodity production, indeed all forms of hierarchy, in an elaboration of Situationist theory, but claiming that they continue to wield power only in their subsumption into the spectacle. He writes that the spectacle is \"capital to such a degree of accumulation that it becomes an image\" and that images are the currency of contemporary society. Society of the Spectacle had an enormous influence on the student rebellion in 1968. Many quotations were taken from the text to become graffiti on the walls of Paris at the time. Members of the SI acted with the Enrages from Nanterre University in the assembly held in permanent session: the Occupations Committee of the Sorbonne. In 1973 Debord made a film version of Society of the Spectacle (Simar Films) and in 1989 he updated the text in Commentaries on Society of the Spectacle, proving its holding power as a definitive text on cultural imperialism, capital, and mediation in society.\nThe analysis that life has been reduced to a spectacle, as the result of all relationships becoming transactional in capitalist society, can be seen as a reworking of Marx's early writing on alienation. The Situationist addition to this theory is the recognition of \"pseudo-needs\", created by capitalism to continually ensure increased consumption. They switched consciousness from its determination at the point of production to the point of consumption, seeing modern capitalism as a consumer society. The individual, or worker, is no longer recognized as a producer, but courted as a consumer.\nThe Situationists believed that it was necessary to think of the immediate moment as the highest potential for change, and that to liberate oneself was to transform society by effecting power relations. They believed that to transform the structure of society we need only change our perception of the world. Their praxis was based in constructing situations that were disruptive to social norms. It was in this spirit that they created the idea of the 'derive,' as a flow of acts and encounters, and the 'detournement,' as a redirection of images and events. As methods of undermining consumer society and the constructed spectacle they encouraged vandalism, wildcat strikes and sabotage, seeing these as creative acts. The SI saw it their responsibility to make apparent to the masses the system in which they were already implicated. They hoped to be catalysts in a revolutionary process that would eventually make the SI redundant and cause their dissolution. This fantasy was not to come about, however, as the group disbanded over tactical disputes in 1972. Their ideas continue to have a lasting influence on art, politics and philosophy.\nIn 1971 Debord became friends with Gerard Lebovici, who would become his publisher and producer. In 1984 Lebovici was assassinated, and Debord was tangentially implicated. He was subjected to police interrogation, and suffered defamation in the press. Debord was infuriated by the accusations, and as a consequence, prohibited the screening of his films in France during his lifetime. He won his subsequent libel suits, and he published Considerations on the Assassination of Gerard Lebovici in 1985.\nIn 1987 Debord wrote The Game of War with his second wife, Alice Becker-Ho. In 1989 he published his Commentaries on the Society of the Spectacle, expanding on the earlier text by writing of the \"integrated\" spectacle, the new, more insidious form of the spectacle.\nIn 1994, Debord committed suicide in Champot, Upper Loire. It was not his first attempt, having tried to asphyxiate himself once before in 1955. His ashes were scattered on the point of Ile de la Cité, Paris. The French press promptly made him a celebrity, never before having acknowledged the significance of the Situationist International or Debord's work.","bio_dates":"1931-1994"},{"slug":"debord_guy_in_girum_imus_nocte_et_consumimur_igni_1978_part_1","ok":true,"partial":false,"title":"In Girum Imus Nocte Et Consumimur Igni","artist":"Guy Debord","year":"1978","startOffset":0,"sourceSecs":2134.819,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":125777497,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_in_girum_imus_nocte_et_consumimur_igni_1978_part_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_in_girum_imus_nocte_et_consumimur_igni_1978_part_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/debord_guy_in_girum_imus_nocte_et_consumimur_igni_1978_part_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_guy_in_girum_imus_nocte_et_consumimur_igni_1978_part_1/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_guy_in_girum_imus_nocte_et_consumimur_igni_1978_part_1/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/debord_ingirum2.html\" rel=\"noopener\" target=\"_blank\">In Girum Imus Nocte Et Consumimur Igni Part 2</a> <br/><br/> In girum imus nocte et consumimur igni is a 1978 film by the situationist Guy Debord, the title of which is a medieval Latin palindrome meaning “we turn in the night and are consumed by fire”.<br/><br/> The film opens with an excoriating attack on the cinema-going public and its world, and on conventional cinema itself. However, the bulk of the film is given over to Debord’s quite personal reflections on his life, loves and times, taking in his early pre-situationist years in the Sant-Germain-des-Prés district of Paris, the Situationist International, and the various European locales in which he lived after the dissolution of the International in 1972.<br/><br/> Like The Society of the Spectacle, In girum combines a spoken text with a series of static images and film clips (the latter largely taken from existing sources). However, as Debord pointed out in a 1989 note in the critical edition of In girum:<br/><br/> “The situation shifts in In girim due to several important differences: I directly shot a portion of the images; I wrote the text specifically for this particular film; and the theme of the film is not the spectacle, but real life. The films that interrupt the discource do so primarily to support it positively, even if there is an element of irony (Lacenaire, the Devil, the fragment from Cocteau, or Custer’s last stand). The Charge of the Light Brigade is intended to crudely and eulogistically ‘represent’ a dozen years of the SI’s actions.<br/><br/> As for the use of music, even though it is detourned like everything else, it will be felt by everyone in the normal way; it is never distanciated and always has a positive, ‘lyrical’ aim.”<br/><br/> This version of the film differs from earlier versions in that Debord’s French voiceover has been replaced by an English-language narration by the American actress, Dore Bowen. The text spoken by Bowen is drawn from Ken Knabb’s translation. That translation also provides occasional subtitles for non-English dialogue within the film clips that Debord borrows and intertitles. The visuals appear to have been drawn from the French Gaumont DVD. Editing and production on this new version were by Konrad Steiner.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/debord.html\" rel=\"noopener\" target=\"_blank\">Guy Debord in UbuWeb Sound</a></br>","artist_bio":"Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle”\n(1975)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nGuy Debord was born in Paris on December 28, 1931. In 1950 Debord began his association with the Lettrist International, which was being led by Isidore Isou at the time. The Lettrists were attempting to fuse poetry and music, and were interested in transforming the urban landscape. In 1953 they mapped out what they called the \"psychogeography\" of Paris by walking through the city in a free-associative manner, or \"drifts\". Texts on this activity were first published in Naked Lips in 1955 and 1956, in essays titled \"Detournement: How to Use\" and \"Theory of the Derive.\"\nIn 1957 the Lettrist International joined another group of avant-garde artists, called Movement for an Imaginist Bauhaus, to form the Situationist International (SI), and founded the magazine called Situationiste Internationale. Debord proclaimed himself the leader of the SI, and saw himself responsible for maintaining the high ideals he had in mind for the group, but to equate Debord with the SI in all its activities would be misleading. He had a major role in unifying Situationist practice, but he also prevented its expansion into areas he felt would undermine his own goals.\nThe original membership of the SI were Parisian intellectuals and artists who were influenced by the Dada and Surrealist movements, and the group never grew to more than a dozen members. Members were rapidly admitted and expelled, and by 1963 all the original members had left or had been pushed out, including Asger Jorn, who was one of the most prominent members. At the beginning of the SI movement their goal was to transgress the boundary separating art and culture from the everyday and make them part of common life. They theorized that Capitalism has the effect of diverting and stifling creativity, dividing the social body into producers and consumers, or actors and spectators. The SI saw art and poetry as a production by all people, that this was a way to make art the dominant power rather than having power rest in a small group of designated men. They argued for complete divertissement, and were against work. By 1962 they were applying their critique to all aspects of capitalist society, and no longer limiting it to arts and culture. They were inspired by the history of the anarchist movement, and looked to the First International, Spain, Kronstadt, and the Makhnovists in their research. They accused the USSR of being a \"capitalist bureaucracy\", and were advocates for workers' councils. They retained, however, Marxist elements and never identified as entirely anarchistic.\nIn 1967 Debord published Society of the Spectacle, his major work. In the book he takes the position that the spectacle, or the domination of life by images, has subsumed all other forms of domination. He attacks wage labor and commodity production, indeed all forms of hierarchy, in an elaboration of Situationist theory, but claiming that they continue to wield power only in their subsumption into the spectacle. He writes that the spectacle is \"capital to such a degree of accumulation that it becomes an image\" and that images are the currency of contemporary society. Society of the Spectacle had an enormous influence on the student rebellion in 1968. Many quotations were taken from the text to become graffiti on the walls of Paris at the time. Members of the SI acted with the Enrages from Nanterre University in the assembly held in permanent session: the Occupations Committee of the Sorbonne. In 1973 Debord made a film version of Society of the Spectacle (Simar Films) and in 1989 he updated the text in Commentaries on Society of the Spectacle, proving its holding power as a definitive text on cultural imperialism, capital, and mediation in society.\nThe analysis that life has been reduced to a spectacle, as the result of all relationships becoming transactional in capitalist society, can be seen as a reworking of Marx's early writing on alienation. The Situationist addition to this theory is the recognition of \"pseudo-needs\", created by capitalism to continually ensure increased consumption. They switched consciousness from its determination at the point of production to the point of consumption, seeing modern capitalism as a consumer society. The individual, or worker, is no longer recognized as a producer, but courted as a consumer.\nThe Situationists believed that it was necessary to think of the immediate moment as the highest potential for change, and that to liberate oneself was to transform society by effecting power relations. They believed that to transform the structure of society we need only change our perception of the world. Their praxis was based in constructing situations that were disruptive to social norms. It was in this spirit that they created the idea of the 'derive,' as a flow of acts and encounters, and the 'detournement,' as a redirection of images and events. As methods of undermining consumer society and the constructed spectacle they encouraged vandalism, wildcat strikes and sabotage, seeing these as creative acts. The SI saw it their responsibility to make apparent to the masses the system in which they were already implicated. They hoped to be catalysts in a revolutionary process that would eventually make the SI redundant and cause their dissolution. This fantasy was not to come about, however, as the group disbanded over tactical disputes in 1972. Their ideas continue to have a lasting influence on art, politics and philosophy.\nIn 1971 Debord became friends with Gerard Lebovici, who would become his publisher and producer. In 1984 Lebovici was assassinated, and Debord was tangentially implicated. He was subjected to police interrogation, and suffered defamation in the press. Debord was infuriated by the accusations, and as a consequence, prohibited the screening of his films in France during his lifetime. He won his subsequent libel suits, and he published Considerations on the Assassination of Gerard Lebovici in 1985.\nIn 1987 Debord wrote The Game of War with his second wife, Alice Becker-Ho. In 1989 he published his Commentaries on the Society of the Spectacle, expanding on the earlier text by writing of the \"integrated\" spectacle, the new, more insidious form of the spectacle.\nIn 1994, Debord committed suicide in Champot, Upper Loire. It was not his first attempt, having tried to asphyxiate himself once before in 1955. His ashes were scattered on the point of Ile de la Cité, Paris. The French press promptly made him a celebrity, never before having acknowledged the significance of the Situationist International or Debord's work.","bio_dates":"1931-1994"},{"slug":"debord_guy_refutation_of_all_the_judgments_1975_iphone","ok":true,"partial":false,"title":"Refutation of All Judgments","artist":"Guy Debord","year":"1975","startOffset":0.367,"sourceSecs":1306.329,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":82076108,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_refutation_of_all_the_judgments_1975_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_refutation_of_all_the_judgments_1975_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/debord_guy_refutation_of_all_the_judgments_1975_iphone.m4v","hasFrames":true,"description":"Subtitles by Keith Sanborn","artist_bio":"Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle”\n(1975)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nGuy Debord was born in Paris on December 28, 1931. In 1950 Debord began his association with the Lettrist International, which was being led by Isidore Isou at the time. The Lettrists were attempting to fuse poetry and music, and were interested in transforming the urban landscape. In 1953 they mapped out what they called the \"psychogeography\" of Paris by walking through the city in a free-associative manner, or \"drifts\". Texts on this activity were first published in Naked Lips in 1955 and 1956, in essays titled \"Detournement: How to Use\" and \"Theory of the Derive.\"\nIn 1957 the Lettrist International joined another group of avant-garde artists, called Movement for an Imaginist Bauhaus, to form the Situationist International (SI), and founded the magazine called Situationiste Internationale. Debord proclaimed himself the leader of the SI, and saw himself responsible for maintaining the high ideals he had in mind for the group, but to equate Debord with the SI in all its activities would be misleading. He had a major role in unifying Situationist practice, but he also prevented its expansion into areas he felt would undermine his own goals.\nThe original membership of the SI were Parisian intellectuals and artists who were influenced by the Dada and Surrealist movements, and the group never grew to more than a dozen members. Members were rapidly admitted and expelled, and by 1963 all the original members had left or had been pushed out, including Asger Jorn, who was one of the most prominent members. At the beginning of the SI movement their goal was to transgress the boundary separating art and culture from the everyday and make them part of common life. They theorized that Capitalism has the effect of diverting and stifling creativity, dividing the social body into producers and consumers, or actors and spectators. The SI saw art and poetry as a production by all people, that this was a way to make art the dominant power rather than having power rest in a small group of designated men. They argued for complete divertissement, and were against work. By 1962 they were applying their critique to all aspects of capitalist society, and no longer limiting it to arts and culture. They were inspired by the history of the anarchist movement, and looked to the First International, Spain, Kronstadt, and the Makhnovists in their research. They accused the USSR of being a \"capitalist bureaucracy\", and were advocates for workers' councils. They retained, however, Marxist elements and never identified as entirely anarchistic.\nIn 1967 Debord published Society of the Spectacle, his major work. In the book he takes the position that the spectacle, or the domination of life by images, has subsumed all other forms of domination. He attacks wage labor and commodity production, indeed all forms of hierarchy, in an elaboration of Situationist theory, but claiming that they continue to wield power only in their subsumption into the spectacle. He writes that the spectacle is \"capital to such a degree of accumulation that it becomes an image\" and that images are the currency of contemporary society. Society of the Spectacle had an enormous influence on the student rebellion in 1968. Many quotations were taken from the text to become graffiti on the walls of Paris at the time. Members of the SI acted with the Enrages from Nanterre University in the assembly held in permanent session: the Occupations Committee of the Sorbonne. In 1973 Debord made a film version of Society of the Spectacle (Simar Films) and in 1989 he updated the text in Commentaries on Society of the Spectacle, proving its holding power as a definitive text on cultural imperialism, capital, and mediation in society.\nThe analysis that life has been reduced to a spectacle, as the result of all relationships becoming transactional in capitalist society, can be seen as a reworking of Marx's early writing on alienation. The Situationist addition to this theory is the recognition of \"pseudo-needs\", created by capitalism to continually ensure increased consumption. They switched consciousness from its determination at the point of production to the point of consumption, seeing modern capitalism as a consumer society. The individual, or worker, is no longer recognized as a producer, but courted as a consumer.\nThe Situationists believed that it was necessary to think of the immediate moment as the highest potential for change, and that to liberate oneself was to transform society by effecting power relations. They believed that to transform the structure of society we need only change our perception of the world. Their praxis was based in constructing situations that were disruptive to social norms. It was in this spirit that they created the idea of the 'derive,' as a flow of acts and encounters, and the 'detournement,' as a redirection of images and events. As methods of undermining consumer society and the constructed spectacle they encouraged vandalism, wildcat strikes and sabotage, seeing these as creative acts. The SI saw it their responsibility to make apparent to the masses the system in which they were already implicated. They hoped to be catalysts in a revolutionary process that would eventually make the SI redundant and cause their dissolution. This fantasy was not to come about, however, as the group disbanded over tactical disputes in 1972. Their ideas continue to have a lasting influence on art, politics and philosophy.\nIn 1971 Debord became friends with Gerard Lebovici, who would become his publisher and producer. In 1984 Lebovici was assassinated, and Debord was tangentially implicated. He was subjected to police interrogation, and suffered defamation in the press. Debord was infuriated by the accusations, and as a consequence, prohibited the screening of his films in France during his lifetime. He won his subsequent libel suits, and he published Considerations on the Assassination of Gerard Lebovici in 1985.\nIn 1987 Debord wrote The Game of War with his second wife, Alice Becker-Ho. In 1989 he published his Commentaries on the Society of the Spectacle, expanding on the earlier text by writing of the \"integrated\" spectacle, the new, more insidious form of the spectacle.\nIn 1994, Debord committed suicide in Champot, Upper Loire. It was not his first attempt, having tried to asphyxiate himself once before in 1955. His ashes were scattered on the point of Ile de la Cité, Paris. The French press promptly made him a celebrity, never before having acknowledged the significance of the Situationist International or Debord's work.","bio_dates":"1931-1994"},{"slug":"debord_guy_society_of_the_spectacle_1973_part_1","ok":true,"partial":false,"title":"Society of the Spectacle, Part 1","artist":"Guy Debord","year":"1973","startOffset":0,"sourceSecs":2745.024,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":160486807,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_society_of_the_spectacle_1973_part_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_society_of_the_spectacle_1973_part_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/debord_guy_society_of_the_spectacle_1973_part_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_guy_society_of_the_spectacle_1973_part_1/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_guy_society_of_the_spectacle_1973_part_1/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/debord_spectacle2.html\" rel=\"noopener\" target=\"_blank\">Society of the Spectacle Part 2</a> <br/><br/> La Société du Spectacle (Society of the Spectacle) is a black and white 1973 film by the Situationist Guy Debord based on his 1967 book of the same title. It was Debord's first feature-length film. It uses found footage and detournement in a radical criticism of mass marketing and its role in the alienation of modern society. <br/><br/> The 88 minute film took a year to make and incorporates footage from feature films, industrial films, news footage, advertisements, and still photographs.[1] The films include The Battleship Potemkin, October, Chapaev, The New Babylon, The Shanghai Gesture, For Whom the Bell Tolls, Rio Grande, They Died with Their Boots On, Johnny Guitar, and Mr. Arkadin, as well as other Soviet films. <br/><br/> Events such as the murder of Lee Harvey Oswald (who assassinated U.S. President John F. Kennedy in 1963), the Spanish Civil War of 1936-1939, the 1956 Hungarian Revolution and the Paris riots in May 1968 are represented, and people such as Mao Zedong, Richard Nixon and the Spanish anarchist Durruti. <br/><br/> Throughout the movie, there is both a voiceover (of Debord) and inter-titles from The Society of the Spectacle but also texts from the 1968 Occupation Committee of the Sorbonne, Machiavelli, Marx, Tocqueville, Émile Pouget, and Soloviev. Without citations, these quotes are hard to decipher, especially with the subtitles (which exist even in the French version) but that is part of Debord's goal \"to problematize reception\" (Greil and Sanborn) and force the viewer to be active. In addition, the words of some of the authors are detourned through deliberate misquoting. <br/><br/> In 1984, Debord withdrew his films from circulation because of the negative press and the assassination of his friend and patron Gerard Lebovici. Since Debord's suicide in 1994, Debord's wife Alice Becker-Ho has been promoting Debord's film. A DVD box set titled Guy Debord: Oeuvres cinématographiques complètes came out in 2005 and contains Debord's seven films. <br/><br/> The cover of the film is derived from a photo of Life magazine photographer J. R. Eyerman. <br/><br/> On November 26, 1952, at the Paramount Theatre (Oakland, California), took place the premiere screening of film Bwana Devil, by Arch Oboler, the first full-length, color 3D (aka 'Natural Vision') motion picture. Eyerman took a series of photo of the audience wearing 3D glasses. <br/><br/> Life magazine used one of the photos as the cover of a brochure about the 1946-1955 decade. The photo employed by Debord shows the audience in \"a virtually trance-like state of absorption, their faces grim, their lips pursed;\" however, in the one chosen by Life, \"the spectators are laughing, their expressions of hilarity conveying the pleasure of an uproarious, active spectatorship.\"Debord version is also flipped left to right, and cropped. --<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/debord.html\" rel=\"noopener\" target=\"_blank\">Guy Debord in UbuWeb Sound</a></br>","artist_bio":"Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle”\n(1975)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nGuy Debord was born in Paris on December 28, 1931. In 1950 Debord began his association with the Lettrist International, which was being led by Isidore Isou at the time. The Lettrists were attempting to fuse poetry and music, and were interested in transforming the urban landscape. In 1953 they mapped out what they called the \"psychogeography\" of Paris by walking through the city in a free-associative manner, or \"drifts\". Texts on this activity were first published in Naked Lips in 1955 and 1956, in essays titled \"Detournement: How to Use\" and \"Theory of the Derive.\"\nIn 1957 the Lettrist International joined another group of avant-garde artists, called Movement for an Imaginist Bauhaus, to form the Situationist International (SI), and founded the magazine called Situationiste Internationale. Debord proclaimed himself the leader of the SI, and saw himself responsible for maintaining the high ideals he had in mind for the group, but to equate Debord with the SI in all its activities would be misleading. He had a major role in unifying Situationist practice, but he also prevented its expansion into areas he felt would undermine his own goals.\nThe original membership of the SI were Parisian intellectuals and artists who were influenced by the Dada and Surrealist movements, and the group never grew to more than a dozen members. Members were rapidly admitted and expelled, and by 1963 all the original members had left or had been pushed out, including Asger Jorn, who was one of the most prominent members. At the beginning of the SI movement their goal was to transgress the boundary separating art and culture from the everyday and make them part of common life. They theorized that Capitalism has the effect of diverting and stifling creativity, dividing the social body into producers and consumers, or actors and spectators. The SI saw art and poetry as a production by all people, that this was a way to make art the dominant power rather than having power rest in a small group of designated men. They argued for complete divertissement, and were against work. By 1962 they were applying their critique to all aspects of capitalist society, and no longer limiting it to arts and culture. They were inspired by the history of the anarchist movement, and looked to the First International, Spain, Kronstadt, and the Makhnovists in their research. They accused the USSR of being a \"capitalist bureaucracy\", and were advocates for workers' councils. They retained, however, Marxist elements and never identified as entirely anarchistic.\nIn 1967 Debord published Society of the Spectacle, his major work. In the book he takes the position that the spectacle, or the domination of life by images, has subsumed all other forms of domination. He attacks wage labor and commodity production, indeed all forms of hierarchy, in an elaboration of Situationist theory, but claiming that they continue to wield power only in their subsumption into the spectacle. He writes that the spectacle is \"capital to such a degree of accumulation that it becomes an image\" and that images are the currency of contemporary society. Society of the Spectacle had an enormous influence on the student rebellion in 1968. Many quotations were taken from the text to become graffiti on the walls of Paris at the time. Members of the SI acted with the Enrages from Nanterre University in the assembly held in permanent session: the Occupations Committee of the Sorbonne. In 1973 Debord made a film version of Society of the Spectacle (Simar Films) and in 1989 he updated the text in Commentaries on Society of the Spectacle, proving its holding power as a definitive text on cultural imperialism, capital, and mediation in society.\nThe analysis that life has been reduced to a spectacle, as the result of all relationships becoming transactional in capitalist society, can be seen as a reworking of Marx's early writing on alienation. The Situationist addition to this theory is the recognition of \"pseudo-needs\", created by capitalism to continually ensure increased consumption. They switched consciousness from its determination at the point of production to the point of consumption, seeing modern capitalism as a consumer society. The individual, or worker, is no longer recognized as a producer, but courted as a consumer.\nThe Situationists believed that it was necessary to think of the immediate moment as the highest potential for change, and that to liberate oneself was to transform society by effecting power relations. They believed that to transform the structure of society we need only change our perception of the world. Their praxis was based in constructing situations that were disruptive to social norms. It was in this spirit that they created the idea of the 'derive,' as a flow of acts and encounters, and the 'detournement,' as a redirection of images and events. As methods of undermining consumer society and the constructed spectacle they encouraged vandalism, wildcat strikes and sabotage, seeing these as creative acts. The SI saw it their responsibility to make apparent to the masses the system in which they were already implicated. They hoped to be catalysts in a revolutionary process that would eventually make the SI redundant and cause their dissolution. This fantasy was not to come about, however, as the group disbanded over tactical disputes in 1972. Their ideas continue to have a lasting influence on art, politics and philosophy.\nIn 1971 Debord became friends with Gerard Lebovici, who would become his publisher and producer. In 1984 Lebovici was assassinated, and Debord was tangentially implicated. He was subjected to police interrogation, and suffered defamation in the press. Debord was infuriated by the accusations, and as a consequence, prohibited the screening of his films in France during his lifetime. He won his subsequent libel suits, and he published Considerations on the Assassination of Gerard Lebovici in 1985.\nIn 1987 Debord wrote The Game of War with his second wife, Alice Becker-Ho. In 1989 he published his Commentaries on the Society of the Spectacle, expanding on the earlier text by writing of the \"integrated\" spectacle, the new, more insidious form of the spectacle.\nIn 1994, Debord committed suicide in Champot, Upper Loire. It was not his first attempt, having tried to asphyxiate himself once before in 1955. His ashes were scattered on the point of Ile de la Cité, Paris. The French press promptly made him a celebrity, never before having acknowledged the significance of the Situationist International or Debord's work.","bio_dates":"1931-1994"},{"slug":"debord_guy_society_of_the_spectacle_1973_part_2","ok":true,"partial":false,"title":"Society of the Spectacle, Part 2","artist":"Guy Debord","year":"1973","startOffset":0,"sourceSecs":2544.149,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":148762983,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_society_of_the_spectacle_1973_part_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_guy_society_of_the_spectacle_1973_part_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/debord_guy_society_of_the_spectacle_1973_part_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_guy_society_of_the_spectacle_1973_part_2/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_guy_society_of_the_spectacle_1973_part_2/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/debord_spectacle1.html\" rel=\"noopener\" target=\"_blank\">Society of the Spectacle Part 1</a> <br/><br/> La Société du Spectacle (Society of the Spectacle) is a black and white 1973 film by the Situationist Guy Debord based on his 1967 book of the same title. It was Debord's first feature-length film. It uses found footage and detournement in a radical criticism of mass marketing and its role in the alienation of modern society. <br/><br/> The 88 minute film took a year to make and incorporates footage from feature films, industrial films, news footage, advertisements, and still photographs.[1] The films include The Battleship Potemkin, October, Chapaev, The New Babylon, The Shanghai Gesture, For Whom the Bell Tolls, Rio Grande, They Died with Their Boots On, Johnny Guitar, and Mr. Arkadin, as well as other Soviet films. <br/><br/> Events such as the murder of Lee Harvey Oswald (who assassinated U.S. President John F. Kennedy in 1963), the Spanish Civil War of 1936-1939, the 1956 Hungarian Revolution and the Paris riots in May 1968 are represented, and people such as Mao Zedong, Richard Nixon and the Spanish anarchist Durruti. <br/><br/> Throughout the movie, there is both a voiceover (of Debord) and inter-titles from The Society of the Spectacle but also texts from the 1968 Occupation Committee of the Sorbonne, Machiavelli, Marx, Tocqueville, Émile Pouget, and Soloviev. Without citations, these quotes are hard to decipher, especially with the subtitles (which exist even in the French version) but that is part of Debord's goal \"to problematize reception\" (Greil and Sanborn) and force the viewer to be active. In addition, the words of some of the authors are detourned through deliberate misquoting. <br/><br/> In 1984, Debord withdrew his films from circulation because of the negative press and the assassination of his friend and patron Gerard Lebovici. Since Debord's suicide in 1994, Debord's wife Alice Becker-Ho has been promoting Debord's film. A DVD box set titled Guy Debord: Oeuvres cinématographiques complètes came out in 2005 and contains Debord's seven films. <br/><br/> The cover of the film is derived from a photo of Life magazine photographer J. R. Eyerman. <br/><br/> On November 26, 1952, at the Paramount Theatre (Oakland, California), took place the premiere screening of film Bwana Devil, by Arch Oboler, the first full-length, color 3D (aka 'Natural Vision') motion picture. Eyerman took a series of photo of the audience wearing 3D glasses. <br/><br/> Life magazine used one of the photos as the cover of a brochure about the 1946-1955 decade. The photo employed by Debord shows the audience in \"a virtually trance-like state of absorption, their faces grim, their lips pursed;\" however, in the one chosen by Life, \"the spectators are laughing, their expressions of hilarity conveying the pleasure of an uproarious, active spectatorship.\"Debord version is also flipped left to right, and cropped. --<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/debord.html\" rel=\"noopener\" target=\"_blank\">Guy Debord in UbuWeb Sound</a></br>","artist_bio":"Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle”\n(1975)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nGuy Debord was born in Paris on December 28, 1931. In 1950 Debord began his association with the Lettrist International, which was being led by Isidore Isou at the time. The Lettrists were attempting to fuse poetry and music, and were interested in transforming the urban landscape. In 1953 they mapped out what they called the \"psychogeography\" of Paris by walking through the city in a free-associative manner, or \"drifts\". Texts on this activity were first published in Naked Lips in 1955 and 1956, in essays titled \"Detournement: How to Use\" and \"Theory of the Derive.\"\nIn 1957 the Lettrist International joined another group of avant-garde artists, called Movement for an Imaginist Bauhaus, to form the Situationist International (SI), and founded the magazine called Situationiste Internationale. Debord proclaimed himself the leader of the SI, and saw himself responsible for maintaining the high ideals he had in mind for the group, but to equate Debord with the SI in all its activities would be misleading. He had a major role in unifying Situationist practice, but he also prevented its expansion into areas he felt would undermine his own goals.\nThe original membership of the SI were Parisian intellectuals and artists who were influenced by the Dada and Surrealist movements, and the group never grew to more than a dozen members. Members were rapidly admitted and expelled, and by 1963 all the original members had left or had been pushed out, including Asger Jorn, who was one of the most prominent members. At the beginning of the SI movement their goal was to transgress the boundary separating art and culture from the everyday and make them part of common life. They theorized that Capitalism has the effect of diverting and stifling creativity, dividing the social body into producers and consumers, or actors and spectators. The SI saw art and poetry as a production by all people, that this was a way to make art the dominant power rather than having power rest in a small group of designated men. They argued for complete divertissement, and were against work. By 1962 they were applying their critique to all aspects of capitalist society, and no longer limiting it to arts and culture. They were inspired by the history of the anarchist movement, and looked to the First International, Spain, Kronstadt, and the Makhnovists in their research. They accused the USSR of being a \"capitalist bureaucracy\", and were advocates for workers' councils. They retained, however, Marxist elements and never identified as entirely anarchistic.\nIn 1967 Debord published Society of the Spectacle, his major work. In the book he takes the position that the spectacle, or the domination of life by images, has subsumed all other forms of domination. He attacks wage labor and commodity production, indeed all forms of hierarchy, in an elaboration of Situationist theory, but claiming that they continue to wield power only in their subsumption into the spectacle. He writes that the spectacle is \"capital to such a degree of accumulation that it becomes an image\" and that images are the currency of contemporary society. Society of the Spectacle had an enormous influence on the student rebellion in 1968. Many quotations were taken from the text to become graffiti on the walls of Paris at the time. Members of the SI acted with the Enrages from Nanterre University in the assembly held in permanent session: the Occupations Committee of the Sorbonne. In 1973 Debord made a film version of Society of the Spectacle (Simar Films) and in 1989 he updated the text in Commentaries on Society of the Spectacle, proving its holding power as a definitive text on cultural imperialism, capital, and mediation in society.\nThe analysis that life has been reduced to a spectacle, as the result of all relationships becoming transactional in capitalist society, can be seen as a reworking of Marx's early writing on alienation. The Situationist addition to this theory is the recognition of \"pseudo-needs\", created by capitalism to continually ensure increased consumption. They switched consciousness from its determination at the point of production to the point of consumption, seeing modern capitalism as a consumer society. The individual, or worker, is no longer recognized as a producer, but courted as a consumer.\nThe Situationists believed that it was necessary to think of the immediate moment as the highest potential for change, and that to liberate oneself was to transform society by effecting power relations. They believed that to transform the structure of society we need only change our perception of the world. Their praxis was based in constructing situations that were disruptive to social norms. It was in this spirit that they created the idea of the 'derive,' as a flow of acts and encounters, and the 'detournement,' as a redirection of images and events. As methods of undermining consumer society and the constructed spectacle they encouraged vandalism, wildcat strikes and sabotage, seeing these as creative acts. The SI saw it their responsibility to make apparent to the masses the system in which they were already implicated. They hoped to be catalysts in a revolutionary process that would eventually make the SI redundant and cause their dissolution. This fantasy was not to come about, however, as the group disbanded over tactical disputes in 1972. Their ideas continue to have a lasting influence on art, politics and philosophy.\nIn 1971 Debord became friends with Gerard Lebovici, who would become his publisher and producer. In 1984 Lebovici was assassinated, and Debord was tangentially implicated. He was subjected to police interrogation, and suffered defamation in the press. Debord was infuriated by the accusations, and as a consequence, prohibited the screening of his films in France during his lifetime. He won his subsequent libel suits, and he published Considerations on the Assassination of Gerard Lebovici in 1985.\nIn 1987 Debord wrote The Game of War with his second wife, Alice Becker-Ho. In 1989 he published his Commentaries on the Society of the Spectacle, expanding on the earlier text by writing of the \"integrated\" spectacle, the new, more insidious form of the spectacle.\nIn 1994, Debord committed suicide in Champot, Upper Loire. It was not his first attempt, having tried to asphyxiate himself once before in 1955. His ashes were scattered on the point of Ile de la Cité, Paris. The French press promptly made him a celebrity, never before having acknowledged the significance of the Situationist International or Debord's work.","bio_dates":"1931-1994"},{"slug":"debord_hurlements_en_faveur_de_sade_1952_iphone","ok":true,"partial":false,"title":"Hurlements en faveur de Sade","artist":"Guy Debord","year":"1952","startOffset":0,"sourceSecs":3811.28,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":67081010,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_hurlements_en_faveur_de_sade_1952_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/debord_hurlements_en_faveur_de_sade_1952_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/debord_hurlements_en_faveur_de_sade_1952_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_hurlements_en_faveur_de_sade_1952_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/debord_hurlements_en_faveur_de_sade_1952_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Instructions for the French Federation of Film Clubs<br/> Clarifications on the film <i>Hurlements en faveur de Sade</i> <br/> The spectacle is permanent. The importance of aesthetics still makes a very beautiful subject for pleasantries after drinking. We are leaving the cinema. The scandal is only too legitimate. I will never give explanations. Now you are all alone with our secrets. AT THE ORIGIN OF A NEW BEAUTY and later in the great liquid desert and limited to <i>l'allee des Cygnes</i> [the Boulevard of Swans] (all of the arts are mediocre games and change nothing) its face was discovered for the first time in this infancy that it calls its life. The specific conditions of the cinema permit the interruption of the anecdote by masses of empty silence. All the perfumes of Arabia. <i>L'Aube de Villennes.</i> AT THE ORIGIN OF A NEW BEAUTY. But it will no longer be in question. All of this isn't truly interesting. It is a question of losing oneself.","artist_bio":"Refutation of All the Judgements, Pro or Con, Thus Far Rendered on the Film “The Society of the Spectacle”\n(1975)\nSociety of the Spectacle by Guy Debord with a new and unauthorized translation, voiceover by Paul Chan\n(2013)\nGuy Debord was born in Paris on December 28, 1931. In 1950 Debord began his association with the Lettrist International, which was being led by Isidore Isou at the time. The Lettrists were attempting to fuse poetry and music, and were interested in transforming the urban landscape. In 1953 they mapped out what they called the \"psychogeography\" of Paris by walking through the city in a free-associative manner, or \"drifts\". Texts on this activity were first published in Naked Lips in 1955 and 1956, in essays titled \"Detournement: How to Use\" and \"Theory of the Derive.\"\nIn 1957 the Lettrist International joined another group of avant-garde artists, called Movement for an Imaginist Bauhaus, to form the Situationist International (SI), and founded the magazine called Situationiste Internationale. Debord proclaimed himself the leader of the SI, and saw himself responsible for maintaining the high ideals he had in mind for the group, but to equate Debord with the SI in all its activities would be misleading. He had a major role in unifying Situationist practice, but he also prevented its expansion into areas he felt would undermine his own goals.\nThe original membership of the SI were Parisian intellectuals and artists who were influenced by the Dada and Surrealist movements, and the group never grew to more than a dozen members. Members were rapidly admitted and expelled, and by 1963 all the original members had left or had been pushed out, including Asger Jorn, who was one of the most prominent members. At the beginning of the SI movement their goal was to transgress the boundary separating art and culture from the everyday and make them part of common life. They theorized that Capitalism has the effect of diverting and stifling creativity, dividing the social body into producers and consumers, or actors and spectators. The SI saw art and poetry as a production by all people, that this was a way to make art the dominant power rather than having power rest in a small group of designated men. They argued for complete divertissement, and were against work. By 1962 they were applying their critique to all aspects of capitalist society, and no longer limiting it to arts and culture. They were inspired by the history of the anarchist movement, and looked to the First International, Spain, Kronstadt, and the Makhnovists in their research. They accused the USSR of being a \"capitalist bureaucracy\", and were advocates for workers' councils. They retained, however, Marxist elements and never identified as entirely anarchistic.\nIn 1967 Debord published Society of the Spectacle, his major work. In the book he takes the position that the spectacle, or the domination of life by images, has subsumed all other forms of domination. He attacks wage labor and commodity production, indeed all forms of hierarchy, in an elaboration of Situationist theory, but claiming that they continue to wield power only in their subsumption into the spectacle. He writes that the spectacle is \"capital to such a degree of accumulation that it becomes an image\" and that images are the currency of contemporary society. Society of the Spectacle had an enormous influence on the student rebellion in 1968. Many quotations were taken from the text to become graffiti on the walls of Paris at the time. Members of the SI acted with the Enrages from Nanterre University in the assembly held in permanent session: the Occupations Committee of the Sorbonne. In 1973 Debord made a film version of Society of the Spectacle (Simar Films) and in 1989 he updated the text in Commentaries on Society of the Spectacle, proving its holding power as a definitive text on cultural imperialism, capital, and mediation in society.\nThe analysis that life has been reduced to a spectacle, as the result of all relationships becoming transactional in capitalist society, can be seen as a reworking of Marx's early writing on alienation. The Situationist addition to this theory is the recognition of \"pseudo-needs\", created by capitalism to continually ensure increased consumption. They switched consciousness from its determination at the point of production to the point of consumption, seeing modern capitalism as a consumer society. The individual, or worker, is no longer recognized as a producer, but courted as a consumer.\nThe Situationists believed that it was necessary to think of the immediate moment as the highest potential for change, and that to liberate oneself was to transform society by effecting power relations. They believed that to transform the structure of society we need only change our perception of the world. Their praxis was based in constructing situations that were disruptive to social norms. It was in this spirit that they created the idea of the 'derive,' as a flow of acts and encounters, and the 'detournement,' as a redirection of images and events. As methods of undermining consumer society and the constructed spectacle they encouraged vandalism, wildcat strikes and sabotage, seeing these as creative acts. The SI saw it their responsibility to make apparent to the masses the system in which they were already implicated. They hoped to be catalysts in a revolutionary process that would eventually make the SI redundant and cause their dissolution. This fantasy was not to come about, however, as the group disbanded over tactical disputes in 1972. Their ideas continue to have a lasting influence on art, politics and philosophy.\nIn 1971 Debord became friends with Gerard Lebovici, who would become his publisher and producer. In 1984 Lebovici was assassinated, and Debord was tangentially implicated. He was subjected to police interrogation, and suffered defamation in the press. Debord was infuriated by the accusations, and as a consequence, prohibited the screening of his films in France during his lifetime. He won his subsequent libel suits, and he published Considerations on the Assassination of Gerard Lebovici in 1985.\nIn 1987 Debord wrote The Game of War with his second wife, Alice Becker-Ho. In 1989 he published his Commentaries on the Society of the Spectacle, expanding on the earlier text by writing of the \"integrated\" spectacle, the new, more insidious form of the spectacle.\nIn 1994, Debord committed suicide in Champot, Upper Loire. It was not his first attempt, having tried to asphyxiate himself once before in 1955. His ashes were scattered on the point of Ile de la Cité, Paris. The French press promptly made him a celebrity, never before having acknowledged the significance of the Situationist International or Debord's work.","bio_dates":"1931-1994"},{"slug":"delany_samuel_orchid_1971","ok":true,"partial":false,"title":"The Orchid","artist":"Samuel R. Delany","year":"1971","startOffset":0,"sourceSecs":1887.846,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":324749396,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/delany_samuel_orchid_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/delany_samuel_orchid_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/delany_samuel_orchid_1971.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/delany_samuel_orchid_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/delany_samuel_orchid_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"The Orchid. 1971. United States. Directed by Samuel R. Delany. 32 min.<br/><br/> Approached at a party with an offer to fund a film, Delany shot his ambitious, “highly-scripted” experimental short in 11 days on the lower West Side of Manhattan for $8,000 dollars. Light on narrative, with a nod to the poetic cinema of Jean Cocteau, the film features a largely non-professional cast, drawn from the writer’s friends in the sci-fi and comic book world, going through a series of mysterious, ritualistic communal encounters. Produced by Howard and Barbara Wise, founders of Electronic Arts Intermix, it’s working title, “The Last Science Fiction Film in the Latter-Half of the Twentieth Century,” was changed by Wise, who believed it wouldn’t be taken seriously as a genre film.","artist_bio":"A novelist and critic who taught literature and creative writing at the University of Massachusetts and Temple University, Samuel R. Delany had won four Nebula Awards and a Hugo Award by the time he was 27. He was inducted into the Science Fiction Hall of Fame in 2002, by which time he'd also been chosen by the Lambda Literary Report as one of the 50 people who had done the most to change our view of gayness in the last half-century. In 2013, he was named the 31st Damon Knight Memorial Foundation Grand Master by the Science Fiction and Fantasy Writers of America.\nSamuel R. Delany’s science fiction and fantasy tales are available in Aye and Gomorrah and Other Stories. His collection Atlantis: Three Tales and Phallos are experimental fiction. His novels include science fiction such as the Nebula-Award winning Babel-17 and The Einstein Intersection, as well as Nova and Dhalgren. His four-volume series Return to Nevèrÿon is sword-and-sorcery. Most recently, he has written the SF novel Through the Valley of the Nest of Spiders. His 2007 novel Dark Reflections won the Stonewall Book Award. Other novels include Equinox, Hogg, and The Mad Man. Delany was the subject of a 2007 documentary, The Polymath, by Fred Barney Taylor, and he has written a popular creative writing textbook, About Writing. He is the author of the widely taught Times Square Red / Times Square Blue, and his book-length autobiographical essay, The Motion of Light in Water, won a Hugo Award in 1989. All are available as both e-books and paperback editions.\nDelany is the author of several collections of critical essays.\nHis interview in the Paris Review’s “Art of Fiction” series appeared in spring 2012. In 2015 he was the recipient of the Nicolas Guillén Award for philosophical fiction. His novella The Atheist in the Attic appeared in February 2018. Professor Delany retired from teaching at the end of 2015. He lives in Philadelphia with his partner, Dennis Rickett.","bio_dates":"b. 1942"},{"slug":"delvoye_wim_sybille_ii_2000_2","ok":true,"partial":false,"title":"Sybille II","artist":"Wim Delvoye","year":"1999","startOffset":0,"sourceSecs":274.854,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":50251123,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/delvoye_wim_sybille_ii_2000_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/delvoye_wim_sybille_ii_2000_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/delvoye_wim_sybille_ii_2000_2.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/delvoye_wim_sybille_ii_2000_2/main.mp4?v=2","description":"The subject of Sybille II by Wim Delvoye is the skin. The magic of the work lies in the use of extreme close-ups. They cause the pictures to at first look like an imaginary, lifeless landscape. After several minutes worm-like objects on the surface come to life. Suddenly the true nature of the images is revealed. Delvoye creates a work of art that confounds our conventional notion of what constitutes the beautiful. The film shows a series of sequences in which various forms, invariably in tones of white and ivory, seem to emerge from nowhere in a delicately cross-stitched landscape. These apparent creatures are mesmerizing, as they weave about in a space the viewer can't initially locate. At a certain point (it took me a number of minutes) you realize that you're not seeing exotic, underwater life, but extreme close-up views of people squeezing blackheads. The dancing forms are filaments of pus released from under the skin, and their explosive appearance in the frame suddenly reads as grotesque and not pleasing. \"I want to portray human beings as a kind of organic living being, that's what they are actually, an organism,\" Delvoye has said, and a number of his pieces use a scatalogical frame to articulate that organic nature.","artist_bio":"Wim Delvoye (born 1965 in Wervik, West Flanders) is a Belgian neo-conceptual artist known for his inventive and often shocking projects. Much of his work is focused on the body. He repeatedly links the attractive with the repulsive, creating work that holds within it inherent contradictions- one does not know whether to stare, be seduced, or to look away. As Robert Enright wrote in Border Crossings, \"Delvoye is involved in a way of making art that reorients our understanding of how beauty can be created\". Wim Delvoye has an eclectic oeuvre, exposing his interest in a range of themes, from bodily function, to the Catholic Church, and numerous subjects in between. He lives and works in Belgium, but recently moved to China after a court of law judged his pig tattoo art projects illegal.","bio_dates":"b. 1965"},{"slug":"demand_thomas_tunnel_1999","ok":true,"partial":false,"title":"Tunnel","artist":"Thomas Demand","year":"1999","startOffset":0,"sourceSecs":603.456,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":100107771,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/demand_thomas_tunnel_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/demand_thomas_tunnel_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/demand_thomas_tunnel_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/demand_thomas_tunnel_1999/main.mp4?v=2","description":"The film presumably shows a fast-paced tracking shot through the tunnel in which Lady Diana Spencer, Princess of Wales, died in a car crash. At first the viewer seems to remember seeing these images in the media. But in reality the set is a true to life, cardboard mock-up of architectural details. Under closer inspection, one also realizes that instead of reproducing reality Thomas Demand creates a perfectly-constructed model world. The cleverly-lit cardboard scenery takes up an incident of recent history and, in doing so, mirrors the illusionary features of what appear to be familiar images. The film literally reflects upon the model of our relationship to images from the mass media. In the process, the construction, representation and repetition of reality create a complex weaving of connections. That the accident used as the theme was the result of a hectic, car chase caused by paparazzi lends the work yet another aspect of the reflection of the media.","artist_bio":"Photographs can seem convincingly real or strangely artificial. The work of German photographer Thomas Demand achieves a disquieting balance between the two. Born in 1964, Demand began as a sculptor and took up photography to record his ephemeral paper constructions. In 1993 he turned the tables, henceforth making constructions for the sole purpose of photographing them. Demand begins with a preexisting image culled from the media, usually of a political event, which he translates into a life-size model made of colored paper and cardboard. His handcrafted facsimiles of architectural spaces and natural environments are built in the image of other images. Thus, his photographs are triply removed from the scenes or objects they purport to depict. Once they have been photographed, the models are destroyed. Demand recently began to make 35mm films, setting his cinematic still images in motion. Combining craftsmanship and conceptualism in equal parts, Demand pushes the medium of photography toward uncharted frontiers. His originality has won him recognition as one of the most innovative artists of his generation.","bio_dates":"b. 1964"},{"slug":"demy_jacques_les_horizons_morts_1951","ok":true,"partial":false,"title":"Les Horizons Mort","artist":"Jacques Demy","year":"1951","startOffset":0,"sourceSecs":502.165,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":78619506,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/demy_jacques_les_horizons_morts_1951/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/demy_jacques_les_horizons_morts_1951/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/demy_jacques_les_horizons_morts_1951.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/demy_jacques_les_horizons_morts_1951/main.mp4?v=2","description":"Director: Jacques Demy<br/> Year: 1951<br/> Time: 8 mins<br/> <br/> Starring Jacques Demy himself, this student essay for his Vaugirard School graduate program highlights the point of view in film.","artist_bio":"Jacques Demy was one of the most approachable filmmakers to appear in the wake of the French New Wave. Uninterested in the formal experimentation of Alain Resnais, or the political agitation of Jean-Luc Godard. Demy instead created a self-contained fantasy world closer to that of François Truffaut, drawing on musicals, fairytales and the golden age of Hollywood.","bio_dates":"1931-1990"},{"slug":"denike_jen_flag_girls","ok":true,"partial":false,"title":"Flag Girls","artist":"Jen DeNike","year":"2007","startOffset":0,"sourceSecs":91.16,"sourceHeight":472,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":15958210,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/denike_jen_flag_girls/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/denike_jen_flag_girls/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/denike_jen_flag_girls.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/denike_jen_flag_girls/main.mp4?v=2","description":"Jen DeNike's video Flag Girls features six women wrapped in hand-sewn flags. As the video loop plays, the women unwrap themselves to reveal their nude bodies. DeNike is known for her diverse output and play with nudity. The meaning of the American flag, here depicted as the original 13 colonies version, is more cryptic than we think.","artist_bio":"Jen DeNike is an American artist born 1971 in Connecticut who today lives and works in Brooklyn, New York. After finishing her Bachelor in Photography at Georgia State University in Atlanta she graduated from Bard College, Annandale on Hudson in 2002. DeNike has been taking part in various group an Solo-exhibitions not only in America but also in Europe. Her work \"Wrestling\" (video, 2003) is part of the collection of the Museum of Modern Art, New York.","bio_dates":"b. 1971"},{"slug":"denike_jen_no_happy_endings","ok":true,"partial":false,"title":"Happy Endings","artist":"Jen DeNike","year":"2006","startOffset":0,"sourceSecs":66.303,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":12329330,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/denike_jen_no_happy_endings/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/denike_jen_no_happy_endings/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/denike_jen_no_happy_endings.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/denike_jen_no_happy_endings/main.mp4?v=2","description":"A continuous loop of the artist in a bucolic setting holding up placards, one by one, that spell out the dismal phrase: THERE ARE NO HAPPY ENDINGS.","artist_bio":"Jen DeNike is an American artist born 1971 in Connecticut who today lives and works in Brooklyn, New York. After finishing her Bachelor in Photography at Georgia State University in Atlanta she graduated from Bard College, Annandale on Hudson in 2002. DeNike has been taking part in various group an Solo-exhibitions not only in America but also in Europe. Her work \"Wrestling\" (video, 2003) is part of the collection of the Museum of Modern Art, New York.","bio_dates":"b. 1971"},{"slug":"denike_jen_pool_party","ok":true,"partial":false,"title":"Pool Party","artist":"Jen DeNike","year":"2009","startOffset":0,"sourceSecs":97.708,"sourceHeight":424,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":2204025,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/denike_jen_pool_party/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/denike_jen_pool_party/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/denike_jen_pool_party.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/denike_jen_pool_party/main.mp4?v=2","description":"Pool Party<br/> Single Channel Video<br/> 1:40 minutes, loops continuously<br/> Edition of 3, 1 AP<br/> 2009","artist_bio":"Jen DeNike is an American artist born 1971 in Connecticut who today lives and works in Brooklyn, New York. After finishing her Bachelor in Photography at Georgia State University in Atlanta she graduated from Bard College, Annandale on Hudson in 2002. DeNike has been taking part in various group an Solo-exhibitions not only in America but also in Europe. Her work \"Wrestling\" (video, 2003) is part of the collection of the Museum of Modern Art, New York.","bio_dates":"b. 1971"},{"slug":"denny_simon_corporate_video_decisions_archive_interface_2012","ok":true,"partial":false,"title":"Corporate Video Decisions Archive Interface Design","artist":"Simon Denny","year":"2011","startOffset":0,"sourceSecs":104.085,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":14492123,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/denny_simon_corporate_video_decisions_archive_interface_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/denny_simon_corporate_video_decisions_archive_interface_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/denny_simon_corporate_video_decisions_archive_interface_2012.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/denny_simon_corporate_video_decisions_archive_interface_2012/main.mp4?v=2","description":"In the video “Corporate Video Decisions Archive Interface Design” (2011), played onto a Samsung LN46C750 46-inch monitor at the entrance of the gallery, one recession is literally dragged and dropped into the other. Produced with the help of a corporate DVD designer, the video is based on Cover Flow, an animated, three-dimensional graphical user interface integrated within iTunes and other Apple Inc. products for visually flipping through content. Loaded with a digital archive of the magazine Corporate Video Decisions, Denny’s video endlessly cycles through issues of the publication as one would through a collection of mp3s. Like a rare album downloaded from an obscure blog, the colorful 1980s graphic design and zany creative photography of the cover pages were imported into a familiar interface – not just that of Cover Flow, but of Denny’s work, in which the creative subjectivity of the artist virtuosically hearkens back to the artist’s role as a consumer free from the needs of production.","artist_bio":"Simon Denny’s practice emphasizes relationships within communities of things; complex sculptural combinations of objects found, bought, gathered and made. There is a privileging of the simple and the old. Denny’s approach is sculpturally holistic, seeking and building upon analogous connections between the various formal aspects of his work. Typically, Denny’s sculptural installations are formed from predetermined fragments then assembled within a given space, which to a significant extent determines the final form and content of the work. The finished work is thus more accurately described as the formal resolution of Denny’s working process, of sensing and facilitating interconnections between composite elements and the ideas they can contribute to a larger project. Denny presents his audiences with situations that tend to foreground an engagement with associations of form, purpose and action. Distinctively rough-shod, ad-hoc constructions of everyday materials are combined with – and are often comprised of - domestic ready-mades. Denny’s apparent crude modesty of form belies the poetic intelligence of the works coming-to-be and sculptural conceit. Denny’s art-making is rooted in doing; considerations of performance and acts of making which embed the artists gesture and activity in his objects – objects chosen in the first instance for the character and activity they already inhabit. Simon Denny currently lives and works in Auckland.","bio_dates":"b. 1982"},{"slug":"denny_simon_dilignet_boardbooks_web_video_2011","ok":true,"partial":false,"title":"Diligent Boardbooks","artist":"Simon Denny","year":"2011","startOffset":0,"sourceSecs":80.875,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":3673815,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/denny_simon_dilignet_boardbooks_web_video_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/denny_simon_dilignet_boardbooks_web_video_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/denny_simon_dilignet_boardbooks_web_video_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/denny_simon_dilignet_boardbooks_web_video_2011/main.mp4?v=2","description":"HD video on USB stick playing on Samsung LN46C750 46-Inch 1080p 3D LCD HDTV (BLACK), Duration: 1 min 20 sec; 10 Inkjet Prints on Canvas and Paper Printouts in Plexiglas box; 6 Inkjet Prints on Canvas; Metal Fittings. Variable dimensions","artist_bio":"Simon Denny’s practice emphasizes relationships within communities of things; complex sculptural combinations of objects found, bought, gathered and made. There is a privileging of the simple and the old. Denny’s approach is sculpturally holistic, seeking and building upon analogous connections between the various formal aspects of his work. Typically, Denny’s sculptural installations are formed from predetermined fragments then assembled within a given space, which to a significant extent determines the final form and content of the work. The finished work is thus more accurately described as the formal resolution of Denny’s working process, of sensing and facilitating interconnections between composite elements and the ideas they can contribute to a larger project. Denny presents his audiences with situations that tend to foreground an engagement with associations of form, purpose and action. Distinctively rough-shod, ad-hoc constructions of everyday materials are combined with – and are often comprised of - domestic ready-mades. Denny’s apparent crude modesty of form belies the poetic intelligence of the works coming-to-be and sculptural conceit. Denny’s art-making is rooted in doing; considerations of performance and acts of making which embed the artists gesture and activity in his objects – objects chosen in the first instance for the character and activity they already inhabit. Simon Denny currently lives and works in Auckland.","bio_dates":"b. 1982"},{"slug":"depalma_brian_the_responsive_eye_1966","ok":true,"partial":false,"title":"The Responsive Eye","artist":"Brian De Palma","year":"1966","startOffset":0,"sourceSecs":1536.277,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":95492736,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/depalma_brian_the_responsive_eye_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/depalma_brian_the_responsive_eye_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/depalma_brian_the_responsive_eye_1966.mp4","hasFrames":true,"description":"Runtime: 26 minutes<br/> Language: English<br/> Country: USA<br/> Color: b/w<br/> Director: Brian De Palma<br/><br/> Cast:<br/> William Seitz<br/> Rudolf Arnheim<br/> Irving H. Leopold<br/> David Hockney<br/> Jeffrey Steele<br/> Mon Levinson<br/> Alfred Leslie<br/><br/>A short film documenting the opening night of an OP ART exhibition at the Museum of Modern Art in New York in 1966. It contains many interesting art works, contemporary at the time of filming, and even some quick interviews with some of the artists, such as David Hockney. Sometimes it comes across as a poke at the so-called art experts and New York in-crowd.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/historical/responsive_eye/index.html\" rel=\"noopener\" target=\"_blank\">\"The Responsive Eye\" MoMA Catalogue in UbuWeb Historical</a></br>","artist_bio":"Brian De Palma is one of the well-known directors who spear-headed the new movement in Hollywood during the 1970s. He is known for his many films that go from violent pictures, to Hitchcock-like thrillers.\nBorn on the 11th of September in 1940, De Palma was born in New Jersey in an American-Italian family. Originally entering university as a physics student, de Palma became attracted to films after seeing such classics as Citizen Kane (1941). Enrolling in Sarah Lawrence College, he found lasting influences from such varied teachers as Alfred Hitchcock and Andy Warhol.\nAt first, his films comprised of such black-and-white films as Bridge That Gap (1965). He then discovered a young actor whose fame would influence Hollywood forever. In 1968, de Palma made the comedic film Greetings (1968) starring Robert de Niro in his first ever credited film role. The two followed up immediately with the film The Wedding Party (1969) and Hi, Mom! (1970).\nAfter making such small-budget thrillers such as Sisters (1973) and Obsession (1976), De Palma was offered the chance to direct a film based on the Stephen King novel \"Carrie\". The story deals with a tormented teenage girl who finds she has the power of telekinesis. The film starred Sissy Spacek, Piper Laurie and John Travolta, and was for De Palma, a chance to try out the split screen technique for which he would later become famous.\nCarrie (1976) was a massive success, and earned the two lead females (Laurie and Spacek) Oscar nominations. The film was praised by most critics, and De Palma's reputation was now permanently secured. He followed up this success with the horror film The Fury (1978), the comedic Home Movies (1980) (both these films featured Kirk Douglas, the crime film Dressed to Kill (1980), and another crime thriller entitled Blow Out (1981) starring John Travolta.\nHis next major success was the controversial, ultra-violent film Scarface (1983). Written by Oliver Stone and starring Al Pacino, the film concerned Cuban immigrant Tony Montana's rise to power in the United States through the drug trade. The film, while being a critical failure, was a major success commercially.\nMoving on from Scarface (1983), De Palma made two more movies before landing another one of his now-classics: The Untouchables (1987), starring old friend 'Robert de Niro' in the role of Chicago gangster Al Capone. Also starring in the film were Kevin Costner as the man who commits himself to bring Capone down, and Sean Connery, an old policeman who helps Costner's character to form a group known as the Untouchables. The film was one of de Palma's most successful films, earning Connery an Oscar, and gave Ennio Morricone a nomination for Best Score.\nAfter The Untouchables (1987), De Palma made the Vietnam film Casualties of War (1989) starring Michael J. Fox and Sean Penn. The film focuses on a new soldier who is helpless to stop his dominating sergeant from kidnapping a Vietnamese girl with the help of the coerced members of the platoon. The film did reasonably well at the box office, but it was his next film that truly displayed the way he could make a hit and a disaster within a short time. The Bonfire of the Vanities (1990) starred a number of well-known actors such as Bruce Willis and Morgan Freeman, yet it was still a commercial flop and earned him two Razzie nominations.\nBut the roller coaster success that De Palma had gotten so far did not let him down. He made the horror film Raising Cain (1992), and the criminal drama Carlito's Way (1993) starring Al Pacino and Sean Penn. The latter film is about a former criminal just released from prison that is trying to avoid his past and move on. It was in the year 1996 that brought one of his most well-known movies. This was the suspense-filled Mission: Impossible (1996) starring Tom Cruise and Jon Voight.\nFollowing up this film was the interesting but unsuccessful film Snake Eyes (1998) starring Nicolas Cage as a detective who finds himself in the middle of a murder scene at a boxing ring. De Palma continued on with the visually astounding but equally unsuccessful film Mission to Mars (2000) which earned him another Razzie nomination. He met failure again with the crime/thriller Femme Fatale (2002) the murder conspiracy The Black Dahlia (2006) and the controversial film Redacted (2007) which deals with individual stories from the war in Iraq.\nBrian De Palma may be down for the moment, but if his box office history has taught us anything, it is that he always returns with a major success that is remembered for years and years afterwards.","bio_dates":"b. 1941"},{"slug":"deren_maya_a_study_in_choreography_for_camera_1945","ok":true,"partial":false,"title":"A Study in Choreography for Camera","artist":"Maya Deren","year":"1945","startOffset":0,"sourceSecs":133.312,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":5479415,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deren_maya_a_study_in_choreography_for_camera_1945/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deren_maya_a_study_in_choreography_for_camera_1945/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/deren_maya_a_study_in_choreography_for_camera_1945.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/deren_maya_a_study_in_choreography_for_camera_1945/main.mp4?v=2","description":"For this groundbreaking avant-garde film, Deren filmed dancer Talley Beatty as he performed a highly condensed dance sequence in a variety of settings, from a forest locale, to a sitting room, and finally to a sculpture-filled courtyard. Deren directed the camera as if it were a dancer, expertly using cuts, varying film speeds, and backwards motion to create a dance that could only exist on film. As Deren wrote in 1965, the dance is \"so related to camera and cutting that it cannot be 'performed' as a unit anywhere but in this particular film.\" This work is considered one of the first major filmdances, and has influenced generations of artists and filmmakers since.","artist_bio":"Maya Deren, original name Eleanora Derenkowsky, (born April 29, 1917, Kiev, Ukraine—died Oct. 13, 1961, New York, N.Y., U.S.), influential director and performer who is often called the “mother” of American avant-garde filmmaking. Her films are not only poetic but instructive, offering insight into the human body and pysche and demonstrating the potential of film to explore these subjects.\nDeren immigrated to the United States with her parents in 1922. Although the family settled in Syracuse, New York, Deren attended secondary school at the League of Nations School in Geneva, Switzerland. She then studied journalism at Syracuse University (1933–35), where she became active in the socialist movement. She graduated from New York University in 1936 and received an M.A. in literature from Smith College, Northampton, Massachusetts, in 1939.\nHaving become interested in modern dance, Deren began working for choreographer Katherine Dunham. In 1941, while on tour in Los Angeles with Dunham and her dance troupe, Deren met Alexander Hammid, a Czech filmmaker. Deren and Hammid married the next year, and in 1943 they codirected Meshes of the Afternoon. They shot the film in their own home, with Hammid serving as cinematographer and Deren playing the central character (Hammid appears in a smaller role). The film’s innovative camera work and narrative structure depict a web of dream events that move between subjective and objective experience. One of the most influential works of American experimental film, it has been credited with establishing the avant-garde film movement in the United States.\nDeren completed five more short films before her death and left several unfinished works. Her first film as sole director was At Land (1944). As in Meshes, Deren appeared as the protagonist and used imaginative editing and camera techniques to express a trance state in which time and space are transformed. She described A Study in Choreography for Camera (1945) as a pas de deux for one dancer and one camera and characterized Ritual in Transfigured Time (1946)—which also utilized dance and in which she appeared—as being about the nature and process of change. She continued to explore the concept of creating a truly cinematic form of dance (as opposed to simply recording a performance) in her last two films, Meditation on Violence (1948), a study of movement in Chinese martial arts and her first picture with sound, and The Very Eye of Night (1954), which features choreography by Antony Tudor.\nDeren’s interest in dance and ritual led her to travel to Haiti in 1947 to research and film voudoun culture. She actively participated in voudoun rituals and became convinced of the integrity and reality of voudoun mythology. Although she never completed her planned film on the subject, her book, Divine Horsemen: The Living Gods of Haiti (1953), was a well-regarded ethnographic study.\nIn addition to her filmmaking, Deren lectured, taught, and wrote extensively on independent film. As part of her dedicated promotion of film as an art form and of avant-garde film, she founded the Creative Film Foundation, which provided funding and support for independent filmmakers. Her major theoretical work, An Anagram of Ideas on Art, Form and Film, was published in 1946.","bio_dates":"1917-1961"},{"slug":"deren_maya_the_private_life_of_a_cat_1944","ok":true,"partial":false,"title":"The Private Life of a Cat","artist":"Maya Deren","year":"1946","startOffset":0,"sourceSecs":1773.063,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":305341923,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deren_maya_the_private_life_of_a_cat_1944/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deren_maya_the_private_life_of_a_cat_1944/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/deren_maya_the_private_life_of_a_cat_1944.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/deren_maya_the_private_life_of_a_cat_1944/main.mp4?v=2","description":"Life of a domestic cat, filmed from a cat’s-eye view. This film was circulated in two versions: a silent version without narration and a somewhat longer sound version with a narration read by filmmaker Alexander Hammid’s then-wife, Maya Deren. Takes place over a period of months as the cat gives birth to a litter of kittens and she cares for them as they grow.","artist_bio":"Maya Deren, original name Eleanora Derenkowsky, (born April 29, 1917, Kiev, Ukraine—died Oct. 13, 1961, New York, N.Y., U.S.), influential director and performer who is often called the “mother” of American avant-garde filmmaking. Her films are not only poetic but instructive, offering insight into the human body and pysche and demonstrating the potential of film to explore these subjects.\nDeren immigrated to the United States with her parents in 1922. Although the family settled in Syracuse, New York, Deren attended secondary school at the League of Nations School in Geneva, Switzerland. She then studied journalism at Syracuse University (1933–35), where she became active in the socialist movement. She graduated from New York University in 1936 and received an M.A. in literature from Smith College, Northampton, Massachusetts, in 1939.\nHaving become interested in modern dance, Deren began working for choreographer Katherine Dunham. In 1941, while on tour in Los Angeles with Dunham and her dance troupe, Deren met Alexander Hammid, a Czech filmmaker. Deren and Hammid married the next year, and in 1943 they codirected Meshes of the Afternoon. They shot the film in their own home, with Hammid serving as cinematographer and Deren playing the central character (Hammid appears in a smaller role). The film’s innovative camera work and narrative structure depict a web of dream events that move between subjective and objective experience. One of the most influential works of American experimental film, it has been credited with establishing the avant-garde film movement in the United States.\nDeren completed five more short films before her death and left several unfinished works. Her first film as sole director was At Land (1944). As in Meshes, Deren appeared as the protagonist and used imaginative editing and camera techniques to express a trance state in which time and space are transformed. She described A Study in Choreography for Camera (1945) as a pas de deux for one dancer and one camera and characterized Ritual in Transfigured Time (1946)—which also utilized dance and in which she appeared—as being about the nature and process of change. She continued to explore the concept of creating a truly cinematic form of dance (as opposed to simply recording a performance) in her last two films, Meditation on Violence (1948), a study of movement in Chinese martial arts and her first picture with sound, and The Very Eye of Night (1954), which features choreography by Antony Tudor.\nDeren’s interest in dance and ritual led her to travel to Haiti in 1947 to research and film voudoun culture. She actively participated in voudoun rituals and became convinced of the integrity and reality of voudoun mythology. Although she never completed her planned film on the subject, her book, Divine Horsemen: The Living Gods of Haiti (1953), was a well-regarded ethnographic study.\nIn addition to her filmmaking, Deren lectured, taught, and wrote extensively on independent film. As part of her dedicated promotion of film as an art form and of avant-garde film, she founded the Creative Film Foundation, which provided funding and support for independent filmmakers. Her major theoretical work, An Anagram of Ideas on Art, Form and Film, was published in 1946.","bio_dates":"1917-1961"},{"slug":"deren_maya_witchs_cradle_1943","ok":true,"partial":false,"title":"Witch's Cradle","artist":"Maya Deren","year":"1944","startOffset":0,"sourceSecs":706.44,"sourceHeight":448,"sourceWidth":608,"hasAudio":false,"hasAmbientMp4":true,"bytes":39850365,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deren_maya_witchs_cradle_1943/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deren_maya_witchs_cradle_1943/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/deren_maya_witchs_cradle_1943.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/deren_maya_witchs_cradle_1943/main.mp4?v=2","description":"John Coulthart: It’s taken a while for Maya Deren’s less familiar films to drift onto the web, so I hadn’t seen this one until now. The Witch’s Cradle (1943) isn’t really a film like Deren’s other short works, more a collection of fragments for something that was left unfinished. But the Surrealist tenor of the piece means that the diverse shot sequence and unusual imagery can be interpreted in a variety of ways. Pajorita Matta is the woman wandering like a Cocteau heroine through the darkened rooms of one of Peggy Guggenheim’s galleries where we catch glimpses of sculptures and a Max Ernst painting, Blind Swimmers (1934). Prior to this there are brief shots of Marcel Duchamp with this fingers tangled in a cat’s cradle, and later on we see that Pajorita Matta has a pentacle drawn on her forehead, a precursor of Deren’s subsequent occult explorations in Haiti. Disjointed as it is, I prefer this to the solo films that Deren produced after her collaboration with Alexander Hammid, Meshes of the Afternoon (1943), most of which were filmed dance performances. The Witch’s Cradle offers another taste of enmeshed mystery. <br/><br/> *** <br/><br/> The common thread is Witch’s Cradle, a silent, unfinished film of around 12 minutes’ duration dating from 1943, co-directed by Deren. When exactly in 1943 it was made is uncertain, but it would appear that it pre-dates even Meshes of the Afternoon, the film she made with Alexander Hammid in the same year which established Deren, previously known only as a dancer, as a vital force of non-linear filmmaking. That alone would prevent the footage from being a mere cutting-room curio, but it is her collaborator who also ensures this fragment’s status as an important document of filmic Modernism.<br/><br/> French artist Marcel Duchamp’s long association with America began in 1913 when he exhibited his Nude Descending a Staircase, No. 2 in the Armory Show in New York. After living in the city during World War I, he returned for its sequel and remained there for much of the rest of his life. How exactly he came into contact with Deren is unclear, but they both moved in a circle of war-time émigrés which also included André Breton and Anaïs Nin.<br/><br/> Of course their collaboration was not Duchamp’s first encounter with film. He appeared, playing chess, in René Clair’s 1924 Surrealist film Entr’acte, and two years later produced the hypnotic, swirling patterns of Anemic Cinema with Man Ray. What survives of his work with Maya Deren is little more than an extended screen test – experiments with lighting effects and rudimentary illusions, such as that of a white string moving of its own volition. The wobbles, scratches and jumps of the unedited footage have a compelling period allure.<br/><br/> The location for most of the film’s scenes is pivotal, and here we come to the third in our troika. In 1942, Peggy Guggenheim opened her gallery Art of This Century in New York in what was once a tailor’s workshop (and which has since returned to its fashion roots as this fascinating radio piece explains). She proposed not only to exhibit the most forward-thinking artists of her time, many of them represented in her own unparalleled collection, but also determined that the interior would be just as cutting-edge. To this end she engaged designer and architect Frederick Kiesler, who installed curving walls, extended arms to hold canvases and, in one space, white ropes suspended from floor to ceiling.<br/><br/> The importance of Art of This Century as a catalyst for Modernism in the US cannot be overestimated, particularly its role in popularising Surrealism and in launching the careers of Jackson Pollock, Mark Rothko, Robert Motherwell and other Abstract Expressionists. In early 1943, Guggenheim presented an exhibition of 31 women, the first show devoted exclusively to female Modernist artists, including Frida Kahlo, Hedda Sterne and – of all people – stripper Gypsy Rose Lee, who herself had an important collection of contemporary art. It also featured Dorothea Tanning (amazingly, still with us at 101), which caused Guggenheim to ruefully reflect that she “should have had only 30 women in the show” after her husband Max Ernst left her for the younger artist.<br/><br/> At the end of that same year came the first Jackson Pollock show and between those events, presumably, came Deren and Duchamp’s shoot. Witch’s Cradle shows Kiesler’s innovative rope hanging system extended ad absurdum to become an impenetrable web. It echoes a Duchamp installation of the previous year shown at First Papers of Surrealism, the first major Surrealist exhibition of in the US, entitled Sixteen Miles of String featuring the eponymous length of twine (or did it? The knot of contradictory reports inspired New York art writer Andrew Russeth’s project 16 Miles of String, which seeks to document exhibitions, performances and other ephemeral artistic activity in the city.)<br/><br/> Duchamp himself is seen briefly in Witch’s Cradle; Deren doesn’t appear in front of the camera (as she would in almost all of her later films). The female presence is Pajorita Matta, seen in some shots with a pentagram on her forehead, ringed with the words “the end is the beginning is the …” and so on (depending where you start and how many times you rotate), in mirror-writing. In his book Alchemist of the Avant-Garde, John F. Moffitt maintains that the occult heavily influenced Duchamp’s work; Witch’s Cradle would appear to be an important manifestation of that influence. Deren’s own interest in ritual and altered states of consciousness would later lead her to become an initiate of Haitian voodoo","artist_bio":"Maya Deren, original name Eleanora Derenkowsky, (born April 29, 1917, Kiev, Ukraine—died Oct. 13, 1961, New York, N.Y., U.S.), influential director and performer who is often called the “mother” of American avant-garde filmmaking. Her films are not only poetic but instructive, offering insight into the human body and pysche and demonstrating the potential of film to explore these subjects.\nDeren immigrated to the United States with her parents in 1922. Although the family settled in Syracuse, New York, Deren attended secondary school at the League of Nations School in Geneva, Switzerland. She then studied journalism at Syracuse University (1933–35), where she became active in the socialist movement. She graduated from New York University in 1936 and received an M.A. in literature from Smith College, Northampton, Massachusetts, in 1939.\nHaving become interested in modern dance, Deren began working for choreographer Katherine Dunham. In 1941, while on tour in Los Angeles with Dunham and her dance troupe, Deren met Alexander Hammid, a Czech filmmaker. Deren and Hammid married the next year, and in 1943 they codirected Meshes of the Afternoon. They shot the film in their own home, with Hammid serving as cinematographer and Deren playing the central character (Hammid appears in a smaller role). The film’s innovative camera work and narrative structure depict a web of dream events that move between subjective and objective experience. One of the most influential works of American experimental film, it has been credited with establishing the avant-garde film movement in the United States.\nDeren completed five more short films before her death and left several unfinished works. Her first film as sole director was At Land (1944). As in Meshes, Deren appeared as the protagonist and used imaginative editing and camera techniques to express a trance state in which time and space are transformed. She described A Study in Choreography for Camera (1945) as a pas de deux for one dancer and one camera and characterized Ritual in Transfigured Time (1946)—which also utilized dance and in which she appeared—as being about the nature and process of change. She continued to explore the concept of creating a truly cinematic form of dance (as opposed to simply recording a performance) in her last two films, Meditation on Violence (1948), a study of movement in Chinese martial arts and her first picture with sound, and The Very Eye of Night (1954), which features choreography by Antony Tudor.\nDeren’s interest in dance and ritual led her to travel to Haiti in 1947 to research and film voudoun culture. She actively participated in voudoun rituals and became convinced of the integrity and reality of voudoun mythology. Although she never completed her planned film on the subject, her book, Divine Horsemen: The Living Gods of Haiti (1953), was a well-regarded ethnographic study.\nIn addition to her filmmaking, Deren lectured, taught, and wrote extensively on independent film. As part of her dedicated promotion of film as an art form and of avant-garde film, she founded the Creative Film Foundation, which provided funding and support for independent filmmakers. Her major theoretical work, An Anagram of Ideas on Art, Form and Film, was published in 1946.","bio_dates":"1917-1961"},{"slug":"derico_corrado_stramilano_1929","ok":true,"partial":false,"title":"Stramilano","artist":"Corrado D'Errico","year":"1929","startOffset":0,"sourceSecs":889.856,"sourceHeight":704,"sourceWidth":1366,"hasAudio":true,"hasAmbientMp4":true,"bytes":372222208,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/derico_corrado_stramilano_1929/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/derico_corrado_stramilano_1929/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/derico_corrado_stramilano_1929.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/derico_corrado_stramilano_1929/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/derico_corrado_stramilano_1929/main/master.m3u8?v=2","hasMainHls":true,"description":"The history of the city symphony is dominated by artists who identified as progressives and radicals, or in some rare cases, such as that of Walter Ruttmann, artists whose politics appear to have undergone a rather startling transformation, from a position that was at least centrist or moderate, to one that was far to the right of center. Stramilano (1929), directed by Corrado D’Errico (1902-41) and produced by the company of the Za Bum music hall by Mario Mattoli and Luciano Ramo for instituto LUCE, was not only Italy’s first contribution to the city symphonies cycle, it was also the earliest example of such a film to emerge from a fascist nation. That said, the politics of Stramilano could only be described as subdued. Instead, D’Errico places the emphasis on capturing the modernity of Milan, on capturing those aspects of the city that have transformed it into “Stramilanoa modern super-city. Milan, of course, was the city whose streetcars produced the \"mighty noise” that inspired F.T. Marinetti and his colleagues to write the “Manifesto of Futurism” and found the Futurist movement back in 1908. And given the fact that Stramilano is sometimes cited as an example of “second wave Futurism,” it is perhaps fitting that D’Errico devotes so much attention to streetcars leaving the terminus (in a manner reminiscent of Vertov’s Man with a Movie Camera, which was released the same year), to streetcars and automobiles competing for space on Milan’s busy streets, and to the city’s ample amounts of traffic.<br/><br/> Like so many other city symphonies, Stramilano has a loose dawn-to-dusk structure to it. The film begins with the city awakening, the first signs of life, street-cleaners doing their work, the market getting underway, factory floors at rest before the start of the workday, cattle in a stockyard, traffic picking up, and, finally, factories moving into full production mode. Roughly ten minutes later, the film ends with a montage sequence that juxtaposes the modern city with the traditional one, and includes scenes of electrical advertisements flashing their brands (FIAT, Magnesia S. Pellegrino, Brill, et cetera) hypnotically, the Duomo framed by busy nighttime streets in a ghostly double-exposure, electrical illumination inside the Galleria Vittorio Emanuele II, melancholy statuary on top of the Duomo, a splitscreen sequence of trains leaving Milano Centrale, and, finally, a stately, symmetrical shot of the Duomo at night.<br/><br/> As the above description suggests, while the film is clearly derivative, it is notable for a number of surprising avant-garde flourishes (multiple exposures, split screens, and an interest in making inanimate objects “dance,” among other things), as well as a few rather unexpected set pieces. These showcases include a visit to one of the rayon factories on the outskirts of Milan that helped make Italy a leader in the production of this “artificial silk” in the interwar years; a visit to a Milan fashion house, where a group of well-to-do women have the latest fashions (presumably rayon garments) modelled for them; a recital of modern and classical dance, as well as rhythmic gymnastics, featuring the incomparable Yia Ruskaya and her students; and a raucous performance by a hot jazz band in a nightclub.<br/><br/> Anthony Kinik<br/><br/> further reading<br/><br/> Lista, Giovanni, Cinema et photographic futuristes (Milan: Skira, 2008), 125-31.<br/><br/> Paulicelli, Eugenia, Italian Style: Fashion and Film from Early Cinema to the Digital Age (New York, NY: Bloomsbury Publishing, 2016).","artist_bio":"Corrado D'Errico (1902–1941) was an Italian screenwriter and film director. D'Errico was one of a number of directors in the Fascist era to graduate from the Instituto Luce.","bio_dates":"1898-1966"},{"slug":"derrida","ok":true,"partial":false,"title":"Derrida","artist":"Jacques Derrida","year":"2002","startOffset":0,"sourceSecs":5149.311,"sourceHeight":368,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":298684449,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/derrida/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/derrida/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/derrida.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/derrida/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/derrida/main/master.m3u8?v=2","hasMainHls":true,"description":"DERRIDA is a complex personal and theoretical portrait of the internationally renowned French philosopher, Jacques Derrida. Best known for generating a movement known as \"deconstruction\", Derrida's radical rethinking of the founding precepts of Western metaphysics has profoundly influenced the fields of literature, philosophy, ethics, architecture and law, inalterably transforming the intellectual landscape of the 20th and 21st centuries.<br/><br/> Produced with Derrida's full cooperation and consent, the film is the most ambitious cinematic project ever undertaken with a world-class philosopher. Initiated by Amy Ziering Kofman, who studied with Derrida at Yale in the 80's, and co-directed by Kirby Dick and Ziering Kofman, DERRIDA is neither a conventional film biography nor a primer on his thinking. Rather, in the spirit of Derrida's own writing, the film investigates the concept of biography itself and explores the nature and limitations of the cinematic form in addressing philosophical thought.<br/><br/> Through the interlacing of rare verite footage of Derrida in his private life with his reflections on deconstruction, violence, the structure of love, the history of philosophy, and the death of his mother, the film raises questions about the relations between the public and the private, the personal and the theoretical, the biographical and the philosophical, becoming a rich and moving meditation on both Derrida himself and the themes that haunt and inspire his work.<br/><br/> Directed by Kirby Dick (\"Sick: The Life & Death of Bob Flanagan Supermasochist\", \"Chain Camera\") and Amy Ziering Kofman (Producer, \"Taylor's Campaign\"), with an original score by Oscar winning composer, Ryuichi Sakamoto (\"The Last Emperor\", \"Taboo,\" \"Merry Christmas Mr. Lawrence\"). -- © 2002 Jane Doe Films<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Jacques Derrida in UbuWeb Sound</a></br>","artist_bio":"Kirby Dick & Amy Ziering Kofman - Derrida (2002), documentary\nJacques Derrida sur la peur d'écrire et son expérience scolaire (2002)\nJacques Derrida, (born July 15, 1930, El Biar, Algeria—died October 8, 2004, Paris, France), French philosopher whose critique of Western philosophy and analyses of the nature of language, writing, and meaning were highly controversial yet immensely influential in much of the intellectual world in the late 20th century.\nDerrida was born to Sephardic Jewish parents in French-governed Algeria. Educated in the French tradition, he went to France in 1949, studied at the elite École Normale Supérieure (ENS), and taught philosophy at the Sorbonne (1960–64), the ENS (1964–84), and the École des Hautes Études en Sciences Sociales (1984–99), all in Paris. From the 1960s he published numerous books and essays on an immense range of topics and taught and lectured throughout the world, including at Yale University and the University of California, Irvine, attaining an international celebrity comparable only to that of Jean-Paul Sartre a generation earlier.\nDerrida is most celebrated as the principal exponent of deconstruction, a term he coined for the critical examination of the fundamental conceptual distinctions, or “oppositions,” inherent in Western philosophy since the time of the ancient Greeks. These oppositions are characteristically “binary” and “hierarchical,” involving a pair of terms in which one member of the pair is assumed to be primary or fundamental, the other secondary or derivative. Examples include nature and culture, speech and writing, mind and body, presence and absence, inside and outside, literal and metaphorical, intelligible and sensible, and form and meaning, among many others. To “deconstruct” an opposition is to explore the tensions and contradictions between the hierarchical ordering assumed or asserted in the text and other aspects of the text’s meaning, especially those that are indirect or implicit. Such an analysis shows that the opposition is not natural or necessary but a product, or “construction,” of the text itself.\nThe speech/writing opposition, for example, is manifested in texts that treat speech as a more authentic form of language than writing. These texts assume that the speaker’s ideas and intentions are directly expressed and immediately “present” in speech, whereas in writing they are comparatively remote or “absent” and thus more easily misunderstood. As Derrida points out, however, speech functions as language only to the extent that it shares characteristics traditionally assigned to writing, such as absence, “difference,” and the possibility of misunderstanding. This fact is indicated by philosophical texts themselves, which invariably describe speech in terms of examples and metaphors drawn from writing, even in cases where writing is explicitly claimed to be secondary to speech. Significantly, Derrida does not wish simply to invert the speech/writing opposition—i.e., to show that writing is really prior to speech. As with any deconstructive analysis, the point is to restructure, or “displace,” the opposition so as to show that neither term is primary.\nThe speech/writing opposition derives from a pervasive picture of meaning that equates linguistic meaning with the ideas and intentions in the mind of the speaker or author. Building on theories of the Swiss linguist Ferdinand de Saussure, Derrida coined the term différance, meaning both a difference and an act of deferring, to characterize the way in which linguistic meaning is created rather than given. For Derrida as for Saussure, the meaning of a word is a function of the distinctive contrasts it displays with other, related meanings. Because each word depends for its meaning on the meanings of other words, it follows that the meaning of a word is never fully “present” to us, as it would be if meanings were the same as ideas or intentions; instead it is endlessly “deferred” in an infinitely long chain of meanings. Derrida expresses this idea by saying that meaning is created by the “play” of differences between words—a play that is “limitless,” “infinite,” and “indefinite.”\nIn the 1960s Derrida’s work was welcomed in France and elsewhere by thinkers interested in the broad interdisciplinary movement known as structuralism. The structuralists analyzed various cultural phenomena—such as myths, religious rituals, literary narratives, and fashions in dress and adornment—as general systems of signs analogous to natural languages, with their own vocabularies and their own underlying rules and structures, and attempted to develop a metalanguage of terms and concepts in which the various sign systems could be described. Some of Derrida’s early work was a critique of major structuralist thinkers such as Saussure, the anthropologist Claude Lévi-Strauss, and the intellectual historian and philosopher Michel Foucault. Derrida was thus seen, especially in the United States, as leading a movement beyond structuralism to “poststructuralism,” which was skeptical about the possibility of a general science of meaning.\nIn other work, particularly three books published in 1967— L’Écriture et la différence (Writing and Difference), De la grammatologie (Of Grammatology), and La Voix et le phénomène (Speech and Phenomena)—Derrida explored the treatment of writing by several seminal figures in the history of Western thought, including the philosophers Edmund Husserl and Jean-Jacques Rousseau and the psychoanalyst Sigmund Freud. Other books, published in 1972, include analyses of writing and representation in the work of philosophers such as Plato (La Dissémination [Dissemination]) and Georg Wilhelm Friedrich Hegel, Husserl, and Martin Heidegger (Marges de la philosophie [Margins of Philosophy]). Glas (1974) is an experimental book printed in two columns—one containing an analysis of key concepts in the philosophy of Hegel, the other a suggestive discussion of the thief, novelist, and playwright Jean Genet. Although Derrida’s writing had always been marked by a keen interest in what words can do, here he produced a work that plays with juxtaposition to explore how language can incite thought.\nOne might distinguish in Derrida’s work a period of philosophical deconstruction from a later period focusing on literature and emphasizing the singularity of the literary work and the play of meaning in avant-garde writers such as Genet, Stéphane Mallarmé, Francis Ponge, and James Joyce. His later work also took up a host of other issues, notably the legacy of Marxism (Spectres de Marx: l’état de la dette, le travail du deuil et la nouvelle Internationale [1993; Specters of Marx: The State of the Debt, the Work of Mourning, and the New International]) and psychoanalysis (La Carte postale: de Socrate à Freud et au-delà [1980; The Post Card: From Socrates to Freud and Beyond]). Other essays considered political, legal, and ethical issues, as well as topics in aesthetics and literature. He also addressed the question of Jewishness and the Jewish tradition in Shibboleth and the autobiographical “Circumfession” (1991).\nAlthough critical examination of fundamental concepts is a standard part of philosophical practice in the Western tradition, it has seldom been carried out as rigorously as in the work of Derrida. His writing is known for its extreme subtlety, its meticulous attention to detail, and its tenacious pursuit of the logical implications of supposedly “marginal” features of texts. Nevertheless, his work has met with considerable opposition among some philosophers, especially those in the Anglo-American tradition. In 1992 the proposal by the University of Cambridge to award Derrida an honorary doctorate generated so much controversy that the university took the unusual step of putting the issue to a vote of the dons (Derrida won); meanwhile, 19 philosophers from around the globe published a letter of protest in which they claimed that Derrida’s writing was incomprehensible and his major claims either trivial or false. In the same vein, other critics have portrayed Derrida as an antirational and nihilistic opponent of “serious” philosophical thinking. Despite such criticism, Derrida’s ideas remain a powerful force in philosophy and myriad other fields.","bio_dates":"1925-1995"},{"slug":"derrida_jacques_sur_la_peur_decrire_et_son_experience_scolaire","ok":true,"partial":false,"title":"Derrida","artist":"Jacques Derrida","year":"2002","startOffset":0,"sourceSecs":481.35,"sourceHeight":240,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":30044386,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/derrida_jacques_sur_la_peur_decrire_et_son_experience_scolaire/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/derrida_jacques_sur_la_peur_decrire_et_son_experience_scolaire/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/derrida_jacques_sur_la_peur_decrire_et_son_experience_scolaire.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/derrida_jacques_sur_la_peur_decrire_et_son_experience_scolaire/main.mp4?v=2","description":"DERRIDA is a complex personal and theoretical portrait of the internationally renowned French philosopher, Jacques Derrida. Best known for generating a movement known as \"deconstruction\", Derrida's radical rethinking of the founding precepts of Western metaphysics has profoundly influenced the fields of literature, philosophy, ethics, architecture and law, inalterably transforming the intellectual landscape of the 20th and 21st centuries.<br/><br/> Produced with Derrida's full cooperation and consent, the film is the most ambitious cinematic project ever undertaken with a world-class philosopher. Initiated by Amy Ziering Kofman, who studied with Derrida at Yale in the 80's, and co-directed by Kirby Dick and Ziering Kofman, DERRIDA is neither a conventional film biography nor a primer on his thinking. Rather, in the spirit of Derrida's own writing, the film investigates the concept of biography itself and explores the nature and limitations of the cinematic form in addressing philosophical thought.<br/><br/> Through the interlacing of rare verite footage of Derrida in his private life with his reflections on deconstruction, violence, the structure of love, the history of philosophy, and the death of his mother, the film raises questions about the relations between the public and the private, the personal and the theoretical, the biographical and the philosophical, becoming a rich and moving meditation on both Derrida himself and the themes that haunt and inspire his work.<br/><br/> Directed by Kirby Dick (\"Sick: The Life & Death of Bob Flanagan Supermasochist\", \"Chain Camera\") and Amy Ziering Kofman (Producer, \"Taylor's Campaign\"), with an original score by Oscar winning composer, Ryuichi Sakamoto (\"The Last Emperor\", \"Taboo,\" \"Merry Christmas Mr. Lawrence\"). -- © 2002 Jane Doe Films<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Jacques Derrida in UbuWeb Sound</a></br>","artist_bio":"Kirby Dick & Amy Ziering Kofman - Derrida (2002), documentary\nJacques Derrida sur la peur d'écrire et son expérience scolaire (2002)\nJacques Derrida, (born July 15, 1930, El Biar, Algeria—died October 8, 2004, Paris, France), French philosopher whose critique of Western philosophy and analyses of the nature of language, writing, and meaning were highly controversial yet immensely influential in much of the intellectual world in the late 20th century.\nDerrida was born to Sephardic Jewish parents in French-governed Algeria. Educated in the French tradition, he went to France in 1949, studied at the elite École Normale Supérieure (ENS), and taught philosophy at the Sorbonne (1960–64), the ENS (1964–84), and the École des Hautes Études en Sciences Sociales (1984–99), all in Paris. From the 1960s he published numerous books and essays on an immense range of topics and taught and lectured throughout the world, including at Yale University and the University of California, Irvine, attaining an international celebrity comparable only to that of Jean-Paul Sartre a generation earlier.\nDerrida is most celebrated as the principal exponent of deconstruction, a term he coined for the critical examination of the fundamental conceptual distinctions, or “oppositions,” inherent in Western philosophy since the time of the ancient Greeks. These oppositions are characteristically “binary” and “hierarchical,” involving a pair of terms in which one member of the pair is assumed to be primary or fundamental, the other secondary or derivative. Examples include nature and culture, speech and writing, mind and body, presence and absence, inside and outside, literal and metaphorical, intelligible and sensible, and form and meaning, among many others. To “deconstruct” an opposition is to explore the tensions and contradictions between the hierarchical ordering assumed or asserted in the text and other aspects of the text’s meaning, especially those that are indirect or implicit. Such an analysis shows that the opposition is not natural or necessary but a product, or “construction,” of the text itself.\nThe speech/writing opposition, for example, is manifested in texts that treat speech as a more authentic form of language than writing. These texts assume that the speaker’s ideas and intentions are directly expressed and immediately “present” in speech, whereas in writing they are comparatively remote or “absent” and thus more easily misunderstood. As Derrida points out, however, speech functions as language only to the extent that it shares characteristics traditionally assigned to writing, such as absence, “difference,” and the possibility of misunderstanding. This fact is indicated by philosophical texts themselves, which invariably describe speech in terms of examples and metaphors drawn from writing, even in cases where writing is explicitly claimed to be secondary to speech. Significantly, Derrida does not wish simply to invert the speech/writing opposition—i.e., to show that writing is really prior to speech. As with any deconstructive analysis, the point is to restructure, or “displace,” the opposition so as to show that neither term is primary.\nThe speech/writing opposition derives from a pervasive picture of meaning that equates linguistic meaning with the ideas and intentions in the mind of the speaker or author. Building on theories of the Swiss linguist Ferdinand de Saussure, Derrida coined the term différance, meaning both a difference and an act of deferring, to characterize the way in which linguistic meaning is created rather than given. For Derrida as for Saussure, the meaning of a word is a function of the distinctive contrasts it displays with other, related meanings. Because each word depends for its meaning on the meanings of other words, it follows that the meaning of a word is never fully “present” to us, as it would be if meanings were the same as ideas or intentions; instead it is endlessly “deferred” in an infinitely long chain of meanings. Derrida expresses this idea by saying that meaning is created by the “play” of differences between words—a play that is “limitless,” “infinite,” and “indefinite.”\nIn the 1960s Derrida’s work was welcomed in France and elsewhere by thinkers interested in the broad interdisciplinary movement known as structuralism. The structuralists analyzed various cultural phenomena—such as myths, religious rituals, literary narratives, and fashions in dress and adornment—as general systems of signs analogous to natural languages, with their own vocabularies and their own underlying rules and structures, and attempted to develop a metalanguage of terms and concepts in which the various sign systems could be described. Some of Derrida’s early work was a critique of major structuralist thinkers such as Saussure, the anthropologist Claude Lévi-Strauss, and the intellectual historian and philosopher Michel Foucault. Derrida was thus seen, especially in the United States, as leading a movement beyond structuralism to “poststructuralism,” which was skeptical about the possibility of a general science of meaning.\nIn other work, particularly three books published in 1967— L’Écriture et la différence (Writing and Difference), De la grammatologie (Of Grammatology), and La Voix et le phénomène (Speech and Phenomena)—Derrida explored the treatment of writing by several seminal figures in the history of Western thought, including the philosophers Edmund Husserl and Jean-Jacques Rousseau and the psychoanalyst Sigmund Freud. Other books, published in 1972, include analyses of writing and representation in the work of philosophers such as Plato (La Dissémination [Dissemination]) and Georg Wilhelm Friedrich Hegel, Husserl, and Martin Heidegger (Marges de la philosophie [Margins of Philosophy]). Glas (1974) is an experimental book printed in two columns—one containing an analysis of key concepts in the philosophy of Hegel, the other a suggestive discussion of the thief, novelist, and playwright Jean Genet. Although Derrida’s writing had always been marked by a keen interest in what words can do, here he produced a work that plays with juxtaposition to explore how language can incite thought.\nOne might distinguish in Derrida’s work a period of philosophical deconstruction from a later period focusing on literature and emphasizing the singularity of the literary work and the play of meaning in avant-garde writers such as Genet, Stéphane Mallarmé, Francis Ponge, and James Joyce. His later work also took up a host of other issues, notably the legacy of Marxism (Spectres de Marx: l’état de la dette, le travail du deuil et la nouvelle Internationale [1993; Specters of Marx: The State of the Debt, the Work of Mourning, and the New International]) and psychoanalysis (La Carte postale: de Socrate à Freud et au-delà [1980; The Post Card: From Socrates to Freud and Beyond]). Other essays considered political, legal, and ethical issues, as well as topics in aesthetics and literature. He also addressed the question of Jewishness and the Jewish tradition in Shibboleth and the autobiographical “Circumfession” (1991).\nAlthough critical examination of fundamental concepts is a standard part of philosophical practice in the Western tradition, it has seldom been carried out as rigorously as in the work of Derrida. His writing is known for its extreme subtlety, its meticulous attention to detail, and its tenacious pursuit of the logical implications of supposedly “marginal” features of texts. Nevertheless, his work has met with considerable opposition among some philosophers, especially those in the Anglo-American tradition. In 1992 the proposal by the University of Cambridge to award Derrida an honorary doctorate generated so much controversy that the university took the unusual step of putting the issue to a vote of the dons (Derrida won); meanwhile, 19 philosophers from around the globe published a letter of protest in which they claimed that Derrida’s writing was incomprehensible and his major claims either trivial or false. In the same vein, other critics have portrayed Derrida as an antirational and nihilistic opponent of “serious” philosophical thinking. Despite such criticism, Derrida’s ideas remain a powerful force in philosophy and myriad other fields.","bio_dates":"1925-1995"},{"slug":"desfons_pierre_ping_pong_paris_new_york_1977","ok":true,"partial":false,"title":"Ping-Pong Paris-New York","artist":"Pierre Desfons","year":"1977","startOffset":0,"sourceSecs":5220.56,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":304324950,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/desfons_pierre_ping_pong_paris_new_york_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/desfons_pierre_ping_pong_paris_new_york_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/desfons_pierre_ping_pong_paris_new_york_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/desfons_pierre_ping_pong_paris_new_york_1977/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/desfons_pierre_ping_pong_paris_new_york_1977/main/master.m3u8?v=2","hasMainHls":true,"description":"French language. <br/><br/> This documentary was produced by the Georges Pompidou Center in Paris for its opening in 1977. It is about the influence that Paris and New York had on each other in the XXth century in the art world. In this film, artists testify on this and their words are illustrated with paintings, archive footage and movie excerpts. <br/><br/> Appear in it James Baldwin, Pierre Boulez, Robert Breer, William Burroughs, John Cage, Carolyn Carlson, Christo, Sam Francis, Clement Greenberg and François Truffaut (among others).","artist_bio":"He has led a career as a draughtsman and a filmmaker, crossed by a Dadaist flow. He has directed a number of documentaries on art and architecture, often crowned by prestigious awards. His artistic production remains faithful to the poetic and transgressive spirit he absorbed while attending the “College of Pataphysics”: society of scholarly and useless research. His work is full of baroque and flamboyant vision through a sharp graphic line, an art of strident collage and grinning humor.","bio_dates":"1977"},{"slug":"deslaw_eugene_la_marche_des_machines_1927","ok":true,"partial":false,"title":"La marche des machines AKA March of the Machines","artist":"Eugene Deslaw","year":"1927","startOffset":0,"sourceSecs":302.037,"sourceHeight":530,"sourceWidth":708,"hasAudio":true,"hasAmbientMp4":true,"bytes":47323366,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deslaw_eugene_la_marche_des_machines_1927/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deslaw_eugene_la_marche_des_machines_1927/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/deslaw_eugene_la_marche_des_machines_1927.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/deslaw_eugene_la_marche_des_machines_1927/main.mp4?v=2","description":"LA MARCHE DES MACHINES de Eugène Deslaw / Photographie : Boris Kaufmann 1929, 5min, silent. <br/><br/> «Je regarde mes films comme des films d'essais. La Marche des machines n'est qu'un moyen d'«action directe» optique, d'action sur les nerfs des spectateurs, sans aucune espèce de logique littéraire. Dans La marche des machines, il n'y a pas de commencement littéraire, ni de fin, les scènes ne durent que juste le temps qu'il faut pour que le spectateur ne puisse les prendre pour la réalité. Le rythme des images réduit à néant leur côté documentaire «instructif.» <br/><br/> Il n'y a pas à comprendre. Il y a à sentir.» <br/><br/> Eugène Deslaw, L'indépendance belge, 1929 <br/><br/> Film accompagné d'une création de Xavier Garcia à partir des sons de luigi Russolo.","artist_bio":"Ievhen Slavchenko (Eugene Deslaw) was making a reputation as an avant-garde film maker in Paris . He who emigrated as part of the exodus that followed the defeat of the Ukrainian National Republic . He studied in Paris in the 1920s and at the École Technique Photo-Cinema in 1927. In that year he assisted Abel Gance in making the early French film epic, Napoléon. His abstract and experimental films include March des Machines (1928), La Nuit Électrique (1930), Montparnasse (1931), Négatifs (1932) and Robots (1932). He worked with Boris Kaufmann (collaborator on Marche des Machines ), Alfred Zinnemann (the photographer on Marche des Machines ), Luis Bunuel and Marcel Carné (his assistants on Montparnasse ). Until 1930 he corresponded with the futurist journal Nova generatsiia (New Generation) and with Oleksandr Dovzhenko, whom he met in Paris in 1930 at Oleksa Hlushchenko's studio. Deslaw is considered part of the so-called second wave of the French avant-garde, which included Fernand Léger, Rene Claire, Henri Chaumet, Man Ray and Germain Dulak.","bio_dates":"1898-1966"},{"slug":"deslaw_eugene_les_nuits_electriques","ok":true,"partial":false,"title":"Les nuits électriques","artist":"Eugene Deslaw","year":"1928","startOffset":0,"sourceSecs":765.84,"sourceHeight":544,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":126742770,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deslaw_eugene_les_nuits_electriques/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deslaw_eugene_les_nuits_electriques/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/deslaw_eugene_les_nuits_electriques.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/deslaw_eugene_les_nuits_electriques/main.mp4?v=2","description":"\"In 1927, Eugène Deslaw, an experimental filmmaker of Ukrainian origin, produced a film-poem on the neo-Baudelairian theme of city lights. Against a backdrop of the night sky, he focuses the film on windows, streetlights and illuminated signs in Paris, Berlin, London and Prague. \"The film's \"actors\", Deslaw wrote, \"absolutely do not tempt me. I think the modern night, populated by strange an singing lights, doesn't really resemble any other night in history. It is as photogenic if not more than a beautiful woman's face\".","artist_bio":"Ievhen Slavchenko (Eugene Deslaw) was making a reputation as an avant-garde film maker in Paris . He who emigrated as part of the exodus that followed the defeat of the Ukrainian National Republic . He studied in Paris in the 1920s and at the École Technique Photo-Cinema in 1927. In that year he assisted Abel Gance in making the early French film epic, Napoléon. His abstract and experimental films include March des Machines (1928), La Nuit Électrique (1930), Montparnasse (1931), Négatifs (1932) and Robots (1932). He worked with Boris Kaufmann (collaborator on Marche des Machines ), Alfred Zinnemann (the photographer on Marche des Machines ), Luis Bunuel and Marcel Carné (his assistants on Montparnasse ). Until 1930 he corresponded with the futurist journal Nova generatsiia (New Generation) and with Oleksandr Dovzhenko, whom he met in Paris in 1930 at Oleksa Hlushchenko's studio. Deslaw is considered part of the so-called second wave of the French avant-garde, which included Fernand Léger, Rene Claire, Henri Chaumet, Man Ray and Germain Dulak.","bio_dates":"1898-1966"},{"slug":"deslaw_eugene_montparnasse_1929","ok":true,"partial":false,"title":"Montparnasse","artist":"Eugene Deslaw","year":"1929","startOffset":0,"sourceSecs":908.12,"sourceHeight":544,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":159596863,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deslaw_eugene_montparnasse_1929/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/deslaw_eugene_montparnasse_1929/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/deslaw_eugene_montparnasse_1929.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/deslaw_eugene_montparnasse_1929/main.mp4?v=2","description":"«Montparnasse d'Eugène Deslaw est une réussite avant-gardiste, où l'oeil bascule en permanence, nourri d'insolite et de mouvement. Après avoir surpris la ville de nuit dans Les Nuits électriques (1928), le cinéaste biélorusse construit une valse rythmée, torsade ses plans dans les sinuosités de la capitale. Plans obliques, plongées déroutantes sur la fourmilière, vues qui glissent et se chassent. Le spectateur, pris d'un somnambulisme visuel, se laisse guider par l'euphorie des images. L'intertitre devient inutile. Deslaw balaie le quartier, ce qui en fait la vie et la misère, avec une minutie qui justifie cette succession d'esthétismes. Ombres et lumières sont arbitrées habilement et inondent les lignes brisées de tel ouvrage bétonné ou de cette cariatide au dessin sensuel. La caméra se promène entre les tables de La Rotonde et surprend une coquette saupoudrant un nez brillant ou un intellectuel, des révoltes pleines le crayon. On y devine Foujita, la clope élégante, ou Buñuel rêvassant devant des mollets qui dansent. Deslaw aime l'insolite: troupeaux de chèvres, hommes sandwiches, clowns et funambules, clochards, partagent le même périmètre. Ateliers d'artistes, foires et brocantes pavent les trottoirs et rappellent les plus belles heures du foyer intellectuel que fut Montmartre». Gael Le Bellego.","artist_bio":"Ievhen Slavchenko (Eugene Deslaw) was making a reputation as an avant-garde film maker in Paris . He who emigrated as part of the exodus that followed the defeat of the Ukrainian National Republic . He studied in Paris in the 1920s and at the École Technique Photo-Cinema in 1927. In that year he assisted Abel Gance in making the early French film epic, Napoléon. His abstract and experimental films include March des Machines (1928), La Nuit Électrique (1930), Montparnasse (1931), Négatifs (1932) and Robots (1932). He worked with Boris Kaufmann (collaborator on Marche des Machines ), Alfred Zinnemann (the photographer on Marche des Machines ), Luis Bunuel and Marcel Carné (his assistants on Montparnasse ). Until 1930 he corresponded with the futurist journal Nova generatsiia (New Generation) and with Oleksandr Dovzhenko, whom he met in Paris in 1930 at Oleksa Hlushchenko's studio. Deslaw is considered part of the so-called second wave of the French avant-garde, which included Fernand Léger, Rene Claire, Henri Chaumet, Man Ray and Germain Dulak.","bio_dates":"1898-1966"},{"slug":"destroy_all_monsters_iphone","ok":true,"partial":false,"title":"Grow Live Monsters","artist":"Destroy All Monsters","year":"1971-1976","startOffset":0,"sourceSecs":3380.199,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":196219144,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/destroy_all_monsters_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/destroy_all_monsters_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/destroy_all_monsters_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/destroy_all_monsters_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/destroy_all_monsters_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"\"Grow Live Monsters is a selection from short home-made no-budget 8mm, super 8 and 16mm film fantasies made between 1971-1976. Most of the films revolved around a group of friends and the wall of noise they would create in basement cellars and in live performance. This was Destroy All Monsters, one of the most avant-garde 'bands' of all time. Featuring artists Niagra, Jim Shaw, Corey Loren and Mike Kelley, Destroy All Monsters is like nothing else. Ever. Psychedelic meets noise meets high and low brow art in a Midwestern blender. Say goodbye to your retinas.\" DVD Contents: \"Grow Live Monsters (1971-1976)\" - The early films of DAM; \"Shake A Lizard Tail or Rust Belt Rump\" - Montage of late-night TV adverts, techno club dancers, and Z grade monster clips; \"Monsters Redux\" - Outtakes, concert footage, band memorabilia, and photos; \"DAM Invades Seattle\" - Performance footage from Seattle, 2000; \"Hometown Horrors\" - Band photos and production stills.","artist_bio":"Destroy All Monsters were an influential Detroit band existing from 1973 to 1985, with sporadic performances since. Their music touched on elements of punk rock, psychedelic rock, heavy metal and noise rock with a heavy dose of performance art. They described their music as \"anti-rock.\"\nDestroy All Monsters never found mainstream success, but earned some notoriety due to members of notable rock groups The Stooges and MC5 who joined the group.\nAlthough Destroy All Monsters never recorded a proper album, Sonic Youth singer/guitarist Thurston Moore released a three compact disc compilation of the group's music in 1994.<"},{"slug":"dialog_cu_ceau_escu_1978_bucure_ti_rom_nia_1978","ok":true,"partial":false,"title":"\"Dialog cu Ceauşescu\"","artist":"Ion Grigorescu","year":"1978","startOffset":0,"sourceSecs":467.36,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":84194728,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dialog_cu_ceau_escu_1978_bucure_ti_rom_nia_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dialog_cu_ceau_escu_1978_bucure_ti_rom_nia_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dialog_cu_ceau_escu_1978_bucure_ti_rom_nia_1978.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dialog_cu_ceau_escu_1978_bucure_ti_rom_nia_1978/main.mp4?v=2"},{"slug":"dick_philip_k_interview_metz_france_1977","ok":true,"partial":false,"title":"Interview","artist":"Philip K. Dick","year":"1977","startOffset":0,"sourceSecs":1314.52,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":231392725,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_philip_k_interview_metz_france_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_philip_k_interview_metz_france_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dick_philip_k_interview_metz_france_1977.mp4","hasFrames":true,"description":"INTERVIEW PHILIP K. DICK<br/> Author: Yves Breux.<br/> Directed by François Luxereau & René Lubin.<br/> Filmed during the Sci-Fi Book Festival in Metz (France), 1977.<br/> Aired by French Cable Channel Canal Jimmy, in 2002.<br/> Time: 21 min 54 sec.","artist_bio":"Philip Kindred Dick (December 16, 1928 – March 2, 1982) was an American novelist, short story writer and essayist whose published work is almost entirely in the science fiction genre. Dick explored sociological, political and metaphysical themes in novels dominated by monopolistic corporations, authoritarian governments, and altered states. In his later works Dick's thematic focus strongly reflected his personal interest in metaphysics and theology. He often drew upon his own life experiences in addressing the nature of drug abuse, paranoia, schizophrenia, and transcendental experiences in novels such as A Scanner Darkly and VALIS.\nThe novel The Man in the High Castle bridged the genres of alternate history and science fiction, earning Dick a Hugo Award for Best Novel in 1963.[2] Flow My Tears, the Policeman Said, a novel about a celebrity who awakens in a parallel universe where he is unknown, won the John W. Campbell Memorial Award for best novel in 1975. \"I want to write about people I love, and put them into a fictional world spun out of my own mind, not the world we actually have, because the world we actually have does not meet my standards,\" Dick wrote of these stories. \"In my writing I even question the universe; I wonder out loud if it is real, and I wonder out loud if all of us are real.\"\nIn addition to 44 published novels, Dick wrote approximately 121 short stories, most of which appeared in science fiction magazines during his lifetime. Although Dick spent most of his career as a writer in near-poverty, ten popular films based on his works have been produced, including Blade Runner, Total Recall, A Scanner Darkly, Minority Report, Paycheck, Next, Screamers, and The Adjustment Bureau. In 2005, Time magazine named Ubik one of the one hundred greatest English-language novels published since 1923. In 2007, Dick became the first science fiction writer to be included in The Library of America series. -- Wiki","bio_dates":"1933-2003"},{"slug":"dick_vivienne_a_skinny_little_man_attached_daddy","ok":true,"partial":false,"title":"A Skinny Little Man Attacked Daddy","artist":"Vivienne Dick","year":"1994","startOffset":0,"sourceSecs":1387.781,"sourceHeight":572,"sourceWidth":700,"hasAudio":true,"hasAmbientMp4":true,"bytes":241099855,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_a_skinny_little_man_attached_daddy/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_a_skinny_little_man_attached_daddy/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dick_vivienne_a_skinny_little_man_attached_daddy.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dick_vivienne_a_skinny_little_man_attached_daddy/main.mp4?v=2","description":"\"\"\"A personal version of 'the family system' from the inside\" – Rod Stoneman, British Film and Video Directory This film marks a return for Vivienne to the to the Donegal landscape of family origin and contrasts it with life in the 'big city' in this gentle, almost ethnographic film that merges home movies and social documentary aesthetics.","bio_dates":"b. 1950"},{"slug":"dick_vivienne_beauty_becomes_the_beast","ok":true,"partial":false,"title":"Beauty Becomes The Beast","artist":"Vivienne Dick","year":"1979","startOffset":0,"sourceSecs":2447.141,"sourceHeight":576,"sourceWidth":712,"hasAudio":true,"hasAmbientMp4":true,"bytes":421005074,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_beauty_becomes_the_beast/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_beauty_becomes_the_beast/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dick_vivienne_beauty_becomes_the_beast.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dick_vivienne_beauty_becomes_the_beast/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dick_vivienne_beauty_becomes_the_beast/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"\"<a href=\"https://ubu.com/film/lunch.html\" rel=\"noopener\" target=\"_blank\">Lydia Lunch</a> is the protagonist of Beauty Becomes The Beast, where she appears alternately as a five-year-old child and a tough teenager. Dick's densest and most associative film, Beauty Becomes The Beast is a virtual catalogue of female media images, ranging from Patty Hearst to 'I Love Lucy.' Switching scenes and modes like a bored TV watcher idly spinning the dial, the film depicts a world of women where mother and daughter are reciprocal roles in an ongoing chain of victimization.... Extremely effective, [this super 8 film] derives its considerable power mainly from the graphic regression of Lunch's persona and from an undercurrent of sexual rage that courses throughout.\" (J. Hoberman, October)","bio_dates":"b. 1950"},{"slug":"dick_vivienne_guerillere_talks_1978","ok":true,"partial":false,"title":"Guerillere Talks","artist":"Vivienne Dick","year":"1978","startOffset":0,"sourceSecs":1469.315,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":632911957,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_guerillere_talks_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_guerillere_talks_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dick_vivienne_guerillere_talks_1978.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dick_vivienne_guerillere_talks_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dick_vivienne_guerillere_talks_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"Guerrillere Talks is Dick’s first film, it consists of six cartridges of Super-8 footage strung together, each running for three and a half minutes.\n\nThis experimental short consists of eight unedited rolls of super-8 film, each of which profiles an individual woman in real time. The women engage in everyday behaviour, such as playing pinball or reading a letter aloud.","bio_dates":"b. 1950"},{"slug":"dick_vivienne_like_dawn_to_dusk","ok":true,"partial":false,"title":"Like Dawn to Dust","artist":"Vivienne Dick","year":"1983","startOffset":0,"sourceSecs":365.461,"sourceHeight":576,"sourceWidth":714,"hasAudio":true,"hasAmbientMp4":true,"bytes":65779486,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_like_dawn_to_dusk/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_like_dawn_to_dusk/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dick_vivienne_like_dawn_to_dusk.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dick_vivienne_like_dawn_to_dusk/main.mp4?v=2","description":"‘Like Dawn to Dust takes up the exploration of the rural landscape initiated in Visibility Moderate but it is characterized by a very different mode of address. Instead of appropriating from radio, television or film, Dick develops a more overtly ‘poetic’ aesthetic, through performance, cinematography and sound. The opening shots of a decaying ‘Big House’ bearing the scorch marks of a fire, are accompanied by an off-key piano, recalling stage melodrama or early cinema. The house, most likely a remnant of Anglo-Irish society, is abandoned but for the figure of Lydia Lunch, wearing her signature New York ‘Goth’ make-up and clothes. Lunch delivers a poetic monologue, both on screen and in voice-over, over a traditional soundtrack and her final words emphasize the circularity of Irish narratives: ‘the past never dies, it just continually repeats itself.’ (Maeve Connolly, ‘From no Wave to national cinema: the cultural landscape of Vivienne Dick’s early Films (1978-1985)’, National Cinema and Beyond, Four Courts Press, 2004. Sourced from http://www.luxonline.org.uk/artists/vivienne_dick/like_dawn_to_dusk.html on July 20th 2016)","bio_dates":"b. 1950"},{"slug":"dick_vivienne_saccade_2004","ok":true,"partial":false,"title":"Saccade","artist":"Vivienne Dick","year":"2004","startOffset":0,"sourceSecs":182.661,"sourceHeight":574,"sourceWidth":712,"hasAudio":true,"hasAmbientMp4":true,"bytes":30757817,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_saccade_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_saccade_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dick_vivienne_saccade_2004.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dick_vivienne_saccade_2004/main.mp4?v=2","bio_dates":"b. 1950"},{"slug":"dick_vivienne_staten_island_1978","ok":true,"partial":false,"title":"Staten Island","artist":"Vivienne Dick","year":"1978","startOffset":0,"sourceSecs":303.12,"sourceHeight":464,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":53780872,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_staten_island_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_staten_island_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dick_vivienne_staten_island_1978.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dick_vivienne_staten_island_1978/main.mp4?v=2","description":"Pat Place plays a creature who lives in an old abandoned barge on a rubbish strewn beach. The mood is post-apocalyptic and the music of Telstar mixed with domestic kitchen clatter. -- V.D.","bio_dates":"b. 1950"},{"slug":"dick_vivienne_visibility_moderate","ok":true,"partial":false,"title":"Visibility Moderate","artist":"Vivienne Dick","year":"1981","startOffset":0,"sourceSecs":2312.261,"sourceHeight":576,"sourceWidth":714,"hasAudio":true,"hasAmbientMp4":true,"bytes":398903035,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_visibility_moderate/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dick_vivienne_visibility_moderate/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dick_vivienne_visibility_moderate.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dick_vivienne_visibility_moderate/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dick_vivienne_visibility_moderate/main/master.m3u8?v=2","hasMainHls":true,"description":"Vivienne Dick's first film after the New York series takes her back to her native Ireland. Using Super-8 film as a parody of the 'travelogue' or home-movie style film, Dick takes a expatriate, tourist look at her homeland. The narrative follows Margaret Ann Irinsky as the American tourist trekking from a Dublin populated by Hare Krishnas and rock music, to the horse-drawn carriages in the west of Ireland and the kissing of the Blarney stone. The quaint perception of Ireland and the Americanization of the native culture are contrasted with interviews from sectarian prisoners and footage of political marches. As in all her work, Dick uses a mixture of verite shots which capture the essence of the locality and intersperses them with images which have a totally different feel. This method is used to highlight issues in a subtle way wherein the camera takes an active rather than a voyeuristic role.","bio_dates":"b. 1950"},{"slug":"disorient_screen_1_2009_excerpt","ok":true,"partial":false,"title":"Disorient: Screen 1 (2009), excerpt","artist":"Fiona Tan","year":"2009","startOffset":0,"sourceSecs":322.006,"sourceHeight":326,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":18832779,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/disorient_screen_1_2009_excerpt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/disorient_screen_1_2009_excerpt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/disorient_screen_1_2009_excerpt.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/disorient_screen_1_2009_excerpt/main.mp4?v=2","description":"‘Tan presents two videos in Disorient. One is a nomadic account, the other a material gathering. [...] The first seems almost museological. Artefacts have been gathered and assembled en masse like an endless cabinet of curiosities. [...] We pan through this assortment of things: bird cages; chests of drawers; Indian dolls; wooden textures, woven fabrics, carpets; rich emblems made in dense earth colours of red and terracotta. All a kind of tropical, lush forest of cultural signs and things. [...]\n\nA voice murmurs in the space. The sound of the voice washes in the room; it rolls like a tide around the walls. The voice settles in the images of the second video, even while it appears also to narrate the wunderkammer of objects in the first. This video moves between the smooth and striated space described by Deleuze. The narrator’s voice is even, formulaic. His words, abbreviated from the texts of Venetian explorer Marco Polo, catalogue people and places in a steady, predictable list: religion, trade, customs, appearance. [...] ‘Along with the disembodied voice we become one with the eye of the camera, which passes through clouds and travels over mountain ranges to deliver us to scenes in which truck carcasses are carried over rocky ranges, women pray at a wall, opium poppies bob in the wind and are then harvested, fireworks explode. Firecrackers or bombs – I hesitate, in my mind, to confirm which.’"},{"slug":"disorient_screen_2_2009_excerpt","ok":true,"partial":false,"title":"Disorient: Screen 2 (2009), excerpt","artist":"Fiona Tan","year":"2009","startOffset":0,"sourceSecs":520.043,"sourceHeight":326,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":33220357,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/disorient_screen_2_2009_excerpt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/disorient_screen_2_2009_excerpt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/disorient_screen_2_2009_excerpt.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/disorient_screen_2_2009_excerpt/main.mp4?v=2","description":"‘Tan presents two videos in Disorient. One is a nomadic account, the other a material gathering. [...] The first seems almost museological. Artefacts have been gathered and assembled en masse like an endless cabinet of curiosities. [...] We pan through this assortment of things: bird cages; chests of drawers; Indian dolls; wooden textures, woven fabrics, carpets; rich emblems made in dense earth colours of red and terracotta. All a kind of tropical, lush forest of cultural signs and things. [...]\n\nA voice murmurs in the space. The sound of the voice washes in the room; it rolls like a tide around the walls. The voice settles in the images of the second video, even while it appears also to narrate the wunderkammer of objects in the first. This video moves between the smooth and striated space described by Deleuze. The narrator’s voice is even, formulaic. His words, abbreviated from the texts of Venetian explorer Marco Polo, catalogue people and places in a steady, predictable list: religion, trade, customs, appearance. [...] ‘Along with the disembodied voice we become one with the eye of the camera, which passes through clouds and travels over mountain ranges to deliver us to scenes in which truck carcasses are carried over rocky ranges, women pray at a wall, opium poppies bob in the wind and are then harvested, fireworks explode. Firecrackers or bombs – I hesitate, in my mind, to confirm which.’"},{"slug":"djurberg_nathalie_denn_es_ist_schon_zu_leben_2006","ok":true,"partial":false,"title":"Denn es ist Schön zu Leben [Because It Is Wonderful To Live]","artist":"Nathalie Djurberg","year":"2006","startOffset":0,"sourceSecs":584.043,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":106331829,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/djurberg_nathalie_denn_es_ist_schon_zu_leben_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/djurberg_nathalie_denn_es_ist_schon_zu_leben_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/djurberg_nathalie_denn_es_ist_schon_zu_leben_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/djurberg_nathalie_denn_es_ist_schon_zu_leben_2006/main.mp4?v=2","artist_bio":"Denn es ist Schön zu Leben [Because It Is Wonderful To Live] (2006)\nDjurberg is best known for producing claymation short films that are faux-naïve, but graphically violent and erotic. Their main characters, as described by The New York Times, \"are girls or young women engaged in various kinds of vileness: from mild deception, friendly torture and oddly benign bestiality to murder and mayhem.\" The films are accompanied by music by Hans Berg.\nDjurberg's works have been shown at Performa 2007, at Tate Britain (2007), at the P.S.1 Contemporary Art Center in New York (2006) and at the Berlin Biennial of Contemporary Art (2006). They were also featured at solo shows at the Kunsthalle Wien (2007) and at Färgfabriken in Stockholm (2006). In 2008, she exhibited both installations and films at the Fondazione Prada in Milan. Djurberg's 2012 installation The Project was conceived through her solo exhibitions at the Venice Biennale, the New Museum, and the Walker Art Center in Minneapolis.","bio_dates":"b. 1978"},{"slug":"document_1972","ok":true,"partial":false,"title":"Document","artist":"Lynda Benglis","year":"1972","startOffset":0,"sourceSecs":369.636,"sourceHeight":486,"sourceWidth":648,"hasAudio":true,"hasAmbientMp4":true,"bytes":67697659,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/document_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/document_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/document_1972.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/document_1972/main.mp4?v=2","description":"With Benglis standing in front of a photograph of herself, which is then affixed to a monitor bearing her image, the notion of \"original\" is complicated—making the viewer acutely aware of the layers of self-images and layers of \"self\" that are simultaneously presented. Like Martha Rosler's Vital Statistics of a Citizen, Simply Obtained, Benglis presents the viewer with a \"document\" of questionable veracity. It is a document attesting not to the \"real\" Benglis, but to the impossibility of discerning one real identity. Through this exercise, Benglis draws attention to the nature of video as a medium based upon mechanical reproduction—putting it at odds with the whole notion of the \"authentic\" in art."},{"slug":"documenta_6_satellite_telecast_1977_iphone","ok":true,"partial":false,"title":"Documenta 6 Satellite Telecast","artist":"Joseph Beuys, Douglas Davis, and Nam June Paik","year":"1977","startOffset":0,"sourceSecs":1758.936,"sourceHeight":320,"sourceWidth":462,"hasAudio":true,"hasAmbientMp4":true,"bytes":106709262,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/documenta_6_satellite_telecast_1977_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/documenta_6_satellite_telecast_1977_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/documenta_6_satellite_telecast_1977_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/documenta_6_satellite_telecast_1977_iphone/main.mp4?v=2","description":"Documenta, held every five years in Kassel,Germany, is one of the largest and most important contemporary art surveys. In 1977, Documenta 6 featured the first live international satellite telecast by artists. Performances by Nam June Paik, German conceptual artist Joseph Beuys, and Douglas Davis were transmitted to over twenty-five countries. Paik and Charlotte Moorman are seen live from Kassel in Fluxus-inspired collaborative performances, including TV Bra, TV Cello, and TV Bed. They fuse music, performance, video and television in an homage to global communications. Also from Kassel, Joseph Beuys presents a direct address to the public, elaborating on his utopian theories of art as \"social sculpture,\" which were crucial to his conceptual project. From Caracas, Venezuela, Davis performs The Last Nine Minutes, a participatory piece in which he addresses the time/space distance between himself and the television viewing audience. Introductions: Russell Connor and Peter Eden. In German with English voiceover and English. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"dodel_karel_hra_bublinek_1936","ok":true,"partial":false,"title":"Hra bublinek","artist":"Karel Dodal","year":"1936","startOffset":0,"sourceSecs":121.003,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":22401717,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodel_karel_hra_bublinek_1936/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodel_karel_hra_bublinek_1936/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dodel_karel_hra_bublinek_1936.mp4","hasFrames":true,"description":"Director: Karel Dodal and Irena Dodalova<br/> Year: 1936<br/> Time: 2 mins<br/> <br/> Title translates to Bubbles Game, both a modernist experiment in the new possibilities of animated colour graphic art and an advertisement for turpentine soap."},{"slug":"dodel_karel_myslenka_hledajici_svetlo_1938","ok":true,"partial":false,"title":"Myslenka Hledajici Svetlo","artist":"Karel Dodal","year":"1938","startOffset":0,"sourceSecs":575.403,"sourceHeight":512,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":105780018,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodel_karel_myslenka_hledajici_svetlo_1938/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodel_karel_myslenka_hledajici_svetlo_1938/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dodel_karel_myslenka_hledajici_svetlo_1938.mp4","hasFrames":true,"description":"Title translates to Ideas in Search of Light. Sentimental ballet for animated beams of light."},{"slug":"dodge_harry_and_kahn_stanya_all_together_now_2008_iphone","ok":true,"partial":false,"title":"All Together Now","artist":"Harry Dodge and Stanya Kahn","year":"2008","startOffset":0,"sourceSecs":1611.814,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":97133162,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_all_together_now_2008_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_all_together_now_2008_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dodge_harry_and_kahn_stanya_all_together_now_2008_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dodge_harry_and_kahn_stanya_all_together_now_2008_iphone/main.mp4?v=2","description":"All Together Now<br/> Duration 26 minutes, 34 seconds <br/><br/> with performances by:<br/> <br/> Lucy Blue Brady <br/> Trinie Dalton <br/> Lenny Dodge-Kahn <br/> Cerus Dumas <br/> Sean Dungan <br/> Amy Gerstler <br/> Matt Greene <br/> Stanya Kahn <br/> Eileen Myles <br/> Gail Swanlund <br/> Benjamin Weissman <br/><br/> Additional Camera by <br/> Keith Hennessy <br/> Jeff Hockett <br/><br/> Additional Sounds by <br/> Bardo Pond <br/> The Beatles <br/> Boris <br/> The Clash <br/> David Bowie <br/> The Dead C <br/> Holger Czukay <br/> Rick James <br/> Pelt <br/> Jessye Norman <br/> Kinski <br/> The Rolling Stones <br/> Thrones <br/> Yardbirds <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1954"},{"slug":"dodge_harry_and_kahn_stanya_cant_swallow_it_cant_spit_it_out_2006","ok":true,"partial":false,"title":"Can't Swallow It, Can't Spit It Out","artist":"Harry Dodge and Stanya Kahn","year":"2006","startOffset":0,"sourceSecs":1569.941,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":272381914,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_cant_swallow_it_cant_spit_it_out_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_cant_swallow_it_cant_spit_it_out_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dodge_harry_and_kahn_stanya_cant_swallow_it_cant_spit_it_out_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dodge_harry_and_kahn_stanya_cant_swallow_it_cant_spit_it_out_2006/main.mp4?v=2","description":"2006, 26:05 min, color, sound <br/><br/> Roberta Smith writes in The New York Times, \"Ms. Kahn is seen with a bloodied nose, a viking helmet and a large wedge of rubber Swiss cheese, rambling around Los Angeles, talking to the camera, Ms. Dodge and us. The one-sided conversation turns variously competitive ('You should have been there for that'), testy ('This was mostly your idea') and weird, as in a bit that begins, 'When I was in hell...' <br/><br/> Jeffrey Kastener writes, \"What at first might seem like random decisions in the works—unorthodox choices for location, wardrobe, and editing—are carefully poised to produce scenarios that flirt with slapstick without diluting their characters' basic humanity. This balancing act is particularly vivid in the pair's Can't Swallow It, which charts the relationship that develops between that logorrheic Valkyrie and her voyeur-cum-documentarian as the two move from confrontation to empathy during the course of an off-kilter dérive through Los Angeles. Wandering a largely depopulated city, the woman regales her newfound companion with tales that run from personal reminiscences to insane ramblings.\" -- <a href=\"http://eai.org/title.htm?id=14612\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"dodge_harry_and_kahn_stanya_let_the_good_times_roll_2004","ok":true,"partial":false,"title":"Let The Good Times Roll","artist":"Harry Dodge and Stanya Kahn","year":"2004","startOffset":0,"sourceSecs":943.488,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":164002276,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_let_the_good_times_roll_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_let_the_good_times_roll_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dodge_harry_and_kahn_stanya_let_the_good_times_roll_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dodge_harry_and_kahn_stanya_let_the_good_times_roll_2004/main.mp4?v=2","description":"2004, 15:43 min, color, sound <br/><br/> Based on a live performance by Stanya Kahn, Let the Good Times Roll shuffles time and location as two loners meet in the desert on their way to a rock show. Stories of seasonal depression and finding unexpected exuberance emerge in suspended, Waiting for Godot-like circumstances. <br/><br/> Writes Rachel Kushner in Artforum, \"In Let The Good Times Roll, a depressive, effusive woman named Lois [Kahn] sits in a motel room telling an unseen cameraman about a party she once attended...If comedy in contemporary art seldom appears without qualifiers like deadpan, concrete or conceptual, Dodge and Kahn's shared comic sensibility belongs to its own idiosyncratic genre, closer in tone and caliber to the artists' cited influences (Richard Pryor, Lily Tomlin and Lenny Bruce) than to the art world's site gag or idea-based sorts of humor.\" On the other hand, writes Kushner, \"art audiences uniquely and all too painfully relate to Lois' various episodes of alienation, her hyperanalytic attempts to decipher cultural absurdities, and her brave, pathetic optimism in the face of failure.\" -- <a href=\"http://eai.org/title.htm?id=14596\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> Music: Melvins. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"dodge_harry_and_kahn_stanya_masters_of_none_2006","ok":true,"partial":false,"title":"Masters of None","artist":"Harry Dodge and Stanya Kahn","year":"2006","startOffset":0,"sourceSecs":714.816,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":127978067,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_masters_of_none_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_masters_of_none_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dodge_harry_and_kahn_stanya_masters_of_none_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dodge_harry_and_kahn_stanya_masters_of_none_2006/main.mp4?v=2","description":"2006, 11:55 min, color, sound <br/><br/> At first glance, Masters of None could be the home video of a family of neon-pink hooded figures, passing the time with charades, television, and Jiffy Pop on the stove. As in All Together Now, Masters has no dialogue or clear narrative arc, and while the domestic activities seem everyday, they are infused with suggestions of violence and danger. As the video progresses, it becomes more densely layered with disturbing television images: sporting accidents, snake fights and hard-core porn. The Jiffy Pop catches fire. The game of charades results in the death of one of the characters, who is buried in the backyard. The overarching soundtrack of distorted and unidentifiable sounds rises to a fever pitch as the figures devour snacks messily through their shrouds, captivated by whatever is on TV. Masters could also be a fable about the proximity of violence and absurdity under the Bush Administration. -- <a href=\"http://eai.org/title.htm?id=14604\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"dodge_harry_and_kahn_stanya_the_ugly_truth_2005","ok":true,"partial":false,"title":"The Ugly Truth","artist":"Harry Dodge and Stanya Kahn","year":"2006","startOffset":0,"sourceSecs":360.341,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":53934081,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_the_ugly_truth_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_the_ugly_truth_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dodge_harry_and_kahn_stanya_the_ugly_truth_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dodge_harry_and_kahn_stanya_the_ugly_truth_2005/main.mp4?v=2","description":"This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"dodge_harry_and_kahn_stanya_whacker_2005","ok":true,"partial":false,"title":"Whacker","artist":"Harry Dodge and Stanya Kahn","year":"2005","startOffset":0,"sourceSecs":384.896,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":67227339,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_whacker_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_whacker_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dodge_harry_and_kahn_stanya_whacker_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dodge_harry_and_kahn_stanya_whacker_2005/main.mp4?v=2","description":"2005, 6:25 min, color, sound <br/><br/> Under a cloudless Los Angeles sky, Kahn—dressed in incongruous heels and a summery dress—runs an electric weed whacker through a hill of overgrown grass. During breaks, the whacker's annoying buzz gives way to the trill of birds and distant sirens, with Elvis Presley's In the Ghetto leaking from a passing car or a radio somewhere. Whacker conjures a tangible L.A. landscape, representing its distinctive mix of desultory glamour and urban hustle, cohabitating in the desert air. Kahn portrays a uniquely L.A. character: sporting Travis Bickle-style aviator sunglasses and chomping a wad of gum, she is disarmingly dedicated to her nonsensical task. According to Dodge, \"It's about the feral - the persistence of the weeds, the wild grass that insists on growing,\" to which Kahn adds...\"and a woman who is as tenacious as the weeds.\"<br/><br/> Writing in The New York Times, Jori Finkel observes, \"Whacker falls somewhere between punk performance and theater of the absurd...\" -- <a href=\"http://eai.org/title.htm?id=14591\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"dodge_harry_and_kahn_stanya_winner_2002","ok":true,"partial":false,"title":"Winner","artist":"Harry Dodge and Stanya Kahn","year":"2002","startOffset":0,"sourceSecs":942.592,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":163548279,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_winner_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dodge_harry_and_kahn_stanya_winner_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dodge_harry_and_kahn_stanya_winner_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dodge_harry_and_kahn_stanya_winner_2002/main.mp4?v=2","description":"Music: Delta 74 <br/><br/> Winner is a fictional interview gone awry, featuring a reticent sweepstakes winner who doggedly avoids receiving her prize and manages to morph an ad spot into a mini documentary about her art work. <br/><br/> Shot in a day and largely improvised, Winner is the first collaborative video by Dodge and Kahn. Featuring Kahn as \"Lois,\" an attention-starved Angeleno, and Dodge as the cameraman who indulges her, Winner established a formative role-playing between them: a symbiotic relationship between camera and subject, indigenous to the world's entertainment capital. In Winner, Lois gets her fifteen minutes in the spotlight when she wins a cruise through a radio call-in show. The sponsoring station deploys a cameraman, \"Peter,\" to record a clip of her thanking them for the prize, but Lois is more intent on showing him her sculptures, on display in the trunk of her car. They look like assemblages of flotsam, clumsily held together with duct tape. Peter initially tries to steer Lois back to the task at hand, but her desperation to have an audience—any audience—is so achingly palpable that he doesn't have the heart to shut her out. He drifts with her into a nearby park, where Lois begins to talk of future film collaborations, and divulges a project in development, an adaptation of Michael Jackson's Thriller music video, with wind and bird sounds layered over it. More than a parody of a L.A. wannabe, Lois is a complex character, as dangerously zealous and needy as Robert De Niro's Rupert Pupkin in The King of Comedy. -- <a href=\"http://eai.org/title.htm?id=14595\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"donebauer_peter_entering_1974","ok":true,"partial":false,"title":"Entering","artist":"Peter Donebauer","year":"1974","startOffset":0,"sourceSecs":426.325,"sourceHeight":512,"sourceWidth":672,"hasAudio":true,"hasAmbientMp4":true,"bytes":61521262,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donebauer_peter_entering_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donebauer_peter_entering_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donebauer_peter_entering_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donebauer_peter_entering_1974/main.mp4?v=2","description":"The imagery and sound in Entering were performed 'live' by Donebauer and composer Simon Desorgher, and recorded in real time, using a colour TV studio at the Royal College of Art. Later Donebauer and Richard Monkhouse developed the Videokalos synthesiser, as an image-sound performance instrument. <i>Entering</i> was transmitted by the BBC in 1974.","artist_bio":"Peter Donebauer was born in 1947. He studied at Manchester University and Royal College of Art, London. A pioneer of colour video, Donebauer designed and built a synthesiser in the early 1970s that became central to his practice, allowing him to work closely with musicians in 'live' largely improvised performances. He has continued to make tapes but now runs a large television production company.","bio_dates":"b. 1943"},{"slug":"donegan_cheryl_alive_w_newport","ok":true,"partial":false,"title":"Cheryl","artist":"Cheryl Donegan","year":"1962","startOffset":0,"sourceSecs":198.699,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":34804720,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_alive_w_newport/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_alive_w_newport/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_alive_w_newport.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_alive_w_newport/main.mp4?v=2","description":"(2005, 26:39 min, color, sound)<br/> <br/> In <i>Cheryl</i>, Donegan's starting point is the appropriated audio of a self-motivating corporate monologue by a woman named Cheryl. A model of forced enthusiasm, this stand-in repeats a rapid litany of retail clichés and personal encouragements (\"I am a winner!\") as positive thinking turns to desperate urgency. This found audio is coupled with a flow of images taken directly from the Web; each image features a cheaply made, kitschy consumer item. Donegan puts each low-resolution image through the same formal process of enlargement and transition. This standardization both elevates the generic objects and revels in their uselessness. Presenting \"Cheryl\" the home-shopping motivator as a surrogate and cheesy consumer goods as art objects, Cheryl the artist questions hype and material value in a personality-driven art market. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_blood_sugar","ok":true,"partial":false,"title":"Blood Sugar","artist":"Cheryl Donegan","year":"2012","startOffset":0,"sourceSecs":327.126,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":59844472,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_blood_sugar/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_blood_sugar/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_blood_sugar.m4v","hasFrames":true,"description":"(2008, 21 minutes, color, sound) <br/><br/> Fashion is the touchstone for the video, “Blood Sugar” which will be projected against a vintage vinyl jacket as a screen. As the title suggests, another bodily metaphor, metabolism, is at play in the continuous cycle and recycle of images. As the models emerge and recede into darkness, images and patterns appear, degrade and reemerge to an uninterrupted beat. The cycle continues, just as we continue to flow and burn.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_cellardoor","ok":true,"partial":false,"title":"Cellardoor","artist":"Cheryl Donegan","year":"1962","startOffset":0,"sourceSecs":124.992,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":21111341,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_cellardoor/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_cellardoor/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_cellardoor.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_cellardoor/main.mp4?v=2","description":"(2000, 1:59 min, color, silent) <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_channeling","ok":true,"partial":false,"title":"Channeling in 4 Versions","artist":"Cheryl Donegan","year":"1962","startOffset":0,"sourceSecs":329.067,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":57543951,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_channeling/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_channeling/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_channeling.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_channeling/main.mp4?v=2","description":"Channeling in 4 Versions (2001, 9:50 min, color, sound)<br/> <br/> Juxtaposing two restagings of a melodramatic scene from <i>Tommy</i>, The Who's rock opera, <i>Channeling</i> analyzes the ways in which media cannibalizes, revises, and resurrects itself. In Donegan's almost psychedelic renditions, a silver-garbed, red-wigged performer capers in a theatrical non-space of foil, plastic, police tape, and rescanned video images of Tommy star Ann-Margret. In Channeling in 4 Versions, actress Garland Hunter enacts the scene, and then, in a silent version (Channeling in 5 Versions), Donegan herself takes the role. <br/><br/> Donegan writes: \"The 1st version of Tommy is as an album in the 60's; version 2 is a film in the 70's for theatrical release; version 3 is the release on video in the 80's and 90's for home viewing; then, as a video by me, versions 4 and 5.\" <br/><br/> With: Garland Hunter, Cheryl Donegan. Sound: The Who, Ann-Margret, Felt. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_cheryl","ok":true,"partial":false,"title":"Blood Sugar","artist":"Cheryl Donegan","year":"2012","startOffset":0,"sourceSecs":353.259,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":63882866,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_cheryl/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_cheryl/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_cheryl.mp4","hasFrames":true,"description":"(2008, 21 minutes, color, sound) <br/><br/> Fashion is the touchstone for the video, “Blood Sugar” which will be projected against a vintage vinyl jacket as a screen. As the title suggests, another bodily metaphor, metabolism, is at play in the continuous cycle and recycle of images. As the models emerge and recede into darkness, images and patterns appear, degrade and reemerge to an uninterrupted beat. The cycle continues, just as we continue to flow and burn.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_file","ok":true,"partial":false,"title":"File","artist":"Cheryl Donegan","year":"1962","startOffset":0.4,"sourceSecs":539.572,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":38425988,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_file/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_file/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_file.mp4","hasFrames":true,"description":"(2003, 9:20 min, color, sound)<br/> Donegan's vertiginous File looks to consumer detritus for inspiration, as well as Rem Koolhaas' notion of the \"junkspace\" of modern cities. Scraps of color and pattern slide across the screen in a stop and start progression that frustrates all sense of spatiality and depth. David Schafer's delirious soundtrack adds to the disorientation. <br/><br/> Sound: <a href=\"https://ubu.com/sound/schafer.html\" rel=\"noopener\" target=\"_blank\">David Schafer</a> \"X10r.1\", 2002 (excerpt). <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_flushing","ok":true,"partial":false,"title":"Flushing","artist":"Cheryl Donegan","year":"2004","startOffset":0,"sourceSecs":253.44,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":44908166,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_flushing/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_flushing/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_flushing.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_flushing/main.mp4?v=2","description":"Flushing, 2004, 4:00, color, sound<br/><br/> Shot at the Flushing Mall in Queens, New York, Flushing is tour of a mall that doesn't live up to the glossy standards of typical American consumer palaces, but is thereby, perhaps a better place to understand the yearnings for fantasy via retailing. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_head","ok":true,"partial":false,"title":"Head","artist":"Cheryl Donegan","year":"1993","startOffset":0,"sourceSecs":180.224,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":30512839,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_head/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_head/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_head.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_head/main.mp4?v=2","description":"With <i>Head</i>, Donegan ushered in a new era of brash, low-tech performance video. Here she confronts sex, fantasy, and voyeurism in an autoerotic work-out performed to pop music. The tape records a direct performance action: Donegan unplugs the spout of a plastic container; a stream of milk spurts out. She catches the liquid in her mouth, swallows it, dribbles it back into the mouth of the container, licks the spout. As a culminating gesture, she spits the liquid against the backdrop, creating a kind of irreverent Action Painting. In this image of sexual \"pleasure\" and fantasy, Donegan is both subject and object, directing the action and performing for the camera without acknowledging its presence. When she exits the frame, the empty container and splattered wall look less like a scene of passion than the scene of a crime. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_kmria","ok":true,"partial":false,"title":"Cheryl","artist":"Cheryl Donegan","year":"1962","startOffset":0,"sourceSecs":349.099,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":63878034,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_kmria/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_kmria/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_kmria.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_kmria/main.mp4?v=2","description":"(2005, 26:39 min, color, sound)<br/> <br/> In <i>Cheryl</i>, Donegan's starting point is the appropriated audio of a self-motivating corporate monologue by a woman named Cheryl. A model of forced enthusiasm, this stand-in repeats a rapid litany of retail clichés and personal encouragements (\"I am a winner!\") as positive thinking turns to desperate urgency. This found audio is coupled with a flow of images taken directly from the Web; each image features a cheaply made, kitschy consumer item. Donegan puts each low-resolution image through the same formal process of enlargement and transition. This standardization both elevates the generic objects and revels in their uselessness. Presenting \"Cheryl\" the home-shopping motivator as a surrogate and cheesy consumer goods as art objects, Cheryl the artist questions hype and material value in a personality-driven art market. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_lieder","ok":true,"partial":false,"title":"Lieder","artist":"Cheryl Donegan","year":"2000","startOffset":0,"sourceSecs":194.667,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":31214362,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_lieder/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_lieder/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_lieder.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_lieder/main.mp4?v=2","description":"In <i>Lieder</i>, Donegan sets up a series of charged relationships -- between artist and model, art object and artistic \"gesture,\" performer and viewer. The \"lieder\" of the title (German for \"songs\") are the amplified squeaks of Donegan's swiveling metal stool as it rotates. Donegan's head is wrapped in plastic and duct-tape, her pregnant body swathed in a black garbage bag. Rendered anonymous, accompanied by the menacing noise of the chair, the artist becomes mechanized and impersonal. Gobs of brightly-colored paint are hurled at her from off-screen, underscoring the aura of threat and violence, which Donegan suggests is implicit in the relationship between performer and spectator. <br/><br/> Assistant: Alison Sall <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_line","ok":true,"partial":false,"title":"Line","artist":"Cheryl Donegan","year":"1996","startOffset":0,"sourceSecs":860.629,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":153418841,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_line/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_line/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_line.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_line/main.mp4?v=2","description":"Writes Donegan: \"... The video is the centerpiece of a large project comprised of paintings and video inspired by the Jean-Luc Godard film Le Mépris. This project does not seek to analyze or critique the Godard film, but to use it as a model, as an inspiration, as a 'classical' language through which other stories can be told... I myself 'play' the roles of both Camille (B. Bardot) and Paul (M. Piccoli). In the Godard film, the characters meet over the recreation of Homer's <i>Odyssey</i> as a Hollywood-style film. In Line, my Homer, the representative of the noble, classical past or Father artist, is the American painter Barnett Newman. In the video, the characters struggle over how to recreate one of his classical 'zips.' This abstract expressionist gesture of presence, of affirmation is for them a mark of cancellation, of destruction. Are they wrong?\" <br/><br/> Editor: Robert Beck at Electronic Arts Intermix. Music: <a href=\"https://ubu.com/sound/satie.html\" rel=\"noopener\" target=\"_blank\">Erik Satie</a>, <a href=\"https://ubu.com/sound/young.html\" rel=\"noopener\" target=\"_blank\">La Monte Young</a>, <a href=\"https://ubu.com/sound/lennon.html\" rel=\"noopener\" target=\"_blank\">Plastic Ono Band</a>. Inspired by \"Le Mépris\" by <a href=\"https://ubu.com/film/godard.html\" rel=\"noopener\" target=\"_blank\">Jean-Luc Godard</a>.<br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_musicvideo","ok":true,"partial":false,"title":"Music Video","artist":"Cheryl Donegan","year":"2008","startOffset":0,"sourceSecs":190.848,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":27769123,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_musicvideo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_musicvideo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_musicvideo.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_musicvideo/main.mp4?v=2","description":"I dreamed The Smiths asked me to make a video for their new song.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_oldtemp","ok":true,"partial":false,"title":"Cheryl","artist":"Cheryl Donegan","year":"1962","startOffset":0,"sourceSecs":479.851,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":86443702,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_oldtemp/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_oldtemp/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_oldtemp.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_oldtemp/main.mp4?v=2","description":"(2005, 26:39 min, color, sound)<br/> <br/> In <i>Cheryl</i>, Donegan's starting point is the appropriated audio of a self-motivating corporate monologue by a woman named Cheryl. A model of forced enthusiasm, this stand-in repeats a rapid litany of retail clichés and personal encouragements (\"I am a winner!\") as positive thinking turns to desperate urgency. This found audio is coupled with a flow of images taken directly from the Web; each image features a cheaply made, kitschy consumer item. Donegan puts each low-resolution image through the same formal process of enlargement and transition. This standardization both elevates the generic objects and revels in their uselessness. Presenting \"Cheryl\" the home-shopping motivator as a surrogate and cheesy consumer goods as art objects, Cheryl the artist questions hype and material value in a personality-driven art market. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_practisse","ok":true,"partial":false,"title":"Practisse","artist":"Cheryl Donegan","year":"1994","startOffset":0,"sourceSecs":405.483,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":73705579,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_practisse/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_practisse/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_practisse.mp4","hasFrames":true,"description":"To the accompaniment of the only extant recording of James Joyce reading from his own work, Donegan uses a clear cellophane hood and a pane of glass to create another of her \"face paintings.\" The performance is intercut with the artist painting over her own image as it appears on a video monitor, complicating the relation between her performance and the ways that technology both records and redefines the artist's work. <br/><br/> Portions of <a href=\"https://ubu.com/sound/joyce.html\" rel=\"noopener\" target=\"_blank\">Finnegans Wake from James Joyce</a> reading (Caedmon Records, 1924), the only recording of Joyce reading his work. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_refuses_2007","ok":true,"partial":false,"title":"Refuses","artist":"Cheryl Donegan","year":"2007","startOffset":0,"sourceSecs":308.053,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":52311683,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_refuses_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_refuses_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_refuses_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_refuses_2007/main.mp4?v=2","description":"After Caroline Bergvall's poem <a href=\"http://www.thebrooklynrail.org/poetry/june05/bergvall.html\" rel=\"noopener\" target=\"_blank\">FUSES (after Carolee Schneemann)</a> after Carolee Schneeman's film <a href=\"https://ubu.com/film/schneeman.html\" rel=\"noopener\" target=\"_blank\">Fuses</a>. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/bergvall.html\" rel=\"noopener\" target=\"_blank\">Caroline Bergvall in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/ubu/bergvall_eclat.html\" rel=\"noopener\" target=\"_blank\">Caroline Bergvall in /ubu Editions</a> <br/> <a href=\"https://ubu.com/film/schneeman.html\" rel=\"noopener\" target=\"_blank\">Carolee Schneeman in UbuWeb Film</a></br></br>","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_scenes_commercials","ok":true,"partial":false,"title":"Scenes and Commercials","artist":"Cheryl Donegan","year":"1962","startOffset":0,"sourceSecs":1221.035,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":209372715,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_scenes_commercials/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_scenes_commercials/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_scenes_commercials.mp4","hasFrames":true,"description":"Scenes + Commercials, 1997, 22:00, color, sound <br/><br/> Unlike earlier works the artist is not a performer in \"Scenes and Commercials.\" Instead, the action is the family drama that unfolds at a Beach Boys rehearsal session. The soundtrack, a tape recording of the Wilson Brothers trying to cut the single \"Help Me Rhonda\" under the overbearing scrutiny of father Murray, tells the story of the struggle to achieve the illusion of carefree, American fun. The visual component of the tape, a neon canopy of a service station in Knoxville, Tennessee, reads like a broken pediment in Donegan's archeology of classical pop forms. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_vine_2016","ok":true,"partial":false,"title":"Vine","artist":"Cheryl Donegan","year":"2016","startOffset":0,"sourceSecs":524.775,"sourceHeight":1920,"sourceWidth":1080,"hasAudio":true,"hasAmbientMp4":true,"bytes":241998653,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_vine_2016/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_vine_2016/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_vine_2016.mov","hasFrames":true,"description":"UBU DESCRIPTION Vine - Cheryl Donegan - 2016 <br/> <br/> Courtesy of the artist and levy.delval, Brussels, Belgium <br/> <br/> A series of videos put together and updated regularly until Vine closed.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"donegan_cheryl_whoa","ok":true,"partial":false,"title":"Whoa Whoa Studio (for Courbet)","artist":"Cheryl Donegan","year":"1962","startOffset":0,"sourceSecs":199.915,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":34771803,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_whoa/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/donegan_cheryl_whoa/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/donegan_cheryl_whoa.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/donegan_cheryl_whoa/main.mp4?v=2","description":"<i>Whoa Whoa Studio</i> refracts Donegan's earlier performance work through the lens of a studio art practice. The artist subverts the tradition of studio painting by using a computer to make simple line drawings. Later, the computer is transformed into a canvas through the regressive act of directly marking the monitor. Painting is related to scatology as a correlation is made between art making and infantile fantasy. <br/><br/> The artist writes: \"These works form a capstone to concerns that have been in my work since I began to make video -- the artist's studio as theatre, the self-conscious/self-reflexive gesture that unites performance and painting, creation unraveled. The space for painting/performance is very shallow - a makeshift set, the television screen, the frame of a painting. In this tautological space the performer, both object and subject, views herself from both sides of the mirror. The gestures performed are fleeting, interrupted, handicapped; the performer's back is against the wall. The imagery plays a game with elements that are part of the creative process - clean and dirty, sight and blindness, fullness and emptiness, chance and effort.\"<br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Stop Me If You Think YOU’VE HEARD THIS ONE before\n(2008, 21 minutes, color, sound)\nCheryl Donegan defines a generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history.\nIn a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings.\nDonegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's \"zips\" and Pollock's splatter paintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism.\nCheryl Donegan was born in 1962 in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam. Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1962"},{"slug":"double_2001","ok":true,"partial":false,"title":"Double","artist":"Kerry Tribe","year":"2001","startOffset":0,"sourceSecs":623.28,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":40422686,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/double_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/double_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/double_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/double_2001/main.mp4?v=2"},{"slug":"douglas_stan_dersandmann_1995","ok":true,"partial":false,"title":"Der Sandmann","artist":"Stan Douglas","year":"1995","startOffset":0,"sourceSecs":721.259,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":122816445,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_dersandmann_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_dersandmann_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/douglas_stan_dersandmann_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/douglas_stan_dersandmann_1995/main.mp4?v=2","description":"Originally an installation: Two-track 16mm black-and-white film projection and stereo soundtrack. <br/><br/>\"\"The film installation Der Sandmann investigates the intersection of history and memory as witnessed against the backdrop of post-Cold War Germany. Shot on 16mm film in the old Ufa studios near Potsdam, the piece fuses E.T.A. Hoffmann's eponymous tale, Freud's citation of it in \"The Uncanny,\" his study of repression and repetition, as well as the social impulses behind 19th-century German urban planning, which instituted the SchrebergŠrten, plots of leasable land on which the poor could grow their own food. Projected as two separate but intersecting videos showing the garden at different chronological points-in use during the 1960s and as a construction site some 20 years later-Der Sandmann contemplates temporality and the transformative effects of history.\" -- Nancy Spector","artist_bio":"Since the late 1980s, Stan Douglas has created films, photographs, and installations that reexamine particular locations or past events. His works often take their points of departure in local settings, from which broader issues can be identified. Making frequent use of new as well as outdated technologies, Douglas appropriates existing Hollywood genres (including murder mysteries and the Western) and borrows from classic literary works (notably, Samuel Beckett, Herman Melville, and Franz Kafka) to create ready-made contextual frameworks for his complex, thoroughly researched projects.\nDouglas was born in 1960 in Vancouver, where he continues to live and work. He was one of the first artists to be represented by David Zwirner, where he had his first American solo exhibition in 1993. The artist’s latest project, Luanda-Kinshasa, debuted at David Zwirner, New York, marking his twelfth gallery solo show (on view January 9 to February 22, 2014).\nIn 2013, a major survey of the artist’s recent work, Stan Douglas: Photographs 2008-2013, was presented at Carré d’Art – Musée d’Art Contemporain in Nîmes, France. The exhibition travels as Stan Douglas: Mise en scène to Haus der Kunst in Munich, where it is currently on view through October 12, 2014. In 2015, the show will tour to the Irish Museum of Modern Art in Dublin. Another solo exhibition of Douglas’s work is planned for fall 2014 at The Fruitmarket Gallery in Edinburgh.\nPremiering in March 2014 at the Arts Club Theatre Company in Vancouver, Helen Lawrence is a new multimedia theatre work conceived by Douglas. Created in close collaboration with acclaimed screenwriter Chris Haddock, the project innovatively merges theatre, visual art, live-action filming, and computer-generated imagery. Douglas worked with a team of 3D artists and programmers to virtually construct the set, which will further be available to audience members to explore in advance through a 3D augmented reality app called Circa 1948 produced by the National Film Board of Canada.\nIn 2012, Douglas received the prestigious Infinity Award from the International Center of Photography, New York. He was recently the recipient of the third annual Scotiabank Photography Award in 2013. A solo exhibition was organized on its occasion and shown earlier this year at the Ryerson Image Centre in Toronto, as part of the 2014 Scotiabank CONTACT Photography Festival.\nOver the past decade, Douglas’s work has been the subject of solo exhibitions at prominent institutions worldwide, including the Canadian Cultural Centre, Paris (2013); Minneapolis Institute of Arts, Minnesota (2012); The Power Plant, Toronto (2011); Staatsgalerie Stuttgart and Württembergischer Kunstverein, Stuttgart (2007); The Studio Museum in Harlem, New York (2005); kestnergesellschaft, Hanover (2004); and the Serpentine Gallery, London (2002).\nMajor museum collections which hold works by the artist include the Art Gallery of Ontario, Toronto; Centre Georges Pompidou, Paris; The Israel Museum, Jerusalem; Museum of Contemporary Art Chicago; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Vancouver Art Gallery; and the Walker Art Center, Minneapolis, Minnesota.","bio_dates":"b. 1960"},{"slug":"douglas_stan_deux_devises_onomatopoeia_1983_1986","ok":true,"partial":false,"title":"Deux devises & Onomatopoeia","artist":"Stan Douglas","year":"1983-1986","startOffset":0,"sourceSecs":821.035,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":142275684,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_deux_devises_onomatopoeia_1983_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_deux_devises_onomatopoeia_1983_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/douglas_stan_deux_devises_onomatopoeia_1983_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/douglas_stan_deux_devises_onomatopoeia_1983_1986/main.mp4?v=2","description":"Stan Douglas, video and installation artist, photographer (b at Vancouver 1960) Douglas graduated from the Emily Carr College of Art and Design in 1982, and was included the following year in the Vancouver Art Gallery's important survey Vancouver: Art and Artists 1931-1983. The slide/sound installation Deux Devises of 1982-83 offers an early key to his concerns, juxtaposing a 19th-century love song by Charles Gounod with slide-dissolves to lyrics as typed translation with English subtitles on an empty screen; the second segment shows Douglas's own mouth forming the words to a soundtrack of Robert Johnson's \"Preachin' Blues\" from 1936. This contrast of salon sensibility and blues lament is jarring and acute, a challenge to both identity and cultural assumptions or standards. As a black growing up in a predominantly white culture, Douglas has noted his sense of underlying alienation, a self unreflected in the surround of popular images.","artist_bio":"Since the late 1980s, Stan Douglas has created films, photographs, and installations that reexamine particular locations or past events. His works often take their points of departure in local settings, from which broader issues can be identified. Making frequent use of new as well as outdated technologies, Douglas appropriates existing Hollywood genres (including murder mysteries and the Western) and borrows from classic literary works (notably, Samuel Beckett, Herman Melville, and Franz Kafka) to create ready-made contextual frameworks for his complex, thoroughly researched projects.\nDouglas was born in 1960 in Vancouver, where he continues to live and work. He was one of the first artists to be represented by David Zwirner, where he had his first American solo exhibition in 1993. The artist’s latest project, Luanda-Kinshasa, debuted at David Zwirner, New York, marking his twelfth gallery solo show (on view January 9 to February 22, 2014).\nIn 2013, a major survey of the artist’s recent work, Stan Douglas: Photographs 2008-2013, was presented at Carré d’Art – Musée d’Art Contemporain in Nîmes, France. The exhibition travels as Stan Douglas: Mise en scène to Haus der Kunst in Munich, where it is currently on view through October 12, 2014. In 2015, the show will tour to the Irish Museum of Modern Art in Dublin. Another solo exhibition of Douglas’s work is planned for fall 2014 at The Fruitmarket Gallery in Edinburgh.\nPremiering in March 2014 at the Arts Club Theatre Company in Vancouver, Helen Lawrence is a new multimedia theatre work conceived by Douglas. Created in close collaboration with acclaimed screenwriter Chris Haddock, the project innovatively merges theatre, visual art, live-action filming, and computer-generated imagery. Douglas worked with a team of 3D artists and programmers to virtually construct the set, which will further be available to audience members to explore in advance through a 3D augmented reality app called Circa 1948 produced by the National Film Board of Canada.\nIn 2012, Douglas received the prestigious Infinity Award from the International Center of Photography, New York. He was recently the recipient of the third annual Scotiabank Photography Award in 2013. A solo exhibition was organized on its occasion and shown earlier this year at the Ryerson Image Centre in Toronto, as part of the 2014 Scotiabank CONTACT Photography Festival.\nOver the past decade, Douglas’s work has been the subject of solo exhibitions at prominent institutions worldwide, including the Canadian Cultural Centre, Paris (2013); Minneapolis Institute of Arts, Minnesota (2012); The Power Plant, Toronto (2011); Staatsgalerie Stuttgart and Württembergischer Kunstverein, Stuttgart (2007); The Studio Museum in Harlem, New York (2005); kestnergesellschaft, Hanover (2004); and the Serpentine Gallery, London (2002).\nMajor museum collections which hold works by the artist include the Art Gallery of Ontario, Toronto; Centre Georges Pompidou, Paris; The Israel Museum, Jerusalem; Museum of Contemporary Art Chicago; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Vancouver Art Gallery; and the Walker Art Center, Minneapolis, Minnesota.","bio_dates":"b. 1960"},{"slug":"douglas_stan_nutka_1996","ok":true,"partial":false,"title":"Nu•tka•","artist":"Stan Douglas","year":"1996","startOffset":0,"sourceSecs":521.472,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":85527576,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_nutka_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_nutka_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/douglas_stan_nutka_1996.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/douglas_stan_nutka_1996/main.mp4?v=2","description":"Originally a continuous video projection installation Two-sided CAV laserdiscs; 4 laserdiscs. Alternately show n as single-channel color video projection and quadraphonic soundtrack. <br/><br/> Nu•tka• utilizes image bifurcation, this time to explore the history of colonialization on Vancouver Island, where English and Spanish fleets battled over trade routes in the 18th century. Films of the landscape-the only imagery shown-are superimposed on one screen so that the footage appears doubled. This formal effect is echoed by the soundtrack, which includes excerpts from the sea captains' diaries, which become increasingly paranoid and irrational. At key moments in the narrative all visual and verbal elements meld together in exquisite clarity. -- Nancy Spector","artist_bio":"Since the late 1980s, Stan Douglas has created films, photographs, and installations that reexamine particular locations or past events. His works often take their points of departure in local settings, from which broader issues can be identified. Making frequent use of new as well as outdated technologies, Douglas appropriates existing Hollywood genres (including murder mysteries and the Western) and borrows from classic literary works (notably, Samuel Beckett, Herman Melville, and Franz Kafka) to create ready-made contextual frameworks for his complex, thoroughly researched projects.\nDouglas was born in 1960 in Vancouver, where he continues to live and work. He was one of the first artists to be represented by David Zwirner, where he had his first American solo exhibition in 1993. The artist’s latest project, Luanda-Kinshasa, debuted at David Zwirner, New York, marking his twelfth gallery solo show (on view January 9 to February 22, 2014).\nIn 2013, a major survey of the artist’s recent work, Stan Douglas: Photographs 2008-2013, was presented at Carré d’Art – Musée d’Art Contemporain in Nîmes, France. The exhibition travels as Stan Douglas: Mise en scène to Haus der Kunst in Munich, where it is currently on view through October 12, 2014. In 2015, the show will tour to the Irish Museum of Modern Art in Dublin. Another solo exhibition of Douglas’s work is planned for fall 2014 at The Fruitmarket Gallery in Edinburgh.\nPremiering in March 2014 at the Arts Club Theatre Company in Vancouver, Helen Lawrence is a new multimedia theatre work conceived by Douglas. Created in close collaboration with acclaimed screenwriter Chris Haddock, the project innovatively merges theatre, visual art, live-action filming, and computer-generated imagery. Douglas worked with a team of 3D artists and programmers to virtually construct the set, which will further be available to audience members to explore in advance through a 3D augmented reality app called Circa 1948 produced by the National Film Board of Canada.\nIn 2012, Douglas received the prestigious Infinity Award from the International Center of Photography, New York. He was recently the recipient of the third annual Scotiabank Photography Award in 2013. A solo exhibition was organized on its occasion and shown earlier this year at the Ryerson Image Centre in Toronto, as part of the 2014 Scotiabank CONTACT Photography Festival.\nOver the past decade, Douglas’s work has been the subject of solo exhibitions at prominent institutions worldwide, including the Canadian Cultural Centre, Paris (2013); Minneapolis Institute of Arts, Minnesota (2012); The Power Plant, Toronto (2011); Staatsgalerie Stuttgart and Württembergischer Kunstverein, Stuttgart (2007); The Studio Museum in Harlem, New York (2005); kestnergesellschaft, Hanover (2004); and the Serpentine Gallery, London (2002).\nMajor museum collections which hold works by the artist include the Art Gallery of Ontario, Toronto; Centre Georges Pompidou, Paris; The Israel Museum, Jerusalem; Museum of Contemporary Art Chicago; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Vancouver Art Gallery; and the Walker Art Center, Minneapolis, Minnesota.","bio_dates":"b. 1960"},{"slug":"douglas_stan_suspiria_2003","ok":true,"partial":false,"title":"Suspiria","artist":"Stan Douglas","year":"2003","startOffset":0.3,"sourceSecs":830.208,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":55810657,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_suspiria_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_suspiria_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/douglas_stan_suspiria_2003.mp4","hasFrames":true,"description":"(2003) <br/><br/> Stan Douglas's latest work, the video installation Suspiria, 2002/2003, is as visually weird and conceptually sophisticated as anything he has ever produced. Titled after Dario Argento's classic horror film of 1977, the piece was created for Documenta 11 and made its debut there last summer. In Kassel, live surveillance footage of the empty, dungeonlike labyrinth beneath the Herkules monument (one of many follies in the area) was projected in the Fridericianum across town. Scenes from the Grimms' fairy tales, acted out by a contemporary-looking cast in the grotesque, translucent palette of a color television with bad reception, were superimposed at intervals on the black-and-white surveillance video; sporadic voice-over and fragments of music accompanied the actors' dialogue. The scenes themselves appeared in random rotation, and the number of possible permutations ensured that, over Documenta's one hundred days, the piece would never repeat itself. When Suspiria was presented in New York, the surveillance footage (now taped) and the fairy-tale scenes were also mixed so that, most likely, no two visitors saw the same sequence. <br/><br/>\"\"One could say that Douglas's overall project involves modernism's promise and the nostalgia that results from its failure. With Suspiria the artist turns explicitly to a few historical moments of utopian aspiration. Referring to both Das Kapital (in which Marx repeatedly nods to a fairy-tale idiom of drama and transformation) and The Communist Manifesto (which famously opens with the \"specter of communism\" hanging over Europe), Douglas mines the Grimms' stories for economic and social allegory. The characters here--the innkeeper, the giant, the poor traveler, the long-suffering servant--act out cryptic vignettes centering on payment and debt while being confronted by alternately nightmarish or ecstatic visions. Each scene inexorably replaces the previous one in a roundelay that itself brings up ideas of exchange and entrapment. Douglas's ghosts are shadows of a future that never came to pass: the economic and social redemption promised by modernism; the end to alienation foretold by communism. The \"ghosts\" also point to the obsolescence of a medium, in this case Technicolor (Argento's Suspiria was one of the last films made in the West using this process).\"","artist_bio":"Since the late 1980s, Stan Douglas has created films, photographs, and installations that reexamine particular locations or past events. His works often take their points of departure in local settings, from which broader issues can be identified. Making frequent use of new as well as outdated technologies, Douglas appropriates existing Hollywood genres (including murder mysteries and the Western) and borrows from classic literary works (notably, Samuel Beckett, Herman Melville, and Franz Kafka) to create ready-made contextual frameworks for his complex, thoroughly researched projects.\nDouglas was born in 1960 in Vancouver, where he continues to live and work. He was one of the first artists to be represented by David Zwirner, where he had his first American solo exhibition in 1993. The artist’s latest project, Luanda-Kinshasa, debuted at David Zwirner, New York, marking his twelfth gallery solo show (on view January 9 to February 22, 2014).\nIn 2013, a major survey of the artist’s recent work, Stan Douglas: Photographs 2008-2013, was presented at Carré d’Art – Musée d’Art Contemporain in Nîmes, France. The exhibition travels as Stan Douglas: Mise en scène to Haus der Kunst in Munich, where it is currently on view through October 12, 2014. In 2015, the show will tour to the Irish Museum of Modern Art in Dublin. Another solo exhibition of Douglas’s work is planned for fall 2014 at The Fruitmarket Gallery in Edinburgh.\nPremiering in March 2014 at the Arts Club Theatre Company in Vancouver, Helen Lawrence is a new multimedia theatre work conceived by Douglas. Created in close collaboration with acclaimed screenwriter Chris Haddock, the project innovatively merges theatre, visual art, live-action filming, and computer-generated imagery. Douglas worked with a team of 3D artists and programmers to virtually construct the set, which will further be available to audience members to explore in advance through a 3D augmented reality app called Circa 1948 produced by the National Film Board of Canada.\nIn 2012, Douglas received the prestigious Infinity Award from the International Center of Photography, New York. He was recently the recipient of the third annual Scotiabank Photography Award in 2013. A solo exhibition was organized on its occasion and shown earlier this year at the Ryerson Image Centre in Toronto, as part of the 2014 Scotiabank CONTACT Photography Festival.\nOver the past decade, Douglas’s work has been the subject of solo exhibitions at prominent institutions worldwide, including the Canadian Cultural Centre, Paris (2013); Minneapolis Institute of Arts, Minnesota (2012); The Power Plant, Toronto (2011); Staatsgalerie Stuttgart and Württembergischer Kunstverein, Stuttgart (2007); The Studio Museum in Harlem, New York (2005); kestnergesellschaft, Hanover (2004); and the Serpentine Gallery, London (2002).\nMajor museum collections which hold works by the artist include the Art Gallery of Ontario, Toronto; Centre Georges Pompidou, Paris; The Israel Museum, Jerusalem; Museum of Contemporary Art Chicago; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Vancouver Art Gallery; and the Walker Art Center, Minneapolis, Minnesota.","bio_dates":"b. 1960"},{"slug":"douglas_stan_televisionspotsandmonodramas_1987_1991","ok":true,"partial":false,"title":"Television Spots/Monodramas","artist":"Stan Douglas","year":"1991","startOffset":0,"sourceSecs":471.509,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":82890090,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_televisionspotsandmonodramas_1987_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_televisionspotsandmonodramas_1987_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/douglas_stan_televisionspotsandmonodramas_1987_1991.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/douglas_stan_televisionspotsandmonodramas_1987_1991/main.mp4?v=2","description":"In 1989, his first series of short works for television, the twelve Television Spots, were broadcast in Saskatoon and Ottawa amid regular programming, as if they were commercials. Unidentified, the short scenes depicting open-ended, banal activities baffled viewers.\n\nDouglas's \"Monodramas,\" ten 30- to 60-second videos from 1991, conceived as interventions into commercial television, interrupted the usual flow of advertising and entertainment when broadcast nightly in British Columbia for three weeks in 1992. These micronarratives mimic television's editing techniques, but as kernels of a story they refuse to cohere. They are tales of dysfunction and dislocation, misanthropy and misunderstanding. When the videos were aired unannounced during commercial breaks, viewers called the station to inquire about what was being sold, their responses evincing how the media can refocus attention from content to consumption. -- Nancy Spector"},{"slug":"douglas_stan_win_place_or_show_1998","ok":true,"partial":false,"title":"Win, Place or Show","artist":"Stan Douglas","year":"1998","startOffset":0,"sourceSecs":954.921,"sourceHeight":288,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":61991014,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_win_place_or_show_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/douglas_stan_win_place_or_show_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/douglas_stan_win_place_or_show_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/douglas_stan_win_place_or_show_1998/main.mp4?v=2","description":"The title of the work refers to the classic horse-race betting options - a subject that features in the content of the two protagonists' dialogues, but also alludes to the combinatorial analysis of race finishes and combinations. Planning feasibility and control are two of the ideological components that also featured in modernist town planning after the war. <br/><br/> Donny and Bob, the two protagonists in the scene, are temporarily sharing this one-person flat. They correspond with the stereotypes in a TV series that was produced in Vancouver in 1968, and represent typical white working-class males of that period. The action scenes lead from discussions about conspiracy theory and the chances of betting wins to conclude with a fight between the two men. They are shot from 2 x 10 camera positions. [É] The acted scene is repeated in a loop on two inclined screens set up next to each other with a small gap between them, but the actors positions in relation to the space and each other constantly shift from repeat to repeat. The 2 x 10 camera shots were transferred to two DVDs. These are digitally controlled to show new combinations within the scene as acted, which lasted six minutes. This would mean a projected playing time of about 20,000 hours, over two years, before any one combination of images was actually repeated. <br/><br/> Under the images is a soundtrack of endless rain and a radio that can be heard in the distance. The sound of the rain is linked in the film with a single view from the window of the apartment. This occurs regularly but not uniformly, and shows a panorama of the city at night in pouring rain. The town buildings reflect a modernistic planning model that also features in the set, producing the typical working-class home such planning would create. The quiet radio noise that is just audible in the background seems to be emanating from a radio on a chest of drawers, though the radio sound is actually fed in from the regional radio station of the current exhibition venue.","artist_bio":"Since the late 1980s, Stan Douglas has created films, photographs, and installations that reexamine particular locations or past events. His works often take their points of departure in local settings, from which broader issues can be identified. Making frequent use of new as well as outdated technologies, Douglas appropriates existing Hollywood genres (including murder mysteries and the Western) and borrows from classic literary works (notably, Samuel Beckett, Herman Melville, and Franz Kafka) to create ready-made contextual frameworks for his complex, thoroughly researched projects.\nDouglas was born in 1960 in Vancouver, where he continues to live and work. He was one of the first artists to be represented by David Zwirner, where he had his first American solo exhibition in 1993. The artist’s latest project, Luanda-Kinshasa, debuted at David Zwirner, New York, marking his twelfth gallery solo show (on view January 9 to February 22, 2014).\nIn 2013, a major survey of the artist’s recent work, Stan Douglas: Photographs 2008-2013, was presented at Carré d’Art – Musée d’Art Contemporain in Nîmes, France. The exhibition travels as Stan Douglas: Mise en scène to Haus der Kunst in Munich, where it is currently on view through October 12, 2014. In 2015, the show will tour to the Irish Museum of Modern Art in Dublin. Another solo exhibition of Douglas’s work is planned for fall 2014 at The Fruitmarket Gallery in Edinburgh.\nPremiering in March 2014 at the Arts Club Theatre Company in Vancouver, Helen Lawrence is a new multimedia theatre work conceived by Douglas. Created in close collaboration with acclaimed screenwriter Chris Haddock, the project innovatively merges theatre, visual art, live-action filming, and computer-generated imagery. Douglas worked with a team of 3D artists and programmers to virtually construct the set, which will further be available to audience members to explore in advance through a 3D augmented reality app called Circa 1948 produced by the National Film Board of Canada.\nIn 2012, Douglas received the prestigious Infinity Award from the International Center of Photography, New York. He was recently the recipient of the third annual Scotiabank Photography Award in 2013. A solo exhibition was organized on its occasion and shown earlier this year at the Ryerson Image Centre in Toronto, as part of the 2014 Scotiabank CONTACT Photography Festival.\nOver the past decade, Douglas’s work has been the subject of solo exhibitions at prominent institutions worldwide, including the Canadian Cultural Centre, Paris (2013); Minneapolis Institute of Arts, Minnesota (2012); The Power Plant, Toronto (2011); Staatsgalerie Stuttgart and Württembergischer Kunstverein, Stuttgart (2007); The Studio Museum in Harlem, New York (2005); kestnergesellschaft, Hanover (2004); and the Serpentine Gallery, London (2002).\nMajor museum collections which hold works by the artist include the Art Gallery of Ontario, Toronto; Centre Georges Pompidou, Paris; The Israel Museum, Jerusalem; Museum of Contemporary Art Chicago; The Museum of Modern Art, New York; National Gallery of Canada, Ottawa; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Vancouver Art Gallery; and the Walker Art Center, Minneapolis, Minnesota.","bio_dates":"b. 1960"},{"slug":"downtown_81_aka_new_york_beat_movie_1981","ok":true,"partial":false,"title":"Downtown 81 AKA New York Beat Movie","artist":"Edo Bertoglio","year":"1981","startOffset":0,"sourceSecs":4264.96,"sourceHeight":412,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":249943416,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/downtown_81_aka_new_york_beat_movie_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/downtown_81_aka_new_york_beat_movie_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/downtown_81_aka_new_york_beat_movie_1981.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/downtown_81_aka_new_york_beat_movie_1981/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/downtown_81_aka_new_york_beat_movie_1981/main/master.m3u8?v=2","hasMainHls":true},{"slug":"draeger_christoph_blow_up_stroll_on","ok":true,"partial":false,"title":"Blow Up, Stroll On","artist":"Christoph Draeger","year":"2007","startOffset":0,"sourceSecs":186.618,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":8530289,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_blow_up_stroll_on/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_blow_up_stroll_on/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_blow_up_stroll_on.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_blow_up_stroll_on/main.mp4?v=2","description":"This is an exact video remake of the Club scene in Michelangelo Antonioni's BLOW UP (1966). It was produced during a two week residency at Springhill Institute in Birmingham(UK), in September 2006. The shooting took place during one very long Saturday afternoon and features more than 70 extras.<br/><br/> The protagonist (David Hemmings) enters the club looking for the woman played by Vanessa Redgrave. The Yardbirds are playing \"Stroll On\". While Hemmings squeezes across the frozen crowd, the guitar player (Jeff Beck) gets increasingly frustrated with a distortion in his amp. At the end of the song, he furiously smashes the guitar on the floor and destroys it. While in the original \"Blow Up\" Antonioni loops the song so the scene can evolve into a riot, in Draeger's remake the song ends where it should: with the destruction of the guitar. The scene now becomes an absurd music video for \"Stroll On\", as it is recorded on the original Soundtrack album.","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"draeger_christoph_elefante","ok":true,"partial":false,"title":"Elefante","artist":"Christoph Draeger","year":"2011","startOffset":0,"sourceSecs":674.423,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":274531015,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_elefante/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_elefante/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_elefante.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_elefante/main.mp4?v=2","description":"ELEFANT (2003) is a narrative film by Gus Van Sant about the 1999 Columbine High School massacre. Teaching a video class at The European University in Madrid (UEM), I proposed to my students to use the campus, the architecture of which looks eerily similar to the school where Elefant was shot, for a remake of the final ten minutes of that film. We transposed the action to Spain, my students were playing all the roles of the Columbine students in spanish, and I would direct and handle the camera. This meant that I myself slipped into a role, the one of director Gus Van Sant. <br/><br/> The European Deluxe DVD edition of the original movie included an interview from 2003 with Gus Van Sant at his home, in which he was analyzing the movie in relation to the phenomena of school massacres and the motives of the killers, among other subjects. He speaks in a comprehensive and personal way, with a lot of empathy for his subjects. I decided to combine this interview with the re-enacted film, in order to create a emotional distance to the narrative of the signified. However, the interview with Van Sant in ELEFANTE appears as only a voice-over, and so becomes a narrator's voice.","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"draeger_christoph_feel_lucky_punk","ok":true,"partial":false,"title":"Feel Lucky, Punk??!","artist":"Christoph Draeger","year":"2000","startOffset":0,"sourceSecs":800.32,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":136938145,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_feel_lucky_punk/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_feel_lucky_punk/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_feel_lucky_punk.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_feel_lucky_punk/main.mp4?v=2","description":"Feel Lucky Punk??! 1997-2000<br/> MiniDV to DVD 13 min <br/><br/> Back in 1996, I found two used and seemingly damaged surveillance monitors in a thrift store in New York: the image of the shop where they came from was burned into the screen from years of usage. That inspired me to imagine (and record on video) hold-up scenes which could have played-out in these monitors in reality. But instead of inventing my own scenarios, I decided to take famous hold-up scenes from movies (the choice fell to Taxidriver, Pulp Fiction, Thelma&Louise, Magnum Force, Natural Born Killer), and have them re-enacted by my friends for a repositioned surveillance camera: the goal was to fit the scenes into the ghostly space visible on the screen of the surveillance monitor. In addition, we used a second camera for close up and moving shots. In postproduction, I inserted my own rushes into the original movie footage, also using the original sound. This piece was the beginning of my explorations into the topic of the \"remake\". The first three shootings took place in the empty P.S.1 museum in 1997: we used the empty spaces as is, no set design but a few props (water pistol for ex). The Magnum Force clip piece was filmed in my loft in Brooklyn in 1998, using the backdrop of my apartment en lieu of a grocery store. Natural Born Killer was shot in a real supermarket in France in 2000, using the surveillance cameras in addition of a handy cam.","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"draeger_christoph_helenes","ok":true,"partial":false,"title":"Elefante","artist":"Christoph Draeger","year":"2011","startOffset":0,"sourceSecs":1078.579,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":180826592,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_helenes/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_helenes/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_helenes.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_helenes/main.mp4?v=2","description":"ELEFANT (2003) is a narrative film by Gus Van Sant about the 1999 Columbine High School massacre. Teaching a video class at The European University in Madrid (UEM), I proposed to my students to use the campus, the architecture of which looks eerily similar to the school where Elefant was shot, for a remake of the final ten minutes of that film. We transposed the action to Spain, my students were playing all the roles of the Columbine students in spanish, and I would direct and handle the camera. This meant that I myself slipped into a role, the one of director Gus Van Sant. <br/><br/> The European Deluxe DVD edition of the original movie included an interview from 2003 with Gus Van Sant at his home, in which he was analyzing the movie in relation to the phenomena of school massacres and the motives of the killers, among other subjects. He speaks in a comprehensive and personal way, with a lot of empathy for his subjects. I decided to combine this interview with the re-enacted film, in order to create a emotional distance to the narrative of the signified. However, the interview with Van Sant in ELEFANTE appears as only a voice-over, and so becomes a narrator's voice.","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"draeger_christoph_hippie_movie","ok":true,"partial":false,"title":"Hippie Movie","artist":"Christoph Draeger","year":"2008","startOffset":0,"sourceSecs":3215.64,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":1422687422,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_hippie_movie/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_hippie_movie/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_hippie_movie.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_hippie_movie/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_hippie_movie/main/master.m3u8?v=2","hasMainHls":true,"description":"Hippie Movie 2008<br/> HDV and Super-8, 53 min<br/><br/> Hippie Movie is a funny and romantic 'documentary' about a Hippie movement named Tropolicalia, which was founded by Christoph Draeger in Warsaw as an ironic remake of San Francisco's Summer of Love 1967. The movement's name is a pun on Brazil’s Tropicalia movement of the late 1960’s. Poland, in the Sixties behind the Iron Curtain, didn’t enjoy anything like the summer of love, and its transition after 1989 from authoritarian communism to (hyper-) capitalism was fast, leaving little room for idealism or alternative ideology.<br/><br/> In the light of rising social injustice, an unpopular war in Iraq, ecological concerns and a new cold war looming, the film is a meditation on political, social and cultural behavior first coined in the 1960's by the Hippies, who protested and contested many issues that seem to make a comeback today. It is also a celebration of the inventions of 1960's rock music, and last but not least, a hallucinatory, post-psychedelic visual trip.<br/><br/> Marianka Dobkowska, curator at CCA Warsaw said in 2008: “It was really the summer of love last year.”","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"draeger_christoph_my_generation","ok":true,"partial":false,"title":"My Generation","artist":"Christoph Draeger","year":"2007","startOffset":0,"sourceSecs":306.41,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":19392614,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_my_generation/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_my_generation/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_my_generation.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_my_generation/main.mp4?v=2","description":"2007. USA. Directed by Christoph Draeger. A performance and video remake of The Who’s legendary performance at the Monterey Pop Festival in 1967, made for the Museum of Contemporary Art, Lyon, France. 5 min.","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"draeger_christoph_schizo_redux","ok":true,"partial":false,"title":"Schizo (Redux)","artist":"Christoph Draeger","year":"2004","startOffset":0,"sourceSecs":873.16,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":149747805,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_schizo_redux/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_schizo_redux/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_schizo_redux.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_schizo_redux/main.mp4?v=2","description":"In this film, Austrian artist Christoph Draeger layers Gus Van Sant’s “Psycho” remake and Alfred Hitchcock’s original version completely over one another.<br/><br/> The film superimposes one film over the other digitally, thus creating a double vision: the “Psychos” become “Schizo”. It looks like one of those 3-D movies only that there are no glasses to reconstruct the image — it remains schizophrenic.","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"draeger_christoph_storage_war_loot","ok":true,"partial":false,"title":"Storage War Loot","artist":"Christoph Draeger","year":"2016","startOffset":0,"sourceSecs":205.033,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":60877163,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_storage_war_loot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_storage_war_loot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_storage_war_loot.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_storage_war_loot/main.mp4?v=2","description":"Storage War Loot 2016 <br/><br/> Following the Lehmann Brothers, Roebling Hall closed due to bankruptcy in November 2008. Mine was their last show ever in their Chelsea space. At my advice, the dealer rented a storage unit at Storage Mart to store the unsold stock. I asked if he could store a few items for me: a huge tripod, a few Sotheby frames and a recent sculpture that I had hammered from a NYC parking sign titled, \"I will beat you down to my size\". Four years later, I received a call from the producers of Storage Wars, asking my permission to feature my work in the show. Storage Mart auctions off any possessions from a unit that remains unpaid for three months. All my objects and many of my friends' artworks changed owner. The sculpture, which the new owner Joe P. calls a \"crazy installation\", has never been seen again.","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"draeger_christoph_the_last_news_iphone","ok":true,"partial":false,"title":"The Last News","artist":"Christoph Draeger","year":"2002","startOffset":0,"sourceSecs":778.212,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":51878367,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_the_last_news_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_the_last_news_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_the_last_news_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_the_last_news_iphone/main.mp4?v=2","description":"For the video The Last News, the artist made a montage of footage from several TV news-reports about catastrophes and from Hollywood movies such as Armageddon or Independence Day, simulating an \"MSNBC 24 Disaster and Survival News Channel.\"2 The images include the top of Big Ben as it is being destroyed, the exploding White House, and a bird's-eye view on Paris which resembles the Ground Zero of a nuclear attack. One short sequence even shows the partially destroyed towers of World Trade Center. Newscaster Guy Smith comments on this 'infotainment' program that runs in the background. Though all found-footage played in the back obviously is fiction, the \"LIVE\"- broadcasting suggests real media coverage of disasters, terrorist attacks and reports on the \"Operation Strikeback with Infinite Justice.\" While the program is on air, several eruptions disturb the broadcasting. The explosions that were limited to their representation on the studioscreen, increasingly affect the studio itself. Finally, Smith's TV Studio seems to be totally destroyed and he collapses in front of the viewer in a nervous breakdown. Subsequently, Smith loses contact with all his correspondents worldwide and seems to be lost in chaos, to say it with Slavoj Žižek, \"in the desert of the real.\"3 The television signal of The Last News ends in White Noise. In this condensed 13 minute video, Draeger and Reynolds parody sensationalist newscasting through the imitation of common American news programs which combine information with entertainment. In The Last News the newscaster is both eye-witness and victim of the catastrophe he is reporting about. The video provokes various questions: How can the viewer distinguish between fictional reality and documentation? When even the 'expert' reporter is lost in terrible chaos, how is the viewer supposed to cope with bad news? Can evil transcend the safety-screen of our televisions? Where are the limits of the \"disaster zone\"? (Binswanger 1999: 54–61)","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"draeger_christoph_the_man_who_stole_the_moon_iphone","ok":true,"partial":false,"title":"the man who stole the moon ... (fell from the sky and crashed on earth)","artist":"Christoph Draeger","year":"2010","startOffset":0,"sourceSecs":1600.8,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":99169973,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_the_man_who_stole_the_moon_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_the_man_who_stole_the_moon_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_the_man_who_stole_the_moon_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_the_man_who_stole_the_moon_iphone/main.mp4?v=2","description":"HDV, 25 min, 2010<br/><br/> We see dense fog, an airplane slowly sliding into it, crashing in the woods. The news rush across the globe. On the plane were Lech Kaczynski, then president of Poland, with his wife and 94 other passengers of high esteem. Poland is under shock, it seems the country’s whole elite was wiped out at one blow. The country mourns, the lacklustre president, conservative, a hater of homosexuals, is buried like a hero, with pomp reserved to very few. The site of the crash, Smolensk, in Russia, denotes a national loss that Poland had already experienced once. In 1940, Stalin had ordered his secret service to kill more than 20 000 members of the Polish elite in the woods of Katyn. Lech Kaczynski in fact was, with his people, on the way to Katyn to commemorate that crime: Smolensk – Katyn, Katyn – Smolensk. That could be the title of this film.<br/><br/> The title of Christoph Draeger’s new film, the man who stole the moon … , especially produced for this exhibition, refers to two important events in Lech Kaczynski’s life: his early fame as child actor beside his twin brother Jaroslav in the successful movie The Two Who Stole the Moon (1962) and his tragic death, surrounded by myths, on April 10th, 2010. Draeger takes the death of the president as an example to demonstrate how, even today, history surrounds the life of prominent people, and how such an unexpected death, especially with the help of the global media, nourishes myths and theories of conspiracies. The unbelievable is told, over and over again, everybody feels entitled to search for evidence and traces of foul play and to publish them. It becomes clear that historiography, today, not only takes place in the World Wide Web and on television but that it never comes to an end, never will be brought to an end. Each event leads back to a historic double, thus demonstrating that a lot is left open in history.","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"draeger_christoph_yacht_tragedy","ok":true,"partial":false,"title":"Yacht Tragedy (Ship of Fools)","artist":"Christoph Draeger","year":"2012","startOffset":0,"sourceSecs":568.96,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":241612301,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_yacht_tragedy/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/draeger_christoph_yacht_tragedy/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/draeger_christoph_yacht_tragedy.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/draeger_christoph_yacht_tragedy/main.mp4?v=2","description":"Yacht Tragedy (Ship of Fools) (2012)<br/> HDV, 9:30 min<br/><br/> The remake of the insurance company's reenactment of a bizarre accident involving a yacht and a group of young people, executed by a water polo team in the lake of constance. A group of young people sails out into open waters on a yacht. They all jump overboard together to swim. Too late they realize that nobody thought of putting put a ladder. Despite of trying everything, they cannot get back on the boat, and finally they perish in the ocean. This real-life drama, which happened in Greece, was re-enacted by the insurance company with a water polo team to find out if it really was impossible to survive. <br/><br/> My idea for the video was to reenact the insurance's reenactment. I casted the water polo teams of Arbon and Bregenz on the lake of Constance, and hired the largest yacht on the lake. Metaphorically, the resulting film depicts the moment of catastrophe in a greek tragedy, when the events turn from bad to worse. The soundtrack is the chant of a choir watching the drama unfold from the shore. (compositor: Johannes Schütt) Produced by Kunsthalle Arbon for my solo exhibition \"A Drift\" in August 2012.","artist_bio":"the man who stole the moon ... (fell from the sky and crashed on earth) (2010)\nChristoph Draeger, born 1965 in Zurich, is an internationally known conceptual artist who lives in New York and Vienna. In 1996/7, he moved from Brussels to New York for a one year-scholarship at P.S.1′s International Studio Program. Draeger’s projects take form in installation, video, and photo-based media to explore issues pertaining to disaster and media-saturated culture. His work has been exhibited with galleries and institutions world-wide","bio_dates":"b. 1965"},{"slug":"drot_jean_marie_un_homme_parmi_les_hommes_alberto_giacometti_1963_iphone","ok":true,"partial":false,"title":"Man Among Men: Alberto Giacometti","artist":"Jean Marie Drot","year":"1963","startOffset":0,"sourceSecs":3126.168,"sourceHeight":320,"sourceWidth":472,"hasAudio":true,"hasAmbientMp4":true,"bytes":184514605,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/drot_jean_marie_un_homme_parmi_les_hommes_alberto_giacometti_1963_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/drot_jean_marie_un_homme_parmi_les_hommes_alberto_giacometti_1963_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/drot_jean_marie_un_homme_parmi_les_hommes_alberto_giacometti_1963_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/drot_jean_marie_un_homme_parmi_les_hommes_alberto_giacometti_1963_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/drot_jean_marie_un_homme_parmi_les_hommes_alberto_giacometti_1963_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<i>A Man Among Men: Alberto Giacometti</i> (Jean-Marie Drot, 1963). Sometimes we see the interviewer. Sometimes we hear him. Sometimes we even see a wide shot of the studio that reveals the simple, face-to-face architecture of the encounter. But most of all, we see Giacometti in mid-shot, extemporizing on his obsessions, assiduously working the damp clay of an as-yet inchoate figure. As his fingers probe and tear, he wryly pooh-poohs the interviewer's anxieties about disrupting his creativity: \"The filming draws me to the work... it's a chance to work...\" And so Giacometti, the charming, witty unrepentant workaholic emerges, reliving in what the poet Jacques Dupin called an \"intense, rasping voice,\" the cathartic moments of his artistic career. Giacometti located his creative epiphany in 1945 when he emerged from a Montparnasse cinema and saw the world as if for the first time, unclouded by the veil of the real. From that moment, he felt the need to account for what he saw, knowing that all the time he would fail, but that only failure itself would lead to the truth. As he later noted, \"The more you fail, the more you succeed. It is only when everything is lost and -- instead of giving up -- you go on, that you experience the momentary prospect of some slight progress. Suddenly you have the feeling -- be it an illusion or not -- that something new has opened up.\" As the interview progresses Giacometti cracks open artistic inspiration as the frenzied pursuit of such illusions. Even three years before his death, when he was internationally recognized, the artist worked frenetically, as if a lifetime of grasping for, but never quite capturing, enlightenment could be reversed with just one more sculpture. According to Dupin, interviewed extensively in Michel van Zele's <i>What is a Head?</i>, Giacometti was so convinced that only his newest work scraped close to truth that he would want to pack and dispatch solely sculptures, still dripping water and clay, to any exhibition. Only the interventions of his brother, his wife, and his friends filled galleries with his finished, haunting recreations of human persistence. For Giacometti, drawing and sculpting did not represent what he saw; instead he sought, through his art, to understand what he saw. He perceived, that day in Montparnasse, a void that isolated everyone and everything, leaving all \"floating in emptiness, separated by an immense distance.\" But isolation also held within it courage and determination. Giacometti traced the vulnerability of his figures, those slender trajectories of resistance against space, to his perception of human endeavor:\"\"I always feel that there's a fragility in living creatures, as if at every moment they needed an incredible drive to remain standing, always at risk of collapsing.\" More than fragility, too, he saw imminent extinction, knowing that death inhabited the living and quickly abandoned the dead.As his fingers drew presence out of the void, he saw his work as \"testing a talent to find a fact.\" While Drot's film is itself rich in \"fact,\" prowling slowly from one masterwork to the next, often accompanied by the artist's own recollections of its genesis and fruition (no small accomplishment in a television documentary), it's van Zele who focuses on one key element of the works themselves -- the representation of the human head. In so doing, he casts his net widely, drawing in close friends of Giacometti's such as Dupin, Roger Montandon, and Ernst Scheidegger, a young German soldier who met Giacometti while vacationing in a Swiss hotel. Giacometti's fascination with the head began in the early 1930s. In 1934, André Breton, contemptuous of Giacometti's return to the human body as subject after his cubist and surrealist work, scoffed that everyone knows \"what a head is now.\" Giacometti snapped back, \"I don't,\" and abandoned the surrealists forever. According to Scheidegger, who later shot his own film about the artist, Giacometti found in the human head \"an insoluble mystery,\" perpetually drawing him towards truth and into despair. Giacometti himself said, \"The first time that I saw the head I was looking at become fixed, immobilized definitively in a moment in time, I shook with terror as never before in my life and a cold sweat ran down my back. What I was looking at was an object like any other, no, different, not like any other object, but like something which was alive and dead at the same time.\" <br/><br/> --by Lesley Smith","artist_bio":"Man Among Men: Alberto Giacometti (1963)\n(dir. Jean Marie Drot)\nAlberto Giacometti; 10 October 1901 – 11 January 1966) was a Swiss sculptor, painter, draughtsman, and printmaker. Alberto Giacometti was born in the canton Graubünden's southerly alpine valley Val Bregaglia and came from an artistic background; his father, Giovanni, was a well-known post-Impressionist painter. Alberto was the eldest of four children and was interested in art from an early age.","bio_dates":"b. 1939"},{"slug":"duchamp_marcel_1968_bbc_interview","ok":true,"partial":false,"title":"1968 BBC interview","artist":"Marcel Duchamp","year":"1968","startOffset":0,"sourceSecs":1669.955,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":99687746,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duchamp_marcel_1968_bbc_interview/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duchamp_marcel_1968_bbc_interview/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/duchamp_marcel_1968_bbc_interview.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/duchamp_marcel_1968_bbc_interview/main.mp4?v=2","description":"BBC's Joan Bakewell interviewed Marcel Duchamp in June 1968, just months before his death. Bakewell asks the artist about his life and relationship to retinal art and Dada, as well as his thoughts on more contemporary works by Happenings artists such as Allan Kaprow. Duchamp speaks about individualism in face of the group think that occurs in self-defined movements such as Dada. Some of Bakewell and Duchamp's conversation seems still very relevant--at 12:00 Duchamp talks about stylistic repetition and its relationship to value creation and the market, and at 20:00 the BBC interviewee speaks with Duchamp about commodity status of art and how selling his work seems antithetical to his purported mission to desacralize the art object. They talk about his prices a bit--she's astonished his works sell for upwards of 2,000 GBP (ha!)--and Duchamp admits he is in a lower price bracket than say, Matisse or Cezanne, who could sell for 2 million. She then presses him about why he wouldn't simply mass produce his work, selling for a more accessible price such as two shillings, and he indignantly responds that, like any classical sculpture, you have to sign readymades and sell them in small editions. They close with speaking about whether art could shock a public anymore. Duchamp adamantly disagrees with the idea that art as it exists in 1968 could shock a public, and that the context of art would have to change for it to be truly shocking.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/duchamp.html\" rel=\"noopener\" target=\"_blank\">Marcel Duchamp in UbuWeb Sound</a></br>","artist_bio":"A Conversation with Marcel Duchamp [Robert D. Graff] (1956)\n8 x 8: A Chess Sonata in 8 Movements\nJean Cocteau, Marcel Duchamp, Hans Richter (1957)\nJeu d'échecs avec Marcel Duchamp (1963)\n(dir. Jean Marie Drot)\nMarcel Duchamp: Iconoclaste et Inoxydable\n(dir. Fabrice Maze, 2009) 3 hour documentary and interviews\nMarcel Duchamp; 28 July 1887 – 2 October 1968) was a French-American painter, sculptor, chess player, and writer whose work is associated with Dadaism and conceptual art, although not directly associated with Dada groups. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his fellow artists (like Henri Matisse) as \"retinal\" art, intended only to please the eye. Instead, Duchamp wanted to put art back in the service of the mind.","bio_dates":"1887-1968"},{"slug":"duchamp_marcel_a_game_of_chess_iphone","ok":true,"partial":false,"title":"A Game of Chess","artist":"Marcel Dzama","year":"2011","startOffset":0,"sourceSecs":3327.938,"sourceHeight":320,"sourceWidth":412,"hasAudio":true,"hasAmbientMp4":true,"bytes":156275932,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duchamp_marcel_a_game_of_chess_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duchamp_marcel_a_game_of_chess_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/duchamp_marcel_a_game_of_chess_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/duchamp_marcel_a_game_of_chess_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/duchamp_marcel_a_game_of_chess_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Dzama’s work draws from a diverse range of references and artistic influences, including Dada and Marcel Duchamp. His film features characters based on the classic game of chess. Dressed in geometrically designed costumes of papier-mâché, plaster, and fiberglass and wearing elaborate masks (including a quadruple-faced mask for the King), the figures dance across a checkered board to challenge their opponents in fatal interchanges.<br/><br/> Chess occupied a central role for the early twentieth-century avant-garde, who drew explicit analogies between the game (with its intricate balance between improvisation and predetermination) and artistic practice. Dzama is influenced by German Bauhaus artist Oskar Schlemmer, whose Triadic Ballet from 1922 included puppet-like, costumed, and masked figures dancing across a checkered surface. French film-maker René Clair and painter Francis Picabia were amongst other artists who integrated ballet and chess in their works from the 1920s, employing the special set of rules and moves of the game as metaphors for larger questions regarding free will, destiny, and technological determinism.<br/><br/> Both the filming and the creation of the costumes for A Game of Chess were carried out in Guadalajara, Mexico, and the influence of local crafts and religious traditions can be felt throughout this body of work. Notions of scapegoatism and resurrection blend with the timeless idea of rivalry represented by the game, and distinctions between reality and fiction ultimately become blurred as both costumed and “real-life” characters in the film are killed. In this way, the storyline recalls the Surrealist predilection for dream logic over conventional narrative form—epitomized by Luis Buñuel’s films from the late 1920s and early 1930s. However, Dzama still retains a strong sense of a plot, with subtle insinuations to contemporary life discernible throughout.","artist_bio":"Born in 1974 in Winnipeg, Canada, Marcel Dzama’s work is inhabited by an expansive cast of recurring human, animal, and hybrid characters. Typically manipulating a distinctive palette of muted browns, grays, greens, and reds, the artist has developed an immediately recognizable visual language that penetratingly explores human action and motivation, often by means of the violent, erotic, grotesque, and absurd. His practice unleashes a universe of childhood fantasies and otherworldly fairytales, drawing equally from folk vernacular as from artistic influences that include Dada and Marcel Duchamp. Widely known for his works on paper, Dzama has in recent years expanded his practice to include sculpture, painting, film, large-scale polyptychs, and dioramas. In the latter, he constructs intricate, complex, three-dimensional scenes using his signature drawings, collage elements, cardboard, and occasionally ceramics. He creates a cast of human figures, animals, and imaginary hybrids to life, and has developed an international reputation and following for his art that depicts fanciful, anachronistic worlds.","bio_dates":"b. 1974"},{"slug":"duchamp_marcel_anemic_cinema_1926","ok":true,"partial":false,"title":"Anemic Cinema","artist":"Marcel Duchamp","year":"1926","startOffset":0,"sourceSecs":309.29,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":18321382,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duchamp_marcel_anemic_cinema_1926/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duchamp_marcel_anemic_cinema_1926/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/duchamp_marcel_anemic_cinema_1926.mp4","hasFrames":true,"description":"7 minutes, B&W<br/><br/> This characteristically dada film by Marcel Duchamp consists of a series of visual and verbal puns with nonsense phrases inscribed around rotating spiral patterns, creating an almost hypnotic effect. Silent. <br/> <br/> Anemic Cinema (various versions were made in 1920, 1923 and, finally, in 1926). Essentially a film by Duchamp with help from Man Ray. Calvin Tomkins: \"Duchamp used the initial payment on his inheritance to make a film and to go into the art business. The film, shot in Man Ray's studio with the help of cinematographer Marc Allégret, was a seven-minute animation of nine punning phrases by Rrose Sélavy. These had been pasted, letter by letter, in a spiral pattern on round black discs that were then glued to phonograph records; the slowly revolving texts alternate with shots of Duchamp's Discs Bearing Spirals, ten abstract designs whose turning makes them appear to move backward and forward in an erotic rhythm. The little film, which Duchamp called Anemic Cinema, had its premiere that August at a private screening room in Paris.\"<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/duchamp.html\" rel=\"noopener\" target=\"_blank\">Marcel Duchamp in UbuWeb Sound</a></br>","artist_bio":"A Conversation with Marcel Duchamp [Robert D. Graff] (1956)\n8 x 8: A Chess Sonata in 8 Movements\nJean Cocteau, Marcel Duchamp, Hans Richter (1957)\nJeu d'échecs avec Marcel Duchamp (1963)\n(dir. Jean Marie Drot)\nMarcel Duchamp: Iconoclaste et Inoxydable\n(dir. Fabrice Maze, 2009) 3 hour documentary and interviews\nMarcel Duchamp; 28 July 1887 – 2 October 1968) was a French-American painter, sculptor, chess player, and writer whose work is associated with Dadaism and conceptual art, although not directly associated with Dada groups. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his fellow artists (like Henri Matisse) as \"retinal\" art, intended only to please the eye. Instead, Duchamp wanted to put art back in the service of the mind.","bio_dates":"1887-1968"},{"slug":"duchamp_marcel_conversation_with_duchamp_1956","ok":true,"partial":false,"title":"A Conversation with Marcel Duchamp [Robert D. Graff]","artist":"Marcel Duchamp","year":"1956","startOffset":0,"sourceSecs":1786.785,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":307693655,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duchamp_marcel_conversation_with_duchamp_1956/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duchamp_marcel_conversation_with_duchamp_1956/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/duchamp_marcel_conversation_with_duchamp_1956.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/duchamp_marcel_conversation_with_duchamp_1956/main.mp4?v=2","description":"Filmed amidst the Arensberg collection at the Philadelphia Museum of Art, where 35 works by Marcel Duchamp are gathered, this 1956 NBC interview features the artist talking with James Johnson Sweeney, former director of the Guggenheim Museum. Duchamp describes his transition away from Impressionism toward a Cubist, and then post-Cubist, approach, providing commentary while standing before Nude Descending a Staircase (“I was not aware of Italian Futurism when I painted it”) and The Large Glass (“The two crackings are symmetrically arranged and there is… almost an intention there… a ready-made intention, in other words, that I respect and love.”). These concepts are paradoxically, although quite logically, articulated alongside his desire for “dryness” and mechanical precision. Viewers also gain insight into Duchamp’s thoughts on painting for an “ideal” public—a notion he clearly distinguishes from ivory-tower elitism. <br/><br/> Interview taped Jan. 15, 1956.<br/> Producer and director, Robert D. Graff ; photographer, Richard Leacock ; film editor, Carl Lerner.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/duchamp.html\" rel=\"noopener\" target=\"_blank\">Marcel Duchamp in UbuWeb Sound</a></br>","artist_bio":"A Conversation with Marcel Duchamp [Robert D. Graff] (1956)\n8 x 8: A Chess Sonata in 8 Movements\nJean Cocteau, Marcel Duchamp, Hans Richter (1957)\nJeu d'échecs avec Marcel Duchamp (1963)\n(dir. Jean Marie Drot)\nMarcel Duchamp: Iconoclaste et Inoxydable\n(dir. Fabrice Maze, 2009) 3 hour documentary and interviews\nMarcel Duchamp; 28 July 1887 – 2 October 1968) was a French-American painter, sculptor, chess player, and writer whose work is associated with Dadaism and conceptual art, although not directly associated with Dada groups. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his fellow artists (like Henri Matisse) as \"retinal\" art, intended only to please the eye. Instead, Duchamp wanted to put art back in the service of the mind.","bio_dates":"1887-1968"},{"slug":"duchamp_marcel_rebel_ready_made","ok":true,"partial":false,"title":"Rebel Ready-Made","artist":"Marcel Duchamp","year":"1966","startOffset":0,"sourceSecs":2284.262,"sourceHeight":360,"sourceWidth":472,"hasAudio":true,"hasAmbientMp4":true,"bytes":136434777,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duchamp_marcel_rebel_ready_made/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duchamp_marcel_rebel_ready_made/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/duchamp_marcel_rebel_ready_made.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/duchamp_marcel_rebel_ready_made/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/duchamp_marcel_rebel_ready_made/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"The Almost Complete Works of Marcel Duchamp\" Tate Gallery 1966<br/><br/> A film, made by Tristram Powell in 1966, marking the first retrospective exhibition in Europe of the works of Marcel Duchamp at the Tate Gallery, London. The film includes an interview with Duchamp and unique behind the scenes footage from the Tate. The film also features interviews with the show's curator, Richard Hamilton, the artist Robert Rauschenberg and composer John Cage.<br/><br/>\"\"\"Marcel Duchamp , painter, Dadaist, philosopher, joker, talks about his life and his works, which are currently on exhibition at the Tate Gallery.\" <br/> Radio Times, 23 June 1966.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/duchamp.html\" rel=\"noopener\" target=\"_blank\">Marcel Duchamp in UbuWeb Sound</a></br>","artist_bio":"A Conversation with Marcel Duchamp [Robert D. Graff] (1956)\n8 x 8: A Chess Sonata in 8 Movements\nJean Cocteau, Marcel Duchamp, Hans Richter (1957)\nJeu d'échecs avec Marcel Duchamp (1963)\n(dir. Jean Marie Drot)\nMarcel Duchamp: Iconoclaste et Inoxydable\n(dir. Fabrice Maze, 2009) 3 hour documentary and interviews\nMarcel Duchamp; 28 July 1887 – 2 October 1968) was a French-American painter, sculptor, chess player, and writer whose work is associated with Dadaism and conceptual art, although not directly associated with Dada groups. Duchamp is commonly regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the twentieth century, responsible for significant developments in painting and sculpture. Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his fellow artists (like Henri Matisse) as \"retinal\" art, intended only to please the eye. Instead, Duchamp wanted to put art back in the service of the mind.","bio_dates":"1887-1968"},{"slug":"dulac_germain_la_coquille_et_le_clergyman","ok":true,"partial":false,"title":"La Coquille et le Clergyman AKA The Seashell and the Clergyman [+Extras]","artist":"Germaine Dulac","year":"1928","startOffset":0,"sourceSecs":2432,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":376291053,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germain_la_coquille_et_le_clergyman/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germain_la_coquille_et_le_clergyman/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dulac_germain_la_coquille_et_le_clergyman.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dulac_germain_la_coquille_et_le_clergyman/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dulac_germain_la_coquille_et_le_clergyman/main/master.m3u8?v=2","hasMainHls":true,"description":"Artaud’s scenario for The Seashell and the Clergyman set the groundwork for subsequent surrealist film initiatives and was the first to develop many of the æsthetic principles typical of the movement. Reportedly, Buñuel had seen Artaud and Dulac’s film whilst preparing for Un Chien Andalou and, interestingly, both films share similar cinematic devices. Both films employ disruptive temporal structures that unfold with the fabric of a dream and incorporate visual shocks designed to impact viscerally upon the viewer. In this respect, the purpose of the infamous eye-slitting in Un Chien Andalou is comparable with the exposure of the woman’s breasts in The Seashell and the Clergyman. Four years later, Artaud accused Buñuel and Dalí of stealing cinematic devices from his own film :<br/><br/> The Shell was indeed the first movie of its kind, a forerunner […] In all fairness, the critics, if there are any left around, should recognize the relationship of all these films and say that they all descend from The Shell and the Clergyman, but without the espirit of The Shell, which they all failed to recapture.<br/><br/> Behind Artaud’s conspiratorial tone, there is a truth: namely, that Un Chien Andalou and The Seashell and the Clergyman share a lineage. Although both films employ the techniques that characterise our understanding of surrealist cinema, Artaud’s vision predates Buñuel’s. Yet, Artaud’s importance has been sadly undervalued, especially considering that it was his ideas that became iconic of all subsequent surrealist cinema. The Seashell and the Clergyman penetrates the skin of material reality and plunges the viewer into an unstable landscape where the image cannot be trusted. Remarkably, Artaud not only subverts the physical, surface image, but also its interconnection with other images. The result is a complex, multi-layered film, so semiotically unstable that images dissolve into one another both visually and ‘semantically’, truly investing in film’s ability to act upon the subconscious.<br/><br/> Images of Catholicism, identity, corporeality and desire are so intricately interwoven into the subtext of The Seashell and the Clergyman that it is impossible to distinguish the boundaries between them. In particular, images of Catholicism prevail throughout the film and are constantly undermined, reflecting Artaud’s contempt of organised religion. With indifference, Artaud abolishes accepted notions of Catholicism and unleashes the repressed sexual desires that lie beneath. He presents us with the image of a priest (played by Alex Allin), an image that connotes celibacy and pious dignity. However, this physical image is subverted when the repressed sexual frustrations of the priest are brought to the surface. His obsession takes the form of a beautiful woman (played by Génica Athanasiou) who appears to him throughout the film like a mirage. According to Sandy Flitterman-Lewis, “it is not a “real” female character […] but an image of the woman, as phantom, as specter, as shadow of desire”. The priest’s search for this ethereal image drives the narrative forwards and his growing fanaticism informs the pace of the film.<br/><br/> The woman’s image, as an object of repressed desire, is interconnected with religious imagery: she appears in a wedding carriage, in the confession box, in a church and as the conductor of a marriage ceremony. She is the forbidden flesh of the priest’s fantasy and, by placing her in such incongruous contexts, Artaud highlights the secularism of the film. The priest’s obsessive behaviour increases with each encounter and, in tandem, the images become increasingly volatile. Images collide, slide under one another and merge. For example, each time the woman appears, she does so with a man (Lucien Bataille) dressed in a general’s uniform, described by Steven Kovács as the obstacle to the clergyman attaining wholeness through union with the woman […] The clergyman attains the power to destroy his double only once they are in the church, in his domain.Whilst there is truth in this statement, Kovács underestimates the volatility of the general’s image. Rather, the film presents all corporeality as potentially unstable, and the boundaries that separate the three characters are impossible to locate. In the confessional box, the general sits next to the woman, lecherously listening to her secrets. Consumed with envy, the priest’s sexual frustration reaches boiling point and he attacks the general.<br/><br/> Through a series of remarkable effects, where the general’s face is seen to crack and split, the image of the priest transfers, ‘slips under’ that of the general, until he too becomes a priest. The intention is not to present a simple substitution of one image with another (the image of the priest replacing that of the general), but to convey a collision of identity. As the two men fight, touching for the first time, part of the priest’s inner essence merges with the general, their identities ‘slipping under’ one another.Artaud identified the significance of destabilising corporeal images in his preface to the scenario for The Seashell and the Clergyman. He specified that his aim was to create situations which emerge from the simple collision of objects, forms, repulsions and attractions. It does not separate itself from life but returns to the primitive order of things.<br/><br/> As is widely discussed in other studies, Artaud did not consider his own body as an absolute requirement for his existence. Instead, he rethought himself as a powerful life force capable of projecting his essence into other forms. Interestingly, his writing away from cinema is littered with images of corporeal transgression, where he projects his life force into other forms and bodies.<br/><br/> Again, this theme is woven into the visual subtext of the film and is established in the opening sequence. The priest pours a mysterious, dark liquid from a large oyster shell into small glass beakers that he drops onto the floor beside him. Near his chair, we find a huge pile of broken glass soaked in the liquid essence, evidence of a hundred broken beakers. The subtext of this image is playing with the double meaning of the word ‘essence’, describing both ‘distilled liquid’ and ‘life force’. Although this connection is not explicit in the surface images of the scene, Artaud allowed the visual connotation to drift through the imagery of the film. Metaphorically, each beaker contains a single life essence – an identity. When the priest smashes the glass beakers, the inner essence blends and amalgamates. Later, we are presented with a direct reflection of this image when the priest attacks the general and their identities collide. The violent assault causes the general’s face to crack and shatter (paralleling the glass beakers) and the life essence of the priest literally ‘spills over’ into that of the general.<br/><br/> Artaud immerses the viewer into a world where all images are potentially unstable and dangerous. Reacting alchemically to the priest’s sexual appetite, all images have the capacity to stretch, vanish or mutate. For example, the image of the woman (as object of the priest’s desire) is presented ethereally throughout. Impossibly, she appears and disappears like an apparition, until the climax of the chase sequence where her body is seen to distort, stretch and deform. In Artaud’s original scenario, these distortions were to be even more horrific than the images contained in the final film :<br/><br/> … now with an enormous swollen cheek, now putting out her tongue which stretches into infinity and onto which the clergyman hangs as if it were a rope. Now with her chest horribly puffed out.<br/><br/> Images of corporeality are presented as untrustworthy in the film, liable to alter in response to intense emotional states. Unsurprisingly, this sentiment appealed to the Surrealists, with their interest in the recreation of dream imagery and sublime states of mind in order to access the subconscious self. What Artaud developed was a concrete way of transferring such images to film without a reliance on realist principles. However, The Seashell and the Clergyman much outflanked a cinematic transposition of surrealist techniques, namely the juxtaposition of incongruous images and concepts to express the mechanics of the subconscious mind. Rather, these ideas are swallowed whole and are woven into the very ‘architecture’ of the film.<br/><br/> Under Dulac’s direction, the cinematography, the editing and the performances all work to dislocate logical structures and disassociate rational meanings, yet the film retains its own intrinsic logic. Even before she had started work on The Seashell and the Clergyman, Dulac had formulated the cinematic vocabulary of such a film. In 1924, she claimed that the goal of cinema was to “visualize the events or the joys of inner life. One could make a film with a single character in conflict with his impressions.” The release of The Seashell and the Clergyman four years later was a skilful realisation of this idea, presenting the viewer with an internal, mental landscape, perhaps the subconscious of the priest himself. The narrative occurs on a subjective level where the priest is indeed ‘in conflict’ with his own sexuality, faith and obsessions, and pursues the object of his desire through his own mind. As Artaud succinctly puts it: “The characters are only brains or hearts.”<br/><br/> However, on 9 January 1928, the premiere of The Seashell and the Clergyman was abandoned after a disruption in the auditorium. Somewhere in the darkness of the Studio des Ursulines, two voices insulted Dulac, and, before long, the premiere descended into a chaotic cultural riot. Obscenities were shouted, mirrors were broken and violent blows were exchanged. Accounts of Artaud’s own involvement that night are ambiguous, one claiming that he sat quietly with his mother, whilst another recounts how he ran wild. Either way, the events were triggered by a high-profile dispute between Artaud and Dulac, in part, fuelled by Artaud’s exclusion from the filming and editing of his own text.<br/><br/> Rallying a number of surrealist allies in his campaign against Dulac, Artaud attacked her maltreatment of his scenario on a number of points. At the crux of the argument was the insertion of the subtitle, “A dream on the screen”. As Flitterman-Lewis confirms, “The idea for the scenario apparently originated with a dream of Yvonne Allendy, a close friend of Artaud’s, though the scenario itself has little in common with it.” In a public attack printed in La Nouvelle Revue Française, Artaud insisted that This scenario is not the reproduction of a dream and must not be regarded as such. I shall not try to excuse the apparent inconsistency by the facile subterfuge of dreams. Dreams have more than their... logic.<br/><br/> http://archive.sensesofcinema.com/contents/07/44/film-theory-antonin-artaud.html","artist_bio":"Born Germaine Saisset-Schneider in 1882, the film director we know as\nGermaine Dulac came to prominence in the 1920s, alongside Louis\nDelluc, as director of a series of feature films, the best-known of\nwhich is\nLa souriante Madame Beudet\n(\nThe Smiling Mme\nBeudet\n, 1923). Her controversial collaboration with Antonin\nArtaud,\nLa Coquille et le Clergyman\n(\nThe Seashell and the\nClergyman\n, 1928) led to a row with the Surrealists. Towards the\nend of the 1920s, she turned to abstract and theoretical subjects,\nand much of her known writing is about film theory. Dulac was an\ninfluential film critic, an energetic promoter of the cine-club\nmovement in France, a prolific lecturer and speaker, and author of\nhundreds of reviews and articles. After the coming of sound, she made\nno further fiction features, and in the 1930s, formed a small company\nFrance-Actualités, associated with Gaumont but editorially\nindependent, to make newsreels and documentaries (1932-5). After\nsuffering a stroke in the mid-1930s, she did little active directing,\nbut was closely involved with Popular Front cultural groups in 1936,\nacting as an adviser on several films. Having become increasingly\nimmobile, she died in 1942 in obscurity, during the German\nOccupation.\nWell-known in her time,\nboth as creator and enabler, always well-regarded by film\nspecialists, she was however in need of rediscovery when feminist\nfilm historians in recent years began to explore the work of the very\nfew women directors active before 1939. The most extensive work from\nthis perspective has been done by Sandy Flitterman-Lewis (\nTo\ndesire differently\n, Urbana, 1990), an essential source on the\nfeature films. A collection of Dulac's writings was also recently\nissued in France (P. Hillairet, ed.,\nEcrits sur le\ncinéma\n, Paris, 1994). Marie-Anne Malleville, her constant\ncompanion from the time of her divorce from Albert Dulac in 1920,\ndonated all Germaine Dulac's papers to BiFi, and it is from these\npapers that her less well-known work on newsreels can be\nreconstructed.\nThe team she headed at\nFrance-Actualités made and sold to distributors, including its\npatron Gaumont, a weekly compilation of about twenty minutes made up\nof short news items. In the 1930s, cinema programmes usually\nconsisted of a short film, and a newsreel, before the \"big film\".\nNews theatres offering non-stop newsreels and cartoons were just\nopening. About five companies, including Pathé, Eclair etc.,\ncompeted for contracts. A typical newsreel programme from the\narchives of France-Actualités, for 2 March 1934, ran for 20-30\nminutes as follows :\n* (This item, an early\npiece of investigative journalism, ended in a lawsuit from a local\nnotable whose house was recognizably filmed in the item.)4\nOne could construct a\ncultural history of 1930s France using these iconographical clues,\nbut this kind of compilation was not \"the news\" as we would\nunderstand it today. Since it was designed to be shown around France\nover a period of weeks, there would be no point in \"warming up\" the\nmain political events of the day. It concentrated on ceremonies,\nfeatures, and what are known in France as\nfaits divers\n, those\nsmall news items which project ordinary people into the headlines.\nNevertheless one can discern in this apparent compilation of trivia a\ndeliberately contructed orchestration, moving from the light-hearted\nthrough to the more serious items, with the thought-provoking\njuxtapositions which became the trademark of Dulac's newsreels. It\nwas a technical challenge to make something significant from this\ngenre: each item consisted of about 30 or 40 metres of film, about\none and a half minutes on screen. Sound, commentary and image had to\ncombine to make a point quickly (cf. M. Huret,\nCiné-Actualités\n, Paris, 1984, for the history of\nthe French newsreel).\nDulac wrote several\narticles about newsreels. She set out from a minimalist position,\narguing that even the blandest of them captured the authentic flavour\nof contemporary reality -- a boring official occasion from a few\nyears ago would enable you to notice that hairstyles had changed for\ninstance. Because they were free from commercial pressures they could\nbring out \"the universally human social and authentic visual features\nof cinema\". She acknowledged that newsreels, including her own, while\nnot subject to official censorship, were to some extent\nself-censored; that they were often bland, not sharply angled\npolitically; and that they were as a rule trivial. But within the\nconfines of the genre, she tried to do something different, as\ncritics (alerted by her name on the credits) were quick to notice, if\nnot always seeing the point : \"She seems to want to give her newsreel\na musical and 'visualist' tendency, which we cannot fully\nappreciate... It is far from boring\" (\nCinématographie\nfrançaise\n, 1 October 1932). \"This company is curious: it\nhas intelligent cameramen and editors, who have a sure touch. But it\nseems to concentrate on tiny events, never the great ones --\nwhy?\"\nSome critics appreciated\nwhat she was trying to do. Pointing out that most newsreels had truly\nawful commentaries, hectoring and bland at once, one reviewer\nremarked:\nit is a pleasure\nto announce the real effort made by a young company\nFrance-Actualité, run by Germaine Dulac: the camerawork,\nthe sound and the commentary all show that at\nFrance-Actualité [sic], everyone knows his trade...\n[Her work is ] characterized by variety... sometimes\nhumorous, sometimes with a bitter note, or touched with emotion.\n[She] juxtaposes complementary images. Here is a tea party\nthrown for children of higher civil servants by the President, and\nhere is one given by the Salvation Army for homeless children. No\nsuperfluous commentary: the spectator has to work out the\nphilosophy from what he sees on screen. ... In one item, the\nunveiling of a plaque in memory of a writer, she stayed after the\nofficial opening and asked local residents about him, getting very\nfunny answers [nobody had ever heard of him]. On other\noccasions she filmed two lovers after a suicide pact and a body\nbeing pulled out of the Seine.\nDulac herself referred to\nher newsreels in what one might describe as classic humanist mode.\nThey were obviously a departure both from her psychological\nfull-length features of the early 1920s and from the formal and\ntheoretical shorts she had made later: \"If only you knew how much\nconstant contact with ordinary people, living their lives, suffering,\nworking, loving normally can change the perspective of a film\ndirector used to facing more or less fictional characters. In a\nfilmed report, all is real, not deformed by the imagination or\ntheoretical reasoning.\" She clearly saw this work as enabling her to\nescape from the constraints of the plot, even when doing \"stories\".\nAs a marginal art form, newsreels could paradoxically be seen to have\na degree of artistic freedom. Ironically however (see article on\nbudget below), financial pressure put an end to this phase of her\nproduction. Employing several people, she was going over budget while\nthe parent company was facing serious financial crisis.\nFrance-Actualités was wound up and at about the same time,\nperhaps not coincidentally, Dulac suffered a stroke.\nThe articles here may\nsurprise those familiar with Dulac's other work. There is a direct\nsimplicity of approach which seems almost naive to us now, used as we\nare to the distortions and biases which have marked filming the news\nfor television. It helps to remember that Dulac was above all a\nvisual film-maker, whose best work was in the silent era. When she\ninsists the camera cannot lie, she is thinking of the images on the\nscreen, and specifically remarks that \"of course\" commentaries can be\nsuperimposed to give misleading information. She was also writing in\nthe somewhat optimistic atmosphere of the Popular Front, and with a\nclearly pedagogical and historical approach. One can hardly argue\nwith her point that if only cinema had been invented a hundred years\nearlier, even the most naively-filmed images of the French Revolution\nwould give us invaluable historical evidence.","bio_dates":"1882 - 1942"},{"slug":"dulac_germaine_cellesquisenfont_1928","ok":true,"partial":false,"title":"Disque 957","artist":"Germaine Dulac","year":"1928","startOffset":0,"sourceSecs":309.96,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":22232360,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germaine_cellesquisenfont_1928/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germaine_cellesquisenfont_1928/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dulac_germaine_cellesquisenfont_1928.avi","hasFrames":true,"description":"Film can be a vehicle for feelings and emotions, just like music.<br/> A visual impression of listening to the 5th and 6th Preludes by Frederic Chopin. <br/><br/> In the late 1920s, Dulac embarked on an intense period of radical aesthetic exploration, implementing some of the ideas she had been writing about in her essays on the avant-garde. The Seashell and the Clergyman, in which Dulac's direction meets Antonin Artaud's script, leaves realist plot behind as the film's three figures—the clergyman, the officer, and the woman—play out a complex dance of desire, fantasy, and frustration (sometimes interpreted, including by Dulac herself, as an Oedipal drama). Occasionally hailed as the first Surrealist film, its premiere caused a riot by Surrealists who ostensibly criticized it for taming the violence of Artaud's text. For Dulac it was the cadences and visual orchestration that were crucial, as in her more abstract shorts Thèmes et variations, Étude cinégraphique sur une arabesque, and Disque 957. While sometimes inspired by pieces of music and using often recognizable imagery—mechanical, organic, and human forms in motion—the focus in these films was on rhythms, light, and movement. In Dulac's words: \"Lines, surfaces, volumes evolving directly, without the artifice of evocations, in the logic of their forms, freed from any too human meaning to better elevate themselves to abstraction and to give more space to sensations and dreams: integral cinema.\"","artist_bio":"Born Germaine Saisset-Schneider in 1882, the film director we know as\nGermaine Dulac came to prominence in the 1920s, alongside Louis\nDelluc, as director of a series of feature films, the best-known of\nwhich is\nLa souriante Madame Beudet\n(\nThe Smiling Mme\nBeudet\n, 1923). Her controversial collaboration with Antonin\nArtaud,\nLa Coquille et le Clergyman\n(\nThe Seashell and the\nClergyman\n, 1928) led to a row with the Surrealists. Towards the\nend of the 1920s, she turned to abstract and theoretical subjects,\nand much of her known writing is about film theory. Dulac was an\ninfluential film critic, an energetic promoter of the cine-club\nmovement in France, a prolific lecturer and speaker, and author of\nhundreds of reviews and articles. After the coming of sound, she made\nno further fiction features, and in the 1930s, formed a small company\nFrance-Actualités, associated with Gaumont but editorially\nindependent, to make newsreels and documentaries (1932-5). After\nsuffering a stroke in the mid-1930s, she did little active directing,\nbut was closely involved with Popular Front cultural groups in 1936,\nacting as an adviser on several films. Having become increasingly\nimmobile, she died in 1942 in obscurity, during the German\nOccupation.\nWell-known in her time,\nboth as creator and enabler, always well-regarded by film\nspecialists, she was however in need of rediscovery when feminist\nfilm historians in recent years began to explore the work of the very\nfew women directors active before 1939. The most extensive work from\nthis perspective has been done by Sandy Flitterman-Lewis (\nTo\ndesire differently\n, Urbana, 1990), an essential source on the\nfeature films. A collection of Dulac's writings was also recently\nissued in France (P. Hillairet, ed.,\nEcrits sur le\ncinéma\n, Paris, 1994). Marie-Anne Malleville, her constant\ncompanion from the time of her divorce from Albert Dulac in 1920,\ndonated all Germaine Dulac's papers to BiFi, and it is from these\npapers that her less well-known work on newsreels can be\nreconstructed.\nThe team she headed at\nFrance-Actualités made and sold to distributors, including its\npatron Gaumont, a weekly compilation of about twenty minutes made up\nof short news items. In the 1930s, cinema programmes usually\nconsisted of a short film, and a newsreel, before the \"big film\".\nNews theatres offering non-stop newsreels and cartoons were just\nopening. About five companies, including Pathé, Eclair etc.,\ncompeted for contracts. A typical newsreel programme from the\narchives of France-Actualités, for 2 March 1934, ran for 20-30\nminutes as follows :\n* (This item, an early\npiece of investigative journalism, ended in a lawsuit from a local\nnotable whose house was recognizably filmed in the item.)4\nOne could construct a\ncultural history of 1930s France using these iconographical clues,\nbut this kind of compilation was not \"the news\" as we would\nunderstand it today. Since it was designed to be shown around France\nover a period of weeks, there would be no point in \"warming up\" the\nmain political events of the day. It concentrated on ceremonies,\nfeatures, and what are known in France as\nfaits divers\n, those\nsmall news items which project ordinary people into the headlines.\nNevertheless one can discern in this apparent compilation of trivia a\ndeliberately contructed orchestration, moving from the light-hearted\nthrough to the more serious items, with the thought-provoking\njuxtapositions which became the trademark of Dulac's newsreels. It\nwas a technical challenge to make something significant from this\ngenre: each item consisted of about 30 or 40 metres of film, about\none and a half minutes on screen. Sound, commentary and image had to\ncombine to make a point quickly (cf. M. Huret,\nCiné-Actualités\n, Paris, 1984, for the history of\nthe French newsreel).\nDulac wrote several\narticles about newsreels. She set out from a minimalist position,\narguing that even the blandest of them captured the authentic flavour\nof contemporary reality -- a boring official occasion from a few\nyears ago would enable you to notice that hairstyles had changed for\ninstance. Because they were free from commercial pressures they could\nbring out \"the universally human social and authentic visual features\nof cinema\". She acknowledged that newsreels, including her own, while\nnot subject to official censorship, were to some extent\nself-censored; that they were often bland, not sharply angled\npolitically; and that they were as a rule trivial. But within the\nconfines of the genre, she tried to do something different, as\ncritics (alerted by her name on the credits) were quick to notice, if\nnot always seeing the point : \"She seems to want to give her newsreel\na musical and 'visualist' tendency, which we cannot fully\nappreciate... It is far from boring\" (\nCinématographie\nfrançaise\n, 1 October 1932). \"This company is curious: it\nhas intelligent cameramen and editors, who have a sure touch. But it\nseems to concentrate on tiny events, never the great ones --\nwhy?\"\nSome critics appreciated\nwhat she was trying to do. Pointing out that most newsreels had truly\nawful commentaries, hectoring and bland at once, one reviewer\nremarked:\nit is a pleasure\nto announce the real effort made by a young company\nFrance-Actualité, run by Germaine Dulac: the camerawork,\nthe sound and the commentary all show that at\nFrance-Actualité [sic], everyone knows his trade...\n[Her work is ] characterized by variety... sometimes\nhumorous, sometimes with a bitter note, or touched with emotion.\n[She] juxtaposes complementary images. Here is a tea party\nthrown for children of higher civil servants by the President, and\nhere is one given by the Salvation Army for homeless children. No\nsuperfluous commentary: the spectator has to work out the\nphilosophy from what he sees on screen. ... In one item, the\nunveiling of a plaque in memory of a writer, she stayed after the\nofficial opening and asked local residents about him, getting very\nfunny answers [nobody had ever heard of him]. On other\noccasions she filmed two lovers after a suicide pact and a body\nbeing pulled out of the Seine.\nDulac herself referred to\nher newsreels in what one might describe as classic humanist mode.\nThey were obviously a departure both from her psychological\nfull-length features of the early 1920s and from the formal and\ntheoretical shorts she had made later: \"If only you knew how much\nconstant contact with ordinary people, living their lives, suffering,\nworking, loving normally can change the perspective of a film\ndirector used to facing more or less fictional characters. In a\nfilmed report, all is real, not deformed by the imagination or\ntheoretical reasoning.\" She clearly saw this work as enabling her to\nescape from the constraints of the plot, even when doing \"stories\".\nAs a marginal art form, newsreels could paradoxically be seen to have\na degree of artistic freedom. Ironically however (see article on\nbudget below), financial pressure put an end to this phase of her\nproduction. Employing several people, she was going over budget while\nthe parent company was facing serious financial crisis.\nFrance-Actualités was wound up and at about the same time,\nperhaps not coincidentally, Dulac suffered a stroke.\nThe articles here may\nsurprise those familiar with Dulac's other work. There is a direct\nsimplicity of approach which seems almost naive to us now, used as we\nare to the distortions and biases which have marked filming the news\nfor television. It helps to remember that Dulac was above all a\nvisual film-maker, whose best work was in the silent era. When she\ninsists the camera cannot lie, she is thinking of the images on the\nscreen, and specifically remarks that \"of course\" commentaries can be\nsuperimposed to give misleading information. She was also writing in\nthe somewhat optimistic atmosphere of the Popular Front, and with a\nclearly pedagogical and historical approach. One can hardly argue\nwith her point that if only cinema had been invented a hundred years\nearlier, even the most naively-filmed images of the French Revolution\nwould give us invaluable historical evidence.","bio_dates":"1882 - 1942"},{"slug":"dulac_germaine_danses_espagnoles_1928","ok":true,"partial":false,"title":"Danses espagnoles AKA Spanish dances","artist":"Germaine Dulac","year":"1928","startOffset":0,"sourceSecs":434.445,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":29128147,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germaine_danses_espagnoles_1928/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germaine_danses_espagnoles_1928/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dulac_germaine_danses_espagnoles_1928.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dulac_germaine_danses_espagnoles_1928/main.mp4?v=2","description":"The only existing cinematographic document about the important bailaora from Barcelona Carmencita García, who performs two dances in front of the audience: \"Córdoba\", by the Spanish composer Isaac Albéniz, and some sevillanas with castanets.","artist_bio":"Born Germaine Saisset-Schneider in 1882, the film director we know as\nGermaine Dulac came to prominence in the 1920s, alongside Louis\nDelluc, as director of a series of feature films, the best-known of\nwhich is\nLa souriante Madame Beudet\n(\nThe Smiling Mme\nBeudet\n, 1923). Her controversial collaboration with Antonin\nArtaud,\nLa Coquille et le Clergyman\n(\nThe Seashell and the\nClergyman\n, 1928) led to a row with the Surrealists. Towards the\nend of the 1920s, she turned to abstract and theoretical subjects,\nand much of her known writing is about film theory. Dulac was an\ninfluential film critic, an energetic promoter of the cine-club\nmovement in France, a prolific lecturer and speaker, and author of\nhundreds of reviews and articles. After the coming of sound, she made\nno further fiction features, and in the 1930s, formed a small company\nFrance-Actualités, associated with Gaumont but editorially\nindependent, to make newsreels and documentaries (1932-5). After\nsuffering a stroke in the mid-1930s, she did little active directing,\nbut was closely involved with Popular Front cultural groups in 1936,\nacting as an adviser on several films. Having become increasingly\nimmobile, she died in 1942 in obscurity, during the German\nOccupation.\nWell-known in her time,\nboth as creator and enabler, always well-regarded by film\nspecialists, she was however in need of rediscovery when feminist\nfilm historians in recent years began to explore the work of the very\nfew women directors active before 1939. The most extensive work from\nthis perspective has been done by Sandy Flitterman-Lewis (\nTo\ndesire differently\n, Urbana, 1990), an essential source on the\nfeature films. A collection of Dulac's writings was also recently\nissued in France (P. Hillairet, ed.,\nEcrits sur le\ncinéma\n, Paris, 1994). Marie-Anne Malleville, her constant\ncompanion from the time of her divorce from Albert Dulac in 1920,\ndonated all Germaine Dulac's papers to BiFi, and it is from these\npapers that her less well-known work on newsreels can be\nreconstructed.\nThe team she headed at\nFrance-Actualités made and sold to distributors, including its\npatron Gaumont, a weekly compilation of about twenty minutes made up\nof short news items. In the 1930s, cinema programmes usually\nconsisted of a short film, and a newsreel, before the \"big film\".\nNews theatres offering non-stop newsreels and cartoons were just\nopening. About five companies, including Pathé, Eclair etc.,\ncompeted for contracts. A typical newsreel programme from the\narchives of France-Actualités, for 2 March 1934, ran for 20-30\nminutes as follows :\n* (This item, an early\npiece of investigative journalism, ended in a lawsuit from a local\nnotable whose house was recognizably filmed in the item.)4\nOne could construct a\ncultural history of 1930s France using these iconographical clues,\nbut this kind of compilation was not \"the news\" as we would\nunderstand it today. Since it was designed to be shown around France\nover a period of weeks, there would be no point in \"warming up\" the\nmain political events of the day. It concentrated on ceremonies,\nfeatures, and what are known in France as\nfaits divers\n, those\nsmall news items which project ordinary people into the headlines.\nNevertheless one can discern in this apparent compilation of trivia a\ndeliberately contructed orchestration, moving from the light-hearted\nthrough to the more serious items, with the thought-provoking\njuxtapositions which became the trademark of Dulac's newsreels. It\nwas a technical challenge to make something significant from this\ngenre: each item consisted of about 30 or 40 metres of film, about\none and a half minutes on screen. Sound, commentary and image had to\ncombine to make a point quickly (cf. M. Huret,\nCiné-Actualités\n, Paris, 1984, for the history of\nthe French newsreel).\nDulac wrote several\narticles about newsreels. She set out from a minimalist position,\narguing that even the blandest of them captured the authentic flavour\nof contemporary reality -- a boring official occasion from a few\nyears ago would enable you to notice that hairstyles had changed for\ninstance. Because they were free from commercial pressures they could\nbring out \"the universally human social and authentic visual features\nof cinema\". She acknowledged that newsreels, including her own, while\nnot subject to official censorship, were to some extent\nself-censored; that they were often bland, not sharply angled\npolitically; and that they were as a rule trivial. But within the\nconfines of the genre, she tried to do something different, as\ncritics (alerted by her name on the credits) were quick to notice, if\nnot always seeing the point : \"She seems to want to give her newsreel\na musical and 'visualist' tendency, which we cannot fully\nappreciate... It is far from boring\" (\nCinématographie\nfrançaise\n, 1 October 1932). \"This company is curious: it\nhas intelligent cameramen and editors, who have a sure touch. But it\nseems to concentrate on tiny events, never the great ones --\nwhy?\"\nSome critics appreciated\nwhat she was trying to do. Pointing out that most newsreels had truly\nawful commentaries, hectoring and bland at once, one reviewer\nremarked:\nit is a pleasure\nto announce the real effort made by a young company\nFrance-Actualité, run by Germaine Dulac: the camerawork,\nthe sound and the commentary all show that at\nFrance-Actualité [sic], everyone knows his trade...\n[Her work is ] characterized by variety... sometimes\nhumorous, sometimes with a bitter note, or touched with emotion.\n[She] juxtaposes complementary images. Here is a tea party\nthrown for children of higher civil servants by the President, and\nhere is one given by the Salvation Army for homeless children. No\nsuperfluous commentary: the spectator has to work out the\nphilosophy from what he sees on screen. ... In one item, the\nunveiling of a plaque in memory of a writer, she stayed after the\nofficial opening and asked local residents about him, getting very\nfunny answers [nobody had ever heard of him]. On other\noccasions she filmed two lovers after a suicide pact and a body\nbeing pulled out of the Seine.\nDulac herself referred to\nher newsreels in what one might describe as classic humanist mode.\nThey were obviously a departure both from her psychological\nfull-length features of the early 1920s and from the formal and\ntheoretical shorts she had made later: \"If only you knew how much\nconstant contact with ordinary people, living their lives, suffering,\nworking, loving normally can change the perspective of a film\ndirector used to facing more or less fictional characters. In a\nfilmed report, all is real, not deformed by the imagination or\ntheoretical reasoning.\" She clearly saw this work as enabling her to\nescape from the constraints of the plot, even when doing \"stories\".\nAs a marginal art form, newsreels could paradoxically be seen to have\na degree of artistic freedom. Ironically however (see article on\nbudget below), financial pressure put an end to this phase of her\nproduction. Employing several people, she was going over budget while\nthe parent company was facing serious financial crisis.\nFrance-Actualités was wound up and at about the same time,\nperhaps not coincidentally, Dulac suffered a stroke.\nThe articles here may\nsurprise those familiar with Dulac's other work. There is a direct\nsimplicity of approach which seems almost naive to us now, used as we\nare to the distortions and biases which have marked filming the news\nfor television. It helps to remember that Dulac was above all a\nvisual film-maker, whose best work was in the silent era. When she\ninsists the camera cannot lie, she is thinking of the images on the\nscreen, and specifically remarks that \"of course\" commentaries can be\nsuperimposed to give misleading information. She was also writing in\nthe somewhat optimistic atmosphere of the Popular Front, and with a\nclearly pedagogical and historical approach. One can hardly argue\nwith her point that if only cinema had been invented a hundred years\nearlier, even the most naively-filmed images of the French Revolution\nwould give us invaluable historical evidence.","bio_dates":"1882 - 1942"},{"slug":"dulac_germaine_disque_957_1928","ok":true,"partial":false,"title":"Disque 957","artist":"Germaine Dulac","year":"1928","startOffset":0,"sourceSecs":322.823,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":56297459,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germaine_disque_957_1928/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germaine_disque_957_1928/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dulac_germaine_disque_957_1928.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dulac_germaine_disque_957_1928/main.mp4?v=2","description":"Film can be a vehicle for feelings and emotions, just like music.<br/> A visual impression of listening to the 5th and 6th Preludes by Frederic Chopin. <br/><br/> In the late 1920s, Dulac embarked on an intense period of radical aesthetic exploration, implementing some of the ideas she had been writing about in her essays on the avant-garde. The Seashell and the Clergyman, in which Dulac's direction meets Antonin Artaud's script, leaves realist plot behind as the film's three figures—the clergyman, the officer, and the woman—play out a complex dance of desire, fantasy, and frustration (sometimes interpreted, including by Dulac herself, as an Oedipal drama). Occasionally hailed as the first Surrealist film, its premiere caused a riot by Surrealists who ostensibly criticized it for taming the violence of Artaud's text. For Dulac it was the cadences and visual orchestration that were crucial, as in her more abstract shorts Thèmes et variations, Étude cinégraphique sur une arabesque, and Disque 957. While sometimes inspired by pieces of music and using often recognizable imagery—mechanical, organic, and human forms in motion—the focus in these films was on rhythms, light, and movement. In Dulac's words: \"Lines, surfaces, volumes evolving directly, without the artifice of evocations, in the logic of their forms, freed from any too human meaning to better elevate themselves to abstraction and to give more space to sensations and dreams: integral cinema.\"","artist_bio":"Born Germaine Saisset-Schneider in 1882, the film director we know as\nGermaine Dulac came to prominence in the 1920s, alongside Louis\nDelluc, as director of a series of feature films, the best-known of\nwhich is\nLa souriante Madame Beudet\n(\nThe Smiling Mme\nBeudet\n, 1923). Her controversial collaboration with Antonin\nArtaud,\nLa Coquille et le Clergyman\n(\nThe Seashell and the\nClergyman\n, 1928) led to a row with the Surrealists. Towards the\nend of the 1920s, she turned to abstract and theoretical subjects,\nand much of her known writing is about film theory. Dulac was an\ninfluential film critic, an energetic promoter of the cine-club\nmovement in France, a prolific lecturer and speaker, and author of\nhundreds of reviews and articles. After the coming of sound, she made\nno further fiction features, and in the 1930s, formed a small company\nFrance-Actualités, associated with Gaumont but editorially\nindependent, to make newsreels and documentaries (1932-5). After\nsuffering a stroke in the mid-1930s, she did little active directing,\nbut was closely involved with Popular Front cultural groups in 1936,\nacting as an adviser on several films. Having become increasingly\nimmobile, she died in 1942 in obscurity, during the German\nOccupation.\nWell-known in her time,\nboth as creator and enabler, always well-regarded by film\nspecialists, she was however in need of rediscovery when feminist\nfilm historians in recent years began to explore the work of the very\nfew women directors active before 1939. The most extensive work from\nthis perspective has been done by Sandy Flitterman-Lewis (\nTo\ndesire differently\n, Urbana, 1990), an essential source on the\nfeature films. A collection of Dulac's writings was also recently\nissued in France (P. Hillairet, ed.,\nEcrits sur le\ncinéma\n, Paris, 1994). Marie-Anne Malleville, her constant\ncompanion from the time of her divorce from Albert Dulac in 1920,\ndonated all Germaine Dulac's papers to BiFi, and it is from these\npapers that her less well-known work on newsreels can be\nreconstructed.\nThe team she headed at\nFrance-Actualités made and sold to distributors, including its\npatron Gaumont, a weekly compilation of about twenty minutes made up\nof short news items. In the 1930s, cinema programmes usually\nconsisted of a short film, and a newsreel, before the \"big film\".\nNews theatres offering non-stop newsreels and cartoons were just\nopening. About five companies, including Pathé, Eclair etc.,\ncompeted for contracts. A typical newsreel programme from the\narchives of France-Actualités, for 2 March 1934, ran for 20-30\nminutes as follows :\n* (This item, an early\npiece of investigative journalism, ended in a lawsuit from a local\nnotable whose house was recognizably filmed in the item.)4\nOne could construct a\ncultural history of 1930s France using these iconographical clues,\nbut this kind of compilation was not \"the news\" as we would\nunderstand it today. Since it was designed to be shown around France\nover a period of weeks, there would be no point in \"warming up\" the\nmain political events of the day. It concentrated on ceremonies,\nfeatures, and what are known in France as\nfaits divers\n, those\nsmall news items which project ordinary people into the headlines.\nNevertheless one can discern in this apparent compilation of trivia a\ndeliberately contructed orchestration, moving from the light-hearted\nthrough to the more serious items, with the thought-provoking\njuxtapositions which became the trademark of Dulac's newsreels. It\nwas a technical challenge to make something significant from this\ngenre: each item consisted of about 30 or 40 metres of film, about\none and a half minutes on screen. Sound, commentary and image had to\ncombine to make a point quickly (cf. M. Huret,\nCiné-Actualités\n, Paris, 1984, for the history of\nthe French newsreel).\nDulac wrote several\narticles about newsreels. She set out from a minimalist position,\narguing that even the blandest of them captured the authentic flavour\nof contemporary reality -- a boring official occasion from a few\nyears ago would enable you to notice that hairstyles had changed for\ninstance. Because they were free from commercial pressures they could\nbring out \"the universally human social and authentic visual features\nof cinema\". She acknowledged that newsreels, including her own, while\nnot subject to official censorship, were to some extent\nself-censored; that they were often bland, not sharply angled\npolitically; and that they were as a rule trivial. But within the\nconfines of the genre, she tried to do something different, as\ncritics (alerted by her name on the credits) were quick to notice, if\nnot always seeing the point : \"She seems to want to give her newsreel\na musical and 'visualist' tendency, which we cannot fully\nappreciate... It is far from boring\" (\nCinématographie\nfrançaise\n, 1 October 1932). \"This company is curious: it\nhas intelligent cameramen and editors, who have a sure touch. But it\nseems to concentrate on tiny events, never the great ones --\nwhy?\"\nSome critics appreciated\nwhat she was trying to do. Pointing out that most newsreels had truly\nawful commentaries, hectoring and bland at once, one reviewer\nremarked:\nit is a pleasure\nto announce the real effort made by a young company\nFrance-Actualité, run by Germaine Dulac: the camerawork,\nthe sound and the commentary all show that at\nFrance-Actualité [sic], everyone knows his trade...\n[Her work is ] characterized by variety... sometimes\nhumorous, sometimes with a bitter note, or touched with emotion.\n[She] juxtaposes complementary images. Here is a tea party\nthrown for children of higher civil servants by the President, and\nhere is one given by the Salvation Army for homeless children. No\nsuperfluous commentary: the spectator has to work out the\nphilosophy from what he sees on screen. ... In one item, the\nunveiling of a plaque in memory of a writer, she stayed after the\nofficial opening and asked local residents about him, getting very\nfunny answers [nobody had ever heard of him]. On other\noccasions she filmed two lovers after a suicide pact and a body\nbeing pulled out of the Seine.\nDulac herself referred to\nher newsreels in what one might describe as classic humanist mode.\nThey were obviously a departure both from her psychological\nfull-length features of the early 1920s and from the formal and\ntheoretical shorts she had made later: \"If only you knew how much\nconstant contact with ordinary people, living their lives, suffering,\nworking, loving normally can change the perspective of a film\ndirector used to facing more or less fictional characters. In a\nfilmed report, all is real, not deformed by the imagination or\ntheoretical reasoning.\" She clearly saw this work as enabling her to\nescape from the constraints of the plot, even when doing \"stories\".\nAs a marginal art form, newsreels could paradoxically be seen to have\na degree of artistic freedom. Ironically however (see article on\nbudget below), financial pressure put an end to this phase of her\nproduction. Employing several people, she was going over budget while\nthe parent company was facing serious financial crisis.\nFrance-Actualités was wound up and at about the same time,\nperhaps not coincidentally, Dulac suffered a stroke.\nThe articles here may\nsurprise those familiar with Dulac's other work. There is a direct\nsimplicity of approach which seems almost naive to us now, used as we\nare to the distortions and biases which have marked filming the news\nfor television. It helps to remember that Dulac was above all a\nvisual film-maker, whose best work was in the silent era. When she\ninsists the camera cannot lie, she is thinking of the images on the\nscreen, and specifically remarks that \"of course\" commentaries can be\nsuperimposed to give misleading information. She was also writing in\nthe somewhat optimistic atmosphere of the Popular Front, and with a\nclearly pedagogical and historical approach. One can hardly argue\nwith her point that if only cinema had been invented a hundred years\nearlier, even the most naively-filmed images of the French Revolution\nwould give us invaluable historical evidence.","bio_dates":"1882 - 1942"},{"slug":"dulac_germaine_linvitation_au_voyage_1927_iphone","ok":true,"partial":false,"title":"L'invitation au voyage","artist":"Germaine Dulac","year":"1927","startOffset":0,"sourceSecs":2412.504,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":141215332,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germaine_linvitation_au_voyage_1927_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germaine_linvitation_au_voyage_1927_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dulac_germaine_linvitation_au_voyage_1927_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dulac_germaine_linvitation_au_voyage_1927_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dulac_germaine_linvitation_au_voyage_1927_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Silent film pioneer Germaine Dulac adapted her 1927 feature <i>L'Invitation au voyage</i> from the poem of the same title by late-19th century French belletrist Charles Baudelaire. The film represents an attempt by Dulac to create a work entirely liberated from cinematic narrative per se. It is a \"visual symphony,\" comprised of rhythmically intercut images that embody projections of the artist's raw and direct feelings, unadulterated by the contrivances of story. - Nathan Southern, All Movie Guide","artist_bio":"Born Germaine Saisset-Schneider in 1882, the film director we know as\nGermaine Dulac came to prominence in the 1920s, alongside Louis\nDelluc, as director of a series of feature films, the best-known of\nwhich is\nLa souriante Madame Beudet\n(\nThe Smiling Mme\nBeudet\n, 1923). Her controversial collaboration with Antonin\nArtaud,\nLa Coquille et le Clergyman\n(\nThe Seashell and the\nClergyman\n, 1928) led to a row with the Surrealists. Towards the\nend of the 1920s, she turned to abstract and theoretical subjects,\nand much of her known writing is about film theory. Dulac was an\ninfluential film critic, an energetic promoter of the cine-club\nmovement in France, a prolific lecturer and speaker, and author of\nhundreds of reviews and articles. After the coming of sound, she made\nno further fiction features, and in the 1930s, formed a small company\nFrance-Actualités, associated with Gaumont but editorially\nindependent, to make newsreels and documentaries (1932-5). After\nsuffering a stroke in the mid-1930s, she did little active directing,\nbut was closely involved with Popular Front cultural groups in 1936,\nacting as an adviser on several films. Having become increasingly\nimmobile, she died in 1942 in obscurity, during the German\nOccupation.\nWell-known in her time,\nboth as creator and enabler, always well-regarded by film\nspecialists, she was however in need of rediscovery when feminist\nfilm historians in recent years began to explore the work of the very\nfew women directors active before 1939. The most extensive work from\nthis perspective has been done by Sandy Flitterman-Lewis (\nTo\ndesire differently\n, Urbana, 1990), an essential source on the\nfeature films. A collection of Dulac's writings was also recently\nissued in France (P. Hillairet, ed.,\nEcrits sur le\ncinéma\n, Paris, 1994). Marie-Anne Malleville, her constant\ncompanion from the time of her divorce from Albert Dulac in 1920,\ndonated all Germaine Dulac's papers to BiFi, and it is from these\npapers that her less well-known work on newsreels can be\nreconstructed.\nThe team she headed at\nFrance-Actualités made and sold to distributors, including its\npatron Gaumont, a weekly compilation of about twenty minutes made up\nof short news items. In the 1930s, cinema programmes usually\nconsisted of a short film, and a newsreel, before the \"big film\".\nNews theatres offering non-stop newsreels and cartoons were just\nopening. About five companies, including Pathé, Eclair etc.,\ncompeted for contracts. A typical newsreel programme from the\narchives of France-Actualités, for 2 March 1934, ran for 20-30\nminutes as follows :\n* (This item, an early\npiece of investigative journalism, ended in a lawsuit from a local\nnotable whose house was recognizably filmed in the item.)4\nOne could construct a\ncultural history of 1930s France using these iconographical clues,\nbut this kind of compilation was not \"the news\" as we would\nunderstand it today. Since it was designed to be shown around France\nover a period of weeks, there would be no point in \"warming up\" the\nmain political events of the day. It concentrated on ceremonies,\nfeatures, and what are known in France as\nfaits divers\n, those\nsmall news items which project ordinary people into the headlines.\nNevertheless one can discern in this apparent compilation of trivia a\ndeliberately contructed orchestration, moving from the light-hearted\nthrough to the more serious items, with the thought-provoking\njuxtapositions which became the trademark of Dulac's newsreels. It\nwas a technical challenge to make something significant from this\ngenre: each item consisted of about 30 or 40 metres of film, about\none and a half minutes on screen. Sound, commentary and image had to\ncombine to make a point quickly (cf. M. Huret,\nCiné-Actualités\n, Paris, 1984, for the history of\nthe French newsreel).\nDulac wrote several\narticles about newsreels. She set out from a minimalist position,\narguing that even the blandest of them captured the authentic flavour\nof contemporary reality -- a boring official occasion from a few\nyears ago would enable you to notice that hairstyles had changed for\ninstance. Because they were free from commercial pressures they could\nbring out \"the universally human social and authentic visual features\nof cinema\". She acknowledged that newsreels, including her own, while\nnot subject to official censorship, were to some extent\nself-censored; that they were often bland, not sharply angled\npolitically; and that they were as a rule trivial. But within the\nconfines of the genre, she tried to do something different, as\ncritics (alerted by her name on the credits) were quick to notice, if\nnot always seeing the point : \"She seems to want to give her newsreel\na musical and 'visualist' tendency, which we cannot fully\nappreciate... It is far from boring\" (\nCinématographie\nfrançaise\n, 1 October 1932). \"This company is curious: it\nhas intelligent cameramen and editors, who have a sure touch. But it\nseems to concentrate on tiny events, never the great ones --\nwhy?\"\nSome critics appreciated\nwhat she was trying to do. Pointing out that most newsreels had truly\nawful commentaries, hectoring and bland at once, one reviewer\nremarked:\nit is a pleasure\nto announce the real effort made by a young company\nFrance-Actualité, run by Germaine Dulac: the camerawork,\nthe sound and the commentary all show that at\nFrance-Actualité [sic], everyone knows his trade...\n[Her work is ] characterized by variety... sometimes\nhumorous, sometimes with a bitter note, or touched with emotion.\n[She] juxtaposes complementary images. Here is a tea party\nthrown for children of higher civil servants by the President, and\nhere is one given by the Salvation Army for homeless children. No\nsuperfluous commentary: the spectator has to work out the\nphilosophy from what he sees on screen. ... In one item, the\nunveiling of a plaque in memory of a writer, she stayed after the\nofficial opening and asked local residents about him, getting very\nfunny answers [nobody had ever heard of him]. On other\noccasions she filmed two lovers after a suicide pact and a body\nbeing pulled out of the Seine.\nDulac herself referred to\nher newsreels in what one might describe as classic humanist mode.\nThey were obviously a departure both from her psychological\nfull-length features of the early 1920s and from the formal and\ntheoretical shorts she had made later: \"If only you knew how much\nconstant contact with ordinary people, living their lives, suffering,\nworking, loving normally can change the perspective of a film\ndirector used to facing more or less fictional characters. In a\nfilmed report, all is real, not deformed by the imagination or\ntheoretical reasoning.\" She clearly saw this work as enabling her to\nescape from the constraints of the plot, even when doing \"stories\".\nAs a marginal art form, newsreels could paradoxically be seen to have\na degree of artistic freedom. Ironically however (see article on\nbudget below), financial pressure put an end to this phase of her\nproduction. Employing several people, she was going over budget while\nthe parent company was facing serious financial crisis.\nFrance-Actualités was wound up and at about the same time,\nperhaps not coincidentally, Dulac suffered a stroke.\nThe articles here may\nsurprise those familiar with Dulac's other work. There is a direct\nsimplicity of approach which seems almost naive to us now, used as we\nare to the distortions and biases which have marked filming the news\nfor television. It helps to remember that Dulac was above all a\nvisual film-maker, whose best work was in the silent era. When she\ninsists the camera cannot lie, she is thinking of the images on the\nscreen, and specifically remarks that \"of course\" commentaries can be\nsuperimposed to give misleading information. She was also writing in\nthe somewhat optimistic atmosphere of the Popular Front, and with a\nclearly pedagogical and historical approach. One can hardly argue\nwith her point that if only cinema had been invented a hundred years\nearlier, even the most naively-filmed images of the French Revolution\nwould give us invaluable historical evidence.","bio_dates":"1882 - 1942"},{"slug":"dulac_germaine_themes_et_variations_1928","ok":true,"partial":false,"title":"Thèmes et variations","artist":"Germaine Dulac","year":"1928","startOffset":0,"sourceSecs":570.571,"sourceHeight":512,"sourceWidth":672,"hasAudio":false,"hasAmbientMp4":true,"bytes":96089049,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germaine_themes_et_variations_1928/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dulac_germaine_themes_et_variations_1928/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dulac_germaine_themes_et_variations_1928.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dulac_germaine_themes_et_variations_1928/main.mp4?v=2","description":"I evoke a dancing woman. A woman ? No. A bouncing line with harmonious rhythm. I evoke a luminous projection on veils ! Precise matter ! No. Fluid rhythms. Why should one disregard, on screen, the pleasure that movement brings us in the theatre ? Harmony of lines. Harmony of light. Lines, surfaces, volumes evolving directly, without the artifice of evocation, in the logic of its forms, dispossessed of any overly human sense, allowing an elevation towards the abstract, thus giving more space to sensations and to dreams : integral cinema.","artist_bio":"Born Germaine Saisset-Schneider in 1882, the film director we know as\nGermaine Dulac came to prominence in the 1920s, alongside Louis\nDelluc, as director of a series of feature films, the best-known of\nwhich is\nLa souriante Madame Beudet\n(\nThe Smiling Mme\nBeudet\n, 1923). Her controversial collaboration with Antonin\nArtaud,\nLa Coquille et le Clergyman\n(\nThe Seashell and the\nClergyman\n, 1928) led to a row with the Surrealists. Towards the\nend of the 1920s, she turned to abstract and theoretical subjects,\nand much of her known writing is about film theory. Dulac was an\ninfluential film critic, an energetic promoter of the cine-club\nmovement in France, a prolific lecturer and speaker, and author of\nhundreds of reviews and articles. After the coming of sound, she made\nno further fiction features, and in the 1930s, formed a small company\nFrance-Actualités, associated with Gaumont but editorially\nindependent, to make newsreels and documentaries (1932-5). After\nsuffering a stroke in the mid-1930s, she did little active directing,\nbut was closely involved with Popular Front cultural groups in 1936,\nacting as an adviser on several films. Having become increasingly\nimmobile, she died in 1942 in obscurity, during the German\nOccupation.\nWell-known in her time,\nboth as creator and enabler, always well-regarded by film\nspecialists, she was however in need of rediscovery when feminist\nfilm historians in recent years began to explore the work of the very\nfew women directors active before 1939. The most extensive work from\nthis perspective has been done by Sandy Flitterman-Lewis (\nTo\ndesire differently\n, Urbana, 1990), an essential source on the\nfeature films. A collection of Dulac's writings was also recently\nissued in France (P. Hillairet, ed.,\nEcrits sur le\ncinéma\n, Paris, 1994). Marie-Anne Malleville, her constant\ncompanion from the time of her divorce from Albert Dulac in 1920,\ndonated all Germaine Dulac's papers to BiFi, and it is from these\npapers that her less well-known work on newsreels can be\nreconstructed.\nThe team she headed at\nFrance-Actualités made and sold to distributors, including its\npatron Gaumont, a weekly compilation of about twenty minutes made up\nof short news items. In the 1930s, cinema programmes usually\nconsisted of a short film, and a newsreel, before the \"big film\".\nNews theatres offering non-stop newsreels and cartoons were just\nopening. About five companies, including Pathé, Eclair etc.,\ncompeted for contracts. A typical newsreel programme from the\narchives of France-Actualités, for 2 March 1934, ran for 20-30\nminutes as follows :\n* (This item, an early\npiece of investigative journalism, ended in a lawsuit from a local\nnotable whose house was recognizably filmed in the item.)4\nOne could construct a\ncultural history of 1930s France using these iconographical clues,\nbut this kind of compilation was not \"the news\" as we would\nunderstand it today. Since it was designed to be shown around France\nover a period of weeks, there would be no point in \"warming up\" the\nmain political events of the day. It concentrated on ceremonies,\nfeatures, and what are known in France as\nfaits divers\n, those\nsmall news items which project ordinary people into the headlines.\nNevertheless one can discern in this apparent compilation of trivia a\ndeliberately contructed orchestration, moving from the light-hearted\nthrough to the more serious items, with the thought-provoking\njuxtapositions which became the trademark of Dulac's newsreels. It\nwas a technical challenge to make something significant from this\ngenre: each item consisted of about 30 or 40 metres of film, about\none and a half minutes on screen. Sound, commentary and image had to\ncombine to make a point quickly (cf. M. Huret,\nCiné-Actualités\n, Paris, 1984, for the history of\nthe French newsreel).\nDulac wrote several\narticles about newsreels. She set out from a minimalist position,\narguing that even the blandest of them captured the authentic flavour\nof contemporary reality -- a boring official occasion from a few\nyears ago would enable you to notice that hairstyles had changed for\ninstance. Because they were free from commercial pressures they could\nbring out \"the universally human social and authentic visual features\nof cinema\". She acknowledged that newsreels, including her own, while\nnot subject to official censorship, were to some extent\nself-censored; that they were often bland, not sharply angled\npolitically; and that they were as a rule trivial. But within the\nconfines of the genre, she tried to do something different, as\ncritics (alerted by her name on the credits) were quick to notice, if\nnot always seeing the point : \"She seems to want to give her newsreel\na musical and 'visualist' tendency, which we cannot fully\nappreciate... It is far from boring\" (\nCinématographie\nfrançaise\n, 1 October 1932). \"This company is curious: it\nhas intelligent cameramen and editors, who have a sure touch. But it\nseems to concentrate on tiny events, never the great ones --\nwhy?\"\nSome critics appreciated\nwhat she was trying to do. Pointing out that most newsreels had truly\nawful commentaries, hectoring and bland at once, one reviewer\nremarked:\nit is a pleasure\nto announce the real effort made by a young company\nFrance-Actualité, run by Germaine Dulac: the camerawork,\nthe sound and the commentary all show that at\nFrance-Actualité [sic], everyone knows his trade...\n[Her work is ] characterized by variety... sometimes\nhumorous, sometimes with a bitter note, or touched with emotion.\n[She] juxtaposes complementary images. Here is a tea party\nthrown for children of higher civil servants by the President, and\nhere is one given by the Salvation Army for homeless children. No\nsuperfluous commentary: the spectator has to work out the\nphilosophy from what he sees on screen. ... In one item, the\nunveiling of a plaque in memory of a writer, she stayed after the\nofficial opening and asked local residents about him, getting very\nfunny answers [nobody had ever heard of him]. On other\noccasions she filmed two lovers after a suicide pact and a body\nbeing pulled out of the Seine.\nDulac herself referred to\nher newsreels in what one might describe as classic humanist mode.\nThey were obviously a departure both from her psychological\nfull-length features of the early 1920s and from the formal and\ntheoretical shorts she had made later: \"If only you knew how much\nconstant contact with ordinary people, living their lives, suffering,\nworking, loving normally can change the perspective of a film\ndirector used to facing more or less fictional characters. In a\nfilmed report, all is real, not deformed by the imagination or\ntheoretical reasoning.\" She clearly saw this work as enabling her to\nescape from the constraints of the plot, even when doing \"stories\".\nAs a marginal art form, newsreels could paradoxically be seen to have\na degree of artistic freedom. Ironically however (see article on\nbudget below), financial pressure put an end to this phase of her\nproduction. Employing several people, she was going over budget while\nthe parent company was facing serious financial crisis.\nFrance-Actualités was wound up and at about the same time,\nperhaps not coincidentally, Dulac suffered a stroke.\nThe articles here may\nsurprise those familiar with Dulac's other work. There is a direct\nsimplicity of approach which seems almost naive to us now, used as we\nare to the distortions and biases which have marked filming the news\nfor television. It helps to remember that Dulac was above all a\nvisual film-maker, whose best work was in the silent era. When she\ninsists the camera cannot lie, she is thinking of the images on the\nscreen, and specifically remarks that \"of course\" commentaries can be\nsuperimposed to give misleading information. She was also writing in\nthe somewhat optimistic atmosphere of the Popular Front, and with a\nclearly pedagogical and historical approach. One can hardly argue\nwith her point that if only cinema had been invented a hundred years\nearlier, even the most naively-filmed images of the French Revolution\nwould give us invaluable historical evidence.","bio_dates":"1882 - 1942"},{"slug":"dunbar_geoff_ubu_arena","ok":true,"partial":false,"title":"Ubu Arena","artist":"Alfred Jarry","year":"1979","startOffset":0,"sourceSecs":1880.362,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":115015009,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dunbar_geoff_ubu_arena/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dunbar_geoff_ubu_arena/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dunbar_geoff_ubu_arena.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dunbar_geoff_ubu_arena/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dunbar_geoff_ubu_arena/main/master.m3u8?v=2","hasMainHls":true,"description":"The television premiere of Geoff Dunbar’s brilliant animation film. Based on Alfred Jarry’s notorious surrealist hero, Pere Ubu, it chronicles the rise to power of a kind of punk Macbeth: a lewd and unscrupulous despot with the mentality of a petit bourgeois, and with absolutely no redeeming qualities.\n\nUbu Roi was originally written by Jarry as a schoolboy in 1888, and eventually presented to an outraged public in 1896. For his version of the story, Dunbar has invented a brutal and graphic style to recreate the explosive impact of Jarry’s original production."},{"slug":"duncan_john_prayer_1982","ok":true,"partial":false,"title":"Prayer","artist":"John Duncan","year":"1982","startOffset":0,"sourceSecs":1249.489,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":217603611,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duncan_john_prayer_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duncan_john_prayer_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/duncan_john_prayer_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/duncan_john_prayer_1982/main.mp4?v=2","description":"And we speak with tongues of serpents,and the baying of the Hounds, and the great bell sound that cracks the barrier-- and great are we who rule, and small are you who suffer. (from The Electrical Prelude)<br><br><b>RELATED RESOURCES</b>: <br> <a href=\"https://ubu.com/sound/duncan.html\" rel=\"noopener\" target=\"_blank\">John Duncan in UbuWeb Sound</a></br>","artist_bio":"John Duncan is an American multi-platform artist whose body of work includes performance art, installations, contemporary music, video art and experimental film, often involving the extensive use of recorded sound. His music is composed mainly of recordings from shortwave radio, field recordings and voice. His events and installations are a form of existential research, often confrontational in nature. Duncan currently lives in (and operates out of) Bologna, Italy.","bio_dates":"1982"},{"slug":"dursel_henri_la_perle_1929_iphone","ok":true,"partial":false,"title":"La Perle","artist":"Henri d'Ursel","year":"1929","startOffset":0,"sourceSecs":2014.36,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":121478905,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dursel_henri_la_perle_1929_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dursel_henri_la_perle_1929_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dursel_henri_la_perle_1929_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dursel_henri_la_perle_1929_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dursel_henri_la_perle_1929_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Composition by Mireille Capelle <br/><br/> The count Henri d'Ursel shot La perle (The Pearl) under the pseudonym of Henri d'Arche \"in the flush of inexperience\", as he put it. D'Ursel made only one film, based on a screenplay by the poet Georges Hugnet. In a Paris straight out of the serials of Louis Feuillade, the hero goes in search of a pearl which constantly disappears in a string of bizarre encounters - sneak thieves in a hotel wearing body stockings ˆ la Musidora, a beautiful fiancŽe on a bicycle and a somnambulist walking the rooftops in a night-shirt, amorous fantasies in the undergrowth. Hugnet himself played this waking dreamer, haunted by an unending eroticism reflected in the images.","artist_bio":"He lived in Paris during the 1920s, at the height of the surrealist and avant-garde movements. In 1929 he wrote La Perle, under the pseudonym \"Henri d'Arche\", based on a story by Georges Hugnet.\nReturning to Belgium, in 1937 d'Ursel founded Le Prix de l’Image, a precursor to film festivals of experimental cinema. At the outbreak of the second world war, he founded Le Séminaire des Arts, a prestigious Belgian film club, and precursor of the Musée du cinéma de Bruxelles.\nD'Ursel was a friend of both Charles Dekeukeleire and Henri Storck. He was for 25 years vice-president of the Belgian Royal Film Archive.","bio_dates":"1900 - 1974"},{"slug":"duvivier_eric_la_femme_100_tetes_1967","ok":true,"partial":false,"title":"Eric Duvivier - La femme 100 têtes","artist":"Eric Duvivier","year":"1967","startOffset":0.4,"sourceSecs":1160.64,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":205702795,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duvivier_eric_la_femme_100_tetes_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/duvivier_eric_la_femme_100_tetes_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/duvivier_eric_la_femme_100_tetes_1967.mp4","hasFrames":true,"description":"This is an adaptation of Max Ernst's collage book \"La femme 100 têtes\", originally published in 1929.\n\nThe book consists of surrealist images, with a little legend, yet the story depends on the ability of the reader to interpret the collages, and does not rely on the legends."},{"slug":"dwoskin_stephen_central_bazaar_1976","ok":true,"partial":false,"title":"Central Bazaar","artist":"Stephen Dwoskin","year":"1976","startOffset":0,"sourceSecs":8505.92,"sourceHeight":576,"sourceWidth":702,"hasAudio":true,"hasAmbientMp4":true,"bytes":1443387577,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dwoskin_stephen_central_bazaar_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dwoskin_stephen_central_bazaar_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dwoskin_stephen_central_bazaar_1976.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dwoskin_stephen_central_bazaar_1976/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dwoskin_stephen_central_bazaar_1976/main/master.m3u8?v=2","hasMainHls":true,"description":"For this remarkable experimental film, the provocative avant-garde legend Stephen Dwoskin gathered together a group of strangers and filmed them as they explored their fantasies over a period of five days: a project that now sounds a little like TV’s Big Brother. The ceremonial gowns and make-up here not only evoke the eroticism of European horror movies but also highlight the film’s interplay between performance and intimacy. Jonas Mekas called it ‘theatre of life’.","artist_bio":"Born in New York in 1939, Stephen Dwoskin came to London in 1964, and helped found the London Film-Makers’ Co-op, the LUX’s predecessor, two years later. He made his name with a series of short films in the late 1960s and early 1970s, some shot in New York and finished in London, the rest made in his new home in Notting Hill.\nThe most characteristic films of this period, Laura Mulvey has written, ‘concentrate on one woman, allowing the erotic relationship, so often implicit between camera and female performer in cinema in general, to be acted out in an overt scene of mutual fascination’.\nFrom the 1970s onwards, Dwoskin worked at feature length, in a variety of modes – from fiction to documentary portrait to essay film to autobiography – but with clear ties to his ‘underground’ work. Having contracted polio as a child, Dwoskin had limited mobility, and several of his films, starting with Behindert in 1974, reflect on his experience of disability.\nThe actors, performers, and dancers he worked with include Carolee Schneemann, Jenny Runacre, Carola Regnier, Cosey Fanni Tutti, Beatrice ‘Trixie’ Cordua, and the Ballets Nègres troupe. His first films were soundtracked by Ron Geesin; during the 1970s he enjoyed a long collaboration with the composer Gavin Bryars.\nIn the 2000s Dwoskin returned to the underground, embracing the then new digital technology for the freedom it afforded him, culminating in Age Is… (2012), his posthumously released final film.","bio_dates":"b. 1939"},{"slug":"dwoskin_stephen_chinese_checker_1969","ok":true,"partial":false,"title":"Chinese Checkers","artist":"Stephen Dwoskin","year":"1965","startOffset":0,"sourceSecs":800.763,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":337367284,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dwoskin_stephen_chinese_checker_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dwoskin_stephen_chinese_checker_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dwoskin_stephen_chinese_checker_1969.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dwoskin_stephen_chinese_checker_1969/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dwoskin_stephen_chinese_checker_1969/main/master.m3u8?v=2","hasMainHls":true,"description":"Two women play Chinese checkers. Halfway through the film, the women are transformed through masks, make-up and costumes and they drift from a concentration on the board game to a concentration on each other's hands and eyes, engaging in a game of seduction and lovemaking. Chinese Checkers was shot in New York in 1964 just before Dwoskin moved to the UK. It features Joan Adler and Beverly Grant and is based on a story by American experimental filmmaker Harry Smith. This film is not suitable for young audiences. <br/><br/> Founded in 1966, the London Film-Makers' Co-operative started life at Better Books, a counter-culture bookshop on Charing Cross Road, where a group led by poet Bob Cobbing and filmmakers Stephen Dwoskin and Jeff Keen met to screen films. Initially inspired by the activities of the New American Cinema Group in New York, the London Co-op grew into a pioneering organisation that incorporated a film workshop, cinema space and distribution office. During its four-decade history, the Co-op played a crucial role in establishing film as an art form in the UK and participated in a vibrant international film scene","artist_bio":"Born in New York in 1939, Stephen Dwoskin came to London in 1964, and helped found the London Film-Makers’ Co-op, the LUX’s predecessor, two years later. He made his name with a series of short films in the late 1960s and early 1970s, some shot in New York and finished in London, the rest made in his new home in Notting Hill.\nThe most characteristic films of this period, Laura Mulvey has written, ‘concentrate on one woman, allowing the erotic relationship, so often implicit between camera and female performer in cinema in general, to be acted out in an overt scene of mutual fascination’.\nFrom the 1970s onwards, Dwoskin worked at feature length, in a variety of modes – from fiction to documentary portrait to essay film to autobiography – but with clear ties to his ‘underground’ work. Having contracted polio as a child, Dwoskin had limited mobility, and several of his films, starting with Behindert in 1974, reflect on his experience of disability.\nThe actors, performers, and dancers he worked with include Carolee Schneemann, Jenny Runacre, Carola Regnier, Cosey Fanni Tutti, Beatrice ‘Trixie’ Cordua, and the Ballets Nègres troupe. His first films were soundtracked by Ron Geesin; during the 1970s he enjoyed a long collaboration with the composer Gavin Bryars.\nIn the 2000s Dwoskin returned to the underground, embracing the then new digital technology for the freedom it afforded him, culminating in Age Is… (2012), his posthumously released final film.","bio_dates":"b. 1939"},{"slug":"dwoskin_stephen_moment_1968","ok":true,"partial":false,"title":"Moment","artist":"Stephen Dwoskin","year":"1969","startOffset":0,"sourceSecs":755.09,"sourceHeight":570,"sourceWidth":776,"hasAudio":true,"hasAmbientMp4":true,"bytes":136275485,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dwoskin_stephen_moment_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dwoskin_stephen_moment_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dwoskin_stephen_moment_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dwoskin_stephen_moment_1968/main.mp4?v=2","description":"\"\"The fourth film in the BFI’s shorts screening was Moment (1969). This is shot in colour and shows the face of a girl called Tina Fraser framed on a pillow. The dominant colour is red and this gives the film a warm feel as Tina smokes and either masturbates or simulates this act. We see her face as she works herself up to orgasm, then afterwards in complete relaxation. As a consequence this feels very much like a heterosexual version of Andy Warhol’s Blow Job (1963). Perhaps Dwoskin felt his short Asleep had provided the template for Warhol’s Sleep (1963), and was calling in the debt. Moment was the most carefully composed of the Dwoskin shorts on show last night. That said, the top right side of the screen is a kind of dead space made up of nothing but reddish pillow, with Tina Fraser’s head on the left of the frame; presumably the shot was set up in this way, with a mild imperfection, to prevent viewers from responding to it simply on the level of visual aesthetics.\" - <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home</a>","artist_bio":"Born in New York in 1939, Stephen Dwoskin came to London in 1964, and helped found the London Film-Makers’ Co-op, the LUX’s predecessor, two years later. He made his name with a series of short films in the late 1960s and early 1970s, some shot in New York and finished in London, the rest made in his new home in Notting Hill.\nThe most characteristic films of this period, Laura Mulvey has written, ‘concentrate on one woman, allowing the erotic relationship, so often implicit between camera and female performer in cinema in general, to be acted out in an overt scene of mutual fascination’.\nFrom the 1970s onwards, Dwoskin worked at feature length, in a variety of modes – from fiction to documentary portrait to essay film to autobiography – but with clear ties to his ‘underground’ work. Having contracted polio as a child, Dwoskin had limited mobility, and several of his films, starting with Behindert in 1974, reflect on his experience of disability.\nThe actors, performers, and dancers he worked with include Carolee Schneemann, Jenny Runacre, Carola Regnier, Cosey Fanni Tutti, Beatrice ‘Trixie’ Cordua, and the Ballets Nègres troupe. His first films were soundtracked by Ron Geesin; during the 1970s he enjoyed a long collaboration with the composer Gavin Bryars.\nIn the 2000s Dwoskin returned to the underground, embracing the then new digital technology for the freedom it afforded him, culminating in Age Is… (2012), his posthumously released final film.","bio_dates":"b. 1939"},{"slug":"dwoskin_steven_dirty_1971","ok":true,"partial":false,"title":"Dirty","artist":"Stephen Dwoskin","year":"1971","startOffset":0,"sourceSecs":701.077,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":126278432,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dwoskin_steven_dirty_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dwoskin_steven_dirty_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dwoskin_steven_dirty_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dwoskin_steven_dirty_1971/main.mp4?v=2","description":"Part of <a href=\"https://ubu.com/film/shoot.html\" rel=\"noopener\" target=\"_blank\">Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s (1966 - 1976)</a> <br/><br/> Music by Gavin Bryars <br/><br/> Dirty DIRTY is the reincarnation of two girls, a bottle and one bed. Their bodies, hands and face expressions reach out in a refilm look. <br/><br/>\"\"\"DIRTY was originally shot in 1965. The footage was found in a very bad state and 'restored' with all marks, breaks, dirt, etc. deliberately left in place. But this is not the only thing that makes this a 'dirty' film; we see two almost naked women in a bed, first drinking from a bottle, then playing with it and ultimately engaging in erotic play. The dirt marks, the grainy texture of the image and the breakdown of the continuity of the action give the whole film the quality of a highly charged erotic memory. It creates the effect of a dreamlike recalling of a scene with the dreamer's freedom to re-run or pause on particular gestures and freeze certain privileged moments such as the caress of a hand, the bounce of a breast, a look, etc. The film becomes an erotic daydream, a play with sensual images retained from a scene witnessed sometime in the past.\" <br/><br/> - (Artificial Eye)","artist_bio":"Born in New York in 1939, Stephen Dwoskin came to London in 1964, and helped found the London Film-Makers’ Co-op, the LUX’s predecessor, two years later. He made his name with a series of short films in the late 1960s and early 1970s, some shot in New York and finished in London, the rest made in his new home in Notting Hill.\nThe most characteristic films of this period, Laura Mulvey has written, ‘concentrate on one woman, allowing the erotic relationship, so often implicit between camera and female performer in cinema in general, to be acted out in an overt scene of mutual fascination’.\nFrom the 1970s onwards, Dwoskin worked at feature length, in a variety of modes – from fiction to documentary portrait to essay film to autobiography – but with clear ties to his ‘underground’ work. Having contracted polio as a child, Dwoskin had limited mobility, and several of his films, starting with Behindert in 1974, reflect on his experience of disability.\nThe actors, performers, and dancers he worked with include Carolee Schneemann, Jenny Runacre, Carola Regnier, Cosey Fanni Tutti, Beatrice ‘Trixie’ Cordua, and the Ballets Nègres troupe. His first films were soundtracked by Ron Geesin; during the 1970s he enjoyed a long collaboration with the composer Gavin Bryars.\nIn the 2000s Dwoskin returned to the underground, embracing the then new digital technology for the freedom it afforded him, culminating in Age Is… (2012), his posthumously released final film.","bio_dates":"b. 1939"},{"slug":"dymon_frankie_jr_death_may_be_your_santa_claus_1969","ok":true,"partial":false,"title":"Death May Be Your Santa Claus","artist":"Frankie Dymon Jr.","year":"1969","startOffset":0,"sourceSecs":2157.6,"sourceHeight":434,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":130592934,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dymon_frankie_jr_death_may_be_your_santa_claus_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dymon_frankie_jr_death_may_be_your_santa_claus_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dymon_frankie_jr_death_may_be_your_santa_claus_1969.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dymon_frankie_jr_death_may_be_your_santa_claus_1969/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dymon_frankie_jr_death_may_be_your_santa_claus_1969/main/master.m3u8?v=2","hasMainHls":true,"description":"Synopsis: A black student and black power advocate, sent down for failing his exams and Marxist lectures, has a fantasy affair with a white girl on the telephone.....<br/><br/> Frankie Dymon's Death May be Your Santa Claus (1969), arguably Britain's first and only example of a 'black power' movie, in which themes of sexual and political identity encircle one another in the context of a hip and hippy London of the late 1960s, suspended between the cinematic radicalisms of films such as Roeg's Performance, Godard's Sympathy for the Devil in which Dymon played a leading role, or Boorman's Leo the Last.<br/><br/> Thought lost until quite recently, this inscrutably-titled film is described as a 'pop fantasy' and offers an intriguing look at 60s sex and politics from a black British perspective.<br/><br/> Music:<br/><br/> The music was provided by UK psych/prog band \"Second Hand\".<br/><br/> It was the band's second (and last) album, and original copies change hands for high prices today.<br/><br/>Article from contemporary British film magazine Cinema X (Vol 1, No 11), 1969:<br><br> At first, in a rare moment of self-doubt, Frankie Dymon Jr didn't think he could write a film, let alone \"get the bread together and make it.\" The moment of uncertainty was indeed a rare one for the actor, who doesn't mind his ego showing. And it didn't last long. With the pictures in his mind he just sat and wrote. \"It poured out of me,\" he said. \"Easier than I thought. Films are, basically, just pictures. Nothing new to Africans. We tell all stories in pictures.\"<br/><br/> The result - a free-form series of contemporary views, black and white, jump-cut around an idyllic dream-like love affair - soon convinced various people he knew with money and artistry. It took just six months from the night he had first vaguely talked of wanting \"one day to just go out and shoot film\" to the day he had completed the thing. He labelled his style Afro-Saxon.<br/><br/> More influenced by Jean-Luc Godard than he would admit, Dymon’s film is a unique attempt to \"engulf the quite horrific things that go on around us,\" mixing bloody reality (a castration sequence in the sun-splashed green of a London park) with the idyll of the black man and the white girl. Shot on a rapid ten-day schedule, the film is bitter and sweet, fervid and fey, hot and cold, bloody and beautiful. All things to all men: black and white. Notable is its cast of complete newcomers, headed by a trio of models who will surely never have to stand still for a living again.<br/><br/> Ex-photographer, ex-model Ken Gajadhar is the indolent, irresponsible, sensual black centrepoint, Raymond Parker. South African Donnah Dolce is the white girl, not yet sure if she's to be classed as 'ex-model', unnamed, unreal, a dream walking and making love, and - because of her bed scene with a coloured man - likely to be banned from returning to Africa (as in the case of another ex-Johannesburg woman whom she knows slightly the \"Joanna\" girl, Genevieve Waite).<br/><br/> Completing the trio is Merdele Jordine, born in Westmoreland, Jamaica, but living in Britain for 18 years, and a rave success on the model scene due to her fantastic face and figure. Continually intercut with astonishing views of the \"the general revolutionary mood of the people\" - featuring a brash and near naked pop group named Second Hand, Ho Chi Minh, Che Guevara, and even a Pope-figure contemplative upon his toilet - the running narrative concerns Raymond Parker, his reality and his fantasies.<br/><br/> Although sent down from university for failing political science exams - or more likely because of it - he is in demand as a lecturer on Marxism. \"The power that stands on privilege - and goes with women, pot, champagne and bridge - broke. And democracy regained her reign, which also goes with women, pot, and screwing. Therefore, if you want things to stay as they are, things will have to change - won't they? You see, the French Revolution, begun in 1789, did not end in 1830, but gained true victory in May 1968...\"<br/><br/> Signing autographs after a lecture like this one, Raymond meets a beautiful black girl. It was a brief meeting, apparently unimportant. Next day he receives an unsigned message asking him to phone a certain number at 7pm. Intrigued, in his own lazy manner, he does so. A hand picks up the receiver in a kiosk, but nothing is heard apart from the eventual disconnected buzz, as Raymond sees (or does he?) a beautiful white girl glide into his bedroom. In the same absolute silence, she sheds her ice-blue cape, and lies down on his bed, beautiful and naked.<br/><br/> The following silence is interrupted by their own ecstasy only as the couple make love. Another day, and another card arrives, signed this time: Georgina Clark. Telephoning the number once more, Raymond arranges a meeting in the park, and there she is again, the white goddess of love. He takes her to his car. But when he drives off we see he is alone. Now another day, and a letter with a photograph: the girl of his dreams. The telephone rings and she tells him where to meet her. But the street kiosk is occupied - by Georgina, the black girl. When she finishes her call and leaves, Raymond moves in, dials that number yet again, and suddenly sees it is the number of the kiosk. As he runs down the road after the black girl, the white goddess comes, almost floating, towards him, and passes through him and Georgina. All three drift off the screen in opposite directions, absorbed in their own dream worlds.<br/><br/> Flashing through and cutting right across this highly effective triple love-fantasia is director Dymon's taut look at \"raw and unexposed parts of convention.\" This is best seen in his fiction-cum-fact sequence at Hyde Park's famous Speakers' Corner, where black actor Paul Dean portrays a (remarkably nervous) Malcolm X-like orator delivering a fiery epistle on black and white relations.<br/><br/> This then, is Britain's first Afro-Saxon film.</br></br>","artist_bio":"Frankie Dymon Jr has just one film credited to him on the IMDB, Death May Be Your Santa Claus (1969), of which he is Writer, Producer and Director.","bio_dates":"1969"},{"slug":"dzama_marcel_a_game_of_chess_2011","ok":true,"partial":false,"title":"A Game of Chess","artist":"Marcel Dzama","year":"2011","startOffset":0,"sourceSecs":842.907,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":135858306,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dzama_marcel_a_game_of_chess_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dzama_marcel_a_game_of_chess_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dzama_marcel_a_game_of_chess_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dzama_marcel_a_game_of_chess_2011/main.mp4?v=2","description":"Dzama’s work draws from a diverse range of references and artistic influences, including Dada and Marcel Duchamp. His film features characters based on the classic game of chess. Dressed in geometrically designed costumes of papier-mâché, plaster, and fiberglass and wearing elaborate masks (including a quadruple-faced mask for the King), the figures dance across a checkered board to challenge their opponents in fatal interchanges.<br/><br/> Chess occupied a central role for the early twentieth-century avant-garde, who drew explicit analogies between the game (with its intricate balance between improvisation and predetermination) and artistic practice. Dzama is influenced by German Bauhaus artist Oskar Schlemmer, whose Triadic Ballet from 1922 included puppet-like, costumed, and masked figures dancing across a checkered surface. French film-maker René Clair and painter Francis Picabia were amongst other artists who integrated ballet and chess in their works from the 1920s, employing the special set of rules and moves of the game as metaphors for larger questions regarding free will, destiny, and technological determinism.<br/><br/> Both the filming and the creation of the costumes for A Game of Chess were carried out in Guadalajara, Mexico, and the influence of local crafts and religious traditions can be felt throughout this body of work. Notions of scapegoatism and resurrection blend with the timeless idea of rivalry represented by the game, and distinctions between reality and fiction ultimately become blurred as both costumed and “real-life” characters in the film are killed. In this way, the storyline recalls the Surrealist predilection for dream logic over conventional narrative form—epitomized by Luis Buñuel’s films from the late 1920s and early 1930s. However, Dzama still retains a strong sense of a plot, with subtle insinuations to contemporary life discernible throughout.","artist_bio":"Born in 1974 in Winnipeg, Canada, Marcel Dzama’s work is inhabited by an expansive cast of recurring human, animal, and hybrid characters. Typically manipulating a distinctive palette of muted browns, grays, greens, and reds, the artist has developed an immediately recognizable visual language that penetratingly explores human action and motivation, often by means of the violent, erotic, grotesque, and absurd. His practice unleashes a universe of childhood fantasies and otherworldly fairytales, drawing equally from folk vernacular as from artistic influences that include Dada and Marcel Duchamp. Widely known for his works on paper, Dzama has in recent years expanded his practice to include sculpture, painting, film, large-scale polyptychs, and dioramas. In the latter, he constructs intricate, complex, three-dimensional scenes using his signature drawings, collage elements, cardboard, and occasionally ceramics. He creates a cast of human figures, animals, and imaginary hybrids to life, and has developed an international reputation and following for his art that depicts fanciful, anachronistic worlds.","bio_dates":"b. 1974"},{"slug":"dziga_vertov_group_letter_to_jane_1972_iphone","ok":true,"partial":false,"title":"Letter to Jane: An Investigation About a Still","artist":"Dziga Vertov Group","year":"1972","startOffset":0,"sourceSecs":3145.878,"sourceHeight":320,"sourceWidth":434,"hasAudio":true,"hasAmbientMp4":true,"bytes":181954309,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dziga_vertov_group_letter_to_jane_1972_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/dziga_vertov_group_letter_to_jane_1972_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/dziga_vertov_group_letter_to_jane_1972_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dziga_vertov_group_letter_to_jane_1972_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/dziga_vertov_group_letter_to_jane_1972_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Letter to Jane (1972) is a postscript film to <i>Tout va bien</i> directed by Jean-Luc Godard and Jean-Pierre Gorin and made under the auspices of the Dziga Vertov Group. Narrated in a back-and-forth style by both Godard and Gorin, the film serves as a 52-minute cinematic essay that deconstructs a single news photograph of Jane Fonda in Vietnam. This was Godard and Gorin's final collaboration."},{"slug":"ebrahim_golestan_yek_atash_1961_iphone","ok":true,"partial":false,"title":"Yek Atash (1961) (A Fire)","artist":"Ebrahim Golestan","year":"1961","startOffset":0,"sourceSecs":2342.978,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":137589786,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ebrahim_golestan_yek_atash_1961_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ebrahim_golestan_yek_atash_1961_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ebrahim_golestan_yek_atash_1961_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ebrahim_golestan_yek_atash_1961_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ebrahim_golestan_yek_atash_1961_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"The oldest Iranian film I’ve seen, Ebrahim Golestan’s short documentary A Fire (1961), chronicles an incident of fire at the oil wells near Ahwaz, Iran, that raged for several months and the relentless efforts to put it out. Edited by poet and Golestan’s partner <a href=\"https://ubu.com/film/farrokhzad.html\" rel=\"noopener\" target=\"_blank\">Forough Farrokhzad</a>, A Fire seemingly plays out as a straightforward reportage, although made about three years late. The firefighting is carried out mainly during the night time and we see silhouettes of men spraying water and of machines trying to clear the debris from the spot of the accident. (The men look like silhouettes even in daylight, thanks to heavy carbon deposits on their bodies). The narrator, speaking in English, tells us that the fire has been on for such a long time that it has become a part of the local landscape. Golestan (who, by the way, made one of the finest Iranian films I’ve seen) digresses regularly from the happenings at the centre to observe the impact of the fire on the residents of the adjacent village and the firefighters themselves. When we are told that the villagers were relocated in order to avoid being poisoned by the residual gases. (We are later informed that the well was shut down and another site was captured for the mining operation). The plight of the firefighters, on the other hand, is even more affecting. Assigned to some of the most life-threatening tasks by the American site managers, they appear as if resigned to fate, their eyes betraying a deep fatigue that’s more than just physical, their bodies (literally) moving ever closer to death, like moth flies approaching a light source. However, Golestan’s film stands in stark contrast to Herzog’s beautiful and atrocious decontextualization game, Lessons of Darkness (1992), in that it recognizes that its subjects are not fuelled by madness, but charcoaled by despair. (This post comes as a part of the splendid Iranian Film Blogathon hosted by Sheila O’Malley)","artist_bio":"Ebrahim Golestan (Taghavi Shirazi) (also spelt Ibrahim Golestan, born 1922 in Shiraz, Iran) is an Iranian filmmaker and literary figure with a career spanning half a century. He has lived in Sussex, United Kingdom, since 1975.\nHe is the father of Iranian photojournalist Kaveh Golestan, and Lili Golestan, translator and owner and artistic director of the Golestan Gallery in Tehran, Iran. His grandson, Mani Haghighi, is also a film director.\nHe was closely associated with the controversial and eminent Iranian poet Forough Farrokhzad until her death, whom he met at his studio in 1958. He is said to have inspired her to live more independently.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1922"},{"slug":"ecart_armleder_john_film_with_a_chair_1973","ok":true,"partial":false,"title":"Film With A Chair (Ecart Studio One), John Armleder","artist":"Ecart Performance Group","year":"1973","startOffset":0,"sourceSecs":613.88,"sourceHeight":576,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":105574870,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_armleder_john_film_with_a_chair_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_armleder_john_film_with_a_chair_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ecart_armleder_john_film_with_a_chair_1973.mkv","hasFrames":true,"description":"<a href=\"https://ubu.com/film/ecart.html\" rel=\"noopener\" target=\"_blank\">From Ecart Film Archive</a> <br/><br/> Film With A Chair (Ecart Studio One), John Armleder, 1973, 10 min. 13 s.<br/><br/>Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.<br><br> While the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.<br/><br/> Ecart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.<br/><br/> Emblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.<br/><br/> One of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Julie Dash in UbuWeb Sound</a></br></br>","artist_bio":"Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.\nWhile the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.\nEcart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.\nEmblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.\nOne of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.","bio_dates":"1968-1977"},{"slug":"ecart_armleder_john_performance_piece_1970","ok":true,"partial":false,"title":"Performance Piece, John Armleder","artist":"Ecart Performance Group","year":"1970","startOffset":0,"sourceSecs":209.88,"sourceHeight":576,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":35756396,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_armleder_john_performance_piece_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_armleder_john_performance_piece_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ecart_armleder_john_performance_piece_1970.mkv","hasFrames":true,"description":"<a href=\"https://ubu.com/film/ecart.html\" rel=\"noopener\" target=\"_blank\">From Ecart Film Archive</a> <br/><br/> Performance Piece, John Armleder, 1970, 3 min. 29 s.<br/><br/>Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.<br><br> While the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.<br/><br/> Ecart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.<br/><br/> Emblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.<br/><br/> One of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Julie Dash in UbuWeb Sound</a></br></br>","artist_bio":"Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.\nWhile the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.\nEcart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.\nEmblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.\nOne of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.","bio_dates":"1968-1977"},{"slug":"ecart_armleder_john_the_crissier_walk_1974","ok":true,"partial":false,"title":"The Crissier-Walk, John Armleder & Ecart","artist":"Ecart Performance Group","year":"1974","startOffset":0,"sourceSecs":236.84,"sourceHeight":576,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":39669070,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_armleder_john_the_crissier_walk_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_armleder_john_the_crissier_walk_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ecart_armleder_john_the_crissier_walk_1974.mkv","hasFrames":true,"description":"<a href=\"https://ubu.com/film/ecart.html\" rel=\"noopener\" target=\"_blank\">From Ecart Film Archive</a> <br/><br/> The Crissier-Walk, John Armleder & Ecart (Ecart Meets Adelina & Egon von Fürstenberg), 1974, 3 min. 56 s.<br/><br/>Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.<br><br> While the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.<br/><br/> Ecart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.<br/><br/> Emblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.<br/><br/> One of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Julie Dash in UbuWeb Sound</a></br></br>","artist_bio":"Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.\nWhile the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.\nEcart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.\nEmblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.\nOne of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.","bio_dates":"1968-1977"},{"slug":"ecart_armleder_john_why_not_stop_1968_1977","ok":true,"partial":false,"title":"Why Not Stop? (Part One), John Armleder","artist":"Ecart Performance Group","year":"1968-1977","startOffset":0,"sourceSecs":773.2,"sourceHeight":576,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":129997001,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_armleder_john_why_not_stop_1968_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_armleder_john_why_not_stop_1968_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ecart_armleder_john_why_not_stop_1968_1977.mkv","hasFrames":true,"description":"<a href=\"https://ubu.com/film/ecart.html\" rel=\"noopener\" target=\"_blank\">From Ecart Film Archive</a> <br/><br/> Why Not Stop? (Part One), John Armleder, 1968-1977, 12 min. 53s.<br/><br/>Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.<br><br> While the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.<br/><br/> Ecart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.<br/><br/> Emblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.<br/><br/> One of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Julie Dash in UbuWeb Sound</a></br></br>","artist_bio":"Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.\nWhile the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.\nEcart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.\nEmblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.\nOne of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.","bio_dates":"1968-1977"},{"slug":"ecart_lucchini_pieds_1973","ok":true,"partial":false,"title":"Pieds","artist":"Ecart Performance Group","year":"1973","startOffset":0,"sourceSecs":598.36,"sourceHeight":576,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":102961318,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_lucchini_pieds_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_lucchini_pieds_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ecart_lucchini_pieds_1973.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ecart_lucchini_pieds_1973/main.mp4?v=2","description":"<a href=\"https://ubu.com/film/ecart.html\" rel=\"noopener\" target=\"_blank\">From Ecart Film Archive</a> <br/><br/> Pieds. A Film Sy Patrick Lucchini, Ecart Performance Group, 1973, 9 min: 58 s. (Camerawork: John Armleder)<br/><br/>Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.<br><br> While the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.<br/><br/> Ecart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.<br/><br/> Emblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.<br/><br/> One of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Julie Dash in UbuWeb Sound</a></br></br>","artist_bio":"Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.\nWhile the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.\nEcart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.\nEmblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.\nOne of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.","bio_dates":"1968-1977"},{"slug":"ecart_one_day_movie_hall_1968_1973","ok":true,"partial":false,"title":"One Day Movie Hall, Ecart Performance Group","artist":"Ecart Performance Group","year":"1968-1973","startOffset":0,"sourceSecs":806.08,"sourceHeight":576,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":133873812,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_one_day_movie_hall_1968_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_one_day_movie_hall_1968_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ecart_one_day_movie_hall_1968_1973.mkv","hasFrames":true,"description":"<a href=\"https://ubu.com/film/ecart.html\" rel=\"noopener\" target=\"_blank\">From Ecart Film Archive</a> <br/><br/> One Day Movie Hall, Ecart Performance Group, 1968-1973, 13 min. 25 s. (Starring Claude Rychner. Camerawork: John Armleder. Direction: Patrick Lucchini).<br/><br/>Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.<br><br> While the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.<br/><br/> Ecart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.<br/><br/> Emblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.<br/><br/> One of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Julie Dash in UbuWeb Sound</a></br></br>","artist_bio":"Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.\nWhile the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.\nEcart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.\nEmblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.\nOne of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.","bio_dates":"1968-1977"},{"slug":"ecart_ruch_trace_1977","ok":true,"partial":false,"title":"Trace, Günther Ruch","artist":"Ecart Performance Group","year":"1977","startOffset":0,"sourceSecs":186.44,"sourceHeight":576,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":32006996,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_ruch_trace_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_ruch_trace_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ecart_ruch_trace_1977.mkv","hasFrames":true,"description":"<a href=\"https://ubu.com/film/ecart.html\" rel=\"noopener\" target=\"_blank\">From Ecart Film Archive</a> <br/><br/> Trace, Günther Ruch, 1977, 3 min. 6s.<br/><br/>Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.<br><br> While the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.<br/><br/> Ecart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.<br/><br/> Emblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.<br/><br/> One of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Julie Dash in UbuWeb Sound</a></br></br>","artist_bio":"Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.\nWhile the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.\nEcart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.\nEmblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.\nOne of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.","bio_dates":"1968-1977"},{"slug":"ecart_totaljoys_1976","ok":true,"partial":false,"title":"Totaljoys","artist":"Ecart Performance Group","year":"1976","startOffset":0,"sourceSecs":687.76,"sourceHeight":576,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":116172984,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_totaljoys_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ecart_totaljoys_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ecart_totaljoys_1976.mkv","hasFrames":true,"description":"<a href=\"https://ubu.com/film/ecart.html\" rel=\"noopener\" target=\"_blank\">From Ecart Film Archive</a> <br/><br/> Totaljoys. A Film Sy Endre Tot, Ecart Performance Group, 1976, 11 min. 27 s. (Starring Endre Tot and John Armleder, Dougal, Patrick Lucchini).<br/><br/>Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.<br><br> While the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.<br/><br/> Ecart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.<br/><br/> Emblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.<br/><br/> One of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nitsch.html\" rel=\"noopener\" target=\"_blank\">Julie Dash in UbuWeb Sound</a></br></br>","artist_bio":"Super 8 films of the Ecart group, founded by John Armleder, Patrick Lucchini, and Claude Rychner.\nWhile the Ecart group goes as far back as their childhood friendships, the opening of the Ecart gallery - which many considered the most important alternative space in Europe during the 1970s - (Ken Friedman), officially came into being in 1969 in Geneva.\nEcart members produced a dozen or so super 8 films, few directed by Endre Tét and Günther Ruch, compiled for the first time in this DVD.\nEmblematic of the group's singular collective ecoriomy, these films also attest to the intersecting trajectories of different media (performance, film, installation), to aesthetic and conceptual freedom and to the hybrid nature of artistic movements (from conceptual art to action, from individual poetics to the sharing of signatures) characterizing the seventies.\nOne of the most important and admired artists of the last decades of the 20th century and of the 21st, John M Armleder (born 1948 in Geneva) has created multiple and fertile bodies of work spanning all artistic disciplines, from his distinctive Furniture Sculptures to his Fluxus performances within the Écart collective, from his diverse painting series to his drawing practice, from his striking installations and wall paintings to his numerous works created in collaboration with artist friends.","bio_dates":"1968-1977"},{"slug":"edmondez_gwilly_berceuse_three","ok":true,"partial":false,"title":"Berceuse Three","artist":"Gwilly Edmondez","year":"2007","startOffset":0,"sourceSecs":169.04,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":12190477,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/edmondez_gwilly_berceuse_three/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/edmondez_gwilly_berceuse_three/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/edmondez_gwilly_berceuse_three.mp4","hasFrames":true,"description":"<b>RELATED RESOURCES</b>: <br/> <a href=\"https://ubu.com/sound/edmondez.html\" rel=\"noopener\" target=\"_blank\">Gwilly Edmondez in UbuWeb Sound</a>","artist_bio":"Gwilly Edmondez performs solo and in small groups using voice, guitar, pocket samplers, turntables and dictaphones. Music is mostly made up on the spot and usually seeks to align itself with idiomatic contexts rather than avoiding them. Gwilly has spent a lot of time resisting coherence and continuity, to the point where a willful anti-professionalism can be regrded as his music's defining chracteristic.","bio_dates":"2009"},{"slug":"edmondez_gwilly_parrat_laden","ok":true,"partial":false,"title":"Parrat Laden","artist":"Gwilly Edmondez","year":"2007","startOffset":0,"sourceSecs":243,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":16954961,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/edmondez_gwilly_parrat_laden/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/edmondez_gwilly_parrat_laden/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/edmondez_gwilly_parrat_laden.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/edmondez_gwilly_parrat_laden/main.mp4?v=2","description":"Montreal, 2007<br><br><b>RELATED RESOURCES</b>: <br> <a href=\"https://ubu.com/sound/edmondez.html\" rel=\"noopener\" target=\"_blank\">Gwilly Edmondez in UbuWeb Sound</a></br>","artist_bio":"Gwilly Edmondez performs solo and in small groups using voice, guitar, pocket samplers, turntables and dictaphones. Music is mostly made up on the spot and usually seeks to align itself with idiomatic contexts rather than avoiding them. Gwilly has spent a lot of time resisting coherence and continuity, to the point where a willful anti-professionalism can be regrded as his music's defining chracteristic.","bio_dates":"2009"},{"slug":"edmondez_gwilly_yesterday_in_parliament_coal_crack_one_2009","ok":true,"partial":false,"title":"Yesterday in Parliament Coal Crack One","artist":"Gwilly Edmondez","year":"2009","startOffset":0,"sourceSecs":161.92,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":11632619,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/edmondez_gwilly_yesterday_in_parliament_coal_crack_one_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/edmondez_gwilly_yesterday_in_parliament_coal_crack_one_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/edmondez_gwilly_yesterday_in_parliament_coal_crack_one_2009.mp4","hasFrames":true,"description":"<b>RELATED RESOURCES</b>: <br/> <a href=\"https://ubu.com/sound/edmondez.html\" rel=\"noopener\" target=\"_blank\">Gwilly Edmondez in UbuWeb Sound</a>","artist_bio":"Gwilly Edmondez performs solo and in small groups using voice, guitar, pocket samplers, turntables and dictaphones. Music is mostly made up on the spot and usually seeks to align itself with idiomatic contexts rather than avoiding them. Gwilly has spent a lot of time resisting coherence and continuity, to the point where a willful anti-professionalism can be regrded as his music's defining chracteristic.","bio_dates":"2009"},{"slug":"eichelmann_volker_kurlichtspiele_2004","ok":true,"partial":false,"title":"Kurlichtspiele (Reminiszenz, 12. Dezember 1953)","artist":"Volker Eichelmann","year":"2004","startOffset":0,"sourceSecs":337.68,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":59065595,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eichelmann_volker_kurlichtspiele_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eichelmann_volker_kurlichtspiele_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eichelmann_volker_kurlichtspiele_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eichelmann_volker_kurlichtspiele_2004/main.mp4?v=2","description":"Solmaz Shahbazi's trilogy explores the recent historical, social and urban trajectory of the Iranian capital, a city that has experienced several revolutions in the 20th century and counts over 12 million inhabitants today. Tehran 1380 (45min, 2002) is the result of a collaboration between Solmaz Shahbazi and Tirdad Zolghadr. Through interviews with permanent inhabitants and visitors, professionals of architecture and non-professionals, juxtaposed with images from Tehran, Shahbazi and Zolghadr ask pertinent questions about the place of the city in the process of globalisation, and carve out a portrait of Tehran as a socially heterogeneous, ever expanding metropolis that does not fit into any existing urban planning or aesthetic standards. Good Times / Bad Times (31 min, 2003). With over 70% of the population aged under 25, Iranian youth culture is an incredible transformative power that shapes the country's social, economical and political trajectories. Good Times / Bad Times follows five young people, each as a representative of a certain group in the Iranian society. The documentary looks at some of the strictures confronting Iranian youth and examines the practices of everyday life through which young people demonstrate defiance against the official culture and parental dominance. Persepolis (2005, 17min), the last video of the trilogy, is as much a tale about Tehran as it is about how individuals situate themselves in relation to the grander narratives of history. Set in a large scale, bourgeois housing complex in Tehran, the video explores a layered history through composed interior shots, played back against the voice of their owners, as they recount their lives in this neighbourhood and its place in the city's recent evolution, often referring to before\" and \"after\" the Islamic Revolution of 1979.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1956"},{"slug":"einstein_on_the_beach_the_changing_image_of_opera_mark_obenhaus_1986_iphone","ok":true,"partial":false,"title":"Philip Glass & Robert Wilson - Einstein on the Beach: The Changing Image of Opera","artist":"Philip Glass","year":"1985","startOffset":0,"sourceSecs":3447.021,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":199477214,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/einstein_on_the_beach_the_changing_image_of_opera_mark_obenhaus_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/einstein_on_the_beach_the_changing_image_of_opera_mark_obenhaus_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/einstein_on_the_beach_the_changing_image_of_opera_mark_obenhaus_1986_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/einstein_on_the_beach_the_changing_image_of_opera_mark_obenhaus_1986_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/einstein_on_the_beach_the_changing_image_of_opera_mark_obenhaus_1986_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"In 1984, the landmark production of Einstein on the Beach was staged at the Brooklyn Academy of Music. It was the first time since 1976 that its principal creators - composer Philip Glass and director/designer Robert Wilson - had collaborated on restaging this tradition-breaking opera. Interviews with Glass and Wilson along with clips of rehearsals and performances offer insight into this important work, making it accessible to all audiences. The film is a rare look at the creative process of two of the most important figures in American contemporary music and theatre, essential viewing for everyone interested in the evolution of the performing arts in our century.\n\n\"\"A souvenir for those who know the work, and artfully constructed sample for those who don't.\"\n\n\"\"An enthralling elemental work, disturbing in only the best sense. The fact of its existence, of the awesome brilliance of its production, becomes a celebration of creation.\"\n\n\"\"A cultural landmark of the first order...The heart of the Wilson-Glass opus with its mesmerizing choreography by Lucinda Childs, is mystery, from start to finish - the sense of mystery one feels when contemplating the infinite cosmos or the riddles of human consciousness..the imagery ranges from stylized spaceships to things as mundane as a chorus of singers brushing their teeth.br>"},{"slug":"eliane_radigue","ok":true,"partial":false,"title":"Eliane Radigue Portrait","artist":"Eliane Radigue","year":"2006","startOffset":0,"sourceSecs":883.797,"sourceHeight":400,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":56001244,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eliane_radigue/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eliane_radigue/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eliane_radigue.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eliane_radigue/main.mp4?v=2","description":"Year: 2006<br/> Time: 15 mins<br/> Music: Eliane Radigue<br/> <br/> Eye of Sound: Fourth in the IMA Portraits series, this short introduces us to the life and work of electronic/contemporary composer Eliane Radigue. Radigue discusses methods of composition, the challenges and difficulties of live electronic music, as well as biographical episodes with Pierre Henry and her own goals in soundscape production and consumption. A lucid portrait of a dream manufacturer.","artist_bio":"Eliane Radigue (born January 24, 1932) is a French electronic music composer. She started her work in the 1950s and her first creations were presented in the late 1960s. Until 2000 her work was almost exclusively created on a single synthesizer, the ARP 2500 modular system and tape. Since 2001 she composed mostly for acoustic instruments.\nShe was born and raised in Paris in a modest family of merchants at Les Halles. Afterwards, she married the French-born American artist Arman with whom she lived in Nice while raising their three children until 1967, then in Paris. She had studied piano and was already composing before having heard a broadcast by the founder of musique concrète Pierre Schaeffer. She met him shortly thereafter in the early 50s and became his student while working periodically during visits to Paris at the Studio d'Essai. During the early 1960s, she was assistant to Pierre Henry, during which time she created some of the sounds which appeared in his work. As her work gained maturity, Schaeffer and Henry believed her use of microphone feedback and long tape loops was moving away from their ideals, but her singular practice was still related to their methods.\nAround 1970, she created her first synthesizer-based music at NYU at a studio she shared with Laurie Spiegel on a Buchla synthesizer installed by Morton Subotnick. Her goal by that point was to create a slow, purposeful \"unfolding\" of sound, which she felt to be closer to the minimal composers of New York at the time than to the French musique concrète composers who had been her previous allies. After presenting the first of her Adnos in 1974 at Mills College at the invitation of Robert Ashley, a group of visiting French music students suggested that her music was deeply related to meditation and that she should look into Tibetan Buddhism, two things that she had very little familiarity with.\nUpon investigation of Tibetan Buddhism, she quickly converted and spent the next three years devoted to its practice under her guru Pawo Rinpoche, who subsequently sent her back to her musical work. She returned to composition, picking up where she left off, using the same methods and working toward the same goals as before, and finished Adnos II in 1979 and Adnos III in 1980. Then came the series of works dedicated to Milarepa, a great Tibetan yogi, known for his Thousand songs representing the basis of his teaching. First she composed the Songs of Milarepa, followed by Jetsun Mila an evocation of the life of this great master; the creation of these works was sponsored by the French government.\nAt the end of the 80s, beginning of the 90s, she devotes herself to a singular three-hour work, perhaps her masterpiece, the Trilogie de la Mort, of which the first part kyema Intermediate states follows the path of the continuum of the six states of conscience. The work is influenced by the Tibetan Book of the Dead Bardo Thodol and her meditation practice as by the death of Pawo Rinpoche and her son Yves Arman. The first third of the Trilogie, \"Kyema\", was her first release recording, issued by Phill Niblock's XI label.\nIn 2000, she made in Paris her last electronic work l'Ile Re-sonante for which she received in 2006 the Golden Nica Award at the festival Ars Electronica in Linz.\nIn 2001 upon request from the double bass and electronic composer Kasper T. Toeplitz, she makes her first instrumental work Elemental II, a work taken up again with the laptop improvisation group The Lappetites she joined. She participated in their first album \"Before the Libretto\" on the Quecksilber label in 2005.\nSince 2004 she dedicated herself to works for purely acoustical instrument. First with the American cello player Charles Curtis, the first part of the work Naldjorlak was created in December 2005 in New York and later played in 25 concerts across the U.S. and in Europe. The second part of Naldjorlak for the two basset-horn players Carole Robinson and Bruno Martinez, was created in September 2007 at the Aarau Festival (Switzerland). The three musician have completed with Eliane Radigue the last part of Naldjorlak and presented the complete work \"Naldjorlak I,II,III\" on January 24, 2009 in Bordeaux.","bio_dates":"b. 1932"},{"slug":"elsekn_ed_vd_elsken_death_port_jackson_hotel_1972","ok":true,"partial":false,"title":"Death in the Port Jackson Hotel: A Portrait of Vali Myers","artist":"Ed van der Elsken","year":"1972","startOffset":0,"sourceSecs":2172.52,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":365545509,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/elsekn_ed_vd_elsken_death_port_jackson_hotel_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/elsekn_ed_vd_elsken_death_port_jackson_hotel_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/elsekn_ed_vd_elsken_death_port_jackson_hotel_1972.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/elsekn_ed_vd_elsken_death_port_jackson_hotel_1972/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/elsekn_ed_vd_elsken_death_port_jackson_hotel_1972/main/master.m3u8?v=2","hasMainHls":true,"description":"Ed van der Elsken | Death in the Port Jackson Hotel: A Portrait of Vali Myers | 1972 | b/w, color | 16 mm | appr. 36 min. <br/><br/> A filmed portrait of the Australian artist Vali Myers, who lived temporarily in a valley near Positano, Italy. With her dozens of animals and Gianni, her younger boyfriend. Twenty years earlier, Vali Myers was the protagonist in van der Elsken’s photo novel “Love on the Left Bank” At this time in Paris, she lived on the streets, danced in cafés, and met Sartre, Cocteau, Genet and Django Reinhardt Van der Elsken shows us without comment but never distant a fragment of the life of this eccentric, exotic artist, who allows us a glance in her microcosm.","artist_bio":"Ed van der Elsken, the 'enfant terrible' of Dutch photography, was linked with Amsterdam, his place-of-birth where he photographed and filmed throughout his life. He captured Amsterdam's free spirit, open-mindedness and creativity from the1950s on. The exhibition puts this typical Dutch outlook on life in the spotlight. For Sophie Landres, director of Mireille Mosler Ltd., it's really important to show New Yorkers the work of Van der Elsken: 'he's such a wonderful photographer; he really knew how to capture the essence of a city.'\nInfluenced by Weegee, known best for his straight-forward street photography, Van der Elsken explored every aspect the city has to offer. In 1956, he published his\nfirst black-and-white photo-book\nLove on the left bank\n, on the life of artists in Saint-Germain de Pres in Paris\n. Many of the color photographs of\nMy Amsterdam\nwere originally published in\nEye Love You\n(1977) and\nHallo!\n(1978).\nMost often, Van der Elsken's subject was his beloved Amsterdam. But the overall theme can be viewed in a much broader way. Director Sophie Landres: 'Van der Elsken's work holds something universal about cities, something of reference to Amsterdam as well as to New York. He portrayed the diversity of Amsterdam, and New York is a city that has always celebrated that aspect too.'\nNot only the theme, but also Van der Elksen's methods were of a diverse nature. Since the early sixties he shot several movies in addition to his photography, one of which will be shown at the exhibition. In the short, black-andÐwhite 16mm film called\nFietsen\n(\nCycling\n), the artist observes cyclist in the 1960s, moving over the bridges on the canals his beloved city is still famous for.","bio_dates":"1925-1990"},{"slug":"elsken_ed_vd_elsken_dylaby_1962","ok":true,"partial":false,"title":"Dylaby","artist":"Ed van der Elsken","year":"1962","startOffset":0,"sourceSecs":597.52,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":102174435,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/elsken_ed_vd_elsken_dylaby_1962/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/elsken_ed_vd_elsken_dylaby_1962/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/elsken_ed_vd_elsken_dylaby_1962.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/elsken_ed_vd_elsken_dylaby_1962/main.mp4?v=2","description":"A tour through the exhibition Dylaby that was held in the Stedelijk Museum Amsterdam in 1962. The artists, including Niki de Saint Phalle and Rauschenberg and Tinguely have built a labyrinth in which the spectator finds his own way.","artist_bio":"Ed van der Elsken, the 'enfant terrible' of Dutch photography, was linked with Amsterdam, his place-of-birth where he photographed and filmed throughout his life. He captured Amsterdam's free spirit, open-mindedness and creativity from the1950s on. The exhibition puts this typical Dutch outlook on life in the spotlight. For Sophie Landres, director of Mireille Mosler Ltd., it's really important to show New Yorkers the work of Van der Elsken: 'he's such a wonderful photographer; he really knew how to capture the essence of a city.'\nInfluenced by Weegee, known best for his straight-forward street photography, Van der Elsken explored every aspect the city has to offer. In 1956, he published his\nfirst black-and-white photo-book\nLove on the left bank\n, on the life of artists in Saint-Germain de Pres in Paris\n. Many of the color photographs of\nMy Amsterdam\nwere originally published in\nEye Love You\n(1977) and\nHallo!\n(1978).\nMost often, Van der Elsken's subject was his beloved Amsterdam. But the overall theme can be viewed in a much broader way. Director Sophie Landres: 'Van der Elsken's work holds something universal about cities, something of reference to Amsterdam as well as to New York. He portrayed the diversity of Amsterdam, and New York is a city that has always celebrated that aspect too.'\nNot only the theme, but also Van der Elksen's methods were of a diverse nature. Since the early sixties he shot several movies in addition to his photography, one of which will be shown at the exhibition. In the short, black-andÐwhite 16mm film called\nFietsen\n(\nCycling\n), the artist observes cyclist in the 1960s, moving over the bridges on the canals his beloved city is still famous for.","bio_dates":"1925-1990"},{"slug":"elyakim_dganit_choir","ok":true,"partial":false,"title":"Liberation Through Hearing: Level 1 for Choir","artist":"Dganit Elyakim","year":"2021","startOffset":0.32,"sourceSecs":477.141,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":211399224,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/elyakim_dganit_choir/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/elyakim_dganit_choir/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/elyakim_dganit_choir.mp4","hasFrames":true,"description":"Liberation Through Hearing (2021) <br/><br/> a href=\"https://ubu.com/film/elyakim_level1.html\" target=\"_blank\" rel=\"noopener\"Liberation Through Hearing: Level 1 for Choir (2021) /a<br/> <a href=\"https://ubu.com/film/elyakim_level2.html\" rel=\"noopener\" target=\"_blank\">Liberation Through Hearing: Level 2 for Recorders and Electronics (2021)</a><br/> <a href=\"https://ubu.com/film/elyakim_level6.html\" rel=\"noopener\" target=\"_blank\">Liberation Through Hearing: Level 6 for Bass Clarinet and Electronics (2021)</a><br/> <br/> An interactive opera, based on software architecture in 2-D computer games; an audio-visual, large-scale work that combines a dramatic story, taking place in digital media, with game-like elements. Unlike most computer games, in this opera there is no scoring, no winners or losers; one can only endlessly wander in two-dimensional space while creating the music. The diverse musical layers and their combination with actions put the users amid the drama and at the same time, position them as necessary players in the musical piece. The videos are screenshots, a walkthrough version of the opera. <br/> <br/> Choir, 6 voices: Michal Oppenheim<br/> Piano*: Dganit Elyakim<br/> Bowed vibraphone: Tomer Galili<br/> *the piano loop is based on a quote from The Banshees by <a href=\"https://ubu.com/sound/cowell.html\" rel=\"noopener\" target=\"_blank\">Henry Cowell</a><br/><br/>Credits:<br> Concept, libretto and interactive design: Dganit Elyakim and Shahar Sarig<br> Music: Dganit Elyakim<br/> Hand sketches and animation: Shahar Sarig <br/> Interactive/game developer: Yotam Noy<br/> Sound director (tonmeister): Ronald Boersen<br/> *The libretto is rooted in the Bardo Thodol (aka The Tibetan Book Of The Dead)</br></br>","artist_bio":"Dganit Elyakim (b.1977, Tel Aviv) is a composer and sound artist, working across a broad spectrum of practices to depict various aspects of the human and digital paradigm. Exploring numerous artistic strategies that span from electro-acoustic, vocal, or chamber music through sound installation, video, and new-media work, her oeuvre attempts to reflect on philosophical, political, and ethical issues regarding the constantly evolving technologies. Elyakim studied composition at the Royal Conservatory in The Hague with\nGilius van Bergeijk\n, Martijn Padding, and Clarence Barlow.","bio_dates":"b. 1977"},{"slug":"elyakim_dganit_forrecordersnelectronics","ok":true,"partial":false,"title":"Dganit Elyakim: Liberation Through Hearing: Level 2 for Recorders and Electronics  (2021)","artist":"Dganit Elyakim","year":"2021","startOffset":0,"sourceSecs":805.76,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":359844171,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/elyakim_dganit_forrecordersnelectronics/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/elyakim_dganit_forrecordersnelectronics/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/elyakim_dganit_forrecordersnelectronics.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/elyakim_dganit_forrecordersnelectronics/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/elyakim_dganit_forrecordersnelectronics/main/master.m3u8?v=2","hasMainHls":true,"description":"An interactive opera, based on software architecture in 2-D computer games; an audio-visual, large-scale work that combines a dramatic story, taking place in digital media, with game-like elements. Unlike most computer games, in this opera there is no scoring, no winners or losers; one can only endlessly wander in two-dimensional space while creating the music. The diverse musical layers and their combination with actions put the users amid the drama and at the same time, position them as necessary players in the musical piece. The videos are screenshots, a walkthrough version of the opera."},{"slug":"elyakim_dganit_level6","ok":true,"partial":false,"title":"Liberation Through Hearing: Level 1 for Choir","artist":"Dganit Elyakim","year":"2021","startOffset":0,"sourceSecs":629.355,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":284231776,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/elyakim_dganit_level6/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/elyakim_dganit_level6/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/elyakim_dganit_level6.mp4","hasFrames":true,"description":"Liberation Through Hearing (2021) <br/><br/> a href=\"https://ubu.com/film/elyakim_level1.html\" target=\"_blank\" rel=\"noopener\"Liberation Through Hearing: Level 1 for Choir (2021) /a<br/> <a href=\"https://ubu.com/film/elyakim_level2.html\" rel=\"noopener\" target=\"_blank\">Liberation Through Hearing: Level 2 for Recorders and Electronics (2021)</a><br/> <a href=\"https://ubu.com/film/elyakim_level6.html\" rel=\"noopener\" target=\"_blank\">Liberation Through Hearing: Level 6 for Bass Clarinet and Electronics (2021)</a><br/> <br/> An interactive opera, based on software architecture in 2-D computer games; an audio-visual, large-scale work that combines a dramatic story, taking place in digital media, with game-like elements. Unlike most computer games, in this opera there is no scoring, no winners or losers; one can only endlessly wander in two-dimensional space while creating the music. The diverse musical layers and their combination with actions put the users amid the drama and at the same time, position them as necessary players in the musical piece. The videos are screenshots, a walkthrough version of the opera. <br/> <br/> Choir, 6 voices: Michal Oppenheim<br/> Piano*: Dganit Elyakim<br/> Bowed vibraphone: Tomer Galili<br/> *the piano loop is based on a quote from The Banshees by <a href=\"https://ubu.com/sound/cowell.html\" rel=\"noopener\" target=\"_blank\">Henry Cowell</a><br/><br/>Credits:<br> Concept, libretto and interactive design: Dganit Elyakim and Shahar Sarig<br> Music: Dganit Elyakim<br/> Hand sketches and animation: Shahar Sarig <br/> Interactive/game developer: Yotam Noy<br/> Sound director (tonmeister): Ronald Boersen<br/> *The libretto is rooted in the Bardo Thodol (aka The Tibetan Book Of The Dead)</br></br>","artist_bio":"Dganit Elyakim (b.1977, Tel Aviv) is a composer and sound artist, working across a broad spectrum of practices to depict various aspects of the human and digital paradigm. Exploring numerous artistic strategies that span from electro-acoustic, vocal, or chamber music through sound installation, video, and new-media work, her oeuvre attempts to reflect on philosophical, political, and ethical issues regarding the constantly evolving technologies. Elyakim studied composition at the Royal Conservatory in The Hague with\nGilius van Bergeijk\n, Martijn Padding, and Clarence Barlow.","bio_dates":"b. 1977"},{"slug":"emin_tracey_collected_shorts_1995_1998","ok":true,"partial":false,"title":"Collected Shorts","artist":"Tracey Emin","year":"1995-1998","startOffset":0,"sourceSecs":3378.752,"sourceHeight":464,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":574472242,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emin_tracey_collected_shorts_1995_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emin_tracey_collected_shorts_1995_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/emin_tracey_collected_shorts_1995_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/emin_tracey_collected_shorts_1995_1998/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/emin_tracey_collected_shorts_1995_1998/main/master.m3u8?v=2","hasMainHls":true,"description":"Contained are the following shorts: <br/><br/> Why I Never Became A Dancer (aka Why I Didn't Become A Dancer) <br/> How It Feels <br/> Emin and Emin <br/> Tracey Emin's C.V. : Cunt Vernacular <br/> Sperm <br/> Finding Gold <br/> Homage To Edvard Munch And All My Dead Children <br/> The Hut","artist_bio":"Tracey Emin (born 1963) is an English artist, one of the so-called Young British Artists (YBAs). She is probably only second to Damien Hirst among the YBAs in terms of notoriety among the general public. In particular, her piece My Bed, part of 1999's Turner Prize exhibition, and consisted of her own unmade bed complete with used condoms and blood-stained underwear, brought her a great deal of attention from the press.\nEmin was born in London, but brought up in Margate. She has a twin brother Paul. Emin's father was married to a woman other than her mother and while still young he abandoned the family which lead to a decline in their standard of living, an event which has featured in a number of works. Around the age of 14 she was raped. She initially studied art in Maidstone which she has described as one of the best experiences of her life where she was greatly influenced by Billy Childish, then returned to London to study at the Royal College of Art, where she obtianed an MA in painting. She was initially influenced by Edvard Munch and Egon Schiele, though later destroyed all her paintings from this early period. Later still, she studied philosophy at Birkbeck.\nIn 1993 Emin opened a shop called simply The Shop in Bethnal Green with fellow artist Sarah Lucas. This sold works by the two of them, including t-shirts and ash trays with Damien Hirst's picture stuck to the bottom. Lucas paid Emin a wage to mind the shop and she also made extra money by agreeing to write letters to people one of which was Jay Jopling who became her dealer. During this period Emin was also working with the gallerist Joshua Compston.\nIn 1994 she had her first solo show at the White Cube gallery, one of the most significant galleries in London. It was called My Major Retrospective, and was typically autobiographical, consisting of personal photographs, and photos of her now- destroyed early paintings as well as items which most artists would not consider showing in public, such as a packet of cigarettes her uncle was holding when decapitated in a car crash. This willingness to show details of what would generally be thought of as her private life has become one of Emin's trademarks. In 1995 her piece Everyone I have Ever Slept With 1963-95 was included in the group exhibition Minky Manky at the South London Gallery organised by her then boyfriend Carl Friedman.","bio_dates":"b. 1963"},{"slug":"emin_tracy_why_i_never_became_a_dancer_1995","ok":true,"partial":false,"title":"Why I Never Became a Dancer","artist":"Tracey Emin","year":"1995","startOffset":0,"sourceSecs":393.666,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":70204724,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emin_tracy_why_i_never_became_a_dancer_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emin_tracy_why_i_never_became_a_dancer_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/emin_tracy_why_i_never_became_a_dancer_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/emin_tracy_why_i_never_became_a_dancer_1995/main.mp4?v=2","description":"Emin uses her emotional life as the source and subject matter of her art. This takes the form of narrative or documentation of traumatic events such as the death of a family member or close friend, her rape and her abortions, coupled with the direct expression of such feelings as love, hate, anger, fear and desire. Autobiographical and diaristic texts appear on her monoprints, her quilt-like wall hangings and in small publications such as Explorations of the Soul 1994 (an edition of 200); or they are narrated aloud, as in this video. Her artistic production could be seen as an attempt to find a therapeutic resolution to her damaged past and the continuing difficulties and frustrations of the present. This creative attitude is encapsulated in words appliquéed on a chair she inherited from her grandmother: 'It's not what you inherit. It's what you do with your inheritance.' By sharing thoughts and feelings of the type for which people are generally made to feel ashamed, Emin taps into collective experience in an affirmative way.<br/><br/> Why I Never Became a Dancer was made in an edition of ten. It invokes the artist's early teenage years spent kicking against the boredom of the seaside town, Margate, where she grew up, and experimenting with sex from an early age until she became disillusioned with men and turned instead to dancing. Beginning with the title words written large on a wall, the camera pans around views of Margate significant to Emin's past, including the school she attended, the sea front, shopping arcades and a dramatic clock tower. This sequence is overlaid with the voice of the artist narrating her story. The video climaxes with her attempt to win the finals of the local disco-dancing competition and escape to London to compete for the British Disco Dance Championship 1978.<br/><br/> And as I started to dance<br/> people started to clap<br/> I was going to win<br/> and then I was out of here<br/> Nothing could stop me<br/> And then they started<br/> SLAG SLAG SLAG<br/> <br/> (Words from the video narrated by the artist, quoted in Brown, p.29.) <br/><br/> Humiliated by a group of local boys, most of whom she'd slept with, Emin discovered the hypocrisy of small-town attitudes towards liberated female sexuality. The video concludes with the artist twirling around in a large empty room to a song by Sylvester called You Make Me Feel, accompanied by her voiceover: 'Shane, Eddy, Tony, Doug, Richard … this one's for you' as she spins joyfully out of their orbit. The video work is simultaneously a means for the artist to exorcise her humiliation and, literally, to transform an abusive event, albeit long gone, into something positive. The explicitly personal nature of Emin's art has pushed at the boundaries of what is considered acceptable in art in Britain. Her challenge to conventions has made visible areas of sexual and emotional experience not exposed in this country, in a fine art context, since the 1970s. <br/><br/> It is not known who shot the film, or whether it was scripted.","artist_bio":"Tracey Emin (born 1963) is an English artist, one of the so-called Young British Artists (YBAs). She is probably only second to Damien Hirst among the YBAs in terms of notoriety among the general public. In particular, her piece My Bed, part of 1999's Turner Prize exhibition, and consisted of her own unmade bed complete with used condoms and blood-stained underwear, brought her a great deal of attention from the press.\nEmin was born in London, but brought up in Margate. She has a twin brother Paul. Emin's father was married to a woman other than her mother and while still young he abandoned the family which lead to a decline in their standard of living, an event which has featured in a number of works. Around the age of 14 she was raped. She initially studied art in Maidstone which she has described as one of the best experiences of her life where she was greatly influenced by Billy Childish, then returned to London to study at the Royal College of Art, where she obtianed an MA in painting. She was initially influenced by Edvard Munch and Egon Schiele, though later destroyed all her paintings from this early period. Later still, she studied philosophy at Birkbeck.\nIn 1993 Emin opened a shop called simply The Shop in Bethnal Green with fellow artist Sarah Lucas. This sold works by the two of them, including t-shirts and ash trays with Damien Hirst's picture stuck to the bottom. Lucas paid Emin a wage to mind the shop and she also made extra money by agreeing to write letters to people one of which was Jay Jopling who became her dealer. During this period Emin was also working with the gallerist Joshua Compston.\nIn 1994 she had her first solo show at the White Cube gallery, one of the most significant galleries in London. It was called My Major Retrospective, and was typically autobiographical, consisting of personal photographs, and photos of her now- destroyed early paintings as well as items which most artists would not consider showing in public, such as a packet of cigarettes her uncle was holding when decapitated in a car crash. This willingness to show details of what would generally be thought of as her private life has become one of Emin's trademarks. In 1995 her piece Everyone I have Ever Slept With 1963-95 was included in the group exhibition Minky Manky at the South London Gallery organised by her then boyfriend Carl Friedman.","bio_dates":"b. 1963"},{"slug":"emr_raajimakers_iphone","ok":true,"partial":false,"title":"Intona","artist":"Dick Raaijmakers","year":"1991","startOffset":0,"sourceSecs":562.467,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":35633539,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emr_raajimakers_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emr_raajimakers_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/emr_raajimakers_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/emr_raajimakers_iphone/main.mp4?v=2","description":"'Intona' is a work in which Raaijmakers destroys 12 microphones, each in a different way. The concert space is a laboratorium and he walks to every table, where the victim/microphone is waiting for its destruction. He sets them on fire, drowns them in water, saws them up etc. Each action is done with great care - not the joy of violence, but the scientific approach. Each microphone is 'on', so the audience hears the scream before the silence. The audience sheers, but there is not really much to laugh about. Music, theatre and concept meet in one memorable event."},{"slug":"emshwiller_ed_george_dumpsons_place_1965","ok":true,"partial":false,"title":"George Dumpson's Place","artist":"Ed Emshwiller","year":"1965","startOffset":0,"sourceSecs":472.192,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":83492497,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emshwiller_ed_george_dumpsons_place_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emshwiller_ed_george_dumpsons_place_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/emshwiller_ed_george_dumpsons_place_1965.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/emshwiller_ed_george_dumpsons_place_1965/main.mp4?v=2","description":"1965. USA. Directed by Ed Emshwiller. Music by Bill Lee, Jay Berliner, Stuart Scharf. A poetic portrait of an outsider artist who, in Emshwiller's words, \"created a small universe with what he found and could carry on his homemade wagon.\" 8 min. <br/><br/> An 8-minute exercise concerned simply with affectionately examining dolls and other bric-a-brac strewn about an old black man's garden. The selection may be a special package for special tastes, but it vividly projecLts the talent and imagination of an artistic film maker.","artist_bio":"Ed Emshwiller (1925-1990) studied painting both in the U.S. and Paris. In the 1950s, his abstract expressionist canvases received praise at art galleries, while his hyper-realistic cover illustrations for science-fiction magazines such as Galaxy (signed merely EMSH) delineated the surrealistic landscapes of imaginary planets and exotic creatures in fine detail. He began filmmaking in order to document his paintings, but in 1959 produced Dance Chromatic, in which animation of his abstract painting is superimposed on a dancer. His own skills as a cameraman -- which included a dancer-like ability to move gracefully while carrying a camera, thus allowing him to execute steady, complex pans and \"zooms\" in limited space -- made him much in demand for films documenting dance performances. In the 1963 Totem, he wholly re-conceptualizes the Alwin Nikolais dance in cinematic terms, superimposing different viewpoints of the dancers, as well as such symbolic counterpoint as rings and fire. The 1962 Thanatopsis, more remarkably, created the dance choreography itself in camera, by superimposing multiple single exposures of the same gesture, causing an eerie blur of the figure representing the angel of Death, whose thrashing wings make a chilling buzz-saw-like noise as she hovers about the dying man. These filmic experiments reached their climax in the 1966 Relativity, which, in 40 minutes, meditates on the place of man in the cosmos, using clever photographic effects to suggest vast interstellar distances in parallel to restlessly-moving closeups of a human body.\nIn the 1970s, Emshwiller began to experiment with videotape and computer graphics -- although, since the initial results were less than perfect, he also shot a few more dance films, including the two 20-minute pieces Film With Three Dancers (1970) and Chrysalis (1973), both of which were planned for film, and not based on specific stage performances.\nDespite a lack of subtlety in video and computer technology, Emshwiller managed to make several highly-praised productions, including the hour-long Pilobolus and Joan, and a multiple-monitor installation Slivers at the New York gallery The Kitchen (1977). His 1979 pioneer 3-D computer animation Sunstone proved a genuine artistic breakthrough, with a technological subtlety of color and shape that gave the 3-minute metamorphosis of a face and a cube real charm, quite aside from its novelty. In the 1980s, he concentrated more on multi-technology interface and live electronic performances, including the 1984 Skin Matrix which consisted of computer modifications of live-action images, and the 1987 interactive opera (composed with Morton Subotnik) Hungers, in which 16 video monitors as well as live singers, musicians and dancers are fed through a computer sensitive to the audience movement and responses, which then alters the images accordingly. Performances of this massive, technologically intricate Hungers at the Los Angeles Festival and Ars Electronica resembled nothing more than Emsh's early science-fiction illustrations of fantastic futures.","bio_dates":"1925-1990"},{"slug":"emshwiller_ed_sunstone_1979","ok":true,"partial":false,"title":"Sunstone","artist":"Ed Emshwiller","year":"1979","startOffset":0,"sourceSecs":175.253,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":29289286,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emshwiller_ed_sunstone_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emshwiller_ed_sunstone_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/emshwiller_ed_sunstone_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/emshwiller_ed_sunstone_1979/main.mp4?v=2","description":"Sunstone (1979) is film version of computer animation: it was made using a digital paint program at New York Institute of Technology — a collaboration between Emshwiller and Alvy Ray Smith. Sunstone exhibited at many places, including SIGGRAPH '79 in Chicago, New York's WNET television show video/film Review, 1979, and the Mill Valley Film Festival, Mill Valley, California, 1981. Originally released as a videotape.<br/><br/> Synopsis: Sunstone is a prime example of Emshwiller's artful use of technology to create stunning images. A timeless face, carved from stone as a 'third eye', appears radiating color and forms that are computer generated.<br/><br/> Sunstone proved a artistic breakthrough for Emshwiller, with a technological subtlety of color and shape that gave the three-minute metamorphosis of a face and a cube.","artist_bio":"Ed Emshwiller (1925-1990) studied painting both in the U.S. and Paris. In the 1950s, his abstract expressionist canvases received praise at art galleries, while his hyper-realistic cover illustrations for science-fiction magazines such as Galaxy (signed merely EMSH) delineated the surrealistic landscapes of imaginary planets and exotic creatures in fine detail. He began filmmaking in order to document his paintings, but in 1959 produced Dance Chromatic, in which animation of his abstract painting is superimposed on a dancer. His own skills as a cameraman -- which included a dancer-like ability to move gracefully while carrying a camera, thus allowing him to execute steady, complex pans and \"zooms\" in limited space -- made him much in demand for films documenting dance performances. In the 1963 Totem, he wholly re-conceptualizes the Alwin Nikolais dance in cinematic terms, superimposing different viewpoints of the dancers, as well as such symbolic counterpoint as rings and fire. The 1962 Thanatopsis, more remarkably, created the dance choreography itself in camera, by superimposing multiple single exposures of the same gesture, causing an eerie blur of the figure representing the angel of Death, whose thrashing wings make a chilling buzz-saw-like noise as she hovers about the dying man. These filmic experiments reached their climax in the 1966 Relativity, which, in 40 minutes, meditates on the place of man in the cosmos, using clever photographic effects to suggest vast interstellar distances in parallel to restlessly-moving closeups of a human body.\nIn the 1970s, Emshwiller began to experiment with videotape and computer graphics -- although, since the initial results were less than perfect, he also shot a few more dance films, including the two 20-minute pieces Film With Three Dancers (1970) and Chrysalis (1973), both of which were planned for film, and not based on specific stage performances.\nDespite a lack of subtlety in video and computer technology, Emshwiller managed to make several highly-praised productions, including the hour-long Pilobolus and Joan, and a multiple-monitor installation Slivers at the New York gallery The Kitchen (1977). His 1979 pioneer 3-D computer animation Sunstone proved a genuine artistic breakthrough, with a technological subtlety of color and shape that gave the 3-minute metamorphosis of a face and a cube real charm, quite aside from its novelty. In the 1980s, he concentrated more on multi-technology interface and live electronic performances, including the 1984 Skin Matrix which consisted of computer modifications of live-action images, and the 1987 interactive opera (composed with Morton Subotnik) Hungers, in which 16 video monitors as well as live singers, musicians and dancers are fed through a computer sensitive to the audience movement and responses, which then alters the images accordingly. Performances of this massive, technologically intricate Hungers at the Los Angeles Festival and Ars Electronica resembled nothing more than Emsh's early science-fiction illustrations of fantastic futures.","bio_dates":"1925-1990"},{"slug":"emshwiller_ed_thanatopsis_1962","ok":true,"partial":false,"title":"Thanatopsis","artist":"Ed Emshwiller","year":"1962","startOffset":0,"sourceSecs":312.875,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":45969893,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emshwiller_ed_thanatopsis_1962/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/emshwiller_ed_thanatopsis_1962/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/emshwiller_ed_thanatopsis_1962.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/emshwiller_ed_thanatopsis_1962/main.mp4?v=2","description":"USA, 5 min<br/> Directed by: Ed Emshwiller<br/> Starring: Becky Arnold, Mac Emshwiller<br/><br/>Particularly after the dull George Dumpson's Place (1964), Ed Emshwiller's Thanatopsis (1962) took me completely by surprise. An intense soundtrack of industrial machinery and heartbeat - a chilling construction of sound editing that predates Lynch's Eraserhead (1977) - highlights Emshwiller's exploration of a brooding man's psychosis. The director himself described the film as follows: \"The confrontation of a man and his torment. Juxtaposed against his external composure are images of a woman and lights in distortion, with tension heightened by the sounds of power saws and a heartbeat.\" More specifically, I was left with the impression that Emshwiller was drawing the portrait of a serial killer's mind (the title itself, derived from Greek, literally means \"meditation on death\"). The man (Mac Emshwiller) sits alone in a dark room, rational reality fluctuating around him. A mysterious woman (Becky Arnold), gleaming in white, dances around the room, but so hideously distorted is her form that she more closely resembles a demon, twisting and writhing in apparent agony, her pain placing evil thoughts in the man's mind. Sex and violence merge into a singularly disturbing image of obsession and inner torment. The film ends with the indistinct silhouette of the man walking through a city, the distorted neon lights representing his warped and fractured view of reality - a chilling reminder that men like this are stalking our streets all the time. [http://shortcutcinema.blogspot.com/2009/09/avant-garde-thanatopsis-1962-ed.html]","artist_bio":"Ed Emshwiller (1925-1990) studied painting both in the U.S. and Paris. In the 1950s, his abstract expressionist canvases received praise at art galleries, while his hyper-realistic cover illustrations for science-fiction magazines such as Galaxy (signed merely EMSH) delineated the surrealistic landscapes of imaginary planets and exotic creatures in fine detail. He began filmmaking in order to document his paintings, but in 1959 produced Dance Chromatic, in which animation of his abstract painting is superimposed on a dancer. His own skills as a cameraman -- which included a dancer-like ability to move gracefully while carrying a camera, thus allowing him to execute steady, complex pans and \"zooms\" in limited space -- made him much in demand for films documenting dance performances. In the 1963 Totem, he wholly re-conceptualizes the Alwin Nikolais dance in cinematic terms, superimposing different viewpoints of the dancers, as well as such symbolic counterpoint as rings and fire. The 1962 Thanatopsis, more remarkably, created the dance choreography itself in camera, by superimposing multiple single exposures of the same gesture, causing an eerie blur of the figure representing the angel of Death, whose thrashing wings make a chilling buzz-saw-like noise as she hovers about the dying man. These filmic experiments reached their climax in the 1966 Relativity, which, in 40 minutes, meditates on the place of man in the cosmos, using clever photographic effects to suggest vast interstellar distances in parallel to restlessly-moving closeups of a human body.\nIn the 1970s, Emshwiller began to experiment with videotape and computer graphics -- although, since the initial results were less than perfect, he also shot a few more dance films, including the two 20-minute pieces Film With Three Dancers (1970) and Chrysalis (1973), both of which were planned for film, and not based on specific stage performances.\nDespite a lack of subtlety in video and computer technology, Emshwiller managed to make several highly-praised productions, including the hour-long Pilobolus and Joan, and a multiple-monitor installation Slivers at the New York gallery The Kitchen (1977). His 1979 pioneer 3-D computer animation Sunstone proved a genuine artistic breakthrough, with a technological subtlety of color and shape that gave the 3-minute metamorphosis of a face and a cube real charm, quite aside from its novelty. In the 1980s, he concentrated more on multi-technology interface and live electronic performances, including the 1984 Skin Matrix which consisted of computer modifications of live-action images, and the 1987 interactive opera (composed with Morton Subotnik) Hungers, in which 16 video monitors as well as live singers, musicians and dancers are fed through a computer sensitive to the audience movement and responses, which then alters the images accordingly. Performances of this massive, technologically intricate Hungers at the Los Angeles Festival and Ars Electronica resembled nothing more than Emsh's early science-fiction illustrations of fantastic futures.","bio_dates":"1925-1990"},{"slug":"eno_alphons_sinniger","ok":true,"partial":false,"title":"Sinniger","artist":"Brian Eno","year":"1973","startOffset":0,"sourceSecs":1450.34,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":91260658,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_alphons_sinniger/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_alphons_sinniger/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eno_alphons_sinniger.mp4","hasFrames":true,"description":"Eno is a 1973 documentary short film directed by Alfons Sinniger. The subject of the film is musician Brian Eno (shortly after his departure from Roxy Music), and features the recording sessions for Eno's record Here Come the Warm Jets.\n\nThere is one live recording of one of the Eno/Winkies shows, from Kings Hall in Derby on February 13th, 1974, but it is an extremely lo-fi audience recording. You can grab an mp3 of that show at the Doom and Gloom from the Tomb Tumblr and Shards of Beauty has a lossless version of the same show. On February 19th, 1974 Eno and The Winkies were taped for a John Peel session performing “The Paw Paw Negro Blowtorch” and a cover version of Peggy Lee’s “Fever.” “Baby’s on Fire” and “Totalled” (a rocky precursor to “I’ll Come Running”) were recorded for Peel’s BBC Radio show on February 26th. The session aired on March 5th, 1974. The Holy Grail of Eno fandom is Eno, a 24-minute documentary directed by Alfons Sinniger that includes Eno and The Winkies playing four songs in the studio, presumably at these very sessions.UThe film until now has so far not turned up on YouTube or been bootlegged to the best of my knowledge, although there is a tantalizing 30 seconds from it that appeared in the 80s Roxy Music home video release Total Recall. It’s not “lost” it just hasn’t escaped yet. -- Dangerous Minds"},{"slug":"eno_brian_14videopaintings_1981_1984","ok":true,"partial":false,"title":"14 Video Paintings (1981 & 1984)","artist":"Brian Eno","year":"1984","startOffset":0,"sourceSecs":4894.488,"sourceHeight":564,"sourceWidth":750,"hasAudio":true,"hasAmbientMp4":true,"bytes":826023015,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_brian_14videopaintings_1981_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_brian_14videopaintings_1981_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eno_brian_14videopaintings_1981_1984.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eno_brian_14videopaintings_1981_1984/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eno_brian_14videopaintings_1981_1984/main/master.m3u8?v=2","hasMainHls":true,"description":"Perfect viewing material for any follower of Eno, the two works are to the video format what his audio pieces were to music; ambient musings on the nature of the medium. They are non linear and have no obvious plotline or direction : 'video paintings' as the title suggests, drifting in and out of focus. Luckily for us, the music is there to support what could have been a lifeless exercise; the first piece on the disc is accompanied by Eno's seminal Thursday Afternoon, a beautiful single hour-long piano track, and the second piece entitled 'Mistaken Memories of Mediaevil Manhattan' is set to tracks from Music for Airports and On Land. 'Thursday Afternoon' is probably the most accessible, with Eno using film footage taken of his close friend Christine Alicino and cutting it together intimately. It ends up playing a little like a nostalgic diary, a musing on the life or a person now departed. The second piece is less figurative, and features painterly shots of the New York skyline, clouds moving overhead and the colours drifting like a melting palette. This brings to mind the recent William Basinski DVD, which probably took influence from this piece in some way as the two tackle very similar subject matter, albeit in totally different time slots. Altogether this is a captivating disc and an indispensable part of any discerning Eno fan's collection."},{"slug":"eno_brian_77_million_paintings_interview","ok":true,"partial":false,"title":"Brian Eno - 77 Million Paintings (2006-2008), Interview","artist":"Brian Eno","year":"2006","startOffset":0,"sourceSecs":1996.095,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":334513379,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_brian_77_million_paintings_interview/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_brian_77_million_paintings_interview/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eno_brian_77_million_paintings_interview.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eno_brian_77_million_paintings_interview/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eno_brian_77_million_paintings_interview/main/master.m3u8?v=2","hasMainHls":true,"description":"Interview with Brian Eno. Taken from \"77 Million Paintings\" Hybrid DVD (Second edition, 14 January 2008).","artist_bio":"Univ. of California Santa Cruz (lecture) & Interview on KQED-TV, San Francisco (1980)\nBrian Peter George St. John le Baptiste de la Salle Eno, RDI (born 15 May 1948 and originally christened Brian Peter George Eno), professionally known as Brian Eno or simply as Eno,[4] is an English musician, composer, record producer, singer, and visual artist, known as one of the principal innovators of ambient music.\nEno was a student of Roy Ascott on his Groundcourse at Ipswich Civic College. Then he studied at Colchester Institute art school in Essex, England, taking inspiration from minimalist painting. During his time on the art course at the Institute, he also gained experience in playing and making music through teaching sessions held in the adjacent music school. He joined the band Roxy Music as synthesiser player in the early 1970s. Roxy Music's success in the glam rock scene came quickly, but Eno soon became tired of touring and of conflicts with lead singer Bryan Ferry.\nEno's solo music has explored more experimental musical styles and ambient music. It has also been immensely influential, pioneering ambient and generative music, innovating production techniques, and emphasising \"theory over practice\". He also introduced the concept of chance music to popular audiences, partially through collaborations with other musicians.[7] Eno has also worked as an influential music and album producer. By the end of the 1970s, Eno had worked with Robert Fripp on the LPs No Pussyfooting and Evening Star, David Bowie on the seminal \"Berlin Trilogy\" and helped popularise the American band Devo and the punk-influenced \"No Wave\" genre. He produced and performed on three albums by Talking Heads, including Remain in Light (1980), and produced seven albums for U2, including The Joshua Tree (1987). Eno has also worked on records by James, Laurie Anderson, Coldplay, Paul Simon, Grace Jones, James Blake and Slowdive, among others.\nEno pursues multimedia ventures in parallel to his music career, including art installations, a regular column on society and innovation in Prospect magazine, and \"Oblique Strategies\" (written with Peter Schmidt), a deck of cards in which cryptic remarks or random insights are intended to resolve dilemmas. Eno continues to collaborate with other musicians, produce records, release his own music, and write.","bio_dates":"b. 1948"},{"slug":"eno_brian_imaginary_landscape","ok":true,"partial":false,"title":"Brian Eno - Imaginary Landscapes: A Film on Brian Eno","artist":"Brian Eno","year":"1989","startOffset":0,"sourceSecs":2451.494,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":423152378,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_brian_imaginary_landscape/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_brian_imaginary_landscape/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eno_brian_imaginary_landscape.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eno_brian_imaginary_landscape/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eno_brian_imaginary_landscape/main/master.m3u8?v=2","hasMainHls":true,"description":"\"A film by Duncan Ward and Gabriella Cardazzo, Imaginary Landscapes is the ideal and most direct path for gaining insight into Brian Eno's mental, musical world. The filmmakers intercut Eno interviews and conversations with atmospheric, moving landscape shots, both urban and rural. Coupling Eno's music with the visuals, Ward and Cardazzo have, in essence, realized one of Eno's own goals: to generate in listeners an imaginary landscape -- a place, specific or vague, where he wants his music to take them. The film moves viewers through mood-evoking atmospheres as if they are passengers on a quiet, smooth-running train. Eno's music serves as the perfect soundtrack for the documentary about its creator.<br/><br/> During the 40-minute video, Eno discusses a myriad of audio-visual-related subjects, at times positioned at the helm of his synth and using it to present examples. He makes the distinction between an instrument's sound options and its useful sound options, preferring just a few really choice sounds over an overwhelming number. He speaks of making music for imaginary film soundtracks and touches on many abstract concepts, including his desire to create music with \"the Long Now and the Big Here.\"<br/><br/> Imaginary Landscapes also highlights Eno's video installations, particularly Mistaken Memories of Mediaeval Manhattan (1981), borne of his love for New York cityscapes (especially the tops of skyscrapers contrasted against the sky). In addition, Eno expresses his fascination with using water-related images (\"water is constant but not solid\") like rivers (\"a river is always going somewhere\") in his lyrics and composition titles.<br/><br/> As Eno's music is most often based on his own musical theories and theoretical positions, it is only natural that, above all else, Imaginary Landscapes portrays him as a thinker. Mystic Fire Video released the tape in 1989. Essential for Eno fans, it is also possibly eye-opening for those familiar with him only as a producer for popular bands like Talking Heads and U2.\" ~ David Ross Smith, All Music Guide","artist_bio":"Univ. of California Santa Cruz (lecture) & Interview on KQED-TV, San Francisco (1980)\nBrian Peter George St. John le Baptiste de la Salle Eno, RDI (born 15 May 1948 and originally christened Brian Peter George Eno), professionally known as Brian Eno or simply as Eno,[4] is an English musician, composer, record producer, singer, and visual artist, known as one of the principal innovators of ambient music.\nEno was a student of Roy Ascott on his Groundcourse at Ipswich Civic College. Then he studied at Colchester Institute art school in Essex, England, taking inspiration from minimalist painting. During his time on the art course at the Institute, he also gained experience in playing and making music through teaching sessions held in the adjacent music school. He joined the band Roxy Music as synthesiser player in the early 1970s. Roxy Music's success in the glam rock scene came quickly, but Eno soon became tired of touring and of conflicts with lead singer Bryan Ferry.\nEno's solo music has explored more experimental musical styles and ambient music. It has also been immensely influential, pioneering ambient and generative music, innovating production techniques, and emphasising \"theory over practice\". He also introduced the concept of chance music to popular audiences, partially through collaborations with other musicians.[7] Eno has also worked as an influential music and album producer. By the end of the 1970s, Eno had worked with Robert Fripp on the LPs No Pussyfooting and Evening Star, David Bowie on the seminal \"Berlin Trilogy\" and helped popularise the American band Devo and the punk-influenced \"No Wave\" genre. He produced and performed on three albums by Talking Heads, including Remain in Light (1980), and produced seven albums for U2, including The Joshua Tree (1987). Eno has also worked on records by James, Laurie Anderson, Coldplay, Paul Simon, Grace Jones, James Blake and Slowdive, among others.\nEno pursues multimedia ventures in parallel to his music career, including art installations, a regular column on society and innovation in Prospect magazine, and \"Oblique Strategies\" (written with Peter Schmidt), a deck of cards in which cryptic remarks or random insights are intended to resolve dilemmas. Eno continues to collaborate with other musicians, produce records, release his own music, and write.","bio_dates":"b. 1948"},{"slug":"eno_brian_mistaken_memories_of_mediaeval_manhattan_1981","ok":true,"partial":false,"title":"Brian Eno - Mistaken Memories of Mediaeval Manhattan","artist":"Brian Eno","year":"1981","startOffset":0,"sourceSecs":2864.128,"sourceHeight":576,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":483692293,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_brian_mistaken_memories_of_mediaeval_manhattan_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_brian_mistaken_memories_of_mediaeval_manhattan_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eno_brian_mistaken_memories_of_mediaeval_manhattan_1981.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eno_brian_mistaken_memories_of_mediaeval_manhattan_1981/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eno_brian_mistaken_memories_of_mediaeval_manhattan_1981/main/master.m3u8?v=2","hasMainHls":true,"description":"Eno filmed several static views of New York and its drifting cloudscape from his thirteenth-floor apartment in 1980–81. The low-grade equipment give the images a hazy, impressionistic quality. Lack of a tripod meant filming with the camera lying on its side so the tape had to be re-viewed with a television monitor also turned on its side. The assembled videos were later screened in galleries with music from some of the Ambient series of albums, and also two unique pieces. <br/><br/> An edited suite of seven pieces running 47 minutes was released on VHS tape in 1987. Like the original recordings, these could only be viewed by turning your TV on its side, something I used to think was a combination of the hazardous and foolhardy to all but the most diehard Eno aficionados. Television sets in the 1980s were either portable things in cheap plastic enclosures (some with curved sides), or cathode-tube monsters that would require two people two handle, assuming they weren’t screwed to a stand. I’ve yet to hear of anyone other than Eno himself who ever went to this trouble to watch a single video recording.","artist_bio":"Univ. of California Santa Cruz (lecture) & Interview on KQED-TV, San Francisco (1980)\nBrian Peter George St. John le Baptiste de la Salle Eno, RDI (born 15 May 1948 and originally christened Brian Peter George Eno), professionally known as Brian Eno or simply as Eno,[4] is an English musician, composer, record producer, singer, and visual artist, known as one of the principal innovators of ambient music.\nEno was a student of Roy Ascott on his Groundcourse at Ipswich Civic College. Then he studied at Colchester Institute art school in Essex, England, taking inspiration from minimalist painting. During his time on the art course at the Institute, he also gained experience in playing and making music through teaching sessions held in the adjacent music school. He joined the band Roxy Music as synthesiser player in the early 1970s. Roxy Music's success in the glam rock scene came quickly, but Eno soon became tired of touring and of conflicts with lead singer Bryan Ferry.\nEno's solo music has explored more experimental musical styles and ambient music. It has also been immensely influential, pioneering ambient and generative music, innovating production techniques, and emphasising \"theory over practice\". He also introduced the concept of chance music to popular audiences, partially through collaborations with other musicians.[7] Eno has also worked as an influential music and album producer. By the end of the 1970s, Eno had worked with Robert Fripp on the LPs No Pussyfooting and Evening Star, David Bowie on the seminal \"Berlin Trilogy\" and helped popularise the American band Devo and the punk-influenced \"No Wave\" genre. He produced and performed on three albums by Talking Heads, including Remain in Light (1980), and produced seven albums for U2, including The Joshua Tree (1987). Eno has also worked on records by James, Laurie Anderson, Coldplay, Paul Simon, Grace Jones, James Blake and Slowdive, among others.\nEno pursues multimedia ventures in parallel to his music career, including art installations, a regular column on society and innovation in Prospect magazine, and \"Oblique Strategies\" (written with Peter Schmidt), a deck of cards in which cryptic remarks or random insights are intended to resolve dilemmas. Eno continues to collaborate with other musicians, produce records, release his own music, and write.","bio_dates":"b. 1948"},{"slug":"eno_brian_santa_cruz_lecture_1980","ok":true,"partial":false,"title":"Brian Eno - Univ. of California Santa Cruz (lecture) & Interview on KQED-TV, San Francisco","artist":"Brian Eno","year":"1980","startOffset":0,"sourceSecs":5743.503,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":975646553,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_brian_santa_cruz_lecture_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eno_brian_santa_cruz_lecture_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eno_brian_santa_cruz_lecture_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eno_brian_santa_cruz_lecture_1980/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eno_brian_santa_cruz_lecture_1980/main/master.m3u8?v=2","hasMainHls":true,"description":"Interview on KQED-TV, UC Santa Cruz \"Lecture\" 31.01.1980.","artist_bio":"Univ. of California Santa Cruz (lecture) & Interview on KQED-TV, San Francisco (1980)\nBrian Peter George St. John le Baptiste de la Salle Eno, RDI (born 15 May 1948 and originally christened Brian Peter George Eno), professionally known as Brian Eno or simply as Eno,[4] is an English musician, composer, record producer, singer, and visual artist, known as one of the principal innovators of ambient music.\nEno was a student of Roy Ascott on his Groundcourse at Ipswich Civic College. Then he studied at Colchester Institute art school in Essex, England, taking inspiration from minimalist painting. During his time on the art course at the Institute, he also gained experience in playing and making music through teaching sessions held in the adjacent music school. He joined the band Roxy Music as synthesiser player in the early 1970s. Roxy Music's success in the glam rock scene came quickly, but Eno soon became tired of touring and of conflicts with lead singer Bryan Ferry.\nEno's solo music has explored more experimental musical styles and ambient music. It has also been immensely influential, pioneering ambient and generative music, innovating production techniques, and emphasising \"theory over practice\". He also introduced the concept of chance music to popular audiences, partially through collaborations with other musicians.[7] Eno has also worked as an influential music and album producer. By the end of the 1970s, Eno had worked with Robert Fripp on the LPs No Pussyfooting and Evening Star, David Bowie on the seminal \"Berlin Trilogy\" and helped popularise the American band Devo and the punk-influenced \"No Wave\" genre. He produced and performed on three albums by Talking Heads, including Remain in Light (1980), and produced seven albums for U2, including The Joshua Tree (1987). Eno has also worked on records by James, Laurie Anderson, Coldplay, Paul Simon, Grace Jones, James Blake and Slowdive, among others.\nEno pursues multimedia ventures in parallel to his music career, including art installations, a regular column on society and innovation in Prospect magazine, and \"Oblique Strategies\" (written with Peter Schmidt), a deck of cards in which cryptic remarks or random insights are intended to resolve dilemmas. Eno continues to collaborate with other musicians, produce records, release his own music, and write.","bio_dates":"b. 1948"},{"slug":"epstein_jean_la_glace_a_trois_faces_1927","ok":true,"partial":false,"title":"La glace à trois faces","artist":"Jean Epstein","year":"1927","startOffset":0,"sourceSecs":2453.954,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":143280257,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/epstein_jean_la_glace_a_trois_faces_1927/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/epstein_jean_la_glace_a_trois_faces_1927/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/epstein_jean_la_glace_a_trois_faces_1927.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/epstein_jean_la_glace_a_trois_faces_1927/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/epstein_jean_la_glace_a_trois_faces_1927/main/master.m3u8?v=2","hasMainHls":true,"artist_bio":"http://www.enotes.com/twentieth-century-criticism/epstein-jean\nOne of the foremost directors of the French silent cinema, Epstein is also remembered as a cinematic theorist whose writings such as\nEcrits sur le cinema\nexamined the philosophical impact of film. Epstein's works, considered precursors of the avant-garde movement in film, are admired for their visual modernity and innovative techniques. His use of cinematic devices such as close ups, overlapping images, and non-sequential narrative foreshadowed techniques that would not be employed by other filmmakers for several decades. The creative nature of Epstein's best-known works, such as\nLa chute de la maison Usher (The Fall of the House of Usher)\nand\nCoeur fidèle,\noffers a significant artistic transition between the experimental nature of silent films and the French\nNouvelle Vague\n(New Wave) movement of the 1960s.\nEpstein was born in Warsaw into a Jewish family. When his father died in 1908, the family relocated to Switzerland, where he attended secondary school. He attended university in Lyon, France, and received a medical degree. At Lyon, he met the pioneer filmmaker Auguste Lumière. Influenced by the works of American directors Charlie Chaplin and D. W. Griffith, Epstein and Lumire founded a film journal,\nLe promenoir,\nin 1920. The next year, Epstein published\nBonjour cinema,\na treatise on poetry, photography and the nature of the relatively new artistic medium of film. The positive response to his early films such as\nPasteur,\nthe biography of scientist Louis Pasteur, allowed Epstein to set up his own production company,\nLes Films Jean Epstein.\nIn a short time, he produced a number of diverse films, including\nThe Fall of the House of Usher\nand\nLa glace à trois faces.\nHowever, with the advent of sound technology, Epstein's experimental works fell out of favor, and he relocated to Brittany, where he made short films and documentaries. At the beginning of World War II, Epstein and his sister were captured by the Gestapo, but they were not deported. Unable to make films because of the German occupation in France, Epstein worked for the Red Cross and honed his writing skills. In 1947, he returned to Brittany, where he finished his career with several critically acclaimed films, most notably\nLe tempestaire,\nthe tale of a French fisherman. Although Epstein continued to write, he ceased filmmaking shortly thereafter. In 1953, he died of a cerebral hemorrhage.\nEpstein's first film,\nPasteur,\nwas a biography that did not display the cinematic innovations of later films.\nCoeur fidèle,\nthe story of a romantic triangle, however, utilized such innovative devices as non-sequential timelines and flashback sequences. Epstein strapped the camera to a merry-go-round at one point to provide images of increasing twirling and dizziness. The startlingly inventive and fantastic elements of Epstein's early works such as\nMauprat,\nare considered a precursor of works of the Spanish filmmaker\nLuis Buñuel\n, who worked with Epstein on his early films. However, the frequently surreal and experimental content of these works hindered both their critical and popular success. One of Epstein's most highly regarded films,\nLa glace ˆ trois faces\ntells the story of a young man with three mistresses. When he suddenly dies, the women describe him in such diverse ways it appears that they know three different men. This film's visual inventiveness is displayed in overlapping images and use of the close-up, Epstein's favorite cinematic device.\nThe Fall of the House Of Usher,\nbased on Edgar Allan Poe's short story, is the tale of an artist who paints his wife's portrait. However, he finds that as he works, her health fails. Here, Epstein's cinematic devices that anticipate works of filmmakers several decades later include innovative lighting, flashbacks, and slow-motion photography. Epstein's first Breton film,\nFinis terrae\nis shot as a documentary but utilizes innovative camera styles.\nLe tempestaire\nis considered by many critics to be the culmination of his most experimental techniques, such as slowed sound and overlapping visual elements. In this film, Epstein rejected the romanticism and extravagance that typified Hollywood productions in favor of simplicity and realism, a philosophy mirrored in his life as well as his art.\nAlthough Epstein is not well known today, modern filmmakers' aesthetic and stylistic debt to him is apparent with the advent of the cinematic avant-garde movement. His films are rarely shewn, but limited recent viewings have served to emphasize his modernity. Many of his techniques, in fact, were so advanced that they have only been recently been identified as foreshadowing contemporary cinematic devices. Today, Epstein is remembered as a filmmaker and theorist who sought to continuously examine the connection between the viewer and the screen.","bio_dates":"1897-1953"},{"slug":"epstein_jean_le_tempestaire_1947","ok":true,"partial":false,"title":"Le Tempestaire","artist":"Jean Epstein","year":"1947","startOffset":0,"sourceSecs":1360.093,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":84397408,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/epstein_jean_le_tempestaire_1947/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/epstein_jean_le_tempestaire_1947/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/epstein_jean_le_tempestaire_1947.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/epstein_jean_le_tempestaire_1947/main.mp4?v=2","artist_bio":"http://www.enotes.com/twentieth-century-criticism/epstein-jean\nOne of the foremost directors of the French silent cinema, Epstein is also remembered as a cinematic theorist whose writings such as\nEcrits sur le cinema\nexamined the philosophical impact of film. Epstein's works, considered precursors of the avant-garde movement in film, are admired for their visual modernity and innovative techniques. His use of cinematic devices such as close ups, overlapping images, and non-sequential narrative foreshadowed techniques that would not be employed by other filmmakers for several decades. The creative nature of Epstein's best-known works, such as\nLa chute de la maison Usher (The Fall of the House of Usher)\nand\nCoeur fidèle,\noffers a significant artistic transition between the experimental nature of silent films and the French\nNouvelle Vague\n(New Wave) movement of the 1960s.\nEpstein was born in Warsaw into a Jewish family. When his father died in 1908, the family relocated to Switzerland, where he attended secondary school. He attended university in Lyon, France, and received a medical degree. At Lyon, he met the pioneer filmmaker Auguste Lumière. Influenced by the works of American directors Charlie Chaplin and D. W. Griffith, Epstein and Lumire founded a film journal,\nLe promenoir,\nin 1920. The next year, Epstein published\nBonjour cinema,\na treatise on poetry, photography and the nature of the relatively new artistic medium of film. The positive response to his early films such as\nPasteur,\nthe biography of scientist Louis Pasteur, allowed Epstein to set up his own production company,\nLes Films Jean Epstein.\nIn a short time, he produced a number of diverse films, including\nThe Fall of the House of Usher\nand\nLa glace à trois faces.\nHowever, with the advent of sound technology, Epstein's experimental works fell out of favor, and he relocated to Brittany, where he made short films and documentaries. At the beginning of World War II, Epstein and his sister were captured by the Gestapo, but they were not deported. Unable to make films because of the German occupation in France, Epstein worked for the Red Cross and honed his writing skills. In 1947, he returned to Brittany, where he finished his career with several critically acclaimed films, most notably\nLe tempestaire,\nthe tale of a French fisherman. Although Epstein continued to write, he ceased filmmaking shortly thereafter. In 1953, he died of a cerebral hemorrhage.\nEpstein's first film,\nPasteur,\nwas a biography that did not display the cinematic innovations of later films.\nCoeur fidèle,\nthe story of a romantic triangle, however, utilized such innovative devices as non-sequential timelines and flashback sequences. Epstein strapped the camera to a merry-go-round at one point to provide images of increasing twirling and dizziness. The startlingly inventive and fantastic elements of Epstein's early works such as\nMauprat,\nare considered a precursor of works of the Spanish filmmaker\nLuis Buñuel\n, who worked with Epstein on his early films. However, the frequently surreal and experimental content of these works hindered both their critical and popular success. One of Epstein's most highly regarded films,\nLa glace ˆ trois faces\ntells the story of a young man with three mistresses. When he suddenly dies, the women describe him in such diverse ways it appears that they know three different men. This film's visual inventiveness is displayed in overlapping images and use of the close-up, Epstein's favorite cinematic device.\nThe Fall of the House Of Usher,\nbased on Edgar Allan Poe's short story, is the tale of an artist who paints his wife's portrait. However, he finds that as he works, her health fails. Here, Epstein's cinematic devices that anticipate works of filmmakers several decades later include innovative lighting, flashbacks, and slow-motion photography. Epstein's first Breton film,\nFinis terrae\nis shot as a documentary but utilizes innovative camera styles.\nLe tempestaire\nis considered by many critics to be the culmination of his most experimental techniques, such as slowed sound and overlapping visual elements. In this film, Epstein rejected the romanticism and extravagance that typified Hollywood productions in favor of simplicity and realism, a philosophy mirrored in his life as well as his art.\nAlthough Epstein is not well known today, modern filmmakers' aesthetic and stylistic debt to him is apparent with the advent of the cinematic avant-garde movement. His films are rarely shewn, but limited recent viewings have served to emphasize his modernity. Many of his techniques, in fact, were so advanced that they have only been recently been identified as foreshadowing contemporary cinematic devices. Today, Epstein is remembered as a filmmaker and theorist who sought to continuously examine the connection between the viewer and the screen.","bio_dates":"1897-1953"},{"slug":"eriksson_annika_arbeitswelt1_2003","ok":true,"partial":false,"title":"Arbeitswelt 1","artist":"Annika Eriksson","year":"2003","startOffset":0,"sourceSecs":3487.76,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":595804604,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eriksson_annika_arbeitswelt1_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eriksson_annika_arbeitswelt1_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eriksson_annika_arbeitswelt1_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eriksson_annika_arbeitswelt1_2003/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eriksson_annika_arbeitswelt1_2003/main/master.m3u8?v=2","hasMainHls":true,"description":"Arbeitswelt (Working World, 2003) is a series of unedited interviews the artist conducted with a cross-section of 54 employees -- from cleaning staff to upper management -- working for Swiss Re, a multinational corporation dealing with the intangible field of re-insurance and risk assessment.<br/><br/><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1956"},{"slug":"eriksson_annika_the_great_good_place_2010","ok":true,"partial":false,"title":"The Great Good Place","artist":"Annika Eriksson","year":"2010","startOffset":0,"sourceSecs":255.88,"sourceHeight":1062,"sourceWidth":1888,"hasAudio":true,"hasAmbientMp4":true,"bytes":89448479,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eriksson_annika_the_great_good_place_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eriksson_annika_the_great_good_place_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eriksson_annika_the_great_good_place_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eriksson_annika_the_great_good_place_2010/main.mp4?v=2","description":"The Great Good Place is a seven minutes video loop that portrays a community of formerly well cared for domesticated cats that have since been abandoned and now live together in a park in Istanbul. The notion of place hinted at in the title refers to the non-defined spaces within a cityscape that temporarily allow for informal living-conditions to exist. Has been exhibited at NON gallery, Istanbul 2011, Krone Gallery, Berlin 2012, Kiev Biennale, curated by David Elliot 2012, Shanghai Biennale, Istanbul part, curated by Defne Ayas, 2012.","artist_bio":"Annika Eriksson is a Swedish artist living in Berlin. Over the years, Eriksson has produced a large number of works in which the perception of time, structures of power, and once acclaimed social visions are called into question. Strategically Eriksson plays with the heated debates around the public realm and structures that regulate it, revealing the urban changes and how this is subject to unexpected political appropriations and inversions.","bio_dates":"b. 1956"},{"slug":"eriksson_staff_at_moderna_museet_2000","ok":true,"partial":false,"title":"Staff at Moderna Museet","artist":"Annika Eriksson","year":"2000","startOffset":0,"sourceSecs":1031.366,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":181214765,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eriksson_staff_at_moderna_museet_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eriksson_staff_at_moderna_museet_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eriksson_staff_at_moderna_museet_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eriksson_staff_at_moderna_museet_2000/main.mp4?v=2","description":"The works of Annika Eriksson frequently deal with the group as a social hierarchical structure. In several of her works, she has portrayed people whose social dynamics and sense of kinship are defined by a certain occupation, at work or in the free time. The video piece \"Moderna Museets Personal, Stockholm, 2000/Staff at Moderna Museet, Stockholm, 2000\" works as a portrait of every individual staff member as well as of the entire staff. The work is projected in the same environment that is was made in. As usual, Annika Eriksson leaves it to the visitor to interpret prevailing hierarchical and social structures within the group.","artist_bio":"Annika Eriksson is a Swedish artist living in Berlin. Over the years, Eriksson has produced a large number of works in which the perception of time, structures of power, and once acclaimed social visions are called into question. Strategically Eriksson plays with the heated debates around the public realm and structures that regulate it, revealing the urban changes and how this is subject to unexpected political appropriations and inversions.","bio_dates":"b. 1956"},{"slug":"ernst_helge_guernica_1950","ok":true,"partial":false,"title":"Guernica","artist":"Helge Ernst","year":"1950","startOffset":0,"sourceSecs":371.542,"sourceHeight":576,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":57308636,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ernst_helge_guernica_1950/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ernst_helge_guernica_1950/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ernst_helge_guernica_1950.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ernst_helge_guernica_1950/main.mp4?v=2","description":"An “image fantasy” inspired by Picasso’s painting. Silent. <br/><br/> At the end of the Second World War, artists and documentary filmmakers got involved in experimental filmmaking. The Danish state subsidized experimental films in the years 1947-50, which gave the movement additional strength. This anthology contains thirteen core works of Danish experimental film. The primary focus is on the internationally significant years around 1950.","bio_dates":"1916-1991"},{"slug":"eros_bradley_transformerstransformed_2009","ok":true,"partial":false,"title":"Bradley Eros & Tim Geraghty - Trans Trans (Transformers Transformed)","artist":"Bradley Eros","year":"2009","startOffset":0,"sourceSecs":731.669,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":118610880,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eros_bradley_transformerstransformed_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/eros_bradley_transformerstransformed_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/eros_bradley_transformerstransformed_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/eros_bradley_transformerstransformed_2009/main.mp4?v=2","description":"Bradley Eros & Tim Geraghty <br/><br/> Paracinema according to Bradley Eros that overlays The Transformers, the Futurist Manifesto and Einstürzende Neubauten to great effect. <br/><br/> Hard edits from testosterone action film The Transformers, hybridised with fragments from Futurist Manifesto, which serve as stimulating mantras, and supported by Einstürzende Neubauten's explosive industrial soundtrack. The end result is more than the sum of its parts.","artist_bio":"Bradley Eros & Tim Geraghty - Trans Trans (Transformers Transformed) (2009)\nBradley EROS (USA) is an artist working in myriad media: experimental film and video, collage, photography, performance, sound, text, expanded cinema and installation. He is also a maverick curator, designer, researcher and investigator. Concepts include: ephemeral cinema, mediamystics, subterranean science, erotic psyche, poetic accidents, cinema povera and musique plastique.","bio_dates":"2009"},{"slug":"ertl_gerhard_definitely_sanctus_1990","ok":true,"partial":false,"title":"Definitely Sanctus","artist":"Gerhard Ertl & Sabine Hiebler","year":"1992","startOffset":0,"sourceSecs":206.08,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":11902721,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ertl_gerhard_definitely_sanctus_1990/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ertl_gerhard_definitely_sanctus_1990/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ertl_gerhard_definitely_sanctus_1990.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ertl_gerhard_definitely_sanctus_1990/main.mp4?v=2","description":"Directors: Gerhard Ertl & Sabine Hiebler<br/> Year: 1992<br/> Time: 3 mins<br/> Music: Gerhard Ertl & Sabine Hiebler <br/><br/> Having worked on the fringes of Austrian film for many years, Ertl & Hiebler achieved some notoriety with their 2002 feature drama Nogo. Previously, the duo had been associated with a wave of Austrian filmmakers, like Gustav Deutsch, Peter Tscherkassky and Martin Arnold, who in the 90s were doing to cinema what many musicians were starting to do with music: digging through the memories of outdated artefacts and scrapping ready-made products in order to capture de-contextualized materials and subvert or reconsider the sources from which these had ben stolen. Definitely Sanctus focuses on a very particular set of sources - the tradition of Heimat films of the 50s - to reconstruct a highly coherent narrative about a successful reindeer hunt in the Alps. Set against a wicked soundtrack that mixes a continuous, almost hypnotic yodelling sample with a deep bass resonance, the film elegantly orders clichés from the cinematic pastoral fantasies of the 1950s without offering any explicit commentary on the materials: even the violence inherent to the sacrificial act or the religious ceremony that concludes it seem to be mere visual episodes that merit no more attention than the preceding sequences. Definitely Sanctus thus seems to be a strictly formal exercise in which the authors - legitimately, of course - do not offer any perspective on the internal logic of their materials; or, to put it differently, in which Ertl & Hiebler appear to be more interested in the lexicon of the Heimat film than in its grammar. - Sound of Eye","artist_bio":"Sabine Hiebler and Gerhard Ertl have worked together since studying at Linz’s Academy of Artistic and Industrial Design. They have written the screenplays for and produced internationally acclaimed experimental films: SCHÖNBERG, CROSSOVER, CROSSOVER 2, POSITION SIMULTAN, LIVINGROOM, DEFINITELY SANCTUS, GENERAL MOTORS, SPOT-CHECK, PROST, KOMAKINO and TRANSCODER (UNDERSTANDING LYDIA). Their collaborations have also been shown at numerous exhibitions, such as the Ars Electronica, the Theseustempel/Kunsthistorisches Museum in Vienna and Paris’ Biennale de l’image. In 2002 Hiebler and Ertl made their first fiction feature, Nogo, featuring Jürgen Vogel, Jasmin Tabatabai, Meret Becker, Oliver Korittke, Mavie Hörbiger, et al. This film was invited to film festivals around the world, such as Berlin, New York, Los Angeles, San Francisco, Sidney, Rotterdam and London, and it received numerous awards, including the Variety Critics’ Choice and the Diagonale award for Innovative Production. Hiebler and Ertl also received the state of Upper Austria’s culture award for film and the state of Lower Austria’s young artist’s award for media art.","bio_dates":"b. 1933"},{"slug":"evans_cerith_wyn_degrees_of_blindness_1988","ok":true,"partial":false,"title":"Degrees of Blindness","artist":"Cerith Wyn Evans","year":"1988","startOffset":0,"sourceSecs":1138.4,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":191383613,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/evans_cerith_wyn_degrees_of_blindness_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/evans_cerith_wyn_degrees_of_blindness_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/evans_cerith_wyn_degrees_of_blindness_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/evans_cerith_wyn_degrees_of_blindness_1988/main.mp4?v=2","description":"19 minutes Colour, Sound<br/><br/> Evans has created films and videos since 1980. In Degrees of Blindness he considers the different possibilities of perceiving the world, our surroundings, and explores different degrees of vision with varying backgrounds and forms of expression.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Cerith Wyn Evans in UbuWeb Sound</a>","artist_bio":"Cerith Wyn Evans (British, b.1958) was born in Llanelli, Wales. He studied Fine Art at the Saint Martins School of Art in London, and graduated in 1980. Four years later, he completed an MA in Film and Video at the Royal College of Art. For a period of time, he served as an assistant to Derek Jarman (English, 1942–1994), an English filmmaker, scenographer, and painter. Evans made experimental short films through the 1980s.\nThe artist works in a variety of media including film, photography, sculpture, and installation. Evans has used unusual and eccentric materials, such as fireworks, light fixtures, neon lights, lanterns, Morse code, plants, mirror balls, and even urine, to express and explore his ideas on language and perception. His first solo exhibition was called Inverse Reverse Perverse and was held at the White Cube Gallery in London. This gallery continues to represent him in the United Kingdom to this day. One of his most striking and publicized works was an installation at the Venice Biennale, where he used a British World War II searchlight to tap out the poem of a 17th century Welsh bard, Ellis Wynne, in Morse code. The poem, Visions of a Sleeping Poet, was visualized as a Morse code light show, for which Evans had to obtain clearance from the Italian authorities due to the risk it could cause to aircrafts. The piece was called Cleave 03 (Transmission, Vision of the Sleeping Poet) and was said to overshadow the greatest landmark in Venice, the silhouette of the Palladio Church of San Giorgio Maggiore. Another of the artist’s famous works is a sculpture consisting of a large concave mirror, which was hung on the wall and distorted the image of the viewer.\nEvans's aesthetic is highly refined, and he uses his great interest in film history and literature as inspirations for his work. Much of his work portrays romantic longing and desire, such as his Firework pieces, which are wooden structures that spell out open-ended texts that burn over a period of time. His Chandelier sculptures once again use Morse code: sections of texts are translated into the code and visualized with flashing light signals. Evans was commissioned by the Vienna State Opera in 2011 to design the safety curtains for the 2011 to 2012 opera season. He has held exhibitions recently at Kunsthall Bergen in 2011, Tramway in Glasgow in 2009, Inverleith House in Edinburgh in 2009, Musée d'Art Moderne de la Ville de Paris in 2006, and Kunsthaus Graz in 2005. He has also participated in the International Istanbul Biennial in 2005, the Yokohama Triennale in 2008, the Alchi Triennale in 2010, and the Moscow Biennial in 2011. Evans currently lives in London, and is represented in Europe by Daniel Buchholz Gallery in Cologne and Galeri NEU in Berlin.","bio_dates":"b. 1958"},{"slug":"export_valie_a_perfect_pair_1987","ok":true,"partial":false,"title":"A perfect Pair","artist":"Valie Export","year":"1987","startOffset":0,"sourceSecs":808.308,"sourceHeight":560,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":145400883,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_a_perfect_pair_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_a_perfect_pair_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/export_valie_a_perfect_pair_1987.avi","hasFrames":true,"description":"A Perfect Pair <br/> 14:00 1987<br/> <br/> A Perfect Pair posits the idea that individual consumers are walking billboards for the products they use; product slogans and brand names peeking out from every crevice and cranny of the actors' bodies. Export demonstrates how the body of the consumer, especially that of the female consumer, is co-opted by commercialism. In tongue-in-cheek fashion, A Perfect Pair celebrates the modern-day co-mingling of fetish objects, as a body builder seduces a prostitute at a bar saying, \"Your eyes are the most beautiful blue ad-space. Your cheek could promote a Mercedes. Your neck could be a slogan for styled technology.\" Export's work is centered around the evolving role of women in a culture where images increasingly displace material reality. A Perfect Pair wonderfully illustrates the inescapability of advertising's \"regime of signs\", the signifying network of personal and product values that is effectively encoded on the space of women's bodies.","artist_bio":"Andrea Saemann & Katrin Grögel - Performance Saga 2: Valie Export (2004, interview)\nValie Export\n(born May 17, 1940 in Linz as Waltraud Lehner) is an Austrian artist. Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.\nEducated in a convent until the age of 14, EXPORT studied painting, drawing, and design at the National School for Textile Industry in Vienna, and briefly worked in the film industry as a script girl, editor, and extra. She married and had two children, but later divorced her husband and returned to art school. In 1967, she changed her name to Valie Export—written in uppercase letters, like an artistic logo—shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes. With this gesture of self-determination, EXPORT emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of Viennese actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes EXPORT’s project as unequivocally feminist.\nEXPORT’s early guerilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino (\"Tap and Touch Cinema\") was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, EXPORT wore a tiny \"movie theater\" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the \"theater.\" She then went into the street and invited men, women, and children to come and touch her.\nIn her 1969 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), EXPORT entered a porn cinema in Munich with her hair in disarray, wearing crotchless pants, and carrying a machine gun. Striding up and down the rows of theatregoers, she brandished the weapon and challenged the male audience to engage with a \"real woman\" instead of with an images on a screen. Through these acts of artistic daring, EXPORT challenged the objectification of the female form by confronting voyeurs with a body that returned the gaze.\nThe contrast with what is usually called \"cinema\" is obvious, and is crucial to the message. In EXPORT's performance, the female body is not packaged and sold by male directors and producers, but is controlled and offered freely by the woman herself, in defiance of social rules and state precepts. Also, the ordinary state-approved cinema is an essentially voyeuristic experience, whereas in EXPORT's performance, the \"audience\" not only has a very direct, tactile contact with another person, but does so in the full view of EXPORT and bystanders.\nEXPORT's groundbreaking video piece, \"Facing a Family\" (1971) was one of the first instances of television intervention and broadcasting video art. The video, broadcast on the Austrian television program \"Kontakte\", shows a bourgeois Austrian family watching TV while eating dinner. When other middle class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.\nSince 1995/1996 EXPORT has held a professorship for multimedia performance at the Kunsthochschule für Medien in Cologne, Germany.","bio_dates":"b. 1940"},{"slug":"export_valie_die_praxis_der_liebe_aka_the_practice_of_love_1985","ok":true,"partial":false,"title":"Die Praxis der Liebe AKA The Practice of Love","artist":"Valie Export","year":"1985","startOffset":0,"sourceSecs":5172.88,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":872584707,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_die_praxis_der_liebe_aka_the_practice_of_love_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_die_praxis_der_liebe_aka_the_practice_of_love_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/export_valie_die_praxis_der_liebe_aka_the_practice_of_love_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/export_valie_die_praxis_der_liebe_aka_the_practice_of_love_1985/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/export_valie_die_praxis_der_liebe_aka_the_practice_of_love_1985/main/master.m3u8?v=2","hasMainHls":true,"description":"Judith, an investigative journalist, begins to unravel a murder mystery that implicates one of her current lovers. When she checks out a peep-show business on the seedy side of Hamburg as part of the investigation, she runs into a former boyfriend who used to be a psychiatrist but is now an arms dealer. Judith is lured back into his fold, cheating on her current lovers, one of whom is also a shrink. Despite her profession, or perhaps because of it, Judith tends to blend fantasy and reality, so small wonder she is attracted to psychoanalysts. But, two shrinks and a murder prove more than Judith can handle. Nominated for the Golden Berlin Bear at the 1985 Berlinale.","artist_bio":"Andrea Saemann & Katrin Grögel - Performance Saga 2: Valie Export (2004, interview)\nValie Export\n(born May 17, 1940 in Linz as Waltraud Lehner) is an Austrian artist. Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.\nEducated in a convent until the age of 14, EXPORT studied painting, drawing, and design at the National School for Textile Industry in Vienna, and briefly worked in the film industry as a script girl, editor, and extra. She married and had two children, but later divorced her husband and returned to art school. In 1967, she changed her name to Valie Export—written in uppercase letters, like an artistic logo—shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes. With this gesture of self-determination, EXPORT emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of Viennese actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes EXPORT’s project as unequivocally feminist.\nEXPORT’s early guerilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino (\"Tap and Touch Cinema\") was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, EXPORT wore a tiny \"movie theater\" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the \"theater.\" She then went into the street and invited men, women, and children to come and touch her.\nIn her 1969 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), EXPORT entered a porn cinema in Munich with her hair in disarray, wearing crotchless pants, and carrying a machine gun. Striding up and down the rows of theatregoers, she brandished the weapon and challenged the male audience to engage with a \"real woman\" instead of with an images on a screen. Through these acts of artistic daring, EXPORT challenged the objectification of the female form by confronting voyeurs with a body that returned the gaze.\nThe contrast with what is usually called \"cinema\" is obvious, and is crucial to the message. In EXPORT's performance, the female body is not packaged and sold by male directors and producers, but is controlled and offered freely by the woman herself, in defiance of social rules and state precepts. Also, the ordinary state-approved cinema is an essentially voyeuristic experience, whereas in EXPORT's performance, the \"audience\" not only has a very direct, tactile contact with another person, but does so in the full view of EXPORT and bystanders.\nEXPORT's groundbreaking video piece, \"Facing a Family\" (1971) was one of the first instances of television intervention and broadcasting video art. The video, broadcast on the Austrian television program \"Kontakte\", shows a bourgeois Austrian family watching TV while eating dinner. When other middle class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.\nSince 1995/1996 EXPORT has held a professorship for multimedia performance at the Kunsthochschule für Medien in Cologne, Germany.","bio_dates":"b. 1940"},{"slug":"export_valie_hyperbulie_1973","ok":true,"partial":false,"title":"Hyperbulie AKA Hyperbulia","artist":"Valie Export","year":"1973","startOffset":0,"sourceSecs":392.106,"sourceHeight":406,"sourceWidth":540,"hasAudio":true,"hasAmbientMp4":true,"bytes":27666358,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_hyperbulie_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_hyperbulie_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/export_valie_hyperbulie_1973.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/export_valie_hyperbulie_1973/main.mp4?v=2","description":"\"Hyperbulie\" is a performance work that pushes the body to its physical extremes. The performance elements are first established: a framework of wires are connected to electric batteries. Valie Export appears, completely naked, and makes contact with live electricity as she negotiates the wire construction.","artist_bio":"Andrea Saemann & Katrin Grögel - Performance Saga 2: Valie Export (2004, interview)\nValie Export\n(born May 17, 1940 in Linz as Waltraud Lehner) is an Austrian artist. Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.\nEducated in a convent until the age of 14, EXPORT studied painting, drawing, and design at the National School for Textile Industry in Vienna, and briefly worked in the film industry as a script girl, editor, and extra. She married and had two children, but later divorced her husband and returned to art school. In 1967, she changed her name to Valie Export—written in uppercase letters, like an artistic logo—shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes. With this gesture of self-determination, EXPORT emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of Viennese actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes EXPORT’s project as unequivocally feminist.\nEXPORT’s early guerilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino (\"Tap and Touch Cinema\") was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, EXPORT wore a tiny \"movie theater\" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the \"theater.\" She then went into the street and invited men, women, and children to come and touch her.\nIn her 1969 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), EXPORT entered a porn cinema in Munich with her hair in disarray, wearing crotchless pants, and carrying a machine gun. Striding up and down the rows of theatregoers, she brandished the weapon and challenged the male audience to engage with a \"real woman\" instead of with an images on a screen. Through these acts of artistic daring, EXPORT challenged the objectification of the female form by confronting voyeurs with a body that returned the gaze.\nThe contrast with what is usually called \"cinema\" is obvious, and is crucial to the message. In EXPORT's performance, the female body is not packaged and sold by male directors and producers, but is controlled and offered freely by the woman herself, in defiance of social rules and state precepts. Also, the ordinary state-approved cinema is an essentially voyeuristic experience, whereas in EXPORT's performance, the \"audience\" not only has a very direct, tactile contact with another person, but does so in the full view of EXPORT and bystanders.\nEXPORT's groundbreaking video piece, \"Facing a Family\" (1971) was one of the first instances of television intervention and broadcasting video art. The video, broadcast on the Austrian television program \"Kontakte\", shows a bourgeois Austrian family watching TV while eating dinner. When other middle class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.\nSince 1995/1996 EXPORT has held a professorship for multimedia performance at the Kunsthochschule für Medien in Cologne, Germany.","bio_dates":"b. 1940"},{"slug":"export_valie_performance_saga","ok":true,"partial":false,"title":"Andrea Saemann & Katrin Grögel - Performance Saga: Valie Export","artist":"Valie Export","year":"2004","startOffset":0,"sourceSecs":2404.96,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":410165253,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_performance_saga/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_performance_saga/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/export_valie_performance_saga.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/export_valie_performance_saga/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/export_valie_performance_saga/main/master.m3u8?v=2","hasMainHls":true,"description":"Performance Saga No. 2: Valie Export <br/><br/> The second part of Saemann and Grögel's 8-part documentary/interviews with Female performance art pioneers.<br/><br/> Andrea Saemann & Katrin Grögel<br/> Performance Saga:<br/> Encounters with Women Pioneers of Performance Art<br/> 2007<br/> <br/> Performance Saga transmits and updates the history of Performance Art on many different levels and promotes a dialogue between the generations. The project includes the conception and realization of performance pieces, the publication of video interviews and the planning of events.<br/><br/> Video interviews of eight American and European women pioneers of Performance Art. The artists, now between 63 and 74 years old, played an important part in the 1960s and 1970s in establishing and developing this, at the time, new art form. They were interviewed for Performance Saga by Andrea Saemann and the artist Chris Regn (b. 1964, co-director of the Hamburg archive).<br/><br/> In this dialogue between artists, the first women performers talk about their work and the conditions under which it arose, giving glimpses into how they think and position themselves. The Edition provides an informative and accessible introduction to the study of Performance Art and offers keys to understanding how it came into being.<br/><br/> The DVD-Edition includes interviews with Esther Ferrer, Valie Export, Monika Günther, Joan Jonas, Alison Knowles, Ulrike Rosenbach, Martha Rosler and Carolee Schneemann.<br/><br/> Performance Saga is a project by the artist Andrea Saemann (b. 1962) and the art historian Katin Grögel (b. 1970). Both live and work in Basel, Switzerland.","artist_bio":"Andrea Saemann & Katrin Grögel - Performance Saga 2: Valie Export (2004, interview)\nValie Export\n(born May 17, 1940 in Linz as Waltraud Lehner) is an Austrian artist. Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.\nEducated in a convent until the age of 14, EXPORT studied painting, drawing, and design at the National School for Textile Industry in Vienna, and briefly worked in the film industry as a script girl, editor, and extra. She married and had two children, but later divorced her husband and returned to art school. In 1967, she changed her name to Valie Export—written in uppercase letters, like an artistic logo—shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes. With this gesture of self-determination, EXPORT emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of Viennese actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes EXPORT’s project as unequivocally feminist.\nEXPORT’s early guerilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino (\"Tap and Touch Cinema\") was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, EXPORT wore a tiny \"movie theater\" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the \"theater.\" She then went into the street and invited men, women, and children to come and touch her.\nIn her 1969 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), EXPORT entered a porn cinema in Munich with her hair in disarray, wearing crotchless pants, and carrying a machine gun. Striding up and down the rows of theatregoers, she brandished the weapon and challenged the male audience to engage with a \"real woman\" instead of with an images on a screen. Through these acts of artistic daring, EXPORT challenged the objectification of the female form by confronting voyeurs with a body that returned the gaze.\nThe contrast with what is usually called \"cinema\" is obvious, and is crucial to the message. In EXPORT's performance, the female body is not packaged and sold by male directors and producers, but is controlled and offered freely by the woman herself, in defiance of social rules and state precepts. Also, the ordinary state-approved cinema is an essentially voyeuristic experience, whereas in EXPORT's performance, the \"audience\" not only has a very direct, tactile contact with another person, but does so in the full view of EXPORT and bystanders.\nEXPORT's groundbreaking video piece, \"Facing a Family\" (1971) was one of the first instances of television intervention and broadcasting video art. The video, broadcast on the Austrian television program \"Kontakte\", shows a bourgeois Austrian family watching TV while eating dinner. When other middle class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.\nSince 1995/1996 EXPORT has held a professorship for multimedia performance at the Kunsthochschule für Medien in Cologne, Germany.","bio_dates":"b. 1940"},{"slug":"export_valie_touch_cinema","ok":true,"partial":false,"title":"Tap and Touch Cinema","artist":"Valie Export","year":"1968","startOffset":0,"sourceSecs":83.884,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":11508461,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_touch_cinema/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_touch_cinema/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/export_valie_touch_cinema.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/export_valie_touch_cinema/main.mp4?v=2","description":"As usual, the film is ‘shown’ in the dark. But the cinema has shrunk somewhat – only two hands fit inside it. To see (i.e. feel, touch) the film, the viewer (user) has to stretch his hands through the entrance to the cinema. At last, the curtain which formerly rose only for the eyes now rises for both hands.<br/><br/> The tactile reception is the opposite of the deceit of voyeurism. For as long as the citizen is satisfied with the reproduced copy of sexual freedom, the state is spared the sexual revolution. ‘Tap and Touch Cinema’ is an example of how re-interpretation can activate the public.'<br/><br/> Valie Export<br/><br/> This outdoor action on Munich's Stachus square translates the concept of expanded cinema and the cinema's fairground roots into the ‘first immediate women’s film’, as the artist describes her ‘Tap and Touch Cinema’. ‘Public’ accessibility – restricted to 30 seconds per person – is noisily proclaimed by Peter Weibel. A direct demonstration of cinema as a projection space for male fantasies, this still ironic transgression of the border between art and life is an early indication of Valie Export’s often risky, but always resolute, deployment of her own body in later works.<br/><br/> Touch Cinema<br/> VALIE EXPORT<br/> 1968, 1:08 min, b&w, sound<br/> Touch Cinema is a document of VALIE EXPORT's famous street performance, in which the public was invited to touch her inside a curtained box attached to the artist's upper torso. The work is a witty and confrontational comment on the objectification of women's bodies.-- <a href=\"http://www.eai.org/titles/touch-cinema\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Andrea Saemann & Katrin Grögel - Performance Saga 2: Valie Export (2004, interview)\nValie Export\n(born May 17, 1940 in Linz as Waltraud Lehner) is an Austrian artist. Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.\nEducated in a convent until the age of 14, EXPORT studied painting, drawing, and design at the National School for Textile Industry in Vienna, and briefly worked in the film industry as a script girl, editor, and extra. She married and had two children, but later divorced her husband and returned to art school. In 1967, she changed her name to Valie Export—written in uppercase letters, like an artistic logo—shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes. With this gesture of self-determination, EXPORT emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of Viennese actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes EXPORT’s project as unequivocally feminist.\nEXPORT’s early guerilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino (\"Tap and Touch Cinema\") was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, EXPORT wore a tiny \"movie theater\" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the \"theater.\" She then went into the street and invited men, women, and children to come and touch her.\nIn her 1969 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), EXPORT entered a porn cinema in Munich with her hair in disarray, wearing crotchless pants, and carrying a machine gun. Striding up and down the rows of theatregoers, she brandished the weapon and challenged the male audience to engage with a \"real woman\" instead of with an images on a screen. Through these acts of artistic daring, EXPORT challenged the objectification of the female form by confronting voyeurs with a body that returned the gaze.\nThe contrast with what is usually called \"cinema\" is obvious, and is crucial to the message. In EXPORT's performance, the female body is not packaged and sold by male directors and producers, but is controlled and offered freely by the woman herself, in defiance of social rules and state precepts. Also, the ordinary state-approved cinema is an essentially voyeuristic experience, whereas in EXPORT's performance, the \"audience\" not only has a very direct, tactile contact with another person, but does so in the full view of EXPORT and bystanders.\nEXPORT's groundbreaking video piece, \"Facing a Family\" (1971) was one of the first instances of television intervention and broadcasting video art. The video, broadcast on the Austrian television program \"Kontakte\", shows a bourgeois Austrian family watching TV while eating dinner. When other middle class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.\nSince 1995/1996 EXPORT has held a professorship for multimedia performance at the Kunsthochschule für Medien in Cologne, Germany.","bio_dates":"b. 1940"},{"slug":"export_valie_unsichtbare_gegner_aka_invisible_adversaries_1977_iphone","ok":true,"partial":false,"title":"Unsichtbare Gegner AKA Invisible Adversaries","artist":"Valie Export","year":"1976","startOffset":0,"sourceSecs":6255.426,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":361324344,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_unsichtbare_gegner_aka_invisible_adversaries_1977_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/export_valie_unsichtbare_gegner_aka_invisible_adversaries_1977_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/export_valie_unsichtbare_gegner_aka_invisible_adversaries_1977_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/export_valie_unsichtbare_gegner_aka_invisible_adversaries_1977_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/export_valie_unsichtbare_gegner_aka_invisible_adversaries_1977_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Invisible Adversaries (German: Unsichtbare Gegner) is a 1977 Austrian experimental drama film directed by Valie Export, her debut feature film. Set in contemporary Vienna, the film involves a photographer, Anna, who discovers that extraterrestrial beings are colonizing the minds of her fellow citizens by raising the human aggression quotient. The outer world immediately becomes disjointed, yet the inner world does too, as Anna and her lover, Peter, try to hang onto their deteriorating relationship.","artist_bio":"Andrea Saemann & Katrin Grögel - Performance Saga 2: Valie Export (2004, interview)\nValie Export\n(born May 17, 1940 in Linz as Waltraud Lehner) is an Austrian artist. Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.\nEducated in a convent until the age of 14, EXPORT studied painting, drawing, and design at the National School for Textile Industry in Vienna, and briefly worked in the film industry as a script girl, editor, and extra. She married and had two children, but later divorced her husband and returned to art school. In 1967, she changed her name to Valie Export—written in uppercase letters, like an artistic logo—shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes. With this gesture of self-determination, EXPORT emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of Viennese actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes EXPORT’s project as unequivocally feminist.\nEXPORT’s early guerilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino (\"Tap and Touch Cinema\") was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, EXPORT wore a tiny \"movie theater\" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the \"theater.\" She then went into the street and invited men, women, and children to come and touch her.\nIn her 1969 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), EXPORT entered a porn cinema in Munich with her hair in disarray, wearing crotchless pants, and carrying a machine gun. Striding up and down the rows of theatregoers, she brandished the weapon and challenged the male audience to engage with a \"real woman\" instead of with an images on a screen. Through these acts of artistic daring, EXPORT challenged the objectification of the female form by confronting voyeurs with a body that returned the gaze.\nThe contrast with what is usually called \"cinema\" is obvious, and is crucial to the message. In EXPORT's performance, the female body is not packaged and sold by male directors and producers, but is controlled and offered freely by the woman herself, in defiance of social rules and state precepts. Also, the ordinary state-approved cinema is an essentially voyeuristic experience, whereas in EXPORT's performance, the \"audience\" not only has a very direct, tactile contact with another person, but does so in the full view of EXPORT and bystanders.\nEXPORT's groundbreaking video piece, \"Facing a Family\" (1971) was one of the first instances of television intervention and broadcasting video art. The video, broadcast on the Austrian television program \"Kontakte\", shows a bourgeois Austrian family watching TV while eating dinner. When other middle class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.\nSince 1995/1996 EXPORT has held a professorship for multimedia performance at the Kunsthochschule für Medien in Cologne, Germany.","bio_dates":"b. 1940"},{"slug":"ezawa_kota_beatlesubercalifornia_2010","ok":true,"partial":false,"title":"Beatles Über California","artist":"Kota Ezawa","year":"2010","startOffset":0,"sourceSecs":377.429,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":57230072,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_beatlesubercalifornia_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_beatlesubercalifornia_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ezawa_kota_beatlesubercalifornia_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ezawa_kota_beatlesubercalifornia_2010/main.mp4?v=2","description":"Single channel video with sound<br/> Continuous loop<br/> Courtesy of <a href=\"http://www.murrayguy.com\" rel=\"noopener\" target=\"_blank\">Murray Guy</a>, New York <br/><br/> Ezawa's animation combines footage of the Beatles on the Ed Sullivan show with the Dead Kennedys' song \"California Über Alles.\" <br/><br/> These videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Kota Ezawa.","artist_bio":"Content is a glimpse of something, an encounter like a flash, 2020\nKota Ezawa is a Japanese-German artist currently based in San Francisco. Ezawa meticulously recreates, frame-by-frame, animated sequences from television, cinema, and art history using basic digital drawing and animation software. His aesthetic is a highly stylized mixture of Pop Art, Alex Katz, and paint-by-numbers pictures, to name but a few of his stylistic antecedents. This painstaking process creates an in intriguing facsimile of the source material, which include the Kennedy assassination, the O.J. Simpson trial, and clips from the film\nWhoÕs Afraid of Virginia Wolf? (1966)\n.\nOne of his works,\nThe Unbearable Lightness of Being\n(2005), borrows the title of Milan Kundera's famous book to animate the assassinations of Abraham Lincoln and John F. Kennedy. The source material for Lincoln and Kennedy is, respectively, a segment from D.W. Griffith's film\nBirth of a Nation\n(1915) and the Zapruder 8mm film of the Kennedy assassination. The reanimation of these horrific, yet familiar, historic events gives the work its emotional charge. Ezawa forces us to acknowledge the historic and cultural distance between us and the depicted figures that feature so prominently in America's public memory. A similar effect is achieved in his 2002 work\nSimpson Verdict\n, where Ezawa animates the delivery of O.J. Simpson's verdict using the courtroom footage as source material while keeping the original audio from the footage in place. Both of these works' stylistic artificiality underscore the manufacturing of the historical spectacle and paradoxically preserve the power of the original events. Ezawa's ability to wring genuine emotion from the artificial makes clear his allegiance with previous Pop masters like Warhol and Lichtenstein.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Kota Ezawa.","bio_dates":"b. 1969"},{"slug":"ezawa_kota_content_is_a_glimpse_of_something","ok":true,"partial":false,"title":"Content is a glimpse of something, an encounter like a flash, 2020","artist":"Kota Ezawa","year":"2020","startOffset":4.5,"sourceSecs":5.589,"sourceHeight":2160,"sourceWidth":3840,"hasAudio":true,"hasAmbientMp4":true,"bytes":53382,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_content_is_a_glimpse_of_something/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_content_is_a_glimpse_of_something/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ezawa_kota_content_is_a_glimpse_of_something.mp4","hasFrames":true,"description":"Single-channel video, black and white, silent, 1 frame <br/><br/> The title of this video is taken from a Willen de Kooning quote that opens Susan Sontag's essay \"Against Interpretation\"","artist_bio":"Content is a glimpse of something, an encounter like a flash, 2020\nKota Ezawa is a Japanese-German artist currently based in San Francisco. Ezawa meticulously recreates, frame-by-frame, animated sequences from television, cinema, and art history using basic digital drawing and animation software. His aesthetic is a highly stylized mixture of Pop Art, Alex Katz, and paint-by-numbers pictures, to name but a few of his stylistic antecedents. This painstaking process creates an in intriguing facsimile of the source material, which include the Kennedy assassination, the O.J. Simpson trial, and clips from the film\nWhoÕs Afraid of Virginia Wolf? (1966)\n.\nOne of his works,\nThe Unbearable Lightness of Being\n(2005), borrows the title of Milan Kundera's famous book to animate the assassinations of Abraham Lincoln and John F. Kennedy. The source material for Lincoln and Kennedy is, respectively, a segment from D.W. Griffith's film\nBirth of a Nation\n(1915) and the Zapruder 8mm film of the Kennedy assassination. The reanimation of these horrific, yet familiar, historic events gives the work its emotional charge. Ezawa forces us to acknowledge the historic and cultural distance between us and the depicted figures that feature so prominently in America's public memory. A similar effect is achieved in his 2002 work\nSimpson Verdict\n, where Ezawa animates the delivery of O.J. Simpson's verdict using the courtroom footage as source material while keeping the original audio from the footage in place. Both of these works' stylistic artificiality underscore the manufacturing of the historical spectacle and paradoxically preserve the power of the original events. Ezawa's ability to wring genuine emotion from the artificial makes clear his allegiance with previous Pop masters like Warhol and Lichtenstein.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Kota Ezawa.","bio_dates":"b. 1969"},{"slug":"ezawa_kota_lennonsontagbeuys_2004","ok":true,"partial":false,"title":"Lennon Sontag Beuys","artist":"Kota Ezawa","year":"2004","startOffset":0,"sourceSecs":2896.064,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":259820347,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_lennonsontagbeuys_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_lennonsontagbeuys_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ezawa_kota_lennonsontagbeuys_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ezawa_kota_lennonsontagbeuys_2004/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ezawa_kota_lennonsontagbeuys_2004/main/master.m3u8?v=2","hasMainHls":true,"description":"Single channel video with sound<br/> Continuous loop<br/> Courtesy of <a href=\"http://www.murrayguy.com\" rel=\"noopener\" target=\"_blank\">Murray Guy</a>, New York <br/><br/> The artist animates documentary footage of John Lennon and Yoko Ono's 1969 Amsterdam \"bed-in\" for peace, a 2001 lecture delivered by the late media philosopher Susan Sontag at Columbia University, and Joseph Beuys' 1974 lecture at the New School for Social Research in New York. These three channels play simultaneously, projected side-by-side on one wall. <br/><br/> These videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Kota Ezawa.","artist_bio":"Content is a glimpse of something, an encounter like a flash, 2020\nKota Ezawa is a Japanese-German artist currently based in San Francisco. Ezawa meticulously recreates, frame-by-frame, animated sequences from television, cinema, and art history using basic digital drawing and animation software. His aesthetic is a highly stylized mixture of Pop Art, Alex Katz, and paint-by-numbers pictures, to name but a few of his stylistic antecedents. This painstaking process creates an in intriguing facsimile of the source material, which include the Kennedy assassination, the O.J. Simpson trial, and clips from the film\nWhoÕs Afraid of Virginia Wolf? (1966)\n.\nOne of his works,\nThe Unbearable Lightness of Being\n(2005), borrows the title of Milan Kundera's famous book to animate the assassinations of Abraham Lincoln and John F. Kennedy. The source material for Lincoln and Kennedy is, respectively, a segment from D.W. Griffith's film\nBirth of a Nation\n(1915) and the Zapruder 8mm film of the Kennedy assassination. The reanimation of these horrific, yet familiar, historic events gives the work its emotional charge. Ezawa forces us to acknowledge the historic and cultural distance between us and the depicted figures that feature so prominently in America's public memory. A similar effect is achieved in his 2002 work\nSimpson Verdict\n, where Ezawa animates the delivery of O.J. Simpson's verdict using the courtroom footage as source material while keeping the original audio from the footage in place. Both of these works' stylistic artificiality underscore the manufacturing of the historical spectacle and paradoxically preserve the power of the original events. Ezawa's ability to wring genuine emotion from the artificial makes clear his allegiance with previous Pop masters like Warhol and Lichtenstein.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Kota Ezawa.","bio_dates":"b. 1969"},{"slug":"ezawa_kota_paint_unpaint","ok":true,"partial":false,"title":"Paint Unpaint, 2014","artist":"Kota Ezawa","year":"2014","startOffset":0,"sourceSecs":94.037,"sourceHeight":1080,"sourceWidth":1440,"hasAudio":true,"hasAmbientMp4":true,"bytes":35982812,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_paint_unpaint/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_paint_unpaint/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ezawa_kota_paint_unpaint.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ezawa_kota_paint_unpaint/main.mp4?v=2","description":"Paint Unpaint is an animation based on a scene from Hans Namuth’s famous film, which records Pollock through a pane of glass onto which he drips paint. Ezawa reproduces Pollock’s apparently spontaneous gestures in careful detail.","artist_bio":"Content is a glimpse of something, an encounter like a flash, 2020\nKota Ezawa is a Japanese-German artist currently based in San Francisco. Ezawa meticulously recreates, frame-by-frame, animated sequences from television, cinema, and art history using basic digital drawing and animation software. His aesthetic is a highly stylized mixture of Pop Art, Alex Katz, and paint-by-numbers pictures, to name but a few of his stylistic antecedents. This painstaking process creates an in intriguing facsimile of the source material, which include the Kennedy assassination, the O.J. Simpson trial, and clips from the film\nWhoÕs Afraid of Virginia Wolf? (1966)\n.\nOne of his works,\nThe Unbearable Lightness of Being\n(2005), borrows the title of Milan Kundera's famous book to animate the assassinations of Abraham Lincoln and John F. Kennedy. The source material for Lincoln and Kennedy is, respectively, a segment from D.W. Griffith's film\nBirth of a Nation\n(1915) and the Zapruder 8mm film of the Kennedy assassination. The reanimation of these horrific, yet familiar, historic events gives the work its emotional charge. Ezawa forces us to acknowledge the historic and cultural distance between us and the depicted figures that feature so prominently in America's public memory. A similar effect is achieved in his 2002 work\nSimpson Verdict\n, where Ezawa animates the delivery of O.J. Simpson's verdict using the courtroom footage as source material while keeping the original audio from the footage in place. Both of these works' stylistic artificiality underscore the manufacturing of the historical spectacle and paradoxically preserve the power of the original events. Ezawa's ability to wring genuine emotion from the artificial makes clear his allegiance with previous Pop masters like Warhol and Lichtenstein.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Kota Ezawa.","bio_dates":"b. 1969"},{"slug":"ezawa_kota_thesimpsonverdict_2002","ok":true,"partial":false,"title":"The Simpson Verdict","artist":"Kota Ezawa","year":"2002","startOffset":0,"sourceSecs":2106.752,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":279278021,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_thesimpsonverdict_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_thesimpsonverdict_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ezawa_kota_thesimpsonverdict_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ezawa_kota_thesimpsonverdict_2002/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ezawa_kota_thesimpsonverdict_2002/main/master.m3u8?v=2","hasMainHls":true,"description":"Single channel video with sound<br/> Continuous loop<br/> Courtesy of <a href=\"http://www.murrayguy.com\" rel=\"noopener\" target=\"_blank\">Murray Guy</a>, New York <br/><br/> The reading of the verdict in the trial of OJ Simpson. Using sound from the actual TV footage - only one camera was allowed in the courtroom - and reducing movement to a minimum of changes in facial expression, Ezawa's animation heightens the racial implications of the trial and the cynicism of the verdict. <br/><br/> These videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Kota Ezawa.","artist_bio":"Content is a glimpse of something, an encounter like a flash, 2020\nKota Ezawa is a Japanese-German artist currently based in San Francisco. Ezawa meticulously recreates, frame-by-frame, animated sequences from television, cinema, and art history using basic digital drawing and animation software. His aesthetic is a highly stylized mixture of Pop Art, Alex Katz, and paint-by-numbers pictures, to name but a few of his stylistic antecedents. This painstaking process creates an in intriguing facsimile of the source material, which include the Kennedy assassination, the O.J. Simpson trial, and clips from the film\nWhoÕs Afraid of Virginia Wolf? (1966)\n.\nOne of his works,\nThe Unbearable Lightness of Being\n(2005), borrows the title of Milan Kundera's famous book to animate the assassinations of Abraham Lincoln and John F. Kennedy. The source material for Lincoln and Kennedy is, respectively, a segment from D.W. Griffith's film\nBirth of a Nation\n(1915) and the Zapruder 8mm film of the Kennedy assassination. The reanimation of these horrific, yet familiar, historic events gives the work its emotional charge. Ezawa forces us to acknowledge the historic and cultural distance between us and the depicted figures that feature so prominently in America's public memory. A similar effect is achieved in his 2002 work\nSimpson Verdict\n, where Ezawa animates the delivery of O.J. Simpson's verdict using the courtroom footage as source material while keeping the original audio from the footage in place. Both of these works' stylistic artificiality underscore the manufacturing of the historical spectacle and paradoxically preserve the power of the original events. Ezawa's ability to wring genuine emotion from the artificial makes clear his allegiance with previous Pop masters like Warhol and Lichtenstein.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Kota Ezawa.","bio_dates":"b. 1969"},{"slug":"ezawa_kota_theunbearablelightnessofbeing_2005","ok":true,"partial":false,"title":"The Unbearable Lightness of Being (2005)","artist":"Kota Ezawa","year":"2005","startOffset":0.467,"sourceSecs":398.016,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":58712812,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_theunbearablelightnessofbeing_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ezawa_kota_theunbearablelightnessofbeing_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ezawa_kota_theunbearablelightnessofbeing_2005.mp4","hasFrames":true,"description":"With The Unbearable Lightness of Being, Ezawa investigates how film contributes to American mythologies of celebrity and violence. The work depicts the assassinations of U.S. Presidents Abraham Lincoln and John F. Kennedy. Ezawa recreated two film segments: the fictional account of Lincoln's assassination in Fords Theater, as portrayed in D. W. Griffith's The Birth of a Nation (1915), and Abraham Zapruder's amateur 8mm reel of the Kennedy assassination. Both films have had a controversial history as contested accounts: one as a racist fictional reenactment, the other an evidentiary document.\n\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Kota Ezawa."},{"slug":"fairhurst_angus_broken_unbroken_1999_iphone","ok":true,"partial":false,"title":"Broken Unbroken","artist":"Angus Fairhurst","year":"2012","startOffset":0,"sourceSecs":3894.691,"sourceHeight":320,"sourceWidth":420,"hasAudio":true,"hasAmbientMp4":true,"bytes":223529471,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fairhurst_angus_broken_unbroken_1999_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fairhurst_angus_broken_unbroken_1999_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fairhurst_angus_broken_unbroken_1999_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fairhurst_angus_broken_unbroken_1999_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fairhurst_angus_broken_unbroken_1999_iphone/main/master.m3u8?v=2","hasMainHls":true},{"slug":"fairthorne_robert_salt_brian_the_equation_x_x_0","ok":true,"partial":false,"title":"Equation: X + X = O","artist":"Robert Fairthorne & Brian Salt","year":"1936","startOffset":0,"sourceSecs":183.403,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":22500845,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fairthorne_robert_salt_brian_the_equation_x_x_0/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fairthorne_robert_salt_brian_the_equation_x_x_0/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fairthorne_robert_salt_brian_the_equation_x_x_0.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fairthorne_robert_salt_brian_the_equation_x_x_0/main.mp4?v=2","description":"From Tate.org.uk: 'If abstract films are really abstract films ...they deal exclusively with those abstract relations that can be expressed in terms of shape and motion' wrote Robert Fairthorne in Film Art in 1936. A mathematician and information scientist, Fairthorne saw aesthetic potential in an animation made as a teaching aid by Salt, and proposed this collaboration.","artist_bio":"Robert Fairthorne was born in 1904, and died in 2000. He was a regular contributor to\nFilm Art\n, (see his\nThe Principles of the Film\n1933, reprinted in\nThe British Avant-Garde Film\nedited by Michael O'Pray, University of Luton Press). In later life he wrote on mathematics and information theory, and was recognised as a pioneer in the field. Brian Salt made one other film,\nEuclid 1.32\n, 'purely as an aid to teachers and students'. X+ X = O was their only collaboration.","bio_dates":"1936"},{"slug":"farocki_harun_gefangnisbilder_2000","ok":true,"partial":false,"title":"Gefängnisbilder","artist":"Harun Farocki","year":"2000","startOffset":0,"sourceSecs":3640.28,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":619904700,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/farocki_harun_gefangnisbilder_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/farocki_harun_gefangnisbilder_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/farocki_harun_gefangnisbilder_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/farocki_harun_gefangnisbilder_2000/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/farocki_harun_gefangnisbilder_2000/main/master.m3u8?v=2","hasMainHls":true,"description":"A film composed of images from prisons. Quotes from fiction films and documentaries as well as footage from surveillance cameras. A look at the new control technologies, at personal identification devices, electronic ankle bracelets, electronic tracking devices.<br/><br/> The cinema has always been attracted to prisons. Today's prisons are full of video surveillance cameras. These images are unedited and monotonous; as neither time nor space is compressed, they are particularly well-suited to conveying the state of inactivity into which prisoners are placed as a punitive measure. The surveillance cameras show the norm and reckon with deviations from it. Clips from films by Genet and Bresson. Here the prison appears as a site of sexual infraction, a site where human beings must create themselves as people and as a workers.<br/><br/> In Un Chant d'amour by Jean Genet, the guard looks in on inmates in their cells and sees them masturbating. The inmates are aware that they are being watched and thus become performers in a peep show. The protagonist in Bresson's Un Condamné à mort s'est échappé turns the objects of imprisonment into the tools of his escape. These topoi appear in many prison films. In newer prisons, in contrast, contemporary video surveillance technology aims at demystification.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"1944-2014"},{"slug":"farrokhzad_forough_the_house_is_black","ok":true,"partial":false,"title":"The House is Black / Khaneh Siyah Ast","artist":"Forough Farrokhzad","year":null,"startOffset":0,"sourceSecs":1302.293,"sourceHeight":448,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":80275909,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/farrokhzad_forough_the_house_is_black/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/farrokhzad_forough_the_house_is_black/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/farrokhzad_forough_the_house_is_black.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/farrokhzad_forough_the_house_is_black/main.mp4?v=2","description":"1962, 22 Minutes, Black and White, 35mm <br/> <br/> It is the only film from Forough Farrokhzad, possibly Iran's most noted and controversial female poet. A look inside a leper colony, the documentary short has been called \"the greatest of all Iranian films\" by Jonathan Rosenbaum, and is (now) frequently referred to as one of the lynchpins of the Iranian New Wave. Following an opening statement accompanying a black screen that simultaneously warns and invites viewers to gaze upon that which society has deemed horrifying, Farrokhzad trains her lens insistently on the decay of human faces in bleak honesty, observing the lepers' flaccid eyelids (incapable of doing the biological job of protecting the eyes behind them from flies), the crusty, flaking stumps that used to be their feet, and their exposed nose cavities completely devoid of cartilage (one of them casually and surreally exhales cigarette smoke from the orfice). While showing the leper community forging an ersatz societal representation of normalcy—old gents playing board games, women dressing up and donning make-up for what appears to be a wedding march (and once you've seen a woman apply mascara to the inside of her eyelid, the image will not soon leave your head), kids tossing a plastic ball around the courtyard—Farrokhzad soundtracks her images with an alternating narration. A male voice (whose detached matter-of-factness brings to mind a contemporary Jean-Luc Godard at his most bemused) unpacks the medical implications of the condition, gently reminding the audience that leprosy is a treatable condition, provided the proper expediency, in what constitutes the film's most salient instance of activism. But between the clinical dialogue (in every sense of the definition) are snips of poetry by Farrokhzad, read by the author herself, that elevates the colony's plight to the level of that Old Testament paragon of unanswered and cruel kismet: Job. If Farrokhzad's poetic sensibilities were said to be both preoccupied with Eastern mores and influenced by Western modernism, then The House is Black authoritatively clears the path for such aesthetic dilettantism. <br/><br/> -- Eric Henderson<br><br><b>RELATED RESOURCES</b>: <br> <a href=\"https://ubu.com/sound/farrokhzad.html\" rel=\"noopener\" target=\"_blank\">Forough Farrokhzad in UbuWeb Sound</a> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br></br>","artist_bio":"An extremely small number of Iranian women have achieved anything in Iran outside of the home without dependence upon a relationship with a man or male patronage. The best known among them is the poet Forugh Farrokhzad (1935-1967), the most famous woman in the history of Persian literature.\nForugh Farrokhzad was born in Tehran into a middle class family of seven children. She attended public schools through the ninth grade, thereafter received some training in sewing and painting, and married when she was seventeen. Her only child, the boy addressed in \"A Poem for you,\" was born a year later. Within less than two years after that, her marriage failed, and Farrokhzad relinquished her son to her ex-husband's family in order to pursue her calling in poetry and independent life style. She clearly voices her feelings in the mid-1950s about conventional marriage, the plight of women in Iran, and her own situation as a wife and mother no longer able to live a conventional life in such poems as \"The Captive,\" \"The Wedding Band,\" \"Call to Arms,\" and \"To My Sister.\" As a divorcee poet in Tehran, Farrokhzad attracted much attention and considerable disapproval. She had several short lived relationships with men-\"The Sin\" describes one of them,--, found some respite in a nine-month trip to Europe, and in 1958 met Ebrahim Golestan (b. 1922), a controversial film-maker and writer with whom she established a relationship that lasted until her death in an automobile accident at thirty-two years of age in February 1967.\nUnlike her female predecessors, Farrokhzad had a poetic voice that was and remains (where as a voice not heard may be no voice at all.)\nSound, sound, sound, Only sound remains. (Forugh Farrokhzad)\n--\nIranian Culture (A Persianist View)\nMichael C. Hillmann page 149\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1935-1967"},{"slug":"fast_omer_godville_back_2005_iphone","ok":true,"partial":false,"title":"Godville (Back)","artist":"Omer Fast","year":"2005","startOffset":0,"sourceSecs":3093.525,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":181283503,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fast_omer_godville_back_2005_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fast_omer_godville_back_2005_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fast_omer_godville_back_2005_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fast_omer_godville_back_2005_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fast_omer_godville_back_2005_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/fast_godville-front.html\" rel=\"noopener\" target=\"_blank\">Godville (Front)</a><br/><br/>Godville is a two-channel video installation based on interviews with ten 18th century character interpreters in Colonial Williamsburg, a living-history museum in Virginia. Artist Omer Fast interviewed period actors from Colonial Williamsburg both in historic character and in their modern-day actual personas. Through a vigorous editing process, interviews with historic interpreters conducted in and out of character are spliced together. By cutting and remixing the interviews, Fast combines the current personal stories and acted historical interpretations delivered by each speaker. The new narratives tell the story of people who are floating in America somewhere between past and present, fiction and real life.","artist_bio":"Omer Fast (born 1972, Jerusalem, Israel) is a contemporary video artist. He received his BFA from Tufts University, School of the Museum of Fine Arts in 1995 and an MFA from Hunter College in 2000. Fast uses his films to explore the various possibilities offered by cinematic medium. His piece The Casting (2007), produced by Commonwealth Projects, was featured in the 2008 Whitney Biennial.","bio_dates":"b. 1972"},{"slug":"fast_omer_godville_front_2005_iphone","ok":true,"partial":false,"title":"Godville (Front)","artist":"Omer Fast","year":"2005","startOffset":0,"sourceSecs":3093.525,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":181269384,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fast_omer_godville_front_2005_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fast_omer_godville_front_2005_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fast_omer_godville_front_2005_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fast_omer_godville_front_2005_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fast_omer_godville_front_2005_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/fast_godville-back.html\" rel=\"noopener\" target=\"_blank\">Godville (Back)</a><br/><br/>Godville is a two-channel video installation based on interviews with ten 18th century character interpreters in Colonial Williamsburg, a living-history museum in Virginia. Artist Omer Fast interviewed period actors from Colonial Williamsburg both in historic character and in their modern-day actual personas. Through a vigorous editing process, interviews with historic interpreters conducted in and out of character are spliced together. By cutting and remixing the interviews, Fast combines the current personal stories and acted historical interpretations delivered by each speaker. The new narratives tell the story of people who are floating in America somewhere between past and present, fiction and real life.","artist_bio":"Omer Fast (born 1972, Jerusalem, Israel) is a contemporary video artist. He received his BFA from Tufts University, School of the Museum of Fine Arts in 1995 and an MFA from Hunter College in 2000. Fast uses his films to explore the various possibilities offered by cinematic medium. His piece The Casting (2007), produced by Commonwealth Projects, was featured in the 2008 Whitney Biennial.","bio_dates":"b. 1972"},{"slug":"fast_omer_spielbergs_list_2007_iphone","ok":true,"partial":false,"title":"Spielberg's List","artist":"Omer Fast","year":"2003","startOffset":0,"sourceSecs":3945.233,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":190097691,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fast_omer_spielbergs_list_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fast_omer_spielbergs_list_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fast_omer_spielbergs_list_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fast_omer_spielbergs_list_2007_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fast_omer_spielbergs_list_2007_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"Spielberg's List\" is a two channel video work constructed around the experiences of Polish extras that participated in Steven Spielberg's shooting of \"Schindler's List\". Spielberg shot his film on location in Krakow and its vicinity and used hundreds of local extras for the scenes involving the deportation, the camp, etc. An elaborate concentration camp set was built and never completely dismantled. It has since become a tourist attraction (there are numerous \"Schindler's List Tours of Krakow\" available and the movie has played a significant part in the revitalization of Kazimierz, the former Jewish Ghetto in Krakow). Fast traveled to Krakow where he located and interviewed Œ'survivors' of \"Schindler's List\" - both young and old - and asked them to describe their experience and the scenes they were in, often without elaborating on the fact that they're describing a movie. Fast here also uses the standard documentary device of an interview in order to construct a narrative that has as its center a paradox stemming from the passage of memory from private to public trust. <br/><br/> Mixing footage from the Plaszow camp set and from its neighboring Plaszow camp ground, from interviews with extras who participated in the film and in some cases experienced the events it depicts in their own lives, as well as segments from the “Schindler's List\" tours, Fast creates a layered work in which the idea of memory and what is real is both expanded and put under considerable duress when filmed entertainment turns (in)to history.","artist_bio":"Omer Fast (born 1972, Jerusalem, Israel) is a contemporary video artist. He received his BFA from Tufts University, School of the Museum of Fine Arts in 1995 and an MFA from Hunter College in 2000. Fast uses his films to explore the various possibilities offered by cinematic medium. His piece The Casting (2007), produced by Commonwealth Projects, was featured in the 2008 Whitney Biennial.","bio_dates":"b. 1972"},{"slug":"fast_omer_talk_show_2009_iphone","ok":true,"partial":false,"title":"Talk Show","artist":"Omer Fast","year":"2009","startOffset":0,"sourceSecs":3901.058,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":224257746,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fast_omer_talk_show_2009_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fast_omer_talk_show_2009_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fast_omer_talk_show_2009_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fast_omer_talk_show_2009_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fast_omer_talk_show_2009_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Performa 09: Omer Fast, Talk Show<br/> Posted by artreview.com on November 17, 2009<br/> By Joshua Mack<br/> After Omer Fast’s one-hour performance, Talk Show, I was looking for a cab, when Rosie Perez, who had just appeared in the piece and was also waiting for a yellow limousine, acknowledged me with a grimace registering resignation and frustration. When I offered to let her take the first cab, she waved me off with the back of her hand. We stood about ten feet apart, a chilly fall wind spinning her hair, until a taxi pulled over, and I repeated my offer. As she went to open the door, I said, “In this case, beauty before age”, to which she responded with the most ego-deflating, ‘get a life’ look I have ever been shot. Fast’s Talk Show is a cross between a chat show and a game of telephone. On a stage arranged like a set for an interview, an unidentified man I took to be Bill Ayers, a founder of the Weather Underground and now a professor at the University of Illinois at Chicago, told a moderator, played by the actor Tom Noonan, “how he got into this mess”. The mess in question was his radicalisation in the 1960s and his relationship with Diana Oughton, a fellow radical, who was killed in 1970 when a bomb-making factory the Weathermen were running in a townhouse on 11th Street in Greenwich Village exploded. Ayers also played a bit part in the last presidential campaign, when his glancing association with then Senator Obama (both lived in the Hyde Park neighbourhood in Chicago) became fodder for the Republican bullshit mill, which spewed all kinds of accusations about treason, involvement with terrorists and lack of patriotism on Obama’s part. Fittingly, this brouhaha is a prime example of the kind of misinterpretation, or reinterpretation, of ‘facts’ that Fast’s piece was exploring. After Ayers finished speaking, he left the stage and was replaced by the actress Lili Taylor, who then played host to Noonan’s rendition of Ayers’s story. Taylor in turn told her version to Jill Clayburgh. And on and on six times, ending with Rosie Perez speaking to Ayers, closing the circle so to speak. By which time Ayers’s highly nuanced description of protest and radicalisation, social conscience and moral dilemma during the Vietnam War years had morphed into a ‘Catholic high-school girls in trouble’ tale of violent protest against the Iraq War and George W. Bush, whom Perez fittingly called “the most stupid president we have ever had”. (So Rosie, I forgive you for your rudeness. You probably get compliments all the time.) Ayers’s narrative raises enormously pithy questions about then and now, and the parallel Fast draws between the Vietnam era, when millions marched on Washington to oppose a war, and today, when protest is muted at best and seems, frankly, futile, was obvious from the start. But Fast seems to be cutting to some deeper, more subtle dynamic having to do with personal agency. It’s not just that Ayers asks what one does when protest is failing, but how an individual might act against forces he considers entrenched and intransigent, or how, more generally, one chooses to participate as a citizen. The mutation of his story exemplifies not misunderstanding per se but how personal perspective and knowledge inflect interpretation. For example, while Ayers referred to the Johnson and Nixon administrations as “the powers that be”, Clayburgh used the phrase “insulated, isolated, white males”. Noonan, who was also old enough to have known what was going on in the 1960s, added details about greenery on the Washington Mall, where the antiwar demonstrations took place. On the other hand, Dave Hill, who was clearly not around during the Vietnam War and apparently makes his living playing an egotistical dope for laughs, dropped lines like, “I could be a teacher; I had the outfits” and added that he was teaching the fuck out of smokin’ hot girls. (Ayers got his start as an elementary school teacher in Ann Arbor, Michigan, where he met Oughton.) He claimed to have no idea what war he was protesting when he went to demonstrations in DC. This know-nothing superficiality was momentarily amusing, but its artificiality pointed up how rehearsed the performance felt. Of course the news, as presented in the US, is pretty much scripted entertainment. Our anchors are often doing exactly what Fast’s actors did, repeating what other people have said, in the process obscuring rather than revealing meaning. But the real questions the piece poses are for the audience, because all of us not only face, or ignore, the responsibilities of citizenship, but we all retell ourselves our own version of what we hear and read. By shifting attention to the stage and erring on the side of the overdetermined, Fast draws the audience away from self-realisation, muddling the message of personal culpability that Ayers’s reflections encapsulate.","artist_bio":"Omer Fast (born 1972, Jerusalem, Israel) is a contemporary video artist. He received his BFA from Tufts University, School of the Museum of Fine Arts in 1995 and an MFA from Hunter College in 2000. Fast uses his films to explore the various possibilities offered by cinematic medium. His piece The Casting (2007), produced by Commonwealth Projects, was featured in the 2008 Whitney Biennial.","bio_dates":"b. 1972"},{"slug":"fast_omer_the_casting_2007_iphone","ok":true,"partial":false,"title":"The Casting","artist":"Omer Fast","year":"2007","startOffset":0,"sourceSecs":1713.053,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":105608656,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fast_omer_the_casting_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fast_omer_the_casting_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fast_omer_the_casting_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fast_omer_the_casting_2007_iphone/main.mp4?v=2","description":"Omer Fast's landmark work, The Casting, is a fourteen-minute, four-channel video installation. Fast edited the video from conversations he recorded in Texas in 2006 with a young U.S. Army sergeant preparing to depart for his second tour in Iraq. The sergeant recounts two stories, which Fast splices and interweaves, blending the narrator's recollections of a date with a German woman while stationed in Bavaria, and the accidental shooting of a civilian in Iraq. The multi-layered account alternates between the two stories, with brief interruptions by a third narrative element of a film director asking questions of an actor at a casting. From one side of the room, the two screens display the sergeant speaking to Fast in the original interview, while from the opposite side the screens silently depict actors performing the same script.","artist_bio":"Omer Fast (born 1972, Jerusalem, Israel) is a contemporary video artist. He received his BFA from Tufts University, School of the Museum of Fine Arts in 1995 and an MFA from Hunter College in 2000. Fast uses his films to explore the various possibilities offered by cinematic medium. His piece The Casting (2007), produced by Commonwealth Projects, was featured in the 2008 Whitney Biennial.","bio_dates":"b. 1972"},{"slug":"fatboy_slim_weapon_of_choice_2001","ok":true,"partial":false,"title":"Weapon of Choice","artist":"Dance with Camera","year":"2001","startOffset":0,"sourceSecs":219.057,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":15328223,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fatboy_slim_weapon_of_choice_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fatboy_slim_weapon_of_choice_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fatboy_slim_weapon_of_choice_2001.mp4","hasFrames":true,"description":"Christopher Walken performs a swing-from-the-rafters solo in an empty hotel lobby. For more dancing (and striptease), see Walken in <i>Pennies from Heaven</i> (1981).","artist_bio":"Eleanor Antin, Charles Atlas, Natalie Bookchin, James Byrne and Victoria Marks, Ann Carlson and Mary Ellen Strom, Shirley Clarke, Bruce Conner, Thierry de Mey, Tacita Dean, Maya Deren, Ed Emshwiller, William Forsythe, Amy Greenfield, Hilary Harris, Oliver Herring, Luis Jacob, Mike Kelley, Joachim Koester, Elad Lassry, Sharon Lockhart, Babette Mangolte, Norman McLaren, Frank Moore and Jim Self, Bruce Nauman, Kelly Nipper, Sidney Peterson and Hy Hirsh, Yvonne Rainer, robbinschilds + A.L. Steiner, Uri Tzaig, Flora Wiegmann, and Christopher Williams.\nIn the 1937 musical film\nShall We Dance\n, Fred Astaire's character falls in love with a flip book, or rather, the woman depicted on its pages: a popular dancer played by Ginger Rogers. \"That's grace, that's rhythm,\" he swoons over the photographs. The camera, it almost need not be stated, captures things that move. Dance with Camera features art works in film, video, and photography that exemplify the ways dance has compelled artists to record bodies moving in space and time. The exhibition begins with films from the 1960s, a period when associations between dancers, filmmakers, musicians and visual artists flourished at Judson Dance Theater in downtown New York. The interdisciplinary practices that emerged at Judson, and beyond, were an extension of the collaborative work of composer John Cage and choreographer Merce Cunningham, both of whom made use of chance procedures. This \"anything goes\" methodology demolished creative traditions and hierarchies, moves that influenced the way the works on view use an imagery of dance that threads through Hollywood musicals, avant-garde cinema, postmodern dance and MTV.\nDance with Camera\nincludes works in which dance is a subject, or mode, used to explore broader themes of collaboration, narrative, structure, metaphor and abstraction. These works propose choreography for the camera lens: movement is designed for the area prescribed by the camera's frame; the ephemerality of live performance is fixed in time. The camera also allows close-ups that bring us in proximity to the dance, or in some cases, performs as a partner in unusual pas de deux. Photographic series freeze time while also expanding the notion of dance as a time-based medium. Editing techniques compress time and space, conjure dances impossible in real time, and even transform relatively static performers into dancers. Finally, the camera is not merely a recording device, but stage and audience simultaneously.","bio_dates":"b. 1963"},{"slug":"faust_jeanne_interview_2003","ok":true,"partial":false,"title":"Interview","artist":"Jeanne Faust","year":"2003","startOffset":0,"sourceSecs":495.36,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":77277350,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/faust_jeanne_interview_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/faust_jeanne_interview_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/faust_jeanne_interview_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/faust_jeanne_interview_2003/main.mp4?v=2","description":"Solmaz Shahbazi's trilogy explores the recent historical, social and urban trajectory of the Iranian capital, a city that has experienced several revolutions in the 20th century and counts over 12 million inhabitants today. Tehran 1380 (45min, 2002) is the result of a collaboration between Solmaz Shahbazi and Tirdad Zolghadr. Through interviews with permanent inhabitants and visitors, professionals of architecture and non-professionals, juxtaposed with images from Tehran, Shahbazi and Zolghadr ask pertinent questions about the place of the city in the process of globalisation, and carve out a portrait of Tehran as a socially heterogeneous, ever expanding metropolis that does not fit into any existing urban planning or aesthetic standards. Good Times / Bad Times (31 min, 2003). With over 70% of the population aged under 25, Iranian youth culture is an incredible transformative power that shapes the country's social, economical and political trajectories. Good Times / Bad Times follows five young people, each as a representative of a certain group in the Iranian society. The documentary looks at some of the strictures confronting Iranian youth and examines the practices of everyday life through which young people demonstrate defiance against the official culture and parental dominance. Persepolis (2005, 17min), the last video of the trilogy, is as much a tale about Tehran as it is about how individuals situate themselves in relation to the grander narratives of history. Set in a large scale, bourgeois housing complex in Tehran, the video explores a layered history through composed interior shots, played back against the voice of their owners, as they recount their lives in this neighbourhood and its place in the city's recent evolution, often referring to before\" and \"after\" the Islamic Revolution of 1979.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1968"},{"slug":"fei_cao_east_wind","ok":true,"partial":false,"title":"East Wind","artist":"Cao Fei","year":"2011","startOffset":0,"sourceSecs":601.102,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":38180314,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fei_cao_east_wind/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fei_cao_east_wind/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fei_cao_east_wind.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fei_cao_east_wind/main.mp4?v=2","description":"In Cao Fei’s most recent video work, East Wind (2011), a dinky blue Chinese truck with the face of Thomas the Tank Engine beetles around the streets of a Chinese city to the theme tune of the BBC program. The truck stops for petrol, attracting a crowd of delighted fans. It collects rubbish from a demolition site and then merrily takes this to a dump on the outskirts of town (the driver stopping for a pee by the side of the road on the way). With a sense of joyful conquest, the bright smiling face of Thomas charges through the changing Chinese landscape, announcing the triumph of simplicity at every turn. <br/><br/> “When I had my son, I came into contact with all these new DVDs. They gave me this new kind of feeling of innocence,” says Cao Fei. “You can learn a lot about the adult world through children’s culture,” she adds. As is common in Cao’s works, however, the spirit of innocence in East Wind belies the film’s sophistication. Using a nationally manufactured truck for this naively made Thomas (a truck developed by Mao in the 1950s and named East Wind with reference to the proverb “the East Wind will prevail over the West Wind”) and adding its own synthesised version of the theme song, the film is as much about Chinese appropriation of Western culture as it is about Western hegemony.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Cao Fei in UbuWeb Sound</a>","artist_bio":"Cao Fei (1978) is a Chinese artist based in Beijing. She is known for her multimedia installations and videos, and is acknowledged as one of the key artists of a new generation emerging from Mainland China. She mixes social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations. Her works reflect on the rapid and chaotic changes that are occurring in Chinese society today. Her recent project RMB CITY (2008-2011) has been exhibited in Deutsche Guggenheim (2010),Shiseido Gallery, Tokyo, Japan (2009), Serpentine Gallery, London (2008), Yokohama Triennale (2008). I. Mirror by China Tracy, 52nd Venice Biennale (2007), Chinese Pavilion; RMB CITY- A Second Life City Planning has been exhibited in Istanbul Biennale (2007); Whose Utopia, TATE Liverpool (2007), Nu Project, Lyon Biennale (2007). Cao Fei also participated in 17th & 15th Biennale of Sydney (2006/2010), Moscow Biennale (2005), Shanghai Biennale (2004), 50th Venice Biennale (2003). She also exhibited video works in Guggenheim Museum (New York), the International Center of Photography (New York), MoMA (New York), P.S.1 (New York), Palais de Tokyo (Paris), Musee d'Art Moderne de la ville de Paris (Paris), Mori Art Museum (Tokyo). And Cao Fei is the finalist of Hugo Boss Prize 2010, and won The 2006 Best Young Artist Award by CCAA (Chinese Contemporary Art Award ).","bio_dates":"b. 1978"},{"slug":"fei_cao_milkman","ok":true,"partial":false,"title":"Milkman","artist":"Cao Fei","year":"2005","startOffset":0,"sourceSecs":1138.838,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":182627393,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fei_cao_milkman/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fei_cao_milkman/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fei_cao_milkman.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fei_cao_milkman/main.mp4?v=2","description":"Cao’s Milkman (2005) follows a day in the life of a milkman in China’s Guangdong province, and is a pseudo-documentary fiction, exploring the mundane realities and escapist fantasies of the working class in China.","artist_bio":"Cao Fei (1978) is a Chinese artist based in Beijing. She is known for her multimedia installations and videos, and is acknowledged as one of the key artists of a new generation emerging from Mainland China. She mixes social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations. Her works reflect on the rapid and chaotic changes that are occurring in Chinese society today. Her recent project RMB CITY (2008-2011) has been exhibited in Deutsche Guggenheim (2010),Shiseido Gallery, Tokyo, Japan (2009), Serpentine Gallery, London (2008), Yokohama Triennale (2008). I. Mirror by China Tracy, 52nd Venice Biennale (2007), Chinese Pavilion; RMB CITY- A Second Life City Planning has been exhibited in Istanbul Biennale (2007); Whose Utopia, TATE Liverpool (2007), Nu Project, Lyon Biennale (2007). Cao Fei also participated in 17th & 15th Biennale of Sydney (2006/2010), Moscow Biennale (2005), Shanghai Biennale (2004), 50th Venice Biennale (2003). She also exhibited video works in Guggenheim Museum (New York), the International Center of Photography (New York), MoMA (New York), P.S.1 (New York), Palais de Tokyo (Paris), Musee d'Art Moderne de la ville de Paris (Paris), Mori Art Museum (Tokyo). And Cao Fei is the finalist of Hugo Boss Prize 2010, and won The 2006 Best Young Artist Award by CCAA (Chinese Contemporary Art Award ).","bio_dates":"b. 1978"},{"slug":"fei_cao_qi_of_rmb_city","ok":true,"partial":false,"title":"Qi of RMB City","artist":"Cao Fei","year":"2009","startOffset":0,"sourceSecs":583.038,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":90488989,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fei_cao_qi_of_rmb_city/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fei_cao_qi_of_rmb_city/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fei_cao_qi_of_rmb_city.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fei_cao_qi_of_rmb_city/main.mp4?v=2","description":"Qi of RMB City, SL project by guest artist Huang He + RMB City / Video by Cao Fei / Co-producer: Kaai Theater, Festival PERFORMATIK 09, Brussels, 2009<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Cao Fei in UbuWeb Sound</a>","artist_bio":"Cao Fei (1978) is a Chinese artist based in Beijing. She is known for her multimedia installations and videos, and is acknowledged as one of the key artists of a new generation emerging from Mainland China. She mixes social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations. Her works reflect on the rapid and chaotic changes that are occurring in Chinese society today. Her recent project RMB CITY (2008-2011) has been exhibited in Deutsche Guggenheim (2010),Shiseido Gallery, Tokyo, Japan (2009), Serpentine Gallery, London (2008), Yokohama Triennale (2008). I. Mirror by China Tracy, 52nd Venice Biennale (2007), Chinese Pavilion; RMB CITY- A Second Life City Planning has been exhibited in Istanbul Biennale (2007); Whose Utopia, TATE Liverpool (2007), Nu Project, Lyon Biennale (2007). Cao Fei also participated in 17th & 15th Biennale of Sydney (2006/2010), Moscow Biennale (2005), Shanghai Biennale (2004), 50th Venice Biennale (2003). She also exhibited video works in Guggenheim Museum (New York), the International Center of Photography (New York), MoMA (New York), P.S.1 (New York), Palais de Tokyo (Paris), Musee d'Art Moderne de la ville de Paris (Paris), Mori Art Museum (Tokyo). And Cao Fei is the finalist of Hugo Boss Prize 2010, and won The 2006 Best Young Artist Award by CCAA (Chinese Contemporary Art Award ).","bio_dates":"b. 1978"},{"slug":"fei_cao_rmbcity","ok":true,"partial":false,"title":"Rmbcity","artist":"Cao Fei","year":"2007","startOffset":0,"sourceSecs":357.16,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":61719820,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fei_cao_rmbcity/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fei_cao_rmbcity/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fei_cao_rmbcity.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fei_cao_rmbcity/main.mp4?v=2","description":"In the near future, China Tracy will build a city dubbed RMB City within Second Life. This will be the condensed incarnation of contemporary Chinese cities with most of their characteristics; a series of new Chinese fantasy realms that are highly self-contradictory, inter-permeative, laden with irony and suspicion, and extremely entertaining and pan-political.\n\nChina's current obsession with land development in all its intensity will be extended to Second Life. A rough hybrid of communism, socialism and capitalism, RMB City will be realized in a globalized digital sphere combining overabundant symbols of Chinese reality with cursory imaginings of the country's future. In RMB City, we will be able to cruise the digital ocean, witnessing a Ferris wheel rotating on top of the Monument to the People's Heroes; looking down from the sky on the water of the Three Gorges reservoir gushing out of the Tian'anmen rostrum; passing the giant new totem symbolizing the Oriental Pearl TV Tower of Shanghai; hopping over the Feilai Temple marooned in a raging torrent; walking across a vast, desolate state-owned factory area in Northeast China; and finally hovering over the Grand National Theatre in Beijing. Also in our view will be gigantic planes gliding over terraces in the crevices of the central business district, and aerial super-malls. We will see water flowing into huge toilets on the container piers of the Pearl River Delta area before traveling through the sewage system into an ocean with floating statues of Mao Zedong. The rusted steel structure of the Olympic Stadium aka \"Bird's Nest\" will be washed in splashes of ocean spray, while an aerial band on a floating sheet of the national flag filled with five-pointed stars makes a deafening noise that shakes Rem Koolhaas' CCTV building, causing it to collapse...."},{"slug":"fei_cao_whose_utopia","ok":true,"partial":false,"title":"Whose Utopia","artist":"Cao Fei","year":"2006","startOffset":0,"sourceSecs":1206.528,"sourceHeight":368,"sourceWidth":496,"hasAudio":true,"hasAmbientMp4":true,"bytes":71832197,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fei_cao_whose_utopia/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fei_cao_whose_utopia/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fei_cao_whose_utopia.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fei_cao_whose_utopia/main.mp4?v=2","description":"Whose Utopia\" is a 20 minute video piece produced in collaboration with workers at the Oshram light factory in the Pearl River Delta Region during Cao Fei's residency there. Funded by the Siemens arts program, this video was a component of a broader project -- which includied a newspaper produced by Cao and the employees in the factory -- addressing global capitalism. The artist's other video work includes COSplayers (2004) and PRD Anti-Heroes (2005).","artist_bio":"Cao Fei (1978) is a Chinese artist based in Beijing. She is known for her multimedia installations and videos, and is acknowledged as one of the key artists of a new generation emerging from Mainland China. She mixes social commentary, popular aesthetics, references to Surrealism, and documentary conventions in her films and installations. Her works reflect on the rapid and chaotic changes that are occurring in Chinese society today. Her recent project RMB CITY (2008-2011) has been exhibited in Deutsche Guggenheim (2010),Shiseido Gallery, Tokyo, Japan (2009), Serpentine Gallery, London (2008), Yokohama Triennale (2008). I. Mirror by China Tracy, 52nd Venice Biennale (2007), Chinese Pavilion; RMB CITY- A Second Life City Planning has been exhibited in Istanbul Biennale (2007); Whose Utopia, TATE Liverpool (2007), Nu Project, Lyon Biennale (2007). Cao Fei also participated in 17th & 15th Biennale of Sydney (2006/2010), Moscow Biennale (2005), Shanghai Biennale (2004), 50th Venice Biennale (2003). She also exhibited video works in Guggenheim Museum (New York), the International Center of Photography (New York), MoMA (New York), P.S.1 (New York), Palais de Tokyo (Paris), Musee d'Art Moderne de la ville de Paris (Paris), Mori Art Museum (Tokyo). And Cao Fei is the finalist of Hugo Boss Prize 2010, and won The 2006 Best Young Artist Award by CCAA (Chinese Contemporary Art Award ).","bio_dates":"b. 1978"},{"slug":"feldman_morton_geoffrey_madge_1986","ok":true,"partial":false,"title":"Morton Feldman and Geoffrey Madge, A Conversation","artist":"Morton Feldman & Geoffrey Madge","year":"1986","startOffset":0,"sourceSecs":5049.295,"sourceHeight":360,"sourceWidth":450,"hasAudio":true,"hasAmbientMp4":true,"bytes":292719926,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/feldman_morton_geoffrey_madge_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/feldman_morton_geoffrey_madge_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/feldman_morton_geoffrey_madge_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/feldman_morton_geoffrey_madge_1986/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/feldman_morton_geoffrey_madge_1986/main/master.m3u8?v=2","hasMainHls":true,"description":"Morton Feldman and Geoffrey Madge, A Conversation, 1986 at De Kloveniersdoelen, Middelburg.","artist_bio":"A major figure in 20th-century music, Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers also including John Cage, Christian Wolff, and Earle Brown. Feldman's works are characterized by notational innovations that he developed to create his characteristic sound: rhythms that seem to be free and floating; pitch shadings that seem softly unfocused; a generally quiet and slowly evolving music; recurring asymmetric patterns. His later works, after 1977, also begin to explore extremes of duration.","bio_dates":"1926-1987"},{"slug":"feldman_morton_louis_andriessen_1986","ok":true,"partial":false,"title":"Morton Feldman and Louis Andriessen, A Conversation","artist":"Morton Feldman & Iannis Xenakis","year":"1986","startOffset":0,"sourceSecs":1589.498,"sourceHeight":360,"sourceWidth":450,"hasAudio":true,"hasAmbientMp4":true,"bytes":98846825,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/feldman_morton_louis_andriessen_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/feldman_morton_louis_andriessen_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/feldman_morton_louis_andriessen_1986.mp4","hasFrames":true,"description":"Conversation with Morton Feldman and Louis Andriessen, 1986 at De Kloveniersdoelen, Middelburg.","artist_bio":"A major figure in 20th-century music, Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers also including John Cage, Christian Wolff, and Earle Brown. Feldman's works are characterized by notational innovations that he developed to create his characteristic sound: rhythms that seem to be free and floating; pitch shadings that seem softly unfocused; a generally quiet and slowly evolving music; recurring asymmetric patterns. His later works, after 1977, also begin to explore extremes of duration.","bio_dates":"1926-1987"},{"slug":"feldman_morton_the_198_darmstadt_lecture","ok":true,"partial":false,"title":"The 1986 Darmstadt Lecture (excerpt)","artist":"Morton Feldman","year":"1986","startOffset":0,"sourceSecs":134.582,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":29509924,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/feldman_morton_the_198_darmstadt_lecture/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/feldman_morton_the_198_darmstadt_lecture/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/feldman_morton_the_198_darmstadt_lecture.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/feldman_morton_the_198_darmstadt_lecture/main.mp4?v=2","description":"An excerpt from Morton Feldman’s Darmstadt lecture, held at the 33rd International Summer Courses for New Music in Darmstadt on 24th July 1986.","artist_bio":"A major figure in 20th-century music, Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers also including John Cage, Christian Wolff, and Earle Brown. Feldman's works are characterized by notational innovations that he developed to create his characteristic sound: rhythms that seem to be free and floating; pitch shadings that seem softly unfocused; a generally quiet and slowly evolving music; recurring asymmetric patterns. His later works, after 1977, also begin to explore extremes of duration.","bio_dates":"1926-1987"},{"slug":"feldman_morton_xenakis","ok":true,"partial":false,"title":"Morton Feldman and Louis Andriessen, A Conversation","artist":"Morton Feldman & Iannis Xenakis","year":"1986","startOffset":0,"sourceSecs":4191.457,"sourceHeight":360,"sourceWidth":450,"hasAudio":true,"hasAmbientMp4":true,"bytes":244985235,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/feldman_morton_xenakis/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/feldman_morton_xenakis/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/feldman_morton_xenakis.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/feldman_morton_xenakis/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/feldman_morton_xenakis/main/master.m3u8?v=2","hasMainHls":true,"description":"Conversation with Morton Feldman and Louis Andriessen, 1986 at De Kloveniersdoelen, Middelburg.","artist_bio":"A major figure in 20th-century music, Feldman was a pioneer of indeterminate music, a development associated with the experimental New York School of composers also including John Cage, Christian Wolff, and Earle Brown. Feldman's works are characterized by notational innovations that he developed to create his characteristic sound: rhythms that seem to be free and floating; pitch shadings that seem softly unfocused; a generally quiet and slowly evolving music; recurring asymmetric patterns. His later works, after 1977, also begin to explore extremes of duration.","bio_dates":"1926-1987"},{"slug":"ferrari_luc_facing_his_tautology_2005","ok":true,"partial":false,"title":"Facing his Tautology","artist":"Luc Ferrari","year":"2005","startOffset":0,"sourceSecs":3173.12,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":534452305,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ferrari_luc_facing_his_tautology_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ferrari_luc_facing_his_tautology_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ferrari_luc_facing_his_tautology_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ferrari_luc_facing_his_tautology_2005/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ferrari_luc_facing_his_tautology_2005/main/master.m3u8?v=2","hasMainHls":true,"description":"Year: 2005<br/> Time: 52 mins<br/> Music: Luc Ferrari, Jean-Philippe Collard-Neven, Vincent Royer <br/><br/> Shot shortly before Luc Ferrari's demise, Facing his Tautology has the fundamental merit of avoiding the temptation of a sentimentalist epitaph mode. Indeed, the fact that the film's subtitle alludes to this sad coincidence may perhaps, given the general tone of the picture, be more of an imposition by the producing label than a decision by the directors. Facing his Tautology was recorded in France, during the initial stages of a new Ferrari production, a new version of his 1969 piece Tautologos III. The score is actually nothing more than a set of rules, whose results are to be decided by the musicians' inspiration and Ferrari's sensibility. The film allows us an intimate glimpse of the composer's methods and centers on his relationship with the performers (which, in this case at least, amounts to the same). The picture we are presented with is one of an active, sagacious, good-humored and open-minded man, miles away from the stereotype of the composer-dictator in complete charge of his output (as seen in, say, documentaries on Stockhausen or Boulez). In fact, Ferrari allows himself, and concomitantly the directors, to demystify the concept of the composer itself: although never declining is position, Ferrari assumes the role of a guide, someone who is steering the wheels and coordinating efforts and sensibilities to achieve a result in which all participants can claim a finger of their own. What is perhaps more rewarding in this fascinating documentary is the human confirmation or translation of the composer we hear in his pieces: such generous, transgressing, humorous, intelligent, sarcastic, joyful music does indeed stem from a man with all those qualities. -- Eye of Sound","artist_bio":"Luc Ferrari was born in Paris, and was trained in music at a very young age, studying the piano under Alfred Cortot, musical analysis under Olivier Messiaen and composition under Arthur Honegger. His first works were freely atonal. A case of tuberculosis in his youth interrupted his career as a pianist. From then on he mostly concentrated on musical composition. During this illness he had the opportunity to become acquainted with the radio receiver, with pioneers such as Schönberg, Berg, and Webern.\nIn 1954, Ferrari went to the United States to meet Edgard Varèse, whose Déserts he had heard on the radio, and had impressed him. This seems to have had a great effect on him, with the tape part in Déserts serving as inspiration for Ferrari to use magnetic tape in his own music. In 1958 he co-founded the Groupe de Recherches Musicales with Pierre Schaeffer and François-Bernard Mâche. He taught in institutions around the world, and worked for film, theatre and radio. By the early 1960, Ferrari had begun work on his Hétérozygote, a piece for magnetic tape which uses ambient environmental sounds to suggest a dramatic narrative. The use of ambient recordings was to become a distinctive part of Ferrari's musical language.\nFerrari's Presque rien No. 1 'Le Lever du jour au bord de la mer' (1970) is regarded as a classic of its kind. In it, Ferrari takes a day-long recording of environmental sounds at a Yugoslavian beach and, through editing, makes a piece that lasts just twenty-one minutes. It has been seen as an affirmation of John Cage's idea that music is always going on all around us, and if only we were to stop to listen to it, we would realise this. Ferrari continued to write purely instrumental music as well as his tape pieces. He also made a number of documentary films on contemporary composers in rehearsal, including Olivier Messiaen and Karlheinz Stockhausen.","bio_dates":"1929-2005"},{"slug":"festival_of_mask_1982","ok":true,"partial":false,"title":"Festival of Mask","artist":"Don Amis","year":"1982","startOffset":0,"sourceSecs":1471.737,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":246907058,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/festival_of_mask_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/festival_of_mask_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/festival_of_mask_1982.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/festival_of_mask_1982/main.mp4?v=2","description":"From L.A. Rebellion: Creating a New Black Cinema (1971-2006)\n\nFilmmaker Don Amis was one of the very few Black student filmmakers at UCLA (including Carroll Parrott Blue and Denise Bean) working in a documentary mode. In this film, preparations, parade and performances from the Craft and Folk Art Museum’s annual Festival of Mask illustrate L.A.’s diverse racial and ethnic communities (African, Asian, Latin American) expressing themselves through a shared traditional form. —Jacqueline Stewart\n\nBlack Star Films. Producer: D. Amis. Screenwriter: D. Amis, Jennifer Amis. Cinematographer: D. Amis, Ben Caldwell, Dan Riesenfeld, Don Cropper, Jeff Fazio. Editor: D. Amis. Cast: Carmen Stetson.\n\n16mm, color, 25 min."},{"slug":"filho_luiz_rosemberg_imagens_do_silencio_1973","ok":true,"partial":false,"title":"Imagens do Silêncio","artist":"Luiz Rosemberg Filho","year":"1973","startOffset":0,"sourceSecs":4049.984,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":684556482,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/filho_luiz_rosemberg_imagens_do_silencio_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/filho_luiz_rosemberg_imagens_do_silencio_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/filho_luiz_rosemberg_imagens_do_silencio_1973.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/filho_luiz_rosemberg_imagens_do_silencio_1973/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/filho_luiz_rosemberg_imagens_do_silencio_1973/main/master.m3u8?v=2","hasMainHls":true,"description":"Without any sounds, dialogues and with unknown actors, the images are the focus of this film. Images that want to awake, to question determinant moments, state of a system's languages, the morality of deaths, the immobility, the silence, among other subjects. Shot at the height of the Brazilian military dictatorship, it is an affront to the most diverse types of repression in that period.","artist_bio":"The trajectory of the Brazilian filmmaker Luiz Rosemberg Filho has been marked by the disconcerting pace of those who are constantly out of step. In a week where Brazilian cinema made the front page for winning important awards at Festival de Cannes, history mourned Rosemberg’s death recalling a less euphoric memory of the Croisette: in 1978, Crônica de um Industrial / Chronicle of an Industrialist, directed by Rosemberg, was selected for the festival, but ended up blocked from being screened by the Brazilian censorship.\nBy then, the director was no stranger to state brutality. A non-conformist in the most literal sense of the term, Rosemberg had seen his previous film, A$suntina das Amérikas (1976), be censored in total, and his debut feature film, O Jardim das Espumas / Foam Garden 1971, become a landmark of Brazilian Marginal Cinema, famously defined by Glauber Rocha as “a well-seasoned soup of rocks,” even though it had barely been seen: censored at the time of its release, the film had been considered lost since the mid-1980s (Rosemberg himself used to say the producer made a broom out of the negatives).\nAfter the exploitation experiment O Santo e a Vedete /The Saint and the Starlet (1982), Luiz Rosemberg Filho took a long break from feature films but did not move away from the cinema. In 1986, he organized and published an influential critical anthology on the work of Jean-Luc Godard—a filmmaker whose kinship is visible in his aesthetic restlessness. In the 1990s, during the production shutdown that followed the demise of the state-funded production company Embrafilme, Rosemberg quietly began experimenting with the analog video essay format, accumulating dozens of works that very few people got the chance to see. More than a career, his cinema was an ethics and a practice, a way to refine and articulate his bewilderment in a post-utopian world.\nThe times, however, slowly caught up with him. In 2014, Cavi Borges—a video store owner who has produced and directed hundreds of independent low or no-budget films - approached Rosemberg about making a new feature film. That same year, CineOP—a festival in the city of Ouro Preto especially devoted to audiovisual preservation and archiving who had programmed an homage to Rosemberg that year—found a surviving 16mm print of Foam Garden - a speculative science fiction in the form of a collage that includes Hitler, King Kong and the carnivalesque counterculture—in France, and ended up tracking another lost film by him, Imagens (Images, 1972)—a silent epic that stands at an unlikely intersection between Pasolini, Philippe Garrel, and the New American Cinema—in the archive of the same film club. After decades of mismatch, the stars were finally aligning.\nAround the same time his new film, Dois Casamentos / Two Weddings (2015), premiered, the director launched a YouTube channel and made available the larger portion of the work he'd made up until that point. Younger generations of critics, scholars, filmmakers, and cinephiles suddenly had access to the work of an entire life devoted to the radical interrogation of politics and aesthetics, with films and videos that embraced poetry, interrogated sensuality, exposed mass-media, attacked organized politics, and expressed a permanent discomfort with the deterioration of life in Brazil. But, more than that, Rosemberg's uncompromising creativity became something one could count on: since his return to the feature format, he released two more feature films - including the astonishing Guerra do Paraguay / Paraguay War (2016), a tour de force on the persistence of life past destructive masculinity - and a handful of shorts, which have circulated widely, often alongside the filmmaker, in the festival circuit.\nLuiz Rosemberg Filho died on May 19, at 75, after years battling cancer. His death, however, didn't prevent him from pointing new ways forward in the form of O Bobo da Corte / The Jester, a new finished film which is yet to be released.\n(Fábio Andrade is a film critic, artist, and PhD Candidate in the Cinema Studies department at NYU.)","bio_dates":"1943-2019"},{"slug":"filliou_robert_teaching_and_learning","ok":true,"partial":false,"title":"Teaching and Learning as Performing Arts Part II","artist":"Robert Filliou","year":"1979","startOffset":0,"sourceSecs":2247.061,"sourceHeight":404,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":132229005,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/filliou_robert_teaching_and_learning/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/filliou_robert_teaching_and_learning/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/filliou_robert_teaching_and_learning.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/filliou_robert_teaching_and_learning/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/filliou_robert_teaching_and_learning/main/master.m3u8?v=2","hasMainHls":true,"description":"Glenn Lewis / Marianne Filliou / Robert Filliou / Taki Bluesinger, Teaching and Learning as Performing Arts Part II, Video University, 1979, 01:22:30.","artist_bio":"Robert Filliou\n(Born January 17, 1926, in Sauve, France - Died December 2, 1987, in Les Eyzies, France) was a French Fluxus artist, who produced works as a filmmaker, \"action poet,\" sculptor, and happenings maestro.\nIn 1943, Filliou joined became a member of the French Communist Party during the war.\nIn 1947, Filliou traveled to the United States and work as a laborer for Coca-Cola in Los Angeles and achieved a masters in economics. In 1951, he took dual French-American nationality. He worked as a United Nations adviser and was sent to Korea for three years.\nHe has lived in Egypt, Spain, Denmark, Canada, and France. He met his wife, Marianne Staffels, in Denmark.\nIn 1960, Filliou designed his first visual work, Le Collage de l'immortelle mort du monde (Collage of the Immortal Death of the World), a transcription of a random theater play comparable to a chessboard where individual experiences are expressed.\nFilliou first proposed \"Art's Birthday\" in 1963. He suggested that 1,000,000 years ago, there was no art. But one day, on January 17th to be precise, Art was born. Filliou says it happened when someone dropped a dry sponge into a bucket of water. He also proposed a public holiday to celebrate the presence of art in our lives. Art's Birthday was first publicly celebrated in 1973 in Auchen, Germany and at the same time in Paris, France.\nIn 1971, Filliou created la République géniale (the Republic of Genius) where people enter its territory to develop their genius rather than their talent and research is no longer the privileged domain of the person who knows, but of the person who does not know.\nIn his work Le Petit Robert Filliou, Filliou defined the principles of Poetic Economics and its scale of values. This work served as the script for a Super 8 film that he made in 1972 with Bob Guiny.\nIn 1974, Filliou produced Recherche sur l'origine, a work made of cloth 90 meters long and 3 meters high where spectators could walk around inside.\nVideo works by Filliou include: 14 Songs and 1 Riddle (1977, document of a performance), And So on, End So Soon: Done 3 times (1977), Porta Filliou (1977), Telepathic Music Nø7 - The Principle of Equivalence Carried to a Series of 5 (1977), Teaching and Learning as Performings Arts, Part 2, Video (1979). Filliou also produced video works at Vehicule in Montréal, and an obscure work done in the basement of the Pompidou.\nFilliou worked together with artists such as Emmett Williams and George Brecht. In 1982, Filliou received the first Schwitters prize of the city of Hanover.\nIn 1977, Filliou moved to Canada and continued to work with video. Later, with his wife Marianne Staffels, Filliou withdrew for 3 years 3 months and 3 days to a Buddhist center in Les Eyzies, France.\nFilliou died on December 2nd, 1987 in a monastery in Les Eyzies, France.","bio_dates":"1926-1987"},{"slug":"finer_jem_autodestruct_1998_and_2000","ok":true,"partial":false,"title":"Autodestruct","artist":"Jem Finer","year":"1998","startOffset":0,"sourceSecs":467.65,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":79788942,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finer_jem_autodestruct_1998_and_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finer_jem_autodestruct_1998_and_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/finer_jem_autodestruct_1998_and_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/finer_jem_autodestruct_1998_and_2000/main.mp4?v=2","description":"In 1998, as part of a show in <i>Marseille, Marseille en Juin</i>, I performed <i>Autodestruct I</i>, in which I sanded the paint of my car, over the course of 2 days, accompanied by a selection of music collected and created to accompany the din of a sanding disc on metal. A radical cleaning through a reverse form of painting, the car's body was transformed from a mundane paint job into to a shining thing of beauty, though one that came at the expense of it's inevitable decay. Entropy accelerated. <br/><br/> Initially the idea was to invite interventions to hasten the onset of rust and end up with a car with an all over oxidised patina - a dusty, rusty orange. But having stripped the car down I became protective about the beauty of it's precarious new finish. Driving around, first in Marseille and then through France and England, the car polarised opinion, reactions ranging from horror to glee. <br/><br/> <i>Autodestruct II</i> and <i>Autodestruct III</i> followed in 1999 and 2000 respectively. The film documents the first and third performances. While the first featured my own music the third invited people to make their own responses, in any medium. Marcia Farquhar, who suggested the title Autodestruct in the first place, talked about an encounter with Gustav Metzger, the true father of auto destructive art, while other contributors played music, took photographs (Darryl Hunt's polaroids are seen in the back window of the car) and made films (thanks to Richard Coldman for the use of his footage). <br/><br/> Film - Richard Coleman and Dorian McFarland. Edited by Jem Finer.","artist_bio":"Fabio Mauri was born in Rome, Italy, in 1926 and died in 2009. An artist, writer, playwright, critic, publisher and professor at the Art Academy of L’Aquila, he participated in the Venice Biennale in 1954, 1974, 1978, 1993 and 2003. Major exhibitions include: ‘Opere e Azioni 1954 – 94’ (Works and Actions 1954 – 94), Galleria Nazionale d’Arte Moderna, Rome, 1994; Kunsthalle Ritter, Klagenfurt, Germany, 1997; Le Fresnoy, Lille, France, 2003; and Auditorium Parco della Musica, Rome, 2008. ‘spazio/Omaggio a Fabio Mauri’ (space/Homage to Fabio Mauri) was held at maxxi, Rome, in 2010 – 11. ‘Fabio Mauri: The End’, will run at Palazzo Reale, Milan, Italy, from 18 June – 23 October 2012.","bio_dates":"b. 1955"},{"slug":"finer_jem_blowing_down_the_blue_wall_2008","ok":true,"partial":false,"title":"Blowing Down the Blue Wall","artist":"Jem Finer","year":"2008","startOffset":0,"sourceSecs":275.328,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":49314666,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finer_jem_blowing_down_the_blue_wall_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finer_jem_blowing_down_the_blue_wall_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/finer_jem_blowing_down_the_blue_wall_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/finer_jem_blowing_down_the_blue_wall_2008/main.mp4?v=2","description":"The blue wall surrounded the Olympic Site in East London, a relentless and unstoppable barrier to exclude feral elements from the kingdom of construction. <br/><br/> The film documents part of the process of making a \"sonic map\" of the site - as one was not allowed in, the commissioning of such a work was rendered pretty much absurd from the start. Thus the focus became the wall. <br/><br/> The eventual work, <i>The Rise and Fall of the Olympic State</i>, managed to include some material from within the site, in the form of a transcript of a guided tour, arranged by the authorities. i.e. predictably gloss, tosh and whitewash. <br/><br/> The final act was to try and blow the walls down using the time honoured tradition of trumpets. <br/><br/> The players were Dan Gayle Hayes, Pete Fraser, Ian Williamson and Dorian McFarland, the film was shot and edited by Jem Finer who has never taken a penny of the Olympic billions.","artist_bio":"Fabio Mauri was born in Rome, Italy, in 1926 and died in 2009. An artist, writer, playwright, critic, publisher and professor at the Art Academy of L’Aquila, he participated in the Venice Biennale in 1954, 1974, 1978, 1993 and 2003. Major exhibitions include: ‘Opere e Azioni 1954 – 94’ (Works and Actions 1954 – 94), Galleria Nazionale d’Arte Moderna, Rome, 1994; Kunsthalle Ritter, Klagenfurt, Germany, 1997; Le Fresnoy, Lille, France, 2003; and Auditorium Parco della Musica, Rome, 2008. ‘spazio/Omaggio a Fabio Mauri’ (space/Homage to Fabio Mauri) was held at maxxi, Rome, in 2010 – 11. ‘Fabio Mauri: The End’, will run at Palazzo Reale, Milan, Italy, from 18 June – 23 October 2012.","bio_dates":"b. 1955"},{"slug":"finer_jem_landscope_2005","ok":true,"partial":false,"title":"Landscope","artist":"Jem Finer","year":"2005","startOffset":0,"sourceSecs":438.4,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":79833194,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finer_jem_landscope_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finer_jem_landscope_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/finer_jem_landscope_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/finer_jem_landscope_2005/main.mp4?v=2","description":"The work:<br/><br/> An installation both beside and in Lough Neagh, Northern Ireland, February 2005, <br/><br/> A structure stood in the water – resembling an upside-down pylon, or an arcane fishing rig. Strung across it, a radio telescope picked up electromagnetic interference from storms on the surface of Jupiter. On the shore was a shed, also upside-down, as if somehow it had been dropped there (maybe by a passing tornado). Inside the shed, a camera obscura, the inverted world was projected, the horizon sitting at the apex of the structure, like a globe atop its spinner.<br/><br/> A connection made between the dish of the lough and the bowl of the sky; voices from the lough, a vast, dark non-space in the centre of Northern Ireland, were mixed with signals from space, and the sounds of the wriggling of eels in the water.<br/><br/> The film:<br/><br/> The film was written and narrated by Tom McCarthy for the BBC. It was never shown due to a concern that they had too much conceptual art on that week.<br/><br/><a href=\"https://ubu.com/film/images/Finer-Jem_Landscope-Notes_LG.jpg\" rel=\"noopener\" target=\"_blank\">Image of Landscope Notebook</a>","artist_bio":"Fabio Mauri was born in Rome, Italy, in 1926 and died in 2009. An artist, writer, playwright, critic, publisher and professor at the Art Academy of L’Aquila, he participated in the Venice Biennale in 1954, 1974, 1978, 1993 and 2003. Major exhibitions include: ‘Opere e Azioni 1954 – 94’ (Works and Actions 1954 – 94), Galleria Nazionale d’Arte Moderna, Rome, 1994; Kunsthalle Ritter, Klagenfurt, Germany, 1997; Le Fresnoy, Lille, France, 2003; and Auditorium Parco della Musica, Rome, 2008. ‘spazio/Omaggio a Fabio Mauri’ (space/Homage to Fabio Mauri) was held at maxxi, Rome, in 2010 – 11. ‘Fabio Mauri: The End’, will run at Palazzo Reale, Milan, Italy, from 18 June – 23 October 2012.","bio_dates":"b. 1955"},{"slug":"finer_jem_piano_pieces_2008","ok":true,"partial":false,"title":"Piano Pieces","artist":"Jem Finer","year":"2008","startOffset":0,"sourceSecs":522.731,"sourceHeight":540,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":85271967,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finer_jem_piano_pieces_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finer_jem_piano_pieces_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/finer_jem_piano_pieces_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/finer_jem_piano_pieces_2008/main.mp4?v=2","description":"A performance at the First Last LMC Festival at Cafe Oto, Dalston, London.<br/> The London Musician's Collective lost their funding in the cull that took place in 2008 to divert money to the Olympics. <br/> The festival was their farewell.<br/> <br/> Thanks to Harpo Marx. <br/><br/> Filmed by Benedict Drew. Performed by Jem Finer.","artist_bio":"Fabio Mauri was born in Rome, Italy, in 1926 and died in 2009. An artist, writer, playwright, critic, publisher and professor at the Art Academy of L’Aquila, he participated in the Venice Biennale in 1954, 1974, 1978, 1993 and 2003. Major exhibitions include: ‘Opere e Azioni 1954 – 94’ (Works and Actions 1954 – 94), Galleria Nazionale d’Arte Moderna, Rome, 1994; Kunsthalle Ritter, Klagenfurt, Germany, 1997; Le Fresnoy, Lille, France, 2003; and Auditorium Parco della Musica, Rome, 2008. ‘spazio/Omaggio a Fabio Mauri’ (space/Homage to Fabio Mauri) was held at maxxi, Rome, in 2010 – 11. ‘Fabio Mauri: The End’, will run at Palazzo Reale, Milan, Italy, from 18 June – 23 October 2012.","bio_dates":"b. 1955"},{"slug":"finer_jem_rhino_2002","ok":true,"partial":false,"title":"Rhino","artist":"Jem Finer","year":"2002","startOffset":0,"sourceSecs":68.928,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":56469,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finer_jem_rhino_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finer_jem_rhino_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/finer_jem_rhino_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/finer_jem_rhino_2002/main.mp4?v=2","description":"The cow road signs in Andalucia were provocatively rhino like. <br/><br/> Film and felt tip by Jem Finer, early one morning.","artist_bio":"Fabio Mauri was born in Rome, Italy, in 1926 and died in 2009. An artist, writer, playwright, critic, publisher and professor at the Art Academy of L’Aquila, he participated in the Venice Biennale in 1954, 1974, 1978, 1993 and 2003. Major exhibitions include: ‘Opere e Azioni 1954 – 94’ (Works and Actions 1954 – 94), Galleria Nazionale d’Arte Moderna, Rome, 1994; Kunsthalle Ritter, Klagenfurt, Germany, 1997; Le Fresnoy, Lille, France, 2003; and Auditorium Parco della Musica, Rome, 2008. ‘spazio/Omaggio a Fabio Mauri’ (space/Homage to Fabio Mauri) was held at maxxi, Rome, in 2010 – 11. ‘Fabio Mauri: The End’, will run at Palazzo Reale, Milan, Italy, from 18 June – 23 October 2012.","bio_dates":"b. 1955"},{"slug":"finley_karen_state_of_desire","ok":true,"partial":false,"title":"The Constant State of Desire","artist":"Karen Finley","year":"1996","startOffset":0,"sourceSecs":4215,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":242832734,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finley_karen_state_of_desire/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/finley_karen_state_of_desire/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/finley_karen_state_of_desire.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/finley_karen_state_of_desire/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/finley_karen_state_of_desire/main/master.m3u8?v=2","hasMainHls":true,"description":"In the performance Constant State of Desire, Karen Finley is convey a message about the society in a shocking and absurd manner. She yells, hits, and swears constantly. She is trying to express two points. First of all, if she is able to perform in such manner, every woman in the society should be able to speak out their voice even in this fraudulent society. Secondly, she is trying to tell the audiences that this society is meaningless and hopeless despite the fact that everyone works hard to fit into the social standard.","artist_bio":"Karen Finley (born 1956) is an American performance artist, musician and poet. Her theatrical pieces and recordings have often been labeled obscene due to their graphic depictions of sexuality, abuse, and disenfranchisement.[1] Finley is currently a professor at the Tisch School of the Arts at New York University.\nAmong Finley's books are Shock Treatment, Enough Is Enough: Weekly Meditations for Living Dysfunctionally, the Martha Stewart satire Living It Up: Humorous Adventures in Hyperdomesticity, Pooh Unplugged (detailing the eating and psychological disorders of Winnie the Pooh and his friends), and A Different Kind of Intimacy - the latter a collection of her works. Her poem \"The Black Sheep\" is among her best-known works; it was displayed as public art in New York City for one month. Finley's poetry is included in The Outlaw Bible of American Poetry.","bio_dates":"b. 1956"},{"slug":"fischer_wild_man_derailroaded","ok":true,"partial":false,"title":"Derailroaded: Inside the Mind of Wild Man Fischer","artist":"Wild Man Fischer","year":"2005","startOffset":0,"sourceSecs":5183.178,"sourceHeight":400,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":297320635,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fischer_wild_man_derailroaded/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fischer_wild_man_derailroaded/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fischer_wild_man_derailroaded.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fischer_wild_man_derailroaded/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fischer_wild_man_derailroaded/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Josh Rubin and Jeremy Lubin <br/><br/> The film chronicles the life of Wild Man Fischer, an outsider artist who went in and out of several mental institutions when he was a child. It is composed of archive footage, interviews with people who were once associated with him, and interviews with Fischer himself. During the 1960s he was a street singer in L.A., which resulted in a cameo appearance in Rowan & Martin's Laugh-In in 1968. The same year Frank Zappa gave him the opportunity to record his first album, An Evening with Wild Man Fischer. Fischer's eccentric personality provided some truly unique music, but his mental problems rapidly ended his career. Fischer suffered from paranoia and schizophrenia and thus became impossible to work with, despite the best efforts of other artists (Barnes & Barnes, Rosemary Clooney, Zappa) to help him. Despite his cult reputation Fischer remained a poor street musician until around 2004, where he was eventually institutionalized and medicated. While his medications controlled his schizophrenia, they also suppressed his creativity.","artist_bio":"Lawrence Wayne \"Wild Man\" Fischer (November 6, 1944 – June 16, 2011) was an American street performer known for offering erratic, acapella performances of \"new kinds of songs\" for a nickel or a dime each on the Sunset Strip in West Hollywood.[1] Most of his life was spent homeless or institutionalized, and he later became regarded as \"the godfather of outsider music\".\nBorn in Los Angeles, Fischer was repeatedly sent to mental institutions as a teenager, where he was diagnosed with paranoid schizophrenia and bipolar disorder. In 1968, he recorded a double album, An Evening with Wild Man Fischer, that was produced by Frank Zappa for the Bizarre label. At one point, Fischer was the opening act for the Byrds, Iron Butterfly, Solomon Burke, and Bo Diddley. His relationship with Zappa came to an abrupt end after an argument about royalties.\nIn 1975, Fischer helped jumpstart Rhino Records with the novelty single \"Go to Rhino Records\". The label put out a trilogy of albums that ultimately became his last: Wildmania (1977), Pronounced Normal (1981), and Nothing Scary (1983); the latter two were produced by the comedy music duo Barnes & Barnes. A documentary about Fischer's life, Derailroaded: Inside the Mind of Wild Man Fischer, premiered at the South by Southwest festival in 2005. In 2004, he consented to move into an assisted-living hospital. He died of heart failure several years later at the age of 66.","bio_dates":"1944-2011"},{"slug":"fischli_weiss_katze","ok":true,"partial":false,"title":"Büsi AKA Kitty","artist":"Fischli/Weiss","year":"2001","startOffset":0,"sourceSecs":391,"sourceHeight":320,"sourceWidth":480,"hasAudio":false,"hasAmbientMp4":true,"bytes":19809757,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fischli_weiss_katze/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fischli_weiss_katze/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fischli_weiss_katze.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fischli_weiss_katze/main.mp4?v=2","description":"One of the most enduring and endearing aspects of the work of Swiss artists Peter Fischli and David Weiss is how it exhibits their fondness for everyday things. The video Büsi (Kitty) features a close-up of a cat lapping milk in a domestic environment. It was originally exhibited on an oversized video screen in New York's Times Square as part of a public art program, The 59th Minute: Video Art on the Times Square Astrovision. Given that this public space is usually reserved for slick commercials and news programming, it was an incongruous setting for a video of a cat deciding to pause for something to drink. While the lush, high-definition quality of the Büsi video suggests a commercial for a pet product, the lack of a soundtrack, deliberate overexposure, and slapdash framing give the work the look of an amateur video of a family pet. By simply changing the frame of reference, by restaging the commonplace within the landscape of art and/or commerce, Fischli and Weiss make the ordinary seem extraordinary.","artist_bio":"Fischli/Weiss\nPeter Fischli (born 8 June 1952) and David Weiss (21 June 1946 – 27 April 2012)\nPeter Fischli (born 8 June 1952) and David Weiss (21 June 1946 – 27 April 2012), often shortened to Fischli/Weiss, were an artist duo that had been collaborating since 1979. They were among the most renowned contemporary artists of Switzerland. Their best-known work is the film Der Lauf der Dinge (The Way Things Go, 1987), described by The Guardian as being \"post apocalyptic\", as it concerned chain reactions and the ways in which objects flew, crashed and exploded across the studio in which it was shot. Fischli lives and works in Zürich; Weiss died on 27 April 2012.","bio_dates":"1981"},{"slug":"fischli_weiss_the_point_of_least_resistance","ok":true,"partial":false,"title":"The Least Resistance","artist":"Fischli/Weiss","year":"1981","startOffset":0,"sourceSecs":1769.732,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":104996061,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fischli_weiss_the_point_of_least_resistance/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fischli_weiss_the_point_of_least_resistance/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fischli_weiss_the_point_of_least_resistance.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fischli_weiss_the_point_of_least_resistance/main.mp4?v=2","description":"In Fischli and Weiss' first film together, a rat and a bear are out to make a lot of money in the Los Angeles art world. So when they find a corpse in a gallery, hoping it will be the means to enter the worlds of culture, action and finance, they take it with them. However the desired effect is not forthcoming and they become involved in questions and observations on the subject of art and crime. The rat tries to solve the case himself; to him there is no distinction between artist and detective. After a narrow escape from a murder attempt, the two animals join forces once again and, now sadder and wiser, they resolve to improve - something that appears to be far from easy. But at the depths of despair they discover a system of order in the chaos of the world. And from here, they proceed into undreamed-of insights, and flights of fancy.","artist_bio":"Fischli/Weiss\nPeter Fischli (born 8 June 1952) and David Weiss (21 June 1946 – 27 April 2012)\nPeter Fischli (born 8 June 1952) and David Weiss (21 June 1946 – 27 April 2012), often shortened to Fischli/Weiss, were an artist duo that had been collaborating since 1979. They were among the most renowned contemporary artists of Switzerland. Their best-known work is the film Der Lauf der Dinge (The Way Things Go, 1987), described by The Guardian as being \"post apocalyptic\", as it concerned chain reactions and the ways in which objects flew, crashed and exploded across the studio in which it was shot. Fischli lives and works in Zürich; Weiss died on 27 April 2012.","bio_dates":"b. 1976"},{"slug":"fischli_weiss_the_right_way","ok":true,"partial":false,"title":"The Right Way","artist":"Fischli/Weiss","year":"1987","startOffset":0,"sourceSecs":3048.826,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":177260205,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fischli_weiss_the_right_way/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fischli_weiss_the_right_way/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fischli_weiss_the_right_way.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fischli_weiss_the_right_way/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fischli_weiss_the_right_way/main/master.m3u8?v=2","hasMainHls":true,"description":"In THE RIGHT WAY, friendship is once again put to the test as rat and bear go hiking in the open, as-it-were unspoiled countryside, at the mercy of the elements and all kinds of miracles - and, above all, at the mercy of themselves. With pure hearts and loads of goodwill, they try to find reasons for all they see and experience. Spontaneously they sometimes find themselves getting closer than expected to the right way.","artist_bio":"Fischli/Weiss\nPeter Fischli (born 8 June 1952) and David Weiss (21 June 1946 – 27 April 2012)\nPeter Fischli (born 8 June 1952) and David Weiss (21 June 1946 – 27 April 2012), often shortened to Fischli/Weiss, were an artist duo that had been collaborating since 1979. They were among the most renowned contemporary artists of Switzerland. Their best-known work is the film Der Lauf der Dinge (The Way Things Go, 1987), described by The Guardian as being \"post apocalyptic\", as it concerned chain reactions and the ways in which objects flew, crashed and exploded across the studio in which it was shot. Fischli lives and works in Zürich; Weiss died on 27 April 2012.","bio_dates":"b. 1976"},{"slug":"fisher_morgan_paren_2003_iphone","ok":true,"partial":false,"title":"()","artist":"Morgan Fisher","year":"2003","startOffset":0,"sourceSecs":1197.242,"sourceHeight":320,"sourceWidth":424,"hasAudio":true,"hasAmbientMp4":true,"bytes":75650676,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fisher_morgan_paren_2003_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fisher_morgan_paren_2003_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fisher_morgan_paren_2003_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fisher_morgan_paren_2003_iphone/main.mp4?v=2","description":"\"\"Fisher's most film, (), succeeds astonishingly where Frampton's parallel effort, Hapax Legomena: Remote Control (1972) failed; it uses aleatory methods to release the narrative unconscious of a set of randomly selected films. () is made up entirely of \"inserts\" from feature films organized according to Oulipian principles. Inserts were usually shot by assistants when star actors, large crews, or expensive sets were not needed. These include details of weapons, wounds, letters, signs, tombstones, machinery, games of chance, timepieces, money, and even intimate caresses. Fisher culled the inserts from a number of films he collected for that purpose and edited them together under constraints he does not fully reveal; he places the inserts from a given film in the order in which they appeared in that film, but two inserts from the same film never follow each other directly in his assemblage. Alternating among them we catch glimpses of violence, intrigue, high-stakes gambling, and sexual adventure.\" (P. Adams Sitney, Medium shots: the films of Morgan Fisher, in: ArtForum, January 2006)","artist_bio":"Morgan Fisher is an American filmmaker, artist, writer and teacher. He was born in 1942 in Washington, DC. He is well known for his unique avant-garde films which consistently push the definition of film itself. His academic pursuits make him standout amongst his peers. Morgan Fisher is one of the most influential artists in America who has had a clear and definitive influence amongst today's young artists. He is a professor at the European Graduate School and worked for many years at UCLA and the Art Center College of Design in Pasadena, California.\nJim Supanick has wrote the following on Morgan Fisher’s work:\nViewed as a whole, Fisher’s films are like a service entrance hidden behind the Hollywood sign, leading into corridors that take us past the film labs, sound stages, and utility closets of a vast movie empire. Viewed separately, they are sly and nuanced conundrums that introduce us to the unseen servants of an elaborate image-making process. Together, the films converse with and refer to one another in an intertextual cacophony worthy of Borges.\nMorgan Fisher attended Harvard from 1960 - 1964, where he majored in art history. After graduation Fisher worked at Harvard as a research assistant in their early computer mapping work. Fisher then made the move to the west coast where his interest in film began to really develop. He attended the University of Southern California from 1964 - 1965. Fisher completed his academic career with film school at UCLA from 1965 - 1966. Morgan Fisher’s academic pursuits is unique compared with his peers who as part of the fledgling avant-garde movement of the 1960’s either avoided or despised the academy. It appears Fisher’s turn towards the arts was more out of a learned disrespect for the boundaries of the theoretical straight-jacket of the academy. Around this time as Fisher was teaching and taking odd jobs in Hollywood the seeds of Morgan Fisher the director were at work. His work brought him in some interesting directions, such as editing for Roger Corman’s New World Pictures and doing stock-footage research for Haskell Wexler’s canceled follow-up to\nMedium Cool\n.\nMorgan Fisher’s early films,\nThe Director and His Actor Look at Footage Showing Preparations for an Unmade Film\n(1968) and\nPhi Phenomenon\n(1968), were shown at film festivals at St. Lawrence College and the Maryland Institute College of Art in Baltimore. By 1974 Morgan Fisher created eight more films. This intensive period of creativity began the production of his reputation. Following these films Morgan turned towards creating film installations for movies. These films include:\nSouthern Exposure\n(1977),\nNorth Light\n(1979),\nPassing Time\n(1979),\nColor and Balance\n(1980). 1984 Morgan Fisher finished production of his longest and most critically acclaimed film\nStandard Gauge\n, which was shot in 16mm and was thirty five minutes long.\nStandard Gauge\nis an autobiographical film that examines Morgan Fisher’s work as an editor in the film industry. The film goes through scraps of rejected material along with commentary on the meaning of all the scrapped images. This film is an account and critique of the processes of meaning within film production through an examination of both materialism and the institution of film itself. The Whitney Museum of American Art hosted a large show in honor of Morgan Fisher's film works in 2005 entitled,\nStandard Gauge: Film Works by Morgan Fisher\n.\nMorgan Fisher expanded his artistic development during the end of the 90’s. He began to expand his work to include painting, drawing and spatial installations.\nPendant Pair Paintings\n, a show at Galerie Daniel Buchholz in 2007, showcased an expansive concept of his paintings. Making use of spatial aesthetics, monochrome square canvases were placed amongst the gallery to provide critical commentary on the architectural space of the exhibition. In another show at Neuer Aachener Kunstverein in 2002,\nTo See Seeing\n, monochrome gray paintings were shown that in an angular form partially framed the windows of the space.\nMorgan Fisher's monochrome paintings shown at the China Art Objects Gallery in 2002 showcased his artistic work. The show includes two types of paintings. Five works from a series titled \"The Italian Paintings\" date from 1999. Two \"Self-Portraits,\" one from 1994 and the other brand new, showcase his growth and development as an artist.\nAfter a 19 year break Morgan Fisher returned to film and created the incredible twenty one minute film\n( )\n(Parenthesis, 2003). The film received critical acclaim at the Rotterdam Film Festival and the 2004 Whitney Biennial.\n( )\nis quite different than his previous works. The film is composed using entirely insert shots. William E. Jones writes the following on\n( )\n:\nBy obeying a difficult but arbitrary rule, Morgan Fisher has invented a world, neither fictional nor documentary, without recourse to montage, and without a conventional locus of meaning. He approaches the ideal of a film void. It expresses nothing.\nMorgan Fisher’s films include:\n( ),\n(2003) 21 min.,\nStandard and Gauge\n(1984),\nProjection Instructions\n(1976),\nCue Rolls\n(1974),\nWilkinson Household Fire Alarm\n(1973),\nPicture and Sound Rushes\n(1973),\nProduction Stills.\n(1970) 11 min,\nPhi Phenomenon\n(1968). Morgan Fisher has also had numerous solo exhibitions including:\nStandard Gauge: Film Works by Morgan Fisher\nat the Whitney Museum of American Art (2005),\nEdge and Corner paintings\nat the Adamski Gallery for Contemporary Art (2005),\nThe Films by Morgan Fisher\nat the Tate Modern (2005),\nTo See Seeing\nat the Neuer Aachener Kunstverein, Aachen (2002),\nChina Art Objects Galleries.\n(2002),\nPacifc Title and Art Studio\nat the China Art Objects Galleries (2002),\nColor Balance (reconstruction in 16mm of a film installation made in 1980)\nat the Galerie Daniel Buchholz (2002),\nKunstverein in Hamburg.\n(2000),\nThe Italian Paintings\nat the Los Angeles County Museum of Art (2000),\nKünstlerhaus Stuttgart\n(1998),\nMerz Akademie.\n(1998),\nAustrian Film Museum\n(1998),\nOtis College of Art and Design\n(1997),\nSchool of Film/Video, California Institute of the Arts.\n(1997),\nUniversity of California at Riverside\n(1996),\nOccidental College\n(1996),\nCalifornia Institute of the Arts\n(1995),\nPasadena Art Center College of Design.\n(1992),\nThe New Avant-Garde\nat the University of Rochester (1989),\nInternational Forum of Young Cinema.\nat the Berlin International Film Festival (1986),\nUniversity Gallery of Fine Art\nat Ohio State University (1986),\nPasadena Art Center College of Design\n(1986),\nThe Collective for Living Cinema\n(1985),\nSan Francisco Cinematheque\n(1985),\nPacific Film Archive\n(1985),\nPhiladelphia College of Art\n(1980),\nBoston Film/Video Foundation\n(1979),\nCalifornia Institute of the Arts\n(1979),\nDepartment of Photography and Film\nat Ohio State University (1979),\nContemporary Art Survey (Lecture Series)\nat UCLA (1978),\nUniversity of California at Santa Barbara.\n(1978),\nUniversity of California at San Diego\n(1978),\nCollective for Living Cinema\n(1978),\nOtis Art Institute\n(1977),\nMuseum of Art, Carnegie Institute\n(1976),\nAlbright-Knox Art Gallery\n(1976),\nSan Francisco Museum of Art\n(1976),\nAnthology Film Archives.\n(1976),\nMuseum of Modern Art\n(1976),\nPacific Film Archive\n(1975),\nSan Francisco Art Institute.\n(1975),\nThe Very Eye of Light; A Primer in the Experimental Film\nat the Vancouver Art Gallery (1975),\nPratt Institute\n(1974),\nMillennium Film Workshop\n(1973),\nSchool of the Art Institute Chicago\n(1973),\nIndependent Film Festival\nat the London National Film Theater (1973),\nMassachusetts Institute of Technology\n(1972),\nUCLA\n(1970),\nStandard Gauge: Film Works by Morgan Fisher\nat the Whitney Museum of American Art (1970),\nEdge and Corner paintings\nat Adamski (1970) and\nThe Films by Morgan Fisher\nat the Tate Modern (1970).","bio_dates":"b. 1942"},{"slug":"fisher_morgan_standard_gauge","ok":true,"partial":false,"title":"Standard Gauge","artist":"Morgan Fisher","year":"1984","startOffset":0,"sourceSecs":2040.24,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":343164668,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fisher_morgan_standard_gauge/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fisher_morgan_standard_gauge/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fisher_morgan_standard_gauge.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fisher_morgan_standard_gauge/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fisher_morgan_standard_gauge/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"One long piece of 16, many short pieces of 35; found footage, not vivified by projection but presented as a succession of objects; partly an autobiography, partly a history of a technological artifact and the institution of which it is the foundation, the commercial motion picture industry.\" –M. F.","artist_bio":"Morgan Fisher is an American filmmaker, artist, writer and teacher. He was born in 1942 in Washington, DC. He is well known for his unique avant-garde films which consistently push the definition of film itself. His academic pursuits make him standout amongst his peers. Morgan Fisher is one of the most influential artists in America who has had a clear and definitive influence amongst today's young artists. He is a professor at the European Graduate School and worked for many years at UCLA and the Art Center College of Design in Pasadena, California.\nJim Supanick has wrote the following on Morgan Fisher’s work:\nViewed as a whole, Fisher’s films are like a service entrance hidden behind the Hollywood sign, leading into corridors that take us past the film labs, sound stages, and utility closets of a vast movie empire. Viewed separately, they are sly and nuanced conundrums that introduce us to the unseen servants of an elaborate image-making process. Together, the films converse with and refer to one another in an intertextual cacophony worthy of Borges.\nMorgan Fisher attended Harvard from 1960 - 1964, where he majored in art history. After graduation Fisher worked at Harvard as a research assistant in their early computer mapping work. Fisher then made the move to the west coast where his interest in film began to really develop. He attended the University of Southern California from 1964 - 1965. Fisher completed his academic career with film school at UCLA from 1965 - 1966. Morgan Fisher’s academic pursuits is unique compared with his peers who as part of the fledgling avant-garde movement of the 1960’s either avoided or despised the academy. It appears Fisher’s turn towards the arts was more out of a learned disrespect for the boundaries of the theoretical straight-jacket of the academy. Around this time as Fisher was teaching and taking odd jobs in Hollywood the seeds of Morgan Fisher the director were at work. His work brought him in some interesting directions, such as editing for Roger Corman’s New World Pictures and doing stock-footage research for Haskell Wexler’s canceled follow-up to\nMedium Cool\n.\nMorgan Fisher’s early films,\nThe Director and His Actor Look at Footage Showing Preparations for an Unmade Film\n(1968) and\nPhi Phenomenon\n(1968), were shown at film festivals at St. Lawrence College and the Maryland Institute College of Art in Baltimore. By 1974 Morgan Fisher created eight more films. This intensive period of creativity began the production of his reputation. Following these films Morgan turned towards creating film installations for movies. These films include:\nSouthern Exposure\n(1977),\nNorth Light\n(1979),\nPassing Time\n(1979),\nColor and Balance\n(1980). 1984 Morgan Fisher finished production of his longest and most critically acclaimed film\nStandard Gauge\n, which was shot in 16mm and was thirty five minutes long.\nStandard Gauge\nis an autobiographical film that examines Morgan Fisher’s work as an editor in the film industry. The film goes through scraps of rejected material along with commentary on the meaning of all the scrapped images. This film is an account and critique of the processes of meaning within film production through an examination of both materialism and the institution of film itself. The Whitney Museum of American Art hosted a large show in honor of Morgan Fisher's film works in 2005 entitled,\nStandard Gauge: Film Works by Morgan Fisher\n.\nMorgan Fisher expanded his artistic development during the end of the 90’s. He began to expand his work to include painting, drawing and spatial installations.\nPendant Pair Paintings\n, a show at Galerie Daniel Buchholz in 2007, showcased an expansive concept of his paintings. Making use of spatial aesthetics, monochrome square canvases were placed amongst the gallery to provide critical commentary on the architectural space of the exhibition. In another show at Neuer Aachener Kunstverein in 2002,\nTo See Seeing\n, monochrome gray paintings were shown that in an angular form partially framed the windows of the space.\nMorgan Fisher's monochrome paintings shown at the China Art Objects Gallery in 2002 showcased his artistic work. The show includes two types of paintings. Five works from a series titled \"The Italian Paintings\" date from 1999. Two \"Self-Portraits,\" one from 1994 and the other brand new, showcase his growth and development as an artist.\nAfter a 19 year break Morgan Fisher returned to film and created the incredible twenty one minute film\n( )\n(Parenthesis, 2003). The film received critical acclaim at the Rotterdam Film Festival and the 2004 Whitney Biennial.\n( )\nis quite different than his previous works. The film is composed using entirely insert shots. William E. Jones writes the following on\n( )\n:\nBy obeying a difficult but arbitrary rule, Morgan Fisher has invented a world, neither fictional nor documentary, without recourse to montage, and without a conventional locus of meaning. He approaches the ideal of a film void. It expresses nothing.\nMorgan Fisher’s films include:\n( ),\n(2003) 21 min.,\nStandard and Gauge\n(1984),\nProjection Instructions\n(1976),\nCue Rolls\n(1974),\nWilkinson Household Fire Alarm\n(1973),\nPicture and Sound Rushes\n(1973),\nProduction Stills.\n(1970) 11 min,\nPhi Phenomenon\n(1968). Morgan Fisher has also had numerous solo exhibitions including:\nStandard Gauge: Film Works by Morgan Fisher\nat the Whitney Museum of American Art (2005),\nEdge and Corner paintings\nat the Adamski Gallery for Contemporary Art (2005),\nThe Films by Morgan Fisher\nat the Tate Modern (2005),\nTo See Seeing\nat the Neuer Aachener Kunstverein, Aachen (2002),\nChina Art Objects Galleries.\n(2002),\nPacifc Title and Art Studio\nat the China Art Objects Galleries (2002),\nColor Balance (reconstruction in 16mm of a film installation made in 1980)\nat the Galerie Daniel Buchholz (2002),\nKunstverein in Hamburg.\n(2000),\nThe Italian Paintings\nat the Los Angeles County Museum of Art (2000),\nKünstlerhaus Stuttgart\n(1998),\nMerz Akademie.\n(1998),\nAustrian Film Museum\n(1998),\nOtis College of Art and Design\n(1997),\nSchool of Film/Video, California Institute of the Arts.\n(1997),\nUniversity of California at Riverside\n(1996),\nOccidental College\n(1996),\nCalifornia Institute of the Arts\n(1995),\nPasadena Art Center College of Design.\n(1992),\nThe New Avant-Garde\nat the University of Rochester (1989),\nInternational Forum of Young Cinema.\nat the Berlin International Film Festival (1986),\nUniversity Gallery of Fine Art\nat Ohio State University (1986),\nPasadena Art Center College of Design\n(1986),\nThe Collective for Living Cinema\n(1985),\nSan Francisco Cinematheque\n(1985),\nPacific Film Archive\n(1985),\nPhiladelphia College of Art\n(1980),\nBoston Film/Video Foundation\n(1979),\nCalifornia Institute of the Arts\n(1979),\nDepartment of Photography and Film\nat Ohio State University (1979),\nContemporary Art Survey (Lecture Series)\nat UCLA (1978),\nUniversity of California at Santa Barbara.\n(1978),\nUniversity of California at San Diego\n(1978),\nCollective for Living Cinema\n(1978),\nOtis Art Institute\n(1977),\nMuseum of Art, Carnegie Institute\n(1976),\nAlbright-Knox Art Gallery\n(1976),\nSan Francisco Museum of Art\n(1976),\nAnthology Film Archives.\n(1976),\nMuseum of Modern Art\n(1976),\nPacific Film Archive\n(1975),\nSan Francisco Art Institute.\n(1975),\nThe Very Eye of Light; A Primer in the Experimental Film\nat the Vancouver Art Gallery (1975),\nPratt Institute\n(1974),\nMillennium Film Workshop\n(1973),\nSchool of the Art Institute Chicago\n(1973),\nIndependent Film Festival\nat the London National Film Theater (1973),\nMassachusetts Institute of Technology\n(1972),\nUCLA\n(1970),\nStandard Gauge: Film Works by Morgan Fisher\nat the Whitney Museum of American Art (1970),\nEdge and Corner paintings\nat Adamski (1970) and\nThe Films by Morgan Fisher\nat the Tate Modern (1970).","bio_dates":"b. 1942"},{"slug":"fitterman_rob_conceptualisms","ok":true,"partial":false,"title":"Vanessa Place & Robert Fitterman - Notes On Conceptualisms: eastcoast/westcoast","artist":"Robert Fitterman","year":"1959","startOffset":0,"sourceSecs":1038.144,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":175838044,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fitterman_rob_conceptualisms/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fitterman_rob_conceptualisms/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fitterman_rob_conceptualisms.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fitterman_rob_conceptualisms/main.mp4?v=2","description":"by Robert Smithson and Nancy Holt to ponder the coastal reception of their book \"Notes on Conceptualisms.\""},{"slug":"fitterman_robert_sprawl","ok":true,"partial":false,"title":"Sprawl","artist":"Robert Fitterman","year":"1959","startOffset":0,"sourceSecs":572.075,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":105058521,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fitterman_robert_sprawl/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fitterman_robert_sprawl/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fitterman_robert_sprawl.mp4","hasFrames":true,"description":"<b>NOTES</b> <br/><br/> From Bisquick to Eddie Bauer, Fitterman's SPRAWL traces the voice of consumerism via the web as an extention of his Metropolis project (\"Sprawl\" represents the 4th volume). SPRAWL 01 presents appropriates shopping commentary with found images of mall interiors and sound by Raz Mesinai. SPRAWL 02 runs the text of \"Bisquick/Bismarck\" at the bottom of the screen while Fitterman reads a text from Thomas Love Peacock. SPRAWL 03 incorporates bits of all of the Metropolis books and was first performed at <a href=\"https://ubu.com/sound/moma.html\" rel=\"noopener\" target=\"_blank\">MoMA</a>. Structurally, it shadows the WMD powerpoint presentation by Colin Powell.<br><br><b>CREDITS:</b> <br><br> SPRAWL 01, sound by Raz Mesinai and images appropriated from the web; SPRAWL 02, embedded video by Fred Barney Taylor; SPRAWL 03, still images by <a href=\"https://ubu.com/contemp/rown/index.html\" rel=\"noopener\" target=\"_blank\">Dirk Rowntree</a> and moving images by Klaus Killisch. All videos shot by <a href=\"https://ubu.com/film/donegan.html\" rel=\"noopener\" target=\"_blank\">Cheryl Donegan</a> before a live audience in New York City, December 2007.</br></br>","artist_bio":"Robert Fitterman - Notes On Conceptualisms: eastcoast/westcoast (with Vanessa Place) (2009)\nRobert Fitterman is the author of 10 books of poetry including: The Sun Also Also Rises, war the musical, Metropolis XXX: The Decline and Fall of the Roman Empire (Edge Books), Metropolis 16-29 (Coach House Press), Metropolis 1-15 (Sun & Moon Press), This Window Makes Me Feel (www.ubu.com). Metropolis 1-15 was awarded the Sun & Moon “New American Poetry Award (2000)” and Metropolis 16-29 was awarded the Small Press Traffic “Book of the Year Award (2003)”. With novelist Rodrigo Rey Rosa, he co-authored the film What Sebastian Dreamt which was selected for the Sundance Film Festival (2004) and the Lincoln Center LatinBeat Festival (2004). He has been a full-time faculty member in NYU’s Liberal Studies Program since 1993. He also teaches poetry at the Milton Avery School of Graduate Studies at Bard College.","bio_dates":"b. 1959"},{"slug":"flanagan_bob_sick_the_life_and_death_of_bob_flanagan_supermasochist","ok":true,"partial":false,"title":"Sick: The Life and Death of Bob Flanagan, Supermasochist","artist":"Bob Flanagan","year":"1997","startOffset":0,"sourceSecs":5381.281,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":901855559,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/flanagan_bob_sick_the_life_and_death_of_bob_flanagan_supermasochist/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/flanagan_bob_sick_the_life_and_death_of_bob_flanagan_supermasochist/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/flanagan_bob_sick_the_life_and_death_of_bob_flanagan_supermasochist.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/flanagan_bob_sick_the_life_and_death_of_bob_flanagan_supermasochist/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/flanagan_bob_sick_the_life_and_death_of_bob_flanagan_supermasochist/main/master.m3u8?v=2","hasMainHls":true,"description":"Sick: The Life and Death of Bob Flanagan, Supermasochist is a 1997 documentary film directed by Kirby Dick about Bob Flanagan, a Los Angeles writer, poet, performance artist, comic, and BDSM celebrity, who suffered from and later died of cystic fibrosis. The film premiered at the 1997 Sundance Film Festival, where it was awarded a Special Jury Prize.<br/><br/> The film chronicles Flanagan for several years leading up to his death in 1996. It explores various aspects of his life, artwork, and philosophy through interviews and other personal footage depicting Flanagan, his partner Sheree Rose, and the Flanagan family. Sick also features Flanagan's home movies, performance videos, and video diaries, as well as an excerpt of Flanagan's performance in the music video for \"Happiness in Slavery\" by Nine Inch Nails.<br/><br/> In the film, Flanagan explains his use of BDSM for sexual gratification and also as a therapeutic device to take control over his body from cystic fibrosis. He discusses his conceptual, performance, and video art, which often relates to pain, illness, medicine, and sexuality. Flanagan also serves as a camp counselor for children with cystic fibrosis and meets with a young woman with cystic fibrosis who visits him under the auspices of the Make-A-Wish Foundation.<br/><br/> Sick details Flanagan's lifelong struggle with cystic fibrosis, as well as his eventual death. Flanagan had agreed to participate in the film under the condition that his death be included in the final project.<br/><br/> Sick was a surprise hit at the 1997 Sundance Film Festival, where it received a Special Jury Prize. It was also awarded the Grand Prize at the Los Angeles Film Festival. This was another surprise for Dick, who had planned to skip the awards ceremony.<br/><br/> Film critics responded positively to the film. Kevin Thomas of the Los Angeles Times and Roger Ebert of the Chicago Sun-Times praised the film for its careful portrayal of Flanagan's struggles and his relationship with Rose. The San Francisco Chronicle's Edward Guthmann said the film, \"does a remarkable thing in presenting extreme, sometimes revolting material and simultaneously making us like and admire Flanagan. True, he was a madman and exhibitionist; but he was also a gifted writer who was committed to taking risks, confronting death and living life on his own terms.\"<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/flanagan.html\" rel=\"noopener\" target=\"_blank\">Soundtrack to the film on Bob Flanagan's page in UbuWeb Sound</a></br>","artist_bio":"Sick: The Life and Death of Bob Flanagan, Supermasochist (1997, dir. Kirby Dick)\nBob Flanagan, a performance artist and poet whose writing and bizarre, sadomasochistic performances centered on his lifelong battle with an incurable illness, died on Thursday at Long Beach Memorial Hospital in Long Beach. He was 43 and lived in Los Angeles.\nThe cause was cystic fibrosis, said his companion and collaborator, Sheree Rose. Mr. Flanagan was said by doctors to be one of the longest-living survivors of cystic fibrosis, which is genetic and usually kills before adulthood. An older sister, Patricia, died of cystic fibrosis in 1979 at the age of 21.\nA former cystic fibrosis poster boy, Mr. Flanagan recalled that he grew up being told that he had only a few years to live. And he attributed his longevity in part to his ability to \"fight pain with pain,\" by which he meant that he took control of his suffering through the ritualized pain of sadomasochism. In time, he made his art out of this proclivity. His work related to the often painful performances of such early 1970's body artists as Chris Burden, Arnold Schwarzkogler and Carolee Schneemann. Mr. Flanagan's work was the subject of a disturbing exhibition at the New Museum of Contemporary Art in SoHo in the fall of 1994.\nMr. Flanagan was born in New York City on Dec. 26, 1952, and grew up in Glendora, Calif., a suburb of Los Angeles. He had little formal art training but began painting as a teen-ager and then switched to poetry. He studied literature at California State University, Long Beach, and at the University of California at Irvine. After moving to Los Angeles in 1976, he became involved with Beyond Baroque, an alternative literary center in Los Angeles, where he gave readings of autobiographical poems about his illness and his sex life.\nIn 1978 he published the first of five books of poetry and prose, \"The Kid Is a Man.\" He also worked as a stand-up comic with the Groundlings, an improvisational theater group that included Pee-wee Herman. His readings and comedy routines gradually evolved into performances involving masochistic acts in which Ms. Rose, a video artist and dominatrix with whom he worked for the last 15 years, participated.\nThe New Museum show, first organized by the Santa Monica Museum of Art, was Mr. Flanagan's only exhibition and it generated widespread debate about its claim to be art. In it, he displayed sculptures, videos and also spent time in a hospital bed in the middle of the gallery, talking to visitors.\nIn addition to Ms. Rose, he is survived by his parents, Mr. and Mrs. Robert C. Flanagan, who live in Arizona, and a brother, John.","bio_dates":"1952-1996"},{"slug":"fleisch_thorsten_energie_2007","ok":true,"partial":false,"title":"Energie!","artist":"Thorsten Fleisch","year":"2007","startOffset":0,"sourceSecs":308.053,"sourceHeight":336,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":20180891,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fleisch_thorsten_energie_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fleisch_thorsten_energie_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fleisch_thorsten_energie_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fleisch_thorsten_energie_2007/main.mp4?v=2","description":"Director: Thorsten Fleisch<br/> Year: 2007<br/> Time: 5 mins<br/> Music: Jens Thiele<br/> <br/> Fleisch exposed thousands of sheets of photographic paper to an uncontrolled discharge of 30.000 volts sent through a cathode tube. The exposures were then rearranged to produce a chronological progression, suggesting a narrative of radiation emanating from a celestial body, possibly the sun. Jens Thiele provides a soothing but intense drone soundtrack, potentiating the effect of this powerful stroboscopic flicker excursion into the heart of the body electric. -- Eye of Sound","artist_bio":"Born in Koblenz, Germany in 1972 he began experimenting with super 8 film while still at highschool where he also exhibited his first film, a super 8 loop.\nAfter highschool and community service in an institution for the mentally ill he went to Marburg to study art, music and media at Phillips UniversitŠt. One year later he changed to the Städelschule in Frankfurt in order to study film with Peter Kubelka. There he started working with 16mm film.\nShortly after his studies at the StŠdelschule he made 'Blutrausch / Bloodlust' which not only got him a lot of attention but also the Ann Arbor Filmcoop Award.\nSince 2001 Thorsten Fleisch is a member of the Board of Artistic Directors of The International Experimental Cinema Exposition (or TIE).\nHe received several grants among them a grant from the FilmbŸro NW and a grant from the Museum of Contemporary Cinema.\nFor 'Gestalt' he received an Honorary Mention at the Prix Ars Electronica the number one festival for computer related art.\nHis film 'Energie!' was screened at more than 150 festivals and received numerous awards.\nHis films have been screened at film festivals worldwide including New York Film Festival, Sarajevo Film Festival, Milano Film Festival, Int. Film Festival Rotterdam, European Media Art Festival, Melbourne Int. Film Festival and many more.\nRecently he worked for Gaspar Noé's film 'Enter The Void' and made visuals for Basement Jaxx's live tour in 2009.\n... Friendly Fire (2003) literally burned what you could see, and it was the light of the fire, the projector's beam, that played out in stunning violence onscreen. With so much attention dedicated to the preservation of film, Friendly Fire proposed a cathartic alternative: ruined figures of melted celluloid and crackling ash. In death film comes alive, more vital, reborn by the very forces that destroy it.\n[Genevieve Yue 'Senses of Cinema']\n... this beautifully crafted and shaped film is an exhilerating piece of visual music. The images speak poetically of a merging of technology, projected light, and the human body. the extreme close-ups remind us of the fragility and beauty which covers our bodies.\n[David Finkelstein 'Film Threat' on 'Hautnah']\n... everyone in the jury did agree that gestalt displayed a spectacular use of fractal set techniques. Fleisch shows exceptional deftness in assembling a series of algorithmic transformations that are beautiful and really visually interesting.\n[Jury of the Prix Ars Electronica 2003 on 'Gestalt']\nOther works highlight the paradoxical relationship between movement and stillness at the heart of cinema. Thorsten Fleisch's sculptural Dromosphere uses a device built by the filmmaker to convert a toy car into a vibrating orange blur Ð celebrating and mocking the need for speed.\n[Jake Wilson 'The Age' on 'Dromosphäre']","bio_dates":"b. 1972"},{"slug":"fleisch_thorsten_kosmos_2004","ok":true,"partial":false,"title":"Kosmos","artist":"Thorsten Fleisch","year":"2004","startOffset":0,"sourceSecs":322.667,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":117650672,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fleisch_thorsten_kosmos_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fleisch_thorsten_kosmos_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fleisch_thorsten_kosmos_2004.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fleisch_thorsten_kosmos_2004/main.mp4?v=2","description":"The mystery of the crystals under closer examination. What is it that makes them possess magic powers as claimed by mystics of all ages? Through growing crystals directly on film their mystical qualities shine straight to the screen. Unfiltered, only aided by light which gracefully breaks its rays into rich visual textures.","artist_bio":"Born in Koblenz, Germany in 1972 he began experimenting with super 8 film while still at highschool where he also exhibited his first film, a super 8 loop.\nAfter highschool and community service in an institution for the mentally ill he went to Marburg to study art, music and media at Phillips UniversitŠt. One year later he changed to the Städelschule in Frankfurt in order to study film with Peter Kubelka. There he started working with 16mm film.\nShortly after his studies at the StŠdelschule he made 'Blutrausch / Bloodlust' which not only got him a lot of attention but also the Ann Arbor Filmcoop Award.\nSince 2001 Thorsten Fleisch is a member of the Board of Artistic Directors of The International Experimental Cinema Exposition (or TIE).\nHe received several grants among them a grant from the FilmbŸro NW and a grant from the Museum of Contemporary Cinema.\nFor 'Gestalt' he received an Honorary Mention at the Prix Ars Electronica the number one festival for computer related art.\nHis film 'Energie!' was screened at more than 150 festivals and received numerous awards.\nHis films have been screened at film festivals worldwide including New York Film Festival, Sarajevo Film Festival, Milano Film Festival, Int. Film Festival Rotterdam, European Media Art Festival, Melbourne Int. Film Festival and many more.\nRecently he worked for Gaspar Noé's film 'Enter The Void' and made visuals for Basement Jaxx's live tour in 2009.\n... Friendly Fire (2003) literally burned what you could see, and it was the light of the fire, the projector's beam, that played out in stunning violence onscreen. With so much attention dedicated to the preservation of film, Friendly Fire proposed a cathartic alternative: ruined figures of melted celluloid and crackling ash. In death film comes alive, more vital, reborn by the very forces that destroy it.\n[Genevieve Yue 'Senses of Cinema']\n... this beautifully crafted and shaped film is an exhilerating piece of visual music. The images speak poetically of a merging of technology, projected light, and the human body. the extreme close-ups remind us of the fragility and beauty which covers our bodies.\n[David Finkelstein 'Film Threat' on 'Hautnah']\n... everyone in the jury did agree that gestalt displayed a spectacular use of fractal set techniques. Fleisch shows exceptional deftness in assembling a series of algorithmic transformations that are beautiful and really visually interesting.\n[Jury of the Prix Ars Electronica 2003 on 'Gestalt']\nOther works highlight the paradoxical relationship between movement and stillness at the heart of cinema. Thorsten Fleisch's sculptural Dromosphere uses a device built by the filmmaker to convert a toy car into a vibrating orange blur Ð celebrating and mocking the need for speed.\n[Jake Wilson 'The Age' on 'Dromosphäre']","bio_dates":"b. 1972"},{"slug":"fletcher_harrell_babiesny_2004","ok":true,"partial":false,"title":"Babies (NYC)","artist":"Harrell Fletcher","year":"2004","startOffset":0,"sourceSecs":252.203,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":35230919,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_babiesny_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_babiesny_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fletcher_harrell_babiesny_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fletcher_harrell_babiesny_2004/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> These videos are available for noncommercial and educational use only. All rights to this material belong to Harrell Fletcher. Used with permission of Harrell Fletcher. <br/> <a href=\"http://www.harrellfletcher.com\" rel=\"noopener\" target=\"_blank\">Harrell Fletcher's Website</a> <br/> <a href=\"http://www.vdb.org/smackn.acgi$artistdetail?FLETCHERH\" rel=\"noopener\" target=\"_blank\">Purchase or rent Fletcher's films from Video Data Bank.</a> <br/> Technical assistance: <a href=\"https://ubu.com/film/jemison.html\" rel=\"noopener\" target=\"_blank\">Jalal Jemison</a>","artist_bio":"Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over fifteen years. His work has been shown at SF MoMA, the de Young Museum, The Berkeley Art Museum, and Yerba Buena Center For The Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, and The Royal College of Art in London. He was a participant in the 2004 Whitney Biennial. Fletcher has work in the collections of MoMA, The Whitney Museum, The New Museum, SFMoMA, The Berkeley Art Museum, The De Young Museum, and The FRAC Brittany, France. In 2002 Fletcher started Learning To Love You More, an ongoing participatory website with Miranda July. A book version LTLYM was published in 2007 by Prestel. Fletcher is the 2005 recipient of the Alpert Award in Visual Arts. His exhibition The American War originated in 2005 at ArtPace in San Antonio, TX, and traveled to Solvent Space in Richmond, VA, White Columns in NYC, The Center For Advanced Visual Studies MIT in Boston, MA, PICA in Portland, OR, and LAXART in Los Angeles among other locations. Fletcher is a Professor of Art and Social Practice at Portland State University in Portland, Oregon.","bio_dates":"b. 1967"},{"slug":"fletcher_harrell_blot_out_the_sun_2002","ok":true,"partial":false,"title":"Blot Out The Sun","artist":"Harrell Fletcher","year":"2002","startOffset":0,"sourceSecs":1333.419,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":230720732,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_blot_out_the_sun_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_blot_out_the_sun_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fletcher_harrell_blot_out_the_sun_2002.mp4","hasFrames":true,"description":"A garage in central Portland, Oregon is the setting for this conceptual re-working of James Joyce's <i>Ulysses</i>. The garage owner, Jay, mechanics and neighborhood denizens serve as narrators, reading lines from the novel that focus on death, love, social inequality and the relationship between individuals and the universe.<br><br><b>RESOURCES:</b> <br> These videos are available for noncommercial and educational use only. All rights to this material belong to Harrell Fletcher. Used with permission of Harrell Fletcher. <br> <a href=\"http://www.harrellfletcher.com\" rel=\"noopener\" target=\"_blank\">Harrell Fletcher's Website</a> <br> <a href=\"http://www.vdb.org/smackn.acgi$artistdetail?FLETCHERH\" rel=\"noopener\" target=\"_blank\">Purchase or rent Fletcher's films from Video Data Bank.</a> <br> Technical assistance: <a href=\"https://ubu.com/film/jemison.html\" rel=\"noopener\" target=\"_blank\">Jalal Jemison</a></br></br></br></br>","artist_bio":"Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over fifteen years. His work has been shown at SF MoMA, the de Young Museum, The Berkeley Art Museum, and Yerba Buena Center For The Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, and The Royal College of Art in London. He was a participant in the 2004 Whitney Biennial. Fletcher has work in the collections of MoMA, The Whitney Museum, The New Museum, SFMoMA, The Berkeley Art Museum, The De Young Museum, and The FRAC Brittany, France. In 2002 Fletcher started Learning To Love You More, an ongoing participatory website with Miranda July. A book version LTLYM was published in 2007 by Prestel. Fletcher is the 2005 recipient of the Alpert Award in Visual Arts. His exhibition The American War originated in 2005 at ArtPace in San Antonio, TX, and traveled to Solvent Space in Richmond, VA, White Columns in NYC, The Center For Advanced Visual Studies MIT in Boston, MA, PICA in Portland, OR, and LAXART in Los Angeles among other locations. Fletcher is a Professor of Art and Social Practice at Portland State University in Portland, Oregon.","bio_dates":"b. 1967"},{"slug":"fletcher_harrell_hello_friend_pdx_2004","ok":true,"partial":false,"title":"Hello Friend (PDX)","artist":"Harrell Fletcher","year":"2004","startOffset":0,"sourceSecs":371.115,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":68183417,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_hello_friend_pdx_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_hello_friend_pdx_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fletcher_harrell_hello_friend_pdx_2004.mp4","hasFrames":true,"description":"Part of a series of similar videos shot in different places with local people. Walking around the neighborhood, the person I work with picks up objects off the ground and then presents them to me in their opening hand. The original project was done in Portland, OR with Jess Hilliard. This series from Queens New York was a collaboration with Raymond Denson.<br><br><b>RESOURCES:</b> <br> These videos are available for noncommercial and educational use only. All rights to this material belong to Harrell Fletcher. Used with permission of Harrell Fletcher. <br> <a href=\"http://www.harrellfletcher.com\" rel=\"noopener\" target=\"_blank\">Harrell Fletcher's Website</a> <br> <a href=\"http://www.vdb.org/smackn.acgi$artistdetail?FLETCHERH\" rel=\"noopener\" target=\"_blank\">Purchase or rent Fletcher's films from Video Data Bank.</a> <br> Technical assistance: <a href=\"https://ubu.com/film/jemison.html\" rel=\"noopener\" target=\"_blank\">Jalal Jemison</a></br></br></br></br>","artist_bio":"Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over fifteen years. His work has been shown at SF MoMA, the de Young Museum, The Berkeley Art Museum, and Yerba Buena Center For The Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, and The Royal College of Art in London. He was a participant in the 2004 Whitney Biennial. Fletcher has work in the collections of MoMA, The Whitney Museum, The New Museum, SFMoMA, The Berkeley Art Museum, The De Young Museum, and The FRAC Brittany, France. In 2002 Fletcher started Learning To Love You More, an ongoing participatory website with Miranda July. A book version LTLYM was published in 2007 by Prestel. Fletcher is the 2005 recipient of the Alpert Award in Visual Arts. His exhibition The American War originated in 2005 at ArtPace in San Antonio, TX, and traveled to Solvent Space in Richmond, VA, White Columns in NYC, The Center For Advanced Visual Studies MIT in Boston, MA, PICA in Portland, OR, and LAXART in Los Angeles among other locations. Fletcher is a Professor of Art and Social Practice at Portland State University in Portland, Oregon.","bio_dates":"b. 1967"},{"slug":"fletcher_harrell_if_i_wasnt_me_ide_be_you_2004","ok":true,"partial":false,"title":"If I Wasn't Me I Would Be You","artist":"Harrell Fletcher","year":"2004","startOffset":0,"sourceSecs":454.229,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":82753352,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_if_i_wasnt_me_ide_be_you_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_if_i_wasnt_me_ide_be_you_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fletcher_harrell_if_i_wasnt_me_ide_be_you_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fletcher_harrell_if_i_wasnt_me_ide_be_you_2004/main.mp4?v=2","description":"A video of people's scars with the stories of how they got them. Project ongoing.<br><br><b>RESOURCES:</b> <br> These videos are available for noncommercial and educational use only. All rights to this material belong to Harrell Fletcher. Used with permission of Harrell Fletcher. <br> <a href=\"http://www.harrellfletcher.com\" rel=\"noopener\" target=\"_blank\">Harrell Fletcher's Website</a> <br> <a href=\"http://www.vdb.org/smackn.acgi$artistdetail?FLETCHERH\" rel=\"noopener\" target=\"_blank\">Purchase or rent Fletcher's films from Video Data Bank.</a> <br> Technical assistance: <a href=\"https://ubu.com/film/jemison.html\" rel=\"noopener\" target=\"_blank\">Jalal Jemison</a></br></br></br></br>","artist_bio":"Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over fifteen years. His work has been shown at SF MoMA, the de Young Museum, The Berkeley Art Museum, and Yerba Buena Center For The Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, and The Royal College of Art in London. He was a participant in the 2004 Whitney Biennial. Fletcher has work in the collections of MoMA, The Whitney Museum, The New Museum, SFMoMA, The Berkeley Art Museum, The De Young Museum, and The FRAC Brittany, France. In 2002 Fletcher started Learning To Love You More, an ongoing participatory website with Miranda July. A book version LTLYM was published in 2007 by Prestel. Fletcher is the 2005 recipient of the Alpert Award in Visual Arts. His exhibition The American War originated in 2005 at ArtPace in San Antonio, TX, and traveled to Solvent Space in Richmond, VA, White Columns in NYC, The Center For Advanced Visual Studies MIT in Boston, MA, PICA in Portland, OR, and LAXART in Los Angeles among other locations. Fletcher is a Professor of Art and Social Practice at Portland State University in Portland, Oregon.","bio_dates":"b. 1967"},{"slug":"fletcher_harrell_the_forbidden_zone_2000","ok":true,"partial":false,"title":"The Forbidden Zone","artist":"Harrell Fletcher","year":"2000","startOffset":0,"sourceSecs":766.933,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":123793238,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_the_forbidden_zone_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_the_forbidden_zone_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fletcher_harrell_the_forbidden_zone_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fletcher_harrell_the_forbidden_zone_2000/main.mp4?v=2","description":"Collaborative project with Chris Johanson, David Jarvey, Elizabeth Meyer and Alexis Van Hurkman. Video, drawings and sculptural models were used to address Jarvey's interest in an early Star Trek episode. Jarvey, who has Downs Syndrome, identifies with a character from the episode, Captain Christopher Pike. Pike has been disabled and wants to go to the forbidden planet, Talos 4, where he can live with the illusion of being \"normal\" once again. As part of the installation Jarvey and Johanson were shot on a blue screen and imposed onto footage from the actual Star Trek episode.<br><br><b>RESOURCES:</b> <br> These videos are available for noncommercial and educational use only. All rights to this material belong to Harrell Fletcher. Used with permission of Harrell Fletcher. <br> <a href=\"http://www.harrellfletcher.com\" rel=\"noopener\" target=\"_blank\">Harrell Fletcher's Website</a> <br> <a href=\"http://www.vdb.org/smackn.acgi$artistdetail?FLETCHERH\" rel=\"noopener\" target=\"_blank\">Purchase or rent Fletcher's films from Video Data Bank.</a> <br> Technical assistance: <a href=\"https://ubu.com/film/jemison.html\" rel=\"noopener\" target=\"_blank\">Jalal Jemison</a></br></br></br></br>","artist_bio":"Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over fifteen years. His work has been shown at SF MoMA, the de Young Museum, The Berkeley Art Museum, and Yerba Buena Center For The Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, and The Royal College of Art in London. He was a participant in the 2004 Whitney Biennial. Fletcher has work in the collections of MoMA, The Whitney Museum, The New Museum, SFMoMA, The Berkeley Art Museum, The De Young Museum, and The FRAC Brittany, France. In 2002 Fletcher started Learning To Love You More, an ongoing participatory website with Miranda July. A book version LTLYM was published in 2007 by Prestel. Fletcher is the 2005 recipient of the Alpert Award in Visual Arts. His exhibition The American War originated in 2005 at ArtPace in San Antonio, TX, and traveled to Solvent Space in Richmond, VA, White Columns in NYC, The Center For Advanced Visual Studies MIT in Boston, MA, PICA in Portland, OR, and LAXART in Los Angeles among other locations. Fletcher is a Professor of Art and Social Practice at Portland State University in Portland, Oregon.","bio_dates":"b. 1967"},{"slug":"fletcher_harrell_the_problem_of_possible_redemption_2003","ok":true,"partial":false,"title":"The Problem of Possible Redemption","artist":"Harrell Fletcher","year":"2003","startOffset":0,"sourceSecs":824.427,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":132935943,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_the_problem_of_possible_redemption_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_the_problem_of_possible_redemption_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fletcher_harrell_the_problem_of_possible_redemption_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fletcher_harrell_the_problem_of_possible_redemption_2003/main.mp4?v=2","description":"A video adaptation of James Joyce's <i>Ulysses</i> shot at the Parkville Senior Center, Connecticut, with the seniors reading the lines from cue cards. The piece addresses society, war, and personal mortality.<br><br><b>RESOURCES:</b> <br> These videos are available for noncommercial and educational use only. All rights to this material belong to Harrell Fletcher. Used with permission of Harrell Fletcher. <br> <a href=\"http://www.harrellfletcher.com\" rel=\"noopener\" target=\"_blank\">Harrell Fletcher's Website</a> <br> <a href=\"http://www.vdb.org/smackn.acgi$artistdetail?FLETCHERH\" rel=\"noopener\" target=\"_blank\">Purchase or rent Fletcher's films from Video Data Bank.</a> <br> Technical assistance: <a href=\"https://ubu.com/film/jemison.html\" rel=\"noopener\" target=\"_blank\">Jalal Jemison</a></br></br></br></br>","artist_bio":"Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over fifteen years. His work has been shown at SF MoMA, the de Young Museum, The Berkeley Art Museum, and Yerba Buena Center For The Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, and The Royal College of Art in London. He was a participant in the 2004 Whitney Biennial. Fletcher has work in the collections of MoMA, The Whitney Museum, The New Museum, SFMoMA, The Berkeley Art Museum, The De Young Museum, and The FRAC Brittany, France. In 2002 Fletcher started Learning To Love You More, an ongoing participatory website with Miranda July. A book version LTLYM was published in 2007 by Prestel. Fletcher is the 2005 recipient of the Alpert Award in Visual Arts. His exhibition The American War originated in 2005 at ArtPace in San Antonio, TX, and traveled to Solvent Space in Richmond, VA, White Columns in NYC, The Center For Advanced Visual Studies MIT in Boston, MA, PICA in Portland, OR, and LAXART in Los Angeles among other locations. Fletcher is a Professor of Art and Social Practice at Portland State University in Portland, Oregon.","bio_dates":"b. 1967"},{"slug":"fletcher_harrell_the_sound_we_make_together_2003","ok":true,"partial":false,"title":"The Sound We Make Together","artist":"Harrell Fletcher","year":"2003","startOffset":0,"sourceSecs":2174.443,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":364346478,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_the_sound_we_make_together_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_the_sound_we_make_together_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fletcher_harrell_the_sound_we_make_together_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fletcher_harrell_the_sound_we_make_together_2003/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fletcher_harrell_the_sound_we_make_together_2003/main/master.m3u8?v=2","hasMainHls":true,"description":"Video projection and poster series. I had various groups of people from Houston: a baptist choir, a meditation class, a break dance group, dogs from a dog park, and ten other groups doing what they normally do but in the gallery space. The video projection sort of recreated them being there one after another. I made a poster for each group, copies went up all over Houston and were also exhibited at the gallery.<br><br><b>RESOURCES:</b> <br> These videos are available for noncommercial and educational use only. All rights to this material belong to Harrell Fletcher. Used with permission of Harrell Fletcher. <br> <a href=\"http://www.harrellfletcher.com\" rel=\"noopener\" target=\"_blank\">Harrell Fletcher's Website</a> <br> <a href=\"http://www.vdb.org/smackn.acgi$artistdetail?FLETCHERH\" rel=\"noopener\" target=\"_blank\">Purchase or rent Fletcher's films from Video Data Bank.</a> <br> Technical assistance: <a href=\"https://ubu.com/film/jemison.html\" rel=\"noopener\" target=\"_blank\">Jalal Jemison</a></br></br></br></br>","artist_bio":"Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over fifteen years. His work has been shown at SF MoMA, the de Young Museum, The Berkeley Art Museum, and Yerba Buena Center For The Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, and The Royal College of Art in London. He was a participant in the 2004 Whitney Biennial. Fletcher has work in the collections of MoMA, The Whitney Museum, The New Museum, SFMoMA, The Berkeley Art Museum, The De Young Museum, and The FRAC Brittany, France. In 2002 Fletcher started Learning To Love You More, an ongoing participatory website with Miranda July. A book version LTLYM was published in 2007 by Prestel. Fletcher is the 2005 recipient of the Alpert Award in Visual Arts. His exhibition The American War originated in 2005 at ArtPace in San Antonio, TX, and traveled to Solvent Space in Richmond, VA, White Columns in NYC, The Center For Advanced Visual Studies MIT in Boston, MA, PICA in Portland, OR, and LAXART in Los Angeles among other locations. Fletcher is a Professor of Art and Social Practice at Portland State University in Portland, Oregon.","bio_dates":"b. 1967"},{"slug":"fletcher_harrell_where_i_lived_and_what_i_lived_for_2006","ok":true,"partial":false,"title":"Where I Lived, and What I Lived For","artist":"Harrell Fletcher","year":"2006","startOffset":0,"sourceSecs":1595.029,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":273083905,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_where_i_lived_and_what_i_lived_for_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fletcher_harrell_where_i_lived_and_what_i_lived_for_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fletcher_harrell_where_i_lived_and_what_i_lived_for_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fletcher_harrell_where_i_lived_and_what_i_lived_for_2006/main.mp4?v=2","description":"I was asked to do a residency at an art center in Brittany, France called Domaine De Kerguehennec that is located on an old estate in the country. I spent about a month every Summer there for about three years. The whole thing concluded with an exhibition in 2006 made up of some of my older work and several new projects that I made specifically for Kerguehennec, including a sculpture for the sculpture park, a newspaper, a calendar, and a video piece. The video is called Where I Lived, and What I Lived For and is based on text from Walden by Henry David Thoreau. As most people in the US know (but as it turned out not so many in France) in the late 1800 Thoreau lived in Concord, Massachusetts, and was very critical of modern society. As a project he moved to the country by a lake called Walden Pond, and built a cabin there that he lived in for a year or so while he thought and wrote. The book Walden is about that experience, with a large dose of his philosophical views added in. During my visits to Kerguehennec living in a little stone cottage for a month at a time, largely cut off from the outside world, I was reminded of Walden. I decided to construct a piece in the same way that I made Blot Out The Sun, a video based on Ulysses by James Joyce that I shot at Jay's Quick Gas here in Portland a few years ago. In both cases I read the book, highlighted passages that intrigued me and then wrote those pieces of text onto cue cards. I then asked people at the gas station, or in the case of the Walden piece, down by the lake at Kerguehennec, to read the lines while being video taped. I liked the idea that people come to the park at Kerguehennec to get a small dose of removal from society, and might in some small ways relate to the ideas expressed in Walden. The video was shot in French, so we have included here the original English version along with an image of the person who read the text for the video.<br><br><b>RESOURCES:</b> <br> These videos are available for noncommercial and educational use only. All rights to this material belong to Harrell Fletcher. Used with permission of Harrell Fletcher. <br> <a href=\"http://www.harrellfletcher.com\" rel=\"noopener\" target=\"_blank\">Harrell Fletcher's Website</a> <br> <a href=\"http://www.vdb.org/smackn.acgi$artistdetail?FLETCHERH\" rel=\"noopener\" target=\"_blank\">Purchase or rent Fletcher's films from Video Data Bank.</a> <br> Technical assistance: <a href=\"https://ubu.com/film/jemison.html\" rel=\"noopener\" target=\"_blank\">Jalal Jemison</a></br></br></br></br>","artist_bio":"Harrell Fletcher has worked collaboratively and individually on a variety of socially engaged, interdisciplinary projects for over fifteen years. His work has been shown at SF MoMA, the de Young Museum, The Berkeley Art Museum, and Yerba Buena Center For The Arts in the San Francisco Bay Area, The Drawing Center, Socrates Sculpture Park, The Sculpture Center, The Wrong Gallery, and Smackmellon in NYC, DiverseWorks and Aurora Picture show in Houston, TX, PICA in Portland, OR, CoCA and The Seattle Art Museum in Seattle, WA, Signal in Malmo, Sweden, Domain de Kerguehennec in France, and The Royal College of Art in London. He was a participant in the 2004 Whitney Biennial. Fletcher has work in the collections of MoMA, The Whitney Museum, The New Museum, SFMoMA, The Berkeley Art Museum, The De Young Museum, and The FRAC Brittany, France. In 2002 Fletcher started Learning To Love You More, an ongoing participatory website with Miranda July. A book version LTLYM was published in 2007 by Prestel. Fletcher is the 2005 recipient of the Alpert Award in Visual Arts. His exhibition The American War originated in 2005 at ArtPace in San Antonio, TX, and traveled to Solvent Space in Richmond, VA, White Columns in NYC, The Center For Advanced Visual Studies MIT in Boston, MA, PICA in Portland, OR, and LAXART in Los Angeles among other locations. Fletcher is a Professor of Art and Social Practice at Portland State University in Portland, Oregon.","bio_dates":"b. 1967"},{"slug":"floyer_ceal_dancing_flames_2007","ok":true,"partial":false,"title":"Dancing Flames","artist":"Ceal Floyer","year":"2007","startOffset":0,"sourceSecs":306.645,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":111106212,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/floyer_ceal_dancing_flames_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/floyer_ceal_dancing_flames_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/floyer_ceal_dancing_flames_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/floyer_ceal_dancing_flames_2007/main.mp4?v=2","description":"Although the title Dancing Flames (2007) subtly influences the way viewers perceive the piece, they are then left to experience and judge what is presented for themselves. In the space, sound and image are clearly separated from one another. The merging of the two takes place exclusively in the viewer’s mind. The two flames move in synch; the installation is not choreographed in any way; the music of various styles is played in a random order.","artist_bio":"Conceptual artist Ceal Floyer is celebrated for her deft manoeuvres in everyday situations, testing the slippage between function and implication, the literal and the imagined. Working in film and installation, she reconfigures familiar objects as sources of surprise and humour. In Light (1994), for example, a solitary unconnected bulb is lit up from four sides by slide projectors; in Stable (2008), the ubiquitous folded beer mat, often found wedging a dodgy table leg, is called on fourfold, to bear the load of all four table legs. Such adjustments in usage draw on an acute sense of the absurd, with an economy of language that makes a powerful argument for beauty in the detail. Viewers are nudged to double take, and on closer inspection, recognise a sparse kind of poetry. Floyer's clarity of thought and the elegantly concise presentation of her ideas resonate through all areas of her practice. The deceptive simplicity of the work is informed by Floyer's particular sense of humour and an awareness of the absurd. Floyer uses double-takes and shifting points of view to force the viewer to renegotiate their perception of the world.","bio_dates":"b. 1968"},{"slug":"floyer_ceal_plughole_2017","ok":true,"partial":false,"title":"Plughole","artist":"Ceal Floyer","year":"2017","startOffset":0,"sourceSecs":233.108,"sourceHeight":1014,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":103236599,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/floyer_ceal_plughole_2017/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/floyer_ceal_plughole_2017/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/floyer_ceal_plughole_2017.mp4","hasFrames":true,"description":"In \"Plughole\" (2017), a static camera is trained on a standard 6-hole bathroom sink drain. The video depicts a stream of water that is redirected in an attempt to fill each hole perfectly with the flow of the faucet, moving from one hole to the next. The drain's function as a receptacle for water becomes a kind of short-circuit, as water itself becomes the material that plugs its own pathway.","artist_bio":"Conceptual artist Ceal Floyer is celebrated for her deft manoeuvres in everyday situations, testing the slippage between function and implication, the literal and the imagined. Working in film and installation, she reconfigures familiar objects as sources of surprise and humour. In Light (1994), for example, a solitary unconnected bulb is lit up from four sides by slide projectors; in Stable (2008), the ubiquitous folded beer mat, often found wedging a dodgy table leg, is called on fourfold, to bear the load of all four table legs. Such adjustments in usage draw on an acute sense of the absurd, with an economy of language that makes a powerful argument for beauty in the detail. Viewers are nudged to double take, and on closer inspection, recognise a sparse kind of poetry. Floyer's clarity of thought and the elegantly concise presentation of her ideas resonate through all areas of her practice. The deceptive simplicity of the work is informed by Floyer's particular sense of humour and an awareness of the absurd. Floyer uses double-takes and shifting points of view to force the viewer to renegotiate their perception of the world.","bio_dates":"b. 1968"},{"slug":"fluxfilm_01_paik","ok":true,"partial":false,"title":"01: Nam June Paik - Zen For Film","artist":"Fluxfilm Anthology","year":null,"startOffset":0,"sourceSecs":477.525,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":30148126,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_01_paik/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_01_paik/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_01_paik.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_01_paik/main.mp4?v=2","description":"1962-64, 8 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_02_higgins","ok":true,"partial":false,"title":"02 Dick Higgins - Invocation of Canyons and Boulders","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":25.067,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":7457,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_02_higgins/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_02_higgins/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_02_higgins.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_02_higgins/main.mp4?v=2","description":"1966, 20 sec, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_03_maciunas","ok":true,"partial":false,"title":"03 George Maciunas - End After 9","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":66.517,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":435876,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_03_maciunas/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_03_maciunas/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_03_maciunas.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_03_maciunas/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_05_cavanaugh","ok":true,"partial":false,"title":"05 John Cavanaugh - Blink","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":150.592,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":8145230,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_05_cavanaugh/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_05_cavanaugh/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_05_cavanaugh.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_05_cavanaugh/main.mp4?v=2","description":"1966, 2:20 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_06_riddle","ok":true,"partial":false,"title":"06 James Riddle - 9 Minutes","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":671.872,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":43948327,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_06_riddle/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_06_riddle/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_06_riddle.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_06_riddle/main.mp4?v=2","description":"1966, 9:45 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_07_maciunas","ok":true,"partial":false,"title":"07 George Maciunas - 10 Feet","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":34.283,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":7580,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_07_maciunas/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_07_maciunas/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_07_maciunas.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_07_maciunas/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"fluxfilm_09_ono","ok":true,"partial":false,"title":"Yoko Ono - Eye Blink","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":35.883,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":11004,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_09_ono/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_09_ono/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_09_ono.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_09_ono/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"fluxfilm_10_brecht","ok":true,"partial":false,"title":"10 George Brecht - Entrance to Exit","artist":"Fluxfilm Anthology","year":"1965","startOffset":0,"sourceSecs":409.259,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":25111092,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_10_brecht/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_10_brecht/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_10_brecht.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_10_brecht/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"fluxfilm_13_watts","ok":true,"partial":false,"title":"13 Robert Watts - Trace #24","artist":"Fluxfilm Anthology","year":"1965","startOffset":0,"sourceSecs":88.725,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2059010,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_13_watts/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_13_watts/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_13_watts.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_13_watts/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"fluxfilm_16_ono","ok":true,"partial":false,"title":"Yoko Ono - Eye Blink","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":338.987,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":19956450,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_16_ono/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_16_ono/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_16_ono.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_16_ono/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_18_jones","ok":true,"partial":false,"title":"18 Joe Jones - Smoking","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":313.557,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":18234950,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_18_jones/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_18_jones/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_18_jones.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_18_jones/main.mp4?v=2","description":"1966, 5:10 min, b&w, sound<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_19_anderson","ok":true,"partial":false,"title":"Laurie Anderson","artist":"Laurie Anderson","year":"1990","startOffset":0,"sourceSecs":100.352,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":5518127,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_19_anderson/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_19_anderson/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_19_anderson.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_19_anderson/main.mp4?v=2","description":"Beautiful Red Dress (1990)<br/> Language Is A Virus (1986)<br/> Sharkey's Day (1984)<br/> O Superman (1981)<br/> Personal Service Announcements (1990)<br/><br/> Excerpts from:<br/> Empty Places, What You Mean We? (1986) Home of the Brave (1986)<br/> Alive from Off Cener<br/> The Eleventh Hour (1989)<br/> Headknock (1981)<br/> Tour of Laurie's Home<br/> Strange Angels","bio_dates":"b. 1947"},{"slug":"fluxfilm_20_maciunas","ok":true,"partial":false,"title":"20 George Maciunas - Artype","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":168.021,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":7776745,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_20_maciunas/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_20_maciunas/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_20_maciunas.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_20_maciunas/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"fluxfilm_22_perkins","ok":true,"partial":false,"title":"22 Jeff Perkins - Shout","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":134.976,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":8404672,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_22_perkins/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_22_perkins/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_22_perkins.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_22_perkins/main.mp4?v=2","description":"1966, 2:10 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_23_vostell","ok":true,"partial":false,"title":"23 Wolf Vostell - Sun in Your Head (Television Decollage)","artist":"Fluxfilm Anthology","year":"1963","startOffset":0,"sourceSecs":428.864,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":26047886,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_23_vostell/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_23_vostell/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_23_vostell.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_23_vostell/main.mp4?v=2","description":"1963, 7:10 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_24_fine","ok":true,"partial":false,"title":"24 Albert Fine - Readymade","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":197.248,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":13715778,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_24_fine/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_24_fine/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_24_fine.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_24_fine/main.mp4?v=2","description":"1966, 2:20 min, b&w and color, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_25_landow","ok":true,"partial":false,"title":"25 George Landow - The Evil Faerie","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":21.269,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":7842,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_25_landow/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_25_landow/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_25_landow.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_25_landow/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"fluxfilm_26_sharits","ok":true,"partial":false,"title":"26 Paul Sharits - Sears Catalogue 1-3","artist":"Fluxfilm Anthology","year":"1965","startOffset":0,"sourceSecs":47.083,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2890075,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_26_sharits/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_26_sharits/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_26_sharits.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_26_sharits/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"fluxfilm_28_sharits","ok":true,"partial":false,"title":"28 Paul Sharits - Wirst Trick","artist":"Fluxfilm Anthology","year":"1965","startOffset":0,"sourceSecs":31.872,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":1761365,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_28_sharits/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_28_sharits/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_28_sharits.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_28_sharits/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"fluxfilm_29_sharits","ok":true,"partial":false,"title":"29 (unnumbered) Paul Sharits - Unrolling Event","artist":"Fluxfilm Anthology","year":"1965","startOffset":0,"sourceSecs":8.448,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":441084,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_29_sharits/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_29_sharits/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_29_sharits.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_29_sharits/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"fluxfilm_29_word_sharits","ok":true,"partial":false,"title":"29 Paul Sharits - Word Movie","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":229.675,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":14275928,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_29_word_sharits/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_29_word_sharits/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_29_word_sharits.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_29_word_sharits/main.mp4?v=2","description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\n\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"fluxfilm_30_fine","ok":true,"partial":false,"title":"30 Albert Fine - Dance","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":172.224,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":8091483,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_30_fine/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_30_fine/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_30_fine.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_30_fine/main.mp4?v=2","description":"1966, 2:52 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_31_cale","ok":true,"partial":false,"title":"31 John Cale - Police Car","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":88.533,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2053527,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_31_cale/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_31_cale/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_31_cale.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_31_cale/main.mp4?v=2","description":"1966, 1:28 min, color, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_36_kennedy","ok":true,"partial":false,"title":"36 Peter Kennedy & Mike Parr - Flux Film 36","artist":"Fluxfilm Anthology","year":"1970","startOffset":0,"sourceSecs":155.008,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":6822402,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_36_kennedy/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_36_kennedy/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_36_kennedy.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_36_kennedy/main.mp4?v=2","description":"1970, 2:30 min, b&w, sound<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_37_kennedy","ok":true,"partial":false,"title":"37 Peter Kennedy & Mike Parr - Flux Film 37","artist":"Fluxfilm Anthology","year":"1970","startOffset":0,"sourceSecs":94.933,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2507707,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_37_kennedy/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_37_kennedy/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_37_kennedy.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_37_kennedy/main.mp4?v=2","description":"1970, 1:30 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Dick Higgins - Invocation of Canyons and Boulders (for Stan Brakhage) (1966)\nWolf Vostell - Sun in Your Head (Television Decollage)(1963)\nBen Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nDating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.\nThis UbuWeb resource is presented in partnership with\nElectronic Arts Intermix (EAI)\n. This title is available for exhibitions, screenings, and institutional use through EAI\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nDirect Link:\nFluxfilm on EAI\n.\nUbuWeb would like to express our gratitude to Ken Friedman for granting us the permission to host these films.","bio_dates":"1962-1970"},{"slug":"fluxfilm_38_ben","ok":true,"partial":false,"title":"38 Ben - Je ne vois rien, je n'entends rien, je ne dis rien","artist":"Fluxfilm Anthology","year":"1966","startOffset":0,"sourceSecs":452.907,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":28217512,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_38_ben/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_38_ben/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_38_ben.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_38_ben/main.mp4?v=2","description":"1966, 7:32 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Ben Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nBen Vautier (born on July 18, 1935 in Naples, Italy), also known simply as Ben, is a French artist.\nVautier lives and works in Nice, where he ran a record shop called Magazin between 1958 and 1973. He discovered Yves Klein and the Nouveau Réalisme in the 1950s, but he became quickly interested in the French dada artist Marcel Duchamp, the music of John Cage and joined the Fluxus artistic movement in the 1960s. In 1959, Vautier founded the journal Ben Dieu.In 1960, he had his first one-man show, Rien et tout in Laboratoire 32..\nHe is also active in Mail-Art and is mostly known for his text-based paintings; an example of the latter is his work \"L'art est inutile. Rentrez chez vous\" (Art is Useless, Go Home).\nHe has long defended the rights of minorities in all countries, and he has been influenced by the theories of François Fontan about ethnism. For example, he has defended the Occitan language (south of France).","bio_dates":"1962-1970"},{"slug":"fluxfilm_39_ben","ok":true,"partial":false,"title":"39 Ben - Le Traversee du port de Nice a la nage","artist":"Fluxfilm Anthology","year":"1963","startOffset":0,"sourceSecs":200.64,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":10144662,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_39_ben/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_39_ben/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_39_ben.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_39_ben/main.mp4?v=2","description":"1963, 3:15 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Ben Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nBen Vautier (born on July 18, 1935 in Naples, Italy), also known simply as Ben, is a French artist.\nVautier lives and works in Nice, where he ran a record shop called Magazin between 1958 and 1973. He discovered Yves Klein and the Nouveau Réalisme in the 1950s, but he became quickly interested in the French dada artist Marcel Duchamp, the music of John Cage and joined the Fluxus artistic movement in the 1960s. In 1959, Vautier founded the journal Ben Dieu.In 1960, he had his first one-man show, Rien et tout in Laboratoire 32..\nHe is also active in Mail-Art and is mostly known for his text-based paintings; an example of the latter is his work \"L'art est inutile. Rentrez chez vous\" (Art is Useless, Go Home).\nHe has long defended the rights of minorities in all countries, and he has been influenced by the theories of François Fontan about ethnism. For example, he has defended the Occitan language (south of France).","bio_dates":"1962-1970"},{"slug":"fluxfilm_40_ben","ok":true,"partial":false,"title":"40 Ben - Faire un effort","artist":"Fluxfilm Anthology","year":"1969","startOffset":0,"sourceSecs":146.581,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":6220211,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_40_ben/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_40_ben/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_40_ben.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_40_ben/main.mp4?v=2","description":"1969, 2:26 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Ben Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nBen Vautier (born on July 18, 1935 in Naples, Italy), also known simply as Ben, is a French artist.\nVautier lives and works in Nice, where he ran a record shop called Magazin between 1958 and 1973. He discovered Yves Klein and the Nouveau Réalisme in the 1950s, but he became quickly interested in the French dada artist Marcel Duchamp, the music of John Cage and joined the Fluxus artistic movement in the 1960s. In 1959, Vautier founded the journal Ben Dieu.In 1960, he had his first one-man show, Rien et tout in Laboratoire 32..\nHe is also active in Mail-Art and is mostly known for his text-based paintings; an example of the latter is his work \"L'art est inutile. Rentrez chez vous\" (Art is Useless, Go Home).\nHe has long defended the rights of minorities in all countries, and he has been influenced by the theories of François Fontan about ethnism. For example, he has defended the Occitan language (south of France).","bio_dates":"1962-1970"},{"slug":"fluxfilm_41_ben","ok":true,"partial":false,"title":"41 Ben - Regardez-moi, cela suffit","artist":"Fluxfilm Anthology","year":null,"startOffset":0,"sourceSecs":411.051,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":25196028,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_41_ben/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fluxfilm_41_ben/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fluxfilm_41_ben.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_41_ben/main.mp4?v=2","description":"1962, 6:48 min, b&w, silent<br/><br/><a href=\"https://ubu.com/film/fluxfilm.html\" rel=\"noopener\" target=\"_blank\">Fluxfilm Anthology</a> <br><br> Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement. <br/><br/> Fluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life.</br></br>","artist_bio":"Ben Vautier - Je ne vois rien Je n'entends rien Je ne dis rien (1966)\nBen Vautier (born on July 18, 1935 in Naples, Italy), also known simply as Ben, is a French artist.\nVautier lives and works in Nice, where he ran a record shop called Magazin between 1958 and 1973. He discovered Yves Klein and the Nouveau Réalisme in the 1950s, but he became quickly interested in the French dada artist Marcel Duchamp, the music of John Cage and joined the Fluxus artistic movement in the 1960s. In 1959, Vautier founded the journal Ben Dieu.In 1960, he had his first one-man show, Rien et tout in Laboratoire 32..\nHe is also active in Mail-Art and is mostly known for his text-based paintings; an example of the latter is his work \"L'art est inutile. Rentrez chez vous\" (Art is Useless, Go Home).\nHe has long defended the rights of minorities in all countries, and he has been influenced by the theories of François Fontan about ethnism. For example, he has defended the Occitan language (south of France).","bio_dates":"1962-1970"},{"slug":"follin_michel_gyorgy_ligeti_un_portrait_1993_iphone","ok":true,"partial":false,"title":"Gyorgy Ligeti Un Portrait","artist":"György Ligeti","year":"1993","startOffset":0,"sourceSecs":3866.178,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":223642100,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/follin_michel_gyorgy_ligeti_un_portrait_1993_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/follin_michel_gyorgy_ligeti_un_portrait_1993_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/follin_michel_gyorgy_ligeti_un_portrait_1993_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/follin_michel_gyorgy_ligeti_un_portrait_1993_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/follin_michel_gyorgy_ligeti_un_portrait_1993_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"The Hungarian composer György Ligeti's biography typifies the displaced cosmopolitan, truly at home only in the international community of music. Appropriately enough, this revealing film portrait of his life and music has a train journey as its central metaphor, with Ligeti gazing through the window onto the changing middle-European landscape. His music - innovative, complex, brilliantly eclectic - accompanies his reflections and memories."},{"slug":"fontaine_claire_france_burning","ok":true,"partial":false,"title":"France (Burnt/Unburnt)","artist":"Claire Fontaine","year":"2011","startOffset":0,"sourceSecs":283.027,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":126776174,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fontaine_claire_france_burning/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fontaine_claire_france_burning/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fontaine_claire_france_burning.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fontaine_claire_france_burning/main.mp4?v=2","description":"Carte de France, allumettes fichées dans le murdimensions variables<br/> Map of France made up from match sticks, burnt or unburnt<br/> dimensions variable, Edition 1/1","artist_bio":"Claire Fontaine, Bernadette Corporation & Reena Spaulings - Imperio (2007)\nClaire Fontaine is a Paris-based collective artist, founded in 2004. After lifting her name from a popular brand of school notebooks, Claire Fontaine declared herself a “readymade artist” and began to elaborate a version of neo-conceptual art that often looks like other people’s work.\nWorking in neon, video, sculpture, painting and text, her practice can be described as an ongoing interrogation of the political impotence and the crisis of singularity that seem to define contemporary art today. But if the artist herself is the subjective equivalent of a urinal or a Brillo box – as displaced, deprived of its use value, and exchangeable as the products she makes – there is always the possibility of what she calls the “human strike.”\nClaire Fontaine uses her freshness and youth to make herself a whatever-singularity and an existential terrorist in search of subjective emancipation. She grows up among the ruins of the notion of authorship, experimenting with collective protocols of production, détournements, and the production of various devices for the sharing of intellectual and private property.","bio_dates":"2015"},{"slug":"ford_charles_henri_johnny_minotaur_1971","ok":true,"partial":false,"title":"Johnny Minotaur","artist":"Charles Henri Ford","year":"1971","startOffset":0,"sourceSecs":4777.13,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":2098157515,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ford_charles_henri_johnny_minotaur_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ford_charles_henri_johnny_minotaur_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ford_charles_henri_johnny_minotaur_1971.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ford_charles_henri_johnny_minotaur_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ford_charles_henri_johnny_minotaur_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"Surrealist poet and artist Charles Henri Fords 1971 film, Johnny Minotaur is a lyrical explosion of taboos: incest, intergenerational desire, pansexuality and autoeroticism are a few of the issues he grapples with through mythopoeic, sensual imagery, recitations of his diaries and a philosophical debate featuring an impressive narration by such artists as Salvador Dali, Allen Ginsberg, Warren Sonbert and Lynne Tillman.","artist_bio":"Charles Henri Ford’s emergence onto the modernist literary scene began in 1929 when Ford started publishing the little magazine, Blues: A Magazine of New Rhythms (1929-30). Ford gained more prominence in modernist publishing when he moved to New York and began to engage with modernist poets such as Ezra Pound and William Carlos Williams. He subsequently moved to Paris, where he met Gertrude Stein and had an affair with Djuna Barnes. Upon his return to New York with his partner/lover Pavel Tchelitchew, he founded the Surrealist magazine View in 1940. Due to the confluence of his own Surrealist poetry and View (1940-1947), Ford became the leading American Surrealist voice in New York’s literary and art communities. Edward B. Germain claims that Ford was “America’s surrealist poet” and that he “creates the wonder, the wit, and the erotic beauty that have made surrealism the most significant of all modern influences upon poetry” (qtd. in Howard 9).\nWhile Ford’s literary work has received far less critical attention than that of his modernist peers and collaborators, one of Ford’s most important contributions to the field of modernism was the novel that he co-wrote with Parker Tyler, The Young and the Evil (Obelisk Press 1933). Modernist scholars acknowledge this as the “first proto-queer text in American letters” (See 1073). According to Sam See, The Young and the Evil “disrupts critical narratives that relegate queerness to a ‘niche’ realm of scholarly and literary interests and those that […] appear to align the mythic with the heteronormative” (1075). In addition, Ford published sixteen collections of Surrealist-influenced poetry, beginning with A Pamphlet of Sonnets (1936) and The Garden of Disorder (1938).\nFord occupies an interesting bridge between modern and postmodern artistic movements as an important modernist poet and publisher, who simultaneously influenced so much of the art of the 1950s and 60s in New York. Ford began making collages and chainpoems in the 1940s and in 1966 published Spare Parts, a collection of “poem posters.” He exhibited his paintings, photos, and drawings in the mid-1950s and began making films in the late 1960s. Ford exposed a young Andy Warhol to New York’s underground film scene, and accompanied and advised Warhol on the purchase of his first camera (Howard, “Between” 146).","bio_dates":"1908-2002"},{"slug":"ford_charles_henri_poem_posters_1967","ok":true,"partial":false,"title":"Poem Posters","artist":"Charles Henri Ford","year":"1966","startOffset":0,"sourceSecs":1458.56,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":624699661,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ford_charles_henri_poem_posters_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ford_charles_henri_poem_posters_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ford_charles_henri_poem_posters_1967.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ford_charles_henri_poem_posters_1967/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ford_charles_henri_poem_posters_1967/main/master.m3u8?v=2","hasMainHls":true,"description":"Real-life portraits of Jayne Mansfield, Frank O’Hara, Ruth Ford, Ned Rorem, Virgil Thomson, Claes Oldenburg, Roy Lichtenstein, William Burroughs, Andy Warhol, Rudy Gernreich, Jonas Mekas and others.","artist_bio":"Charles Henri Ford’s emergence onto the modernist literary scene began in 1929 when Ford started publishing the little magazine, Blues: A Magazine of New Rhythms (1929-30). Ford gained more prominence in modernist publishing when he moved to New York and began to engage with modernist poets such as Ezra Pound and William Carlos Williams. He subsequently moved to Paris, where he met Gertrude Stein and had an affair with Djuna Barnes. Upon his return to New York with his partner/lover Pavel Tchelitchew, he founded the Surrealist magazine View in 1940. Due to the confluence of his own Surrealist poetry and View (1940-1947), Ford became the leading American Surrealist voice in New York’s literary and art communities. Edward B. Germain claims that Ford was “America’s surrealist poet” and that he “creates the wonder, the wit, and the erotic beauty that have made surrealism the most significant of all modern influences upon poetry” (qtd. in Howard 9).\nWhile Ford’s literary work has received far less critical attention than that of his modernist peers and collaborators, one of Ford’s most important contributions to the field of modernism was the novel that he co-wrote with Parker Tyler, The Young and the Evil (Obelisk Press 1933). Modernist scholars acknowledge this as the “first proto-queer text in American letters” (See 1073). According to Sam See, The Young and the Evil “disrupts critical narratives that relegate queerness to a ‘niche’ realm of scholarly and literary interests and those that […] appear to align the mythic with the heteronormative” (1075). In addition, Ford published sixteen collections of Surrealist-influenced poetry, beginning with A Pamphlet of Sonnets (1936) and The Garden of Disorder (1938).\nFord occupies an interesting bridge between modern and postmodern artistic movements as an important modernist poet and publisher, who simultaneously influenced so much of the art of the 1950s and 60s in New York. Ford began making collages and chainpoems in the 1940s and in 1966 published Spare Parts, a collection of “poem posters.” He exhibited his paintings, photos, and drawings in the mid-1950s and began making films in the late 1960s. Ford exposed a young Andy Warhol to New York’s underground film scene, and accompanied and advised Warhol on the purchase of his first camera (Howard, “Between” 146).","bio_dates":"1908-2002"},{"slug":"foreman_richard_lava_1989_iphone","ok":true,"partial":false,"title":"Lava","artist":"Richard Foreman","year":"1989","startOffset":0,"sourceSecs":4061.634,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":235751391,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/foreman_richard_lava_1989_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/foreman_richard_lava_1989_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/foreman_richard_lava_1989_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/foreman_richard_lava_1989_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/foreman_richard_lava_1989_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Review/Theater; On a Feather-Strewn Stage, Multiple Flights of Fancy<br/> By MEL GUSSOW<br/> New York Times<br/> Published: December 13, 1989<br/> <br/> In a program note to \"Lava,\" Richard Foreman suggests that his new play \"may at first seem even a bit more perplexing than the 'unbalancing acts' that are performed\" in his other works. Theatergoers are forewarned and forearmed. For 20 years, this author and director has been offering ideographic emanations of his inner life. In a sense, he posts road maps without destinations. As with \"Lava,\" the journey is intriguing, although the extent of the interest depends on one's willingness to indulge the playwright's fancifulness.<br/><br/> The plays are mysteries, and some are so elusive as to defeat even the most diligent of private investigators. All a theatergoer can hope to do is to collect clues and leap to conclusions, especially difficult in the case of \"Lava.\"<br/><br/> For this co-production of Mr. Foreman's Ontological-Hysteric Theater and the Wooster Group, the Performing Garage has been turned into a Foreman equivalent of a Joseph Cornell box. Strange objects (and bizarre-looking characters) are firmly fixed in place, but the connection among them is in the eye of the beholder.<br/><br/> Before \"Lava\" begins, there is ample time to contemplate the setting (designed by Mr. Foreman), crisscrossed with his customary string and so crammed with gewgaws as to look like a black magical museum installation. This could be a classroom except that the stage is strewn with feathers. Somewhere, something is molting. Could it be the playwright's imagination?<br/><br/> First clue: Things come in threes. There are three blackboards on which are transcribed versions of the author's sepulchral taped narration. There are three actors, all outfited with hunchbacks, a trio of mad doctors who introduce three categories of thought. Category 1 is reality (regained with our equilibrium when we leave the theater). Category 2 is \"random nonsense\" (well represented on stage). Category 3 calls for an act of faith as the author attempts to disorient the audience.<br/><br/> With humility, Mr. Foreman admits his inability to communicate, discrediting himself for offering a \"mental massage.\" When the language becomes too self-indulgent, there is a cry for \"verbal police,\" an army of censors who remain unseen.<br/><br/> What one misses in the show is not so much clarity (obfuscation comes with the territory) as humor, which is usually endemic to the author's work - in his recent \"Film Is Evil, Radio Is Good\" and \"Symphony of Rats,\" as well in his early picaresque tales about his favorite heroine, Rhoda. \"Lava\" is marked by its sobriety, even as the three actors don long black beards and look like Tatar cousins of the Flying Karamazov Brothers.<br/><br/> One of the play's lingering mysteries is the title, which may, of course, be a volcanic reference or perhaps a nostalgic salute to that soap that was popularized years ago with a commercial that spelled out the product's name with a drum-beating intensity. If one intruded an apostrophe into the title, making it \"l'Ava,\" that might explain all those feathers on stage.<br/><br/> Even as his work becomes more internalized, Mr. Foreman has not lost his ability to awaken an audience's curiosity and to entreat strangers -and admirers - to join him in his own enigmatic quest for self-definition. UNBALANCING ACTS - LAVA, written, directed and designed by Richard Foreman; lighting design, Heather Carson; assistant director, David Herskovits. A co-production of Ontological-Hysteric Theater and the Wooster Group. At 33 Wooster Street. WITH: Neil Bradley, Matthew Courtney, Peter Davis, Kyle deCamp, Hiedi Tradewell and Richard Foreman.","artist_bio":"Richard Foreman is a major figure in the avant-garde theater. Founder and director of the Ontological-Hysteric Theater, for which he has written, directed and designed over fifty major productions in New York and Europe from 1968 to 1977, he has also designed and directed many other acclaimed theatrical and operatic productions.\nForeman's uniquely stylized theater is characterized by complex interplays and tensions between spoken language and visual tableaux. Distanced from the audience, with actors functioning like objects in a series of still-lifes, his plays eschew dramatic narrative action.\nIn translating his theatrical work to video and film, Foreman has created provocative pieces that are at once more intimate and abstract than his stage plays. Employing disruptive, deconstructive devices that puncture the theatrical illusion, these works are distinctive in their rigorously controlled compositions, complex linguistic structures, and intricate collusions of language and image. Minimalist in form, Foreman's works are complex in their labyrinthine layers of textual meaning.\nForeman was born in 1937. He received a B.A. from Brown University and an M.F.A. from Yale University. Foreman has received numerous awards for his achievements in theater, including nine Village Voice OBIE Awards, a Rockefeller Foundation Playwrights Grant, a Ford Foundation New American Plays Award, a MacArthur Fellowship and an American Academy and Institute of Arts and Letters Award in Literature. In 1988 he received one of the first Distinguished Artists Fellowships in Theater from the National Endowment for the Arts for his \"significant contribution to the art form.\" His plays and essays have been collected in the publications Richard Foreman Plays and Manifestos (1976) and Reverberation Machines, The Later Plays and Essays (1985). Foreman lives in New York. --\nEAI\nSome of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nCharles Bernstein in conversation with Richard Foreman (TDR, 1992)\nBad Boy Nietzche (pdf file: rehearsal script) at /Ubu Editions\nNow That Comunism Is Dead My Life Feels Empty (pdf file: rehearsal script) at /Ubu editions","bio_dates":"b. 1937"},{"slug":"foreman_richard_once_every_day_2012","ok":true,"partial":false,"title":"Once Every Day","artist":"Richard Foreman","year":"2012","startOffset":0,"sourceSecs":3958.89,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":1730486389,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/foreman_richard_once_every_day_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/foreman_richard_once_every_day_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/foreman_richard_once_every_day_2012.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/foreman_richard_once_every_day_2012/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/foreman_richard_once_every_day_2012/main/master.m3u8?v=2","hasMainHls":true,"description":"The goal, for Foreman, is not to induce pleasure, but rather to demand acute - even obsessive - attention in his viewers, something that is \"easier (to achieve) in art than in life.\" Favoring abstraction over narrative, the film is most striking for the emptiness of its signs. A woman's feet, clad in high heels and bound together with rope, or the stern face of an old man, do not necessarily signify anything outside of themselves. The effect falls anywhere between refreshingly liberating, mildly amusing, and stalwartly infuriating. <br/> --Emma Meyers, Film Comment","artist_bio":"Richard Foreman is a major figure in the avant-garde theater. Founder and director of the Ontological-Hysteric Theater, for which he has written, directed and designed over fifty major productions in New York and Europe from 1968 to 1977, he has also designed and directed many other acclaimed theatrical and operatic productions.\nForeman's uniquely stylized theater is characterized by complex interplays and tensions between spoken language and visual tableaux. Distanced from the audience, with actors functioning like objects in a series of still-lifes, his plays eschew dramatic narrative action.\nIn translating his theatrical work to video and film, Foreman has created provocative pieces that are at once more intimate and abstract than his stage plays. Employing disruptive, deconstructive devices that puncture the theatrical illusion, these works are distinctive in their rigorously controlled compositions, complex linguistic structures, and intricate collusions of language and image. Minimalist in form, Foreman's works are complex in their labyrinthine layers of textual meaning.\nForeman was born in 1937. He received a B.A. from Brown University and an M.F.A. from Yale University. Foreman has received numerous awards for his achievements in theater, including nine Village Voice OBIE Awards, a Rockefeller Foundation Playwrights Grant, a Ford Foundation New American Plays Award, a MacArthur Fellowship and an American Academy and Institute of Arts and Letters Award in Literature. In 1988 he received one of the first Distinguished Artists Fellowships in Theater from the National Endowment for the Arts for his \"significant contribution to the art form.\" His plays and essays have been collected in the publications Richard Foreman Plays and Manifestos (1976) and Reverberation Machines, The Later Plays and Essays (1985). Foreman lives in New York. --\nEAI\nSome of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nCharles Bernstein in conversation with Richard Foreman (TDR, 1992)\nBad Boy Nietzche (pdf file: rehearsal script) at /Ubu Editions\nNow That Comunism Is Dead My Life Feels Empty (pdf file: rehearsal script) at /Ubu editions","bio_dates":"b. 1937"},{"slug":"foreman_richard_strong_medicine_1981_iphone","ok":true,"partial":false,"title":"Strong Medicine","artist":"Richard Foreman","year":"1981","startOffset":0,"sourceSecs":4830.829,"sourceHeight":320,"sourceWidth":462,"hasAudio":true,"hasAmbientMp4":true,"bytes":280466645,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/foreman_richard_strong_medicine_1981_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/foreman_richard_strong_medicine_1981_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/foreman_richard_strong_medicine_1981_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/foreman_richard_strong_medicine_1981_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/foreman_richard_strong_medicine_1981_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"November 25, 1981<br/> RICHARD FOREMAN'S 'STRONG MEDICINE'<br/> By VINCENT CANBY <br/> <i>The New York Times</i><br/> <br/> RHODA, a slender, pale woman in a sensible dress and sensible shoes, is in a state. To describe her as being extremely upset would be an understatement, much like a psychiatrist's saying that someone who is in the process of committing suicide is suffering an anxiety attack. Slang is more accurate. Rhoda is very nearly out of her wig, though her hair is apparently her own. Rhoda seems to be in a tacky ballroom, the guest of honor at her own birthday party, surrounded by uncaring strangers, her chilly, know-it-all doctor and her patronizing husband, who forces her to dance with the doctor. ''Faster, faster,'' says her husband, but the music has stopped. The guests sing a drear version of ''For She's a Jolly Good Fellow'' and an equally unenthusiastic ''Happy Birthday.'' Along with five or six other women, Rhoda crouches, one knee on the floor, as if to get ready-and-set for a foot race. When the ''Go!'' signal is given, the music starts up and the other wom en simply flop onto the floor. Rhoda tries to be patient, to understand, but obviously the system is designed to terrorize. Yet Rhoda will not be terrorized. With something of the unflappability of Lewis Carroll's Alice, she persists in seeing this dream through to the end. This is more or less the outline of ''Strong Medicine,'' the first film to be made by the playwright-director Richard Foreman, one of America's most highly acclaimed theater innovators, the founder and director of the Ontological-Hysteria Theater. The film opens today at the Film Forum. Like ''The Lovers' Exile,'' the filmed version of a production by Japan's Bunraku doll theater company now playing at the Public, ''Strong Medicine'' is more of a theatrical occasion than a cinematic one. Though Mr. Foreman, in notes supplied to the critic by the Film Forum, talks knowingly about the differences between theater ''space'' and screen ''space,'' ''Strong Medicine'' clearly is theater, but theater in which there are four walls instead of three. The kind of anarchic states of mind that Mr. Foreman dramatizes so ebulliently on the stage, in such works as ''Dr. Selavy's Magic Theater,'' ''Rhoda in Potatoland'' and, most recently, in ''Penguin Touquet,'' are far more effective, funny and un-self-conscious in the living theater than they are on the screen. The difference between watching the movie, ''Strong Medicine,'' and ''Dr. Selavy's Magic Theater'' on the stage is the difference between taking a fun vacation in Albania oneself and being forced to sit through someone else's color slides of their own such vacation. The movie lacks any immediate personal associations. Film also seems to inhibit the growth of an event that, on the stage, continually appears to be evolving into something else. Much more unfortunate, though, is the movie's ponderous lack of humor. There's a recurring sequence in which the bewildered Rhoda, on the advice of her doctor, attempts to take a vacation on a train that, of course, goes nowhere. It is suitably nightmarish and weird but nowhere near as comic as a similar sequence in Woody Allen's self-mocking ''Stardust Memories.'' ''Strong Medicine'' is less than the sum of its gaudy parts. The camera is not kind to this sort of theatrical enterprise. The chorus of middle-aged, middle-class harpies, who repeatedly cry out ''Jesus Christ, my feet hurt,'' evoke not an elevated kind of lunacy but appear to be, under the camera's close scrutiny, simply a group of actresses behaving peculiarly. It's difficult to respond to Rhoda's high anxieties, because one is always conscious of the placement of the performers, their relation to the camera, their makeup, their carefully choreographed movements and a number of notso-startling juxtapositions of bizarre images and sounds. Something obviously is going on in Mr. Foreman's mind, but the film stands like an invisible shield between the event and the audience. Even with these problems, Kate Manheim, Mr. Foreman's favorite actress, is consistently interesting as the poor, put-upon Rhoda. She also has some of the same beauty and wit of the remarkable Delphine Seyrig. David Warrilow plays the imperious doctor, a role he has done in Mr. Foreman's stage productions. The large supporting company includes such people as Buck Henry, Jonas Mekas, Carol Kane and Wallace Shawn (whose brief appearance is unbilled). ''Strong Medicine'' exerts a hypnotic effect after a while, and it is disturbing, as it should be. It's also intimidating. It reminds me of a very early ''Honeymooners'' segment in which Jackie Gleason's Ralph Kramden tells off his wife Alice (Audrey Meadows) for always belittling his dreams of grandeur. Says the furious, frustrated Ralph, ''It's a good thing you weren't at Kitty Hawk, Alice. I can hear you now: 'Ralph, get out of that thing. You're making a fool of yourself.' '' ''Strong Medicine'' is the kind of mad, risky venture one hesitates to interrupt. Mr. Foreman may be right. <br/> <br/>Mad, Risky Venture <br/> <br/>STRONG MEDICINE, written and directed by Richard Foreman; director of photography, Babette Mangolte; music by Stanley Silverman; edited by Mr. Foreman and Karen Stern; produced by Mary Milton and Simon Nuchtern in association with Eric Franck and Jordan Bojilov. At the Film Forum, 57 Watts Street. Running time: 84 minutes. This film has no rating. <br/> <br/>Rhoda . . . . . Kate Manheim <br/>Old woman . . . . . Scotty Snyder <br>Young man . . . . . Bill Raymond <br>Old man . . . . . Harry Roskolenko <br>Max . . . . . Ron Vawter <br>Doctor . . . . . David Warrilow <br>Eleanor . . . . . Ruth Maleczech <br> <br>WITH: Buck Henry, Carol Kane, Raul Julia <br/> </br></br></br></br></br></br></br>","artist_bio":"Richard Foreman is a major figure in the avant-garde theater. Founder and director of the Ontological-Hysteric Theater, for which he has written, directed and designed over fifty major productions in New York and Europe from 1968 to 1977, he has also designed and directed many other acclaimed theatrical and operatic productions.\nForeman's uniquely stylized theater is characterized by complex interplays and tensions between spoken language and visual tableaux. Distanced from the audience, with actors functioning like objects in a series of still-lifes, his plays eschew dramatic narrative action.\nIn translating his theatrical work to video and film, Foreman has created provocative pieces that are at once more intimate and abstract than his stage plays. Employing disruptive, deconstructive devices that puncture the theatrical illusion, these works are distinctive in their rigorously controlled compositions, complex linguistic structures, and intricate collusions of language and image. Minimalist in form, Foreman's works are complex in their labyrinthine layers of textual meaning.\nForeman was born in 1937. He received a B.A. from Brown University and an M.F.A. from Yale University. Foreman has received numerous awards for his achievements in theater, including nine Village Voice OBIE Awards, a Rockefeller Foundation Playwrights Grant, a Ford Foundation New American Plays Award, a MacArthur Fellowship and an American Academy and Institute of Arts and Letters Award in Literature. In 1988 he received one of the first Distinguished Artists Fellowships in Theater from the National Endowment for the Arts for his \"significant contribution to the art form.\" His plays and essays have been collected in the publications Richard Foreman Plays and Manifestos (1976) and Reverberation Machines, The Later Plays and Essays (1985). Foreman lives in New York. --\nEAI\nSome of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.\nCharles Bernstein in conversation with Richard Foreman (TDR, 1992)\nBad Boy Nietzche (pdf file: rehearsal script) at /Ubu Editions\nNow That Comunism Is Dead My Life Feels Empty (pdf file: rehearsal script) at /Ubu editions","bio_dates":"b. 1937"},{"slug":"forensic_architecture_triple_chaser_forensic_2019","ok":true,"partial":false,"title":"Triple Chaser","artist":"Forensic Architecutre","year":"2019","startOffset":0,"sourceSecs":635.05,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":269825882,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forensic_architecture_triple_chaser_forensic_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forensic_architecture_triple_chaser_forensic_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/forensic_architecture_triple_chaser_forensic_2019.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/forensic_architecture_triple_chaser_forensic_2019/main.mp4?v=2","description":"When US border agents fired tear gas grenades at civilians in November 2018, photographs showed that many of those grenades were manufactured by the Safariland Group, one of the world’s major manufacturers of so-called “less-lethal munitions.” The Safariland Group is owned by Warren B. Kanders, the [now former] vice-chair of the board of trustees of the Whitney Museum of American Art. In response to their invitation to the Whitney Biennial 2019, and the controversial association of Warren B. Kanders’ with the institution, Forensic Architecture partnered with Praxis Films on a project to train “computer vision” classifiers to detect Safariland tear gas canisters among the millions of images shared online. The task of training a computer vision classifier to identify a particular object usually requires thousands of images of that object. Images of the Triple-Chaser pyrotechnic grenade, however, are relatively rare. To fill the gap, Forensic Architecture constructed a digital model of the Triple-Chaser, and located it within thousands of photorealistic “synthetic” environments, recreating the situations in which tear gas canisters are deployed and documented. In this way, “fake” images helped in the search for real ones, so that the next time Safariland munitions are used against civilians, we’ll know.","artist_bio":"Forensic Architecture is a multidisciplinary research group based at Goldsmiths, University of London that uses architectural techniques and technologies to investigate cases of state violence and violations of human rights around the world. The group is led by architect Eyal Weizman.","bio_dates":"2019"},{"slug":"forsythe_william_solo_1997_iphone","ok":true,"partial":false,"title":"Solo","artist":"William Forsythe","year":"1997","startOffset":0,"sourceSecs":413.904,"sourceHeight":316,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":25309936,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forsythe_william_solo_1997_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forsythe_william_solo_1997_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/forsythe_william_solo_1997_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/forsythe_william_solo_1997_iphone/main.mp4?v=2","description":"Choreography/Performance: William Forsythe; Music: Thom Willems, in collaboration with Maxime Franke; Director: Thomas Lovell Balogh; Camera: Jess Hall, Courtesy of The Forsythe Company <br/><br/> Shot in black-and-white, <i>Solo</i> features an electric solo performance by choreographer William Forsythe, beginning with a close-up on the balletic movements of his feet, scanning up his frame, and then finally zooming out to capture his frenetic movements across a starkly lit stage. The dance is accompanied by an atonal violin composition by Thom Willems and occasional directions from an off-camera male voice, both of which contribute to the film's gloomy, paranoid atmosphere. Solo premiered at the 1997 Whitney Biennial and is considered a landmark in Forsythe's artistic career.","artist_bio":"Eleanor Antin, Charles Atlas, Natalie Bookchin, James Byrne and Victoria Marks, Ann Carlson and Mary Ellen Strom, Shirley Clarke, Bruce Conner, Thierry de Mey, Tacita Dean, Maya Deren, Ed Emshwiller, William Forsythe, Amy Greenfield, Hilary Harris, Oliver Herring, Luis Jacob, Mike Kelley, Joachim Koester, Elad Lassry, Sharon Lockhart, Babette Mangolte, Norman McLaren, Frank Moore and Jim Self, Bruce Nauman, Kelly Nipper, Sidney Peterson and Hy Hirsh, Yvonne Rainer, robbinschilds + A.L. Steiner, Uri Tzaig, Flora Wiegmann, and Christopher Williams.\nIn the 1937 musical film\nShall We Dance\n, Fred Astaire's character falls in love with a flip book, or rather, the woman depicted on its pages: a popular dancer played by Ginger Rogers. \"That's grace, that's rhythm,\" he swoons over the photographs. The camera, it almost need not be stated, captures things that move. Dance with Camera features art works in film, video, and photography that exemplify the ways dance has compelled artists to record bodies moving in space and time. The exhibition begins with films from the 1960s, a period when associations between dancers, filmmakers, musicians and visual artists flourished at Judson Dance Theater in downtown New York. The interdisciplinary practices that emerged at Judson, and beyond, were an extension of the collaborative work of composer John Cage and choreographer Merce Cunningham, both of whom made use of chance procedures. This \"anything goes\" methodology demolished creative traditions and hierarchies, moves that influenced the way the works on view use an imagery of dance that threads through Hollywood musicals, avant-garde cinema, postmodern dance and MTV.\nDance with Camera\nincludes works in which dance is a subject, or mode, used to explore broader themes of collaboration, narrative, structure, metaphor and abstraction. These works propose choreography for the camera lens: movement is designed for the area prescribed by the camera's frame; the ephemerality of live performance is fixed in time. The camera also allows close-ups that bring us in proximity to the dance, or in some cases, performs as a partner in unusual pas de deux. Photographic series freeze time while also expanding the notion of dance as a time-based medium. Editing techniques compress time and space, conjure dances impossible in real time, and even transform relatively static performers into dancers. Finally, the camera is not merely a recording device, but stage and audience simultaneously.","bio_dates":"b. 1949"},{"slug":"forum_lenteng_massroom_project_5_seconds_10_minutes_24_hours_2005","ok":true,"partial":false,"title":"5 Seconds 10 Minutes 24 Hours","artist":"Forum Lenteng","year":"2005","startOffset":0,"sourceSecs":778.005,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":133089843,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forum_lenteng_massroom_project_5_seconds_10_minutes_24_hours_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forum_lenteng_massroom_project_5_seconds_10_minutes_24_hours_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/forum_lenteng_massroom_project_5_seconds_10_minutes_24_hours_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/forum_lenteng_massroom_project_5_seconds_10_minutes_24_hours_2005/main.mp4?v=2","description":"<b>Massroom Project (2005) </b> <br/><br/> Founding member of Ruangrupa, Hafiz, constitutes a new video collective to explore the urban poetics of his city Jakarta. The nine videos, created by Indonesian journalism students, are records of diversity and an exhilarating celebration of the mother-city Jakarta! Here are are 4 of those videos recording the diversity of Jakarta ranging from transportation into the city to the housewife gossip around Ronin. An exhilarating celebration. <br/><br/> Titles in this series are: <br/><br/> <a href=\"https://ubu.com/film/lenteng_ronin.html\" rel=\"noopener\" target=\"_blank\">RONIN</a><br/> <a href=\"https://ubu.com/film/lenteng_jakarta.html\" rel=\"noopener\" target=\"_blank\">Jakarta 24</a><br/> <a href=\"https://ubu.com/film/lenteng_5seconds.html\" rel=\"noopener\" target=\"_blank\">5 Seconds 10 Minutes 24 Hours</a><br/> <a href=\"https://ubu.com/film/lenteng_tales.html\" rel=\"noopener\" target=\"_blank\">Tales Before the Rain</a><br/> <!--#include virtual=\"../inc/footer_film.html\"","artist_bio":"Founding member of Ruangrupa, Hafiz, constitutes a new video collective to explore the urban poetics of his city Jakarta. The nine videos, created by Indonesian journalism students, are records of diversity and an exhilarating celebration of the mother-city Jakarta! Here are are 4 of those videos recording the diversity of Jakarta ranging from transportation into the city to the housewife gossip around Ronin. An exhilarating celebration.","bio_dates":"2005"},{"slug":"forum_lenteng_massroom_project_jakarta_24_2005","ok":true,"partial":false,"title":"Jakarta 24","artist":"Forum Lenteng","year":"2005","startOffset":0,"sourceSecs":288.363,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":44578090,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forum_lenteng_massroom_project_jakarta_24_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forum_lenteng_massroom_project_jakarta_24_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/forum_lenteng_massroom_project_jakarta_24_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/forum_lenteng_massroom_project_jakarta_24_2005/main.mp4?v=2","description":"<b>Massroom Project (2005) </b> <br/><br/> Founding member of Ruangrupa, Hafiz, constitutes a new video collective to explore the urban poetics of his city Jakarta. The nine videos, created by Indonesian journalism students, are records of diversity and an exhilarating celebration of the mother-city Jakarta! Here are are 4 of those videos recording the diversity of Jakarta ranging from transportation into the city to the housewife gossip around Ronin. An exhilarating celebration. <br/><br/> Titles in this series are: <br/><br/> <a href=\"https://ubu.com/film/lenteng_ronin.html\" rel=\"noopener\" target=\"_blank\">RONIN</a><br/> <a href=\"https://ubu.com/film/lenteng_jakarta.html\" rel=\"noopener\" target=\"_blank\">Jakarta 24</a><br/> <a href=\"https://ubu.com/film/lenteng_5seconds.html\" rel=\"noopener\" target=\"_blank\">5 Seconds 10 Minutes 24 Hours</a><br/> <a href=\"https://ubu.com/film/lenteng_tales.html\" rel=\"noopener\" target=\"_blank\">Tales Before the Rain</a>","artist_bio":"Founding member of Ruangrupa, Hafiz, constitutes a new video collective to explore the urban poetics of his city Jakarta. The nine videos, created by Indonesian journalism students, are records of diversity and an exhilarating celebration of the mother-city Jakarta! Here are are 4 of those videos recording the diversity of Jakarta ranging from transportation into the city to the housewife gossip around Ronin. An exhilarating celebration.","bio_dates":"2005"},{"slug":"forum_lenteng_massroom_project_ronin_2005","ok":true,"partial":false,"title":"Ronin","artist":"Forum Lenteng","year":"2005","startOffset":0,"sourceSecs":791.403,"sourceHeight":448,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":51420016,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forum_lenteng_massroom_project_ronin_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forum_lenteng_massroom_project_ronin_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/forum_lenteng_massroom_project_ronin_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/forum_lenteng_massroom_project_ronin_2005/main.mp4?v=2","description":"<b>Massroom Project (2005) </b> <br/><br/> Founding member of Ruangrupa, Hafiz, constitutes a new video collective to explore the urban poetics of his city Jakarta. The nine videos, created by Indonesian journalism students, are records of diversity and an exhilarating celebration of the mother-city Jakarta! Here are are 4 of those videos recording the diversity of Jakarta ranging from transportation into the city to the housewife gossip around Ronin. An exhilarating celebration. <br/><br/> Titles in this series are: <br/><br/> <a href=\"https://ubu.com/film/lenteng_ronin.html\" rel=\"noopener\" target=\"_blank\">RONIN</a><br/> <a href=\"https://ubu.com/film/lenteng_jakarta.html\" rel=\"noopener\" target=\"_blank\">Jakarta 24</a><br/> <a href=\"https://ubu.com/film/lenteng_5seconds.html\" rel=\"noopener\" target=\"_blank\">5 Seconds 10 Minutes 24 Hours</a><br/> <a href=\"https://ubu.com/film/lenteng_tales.html\" rel=\"noopener\" target=\"_blank\">Tales Before the Rain</a>","artist_bio":"Founding member of Ruangrupa, Hafiz, constitutes a new video collective to explore the urban poetics of his city Jakarta. The nine videos, created by Indonesian journalism students, are records of diversity and an exhilarating celebration of the mother-city Jakarta! Here are are 4 of those videos recording the diversity of Jakarta ranging from transportation into the city to the housewife gossip around Ronin. An exhilarating celebration.","bio_dates":"2005"},{"slug":"forum_lenteng_massroom_project_tales_before_the_rain_2005","ok":true,"partial":false,"title":"Tales Before the Rain","artist":"Forum Lenteng","year":"2005","startOffset":0,"sourceSecs":907.115,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":154449255,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forum_lenteng_massroom_project_tales_before_the_rain_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/forum_lenteng_massroom_project_tales_before_the_rain_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/forum_lenteng_massroom_project_tales_before_the_rain_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/forum_lenteng_massroom_project_tales_before_the_rain_2005/main.mp4?v=2","description":"<b>Massroom Project (2005) </b> <br/><br/> Founding member of Ruangrupa, Hafiz, constitutes a new video collective to explore the urban poetics of his city Jakarta. The nine videos, created by Indonesian journalism students, are records of diversity and an exhilarating celebration of the mother-city Jakarta! Here are are 4 of those videos recording the diversity of Jakarta ranging from transportation into the city to the housewife gossip around Ronin. An exhilarating celebration. <br/><br/> Titles in this series are: <br/><br/> <a href=\"https://ubu.com/film/lenteng_ronin.html\" rel=\"noopener\" target=\"_blank\">RONIN</a><br/> <a href=\"https://ubu.com/film/lenteng_jakarta.html\" rel=\"noopener\" target=\"_blank\">Jakarta 24</a><br/> <a href=\"https://ubu.com/film/lenteng_5seconds.html\" rel=\"noopener\" target=\"_blank\">5 Seconds 10 Minutes 24 Hours</a><br/> <a href=\"https://ubu.com/film/lenteng_tales.html\" rel=\"noopener\" target=\"_blank\">Tales Before the Rain</a>","artist_bio":"Founding member of Ruangrupa, Hafiz, constitutes a new video collective to explore the urban poetics of his city Jakarta. The nine videos, created by Indonesian journalism students, are records of diversity and an exhilarating celebration of the mother-city Jakarta! Here are are 4 of those videos recording the diversity of Jakarta ranging from transportation into the city to the housewife gossip around Ronin. An exhilarating celebration.","bio_dates":"2005"},{"slug":"foucault_michel_foucault_beyond_good_and_evil_1993","ok":true,"partial":false,"title":"Beyond Good and Evil (1993), documentary","artist":"Michel Foucault","year":"1993","startOffset":0,"sourceSecs":2504.621,"sourceHeight":480,"sourceWidth":628,"hasAudio":true,"hasAmbientMp4":true,"bytes":425696979,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/foucault_michel_foucault_beyond_good_and_evil_1993/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/foucault_michel_foucault_beyond_good_and_evil_1993/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/foucault_michel_foucault_beyond_good_and_evil_1993.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/foucault_michel_foucault_beyond_good_and_evil_1993/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/foucault_michel_foucault_beyond_good_and_evil_1993/main/master.m3u8?v=2","hasMainHls":true,"description":"Michel Foucault’s colorful life and hugely influential work were both struggles against limitation—the limits of language, of social structures and stultifying historical identities. As such, he managed to provoke scholars of every possible persuasion, since he called into question all positive programs—the ancient imperial, feudal, and liberal humanist—while steadfastly refusing to replace them with comprehensive alternative systems. And yet systems, social institutions of power and domination, were precisely the problem in Foucault’s estimation. Through his technique of raiding archives to produce an “archaeology of knowledge,” Foucault showed how every institution is shot through with what William E. Connolly calls “arbitrary… systemic cruelty.” <br/><br/> The 1993 documentary film above, Michel Foucault: Beyond Good and Evil, explores the philosopher and his complex and controversial life through interviews with colleagues and biographers and re-enactments of Foucault’s storied exploits in the American counterculture. Biographer James Miller points out that Foucault was “preoccupied with exploring states that were beyond normal everyday experience… drugs, certain forms of eroticism,” as a way to “reconfigure the world and his place in it.” In this, says anthropologist Paul Rabinow, Foucault sought to resurrect the questions that sober analytic philosophy had largely abandoned: questions about what it means to be human, beyond the social categories we take as natural and given. -- Open Culture","artist_bio":"Michel Foucault (French: [miʃɛl fuko]; born Paul-Michel Foucault, 15 October 1926 – 25 June 1984) was a French philosopher, historian of ideas, social theorist, philologist and literary critic. His theories addressed the relationship between power and knowledge, and how they are used as a form of social control through societal institutions. Though often cited as a post-structuralist and postmodernist, Foucault rejected these labels, preferring to present his thought as a critical history of modernity. His thought has been highly influential both for academic and for activist groups, such as within post-anarchism.[6]\nBorn in Poitiers, France, into an upper-middle-class family, Foucault was educated at the Lycée Henri-IV and then at the École Normale Supérieure, where he developed an interest in philosophy and came under the influence of his tutors Jean Hyppolite and Louis Althusser. After several years as a cultural diplomat abroad, he returned to France and published his first major book, The History of Madness. After obtaining work between 1960 and 1966 at the University of Clermont-Ferrand, he produced two more significant publications, The Birth of the Clinic and The Order of Things, which displayed his increasing involvement with structuralism, a theoretical movement in social anthropology from which he later distanced himself. These first three histories exemplified a historiographical technique Foucault was developing called \"archaeology\".\nFrom 1966 to 1968, Foucault lectured at the University of Tunis, Tunisia, before returning to France, where he became head of the philosophy department at the new experimental university of Paris VIII. In 1970 he was admitted to the Collège de France, membership of which he retained until his death. He also became active in a number of left-wing groups involved in anti-racist campaigns, anti-human rights abuses movements, and the struggle for penal reform. He went on to publish The Archaeology of Knowledge, Discipline and Punish, and The History of Sexuality. In these books he developed archaeological and genealogical methods which emphasized the role which power plays in the evolution of discourse in society. Foucault died in Paris of neurological problems compounded by HIV/AIDS; he became the first public figure in France to die from the disease, and his partner Daniel Defert founded the AIDES charity in his memory.","bio_dates":"1925-1984"},{"slug":"foucault_michel_interview_avec_fons_elders","ok":true,"partial":false,"title":"Interview with Fons Elders on TV Dutch","artist":"Michel Foucault","year":"1971","startOffset":0,"sourceSecs":929.866,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":58245725,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/foucault_michel_interview_avec_fons_elders/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/foucault_michel_interview_avec_fons_elders/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/foucault_michel_interview_avec_fons_elders.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/foucault_michel_interview_avec_fons_elders/main.mp4?v=2","artist_bio":"Michel Foucault (French: [miʃɛl fuko]; born Paul-Michel Foucault, 15 October 1926 – 25 June 1984) was a French philosopher, historian of ideas, social theorist, philologist and literary critic. His theories addressed the relationship between power and knowledge, and how they are used as a form of social control through societal institutions. Though often cited as a post-structuralist and postmodernist, Foucault rejected these labels, preferring to present his thought as a critical history of modernity. His thought has been highly influential both for academic and for activist groups, such as within post-anarchism.[6]\nBorn in Poitiers, France, into an upper-middle-class family, Foucault was educated at the Lycée Henri-IV and then at the École Normale Supérieure, where he developed an interest in philosophy and came under the influence of his tutors Jean Hyppolite and Louis Althusser. After several years as a cultural diplomat abroad, he returned to France and published his first major book, The History of Madness. After obtaining work between 1960 and 1966 at the University of Clermont-Ferrand, he produced two more significant publications, The Birth of the Clinic and The Order of Things, which displayed his increasing involvement with structuralism, a theoretical movement in social anthropology from which he later distanced himself. These first three histories exemplified a historiographical technique Foucault was developing called \"archaeology\".\nFrom 1966 to 1968, Foucault lectured at the University of Tunis, Tunisia, before returning to France, where he became head of the philosophy department at the new experimental university of Paris VIII. In 1970 he was admitted to the Collège de France, membership of which he retained until his death. He also became active in a number of left-wing groups involved in anti-racist campaigns, anti-human rights abuses movements, and the struggle for penal reform. He went on to publish The Archaeology of Knowledge, Discipline and Punish, and The History of Sexuality. In these books he developed archaeological and genealogical methods which emphasized the role which power plays in the evolution of discourse in society. Foucault died in Paris of neurological problems compounded by HIV/AIDS; he became the first public figure in France to die from the disease, and his partner Daniel Defert founded the AIDES charity in his memory.","bio_dates":"1925-1984"},{"slug":"four_walls_dissociationism","ok":true,"partial":false,"title":"Dissociationism - an art movement at the end of the millennium","artist":"Four Walls","year":"1996","startOffset":0,"sourceSecs":2669.61,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":450185345,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/four_walls_dissociationism/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/four_walls_dissociationism/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/four_walls_dissociationism.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/four_walls_dissociationism/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/four_walls_dissociationism/main/master.m3u8?v=2","hasMainHls":true,"description":"Dissociationism - an art movement at the end of the millennium, is a Four Walls project created by Mike Ballou and Adam Simon in 1996. Four Walls was an artists forum/exhibition/performance venue active in the 1980s and 1990s in Hoboken NJ and Greenpoint, Brooklyn. <br/><br/> This video documents some of the discussion around Dissociationism, including cameos from David Zwirner, Pat Hearn and other art luminaries from that time.<br/><br/>A list of the speakers in the Dissociationism video, in order of appearance: <br><br> Richard Sullivan<br/> Perry Hoberman<br/> Adam Simon<br/> David Lichtenstein<br/> Rachel Harrison<br/> Ricci Albenda<br/> Tim Maul<br/> David Scher<br/> Warren Nieszuchowski<br/> Jeff the student<br/> Hanna Schouwink<br/> Perry Bard<br/> Rochelle Feinstein<br/> Paul Ramirez-Jonas<br/> Mark Dion<br/> Stephen Linksvayer<br/> Philip Wagner<br/> David Zwirner<br/> Mike Ballou (off camera)<br/> Pat Hearn<br><br><b>RESOURCES:</b> <br/><a href=\"https://ubu.com/sound/moorman.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Sound</a> <br/> <a href=\"../historical/moorman/index.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Historical</a></br></br>"},{"slug":"fowler_luke_cezanne_2019","ok":true,"partial":false,"title":"Cézanne","artist":"Luke Fowler","year":"2019","startOffset":0,"sourceSecs":396.437,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":152117539,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fowler_luke_cezanne_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fowler_luke_cezanne_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fowler_luke_cezanne_2019.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fowler_luke_cezanne_2019/main.mp4?v=2","description":"The life and work of highly influential, yet little known, Canadian composer and microcomputer pioneer Martin Bartlett is resurrected in this lovingly constructed biographical essay which conveys a sense of intimate, holistic personal history. <br/><br/> British director Luke Fowler pays remarkable, nimble tribute to an innovative and ingenious electronic music composer. Presenting a variety of materials—concerts, discussions, technology—Fowler creates a dense, vivid collage of a unique creativity. <br/><br/> -- <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"https://lux.org.uk/\" rel=\"noopener\" target=\"_blank\">Lux<!--/a-->, London. Please visit the <a href=\"https://lux.org.uk/collection/sort/title\" rel=\"noopener\" target=\"_blank\">LUX Online Collection</a> for further information about this artist and work. The LUX site offers extensive resources for curators, students, artists and educators. </a>","artist_bio":"The Way Out (Portrait of Xentos Jones) (2004), with Kosten Koper\nLuke Fowler (b. 1978, Glasgow) is an artist, filmmaker and musician based in Glasgow. His work explores the limits and conventions of biographical and documentary filmmaking, and has often been compared to the British Free Cinema of the 1950s. Working with archival footage, photography and sound, Fowler’s filmic montages create portraits of intriguing, counter cultural figures, including Scottish psychiatrist R. D. Laing and English composer Cornelius Cardew.","bio_dates":"b. 1978"},{"slug":"fowler_luke_electro_pythagora_2016","ok":true,"partial":false,"title":"Electro-Pythagoras (a portrait of Martin Bartlett)","artist":"Luke Fowler","year":"2016","startOffset":0,"sourceSecs":2698.474,"sourceHeight":1080,"sourceWidth":1440,"hasAudio":true,"hasAmbientMp4":true,"bytes":1176701455,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fowler_luke_electro_pythagora_2016/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fowler_luke_electro_pythagora_2016/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fowler_luke_electro_pythagora_2016.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fowler_luke_electro_pythagora_2016/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fowler_luke_electro_pythagora_2016/main/master.m3u8?v=2","hasMainHls":true,"description":"The life and work of highly influential, yet little known, Canadian composer and microcomputer pioneer Martin Bartlett is resurrected in this lovingly constructed biographical essay which conveys a sense of intimate, holistic personal history. <br/><br/> British director Luke Fowler pays remarkable, nimble tribute to an innovative and ingenious electronic music composer. Presenting a variety of materials—concerts, discussions, technology—Fowler creates a dense, vivid collage of a unique creativity.","artist_bio":"The Way Out (Portrait of Xentos Jones) (2004), with Kosten Koper\nLuke Fowler (b. 1978, Glasgow) is an artist, filmmaker and musician based in Glasgow. His work explores the limits and conventions of biographical and documentary filmmaking, and has often been compared to the British Free Cinema of the 1950s. Working with archival footage, photography and sound, Fowler’s filmic montages create portraits of intriguing, counter cultural figures, including Scottish psychiatrist R. D. Laing and English composer Cornelius Cardew.","bio_dates":"b. 1978"},{"slug":"fowler_luke_houses_for_margaret_2019","ok":true,"partial":false,"title":"Houses (For Margaret)","artist":"Luke Fowler","year":"2019","startOffset":0,"sourceSecs":294.186,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":105335554,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fowler_luke_houses_for_margaret_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fowler_luke_houses_for_margaret_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fowler_luke_houses_for_margaret_2019.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fowler_luke_houses_for_margaret_2019/main.mp4?v=2","description":"Luke Fowler constructed this tribute to Scottish filmmaker and poet Margaret Tait on the occasion of her centenary. Setting off to Tait’s native Orkney, Fowler creates a record of her life and work through images of her past dwellings and filming locations, excerpts from her production diaries, and the reciting of her poem “Houses” in which she reflects on the meaning of home.","artist_bio":"The Way Out (Portrait of Xentos Jones) (2004), with Kosten Koper\nLuke Fowler (b. 1978, Glasgow) is an artist, filmmaker and musician based in Glasgow. His work explores the limits and conventions of biographical and documentary filmmaking, and has often been compared to the British Free Cinema of the 1950s. Working with archival footage, photography and sound, Fowler’s filmic montages create portraits of intriguing, counter cultural figures, including Scottish psychiatrist R. D. Laing and English composer Cornelius Cardew.","bio_dates":"b. 1978"},{"slug":"fowler_luke_kosten_koper_the_way_out_a_portrait_of_xentos_jones","ok":true,"partial":false,"title":"The Way Out (Portrait of Xentos Jones)","artist":"Luke Fowler","year":"2004","startOffset":0,"sourceSecs":1854.207,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":319633520,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fowler_luke_kosten_koper_the_way_out_a_portrait_of_xentos_jones/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fowler_luke_kosten_koper_the_way_out_a_portrait_of_xentos_jones/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fowler_luke_kosten_koper_the_way_out_a_portrait_of_xentos_jones.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fowler_luke_kosten_koper_the_way_out_a_portrait_of_xentos_jones/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fowler_luke_kosten_koper_the_way_out_a_portrait_of_xentos_jones/main/master.m3u8?v=2","hasMainHls":true,"description":"Luke Fowler/Kosten Koper’s film, The way out (portrait of Xentos Jones) profiles one of the founding members of The Homosexuals, a band that lapsed into obscurity after self-releasing a number of groundbreaking records in the post-punk period. Although The Homosexuals disbanded without ever releasing an authorised LP, L Voag (aka Xentos) released his own solo project, The Way Out, in 1979. The Way Out was a cut-up DIY concept album that imagined its musical context situated in an inverted parallel universe where pop music is made by Modernist, Serialist composers and the avant-garde is left to those on the fringes of acceptance. Amos (aka Xentos) continued to produce and distribute a mass of diverse tape projects throughout the 80’s on his own label, Its War Boy, spanning most known and unknown musical genres, under a myriad of multiple identities. Fowler/Kopers’s film interweaves new interviews, scripted scenes, found and filmed footage with unearthed Super-8 films by Xentos himself.","artist_bio":"The Way Out (Portrait of Xentos Jones) (2004), with Kosten Koper\nLuke Fowler (b. 1978, Glasgow) is an artist, filmmaker and musician based in Glasgow. His work explores the limits and conventions of biographical and documentary filmmaking, and has often been compared to the British Free Cinema of the 1950s. Working with archival footage, photography and sound, Fowler’s filmic montages create portraits of intriguing, counter cultural figures, including Scottish psychiatrist R. D. Laing and English composer Cornelius Cardew.","bio_dates":"b. 1978"},{"slug":"fowler_luke_mums_cards_2018","ok":true,"partial":false,"title":"Mum's Cards","artist":"Luke Fowler","year":"2018","startOffset":0,"sourceSecs":543.104,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":217054637,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fowler_luke_mums_cards_2018/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fowler_luke_mums_cards_2018/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fowler_luke_mums_cards_2018.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fowler_luke_mums_cards_2018/main.mp4?v=2","description":"The filmmaker’s mother is a retired sociologist whose house is full of boxes and boxes of hand-written index cards. The immense archive is opened up through the stories behind the cards. This personal history raises the question of what sociology can mean in terms of understanding the position of culture in society. \"Wars of ideas don't just preoccupy you when you're a student. If you have a temperament with an open mind they go on disturbing you all your life. <br/><br/> Quote: <br/>\"\"My mother is a Sociologist – she came to Glasgow from the south of England in the 60’s to work within the Politics Department of Glasgow University- after a few years the Sociologists broke away and formed their own department, where she taught until she retired. Although the university advocated and furnished her with her own personal computer – she still used index cards to make notes on the books and articles that she read. Now that she no longer has an office her house is filled with shoeboxes and filing cabinets containing these cards. My mother was absent on the day that I shot this film; the interview and sounds were recorded at a later date.\" Luke Fowler.","artist_bio":"The Way Out (Portrait of Xentos Jones) (2004), with Kosten Koper\nLuke Fowler (b. 1978, Glasgow) is an artist, filmmaker and musician based in Glasgow. His work explores the limits and conventions of biographical and documentary filmmaking, and has often been compared to the British Free Cinema of the 1950s. Working with archival footage, photography and sound, Fowler’s filmic montages create portraits of intriguing, counter cultural figures, including Scottish psychiatrist R. D. Laing and English composer Cornelius Cardew.","bio_dates":"b. 1978"},{"slug":"fragrance_1985","ok":true,"partial":false,"title":"Fragrance","artist":"Gay Abel-Bey","year":"1985","startOffset":0,"sourceSecs":2287.285,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":389990919,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fragrance_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fragrance_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fragrance_1985.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fragrance_1985/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fragrance_1985/main/master.m3u8?v=2","hasMainHls":true},{"slug":"frampton_hollis_apparatus_sum_1972","ok":true,"partial":false,"title":"Apparatus Sum","artist":"Hollis Frampton","year":"1972","startOffset":0,"sourceSecs":157.524,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":36012045,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_apparatus_sum_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_apparatus_sum_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_apparatus_sum_1972.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_apparatus_sum_1972/main.mp4?v=2","description":"A brief lyric film of death, which brings to equilibrium a single reactive image from a roomful of cadavers.","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_artificial_light_1969","ok":true,"partial":false,"title":"Artificial Light","artist":"Hollis Frampton","year":"1969","startOffset":0,"sourceSecs":1438.656,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":232242158,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_artificial_light_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_artificial_light_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_artificial_light_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_artificial_light_1969/main.mp4?v=2","description":"1969 / 25' / colour / silent <br/><br/>\"\"Artificial light repeats variations on a single filmic utterance twenty times. The same phrase is a series of portrait shots of a group of young New York artists informally talking, drinking wine, laughing, smoking. The individual portrait-shots follow each other with almost academic smoothness in lap-dissolves ending in two shots of the entire group followed by a dolly shot into a picture of the moon. In the following synoptic outline, this entire phrase, which lasts about one minute in black and white, will be called A : <br/><br/> Artificial light <br/><br/> 1 . A, upside-down and backwards <br/> 2 . A, in negative <br/> 3 . A, with superimposition of sprocket holes <br/> 4 . A, with eyes painted blue and mouths red <br/> 5 . A, scarred with a white drip mark <br/> 6 . A, covered with transparent stripes of red and green <br/> 7 . Still shots in sequence from A; a stroboscopic or flicker effect <br/> 8 . A, almost obliterated by scratches <br/> 9 . Shots from A, toned different colors by dye, in an asequential order <br/> 10 . A, with faces and hair outlined by scratches, dissolves marked with a scratched slash (/) <br/> 11 . A, spotted with multicolor drops <br/> 12 . Superimposition of A, with a copy of A in which left and right are reversed <br/> 13 . A, with all faces bleached out <br/> 14 . A, with a flicker of colors (red, green, blue) <br/> 15 . A, covered with art-type printers dots <br/> 16 . A, toned sepia <br/> 17. A, superimposed over itself with a lag of one-and-a-half-seconds <br/> 18 . A, interrupted by two-frame flashes of color negative <br/> 19 . A, colored, as if through an electrical process, in a series of two primaries <br/> 20 . A, with a closeup of a moon crater substituted for the expected moon shots <br/><br/> It should be obvious from the outline that the filmic phrase functions like a tone row in dodecaphonic music and serial composition. Frampton has made two very interesting manipulations of the experience of this phrase. In the first place, by opening the film with a backwards and upside-down run of it, he dislocates the viewer for several repetitions; one comes gradually to realize that there is a fixed order or direction. That progression is rigidly fixed by the first third of the film. The ninth variation violently jars us with its elliptical disorder. The rest of the film proceeds logically until the last shot which has a feeling of finality both from its variation and from being held on the screen longer... <br/><br/> There is a chasm between the phrase and its formal inflections. That chasm is intellectual as well as formal. Frampton loves an outrageous hypothesis; his films, all of them, take the shape of logical formulae. Usually the logic he invokes is that of the paradox... In a recent lecture at the Millennium in New York, Frampton hypothesized an atemporal alternative to the history of cinema, illustrated by a sequence of his works. With ARTIFICIAL LIGHT, which was not completed in time for that lecture, he challenges the newest historical phase of the formal cinema, the Structural film.\" - P. Adams-Sitney","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_autumnal_equinox_1974","ok":true,"partial":false,"title":"Autumnal Equinox","artist":"Hollis Frampton","year":"1974","startOffset":0,"sourceSecs":1628.437,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":264098423,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_autumnal_equinox_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_autumnal_equinox_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_autumnal_equinox_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_autumnal_equinox_1974/main.mp4?v=2","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_gloria_1979","ok":true,"partial":false,"title":"Gloria!","artist":"Hollis Frampton","year":"1979","startOffset":0,"sourceSecs":577.387,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":104647874,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_gloria_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_gloria_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_gloria_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_gloria_1979/main.mp4?v=2","description":"1979<br/><br/>\"\"In GLORIA! Frampton juxtaposes nineteenth-century concerns with contemporary forms through the interfacing of a work of early cinema with a videographic display of textual material. These two formal components (the film and the texts) in turn relate to a nineteenth-century figure, Frampton's maternal grandmother, and to a twentieth-century one, her grandson (filmmaker Frampton himself). In attempting to recapture their relationship, GLORIA! becomes a somewhat comic, often touching meditation on death, on memory and on the power of image, music and text to resurrect the past.\" <br><br>\"\"In Gloria! (1979), human mortality meets cinema's apotheosis. A tribute to Frampton's deceased grandmother, Gloria! starts with early-20th-century footage of a Finnegans Wake gag scenario (a not-dead-yet body dances at its own funeral), and ends with scrolling green-screen computer-generated textÑgoing from photographic body to digital ghost.\"</br></br>","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_hetrodyne_1967","ok":true,"partial":false,"title":"Heterodyne","artist":"Hollis Frampton","year":"1967","startOffset":0,"sourceSecs":504.405,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":44704272,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_hetrodyne_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_hetrodyne_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_hetrodyne_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_hetrodyne_1967/main.mp4?v=2","description":"1967 / 7' / colour / silent<br/> <br/> Frampton on Heterodyne: <br/><br/>\"\"I began to make it when I had no money for raw stock and only several rolls of colored leader but nevertheless (had) the need to make or work on a film. As I first conceived the film, I intended it to be a kind of revenge done with the bare hands against - first of all animation - or cell animation in particular and secondly, against abstract film with a capital A as they were practiced in the late 40's and 50's as a kind of engine cooler for the art houses where I first saw serious foreign movies. As I thought about the film, I wanted it to have a very open, resilient kind of structure with the maximum possible amount of rhythmic variety, both in terms of count, beat and variety in the rhythmic changes of shapes and the rate of the rhythmic change. I used a debased form of matrix algebra to make up, in advance, the structure of the film, and tried out several arithmetic models for that structure... with very short film pieces, before I found one that seemed to suit me. As I came to make the film, it consists entirely of 240 feet of black leader into which are welded about 1,000 separate events. Each consists of one frame, and there are 40 kinds of frame, ranging from a frame that consists entirely of red or green or blue to a frame which may consist of red leader with a triangle of blue leader welded into the middle of it. I say welded because the film was put together using three colors of leader and 3 ticket punches - a square, a circle and a triangle - which I felt to be constantly recognizable and also impersonal shapes - and where one color is let into another, or where a color shape is let into black leader, it is literally welded in with acetone. I was doing all of this under a magnifying glass with tweezers and brushes and so forth... they're disposed along the continuous line of film by a scheme roughly the following: in order to avoid a scheme in which certain types of frames would, by rhythmic recurrence, fall at the same spot in the film, or in the same exact frame, I decided to use prime numbers, that is, numbers divisible only by themselves and as a starting-point since they begin to share harmonics extensively only in their very high multiples - I further decided I could use no prime numbers less than 40, because 40 is the number of frames in a foot and didn't want any single type of event to occur any more often than once every one and two/thirds seconds, and then I subjected my list series of tests that involved the sums of their digits-casting out those that didn't meet the tests so that as it turned out the, commonest event, a frame that is entirely red, occurs every 61 frames in absolutely regular repetition throughout the film; and the least common event, a red triangle on a black ground, occurs every 2,311 frames - all of this necessitated an amount of arithmetic which I did over a period of 6 weeks - reduced it to a large stock of 3X5 cards and collated them, and sat down which my rewinds and splicer and simply put the thing together - altogether on the level of personal logistics, it tied up my time and need to be making a film for about three months at the end of which I found myself with a little more money for raw stock and I could go on and make other kinds of films.\"","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_interview_buffalo_1978_iphone","ok":true,"partial":false,"title":"Interview Buffalo","artist":"Hollis Frampton","year":"1978","startOffset":0,"sourceSecs":3178.776,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":189291428,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_interview_buffalo_1978_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_interview_buffalo_1978_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_interview_buffalo_1978_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_interview_buffalo_1978_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_interview_buffalo_1978_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Conversations in the Arts. Interview with Hollis Frampton, Ester Harriott (1978)\n\nThis is in the State University of New York at Buffalo, where Frampton was part of the media studies programme with Vasulkas, Gerald O'Grady etc. 2-part interview edited to one piece."},{"slug":"frampton_hollis_interview_chicago_1978","ok":true,"partial":false,"title":"Adele Friedman Interviews Hollis Frampton","artist":"Hollis Frampton","year":"1978","startOffset":0,"sourceSecs":2306.773,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":389499613,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_interview_chicago_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_interview_chicago_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_interview_chicago_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_interview_chicago_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_interview_chicago_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"Historic interview between Adele Friedman and Hollis Frampton in Chicago, 1978.","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_manual_of_arms_1966","ok":true,"partial":false,"title":"Manual of Arms","artist":"Hollis Frampton","year":"1966","startOffset":0,"sourceSecs":1023.765,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":164923088,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_manual_of_arms_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_manual_of_arms_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_manual_of_arms_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_manual_of_arms_1966/main.mp4?v=2","description":"1966 / 17' / BW / silent<br/> <br/> Frampton on Manual of Arms: <br/><br/>\"\"Courtly dances with friends and lovers, in the form of a 14 part drill for the camera, incorporating physiognomic & locomotor evidence related to the lens by 13 artists and an historian, namely: C. Andre, B. Brown, R. Castoro, L. Childs, B. Goldensohn, R. Huot, E. Lloyd, L. Lozano, L. Meyer, L. Poons, M. Snow, M. Steinbrechner, T. Tharp, J. Wieland.\"","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_matrix_first_dream_1979","ok":true,"partial":false,"title":"Matrix [First Dream]","artist":"Hollis Frampton","year":"1979","startOffset":0,"sourceSecs":1674.155,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":271951715,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_matrix_first_dream_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_matrix_first_dream_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_matrix_first_dream_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_matrix_first_dream_1979/main.mp4?v=2","description":"US, 1977-79, silent, 28 min. <br/><br/> A film of multiple superimpositions, utilizing the images of solanumcigelam (see below) and the hexagonal images that recur throughout Magellan.","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_noctiluca_1974","ok":true,"partial":false,"title":"Noctiluca (Magellan's Toys: #1)","artist":"Hollis Frampton","year":"1974","startOffset":0,"sourceSecs":199.509,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":23662700,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_noctiluca_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_noctiluca_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_noctiluca_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_noctiluca_1974/main.mp4?v=2","description":"3:30 min 16mmbr<br/> Noctiluca (Magellan's Toys #1) (1974) silent, 3.5 minutes. \"Designed to be shown on the second day of the Magellan cycle. The title (nox/luceo) means something that shines at night, i.e., the moon [...] The second day of the cycle seems to be an inventory of the knowledge, machines, and arms that Magellan-and latter-day voyagers like HF-had at the outset of his journey\" (Brian Henderson).","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_nostalgia_1971_iphone","ok":true,"partial":false,"title":"Nostalgia","artist":"Hollis Frampton","year":"1971","startOffset":0,"sourceSecs":2301.869,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":137285397,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_nostalgia_1971_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_nostalgia_1971_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_nostalgia_1971_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_nostalgia_1971_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_nostalgia_1971_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"In his 1971 short film, (nostalgia), American artist and writer Hollis Frampton oveturned the conventional narrative roles of words and images. In his account of an artists's transformation from photographer to filmmaker, Frampton burns photographs he had taken and selected from his past along with one found photograph. A calm voice tells a story about an image, but the story is about the following image, not the one shown. Confounding comprehension still further, the narration begins and ends during the photograph's combustion; smoke and ashes get in our eyes while we are trying to make sense of the image and the narration--trying to remember the story that fits the image, trying to remember the image that fits the story...\"","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_ordinary_matter_1972_iphone","ok":true,"partial":false,"title":"Ordinary Matter","artist":"Hollis Frampton","year":"1972","startOffset":0,"sourceSecs":2157.656,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":128986837,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_ordinary_matter_1972_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_ordinary_matter_1972_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_ordinary_matter_1972_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_ordinary_matter_1972_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_ordinary_matter_1972_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1972 / 36' / BW / sound<br/><br/> Frampton on Ordinary Matter: <br/><br/>\"\"A vision of a journey, during which the eye of the mind drives headlong through Salisbury Cloister (a monument to enclosure), Brooklyn Bridge (a monument to connection), Stonehenge (a monument to the intercourse between consciousness and LIGHT)...visiting along the way diverse meadows, barns, waters where I now live; and ending in the remembered cornfields of my childhood. The soundtrack annexes, as mantram, the Wade-Giles syllabary of the Chinese language.\"","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_palindrome_1969","ok":true,"partial":false,"title":"Palindrome","artist":"Hollis Frampton","year":"1969","startOffset":0,"sourceSecs":1306.923,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":207720310,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_palindrome_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_palindrome_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_palindrome_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_palindrome_1969/main.mp4?v=2","description":"16mm, color, silent, 22 min <br/><br/> While working at a photo lab, Frampton found that the waste at both ends of the rolls of processed film-where chemicals worked on the emulsion through clips used to attach the film to the machine-produced images far too interesting to be discarded. For Palindrome, Frampton selected images which he described as \"tending towards the biomorphic,\" resembling abstract surrealist painting. However, the rigid palindromic structure that Frampton imposes on the images-a motorized sequence based on \"twelve variations on each of forty congruent phrases\"-deviates from the subjective aesthetic of the expressive, demonstrating Frampton's interest in the \"generative power\" of films composed by rules and principles. (Harvard Film Archive)","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_pan_0_1_2_3_4_697_698_699_700","ok":true,"partial":false,"title":"Pan 0, 1, 2, 3, 4, 697, 698, 699, 700","artist":"Hollis Frampton","year":"1974","startOffset":0,"sourceSecs":567,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":97383108,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_pan_0_1_2_3_4_697_698_699_700/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_pan_0_1_2_3_4_697_698_699_700/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_pan_0_1_2_3_4_697_698_699_700.avi","hasFrames":true,"description":"The “Pans” are nine one-minute-films, which were supposed to be part of the Magellan-project, which was never completed. Hollis Frampton originally planned to make 720 of these little shorts. <br/><br/> Since they belong together, I have put them in one AVI.","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_prince_ruperts_drops_1969","ok":true,"partial":false,"title":"Prince Ruperts Drops","artist":"Hollis Frampton","year":"1969","startOffset":0,"sourceSecs":411.782,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":154161113,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_prince_ruperts_drops_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_prince_ruperts_drops_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_prince_ruperts_drops_1969.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_prince_ruperts_drops_1969/main.mp4?v=2","description":"Hollis Frampton demonstrates the scientific principle of equilibrium using two different scenes. In the first, a closeup of a mouth is shown, with a tongue licking a lollipop rapidly. In the second, a hand dribbles a ball rhythmically, sometimes allowing in to nearly bounce into the lens of the camera. Mirror images and alternate perspectives of each demonstration are provided.","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_snowblind_1968","ok":true,"partial":false,"title":"Snowblind","artist":"Hollis Frampton","year":"1968","startOffset":0,"sourceSecs":316.437,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":49542149,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_snowblind_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_snowblind_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_snowblind_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_snowblind_1968/main.mp4?v=2","description":"\"Homage to Michael Snow's environmental sculpture 'Blind.' The film proposes analogies, in imitation of 3 historic montage styles, for three perceptual modes mimed by that work.\" - Hollis Frampton","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_winter_solstice_1974_iphone","ok":true,"partial":false,"title":"Winter Solstice","artist":"Hollis Frampton","year":"1974","startOffset":0,"sourceSecs":1996.44,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":95518737,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_winter_solstice_1974_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_winter_solstice_1974_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_winter_solstice_1974_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_winter_solstice_1974_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_winter_solstice_1974_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Winter Solstice is nothing more than Frampton taking his camera into a metal making shop, filming the extremely hot temperatures that are required to form steel, and playing it back for an extended period of time. The frame is constantly filled with sparks and fire, which is an obvious contrast to the title of the film.","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frampton_hollis_zorns_lemma_1970","ok":true,"partial":false,"title":"Zorns Lemma","artist":"Hollis Frampton","year":"1970","startOffset":0,"sourceSecs":3515.563,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":207094490,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_zorns_lemma_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frampton_hollis_zorns_lemma_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frampton_hollis_zorns_lemma_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_zorns_lemma_1970/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frampton_hollis_zorns_lemma_1970/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>Zorns Lemma</b> <br/> From Chaotic Cinema<br/><br/>This is an amazing experimental film from American avant-garde filmmaker Hollis Frampton. It begins with a dark screen and a woman narrating from The Bay State Primer, an early American grammar textbook that teaches the letters of the alphabet by using them in sentences derived from the Bible, then the rest of the film is mostly silent. It presents us with a recurring structure that perpetually moves throughout a 24-letter alphabet via various signs in New York with words that propel the film along. Gradually other images are added to the loop, some of them themselves slowly developing as we arrive at them the next time around. It concludes with a man, woman and dog crossing a snowy field, while several narrators each narrate one word at a time read from an 11th century treatise, \"On Light, or the Ingression of Forms\", by Robert Grosseteste. Ambiguous, metaphorical and fascinating. A veritable masterpiece of structural filmmaking. <br><br> The film is also a major influence on Peter Greenaway - it is one of the films he most admires. <br/><br/>\"\"Zorns Lemma is divided into three sections: an initial imageless reading of the Bay State Primer; a long series of silent shots, each one second photographed signs edited to form one complete Latin alphabet; and finally a single shot of two people walking across a snow-covered field away from the camera to the sound of a choral reading. <br/><br/> The first of several intellectual orders which Frampton provides as structural models within the film is, of course, the alphabet. The Bay State Primer announces, and the central forty minutes of this hour long film elaborates upon it. Within that section a second kind of ordering occurs; letters begin to drop out of the alphabet and their one-second pulse is replaced by an image without a sign. The first to go is X, replaced by a fire; a little later Z is replaced by waves breaking backwards. Once an image is replaced, it will always have the same substitution; in the slot of X the fire continues for a second each time, the sea roll backwards at the end of each alphabet once the initial substitution occurs. On the other hand, the signs are different in every cycle. <br/><br/> The substitution process sets in action a guessing game and a device. Since the letters seem to disappear roughly in inverse proportion to their distribution as initial letters of words in English, the viewer can with occasional accuracy guess which letter will drop out next. He also suspects that when the alphabet has been completely replaced, the film or the section will end. <br/><br/> A second timing mechanism exists within the substitution images themselves, and it gains force as the alphabetic cycles come to an end. Some of the substitution images imply their own termination. The tying of shoes which replaces P, the washing of hands (G), the changing of a tire (T), and especially the filling of the frame with dried beans (N) add a time dimension essentially different from that of the waves, or a static tree (F), a red ibis flapping its wings (H), or cat-tails swaying in the wind (Y). The clocking mechanism of the finite acts is confirmed by the synchronous drive toward completion which becomes evident in the last minutes of the section. <br/><br/> In Zorns Lemma Frampton followed the tactics of his two elected literary masters Jorge Luis Borges and Ezra Pound. From Borges he learned the art of labyrinthine construction and the dialectic of presenting and obliterating the self. Following Pound, Frampton has incorporated in the end of his film a crucial indirect allusion; it is to the paradox of Arnulf Rainer's reduction. In Grosseteste's essay, materiality is the final dissolution, or the point of weakest articulation, of pure light. But in the graphic cinema that vector is reversed. In the quest for sheer materiality - for an image that would be, and not simply represent - the artist seeks endless refinement of light itself. As the choral text moves from Neo-Platonic source-light to the grosser impurities of objective reality, Frampton slowly opens the shutter, washing out his snowscape into the untinted whiteness of the screen.\" - P. Adams-Sitney, Visionary Film <br/><br/>\"\"The term structural describes his work even more aptly because he is concerned with the development, arrangement, and juxtaposition of structures. He isolated an idea, a theory, a concept, usually concerning a particular aspect or problem in the cinematic experience and creates a structure that demonstrates and elucidates it. Frampton is less involved with the immediate sensuous experience of an art object. While Serene Velocity may be enjoyed for its kinetic quality and La rŽgion centrale for its spatial effects without necessarily engaging the viewer on an intellectual level, the excitement of Frampton's films stem largely from the ideas that are presented. His films have a sensuous intellectuality; they thrill by their engagement in ideas. If Brakhage's great gift is what he does with light and Snow's what he does with space, Frampton's is what he does with conceptual structures.\" - Bill Simon <br/><br/>\"\"The ultimate Frampton film, so far... he looks back on several of the dialogues his earlier films rehearsed: the tension between words on the screen and concrete images arose in SURFACE TENSION, it explodes here; the cyclic repetitive variations of ARTIFICIAL LIGHT, are less repetitive, less varied, than the alphabetic cycles here; ZORNS LEMMA exaggerates the fixed rhythms of PALINDROME and insists upon the pulse of one second with incredible obdurance... <br/><br/> At a time when radical uniqueness seems progressively less probable, Hollis Frampton has made a film that is absolutely one of its kind.\" - P. Adams Sitney, 1970 <br/><br/>\"\"In his most important work to date, and the most original new work of cinema I have seen since Brakhage's Scenes From Under Childhood: Part IV. Frampton's film is an exercise in mathematical logic in cinema. Or is it a mechanical logic? Three viewings do not help me to explain to you what the film is all about. It's about alphabet. It's about the unities of similarities. It's about sameness in a confusion. It's about logic in chance. It's about structure and logic. It's about rhythm. Ah, what a difference between Zorns Lemma and all the 'serious' commercial movies that I occasionally praise!\" - Jonas Mekas, Village Voice <br/><br/>\"\"This radical example of reductive cinema is a warning of things to come: 'Meaning' (political, psychological, personal, or whatever) has been eliminated and the work exists purely for itself, demanding attention to structure, pattern and orchestration. Reality is declared impalpable, faceless, incoherent, existing in inexplicable grandeur, independent of us.\" - Amos Vogel, Film as a Subversive Art <br/><br/>\"\"Zorns Lemma is a major poetic work. Created and put together by a very clear eye head, this original and complex abstract work moves beyond the letters of the alphabet, beyond words and beyond Freud. If you don't understand it the first time you see it, don't despair, see it again! When you finally 'get it,' a small light, possibly a candle, will light itself inside your forehead.\" - Ernie Gehr <br/><br/>\"\"A phantasmagoria of language.\" - Scott MacDonald</br></br>","artist_bio":"Conversations in the Arts.\nInterview with Hollis Frampton, Ester Harriott (1978)\n\"\"Hollis Frampton was born in Ohio, United States, on March 11, 1936, towards the end of the Machine Age. Educated (that is, programmed: taught table manners, the use of the semicolon, and so forth) in Ohio and Massachusetts. The process resulted in satisfaction for no one. Studied (sat around on the lawn at St. Elizabeths) with Ezra Pound, 1957-58. That study is far from concluded. Moved to New York in March, 1958, lived and worked there more than a decade. People I met there composed the faculty of a phantasmal 'graduate school'. Began to make still photographs at the end of 1958. Nothing much came of it. First fumblings with cinema began in the Fall of 1962; the first films I will publicly admit to making came in early 1966. Worked, for years, as a film laboratory technician. More recently, Hunter College and the Cooper Union have been hospitable. Moved to Eaton, New York in mid-1970, where I now live (a process enriched and presumably, prolonged, by the location) and work...\nIn the case of painting, I believe that one reason I stayed with still photography as long as I did was an attempt, fairly successful I think, to rid myself of the succubus of painting. Painting has for a long time been sitting on the back of everyone's neck like a crept into territories outside its own proper domain. I have seen, in the last year or so, films which I have come to realize are built largely around what I take to be painterly concerns and I feel that those films are very foreign to my feeling and my purpose. As for sculpture, I think a lot of my early convictions about sculpture, in a concrete sense, have affected my handling of film as a physical material. My experience of sculpture has had a lot to do with my relative willingness to take up film in hand as a physical material and work with it. Without it, I might have been tempted to more literary ways of using film, or more abstract ways of using film.\"","bio_dates":"1936-1984"},{"slug":"frank_robert_pull_my_daisy_1959","ok":true,"partial":false,"title":"Alfred Leslie & Robert Frank- Pull My Daisy","artist":"Alfred Leslie","year":"1959","startOffset":0,"sourceSecs":1583.168,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":273554566,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frank_robert_pull_my_daisy_1959/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frank_robert_pull_my_daisy_1959/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frank_robert_pull_my_daisy_1959.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frank_robert_pull_my_daisy_1959/main.mp4?v=2","description":"A short film that typifies the Beat Generation. Directed by Robert Frank and Alfred Leslie, Daisy was adapted by Jack Kerouac from the third act of a stage play he never finished entitled Beat Generation. Kerouac also provided improvised narration. It starred Allen Ginsberg, Gregory Corso, Larry Rivers, Peter Orlovsky, David Amram, Richard Bellamy, Alice Neel, Sally Gross and Pablo Frank, Robert Frank's then-infant son. <br/><br/> Based on an incident in the life of Neal Cassady and his wife Carolyn, Daisy tells the story of a railway brakeman whose painter wife invites a respectable bishop over for dinner. However, the brakeman's bohemian friends crash the party, with comic results. <br/><br/> The Beat philosophy emphasized spontaneity, and the film conveyed the quality of having been thrown together or even improvised. Pull My Daisy was accordingly praised for years as an improvisational masterpiece, until Leslie revealed in a November 28, 1968 article in the Village Voice that the film was actually carefully planned, rehearsed, and directed by him and Frank, who shot the film on a professionally lit studio set. <br/><br/> Pull My Daisy has been deemed \"culturally significant\" by the United States Library of Congress and selected for preservation in the National Film Registry.","artist_bio":"Pull My Daisy\n(1959) Directed by Alfred Leslie & Robert Frank O'Hara\nThe Last Clean Shirt\n(1964) Directed by Alfred Leslie & Frank O'Hara\nAlfred Leslie was born in New York. After service in the US Coast Guard at the end of World War II, Leslie studied art at New York University, the Art Students League, and Pratt Institute. A bodybuilder and hand-balancer, Leslie posed for artist Reginald Marsh and others and modeled for classes at the Art Students League and Pratt Institute. Anticipating the Situationist International's detournement, his 1949 film Magic Thinking combined black-and-white cartoons, home movies, GI training films, industrial commercials, strip footage and old feature films. To raise the $250 required of by Tibor de Nagy Gallery to exhibit there in 1952, he appeared on Strike It Rich, an early reality television program, and won. His 1952 exhibition included The Bed-Sheet Painting, a 12 by 16 foot, black painting with a scumbled surface and white bar mounted on unstretched canvas. In the '50s, he made sculptures using seemingly insignificant materials such as plumber's tape, stapes, grommets, nails, housepaint. Anticipating John Chamberlain's sculptures made from recycled cars, Leslie tied together car mufflers and tail pipes with rope after hammering and reassembling them. In 1955, a collector gave him a Polaroid camera, driving him to take hundreds of police-style mugshots, of which only photos of Sam Francis and Al Held survived.\nInvited to partake in Museum of Modern Art's \"Art in Motion\" (1961) exhibition, curated by Pontus Hulten, Leslie proposed Jolly, a kit with the ingredients to make an inflatable sculpture. Anticipating Andy Warhol's Clouds (1966), he proposed that a massive weather balloon suspend a brick over an inflated wading pool. In 1962, having gained recognition as a second generation Abstract Expressionist painter, Leslie abruptly changed course. His new works were realistic figurative paintings in grisaille, of which he later said, \"there was a point at which I realized that if my work was to develop and evolve, and if I was to mature as an artist, these figurative ideas could not be ignored, even though following them could seem to imply that I would be turning my back on the twentieth century, turning my back on my abstract achievement\".\nOn October 17, 1966, nearly all of Leslie's monochrome paintings were destroyed in a fire. Shortly afterwards, Leslie introduced color into his paintings, which have been widely exhibited. Leslie's solo exhibitions include those at the Museum of Fine Arts, Boston (1976); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1976–77); Museum of Contemporary Art, Chicago (1977); Wichita Art Museum, Kansas (1984); Boca Raton Museum of Art, Florida (1989); and St. Louis Art Museum, Missouri (1991). Even though figuration and narration became contentious issues for painters in the 1980s, \"these concerns didn't exist per se in film, theater, literary or still photography world, all of which I was part of.\"\nLeslie is also known for his large scale charcoal drawings, and for his work as a photographer and filmmaker. Together with Robert Frank, Leslie directed the short film Pull My Daisy in 1959. The film, narrated by Jack Kerouac, was selected for the United States National Film Registry by the Library of Congress in 1996. He also created the films Directions: A Walk After the War Games (1946-9), The Last Clean Shirt with the poet Frank O'Hara (1964), The Cedar Bar (2001), Einstein's Secret (2008) and the animated film The New York Story (1963).-- Wikipedia","bio_dates":"b. 1927"},{"slug":"fraser_andrea_little_frank_and_his_carp_2001","ok":true,"partial":false,"title":"Little Frank and His Carp","artist":"Andrea Fraser","year":"2001","startOffset":0,"sourceSecs":371.904,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":65446386,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fraser_andrea_little_frank_and_his_carp_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fraser_andrea_little_frank_and_his_carp_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fraser_andrea_little_frank_and_his_carp_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fraser_andrea_little_frank_and_his_carp_2001/main.mp4?v=2","description":"Filmed with hidden cameras at the Guggenheim Bilbao, in \"Little Frank and His Carp\" Fraser reverses her well-known role as museum docent, performing instead the position of a museum visitor listening to the official audio guide- which advises visitors, among other things, to caress the building's \"powerfully sensual\" curves. \"Little Frank and His Carp\" was produced by Consonni, Bilbao. <br/><br/> Andrea Fraser’s artistic practice includes performance-based work, video, context art, and institutional critique. In her 1989 work Museum Highlights , she adopts the persona of a tour guide but delivers outlandish information as she leads unsuspecting visitors through the Philadelphia Museum of Art. Little Frank and His Carp is a performance work filmed by hidden cameras at (and without the prior knowledge or permission of) the Guggenheim Museum in Bilbao, Spain. Prompted by an audio guide, the ubiquitous tool of the museum visit, Fraser follows its instructions and “interacts” with architect Frank Gehry’s fish-shaped tower at the center of the hall. <br/><br/> In a 2005 interview, Fraser discussed Little Frank and His Carp : What struck me about the audio tour for the Guggenheim Bilbao was the explicitness of the seduction....The audio guide promises transcendence of the social through a transgression: the always forbidden touching of art—or here, architecture-as-art…. The tour distances the museum from the difficulties of “modern art,” claiming that the building’s sensual appeal “has nothing to do with age or class or education.” Freed of social/symbolic restrictions, we can make ourselves at home in the sensual, caring arms of the (mother) museum.","artist_bio":"Andrea Fraser (born 1965, Billings, Montana) is a New York-based performance artist, mainly known for her work in the area of institutional critique. She is currently a member of the Art Department faculty at the University of California, Los Angeles.\nArguably Fraser's most famous performance, Museum Highlights (1989) involved Fraser posing as a Museum tour guide at the Philadelphia Museum of Art in 1989 under the pseudonym of Jane Castleton. During the performance, Fraser led a tour through the museum describing it in verbose and overly dramatic terms to her chagrined tour group. For example, in describing a common water fountain Fraser proclaims \"a work of astonishing economy and monumentality ... it boldly contrasts with the severe and highly stylized productions of this form!\" Upon entering the museum cafeteria: \"This room represents the heyday of colonial art in Philadelphia on the eve of the Revolution, and must be regarded as one of the very finest of all American rooms.\"\nIn Kunst muss hängen (Art Must Hang) (Galerie Christian Nagel / Cologne, 2001) - featured in Make Your Own Life: Artists In & Out of Cologne - Fraser reenacted an impromptu 1995 speech by a drunk Martin Kippenberger, word-by-word, gesture-for-gesture.\nFor Official Welcome (2001) - commissioned by the MICA Foundation for a private reception - Fraser mimicked \"the banal comments and effusive words of praise uttered by presenters and recipients during art-awards ceremonies. Midstream, assuming the persona of a troubled, postfeminist art star, Fraser strips down, [...] to a Gucci thong, bra and high-heel shoes, and says, I'm not a person today. I'm an object in an art work.\"\nIn her videotape performance Untitled (2003), Fraser recorded a hotel-room sexual encounter with a private collector, who had paid close to $20,000 to participate, \"not for sex, according to the artist, but to make an artwork.\" Actually, according to Andrea Fraser, the amount that the collector had paid her has not been disclosed, and the \"$20,000\" figure is way off the mark. Only 5 copies of the 60-minute DVD were produced, 3 of which are in private collections, 1 being that of the collector with whom she had had the sexual encounter; he had pre-purchased the performance piece in which he was a vital participant.\nHer videotape performance Little Frank and His Carp (2001) targets architectural dominance of modern gallery spaces. Using the original soundtrack of an acoustic guide at the Guggenheim Museum Bilbao, she \"... writhes with pleasure as the recorded voice draws attention to the undulating curves and textured surfaces of the surrounding space\" which she takes literally in an \"erotic encounter\".","bio_dates":"b. 1965"},{"slug":"fraser_andrea_museum_highlights_a_gallery_talk","ok":true,"partial":false,"title":"Museum Highlights: A Gallery Talk","artist":"Andrea Fraser","year":"1989","startOffset":0,"sourceSecs":1754.749,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":304126514,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fraser_andrea_museum_highlights_a_gallery_talk/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fraser_andrea_museum_highlights_a_gallery_talk/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fraser_andrea_museum_highlights_a_gallery_talk.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fraser_andrea_museum_highlights_a_gallery_talk/main.mp4?v=2","description":"New York artist Andrea Fraser is best known for her series of \"gallery talks\"—enactments that highlight gender and class relations inherent in the structures and histories of art organizations. In 1989, the Philadelphia Museum of Art invited Fraser to perform Museum Highlights: A Gallery Talk, a tour in which she adopted the fictional persona of a docent named Jane Castleton. Visitors gathered in the Museum’s West Entrance on five designated days, waiting for the scheduled \"Contemporary Viewpoints Artist Lecture by Andrea Fraser\" or for one of the Museum's numerous docent-led tours. Castleton arrived instead, ready to talk to anyone who would listen. She led these unsuspecting visitors on tours of not only the galleries, but also the restrooms, Museum Store, and cafeteria. In addition to talking about art, she discussed topics such as corporate and private sponsorship. <br/><br/> While Fraser's gallery talk appears improvisational at times, it was thoroughly researched and entirely scripted. The factual components of the tour were taken from municipal reports, Museum pamphlets, Daniel Patrick Moynihan’s On Understanding Poverty, and other sources. Critical of the official voice of the museum, Fraser strives to further our awareness of what large art establishments expect from their visitors. Humorous and subversive, Museum Highlights brings to light the subtle, yet intrinsic, preconceptions that shape our relationship to these institutions.","artist_bio":"Andrea Fraser (born 1965, Billings, Montana) is a New York-based performance artist, mainly known for her work in the area of institutional critique. She is currently a member of the Art Department faculty at the University of California, Los Angeles.\nArguably Fraser's most famous performance, Museum Highlights (1989) involved Fraser posing as a Museum tour guide at the Philadelphia Museum of Art in 1989 under the pseudonym of Jane Castleton. During the performance, Fraser led a tour through the museum describing it in verbose and overly dramatic terms to her chagrined tour group. For example, in describing a common water fountain Fraser proclaims \"a work of astonishing economy and monumentality ... it boldly contrasts with the severe and highly stylized productions of this form!\" Upon entering the museum cafeteria: \"This room represents the heyday of colonial art in Philadelphia on the eve of the Revolution, and must be regarded as one of the very finest of all American rooms.\"\nIn Kunst muss hängen (Art Must Hang) (Galerie Christian Nagel / Cologne, 2001) - featured in Make Your Own Life: Artists In & Out of Cologne - Fraser reenacted an impromptu 1995 speech by a drunk Martin Kippenberger, word-by-word, gesture-for-gesture.\nFor Official Welcome (2001) - commissioned by the MICA Foundation for a private reception - Fraser mimicked \"the banal comments and effusive words of praise uttered by presenters and recipients during art-awards ceremonies. Midstream, assuming the persona of a troubled, postfeminist art star, Fraser strips down, [...] to a Gucci thong, bra and high-heel shoes, and says, I'm not a person today. I'm an object in an art work.\"\nIn her videotape performance Untitled (2003), Fraser recorded a hotel-room sexual encounter with a private collector, who had paid close to $20,000 to participate, \"not for sex, according to the artist, but to make an artwork.\" Actually, according to Andrea Fraser, the amount that the collector had paid her has not been disclosed, and the \"$20,000\" figure is way off the mark. Only 5 copies of the 60-minute DVD were produced, 3 of which are in private collections, 1 being that of the collector with whom she had had the sexual encounter; he had pre-purchased the performance piece in which he was a vital participant.\nHer videotape performance Little Frank and His Carp (2001) targets architectural dominance of modern gallery spaces. Using the original soundtrack of an acoustic guide at the Guggenheim Museum Bilbao, she \"... writhes with pleasure as the recorded voice draws attention to the undulating curves and textured surfaces of the surrounding space\" which she takes literally in an \"erotic encounter\".","bio_dates":"b. 1965"},{"slug":"fraser_andrea_official_welcome_2003","ok":true,"partial":false,"title":"Official Welcome (Hamburger Kunstverein)","artist":"Andrea Fraser","year":"2003","startOffset":0,"sourceSecs":1794.7,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":300900861,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fraser_andrea_official_welcome_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fraser_andrea_official_welcome_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fraser_andrea_official_welcome_2003.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fraser_andrea_official_welcome_2003/main.mp4?v=2","description":"The video shows Fraser stripping while quoting from speeches given by critics, collectors, curators, politicians, and artists at openings, awards ceremonies, and other art events. She recites famous artists ranging from Mel Brooks and Thomas Hirschhorn to Shirin Neshat, Ross Bleckner, Francesco Clemente, Vanessa Beecroft, Damien Hirst, Chris Ofili, Tracey Emin, and Kara Walker. This version filmed here took place at the Kunstverein in Hamburg at the opening of Fraser's mid-career retrospective on September 9, 2003. <br/><br/> On returning home to Berlin from Hamburg, where I had seen Andrea Fraser's midcareer retrospective, I was besieged with questions about the artist's new \"sex work,\" a videotaped performance for which she was \"commissioned\" to have sex with a collector. \"Did you like it?\" I was repeatedly asked, and I found, even to my own surprise, that I had to answer yes, I liked it very much. This work, called Untitled, is clearly in keeping with a risk-laden artistic investigation that began in 2001 with two pieces: Kunst muss hangen (Art Must Hang), Fraser's re-creation of an impromptu 1995 speech by Martin Kippenberger, and Official Welcome, a performance that had been criticized for its \"exhibitionism,\" since Fraser strips in one part. With Kunst muss hangen, Fraser had announced a new phase in her methods of what I would call \"incorporating appropriation,\" performances in which the line between \"being\" and \"acting,\" between authenticity and imitation, is no longer drawn. Fraser convincingly mutates into Kippenberger, attempting to \"become\" hint in all his drunken provocations and sweeping gestures. Similarly, in Official Welcome, which originally took place in a private home in New York and was revised, restaged, and documented on video for its presentation in Hamburg, Fraser moves among curatorial, critical, and artistic styles of rhetoric. It is a testament to Fraser's impersonating capacity that this carefully scripted role-playing doesn't veer into irony. Rather, one has the impression that she lives and breathes the modes of speech she appropriates. <br/><br/> ArtForum, Dec, 2003 by Isabelle Graw","artist_bio":"Andrea Fraser (born 1965, Billings, Montana) is a New York-based performance artist, mainly known for her work in the area of institutional critique. She is currently a member of the Art Department faculty at the University of California, Los Angeles.\nArguably Fraser's most famous performance, Museum Highlights (1989) involved Fraser posing as a Museum tour guide at the Philadelphia Museum of Art in 1989 under the pseudonym of Jane Castleton. During the performance, Fraser led a tour through the museum describing it in verbose and overly dramatic terms to her chagrined tour group. For example, in describing a common water fountain Fraser proclaims \"a work of astonishing economy and monumentality ... it boldly contrasts with the severe and highly stylized productions of this form!\" Upon entering the museum cafeteria: \"This room represents the heyday of colonial art in Philadelphia on the eve of the Revolution, and must be regarded as one of the very finest of all American rooms.\"\nIn Kunst muss hängen (Art Must Hang) (Galerie Christian Nagel / Cologne, 2001) - featured in Make Your Own Life: Artists In & Out of Cologne - Fraser reenacted an impromptu 1995 speech by a drunk Martin Kippenberger, word-by-word, gesture-for-gesture.\nFor Official Welcome (2001) - commissioned by the MICA Foundation for a private reception - Fraser mimicked \"the banal comments and effusive words of praise uttered by presenters and recipients during art-awards ceremonies. Midstream, assuming the persona of a troubled, postfeminist art star, Fraser strips down, [...] to a Gucci thong, bra and high-heel shoes, and says, I'm not a person today. I'm an object in an art work.\"\nIn her videotape performance Untitled (2003), Fraser recorded a hotel-room sexual encounter with a private collector, who had paid close to $20,000 to participate, \"not for sex, according to the artist, but to make an artwork.\" Actually, according to Andrea Fraser, the amount that the collector had paid her has not been disclosed, and the \"$20,000\" figure is way off the mark. Only 5 copies of the 60-minute DVD were produced, 3 of which are in private collections, 1 being that of the collector with whom she had had the sexual encounter; he had pre-purchased the performance piece in which he was a vital participant.\nHer videotape performance Little Frank and His Carp (2001) targets architectural dominance of modern gallery spaces. Using the original soundtrack of an acoustic guide at the Guggenheim Museum Bilbao, she \"... writhes with pleasure as the recorded voice draws attention to the undulating curves and textured surfaces of the surrounding space\" which she takes literally in an \"erotic encounter\".","bio_dates":"b. 1965"},{"slug":"fraser_andrea_the_aesthetic_field_1992","ok":true,"partial":false,"title":"Das Asthetische Feld AKA The Aesthetic Field","artist":"Andrea Fraser","year":"1993","startOffset":0,"sourceSecs":3797.76,"sourceHeight":572,"sourceWidth":698,"hasAudio":true,"hasAmbientMp4":true,"bytes":645563478,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fraser_andrea_the_aesthetic_field_1992/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fraser_andrea_the_aesthetic_field_1992/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fraser_andrea_the_aesthetic_field_1992.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fraser_andrea_the_aesthetic_field_1992/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fraser_andrea_the_aesthetic_field_1992/main/master.m3u8?v=2","hasMainHls":true,"description":"Video, color, sound, English and German, 40 min Edited by: Andrea Fraser Produced by: Andrea Fraser, Galerie Metropol, Vienna <br/><br/> Edited from videotapes of an artist’s lecture series held in 1992 at the Hochschule für Angewandte Kunst, Vienna, the videotape distills eleven artistic positions in five-minute clips which, taken together, demonstrate the differing and often contradictory ways in which artists define their practices and attempt to address their audiences. Artists include Peter Weibel, Jeff Koons, Peter Fend, Colin de Land, Jessica Stockholder, Gerwald Rockenschaub, John Miller, Raymond Pettibon, Christian Philipp Müller, Renee Green, and Andrea Fraser. (Andrea Fraser)","artist_bio":"Andrea Fraser (born 1965, Billings, Montana) is a New York-based performance artist, mainly known for her work in the area of institutional critique. She is currently a member of the Art Department faculty at the University of California, Los Angeles.\nArguably Fraser's most famous performance, Museum Highlights (1989) involved Fraser posing as a Museum tour guide at the Philadelphia Museum of Art in 1989 under the pseudonym of Jane Castleton. During the performance, Fraser led a tour through the museum describing it in verbose and overly dramatic terms to her chagrined tour group. For example, in describing a common water fountain Fraser proclaims \"a work of astonishing economy and monumentality ... it boldly contrasts with the severe and highly stylized productions of this form!\" Upon entering the museum cafeteria: \"This room represents the heyday of colonial art in Philadelphia on the eve of the Revolution, and must be regarded as one of the very finest of all American rooms.\"\nIn Kunst muss hängen (Art Must Hang) (Galerie Christian Nagel / Cologne, 2001) - featured in Make Your Own Life: Artists In & Out of Cologne - Fraser reenacted an impromptu 1995 speech by a drunk Martin Kippenberger, word-by-word, gesture-for-gesture.\nFor Official Welcome (2001) - commissioned by the MICA Foundation for a private reception - Fraser mimicked \"the banal comments and effusive words of praise uttered by presenters and recipients during art-awards ceremonies. Midstream, assuming the persona of a troubled, postfeminist art star, Fraser strips down, [...] to a Gucci thong, bra and high-heel shoes, and says, I'm not a person today. I'm an object in an art work.\"\nIn her videotape performance Untitled (2003), Fraser recorded a hotel-room sexual encounter with a private collector, who had paid close to $20,000 to participate, \"not for sex, according to the artist, but to make an artwork.\" Actually, according to Andrea Fraser, the amount that the collector had paid her has not been disclosed, and the \"$20,000\" figure is way off the mark. Only 5 copies of the 60-minute DVD were produced, 3 of which are in private collections, 1 being that of the collector with whom she had had the sexual encounter; he had pre-purchased the performance piece in which he was a vital participant.\nHer videotape performance Little Frank and His Carp (2001) targets architectural dominance of modern gallery spaces. Using the original soundtrack of an acoustic guide at the Guggenheim Museum Bilbao, she \"... writhes with pleasure as the recorded voice draws attention to the undulating curves and textured surfaces of the surrounding space\" which she takes literally in an \"erotic encounter\".","bio_dates":"b. 1965"},{"slug":"frazier_latoya_ruby_laser_liz_magic_if_everybodys_work_is_equally_important","ok":true,"partial":false,"title":"Ruby Laser Liz Magic If Everybodys Work Is Equally Important","artist":"LaToya Ruby Frazier","year":"2011","startOffset":0,"sourceSecs":15.07,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1078237,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frazier_latoya_ruby_laser_liz_magic_if_everybodys_work_is_equally_important/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frazier_latoya_ruby_laser_liz_magic_if_everybodys_work_is_equally_important/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frazier_latoya_ruby_laser_liz_magic_if_everybodys_work_is_equally_important.m4v","hasFrames":true,"description":"Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice."},{"slug":"freddie_wilhelm_roos_jorgen_eaten_horizons_1950","ok":true,"partial":false,"title":"Roos Jorgen Eaten Horizons","artist":"Martin Frič","year":"1950","startOffset":0,"sourceSecs":211.76,"sourceHeight":512,"sourceWidth":672,"hasAudio":true,"hasAmbientMp4":true,"bytes":38073164,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/freddie_wilhelm_roos_jorgen_eaten_horizons_1950/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/freddie_wilhelm_roos_jorgen_eaten_horizons_1950/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/freddie_wilhelm_roos_jorgen_eaten_horizons_1950.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/freddie_wilhelm_roos_jorgen_eaten_horizons_1950/main.mp4?v=2","description":"There is a fine line between surrealist cinema and throwing a bunch of images together and calling it art. It is the same with any art, really: someone can shit stain toilet paper and people get nuts but what is the meaning behind it all? Sometimes with exquisite masterminds such as Salvador Dali, those random images can coherently string a meaning together that evolves over time (for example, his work with Luis Bunuel in Un Chein Andalou is one of the best). So Danish filmmaker Jørgen Roos and Wilhelm Freddie around the 1950’s, teamed up for Eaten Horizons (which you can, and will, make pretty comparisons with the other two jokers previously mentioned).\n\nSo as this is a surrealist movie, there is not much in the way of plot – what makes Eaten Horizons quite an impressive short? Well, for one, it has been likened to Cronenberg’s experience with body horror and for that, it’s worth a gander. As for the themes, there is actually quite a lot you can take from it. It’s an amalgamation of the body in the nude form. Which is mostly female and if we were going to go down that route then I suppose it’s either a celebration of the feast that is a supple nude lady or indeed, that is exactly how men see us – but that’s a complete in-depth scene by scene analysis for another time. Yes, that’s coming. The entwining of bread and meat with the body in this succession of oddities highlights both the importance of food or at a deeper level, how the life is “eat or be eaten.” There is penance within jail and that imagery is likened to being trapped without the simple pleasures of life (sex and hearty meals). It’s in this that the film becomes this impressive short that is delectable in themes.\n\nAt under four minutes, the film does a lot of greatness and gives you enough to chew other. Though, if surrealism isn’t your cup of tea, you’ll be left with a bad taste on your tongue – mainly, you will lap up its (debatable) messages for a while."},{"slug":"freeland_tessa_hughes_dirty_1993","ok":true,"partial":false,"title":"Dirty","artist":"Tessa Hughes-Freeland","year":"1993","startOffset":0,"sourceSecs":1034.368,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":183189207,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/freeland_tessa_hughes_dirty_1993/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/freeland_tessa_hughes_dirty_1993/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/freeland_tessa_hughes_dirty_1993.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/freeland_tessa_hughes_dirty_1993/main.mp4?v=2","description":"Dirty (1993) directed by Tessa Hughes-Freeland is one of the sort of 'lost classics' of the Cinema of Transgression movement. It has never been released in any home media format and this rip comes from Hughes-Freeland herself.<br/><br/> The film was shot on Super-8 and is based on Georges Bataille's erotic novella Blue of Noon aka Le Bleu du Ciel and is thus naturally quite scatological. The film stars and was made in collaboration with Annabel Lee (aka Annabel Davies), who previously starred in films by Richard Kern and currently plays violin in her husband's neofolk group Blood Axis. Dirty also stars filmmakers Alyce Wittenstein (Betaville, No Such Thing As Gravity) and Charles Pinion (Red Spirit Lake).<br/><br/> From the book Deathtripping: The Extreme Underground by Jack Sargeant:<br/><br/> British-born Tessa Hughes-Freeland approaches filmmaking in a multiplicity of styles, ranging from classic narrative to experimental 'performances' and even documentary. The earlier of Hughes-Freeland's films to be kept in distribution is her three minute 16mm documentary Baby Doll (1982) which depicts the preparations of two go-go dancers intercut with shots of their feet dancing, while their voices describe the nature of their work. Her narrative short films include a collaboration with Tommy Turner Rat Trap (1986), a collaboration with Annabelle Davies based on Georges Bataille's Le Bleu Du Ciel (Blue of Noon, 1935/1957), called Dirty (1992) and Nymphomania (1994), a collaboration with Holly Adams.<br/><br/> Dirty follows the spiraling circles of transgression taken by a female protagonist who gets drunk in an exclusive bar, falls over and shows her underwear. She returns to her apartment where she continues to great increasingly drunk, much to the annoyance of her maid and the bellboy. Finally she urinates (while fully dressed and sitting in an armchair), to the obvious disgust of the maid. Before anybody can do anything she proceeds to shit in her pants. The maid takes her to the bathroom where she strips and bathes her, while wiping the smears of shit off the side of the bath. Cleaned, the woman returns to her room where she drinks with the bellboy, asking him to tell her his stories concerning any repulsive experiences he has witnessed in his line of work. The film emphasizes the degradation and abjection of the main character as a result, or facet, of the transgressive nature of her behavior.","artist_bio":"Tessa Hughes-Freeland’s films have been shown in a variety of venues, from international museums to seedy bars. The subject matter of her films is confrontational, transgressive, provocative and poetic. She works in a wide variety of mediums and formats. The personality of her work makes it hard to categorise.Her videotape performance Little Frank and His Carp (2001) targets architectural dominance of modern gallery spaces. Using the original soundtrack of an acoustic guide at the Guggenheim Museum Bilbao, she \"... writhes with pleasure as the recorded voice draws attention to the undulating curves and textured surfaces of the surrounding space\" which she takes literally in an \"erotic encounter\".","bio_dates":"1982"},{"slug":"freeland_tessa_hughes_rhonda_goes_to_hollywood_1985","ok":true,"partial":false,"title":"Rhonda Goes to Hollywood","artist":"Tessa Hughes-Freeland","year":"1985","startOffset":0,"sourceSecs":1423.466,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":249085069,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/freeland_tessa_hughes_rhonda_goes_to_hollywood_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/freeland_tessa_hughes_rhonda_goes_to_hollywood_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/freeland_tessa_hughes_rhonda_goes_to_hollywood_1985.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/freeland_tessa_hughes_rhonda_goes_to_hollywood_1985/main.mp4?v=2","description":"Rhonda Goes to Hollywood (1985) directed by Tessa Hughes-Freeland is one of the sort of 'lost classics' of the Cinema of Transgression movement. It has never been released in any home media format and this rip comes from Hughes-Freeland herself and thus is the best available.<br/><br/> The films is like experimental high-camp Hollywood Babylon-esque video art and features excerpts from classic Golden Age Hollywood films like Billy Wilder's Sunset Boulevard mixed with the eponymous female protagonist parodying scenes from these films.<br/><br/> Hughes-Freeland likes working with 'found footage' as her films like Playboy Voodoo demonstrate, but Rhonda Goes to Hollywood is different in that she combines both recycled footage and original footage that she shot (the latter of which makes up the majority of the film) in what is ultimately a critique of the phony glamour of Hollywood.<br/><br/> From the book Deathtripping: The Extreme Underground by Jack Sargeant:<br/><br/> \"Rhonda Goes to Hollywood functions in a similar fashion, exploring the very existence of Hollywood's stars as merely social constructions. The film follows Rhonda Zwillinger as she reenacts glamour poses in her camp/trash bedroom, and as she walks down Hollywood Boulevard. This is intercut with found footage (depicting various stars, such as Elvis, Bardot, Marilyn etc), which, like that in Play Boy, is re-photographed and fucked up so that the celluloid itself is as much of the film's theme as the images it depicts. The film thus positions the ironic glamorous stances of Rhonda as part of a series of repetitious gestures which serve to signify glamour and stardom (for example Rhonda's star on the Boulevard), while film stardom itself is shown to be a transient myth.\"","artist_bio":"Tessa Hughes-Freeland’s films have been shown in a variety of venues, from international museums to seedy bars. The subject matter of her films is confrontational, transgressive, provocative and poetic. She works in a wide variety of mediums and formats. The personality of her work makes it hard to categorise.Her videotape performance Little Frank and His Carp (2001) targets architectural dominance of modern gallery spaces. Using the original soundtrack of an acoustic guide at the Guggenheim Museum Bilbao, she \"... writhes with pleasure as the recorded voice draws attention to the undulating curves and textured surfaces of the surrounding space\" which she takes literally in an \"erotic encounter\".","bio_dates":"1982"},{"slug":"fric_martin_cernobila_rapsodie_1936","ok":true,"partial":false,"title":"UbuWeb Film & Video - Martin Frič: Black-and-White Rhapsody / Cernobila rapsodie","artist":"Martin Frič","year":"1936","startOffset":0,"sourceSecs":153.646,"sourceHeight":336,"sourceWidth":448,"hasAudio":true,"hasAmbientMp4":true,"bytes":9769186,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fric_martin_cernobila_rapsodie_1936/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fric_martin_cernobila_rapsodie_1936/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fric_martin_cernobila_rapsodie_1936.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fric_martin_cernobila_rapsodie_1936/main.mp4?v=2","description":"This quick outdoor frolic involves pairs of women in duotone costumes. Shot as a promotion for Fric's daughter's dance company.","artist_bio":"Spiste Horisonter AKA Eaten Horizons (1950)\nin collaboraion with Wilhelm Freddie\nJørgen August Roos was a Danish film director, photographer, editor, producer, screenwriter and director, brother of Karl Roos. He was one of the most distinguished representatives of the Danish documentary , and was also an ambassador for Danish films abroad, where his films earned many awards.","bio_dates":"1902-1968"},{"slug":"friedman_dara_jodie","ok":true,"partial":false,"title":"Jodie","artist":"Dara Friedman","year":"1998","startOffset":0,"sourceSecs":469.483,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":81263008,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/friedman_dara_jodie/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/friedman_dara_jodie/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/friedman_dara_jodie.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/friedman_dara_jodie/main.mp4?v=2","description":"Friedman documents a model during a fashion shoot, the exaggerated, staccato rhythms of her camera punctuated by machine-gun like bursts of fireworks and the chiming of bells. The model veers wildly between states of calm and hair-wringing distress in a short, hyper-kinetic sequence bookended by image fields of solid color; a slow approach to an intense, intimate proximity.","artist_bio":"Dara Friedman, who lives and works in Miami, is best known for her film and video installations, in which she uses the techniques of structuralist filmmaking to depict the lushness, ecstasy, and energy of everyday life. She often distills, syncopates, reverses, loops, or otherwise alters familiar sounds and sights, drawing attention to the distinct sensory acts of hearing and seeing. Whether her work portrays a series of narrative fragments or a single evocative scene repeated over and over, Friedman heightens the emotional impact by cutting directly to the film's climax in order to, as she puts it, \"get to the part you really care about.\"","bio_dates":"b. 1968"},{"slug":"frierich_su_scar_tissue_1979","ok":true,"partial":false,"title":"Scar Tissue","artist":"Su Friedrich","year":"1979","startOffset":0,"sourceSecs":389.675,"sourceHeight":448,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":18001521,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frierich_su_scar_tissue_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/frierich_su_scar_tissue_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/frierich_su_scar_tissue_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/frierich_su_scar_tissue_1979/main.mp4?v=2","description":"Silent <br/><br/> <i>Scar Tissue</i> by Su Friedrich is a filmic version of a white canvas or a silent music piece, where although a very specific reading is possible, the many possible readings are almost more meaningful and true to the work. Here are a few readings that stem from my specific, personal experience: <br/><br/> Reading 1: Lee Friedlander photographs. The photographer's images of New York are particularly pertinent to Friedrich's work. Two artists' skewed perspectives are directly related to the geometric visual sensibility that they seem to share. The city, people and places that are well-recognized become defamiliarized. The viewer, through this disorientation, is drawn in to get reacquainted with the images that are obviously anchored in daily reality. The work pulls and repels us, revealing just enough of what we know and then fracturing that information to engage us the whole time we're 'in' these moving images. <br/><br/> Reading 2: The fractured sequence is reminiscent of Maya Deren's Meshes of the Afternoon. However, the deconstruction of such a mundane sequence to create a set of absolutely unique, almost ominous images with an inherent rhythm makes Scar Tissue almost more dreamlike than Deren's work. As the viewer is aware of the particular environment where these images are situated, the film takes on a more menacing role, showing us what \"could\" be. <br/><br/> Reading 3: The fact that Friedrich never really shows the whole body, but rather plays off of body parts could be read as a desire to show less of the people on the screen, so that the viewer's reading can be generalized. If the \"characters\" existed as people, the images would inevitably read to be telling a story about these people. The legs and torsos do not signify people; it is the experience of these body parts and the rhythm with which they are portrayed that constitute the work. <br/><br/> Reading 4: Scar tissue or scarring can be defined as the state of a wound as it is healing. It does not denote a complete healing, where the wound cannot be seen any more. It also does not mean the state of a wound, which interferes with the integrity of the body and it is something that needs to be mended immediately; a wound is a state of flux that the body cannot tolerate. Hence, scar tissue is that state in between, paralleling the images in the film. Nobody is at their destination, they are also not at their comfort zone, their \"base\". Friedrich christening the film with such a corporal title reveals a more personal, visceral intention in the work that can be extrapolated to each and every one of us who share the quotidian with the owners of these body parts we see on the screen. <br/><br/>-- Merve Unsal","artist_bio":"Friedrich began filmmaking in 1978 and has produced and directed eighteen 16mm films and videos, including\nFrom the Ground Up\n(2007),\nSeeing Red\n(2005),\nThe Head of a Pin\n(2004),\nThe Odds of Recovery\n(2002),\nHide and Seek\n(1996),\nRules of the Road\n(1993),\nFirst Comes Love\n(1991),\nSink or Swim\n(1990),\nDamned If You Don't\n(1987),\nThe Ties That Bind\n(1984), and\nGently Down the Stream\n(1981). Her films have won many awards, including the Grand Prix at the Melbourne Film Festival and Outstanding Documentary at Outfest. Friedrich has received fellowships from the Rockefeller and Guggenheim Foundations as well as numerous grants from the Jerome Foundation, NYFA, NYSCA and ITVS, and in 1995 she received the Cal Arts/Alpert Award. Retrospectives of her work have been held at the Museum of Modern Art in NY, the Whitney Museum of American Art, the Rotterdam International Film Festival, The Stadtkino in Vienna, the Pacific Cinematheque in Vancouver and the National Film Theater in London, among others. Friedrich is the writer, cinematographer, director and editor of all her films, with the exception of\nHide and Seek\n, which was co-written by Cathy Quinlan and shot by Jim Denault. Her work is screened and distributed widely throughout the US, Canada and Europe. She teaches film & video production at Princeton University. Her DVD collection is distributed by Outcast Films.","bio_dates":"1979"},{"slug":"fuller_buckminster_lost_interviews_part_1_iphone","ok":true,"partial":false,"title":"Two Interviews with Damien Simpson","artist":"Buckminster Fuller","year":"1979/1982","startOffset":0,"sourceSecs":4554.114,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":266207285,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fuller_buckminster_lost_interviews_part_1_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fuller_buckminster_lost_interviews_part_1_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fuller_buckminster_lost_interviews_part_1_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fuller_buckminster_lost_interviews_part_1_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fuller_buckminster_lost_interviews_part_1_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Recorded on the Los Angeles cable television show \"Psychic Phenomena.\"<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/fuller.html\" rel=\"noopener\" target=\"_blank\">Buckminster Fuller in UbuWeb Sound</a></br>","artist_bio":"Richard Buckminster “Bucky” Fuller (July 12, 1895 – July 1, 1983) was an American engineer, author, designer, inventor, and futurist.\nFuller published more than 30 books, inventing and popularizing terms such as \"Spaceship Earth\", ephemeralization, and synergetics. He also developed numerous inventions, mainly architectural designs, the best known of which is the geodesic dome. Carbon molecules known as fullerenes were later named by scientists for their resemblance to geodesic spheres. -- Wiki","bio_dates":"1895-1983"},{"slug":"fuller_buckminster_lost_interviews_part_2_iphone","ok":true,"partial":false,"title":"Two Interviews with Damien Simpson","artist":"Buckminster Fuller","year":"1979/1982","startOffset":0,"sourceSecs":3669.101,"sourceHeight":320,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":215783148,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fuller_buckminster_lost_interviews_part_2_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fuller_buckminster_lost_interviews_part_2_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fuller_buckminster_lost_interviews_part_2_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fuller_buckminster_lost_interviews_part_2_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fuller_buckminster_lost_interviews_part_2_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Recorded on the Los Angeles cable television show \"Psychic Phenomena.\"<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/fuller.html\" rel=\"noopener\" target=\"_blank\">Buckminster Fuller in UbuWeb Sound</a></br>","artist_bio":"Richard Buckminster “Bucky” Fuller (July 12, 1895 – July 1, 1983) was an American engineer, author, designer, inventor, and futurist.\nFuller published more than 30 books, inventing and popularizing terms such as \"Spaceship Earth\", ephemeralization, and synergetics. He also developed numerous inventions, mainly architectural designs, the best known of which is the geodesic dome. Carbon molecules known as fullerenes were later named by scientists for their resemblance to geodesic spheres. -- Wiki","bio_dates":"1895-1983"},{"slug":"fuller_buckminster_the_world_of_1974_iphone","ok":true,"partial":false,"title":"UbuWeb Film & Video - The World of R. Buckminster Fuller","artist":"Buckminster Fuller","year":"1974","startOffset":0,"sourceSecs":4796.034,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":279716901,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fuller_buckminster_the_world_of_1974_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fuller_buckminster_the_world_of_1974_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fuller_buckminster_the_world_of_1974_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fuller_buckminster_the_world_of_1974_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fuller_buckminster_the_world_of_1974_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Buckminster Fuller was an architect, engineer, geometrician, philosopher, futurist, inventor of the famous geodesic dome, and one of the most brilliant thinkers of his time. His legacy becomes ever more relevant, providing us a road map to steer our planet away from oblivion and toward a sustainable future for all humanity. <br/><br/> This film by Oscar-winning filmmaker Robert Snyder, like his other documentaries on \"the greats\" (Michelangelo, Henry Miller, Willem de Kooning, Pablo Casals, among others), transports the viewer into Fuller's mind and soul. Told entirely in his own words, the film is an intimate, personal and inspiring message from Fuller to our fragile world. <br/><br/> 85 min<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/fuller.html\" rel=\"noopener\" target=\"_blank\">Buckimister Fuller on UbuWeb Sound</a></br>","artist_bio":"Richard Buckminster “Bucky” Fuller (July 12, 1895 – July 1, 1983) was an American engineer, author, designer, inventor, and futurist.\nFuller published more than 30 books, inventing and popularizing terms such as \"Spaceship Earth\", ephemeralization, and synergetics. He also developed numerous inventions, mainly architectural designs, the best known of which is the geodesic dome. Carbon molecules known as fullerenes were later named by scientists for their resemblance to geodesic spheres. -- Wiki","bio_dates":"1895-1983"},{"slug":"fuller_buckminster_thinking_out_loud","ok":true,"partial":false,"title":"American Masters: Buckminster Fuller: Thinking Out Loud","artist":"Buckminster Fuller","year":"1996","startOffset":0,"sourceSecs":5421.216,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":923290169,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fuller_buckminster_thinking_out_loud/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fuller_buckminster_thinking_out_loud/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fuller_buckminster_thinking_out_loud.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fuller_buckminster_thinking_out_loud/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fuller_buckminster_thinking_out_loud/main/master.m3u8?v=2","hasMainHls":true,"description":"\"Whenever I draw a circle, I immediately want to step out of it.\"<br/><br/> So said R. Buckminster Fuller, who, for the better part of the 20th century, went where no man had gone before as the maverick captain of the planet he called \"Spaceship Earth.\" An architect, designer, engineer, poet, philosopher, author and global iconoclast, Fuller was a true visionary, a Renaissance man best remembered as creator of the geodesic dome. As part of its 10th anniversary celebration, AMERICAN MASTERS profiles \"Bucky\" Fuller, the man who has been called a 20th century Da Vinci, a modern Ben Franklin, and a jet-age Emerson.<br/><br/> What did his contemporaries think of him? See clips & quotes from the film, plus previously unpublished excerpts from the film's interviews.<br/><br/> In Buckminster Fuller's world, cars had three wheels, houses were to be delivered by blimps, and cities were to be built inside floating spheres. To many, Fuller was a genius; to others, a crackpot. To most, he was both. This insightful documentary lets viewers decide for themselves about the man considered to be one of the 20th century's most distinguished, innovative and controversial thinkers. \"Fuller's journey on 'Spaceship Earth' encompassed nearly a century of American life,\" said AMERICAN MASTERS Executive Producer Susan Lacy. \"He's an ideal and fascinating subject for the series because he played such a major role in so many important historical and cultural movements, from the Machine Age to the counter-culture of the 1960s.\"<br/><br/> This first documentary on Fuller since his death in 1983 is produced and directed by Karen Goodman and Kirk Simon. New York Times film critic Janet Maslin, one of the critics at this past winter's Sundance Film Festival, singled it out as one of the most promising films and \"an especially insightful and colorful portrait.\"<br/><br/> \"It's remarkable how Fuller urged everyone to think globally and act ecologically long before most people had even heard the words,\" said Ms. Goodman. Added Mr. Simon, \"We were so fortunate to be the first journalists to be given access to Fuller's archive and unpublished personal papers.\"<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/fuller.html\" rel=\"noopener\" target=\"_blank\">Buckminster Fuller in UbuWeb Sound</a></br>","artist_bio":"Richard Buckminster “Bucky” Fuller (July 12, 1895 – July 1, 1983) was an American engineer, author, designer, inventor, and futurist.\nFuller published more than 30 books, inventing and popularizing terms such as \"Spaceship Earth\", ephemeralization, and synergetics. He also developed numerous inventions, mainly architectural designs, the best known of which is the geodesic dome. Carbon molecules known as fullerenes were later named by scientists for their resemblance to geodesic spheres. -- Wiki","bio_dates":"1895-1983"},{"slug":"fung_richard_chinese_characters_1986","ok":true,"partial":false,"title":"Chinese Characters","artist":"Richard Fung","year":"1986","startOffset":0,"sourceSecs":1249.749,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":212097949,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fung_richard_chinese_characters_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fung_richard_chinese_characters_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fung_richard_chinese_characters_1986.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fung_richard_chinese_characters_1986/main.mp4?v=2","description":"1986 | 00:21:00 | Canada | English | Color | Mono | 4:3 | Video <br/><br/> Quoting Confucius, that “food and sex are human nature,” Chinese Characters builds a parallel between the Chinese legend about the search for the source of the Yellow River and contemporary Asian-Canadian gay men’s search for pleasure via their relationship to gay pornography. Advancing the positive value of pornography as a way to help fantasize and experience greater sexual pleasure and ingenuity, personal techniques are demonstrated and deployed in a High Noon dream of sexual adventure. -- <a href=\"https://www.vdb.org/titles/chinese-characters\" rel=\"noopener\" target=\"_blank\">Video Data Bank</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"https://www.vdb.org/\" rel=\"noopener\" target=\"_blank\">Video Data Bank</a>. Please visit VDB for further information about this artist and work. The VDB site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I), Cunningham, Paik, Cage (1978)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast (1977)\nMerce by Merce by Paik [Charles Atlas, Shigeko Kobuta & Nam June Paik] (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nThirty Second Spots: TV Commercials for Arists - Nam June Paik (1982-83)\nNam June Paik is a major contemporary artist and a seminal figure in video art. His video sculptures, installations, performances and single-channel videos encompass one of the most influential and significant bodies of work in the medium.\nFrom his Fluxus-based performances and altered television sets of the early 1960s, to his ground-breaking videotapes and multi-media installations of the 1970s, '80s and '90s, Paik has made an enormous contribution to the history and development of video as an art form. Exercising radical art-making strategies with irreverent humor, he deconstructs and demystifies the language, content and technology of television. Merging global communications theories with an antic Pop sensibility, his iconoclastic works explore the juncture of art and popular culture.\nIn the 1970s, Paik began a series of tapes, including Global Groove (1973), that were extraordinarily influential and innovative. Applying surreal conceptual wit and \"neo-Dada\" irony, he established a radical syntax of video based on the visual and aural grammar of television, appropriating and then derailing its very language. Densely layered with witty intertextual references and transcultural content, his exuberant, disjunctive collages function as a stream-of-consciousness flow of images, music and electronic effects.\nPaik engages in kinetic cultural explorations as a form of global communications, as if he were switching television channels around the world. In vibrantly textured audio and visual pastiches, his emblematic motifs of Pop iconography, international avant-garde figures, multicultural performances and media appropriations are subjected to a disruptive barrage of exquisite electronic techniques — hyperbolic fragmentations, alterations and juxtapositions.\nPaik's early works display the signature image manipulations and colorizations of the Paik/Abe Synthesizer, a device he developed in 1969 with electronics engineer Shuya Abe. Paik's experiments with the Paik/Abe Synthesizer helped to revolutionize the technological grammar of the medium. The richly layered and textured alterations of his later works exhibit the tour-de-force imaging techniques of longtime collaborator Paul Garrin. Images multiply and divide within the frame; temporal and spatial shifts proliferate, visuals and sound are juxtaposed in ironic contexts. Paik's tapes often take the form of collaborations with or tributes to the avant-garde artists who were his friends and colleagues, including John Cage (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Paik, 1978), Allen Ginsberg and Allan Kaprow (Allan 'n' Allen's Complaint, 1982), Julien Beck and Judith Malina (Living with the Living Theatre, 1989) and (MAJORCA-fantasia, 1989).\nPaik began working in music and performance while a student in Germany, where he participated in the international Fluxus movement. His European Fluxus performances, actions and events included \"prepared\" pianos and musical instruments, and later, altered television sets. In Germany, Paik collaborated with such artists as Wolf Vostell and Joseph Beuys, and met avant-garde composer John Cage, whose ideas and art had a tremendous influence on his work. In 1964, Paik came to New York, where his \"discovery\" of the Sony Portapak and video art has become one of video's most enduring, if apocryphal, legends. (According to this tale, Paik bought one of the first Sony Portapaks to be manufactured for the consumer market. He made his first tape the same day, recording Pope Paul VI's visit to New York from a cab window; the tape was then exhibited at the Cafe a Go Go.)\nIn New York, Paik began a longtime collaboration with avant-garde cellist Charlotte Moorman, with whom he produced a series of important performance-based works. Among their most notorious pieces are the Opera Sextronique (1967), the TV Bra for Living Sculpture (1969), and TV Cello (1971). Paik is perhaps most widely recognized for his prodigious body of video installations and sculptures, from the landmark works of the 1970s, including TV Buddha (1974), TV Garden (1974-78), and Fish Flies on Sky (1975), to the 1986 Family of Robot and the 1995 Megatron.\nPaik's experiments with satellite technology began in 1977 at Documenta 6 in Kassel, Germany, where he collaborated on a live telecast with Joseph Beuys and Douglas Davis. His \"live\" international satellite broadcasts of the 1980s, including Good Morning Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the the World (1988), are global video installations that conjoin disparate spatial, contextual and temporal elements.\nLinking the artworld and the media, pop culture and the avant-garde, technology and philosophy, Paik's works resonate with an irreverent humor and subversive brilliance that have influenced contemporary art, video and television.\nPaik was born in Seoul, Korea in 1932, and died in 2006. He studied music and art history at the University of Tokyo, producing a thesis on Arnold Schoenberg, and graduated in 1956 with a degree in aesthetics. Paik's studies continued in Germany at the Universities of Munich and Cologne, and the Conservatory of Music in Freiburg. From 1958-63, Paik worked with Karlheinz Stockhausen at the WDR Studio fur elektronsiche Musik in Cologne. After meeting Fluxus founder George Maciunas in 1961, he participated in numerous European Fluxus performances, actions and events.\nPaik's first one-man exhibition was the 1963 Exposition of Electronic Music — Electronic Television at the Galerie Parnass in Wuppertal, Germany. Paik came to New York in 1964; his first one-person exhibition in New York was at the Bonino Gallery in 1966. In 1969, Paik participated in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in New York. Also in 1969, Paik and electronics engineer Shuya Abe created the Paik/Abe Synthesizer at the New Television Workshop at WGBH in Boston. Many of his tapes were produced in the 1970s while he was artist-in-residence at the Television Laboratory at WNET/Thirteen in New York. Since 1979, he has taught at Staatlichen Kunstakademie in Dusseldorf, Germany.\nPaik is the recipient of numerous awards, including a Rockefeller Foundation grant, the American Film Institute's Maya Deren Award for Independent Film and Video, The New York State Governor's Art Award, and The New York City Mayor's Award to Distinguished Immigrants. He won 1st Prize/Best Pavilion at the 1993 Venice Biennale for Artist as Nomad in the German Pavilion. In 1998 he was honored with the prestigious Kyoto Award in Japan, and in 1999 he was named among \"The Century's 25 Most Influential Artists\" by ARTnews. He was given the National Arts Club Artists Award in 2000.\nPaik's works have been the subject of numerous exhibitions, including his first United States retrospective at the Everson Museum, Syracuse, in 1974, and a 1976 retrospective at the Kolnischer Kunstverein, Cologne. In 1982, the Whitney Museum of American Art in New York honored him with a comprehensive retrospective of videotapes, video sculptures, installations and performances, which traveled to the Museum of Contemporary Art in Chicago.\nIn recent years, his installations have been widely exhibited internationally, including one-man shows at institutions including Tokyo Metropolitan Art Museum; Centre Georges Pompidou, Paris; and Holly Solomon Gallery, New York, among many others. His work has also been seen in group shows at festivals and institutions including the Whitney Museum of American Art Biennial, New York; Documentas 6 and 8, Kassel, Germany; Japan Society, New York; San Francisco Museum of Modern Art; and Video Sculpture, DuMont Kunsthalle, Cologne. In 1988 he was the subject of a retrospective at the Hayward Gallery in London. His live, international satellite extravaganzas have been broadcast around the world.\nThe Worlds of Nam June Paik, a major retrospective exhibition at the Solomon R. Guggenheim Museum in New York, opened in 2000, and traveled to Bilbao, Spain and Seoul, South Korea. In 2013 the retrospective exhibition Nam June Paik: Global Visionary was organized by the Smithsonian American Art Museum in Washington, D.C. --\nEAI","bio_dates":"b. 1954"},{"slug":"fusco_coco_aka_mrs_george_gilbert_2004","ok":true,"partial":false,"title":"Aka Mrs George Gilbert","artist":"Wangechi Mutu","year":"2004","startOffset":0,"sourceSecs":1897.167,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":110713918,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fusco_coco_aka_mrs_george_gilbert_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/fusco_coco_aka_mrs_george_gilbert_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/fusco_coco_aka_mrs_george_gilbert_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fusco_coco_aka_mrs_george_gilbert_2004/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fusco_coco_aka_mrs_george_gilbert_2004/main/master.m3u8?v=2","hasMainHls":true,"description":"Shoe Shoe, is a short black and white clip reminiscent of CCTV footage, and captures the artist dressed as a vagrant and pushing a cart filled with shoes down the street, occasionally chucking them two at a time into the air. “I also love shoes. If I can find a way to use them I will,” Mutu told me by phone.\n\n“We may think we have no power or voice and are completely lacking in space to say what we need to say. [But] there’s creativity in protest; there’s something courageous in throwing a shoe,” she said.\n\nBoth performances were directly inspired by a 2008 incident in Iraq where a reporter threw his shoes in anger at President George W. Bush during a press conference. The act of throwing, Mutu said, varies depending on the social context: in some cases, it is used in defiant protest, and in others the intent is malicious and violent, such as with stoning.\n\n“I did come out of it with a lot of adrenaline. It really gets the heart and mind pumping, carrying a 20 pound basket full of pulp,” she said. “Honestly, I wish I could have carried more.”"},{"slug":"gaillard_cyprien_azteca_1","ok":true,"partial":false,"title":"Azteca 1","artist":"Cyprien Gaillard","year":"2007","startOffset":0,"sourceSecs":238.96,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":13749218,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_azteca_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_azteca_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaillard_cyprien_azteca_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaillard_cyprien_azteca_1/main.mp4?v=2","description":"An episode of the first season of CONATUS, a series based on the Spinozian philosophical concept.","artist_bio":"Between iconoclasm and minimal aesthetics, romanticism and Land Art, the work of Cyprien GAILLARD (born in 1980 in Paris, lives and works in Berlin) questions man's traces in nature. Through sculpture, painting, etching, photography, video, performance and large scale interventions in public space, GAILLARD has established himself as a major emerging artist on the international art scene. Whether he commissions a traditional landscape painter to paint colourful views of housing projects in Swiss suburbs, surrounded by their luxurious natural environment (Swiss Ruins, 2005), or introduces a view of a tower-block into a 17th Century Dutch landscape etching (Belief in the Age of Disbelief, 2005), GAILLARD shows contemporary architecture as a modern ruin on the verge of being taken over by nature. Just like 18th century French 'ruiniste' painter Hubert ROBERT did when he painted the Louvre as an imaginary ruin, GAILLARD follows French philosopher Denis DIDEROT's advice according to which 'One must ruin a palace to make it an object of interest'. In The New Picturesque series (from 2007), Cyprien GAILLARD questions the representation of nature through the notion of 'picturesque', literally 'what is worth being painted': originally, in the 18th century, rough or rugged landscapes, far from the 'beautiful' landscapes the notion later designated. Intervening either with white paint on 18th or 19th century landscape paintings or with torn white paper on old postcards of castles, GAILLARD covers all narrative elements and decorative details, thus revealing their truly 'picturesque' quality. These series echo in a minimal gesture GAILLARD's seminal Real Remnants of Fictive Wars series (2003-2008), short-lived Land Art performances documented on videos and photos, where the artist activates industrial fire extinguishers in carefully chosen landscapes (amongst which Robert SMITHSON's iconic Spiral Jetty), stressing their beauty at the same time he vandalises them. Confronting Robert SMITHSON's theory of entropy to issues such as urbanism, vandalism and the decay of modernists utopias, GAILLARD's ruined architectures and disappearing landscapes, just like Hubert ROBERT's paintings, romantically embody man's ineluctable fate through the passing of time. In the video The Lake Arches (2007), for instance, a young man breaks his nose after diving in the moat-like pond surrounding a ghostly post-modern tower block, thus making it look like a castle impenetrable by the youth. GAILLARD's vision for an 'archaeology of the future' is brought together in his Geographical Analogies series (2006-2008): in wooden boxes recalling display cabinets in natural history museums, nine Polaroid photographs, shot by GAILLARD in locations around the globe, all baring some sense of entropy, are carefully arranged, according to analogies sometimes obvious to the viewer, sometimes personal to the artist. Parallel to this project of gathering occurrences of worldwide entropy, GAILLARD has started to create his own 'parc aux ruines', with monuments scattered across the world : a monumental bronze sculpture of a duck taken from a derelict Modernist neighbourhood of high rise buildings in Paris, that he had transported to the terrace of Berlin's Modernist masterpiece Neue Nationalgalerie or inside Kassel's Fridericianum (Le Canard de Beaugrenelle, from 2008); rearrangement of trees masking the façade of a contemporary art centre on the beautiful yet artificial island of Vassivière (Homes and Graves, 2007); crushed concrete remains of a tower block from the suburban city of Issy-les-Moulineaux laid out on the main ally of a Renaissance castle (La Grande Allée de Oiron, 2008); or some more concrete, from the demolition of a Glaswegian Modernist social housing project, recycled into a 4 meter high obelisk (Cenotaph to 12 Riverford Road, Pollokshaw, Glasgow, 2008).","bio_dates":"b. 1980"},{"slug":"gaillard_cyprien_crazy_horse","ok":true,"partial":false,"title":"Crazy Horse","artist":"Cyprien Gaillard","year":"2008","startOffset":0,"sourceSecs":1684.96,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":99715999,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_crazy_horse/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_crazy_horse/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaillard_cyprien_crazy_horse.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaillard_cyprien_crazy_horse/main.mp4?v=2","description":"Cyprien Gaillard’s film Crazy Horse is a tribute to the sculpture-in-the-making of Crazy Horse in the Black Hills of South Dakota. In 1948 the sculptor Korczak Ziólkowski (1908–82), invited by the leader of the Sioux, began a sculpture to honor the Lakota leader Crazy Horse and Mother Nature. This monument, which will take approximately another eighty years to complete, will then be the biggest sculpture in the world. The dynamite used by builders when carving the figure into the mountains of the Black Hills, located beside Mount Rushmore, has wreaked destruction and chaos in the national park. The French composer and former opera singer Koudlam, who has collaborated on several projects with Gaillard, composed the music to the artist’s most recent film. Koudlam will accompany the outdoor film premiere with a new live performance. Cyprien Gaillard, born 1980 in Paris (FR), works and lives in Paris (FR). Koudlam, born 1979 in Grenoble (FR), works and lives in Paris (FR).","artist_bio":"Between iconoclasm and minimal aesthetics, romanticism and Land Art, the work of Cyprien GAILLARD (born in 1980 in Paris, lives and works in Berlin) questions man's traces in nature. Through sculpture, painting, etching, photography, video, performance and large scale interventions in public space, GAILLARD has established himself as a major emerging artist on the international art scene. Whether he commissions a traditional landscape painter to paint colourful views of housing projects in Swiss suburbs, surrounded by their luxurious natural environment (Swiss Ruins, 2005), or introduces a view of a tower-block into a 17th Century Dutch landscape etching (Belief in the Age of Disbelief, 2005), GAILLARD shows contemporary architecture as a modern ruin on the verge of being taken over by nature. Just like 18th century French 'ruiniste' painter Hubert ROBERT did when he painted the Louvre as an imaginary ruin, GAILLARD follows French philosopher Denis DIDEROT's advice according to which 'One must ruin a palace to make it an object of interest'. In The New Picturesque series (from 2007), Cyprien GAILLARD questions the representation of nature through the notion of 'picturesque', literally 'what is worth being painted': originally, in the 18th century, rough or rugged landscapes, far from the 'beautiful' landscapes the notion later designated. Intervening either with white paint on 18th or 19th century landscape paintings or with torn white paper on old postcards of castles, GAILLARD covers all narrative elements and decorative details, thus revealing their truly 'picturesque' quality. These series echo in a minimal gesture GAILLARD's seminal Real Remnants of Fictive Wars series (2003-2008), short-lived Land Art performances documented on videos and photos, where the artist activates industrial fire extinguishers in carefully chosen landscapes (amongst which Robert SMITHSON's iconic Spiral Jetty), stressing their beauty at the same time he vandalises them. Confronting Robert SMITHSON's theory of entropy to issues such as urbanism, vandalism and the decay of modernists utopias, GAILLARD's ruined architectures and disappearing landscapes, just like Hubert ROBERT's paintings, romantically embody man's ineluctable fate through the passing of time. In the video The Lake Arches (2007), for instance, a young man breaks his nose after diving in the moat-like pond surrounding a ghostly post-modern tower block, thus making it look like a castle impenetrable by the youth. GAILLARD's vision for an 'archaeology of the future' is brought together in his Geographical Analogies series (2006-2008): in wooden boxes recalling display cabinets in natural history museums, nine Polaroid photographs, shot by GAILLARD in locations around the globe, all baring some sense of entropy, are carefully arranged, according to analogies sometimes obvious to the viewer, sometimes personal to the artist. Parallel to this project of gathering occurrences of worldwide entropy, GAILLARD has started to create his own 'parc aux ruines', with monuments scattered across the world : a monumental bronze sculpture of a duck taken from a derelict Modernist neighbourhood of high rise buildings in Paris, that he had transported to the terrace of Berlin's Modernist masterpiece Neue Nationalgalerie or inside Kassel's Fridericianum (Le Canard de Beaugrenelle, from 2008); rearrangement of trees masking the façade of a contemporary art centre on the beautiful yet artificial island of Vassivière (Homes and Graves, 2007); crushed concrete remains of a tower block from the suburban city of Issy-les-Moulineaux laid out on the main ally of a Renaissance castle (La Grande Allée de Oiron, 2008); or some more concrete, from the demolition of a Glaswegian Modernist social housing project, recycled into a 4 meter high obelisk (Cenotaph to 12 Riverford Road, Pollokshaw, Glasgow, 2008).","bio_dates":"b. 1980"},{"slug":"gaillard_cyprien_desniansky_raion","ok":true,"partial":false,"title":"Desniansky Raion","artist":"Cyprien Gaillard","year":"2007","startOffset":0,"sourceSecs":1218.88,"sourceHeight":240,"sourceWidth":300,"hasAudio":true,"hasAmbientMp4":true,"bytes":76776505,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_desniansky_raion/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_desniansky_raion/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaillard_cyprien_desniansky_raion.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaillard_cyprien_desniansky_raion/main.mp4?v=2","description":"The three-part video opens with a static establishing shot of Genex Tower, the colossal, Brutalist style building in Belgrade, Serbia, whose twin concrete towers are connected near the top by a bridge-like structure and capped with a bizarre rotunda that once housed a revolving restaurant. The video then cuts to a parking lot of a drab housing complex in St. Petersburg, Russia, where we witness two large groups of men—one mostly wearing red shirts and the other blue—slowly walking towards each other. Set by Gaillard to the hypnotic electronic beats of French composer Koudlam’s “I See you All,” the video shows the color-coordinated groups marching in loose formation, reminiscent of ancient armies confronting each other on some distant battlefield. Suddenly, signal flares billowing smoke arc through the air and the two groups come together, clashing in flurry of fists—a breathtaking display of raw physical violence set against the stark backdrop of the housing block. As the sounds of Koudlam’s pulsing music draw louder and more urgent, the furious hand-to-hand combat intensifies while bodies of the fallen lay strewn on the pavement. Before long, the blue faction beats a hasty retreat, only to regroup moments later on one side of a nearby pedestrian bridge. The two sides come together again, this time clashing on the impossibly narrow span of the footbridge. The blue group is once more chased off, and the victors in red erupt in victorious celebration.","artist_bio":"Between iconoclasm and minimal aesthetics, romanticism and Land Art, the work of Cyprien GAILLARD (born in 1980 in Paris, lives and works in Berlin) questions man's traces in nature. Through sculpture, painting, etching, photography, video, performance and large scale interventions in public space, GAILLARD has established himself as a major emerging artist on the international art scene. Whether he commissions a traditional landscape painter to paint colourful views of housing projects in Swiss suburbs, surrounded by their luxurious natural environment (Swiss Ruins, 2005), or introduces a view of a tower-block into a 17th Century Dutch landscape etching (Belief in the Age of Disbelief, 2005), GAILLARD shows contemporary architecture as a modern ruin on the verge of being taken over by nature. Just like 18th century French 'ruiniste' painter Hubert ROBERT did when he painted the Louvre as an imaginary ruin, GAILLARD follows French philosopher Denis DIDEROT's advice according to which 'One must ruin a palace to make it an object of interest'. In The New Picturesque series (from 2007), Cyprien GAILLARD questions the representation of nature through the notion of 'picturesque', literally 'what is worth being painted': originally, in the 18th century, rough or rugged landscapes, far from the 'beautiful' landscapes the notion later designated. Intervening either with white paint on 18th or 19th century landscape paintings or with torn white paper on old postcards of castles, GAILLARD covers all narrative elements and decorative details, thus revealing their truly 'picturesque' quality. These series echo in a minimal gesture GAILLARD's seminal Real Remnants of Fictive Wars series (2003-2008), short-lived Land Art performances documented on videos and photos, where the artist activates industrial fire extinguishers in carefully chosen landscapes (amongst which Robert SMITHSON's iconic Spiral Jetty), stressing their beauty at the same time he vandalises them. Confronting Robert SMITHSON's theory of entropy to issues such as urbanism, vandalism and the decay of modernists utopias, GAILLARD's ruined architectures and disappearing landscapes, just like Hubert ROBERT's paintings, romantically embody man's ineluctable fate through the passing of time. In the video The Lake Arches (2007), for instance, a young man breaks his nose after diving in the moat-like pond surrounding a ghostly post-modern tower block, thus making it look like a castle impenetrable by the youth. GAILLARD's vision for an 'archaeology of the future' is brought together in his Geographical Analogies series (2006-2008): in wooden boxes recalling display cabinets in natural history museums, nine Polaroid photographs, shot by GAILLARD in locations around the globe, all baring some sense of entropy, are carefully arranged, according to analogies sometimes obvious to the viewer, sometimes personal to the artist. Parallel to this project of gathering occurrences of worldwide entropy, GAILLARD has started to create his own 'parc aux ruines', with monuments scattered across the world : a monumental bronze sculpture of a duck taken from a derelict Modernist neighbourhood of high rise buildings in Paris, that he had transported to the terrace of Berlin's Modernist masterpiece Neue Nationalgalerie or inside Kassel's Fridericianum (Le Canard de Beaugrenelle, from 2008); rearrangement of trees masking the façade of a contemporary art centre on the beautiful yet artificial island of Vassivière (Homes and Graves, 2007); crushed concrete remains of a tower block from the suburban city of Issy-les-Moulineaux laid out on the main ally of a Renaissance castle (La Grande Allée de Oiron, 2008); or some more concrete, from the demolition of a Glaswegian Modernist social housing project, recycled into a 4 meter high obelisk (Cenotaph to 12 Riverford Road, Pollokshaw, Glasgow, 2008).","bio_dates":"b. 1980"},{"slug":"gaillard_cyprien_eagles_of_africa","ok":true,"partial":false,"title":"Koudlam: The Eagles of Africa","artist":"Cyprien Gaillard","year":"2009","startOffset":0,"sourceSecs":287.22,"sourceHeight":274,"sourceWidth":364,"hasAudio":true,"hasAmbientMp4":true,"bytes":19732272,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_eagles_of_africa/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_eagles_of_africa/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaillard_cyprien_eagles_of_africa.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaillard_cyprien_eagles_of_africa/main.mp4?v=2","description":"Eagles of Africa, a film about nostalgia, modern-day ruins and unexpected heroes. Shot in Mexico in the spring of 2009, at the height of the swine flu panic when people were encouraged to stay at home, Gaillard took advantage of the emptiness of the cities to convey a strong sense of isolation. At the film’s climax, the hero finds himself performing in an overgrown, empty stadium, the crowd long since gone.","artist_bio":"Between iconoclasm and minimal aesthetics, romanticism and Land Art, the work of Cyprien GAILLARD (born in 1980 in Paris, lives and works in Berlin) questions man's traces in nature. Through sculpture, painting, etching, photography, video, performance and large scale interventions in public space, GAILLARD has established himself as a major emerging artist on the international art scene. Whether he commissions a traditional landscape painter to paint colourful views of housing projects in Swiss suburbs, surrounded by their luxurious natural environment (Swiss Ruins, 2005), or introduces a view of a tower-block into a 17th Century Dutch landscape etching (Belief in the Age of Disbelief, 2005), GAILLARD shows contemporary architecture as a modern ruin on the verge of being taken over by nature. Just like 18th century French 'ruiniste' painter Hubert ROBERT did when he painted the Louvre as an imaginary ruin, GAILLARD follows French philosopher Denis DIDEROT's advice according to which 'One must ruin a palace to make it an object of interest'. In The New Picturesque series (from 2007), Cyprien GAILLARD questions the representation of nature through the notion of 'picturesque', literally 'what is worth being painted': originally, in the 18th century, rough or rugged landscapes, far from the 'beautiful' landscapes the notion later designated. Intervening either with white paint on 18th or 19th century landscape paintings or with torn white paper on old postcards of castles, GAILLARD covers all narrative elements and decorative details, thus revealing their truly 'picturesque' quality. These series echo in a minimal gesture GAILLARD's seminal Real Remnants of Fictive Wars series (2003-2008), short-lived Land Art performances documented on videos and photos, where the artist activates industrial fire extinguishers in carefully chosen landscapes (amongst which Robert SMITHSON's iconic Spiral Jetty), stressing their beauty at the same time he vandalises them. Confronting Robert SMITHSON's theory of entropy to issues such as urbanism, vandalism and the decay of modernists utopias, GAILLARD's ruined architectures and disappearing landscapes, just like Hubert ROBERT's paintings, romantically embody man's ineluctable fate through the passing of time. In the video The Lake Arches (2007), for instance, a young man breaks his nose after diving in the moat-like pond surrounding a ghostly post-modern tower block, thus making it look like a castle impenetrable by the youth. GAILLARD's vision for an 'archaeology of the future' is brought together in his Geographical Analogies series (2006-2008): in wooden boxes recalling display cabinets in natural history museums, nine Polaroid photographs, shot by GAILLARD in locations around the globe, all baring some sense of entropy, are carefully arranged, according to analogies sometimes obvious to the viewer, sometimes personal to the artist. Parallel to this project of gathering occurrences of worldwide entropy, GAILLARD has started to create his own 'parc aux ruines', with monuments scattered across the world : a monumental bronze sculpture of a duck taken from a derelict Modernist neighbourhood of high rise buildings in Paris, that he had transported to the terrace of Berlin's Modernist masterpiece Neue Nationalgalerie or inside Kassel's Fridericianum (Le Canard de Beaugrenelle, from 2008); rearrangement of trees masking the façade of a contemporary art centre on the beautiful yet artificial island of Vassivière (Homes and Graves, 2007); crushed concrete remains of a tower block from the suburban city of Issy-les-Moulineaux laid out on the main ally of a Renaissance castle (La Grande Allée de Oiron, 2008); or some more concrete, from the demolition of a Glaswegian Modernist social housing project, recycled into a 4 meter high obelisk (Cenotaph to 12 Riverford Road, Pollokshaw, Glasgow, 2008).","bio_dates":"b. 1980"},{"slug":"gaillard_cyprien_koudlam","ok":true,"partial":false,"title":"Koudlam: See You All","artist":"Cyprien Gaillard","year":"2008","startOffset":0,"sourceSecs":297.145,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":20848119,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_koudlam/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_koudlam/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaillard_cyprien_koudlam.mp4","hasFrames":true,"description":"Koudlam - See You All Footage taken from Desniansky Raion by Cyprien Gaillard <br/><br/> The three-part video opens with a static establishing shot of Genex Tower, the colossal, Brutalist style building in Belgrade, Serbia, whose twin concrete towers are connected near the top by a bridge-like structure and capped with a bizarre rotunda that once housed a revolving restaurant. The video then cuts to a parking lot of a drab housing complex in St. Petersburg, Russia, where we witness two large groups of men—one mostly wearing red shirts and the other blue—slowly walking towards each other. Set by Gaillard to the hypnotic electronic beats of French composer Koudlam’s “I See you All,” the video shows the color-coordinated groups marching in loose formation, reminiscent of ancient armies confronting each other on some distant battlefield. Suddenly, signal flares billowing smoke arc through the air and the two groups come together, clashing in flurry of fists—a breathtaking display of raw physical violence set against the stark backdrop of the housing block. As the sounds of Koudlam’s pulsing music draw louder and more urgent, the furious hand-to-hand combat intensifies while bodies of the fallen lay strewn on the pavement. Before long, the blue faction beats a hasty retreat, only to regroup moments later on one side of a nearby pedestrian bridge. The two sides come together again, this time clashing on the impossibly narrow span of the footbridge. The blue group is once more chased off, and the victors in red erupt in victorious celebration.","artist_bio":"Between iconoclasm and minimal aesthetics, romanticism and Land Art, the work of Cyprien GAILLARD (born in 1980 in Paris, lives and works in Berlin) questions man's traces in nature. Through sculpture, painting, etching, photography, video, performance and large scale interventions in public space, GAILLARD has established himself as a major emerging artist on the international art scene. Whether he commissions a traditional landscape painter to paint colourful views of housing projects in Swiss suburbs, surrounded by their luxurious natural environment (Swiss Ruins, 2005), or introduces a view of a tower-block into a 17th Century Dutch landscape etching (Belief in the Age of Disbelief, 2005), GAILLARD shows contemporary architecture as a modern ruin on the verge of being taken over by nature. Just like 18th century French 'ruiniste' painter Hubert ROBERT did when he painted the Louvre as an imaginary ruin, GAILLARD follows French philosopher Denis DIDEROT's advice according to which 'One must ruin a palace to make it an object of interest'. In The New Picturesque series (from 2007), Cyprien GAILLARD questions the representation of nature through the notion of 'picturesque', literally 'what is worth being painted': originally, in the 18th century, rough or rugged landscapes, far from the 'beautiful' landscapes the notion later designated. Intervening either with white paint on 18th or 19th century landscape paintings or with torn white paper on old postcards of castles, GAILLARD covers all narrative elements and decorative details, thus revealing their truly 'picturesque' quality. These series echo in a minimal gesture GAILLARD's seminal Real Remnants of Fictive Wars series (2003-2008), short-lived Land Art performances documented on videos and photos, where the artist activates industrial fire extinguishers in carefully chosen landscapes (amongst which Robert SMITHSON's iconic Spiral Jetty), stressing their beauty at the same time he vandalises them. Confronting Robert SMITHSON's theory of entropy to issues such as urbanism, vandalism and the decay of modernists utopias, GAILLARD's ruined architectures and disappearing landscapes, just like Hubert ROBERT's paintings, romantically embody man's ineluctable fate through the passing of time. In the video The Lake Arches (2007), for instance, a young man breaks his nose after diving in the moat-like pond surrounding a ghostly post-modern tower block, thus making it look like a castle impenetrable by the youth. GAILLARD's vision for an 'archaeology of the future' is brought together in his Geographical Analogies series (2006-2008): in wooden boxes recalling display cabinets in natural history museums, nine Polaroid photographs, shot by GAILLARD in locations around the globe, all baring some sense of entropy, are carefully arranged, according to analogies sometimes obvious to the viewer, sometimes personal to the artist. Parallel to this project of gathering occurrences of worldwide entropy, GAILLARD has started to create his own 'parc aux ruines', with monuments scattered across the world : a monumental bronze sculpture of a duck taken from a derelict Modernist neighbourhood of high rise buildings in Paris, that he had transported to the terrace of Berlin's Modernist masterpiece Neue Nationalgalerie or inside Kassel's Fridericianum (Le Canard de Beaugrenelle, from 2008); rearrangement of trees masking the façade of a contemporary art centre on the beautiful yet artificial island of Vassivière (Homes and Graves, 2007); crushed concrete remains of a tower block from the suburban city of Issy-les-Moulineaux laid out on the main ally of a Renaissance castle (La Grande Allée de Oiron, 2008); or some more concrete, from the demolition of a Glaswegian Modernist social housing project, recycled into a 4 meter high obelisk (Cenotaph to 12 Riverford Road, Pollokshaw, Glasgow, 2008).","bio_dates":"b. 1980"},{"slug":"gaillard_cyprien_koudlam_the_new_order","ok":true,"partial":false,"title":"Koudlam: The New Order","artist":"Cyprien Gaillard","year":"2008","startOffset":0,"sourceSecs":267.238,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":19003885,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_koudlam_the_new_order/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_koudlam_the_new_order/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaillard_cyprien_koudlam_the_new_order.mp4","hasFrames":true,"artist_bio":"Between iconoclasm and minimal aesthetics, romanticism and Land Art, the work of Cyprien GAILLARD (born in 1980 in Paris, lives and works in Berlin) questions man's traces in nature. Through sculpture, painting, etching, photography, video, performance and large scale interventions in public space, GAILLARD has established himself as a major emerging artist on the international art scene. Whether he commissions a traditional landscape painter to paint colourful views of housing projects in Swiss suburbs, surrounded by their luxurious natural environment (Swiss Ruins, 2005), or introduces a view of a tower-block into a 17th Century Dutch landscape etching (Belief in the Age of Disbelief, 2005), GAILLARD shows contemporary architecture as a modern ruin on the verge of being taken over by nature. Just like 18th century French 'ruiniste' painter Hubert ROBERT did when he painted the Louvre as an imaginary ruin, GAILLARD follows French philosopher Denis DIDEROT's advice according to which 'One must ruin a palace to make it an object of interest'. In The New Picturesque series (from 2007), Cyprien GAILLARD questions the representation of nature through the notion of 'picturesque', literally 'what is worth being painted': originally, in the 18th century, rough or rugged landscapes, far from the 'beautiful' landscapes the notion later designated. Intervening either with white paint on 18th or 19th century landscape paintings or with torn white paper on old postcards of castles, GAILLARD covers all narrative elements and decorative details, thus revealing their truly 'picturesque' quality. These series echo in a minimal gesture GAILLARD's seminal Real Remnants of Fictive Wars series (2003-2008), short-lived Land Art performances documented on videos and photos, where the artist activates industrial fire extinguishers in carefully chosen landscapes (amongst which Robert SMITHSON's iconic Spiral Jetty), stressing their beauty at the same time he vandalises them. Confronting Robert SMITHSON's theory of entropy to issues such as urbanism, vandalism and the decay of modernists utopias, GAILLARD's ruined architectures and disappearing landscapes, just like Hubert ROBERT's paintings, romantically embody man's ineluctable fate through the passing of time. In the video The Lake Arches (2007), for instance, a young man breaks his nose after diving in the moat-like pond surrounding a ghostly post-modern tower block, thus making it look like a castle impenetrable by the youth. GAILLARD's vision for an 'archaeology of the future' is brought together in his Geographical Analogies series (2006-2008): in wooden boxes recalling display cabinets in natural history museums, nine Polaroid photographs, shot by GAILLARD in locations around the globe, all baring some sense of entropy, are carefully arranged, according to analogies sometimes obvious to the viewer, sometimes personal to the artist. Parallel to this project of gathering occurrences of worldwide entropy, GAILLARD has started to create his own 'parc aux ruines', with monuments scattered across the world : a monumental bronze sculpture of a duck taken from a derelict Modernist neighbourhood of high rise buildings in Paris, that he had transported to the terrace of Berlin's Modernist masterpiece Neue Nationalgalerie or inside Kassel's Fridericianum (Le Canard de Beaugrenelle, from 2008); rearrangement of trees masking the façade of a contemporary art centre on the beautiful yet artificial island of Vassivière (Homes and Graves, 2007); crushed concrete remains of a tower block from the suburban city of Issy-les-Moulineaux laid out on the main ally of a Renaissance castle (La Grande Allée de Oiron, 2008); or some more concrete, from the demolition of a Glaswegian Modernist social housing project, recycled into a 4 meter high obelisk (Cenotaph to 12 Riverford Road, Pollokshaw, Glasgow, 2008).","bio_dates":"b. 1980"},{"slug":"gaillard_cyprien_lake_arches","ok":true,"partial":false,"title":"The Lake Arches","artist":"Cyprien Gaillard","year":"2007","startOffset":0,"sourceSecs":96.803,"sourceHeight":480,"sourceWidth":638,"hasAudio":true,"hasAmbientMp4":true,"bytes":17334214,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_lake_arches/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_lake_arches/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaillard_cyprien_lake_arches.mp4","hasFrames":true,"description":"\"\"The Lake Arches,\" shot in 2007, and which Gaillard describes as \"a field trip gone bad,\" was a defining moment. His plan was to film two friends swimming in an artificial lake at the grandiose, Ricardo Bofill-designed housing project outside Paris. When one friend's impetuous dive into unexpectedly shallow water causes a head wound, Gaillard's camera doesn't flinch and neither does the bleeding friend. In that minute, Gaillard turned a vague desire to create visual poetry into a continuing confrontation with the landscape of human folly. Neglected architecture, urban decay, desecrated national symbols and civic disorder became the central themes in his art that reveals a universe where civilizations prosper and decline simultaneously.","artist_bio":"Between iconoclasm and minimal aesthetics, romanticism and Land Art, the work of Cyprien GAILLARD (born in 1980 in Paris, lives and works in Berlin) questions man's traces in nature. Through sculpture, painting, etching, photography, video, performance and large scale interventions in public space, GAILLARD has established himself as a major emerging artist on the international art scene. Whether he commissions a traditional landscape painter to paint colourful views of housing projects in Swiss suburbs, surrounded by their luxurious natural environment (Swiss Ruins, 2005), or introduces a view of a tower-block into a 17th Century Dutch landscape etching (Belief in the Age of Disbelief, 2005), GAILLARD shows contemporary architecture as a modern ruin on the verge of being taken over by nature. Just like 18th century French 'ruiniste' painter Hubert ROBERT did when he painted the Louvre as an imaginary ruin, GAILLARD follows French philosopher Denis DIDEROT's advice according to which 'One must ruin a palace to make it an object of interest'. In The New Picturesque series (from 2007), Cyprien GAILLARD questions the representation of nature through the notion of 'picturesque', literally 'what is worth being painted': originally, in the 18th century, rough or rugged landscapes, far from the 'beautiful' landscapes the notion later designated. Intervening either with white paint on 18th or 19th century landscape paintings or with torn white paper on old postcards of castles, GAILLARD covers all narrative elements and decorative details, thus revealing their truly 'picturesque' quality. These series echo in a minimal gesture GAILLARD's seminal Real Remnants of Fictive Wars series (2003-2008), short-lived Land Art performances documented on videos and photos, where the artist activates industrial fire extinguishers in carefully chosen landscapes (amongst which Robert SMITHSON's iconic Spiral Jetty), stressing their beauty at the same time he vandalises them. Confronting Robert SMITHSON's theory of entropy to issues such as urbanism, vandalism and the decay of modernists utopias, GAILLARD's ruined architectures and disappearing landscapes, just like Hubert ROBERT's paintings, romantically embody man's ineluctable fate through the passing of time. In the video The Lake Arches (2007), for instance, a young man breaks his nose after diving in the moat-like pond surrounding a ghostly post-modern tower block, thus making it look like a castle impenetrable by the youth. GAILLARD's vision for an 'archaeology of the future' is brought together in his Geographical Analogies series (2006-2008): in wooden boxes recalling display cabinets in natural history museums, nine Polaroid photographs, shot by GAILLARD in locations around the globe, all baring some sense of entropy, are carefully arranged, according to analogies sometimes obvious to the viewer, sometimes personal to the artist. Parallel to this project of gathering occurrences of worldwide entropy, GAILLARD has started to create his own 'parc aux ruines', with monuments scattered across the world : a monumental bronze sculpture of a duck taken from a derelict Modernist neighbourhood of high rise buildings in Paris, that he had transported to the terrace of Berlin's Modernist masterpiece Neue Nationalgalerie or inside Kassel's Fridericianum (Le Canard de Beaugrenelle, from 2008); rearrangement of trees masking the façade of a contemporary art centre on the beautiful yet artificial island of Vassivière (Homes and Graves, 2007); crushed concrete remains of a tower block from the suburban city of Issy-les-Moulineaux laid out on the main ally of a Renaissance castle (La Grande Allée de Oiron, 2008); or some more concrete, from the demolition of a Glaswegian Modernist social housing project, recycled into a 4 meter high obelisk (Cenotaph to 12 Riverford Road, Pollokshaw, Glasgow, 2008).","bio_dates":"b. 1980"},{"slug":"gaillard_cyprien_palms_wont_grow_here_and_other_myths_part_2","ok":true,"partial":false,"title":"Plants Won't Grow Here and Other Myths, Part 2","artist":"Cyprien Gaillard","year":"2011","startOffset":0,"sourceSecs":91.348,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":4818782,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_palms_wont_grow_here_and_other_myths_part_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_palms_wont_grow_here_and_other_myths_part_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaillard_cyprien_palms_wont_grow_here_and_other_myths_part_2.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaillard_cyprien_palms_wont_grow_here_and_other_myths_part_2/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Between iconoclasm and minimal aesthetics, romanticism and Land Art, the work of Cyprien GAILLARD (born in 1980 in Paris, lives and works in Berlin) questions man's traces in nature. Through sculpture, painting, etching, photography, video, performance and large scale interventions in public space, GAILLARD has established himself as a major emerging artist on the international art scene. Whether he commissions a traditional landscape painter to paint colourful views of housing projects in Swiss suburbs, surrounded by their luxurious natural environment (Swiss Ruins, 2005), or introduces a view of a tower-block into a 17th Century Dutch landscape etching (Belief in the Age of Disbelief, 2005), GAILLARD shows contemporary architecture as a modern ruin on the verge of being taken over by nature. Just like 18th century French 'ruiniste' painter Hubert ROBERT did when he painted the Louvre as an imaginary ruin, GAILLARD follows French philosopher Denis DIDEROT's advice according to which 'One must ruin a palace to make it an object of interest'. In The New Picturesque series (from 2007), Cyprien GAILLARD questions the representation of nature through the notion of 'picturesque', literally 'what is worth being painted': originally, in the 18th century, rough or rugged landscapes, far from the 'beautiful' landscapes the notion later designated. Intervening either with white paint on 18th or 19th century landscape paintings or with torn white paper on old postcards of castles, GAILLARD covers all narrative elements and decorative details, thus revealing their truly 'picturesque' quality. These series echo in a minimal gesture GAILLARD's seminal Real Remnants of Fictive Wars series (2003-2008), short-lived Land Art performances documented on videos and photos, where the artist activates industrial fire extinguishers in carefully chosen landscapes (amongst which Robert SMITHSON's iconic Spiral Jetty), stressing their beauty at the same time he vandalises them. Confronting Robert SMITHSON's theory of entropy to issues such as urbanism, vandalism and the decay of modernists utopias, GAILLARD's ruined architectures and disappearing landscapes, just like Hubert ROBERT's paintings, romantically embody man's ineluctable fate through the passing of time. In the video The Lake Arches (2007), for instance, a young man breaks his nose after diving in the moat-like pond surrounding a ghostly post-modern tower block, thus making it look like a castle impenetrable by the youth. GAILLARD's vision for an 'archaeology of the future' is brought together in his Geographical Analogies series (2006-2008): in wooden boxes recalling display cabinets in natural history museums, nine Polaroid photographs, shot by GAILLARD in locations around the globe, all baring some sense of entropy, are carefully arranged, according to analogies sometimes obvious to the viewer, sometimes personal to the artist. Parallel to this project of gathering occurrences of worldwide entropy, GAILLARD has started to create his own 'parc aux ruines', with monuments scattered across the world : a monumental bronze sculpture of a duck taken from a derelict Modernist neighbourhood of high rise buildings in Paris, that he had transported to the terrace of Berlin's Modernist masterpiece Neue Nationalgalerie or inside Kassel's Fridericianum (Le Canard de Beaugrenelle, from 2008); rearrangement of trees masking the façade of a contemporary art centre on the beautiful yet artificial island of Vassivière (Homes and Graves, 2007); crushed concrete remains of a tower block from the suburban city of Issy-les-Moulineaux laid out on the main ally of a Renaissance castle (La Grande Allée de Oiron, 2008); or some more concrete, from the demolition of a Glaswegian Modernist social housing project, recycled into a 4 meter high obelisk (Cenotaph to 12 Riverford Road, Pollokshaw, Glasgow, 2008).","bio_dates":"b. 1980"},{"slug":"gaillard_cyprien_pruitt_igoe_falls","ok":true,"partial":false,"title":"Pruitt-Igoe Falls","artist":"Cyprien Gaillard","year":"2009","startOffset":0,"sourceSecs":415.793,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":62187272,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_pruitt_igoe_falls/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaillard_cyprien_pruitt_igoe_falls/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaillard_cyprien_pruitt_igoe_falls.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaillard_cyprien_pruitt_igoe_falls/main.mp4?v=2","description":"On the afternoon of March 16, 1972, at approximately 3:00PM, a series of small explosions flashed from inside an eleven-story high rise apartment building on the north side of St. Louis, Missouri. The ensuing shock wave caused the building to shudder momentarily before it collapsed in on itself and a great plume of dust rushed upward and out. Following years of decay, crime, and governmental neglect, the detonation heralded not only the physical demolition of the whole 57-acre Pruitt-Igoe public housing project; the project’s destruction came to stand as a signifier of the failure of modern architecture to house the poor in livable environments. Cyprien Gaillard’s Pruitt-Igoe Falls revisits this symbolic death while leveraging artists’ historical treatments of the Sublime, or past efforts to stir an emotional response in viewers through the depiction of vast, irregular, and superhuman subjects.<br/><br/> Pruitt-Igoe Falls does not employ footage of the eponymous project’s implosion; rather, Gaillard utilizes video from the controlled demolition of a tower block apartment at 2:30AM, July 13, 2008, in Glasgow, Scotland. As the building collapses, the concomitant dust cloud spreads to cover where the structure once stood and conceals the light emanating from off-camera. This leaves the scene in near blackness before a glow languidly re-illuminates the screen. Only, as the video continues, the emphemeral nebula containing the airborne remnants of the building transform into the monumental downrush of Niagara Falls. <br/><br/> Gaillard’s choice of subject matter reactivates Western representational traditions of the 18th and 19th century that address the Sublime through subjects such as architectural ruins, topographical extremes, and disastrous events. This effect is distinctly compounded by Gaillard’s choice of lighting, which creates sharp contrasts so that a scene with a carefully demarcated bright spot is set against a progressively darkening edge. This technique associates particularly with the paintings by Joseph Wright (1734-1797) of Vesuvius erupting after dark or building conflagrations at night. Pruitt-Igoe Falls also documents a rainbow of colors illuminating Niagara Falls. This footage records a tradition that was begun in 1860 of projecting colored lights on the waterfall at night, a tradition begun contemporaneously with the painting of various Romantic, color-washed landscapes of the Falls by Alvan Fisher (1792-1863). <br/><br/> Gaillard imparts key manipulations to such historical works. Whereas Fisher’s paintings often emphasize the Fall’s massive scale through the depiction of tiny tourists in the foreground, Gaillard films from a vantage point which effectively miniaturizes the apartment’s great size. This vantage point, the Sighthill Cemetery adjacent to the building, also imparts the illusion that gravestones abut the high rise. The headstones serve to signify how the death of architectural modernism is repeatedly re-enacted through the demolition of modernist buildings; they also gesture towards the loss of life associated with the fall of the World Trade Centers, as both Pruitt-Igoe and the Twin Towers were designed by the architect Minoru Yamasaki. The headstones further elicit the more intangible question of the affective impact of the destruction of housing on the families that once inhabited it.<br/><br/> The high rise detonated in Gaillard’s work was part of Fountainwell, a section of Sighthill public housing estate and home to hundreds of primarily Turkish, Kurdish, Iraqi, and Palestinian families seeking asylum. In the past ten years, Fountainwell has served as the site of a series of violent clashes between these asylum seekers and the local populace and is slated for wholesale demolition, “despite overwhelming pleas from residents for their homes to be kept.”(1) Gaillard, who grew up in tower block public housing in a Parisian suburb that has suffered considerable ethnically-motivated violence, refers to such demolitions as large scale state-sponsored vandalism. In other words, Gaillard invokes the practical eviction that occurs to families with the razing of modernist tower block housing and the concurrent violent eviction of personal and public memory.","artist_bio":"Between iconoclasm and minimal aesthetics, romanticism and Land Art, the work of Cyprien GAILLARD (born in 1980 in Paris, lives and works in Berlin) questions man's traces in nature. Through sculpture, painting, etching, photography, video, performance and large scale interventions in public space, GAILLARD has established himself as a major emerging artist on the international art scene. Whether he commissions a traditional landscape painter to paint colourful views of housing projects in Swiss suburbs, surrounded by their luxurious natural environment (Swiss Ruins, 2005), or introduces a view of a tower-block into a 17th Century Dutch landscape etching (Belief in the Age of Disbelief, 2005), GAILLARD shows contemporary architecture as a modern ruin on the verge of being taken over by nature. Just like 18th century French 'ruiniste' painter Hubert ROBERT did when he painted the Louvre as an imaginary ruin, GAILLARD follows French philosopher Denis DIDEROT's advice according to which 'One must ruin a palace to make it an object of interest'. In The New Picturesque series (from 2007), Cyprien GAILLARD questions the representation of nature through the notion of 'picturesque', literally 'what is worth being painted': originally, in the 18th century, rough or rugged landscapes, far from the 'beautiful' landscapes the notion later designated. Intervening either with white paint on 18th or 19th century landscape paintings or with torn white paper on old postcards of castles, GAILLARD covers all narrative elements and decorative details, thus revealing their truly 'picturesque' quality. These series echo in a minimal gesture GAILLARD's seminal Real Remnants of Fictive Wars series (2003-2008), short-lived Land Art performances documented on videos and photos, where the artist activates industrial fire extinguishers in carefully chosen landscapes (amongst which Robert SMITHSON's iconic Spiral Jetty), stressing their beauty at the same time he vandalises them. Confronting Robert SMITHSON's theory of entropy to issues such as urbanism, vandalism and the decay of modernists utopias, GAILLARD's ruined architectures and disappearing landscapes, just like Hubert ROBERT's paintings, romantically embody man's ineluctable fate through the passing of time. In the video The Lake Arches (2007), for instance, a young man breaks his nose after diving in the moat-like pond surrounding a ghostly post-modern tower block, thus making it look like a castle impenetrable by the youth. GAILLARD's vision for an 'archaeology of the future' is brought together in his Geographical Analogies series (2006-2008): in wooden boxes recalling display cabinets in natural history museums, nine Polaroid photographs, shot by GAILLARD in locations around the globe, all baring some sense of entropy, are carefully arranged, according to analogies sometimes obvious to the viewer, sometimes personal to the artist. Parallel to this project of gathering occurrences of worldwide entropy, GAILLARD has started to create his own 'parc aux ruines', with monuments scattered across the world : a monumental bronze sculpture of a duck taken from a derelict Modernist neighbourhood of high rise buildings in Paris, that he had transported to the terrace of Berlin's Modernist masterpiece Neue Nationalgalerie or inside Kassel's Fridericianum (Le Canard de Beaugrenelle, from 2008); rearrangement of trees masking the façade of a contemporary art centre on the beautiful yet artificial island of Vassivière (Homes and Graves, 2007); crushed concrete remains of a tower block from the suburban city of Issy-les-Moulineaux laid out on the main ally of a Renaissance castle (La Grande Allée de Oiron, 2008); or some more concrete, from the demolition of a Glaswegian Modernist social housing project, recycled into a 4 meter high obelisk (Cenotaph to 12 Riverford Road, Pollokshaw, Glasgow, 2008).","bio_dates":"b. 1980"},{"slug":"ganahl_rainer_bukarest2","ok":true,"partial":false,"title":"Bukarest2","artist":"Rainer Ganahl","year":"2006","startOffset":0,"sourceSecs":1303.869,"sourceHeight":478,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":226617096,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainer_bukarest2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainer_bukarest2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ganahl_rainer_bukarest2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ganahl_rainer_bukarest2/main.mp4?v=2","description":"From the castle of Ceausescu - the former, fallen (executed) dictator of Romania built himself a phantasy castle which is now called the Parlament Palace - via the \"bolshoij prospect / Grand Boulevard\" to a gigantic Apartment block at the other side of this axial street and back again towards this idyosyncratic megalo-construction built in the 1980s, I ride the bicycle in the middle of the one way lanes against traffic, against and with the sun without holding the streering wheel.\n\nThe outcome of this rather dangerous enterprise (Do I have a death wish? or am I just an ecolo-political romantic/ rule-disobeyer) is a video of 22 minutes made for the Biennial of Bucharest. (2nd edition, though there was never a first edition keeping to the tradition of local surrealisms - yes there have been many, and some just read below: PS2)\n\nThe chosen path on the axis of Ceausescu's power translated into urbanism is quite extraordinary in its size and symetry in a city that didn't undergo a Hausmannisation program earlier. It not only comes with this big long and totally streight Avenue - called Bulevardul Unirii -, the delirious kitch palace (it is said to be the second biggest bulding in the world after the Pentagon) that combines domestic architecture with state grandeurism but also an anachronistic housing ring reserved for ministers, administrators and his securitade special police unite. The irony has it, that my host, the Bucharest Biennia,l puts me in such a nice appartment directly opposite the palace, with a stunning view. The apartment belongs today to a real estate firm by the name of RomVision (no, it is real and not internet related) that runs these units as upscale hotels."},{"slug":"ganahl_rainer_neue","ok":true,"partial":false,"title":"Alfred Jarry's Call of Nature","artist":"Rainer Ganahl","year":"1961","startOffset":0,"sourceSecs":232.273,"sourceHeight":434,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":15224212,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainer_neue/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainer_neue/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ganahl_rainer_neue.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ganahl_rainer_neue/main.mp4?v=2","description":"2008, xx min, color, sound <br/> <br/> Filmed and Shot may 19 -30th 2008. <br/><br/> a film made WITH LES LABORATOIRES, PARIS - this film tells the story of Alfred Jarry, poet, cyclist, pataphysician, and father of father Ubu.","artist_bio":"Language of Emigration / Sprache der Emigration: Mary Silverman (2008)\nLanguage of Emigration / Sprache der Emigration: Mary Silverman - Hotel Regina (2008)\nLanguage of Emigration / Sprache der Emigration: Gustav Freud (2005)\nLanguage of Emigration / Sprache der Emigration: Bertold Adler (2005)\nLanguage of Emigration / Sprache der Emigration: Erika Stone (1999)\nLanguage of Emigration / Sprache der Emigration: Kurt Frankfurter (1999)\nThe Apprentice in the Sun - Bicycling Bucharest, Bucharest\n(2006)\nV. I. Lenin, Collected Works, (Russian Edition) 1962\n(2007)\nCE QUI ROULE - THAT WHICH ROLLS - EARLY FORMS OF ROLLIN' ROCK\nKarl Marx, Das Kapital, Kritik der politischen Oekonomie, Erster Band, Buch 1, Der Produktionsprozess des Kapitals","bio_dates":"b. 1961"},{"slug":"ganahl_rainerbicyclingkarlmarx","ok":true,"partial":false,"title":"Bicycling from Karl-Marx-Allee through the Brandenburger Gate - Meditating Berlin 1989","artist":"Rainer Ganahl","year":"2007","startOffset":0,"sourceSecs":704.394,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":124043963,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainerbicyclingkarlmarx/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainerbicyclingkarlmarx/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ganahl_rainerbicyclingkarlmarx.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ganahl_rainerbicyclingkarlmarx/main.mp4?v=2","description":"again, against traffic without holding the handlebar, on a shitty bike. don't ask questions why I do this - I have no answers.\n\nPS: From a repressive state that was supposed to be inspired by Marx against the grain, against rules and laws, against the flow and walls, towards the WEST."},{"slug":"ganahl_rainerfreud","ok":true,"partial":false,"title":"Ganahl Rainerfreud","artist":"Rainer Ganahl","year":"2002","startOffset":0,"sourceSecs":314.283,"sourceHeight":400,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":20798469,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainerfreud/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainerfreud/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ganahl_rainerfreud.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ganahl_rainerfreud/main.mp4?v=2"},{"slug":"ganahl_rainerkarlmarx_daskapital","ok":true,"partial":false,"title":"Daskapital","artist":"Rainer Ganahl","year":"2009","startOffset":0,"sourceSecs":255.62,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":44477660,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainerkarlmarx_daskapital/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainerkarlmarx_daskapital/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ganahl_rainerkarlmarx_daskapital.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ganahl_rainerkarlmarx_daskapital/main.mp4?v=2","description":"As I have done with Sigmund Freud, Lenin and Handke (his goal keeper book), I I'm kicking the book of Karl Marx to its full destruction. I don't do that out of hatred for the authors but out of a reminder that books were destroyed in the past (particular those of the firsts 3 authors). I do that also because it is quite an intense act of expression that transcends reading. The relationship between violence, destruction and (re)creation is quite challenging and provokes interesting questions that go beyond my pure will to \"just make art.\" Interesting knods for associations and feed backs open up and reinscribe this act of planned destruction with the very content of the book:with Marx's Capital it is the question of commodity, (Ware), of commodification and Mehrwert (surplus value). Interesting enough, the book analysing the very nature of commodity, commodification, production and circulation offers itself best to this transformative destruction and rebirth into a piece of art - a sublime object of desire, reflection and (hopefully) value."},{"slug":"ganahl_rainerwojiaorainer","ok":true,"partial":false,"title":"Wo jiao Yu Ren","artist":"Rainer Ganahl","year":"2009","startOffset":0,"sourceSecs":200.789,"sourceHeight":400,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":13323517,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainerwojiaorainer/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ganahl_rainerwojiaorainer/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ganahl_rainerwojiaorainer.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ganahl_rainerwojiaorainer/main.mp4?v=2","description":"this video is an \"Introduction video\" and explains why I had to retake my job as an artist again, even though I had no idea what to do, what to paint... I talk shortly about the fate of A.I.G. where I mad a lot of money before I went bankrupt(Obama even forced me to return my bailout money... we more or less evenly split 65 millions ... which - as you know - wasn't much compared to the 80 billions it received from the government). last but not least, I am also sharing a secret."},{"slug":"gander_ryan_poison_is_a_womans_weapon_watson","ok":true,"partial":false,"title":"Poison is a Woman's Weapon Watson","artist":"Ryan Gander","year":"2011","startOffset":0,"sourceSecs":60.79,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":35309,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gander_ryan_poison_is_a_womans_weapon_watson/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gander_ryan_poison_is_a_womans_weapon_watson/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gander_ryan_poison_is_a_womans_weapon_watson.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gander_ryan_poison_is_a_womans_weapon_watson/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Ryan Gander’s complex and unfettered conceptual practice is stimulated by queries, investigations or what-ifs, rather than strict rules or limits. For example, what if a child’s den of sheets were remade in memorialising marble (Tell My Mother not to Worry (ii), 2012)? What if all the pieces in a chess set were remade in Zebra Wood, so that neither side was entirely black nor white (Bauhaus Revisited, 2003)? Gander is a cultural magpie in the widest sense, polymathically taking popular notions apart only to rebuild them in new ways – perhaps by refilming the same ten-second clip 50 times over, as in Man on a Bridge (A study of David Lange), 2008. Language and storytelling play an overarching role in his work, not least in his series of Loose Association lectures or in his attempt to slip a nonsensical, palindromic new word, ‘mitim’, into the English language. Occasionally his ludic concepts drift into more bodily, relational challenges, especially in This Consequence of 2006, that involved the unsettling presence of a gallery owner or invigilator dressed in an all-white Adidas tracksuit, with an additional sinister red stain embroidered into the fabric. Invitation and collaboration are also at the heart of Gander’s fugitive art – whether he’s exchanging fictionalised newspaper obituaries with an artist-friend or taking pictures of people looking at pictures at an art fair – although arguably every solipsistic action he takes merely holds up yet another mirror to his ceaselessly voracious mind.","bio_dates":"b. 1976"},{"slug":"garcia_dora_the_deviant_majority_2010","ok":true,"partial":false,"title":"The Deviant Majority from Basaglia to Brazil","artist":"Dora García","year":"2010","startOffset":0,"sourceSecs":2095.183,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":348533136,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/garcia_dora_the_deviant_majority_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/garcia_dora_the_deviant_majority_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/garcia_dora_the_deviant_majority_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/garcia_dora_the_deviant_majority_2010/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/garcia_dora_the_deviant_majority_2010/main/master.m3u8?v=2","hasMainHls":true,"description":"The Deviant Majority (from Basaglia to Brazil) is a 34′ HD film on the multiple implications in art, politics and psychiatry of the anti-institutional movements born at the end of the sixties. The film is structured around three meetings —with the Accademia della Follia in Trieste, with C.R, and with the Grupo de Teatro do Oprimido “Pirei na Cenna”— and two literary quotes: Jorge Luis Borges and James Joyce.","artist_bio":"The central motif of renowned Spanish artist Dora García's work is the analysis of the paradigms and conventions of art. She often uses texts and stories as a basis for scenarios that, while witty and entertaining, raise complex ethical and moral questions. Her projects invoke problematic sources such as Abbie Hoffman’s 1970 Steal this Book, Lenny Bruce’s incendiary stand up comedy, and the films of legendary underground filmmaker Jack Smith.\nGarcía studied at the University of Salamanca and at the Rijksakademie of Amsterdam, and has had solo exhibitions in Spain and abroad at MACBA, Barcelona; Museo Nacional Centro de Arte Reina Sofía, Madrid; MUSAC, León, Spain; SMAK, Gante, Belgium; GfZK, Leipzig, Germany; CGAC, Santiago de Compostela, Spain; Galeria Civica di Trento, Italy; Kunsthalle Bern, Switzerland; and Index Stockholm. She has participated in prestigious international exhibitions including Manifesta 2, the 8th Istanbul Biennial, 17th Biennale of Sydney; Xe Biennale of Lyon; 2nd Athens Biennale; 29th Bienal de São Paulo; and the 2011 Venice Biennale, where she represented her home country of Spain.","bio_dates":"b. 1965"},{"slug":"gaskell_anna_erasers","ok":true,"partial":false,"title":"Erasers","artist":"Anna Gaskell","year":"2005","startOffset":0,"sourceSecs":610.522,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":39405987,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaskell_anna_erasers/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaskell_anna_erasers/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaskell_anna_erasers.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaskell_anna_erasers/main.mp4?v=2","description":"Erasers was loosely based on the child’s game “Telephone” and focused on the art of storytelling. The kids were told a very personal story, then had to retell it as they understood or remembered it. Each participant ended up approaching the recitation in different, often contrasting ways. The resultant stories were then filmed and turned into a video, which was shot in beautiful black and white with dramatic lighting on the stage of the New York City’s Atlantic Theater. <br/><br/> Erasers was shown at the Bohen Foundation in New York, at the Locarno and Toronto Film Festivals, and at the Guggenheim Museum.","artist_bio":"Anna Gaskell was born in Des Moines, Iowa, on October 22, 1969. She studied at Bennington College for two years before attending the Art Institute of Chicago, where she received a BFA in 1992; she received an MFA from Yale University in 1995. Gaskell’s early photographs were self-portraits, but she soon began photographing girls as they collectively acted out stories, often embodying characters reminiscent of Alice from Alice in Wonderland. In her wonder (1996–97) and override (1997) series, groups of girls dressed in matching uniforms are shown in ambiguous and ominous situations. Her series hide (1998) evokes a Brothers Grimm tale of a young woman who disguises herself under an animal pelt so that she might escape her own father’s proposal of marriage; Gaskell set this story in a gothic mansion illuminated by candlelight. Recently, she has been incorporating the history of specific sites into her works’ narratives; in the photographs and short film that comprise half life (2002), for example, the artist portrayed the former residence of Dominique de Menil as a sort of haunted house. In her recent video, Acting Lessons (2007), the artist adopted a mundane living room as the setting for her portrayal of emotional power struggles. The video’s monologue presented by the protagonist—an actress played by Gaskell herself—is continuously interrupted, edited, and tempered by an off-screen acting coach.","bio_dates":"b. 1969"},{"slug":"gaskell_anna_replayground","ok":true,"partial":false,"title":"Replayground","artist":"Anna Gaskell","year":"2009","startOffset":0,"sourceSecs":752.93,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":48094589,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaskell_anna_replayground/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaskell_anna_replayground/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaskell_anna_replayground.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaskell_anna_replayground/main.mp4?v=2","description":"USA, 2009, 12 Minute Running Time <br/> Genre/Subjects: Comedy, Documentary, Social Issues<br/> Language: English<br/> <br/> A group of kindergarten children work through a classroom conflict by staging a play about it.<br/> <br/> DIRECTOR: Anna Gaskell <br/> Producer: Anna Gaskell<br/> Principal Cast: Brookti Berne, Harris Rosenberg, James Gray","artist_bio":"Anna Gaskell was born in Des Moines, Iowa, on October 22, 1969. She studied at Bennington College for two years before attending the Art Institute of Chicago, where she received a BFA in 1992; she received an MFA from Yale University in 1995. Gaskell’s early photographs were self-portraits, but she soon began photographing girls as they collectively acted out stories, often embodying characters reminiscent of Alice from Alice in Wonderland. In her wonder (1996–97) and override (1997) series, groups of girls dressed in matching uniforms are shown in ambiguous and ominous situations. Her series hide (1998) evokes a Brothers Grimm tale of a young woman who disguises herself under an animal pelt so that she might escape her own father’s proposal of marriage; Gaskell set this story in a gothic mansion illuminated by candlelight. Recently, she has been incorporating the history of specific sites into her works’ narratives; in the photographs and short film that comprise half life (2002), for example, the artist portrayed the former residence of Dominique de Menil as a sort of haunted house. In her recent video, Acting Lessons (2007), the artist adopted a mundane living room as the setting for her portrayal of emotional power struggles. The video’s monologue presented by the protagonist—an actress played by Gaskell herself—is continuously interrupted, edited, and tempered by an off-screen acting coach.","bio_dates":"b. 1969"},{"slug":"gaskell_anna_specjalny","ok":true,"partial":false,"title":"Specjalny","artist":"Anna Gaskell","year":"2010","startOffset":0,"sourceSecs":1661.158,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":99346356,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaskell_anna_specjalny/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaskell_anna_specjalny/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaskell_anna_specjalny.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaskell_anna_specjalny/main.mp4?v=2","description":"SOSW BALLET is an experimental film that revolves around the creation of discourse through movement. Created by Anna Gaskell, the short film is choreographed and performed by the children of the Special School of Podgorki (SOSW) in Poland, a 40-year-old academy and boarding school for children ages eight to 18, some with mild to severe learning disorders. In SOSW BALLET, dance becomes a means of challenging barriers to communication."},{"slug":"gaskell_anna_swimming_lessons_iphone","ok":true,"partial":false,"title":"Swimming Lessons","artist":"Anna Gaskell","year":"2013","startOffset":0,"sourceSecs":1540.334,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":92620120,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaskell_anna_swimming_lessons_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaskell_anna_swimming_lessons_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaskell_anna_swimming_lessons_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaskell_anna_swimming_lessons_iphone/main.mp4?v=2","description":"Swimming Lessons tells the stories of two teenage girls who are different but – at the same time – strangely similar. Water is a key element in both girls’ lives. One girl is slowly going blind and would like to learn swimming before she loses her eyesight completely while the other girl lost her mother, who drowned during a spring flood.","artist_bio":"Anna Gaskell was born in Des Moines, Iowa, on October 22, 1969. She studied at Bennington College for two years before attending the Art Institute of Chicago, where she received a BFA in 1992; she received an MFA from Yale University in 1995. Gaskell’s early photographs were self-portraits, but she soon began photographing girls as they collectively acted out stories, often embodying characters reminiscent of Alice from Alice in Wonderland. In her wonder (1996–97) and override (1997) series, groups of girls dressed in matching uniforms are shown in ambiguous and ominous situations. Her series hide (1998) evokes a Brothers Grimm tale of a young woman who disguises herself under an animal pelt so that she might escape her own father’s proposal of marriage; Gaskell set this story in a gothic mansion illuminated by candlelight. Recently, she has been incorporating the history of specific sites into her works’ narratives; in the photographs and short film that comprise half life (2002), for example, the artist portrayed the former residence of Dominique de Menil as a sort of haunted house. In her recent video, Acting Lessons (2007), the artist adopted a mundane living room as the setting for her portrayal of emotional power struggles. The video’s monologue presented by the protagonist—an actress played by Gaskell herself—is continuously interrupted, edited, and tempered by an off-screen acting coach.","bio_dates":"b. 1969"},{"slug":"gates_theaster_breathing","ok":true,"partial":false,"title":"Breathing","artist":"Theaster Gates","year":"2010","startOffset":0,"sourceSecs":417.36,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":25321297,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gates_theaster_breathing/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gates_theaster_breathing/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gates_theaster_breathing.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gates_theaster_breathing/main.mp4?v=2","description":"The singers shown in close-up in Mr. Gates’s video “Breathing” (2010) flow from Japanese mantras into African-American spirituals. All are members of Mr. Gates’s Buddhist/gospel chorus, the Black Monks of Mississippi, which he has been directing since 2008. Their cross-cultural chants fill the galleries, adding to, rather than distracting from, the other works. Performance also figures in the sculptures of Mr. Laib, which combine Minimalist forms with Buddhist rituals. “Rice Meals,” for instance, involves a row of brass plates holding small mountains of uncooked rice and hazelnut pollen.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/papers/beckett_schneider.html\" rel=\"noopener\" target=\"_blank\">Alan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers</a>","artist_bio":"Four Videos: Hiker (2003), Agoraphobic (2001), Landscape Annihilates Consciousness (2002), Found Cushion Act (2005)\nSterling Ruby is quite versatile in regards to his aesthetic strategies and works in a variety of media—glossy and color-saturated poured polyurethane sculptures, drawings, collages, richly glazed ceramics, graffiti-inspired spray paintings, and video—maintaining a constant tension within a multitude of elements. His work engages with issues related to the violence and pressures within society, autobiography, and art history. Throughout, he vacillates between fluid and static, minimalist and expressionist, pristine and dirty. Of the diverse forms that constitute his oeuvre, the paintings are the most formally abstract. Ruby has long been influenced by the sociological implications of urban demarcation, vandalism, and the power struggles of gang graffiti. In his paintings, acts of defacement are transformed into a painterly sublime.\nSterling Ruby was born in 1972 on Bitburg Air Base in Bitburg, Germany. He graduated in 1996 from the Pennsylvania School of Art and Design, Lancaster. Ruby received his B.F.A. in 2002 from the School of the Art Institute of Chicago, Illinois, and his M.F.A. in 2005 from the Art Center College of Design, Pasadena.\nOften drawing upon autobiographical, art historical or sociological sources, Ruby’s work is frequently referred to as ‘post-humanist’ – a term that broadly describes a society which, thanks in part to technological advancement, has evolved beyond fixed categories of being (e.g. time/place), or predetermining classifications (e.g. animal/human). The seemingly ‘incomprehensible’ visual range of Ruby’s practice thus embodies a schizophrenic, ‘post-everything’ state of perpetual fragmentation and synthesis. A world in which, according to Ruby, ‘there is just too much information for anything to be coherent or whole.’ His practice involves a combination of philosophical enquiry and material investigation, the latter involving the seemingly endless repurposing, combining and recombining of different techniques and media. This too mirrors a shifting condition of constant deconstruction and reconfiguration, and the idea of a non-hierarchical, boundary-less universe.","bio_dates":"b. 1972"},{"slug":"gaudi_antonio_gaudi_caldini_claudio_1975","ok":true,"partial":false,"title":"Film-Gaudi","artist":"Antonio Gaudí","year":"1975","startOffset":0,"sourceSecs":305.946,"sourceHeight":720,"sourceWidth":1016,"hasAudio":false,"hasAmbientMp4":true,"bytes":129181720,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaudi_antonio_gaudi_caldini_claudio_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gaudi_antonio_gaudi_caldini_claudio_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gaudi_antonio_gaudi_caldini_claudio_1975.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gaudi_antonio_gaudi_caldini_claudio_1975/main.mp4?v=2","description":"1975 / 5'06\" / Single 8mm / Color / Silent / 18 fps <br/> Camera, Editing: Claudio Caldini <br/><br/> Synopsis by Claudio Caldini:<br/> When I first arrived in Barcelona in 1974 I decided to make a film about architect Antoni Gaudi's Park Guell. I found a film already conceived in the 1914 design; it was enough to follow the trajectories traced by Gaudi, imagine them as a labyrinth, reproduce the bursting of the mosaics through an analogous fracture of linear temporality. In the editing I tried to avoid showing passers-by. No human figure should get in the way of the appearance of that fantastic architecture. The stop-motion technique applied to the position and parameters of the camera still seems suitable for representing the undulating space of the park.","artist_bio":"Antoni Gaudí i Cornet (Catalan pronunciation: [ənˈtɔni ɣəwˈði]; 25 June 1852 – 10 June 1926) was a Spanish Catalan architect from Reus and the best known practitioner of Catalan Modernism. Gaudí's works reflect an individualized and distinctive style. Most are located in Barcelona, including his magnum opus, the Sagrada Família.\nGaudí's work was influenced by his passions in life: architecture, nature, and religion. Gaudí considered every detail of his creations and integrated into his architecture such crafts as ceramics, stained glass, wrought ironwork forging and carpentry. He also introduced new techniques in the treatment of materials, such as trencadís which used waste ceramic pieces.\nUnder the influence of neo-Gothic art and Oriental techniques, Gaudí became part of the Modernista movement which was reaching its peak in the late 19th and early 20th centuries. His work transcended mainstream Modernisme, culminating in an organic style inspired by natural forms. Gaudí rarely drew detailed plans of his works, instead preferring to create them as three-dimensional scale models and molding the details as he conceived them.\nGaudí's work enjoys global popularity and continuing admiration and study by architects. His masterpiece, the still-uncompleted Sagrada Família, is the most-visited monument in Spain. Between 1984 and 2005, seven of his works were declared World Heritage Sites by UNESCO. Gaudí's Roman Catholic faith intensified during his life and religious images appear in many of his works. This earned him the nickname \"God's Architect\" and led to calls for his beatification.","bio_dates":"1852-1926"},{"slug":"gawn_berrie_karlheinz_stockhausen_tuning_in_1981","ok":true,"partial":false,"title":"Tuning In","artist":"Karlheinz Stockhausen","year":"1981","startOffset":0,"sourceSecs":2913.965,"sourceHeight":352,"sourceWidth":464,"hasAudio":true,"hasAmbientMp4":true,"bytes":173284516,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gawn_berrie_karlheinz_stockhausen_tuning_in_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gawn_berrie_karlheinz_stockhausen_tuning_in_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gawn_berrie_karlheinz_stockhausen_tuning_in_1981.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gawn_berrie_karlheinz_stockhausen_tuning_in_1981/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gawn_berrie_karlheinz_stockhausen_tuning_in_1981/main/master.m3u8?v=2","hasMainHls":true,"description":"The documentary Tuning In was produced by Barrie Gavin for the BBC “Horizon” series in considerably modified form from an initial proposal authored by Robin Maconie which was based entirely on prefilmed lecture material produced by Stockhausen’s London agent Robert Slotover (Allied Artists)."},{"slug":"gebhardt_and_fries_legendary_epics_yarns_and_fables_brakhage","ok":true,"partial":false,"title":"Legendary Epics Yarns and Fables: Stan Brakhage","artist":"Stan Brakhage","year":null,"startOffset":0,"sourceSecs":558.635,"sourceHeight":448,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":37267540,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gebhardt_and_fries_legendary_epics_yarns_and_fables_brakhage/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gebhardt_and_fries_legendary_epics_yarns_and_fables_brakhage/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gebhardt_and_fries_legendary_epics_yarns_and_fables_brakhage.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gebhardt_and_fries_legendary_epics_yarns_and_fables_brakhage/main.mp4?v=2","description":"9 minutes, Directed by Stephen E. Gebhardt and Robert Fries<br/><br/> In the early 1970s Stan Brakhage was recorded in a living room. Brakhage makes brief comments about how objects inspire him and why music is an aesthetic error in film, but he spends most of his time talking about how hard it is to speak extemporaneously to the camera.","artist_bio":"Legendary Epics Yarns and Fables: Stan Brakhage (Directed by Stephen E. Gebhardt and Robert Fries)\n(early 1970s)\nJames Stanley Brakhage (January 14, 1933 – March 9, 2003), better known as Stan Brakhage, was an American non-narrative filmmaker. He is considered to be one of the most important figures in 20th-century experimental film.\nOver the course of five decades, Brakhage created a large and diverse body of work, exploring a variety of formats, approaches and techniques that included handheld camerawork, painting directly onto celluloid, fast cutting, in-camera editing, scratching on film, collage film and the use of multiple exposures. Interested in mythology and inspired by music, poetry, and visual phenomena, Brakhage sought to reveal the universal in the particular, exploring themes of birth, mortality,sexuality, and innocence.","bio_dates":"1933-2003"},{"slug":"gehr_ernie_eureka_1974_iphone","ok":true,"partial":false,"title":"Eureka","artist":"Ernie Gehr","year":"1974","startOffset":0,"sourceSecs":1819.888,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":87161675,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gehr_ernie_eureka_1974_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gehr_ernie_eureka_1974_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gehr_ernie_eureka_1974_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gehr_ernie_eureka_1974_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gehr_ernie_eureka_1974_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This is a refilming of a remarkable movie depicting Market Street, San Francisco, around the turn of the century. The original film consisted of one long continuous take recorded from the front of a moving trolley from approximately Seventh Street all the way to the Embarcadero. I extended each frame six to eight times, full-frame, and increased the contrast and the light fluctuations. <br/><br/> To some degree, the original film has obviously been transformed, but I hope that this simple muted process allowed enough room for me to make the original work \"available\" without getting too much in the way. This was very important to me as I tend to see what I did, in part, as the work of an archaeologist, resurrecting an old film as well as the shadows and forces of another era.","artist_bio":"Ernie Gehr (born 1943) is an American experimental filmmaker closely associated with the Structural film movement of the 1970s. A self-taught artist, Gehr was inspired to begin making films in the 1960s after chancing upon a screening of a Stan Brakhage film. Gehr's film Serene Velocity (1970) has been selected for preservation in the United States National Film Registry. Gehr served as faculty at the San Francisco Art Institute.\nThe New York Times described Gehr's work as \"abstract, beautiful, mysterious, invigorating, utopian\" saying he had \"embraced [the] Modernist cry, shunning mainstream narrative to make films in which bubbling grain, streaks of color and pulses of light are the main attraction.\"","bio_dates":"b. 1943"},{"slug":"gehr_ernie_serene_velocity_1970","ok":true,"partial":false,"title":"Serene Velocity","artist":"Ernie Gehr","year":"1970","startOffset":0,"sourceSecs":891.925,"sourceHeight":400,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":46188351,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gehr_ernie_serene_velocity_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gehr_ernie_serene_velocity_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gehr_ernie_serene_velocity_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gehr_ernie_serene_velocity_1970/main.mp4?v=2","description":"1970, Runtime: 00:14:52 (-according to other sources it's 23 minutes, but... well it's what I could get - fitz)<br/><br/>In representational films sometimes the image affirms its own presence as image, graphic entity, but most often it serves as vehicle to a photo-recorded event. Traditional and established avant garde film teaches film to be an image, a representing. But film is a real thing and as a real thing it is not imitation. It does not reflect on life, it embodies the life of the mind. It is not a vehicle for ideas or portrayals of emotion outside of its own existence as emoted idea. Film is a variable intensity of light, an internal balance of time, a movement within a given space. ÑErnie Gehr, January 1971 <br><br> -\"SERENE VELOCITY is a literal 'shock corridor' wherein Gehr creates a stunning head-on motion by systematically shifting focal lengths on a static zoom lens as it stares down the center of an empty, modernistic hallway. Also plays off the contradictions generated by the frame's heightened flatness and severe Renaissance perspective. Without ever having to move the camera, Gehr turns the fluorescent geometry of his institutional corridor into a sort of piston-powered mandala.\" ÑJ. Hoberman <br/><br/> In 2001 the United States Library of Congress deemed the film \"culturally significant\" and selected it for preservation in the National Film Registry.<br><br><b>Ernie Gehr <i>Serene Velocity</i></b><br> Scott MacDonald <br><br> For Ernie Gehr, as well as for Ono and Snow, making movies is a way of creating experiences that are so different from conventional movie experiences that they become critiques of the conventions. But while Ono and Snow are <i>artists</i> who have used the motion picture camera to broaden their repertoire and to expand their audience, Ernie Gehr is more precisely a <i>film artist</i>. While Ono and Snow are generalists, Gehr is a specialist. By the late 1960s, film's increasing prestige as a medium with which fine art experiences could be created had led some filmmakers to an interest in the intrinsic qualities of this particular medium. Just as many 1960s painters and sculptors were concerned with exposing the \"essential,\" theoretically irreducible conditions of the experience of painting and sculpture, filmmakers began to attempt a \"metaphysics\" of the cinematic apparatus. Ernie Gehr was in the vanguard of this project. Each Gehr film is a voyage into the particular conditions of the film's production and a discovery of the immense untapped visual and conceptual potential of these conditions. The results dramatically demonstrate the narrow parameters of conventional moviemaking. Although the scope of this discussion does not allow for a review of all Gehr's films, <i>Serene Velocity</i> is best understood as one of several cinematic investigations of three elements of the motion picture camera: the camera obscura, the lens, and the filmstrip. <br><br/> Gehr has always been unusually reticent about his life, and as a result we don't know a good deal about how he came to make the earliest of his films currently in distribution; but, by the time he made <i>Morning</i> (1968), he was clearly a sophisticated filmmaker, capable of using the film experience as a means of exposing and considering specific elements of the mechanical! chemical apparatus of cinema. <i>Morning</i> is a brief (4'/-minute) visual interpretation of a portion of Gehr's apartment at dawn: The end of a bed and the legs of someone presumably still sleeping and a cat are visible - but the personal elements are basically a context for the film's focus on light. The camera points toward a window that opens onto an alley; by working with the single-framing function of the camera and the aperture, Gehr takes control of the light this window lets into the space: We can see - or seem to see - its actual substance. <br/><br/> Of course, the moment we consider what is actually occurring, as the light seems to flood the space one moment and to reveal it in an ordinary way a fraction of a second later, we realize that the actual \"room\" into which the light flows is not the apartment, but the camera box. Gehr reminds us that the movie camera is, essentially, a \"room\" into which light is admitted through the \"window\" of the aperture. This is more than metaphor; it is a witty encapsulation of the history of a crucial element of the cinematic apparatus. Still and motion picture cameras developed as miniaturizations of the cubical rooms Western people have traditionally built as living spaces. In fact, the original camera obscuras were rooms in which the influx of light was more intensively controlled than the light through the windows of normal rooms. <i>Morning</i> reveals a conventional room space <i>and</i> the technological intensification of it which ultimately made still and motion pictures possible. A second dimension of Gehr's evocation of the evolution of cinema becomes evident if one notices that the powerful flickering of the light flooding through the apartment window is reminiscent of the experience of looking directly at a movie projector while it's running. In a general sense, the rooms we live in are theater-like, as well as camera-like. Each morning, the light of the sun projects into our living space, revealing our physical surround. The movie projector is merely one important development among many in the long history of the technological domestication of lighting. As we sit in a theater watching <i>Morning</i>, we are face to face with the two historical processes - the development of the camera and of the projector - which came together at the dawn of cinema history in the Cinématographe. <br/><br/> In the years since <i>Morning</i>, Gehr has completed a series of distinguished films, each of which throws the extreme conventionality of industry cinema - and its continual pretension of newness - into relief. More than any other film, however, <i>Serene Velocity</i> established Gehr's reputation, and, despite the remarkable films he's made since 1970 - <i>Eureka</i> (1974-79) and <i>Table</i> (1976) most notably, perhaps - it remains his best known film, and for good reason: <i>Serene Velocity</i> creates an experience that is rigorously simple (even minimal), but visually fascinating and conceptually fertile. The film's simple structure combines elements of Muybridge and the Lumières in much the same way <i>Wavelength</i> does. Basically, all the viewer sees, for twenty-three minutes, is a single, bare, institutional hallway (specifically, a hallway in a classroom building at the State University of New York at Binghamton, where Gehr taught for a time), filmed by a stationary camera. While the view of the hallway is continuous, however, it is far from uninterrupted. When <i>Serene Velocity</i> was first shown to audiences, viewers were often puzzled about how Gehr had produced the film's pulsating, super-active image. In fact, the means were not complicated, though it took a filmmaker entirely free of preconceptions about how movies are made to think of them. Having positioned his camera to look down the hallway, Gehr filmed the space four frames at a time, beginning midway along the focal range of his zoom lens and adjusting the zoom first in one direction, then in the opposite direction from the lens's midpoint, in equal and progressive alternating increments, until he had filmed the space from virtually every position between the midpoint and the two ends of the lens's focal range. The resulting film is serial, grid-like, both graphically (the hallway is all squares and rectangles within squares) and temporally (the film maintains its pulsating four-frame beat throughout); it allows the viewer to study the way in which Gehr's procedure transforms the space and the viewer's experience. <br/><br/> For many first-time viewers <i>Serene Velocity</i> is infuriating. Given their conventional training, they have no idea of what they are supposed to be seeing, other than a relentlessly repeated shift between two versions of the same space. On the other hand, if they can allow themselves to actually look at the film (certainly one of the first tendencies in many viewers, when confronted with powerfully critical films, is to shut down the eyes and/or mind: One can \"watch\" the films without seeing them), a set of developments in the seemingly unchanging image become apparent. As the zoom lens gradually moves us back and forth along the hall, the doors, ashtrays, and other details of the hallway move in and out of the image: At one focal length we may see a certain door; a few moments later and a few increments further along the focal range of the lens, the door has disappeared. While all changes in the hallway are created by the rigorous procedure Gehr devised for the camera, near the conclusion of the film we can see, from the light in the glass of the doors at the far end of the hallway, that it's dawn. <br/><br/> As in <i>Morning</i>, the \"subject\" of <i>Serene Velocity</i> can be seen as a metaphor (and more than a metaphor) for the particular element of film technology that allows the \"subject\" to be recorded in precisely the way we see it: The hallway is to the building what the lens is to the camera; both are long, narrow spaces that provide access to other spaces. Or, to put it another way, the zoom lens is the \"hallway\" through which light travels from outside the camera into the photosensitive darkness. If the camera box is a miniaturization and intensification of the rooms in which we live, lenses are miniaturization and intensifications of the spaces by means of which these rooms are accessed. Even the fact that the window at the end of the hallway becomes light at dawn might work within this parallel: In many movie cameras the end of a roll of film is signaled by a light one sees in the viewfinder. <br/><br/> <i>Serene Velocity</i> does more than develop an ingenious parallel between its ostensible visual subject and the particular means by which this subject is revealed. The silent evolution of the imagery of the hallway makes available a wide range of different film experiences, some of them, paradoxically, the opposite of others. In fact, the film's journey through the hallway/lens is an axis along which these other experiences are ranged. Of course, to a degree, what anyone sees during a screening of <i>Serene Velocity</i> depends on that individual's personal state of mind, and yet I would guess that any reasonably attentive viewer who watches the entire film will discover several different experiences. Perhaps the most obvious has already been mentioned the feeling of being thrown relentlessly backward and forward four times each second (the lens was readjusted every four frames; the film is screened at sixteen frames per second). Since Gehr was moving incrementally away from the midpoint of the zoom lens focal range toward the extremes at either end, the perceptual gap between successive four-frame units of the film grows continually greater for twenty-three minutes. Of course, most of us do not maintain our attention on <i>Serene Velocity</i> at a single, unvarying level. Indeed, as violent as the successive changes in image can feel, they can be instantly transformed by the eye/mind into a very different visual experience. If one does not attempt to see the successive images of the hallway as individual three-dimensional spaces revealed in Renaissance perspective, if one doesn't rigorously focus in on the successive images, <i>Serene Velocity</i> can seem to be a fiat, graphically distinct, nearly abstract image which regularly flashes between two states, like a neon sign. In fact, if the viewer sees the image as the two-dimensional space it really is, rather than as the three-dimensional space of which it is an illusion, the film can seem quite meditative: The square-within-square organization created by the lines of the doorways and light fixtures is reminiscent of classic mandalas. In other words, the film is simultaneously violent and meditative, depending on the nature of the visual experience the viewer decides to participate in at any given moment. <br/><br/> Once it is evident that <i>Serene Velocity</i> is proceeding in a specific, predictable direction at a uniform rate, and that there is no one correct way of looking at the film, some viewers experiment with the specifics of their own apprehension of the imagery: At some point during my second viewing, I began blinking my eyes so as to try to see only one set of images of the hail, or to focus on a specific detail visible in only one set of the alternating images. Of course, the very opportunity for the viewer to choose how to see a particular film is itself an implicit critique of the assumption of commercial film-going, that each specific movie should be apprehended in one particular way and that within the film each individual cinematic moment has a precise function in ensuring that this one form of apprehension occurs. Viewers may refuse to participate in the particular series of emotions a director may try to orchestrate, but, if they do, they are aware that they are \"reading\" the film \"against the grain.\" <br/><br/> The fact that Gehr is able to energize one of the dullest contemporary spaces (what is duller than an institutional hallway?) into a complex visual! conceptual experience is more than a tribute to his imagination; it dramatizes his esthetic position. For Gehr, the magic of the movie camera is its ability to free us from visual habits, especially those we've developed at the movie theater. The industrial history of film has impoverished our sight by endlessly reconfirming a narrow range of in-theater experiences, in which each narrative moment is a means for delivering us to the film's conclusion; in <i>Serene Velocity</i>, Gehr transforms a space designed for the purpose of delivering students to the rooms where they have educational business (a space which in a conventional film would have much the same function vis-‰-vis the characters) into a highly energized, multifaceted visual experience. <br/><br/> If none of the films Gehr has completed since <i>Serene Velocity</i> has achieved that film's reputation, several are of equal interest and all are worth seeing: a new Gehr film remains something of an event. <i>Morning</i> can be said to encapsulate elements of the prehistory of cinema; <i>Eureka</i>, which Gehr worked on from 1974 through 1979 (sometimes under the title <i>Geography</i>) - deals ingeniously with the medium's subsequent history. To make <i>Eureka</i>, Gehr used a brief film made between 1903 and 1905, presumably to be shown on the front of a Hale's Tours coach: the camera is mounted on the front of a trolley and records the trolley's journey from the moment it turns onto Market Street in San Francisco until it reaches the Ferry Building and the end of the line (where a wagon with \"Eureka, California\" printed on the side crosses the image). By re-photographing the original single-shot film a frame at a time, Gehr stretched the original trolley ride and allows us access to at least two levels of cinema history. On one hand, we confront the social history of the early twentieth century, within which the history of cinema was beginning (the date on the Ferry Building - 1896 - is suggestive in a film-historical context). The original film must have emphasized the excitement of a fast-moving trolley ride down Market Street; Gehr's slowed-down version retains the exciting moments (people move across the tracks so close to the front of the trolley that we can't imagine they won't be injured), but allows us to examine the environment of the street and the ways in which the people who saw the camera responded to it. Market Street circa 1903 seems to have been a model of functional anarchy: The roadway is crowded with all manner of vehicles and pedestrians, all of them vying for space, True, the vehicles on the right side of the road generally move in one direction; those on the left, the opposite way; but, beyond this, it seems a case of every vehicle for itself. The energy of the street, the collision of the many different worlds represented by the varied vehicles, and the pleasure people take in performing for the camera make <i>Eureka</i> a period piece with as much resonance as the most elaborate contemporary recreations of that era - Coppola's Lower East Side in The <i>Godfather 2 </i>(1974) for example. <br/><br/> But while <i>Eureka</i> allows us to experience San Francisco at the beginning of the century watching the film is reminiscent of rides at Disney World and Epcot Center - Gehr's painstaking re-presentation of the original footage reveals a different form of history. In the years since the original film was shown, the prints that remain have decayed, so that the contemporary viewer must experience the original imagery through a curtain of scratches and other forms of decomposition. The journey down the trolley tracks in <i>Eureka</i> is also a trip through the time that has intervened between then and now, as that time is represented indexically on the filmstrip. The fact that the original film was recorded from the front of a trolley makes this other historical process particularly suggestive, since the essential mechanical technologies at work in trolleys and in cinema - and their shared limitation: friction - are historically related. <br/><br/> Of course, although <i>Eureka</i> is an elegy to a lost age and a decaying technology, it also reconfirms the remarkable power of cinema. As a result of the combination of the technologies explored in Morning, <i>Serene Velocity</i>, and Eureka (and Gehr's other films), we can still see these people; they are alive as we watch. As we travel along the filmstrip and along the \"strip\" that was Market Street, they gaze at us and we at them through time and space, by means of a \"corridor\" that simultaneously allows them access to the \"dark room\" of our consciousness and gives us access to the world in which they lived and moved. Gehr demonstrates that the cinematic apparatus is, like us, part material and part something more.<br><br><b>NOTES</b> <br><br> 1. Another experience is suggested by the joke Ken Jacobs made about <i>Serene Velocity</i> when he introduced the film at SUNY-Binghamton the first time I saw it: Jacobs said he found it a sexy film. Of course, on one level nothing could be less sexy than an institutional hallway, and yet, if one focuses on the red \"EXIT\" sign above the doorway that bisects the hallway, especially near the end of the film when the gap between the successive images is particularly dramatic, the exit sign seems to thrust forward toward us, as though it were a phallus. <br><br> 2. For information on Hale's Tours see Raymond Fielding, \"Hale's Tours: Ultrarealism in the Pre1910 Motion Picture,\" in John L. Fell, <i>Film before Griffith</i> (Berkeley, CA: University of California Press, 1983), pp. 116-30.</br></br></br></br></br></br></br></br></br></br>","artist_bio":"Ernie Gehr (born 1943) is an American experimental filmmaker closely associated with the Structural film movement of the 1970s. A self-taught artist, Gehr was inspired to begin making films in the 1960s after chancing upon a screening of a Stan Brakhage film. Gehr's film Serene Velocity (1970) has been selected for preservation in the United States National Film Registry. Gehr served as faculty at the San Francisco Art Institute.\nThe New York Times described Gehr's work as \"abstract, beautiful, mysterious, invigorating, utopian\" saying he had \"embraced [the] Modernist cry, shunning mainstream narrative to make films in which bubbling grain, streaks of color and pulses of light are the main attraction.\"","bio_dates":"b. 1943"},{"slug":"gehr_ernie_shift_1972_74","ok":true,"partial":false,"title":"Shift","artist":"Ernie Gehr","year":"1972-1974","startOffset":0.3,"sourceSecs":461.013,"sourceHeight":560,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":84418215,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gehr_ernie_shift_1972_74/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gehr_ernie_shift_1972_74/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gehr_ernie_shift_1972_74.mp4","hasFrames":true,"description":"\"For Gehr, SHIFT broke new ground, hence perhaps a pun in its title. The film is his first to employ extensive montage. The actors are all mechanical - a series of cars and trucks filmed from a height of several stories as they perform on a three-lane city street. Gehr isolates one or two vehicles at a time, inverting some shots, so that a car hangs from the asphalt like a bat from a rafter, using angles so severe the traffic often seems to be sliding off the earth, and employing a reverse motion so abrupt that the players frequently exit the scene as though yanked from a stage by the proverbial hook. A sparse score of traffic noises accompanies the spastic ballet mecanique. Not only the action but Gehr's deliberate camera movements are synced to the music of honking horns, screeching brakes, and grinding gears. The eight-minute film is structured as a series of obliquely comic blackout sketches: trucks run over their shadows; cars unexpectedly reverse direction or start up and go nowhere.\" - J. Hoberman, American Film, 1982","artist_bio":"Ernie Gehr (born 1943) is an American experimental filmmaker closely associated with the Structural film movement of the 1970s. A self-taught artist, Gehr was inspired to begin making films in the 1960s after chancing upon a screening of a Stan Brakhage film. Gehr's film Serene Velocity (1970) has been selected for preservation in the United States National Film Registry. Gehr served as faculty at the San Francisco Art Institute.\nThe New York Times described Gehr's work as \"abstract, beautiful, mysterious, invigorating, utopian\" saying he had \"embraced [the] Modernist cry, shunning mainstream narrative to make films in which bubbling grain, streaks of color and pulses of light are the main attraction.\"","bio_dates":"b. 1943"},{"slug":"gehr_ernie_signal_germany_on_the_air_1985","ok":true,"partial":false,"title":"Signal - Germany on the Air","artist":"Ernie Gehr","year":"1985","startOffset":0,"sourceSecs":2051.093,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":123942116,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gehr_ernie_signal_germany_on_the_air_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gehr_ernie_signal_germany_on_the_air_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gehr_ernie_signal_germany_on_the_air_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gehr_ernie_signal_germany_on_the_air_1985/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gehr_ernie_signal_germany_on_the_air_1985/main/master.m3u8?v=2","hasMainHls":true,"description":"(1982-85); 16mm, color, sound, 37 minutes <br/><br/>\"\"The artifice of the film image stands in stark contrast to the 'reality' of the scene-one is highly conscious of the frame outlines-of what's in and what's out. The color is almost always 'unreal' -some artifact of photographic depiction. The spaces and sounds between, behind, and above the image comes through, we fill out the scene. The mind permeates the space and we become highly aware of the processes used for this inspection. While watching you become aware of your own space, your own patterns of movement. Common ground and individual experience are the poles here, and the active mind shuttles between them in the duration. The recalcitrant world, once it is depicted and articulated, can be peeled back like an onion, revealing constituent layers. In Signal-Germany on the Air it is history that's in the air, behind the mask of every face, every facade, every street sign.\" -Daniel Eisenberg, \"Some Notes on the Films of Ernie Gehr\" <br/><br/>\"\"A long sequence at the end of Signal was shot in the rain. This is almost comforting. The subdued colors of an overcast day seem more appropriate than the bright, saturated colors of the storefronts earlier in the film. It seems for a while as though the rain can wash away all traces of the past. But, when a bright orange flare-out signals both the end of a camera roll and the end of the film, the steady hiss of the rain reveals itself as the end of a conflagration.\" -Harvey Nosowitz in Film Quarterly","artist_bio":"Ernie Gehr (born 1943) is an American experimental filmmaker closely associated with the Structural film movement of the 1970s. A self-taught artist, Gehr was inspired to begin making films in the 1960s after chancing upon a screening of a Stan Brakhage film. Gehr's film Serene Velocity (1970) has been selected for preservation in the United States National Film Registry. Gehr served as faculty at the San Francisco Art Institute.\nThe New York Times described Gehr's work as \"abstract, beautiful, mysterious, invigorating, utopian\" saying he had \"embraced [the] Modernist cry, shunning mainstream narrative to make films in which bubbling grain, streaks of color and pulses of light are the main attraction.\"","bio_dates":"b. 1943"},{"slug":"general_idea_hot_property","ok":true,"partial":false,"title":"Hot Property","artist":"General Idea","year":"1979","startOffset":0,"sourceSecs":1723.557,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":300022421,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/general_idea_hot_property/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/general_idea_hot_property/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/general_idea_hot_property.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/general_idea_hot_property/main.mp4?v=2","description":"If GI are ‘archaeologists’, however, they’re the kind with a TV deal and a coffee table book to promote, as their video Hot Property (1978–80) – shot a year after The Ruins of the 1984 Miss General Idea Pavilion – reveals. Set in 1984, on the night of the pavilion’s ‘destruction’, the piece shows the group inaugurating the final pageant in front of a live studio audience in the manner of a cheesy talk or variety show. Following a parade of contestants dressed up as various pieces of geometrical and mark-making equipment (during which a giggling Zontal asks ‘can we leave the pen’s lines on the cutting room floor?’), the ‘fire’ takes hold, and we cut to footage of guests fleeing from the smoke, for all the world like extras in a 1970s’ disaster movie. As the video comes to its conclusion, a stentorian voice-over informs us that, despite this (apocryphal) apocalypse, ‘mystery will make the pavilion rise again’.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"general_idea_pilot_1977","ok":true,"partial":false,"title":"Pilot","artist":"General Idea","year":"1977","startOffset":0,"sourceSecs":1731.115,"sourceHeight":404,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":103829867,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/general_idea_pilot_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/general_idea_pilot_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/general_idea_pilot_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/general_idea_pilot_1977/main.mp4?v=2","description":"1977, 28:56 min, color, sound <br/><br/> Produced for public television broadcast in Ontario, Pilot takes the form of a prime-time newsmagazine, with General Idea as the subject. As hosts, AA Bronson, Felix Partz, and Jorge Zontal describe their collective transformation from young strivers to \"famous, glamorous artists,\" and the diversification of the General Idea media empire. Using a library of clips, they recount General Idea's public performances, films, and fashion designs (such as the \"Venetian Blind Gown,\" modeled here by dancers, swimmers and snow skiers). They also discuss their print publication, FILE, and their decision to change the magazine's logo after Time-Life sued them for trademark infringement in June 1974. (\"They didn't like our lifelike format,\" says Bronson.) A witty survey of the group's early work, Pilot is punctuated throughout by a voice-over manifesto on their continuing project, the Miss General Idea Pavilion of 1984. <br/><br/> General Idea's Pilot was adapted for television by General Idea. Visual Co-ordinator: Tom Sherman. Make-Up: Bill Breen. Key Grip: Beany Potts. Floor Director: Sean Ryerson. Cameramen: Robin Periana, Craig Bulmer. VTR Operator: Joe Ditta: Audioman: Maarten Heilbron. Video-Lighting: Mario Resnik. Switcher: Stu Beecroft. Talent Co-ordinator: Bob Langlois. Production Assistant: Kathy Floyd. Director: Richard Johnson. Producer: Richard Johnson. A Learning Opportunity by TV Ontario, The Ontario Educational, Communications Authority. -- <a href=\"http://www.eai.org/title.htm?id=14636\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix</a> <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"general_idea_shut_the_fuck_up_1979","ok":true,"partial":false,"title":"Shut The Fuck Up","artist":"General Idea","year":"1984","startOffset":0,"sourceSecs":845.68,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":150760372,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/general_idea_shut_the_fuck_up_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/general_idea_shut_the_fuck_up_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/general_idea_shut_the_fuck_up_1979.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/general_idea_shut_the_fuck_up_1979/main.mp4?v=2","description":"Shut the Fuck Up was created for Dutch television, commissioned by the festival Talking Back to the Media. The video provides a candid and humorous assessment of the media cliché of the artist. Aggressive and fast-paced, the video is structured in three segments: “Part I: Death of a Mauve Bat”; “Part 2: Mondo Cane”; and “Part 3: XXX (bleu).” Like Test Tube, 1979, each segment is subdivided, with three formats used: talking heads, found footage, and inspirational montage. Throughout, General Idea addresses the role of art in society and critiques the artist’s relationship to mass media. The group comments on art’s reliance on spectacle, the lack of intelligence and agency accorded to artists by the media, and the presumption of an artist’s disengagement from the world. Felix Partz notes, “We’re supposed to be romantic, untamed,” and Jorge Zontal rants, “I’m not going to play…boho to their fucking bourgeoisie.” <br/><br/> General Idea draws on found footage from popular television and films, using it to ironic ends. In Part 1 the artists appropriate a scene from the television series Batman in which the Joker presents a blank canvas as part of a painting competition. His entry is initially met with confusion, but when it is seen as symbolic of the emptiness of modern life, the Joker wins the contest. General Idea believed that the Joker was based on French artist Yves Klein (1928–1962), who had appeared on American television on The Ed Sullivan Show. General Idea employs this clip to criticize art and the notion of the artist as a singular, tortured genius, which they saw as a fraudulent spectacle. <br/><br/> In Part 2 a series of dancing scenes is set to upbeat music and barking. This section foregrounds poodles—a significant image in General Idea’s oeuvre intended to represent the queer artist. Imagery of fornicating neon dogs is overlaid on scenes of people dressed as poodles dancing in a studio.4 This footage was appropriated from an Italian television music show at the time.5 The section is bookended by a dialogue between Partz and AA Bronson about artists and the media, a fast repartee filled with puns. Fittingly, the artists appear dressed as poodles. <br/><br/> Part 3 opens with footage from Anthropométries, a series Yves Klein created in the early 1960s. In these events, Klein choreographed actions that female models performed for a live audience; he directed the women to apply paint to their bodies and then press themselves against a canvas.6 The paint they used was International Klein Blue, a flat, intense blue Klein invented and trademarked. In Shut the Fuck Up, General Idea employs Klein as a foil, a stereotypical figure of the extreme artist—much like the Joker in Part 1. As Bronson explains, “The media loved to present Klein as a clown. Before Klein, both Picasso and Dali had fulfilled this role for the media. After him, Warhol took over that role.”7 In the video, the artists respond to this history, critiquing the media cliché of the artist as a buffoon. <br/><br/> This footage is followed by documentation of the General Idea performance XXX (bleu), 1984, with voiceover of the artists explaining the work. XXX (bleu) appropriates Klein’s Anthropométries to comic effect. It features Bronson, Zontal, and Partz with faux stuffed white poodles. The artists dip the poodles’ bodies into International Klein Blue paint, then climb ladders and use them to paint three large “X” symbols on blank canvases. Partz explains the ambiguous meaning: “XXX equals poison, XXX as kisses, XXX as target, XXX as signature, XXX as epitaph.” <br/><br/> A punchy and humorous analysis of the artist’s relationship to mass media, Shut the Fuck Up demonstrates General Idea’s critique of media formats and their mastery of video as a medium."},{"slug":"general_idea_the_1971_miss_general_idea_pageant","ok":true,"partial":false,"title":">Miss General Idea Pageant","artist":"General Idea","year":"1975","startOffset":0,"sourceSecs":573.806,"sourceHeight":336,"sourceWidth":448,"hasAudio":true,"hasAmbientMp4":true,"bytes":40973819,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/general_idea_the_1971_miss_general_idea_pageant/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/general_idea_the_1971_miss_general_idea_pageant/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/general_idea_the_1971_miss_general_idea_pageant.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/general_idea_the_1971_miss_general_idea_pageant/main.mp4?v=2","description":"The 1975 Miss General Idea Pageant performance at the Art Gallery of Ontario (Toronto) was framed in turn as a television spectacular and released on video as the 53-minute Going Thru the Motions. In 1976, ongoing planning for the Pavillion project's construction led to Interview with Foreman Lamanna, their art dealer at the time. The interview took place standing at a jigsaw-patterned \"hoarding\" with three cut-out, construction site peepholes. <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"genet_jean_un_chant_d_amour_1950","ok":true,"partial":false,"title":"Jean Genet - Un Chant d'Amour","artist":"Jean Genet","year":"1950","startOffset":0,"sourceSecs":1523.051,"sourceHeight":404,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":91070202,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/genet_jean_un_chant_d_amour_1950/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/genet_jean_un_chant_d_amour_1950/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/genet_jean_un_chant_d_amour_1950.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/genet_jean_un_chant_d_amour_1950/main.mp4?v=2","description":"1950, Runtime: 25 minutes<br/> <br/> Un Chant d'Amour is French writer Jean Genet's only film, which he directed in 1950. Because of its explicit (though artistically presented) homosexual content, the 26-minute movie was long banned and was also disowned by Genet later in his life. <br/><br/> The plot is set in a French prison, where a prison guard takes voyeuristic pleasure in observing the prisoners perform masturbatory sexual acts. In two adjacent cells, there are an older Algerian-looking man and a handsome convict in his twenties. The older man is in love with the younger one, rubbing himself against the wall and sharing his cigarette smoke with his beloved through a straw. <br/><br/> The prison guard, apparently jealous of the prisoner's relationship, enters the older convict's cell, beats him, and makes him suck on his gun in an unmistakably sexual fashion. But the inmate drifts off into a fantasy where he and his object of desire roam the countryside. In the final scene it becomes clear that the guard's power is no match for the intensity of attraction between the prisoners, even though their relationship is not consummated. <br/><br/> Genet does not use sound in his film, forcing the viewer to completely focus on closeups of faces, armpits, and semi-erect penises. Originally produced as a porn movie of sorts, the film with its highly sexualized atmosphere has later been recognized as a formative factor for works such as the films by Andy Warhol.","artist_bio":"Jean Genet was a prominent and controversial French novelist, playwright, poet, essayist, and political activist. Early in his life he was a vagabond and petty criminal, but later took to writing. His major works include the novels Querelle of Brest, The Thief's Journal, and Our Lady of the Flowers, and the plays The Balcony, The Blacks, The Maids and The Screens.","bio_dates":"1910-1986"},{"slug":"gianikian_yervant_lucchi_angela_ricci_from_the_pole_to_the_equator_1986_iphone","ok":true,"partial":false,"title":"From the Pole to the Equator","artist":"Yervant Gianikian and Angela Ricci Lucchi","year":"1987","startOffset":0,"sourceSecs":5924.753,"sourceHeight":320,"sourceWidth":424,"hasAudio":true,"hasAmbientMp4":true,"bytes":338458852,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gianikian_yervant_lucchi_angela_ricci_from_the_pole_to_the_equator_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gianikian_yervant_lucchi_angela_ricci_from_the_pole_to_the_equator_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gianikian_yervant_lucchi_angela_ricci_from_the_pole_to_the_equator_1986_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gianikian_yervant_lucchi_angela_ricci_from_the_pole_to_the_equator_1986_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gianikian_yervant_lucchi_angela_ricci_from_the_pole_to_the_equator_1986_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"From the Pole to the Equator<br/> By JANET MASLIN<br/> April 6, 1988<br/> New York Times<br/> <br/> LEAD: To watch ''From the Pole to the Equator'' is to feel that one has seen a ghost - many ghosts, human and animal, from places all over the globe. The spectral quality of this documentary is overwhelming. Two Italian film makers, Yervant Gianikian and Angela Ricci Lucchi, have drawn upon turn-of-the-century film from regions that were then fabulously exotic - the Arctic, India, Africa and less remote but equally striking settings in the Dolomites and the Caucasus - and assembled it at a sleepwalker's pace, with changeable color tints and a humming electronic score. To watch ''From the Pole to the Equator'' is to feel that one has seen a ghost - many ghosts, human and animal, from places all over the globe. The spectral quality of this documentary is overwhelming. Two Italian film makers, Yervant Gianikian and Angela Ricci Lucchi, have drawn upon turn-of-the-century film from regions that were then fabulously exotic - the Arctic, India, Africa and less remote but equally striking settings in the Dolomites and the Caucasus - and assembled it at a sleepwalker's pace, with changeable color tints and a humming electronic score. The result offers haunting glimpses of a world in the process of being conquered. ''From the Pole to the Equator,'' which opens today at the Film Forum 1, draws upon the film archives of Luca Comerio (1874-1940), a pioneer of documentary film making who traveled widely and often recorded the interaction of people and animals; indeed, the abundant animal footage here is the contemporary film makers' most chilling material. The killing of a polar bear by Arctic explorers is recorded in elaborate detail (the score, by Keith Ullrich and Charles Anderson, makes such events especially chilling). And later on, African tribesmen gather around a felled rhinoceros to remove its horns as a trophy for visiting white hunters. The animal's blood flowing in slow motion is incomparably eerie, as are other scenes in which captured or killed animals are offered up for the camera to examine. Surely Mr. Comerio had his own keen sense of the brutal effects wrought by European visitors in the areas he filmed, and Mr. Gianikian and Miss Ricci Lucchi heighten it even further. Their film ends with a cozy family scene of a well-dressed couple - we know nothing more about them, since there is no narration - playfully letting dogs have their way with a captive rabbit. The archival footage used here also captures the quotidian life of far-flung regions, and ''From the Pole to the Equator'' gives this a dreamlike quality: uniformed African children being taught to make the sign of the cross, European women peering at a train going by, white-suited Indians walking a broad, shady avenue. The slow, sleepy quality of these images, only a shade more mobile than still photography, freezes them in the viewer's memory. The smallest, most ordinary gestures become indelible, like the sight of one Indian child grooming the hair of another. The first girl stares at the camera with the look of wonder, the self-consciousness and the trace of apprehension that seemed to greet Mr. Comerio in every setting. Mr. Gianikian and Miss Ricci Lucchi create a subtle and disturbing momentum as they coax their film toward its concluding images of soldiers in combat. Some of these scenes are presented as tinted negatives, so scores of pale pink phantoms clamber over magenta hillsides on their way to destruction. This technique is as effective as it is unusual, and it creates a one-of-a-kind documentary of rare, insinuating power. THE FLOW OF BLOOD AND LIFE FROM THE POLE TO THE EQUATOR, directed by Yervant Gianikian and Angela Ricci Lucchi; music by Keith Ullrich and Charles Anderson; co-produced by the film makers and ZDF-TV (West Germany); distributed by Museum of Modern Art. At Film Forum 1, 57 Watts Street. Running time: 96 minutes. This film has no rating.","artist_bio":"Italian filmmakers Yervant Gianikian and Angela Ricci Lucchi have over the past 25 years proven themselves to be masters of the assemblage of found footage film, returning over and over again to images from the first decades of the 20th century, with a special attention to images of war and colonialism.\nGianikian and Ricci Lucchi’s method consists of poring over these images, studying the interactions among the onscreen figures and between these figures and the camera, looking for telling glances and revealing gestures, which are then slowed down and isolated.","bio_dates":"1987"},{"slug":"gibson_beatrice_a_necessary_music_2009_iphone","ok":true,"partial":false,"title":"A Necessary Music","artist":"Beatrice Gibson","year":"2009","startOffset":0,"sourceSecs":1759.981,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":96635152,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gibson_beatrice_a_necessary_music_2009_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gibson_beatrice_a_necessary_music_2009_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gibson_beatrice_a_necessary_music_2009_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gibson_beatrice_a_necessary_music_2009_iphone/main.mp4?v=2","description":"2009, HD film, 30’. <br/><br/> A collaboration between artist Beatrice Gibson and composer Alex Waterman, <i>A Necessary Music</i> is a science fiction film about modernist social housing. A musically conceived piece, referencing the video operas of Robert Ashley, the film explores the social imaginary of a utopian landscape through directed attention to the voices that inhabit it.Treating the medium of film as both a musical proposition and a proposal for collective production, <i>A Necessary Music</i> employs the resident of New York’s Roosevelt Island as its authors and actors, gathering together texts written by them and using them to construct a script for the film. Framed by a fictional narration taken from Adolfo Bioy Casares’ 1941 science fiction novel ‘The invention of Morel’, the film self-consciously dissolves from attempted realism to imagined narrative; what begins as a enthnographic study becomes instead an imagined fiction and an investigation into the mechanics of representation itself. <br/><br/> Narration by Robert Ashley <br/><br/> Funded by The Graham Foundation For Advanced Studies in the Fine Arts and Arts Council England.<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a> <br> a href=\"http://www.lux.org.uk/\" target=\"_blank\" rel=\"noopener\"Beatrice Gibson's films are available through Lux/a</br></br>","artist_bio":"Beatrice Gibson (b.1978) is an artist based in London. Investigating the utterances that form people and place, Gibson’s films explore voice, speech, collective production and their representation. Referencing experimental music, her films deploy notation and conversation as paradigms for their production.  The script is treated as a formal proposition with compositional structures set to enable the production of speech. Re-stagings of varying voices and landscapes, the films' subsequent appearance as fiction, works to complicate the notion of the document. Gibson's film A Necessary  Music, made in collaboration with composer Alex Waterman, won the Tiger Award for best short at the Rotterdam Film Festival in 2009. Recent solo exhibitions include: The Tiger's Mind, Kunstlerhaus Stuttgart, (2010), and The Future's Getting Old Like The Rest Of Us, Serpentine Gallery, (2010).  She is currently working on a new publishing project with editor and typographer Will Holder.","bio_dates":"b. 1978"},{"slug":"gibson_beatrice_the_futures_getting_old_like_the_rest_of_us_2010_iphone","ok":true,"partial":false,"title":"The Future’s Getting Old Like The Rest Of Us","artist":"Beatrice Gibson","year":"2010","startOffset":0,"sourceSecs":2907.6,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":169192491,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gibson_beatrice_the_futures_getting_old_like_the_rest_of_us_2010_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gibson_beatrice_the_futures_getting_old_like_the_rest_of_us_2010_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gibson_beatrice_the_futures_getting_old_like_the_rest_of_us_2010_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gibson_beatrice_the_futures_getting_old_like_the_rest_of_us_2010_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gibson_beatrice_the_futures_getting_old_like_the_rest_of_us_2010_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"2010, 16mm film transferred to HD, 45’. <br/><br/> <i>The Future’s Getting Old Like The Rest Of Us</i> is a 16mm film conceived in the format of a TV Play and set in an older people’s home. Part documentary, part fiction, the script for the film was a collaboration between Beatrice Gibson and writer and critic George Clark, and was constructed from transcripts of a discussion group held over a period of five months with the residents of four Care Homes. Taking B.S. Johnson’s 1971 experimental novel House Mother Normal as its formal departure point and employing the logic of a musical score, the script is edited into a vertical structure, featuring eight simultaneous monologues. <i>The Future’s Getting Old Like The Rest Of Us</i> features actors Roger Booth, Corinne Skinner Carter, Janet Henfrey, Ram John Holder, Anne Firbank, John Tilbury, William Hoyland and Jane Wood. <br/><br/> The Future’s Getting Old Like The Rest of Us was commissioned by the Serpentine Gallery. Funded by Camden Council Homes for Older People, Arts Council England and devevloped with the Support of FLAMIN, Film London.<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a> <br> a href=\"http://www.lux.org.uk/\" target=\"_blank\" rel=\"noopener\"Beatrice Gibson's films are available through Lux/a</br></br>","artist_bio":"Beatrice Gibson (b.1978) is an artist based in London. Investigating the utterances that form people and place, Gibson’s films explore voice, speech, collective production and their representation. Referencing experimental music, her films deploy notation and conversation as paradigms for their production.  The script is treated as a formal proposition with compositional structures set to enable the production of speech. Re-stagings of varying voices and landscapes, the films' subsequent appearance as fiction, works to complicate the notion of the document. Gibson's film A Necessary  Music, made in collaboration with composer Alex Waterman, won the Tiger Award for best short at the Rotterdam Film Festival in 2009. Recent solo exhibitions include: The Tiger's Mind, Kunstlerhaus Stuttgart, (2010), and The Future's Getting Old Like The Rest Of Us, Serpentine Gallery, (2010).  She is currently working on a new publishing project with editor and typographer Will Holder.","bio_dates":"b. 1978"},{"slug":"gidal_peter_assumtion_x2_1997","ok":true,"partial":false,"title":"Assumption","artist":"Peter Gidal","year":"1997","startOffset":0,"sourceSecs":174.848,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":31033992,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_assumtion_x2_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_assumtion_x2_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gidal_peter_assumtion_x2_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gidal_peter_assumtion_x2_1997/main.mp4?v=2","description":"1997, 16mm <br/><br/> Assumption is a virtuosic personal tribute, a glimpse at history and a celebration of independent film culture. <br/> Gidal's short film was assembled round a recording of the voice of Mary Pat Leece, who worked at the London Filmmakers' Co-op in the mid-1970s, and later became a much loved lecturer at St Martins School of Art. She died suddenly in 1997. The film's rapid-fire montage of images and sounds encapsulates her politics, her Catholicism and her intellectual passion.<br><br><b>RESOURCES:</b> <br> Thanks to <a href=\"http://www.luxonline.org.uk/artists/peter_gidal/index.html\" rel=\"noopener\" target=\"_blank\">Peter Gidal</a> for giving us permission to host his films. <br> This UbuWeb resource is presented in collaboration with a href=\"http://www.lux.org.uk/\" target=\"_blank\" rel=\"noopener\"Lux/a</br></br>","artist_bio":"Performance of Sorts With Brecht / Volcano / Denials (1985-2009)\nBorn in 1946. Gidal studied theatre, psychology and literature at Brandeis University, Massachussets, 1964-68, and the University of Munich from 1966-7. He studied at the Royal College of Art from 1968-71 where he went on to teach Advanced Film Studies until 1984. He was an active member of the London Film-makers' Co-operative since 1969, and Cinema Programmer there from 1971-4. Co-founder of the Independent Film-makers' Association, 1975, he served as a member of the British Film Institute Production Board, 1978-81.\nHis films have been screened nationally and internationally, including the Tate Gallery, the Hayward Gallery, and yearly since 1969 at the Edinburgh Film Festival and the National Film Theatre. Gidal has had retrospectives of his films at the Institute of Contemporary Arts in 1983, Centre George Pompidou, Beaubourg, Paris, 1996, amongst others. International screenings include several each at the Museum of Modern Art, New York, the Royal Belgium Film Archive and Cinematheque, Documenta, Arte Inglesi Oggi, X-Screen, etc. He is the recipient of the Prix de la Recherche, Toulon 1974.\nGidal is renowned as a writer and theorist, in particular for his highly influential publication 'Structural Film Anthology' (BFI 1976), other books include 'Andy Warhol: Films and Paintings' (Studio Vista, 1971, Da Capo NY reprint. 1991) and 'Materialist Film' (Routledge, 1988). Gidal's writings have been published extensively in journals including Studio International, Screen, October and Undercut. He is also known for his research and writings on Samuel Beckett, including 'Understanding Beckett: Monologue and Gesture' (Macmillan, 1986).\nThanks to\nPeter Gidal\nfor giving us permission to host his films.\nThis UbuWeb resource is presented in collaboration with\nLux","bio_dates":"b. 1946"},{"slug":"gidal_peter_clouds_1969","ok":true,"partial":false,"title":"Clouds","artist":"Peter Gidal","year":"1969","startOffset":0,"sourceSecs":525.333,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":95254267,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_clouds_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_clouds_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gidal_peter_clouds_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gidal_peter_clouds_1969/main.mp4?v=2","description":"1969, 10 min, silent, b&w <br/><br/>\"\"The anti-illusionist project engaged by Clouds is that of dialectic materialism. There is virtually nothing on screen, in the sense of in screen. Obsessive repetition as materialist practice not psychoanalytical indulgence.\" - PG (Nov 1975) <br/>\"\"Gidal's film Clouds establishes an awareness of position, a confrontation, and it takes you back to you from the far reaches of eternal space the confrontation as with you.\" - Steve Dwoskin, Independent Cinema (1970)<br><br><b>RESOURCES:</b> <br> Thanks to <a href=\"http://www.luxonline.org.uk/artists/peter_gidal/index.html\" rel=\"noopener\" target=\"_blank\">Peter Gidal</a> for giving us permission to host his films. <br> This UbuWeb resource is presented in collaboration with a href=\"http://www.lux.org.uk/\" target=\"_blank\" rel=\"noopener\"Lux/a</br></br>","artist_bio":"Performance of Sorts With Brecht / Volcano / Denials (1985-2009)\nBorn in 1946. Gidal studied theatre, psychology and literature at Brandeis University, Massachussets, 1964-68, and the University of Munich from 1966-7. He studied at the Royal College of Art from 1968-71 where he went on to teach Advanced Film Studies until 1984. He was an active member of the London Film-makers' Co-operative since 1969, and Cinema Programmer there from 1971-4. Co-founder of the Independent Film-makers' Association, 1975, he served as a member of the British Film Institute Production Board, 1978-81.\nHis films have been screened nationally and internationally, including the Tate Gallery, the Hayward Gallery, and yearly since 1969 at the Edinburgh Film Festival and the National Film Theatre. Gidal has had retrospectives of his films at the Institute of Contemporary Arts in 1983, Centre George Pompidou, Beaubourg, Paris, 1996, amongst others. International screenings include several each at the Museum of Modern Art, New York, the Royal Belgium Film Archive and Cinematheque, Documenta, Arte Inglesi Oggi, X-Screen, etc. He is the recipient of the Prix de la Recherche, Toulon 1974.\nGidal is renowned as a writer and theorist, in particular for his highly influential publication 'Structural Film Anthology' (BFI 1976), other books include 'Andy Warhol: Films and Paintings' (Studio Vista, 1971, Da Capo NY reprint. 1991) and 'Materialist Film' (Routledge, 1988). Gidal's writings have been published extensively in journals including Studio International, Screen, October and Undercut. He is also known for his research and writings on Samuel Beckett, including 'Understanding Beckett: Monologue and Gesture' (Macmillan, 1986).\nThanks to\nPeter Gidal\nfor giving us permission to host his films.\nThis UbuWeb resource is presented in collaboration with\nLux","bio_dates":"b. 1946"},{"slug":"gidal_peter_epilogue_1978","ok":true,"partial":false,"title":"Epilogue","artist":"Peter Gidal","year":"1978","startOffset":0,"sourceSecs":492.203,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":90371397,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_epilogue_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_epilogue_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gidal_peter_epilogue_1978.mp4","hasFrames":true,"description":"1978, color, 8 mins<br><br><b>RESOURCES:</b> <br> Thanks to <a href=\"http://www.luxonline.org.uk/artists/peter_gidal/index.html\" rel=\"noopener\" target=\"_blank\">Peter Gidal</a> for giving us permission to host his films. <br> This UbuWeb resource is presented in collaboration with a href=\"http://www.lux.org.uk/\" target=\"_blank\" rel=\"noopener\"Lux/a</br></br>","artist_bio":"Performance of Sorts With Brecht / Volcano / Denials (1985-2009)\nBorn in 1946. Gidal studied theatre, psychology and literature at Brandeis University, Massachussets, 1964-68, and the University of Munich from 1966-7. He studied at the Royal College of Art from 1968-71 where he went on to teach Advanced Film Studies until 1984. He was an active member of the London Film-makers' Co-operative since 1969, and Cinema Programmer there from 1971-4. Co-founder of the Independent Film-makers' Association, 1975, he served as a member of the British Film Institute Production Board, 1978-81.\nHis films have been screened nationally and internationally, including the Tate Gallery, the Hayward Gallery, and yearly since 1969 at the Edinburgh Film Festival and the National Film Theatre. Gidal has had retrospectives of his films at the Institute of Contemporary Arts in 1983, Centre George Pompidou, Beaubourg, Paris, 1996, amongst others. International screenings include several each at the Museum of Modern Art, New York, the Royal Belgium Film Archive and Cinematheque, Documenta, Arte Inglesi Oggi, X-Screen, etc. He is the recipient of the Prix de la Recherche, Toulon 1974.\nGidal is renowned as a writer and theorist, in particular for his highly influential publication 'Structural Film Anthology' (BFI 1976), other books include 'Andy Warhol: Films and Paintings' (Studio Vista, 1971, Da Capo NY reprint. 1991) and 'Materialist Film' (Routledge, 1988). Gidal's writings have been published extensively in journals including Studio International, Screen, October and Undercut. He is also known for his research and writings on Samuel Beckett, including 'Understanding Beckett: Monologue and Gesture' (Macmillan, 1986).\nThanks to\nPeter Gidal\nfor giving us permission to host his films.\nThis UbuWeb resource is presented in collaboration with\nLux","bio_dates":"b. 1946"},{"slug":"gidal_peter_performance_of_sorts_with_brecht_volcano_denials_1985_2009","ok":true,"partial":false,"title":"Performance of Sorts With Brecht / Volcano / Denials","artist":"Peter Gidal","year":"1985-2009","startOffset":0,"sourceSecs":3135,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":528257187,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_performance_of_sorts_with_brecht_volcano_denials_1985_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_performance_of_sorts_with_brecht_volcano_denials_1985_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gidal_peter_performance_of_sorts_with_brecht_volcano_denials_1985_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gidal_peter_performance_of_sorts_with_brecht_volcano_denials_1985_2009/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gidal_peter_performance_of_sorts_with_brecht_volcano_denials_1985_2009/main/master.m3u8?v=2","hasMainHls":true,"description":"This limited edition DVD presents a rare performance by Peter Gidal in which he interrogates his own practice as an experimental filmmaker and theorist via Brecht's theatre theory, plus two of his key later film works and a new text work produced by Gidal to accompany the performance. Peter Gidal (b. 1946) is a renowned filmmaker, writer and theorist who has exhibited films internationally for the past 40 years. He studied theatre, psychology and literature at Brandeis University, Massachussets and at the University of Munich. He also studied at the Royal College of Art from 1968-71 where he later taught Advanced Film Studies. He was an active member of the London Filmmakers’ Co-operative and Co-founder of the Independent Film-makers’ Association. His films have been screened nationally and internationally including at Tate; Hayward Gallery; Museum of Modern Art, New York; the National Film Theatre and at the Edinburgh Film Festival. Retrospectives of his work have been held at ICA, London (1983) and Centre George Pompidou, Paris (1996) amongst others.<br/><br/> Performance of Sorts with Brecht (2009) “Theatre theory for film, or not: Brecht (an interrogation/performance: a ghost trio for two).” (Gidal). Taking the form of a multi-part dialogue in which Gidal’s translations of Brecht are spoken, Gidal stages an interrogation of his own practice as an experimental filmmaker and theorist via Brecht’s theatre theory. Without rehearsal (but with practice), Gidal “replied” and counter-interrogated on the night. Performance of Sorts with Brecht, Peter Gidal with Karen Mirza was presented by no.w.here as part of the series Reverberations in collaboration with Chisenhale Gallery on 8th June 2009.<br/><br/> Volcano (2003) \"Volcano, half hour, silent, shot on 16mm on a volcano in Hawaii, the film attempts to deal with those questions of representation that persist as problematic, for me, for the basic questions of aesthetics, what it is to view, how to view the unknown as to view the known is not possibly a viewing. The question of recognition, the impossibility of recognition or, better said, the impossibility o f a viewer viewing at all if it is predicated up on recognition... at that moment, you the viewer I the viewer am no longer part of a process, a material however metaphysical or not process of making meaning through the conflicts of perception of something... in this film volcano light’s afterimage, the shot of light after image, becomes as obliterative as dark’s... thereby the temporal break caused by transparent leader, and by black leader, becomes differently spatial and temporal, as to the “something missing”... and there are or are meant to be in all this particular, specific differences to be experienced in the “breaks” and “interruptions” caused by light versus those caused by darkness... in relation to specific film questions of space, questions of time... for example in relation to lacunae (emptiness), nonlacunae (the represented real)... such philosophical aesthetic involvements... nothing is “missing ” except the ability to “cohere” a viable realism...\" - From a statement by Peter Gidal, 2003.<br/><br/> Denials (1986) \"Hopefully learning the lessons of Close Up, the attempt was to construct the discrete form the (seemingly) continuous... so that, mainly retrospectively (yet during viewing) sequences present themselves as fragment-conglomorates. Therefrom might come questions of 'natural representations'... Filmic assumptions of evidence lacking, desired voyeurist pleasures could be turned into thought. Realism of another kind.\" - P.G. 1986. Filmed in Vienna.<br><br><b>RESOURCES:</b> <br> Thanks to <a href=\"http://www.luxonline.org.uk/artists/peter_gidal/index.html\" rel=\"noopener\" target=\"_blank\">Peter Gidal</a> for giving us permission to host his films. <br> This UbuWeb resource is presented in collaboration with a href=\"http://www.lux.org.uk/\" target=\"_blank\" rel=\"noopener\"Lux/a</br></br>","artist_bio":"Performance of Sorts With Brecht / Volcano / Denials (1985-2009)\nBorn in 1946. Gidal studied theatre, psychology and literature at Brandeis University, Massachussets, 1964-68, and the University of Munich from 1966-7. He studied at the Royal College of Art from 1968-71 where he went on to teach Advanced Film Studies until 1984. He was an active member of the London Film-makers' Co-operative since 1969, and Cinema Programmer there from 1971-4. Co-founder of the Independent Film-makers' Association, 1975, he served as a member of the British Film Institute Production Board, 1978-81.\nHis films have been screened nationally and internationally, including the Tate Gallery, the Hayward Gallery, and yearly since 1969 at the Edinburgh Film Festival and the National Film Theatre. Gidal has had retrospectives of his films at the Institute of Contemporary Arts in 1983, Centre George Pompidou, Beaubourg, Paris, 1996, amongst others. International screenings include several each at the Museum of Modern Art, New York, the Royal Belgium Film Archive and Cinematheque, Documenta, Arte Inglesi Oggi, X-Screen, etc. He is the recipient of the Prix de la Recherche, Toulon 1974.\nGidal is renowned as a writer and theorist, in particular for his highly influential publication 'Structural Film Anthology' (BFI 1976), other books include 'Andy Warhol: Films and Paintings' (Studio Vista, 1971, Da Capo NY reprint. 1991) and 'Materialist Film' (Routledge, 1988). Gidal's writings have been published extensively in journals including Studio International, Screen, October and Undercut. He is also known for his research and writings on Samuel Beckett, including 'Understanding Beckett: Monologue and Gesture' (Macmillan, 1986).\nThanks to\nPeter Gidal\nfor giving us permission to host his films.\nThis UbuWeb resource is presented in collaboration with\nLux","bio_dates":"b. 1946"},{"slug":"gidal_peter_room_film_1973","ok":true,"partial":false,"title":"Room Film 1973","artist":"Peter Gidal","year":"1973","startOffset":0,"sourceSecs":2854.997,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":451570058,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_room_film_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_room_film_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gidal_peter_room_film_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gidal_peter_room_film_1973/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gidal_peter_room_film_1973/main/master.m3u8?v=2","hasMainHls":true,"description":"1973, 7 min, silent, colour <br/><br/>\"\"The anti-illusionist project & the materialist dialectic are no more mechanistic goals than for example Marxist poltical theory and practice. This film is a consequent continuation and contraction of my film work, research which began with Room (1967). The film is not a translation of anything, it is not a representation of anything, not even of consciousness.\" - PG <br/><br/>\"\"I liked your Room Film very much. It is very good... I felt as if my father had made it, as if it was made by a blind man. I liked the tentativeness... sometimes the repeating shots would be clear, other times one couldn't tell if it was continuous. One had to work at it. I think it is a really beautiful film. I liked the splices! I feel that searching tentative quality a lot, that quality of trying to see.\" - Michael Snow (Sept 1973) <br/><br/>\"\"I was particularly impressed with Gidal's film, which from what I've seen may be his best to date. Very subtly and very plastically it deals with light. The film is uncompromisingly rigid in its minimality of action. A very beautifully realised piece of work... it is definitely contemporary in feeling and substance. It is one of the best films to come out of the London School.\" - Jonas Mekas, Village Voice (1973)<br><br><b>RESOURCES:</b> <br> Thanks to <a href=\"http://www.luxonline.org.uk/artists/peter_gidal/index.html\" rel=\"noopener\" target=\"_blank\">Peter Gidal</a> for giving us permission to host his films. <br> This UbuWeb resource is presented in collaboration with a href=\"http://www.lux.org.uk/\" target=\"_blank\" rel=\"noopener\"Lux/a</br></br>","artist_bio":"Performance of Sorts With Brecht / Volcano / Denials (1985-2009)\nBorn in 1946. Gidal studied theatre, psychology and literature at Brandeis University, Massachussets, 1964-68, and the University of Munich from 1966-7. He studied at the Royal College of Art from 1968-71 where he went on to teach Advanced Film Studies until 1984. He was an active member of the London Film-makers' Co-operative since 1969, and Cinema Programmer there from 1971-4. Co-founder of the Independent Film-makers' Association, 1975, he served as a member of the British Film Institute Production Board, 1978-81.\nHis films have been screened nationally and internationally, including the Tate Gallery, the Hayward Gallery, and yearly since 1969 at the Edinburgh Film Festival and the National Film Theatre. Gidal has had retrospectives of his films at the Institute of Contemporary Arts in 1983, Centre George Pompidou, Beaubourg, Paris, 1996, amongst others. International screenings include several each at the Museum of Modern Art, New York, the Royal Belgium Film Archive and Cinematheque, Documenta, Arte Inglesi Oggi, X-Screen, etc. He is the recipient of the Prix de la Recherche, Toulon 1974.\nGidal is renowned as a writer and theorist, in particular for his highly influential publication 'Structural Film Anthology' (BFI 1976), other books include 'Andy Warhol: Films and Paintings' (Studio Vista, 1971, Da Capo NY reprint. 1991) and 'Materialist Film' (Routledge, 1988). Gidal's writings have been published extensively in journals including Studio International, Screen, October and Undercut. He is also known for his research and writings on Samuel Beckett, including 'Understanding Beckett: Monologue and Gesture' (Macmillan, 1986).\nThanks to\nPeter Gidal\nfor giving us permission to host his films.\nThis UbuWeb resource is presented in collaboration with\nLux","bio_dates":"b. 1946"},{"slug":"gidal_peter_upside_down_feature_1967_72_iphone","ok":true,"partial":false,"title":"Upside Down Feature","artist":"Peter Gidal","year":"1967-1972","startOffset":0,"sourceSecs":3637.954,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":212387342,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_upside_down_feature_1967_72_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gidal_peter_upside_down_feature_1967_72_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gidal_peter_upside_down_feature_1967_72_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gidal_peter_upside_down_feature_1967_72_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gidal_peter_upside_down_feature_1967_72_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"16mm<br/> 76 mins, Colour and B&W, Sound (Magnetic)<br/> <br/> (Also called: Upside Down Backward Negative Out-take feature, Mainly) Clarification attempt. Bending time + space, reconceptualization, unbending, dissociativeness of word and image, disconnection, interruption. Hopefully transformative 'use' of Proust, Duchamp, Beckett, Cage.<br/><br/> How it is what it is. (1972). <br/><br/>\"\"UDF explored the problem of simultaneous function of two distinct language forms which draws attention to the fallacy of assuming that communication occurs during the process of sympathetic involvement common to the technique of the commercial movie. It does this by keeping before the viewer what is being communicated and how, rarely if ever allowing a \"standard\" representation or reference to reality.\" Malcolm Le Grice - After-Image 4 (1973). <br/><br/>\"\"I would love this film to be seen more now. The questions it raises and provokes, and the viewing it demands, is relevant to much current aesthetic practice.\" Peter Gidal (1987). \"Now in 2009 this film which was shot on reversal so there is no negative, exists again for which I am grateful\". Peter Gidal, London.<br><br><b>RESOURCES:</b> <br> Thanks to <a href=\"http://www.luxonline.org.uk/artists/peter_gidal/index.html\" rel=\"noopener\" target=\"_blank\">Peter Gidal</a> for giving us permission to host his films. <br> This UbuWeb resource is presented in collaboration with a href=\"http://www.lux.org.uk/\" target=\"_blank\" rel=\"noopener\"Lux/a</br></br>","artist_bio":"Performance of Sorts With Brecht / Volcano / Denials (1985-2009)\nBorn in 1946. Gidal studied theatre, psychology and literature at Brandeis University, Massachussets, 1964-68, and the University of Munich from 1966-7. He studied at the Royal College of Art from 1968-71 where he went on to teach Advanced Film Studies until 1984. He was an active member of the London Film-makers' Co-operative since 1969, and Cinema Programmer there from 1971-4. Co-founder of the Independent Film-makers' Association, 1975, he served as a member of the British Film Institute Production Board, 1978-81.\nHis films have been screened nationally and internationally, including the Tate Gallery, the Hayward Gallery, and yearly since 1969 at the Edinburgh Film Festival and the National Film Theatre. Gidal has had retrospectives of his films at the Institute of Contemporary Arts in 1983, Centre George Pompidou, Beaubourg, Paris, 1996, amongst others. International screenings include several each at the Museum of Modern Art, New York, the Royal Belgium Film Archive and Cinematheque, Documenta, Arte Inglesi Oggi, X-Screen, etc. He is the recipient of the Prix de la Recherche, Toulon 1974.\nGidal is renowned as a writer and theorist, in particular for his highly influential publication 'Structural Film Anthology' (BFI 1976), other books include 'Andy Warhol: Films and Paintings' (Studio Vista, 1971, Da Capo NY reprint. 1991) and 'Materialist Film' (Routledge, 1988). Gidal's writings have been published extensively in journals including Studio International, Screen, October and Undercut. He is also known for his research and writings on Samuel Beckett, including 'Understanding Beckett: Monologue and Gesture' (Macmillan, 1986).\nThanks to\nPeter Gidal\nfor giving us permission to host his films.\nThis UbuWeb resource is presented in collaboration with\nLux","bio_dates":"b. 1946"},{"slug":"gilbert_and_george_gordons_makes_us_drunk","ok":true,"partial":false,"title":"Gilbert and George - Gordon's Makes Us Drunk","artist":"Gilbert and George","year":"1972","startOffset":0,"sourceSecs":674.925,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":120989713,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_and_george_gordons_makes_us_drunk/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_and_george_gordons_makes_us_drunk/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gilbert_and_george_gordons_makes_us_drunk.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gilbert_and_george_gordons_makes_us_drunk/main.mp4?v=2","description":"Gin and tonic became Gilbert & George’s drink of choice in 1971. They picked Gordon’s because it was ‘the best gin’. For this film, they have added their names to the bottle’s label, on either side of the Royal crest. The artists are shown seated at a table, getting drunk to a soundtrack of Elgar and Grieg.","artist_bio":"British sculptors. Gilbert Proesch (b Dolomites, Italy, 17 Sept 1943) and George Passmore (b Plymouth, Devon, 8 Jan 1942) met in 1967 as students at St Martin's School of Art in London. By 1969 they were reacting against approaches to sculpture then dominant at St Martin's, which they regarded as elitist and poor at communicating outside an art context. Their strategy was to make themselves into sculpture, so sacrificing their separate identities to art and turning the notion of creativity on its head.\nAlthough working in a variety of media, Gilbert and George referred to all their work as sculpture. Between 1970 and 1974 they also made drawings (referred to as Charcoal on Paper Sculptures) and paintings to give a more tangible form to their identity as ‘living sculptures'.\nIn 1971 Gilbert & George made their first ‘photo-pieces', which remained their dominant form of expression. They gradually shifted the emphasis of their subject-matter away from their own experiences of life. Instead they concentrated on the inner-city reality that confronted them on the street and on the structures and feelings that inform life such as religion, class, royalty, sex, hope, nationality, death, identity, politics and fear. Their belief that they are making an ‘Art for Life's Sake' and an ‘Art for All' was, at the beginning of the 1990s, given a renewed emphasis through their exhibitions mounted in Moscow (1990), Beijing and Shanghai (1993). These exhibitions underline their belief that art can still positively break down barriers.","bio_dates":"Gilbert Prousch (b. 1943) and George Passmore (b. 1942"},{"slug":"gilbert_and_george_imagine_no_surrender_iphone","ok":true,"partial":false,"title":"No Surrender, 8th May 2007","artist":"Gilbert and George","year":"2007","startOffset":0,"sourceSecs":2990.916,"sourceHeight":264,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":174762900,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_and_george_imagine_no_surrender_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_and_george_imagine_no_surrender_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gilbert_and_george_imagine_no_surrender_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gilbert_and_george_imagine_no_surrender_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gilbert_and_george_imagine_no_surrender_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"All the hidden remarks - 'the curiously besuited couple', 'the tedious twosome' - that's all coded language for 'I'd prefer not to have two poofs exhibiting in this gallery',\" Gilbert and George declare over tea with Alan Yentob in their favourite East End café. <br/><br/> Their Major Exhibition, at Tate Modern this year, was largely heralded as a must-see. But even though they're the first British artists to have a retrospective at the gallery, Britain's original bad boys of art still see themselves as outsiders. Attacked by the British press they dream of friendly headlines. <br/><br/>\"\"We tell more of what we are in our pictures than any other artist living. They always want to say 'where do you stand?' And what would they like to hear? We love the Labour party, we hate Tony Blair, we hate Bush, we think we should get the troops out, we're vegans, we don't like furs, we're not very good in bed, we read Penguin books, we love dinner parties in Hampstead... What do you say to please them? We never were normal, we were always Normal Weird.\" <br/><br/> In <i>Gilbert and George: No Surrender</i>, Alan Yentob is invited into the house where the couple have lived for four decades, taken to their hat-makers to collect Gilbert's specially made beaver hat, and is given an intimate view of their relationship with their work.","artist_bio":"British sculptors. Gilbert Proesch (b Dolomites, Italy, 17 Sept 1943) and George Passmore (b Plymouth, Devon, 8 Jan 1942) met in 1967 as students at St Martin's School of Art in London. By 1969 they were reacting against approaches to sculpture then dominant at St Martin's, which they regarded as elitist and poor at communicating outside an art context. Their strategy was to make themselves into sculpture, so sacrificing their separate identities to art and turning the notion of creativity on its head.\nAlthough working in a variety of media, Gilbert and George referred to all their work as sculpture. Between 1970 and 1974 they also made drawings (referred to as Charcoal on Paper Sculptures) and paintings to give a more tangible form to their identity as ‘living sculptures'.\nIn 1971 Gilbert & George made their first ‘photo-pieces', which remained their dominant form of expression. They gradually shifted the emphasis of their subject-matter away from their own experiences of life. Instead they concentrated on the inner-city reality that confronted them on the street and on the structures and feelings that inform life such as religion, class, royalty, sex, hope, nationality, death, identity, politics and fear. Their belief that they are making an ‘Art for Life's Sake' and an ‘Art for All' was, at the beginning of the 1990s, given a renewed emphasis through their exhibitions mounted in Moscow (1990), Beijing and Shanghai (1993). These exhibitions underline their belief that art can still positively break down barriers.","bio_dates":"1972"},{"slug":"gilbert_and_george_in_the_bush","ok":true,"partial":false,"title":"Gilbert and George - In the Bush","artist":"Gilbert and George","year":"1972","startOffset":0,"sourceSecs":960.937,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":170454954,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_and_george_in_the_bush/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_and_george_in_the_bush/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gilbert_and_george_in_the_bush.mp4","hasFrames":true,"description":"Gilbert & George made several early pictures and videos with a rural setting. In the Bush consists of a single take, with the figures of the artists appearing and disappearing among the distant trees, simultaneously encouraging and frustrating the viewer's attempt to scrutinise their furtive movements.","artist_bio":"British sculptors. Gilbert Proesch (b Dolomites, Italy, 17 Sept 1943) and George Passmore (b Plymouth, Devon, 8 Jan 1942) met in 1967 as students at St Martin's School of Art in London. By 1969 they were reacting against approaches to sculpture then dominant at St Martin's, which they regarded as elitist and poor at communicating outside an art context. Their strategy was to make themselves into sculpture, so sacrificing their separate identities to art and turning the notion of creativity on its head.\nAlthough working in a variety of media, Gilbert and George referred to all their work as sculpture. Between 1970 and 1974 they also made drawings (referred to as Charcoal on Paper Sculptures) and paintings to give a more tangible form to their identity as ‘living sculptures'.\nIn 1971 Gilbert & George made their first ‘photo-pieces', which remained their dominant form of expression. They gradually shifted the emphasis of their subject-matter away from their own experiences of life. Instead they concentrated on the inner-city reality that confronted them on the street and on the structures and feelings that inform life such as religion, class, royalty, sex, hope, nationality, death, identity, politics and fear. Their belief that they are making an ‘Art for Life's Sake' and an ‘Art for All' was, at the beginning of the 1990s, given a renewed emphasis through their exhibitions mounted in Moscow (1990), Beijing and Shanghai (1993). These exhibitions underline their belief that art can still positively break down barriers.","bio_dates":"Gilbert Prousch (b. 1943) and George Passmore (b. 1942"},{"slug":"gilbert_and_george_portrait_of_the_artists_as_young_men","ok":true,"partial":false,"title":"The World of Gilbert & George","artist":"Gilbert and George","year":"1981","startOffset":0,"sourceSecs":447.333,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":31463145,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_and_george_portrait_of_the_artists_as_young_men/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_and_george_portrait_of_the_artists_as_young_men/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gilbert_and_george_portrait_of_the_artists_as_young_men.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gilbert_and_george_portrait_of_the_artists_as_young_men/main.mp4?v=2","description":"The World of Gilbert & George was completed in 1981 and in many ways it is the artists’ magnum opus. It is a film that deals with identity, patriotism, duty, sacrifice, life, death, sex, and religion. It encompasses so many of Gilbert & George’s preoccupations, so familiar from their monumental art works, and yet it has an intimacy and poetry that you will often only find when speaking to the artists themselves. It is a film that seems even more resonant in post-Brexit Britain – although this present conversation with the artists takes place before the votes in the referendum have been cast. The film is set in London, mostly in their house in Fournier Street in Spitalfields, east London – the site of their studio and home for many years, and where this interview is held.","artist_bio":"British sculptors. Gilbert Proesch (b Dolomites, Italy, 17 Sept 1943) and George Passmore (b Plymouth, Devon, 8 Jan 1942) met in 1967 as students at St Martin's School of Art in London. By 1969 they were reacting against approaches to sculpture then dominant at St Martin's, which they regarded as elitist and poor at communicating outside an art context. Their strategy was to make themselves into sculpture, so sacrificing their separate identities to art and turning the notion of creativity on its head.\nAlthough working in a variety of media, Gilbert and George referred to all their work as sculpture. Between 1970 and 1974 they also made drawings (referred to as Charcoal on Paper Sculptures) and paintings to give a more tangible form to their identity as ‘living sculptures'.\nIn 1971 Gilbert & George made their first ‘photo-pieces', which remained their dominant form of expression. They gradually shifted the emphasis of their subject-matter away from their own experiences of life. Instead they concentrated on the inner-city reality that confronted them on the street and on the structures and feelings that inform life such as religion, class, royalty, sex, hope, nationality, death, identity, politics and fear. Their belief that they are making an ‘Art for Life's Sake' and an ‘Art for All' was, at the beginning of the 1990s, given a renewed emphasis through their exhibitions mounted in Moscow (1990), Beijing and Shanghai (1993). These exhibitions underline their belief that art can still positively break down barriers.","bio_dates":"1972"},{"slug":"gilbert_george_ten_commandments","ok":true,"partial":false,"title":"Ten Commandments for Gilbert & George","artist":"Gilbert and George","year":"1995","startOffset":0,"sourceSecs":126.315,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":4647093,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_george_ten_commandments/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_george_ten_commandments/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gilbert_george_ten_commandments.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gilbert_george_ten_commandments/main.mp4?v=2","description":"<b>Ten Commandments for Gilbert and George</b><br/> <br/> Thou shalt fight conformism<br/> Thou shalt be the messenger of freedoms<br/> Thou shalt make use of sex<br/> Thou shalt reinvent life<br/> Thou shalt create artificial art<br/> Thou shalt have a sense of purpose<br/> Thou shalt not know exactly what thou dost, but thou shalt do it<br/> Thou shalt give thy love<br/> Thou shalt grab the soul<br/> Thou shalt give something back","artist_bio":"British sculptors. Gilbert Proesch (b Dolomites, Italy, 17 Sept 1943) and George Passmore (b Plymouth, Devon, 8 Jan 1942) met in 1967 as students at St Martin's School of Art in London. By 1969 they were reacting against approaches to sculpture then dominant at St Martin's, which they regarded as elitist and poor at communicating outside an art context. Their strategy was to make themselves into sculpture, so sacrificing their separate identities to art and turning the notion of creativity on its head.\nAlthough working in a variety of media, Gilbert and George referred to all their work as sculpture. Between 1970 and 1974 they also made drawings (referred to as Charcoal on Paper Sculptures) and paintings to give a more tangible form to their identity as ‘living sculptures'.\nIn 1971 Gilbert & George made their first ‘photo-pieces', which remained their dominant form of expression. They gradually shifted the emphasis of their subject-matter away from their own experiences of life. Instead they concentrated on the inner-city reality that confronted them on the street and on the structures and feelings that inform life such as religion, class, royalty, sex, hope, nationality, death, identity, politics and fear. Their belief that they are making an ‘Art for Life's Sake' and an ‘Art for All' was, at the beginning of the 1990s, given a renewed emphasis through their exhibitions mounted in Moscow (1990), Beijing and Shanghai (1993). These exhibitions underline their belief that art can still positively break down barriers.","bio_dates":"1972"},{"slug":"gilbert_george_the_world_of_gilbert_and_george_1981","ok":true,"partial":false,"title":"The World of Gilbert & George","artist":"Gilbert and George","year":"1981","startOffset":0,"sourceSecs":4134.864,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":704006018,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_george_the_world_of_gilbert_and_george_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbert_george_the_world_of_gilbert_and_george_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gilbert_george_the_world_of_gilbert_and_george_1981.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gilbert_george_the_world_of_gilbert_and_george_1981/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gilbert_george_the_world_of_gilbert_and_george_1981/main/master.m3u8?v=2","hasMainHls":true,"description":"The World of Gilbert & George was completed in 1981 and in many ways it is the artists’ magnum opus. It is a film that deals with identity, patriotism, duty, sacrifice, life, death, sex, and religion. It encompasses so many of Gilbert & George’s preoccupations, so familiar from their monumental art works, and yet it has an intimacy and poetry that you will often only find when speaking to the artists themselves. It is a film that seems even more resonant in post-Brexit Britain – although this present conversation with the artists takes place before the votes in the referendum have been cast. The film is set in London, mostly in their house in Fournier Street in Spitalfields, east London – the site of their studio and home for many years, and where this interview is held.","artist_bio":"British sculptors. Gilbert Proesch (b Dolomites, Italy, 17 Sept 1943) and George Passmore (b Plymouth, Devon, 8 Jan 1942) met in 1967 as students at St Martin's School of Art in London. By 1969 they were reacting against approaches to sculpture then dominant at St Martin's, which they regarded as elitist and poor at communicating outside an art context. Their strategy was to make themselves into sculpture, so sacrificing their separate identities to art and turning the notion of creativity on its head.\nAlthough working in a variety of media, Gilbert and George referred to all their work as sculpture. Between 1970 and 1974 they also made drawings (referred to as Charcoal on Paper Sculptures) and paintings to give a more tangible form to their identity as ‘living sculptures'.\nIn 1971 Gilbert & George made their first ‘photo-pieces', which remained their dominant form of expression. They gradually shifted the emphasis of their subject-matter away from their own experiences of life. Instead they concentrated on the inner-city reality that confronted them on the street and on the structures and feelings that inform life such as religion, class, royalty, sex, hope, nationality, death, identity, politics and fear. Their belief that they are making an ‘Art for Life's Sake' and an ‘Art for All' was, at the beginning of the 1990s, given a renewed emphasis through their exhibitions mounted in Moscow (1990), Beijing and Shanghai (1993). These exhibitions underline their belief that art can still positively break down barriers.","bio_dates":"1972"},{"slug":"gilbreth_frank_motion_studies_1910_24_iphone","ok":true,"partial":false,"title":"Motion Studies","artist":"Frank B. Gilbreth","year":"1910-1924","startOffset":0,"sourceSecs":1926.402,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":117371774,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbreth_frank_motion_studies_1910_24_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gilbreth_frank_motion_studies_1910_24_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gilbreth_frank_motion_studies_1910_24_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gilbreth_frank_motion_studies_1910_24_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gilbreth_frank_motion_studies_1910_24_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Essentially a summary of work analysis films which were taken by Frank B. Gilbreth between 1910 and 1924 showing a number of industrial operations from which the motion study technique was developed. Pictures a sleepy street in Montclair, New Jersey; the Gilbreth family with nine of their eleven children; and numerous experiments in motion study, including paper box assembly, bricklaying, typing (typewriting), small parts assembly, etc. <br/><br/> Contains selections from the 250,000 feet of 35mm film that Dr. Gilbreth amassed in his analysis and development of time and motion study. The selected films study the methods of various tasks necessary in factory production of and distribution of goods. In addition they demonstrate how Dr. Gilbreth's methods increased efficiency in motion and skill with a resultant increase in productivity in these tasks. Dr. Gilbreth's principles of time and motion study originated at the time of the horse drawn wagon and the invention of the horse-less carriage.","artist_bio":"Gilbreth, born in Fairfield, Maine to Joseph Hiram and Martha (nŽe Bunker) Gilbreth, had no formal education beyond high school. He began as a bricklayer, became a building contractor, an inventor, and evolved into management engineer. He eventually became an occasional lecturer at Purdue University, which houses his papers. He married Lillian Evelyn Moller on October 19, 1904 in Oakland, California; they had 12 children, 11 of whom survived him. Their names were Anne, Mary (1906-1912), Ernestine, Martha, Frank Jr., Bill, Lillian, Fred, Daniel, John, Robert and Jane.\nGilbreth discovered his vocation when, as a young building contractor, he sought ways to make bricklaying (his first trade) faster and easier. This grew into a collaboration with his eventual spouse, Lillian Moller Gilbreth, that studied the work habits of manufacturing and clerical employees in all sorts of industries to find ways to increase output and make their jobs easier. He and Lillian founded a management consulting firm, Gilbreth, Inc., focusing on such endeavors.\nAccording to Claude George (1968), Gilbreth reduced all motions of the hand into some combination of 18 basic motions. These included grasp, transport loaded, and hold. Gilbreth named the motions therbligs, \"Gilbreth\" spelled backwards with the th transposed. He used a motion picture camera that was calibrated in fractions of minutes to time the smallest of motions in workers.\nGeorge noted that the Gilbreths were, above all, scientists who sought to teach managers that all aspects of the workplace should be constantly questioned, and improvements constantly adopted. Their emphasis on the \"one best way\" and the therbligs predates the development of continuous quality improvement (CQI) (George 1968: 98), and the late 20th century understanding that repeated motions can lead to workers experiencing repetitive motion injuries.\nGilbreth was the first to propose that a surgical nurse serve as \"caddy\" (Gilbreth's term) to a surgeon, by handing surgical instruments to the surgeon as called for. Gilbreth also devised the standard techniques used by armies around the world to teach recruits how to rapidly disassemble and reassemble their weapons even when blindfolded or in total darkness.","bio_dates":"b. 1946"},{"slug":"gillick_liam_underground_trailer_for_a_book","ok":true,"partial":false,"title":"Underground (Trailer for a Book)","artist":"Liam Gillick","year":"2004","startOffset":0,"sourceSecs":412.178,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":62930188,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gillick_liam_underground_trailer_for_a_book/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gillick_liam_underground_trailer_for_a_book/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gillick_liam_underground_trailer_for_a_book.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gillick_liam_underground_trailer_for_a_book/main.mp4?v=2","description":"Underground (Trailer for a Book) has been created following Liam Gillick’s work Underground (Fragments of future histories) a work composed as a screenplay based on the very first science fiction novel, Fragments d’Histoire future, written in 1884 by Gabriel Tarde. Underground (Trailer for a book), screened on a Brionvegaâ Cuboglass TV, shows excerpts of Tarde’s text (translated in English) and Gillick’s screenplay, scrolling on the screen. Sentences appear and vanish in various colors and resolutions of image, carried along by a slow numeric whirling.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a></br>","artist_bio":"Liam Gillick (born 1964, Aylesbury, Buckinghamshire) is a British conceptual artist who lives in New York City. He is often associated with the artists included the 1996 exhibit Traffic, which first introduced the term Relational Art.\nLiam Gillick emerged as part of the generation of \"Young British Artists\" who energized the British art scene in the 1980s and 1990s. He is now one of the most influential (and perplexing) artists in all of contemporary art. Gillick's discursive mode of art practice—often associated with \"relational aesthetics\"—complicates object production, embraces the exhibition as medium, and explores the social role and function of art. His body of work includes variations on \"discussion platforms\" (architectural structures that question or facilitate social interaction), text sculptures, and published texts that reflect on the increasing gap between utopian idealism and the real world. Artist, writer, curator, and provocateur, Gillick explores how an artistic practice can be conducted and represented, while at the same time questioning curatorial practice and the conventions of applied design.\nLiam Gillick is an artist based in New York. Solo exhibitions include The Wood Way, Whitechapel Gallery, London, 2002; A short text on the possibility of creating an economy of equivalence, Palais de Tokyo, 2005 and the retrospective project Three Perspectives and a short scenario, Witte de With, Rotterdam, Kunsthalle Zurich, Kunstverein, München and the MCA, Chicago, 2008-2010. He was nominated for the Turner Prize in 2002 and the Vincent Award at the Stedelijk Museum in Amsterdam in 2008. Many public commissions and projects include the Home Office in London (2005) and the Dynamica Building in Guadalajara, Mexico (2009). In 2006 he was a central figure in the free art school project unitednationsplaza in Berlin that travelled to Mexico City and New York. Liam Gillick has published a number of texts that function in parallel to his artwork. Proxemics (Selected writing 1988-2006) JRP-Ringier was published in 2007 alongside the monograph Factories in the Snow by Lilian Haberer, JRP-Ringier. A critical reader titled Meaning Liam Gillick, was published by MIT Press (2009). An anthology of his artistic writing titled Allbooks was also published by Book Works, London (2009). In addition he has contributed to many art magazines and journals including Parkett, Frieze, Art Monthly, October and Art Forum. Liam Gillick was selected to represent Germany for the 53rd Venice Biennale in 2009. The resulting work is in the permanent collection of the Guggenheim Bilbao. A major exhibition opened at the Kunst und Ausstellungshalle der Bundesrepublik Deutschland in April 2010. In 2012 a survey of work from the 1990s titled Liam Gillick: From 199A to 199B opened at the CCS Bard Hessel Museum. Liam Gillick has taught at Columbia University in New York since 1997 and the Centre for Curatorial Studies at Bard College since 2008. Public collections include: Government Art Collection, UK; Arts Council, UK; Tate, London; Museum of Modern Art, New York; Guggenheim Museum, New York; Hirshhorn Museum, Washington DC; Museum of Contemporary Art, Chicago.","bio_dates":"b. 1964"},{"slug":"ginsberg_allen_allannallenscomplaint","ok":true,"partial":false,"title":"Allan 'n' Allen's Complaint (1982)","artist":"Allen Ginsberg","year":"1982","startOffset":0,"sourceSecs":1716.348,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":300085594,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ginsberg_allen_allannallenscomplaint/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ginsberg_allen_allannallenscomplaint/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ginsberg_allen_allannallenscomplaint.mp4","hasFrames":true,"description":"In Allan 'n' Allen's Complaint, the influence of Jewish fathers on their sons and the complexity of familial relationships are explored in a witty, poignant portrait of two artists. Beat poet Allen Ginsberg (whose father Louis was a poet in his own right) and performance artist/sculptor Allan Kaprow (whose father is a high-powered lawyer) are the sons who struggle with and against the influences of these patriarchal figures. Paik and Shigeko Kubota take the viewer on a journey from the Mideast (where Kaprow performs his Stone Happening and makes an ice sculpture in the desert), to a New York poetry reading with Ginsberg and his father, to Boulder, Colorado, where Ginsberg's companion Peter Orlovsky plays his banjo. Throughout, the artists subject their content to irreverent temporal, spatial and visual transformations: images multiply and proliferate, time is accelerated or slowed, audio is de-synchronized. In this playful, often moving portrait of fathers and sons, the artists use video effects to allow Kaprow to walk on water, and orchestrate a posthumous confrontation between Ginsberg and the image of his father.\n\nHost: Pierre Restany. Guests: Peter Orlovsky, Catherine Ikam. Camera: Bill Marpet, Esti Gallili Marpet, Uri Bar-Zemer, Herb Squire, Kit Fitzgerald, Dimitri Devyatkin, Deborah Van Moser, Karen Edwards, Jud Yalkut. Editors: John J. Godfrey, Ruth Bonomo-Godfrey, Paul Dogherty, Pat Ivers, John Castedo. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"ginsberg_allen_ballad_of_the_skeletons_1997","ok":true,"partial":false,"title":"Ballad of the Skeletons","artist":"Allen Ginsberg","year":"1997","startOffset":0,"sourceSecs":302.272,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":21744285,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ginsberg_allen_ballad_of_the_skeletons_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ginsberg_allen_ballad_of_the_skeletons_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ginsberg_allen_ballad_of_the_skeletons_1997.mp4","hasFrames":true,"description":"Director: Gus Van Sant<br/> Experimental Short<br/> 1997, Sundance Film Festival<br/> U.S.A.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/ginsberg.html\" rel=\"noopener\" target=\"_blank\">Allen Ginsberg in UbuWeb Sound</a></br>","artist_bio":"The Life and Times of Allen Ginsberg (1994)\nDir. Jerry Aronson\nA Poet on the Lower East Side: A Docu-Diary on Allen Ginsberg (1997)\nDir. Gyula Gazdag\nScenes from Allen's Last Three Days on Earth as a Spirit (1997)\nDir. Jonas Mekas\nIrwin Allen Ginsberg (/ˈɡɪnzbərɡ/; June 3, 1926 – April 5, 1997) was an American poet and one of the leading figures of both the Beat Generation of the 1950s and the counterculture that soon would follow. He vigorously opposed militarism, economic materialism and sexual repression. Ginsberg is best known for his epic poem \"Howl\", in which he denounced what he saw as the destructive forces of capitalism and conformity in the United States.\nIn 1957, \"Howl\" attracted widespread publicity when it became the subject of an obscenity trial, as it depicted heterosexual and homosexual sex at a time when sodomy laws made homosexual acts a crime in every U.S. state. \"Howl\" reflected Ginsberg's own homosexuality and his relationships with a number of men, including Peter Orlovsky, his lifelong partner. Judge Clayton W. Horn ruled that \"Howl\" was not obscene, adding, \"Would there be any freedom of press or speech if one must reduce his vocabulary to vapid innocuous euphemisms?\"\nGinsberg was a practicing Buddhist who studied Eastern religious disciplines extensively. He lived modestly, buying his clothing in second-hand stores and residing in downscale apartments in New York’s East Village. One of his most influential teachers was the Tibetan Buddhist, the Venerable Chögyam Trungpa, founder of the Naropa Institute, now Naropa University at Boulder, Colorado. At Trungpa's urging, Ginsberg and poet Anne Waldman started The Jack Kerouac School of Disembodied Poetics there in 1974.\nGinsberg took part in decades of non-violent political protest against everything from the Vietnam War to the War on Drugs. His poem \"September on Jessore Road,\" calling attention to the plight of Bangladeshi refugees, exemplifies what the literary critic Helen Vendler described as Ginsberg's tireless persistence in protesting against \"imperial politics, and persecution of the powerless.\"\nHis collection The Fall of America shared the annual U.S. National Book Award for Poetry in 1974. In 1979 he received the National Arts Club gold medal and was inducted into the American Academy and Institute of Arts and Letters. In 1986 he was awarded the Golden Wreath of the Struga Poetry Evenings in Struga, Macedonia. Ginsberg was a Pulitzer Prize finalist in 1995 for his book Cosmopolitan Greetings: Poems 1986–1992.\nAllen Ginsberg in Antonella Branca' film \"What's Happening?\"","bio_dates":"1926-1997"},{"slug":"ginsberg_allen_face_to_face_iphone","ok":true,"partial":false,"title":"Face to Face with Jeremy Isaacs: An Interview with Allen Ginsberg","artist":"Allen Ginsberg","year":"1995","startOffset":0,"sourceSecs":2329.794,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":136510660,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ginsberg_allen_face_to_face_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ginsberg_allen_face_to_face_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ginsberg_allen_face_to_face_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ginsberg_allen_face_to_face_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ginsberg_allen_face_to_face_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Runtime: 39mins <br/><br/> Face To Face was a legendary BBC television series in the early days of British television, a series of half-hour interviews conducted by the broadcaster John Freeman, which aired between 1959 and 1962. The template proved a hugely influential one. Freeman never appeared on camera throughout the shows, only his questions could be heard. His guests were filmed in tight close-ups under stark lighting conditions, as if under interrogation. The format was revived by Jeremy Isaacs in 1990 and ran again through to 1998. The interview with Allen (video below) took place in 1994 and was broadcast on the 9th of January 1995.","artist_bio":"The Life and Times of Allen Ginsberg (1994)\nDir. Jerry Aronson\nA Poet on the Lower East Side: A Docu-Diary on Allen Ginsberg (1997)\nDir. Gyula Gazdag\nScenes from Allen's Last Three Days on Earth as a Spirit (1997)\nDir. Jonas Mekas\nIrwin Allen Ginsberg (/ˈɡɪnzbərɡ/; June 3, 1926 – April 5, 1997) was an American poet and one of the leading figures of both the Beat Generation of the 1950s and the counterculture that soon would follow. He vigorously opposed militarism, economic materialism and sexual repression. Ginsberg is best known for his epic poem \"Howl\", in which he denounced what he saw as the destructive forces of capitalism and conformity in the United States.\nIn 1957, \"Howl\" attracted widespread publicity when it became the subject of an obscenity trial, as it depicted heterosexual and homosexual sex at a time when sodomy laws made homosexual acts a crime in every U.S. state. \"Howl\" reflected Ginsberg's own homosexuality and his relationships with a number of men, including Peter Orlovsky, his lifelong partner. Judge Clayton W. Horn ruled that \"Howl\" was not obscene, adding, \"Would there be any freedom of press or speech if one must reduce his vocabulary to vapid innocuous euphemisms?\"\nGinsberg was a practicing Buddhist who studied Eastern religious disciplines extensively. He lived modestly, buying his clothing in second-hand stores and residing in downscale apartments in New York’s East Village. One of his most influential teachers was the Tibetan Buddhist, the Venerable Chögyam Trungpa, founder of the Naropa Institute, now Naropa University at Boulder, Colorado. At Trungpa's urging, Ginsberg and poet Anne Waldman started The Jack Kerouac School of Disembodied Poetics there in 1974.\nGinsberg took part in decades of non-violent political protest against everything from the Vietnam War to the War on Drugs. His poem \"September on Jessore Road,\" calling attention to the plight of Bangladeshi refugees, exemplifies what the literary critic Helen Vendler described as Ginsberg's tireless persistence in protesting against \"imperial politics, and persecution of the powerless.\"\nHis collection The Fall of America shared the annual U.S. National Book Award for Poetry in 1974. In 1979 he received the National Arts Club gold medal and was inducted into the American Academy and Institute of Arts and Letters. In 1986 he was awarded the Golden Wreath of the Struga Poetry Evenings in Struga, Macedonia. Ginsberg was a Pulitzer Prize finalist in 1995 for his book Cosmopolitan Greetings: Poems 1986–1992.\nAllen Ginsberg in Antonella Branca' film \"What's Happening?\"","bio_dates":"1926-1997"},{"slug":"giorno_burroughs_final_academy_performances_1983","ok":true,"partial":false,"title":"Final Academy Performances","artist":"William S. Burroughs","year":"1983","startOffset":0,"sourceSecs":3596.693,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":602965887,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/giorno_burroughs_final_academy_performances_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/giorno_burroughs_final_academy_performances_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/giorno_burroughs_final_academy_performances_1983.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/giorno_burroughs_final_academy_performances_1983/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/giorno_burroughs_final_academy_performances_1983/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"In 1983 William S. Burroughs participated in a tour of Britain called \"The Final Academy\" which showcased Burrough's work and performances by artists influenced by this iconoclastic writer and artist. On October 4, 1983 the show came to Manchester at the Hacienda club, famous for the Factory record label. A special edit of Burrough's film Ghosts at No. 9 by Genesis P.Orridge, and the Gysin/Burroughs/Balch film Towers Open Fire were aired. John Giorno also performed. And then Burroughs himself performed readings from his written work, including \"The Place of Dead Roads.\" Originally released on Factory as a two VHS box set, this long unavailable set has been restored, making an excellent addition to any Burroughs collection, or a great introduction to the uninitiated.\"\n\n\"\"William Burroughs’ reading in the city of Manchester took place on the 4th of October, 1982, at Factory Records’ Haçienda club, as part of the Manchester “edition” of The Final Academy, a Burroughs-themed art event put together by Psychic TV (Genesis P Orridge & Peter Christopherson) and others. The Final Academy Documents is the shoddily-produced DVD made from the low-grade video recordings that captured the event (originally an Ikon Video production from Factory). The DVD is so badly presented by Cherry Red that no one should feel guilty about downloading this.\n\nBurroughs appearance was the magical part of a scaled-down version of the larger two-day Final Academy that had taken place earlier that week in London. The rest of the event was either strange or underwhelming, not helped by the chilly and elitist atmosphere of Manchester’s newest and most famous club. In the days before “Madchester” and the rave scene (the period that gets excised from the city’s cultural history), the Haçienda was a cold, grey concrete barn with terrible acoustics and a members-only policy that required the flourishing of a Peter Saville-designed card at the door. The place was usually half-empty and the clientèle tended to be students living nearby.\n\nBurroughs’ presence that evening at least managed to fill out the space, even if a large portion of the audience didn’t seem to know why they were there or what the whole thing was about. Some of the films made by Burroughs’ collaborator Antony Balch were shown on the club’s big projection screens then John Giorno took to the stage to give a spirited and funny presentation of his performance poetry. I hadn’t heard of Giorno before, or his Giorno Poetry Systems, which had been putting readings by Burroughs and others on record, but he was very entertaining.\n\nBurroughs followed, reading from The Place of Dead Roads and The Western Lands. It later became apparent that this was part of an ongoing scheme by his manager, James Grauerholz, to get the aged writer in front of audiences and earning some much-needed money. Whatever money he made was well-earned since few writers can deliver their work in public with as much style and wit, as the numerous recordings of his later readings testify. I’m not sure now what I expected from his reading but I remember being surprised at the degree of humour involved. What might seem cold and dead on the page came to life dripping with satiric vitriol under the stress of that snarling delivery. After this, the screening of a lengthy video by Psychic TV was something of an anti-climax, even if the blood and other fluids on display did provoke one audience member to exclaim “Why are you watching this?!” before storming out.\n\nThe programme booklets and posters for the Final Academy were designed by Neville Brody. It would have been nice to see the DVD release use Brody’s designs but that’s obviously expecting too much of the incompetents at Cherry Red.\n\nThe Final Academy was a defining moment in what, for want of a better term, is now seen as the Industrial Culture scene, Burroughs having been adopted as godfather by most of the prime movers in that movement-that-wasn’t-quite-a-movement. Psychic TV grew out of Throbbing Gristle, of course, and one of the last releases on TG’s Industrial Records label was Nothing Here Now but the Recordings, a collection of Burroughs’ early tape experiments. 23 Skidoo sampled (in the days before sampling…) a snatch of those recordings for The Gospel Comes to New\n\nGuinea, a single produced by Cabaret Voltaire, and both these bands played at the London Final Academy event. At the time this meeting of literary and avant garde musical culture didn’t seem so surprising but 24 years on it seems increasingly unique and unrepeatable. Despite Burroughs’ considerable influence, the events in London and Manchester weren’t the inspirational moment that the organisers and participants might have wished as the 1980s turned out to be a decade of pop trivia and much political and cultural conservatism. Burroughs continued to produce good work (his musical collaborations, Seven Souls with Material and the Dead City Radio readings were high points) but Brion Gysin died in 1986 and many of the musical performers gradually ran out of steam or lost their way as the decade progressed. The “final” part of The Final Academy was more of a terminal declaration than anyone realised at the time.\""},{"slug":"girard_francois_thetrain_1985","ok":true,"partial":false,"title":"Le Train","artist":"François Girard","year":"1985","startOffset":0,"sourceSecs":345.792,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":23908465,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/girard_francois_thetrain_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/girard_francois_thetrain_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/girard_francois_thetrain_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/girard_francois_thetrain_1985/main.mp4?v=2","description":"colour videotape, 5:45 minutes on 3/4\" cassette <br/><br/> Le Train is an allegorical story. A railroad worker has arrived at a halt in his life, at the same stopping point as his locomotive - a place situated between memory and imagination where the spectator may integrate himself into the poetic fiction.","artist_bio":"François Girard stunned English Canada in 1994 with his brilliant feature Thirty Two Short Films about Glenn Gould, which won four Genies including best director and best picture. His career as a filmmaker started in Montreal a decade earlier when he founded Zone Productions, where he wrote and directed numerous experimental, architecture and dance films, in addition to music videos and video installations.\nIn 1990, he directed an adaptation of the theatrical spectacle Le dortoir by Gilles Maheu, for which he won an International Emmy, a Gold FIPA and a Prix Gemeau. After that, he focused on his ambitious first feature, Cargo (1990). Using a complex visual structure, the film examines death through the confusion of a man who finds himself inside a freighter after getting lost in a storm at sea. His critically acclaimed second feature Thirty Two Short Films about Glenn Gould is structured in 32 parts and utilizes drama, documentary, animation and performance art to show insight into the life of an enigmatic Canadian genius. Those who had seen Le dortoir, Girard's award-winning collaboration with the dance troupe Carbone 14, were probably not surprised that Girard could score a victory with such difficult material.\nHis third feature, The Red Violin (1998) was another immense triumph, winning eight Genies (including best picture and best director) and an Oscar for best original soundtrack. The Red Violin, an ambitious fresco, recounts the story of a violin from its creation in Italy in the 17th century to its sale in Montreal at the end of the 20th century. Once again, Girard displays his mastery and easily conquers the challenge posed by creating a story that travels over four centuries and five cities. The Red Violin has become the most successful Canadian art house feature to date.\nIn between production of his first three features, Girard shot the concert film Peter Gabriel's Secret World in Italy, which won a Grammy for best music film, and directed \"The Sound of Carceri,\" one of six episodes of the television series Yo Yo Ma, Inspired by Bach (1997). He also made his debut as an opera director with Symphony of Psalmes and Oedipus Rex by Igor Stravinski and Jean Cocteau. Oedipus won eight Dora Mavor Moore Awards in Toronto. His work in commercials has been rewarded with many prizes, and the Montreal Publicity Club named him director of the year in 1997.","bio_dates":"1985"},{"slug":"girardet_christoph_muller_matthias_phoenix_tapes_1999","ok":true,"partial":false,"title":"Phoenix tapes (#3 derailed / #4 why don't you love me?)","artist":"Christoph Girardet, Matthias Müller","year":"1999","startOffset":0,"sourceSecs":921.64,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":154975911,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/girardet_christoph_muller_matthias_phoenix_tapes_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/girardet_christoph_muller_matthias_phoenix_tapes_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/girardet_christoph_muller_matthias_phoenix_tapes_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/girardet_christoph_muller_matthias_phoenix_tapes_1999/main.mp4?v=2","description":"Müller was already an award-winning filmmaker by the time he began working on his collaboration piece with Girardet, “The Phoenix Tapes,” which would be released in 2000. The pair worked very well together, and would release ten more collaborative films by 2011. The “Phoenix Tapes” is a series of six films, each focusing on compiled snippets of different Hitchcock motifs. The first tape, “Rutland,” focuses on Hitchcock settings such as spaces inside houses, urban street scenes, landmarks (ex: the Golden Gate Bridge in Vertigo), and empty, eerie landscapes. The second tape, “#2- Burden of Proof,” focuses on more material Hitchcock images, such as keys, rings, monograms, weapons, and notes. These objects are all plot advancers in Hitchcock’s films, and illustrate the violence and treachery that follows the peace and beauty of part one. Hitchcock’s fascination with the human psyche and Freudian psychology is highlighted in part 3, “Derailed,” which shows clips of restless sleepers, trains, carousels, and scared children. The classic Hitchcockian depiction of odd or overbearing mother-son relationships (and in the case of Marnie, a mother-daughter relationship) is shown through clips in “#4- Why Don’t You Love Me?” In the fifth installment of “The Phoenix Tapes,” “Bedroom,” relationships between men and women in bedrooms are shown, which include both scenes of harmonious pleasure, and scenes of disturbing force and violence. The last tape, “#6- Necrologue” shows images of people in various states of death and sleep. By showing similar shots and subjects from various Hitchcock films in close succession, Muller and Girardet were able to explore and visually explain how Hitchcock made his films so instantaneously recognizable. Repeated images and and similar cinematography echoes throughout all the film clips. The two filmmakers also created a work of art in their own right, taking the viewers of “The Phoenix Tapes” on an emotional roller coaster of enjoyment and fear alongside appreciation of the visual composition of the film clips.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"glabicki_paul_diagram_film_1978","ok":true,"partial":false,"title":"Paul Glabicki - Diagram Film (1978)","artist":"Paul Glabicki","year":"1978","startOffset":0,"sourceSecs":703.808,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":117410733,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/glabicki_paul_diagram_film_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/glabicki_paul_diagram_film_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/glabicki_paul_diagram_film_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/glabicki_paul_diagram_film_1978/main.mp4?v=2","description":"Live-action and still images of objects, places, classic films and other situations are presented and then followed by animated diagrams that explain, transform or re-interpret what has just been seen. The animated sequences become a vehicle of entry into an alternate viewing space. This is the first part of a trilogy of Diagrammatic films: DIAGRAM FILM, FIVE IMPROVISATIONS and FILM-WIPE-FILM. <br/><br/>\"\"DIAGRAM FILM alternates shots of planes, cars and people walking with comically elaborate moving diagrams of them. And sometimes it reverses itself, as when a group of triangles is replaced by a shot of tepees. The diagrams head off into fantastic Rube Goldberg machine movements, with details undergoing constant transformation.\" - American Film <br/><br/>\"\"The transformation of the original imagery is one of destruction and reconstruction, at once abstract and ethereal.\" - Filmmakers' Monthly <br/><br/> Awards: Ann Arbor Film Festival; Athens Int'l Film Festival; Baltimore Film Festival; Sinking Creek Film & Video Festival; Big Muddy Film Festival; Kent Film Festival; SF Art Institute Film Festival.","artist_bio":"Paul Glabicki in an internationally acclaimed multi-media artist. His interdisciplinary career has included work in experimental animation for film and video, painting, drawing, photography, installation art, sound, and computer imaging. He earned a BFA in Painting at Carnegie Mellon University, and two consecutive MFA degrees in Painting, and in Film, at Ohio University. He is a recipient of numerous awards, grants, and fellowships for his work, including a Guggenheim Fellowship, and fellowships from the National Endowment for the Arts and the American Film Institute. He has exhibited his work at numerous museums, film and video festivals, and institutions worldwide, and has lectured and taught at colleges and universities throughout the United States, Europe, and Japan.","bio_dates":"b. 1951"},{"slug":"glabicki_paul_film_wipe_film_1983","ok":true,"partial":false,"title":"Paul Glabicki - Film-Wipe-Film","artist":"Paul Glabicki","year":"1983","startOffset":0,"sourceSecs":1625.109,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":271310262,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/glabicki_paul_film_wipe_film_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/glabicki_paul_film_wipe_film_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/glabicki_paul_film_wipe_film_1983.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/glabicki_paul_film_wipe_film_1983/main.mp4?v=2","description":"The film is a journal (drawn by hand over a period of four years), opera, and journey through 100 animated sequences which are joined and transformed by 100 film wipes in continuous successsion. The film is a synthesis of both abstract and figurative imagery, analysis and commentary, writing and multiple languages, multi-layered sounds and music, lyrical and contrapuntal relationships, and elaborate animated compositions. The film plays with the thresholds of change between intuition and analytical thinking, as well as between what is read or heard as \"figurative\" or \"abstract.\" The various animation sequences range from pure geometric abstraction to symbols, metaphors and icons (boxing ring, car, chair, airplanes, steps). <br/><br/> This film is not computer generated or assisted in any way. <br/><br/> Awards: Ann Arbor Film Festival; Black Maria Film and Video Festival; Chicago Int'l Film Festival (Hugo); Baltimore Int'l Film Festival; NY Filmmakers' Exposition; Sinking Creek Film & Video Festival; Festival of Experimental Film, Chicago; Santa Fe Film Exposition; SF Art Institute Film Festival.","artist_bio":"Paul Glabicki in an internationally acclaimed multi-media artist. His interdisciplinary career has included work in experimental animation for film and video, painting, drawing, photography, installation art, sound, and computer imaging. He earned a BFA in Painting at Carnegie Mellon University, and two consecutive MFA degrees in Painting, and in Film, at Ohio University. He is a recipient of numerous awards, grants, and fellowships for his work, including a Guggenheim Fellowship, and fellowships from the National Endowment for the Arts and the American Film Institute. He has exhibited his work at numerous museums, film and video festivals, and institutions worldwide, and has lectured and taught at colleges and universities throughout the United States, Europe, and Japan.","bio_dates":"b. 1951"},{"slug":"glabicki_paul_five_improvisations_1979","ok":true,"partial":false,"title":"Paul Glabicki - Five-Improvisations","artist":"Paul Glabicki","year":"1979","startOffset":0,"sourceSecs":254.869,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":34229911,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/glabicki_paul_five_improvisations_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/glabicki_paul_five_improvisations_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/glabicki_paul_five_improvisations_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/glabicki_paul_five_improvisations_1979/main.mp4?v=2","description":"His video \"Five Improvisations\" (1979) works with all of these issues masterfully. In it he takes apart five different short animations by their shapes and puts them back together all in accordance to music. The result is a pulsing orchestration of construction and deconstruction in repeat, offering quick glances at his drawings but not fully allowing the viewer to comprehend what he's seeing.","artist_bio":"Paul Glabicki in an internationally acclaimed multi-media artist. His interdisciplinary career has included work in experimental animation for film and video, painting, drawing, photography, installation art, sound, and computer imaging. He earned a BFA in Painting at Carnegie Mellon University, and two consecutive MFA degrees in Painting, and in Film, at Ohio University. He is a recipient of numerous awards, grants, and fellowships for his work, including a Guggenheim Fellowship, and fellowships from the National Endowment for the Arts and the American Film Institute. He has exhibited his work at numerous museums, film and video festivals, and institutions worldwide, and has lectured and taught at colleges and universities throughout the United States, Europe, and Japan.","bio_dates":"b. 1951"},{"slug":"glabicki_paul_object_conversation_1984","ok":true,"partial":false,"title":"Paul Glabicki - Object Conversation","artist":"Paul Glabicki","year":"1984","startOffset":0,"sourceSecs":599.147,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":107531279,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/glabicki_paul_object_conversation_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/glabicki_paul_object_conversation_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/glabicki_paul_object_conversation_1984.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/glabicki_paul_object_conversation_1984/main.mp4?v=2","description":"A series of source objects (scissors, a barbell, piano, boxing ring, ladders, an hourglass, an arch) are presented, defined, demonstrated, discussed, spoken about, juxtaposed and progressively re-invented during the course of a multi-layered visual and aural \"conversation.\" The film plays with language, the viewer's memory, assumptions about \"familiar\" objects, associations and gender, puns, hieroglyphic forms and conscious and unconscious processes of thinking and perception. <br/><br/>\"\"The film reprocesses the first motion picture studies by still photographer Eadweard Muybridge and elaborates on allusions to the origins of the medium itself as well as on the relationship between image, spoken word and text .... The viewer's perceptual dexterity is exercised as the elements ... appear momentarily in one state then reappear elsewhere on the screen in yet another.\" - Black Maria Film and Video Festival <br/><br/> Awards: Festival of Experimental Film, Chicago; Sinking Creek Film & Video Festival; Bucks County National Film Competition; Black Maria Film and Video Festival; Atlanta Film and Video Festival; Athens Int'l Film Festival; Santa Fe Film Exposition","artist_bio":"Paul Glabicki in an internationally acclaimed multi-media artist. His interdisciplinary career has included work in experimental animation for film and video, painting, drawing, photography, installation art, sound, and computer imaging. He earned a BFA in Painting at Carnegie Mellon University, and two consecutive MFA degrees in Painting, and in Film, at Ohio University. He is a recipient of numerous awards, grants, and fellowships for his work, including a Guggenheim Fellowship, and fellowships from the National Endowment for the Arts and the American Film Institute. He has exhibited his work at numerous museums, film and video festivals, and institutions worldwide, and has lectured and taught at colleges and universities throughout the United States, Europe, and Japan.","bio_dates":"b. 1951"},{"slug":"glass_philip_mad_rush","ok":true,"partial":false,"title":"Philip Glass \"Mad Rush\"","artist":"Philip Glass","year":"1936","startOffset":0,"sourceSecs":197.632,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":9761376,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/glass_philip_mad_rush/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/glass_philip_mad_rush/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/glass_philip_mad_rush.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/glass_philip_mad_rush/main.mp4?v=2","description":"The television production Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes. This production reflects a moment when art centers were experimenting with new modes of presenting the arts for television. The participating artists read like a \"who's who\" of 1980's downtown art icons. Short excerpts from video and film works (by artists including Vito Acconci, Dara Birnbaum, Bruce Connor and Bill Viola) are intercut with performances and art installations in the Kitchen's gallery spaces. Laurie Anderson performs Difficult Listening Hour, speaking through the male voice of her \"Soul Doctor\" character; Talking Heads' front man David Byrne is featured in the performance piece Report from L.A.; choreographer and dancer Bill T. Jones performs Inspiration to the accompaniment of John and Evan Lurie's music. Art works by '80s art stars Cindy Sherman, Robert Longo and Jonathan Borofsky are integral to the mise en scene, while music by downtown legends Brian Eno, Philip Glass and Arto Lindsay, among others, provides a running soundtrack. -- <a href=\"http://eai.org/title.htm?id=8858\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. <br/><br/> The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Philip Morris Glass (born January 31, 1937) is an American music composer. He is considered to be one of the most influential composers of the late 20th century and is widely acknowledged as a composer who has brought art music to the public (along with precursors such as Richard Strauss, Kurt Weill and Leonard Bernstein).\nAlthough his music is often (controversially) described as minimalist, for his later work he distances himself from this label, describing himself instead as a composer of \"music with repetitive structures.\"[5] Though his early mature music shares much with what is normally called 'minimalist', he has since evolved stylistically. Currently, he describes himself as a \"Classicist\", pointing out that he is trained in harmony and counterpoint and studied such composers as Franz Schubert, Johann Sebastian Bach and Wolfgang Amadeus Mozart with Nadia Boulanger.\nGlass is a prolific composer: he has written works for his own musical group which he founded, the Philip Glass Ensemble (with which he still performs on keyboards), as well as operas, musical theatre works, nine symphonies, ten concertos, solo works, chamber music including string quartets and instrumental sonatas, and film scores. Three of his film scores have been nominated for Academy Awards.\nGlass counts many artists among his friends and collaborators, including visual artists (Richard Serra, Chuck Close), writers (Doris Lessing, David Henry Hwang, Allen Ginsberg), film and theatre directors (including Errol Morris, Robert Wilson, JoAnne Akalaitis, Godfrey Reggio, Paul Schrader, Martin Scorsese, Christopher Hampton, Bernard Rose, and many others), choreographers (Lucinda Childs, Jerome Robbins, Twyla Tharp), and musicians and composers (Ravi Shankar, David Byrne, the conductor Dennis Russell Davies, Foday Musa Suso, Laurie Anderson, Linda Ronstadt, Paul Simon, Joan LaBarbara, Arthur Russell, David Bowie, Brian Eno, Roberto Carnevale, Patti Smith, Aphex Twin, Lisa Bielawa, Andrew Shapiro, John Moran, Bryce Dessner and Nico Muhly). Among recent collaborators are Glass's fellow New Yorker Woody Allen, Stephen T. Colbert,[9] and poet and songwriter Leonard Cohen.","bio_dates":"b. 1936"},{"slug":"godard_british_sounds_1970_iphone","ok":true,"partial":false,"title":"British Sounds","artist":"Jean-Luc Godard","year":"1970","startOffset":0,"sourceSecs":2989.357,"sourceHeight":320,"sourceWidth":442,"hasAudio":true,"hasAmbientMp4":true,"bytes":175727753,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_british_sounds_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_british_sounds_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_british_sounds_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_british_sounds_1970_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_british_sounds_1970_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Jean-Luc Godard & Jean-Henri Roger <br/><br/> <a href=\"https://ubu.com/film/dziga_vertov.html\" rel=\"noopener\" target=\"_blank\">The Dziga Vertov Group</a> put out several Maoist/Marxist films, including this one. The main idea of British Sounds is exactly the soundtrack; the images are primarily still, with minimal camera movement: mostly tracks and pans. <br/><br/> British Sounds is didactic and academic, but not without artistic merit, particularly the use of red and the jump-cutting fists that punch through the British flag repeatedly. The film has six parts, including the famous ten-minute track through an auto assembly line and a four-minute shot of a woman's nude torso; it is also filled with speech, whether it's a text from Engels read aloud or a newscaster talking about the necessities of burning women and children. A real agit-prop film, but, as Godard said about the later <a href=\"https://ubu.com/film/vertov_vladimir.html\" rel=\"noopener\" target=\"_blank\">Vladimir and Rosa</a>, also \"a time piece.\"","bio_dates":"b. 1930"},{"slug":"godard_jean_luc_operation_beton_1954","ok":true,"partial":false,"title":"Opération béton (Operation Concrete)","artist":"Jean-Luc Godard","year":"1954","startOffset":0,"sourceSecs":994.197,"sourceHeight":384,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":64912913,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_jean_luc_operation_beton_1954/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_jean_luc_operation_beton_1954/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_jean_luc_operation_beton_1954.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_jean_luc_operation_beton_1954/main.mp4?v=2","description":"Operation Beton is the very first film by Jean-Luc Godard, former ethnology student at the Sorbonne. Having immersed himself in film at the Cinematheque – where he encountered Truffaut, Rivette, Rohmer, Chabrol (and Bazin), with whom he would later form the core of the French New Wave – the member of the staff of the recently emerged Paris-based magazine of film criticism, Cahiers du Cinéma, set out on a journey to South America, where he shot his very first footage. <br/><br/> After returning to Switzerland, Godard went to work as a manual worker at a dam building site, using the money he earned to buy a camera, and making a short documentary about the building of the dam. An endurance test of material. Under the intensifying pressure, the block of concrete for building the dam at Val des Dix crumbles and breaks. The scientific experience of material takes place not only in physical space, it also in a psychic domain, a train of thought, for breaking up the matter means beginning to look for the ultimate cause. <br/><br/> Operation Beton is the start of Godard´s monologue – even though before making this film, his texts addressed issues of cinema – that has gone down in cinema history as the journey towards the essence in the relation of cinema and existence. In his essays, and in the lacuna between observation and analysis, they testify, and he would over the years make variations on the foundations he had already outlined here (working cinema) and on the outlook, where a cinematic situation becomes one´s fate, an escape from the critical relation of a person to the world, to an even more fatal and complex relation of a person to film. Seemingly this debut film is nothing more than an objective illustration of the labor of builders working high in the mountains, since one can grasp its meaning only in retrospective, when the film one has seen itself becomes the screen for a condensed and fast-forward projection of all that Godard stands for. —dokument-festival.cz","artist_bio":"France/tour/détour/deux/enfants, Mouvement 1: Obscur/Chimie (Dark/Chemistry)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 2: Lumière/Physique (Light/Physics)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 3: Connu/Géométrie/Géographie (Known/Geometry/Geography)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 4: Inconnu/Technique (Unknown/Technique)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 5: Impression/Dictée (Impression/Dictation)\n(1978)\nJean-Luc Godard (born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement, French Nouvelle Vague, or \"New Wave\".\nLike his New Wave contemporaries, Godard criticized mainstream French cinema's \"Tradition of Quality\", which \"emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation.\" To challenge this tradition, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.[citation needed] He is often considered the most radical French filmmaker of the 1960s and 1970s. Several of his films express his political views. His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism as he was an avid reader of existential and Marxist philosophy.[citation needed] His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.\nAfter the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, not Marxist perspective.\nIn a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He has created \"one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century.\" He and his work have been central to narrative theory and have \"challenged both commercial narrative cinema norms and film criticism's vocabulary.\" In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired diverse directors like Martin Scorsese, Quentin Tarantino, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, Pier Paolo Pasolini, Paul Thomas Anderson, Arthur Penn, Hal Hartley, Richard Linklater, Gregg Araki, Jørgen Leth, John Woo, Richard Lester, Rainer Werner Fassbinder, Brian De Palma, Oliver Stone and Ken Loach.-- Wikipedia","bio_dates":"b. 1930"},{"slug":"godard_jean_luc_pravda_1970","ok":true,"partial":false,"title":"British Sounds","artist":"Jean-Luc Godard","year":"1970","startOffset":0,"sourceSecs":3496.879,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":595291417,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_jean_luc_pravda_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_jean_luc_pravda_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_jean_luc_pravda_1970.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_jean_luc_pravda_1970/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_jean_luc_pravda_1970/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Jean-Luc Godard & Jean-Henri Roger <br/><br/> <a href=\"https://ubu.com/film/dziga_vertov.html\" rel=\"noopener\" target=\"_blank\">The Dziga Vertov Group</a> put out several Maoist/Marxist films, including this one. The main idea of British Sounds is exactly the soundtrack; the images are primarily still, with minimal camera movement: mostly tracks and pans. <br/><br/> British Sounds is didactic and academic, but not without artistic merit, particularly the use of red and the jump-cutting fists that punch through the British flag repeatedly. The film has six parts, including the famous ten-minute track through an auto assembly line and a four-minute shot of a woman's nude torso; it is also filled with speech, whether it's a text from Engels read aloud or a newscaster talking about the necessities of burning women and children. A real agit-prop film, but, as Godard said about the later <a href=\"https://ubu.com/film/vertov_vladimir.html\" rel=\"noopener\" target=\"_blank\">Vladimir and Rosa</a>, also \"a time piece.\"","bio_dates":"b. 1930"},{"slug":"godard_jean_luc_schick_commercial_1971","ok":true,"partial":false,"title":"Schick Commerical","artist":"Jean-Luc Godard","year":"1971","startOffset":0,"sourceSecs":56.171,"sourceHeight":512,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":8019414,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_jean_luc_schick_commercial_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_jean_luc_schick_commercial_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_jean_luc_schick_commercial_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_jean_luc_schick_commercial_1971/main.mp4?v=2","description":"Godard & Gorin, according to the profitable contract signed with the publicity agency Dupuy Compton, from which they had a salary, were forced to propose one project per month and deliver at least one advertisement film per year. For Schick, they got the budget to pay the whole crew for a week, even though the shooting only took half a working day. <br/><br/> Schick was owned by ultra-Conservative, capitalist extraordinaire Patrick Frawley. Does this matter, that Godard made a commercial to help sell products for a company whose profits supported political causes antithetical to his own? We are all complicit in these hypocrisies, small and large, as we use and consume objects each day whose sources in the global matrix are often obscure. If Godard made the commercial to help fund his more radical projects (perhaps Tout va bien, the following year?) then do the two projects cancel each other out? Is there some sort of ledger to keep track? Is it okay to denounce the enemy, and then collaborate with the enemy, as long as you can come up with some sort of intellectual rationalization for your actions? -- Nicholas Rombes<br/><br/>Jean-Luc Godard was a guest at the University of Southern California in 1968, discussing his work on a panel with King Vidor, Roger Corman, Peter Bogdanovich and Sam Fuller. This was at the close of a cinematic decade that Godard had owned; now, breaking with his previous work, he was becoming more political and less accessible. One of the discussion’s most telling moments came toward the end, when an audience member asked, “Monsieur Godard, are you more interested in making films or making social commentary?” Godard coolly replied, “I see no difference between the two.” -- Zach Wigon","artist_bio":"France/tour/détour/deux/enfants, Mouvement 1: Obscur/Chimie (Dark/Chemistry)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 2: Lumière/Physique (Light/Physics)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 3: Connu/Géométrie/Géographie (Known/Geometry/Geography)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 4: Inconnu/Technique (Unknown/Technique)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 5: Impression/Dictée (Impression/Dictation)\n(1978)\nJean-Luc Godard (born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement, French Nouvelle Vague, or \"New Wave\".\nLike his New Wave contemporaries, Godard criticized mainstream French cinema's \"Tradition of Quality\", which \"emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation.\" To challenge this tradition, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.[citation needed] He is often considered the most radical French filmmaker of the 1960s and 1970s. Several of his films express his political views. His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism as he was an avid reader of existential and Marxist philosophy.[citation needed] His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.\nAfter the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, not Marxist perspective.\nIn a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He has created \"one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century.\" He and his work have been central to narrative theory and have \"challenged both commercial narrative cinema norms and film criticism's vocabulary.\" In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired diverse directors like Martin Scorsese, Quentin Tarantino, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, Pier Paolo Pasolini, Paul Thomas Anderson, Arthur Penn, Hal Hartley, Richard Linklater, Gregg Araki, Jørgen Leth, John Woo, Richard Lester, Rainer Werner Fassbinder, Brian De Palma, Oliver Stone and Ken Loach.-- Wikipedia","bio_dates":"b. 1930"},{"slug":"godard_jean_luc_vladimir_et_rosa_1971_iphone","ok":true,"partial":false,"title":"Luc Vladimir Et Rosa","artist":"Godard Jean","year":"1971","startOffset":0,"sourceSecs":5560.152,"sourceHeight":320,"sourceWidth":434,"hasAudio":true,"hasAmbientMp4":true,"bytes":320282324,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_jean_luc_vladimir_et_rosa_1971_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_jean_luc_vladimir_et_rosa_1971_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_jean_luc_vladimir_et_rosa_1971_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_jean_luc_vladimir_et_rosa_1971_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_jean_luc_vladimir_et_rosa_1971_iphone/main/master.m3u8?v=2","hasMainHls":true},{"slug":"godard_mieville_france_tour_detour_deux_enfants_mouvement_3_connu_geometrie_geographie_1978","ok":true,"partial":false,"title":"France/tour/détour/deux/enfants, Mouvement 3: Connu/Géométrie/Géographie (Known/Geometry/Geography)","artist":"Jean-Luc Godard","year":"1978","startOffset":0,"sourceSecs":1547.179,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":92372562,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_mieville_france_tour_detour_deux_enfants_mouvement_3_connu_geometrie_geographie_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_mieville_france_tour_detour_deux_enfants_mouvement_3_connu_geometrie_geographie_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_mieville_france_tour_detour_deux_enfants_mouvement_3_connu_geometrie_geographie_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_mieville_france_tour_detour_deux_enfants_mouvement_3_connu_geometrie_geographie_1978/main.mp4?v=2","description":"In this astonishing twelve-part project for and about television — the title of which refers to a 19th-century French primer Le tour de la France par deux enfants — Godard and Miéville take a detour through the everyday lives of two children in contemporary France.<br/><br/> This complex, intimately scaled study of the effect of television on the French family is constructed around Godard's interviews with a school girl and school boy, Camille and Arnaud. Godard's provocative questions to the children range from the philosophical (\"Do you think you have an existence?\") to the social (\"What does revolution mean to you?\"). The programs' symmetrical structure alternates between Camille's and Arnaud's segments (or \"movements\"), each of which is labeled with on-screen titles: Obscur/Chimie is paired with Lumiere/Physique; Réalitie/Logique with Réve/Morale; Violence/Grammaire with Désordre/Calcul.<br/><br/> Using precise formal devices, including the extended take, slow motion, closeups, and the freeze frame, Godard and Miéville \"decompose\" the quotidian world of their young subjects by focusing on the minutiae of the everyday and isolated gesture, the significance of a gaze. In one remarkable sequence, the fixed camera remains on a close-up of Camille as she sits in silence at the dinner table, while her parents hold an extended conversation offscreen. Another extended sequence observes Arnaud in the classroom.<br/><br/> The children's interviews (titled Verité) and scenes of their everyday routines at home and at school (Télévision) are followed by the ironic commentary of two adult television journalists (Histoire) who provide a history/story that elaborates on the interviews. Intercut with multi-textual collages of television, cinema and advertising images, these discursive visual essays analyze the economic, social and ideological functions of the mass media.<br/><br/> As they expose how a child's world is \"programmed\" by the institutions of family and television, Godard and Miéville posit the mass media as the pervasive cultural influence in the home, with television as the 20th century primer. A provocative social discourse that resonates with eloquence and wit, France/tour/détour/deux enfants is an extraordinary achievement.<br/><br/> In French with English subtitles. <br/><br/> With: Camille Virolleaud, Arnaud Martin, Betty Berr, Albert Dray. Video: P. Binggeli. Cinema: W. Lubchansky, D. Chapuis, P. Rony. Produced by Institut National de l'Audiovisuel/ Sonimage and Antenne 2. -- <a href=\"http://eai.org/title.htm?id=2931\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"France/tour/détour/deux/enfants, Mouvement 1: Obscur/Chimie (Dark/Chemistry)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 2: Lumière/Physique (Light/Physics)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 3: Connu/Géométrie/Géographie (Known/Geometry/Geography)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 4: Inconnu/Technique (Unknown/Technique)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 5: Impression/Dictée (Impression/Dictation)\n(1978)\nJean-Luc Godard (born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement, French Nouvelle Vague, or \"New Wave\".\nLike his New Wave contemporaries, Godard criticized mainstream French cinema's \"Tradition of Quality\", which \"emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation.\" To challenge this tradition, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.[citation needed] He is often considered the most radical French filmmaker of the 1960s and 1970s. Several of his films express his political views. His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism as he was an avid reader of existential and Marxist philosophy.[citation needed] His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.\nAfter the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, not Marxist perspective.\nIn a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He has created \"one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century.\" He and his work have been central to narrative theory and have \"challenged both commercial narrative cinema norms and film criticism's vocabulary.\" In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired diverse directors like Martin Scorsese, Quentin Tarantino, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, Pier Paolo Pasolini, Paul Thomas Anderson, Arthur Penn, Hal Hartley, Richard Linklater, Gregg Araki, Jørgen Leth, John Woo, Richard Lester, Rainer Werner Fassbinder, Brian De Palma, Oliver Stone and Ken Loach.-- Wikipedia","bio_dates":"b. 1930"},{"slug":"godard_mieville_france_tour_detour_deux_enfants_mouvement_4_inconnu_technique_1978","ok":true,"partial":false,"title":"France/tour/détour/deux/enfants, Mouvement 4: Inconnu/Technique (Unknown/Technique)","artist":"Jean-Luc Godard","year":"1978","startOffset":0,"sourceSecs":1572.416,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":94260172,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_mieville_france_tour_detour_deux_enfants_mouvement_4_inconnu_technique_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_mieville_france_tour_detour_deux_enfants_mouvement_4_inconnu_technique_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_mieville_france_tour_detour_deux_enfants_mouvement_4_inconnu_technique_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_mieville_france_tour_detour_deux_enfants_mouvement_4_inconnu_technique_1978/main.mp4?v=2","description":"In this astonishing twelve-part project for and about television — the title of which refers to a 19th-century French primer Le tour de la France par deux enfants — Godard and Miéville take a detour through the everyday lives of two children in contemporary France.<br/><br/> This complex, intimately scaled study of the effect of television on the French family is constructed around Godard's interviews with a school girl and school boy, Camille and Arnaud. Godard's provocative questions to the children range from the philosophical (\"Do you think you have an existence?\") to the social (\"What does revolution mean to you?\"). The programs' symmetrical structure alternates between Camille's and Arnaud's segments (or \"movements\"), each of which is labeled with on-screen titles: Obscur/Chimie is paired with Lumiere/Physique; Réalitie/Logique with Réve/Morale; Violence/Grammaire with Désordre/Calcul.<br/><br/> Using precise formal devices, including the extended take, slow motion, closeups, and the freeze frame, Godard and Miéville \"decompose\" the quotidian world of their young subjects by focusing on the minutiae of the everyday and isolated gesture, the significance of a gaze. In one remarkable sequence, the fixed camera remains on a close-up of Camille as she sits in silence at the dinner table, while her parents hold an extended conversation offscreen. Another extended sequence observes Arnaud in the classroom.<br/><br/> The children's interviews (titled Verité) and scenes of their everyday routines at home and at school (Télévision) are followed by the ironic commentary of two adult television journalists (Histoire) who provide a history/story that elaborates on the interviews. Intercut with multi-textual collages of television, cinema and advertising images, these discursive visual essays analyze the economic, social and ideological functions of the mass media.<br/><br/> As they expose how a child's world is \"programmed\" by the institutions of family and television, Godard and Miéville posit the mass media as the pervasive cultural influence in the home, with television as the 20th century primer. A provocative social discourse that resonates with eloquence and wit, France/tour/détour/deux enfants is an extraordinary achievement.<br/><br/> In French with English subtitles. <br/><br/> With: Camille Virolleaud, Arnaud Martin, Betty Berr, Albert Dray. Video: P. Binggeli. Cinema: W. Lubchansky, D. Chapuis, P. Rony. Produced by Institut National de l'Audiovisuel/ Sonimage and Antenne 2. -- <a href=\"http://eai.org/title.htm?id=2931\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"France/tour/détour/deux/enfants, Mouvement 1: Obscur/Chimie (Dark/Chemistry)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 2: Lumière/Physique (Light/Physics)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 3: Connu/Géométrie/Géographie (Known/Geometry/Geography)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 4: Inconnu/Technique (Unknown/Technique)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 5: Impression/Dictée (Impression/Dictation)\n(1978)\nJean-Luc Godard (born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement, French Nouvelle Vague, or \"New Wave\".\nLike his New Wave contemporaries, Godard criticized mainstream French cinema's \"Tradition of Quality\", which \"emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation.\" To challenge this tradition, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.[citation needed] He is often considered the most radical French filmmaker of the 1960s and 1970s. Several of his films express his political views. His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism as he was an avid reader of existential and Marxist philosophy.[citation needed] His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.\nAfter the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, not Marxist perspective.\nIn a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He has created \"one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century.\" He and his work have been central to narrative theory and have \"challenged both commercial narrative cinema norms and film criticism's vocabulary.\" In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired diverse directors like Martin Scorsese, Quentin Tarantino, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, Pier Paolo Pasolini, Paul Thomas Anderson, Arthur Penn, Hal Hartley, Richard Linklater, Gregg Araki, Jørgen Leth, John Woo, Richard Lester, Rainer Werner Fassbinder, Brian De Palma, Oliver Stone and Ken Loach.-- Wikipedia","bio_dates":"b. 1930"},{"slug":"godard_mieville_france_tour_detour_deux_enfants_mouvement_5_impression_dictee_1978","ok":true,"partial":false,"title":"France/tour/détour/deux/enfants, Mouvement 5: Impression/Dictée (Impression/Dictation)","artist":"Jean-Luc Godard","year":"1978","startOffset":0,"sourceSecs":1583.211,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":94758219,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_mieville_france_tour_detour_deux_enfants_mouvement_5_impression_dictee_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_mieville_france_tour_detour_deux_enfants_mouvement_5_impression_dictee_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_mieville_france_tour_detour_deux_enfants_mouvement_5_impression_dictee_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_mieville_france_tour_detour_deux_enfants_mouvement_5_impression_dictee_1978/main.mp4?v=2","description":"In this astonishing twelve-part project for and about television — the title of which refers to a 19th-century French primer Le tour de la France par deux enfants — Godard and Miéville take a detour through the everyday lives of two children in contemporary France.<br/><br/> This complex, intimately scaled study of the effect of television on the French family is constructed around Godard's interviews with a school girl and school boy, Camille and Arnaud. Godard's provocative questions to the children range from the philosophical (\"Do you think you have an existence?\") to the social (\"What does revolution mean to you?\"). The programs' symmetrical structure alternates between Camille's and Arnaud's segments (or \"movements\"), each of which is labeled with on-screen titles: Obscur/Chimie is paired with Lumiere/Physique; Réalitie/Logique with Réve/Morale; Violence/Grammaire with Désordre/Calcul.<br/><br/> Using precise formal devices, including the extended take, slow motion, closeups, and the freeze frame, Godard and Miéville \"decompose\" the quotidian world of their young subjects by focusing on the minutiae of the everyday and isolated gesture, the significance of a gaze. In one remarkable sequence, the fixed camera remains on a close-up of Camille as she sits in silence at the dinner table, while her parents hold an extended conversation offscreen. Another extended sequence observes Arnaud in the classroom.<br/><br/> The children's interviews (titled Verité) and scenes of their everyday routines at home and at school (Télévision) are followed by the ironic commentary of two adult television journalists (Histoire) who provide a history/story that elaborates on the interviews. Intercut with multi-textual collages of television, cinema and advertising images, these discursive visual essays analyze the economic, social and ideological functions of the mass media.<br/><br/> As they expose how a child's world is \"programmed\" by the institutions of family and television, Godard and Miéville posit the mass media as the pervasive cultural influence in the home, with television as the 20th century primer. A provocative social discourse that resonates with eloquence and wit, France/tour/détour/deux enfants is an extraordinary achievement.<br/><br/> In French with English subtitles. <br/><br/> With: Camille Virolleaud, Arnaud Martin, Betty Berr, Albert Dray. Video: P. Binggeli. Cinema: W. Lubchansky, D. Chapuis, P. Rony. Produced by Institut National de l'Audiovisuel/ Sonimage and Antenne 2. -- <a href=\"http://eai.org/title.htm?id=2931\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"France/tour/détour/deux/enfants, Mouvement 1: Obscur/Chimie (Dark/Chemistry)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 2: Lumière/Physique (Light/Physics)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 3: Connu/Géométrie/Géographie (Known/Geometry/Geography)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 4: Inconnu/Technique (Unknown/Technique)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 5: Impression/Dictée (Impression/Dictation)\n(1978)\nJean-Luc Godard (born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement, French Nouvelle Vague, or \"New Wave\".\nLike his New Wave contemporaries, Godard criticized mainstream French cinema's \"Tradition of Quality\", which \"emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation.\" To challenge this tradition, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.[citation needed] He is often considered the most radical French filmmaker of the 1960s and 1970s. Several of his films express his political views. His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism as he was an avid reader of existential and Marxist philosophy.[citation needed] His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.\nAfter the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, not Marxist perspective.\nIn a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He has created \"one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century.\" He and his work have been central to narrative theory and have \"challenged both commercial narrative cinema norms and film criticism's vocabulary.\" In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired diverse directors like Martin Scorsese, Quentin Tarantino, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, Pier Paolo Pasolini, Paul Thomas Anderson, Arthur Penn, Hal Hartley, Richard Linklater, Gregg Araki, Jørgen Leth, John Woo, Richard Lester, Rainer Werner Fassbinder, Brian De Palma, Oliver Stone and Ken Loach.-- Wikipedia","bio_dates":"b. 1930"},{"slug":"godard_mieville_france_tour_detour_mouvement_1_obscur_chimie_1977","ok":true,"partial":false,"title":"France/tour/détour/deux/enfants, Mouvement 1: Obscur/Chimie (Dark/Chemistry)","artist":"Jean-Luc Godard","year":"1978","startOffset":0,"sourceSecs":1587.221,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":95085984,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_mieville_france_tour_detour_mouvement_1_obscur_chimie_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_mieville_france_tour_detour_mouvement_1_obscur_chimie_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_mieville_france_tour_detour_mouvement_1_obscur_chimie_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_mieville_france_tour_detour_mouvement_1_obscur_chimie_1977/main.mp4?v=2","description":"In this astonishing twelve-part project for and about television — the title of which refers to a 19th-century French primer Le tour de la France par deux enfants — Godard and Miéville take a detour through the everyday lives of two children in contemporary France.<br/><br/> This complex, intimately scaled study of the effect of television on the French family is constructed around Godard's interviews with a school girl and school boy, Camille and Arnaud. Godard's provocative questions to the children range from the philosophical (\"Do you think you have an existence?\") to the social (\"What does revolution mean to you?\"). The programs' symmetrical structure alternates between Camille's and Arnaud's segments (or \"movements\"), each of which is labeled with on-screen titles: Obscur/Chimie is paired with Lumiere/Physique; Réalitie/Logique with Réve/Morale; Violence/Grammaire with Désordre/Calcul.<br/><br/> Using precise formal devices, including the extended take, slow motion, closeups, and the freeze frame, Godard and Miéville \"decompose\" the quotidian world of their young subjects by focusing on the minutiae of the everyday and isolated gesture, the significance of a gaze. In one remarkable sequence, the fixed camera remains on a close-up of Camille as she sits in silence at the dinner table, while her parents hold an extended conversation offscreen. Another extended sequence observes Arnaud in the classroom.<br/><br/> The children's interviews (titled Verité) and scenes of their everyday routines at home and at school (Télévision) are followed by the ironic commentary of two adult television journalists (Histoire) who provide a history/story that elaborates on the interviews. Intercut with multi-textual collages of television, cinema and advertising images, these discursive visual essays analyze the economic, social and ideological functions of the mass media.<br/><br/> As they expose how a child's world is \"programmed\" by the institutions of family and television, Godard and Miéville posit the mass media as the pervasive cultural influence in the home, with television as the 20th century primer. A provocative social discourse that resonates with eloquence and wit, France/tour/détour/deux enfants is an extraordinary achievement.<br/><br/> In French with English subtitles. <br/><br/> With: Camille Virolleaud, Arnaud Martin, Betty Berr, Albert Dray. Video: P. Binggeli. Cinema: W. Lubchansky, D. Chapuis, P. Rony. Produced by Institut National de l'Audiovisuel/ Sonimage and Antenne 2. -- <a href=\"http://eai.org/title.htm?id=2931\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"France/tour/détour/deux/enfants, Mouvement 1: Obscur/Chimie (Dark/Chemistry)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 2: Lumière/Physique (Light/Physics)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 3: Connu/Géométrie/Géographie (Known/Geometry/Geography)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 4: Inconnu/Technique (Unknown/Technique)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 5: Impression/Dictée (Impression/Dictation)\n(1978)\nJean-Luc Godard (born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement, French Nouvelle Vague, or \"New Wave\".\nLike his New Wave contemporaries, Godard criticized mainstream French cinema's \"Tradition of Quality\", which \"emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation.\" To challenge this tradition, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.[citation needed] He is often considered the most radical French filmmaker of the 1960s and 1970s. Several of his films express his political views. His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism as he was an avid reader of existential and Marxist philosophy.[citation needed] His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.\nAfter the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, not Marxist perspective.\nIn a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He has created \"one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century.\" He and his work have been central to narrative theory and have \"challenged both commercial narrative cinema norms and film criticism's vocabulary.\" In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired diverse directors like Martin Scorsese, Quentin Tarantino, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, Pier Paolo Pasolini, Paul Thomas Anderson, Arthur Penn, Hal Hartley, Richard Linklater, Gregg Araki, Jørgen Leth, John Woo, Richard Lester, Rainer Werner Fassbinder, Brian De Palma, Oliver Stone and Ken Loach.-- Wikipedia","bio_dates":"b. 1930"},{"slug":"godard_mieville_france_tour_detour_mouvement_2_lumiere_physique_1977","ok":true,"partial":false,"title":"France Tour Detour Mouvement 2 Lumiere Physique","artist":"Jean-Luc Godard","year":"1977","startOffset":0,"sourceSecs":1537.963,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":91621923,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_mieville_france_tour_detour_mouvement_2_lumiere_physique_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_mieville_france_tour_detour_mouvement_2_lumiere_physique_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_mieville_france_tour_detour_mouvement_2_lumiere_physique_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_mieville_france_tour_detour_mouvement_2_lumiere_physique_1977/main.mp4?v=2","description":"In this astonishing twelve-part project for and about television — the title of which refers to a 19th-century French primer Le tour de la France par deux enfants — Godard and Miéville take a detour through the everyday lives of two children in contemporary France.\n\nThis complex, intimately scaled study of the effect of television on the French family is constructed around Godard's interviews with a school girl and school boy, Camille and Arnaud. Godard's provocative questions to the children range from the philosophical (\"Do you think you have an existence?\") to the social (\"What does revolution mean to you?\"). The programs' symmetrical structure alternates between Camille's and Arnaud's segments (or \"movements\"), each of which is labeled with on-screen titles: Obscur/Chimie is paired with Lumiere/Physique; Réalitie/Logique with Réve/Morale; Violence/Grammaire with Désordre/Calcul.\n\nUsing precise formal devices, including the extended take, slow motion, closeups, and the freeze frame, Godard and Miéville \"decompose\" the quotidian world of their young subjects by focusing on the minutiae of the everyday and isolated gesture, the significance of a gaze. In one remarkable sequence, the fixed camera remains on a close-up of Camille as she sits in silence at the dinner table, while her parents hold an extended conversation offscreen. Another extended sequence observes Arnaud in the classroom.\n\nThe children's interviews (titled Verité) and scenes of their everyday routines at home and at school (Télévision) are followed by the ironic commentary of two adult television journalists (Histoire) who provide a history/story that elaborates on the interviews. Intercut with multi-textual collages of television, cinema and advertising images, these discursive visual essays analyze the economic, social and ideological functions of the mass media.\n\nAs they expose how a child's world is \"programmed\" by the institutions of family and television, Godard and Miéville posit the mass media as the pervasive cultural influence in the home, with television as the 20th century primer. A provocative social discourse that resonates with eloquence and wit, France/tour/détour/deux enfants is an extraordinary achievement.\n\nWith: Camille Virolleaud, Arnaud Martin, Betty Berr, Albert Dray. Video: P. Binggeli. Cinema: W. Lubchansky, D. Chapuis, P. Rony. Produced by Institut National de l'Audiovisuel/ Sonimage and Antenne 2. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"godard_pennebaker_one_pm_1972_iphone","ok":true,"partial":false,"title":"One Pm","artist":"Jean-Luc Godard","year":"1967","startOffset":0,"sourceSecs":4669.378,"sourceHeight":320,"sourceWidth":442,"hasAudio":true,"hasAmbientMp4":true,"bytes":270631016,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_pennebaker_one_pm_1972_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_pennebaker_one_pm_1972_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_pennebaker_one_pm_1972_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_pennebaker_one_pm_1972_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_pennebaker_one_pm_1972_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"“We gotta hurry. The revolution is going to happen and we’re going to miss it.” — Jean-Luc Godard, anticipating political upheaval in the U.S.\n\nLighter and livelier than the films Jean-Luc Godard had made in France, his U.S. collaboration with Direct Cinema documentarian D. A. Pennebaker was meant to be One A.M., as in “one American movie”; but Godard quit the project and the U.S., where to his dismay he discovered that revolution wasn’t imminent, and Pennebaker edited Godard’s material, to which he and Richard Leacock even added a bit more, releasing the result as One P.M., as in “one parallel movie.” It’s a stunning mixture of cinéma-vérité, political theater, and interviews of key sixties figures (Eldridge Cleaver, Tom Hayden).\n\nBlack Panther and Peace and Freedom Party presidential candidate Cleaver, who insisted on being paid so he could skip the country, where he was under indictment for murder, is brilliant discussing parallels between U.S. oppression of black citizens and France’s colonization of Algeria, which had ended earlier in the decade. (It was to independent Algeria that Cleaver fled.) One of the points of analogy is economic exploitation.\n\nRip Torn assumes various guises confronting woods (Nature) or various urban residents with whatever a particular role of his represents. In a remarkable passage, dressed in the uniform of a Confederate officer, he enters a high school classroom largely populated by African-American youngsters. (Godard and crew also are in visible attendance.) Although the kids are outspoken about U.S. inequities, Torn’s garb doesn’t generate a rise. Torn chides the class, inviting the kids not to be so complacent the next time. When minutes later he re-enters dressed in another (ob)noxious outfit, the class mock-kills him. His death-tumble recalls Jean-Pierre Léaud’s in Godard’s Made in U.S.A. (1967). -- grunes. wordpress. com"},{"slug":"godard_une_femme_coquette_1955","ok":true,"partial":false,"title":"Une femme coquette (A Flirtatious Woman)","artist":"Jean-Luc Godard","year":"1955","startOffset":0,"sourceSecs":558.589,"sourceHeight":360,"sourceWidth":474,"hasAudio":true,"hasAmbientMp4":true,"bytes":39788254,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_une_femme_coquette_1955/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/godard_une_femme_coquette_1955/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/godard_une_femme_coquette_1955.webm","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/godard_une_femme_coquette_1955/main.mp4?v=2","description":"Une femme coquette (A Flirtatious Woman) (1955) was the first of four short fiction films made by French filmmaker Jean-Luc Godard preceding his work in feature-length narrative film. <br/><br/> The short film is based on the story \"Le Signe\" (The Signal), by Guy de Maupassant. It is a nine-minute story of a woman who decides to copy the gesture she has seen a prostitute make to passing men. Then a young man, played by Roland Tolmatchoff, responds. In Maupassant's original tale the scene takes place indoors, the woman having signaled from her window, but in Godard's revision the characters meet by a bench on the Ile Rousseau in Geneva. <br/><br/> Cast: <br/> Maria Lysandre as The Woman<br/> Roland Tolma as The Man","artist_bio":"France/tour/détour/deux/enfants, Mouvement 1: Obscur/Chimie (Dark/Chemistry)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 2: Lumière/Physique (Light/Physics)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 3: Connu/Géométrie/Géographie (Known/Geometry/Geography)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 4: Inconnu/Technique (Unknown/Technique)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 5: Impression/Dictée (Impression/Dictation)\n(1978)\nJean-Luc Godard (born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement, French Nouvelle Vague, or \"New Wave\".\nLike his New Wave contemporaries, Godard criticized mainstream French cinema's \"Tradition of Quality\", which \"emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation.\" To challenge this tradition, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.[citation needed] He is often considered the most radical French filmmaker of the 1960s and 1970s. Several of his films express his political views. His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism as he was an avid reader of existential and Marxist philosophy.[citation needed] His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.\nAfter the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, not Marxist perspective.\nIn a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He has created \"one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century.\" He and his work have been central to narrative theory and have \"challenged both commercial narrative cinema norms and film criticism's vocabulary.\" In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired diverse directors like Martin Scorsese, Quentin Tarantino, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, Pier Paolo Pasolini, Paul Thomas Anderson, Arthur Penn, Hal Hartley, Richard Linklater, Gregg Araki, Jørgen Leth, John Woo, Richard Lester, Rainer Werner Fassbinder, Brian De Palma, Oliver Stone and Ken Loach.-- Wikipedia","bio_dates":"b. 1930"},{"slug":"goday_michel_malevich_walking_around_the_figures","ok":true,"partial":false,"title":"Malevich, Walking Around the Figures","artist":"Michel Goday","year":"2009","startOffset":0,"sourceSecs":170.248,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":10662390,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goday_michel_malevich_walking_around_the_figures/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goday_michel_malevich_walking_around_the_figures/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goday_michel_malevich_walking_around_the_figures.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goday_michel_malevich_walking_around_the_figures/main.mp4?v=2","description":"Arts Santa Mónica July 2009. Reflections on a suprematism background, when passers-by mix and blend with the figures of Malevich on the Ramblas of Barcelona","artist_bio":"Michel Goday was born in 1949 in Port-Vendres (France, North Catalonia). He presented his first works in1975. In the 1980s he was soon recognised for his big installations of ripped paper on glass. Charles Picq’s film “Espace et matière - Space and Substance” (22 minutes) on his installation at ELAC, Centre of Contemporary Art of Lyon, France, won the third prize for French art films awarded by ARC, the Museum of Modern Art of the City of Paris. It was considered the “first gestural minimalist work” by François Mattey, director of the Museum of Decorative Arts of Paris, and Pierre Gaudibert. Following an installation at the Miró Foundation, and always engaged with his Mediterranean culture, he undertook a pictorial-poetical reflection, “Altarpiece of Memories”. In the book “The Photograph, a Historic Art”, the publisher Skira revealed his photographic work “Intimate Street Images”. In 1983 he was selected to participate in the great retrospective exhibition of artist books organised by the Centre Georges Pompidou. He created the book “A-Test-Station” in situ in Barcelona’s subway. In 2009, Michel Goday implemented his oeuvre Remember Kasimir. The storytelling “Malevitch is not dead, he lives in Barcelona” is a story of two characters that reconstruct the oeuvre of Malevitch in the streets of Barcelona. This photo-fiction (fake) and video art work was at the time visible on the Website Internet. It was presented and sponsored by the centre of Contemporary Art Santa Mònica in Barcelona. At present, in 2018, he prepares a film on his paintings “La Madeloc mountain 360º”.","bio_dates":"b. 1949"},{"slug":"gold_mick_europe_after_the_rain_1978","ok":true,"partial":false,"title":"Europe After The Rain","artist":"Mick Gold","year":"1978","startOffset":0,"sourceSecs":5230.33,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":893389285,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gold_mick_europe_after_the_rain_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gold_mick_europe_after_the_rain_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gold_mick_europe_after_the_rain_1978.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gold_mick_europe_after_the_rain_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gold_mick_europe_after_the_rain_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"This feature-length film examines the movements of Dada and Surrealism, and follows the development of their main exponents, Duchamp, Tzara, Arp, Ernst, Schwitters, Breton and Dali, concentrating on the contradictions and ambivalences between their innovatory techniques and philosophies and their desire to transform the world. The film uses contemporary newsreels, some dramatization and detailed accounts of the artists' work to show how, building on the nihilism and anti-aestheticism of Dada and the collage and Constructivist aspects of Cubism, the Surrealists attempted to express the tradition of thought freed from moral preoccupation. Beginning with the birth of Dada in Zürich, against the background of the First World War, the film examines the different forms the movement assumed in Berlin, New York and Paris. Following the collapse of Dada, André Breton more or less invented Surrealism, which developed in two phases: the exploration of pure fantasy via found objects and frottages, and the depiction of irrationality - the imaginary landscapes of Yves Tanguy or Salvador Dali, or Max Ernst's collages from nineteenth-century illustrations.\n\nThis film questions the complex relationship between the Surrealist enterprise, in its many forms, and politics, particularly in the light of the rise of Fascism. It charts the rift between those members who joined the Resistance and those who went to America, and considers Breton's unsuccessful attempt to join the Communist Party, the anti-Nazi photomontages of John Heartfield, and Dali's obsession with the image of Hitler as `the object of my delirium.' The film also explores the influences of Surrealism on the art world and on the mass media. It ends with an interview with Duchamp in the 1960s, discussing the impact of the movement, its failures and successes."},{"slug":"goldin_nan_in_my_life_1997","ok":true,"partial":false,"title":"In My Life","artist":"Nan Goldin","year":"1997","startOffset":0,"sourceSecs":1688.192,"sourceHeight":468,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":292397583,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldin_nan_in_my_life_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldin_nan_in_my_life_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldin_nan_in_my_life_1997.mp4","hasFrames":true,"description":"Director: Paul Tschinkel<br/> Year: 1966<br/> <br/> This program features Nan Goldin’s celebrated 1996 mid-career photography retrospective at the Whitney Museum of American Art. Goldin’s exhibition filled an entire floor at the Whitney Museum with pictures that chronicle her involvement and fascination with the alternative, “downtown” culture of New York City, Boston, Berlin, Tokyo, etc. Culled from a period that spans more than 25 years of taking pictures, Goldin’s desire to make a visual diary of her friends and lovers, as well as her own life, makes for a moving, highly charged, visual experience. This exhibition was organized by curator ELIZABETH SUSSMAN and selected by NAN GOLDIN and her life long friend and colleague DAVID ARMSTRONG. Included are interviews with NAN GOLDIN and MARVIN HEIFERMAN, a curator/publisher and a director of Lookout in New York City.","artist_bio":"Goldin was born in Washington, D.C., and grew up in the Boston, Massachusetts suburb of Lexington, to middle class Jewish parents whose ideas, moderately liberal and progressive, were put to the test when on April 12, 1965 their eldest daughter Barbara Holly, at the age of eighteen, committed suicide. After attending the nearby Lexington High School, she enrolled at the Satya Community School in Lincoln, where a teacher introduced her to the camera in 1968. Goldin was then fifteen years old. Her first solo show, held in Boston in 1973, was based on her photographic journeys among the city's gay and transsexual communities, to which she had been introduced by her friend David Armstrong. Goldin graduated from the School of the Museum of Fine Arts, Boston/Tufts University in 1977/1978, where she had worked mostly with Cibachrome prints.\nFollowing graduation, Goldin moved to New York City. She began documenting the post-punk new-wave music scene, along with the city's vibrant, post-Stonewall gay subculture of the late 1970s and early 1980s. She was drawn especially to the Bowery's hard-drug subculture; these photographs, taken between 1979 and 1986, form her famous work The Ballad of Sexual Dependency — a title taken from a song in Bertolt Brecht's Threepenny Opera. These snapshot aesthetic images depict drug use, violent, aggressive couples and autobiographical moments. Most of her Ballad subjects were dead by the 1990s, lost either to drug overdose or AIDS; this tally included close friends and often-photographed subjects Greer Lankton and Cookie Mueller. In 2003, The New York Times nodded to the work's impact, explaining Goldin had \"forged a genre, with photography as influential as any in the last twenty years.\" In addition to Ballad, she combined her Bowery pictures in two other series: \"I'll Be Your Mirror\" (from a song on The Velvet Underground's The Velvet Underground & Nico album) and \"All By Myself.\"\nGoldin's work is most often presented in the form of a slideshow, and has been shown at film festivals; her most famous being a 45 minute show in which 800 pictures are displayed. The main themes of her early pictures are love, gender, domesticity, and sexuality; these frames are usually shot with available light. She has affectionately documented women looking in mirrors, girls in bathrooms and barrooms, drag queens, sexual acts, and the culture of obsession and dependency. The images are viewed like a private journal made public.\nGoldin's work since 1995 has included a wide array of subject matter: collaborative book projects with famed Japanese photographer Nobuyoshi Araki; New York City skylines; uncanny landscapes (notably of people in water); her lover, Siobhan; and babies, parenthood and family life.\nGoldin lives in New York and Paris—one reason the French Pompidou Centre mounted a major retrospective of her work in 2002. Her hand was injured in a fall in 2002, and she currently retains less ability to turn it than in the past.\nIn 2006, her exhibition, Chasing a Ghost, opened in New York. It was the first installation by her to include moving pictures, a fully narrative score, and voiceover, and included the disturbing three-screen slide and video presentation Sisters, Saints, & Sybils. The work involved her sister Barbara's suicide and how she coped through a numerous amount of images and narratives. Her works are developing more and more into cinemaesque features, exemplifying her graviation towards working with films.\nShe was presented the 2007 Hasselblad Award on 10 November 2007. She has been represented in America exclusively by Matthew Marks Gallery since 1992 and Yvon Lambert Gallery in Paris.-- Wikipedia","bio_dates":"b. 1953"},{"slug":"goldsmith_kenneth_20171022_fiac_kenneth_goldsmith_the_ideal_lecture","ok":true,"partial":false,"title":"The Idea Lecture (for David Antin)","artist":"Kenneth Goldsmith","year":"2017","startOffset":0,"sourceSecs":3715.672,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":1621404502,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldsmith_kenneth_20171022_fiac_kenneth_goldsmith_the_ideal_lecture/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldsmith_kenneth_20171022_fiac_kenneth_goldsmith_the_ideal_lecture/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldsmith_kenneth_20171022_fiac_kenneth_goldsmith_the_ideal_lecture.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldsmith_kenneth_20171022_fiac_kenneth_goldsmith_the_ideal_lecture/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldsmith_kenneth_20171022_fiac_kenneth_goldsmith_the_ideal_lecture/main/master.m3u8?v=2","hasMainHls":true,"description":"Recorded at The Louvre, Paris, October 2017 for FIAC<br><br><b>RESOURCES:</b> <br> <br> <a href=\"https://ubu.com/contemp/goldsmith/index.html\" rel=\"noopener\" target=\"_blank\">Kenneth Goldsmith in UbuWeb Contemporary</a></br></br>","artist_bio":"This UbuWeb resource is presented in partnership with\ninformation as material","bio_dates":"b. 1961"},{"slug":"goldsmith_kenneth_reads_flight_kurt_schwitters_2009_new","ok":true,"partial":false,"title":"\"Flight\" by Kurt Schwitters","artist":"Kenneth Goldsmith","year":"1961","startOffset":0,"sourceSecs":204.475,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":14164869,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldsmith_kenneth_reads_flight_kurt_schwitters_2009_new/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldsmith_kenneth_reads_flight_kurt_schwitters_2009_new/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldsmith_kenneth_reads_flight_kurt_schwitters_2009_new.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldsmith_kenneth_reads_flight_kurt_schwitters_2009_new/main.mp4?v=2","description":"Recorded in Norway Hjertøya island, Schwitters' Hütte: 25 April 2009<br><br><b>RESOURCES:</b> <br> <br> <a href=\"https://ubu.com/contemp/goldsmith/index.html\" rel=\"noopener\" target=\"_blank\">Kenneth Goldsmith in UbuWeb Contemporary</a></br></br>","artist_bio":"This UbuWeb resource is presented in partnership with\ninformation as material","bio_dates":"b. 1961"},{"slug":"goldsmith_kenneth_reads_wtc_2009_new","ok":true,"partial":false,"title":"Reads Wtc 2009 New","artist":"Kenneth Goldsmith","year":"1961","startOffset":0,"sourceSecs":291.782,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":20491310,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldsmith_kenneth_reads_wtc_2009_new/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldsmith_kenneth_reads_wtc_2009_new/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldsmith_kenneth_reads_wtc_2009_new.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldsmith_kenneth_reads_wtc_2009_new/main.mp4?v=2"},{"slug":"goldstein_jack_art_center_lecture_1992_iphone","ok":true,"partial":false,"title":"Artist Lecture - Art Center College of Design","artist":"Jack Goldstein","year":"1992","startOffset":0,"sourceSecs":6179.28,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":353983228,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_art_center_lecture_1992_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_art_center_lecture_1992_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_art_center_lecture_1992_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_art_center_lecture_1992_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_art_center_lecture_1992_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Jack Goldstein lecturing on his work at Art Center College of Design, Pasadena, California, October 14, 1992.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a></br>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"goldstein_jack_ballet_shoe_1975","ok":true,"partial":false,"title":"A Ballet Shoe","artist":"Jack Goldstein","year":"1975","startOffset":0,"sourceSecs":44.821,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":2454762,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_ballet_shoe_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_ballet_shoe_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_ballet_shoe_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_ballet_shoe_1975/main.mp4?v=2","description":"<i>A Ballet Shoe</i> (1975), which is 19 seconds long, is also projected onto a red wall: it is an image of a ballerina’s foot, encased in a ballet shoe, en point. Two hands appear from the sides of the picture and almost mechanically unfasten the shoe’s ribbons. The foot then slowly steps onto the ground.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a></br>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"goldstein_jack_bone_china_1976","ok":true,"partial":false,"title":"Bone China","artist":"Jack Goldstein","year":"1976","startOffset":0,"sourceSecs":121.536,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":4416635,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_bone_china_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_bone_china_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_bone_china_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_bone_china_1976/main.mp4?v=2","description":"In the tautly poetic <i>Bone China</i> (1976) a colourfully plumed painted bird flaps frantically around a china plate to the sound of beating wings.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a></br>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"goldstein_jack_butterflies_1975","ok":true,"partial":false,"title":"Some Butterflies","artist":"Jack Goldstein","year":"1975","startOffset":0,"sourceSecs":52.331,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":2910009,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_butterflies_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_butterflies_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_butterflies_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_butterflies_1975/main.mp4?v=2","description":"<b>RELATED RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"goldstein_jack_mgm_1975","ok":true,"partial":false,"title":"A Ballet Shoe","artist":"Jack Goldstein","year":"1975","startOffset":0,"sourceSecs":130.368,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":8872335,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_mgm_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_mgm_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_mgm_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_mgm_1975/main.mp4?v=2","description":"<i>A Ballet Shoe</i> (1975), which is 19 seconds long, is also projected onto a red wall: it is an image of a ballerina’s foot, encased in a ballet shoe, en point. Two hands appear from the sides of the picture and almost mechanically unfasten the shoe’s ribbons. The foot then slowly steps onto the ground.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a></br>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"goldstein_jack_shane_1975","ok":true,"partial":false,"title":"Shane","artist":"Jack Goldstein","year":"1975","startOffset":0,"sourceSecs":158.827,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":7045347,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_shane_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_shane_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_shane_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_shane_1975/main.mp4?v=2","description":"<b>RELATED RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"goldstein_jack_tanguy_1974","ok":true,"partial":false,"title":"The Portrait of Père Tanguy","artist":"Jack Goldstein","year":"1974","startOffset":0,"sourceSecs":269.675,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":18155836,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_tanguy_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_tanguy_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_tanguy_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_tanguy_1974/main.mp4?v=2","description":"The trace is similar to the index, but there is a more complex relationship to the original referent because the trace is at once a repetition and an erasure. In his 1974 film <i>The Portrait of Père Tanguy</i>, Goldstein traced a reproduction of the famous Vincent van Gogh painting of the same name. While on the one hand Goldstein's presence is affirmed by the mark which he makes on the paper, on the other, his sense of selfhood or individual identity is called into question by the fact that he is merely tracing an image produced by another individual, an image originally intended to assert van Gogh's individuality and sense of selfhood. The repetition is compounded by the fact that the tracing is, in fact, a tracing of a reproduction so that we are faced with a seemingly endless trail of doubling and disappearance.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a></br>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"goldstein_jack_the_chair_1975","ok":true,"partial":false,"title":"The Chair","artist":"Jack Goldstein","year":"1975","startOffset":0,"sourceSecs":439.509,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":27266417,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_the_chair_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_the_chair_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_the_chair_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_the_chair_1975/main.mp4?v=2","description":"In <i>The Chair</i> (1975) the glaring white highlights on a freshly painted black chair rhyme with multicoloured feathers that fall and stick to the paint, caught by both paint and camera, while the chair itself nearly disappears into the deep blue background. <br/><br/> One take, a little over 7 minutes in length is a black wooden chair slowly being rained upon by large multi-colored feathers. There is no sound. The piece is Zen like and meditative transporting the viewer into contentment as feathers gather on and around the chair.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a></br>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"goldstein_jack_the_jump_1978","ok":true,"partial":false,"title":"The Jump","artist":"Jack Goldstein","year":"1978","startOffset":0,"sourceSecs":51.861,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":109112,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_the_jump_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_the_jump_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_the_jump_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_the_jump_1978/main.mp4?v=2","description":"A miraculous sequence of images that distill space and form into one big leap. As Douglas Crimp wrote, paraphrasing Goldstein, “it is only through a distance that we can understand the world. Which is to say that we only experience reality through the pictures we make of it.”<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a></br>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"goldstein_jack_the_knife_1975","ok":true,"partial":false,"title":"The Knife","artist":"Jack Goldstein","year":"1975","startOffset":0,"sourceSecs":319.829,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":22085926,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_the_knife_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_the_knife_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_the_knife_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_the_knife_1975/main.mp4?v=2","description":"In <i>The Knife</i> (1975) red light falls onto a knife against a dark background, coating the silvery blade inch by inch until it is fully illuminated. The experiment is then repeated in green, then in light red, next blue, and finally pale yellow. It’s a very Hitchcockian approach to creating meaning, as if all the elements - object, colour, space and time - had been isolated from the suspense, only to be reconstructed anew, creating silent, artificial drama. And, as with Hitchcock, the motifs are fetishistically charged: knife, dog, door, bird, lion: ‘...they are all Freudian in some sense’, observed Goldstein.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a></br>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"goldstein_jack_white_dove_1975","ok":true,"partial":false,"title":"A White Dove","artist":"Jack Goldstein","year":"1975","startOffset":0,"sourceSecs":50.432,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":2787260,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_white_dove_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/goldstein_jack_white_dove_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/goldstein_jack_white_dove_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/goldstein_jack_white_dove_1975/main.mp4?v=2","description":"<b>RELATED RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Jack Goldstein in UbuWeb Sound</a>","artist_bio":"In a 1972 film by jack Goldstein, a blurred image slowly comes into focus, ultimately sharpening to reveal a man staring straight into the camera's lens. Although not conceived as such, the piece serves as an apt metaphor for the current state of Goldstein's oeuvre, which has lately emerged from the fog of the not so distant past. A seminal figure of the New York art scene in the 1970s and early '80s, Goldstein famously faded from prominence over the course of the years that followed, eventually moving to California in 1991 and ceasing to show new work. Recently, several exhibitions have brought the artist back into view: A pair of shows at the Kunstlerhaus Stuttgart and a retrospective at Magasin in Grenoble gave European museumgoers a chance to reappraise Goldstein's output, while last year's rehanging of Douglas Crimp's 1977 \"Pictures\" exhibition at Artists Space whetted appetites in the United States (see Artforum, October 2001). Here at the Whitney, \"Jack Goldstein: Films and Performance,\" organized by film-and-video curator Chrissie Iles, gave viewers a fuller picture of the artist's early work--restaging a performance and screening twenty-two films, the majority of which had not appeared in New York in over two decades. Executed between 1971 and 1978, these works traced a move from gritty filmed studio actions to the slick appropriative shorts for which Goldstein is better known. Together, they recounted a key episode in the emergence of postmodernism.\nThe exhibition was installed in three bays, with the sixteen-millimeter films projected directly onto the gallery walls. The films appeared in chronological programs, and the transition from one viewing space to the next mirrored conceptual developments in the artist's work. Goldstein's earliest films show arduous, sometimes quixotic solo actions performed for the camera: In one, the artist hammers a nail into a piece of wood and then pries it loose with his teeth, while in another he sprints around the studio, apparently trying to outrun his shadow. Like Bruce Nauman, Vito Acconci, and Chris Burden (artists who emerged a few years before him), Goldstein used abrasive physicality to highlight the pathetic and heroic struggle of the creative enterprise, while at the same time addressing larger aesthetic and political issues. When Goldstein jumps on the floor in one film, ever closer to a stack of plates until it falls, or pounds his hand on a table until he spills a glass of milk, his affected juvenile stance not only reflects his personal artistic frustration, but also engages a broader critique regarding the reification of labor under capitalism. What might seem gimmicky in other hands comes off as poignant. Goldstein's critical stance is compelling, in part because it clearly belongs to a bygone era--these works were meant to be shown in alternative spaces and were conceived long before artist's films were viable commodities.\nAs the '70s wore on, Goldstein seemed to realize that late-stage capitalism (and its attendant commercialization of the art world) could not be effectively addressed with strategies born of the later '60s, and the exhibition's second program included films that accommodated new, increasingly media-driven spectacular conditions. Rather than reenact the alienation of the studio, Goldstein focused instead on the symptoms of reified labor--de-skilling and repetition--through the ironic repositioning of appropriated imagery. In\nThe Portrait of Pere Tanguy\n, 1974, for example, Goldstein traces the image of a famous van Gogh painting, his facile hand and artistic volition reduced to mimicking the mechanically reproduced image that rests under his tracing paper. Goldstein's reference to van Gogh is considered, creating a fertile parallel between industrialization and the birth of modernity and the conditions of his own emergent postmodern moment. (Indeed, in this light, is it too much to read an homage to Degas into\nA Ballet Shoe\n, 1975, the film that immediately followed Pere Tanguy?) Postmodernism is characterized by the unprecedented dominance of the culture industry, and\nMetro-Goldwyn-Mayer\n, 1975, Goldstein's iconic two-minute tour de force, brings media's subliminal power to the fore. The roar of the movie studio's trademark lion here is looped into a (neurotic) repetition, making it easy to discern that the picture moves partly in reverse. This attempt to pass off \"backward\" for \"forward\"--a quirk of the source material underscored by Goldstein's manipulation--stands as a particularly compelling visual analogy for the cyclical nature of history and exploitation, as well as for the endless diet of recycled stories Hollywood dishes our.\nBeyond their political content, however, the sheer beauty of Goldstein's '70s films constantly forces one to remember that, even when he deploys the strategies of spectacle ironically, Goldstein is a talented visual artist. That these works still look so fresh testifies not only to his refined aesthetic sensibility, but also to his influence on many of today's artists, for whom media culture and the loop have respectively become the subject and device du jour. The exhibition's final bay presented a single film, which (not surprisingly) stressed the artificiality of sumptuous visuality.\nThe Jump\n, 1978, is a silent twenty-six-second loop projected on a fuchsia-colored wall illuminated by black lights. Using editing effects, Goldstein transformed a high diver, jumping into an amorphous deep purple space, into an incorporeal constellation of Technicolor stars. The strenuously exerted body of Goldstein's early performative films has been completely recast by technology as an image: a burst of graceful, highly regu lated, fireworklike light. The Jump was the last of Goldstein's early films, and it is a fitting swan song to an era when the body was still considered a viable site of resistance. Today, physical experience has atrophied in the face of the technological virtual, but this exhibition brought back into focus a time when, however futilely, resistance was still urgently performed.","bio_dates":"1945-2003"},{"slug":"golestan_ebrahim_the_iranian_crown_jewels_1965","ok":true,"partial":false,"title":"The Crown Jewels of Iran","artist":"Ebrahim Golestan","year":"1965","startOffset":0,"sourceSecs":581.343,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":41662680,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/golestan_ebrahim_the_iranian_crown_jewels_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/golestan_ebrahim_the_iranian_crown_jewels_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/golestan_ebrahim_the_iranian_crown_jewels_1965.mkv","hasFrames":true,"description":"The Iranian Crown Jewels, commissioned and then banned by the Shah's cultural ministry, but that film attacked the very elitism that subsumes this one. The print being shown is badly faded, but the period ambience is still vivid, commissioned and then banned by the shah's cultural ministry, is a formally dazzling and politically provocative brief on its subject.","artist_bio":"Ebrahim Golestan (Taghavi Shirazi) (also spelt Ibrahim Golestan, born 1922 in Shiraz, Iran) is an Iranian filmmaker and literary figure with a career spanning half a century. He has lived in Sussex, United Kingdom, since 1975.\nHe is the father of Iranian photojournalist Kaveh Golestan, and Lili Golestan, translator and owner and artistic director of the Golestan Gallery in Tehran, Iran. His grandson, Mani Haghighi, is also a film director.\nHe was closely associated with the controversial and eminent Iranian poet Forough Farrokhzad until her death, whom he met at his studio in 1958. He is said to have inspired her to live more independently.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1922"},{"slug":"gordon_douglas_sings_reed_velvets_iphone","ok":true,"partial":false,"title":"Douglas Gordon sings the best of Lou Reed & The Velvet Underground (For Bas Jan Ader), 1993","artist":"Douglas Gordon","year":"1993","startOffset":0,"sourceSecs":3424.828,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":198358938,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gordon_douglas_sings_reed_velvets_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gordon_douglas_sings_reed_velvets_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gordon_douglas_sings_reed_velvets_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gordon_douglas_sings_reed_velvets_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gordon_douglas_sings_reed_velvets_iphone/main/master.m3u8?v=2","hasMainHls":true,"bio_dates":"b. 1966"},{"slug":"gordon_douglas_stooges_burn_out","ok":true,"partial":false,"title":"Stooges Burn-Out","artist":"Douglas Gordon","year":"1995","startOffset":0,"sourceSecs":1193.233,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":72535024,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gordon_douglas_stooges_burn_out/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gordon_douglas_stooges_burn_out/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gordon_douglas_stooges_burn_out.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gordon_douglas_stooges_burn_out/main.mp4?v=2","description":"Stooges Burn-Out, 1995<br/> Video film, 9 mins, colour with sound<br/> With Dave Allen and Jonathan Monk<br/> <br/> A freshly lit cigarette is placed in the neck of the guitar in hommage to the practice of a rock hero before he embarks upon an epic solo, but no solo comes. Instead a low hum is heard from a guitar amplifier as the three artists drudge their way through a very rough version of The Stooges’ ‘I Wanna Be Your Dog’. The song lasts for the time it takes the cigarette to burn down to the filter.","bio_dates":"b. 1966"},{"slug":"gordon_nigel_syd_barretts_first_trip_1966","ok":true,"partial":false,"title":"Syd Barrett's First Trip","artist":"Syd Barrett","year":"1966","startOffset":0,"sourceSecs":660.427,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":120272122,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gordon_nigel_syd_barretts_first_trip_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gordon_nigel_syd_barretts_first_trip_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gordon_nigel_syd_barretts_first_trip_1966.mp4","hasFrames":true,"description":"Dir. Nigel Gordon <br/><br/> On an overcast day late in the summer of 1966, Syd first tripped on mushrooms while film student/friend Nigel Gordon captured the event on 8mm film. This marked the point of no return to Syd's life as he knew it. The spirit that entered the Gog Magog hills that day would not be the same entity that returned. The second part of this historic video shows Pink Floyd after having signed their first recording contract with EMI Records outside Abbey Road Studios in April '67. It is apparent in this scene that Syd has not yet come down from the hill. Now for the first time ever, this historic film is available on DVD. Though the original film was silent, this DVD comes with the added bonus of music supplied by Hypnotic Records recording artists - Dilate, which provides the perfect audio \"demention\" for viewing this classic event! <br/><br/>\"\"If the names Syd Barrett, Roger Waters, Richard Wright and Dave Mason elicit a response of \"Who?\" from you, chances are you should pass on this film, which, quite frankly, is for die-hard Pink Floyd fans only. If you do fall within that category, however, you will probably view \"Syd Barrett's First Trip\" as a chronicle of minor historical significance, as it is a brief visual documentary of the day that changed Barrett's world forever, and consequently the future of Pink Floyd. <br/><br/> The entire film runs a total of (approximately) 15 minutes, and is presented in two segments, the first of which takes place in the late summer of 1966, at a place called Gog Magog Hills. It was (according to all accounts) the very first time Syd \"tripped out\" on mushrooms, and friend/film student Nigel Gordon was on hand, recording it all on silent, 8MM film. Gordon was also there in April of 1967, outside Abbey Road Studios, on the day the Floyd signed their first recording contract with EMI Records, which comprises the second segment of the film. There are glimpses of Waters, Wright and Mason, but Gordon's camera was mainly focused on Barrett, whose state of mind at the time certainly seems open to conjecture. Very soon, of course, his situation would be beyond conjecture, as even before their first album was released a steady diet of LSD would take him to a place from which he would never return. <br/><br/> A soundtrack recorded by the Hypnotic Records group \"Dilate\" has been added to this film, effectively creating an appropriately ethereal atmosphere that evokes a surreal sense of timelessness as the seemingly innocent events captured here by Gordon unfold. <br/><br/> Some may argue that, in light of the fact that this was the beginning of the end for Barrett, this film is too personal to share with the world. There's no denying it has something of a \"tabloid\" feel to it, and without question, the significance of it is, historically, in an entirely different context than, say, the Zapruder film. But in the final analysis, 'Syd Barrett's First Trip' is neither invasive, nor is it in any way an inditement, or-- at the other end of the spectrum-- an affirmation of his life. In it's brevity, it's merely a glimpse; a quick look at a moment-- now frozen in time-- that marked the point of no return in a young man's life. Syd Barrett was an artist, who very soon after this film was made, would be unable to create anything ever again. One could say that the moment captured here was, in effect, the very instant that the music-- so alive within Syd Barrett-- died. To their credit, Waters, Wright and Mason-- Pink Floyd-- endured and, thankfully, continued on; tragically, Syd Barrett did not. And watching this film one can but reflect upon how truly fragile life is, and how quickly time moves on. After all, what you see in this film really happened; and moreover, it was only yesterday that it did.\" - Amazon.com user","artist_bio":"Roger Keith \"Syd\" Barrett (6 January 1946 – 7 July 2006) was an English singer, songwriter, musician and painter who co-founded the rock band Pink Floyd in 1965. Barrett named the group and was their original frontman and primary songwriter, becoming known for his English-accented singing, literary influences, stream-of-consciousness writing style, and whimsical take on psychedelia. As a guitarist, he was influential for his free-form playing and for employing dissonance, distortion, echo, feedback, and other studio effects.\nBarrett was musically active for less than ten years. With Pink Floyd, he recorded four singles, their debut album The Piper at the Gates of Dawn (1967), portions of their second album A Saucerful of Secrets (1968), and several unreleased songs. In April 1968, Barrett was ousted from the band amid speculation of mental illness and his excessive use of psychedelic drugs. He began a brief solo career in 1969 with the single \"Octopus\" and followed with the albums The Madcap Laughs (1970) and Barrett (1970), recorded with the aid of several members of Pink Floyd.\nIn 1972, Barrett left the music industry, retired from public life and strictly guarded his privacy until his death. He continued painting and dedicated himself to gardening. Pink Floyd recorded several tributes and homages to him, including the 1975 song suite \"Shine On You Crazy Diamond\" and the 1979 rock opera The Wall. In 1988, EMI released an album of unreleased tracks and outtakes, Opel, with Barrett's approval. He died of pancreatic cancer in 2006.","bio_dates":"1946-2006"},{"slug":"graham_dan_classic_and_recent_installations_2009","ok":true,"partial":false,"title":"Classic and Recent Installations/Pavilions 1974-2008","artist":"Dan Graham","year":"2009","startOffset":0,"sourceSecs":951.533,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":51254737,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_classic_and_recent_installations_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_classic_and_recent_installations_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/graham_dan_classic_and_recent_installations_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/graham_dan_classic_and_recent_installations_2009/main.mp4?v=2","description":"2009, 15:37 min, color, sound and silent<br/><br/> Newly compiled by Graham, Classic and Recent Installations/Pavilions 1974-2008 features video documentation of ten installations, including a series of the architectural sculptures that he terms \"pavilions.\" Typically composed of transparent or mirrored glass, and often placed outdoors in public sites, these structures further Graham's investigation into public and private spaces and invite a dialogue between the viewer and the environment, viewing and being viewed. Graham has written: \"The pavilion structures are psychologically and socially self-reflective. There is a dialectic between the perception of oneself and other bodies perceiving themselves, making the spectator conscious of him or herself as a body.\"<br/><br/> Covering a span of twenty-five years, this new compilation includes video documentation of the following ten installations: Present Continuous Pasts (1974) at the Centre Pompidou, Paris; Sculpture/Pavilion for Argonne (1978-81) at Argonne National Laboratories, Illinois; Sculpture/Pavilion II (1985) at Moderna Musett, Stockholm; 2-2 Way Mirror Half Cylinders Off-Aligned (2000) from the ING Belgium Bank Collection, Brussels; Two 'V's (2002-2005) from the Belgacom Corporate Collection, Brussels; Two-way Mirror Half Cylinder Half Hedge (2005) from the collection of Peggy and Ralph Burnet in Wayzata Minnesota; From Rococo to Mannerism (2007) at Marian Goodman Gallery in Paris; Pavilion for Sonic Youth Exhibition (2008) at Museon in Bolzano, Italy; Straight 2-way Mirror Pane Bisecting Curved 2-way Mirror for Novartis Campus, Basel (2008); and For the Daughter of Jeppe Heim/Splash (2008), from a private collection in Australia.<br/><br/> For first work camera: Brian Hatton. For all other works camera: Dan Graham. Editing: Dan Graham and Trevor Shimizu, EAI (World Headquarters). -- <a href=\"http://www.eai.org/title.htm?id=14623\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his provocative investigations, which are articulated in essays, performances, installations, videotapes and architectural/sculptural designs.\nGraham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in a perceptual and psychological inquiry into public and private, audience and performer, objectivity and subjectivity. Restructuring space, time and spectatorship in a deconstruction of the phenomenology of viewing, his early installations often incorporate closed-circuit video systems within architectural spaces. The viewer's perception is manipulated and displaced through such devices as time delay, projections, surveillance and mirrors.\nIn installations focusing on the social implications of television, as articulated in private and public viewing spaces, Graham refers to video's semiotic function in architecture in relation to both window and mirror. Graham has also published numerous critical and theoretical essays that investigate the cultural ideology of such contemporary social phenomena as punk music, suburbia and public architecture.\nGraham was born in 1942. He has published numerous critical essays, and is the author of Video-Architecture-Television (1980). His work is represented in the collections of numerous major institutions in the United States and Europe, including Moderna Museet, Stockholm; Centre Pompidou, Paris; and Tate Gallery, London. He has had solo exhibitions at the Museum of Contemporary Art, Los Angeles; Castello di Rivoli, Museo d' Arte Contemporanea, Turin, Italy; Whitney Museum of American Art, New York; Walker Art Center, Minneapolis, Minnesota; Van Abbemuseum, Eindhoven, Holland; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and has been represented internationally in group exhibitions at Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S. 1, New York; Marion Goodman Gallery, and The Museum of Modern Art, New York, among other institutions.\nIn 2009, Graham was honored with the first North American retrospective of his work at the Museum of Contemporary Art (MOCA), Los Angeles. Following its presentation at MOCA, Dan Graham: Beyond traveled to the Whitney Museum of American Art, New York, and then to the Walker Art Center, Minneapolis.\nDan Graham lives in New York. --\nEAI","bio_dates":"1942-2022"},{"slug":"graham_dan_dont_trust_anyone_over_30","ok":true,"partial":false,"title":"Don't Trust Anyone Over 30","artist":"Dan Graham","year":"2004","startOffset":0,"sourceSecs":1709.314,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":101924734,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_dont_trust_anyone_over_30/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_dont_trust_anyone_over_30/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/graham_dan_dont_trust_anyone_over_30.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/graham_dan_dont_trust_anyone_over_30/main.mp4?v=2","description":"A 60's Psychedelic Tale of Youth Conquering All (the Revolutionaries Are Puppets)<br/> New York Times<br/> By STEVEN HENRY MADOFF, DEC. 1, 2004 <br/><br/> In a small theater on the grounds of the Miami Beach Botanical Garden, across the street from the hundreds of art dealers offering works this week at Art Basel Miami Beach's international fair, a very different kind of art event is selling out. For seven performances starting today, packed audiences will watch 10 marionettes strut, scheme and rock out to the music of Sonic Youth, among others, as they send viewers back to the 1960's in a bitingly funny and psychedelic piece of puppet theater, \"Don't Trust Anyone Over Thirty.\"<br/><br/> When the veteran conceptual artist Dan Graham first thought of creating the piece, he had no idea that marionettes would have stolen their way back into pop consciousness.<br/><br/> The makers of \"South Park\" hadn't launched their apocalyptic movie satire \"Team America: World Police,\" now in theaters, with its marionette supercops conquering a toy-size Kim Jong Il. Even Spike Jonze's screw-loose hit film from 1999, \"Being John Malkovich,\" with John Cusack as an existential puppeteer who mysteriously enters Mr. Malkovich's brain, was still to come.<br/><br/>\"\"\"Don't Trust Anyone Over Thirty\" is a funky, funny adaptation of Barry Shear's 1968 movie \"Wild in the Streets,\" an astonishingly cheesy slice of paranoia in which Max Frost, a 24-year-old rock star turned politician with a simpering look halfway between a Beach Boy and a Rolling Stone, takes over America. Rallying the youth to shut down the country while his band of merry pranksters drugs Congress with LSD, he manages to get the voting age changed to 14 and has himself elected president. Then he does what any normal 20-something president would do. He locks everyone over 30 in internment camps, keeping them perpetually stoned.<br/><br/>\"\"\"I've had this piece on my mind for more than 15 years,\" said Mr. Graham, 62, rumpled and amused, during a recent rehearsal in New York, \"but the timing certainly seemed right to do it now.\"<br/><br/> Two years ago, Sandra Antelo-Suarez, the director of the New York-based arts organization Trans, having heard the idea to restage the movie years before from Mr. Graham, convinced him that with the presidential elections on the horizon this would be a perfect moment to realize the project.<br/><br/> Bringing together a dazzling gang of Mr. Graham's friends -- including the video artist Tony Oursler; the artist and musician Rodney Graham; the rock groups Sonic Youth and Japanther; and the master puppeteer Phillip Huber, whose marionettes were featured in \"Being John Malkovich\" -- Ms. Antelo-Suarez and Mr. Graham envisioned a layered, multimedia reinvention of puppet theater and, for that matter, of rock opera. Punch and Judy meets the Who.<br/><br/> In true seat-of-the pants, nonprofit fashion, they pressed the team into intense, almost nonstop labor as the months crept up to the premiere's deadline, and Ms. Antelo-Suarez scrambled to find backers for what rapidly became a $300,000 project, with stops over the next two years in Miami, the Walker Art Center in Minneapolis and art festivals in Dijon, France, and Vienna.<br/><br/> Each of the 10 marionettes took Mr. Huber more than 100 hours to make. Their period-perfect looks match their hippie stoner swagger -- with the single exception of the president's dog, appropriately named Eisenhower, who stretches, wags his tail and curls up with idyllic canine ease.<br/><br/> Mr. Oursler worked closely with the puppet master to create the short bursts of video that loop like druggy dreams through the live marionette scenes. Neon-green and pink backgrounds, backdrops of \"Leave It to Beaver\" suburban settings and Kennedyesque television speeches flow into real-life film clips from the Kent State demonstration and woozy images of puppets floating on acid trips through the Senate chamber.<br/><br/> Meanwhile, Japanther's and Sonic Youth's pounding music and the more hummable, Neil Young-style title anthem by Rodney Graham (no relation to Dan) punctuate the action, which compresses the story of \"Wild in the Streets\" into an hour's time.<br/><br/> The results are what Mr. Ousler describes as \"a small spectacle that's both cinematic and theatrical, the videos zooming in and out on a screen above, while these amazingly cool-looking 24-inch puppets with strings are on this little stage below.\"<br/><br/> Mr. Ousler continues: \"It was really kind of stunning to be sitting there, editing these scenes about a spooky presidential election when the real election was going on. And I'm watching these little wooden stick figures on my monitor become politicians with agendas as they move in this slightly surreal, artificial way and, well, you know it's obvious what I'm thinking.\"<br/><br/> To which Ms. Antelo-Suarez added, \"We wanted the characters to be funny and nostalgic, but with the bittersweet tension of reflecting the present, because everything that 1968 stood for, fighting the old ways, fighting the conservative right, has been crushed now. So in a way the piece is saying, \"If you think these puppets are freaked out, what about us?\"'<br/><br/> That sense of dual reality is typical of Mr. Graham's other artworks, which often employ two-way mirrors to make people standing in front of them feel as if they're there and not there, looking at themselves and through themselves into the landscape or at people on the other side of the glass. His marionettes serve a similar purpose. Their cool, New Age whimsy, twisted into the exaggerations of \"Don't Trust Anyone Over Thirty,\" is a funhouse mirror \"of our totally youth obsessed culture,\" Mr. Graham said.<br/><br/> The artist shoots his dart straight at the heart of Peter Pan-ism, of what he calls \"our culture's crazy wish to never grow old; that age, like films, can be fixed with special effects.\" So it comes as no surprise that his puppet president makes an easy career transition from the image-driven spectacle of rock to the spectacle of politics and that he announces: \"Man, you don't want to even live to be 30. Thirty's death, baby. Pure death.\"<br/><br/> When Mr. Graham first thought of retelling \"Wild in the Streets\" or even when Ms. Antelo-Suarez approached him about reviving the idea, none of the events that mark the current political landscape had unfolded.<br/><br/> Asked about the timing now, and particularly about the ending of his hypnotic, weird and eminently contemporary theater experiment, he repeated that it couldn't have worked out better. In the final scene, as music blares, the hippie president and his old regime are pushed aside. A band of stick-wielding, power-mad 10-year-olds takes over.","artist_bio":"Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his provocative investigations, which are articulated in essays, performances, installations, videotapes and architectural/sculptural designs.\nGraham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in a perceptual and psychological inquiry into public and private, audience and performer, objectivity and subjectivity. Restructuring space, time and spectatorship in a deconstruction of the phenomenology of viewing, his early installations often incorporate closed-circuit video systems within architectural spaces. The viewer's perception is manipulated and displaced through such devices as time delay, projections, surveillance and mirrors.\nIn installations focusing on the social implications of television, as articulated in private and public viewing spaces, Graham refers to video's semiotic function in architecture in relation to both window and mirror. Graham has also published numerous critical and theoretical essays that investigate the cultural ideology of such contemporary social phenomena as punk music, suburbia and public architecture.\nGraham was born in 1942. He has published numerous critical essays, and is the author of Video-Architecture-Television (1980). His work is represented in the collections of numerous major institutions in the United States and Europe, including Moderna Museet, Stockholm; Centre Pompidou, Paris; and Tate Gallery, London. He has had solo exhibitions at the Museum of Contemporary Art, Los Angeles; Castello di Rivoli, Museo d' Arte Contemporanea, Turin, Italy; Whitney Museum of American Art, New York; Walker Art Center, Minneapolis, Minnesota; Van Abbemuseum, Eindhoven, Holland; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and has been represented internationally in group exhibitions at Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S. 1, New York; Marion Goodman Gallery, and The Museum of Modern Art, New York, among other institutions.\nIn 2009, Graham was honored with the first North American retrospective of his work at the Museum of Contemporary Art (MOCA), Los Angeles. Following its presentation at MOCA, Dan Graham: Beyond traveled to the Whitney Museum of American Art, New York, and then to the Walker Art Center, Minneapolis.\nDan Graham lives in New York. --\nEAI","bio_dates":"1942-2022"},{"slug":"graham_dan_half_square","ok":true,"partial":false,"title":"Half Square Half Crazy","artist":"Dan Graham","year":"2005","startOffset":0,"sourceSecs":600.445,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":35922353,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_half_square/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_half_square/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/graham_dan_half_square.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/graham_dan_half_square/main.mp4?v=2","description":"In honor of the centenary of the birth of architect Giuseppe Terragni, Dan Graham was invited to install a project in Como, Italy, on the square in front of Terragni's 1936 Casa del Fascio, a landmark of modern European architecture. Always interested in the way conventions of community create meaning, Graham designed a pavilion called \"Half Square Half Crazy,\" which straddles the line between contemplative object and meeting point, a place of both reflection and exchange. The structure is made of reflecting glass and stainless steel and consists of four perpendicular sides, two of which are curved. This book presents exhaustive documentation of the Como pavilion together with a selection of recent works by Graham and two interviews with the artist. In addition, a DVD records the life of the pavilion from construction to inauguration, for valuable insight into Graham's working process.","artist_bio":"Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his provocative investigations, which are articulated in essays, performances, installations, videotapes and architectural/sculptural designs.\nGraham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in a perceptual and psychological inquiry into public and private, audience and performer, objectivity and subjectivity. Restructuring space, time and spectatorship in a deconstruction of the phenomenology of viewing, his early installations often incorporate closed-circuit video systems within architectural spaces. The viewer's perception is manipulated and displaced through such devices as time delay, projections, surveillance and mirrors.\nIn installations focusing on the social implications of television, as articulated in private and public viewing spaces, Graham refers to video's semiotic function in architecture in relation to both window and mirror. Graham has also published numerous critical and theoretical essays that investigate the cultural ideology of such contemporary social phenomena as punk music, suburbia and public architecture.\nGraham was born in 1942. He has published numerous critical essays, and is the author of Video-Architecture-Television (1980). His work is represented in the collections of numerous major institutions in the United States and Europe, including Moderna Museet, Stockholm; Centre Pompidou, Paris; and Tate Gallery, London. He has had solo exhibitions at the Museum of Contemporary Art, Los Angeles; Castello di Rivoli, Museo d' Arte Contemporanea, Turin, Italy; Whitney Museum of American Art, New York; Walker Art Center, Minneapolis, Minnesota; Van Abbemuseum, Eindhoven, Holland; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and has been represented internationally in group exhibitions at Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S. 1, New York; Marion Goodman Gallery, and The Museum of Modern Art, New York, among other institutions.\nIn 2009, Graham was honored with the first North American retrospective of his work at the Museum of Contemporary Art (MOCA), Los Angeles. Following its presentation at MOCA, Dan Graham: Beyond traveled to the Whitney Museum of American Art, New York, and then to the Walker Art Center, Minneapolis.\nDan Graham lives in New York. --\nEAI","bio_dates":"1942-2022"},{"slug":"graham_dan_performer_audience_mirror_1975","ok":true,"partial":false,"title":"Performer/Audience/Mirror (1975)","artist":"Dan Graham","year":"1975","startOffset":0,"sourceSecs":1387.455,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":83907264,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_performer_audience_mirror_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_performer_audience_mirror_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/graham_dan_performer_audience_mirror_1975.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/graham_dan_performer_audience_mirror_1975/main.mp4?v=2","description":"1975, 22:52 min, b&w, sound <br/><br/> Recorded at Video Free America in San Francisco, this work is a phenomenological inquiry into the audience/performer relationship and the notion of subjectivity / objectivity. Graham stands in front of a mirrored wall facing a seated audience; he describes the audience's movements and what they signify. He then turns and describes himself and the audience in the mirror. Graham writes: \"Through the use of the mirror the audience is able to instantaneously perceive itself as a public mass (as a unity), offsetting its definition by the performer ('s discourse). The audience sees itself reflected by the mirror instantly while the performer's comments are slightly delayed. First, a person in the audience sees himself 'objectively' ('subjectively') perceived by himself, next he hears himself described 'objectively' ('subjectively') in terms of the performer's perception.\" -- <a href=\"http://www.eai.org/title.htm?id=2217\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his provocative investigations, which are articulated in essays, performances, installations, videotapes and architectural/sculptural designs.\nGraham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in a perceptual and psychological inquiry into public and private, audience and performer, objectivity and subjectivity. Restructuring space, time and spectatorship in a deconstruction of the phenomenology of viewing, his early installations often incorporate closed-circuit video systems within architectural spaces. The viewer's perception is manipulated and displaced through such devices as time delay, projections, surveillance and mirrors.\nIn installations focusing on the social implications of television, as articulated in private and public viewing spaces, Graham refers to video's semiotic function in architecture in relation to both window and mirror. Graham has also published numerous critical and theoretical essays that investigate the cultural ideology of such contemporary social phenomena as punk music, suburbia and public architecture.\nGraham was born in 1942. He has published numerous critical essays, and is the author of Video-Architecture-Television (1980). His work is represented in the collections of numerous major institutions in the United States and Europe, including Moderna Museet, Stockholm; Centre Pompidou, Paris; and Tate Gallery, London. He has had solo exhibitions at the Museum of Contemporary Art, Los Angeles; Castello di Rivoli, Museo d' Arte Contemporanea, Turin, Italy; Whitney Museum of American Art, New York; Walker Art Center, Minneapolis, Minnesota; Van Abbemuseum, Eindhoven, Holland; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and has been represented internationally in group exhibitions at Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S. 1, New York; Marion Goodman Gallery, and The Museum of Modern Art, New York, among other institutions.\nIn 2009, Graham was honored with the first North American retrospective of his work at the Museum of Contemporary Art (MOCA), Los Angeles. Following its presentation at MOCA, Dan Graham: Beyond traveled to the Whitney Museum of American Art, New York, and then to the Walker Art Center, Minneapolis.\nDan Graham lives in New York. --\nEAI","bio_dates":"1942-2022"},{"slug":"graham_dan_performer_audience_mirror_1975_0cf675","ok":true,"partial":false,"title":"Performer/Audience/Mirror","artist":"Dan Graham","year":"1975","startOffset":0,"sourceSecs":1387.508,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":70555617,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_performer_audience_mirror_1975_0cf675/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_performer_audience_mirror_1975_0cf675/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/graham_dan_performer_audience_mirror_1975_0cf675.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/graham_dan_performer_audience_mirror_1975_0cf675/main.mp4?v=2","description":"1975, 22:52 min, b&w, sound <br/><br/> Recorded at Video Free America in San Francisco, this work is a phenomenological inquiry into the audience/performer relationship and the notion of subjectivity / objectivity. Graham stands in front of a mirrored wall facing a seated audience; he describes the audience's movements and what they signify. He then turns and describes himself and the audience in the mirror. Graham writes: \"Through the use of the mirror the audience is able to instantaneously perceive itself as a public mass (as a unity), offsetting its definition by the performer ('s discourse). The audience sees itself reflected by the mirror instantly while the performer's comments are slightly delayed. First, a person in the audience sees himself 'objectively' ('subjectively') perceived by himself, next he hears himself described 'objectively' ('subjectively') in terms of the performer's perception.\" -- <a href=\"http://www.eai.org/title.htm?id=2217\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his provocative investigations, which are articulated in essays, performances, installations, videotapes and architectural/sculptural designs.\nGraham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in a perceptual and psychological inquiry into public and private, audience and performer, objectivity and subjectivity. Restructuring space, time and spectatorship in a deconstruction of the phenomenology of viewing, his early installations often incorporate closed-circuit video systems within architectural spaces. The viewer's perception is manipulated and displaced through such devices as time delay, projections, surveillance and mirrors.\nIn installations focusing on the social implications of television, as articulated in private and public viewing spaces, Graham refers to video's semiotic function in architecture in relation to both window and mirror. Graham has also published numerous critical and theoretical essays that investigate the cultural ideology of such contemporary social phenomena as punk music, suburbia and public architecture.\nGraham was born in 1942. He has published numerous critical essays, and is the author of Video-Architecture-Television (1980). His work is represented in the collections of numerous major institutions in the United States and Europe, including Moderna Museet, Stockholm; Centre Pompidou, Paris; and Tate Gallery, London. He has had solo exhibitions at the Museum of Contemporary Art, Los Angeles; Castello di Rivoli, Museo d' Arte Contemporanea, Turin, Italy; Whitney Museum of American Art, New York; Walker Art Center, Minneapolis, Minnesota; Van Abbemuseum, Eindhoven, Holland; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and has been represented internationally in group exhibitions at Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S. 1, New York; Marion Goodman Gallery, and The Museum of Modern Art, New York, among other institutions.\nIn 2009, Graham was honored with the first North American retrospective of his work at the Museum of Contemporary Art (MOCA), Los Angeles. Following its presentation at MOCA, Dan Graham: Beyond traveled to the Whitney Museum of American Art, New York, and then to the Walker Art Center, Minneapolis.\nDan Graham lives in New York. --\nEAI","bio_dates":"1942-2022"},{"slug":"graham_dan_rock_my_religion","ok":true,"partial":false,"title":"Rock My Religion","artist":"Dan Graham","year":null,"startOffset":0,"sourceSecs":3323.157,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":559933031,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_rock_my_religion/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_dan_rock_my_religion/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/graham_dan_rock_my_religion.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/graham_dan_rock_my_religion/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/graham_dan_rock_my_religion/main/master.m3u8?v=2","hasMainHls":true,"description":"1982-84, 55:27 min, b&w and color, sound <br/><br/> Rock My Religion is a provocative thesis on the relation between religion and rock music in contemporary culture. Graham formulates a history that begins with the Shakers, an early religious community who practiced self-denial and ecstatic trance dances. With the \"reeling and rocking\" of religious revivals as his point of departure, Graham analyzes the emergence of rock music as religion with the teenage consumer in the isolated suburban milieu of the 1950s, locating rock's sexual and ideological context in post-World War II America. The music and philosophies of Patti Smith, who made explicit the trope that rock is religion, are his focus. This complex collage of text, film footage and performance forms a compelling theoretical essay on the ideological codes and historical contexts that inform the cultural phenomenon of rock `n' roll music. <br/><br/> Original Music: Glenn Branca, Sonic Youth. Sound: Ian Murray, Wharton Tiers. Narrators: Johanna Cypis, Dan Graham. Editors: Matt Danowski, Derek Graham, Ian Murray, Tony Oursler. Produced by Dan Graham and the Moderna Museet.-- <a href=\"http://www.eai.org/title.htm?id=2421\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Since the mid-1960s, Dan Graham has produced an important body of art and theory that engages in a highly analytical discourse on the historical, social and ideological functions of contemporary cultural systems. Architecture, popular music, video and television are among the focuses of his provocative investigations, which are articulated in essays, performances, installations, videotapes and architectural/sculptural designs.\nGraham began using film and video in the 1970s, creating installation and performance works that actively engage the viewer in a perceptual and psychological inquiry into public and private, audience and performer, objectivity and subjectivity. Restructuring space, time and spectatorship in a deconstruction of the phenomenology of viewing, his early installations often incorporate closed-circuit video systems within architectural spaces. The viewer's perception is manipulated and displaced through such devices as time delay, projections, surveillance and mirrors.\nIn installations focusing on the social implications of television, as articulated in private and public viewing spaces, Graham refers to video's semiotic function in architecture in relation to both window and mirror. Graham has also published numerous critical and theoretical essays that investigate the cultural ideology of such contemporary social phenomena as punk music, suburbia and public architecture.\nGraham was born in 1942. He has published numerous critical essays, and is the author of Video-Architecture-Television (1980). His work is represented in the collections of numerous major institutions in the United States and Europe, including Moderna Museet, Stockholm; Centre Pompidou, Paris; and Tate Gallery, London. He has had solo exhibitions at the Museum of Contemporary Art, Los Angeles; Castello di Rivoli, Museo d' Arte Contemporanea, Turin, Italy; Whitney Museum of American Art, New York; Walker Art Center, Minneapolis, Minnesota; Van Abbemuseum, Eindhoven, Holland; Museum of Modern Art, Oxford, England; The Renaissance Society, University of Chicago; Kunsthalle, Berne, Switzerland; and the Art Gallery of Western Australia, Perth; and has been represented internationally in group exhibitions at Documenta 7, Kassel, Germany; Art Institute of Chicago; Stedelijk Museum, Amsterdam; P.S. 1, New York; Marion Goodman Gallery, and The Museum of Modern Art, New York, among other institutions.\nIn 2009, Graham was honored with the first North American retrospective of his work at the Museum of Contemporary Art (MOCA), Los Angeles. Following its presentation at MOCA, Dan Graham: Beyond traveled to the Whitney Museum of American Art, New York, and then to the Walker Art Center, Minneapolis.\nDan Graham lives in New York. --\nEAI","bio_dates":"1942-2022"},{"slug":"graham_rodney_halcion_sleep_1994_iphone","ok":true,"partial":false,"title":"Halcyon Sleep","artist":"Rodney Graham","year":"1994","startOffset":0,"sourceSecs":1609.233,"sourceHeight":220,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":78059661,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_rodney_halcion_sleep_1994_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_rodney_halcion_sleep_1994_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/graham_rodney_halcion_sleep_1994_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/graham_rodney_halcion_sleep_1994_iphone/main.mp4?v=2","description":"The artist Rodney Graham, wearing his pyjamas, is filmed in blue nocturnal light, knocked out by a sleeping draught called halcyon. Comatose in the back of a car, he has been taken from his motel bed and driven around Vancouver, the traffic and city lights flaring over his recumbent form. Halcyon Sleep (1994) is the first work the viewer encounters in the major survey of Graham's work that opens today at London's Whitechapel Art Gallery. Attracted by the word halcyon, and remembering the childhood experience of being driven home after an exciting day, Graham not only recreates a memory of his youth, but shows us a man in the cinema of his dreams.","bio_dates":"b. 1949"},{"slug":"graham_rodney_how_i_became_a_ramblin_man_1999_iphone","ok":true,"partial":false,"title":"How I Became a Ramblin' Man","artist":"Rodney Graham","year":"1997","startOffset":0,"sourceSecs":540.499,"sourceHeight":204,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":37216604,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_rodney_how_i_became_a_ramblin_man_1999_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_rodney_how_i_became_a_ramblin_man_1999_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/graham_rodney_how_i_became_a_ramblin_man_1999_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/graham_rodney_how_i_became_a_ramblin_man_1999_iphone/main.mp4?v=2","description":"<i>How I Became a Ramblin’ Man</i> is the second in a trilogy of short costume dramas Rodney Graham produced between 1997 and 2000. The film is a musical-Western genre piece in which the artist, dressed as a benign wandering cowboy, rides his horse through a prairie landscape, eventually stopping to sing a melancholic song about his solitary country life. He then rides away, with each shot mirroring the sequence of his arrival. Like much of Graham’s practice, the film explores the structure of the loop and the playing of a role. The film’s circuitous structure denies the possibility of narrative resolution, suggesting instead an endlessly repeated journey.","bio_dates":"b. 1949"},{"slug":"graham_rodney_the_phonokinetoscope_2001","ok":true,"partial":false,"title":"The Phonokinetoscope","artist":"Rodney Graham","year":"2001","startOffset":0,"sourceSecs":287.701,"sourceHeight":482,"sourceWidth":634,"hasAudio":true,"hasAmbientMp4":true,"bytes":52669540,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_rodney_the_phonokinetoscope_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_rodney_the_phonokinetoscope_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/graham_rodney_the_phonokinetoscope_2001.mp4","hasFrames":true,"description":"<b>Rodney Graham talks about The Phonokinetoscope</b><br/> ArtForum, November 2001 <br/><br/> The Phonokinetoscope comprises a five-minute 16 mm film loop and a twelve-inch vinyl record with fifteen minutes of music on it. The projector is activated when the needle engages with the record--technically making it a phonokinetoscope, after Edison's early cinematic invention. Reading W.K.L. and Antonia Dickson's amusingly florid 1895 History of the Kinetograph, Kinetoscope and Kinetophonograph, the first history of the cinema, I was reminded that, contrary to popular belief, the earliest experiments in film integrated image and sound. The Dicksons effuse: \"The inconceivable swiftness of the photographic succession and the exquisite synchronism of the phonographic attachment have removed the last trace of automatic action, and the illusion is complete. The organgrinder's monkey jumps upon his shoulders to the rich strains of Norma.\" Perhaps the Wizard of Menlo Park was already thinking of music videos. My phonokinetoscope is somewhat more rudimentary than Edison's: Not only is there no guarantee of synchronicity, but in fact my unsynched loop allows for innumerable sound/image juxtapositions--and thus myriad music videos. The score for the film has demonstrative dynamics, and by coming in at different points in the narrative, it creates different dramatic effects. The cinematographic portion of this work is a semi-documentary account of a bicycle ride and (actual) LSD trip I took in the Tiergarten last May. In front of the reconstruction of Rousseau's tomb in Ermenonville, I ingested a blotter of \"Mad Hatter.\" (I had wanted to get a few tabs of \"Hofmann,\" which shows the inventor of LSD on his bicycle, but it wasn't available.) Among the slender repertoire of stunts that the exhibitionistic part of me draws on at outdoor gatherings is my ability to ride a bicycle backward. I have long wanted to exploit this actually quite unremarkable skill in a documentary but felt the piece lacked a hook. When my wife suggested I do it on acid, I took to the idea, remembering Albert Hofmann's inaugural bike \"trip\" of 1943. I was also thinking of the film document of the first acid trip of a nineteen-year-old Syd Barrett as he gamboled in the pastoral Cambridge countryside. I was interested in the idea of representing (or not representing) a kind of external manifestation of an interior experience. Tripping on that idea, I was reminded of the Syd Barrett song that concludes the first Pink Floyd album, Piper at the Gates of Dawn, which evokes something like the feeling of an organ-grinder's monkey jumping on his shoulder to the rich strains of Norma, and which itself concludes with an alluring sonic invitation to embrace a psychedelic reality. The Syd Barrett song in question is titled \"Bike.\" (The song that I wrote, sang, and recorded for the phonographic component of my phonokinetoscope quotes his song in the chorus: \"You're the kind of girl that fits in with my world.\") Elsewhere in my song I tried to summon a feeling of the post-Barrett Pink Floyd's classic stoner-rock sound track for the sequence in Antonioni's Zabriskie Point where a house is repeatedly blown up in slowmotion--surely the purest instance of the music video avant la lettre. But then there's also Burt Bacharach and Hal David's so-beautiful so-stupid \"Raindrops Keep Fallin' on My Head,\" featured in that montage sequence of Butch Cassidy and the Sundance Kid where Katharine Ross and Paul Newman frolic on a bicycle in the countryside. Doesn't it end with Newman riding the bicycle backward into a bull pen? Bas Jan Ader rode his bicycle into an Amsterdam canal not long after Butch Cassidy came out, and his work is as important to me as Bacharach's soft pop. Ader's life work centered around the idea of voyage and underscored the truism \"Sometimes when you take a trip you don't come back.\" When I think of Bas Jan Ader, I think of the boy who fell over Niagara Falls, and when I think of the boy who fell over Niagara Falls, I think of another boy who took a journey down a river: Huck Finn. When I think of Huckleyberry Finn, I think that Twain's novel should be rewritten as a loop, short-circuiting the Phelps farm sequence. After the raft trip proper, the action shifts to the farm owned by Tom Sawyer's aunt and uncle, and here is where the novel (famously) flounders. With the surprise appearance of his friend, Huck regresses to Tom's childish world of fantasy schemes, turning his back on the adulthood hard-won on the raft. Twain's abrupt loss of interest in his subject and sudden break in tone once the story leaves the river locale have long been thought of as serious lapses--literary failure. They didn't the concept of automatic pilot in those riverboat days, but that's what he's on. My point is, the trip is the thing.","bio_dates":"b. 1949"},{"slug":"graham_rodney_vexation_island","ok":true,"partial":false,"title":"Vexation Island","artist":"Rodney Graham","year":"1997","startOffset":0,"sourceSecs":552.725,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":90089795,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_rodney_vexation_island/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/graham_rodney_vexation_island/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/graham_rodney_vexation_island.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/graham_rodney_vexation_island/main.mp4?v=2","bio_dates":"b. 1949"},{"slug":"granat_amy_landscape_film_2009","ok":true,"partial":false,"title":"Landscape Film","artist":"Amy Granat","year":"2009","startOffset":0,"sourceSecs":525.692,"sourceHeight":332,"sourceWidth":480,"hasAudio":false,"hasAmbientMp4":true,"bytes":30918983,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/granat_amy_landscape_film_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/granat_amy_landscape_film_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/granat_amy_landscape_film_2009.mp4","hasFrames":true,"description":"Amy Granat continues her interest in land art and nature as psychic space with “Landscape Film”, filmed at Cahokia Mounds, the site of a Native American city built between 700 and 1400 AD in what is now the state of Illinois. The ancient and sacred mounds, juxtaposed with modern day architecture, roads, flagpoles and walking paths, create a stirring portrait of man-made landscapes. Granat then took the film strip, shot in black-and-white, and hand painted the sections of it in monochrome washes of color, resulting in a film that combines film as a recorded image with a charged emotional space. While the camera frames, divides, crops and flattens, the color washes create fluid boundless movement. Alongside this film is a new sound piece, conceived in parallel with – but separate from – the film itself.","artist_bio":"Amy Granat is best known for her experimental film installations featuring celluloid that has been manipulated by scratching, cutting, or chemical alteration. Her practice though, is wide-ranging, and also includes video, sound, and photography. Granat’s photograms, in which objects are laid on top of film and then exposed to light, are related to her films in terms of her physical approach to image-making. Both of these aspects of her work reveal a fascination with transparency and opacity, and positive and negative space. If Granat’s experimentations with the photogram—a method that emphasizes the intrinsic quality of film, allowing her to “draw” with light—conjures the work of Man Ray in the 1930s, her direct manipulation of film stock is an homage to avant-garde filmmakers such as Stan Brakhage. Non-narrative, Brakhage’s films are abstract compositions with affinities to postwar Abstract Expressionist painting. Granat’s work also recalls that of avant-garde filmmakers such as Hans Richter or Viking Eggeling, both of whom made some of the first light and film experiments in the early part of the twentieth century.","bio_dates":"b. 1976"},{"slug":"granular_synthesis_sweet_heart_2006","ok":true,"partial":false,"title":"Sweet heart","artist":"Granular Synthesis","year":"1997","startOffset":0,"sourceSecs":441.16,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":80080618,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/granular_synthesis_sweet_heart_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/granular_synthesis_sweet_heart_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/granular_synthesis_sweet_heart_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/granular_synthesis_sweet_heart_2006/main.mp4?v=2","description":"In the 1996 work entitled »Sweetheart« one sees a close-up of the head of the performer Akemi Takeya. The slow movements of her head and her mimed expressions are the result of resynthesizing the smallest of sound and image units. The intense show of emotion depicted here is produced synthetically, and yet it triggers real emotions in the viewer. »Sweetheart« lasts 15 minutes and was produced for a short film program of the Austrian TV network ORF.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"greenaway_peter_4_american_composers_i_john_cage_1983_iphone","ok":true,"partial":false,"title":"Four American Composers: John Cage","artist":"Peter Greenaway","year":"1983","startOffset":0,"sourceSecs":3255.192,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":192439090,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_4_american_composers_i_john_cage_1983_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_4_american_composers_i_john_cage_1983_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/greenaway_peter_4_american_composers_i_john_cage_1983_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_4_american_composers_i_john_cage_1983_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_4_american_composers_i_john_cage_1983_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Peter Greenaway<br/><br/>Robert Ashley<br> John Cage<br> Philip Glass<br/> Peter Gordon .... Himself (segment \"Ashley\")<br/> Jack Kripl .... Intereviewee<br/> Jill Kroesen .... (segment \"Ashley\")<br/> Meredith Monk<br/> Kurt Munkacsi .... Interviewee<br/> Dora Ohrenstein .... Interviewee<br/> Michael Riesman .... Interviewee<br/> 'Blue' Gene Tyranny .... The World's Greatest Piano Player (segment \"Ashley\")<br/> David Van Tieghem .... The Captain of the Football Team (segment Ashley)<br/><br/>Runtime: 220 min<br> Country: UK<br> Language: English<br/> Color: Color<br/><br/>Produced by<br> Revel Guest .... producer<br> <br/> Original Music by<br/> Robert Ashley<br/> Philip Glass<br/> Meredith Monk<br/><br/>Non-Original Music by John Cage <br><br> Cinematography by Curtis Clark <br/><br/> Film Editing by John Wilson<br/> Michael Nyman .... musical advisor<br><br><b>4 American Composers.</b> Produced by Revel Guest. Directed by Peter Greenaway. New York, N.Y.: Mystic Fire Video, 1991. Originally produced by Transatlantic Films in 1985. Vol. 1: John Cage. Mystic Fire Video 76237 (VHS cassette; 60 mm.); ISBN 1561762377. Vol. 2: Philip Glass. Mystic Fire Video 76234 (VHS cassette; 60 mm.); ISBN 1561762342. Vol. 3: Meredith Monk. Mystic Fire Video 76236 (VHS cassette; 60 mm.); ISBN 1561762369. Vol. 4: Robert Ashley. Mystic Fire Video 76235 (VHS cassette; 60 mm.); ISBN 1561762350. <br><br> Based on London performances under the aegis of the New York/Almeida Festival, this set of four one-hour documentaries, originally produced in 1983, introduced these avant-garde composers and their music to general British audiences. It is a tribute to the filmmakers' accomplishment (and a sorry comment on how we honor our own prophets) that the set provides no less valuable an introduction for American audiences a full decade later. <br><br> These videos merit viewing not simply for exporting the avant-garde to a general public, but for explaining it-or, rather, for letting the composers explain themselves. Compared to Meredith Monk and Robert Ashley, John Cage and Philip Glass are household names, yet their relative fame frequently turns on the persistence of misconceptions. All too often, even scholars who might be expected to know better portray Cage as either charlatan or nihilist. Critics in the 1980s tagged Glass's music as \"classical music for people who don't like classical music,\" suggesting his shrewd exploitation of the yuppie market. Director Peter Greenaway and producer Revel Guest weave representative musical excerpts with interviews to present the personalities more accurately, and, in so doing, establishes a broader context for listening. Perhaps the most striking revelation of these documentaries is that such notorious iconoclasts are so soft-spoken in person (compared to the shy, halting Ashley, the loquacious Monk seems downright assertive). <br/><br/> Fans of Peter Greenaway will be disappointed (and his detractors relieved) that here, whether from documentary restraint or simple budgetary restrictions, he largely subordinates idiosyncrasies found in his other film work to the rhythms and forms of the live performances. A Music Circus, a seventieth-birthday celebration, features twelve Cage works performed within two hours, often overlapping, and thus motivates a kaleidoscopic assortment of brief snippets; the Philip Glass Ensemble's visually static performance inspires more prolonged swaths of uninterrupted music. Monk's cinematic approach to staging and choreography (\"all the cinema language is how I think in terms of theater\") and Ashley's video conception of his opera Perfect Lives more directly shape approaches to the filming of their work. <br/><br/> Of course, Greenaway is never the entirely invisible observer; he occasionally finds opportunities to assert his own style. These range from rapid, rhythmic intercutting images of the sound sources used in Cage's works, such as \"27 sounds manufactured in a kitchen,\" to the slow-motion close-ups of Glass nodding cues to his ensemble. Most openly individualistic are the interviews with Ashley and his collaborators, in which they appear simultaneously in one or more on-screen video monitors, filmed from different angles and at different magnifications, and intercut with typescript title cards to underscore selected words and phrases. Though clearly modeled on a technique used in Ashley's opera, the result is unmistakably Greenaway. <br/><br/> At its best, the interplay of sound and image strikingly illuminates each composer's philosophy. Puzzling over the quirky, even bizarre choreography in Monk's Turtle Dreams (1983), which expresses the \"pre-World War III anxiety\" of contemporary urban life, we hear her explain: \"It's like little templates or something, like little evocative nuggets, little psychic triggers. And it's all these little moments of explosion within this very formal, very abstract form that, in a way, you could look at and you could say it doesn't have any idea or content.\" Likewise, as we see musicians intently performing Cage's indeterminacies, we hear his account of orchestral shenanigans during 1958 performances, and his realization that he had to \"find a way to let people be free without becoming foolish, so that their freedom will make them noble.\" <br/><br/> Occasionally, key information almost slips by unnoticed, as when Glass observes that \"the whole development of popular music over the last ten years has been very helpful to us.\" One longs here for a narrator to emphasize that, thanks to commercial pop music's trends in the 1970s toward static harmonies and ubiquitous synthesizers, minimalism's popular appeal was neither a birthright nor an achievement, but genuinely thrust upon it (as Glass notes dryly, \"It's not music with clearly populist intentions.\"). Of course, some contexts were unknowable at the time: although some of the images in Ashley's video opera strongly resemble rock video clichŽs, 1990s viewers must recall that the 1983 Perfect Lives immediately predates the rise of MTV. <br/><br/> Inevitably, the contexts provided in a one-hour format are tightly circumscribed. With Cage and Monk, we do acquire some sense of stylistic development. A Music Circus incorporates works from 1940 to 1979, and rather than follow a chance arrangement in performance, Greenaway and Guest present them chronologically. Although Monk's musical and stage works are presented in a more flexible ordering, her film works 16mm Earrings (1966), Quarry (1976), and Ellis Island (1981) do appear in sequence. But other than a quick excerpt from Music in similar motion (1969), the Glass segment includes only his work from about 1983, and the Ashley segment presents only Perfect Lives. Therefore, viewers for whom any of these documentaries provide a first encounter will have to turn to other media to build a fuller sense of the composers' outputs, especially in relation to contemporaneous developments in music and the visual arts. Nevertheless, the filmmakers' skillful integration of image, music, and text, especially in some of Greenaway's more subtle visual puns and symbols, as when the Cage segment begins with what appears to be the slow-motion demolition of a church-which, in fact, turns out to be its renovation, will reward viewers of all backgrounds. <br/><br/> -- BRIAN ROBISON, Cornell University<br><br><b>RESOURCES:</b> <br><br> <a href=\"https://ubu.com/film/cage.html\" rel=\"noopener\" target=\"_blank\">John Cage in UbuWeb Film</a> <br> <a href=\"https://ubu.com/sound/cage.html\" rel=\"noopener\" target=\"_blank\">John Cage in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/historical/cage/index.html\" rel=\"noopener\" target=\"_blank\">John Cage in UbuWeb Historical</a></br></br></br></br></br></br></br></br></br></br></br></br></br></br></br></br>","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"b. 1942"},{"slug":"greenaway_peter_4_american_composers_ii_philip_glass_1983","ok":true,"partial":false,"title":"Four American Composers: Philip Glass","artist":"Peter Greenaway","year":"1983","startOffset":0,"sourceSecs":3052.928,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":177859051,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_4_american_composers_ii_philip_glass_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_4_american_composers_ii_philip_glass_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/greenaway_peter_4_american_composers_ii_philip_glass_1983.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_4_american_composers_ii_philip_glass_1983/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_4_american_composers_ii_philip_glass_1983/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Peter Greenaway<br/><br/>Robert Ashley<br> John Cage<br> Philip Glass<br/> Peter Gordon .... Himself (segment \"Ashley\")<br/> Jack Kripl .... Intereviewee<br/> Jill Kroesen .... (segment \"Ashley\")<br/> Meredith Monk<br/> Kurt Munkacsi .... Interviewee<br/> Dora Ohrenstein .... Interviewee<br/> Michael Riesman .... Interviewee<br/> 'Blue' Gene Tyranny .... The World's Greatest Piano Player (segment \"Ashley\")<br/> David Van Tieghem .... The Captain of the Football Team (segment Ashley)<br/><br/>Runtime: 220 min<br> Country: UK<br> Language: English<br/> Color: Color<br/><br/>Produced by<br> Revel Guest .... producer<br> <br/> Original Music by<br/> Robert Ashley<br/> Philip Glass<br/> Meredith Monk<br/><br/>Non-Original Music by John Cage <br><br> Cinematography by Curtis Clark <br/><br/> Film Editing by John Wilson<br/> Michael Nyman .... musical advisor<br><br><b>4 American Composers.</b> Produced by Revel Guest. Directed by Peter Greenaway. New York, N.Y.: Mystic Fire Video, 1991. Originally produced by Transatlantic Films in 1985. Vol. 1: John Cage. Mystic Fire Video 76237 (VHS cassette; 60 mm.); ISBN 1561762377. Vol. 2: Philip Glass. Mystic Fire Video 76234 (VHS cassette; 60 mm.); ISBN 1561762342. Vol. 3: Meredith Monk. Mystic Fire Video 76236 (VHS cassette; 60 mm.); ISBN 1561762369. Vol. 4: Robert Ashley. Mystic Fire Video 76235 (VHS cassette; 60 mm.); ISBN 1561762350. <br><br> Based on London performances under the aegis of the New York/Almeida Festival, this set of four one-hour documentaries, originally produced in 1983, introduced these avant-garde composers and their music to general British audiences. It is a tribute to the filmmakers' accomplishment (and a sorry comment on how we honor our own prophets) that the set provides no less valuable an introduction for American audiences a full decade later. <br><br> These videos merit viewing not simply for exporting the avant-garde to a general public, but for explaining it-or, rather, for letting the composers explain themselves. Compared to Meredith Monk and Robert Ashley, John Cage and Philip Glass are household names, yet their relative fame frequently turns on the persistence of misconceptions. All too often, even scholars who might be expected to know better portray Cage as either charlatan or nihilist. Critics in the 1980s tagged Glass's music as \"classical music for people who don't like classical music,\" suggesting his shrewd exploitation of the yuppie market. Director Peter Greenaway and producer Revel Guest weave representative musical excerpts with interviews to present the personalities more accurately, and, in so doing, establishes a broader context for listening. Perhaps the most striking revelation of these documentaries is that such notorious iconoclasts are so soft-spoken in person (compared to the shy, halting Ashley, the loquacious Monk seems downright assertive). <br/><br/> Fans of Peter Greenaway will be disappointed (and his detractors relieved) that here, whether from documentary restraint or simple budgetary restrictions, he largely subordinates idiosyncrasies found in his other film work to the rhythms and forms of the live performances. A Music Circus, a seventieth-birthday celebration, features twelve Cage works performed within two hours, often overlapping, and thus motivates a kaleidoscopic assortment of brief snippets; the Philip Glass Ensemble's visually static performance inspires more prolonged swaths of uninterrupted music. Monk's cinematic approach to staging and choreography (\"all the cinema language is how I think in terms of theater\") and Ashley's video conception of his opera Perfect Lives more directly shape approaches to the filming of their work. <br/><br/> Of course, Greenaway is never the entirely invisible observer; he occasionally finds opportunities to assert his own style. These range from rapid, rhythmic intercutting images of the sound sources used in Cage's works, such as \"27 sounds manufactured in a kitchen,\" to the slow-motion close-ups of Glass nodding cues to his ensemble. Most openly individualistic are the interviews with Ashley and his collaborators, in which they appear simultaneously in one or more on-screen video monitors, filmed from different angles and at different magnifications, and intercut with typescript title cards to underscore selected words and phrases. Though clearly modeled on a technique used in Ashley's opera, the result is unmistakably Greenaway. <br/><br/> At its best, the interplay of sound and image strikingly illuminates each composer's philosophy. Puzzling over the quirky, even bizarre choreography in Monk's Turtle Dreams (1983), which expresses the \"pre-World War III anxiety\" of contemporary urban life, we hear her explain: \"It's like little templates or something, like little evocative nuggets, little psychic triggers. And it's all these little moments of explosion within this very formal, very abstract form that, in a way, you could look at and you could say it doesn't have any idea or content.\" Likewise, as we see musicians intently performing Cage's indeterminacies, we hear his account of orchestral shenanigans during 1958 performances, and his realization that he had to \"find a way to let people be free without becoming foolish, so that their freedom will make them noble.\" <br/><br/> Occasionally, key information almost slips by unnoticed, as when Glass observes that \"the whole development of popular music over the last ten years has been very helpful to us.\" One longs here for a narrator to emphasize that, thanks to commercial pop music's trends in the 1970s toward static harmonies and ubiquitous synthesizers, minimalism's popular appeal was neither a birthright nor an achievement, but genuinely thrust upon it (as Glass notes dryly, \"It's not music with clearly populist intentions.\"). Of course, some contexts were unknowable at the time: although some of the images in Ashley's video opera strongly resemble rock video clichŽs, 1990s viewers must recall that the 1983 Perfect Lives immediately predates the rise of MTV. <br/><br/> Inevitably, the contexts provided in a one-hour format are tightly circumscribed. With Cage and Monk, we do acquire some sense of stylistic development. A Music Circus incorporates works from 1940 to 1979, and rather than follow a chance arrangement in performance, Greenaway and Guest present them chronologically. Although Monk's musical and stage works are presented in a more flexible ordering, her film works 16mm Earrings (1966), Quarry (1976), and Ellis Island (1981) do appear in sequence. But other than a quick excerpt from Music in similar motion (1969), the Glass segment includes only his work from about 1983, and the Ashley segment presents only Perfect Lives. Therefore, viewers for whom any of these documentaries provide a first encounter will have to turn to other media to build a fuller sense of the composers' outputs, especially in relation to contemporaneous developments in music and the visual arts. Nevertheless, the filmmakers' skillful integration of image, music, and text, especially in some of Greenaway's more subtle visual puns and symbols, as when the Cage segment begins with what appears to be the slow-motion demolition of a church-which, in fact, turns out to be its renovation, will reward viewers of all backgrounds. <br/><br/> -- BRIAN ROBISON, Cornell University<br/><br/><a href=\"https://ubu.com/sound/glass.html\" rel=\"noopener\" target=\"_blank\">Philip Glass in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/film/glass.html\" rel=\"noopener\" target=\"_blank\">Philip Glass in UbuWeb Film</a></br></br></br></br></br></br></br></br></br></br></br></br></br>","artist_bio":"s\nPeter Greenaway, CBE (born 5 April 1942) is a British film director. His films are noted for the distinct influence of Renaissance and Baroque painting, and Flemish painting in particular. The scenic composition and illumination and the contrasts of costume and nudity, nature and architecture, furniture and people, sexual pleasure and painful death are common traits in his films.","bio_dates":"b. 1942"},{"slug":"greenaway_peter_4_american_composers_iii_meredith_monk_1983_iphone","ok":true,"partial":false,"title":"Four American Composers: Meredith Monk","artist":"Peter Greenaway","year":"1983","startOffset":0,"sourceSecs":3130.562,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":185208607,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_4_american_composers_iii_meredith_monk_1983_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_4_american_composers_iii_meredith_monk_1983_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/greenaway_peter_4_american_composers_iii_meredith_monk_1983_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_4_american_composers_iii_meredith_monk_1983_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_4_american_composers_iii_meredith_monk_1983_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Peter Greenaway<br/><br/>Robert Ashley<br> John Cage<br> Philip Glass<br/> Peter Gordon .... Himself (segment \"Ashley\")<br/> Jack Kripl .... Intereviewee<br/> Jill Kroesen .... (segment \"Ashley\")<br/> Meredith Monk<br/> Kurt Munkacsi .... Interviewee<br/> Dora Ohrenstein .... Interviewee<br/> Michael Riesman .... Interviewee<br/> 'Blue' Gene Tyranny .... The World's Greatest Piano Player (segment \"Ashley\")<br/> David Van Tieghem .... The Captain of the Football Team (segment Ashley)<br/><br/>Runtime: 220 min<br> Country: UK<br> Language: English<br/> Color: Color<br/><br/>Produced by<br> Revel Guest .... producer<br> <br/> Original Music by<br/> Robert Ashley<br/> Philip Glass<br/> Meredith Monk<br/><br/>Non-Original Music by John Cage <br><br> Cinematography by Curtis Clark <br/><br/> Film Editing by John Wilson<br/> Michael Nyman .... musical advisor<br><br><b>4 American Composers.</b> Produced by Revel Guest. Directed by Peter Greenaway. New York, N.Y.: Mystic Fire Video, 1991. Originally produced by Transatlantic Films in 1985. Vol. 1: John Cage. Mystic Fire Video 76237 (VHS cassette; 60 mm.); ISBN 1561762377. Vol. 2: Philip Glass. Mystic Fire Video 76234 (VHS cassette; 60 mm.); ISBN 1561762342. Vol. 3: Meredith Monk. Mystic Fire Video 76236 (VHS cassette; 60 mm.); ISBN 1561762369. Vol. 4: Robert Ashley. Mystic Fire Video 76235 (VHS cassette; 60 mm.); ISBN 1561762350. <br><br> Based on London performances under the aegis of the New York/Almeida Festival, this set of four one-hour documentaries, originally produced in 1983, introduced these avant-garde composers and their music to general British audiences. It is a tribute to the filmmakers' accomplishment (and a sorry comment on how we honor our own prophets) that the set provides no less valuable an introduction for American audiences a full decade later. <br><br> These videos merit viewing not simply for exporting the avant-garde to a general public, but for explaining it-or, rather, for letting the composers explain themselves. Compared to Meredith Monk and Robert Ashley, John Cage and Philip Glass are household names, yet their relative fame frequently turns on the persistence of misconceptions. All too often, even scholars who might be expected to know better portray Cage as either charlatan or nihilist. Critics in the 1980s tagged Glass's music as \"classical music for people who don't like classical music,\" suggesting his shrewd exploitation of the yuppie market. Director Peter Greenaway and producer Revel Guest weave representative musical excerpts with interviews to present the personalities more accurately, and, in so doing, establishes a broader context for listening. Perhaps the most striking revelation of these documentaries is that such notorious iconoclasts are so soft-spoken in person (compared to the shy, halting Ashley, the loquacious Monk seems downright assertive). <br/><br/> Fans of Peter Greenaway will be disappointed (and his detractors relieved) that here, whether from documentary restraint or simple budgetary restrictions, he largely subordinates idiosyncrasies found in his other film work to the rhythms and forms of the live performances. A Music Circus, a seventieth-birthday celebration, features twelve Cage works performed within two hours, often overlapping, and thus motivates a kaleidoscopic assortment of brief snippets; the Philip Glass Ensemble's visually static performance inspires more prolonged swaths of uninterrupted music. Monk's cinematic approach to staging and choreography (\"all the cinema language is how I think in terms of theater\") and Ashley's video conception of his opera Perfect Lives more directly shape approaches to the filming of their work. <br/><br/> Of course, Greenaway is never the entirely invisible observer; he occasionally finds opportunities to assert his own style. These range from rapid, rhythmic intercutting images of the sound sources used in Cage's works, such as \"27 sounds manufactured in a kitchen,\" to the slow-motion close-ups of Glass nodding cues to his ensemble. Most openly individualistic are the interviews with Ashley and his collaborators, in which they appear simultaneously in one or more on-screen video monitors, filmed from different angles and at different magnifications, and intercut with typescript title cards to underscore selected words and phrases. Though clearly modeled on a technique used in Ashley's opera, the result is unmistakably Greenaway. <br/><br/> At its best, the interplay of sound and image strikingly illuminates each composer's philosophy. Puzzling over the quirky, even bizarre choreography in Monk's Turtle Dreams (1983), which expresses the \"pre-World War III anxiety\" of contemporary urban life, we hear her explain: \"It's like little templates or something, like little evocative nuggets, little psychic triggers. And it's all these little moments of explosion within this very formal, very abstract form that, in a way, you could look at and you could say it doesn't have any idea or content.\" Likewise, as we see musicians intently performing Cage's indeterminacies, we hear his account of orchestral shenanigans during 1958 performances, and his realization that he had to \"find a way to let people be free without becoming foolish, so that their freedom will make them noble.\" <br/><br/> Occasionally, key information almost slips by unnoticed, as when Glass observes that \"the whole development of popular music over the last ten years has been very helpful to us.\" One longs here for a narrator to emphasize that, thanks to commercial pop music's trends in the 1970s toward static harmonies and ubiquitous synthesizers, minimalism's popular appeal was neither a birthright nor an achievement, but genuinely thrust upon it (as Glass notes dryly, \"It's not music with clearly populist intentions.\"). Of course, some contexts were unknowable at the time: although some of the images in Ashley's video opera strongly resemble rock video clichŽs, 1990s viewers must recall that the 1983 Perfect Lives immediately predates the rise of MTV. <br/><br/> Inevitably, the contexts provided in a one-hour format are tightly circumscribed. With Cage and Monk, we do acquire some sense of stylistic development. A Music Circus incorporates works from 1940 to 1979, and rather than follow a chance arrangement in performance, Greenaway and Guest present them chronologically. Although Monk's musical and stage works are presented in a more flexible ordering, her film works 16mm Earrings (1966), Quarry (1976), and Ellis Island (1981) do appear in sequence. But other than a quick excerpt from Music in similar motion (1969), the Glass segment includes only his work from about 1983, and the Ashley segment presents only Perfect Lives. Therefore, viewers for whom any of these documentaries provide a first encounter will have to turn to other media to build a fuller sense of the composers' outputs, especially in relation to contemporaneous developments in music and the visual arts. Nevertheless, the filmmakers' skillful integration of image, music, and text, especially in some of Greenaway's more subtle visual puns and symbols, as when the Cage segment begins with what appears to be the slow-motion demolition of a church-which, in fact, turns out to be its renovation, will reward viewers of all backgrounds. <br/><br/> -- BRIAN ROBISON, Cornell University<br/><br/><a href=\"https://ubu.com/sound/monk.html\" rel=\"noopener\" target=\"_blank\">Meredith Monk in UbuWeb Sound</a></br></br></br></br></br></br></br></br></br></br></br></br>","artist_bio":"s\nPeter Greenaway, CBE (born 5 April 1942) is a British film director. His films are noted for the distinct influence of Renaissance and Baroque painting, and Flemish painting in particular. The scenic composition and illumination and the contrasts of costume and nudity, nature and architecture, furniture and people, sexual pleasure and painful death are common traits in his films.","bio_dates":"b. 1942"},{"slug":"greenaway_peter_a_walk_through_h_1978_iphone","ok":true,"partial":false,"title":"A Walk Through H: The Reincarnation of an Ornithologist","artist":"Peter Greenaway","year":"1978","startOffset":0,"sourceSecs":2431.641,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":143557979,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_a_walk_through_h_1978_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_a_walk_through_h_1978_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/greenaway_peter_a_walk_through_h_1978_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_a_walk_through_h_1978_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_a_walk_through_h_1978_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"As the camera pores over 92 mixed media pictures hung in a gallery (all painted exquisitely by Greenaway himself), a pedantic narrator describes his mysterious journey to H, using the pictures as maps. Subtitled The Reincarnation of an Ornithologist, this film seems to be concerned with the migration of a soul (to Heaven or Hell) following the migratory paths of birds (which feature prominently) - but along the way it takes in the curious provenance and intrepretation of each painting, and it documents a bewildering intrigue between the narrator, his mentor Tulse Luper and his rival van Heuten (keeper of the owls at the Amsterdam Zoo).","artist_bio":"s\nPeter Greenaway, CBE (born 5 April 1942) is a British film director. His films are noted for the distinct influence of Renaissance and Baroque painting, and Flemish painting in particular. The scenic composition and illumination and the contrasts of costume and nudity, nature and architecture, furniture and people, sexual pleasure and painful death are common traits in his films.","bio_dates":"b. 1942"},{"slug":"greenaway_peter_phillips_tom_a_tv_dante_1989_iphone","ok":true,"partial":false,"title":"A TV Dante","artist":"Peter Greenaway & Tom Phillips","year":"1983","startOffset":0,"sourceSecs":5360.28,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":310149057,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_phillips_tom_a_tv_dante_1989_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_phillips_tom_a_tv_dante_1989_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/greenaway_peter_phillips_tom_a_tv_dante_1989_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_phillips_tom_a_tv_dante_1989_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_phillips_tom_a_tv_dante_1989_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This ambitious program, produced by the award-winning film director Peter Greenaway and internationally-known artist Tom Phillips, brings to life the first eight cantos of Dante's Inferno. Featuring a cast that includes Sir John Gielgud as Virgil, the cantos are not conventionally dramatized. Instead, the feeling of Dante's poem is conveyed through juxtaposed imagery that conjures up a contemporary vision of hell, and its meaning is deciphered by eminent scholars in visual sidebars who interpret Dante's metaphors and symbolism. This program makes Dante accessible to the MTV generation. Caution to viewers: program contains nudity. (8 segments, 11 minutes each)","artist_bio":"s\nPeter Greenaway, CBE (born 5 April 1942) is a British film director. His films are noted for the distinct influence of Renaissance and Baroque painting, and Flemish painting in particular. The scenic composition and illumination and the contrasts of costume and nudity, nature and architecture, furniture and people, sexual pleasure and painful death are common traits in his films.","bio_dates":"1967"},{"slug":"greenaway_peter_revolution_1967","ok":true,"partial":false,"title":"Revolution","artist":"Peter Greenaway","year":"1967","startOffset":0,"sourceSecs":194.049,"sourceHeight":256,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":13979909,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_revolution_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_revolution_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/greenaway_peter_revolution_1967.mp4","hasFrames":true,"artist_bio":"s\nPeter Greenaway, CBE (born 5 April 1942) is a British film director. His films are noted for the distinct influence of Renaissance and Baroque painting, and Flemish painting in particular. The scenic composition and illumination and the contrasts of costume and nudity, nature and architecture, furniture and people, sexual pleasure and painful death are common traits in his films.","bio_dates":"b. 1942"},{"slug":"greenaway_peter_verticalfeaturesremake_1978","ok":true,"partial":false,"title":"Vertical Features Remake","artist":"Peter Greenaway","year":"1978","startOffset":0,"sourceSecs":2618.05,"sourceHeight":368,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":153531089,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_verticalfeaturesremake_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_verticalfeaturesremake_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/greenaway_peter_verticalfeaturesremake_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_verticalfeaturesremake_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_verticalfeaturesremake_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"Vertical Features Remake is a playful parody of avant-garde theorising in which academics argue about the life and work of Tulse Luper, Greenaway's best known fictional character. In their efforts to reconstruct one of Luper's early projects, the publically-funded Institute of Reclamation and Restoration (IRR) end up with four versions of the film. <br/><br/>\"\"Vertical Features Remake is a partly autobiographical absurdist fantasy that could have been conceived by Lewis Carroll. It presents the world of the IRR, the powerful Institute of Reclamation and Restoration, which has just discovered some sketchy surviving records of a ‘film project undertaken by Tulse Luper when he was working officially, but it seems reluctantly, on a State landscape Programme.' That programme was code-named Session, and its ominous aim was ‘the creation of a dynamic landscape'. Vertical Features was a document made in protest by Tulse Luper, and Vertical Features Remake consists of the IRR's four attempts to reconstruct that film. <br/><br/> In fact the film is an attack on the whole British film-culture, with the IRR on one side and pedantic academia on the other. Both sides are seen as unconscious partners in a sinister threatening Session 3, laying waste the cinematic landscape. This never becomes a crude allegory or a simple protest, though; the short films-within-the-film are remarkable on their own terms and the musical collaboration with Michael Nyman makes for a harsh lyricism\". Chris Auty, Time Out","artist_bio":"s\nPeter Greenaway, CBE (born 5 April 1942) is a British film director. His films are noted for the distinct influence of Renaissance and Baroque painting, and Flemish painting in particular. The scenic composition and illumination and the contrasts of costume and nudity, nature and architecture, furniture and people, sexual pleasure and painful death are common traits in his films.","bio_dates":"b. 1942"},{"slug":"greenaway_peter_writing_on_water_2005","ok":true,"partial":false,"title":"Writing on Water","artist":"Peter Greenaway","year":"2005","startOffset":0,"sourceSecs":1848.819,"sourceHeight":240,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":109122415,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_writing_on_water_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/greenaway_peter_writing_on_water_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/greenaway_peter_writing_on_water_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_writing_on_water_2005/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/greenaway_peter_writing_on_water_2005/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"\"It's good to return to familiar waters, to dip into that ocean of possibilities that imagery of water always provides, and the ironic title says much. Writing on Water would always be an impossible piece of magic, but supported here with film, music and appropriated quotes from celebrated authors you might almost believe it could be done.\" Peter Greenaway <br/><br/> A new collaboration between composer David Lang and controversial filmmaker Peter Greenaway confronts the audience with Lang's minimalist score and Greenaway's water-inspired libretto and visuals. Writing on Water interwaves fragments of text from The Tempest, The Rime of the Ancient Mariner and Moby DickDick to conjure up storms at sea, disasters, rescues and survival. Greenaway uses new VJ technologies to mix live film onto multiple screens. <br/><br/> The 'writing' element features live calligraphy by Brody Neuenschwander, Greenaway's collaborator on Prospero's Books (1991) and The Pillow Book (1996), projected live and creating an all-encompassing aural and visual experience. The London Sinfonietta performs Lang's hypnotic music, creating a dynamic interchange between sound and moving image. <br/><br/> Having pioneered cutting-edge music since its formation in 1968 (Xenakis, Ligeti, Berio and Birtwistle), the London Sinfonietta can often be found at the boundaries of new music, with recent projects including a tour with electronica artists Squarepusher and Jamie Lidell; performances in the Hayward Gallery, Tate Modern and Southwark Underground Station; a multimedia tour with Akram Khan Dance Company; and 3D Music — a ground-breaking co-commission with Braunarts to create a 3D virtual environment. The London Sinfonietta also broke new ground by adding Sound Intermedia, two sound engineers, to its line-up of eighteen principal players. <br/><br/> Currently led by artistic director Gillian Moore, the London Sinfonietta is an Associate Artist of the Royal Festival Hall. <br/><br/> Seldom have I heard the London Sinfonietta blaze so passionately, relishing the volume, colour, harmonic and rhythmic austerity of Andriessen's fiendish \"muscular minimalism\". A total triumph.<br/> The Independent, 4 November 2005","artist_bio":"s\nPeter Greenaway, CBE (born 5 April 1942) is a British film director. His films are noted for the distinct influence of Renaissance and Baroque painting, and Flemish painting in particular. The scenic composition and illumination and the contrasts of costume and nudity, nature and architecture, furniture and people, sexual pleasure and painful death are common traits in his films.","bio_dates":"b. 1942"},{"slug":"grimonprez_johan_dialh_i_s_t_o_r_y_1998","ok":true,"partial":false,"title":"Dial H-I-S-T-O-R-Y","artist":"Johan Grimonprez","year":"1997","startOffset":0,"sourceSecs":4063.68,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":692977478,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/grimonprez_johan_dialh_i_s_t_o_r_y_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/grimonprez_johan_dialh_i_s_t_o_r_y_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/grimonprez_johan_dialh_i_s_t_o_r_y_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/grimonprez_johan_dialh_i_s_t_o_r_y_1998/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/grimonprez_johan_dialh_i_s_t_o_r_y_1998/main/master.m3u8?v=2","hasMainHls":true,"description":"DIAL H-I-S-T-O-R-Y, the acclaimed hijacking documentary that eerily foreshadowed 9-11. We meet the romantic skyjackers who fought their revolutions and won airtime on the passenger planes of the 1960's and 1970's. By the 1990's, such characters were apparently no more, replaced on our TV screens by stories of anonymous bombs in suitcases. Director Johan Grimonprez investigates the politics behind this change, at the same time unwrapping our own complicity in the urge for ultimate disaster. Playing on Don DeLillo's riff in his novel Mao II: \"what terrorists gain, novelists lose\" and \"home is a failed idea\", he blends archival footage of hijackings with surreal and banal themes, including fast food, pet statistics, disco, and his quirky home movies. David Shea composed the superb soundtrack to this free fall through history, best described in the words of one hijacked Pepsi executive as \"running the gamut of many emotions, from surprise to shock to fear, to joy, to laughter, and then again, fear.\" <br/><br/>\"\"Dial H-I-S-T-O-R-Y\" is a video film structured in a single 68-minute projection installation. The guiding visual thread of the piece is the almost exhaustive chronology of airplane highjackings in the world. The soundtrack is constituted of a fictive narrative inspired by two Don DeLillo novels-\"White Noise\" and \"Mao II\"-which, for Grimonprez, \"highlight the value of the spectacular in our catastrophe culture.\" (...) \"Dial H-I-S-T-O-R-Y\" blends photographic, electronic, and digital images, interspersing reportage shots, clips from science fiction films, found footage, and reconstituted scenes filmed by the artist. The work denounces the media spectacle and seeks to detect the impact of images on our feelings, our knowledge, our memory.<br/><br/>This film may only be shown for educational and non-commercial purposes. For all other enquiries please contact <a href=\"http://www.othercinema.com\" rel=\"noopener\" target=\"_blank\">Other Cinema</a>, the film's distributor. <br><br> This film was produced by Emmy Oost (<a href=\"http://www.zapomatik.com\" rel=\"noopener\" target=\"_blank\">www.zapomatik.com</a>). <br/><br/> Dial H-I-S-T-O-R-Y is made possible on UbuWeb by the permission of Johan Grimonprez and Emmy Oost.</br></br>","artist_bio":"Johan Grimonprez was born in Roeselare, Belgium in 1962. He studied at the School of Visual Arts and attended the Whitney Museum Independent Study Program in New York.\nGrimonprez achieved international acclaim with his film essay, Dial H-I-S-T-O-R-Y. With its premiere at Centre Pompidou and Documenta X in Kassel in 1997, it eerily foreshadowed the events of September 11th. The film tells the story of airplane hijackings since the 1970s and how these changed the course of news reporting. The movie consists of recycled images taken from news broadcasts, Hollywood movies, animated films and commercials. As a child of the first TV generation, the artist mixes reality and fiction in a new way and presents history as a multi-perspective dimension open to manipulation.\nGrimonprez's Looking for Alfred, 2005, plays with the theme of the double through simulations and reversals. The point of departure is the film director Alfred Hitchcock and his legendary guest appearances in his own films. Innumerable Hitchcock doppelgangers act out a mysterious game of confusion in which Hitchcock meets Hitchcock. This puzzling game of confusion also pays tribute to the pictorial cosmos of the Surrealist painter RenŽ Magritte. Looking for Alfred won the International Media Award (ZKM, Germany) in 2005 as well as the European Media Award in 2006.\nGrimonprez's productions have traveled the main festival circuit from Telluride, Los Angeles, Rio de Janeiro, to Tokyo and Berlin. Curatorial projects were hosted at major exhibitions and museums worldwide such as the Whitney Museum in New York, San Francisco Museum of Modern Art, Pinakothek der Moderne, Munich and the Tate Modern in London. Grimonprez's work is included in numerous collections such as the Centre Georges Pompidou, Paris, the Kanazawa Art Museum, Japan, the National Gallery, Berlin and the Louisiana Museum of Modern Art, Denmark. Grimonprez is currently a faculty member at the School of Visual Arts (New York).","bio_dates":"b. 1962"},{"slug":"groen_elke_nightstill_2007","ok":true,"partial":false,"title":"Nightstill","artist":"Elke Groen","year":"2007","startOffset":0,"sourceSecs":557.12,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":32883254,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groen_elke_nightstill_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groen_elke_nightstill_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/groen_elke_nightstill_2007.mp4","hasFrames":true,"description":"Director: Elke Groen<br/> Year: 2007<br/> Time: 9 mins<br/> Music: Dietmar Schipek <br/><br/> Eye of Sound: Groen spent two winters in the Dachstein mountain range in Austria, collecting footage of the unfathomable succession of nights, fogs and shades and the impalpable flow of the freezing Alpian winds. Built like an impressionistic poetic documentary, Nighstill explores the frailty and isolation of these apparently quiet snowscapes, elegantly using time-lapse to capture the invisible movements that imperceptibly sweep the mountain ranges every day: the moon rushing through the sky in an arch; winds oozing like fumes from the rocks; bright stars rapidly sinking into the ground; or the bulky cliffs being traversed by the thinest clouds. Against this seemingly unchanging cycle, a few scattered remains of human existence emerge: the ever-shining winter hotels, abandoned huts, cable cars and a human figure that manages to retain an illusion of permanence in the midst of the constantly shifting landscape. Subtly built into the screen, Schipek's soundtrack is a serene but dynamic montage of fragile organic drones, grainy but hi-fi crackles and processed field recordings that mute the violent wind blows into condensed sonic shivers that create the illusion of replicating the filmic action. Nightstill may perhaps be a misleading title for this hypnotic work: for, in all its beauty and serenity, it emanates an overwhelming sense of untamed motion and violence that stillness can't encompass.","artist_bio":"lke Groen was born 1969 in Bad Ischl, Austria. She studied architecture and photography in Vienna and has worked since 1995 as a cutter and filmmaker.","bio_dates":"1923-1991"},{"slug":"grooms_red_fat_feet","ok":true,"partial":false,"title":"Fat Feet","artist":"Red Grooms","year":"1965-1966","startOffset":0,"sourceSecs":1125.654,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":63724420,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/grooms_red_fat_feet/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/grooms_red_fat_feet/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/grooms_red_fat_feet.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/grooms_red_fat_feet/main.mp4?v=2","description":"FAT FEET, a Yellow Ball / Ruckus Films Production, 1965-66<br/> An animated film, ca. 20 min.<br/> Director: Red Grooms with Mimi Gross<br/> Photography: Yvonne Andersen ( Falcone)<br/> Storyboard: Mimi Gross and Red Grooms<br/> Art work: Mimi Gross, Red Grooms, Yvonne Anderson<br/> Flat animation: Red Grooms and Mimi Gross<br/> Set, construction, props and painting: Red Grooms, Mimi Gross, Yvonne Andersen,<br/> Visiting artist and filmmaker George Kuchar<br/> Various visiting students and friends<br/> Stop Action Animation (actors and life sized props): Everyone around<br/> Editing: Yvonne Andersen, Red Grooms, Mimi Gross, Dominic Falcone<br/> Sound: Yvonne Andersen, Dominic Falcone, Red Grooms<br/> Costumes and make up: Mimi Gross<br/> <br/> Actors:<br/> Dominic Falcone: “ policeman”<br/> Mimi Gross: “ old lady” , “ bum”, “ druggist”, “black face walk-on”<br/> Yvonne Andersen: “woman of the night”<br/> Red Grooms: “ black haired fatfoot man”, “candybar eater” “firechief”<br/> Edmund Leites: “street sweeper”<br/> Susan Leites: “woman of the night”<br/> Paul and Jeanie Falcone: “the kids” (various parts)<br/> With students of Yellow Ball Workshop, and dear friends living in the Cambridge and Boston area (1965)<br/> <br/> Produced by: Dominic Falcone, Red Grooms, and Mimi Gross<br/> <br/> Remembering the time of making FAT FEET<br/> by Mimi Gross (August 2011)<br/> As I worked with Red at various intervals of time and projects, from 1960-1976, our collaborations became increasingly intense, and often lost the boundaries of ideas, aesthetics, and in the real time of making, craft and painting.<br/><br/> FAT FEET (1965-66) was directly inspired by the early animated films of Georges Melies, Emil Kohl, and the marvelous movie, The Invisible Moving Co, all of which we saw from the collections of Joseph Cornell (via Robert Whitman and Rudy Burckhardt). In 1962-3, together with Rudy Burckhardt, we made a 16mm film called Shoot the Moon. It is a direct homage to Georges Melies. There are some brief scenes with stop-action animation .Red and I made little cut outs, and Rudy showed us how he filmed the scene. A few years later, we experimented with animating life-sized props with live actors (long before “green screens”).<br/><br/> When Yvonne Andersen and Dominic Falcone visited us in New York, we planned to make a film together the following summer where they lived near Boston. Red and I had just moved into lively “Little Italy”(1964), a neighborhood where daily fires, violence, and long term elderly residents lived near the Bowery, filled with bums, and (pre-immigration quota) Chinatown. I was busy drawing in the streets, and making objects based on street life, and Red was obsessively chasing fires, fire engines, street life, he was incorporating into his work.<br/><br/> The explosion of making FAT FEET resulted from our excitement living in the new neighborhood. Later, we made an ad, and called FAT FEET: “A day in the life of ‘nervous city’!’”<br/><br/> There are few funny stories making the film. It was pure blood, hard work, but in the end it came out very funny.<br/><br/> We lived at the Falcone’s house (at the time ten feet wide, then a new extension, was added. ) The old lady’s garbage scene took 8 hours to film in 90+ degree weather, heavy face puddy, foam rubber hump, and heavy winter clothes. She was inspired by a typical neighborhood elderly person. Red, as a candybar muncher, was inspired by his gallery dealer at the time. The street sweeper scene was inspired by “the Invisible Moving Co.” The burning building scene took 14 hours to film, using heavy cut out flames of different “life size” scales (little, medium, large, and then variations). We were given a local fire station to film the cardboard hook n ladder and firetruck, very early in the morning. The street scene with the different firemen and trucks was filmed in 2 frame stop action animation near the Boston Fine Arts Museum.<br/><br/> A storefront was rented for one month, in Arlington, Mass (about 75’ long and 25’wide, 8’ceiling).<br/><br/> “Homasote“ (cheapest non warping when new thick cardboard)<br/><br/> Cut with jigsaw, painted on both sides, with removable wood frames.<br/><br/> Lumber and hardware: 1 x 2’s, quick metal connectors, screws, glue (pre hot-glue) staples, hammer<br/><br/> “Savage” seamless paper<br/><br/> Gothic Concentrated Theatrical Paint (black, white, some red and yellow)<br/><br/> Theatrical make-up<br/><br/> Costumes from local thrift shops<br/><br/> 16 mm film, Bolex camera (now dvd, and on-line)<br/><br/> Lots of volunteer help!<br/><br/> George Kuchar visited, and helped paint some of the set, but he got out alive before the filming took place! Rudy Burckhardt , Yvonne Jacquette, Tom and Jacob Burckhardt visited while we were filming, and Rudy recommended our calling his old friend James Ackerman whose kids came and helped. My old friend from high school days, Edmund Leites invited his friends at Harvard, and we had students from Yvonne’s workshop helping almost everyday. The title had a specific reference to “being earthbound”.<br/><br/> The nature of making films is collaborative, in retrospect, one can follow the momentum, we easily incorporated working with helpers for the painted sculpture installation projects following FAT FEET.<br/><br/> When the film was shown we dedicated FAT FEET to the firemen who died in the Chelsea (23rd St) fire of 1966.<br/><br/> THE MAKING OF FAT FEET<br/> as remembered by Yvonne Andersen, August 24, 2011.<br/> Dominic Falcone a poet, met Red Grooms a painter in 1957 when they were both washing dishes at the Moors Restaurant in Provincetown, Massachusetts. When Dominic learned that Red was an artist, he sent him over to see me at the Sun Gallery, owned and operated by Dominic and myself,1955-59.<br/><br/> We showed Red’s work there and gave him his first one man show the following summer. Dominic told Charles Rogers Grooms to call himself “Red Grooms” when he painted his name on the window of our gallery at the time of his first one man show. Later Red created the first “Happening” which used live actors at our gallery in the summer of 1959.<br/><br/> Red, Dominic and I shared a loft in New York City one winter, where we created a publication called City” that we printed on our own small hand printing press. Later Dominic, Red, painter Lester Johnson and myself worked together on a giant billboard project at Salisbury Beach Massachusetts. I made a short animated film with Red called “Spaghetti Trouble. Mimi Gross had shown some of her work at the Sun Gallery.<br/><br/> •<br/><br/> In the winter of 1966, Dominic and I were visiting Red Grooms and Mimi Gross in New York City, when we got the idea to work on a film project together. Red and Mimi moved in with us for the summer. Dominic rented a studio for us near our house in Lexington Massachusetts to make the movie “FAT FEET.”<br/><br/> Red was the writer, director, and acted as a fat man munching a candy bar, a fur coated lady walking her cardboard dog, a fire captain and other characters. I was the cinematographer, editor, and acted in one scene in the movie as a” lady of the evening.” Dominic played the pivotal part of the policeman. Mimi helped with the writing, and played two of the main characters, a witch, and a street bum.<br/><br/> Each morning the four of us along with Dominic and our two children Paul, 7 and Jean, 5 went to the studio to build the sets and props. We painted cartoonish black and white buildings on the paper walls of the set, painted and and constructed ¾ size flat automobiles with movable wheels from heavy building cardboard. Red built a dog which could be animated to walk in front of a live person.<br/><br/> Red was creating a cartoonish atmosphere depicting the types of city people who might be seen walking the street of a big city. For this reason the people wore giant shoes to connect them to the sidewalks. Those shoes were heavy! A normal shoe was screwed into a giant shoe manufactured by Red.<br/><br/> In the beginning this was supposed to be a four person project, but people heard about it. Each night people came to be in the winter crowd scenes. Some were friends of Red and Mimi, some were my animation students and neighbors. We got old coats from Morgan Memorial and there was a large make up table. People could come in, put on a coat, do their own make up, and become who they wanted to be for the evening.<br/><br/> It was summertime and unfortunately our studio had no air conditioning, so we worked on the sets in the day and filmed at night when we could open the doors to disperse the heat of our lights. One night a real policeman walked in, glanced at Dominic in the policeman’s uniform and mumbled in a dissatisfied tone that he heard the name of the film was to be “FLAT FOOT.” We asured him it was “FAT FEET, and he left without further comment.<br/><br/> FAT FEET was a combination of cut-out animation, pixillation and live action on a sureal cartoonish set. The fire scenes were shot in color, but the rest were shot in black and white for financial considerations. The film was produced by Red Grooms and Dominic Falcone in 1966, and is the winner of many awards at film festivals.<br/><br/> A Yellow Ball/Ruckus Film Production.","artist_bio":"Red Grooms was born in Nashville, Tennessee in 1937. He studied at the Art Institute of Chicago and the New School for Social Research, New York. In the 1950s Grooms moved to New York City to immerse himself in the art scene. For nearly fifty years Grooms has combined color, vibrancy, and a generous dose of self-deprecating humor to produce art in all media that provokes and delights. He pokes fun at the icons of American politics, entertainment, the art world, while paying homage to his subjects at the same time. No artist since Honoré Daumier has had a greater understanding of humor or a more direct connection to his audience. In return, Grooms has earned the public's unqualified admiration and appreciation.\nAs a painter, sculptor, printmaker, filmmaker and theater designer Grooms' career to this point has been prolific. His graphic works alone includes an array of art forms including etchings, lithographs (two and three-dimensional), monotypes, woodblock prints and spray-painted stencils. Throughout the late 1980s and the mid 1990s Grooms devoted himself to a series of prints and three-dimensional works called New York Stories for which he is well known and admired.\nToday Grooms is recognized as a pioneer of site-specific sculpture and installation art. City of Chicago (1967), a room-sized, walk-through \"sculpto-pictorama,\" features sky-scraper-proportioned sculptures of Mayor Daley and Hugh Hefner \"joined by such historical figures as Abraham Lincoln, Al Capone, and fan-dancer Sally Rand, accompanied by a sound track featuring gunfire and burlesque music. Grooms's genius for rendering the intricacies of architectural ornament is vividly apparent in several three-dimensional vistas of Chicago's famous buildings. Evident here and in the numerous other cityscapes Grooms has created is his extraordinary ability to capture a sense of place with a great sensitivity to detail.\"\nAnother sculpto-pictorama, Ruckus Manhattan (1975) exemplifies the mixed-media installations that would become his signature craft. These vibrant three-dimensional constructions melded painting and sculpture, to create immersive works of art that invited interaction from the viewer. The pieces were often populated with colorful, cartoon-like characters, from varied walks of life. One of his biggest themes is the use of painting people, often using other artists or their styles to show his appreciation for their works.\nRegarding his large wall relief, William Penn Shaking Hands with the Indians (1967), based on a similarly titled painting by Benjamin West, Grooms remarked, \"To tell the truth I did [the work] more because of Mr Benjamin West than Mr. Penn. Benjamin West is a hero for American Art. ... As I understand he set up the whole tableau for The Treaty on his estate using actors from a touring Shakespeare company Then he had an easel installed in the basket of a hot air balloon tethered at 60 feet, and with the help of sandwiches and birch beer hauled up to him by his wife, painted this great masterpiece in six days. To me, this is exemplary American behavior.\"\nGrooms's two most notable installations—The City of Chicago (1967) and Ruckus Manhattan (1975)—were enormously popular with the public. These works were executed in collaboration with then-wife, the artist Mimi Gross. Along with Gross, he starred in Mike Kuchar's Secret of Wendel Samson (1966), which tells the story of a closeted gay artist torn between two relationships. In the 1990s Grooms returned to his Tennessee roots, creating likenesses of 36 figures from Nashville history for the Tennessee Foxtrot Carousel (1998).\nGrooms' sculpture The Shootout, which depicts a cowboy and an Indian shooting at one another, drew protests by Native American activists when it was unveiled in Denver in 1982. The sculpture was evicted from two locations in downtown Denver after protesters threatened to deface it. In 1983 the sculpture was moved to the grounds of the Denver Art Museum, and now sits on the roof of the museum restaurant. Grooms commented \"Denver is beginning to rival Grumpsville, Tennessee, as one of the great sourpuss towns.\"\nThe artist's work can be found in museums and private collections worldwide including the Art Institute of Chicago, Chicago, Illinois; Fort Worth Museum of Contemporary Art. Fort Worth Texas; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; The Metropolitan Museum of Art, New York, New York; Moderna Museet, Stockholm, Sweden; Museum of Contemporary Art, Los Angeles, California; Museum of Modern Art, New York, New York; and the Nagoya City Museum, Nagoya, Japan.\nGrooms currently lives and works in New York City in a studio in lower Manhattan at the intersection of Tribeca and Chinatown, where he has lived for around 40 years. He has one daughter, Saskia Grooms.","bio_dates":"b. 1937"},{"slug":"gropius_walter_das_profil_walter_gropius","ok":true,"partial":false,"title":"Das Profil: Walter Gropius aka Walter Gropius in profile","artist":"Walter Gropius","year":"1965","startOffset":0,"sourceSecs":1868.52,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":114135598,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gropius_walter_das_profil_walter_gropius/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gropius_walter_das_profil_walter_gropius/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gropius_walter_das_profil_walter_gropius.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gropius_walter_das_profil_walter_gropius/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gropius_walter_das_profil_walter_gropius/main/master.m3u8?v=2","hasMainHls":true,"description":"An interview/profile with/of the founder of Bauhaus Walter Gropius, who talks about . his carreer, Bauhaus and his archtectural approach. German language.","artist_bio":"Walter Gropius was one of the most important architects and educators of the 20th century. The son of a successful architect, Gropius received his professional training in Munich. After a year of travel through Spain and Italy, he joined the office of Peter Behrens, the most important European architect of the day, in Berlin. In 1910, Gropius left Behrens to work in partnership with Adolf Meyer until 1924-25. This period was the most fruitful of Gropius's long career; he designed most of his significant buildings during this time. The Fagus factory in Alfeld-an-der-Leine (1911) immediately established his reputation as an important architect. Notable for its extensive glass exterior and narrow piers, the facade of the main wing is the forerunner of the modern metal and glass curtain wall. The omission of solid elements at the corners of the structure heightens the impression of the building as a glass-enclosed, transparent volume.\nIn his next major work, the Administration Building for the Werkbund Exhibition in Cologne (1914), Gropius carried the idea further by glazing the entire facade including the corner stairwells. His entry in the Chicago Tribune competition of 1922 was an application of these principles to skyscraper design. In contrast to the winning Gothic design by Raymond Hood, Gropius's solution was free of all eclectic or historical detail. Using the rectangular Chicago window employed by architects like Louis Sullivan, Gropius offered a significant European solution to the design problem posed by America's most innovative structure, the skyscraper.\nGropius's educational philosophy encompassed the designing of all functional objects. His goal was to raise the level of product design by combining art and industry. Although these principles were inherited from English reformers like William Morris, Gropius was able to implement them when he reorganized the Arts and Crafts School in Weimar, which became the world-famous Bauhaus. The unique educational program of the school sought a balance between practical training in the crafts and theoretical training in design. The integration of the arts was stressed, as is evidenced by the faculty who were attracted there--Josef Albers, Marc Chagall, Lyonel Feininger, Wassily Kandinsky, Paul Klee, and Laszlo Moholy-Nagy.\nIn 1925 the Bauhaus was forced to move to Dessau, where a landmark of modern architecture was constructed: the Bauhaus in Dessau (1925-26). Asymmetrical in its overall composition, the Bauhaus consists of several connected buildings, each containing an important part of the school (including administration, classrooms, and studio space). The workshop wing, a 4-story glazed box, is the most striking part of the complex.\nWith Adolf Hitler's rise to power in 1933, Gropius fled to England, where he practiced briefly with Edwin Maxwell Fry. In 1937, Gropius was appointed to teach at Harvard. In 1946 he formed a group called the Architects Collaborative, which executed many important commissions, including the Harvard Graduate Center (1949), the U.S. Embassy in Athens (1960), and the University of Baghdad (1961). He was widely respected as a teacher and designed a number of American buildings, including the Harvard University Graduate Center (1950). He designed the Pan Am Building (1963) in New York City in collaboration with the Italian-American architect Peitro Belluschi. Gropius espoused collaborative effort in the design process and founded a firm that he worked with until his death in Boston on July 5, 1969.","bio_dates":"1883-1969"},{"slug":"groupe_dziga_vertov_le_vent_dest_1970_iphone","ok":true,"partial":false,"title":"Le Vent d'est (Wind from the East)","artist":"Dziga Vertov Group","year":"1969","startOffset":0,"sourceSecs":5562.285,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":255322078,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_dziga_vertov_le_vent_dest_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_dziga_vertov_le_vent_dest_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/groupe_dziga_vertov_le_vent_dest_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/groupe_dziga_vertov_le_vent_dest_1970_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/groupe_dziga_vertov_le_vent_dest_1970_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"The New York Times<br><br><b>Godard Film in Festival:'Wind From the East' at Alice Tully Hall</b><br> By VINCENT CANBY<br> Published: September 12, 1970<br/> <br/> At one point towards the middle of Jean-Luc Godard's \"Wind From the East\" (Vent D'Est), which was shown at the New York Film Festival at Alice Tully Hall yesterday evening, an actor dressed like a Civil War soldier in the film-within-the-film, more or less flops on the ground, after which, an off-screen prop man throws red paint on him. Whether or not you find the scene funny, stupid, alienating, beautiful, boring or provocative, it sums up quite perfectly the methodology of the man who now calls himself \"the ex-great (bourgeois) filmmaker.\" <br/><br/> Consequences precede actions and effects give birth to their causes, and all in the name of the sort of Marxist-Leninist truth that is defined pretty much in terms of what is needed as truth to carry the class struggle onwards and upwards. <br/><br/>\"\"Wind From the East\" begins with fleeting bits of business from the movie-within-the-movie, a Western, being shot by a group of would-be Third World moviemakers. \"My uncle managed the exploitation of aluminum for the Alcoa Company near Dodge City. . . .\" says the woman narrator.\" <br/><br/> Almost immediately it turns into a soundtrack debate of Godardian dialectics, set against images that could be from some kind of crazy Western. This evolves into auto-critique (\"What does it mean to ask the question: 'Where are we now?' for a militant moviemaker?\") that is followed by a coda, which is nothing less than some pretty pictures of a school girl planting bombs in an open-air market. <br/><br/>\"\"To dare to rebel, for us, here, now,\" says the woman narrator, \"is to fight on two fronts - against the bourgeoisie and against its ally, revisionism.\" <br/><br/>\"\"Wind From the East\" was written by Godard with Daniel Cohn-Bendit, who is seen briefly, during the auto-critique session, wearing a red sweater and a vaguely worried expression. Godard calls it his Marxist Western, which it actually is, but it's an example of a genre to which Godard (at least, so far) is the only contributor. <br/><br/> It is full of outrageous statements (I was particularly intrigued by one to the effect that napalm was being dropped on Palestinian peasants) and the sort of lofty moralizing that would condemn Eisenstein for making \"Potemkin\" instead of concentrating on the struggles of his own times. <br/><br/> However foolish, arrogant and paranoid Godard may now be, he is not quite yet the ex-great filmmaker he so humbly proclaims. There is a rhythm and a logic to the film itself that has nothing to do with truth and that recalls the rhythm and logic of such great, conventional Godardian films as \"Vivre Sa Vie,\" \"La Chinoise\" and \"Two or Three Things I Know About Her.\" <br/><br/> Godard's narrators spend an awful lot of time in \"Wind From the East\" talking about revisionism, about the primary and secondary duties of the revolutionist, about the class struggle (what to do about workers who themselves have become capitalists), but the real drama of the movie is provided by Godard's search for some kind of perfect wedding of sound to image. He doesn't find it, and he may still be looking for it. Indeed, he has considerably altered the sequence of events in the film from the version I saw at Cannes last May. <br/><br/> Godard says his search is prompted by the need to create a new cinema, free from bourgeois repression, which will depict the class struggle, not simply the class misery that is so favored by liberal and revisionist filmmakers. (To Godard, cinema v'ritŽ is beneath contempt.) Whatever his motives, Godard is the ony man today making such manic attempts to create a didactic film form, and the form is often fascinating. The content, however, is almost pure junk. <br/><br/> The Cast WIND FROM THE EAST, directed by Jean-Luc Godard; screenplay (French with English narration) by Mr. Godard and Daniel Cohn-Bendit; director of photography, Mario Vulpiani; produced by Gianni Barcelloni and Ettore Rosbach; released by New Line Cinema. At New York Film Festival, Alice Tully Hall. Running time: 92 minutes. (Not submitted at this time to the Motion Picture Association of America's Production Code and Rating Administration.) <br/><br/> Soldier . . . . . Gian Maria Volonte<br/> Whore . . . . . Anne Wiazemsky</br></br>","bio_dates":"b. 1929"},{"slug":"groupe_medvedkine_le_traineau_echelle_1971_de_jean_pierre_thiebaud","ok":true,"partial":false,"title":"\"Le Traineau Echelle\" de Jean Pierre Thiebaud","artist":"Groupe Medvedkine","year":"1971","startOffset":0,"sourceSecs":490.155,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":78744713,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_medvedkine_le_traineau_echelle_1971_de_jean_pierre_thiebaud/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_medvedkine_le_traineau_echelle_1971_de_jean_pierre_thiebaud/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/groupe_medvedkine_le_traineau_echelle_1971_de_jean_pierre_thiebaud.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/groupe_medvedkine_le_traineau_echelle_1971_de_jean_pierre_thiebaud/main.mp4?v=2","description":"Between the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred – under the impetus of Chris Marker and his friends – the constitution and action of the “Medvedkin Groups” for producing, directing and distributing political films. <br/><br/> What about these films? Rising up against total lack of action, dreams realised of a meeting between workers and intellectuals, moving around from Paris - province - province - Paris, true values of discussion opposed to ordinary discussion of commercial value, return of the camera to the factory after years of absence (since probably about 1936), incarnation of belief in the power of cinema, in its ability to change the world, at least the images of the world, critical images and critical of images. Idea (or utopia) that the cinema is not always behind the times and that it can sometimes like the brother Lumière’s locomotives or the Medvedkine cine-train just arrive on time and exceptionally ahead of time. Thus, À bientôt, j’espère – title slogan dealing the ruling class a real blow – the first film in the series was shot six months before May 1968 and shown in April.","artist_bio":"The Medvedkine group united young workers with filmmakers in the spirit of the post-'68 era, in an attempt to document the condition of workers at factories like Rhodia in Besançon, the Peugeot facility in Sochaux, and Kelton-Timex watch factory. The « Nouvelle Société » series captures the group's attempt to develop the revolutionary potential of cinema---with a logic akin to that of television.\n\"\"Medvedkin was a Russian filmmaker who, in 1936 and with the means that were proper to his time (35mm film, editing table, and film lab installed in the train), essentially invented television: shoot during the day, print and edit at night, show it the next day to the people you filmed (and who often participated in the editing). I think that it's this fabled and long forgotten bit of history (Medvedkin isn't even mentioned in Georges Sadoul's book, considered in its day the Soviet Cinema bible) that underlies a large part of my work - in the end, perhaps, the only coherent part. To try to give the power of speech to people who don't have it, and, when it's possible, to help them find their own means of expression. The workers I filmed in 1967 in Rhodesia, just like the Kosovars I filmed in 2000, had never been heard on television: everyone was speaking on their behalf, but once you no longer saw them on the road, bloody and sobbing, people lost interest in them. To my great surprise, I once found myself explaining the editing of Battleship Potemkin to a group of aspiring filmmakers in Guinea-Bissau, using an old print on rusty reels; now those filmmakers are having their films selected for competition in Venice....\"\nBetween the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred – under the impetus of Chris Marker and his friends – the constitution and action of the \"Medvedkin Groups\" for producing, directing and distributing political films.\nWhat about these films? Rising up against total lack of action, dreams realised of a meeting between workers and intellectuals, moving around from Paris - province - province - Paris, true values of discussion opposed to ordinary discussion of commercial value, return of the camera to the factory after years of absence (since probably about 1936), incarnation of belief in the power of cinema, in its ability to change the world, at least the images of the world, critical images and critical of images. Idea (or utopia) that the cinema is not always behind the times and that it can sometimes like the brother Lumière's locomotives or the Medvedkine cine-train just arrive on time and exceptionally ahead of time. Thus, À bientôt, j'espère – title slogan dealing the ruling class a real blow – the first film in the series was shot six months before May 1968 and shown in April.\nA necessary caution: the \"democratization of tools\" entails many financial and technical constraints, and does not save us from the necessity of work. Owning a DV camera does not magically confer talent on someone who doesn't have any or who is too lazy to ask himself if he has any. You can miniaturize as much as you want, but a film will always require a great deal of work - and a reason to do it. That was the whole story of the Medvedkin groups, the young workers who, in the post-'68 era, tried to make short films about their own lives, and whom we tried to help on the technical level, with the means of the time. How they complained! \"We come home from work and you ask us to work some more. . . .\" But they stuck with it, and you have to believe that something happened there, because 30 years later we saw them present their films at the Belfort festival, in front of an attentive audience. The means of the time was 16mm silent, which meant three-minute camera rolls, a laboratory, an editing table, some way of adding sound - everything that you have now right inside a little case that fits in your hand. A little lesson in modesty for the spoiled children of today, just like the spoiled children of 1970 got their lesson in modesty by putting themselves under the patronage of Alexander Ivanovitch Medvedkin and his ciné-train. For the benefit of the younger generation, Medvedkin was a Russian filmmaker who, in 1936 and with the means that were proper to his time (35mm film, editing table, and film lab installed in the train), essentially invented television: shoot during the day, print and edit at night, show it the next day to the people you filmed (and who often participated in the editing). I think that it's this fabled and long forgotten bit of history (Medvedkin isn't even mentioned in Georges Sadoul's book, considered in its day the Soviet Cinema bible) that underlies a large part of my work - in the end, perhaps, the only coherent part. To try to give the power of speech to people who don't have it, and, when it's possible, to help them find their own means of expression. The workers I filmed in 1967 in Rhodesia, just like the Kosovars I filmed in 2000, had never been heard on television: everyone was speaking on their behalf, but once you no longer saw them on the road, bloody and sobbing, people lost interest in them. To my great surprise, I once found myself explaining the editing of\nBattleship Potemkin\nto a group of aspiring filmmakers in Guinea-Bissau, using an old print on rusty reels; now those filmmakers are having their films selected for competition in Venice (keep an eye out for the next musical by Flora Gomes). I found the Medvedkin syndrome again in a Bosnian refugee camp in 1993 - a bunch of kids who had learned all the techniques of television, with newsreaders and captions, by pirating satellite TV and using equipment supplied by an NGO (nongovernmental organization). But they didn't copy the dominant language - they just used the codes in order to establish credibility and reclaim the news for other refugees. An exemplary experience. They had the tools and they had the necessity. Both are indispensable. —\nMarker Direct\n, An Interview with Chris Marker -\nLibération\n, March 5, 2003Œ\n1967, la grande grève de la Rhodiaceta à Besançon annonce déjà mai 68.\nChris Marker, Jean-Luc Godard, Bruno Muel et quelques autres cinéastes militants, décident de donner à ces ouvriers les moyens de prendre eux-mêmes la parole et vont ainsi mettre du matériel à leur disposition et les former aux techniques cinématographiques.\nRésultat : des films forts, des pamphlets parfois violents, souvent brillants et émouvants, réalisés entre 1967 et 1973 sous l'égide de l'infatigable et génial Pol Cèbe (ouvrier et bibliothécaire du CE).\nPourquoi se sont-ils choisis pour nom « groupes Medvedkine » ?\n« Un train, un homme qui mettait le cinéma « entre les mains du peuple » (comme Medvedkine nous le dirait lui-même plus tard), cela avait de quoi faire rêver un demi cinéaste égaré dans cette jungle où le professionnalisme mondain et le corporatisme se rejoignent pour empêcher le cinéma de tomber entre les mains du peuple. J'ai donc passablement brodé sur le thème du « ciné-train », pour découvrir, en rencontrant Medvedkine, que tout ce que j'avais inventé était encore très au-dessous de la réalité.\nOn se demande quelquefois ce qui a décidé un groupe d'ouvriers français, débutant précisément dans cette difficile entreprise de prendre le cinéma entre leurs mains, à choisir de se baptiser Groupes Medvedkine. Je suis heureux d'apporter pour la première fois une réponse historique à cette importante question. C'est exactement au moment où, racontant le ciné-train à Besançon en 67, l'année des grandes grèves, dans la cuisine de René Berchoud en compagnie de Georges, de Yoyo, de Daniel, de Pol, de Geo et de quelques autres, que j'ai cité Medvedkine : nous emmenions avec nous des cartons déjà tournés, pour insérer dans les films. Et il y en avait un que nous prenions en bobines entières, parce qu'il servait toujours, dans tous les films. Celui qui disait : « CAMARADES, ÇA NE PEUT PLUS DURER ! » »\nChris Marker, « Le ciné-Ours - Revue du Cinéma - Image et Son », n°255, décembre 1971","bio_dates":"1969-1971"},{"slug":"groupe_medvedkine_lettre_a_mon_ami_pol_cebe_1970_de_michel_desrois","ok":true,"partial":false,"title":"\"Lettre a mon ami Pol Cebe\" de Michel Desrois","artist":"Groupe Medvedkine","year":"1970","startOffset":0,"sourceSecs":1001.451,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":167971365,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_medvedkine_lettre_a_mon_ami_pol_cebe_1970_de_michel_desrois/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_medvedkine_lettre_a_mon_ami_pol_cebe_1970_de_michel_desrois/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/groupe_medvedkine_lettre_a_mon_ami_pol_cebe_1970_de_michel_desrois.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/groupe_medvedkine_lettre_a_mon_ami_pol_cebe_1970_de_michel_desrois/main.mp4?v=2","description":"Between the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred – under the impetus of Chris Marker and his friends – the constitution and action of the “Medvedkin Groups” for producing, directing and distributing political films. <br/><br/> What about these films? Rising up against total lack of action, dreams realised of a meeting between workers and intellectuals, moving around from Paris - province - province - Paris, true values of discussion opposed to ordinary discussion of commercial value, return of the camera to the factory after years of absence (since probably about 1936), incarnation of belief in the power of cinema, in its ability to change the world, at least the images of the world, critical images and critical of images. Idea (or utopia) that the cinema is not always behind the times and that it can sometimes like the brother Lumière’s locomotives or the Medvedkine cine-train just arrive on time and exceptionally ahead of time. Thus, À bientôt, j’espère – title slogan dealing the ruling class a real blow – the first film in the series was shot six months before May 1968 and shown in April.","artist_bio":"The Medvedkine group united young workers with filmmakers in the spirit of the post-'68 era, in an attempt to document the condition of workers at factories like Rhodia in Besançon, the Peugeot facility in Sochaux, and Kelton-Timex watch factory. The « Nouvelle Société » series captures the group's attempt to develop the revolutionary potential of cinema---with a logic akin to that of television.\n\"\"Medvedkin was a Russian filmmaker who, in 1936 and with the means that were proper to his time (35mm film, editing table, and film lab installed in the train), essentially invented television: shoot during the day, print and edit at night, show it the next day to the people you filmed (and who often participated in the editing). I think that it's this fabled and long forgotten bit of history (Medvedkin isn't even mentioned in Georges Sadoul's book, considered in its day the Soviet Cinema bible) that underlies a large part of my work - in the end, perhaps, the only coherent part. To try to give the power of speech to people who don't have it, and, when it's possible, to help them find their own means of expression. The workers I filmed in 1967 in Rhodesia, just like the Kosovars I filmed in 2000, had never been heard on television: everyone was speaking on their behalf, but once you no longer saw them on the road, bloody and sobbing, people lost interest in them. To my great surprise, I once found myself explaining the editing of Battleship Potemkin to a group of aspiring filmmakers in Guinea-Bissau, using an old print on rusty reels; now those filmmakers are having their films selected for competition in Venice....\"\nBetween the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred – under the impetus of Chris Marker and his friends – the constitution and action of the \"Medvedkin Groups\" for producing, directing and distributing political films.\nWhat about these films? Rising up against total lack of action, dreams realised of a meeting between workers and intellectuals, moving around from Paris - province - province - Paris, true values of discussion opposed to ordinary discussion of commercial value, return of the camera to the factory after years of absence (since probably about 1936), incarnation of belief in the power of cinema, in its ability to change the world, at least the images of the world, critical images and critical of images. Idea (or utopia) that the cinema is not always behind the times and that it can sometimes like the brother Lumière's locomotives or the Medvedkine cine-train just arrive on time and exceptionally ahead of time. Thus, À bientôt, j'espère – title slogan dealing the ruling class a real blow – the first film in the series was shot six months before May 1968 and shown in April.\nA necessary caution: the \"democratization of tools\" entails many financial and technical constraints, and does not save us from the necessity of work. Owning a DV camera does not magically confer talent on someone who doesn't have any or who is too lazy to ask himself if he has any. You can miniaturize as much as you want, but a film will always require a great deal of work - and a reason to do it. That was the whole story of the Medvedkin groups, the young workers who, in the post-'68 era, tried to make short films about their own lives, and whom we tried to help on the technical level, with the means of the time. How they complained! \"We come home from work and you ask us to work some more. . . .\" But they stuck with it, and you have to believe that something happened there, because 30 years later we saw them present their films at the Belfort festival, in front of an attentive audience. The means of the time was 16mm silent, which meant three-minute camera rolls, a laboratory, an editing table, some way of adding sound - everything that you have now right inside a little case that fits in your hand. A little lesson in modesty for the spoiled children of today, just like the spoiled children of 1970 got their lesson in modesty by putting themselves under the patronage of Alexander Ivanovitch Medvedkin and his ciné-train. For the benefit of the younger generation, Medvedkin was a Russian filmmaker who, in 1936 and with the means that were proper to his time (35mm film, editing table, and film lab installed in the train), essentially invented television: shoot during the day, print and edit at night, show it the next day to the people you filmed (and who often participated in the editing). I think that it's this fabled and long forgotten bit of history (Medvedkin isn't even mentioned in Georges Sadoul's book, considered in its day the Soviet Cinema bible) that underlies a large part of my work - in the end, perhaps, the only coherent part. To try to give the power of speech to people who don't have it, and, when it's possible, to help them find their own means of expression. The workers I filmed in 1967 in Rhodesia, just like the Kosovars I filmed in 2000, had never been heard on television: everyone was speaking on their behalf, but once you no longer saw them on the road, bloody and sobbing, people lost interest in them. To my great surprise, I once found myself explaining the editing of\nBattleship Potemkin\nto a group of aspiring filmmakers in Guinea-Bissau, using an old print on rusty reels; now those filmmakers are having their films selected for competition in Venice (keep an eye out for the next musical by Flora Gomes). I found the Medvedkin syndrome again in a Bosnian refugee camp in 1993 - a bunch of kids who had learned all the techniques of television, with newsreaders and captions, by pirating satellite TV and using equipment supplied by an NGO (nongovernmental organization). But they didn't copy the dominant language - they just used the codes in order to establish credibility and reclaim the news for other refugees. An exemplary experience. They had the tools and they had the necessity. Both are indispensable. —\nMarker Direct\n, An Interview with Chris Marker -\nLibération\n, March 5, 2003Œ\n1967, la grande grève de la Rhodiaceta à Besançon annonce déjà mai 68.\nChris Marker, Jean-Luc Godard, Bruno Muel et quelques autres cinéastes militants, décident de donner à ces ouvriers les moyens de prendre eux-mêmes la parole et vont ainsi mettre du matériel à leur disposition et les former aux techniques cinématographiques.\nRésultat : des films forts, des pamphlets parfois violents, souvent brillants et émouvants, réalisés entre 1967 et 1973 sous l'égide de l'infatigable et génial Pol Cèbe (ouvrier et bibliothécaire du CE).\nPourquoi se sont-ils choisis pour nom « groupes Medvedkine » ?\n« Un train, un homme qui mettait le cinéma « entre les mains du peuple » (comme Medvedkine nous le dirait lui-même plus tard), cela avait de quoi faire rêver un demi cinéaste égaré dans cette jungle où le professionnalisme mondain et le corporatisme se rejoignent pour empêcher le cinéma de tomber entre les mains du peuple. J'ai donc passablement brodé sur le thème du « ciné-train », pour découvrir, en rencontrant Medvedkine, que tout ce que j'avais inventé était encore très au-dessous de la réalité.\nOn se demande quelquefois ce qui a décidé un groupe d'ouvriers français, débutant précisément dans cette difficile entreprise de prendre le cinéma entre leurs mains, à choisir de se baptiser Groupes Medvedkine. Je suis heureux d'apporter pour la première fois une réponse historique à cette importante question. C'est exactement au moment où, racontant le ciné-train à Besançon en 67, l'année des grandes grèves, dans la cuisine de René Berchoud en compagnie de Georges, de Yoyo, de Daniel, de Pol, de Geo et de quelques autres, que j'ai cité Medvedkine : nous emmenions avec nous des cartons déjà tournés, pour insérer dans les films. Et il y en avait un que nous prenions en bobines entières, parce qu'il servait toujours, dans tous les films. Celui qui disait : « CAMARADES, ÇA NE PEUT PLUS DURER ! » »\nChris Marker, « Le ciné-Ours - Revue du Cinéma - Image et Son », n°255, décembre 1971","bio_dates":"1969-1971"},{"slug":"groupe_medvedkine_nouvelle_societe_no5_1969","ok":true,"partial":false,"title":"Nouvelle Société No5","artist":"Groupe Medvedkine","year":"1969","startOffset":0,"sourceSecs":461.291,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":79047004,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_medvedkine_nouvelle_societe_no5_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_medvedkine_nouvelle_societe_no5_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/groupe_medvedkine_nouvelle_societe_no5_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/groupe_medvedkine_nouvelle_societe_no5_1969/main.mp4?v=2","description":"Between the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred – under the impetus of Chris Marker and his friends – the constitution and action of the “Medvedkin Groups” for producing, directing and distributing political films. <br/><br/> What about these films? Rising up against total lack of action, dreams realised of a meeting between workers and intellectuals, moving around from Paris - province - province - Paris, true values of discussion opposed to ordinary discussion of commercial value, return of the camera to the factory after years of absence (since probably about 1936), incarnation of belief in the power of cinema, in its ability to change the world, at least the images of the world, critical images and critical of images. Idea (or utopia) that the cinema is not always behind the times and that it can sometimes like the brother Lumière’s locomotives or the Medvedkine cine-train just arrive on time and exceptionally ahead of time. Thus, À bientôt, j’espère – title slogan dealing the ruling class a real blow – the first film in the series was shot six months before May 1968 and shown in April.<br><br><b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Sound</a><br/> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a>","artist_bio":"The Medvedkine group united young workers with filmmakers in the spirit of the post-'68 era, in an attempt to document the condition of workers at factories like Rhodia in Besançon, the Peugeot facility in Sochaux, and Kelton-Timex watch factory. The « Nouvelle Société » series captures the group's attempt to develop the revolutionary potential of cinema---with a logic akin to that of television.\n\"\"Medvedkin was a Russian filmmaker who, in 1936 and with the means that were proper to his time (35mm film, editing table, and film lab installed in the train), essentially invented television: shoot during the day, print and edit at night, show it the next day to the people you filmed (and who often participated in the editing). I think that it's this fabled and long forgotten bit of history (Medvedkin isn't even mentioned in Georges Sadoul's book, considered in its day the Soviet Cinema bible) that underlies a large part of my work - in the end, perhaps, the only coherent part. To try to give the power of speech to people who don't have it, and, when it's possible, to help them find their own means of expression. The workers I filmed in 1967 in Rhodesia, just like the Kosovars I filmed in 2000, had never been heard on television: everyone was speaking on their behalf, but once you no longer saw them on the road, bloody and sobbing, people lost interest in them. To my great surprise, I once found myself explaining the editing of Battleship Potemkin to a group of aspiring filmmakers in Guinea-Bissau, using an old print on rusty reels; now those filmmakers are having their films selected for competition in Venice....\"\nBetween the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred – under the impetus of Chris Marker and his friends – the constitution and action of the \"Medvedkin Groups\" for producing, directing and distributing political films.\nWhat about these films? Rising up against total lack of action, dreams realised of a meeting between workers and intellectuals, moving around from Paris - province - province - Paris, true values of discussion opposed to ordinary discussion of commercial value, return of the camera to the factory after years of absence (since probably about 1936), incarnation of belief in the power of cinema, in its ability to change the world, at least the images of the world, critical images and critical of images. Idea (or utopia) that the cinema is not always behind the times and that it can sometimes like the brother Lumière's locomotives or the Medvedkine cine-train just arrive on time and exceptionally ahead of time. Thus, À bientôt, j'espère – title slogan dealing the ruling class a real blow – the first film in the series was shot six months before May 1968 and shown in April.\nA necessary caution: the \"democratization of tools\" entails many financial and technical constraints, and does not save us from the necessity of work. Owning a DV camera does not magically confer talent on someone who doesn't have any or who is too lazy to ask himself if he has any. You can miniaturize as much as you want, but a film will always require a great deal of work - and a reason to do it. That was the whole story of the Medvedkin groups, the young workers who, in the post-'68 era, tried to make short films about their own lives, and whom we tried to help on the technical level, with the means of the time. How they complained! \"We come home from work and you ask us to work some more. . . .\" But they stuck with it, and you have to believe that something happened there, because 30 years later we saw them present their films at the Belfort festival, in front of an attentive audience. The means of the time was 16mm silent, which meant three-minute camera rolls, a laboratory, an editing table, some way of adding sound - everything that you have now right inside a little case that fits in your hand. A little lesson in modesty for the spoiled children of today, just like the spoiled children of 1970 got their lesson in modesty by putting themselves under the patronage of Alexander Ivanovitch Medvedkin and his ciné-train. For the benefit of the younger generation, Medvedkin was a Russian filmmaker who, in 1936 and with the means that were proper to his time (35mm film, editing table, and film lab installed in the train), essentially invented television: shoot during the day, print and edit at night, show it the next day to the people you filmed (and who often participated in the editing). I think that it's this fabled and long forgotten bit of history (Medvedkin isn't even mentioned in Georges Sadoul's book, considered in its day the Soviet Cinema bible) that underlies a large part of my work - in the end, perhaps, the only coherent part. To try to give the power of speech to people who don't have it, and, when it's possible, to help them find their own means of expression. The workers I filmed in 1967 in Rhodesia, just like the Kosovars I filmed in 2000, had never been heard on television: everyone was speaking on their behalf, but once you no longer saw them on the road, bloody and sobbing, people lost interest in them. To my great surprise, I once found myself explaining the editing of\nBattleship Potemkin\nto a group of aspiring filmmakers in Guinea-Bissau, using an old print on rusty reels; now those filmmakers are having their films selected for competition in Venice (keep an eye out for the next musical by Flora Gomes). I found the Medvedkin syndrome again in a Bosnian refugee camp in 1993 - a bunch of kids who had learned all the techniques of television, with newsreaders and captions, by pirating satellite TV and using equipment supplied by an NGO (nongovernmental organization). But they didn't copy the dominant language - they just used the codes in order to establish credibility and reclaim the news for other refugees. An exemplary experience. They had the tools and they had the necessity. Both are indispensable. —\nMarker Direct\n, An Interview with Chris Marker -\nLibération\n, March 5, 2003Œ\n1967, la grande grève de la Rhodiaceta à Besançon annonce déjà mai 68.\nChris Marker, Jean-Luc Godard, Bruno Muel et quelques autres cinéastes militants, décident de donner à ces ouvriers les moyens de prendre eux-mêmes la parole et vont ainsi mettre du matériel à leur disposition et les former aux techniques cinématographiques.\nRésultat : des films forts, des pamphlets parfois violents, souvent brillants et émouvants, réalisés entre 1967 et 1973 sous l'égide de l'infatigable et génial Pol Cèbe (ouvrier et bibliothécaire du CE).\nPourquoi se sont-ils choisis pour nom « groupes Medvedkine » ?\n« Un train, un homme qui mettait le cinéma « entre les mains du peuple » (comme Medvedkine nous le dirait lui-même plus tard), cela avait de quoi faire rêver un demi cinéaste égaré dans cette jungle où le professionnalisme mondain et le corporatisme se rejoignent pour empêcher le cinéma de tomber entre les mains du peuple. J'ai donc passablement brodé sur le thème du « ciné-train », pour découvrir, en rencontrant Medvedkine, que tout ce que j'avais inventé était encore très au-dessous de la réalité.\nOn se demande quelquefois ce qui a décidé un groupe d'ouvriers français, débutant précisément dans cette difficile entreprise de prendre le cinéma entre leurs mains, à choisir de se baptiser Groupes Medvedkine. Je suis heureux d'apporter pour la première fois une réponse historique à cette importante question. C'est exactement au moment où, racontant le ciné-train à Besançon en 67, l'année des grandes grèves, dans la cuisine de René Berchoud en compagnie de Georges, de Yoyo, de Daniel, de Pol, de Geo et de quelques autres, que j'ai cité Medvedkine : nous emmenions avec nous des cartons déjà tournés, pour insérer dans les films. Et il y en avait un que nous prenions en bobines entières, parce qu'il servait toujours, dans tous les films. Celui qui disait : « CAMARADES, ÇA NE PEUT PLUS DURER ! » »\nChris Marker, « Le ciné-Ours - Revue du Cinéma - Image et Son », n°255, décembre 1971","bio_dates":"b. 1980"},{"slug":"groupe_medvedkine_nouvelle_societe_no6_1969","ok":true,"partial":false,"title":"Nouvelle Société No6","artist":"Groupe Medvedkine","year":"1969","startOffset":0,"sourceSecs":563.371,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":97999828,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_medvedkine_nouvelle_societe_no6_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_medvedkine_nouvelle_societe_no6_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/groupe_medvedkine_nouvelle_societe_no6_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/groupe_medvedkine_nouvelle_societe_no6_1969/main.mp4?v=2","description":"Between the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred – under the impetus of Chris Marker and his friends – the constitution and action of the “Medvedkin Groups” for producing, directing and distributing political films. <br/><br/> What about these films? Rising up against total lack of action, dreams realised of a meeting between workers and intellectuals, moving around from Paris - province - province - Paris, true values of discussion opposed to ordinary discussion of commercial value, return of the camera to the factory after years of absence (since probably about 1936), incarnation of belief in the power of cinema, in its ability to change the world, at least the images of the world, critical images and critical of images. Idea (or utopia) that the cinema is not always behind the times and that it can sometimes like the brother Lumière’s locomotives or the Medvedkine cine-train just arrive on time and exceptionally ahead of time. Thus, À bientôt, j’espère – title slogan dealing the ruling class a real blow – the first film in the series was shot six months before May 1968 and shown in April.<br><br><b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Sound</a><br/> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a>","artist_bio":"The Medvedkine group united young workers with filmmakers in the spirit of the post-'68 era, in an attempt to document the condition of workers at factories like Rhodia in Besançon, the Peugeot facility in Sochaux, and Kelton-Timex watch factory. The « Nouvelle Société » series captures the group's attempt to develop the revolutionary potential of cinema---with a logic akin to that of television.\n\"\"Medvedkin was a Russian filmmaker who, in 1936 and with the means that were proper to his time (35mm film, editing table, and film lab installed in the train), essentially invented television: shoot during the day, print and edit at night, show it the next day to the people you filmed (and who often participated in the editing). I think that it's this fabled and long forgotten bit of history (Medvedkin isn't even mentioned in Georges Sadoul's book, considered in its day the Soviet Cinema bible) that underlies a large part of my work - in the end, perhaps, the only coherent part. To try to give the power of speech to people who don't have it, and, when it's possible, to help them find their own means of expression. The workers I filmed in 1967 in Rhodesia, just like the Kosovars I filmed in 2000, had never been heard on television: everyone was speaking on their behalf, but once you no longer saw them on the road, bloody and sobbing, people lost interest in them. To my great surprise, I once found myself explaining the editing of Battleship Potemkin to a group of aspiring filmmakers in Guinea-Bissau, using an old print on rusty reels; now those filmmakers are having their films selected for competition in Venice....\"\nBetween the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred – under the impetus of Chris Marker and his friends – the constitution and action of the \"Medvedkin Groups\" for producing, directing and distributing political films.\nWhat about these films? Rising up against total lack of action, dreams realised of a meeting between workers and intellectuals, moving around from Paris - province - province - Paris, true values of discussion opposed to ordinary discussion of commercial value, return of the camera to the factory after years of absence (since probably about 1936), incarnation of belief in the power of cinema, in its ability to change the world, at least the images of the world, critical images and critical of images. Idea (or utopia) that the cinema is not always behind the times and that it can sometimes like the brother Lumière's locomotives or the Medvedkine cine-train just arrive on time and exceptionally ahead of time. Thus, À bientôt, j'espère – title slogan dealing the ruling class a real blow – the first film in the series was shot six months before May 1968 and shown in April.\nA necessary caution: the \"democratization of tools\" entails many financial and technical constraints, and does not save us from the necessity of work. Owning a DV camera does not magically confer talent on someone who doesn't have any or who is too lazy to ask himself if he has any. You can miniaturize as much as you want, but a film will always require a great deal of work - and a reason to do it. That was the whole story of the Medvedkin groups, the young workers who, in the post-'68 era, tried to make short films about their own lives, and whom we tried to help on the technical level, with the means of the time. How they complained! \"We come home from work and you ask us to work some more. . . .\" But they stuck with it, and you have to believe that something happened there, because 30 years later we saw them present their films at the Belfort festival, in front of an attentive audience. The means of the time was 16mm silent, which meant three-minute camera rolls, a laboratory, an editing table, some way of adding sound - everything that you have now right inside a little case that fits in your hand. A little lesson in modesty for the spoiled children of today, just like the spoiled children of 1970 got their lesson in modesty by putting themselves under the patronage of Alexander Ivanovitch Medvedkin and his ciné-train. For the benefit of the younger generation, Medvedkin was a Russian filmmaker who, in 1936 and with the means that were proper to his time (35mm film, editing table, and film lab installed in the train), essentially invented television: shoot during the day, print and edit at night, show it the next day to the people you filmed (and who often participated in the editing). I think that it's this fabled and long forgotten bit of history (Medvedkin isn't even mentioned in Georges Sadoul's book, considered in its day the Soviet Cinema bible) that underlies a large part of my work - in the end, perhaps, the only coherent part. To try to give the power of speech to people who don't have it, and, when it's possible, to help them find their own means of expression. The workers I filmed in 1967 in Rhodesia, just like the Kosovars I filmed in 2000, had never been heard on television: everyone was speaking on their behalf, but once you no longer saw them on the road, bloody and sobbing, people lost interest in them. To my great surprise, I once found myself explaining the editing of\nBattleship Potemkin\nto a group of aspiring filmmakers in Guinea-Bissau, using an old print on rusty reels; now those filmmakers are having their films selected for competition in Venice (keep an eye out for the next musical by Flora Gomes). I found the Medvedkin syndrome again in a Bosnian refugee camp in 1993 - a bunch of kids who had learned all the techniques of television, with newsreaders and captions, by pirating satellite TV and using equipment supplied by an NGO (nongovernmental organization). But they didn't copy the dominant language - they just used the codes in order to establish credibility and reclaim the news for other refugees. An exemplary experience. They had the tools and they had the necessity. Both are indispensable. —\nMarker Direct\n, An Interview with Chris Marker -\nLibération\n, March 5, 2003Œ\n1967, la grande grève de la Rhodiaceta à Besançon annonce déjà mai 68.\nChris Marker, Jean-Luc Godard, Bruno Muel et quelques autres cinéastes militants, décident de donner à ces ouvriers les moyens de prendre eux-mêmes la parole et vont ainsi mettre du matériel à leur disposition et les former aux techniques cinématographiques.\nRésultat : des films forts, des pamphlets parfois violents, souvent brillants et émouvants, réalisés entre 1967 et 1973 sous l'égide de l'infatigable et génial Pol Cèbe (ouvrier et bibliothécaire du CE).\nPourquoi se sont-ils choisis pour nom « groupes Medvedkine » ?\n« Un train, un homme qui mettait le cinéma « entre les mains du peuple » (comme Medvedkine nous le dirait lui-même plus tard), cela avait de quoi faire rêver un demi cinéaste égaré dans cette jungle où le professionnalisme mondain et le corporatisme se rejoignent pour empêcher le cinéma de tomber entre les mains du peuple. J'ai donc passablement brodé sur le thème du « ciné-train », pour découvrir, en rencontrant Medvedkine, que tout ce que j'avais inventé était encore très au-dessous de la réalité.\nOn se demande quelquefois ce qui a décidé un groupe d'ouvriers français, débutant précisément dans cette difficile entreprise de prendre le cinéma entre leurs mains, à choisir de se baptiser Groupes Medvedkine. Je suis heureux d'apporter pour la première fois une réponse historique à cette importante question. C'est exactement au moment où, racontant le ciné-train à Besançon en 67, l'année des grandes grèves, dans la cuisine de René Berchoud en compagnie de Georges, de Yoyo, de Daniel, de Pol, de Geo et de quelques autres, que j'ai cité Medvedkine : nous emmenions avec nous des cartons déjà tournés, pour insérer dans les films. Et il y en avait un que nous prenions en bobines entières, parce qu'il servait toujours, dans tous les films. Celui qui disait : « CAMARADES, ÇA NE PEUT PLUS DURER ! » »\nChris Marker, « Le ciné-Ours - Revue du Cinéma - Image et Son », n°255, décembre 1971","bio_dates":"b. 1980"},{"slug":"groupe_medvedkine_nouvelle_societe_no7_1969","ok":true,"partial":false,"title":"Nouvelle Société No7","artist":"Groupe Medvedkine","year":"1969","startOffset":0,"sourceSecs":646.251,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":113028664,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_medvedkine_nouvelle_societe_no7_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/groupe_medvedkine_nouvelle_societe_no7_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/groupe_medvedkine_nouvelle_societe_no7_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/groupe_medvedkine_nouvelle_societe_no7_1969/main.mp4?v=2","description":"Between the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred – under the impetus of Chris Marker and his friends – the constitution and action of the “Medvedkin Groups” for producing, directing and distributing political films. <br/><br/> What about these films? Rising up against total lack of action, dreams realised of a meeting between workers and intellectuals, moving around from Paris - province - province - Paris, true values of discussion opposed to ordinary discussion of commercial value, return of the camera to the factory after years of absence (since probably about 1936), incarnation of belief in the power of cinema, in its ability to change the world, at least the images of the world, critical images and critical of images. Idea (or utopia) that the cinema is not always behind the times and that it can sometimes like the brother Lumière’s locomotives or the Medvedkine cine-train just arrive on time and exceptionally ahead of time. Thus, À bientôt, j’espère – title slogan dealing the ruling class a real blow – the first film in the series was shot six months before May 1968 and shown in April.","artist_bio":"The Medvedkine group united young workers with filmmakers in the spirit of the post-'68 era, in an attempt to document the condition of workers at factories like Rhodia in Besançon, the Peugeot facility in Sochaux, and Kelton-Timex watch factory. The « Nouvelle Société » series captures the group's attempt to develop the revolutionary potential of cinema---with a logic akin to that of television.\n\"\"Medvedkin was a Russian filmmaker who, in 1936 and with the means that were proper to his time (35mm film, editing table, and film lab installed in the train), essentially invented television: shoot during the day, print and edit at night, show it the next day to the people you filmed (and who often participated in the editing). I think that it's this fabled and long forgotten bit of history (Medvedkin isn't even mentioned in Georges Sadoul's book, considered in its day the Soviet Cinema bible) that underlies a large part of my work - in the end, perhaps, the only coherent part. To try to give the power of speech to people who don't have it, and, when it's possible, to help them find their own means of expression. The workers I filmed in 1967 in Rhodesia, just like the Kosovars I filmed in 2000, had never been heard on television: everyone was speaking on their behalf, but once you no longer saw them on the road, bloody and sobbing, people lost interest in them. To my great surprise, I once found myself explaining the editing of Battleship Potemkin to a group of aspiring filmmakers in Guinea-Bissau, using an old print on rusty reels; now those filmmakers are having their films selected for competition in Venice....\"\nBetween the March strikes in 1967 at Rhodia in Besançon and work standardisation at the Peugeot factories in Sochaux, there occurred – under the impetus of Chris Marker and his friends – the constitution and action of the \"Medvedkin Groups\" for producing, directing and distributing political films.\nWhat about these films? Rising up against total lack of action, dreams realised of a meeting between workers and intellectuals, moving around from Paris - province - province - Paris, true values of discussion opposed to ordinary discussion of commercial value, return of the camera to the factory after years of absence (since probably about 1936), incarnation of belief in the power of cinema, in its ability to change the world, at least the images of the world, critical images and critical of images. Idea (or utopia) that the cinema is not always behind the times and that it can sometimes like the brother Lumière's locomotives or the Medvedkine cine-train just arrive on time and exceptionally ahead of time. Thus, À bientôt, j'espère – title slogan dealing the ruling class a real blow – the first film in the series was shot six months before May 1968 and shown in April.\nA necessary caution: the \"democratization of tools\" entails many financial and technical constraints, and does not save us from the necessity of work. Owning a DV camera does not magically confer talent on someone who doesn't have any or who is too lazy to ask himself if he has any. You can miniaturize as much as you want, but a film will always require a great deal of work - and a reason to do it. That was the whole story of the Medvedkin groups, the young workers who, in the post-'68 era, tried to make short films about their own lives, and whom we tried to help on the technical level, with the means of the time. How they complained! \"We come home from work and you ask us to work some more. . . .\" But they stuck with it, and you have to believe that something happened there, because 30 years later we saw them present their films at the Belfort festival, in front of an attentive audience. The means of the time was 16mm silent, which meant three-minute camera rolls, a laboratory, an editing table, some way of adding sound - everything that you have now right inside a little case that fits in your hand. A little lesson in modesty for the spoiled children of today, just like the spoiled children of 1970 got their lesson in modesty by putting themselves under the patronage of Alexander Ivanovitch Medvedkin and his ciné-train. For the benefit of the younger generation, Medvedkin was a Russian filmmaker who, in 1936 and with the means that were proper to his time (35mm film, editing table, and film lab installed in the train), essentially invented television: shoot during the day, print and edit at night, show it the next day to the people you filmed (and who often participated in the editing). I think that it's this fabled and long forgotten bit of history (Medvedkin isn't even mentioned in Georges Sadoul's book, considered in its day the Soviet Cinema bible) that underlies a large part of my work - in the end, perhaps, the only coherent part. To try to give the power of speech to people who don't have it, and, when it's possible, to help them find their own means of expression. The workers I filmed in 1967 in Rhodesia, just like the Kosovars I filmed in 2000, had never been heard on television: everyone was speaking on their behalf, but once you no longer saw them on the road, bloody and sobbing, people lost interest in them. To my great surprise, I once found myself explaining the editing of\nBattleship Potemkin\nto a group of aspiring filmmakers in Guinea-Bissau, using an old print on rusty reels; now those filmmakers are having their films selected for competition in Venice (keep an eye out for the next musical by Flora Gomes). I found the Medvedkin syndrome again in a Bosnian refugee camp in 1993 - a bunch of kids who had learned all the techniques of television, with newsreaders and captions, by pirating satellite TV and using equipment supplied by an NGO (nongovernmental organization). But they didn't copy the dominant language - they just used the codes in order to establish credibility and reclaim the news for other refugees. An exemplary experience. They had the tools and they had the necessity. Both are indispensable. —\nMarker Direct\n, An Interview with Chris Marker -\nLibération\n, March 5, 2003Œ\n1967, la grande grève de la Rhodiaceta à Besançon annonce déjà mai 68.\nChris Marker, Jean-Luc Godard, Bruno Muel et quelques autres cinéastes militants, décident de donner à ces ouvriers les moyens de prendre eux-mêmes la parole et vont ainsi mettre du matériel à leur disposition et les former aux techniques cinématographiques.\nRésultat : des films forts, des pamphlets parfois violents, souvent brillants et émouvants, réalisés entre 1967 et 1973 sous l'égide de l'infatigable et génial Pol Cèbe (ouvrier et bibliothécaire du CE).\nPourquoi se sont-ils choisis pour nom « groupes Medvedkine » ?\n« Un train, un homme qui mettait le cinéma « entre les mains du peuple » (comme Medvedkine nous le dirait lui-même plus tard), cela avait de quoi faire rêver un demi cinéaste égaré dans cette jungle où le professionnalisme mondain et le corporatisme se rejoignent pour empêcher le cinéma de tomber entre les mains du peuple. J'ai donc passablement brodé sur le thème du « ciné-train », pour découvrir, en rencontrant Medvedkine, que tout ce que j'avais inventé était encore très au-dessous de la réalité.\nOn se demande quelquefois ce qui a décidé un groupe d'ouvriers français, débutant précisément dans cette difficile entreprise de prendre le cinéma entre leurs mains, à choisir de se baptiser Groupes Medvedkine. Je suis heureux d'apporter pour la première fois une réponse historique à cette importante question. C'est exactement au moment où, racontant le ciné-train à Besançon en 67, l'année des grandes grèves, dans la cuisine de René Berchoud en compagnie de Georges, de Yoyo, de Daniel, de Pol, de Geo et de quelques autres, que j'ai cité Medvedkine : nous emmenions avec nous des cartons déjà tournés, pour insérer dans les films. Et il y en avait un que nous prenions en bobines entières, parce qu'il servait toujours, dans tous les films. Celui qui disait : « CAMARADES, ÇA NE PEUT PLUS DURER ! » »\nChris Marker, « Le ciné-Ours - Revue du Cinéma - Image et Son », n°255, décembre 1971","bio_dates":"1969-1971"},{"slug":"gruppo_nuova_consonanza_1967","ok":true,"partial":false,"title":"Gruppo di Improvvisazione di Nuova Consonanza","artist":"Gruppo Nuova Consonanza","year":"1967","startOffset":0,"sourceSecs":2809.522,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":166823626,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gruppo_nuova_consonanza_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gruppo_nuova_consonanza_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gruppo_nuova_consonanza_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gruppo_nuova_consonanza_1967/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gruppo_nuova_consonanza_1967/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Theo Gallehr<br/> Year: 1967<br/> Time: 47 mins<br/><br/> Music<br/> Mario Bertoncini<br/> Walter Branchi<br/> Franco Evengelisti<br/> John Heineman<br/> Roland Kayn<br/> Ennio Morricone<br/> Ivan Vandor<br/> Frederic Rzewski<br/><br/>Nuova Consonanza operated as a new music collective trying to bridge the gap between composition and performance, exploring sonic fields not too distant from those charted by AMM or MEV. Though they worked as an open project, this fascinating film documents the group's early experiments through their core-founders. Stage performances, backstage experiments, interviews (subtitled) and discussions pile up as if part of the same event. And this event is justifiably felt by the protagonists as a revolutionary moment, one which would lead them to unexplored sound territories. Not surprisingly, the music still sounds as fresh, inventive and untamed as it probably did when it was recorded.","artist_bio":"Founded 1964, Rome-based avant-garde ensemble Gruppo di Improvvisazione Nuovo Conso was dedicated to the development of improvisation and new music methods. The ensemble functions as a laboratory of sorts, working with anti-musical systems and noise techniques in an attempt to redefine the new music ensemble and explore \"New Consonance.\" The musical deconstructions were published on LP at the time, some of which have been reissued on CD. Many of the techniques reflect the influence of Luigi Nono and Scelsi, and the group created abrasive and intricate sound studies on classical instruments and occasionally employed electronics and tape music methods in the process. The group was the breeding ground for a group of avant-garde composers including the then-burgeoning soundtrack composer, one Ennio Morricone. Other group members included Franco Evangelisti, Egisto Macchi, Antonello Neri, Giovanni Piazza, Giancarlo Schiaffini, and Mario Bertoncini, although the project housed the activities of many guests over the course of the '60s through to the early '70s. Held in high regard in avant-garde music circles, they are considered to be the first experimental composers collective, their only peers being the British improvisation collective AMM. Recordings of the group have been reissued by the Ampersand label and Editions RZ in the '90s. Like the fellow Rome-based Musica Electronica Viva, they were a challenging group of established composers and shared progressive concepts as well as one group member, Fredrick Rzewski, who later became one of the leading interpreters of 20th century classical music.\nThrough exposure to free improvised music and jazz as much as to post-serialism, music concrete, and avant-gardism of the '50s, the group developed an entirely new strategy of collective composition that functioned outside of any idiom. Their influence can be heard in free improvising ensembles from the European movements including Evan Parker Electro-Acoustic Ensemble, Voice Crack, and in the techniques of modern classical music and avant-garde jazz groups. Group member Giancarlo Schiaffini carried the flame of G.I.N.C. into his Italian Instabile Orchestra, while Franco Evangelisti and Mario Bertoncini would work in contemporary classical music for the ensuing three decades. The ensemble's groundbreaking work informed their work in composition. While Morricone would become one of the most important cinema composers of the century, he would be the only member of the ensemble who could claim to have his work heard in every Western household while his peers would sit on the fringes of obscurity. The ensemble did perform in varying capacities with Morricone adding noise to some of his '60s Italian soundtracks, but their importance in music history remains to be in the avant-garde music world as the premier group for experimental improvisation. -- Sylvie Harrison, Allmusic","bio_dates":"1967"},{"slug":"gu_lim_kim_meaning_1_24_second_1969","ok":true,"partial":false,"title":"The Meaning of 1/24 Second","artist":"Kim Gu-lim","year":"1969","startOffset":0,"sourceSecs":554.148,"sourceHeight":480,"sourceWidth":712,"hasAudio":true,"hasAmbientMp4":true,"bytes":100661619,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gu_lim_kim_meaning_1_24_second_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gu_lim_kim_meaning_1_24_second_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gu_lim_kim_meaning_1_24_second_1969.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gu_lim_kim_meaning_1_24_second_1969/main.mp4?v=2","description":"The Meaning of 1/24 Second is Korea's first experimental film and was filmed in 1969. This 16mm film in color and black and white is composed of hundreds of inconsistent scenes. Taking the basic structure of the film, which consists of 24 frames per second, The Meaning of 1/24 Second expresses the steep reality faced by modern man, and the sense of alienation that comes from uncontrollable speed. The video file that remained only in digital format since it went missing in 2001 was restored to 16mm film for screening for his retrospective exhibition , which has been held at Seoul Museum of Art, Republic of Korea in 2013, thus providing an opportunity to look back on its meaning.","artist_bio":"Born in 1936 in Sangju, Gyeongsangbuk-do, Kim Kulim holds a significant status in Korean contemporary art history as the founder of Korean experimental art. Retaining a rebellious attitude towards existing values and customs, Kim has produced a wide scope of experimental works ranging from paintings, prints, sculptures, installations and performances to land art, video art and mail art. He has also been involved in experimental plays, films, music and dance. In 1969, he released Relics of Mass Media, considered Korea's first mail art and also produced The Meaning of 1/24 Second, a seminal work in the history of Korean experimental film. Kim was a founding member of AG(Korean Avant-Garde Association), through which he led avant-garde artistic practices that emphasized concept and process. In the 1970s, he founded The Fourth Group, an avant-garde art group consisting of young artists and intellectuals in various fields, pursuing intermedia art combining art, play, film, fashion and music. Later in the decade, he set off to Japan to begin experimentation with print and video art, and in the 1980s, he traveled to the United States to seek new ways of artistic practice. Kim's major exhibitions and performances include Korean Historical Conceptual 1970-80s: Jack-of-All-Trades (Gyeonggi Museum of Modern Art, 2011), Like You Know It All (Solo retrospective, Seoul Museum of Art, 2013), A Bigger Splash: Painting after Performance (Tate Modern,2012), From Death to Birth (Performance,Asia Culture Center, 2015), and The Song Within the Heart, The Resonance Within Poetry (Experimental music recital, London, 2019).His works are owned by more than 30 museums including the MMCA and Tate Modern.","bio_dates":"b. 1936"},{"slug":"guattari_felix_grand_entretien_1989","ok":true,"partial":false,"title":"Grand entretien","artist":"Félix Guattari","year":"1989","startOffset":0,"sourceSecs":4095.582,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":237321810,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/guattari_felix_grand_entretien_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/guattari_felix_grand_entretien_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/guattari_felix_grand_entretien_1989.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/guattari_felix_grand_entretien_1989/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/guattari_felix_grand_entretien_1989/main/master.m3u8?v=2","hasMainHls":true,"description":"Félix Guattari - Grand entretien pour la télévision française Antenne 2 (1989)","artist_bio":"Pierre-Félix Guattari (April 30, 1930 – August 29, 1992) was a French militant, institutional psychotherapist, and philosopher. Guattari is best known for his intellectual collaborations with Gilles Deleuze, most notably Anti-Oedipus (1972) and A Thousand Plateaus (1980) in which they developed schizoanalysis. He also developed a concept of three interacting and interdependent ecologies of mind, society, and environment, an \"ecosophy\" that would link environmental ecology to the social and mental spheres.\nGuattari was a leading thinker of what came to be called Post-structuralism. He was also considered a post-modernist. Post-structuralism was critical of the mode of the thought of Structuralism, which focused on binary oppositions to create universal meanings. The post-structuralists, especially the deconstructionists sought to destabilize these fixed meanings, demonstrating not the homogenous nature of thought but its heterogeneity. Post-modernism, likewise, doubted the modernist confidence in the ability to create a unified or grand narrative that would represent truth.\nThe work of Guattari, especially his collaboration with Deleuze, attempted to both dismantle and at the same time use the theories of Freud and Marx, to reinterpret the basic notions of desire and social order through \"a political analysis of desire as it is expressed or repressed in Western culture.\"\nTheir attack on capitalism starts with the family, which they consider as the key source of repression. From the perspective of individualism, the family must repress desires to maintain itself. They imagine a larger social order which replaces the dominant role of the family in capitalist society as the basis for a new utopian vision.","bio_dates":"1930-1992"},{"slug":"guston_philip_a_life_lived","ok":true,"partial":false,"title":"A Life Lived","artist":"Philip Guston","year":"1982","startOffset":0,"sourceSecs":3750.23,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":219923976,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/guston_philip_a_life_lived/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/guston_philip_a_life_lived/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/guston_philip_a_life_lived.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/guston_philip_a_life_lived/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/guston_philip_a_life_lived/main/master.m3u8?v=2","hasMainHls":true,"description":"Late in life, the artist looks back over a career that originated in social realism during the '30s, moved to the center of Abstract Expressionism, and culminated in a return to figuration. Filmed at his retrospective in San Francisco in 1980 and at his Woodstock studio, where Guston is seen painting, the artist speaks candidly about his philosophy of painting and the psychological motivation for his work. Directed by Michael Blackwood."},{"slug":"gutai_1956_70_iphone","ok":true,"partial":false,"title":"70","artist":"Gutai","year":"1956","startOffset":0,"sourceSecs":3571.97,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":167843020,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gutai_1956_70_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/gutai_1956_70_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/gutai_1956_70_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gutai_1956_70_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/gutai_1956_70_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"Gutai art does not alter matter; it gives matter life... In Gutai art, the human spirit and matter, opposed as they are, shake hands... My respect goes out to the works of Pollock and Mathieu. Their works are the cries uttered by matter: by oil paint and enamel themselves.\" (Yoshihara, Gutai manifesto, 1956)\n\nVery rare documentation of Japanese Performance Art. Horrible quality, but incredibly interesting."},{"slug":"habib_chris_and_sonic_youth_piano_piece_13_1999","ok":true,"partial":false,"title":"Sonic Youth performs George Maciunas's \"Carpenter's Piano Piece #13 (For Nam June Paik)\"","artist":"Chris Habib","year":"1999","startOffset":0,"sourceSecs":267.307,"sourceHeight":476,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":40974817,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/habib_chris_and_sonic_youth_piano_piece_13_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/habib_chris_and_sonic_youth_piano_piece_13_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/habib_chris_and_sonic_youth_piano_piece_13_1999.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/habib_chris_and_sonic_youth_piano_piece_13_1999/main.mp4?v=2"},{"slug":"habib_chris_dermafluxus_1998_iphone","ok":true,"partial":false,"title":"Dermafluxus (featuring the work of Spencer Tunick)","artist":"Chris Habib","year":"1998","startOffset":0,"sourceSecs":559.293,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":35352366,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/habib_chris_dermafluxus_1998_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/habib_chris_dermafluxus_1998_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/habib_chris_dermafluxus_1998_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/habib_chris_dermafluxus_1998_iphone/main.mp4?v=2","description":"<b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/kern.html\" rel=\"noopener\" target=\"_blank\">Richard Kern in UbuWeb Film</a>","artist_bio":"Sonic Youth performs George Maciunas's \"Carpenter's Piano Piece #13 (For Nam June Paik)\" (1999)\nChris Habib has worked under a number of names in a variety of media for the past 18 years. Known mostly for his collaborative projects with musicians, galleries and artists, he keeps the good stuff to himself and presently shows only in museums and artist bookstores. While you'll find none of the work that matters most to him online, he's always busy.","bio_dates":"b. 1964"},{"slug":"habib_chris_gordon_kim_naturescene_1985","ok":true,"partial":false,"title":"Making The Nature Scene (Kim Gordon)","artist":"Chris Habib","year":"1985","startOffset":0,"sourceSecs":662.165,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":118061873,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/habib_chris_gordon_kim_naturescene_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/habib_chris_gordon_kim_naturescene_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/habib_chris_gordon_kim_naturescene_1985.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/habib_chris_gordon_kim_naturescene_1985/main.mp4?v=2"},{"slug":"habib_chris_panic_in_needle_park_2013_iphone","ok":true,"partial":false,"title":"Panic in Needle Park","artist":"Chris Habib","year":"2013","startOffset":0,"sourceSecs":308.48,"sourceHeight":320,"sourceWidth":426,"hasAudio":false,"hasAmbientMp4":true,"bytes":16033812,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/habib_chris_panic_in_needle_park_2013_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/habib_chris_panic_in_needle_park_2013_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/habib_chris_panic_in_needle_park_2013_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/habib_chris_panic_in_needle_park_2013_iphone/main.mp4?v=2","description":"<b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/kelley.html\" rel=\"noopener\" target=\"_blank\">Mike Kelley in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/kelley.html\" rel=\"noopener\" target=\"_blank\">Mike Kelley in UbuWeb Sound</a>","artist_bio":"Sonic Youth performs George Maciunas's \"Carpenter's Piano Piece #13 (For Nam June Paik)\" (1999)\nChris Habib has worked under a number of names in a variety of media for the past 18 years. Known mostly for his collaborative projects with musicians, galleries and artists, he keeps the good stuff to himself and presently shows only in museums and artist bookstores. While you'll find none of the work that matters most to him online, he's always busy.","bio_dates":"b. 1964"},{"slug":"habib_chris_social_static_2000_iphone","ok":true,"partial":false,"title":"Social Static (featuring the work of Spencer Tunick)","artist":"Chris Habib","year":"2000","startOffset":0,"sourceSecs":706.754,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":46652574,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/habib_chris_social_static_2000_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/habib_chris_social_static_2000_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/habib_chris_social_static_2000_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/habib_chris_social_static_2000_iphone/main.mp4?v=2","description":"<b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Sonic Youth performs George Maciunas's \"Carpenter's Piano Piece #13 (For Nam June Paik)\" (1999)\nChris Habib has worked under a number of names in a variety of media for the past 18 years. Known mostly for his collaborative projects with musicians, galleries and artists, he keeps the good stuff to himself and presently shows only in museums and artist bookstores. While you'll find none of the work that matters most to him online, he's always busy.","bio_dates":"b. 1964"},{"slug":"hadzihalilovic_lucile_de_natura","ok":true,"partial":false,"title":"De Natura","artist":"Lucile Hadžihalilović","year":"2017","startOffset":0,"sourceSecs":345.045,"sourceHeight":858,"sourceWidth":2048,"hasAudio":true,"hasAmbientMp4":true,"bytes":148622802,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hadzihalilovic_lucile_de_natura/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hadzihalilovic_lucile_de_natura/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hadzihalilovic_lucile_de_natura.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hadzihalilovic_lucile_de_natura/main.mp4?v=2","description":"A waterfall, a forest in summer glory, ripe apples on the tree, the dry seeds of a flower, a cross entangled by branches with vivid leaves. Two girls play outside, at one with themselves and the world. Scene by scene, the director Lucile Hadžihalilović, known for her mystical and unsettling films, depicts the cycle of life as it waxes and wanes.","artist_bio":"Lucile Emina Hadžihalilović (born 7 May 1961) is a French writer and director of Bosnian descent. Her most notable works include the 1996 short film La Bouche de Jean-Pierre and the 2004 feature-length film Innocence, for which she became the first woman to win the Stockholm International Film Festival annual Bronze Horse top award for best film.","bio_dates":"b. 1961"},{"slug":"halford_marilyn_footsteps_marilyn_halford","ok":true,"partial":false,"title":"Footsteps","artist":"Marilyn Halford","year":"1975","startOffset":0,"sourceSecs":371.72,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":56226067,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/halford_marilyn_footsteps_marilyn_halford/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/halford_marilyn_footsteps_marilyn_halford/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/halford_marilyn_footsteps_marilyn_halford.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/halford_marilyn_footsteps_marilyn_halford/main.mp4?v=2","description":"Part of <a href=\"https://ubu.com/film/shoot.html\" rel=\"noopener\" target=\"_blank\">Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s (1966 - 1976)</a> <br/><br/> “Footsteps is in the manner of a game reinacted, the game in making was between the camera and actor, the actor and cameraman, and one hundred feet of film. The film became expanded into positive and negative to change balances within it; black for perspective, then black to shadow the screen and make paradoxes with the idea of acting, and the act of seeing the screen. The music sets a mood then turns a space, remembers the positive then silences the flatness of the negative. I am interested in the relationship of theatrical devices in film working at tangents with its abstract visual qualities. The use of a game works the memory, anticipation is set, positive film stands to resemble a three-dimensional sense of time in past/future. Then negative holds out film itself as the image is one stage further abstracted and a disquiet is set up in the point that the sound track ends, whilst the picture track continues.” – Marilyn Halford, Perspectives on British Avant-Garde Film exhibition catalogue, 1977)<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Taylor Mead in UbuWeb Sound</a>","bio_dates":"b."},{"slug":"hall_david_this_is_a_television_receiver_1976","ok":true,"partial":false,"title":"This is a Television Receiver","artist":"David Hall","year":"1976","startOffset":0,"sourceSecs":452,"sourceHeight":544,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":69233307,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hall_david_this_is_a_television_receiver_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hall_david_this_is_a_television_receiver_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hall_david_this_is_a_television_receiver_1976.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hall_david_this_is_a_television_receiver_1976/main.mp4?v=2","description":"This is a Television Receiver<br/> David Hall<br/> 1976 <br/> 8 mins Colour Video <br/> <br/> Commissioned by BBC TV as the unannounced opening work for their special Arena video art programme. First transmitted March 10, 1976. <br/><br/> 'Richard Baker [the well known newsreader] describes the essential paradoxes of the real and imagined functions of the TV set on which he appears. The second shot is taken optically off a monitor, the third copied from the second, and so on, until there is a complete degeneration of both sound and image, removing the newsreader from his position of authority...' Tamara Krikorian, Art Monthly, February 1984. <br/><br/> 'This figure of authority is reduced to what, in essence, he is - a series of pulsating patterns of light on the surface of a glass screen. In this way, paradoxically, the verbal statement is realised by its own disintegration, along with that of the image. The illusion of both transparency and of power are shattered. This is deconstruction in its primary, irreductable form; only by remembering these important lessons have artists subsequently been able to venture out of the enclosure of self-reflexivity and into the perilous world of representation and narrative...' Mark Wilcox, Deconstruct, Subverting Television cat., Arts Council of Great Britain 1984. <br/><br/> 'This is a Television Receiver.. interestingly recovers Hall's sculptural concerns. Unlike film, the video monitor is a discrete object. Film requires a projector and screen and the distance between them traversed by a beam of light. In watching This is a TV Receiver, the materiality or the very objecthood of the monitor is intrinsic to the piece..' Michael O'Pray, 'David Hall', Variant Magazine, Issue 11, 1992. <br/><br/> The Arena video art programme was produced by Mark Kidel, conceived by Anna Ridley and presented by David Hall.","artist_bio":"\"\"A single figure dominates the beginnings of video art in Britain - David Hall.. and his early experiments with broadcast television are unique. Not only are many of his video pieces classics.. but he has made important and often brilliant contributions to experimental film, installation and sculpture. A successful sculptor in the 'new generation' school of the 1960s.. he turned his attention to the less tangible media of photography, film and video. A founding member of the video art movement here in the early 1970s, Hall was an influential activist on behalf of the infant art form...\" (1) [Michael O'Pray, Monthly Film Bulletin, British Film Institute, February 1988, and A Directory of British Film and Video Artists, ed. David Curtis, Arts Council of England 1996]\nDavid Hall (b. 1937) studied architecture, Art and Design at Leicester College of Art (1954-60) and sculpture at the Royal College of Art (1960-1964). He was awarded first prize for sculpture at the Biennale de Paris (1965) and took part in the first major exhibition of Minimalist art, Primary Structures, New York (1966) before turning to photography, film and video. His first television interventions appeared on Scottish TV in 1971 and his first video installation was shown in London in 1972. His film and video single screen and installation work has been widely screened and exhibited in the UK and internationally.\nHe participated in the formation of the Artist Placement Group with John Latham and others in 1966; was co-organiser of the seminal international Video Show exhibition at the Serpentine Gallery, London in 1975; and was co-curator of the first video installations exhibition at the Tate Gallery, London in 1976. In the same year he initiated and was a founding member of the artists' organisation London Video Arts (now part of LUX).\nAppointed Honorary Professor at Dundee University in 2003 he has taught at the Royal College of Art, St Martin's School of Art, Chelsea College of Art, San Francisco Art Institute, Nova Scotia College of Art and many others. He introduced the term 'time-based media' through his writings in Studio International and elsewhere, and created the first time-based art degree option with an emphasis on video at Maidstone College of Art, Kent (now University College of the Creative Arts) in 1972. He has made work for broadcast by, among others, BBC TV, Channel 4 TV, Scottish TV, Canal+ TV and MTV.\nSculpture, films, videotapes and/or related material at the Tate Gallery London, Museum of Modern Art New York, Museo National Reina Sofia Madrid, Gemeente Museum The Hague, West Australia Art Gallery Perth, Venice Biennale Archive, Calouste Gulbenkian Foundation, British Council, Arts Council of England, Contemporary Arts Society, British Film Institute, Great South West Corporation Atlanta USA, Richard Feigen Gallery New York, Visual Resources Inc. New York, Royal College of Art, Harvard University, ZKM Karlsruhe, Leicestershire Education Committee, and other public and private collections in Europe and the USA. Films and videotapes held by Lux London, British Film Institute, National Film and Television Archive, REWIND archive and Venice Biennale Archive .","bio_dates":"1937-2014"},{"slug":"halley_peter_exploding_cell_1983","ok":true,"partial":false,"title":"Exploding Cell","artist":"Peter Halley","year":"1983","startOffset":0,"sourceSecs":467.067,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":66284138,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/halley_peter_exploding_cell_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/halley_peter_exploding_cell_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/halley_peter_exploding_cell_1983.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/halley_peter_exploding_cell_1983/main.mp4?v=2","description":"Peter Halley’s <i>Exploding Cell</i>, 1983 is an early computer animation, created before the advent of the desktop computer. Exploding Cell was edited over many hours at a small production studio in New York City—a process which today might only take minutes. Its indelicate pixilation and fidgety action reflect the animation techniques of the time and call to mind culture-defining videogames like Atari and Pac-Man. The work imagines the explosive destruction of the cell, which is more usually an icon of stability in Halley’s work. The creeping animation depicts a mysterious substance being pumped into the cell through a conduit, causing the structure to rapidly heat up and explode. This narrative was later revisited in several prints on paper. The video, which runs 7 minutes and 47 seconds long, also includes a series of chromatic experiments, reflecting the exploration of color that is foundational to Halley’s practice.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">Peter Halley in UbuWeb Sound</a> <br/> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">Peter Halley in the UbuWeb Anthology of Conceptual Writing</a>","artist_bio":"Peter Halley (bornPeter Halley (born September 24, 1953, New York City) is an American artist who came to prominence as a central figure in the Neo-Conceptualist movement of the 1980s. Over a forty-year career, Peter Halley has continually reexamined the foundations of capital and technology—from his paintings and writings in the 1980s, to his algorithmic flowcharts and pioneering use of digital printing in the 1990s, to the rethinking of social space that continues in his paintings and installations. In an era increasingly dominated by digital technology, the internet, and social media, Halley’s influence—as artist, writer, magazine publisher and university professor—has been widely recognized.\nIn the 1980s, Halley wrote extensively about art and culture and its relationship to the burgeoning digital age; in the mid-90s, he founded INDEX magazine, publishing in-depth interviews with emerging and established figures working in film, music, fashion, design, and other fields; then, beginning in 2002, Halley served for nine years as director of the graduate painting program at the Yale School of Art.","bio_dates":"b. 1953"},{"slug":"hamdan_lawrence_abu_once_removed_2019","ok":true,"partial":false,"title":"Once Removed","artist":"Lawrence Abu Hamdan","year":"2019","startOffset":0,"sourceSecs":1751.574,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":688868446,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hamdan_lawrence_abu_once_removed_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hamdan_lawrence_abu_once_removed_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hamdan_lawrence_abu_once_removed_2019.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hamdan_lawrence_abu_once_removed_2019/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hamdan_lawrence_abu_once_removed_2019/main/master.m3u8?v=2","hasMainHls":true,"description":"This video work is a portrait of the time-travelling life of Bassel Abi Chahine, a 31-year-old writer and historian who has managed to obtain the most comprehensive inventory of extremely rare objects, photographs and interviews of the People Liberation Army (PLA) and Progressive Socialist Party (PSP) militia from the Lebanese civil war. His obsessive analysis, collection and unprecedented research into this one militia was done in pursuit of material to reconstitute what he describes as flashbacks and unexplainable memories from a previous life. Through his research Abi Chahine realized that his own lucid memories of a war he had not lived were due to the fact that he was the reincarnation of a soldier Yousef Fouad Al Jawhary, who died aged 16 on February 26, 1984 in the town of Aley. <br/><br/> Once Removed was commissioned by Sharjah Biennial 14 curated by Omar Kholeif. The film won the Jean Vigo Prize for best Director at Punto De Vista Festival 2020.","artist_bio":"Lawrence Abu Hamdan was born in 1985 in Amman, Jordan. He studied at Middlesex University and Goldsmiths College, University of London, The Centre for Research Architecture, UK.\nHe is an artist and audio investigator, whose work explores ‘the politics of listening’ and the role of sound and voice within the law and human rights. He creates audiovisual installations, lecture performances, audio archives, photography and text, translating in-depth research and investigative work into affective, spatial experiences. Abu Hamdan works with human rights organisations, such as Amnesty International and Defense for Children International, and with international prosecutors to help obtain aural testimonies for legal and historical investigations. He received his PhD in 2017 from Goldsmiths London and is a practitioner affiliated with Forensic Architecture.","bio_dates":"b. 1985"},{"slug":"hamdan_lawrence_abu_rubber_coated_steel","ok":true,"partial":false,"title":"Rubber Coated Steel","artist":"Lawrence Abu Hamdan","year":"2016","startOffset":0,"sourceSecs":1309.69,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":543189052,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hamdan_lawrence_abu_rubber_coated_steel/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hamdan_lawrence_abu_rubber_coated_steel/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hamdan_lawrence_abu_rubber_coated_steel.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hamdan_lawrence_abu_rubber_coated_steel/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hamdan_lawrence_abu_rubber_coated_steel/main/master.m3u8?v=2","hasMainHls":true,"description":"In 2014, artist and forensic audio analyst Lawrence Abu Hamdan was asked to examine audio files that recorded the shots that killed Nadeem Nawara and Mohamed Abu Daher in the West Bank of Palestine. Rubber Coated Steel does not preside over the voices of the victims but seeks to amplify their silence, questioning the ways in which rights are being heard today.","artist_bio":"Lawrence Abu Hamdan was born in 1985 in Amman, Jordan. He studied at Middlesex University and Goldsmiths College, University of London, The Centre for Research Architecture, UK.\nHe is an artist and audio investigator, whose work explores ‘the politics of listening’ and the role of sound and voice within the law and human rights. He creates audiovisual installations, lecture performances, audio archives, photography and text, translating in-depth research and investigative work into affective, spatial experiences. Abu Hamdan works with human rights organisations, such as Amnesty International and Defense for Children International, and with international prosecutors to help obtain aural testimonies for legal and historical investigations. He received his PhD in 2017 from Goldsmiths London and is a practitioner affiliated with Forensic Architecture.","bio_dates":"b. 1985"},{"slug":"hamdan_lawrence_abu_walled_unwalled_2018","ok":true,"partial":false,"title":"Walled Unwalled","artist":"Lawrence Abu Hamdan","year":"2018","startOffset":0,"sourceSecs":1259.306,"sourceHeight":720,"sourceWidth":1332,"hasAudio":true,"hasAmbientMp4":true,"bytes":538149264,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hamdan_lawrence_abu_walled_unwalled_2018/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hamdan_lawrence_abu_walled_unwalled_2018/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hamdan_lawrence_abu_walled_unwalled_2018.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hamdan_lawrence_abu_walled_unwalled_2018/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hamdan_lawrence_abu_walled_unwalled_2018/main/master.m3u8?v=2","hasMainHls":true,"description":"In the year 2000 there was a total of fifteen fortified border walls and fences between sovereign nations. Today, physical barriers at sixty-three borders divide nations across four continents. As these walls were being constructed, millions and millions of invisible cosmic particles called muons descended into the earths atmosphere and penetrated metres deep, through layers of concrete, soil and rock. Scientists realised that these deep penetrating particles could be harvested, and a technology could be developed to use their peculiar physical capacities to pass through surfaces previously impervious to x rays. Muons allowed us to see for the first time the contraband hidden in lead lined shipping containers and secret chambers buried inside the stone walls of the pyramids. Now no wall on earth is impermeable. Today, we're all wall, and no wall at all. <br/><br/> Walled Unwalled is a single channel 20 minute performance-video installation. The performance comprises of an interlinking series of narratives derived from legal cases that revolved around evidence that was heard or experienced through walls. It consists of a series of performances reenactments and a monologue staged inside a trio of sound effects studios in the Funkhaus, East Berlin.","artist_bio":"Lawrence Abu Hamdan was born in 1985 in Amman, Jordan. He studied at Middlesex University and Goldsmiths College, University of London, The Centre for Research Architecture, UK.\nHe is an artist and audio investigator, whose work explores ‘the politics of listening’ and the role of sound and voice within the law and human rights. He creates audiovisual installations, lecture performances, audio archives, photography and text, translating in-depth research and investigative work into affective, spatial experiences. Abu Hamdan works with human rights organisations, such as Amnesty International and Defense for Children International, and with international prosecutors to help obtain aural testimonies for legal and historical investigations. He received his PhD in 2017 from Goldsmiths London and is a practitioner affiliated with Forensic Architecture.","bio_dates":"b. 1985"},{"slug":"hammer_barbara_a_horse_is_not_a_metaphor_2008","ok":true,"partial":false,"title":"A Horse Is Not A Metaphor","artist":"Barbara Hammer","year":"2008","startOffset":0,"sourceSecs":1783.49,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":306007192,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_a_horse_is_not_a_metaphor_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_a_horse_is_not_a_metaphor_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_a_horse_is_not_a_metaphor_2008.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_a_horse_is_not_a_metaphor_2008/main.mp4?v=2","description":"2008, 29:43 min, color, sound<br/> In Hammer's autobiographical experimental film A Horse Is Not A Metaphor, the artist reflects on her personal fight against stage 3 ovarian cancer, transforming illness into recovery. Describing herself as a cancer \"thriver\" rather than a \"survivor,\" Hammer rides on horseback through the red hills of Georgia O'Keefe's Ghost Ranch in New Mexico, the grassy foothills of the Big Horn in Wyoming, and leafy paths in Woodstock, New York. In this multilayered film, Hammer moves from scenes of chemotherapy sessions to images of light and movement that take her far from the hospital bed. The haunting score is by musician Meredith Monk. -- <a href=\"http://www.eai.org/titles/a-horse-is-not-a-metaphor\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_clay_i_love_you_ii_1968","ok":true,"partial":false,"title":"Clay I Love You II","artist":"Barbara Hammer","year":"1968-1969","startOffset":0,"sourceSecs":319.125,"sourceHeight":360,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":14651910,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_clay_i_love_you_ii_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_clay_i_love_you_ii_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_clay_i_love_you_ii_1968.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_clay_i_love_you_ii_1968/main.mp4?v=2","description":"1968-69, 5:19 min, color, silent, Super 8mm film on HD video<br/> On a trip in anticipation of an around the world motor scooter tour in 1973, Hammer and her ex-husband traverse the Mendocino coast on their motorcycle – Hammer filming all the while from the rear seat. Light reflections, creative camera perspectives, and Hammer's signature self-inclusion mark this early film.-- <a href=\"http://www.eai.org/titles/clay-i-love-you-ii\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_double_strength_1978","ok":true,"partial":false,"title":"Double Strength","artist":"Barbara Hammer","year":"1978","startOffset":0,"sourceSecs":880.832,"sourceHeight":480,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":157099200,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_double_strength_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_double_strength_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_double_strength_1978.mkv","hasFrames":true,"description":"1978, 14:38 min, color, sound, 16 mm film on HD video<br/>\"\"A poetic study of the stages of a lesbian relationship by two women performance artists from honeymoon, through struggle, to break-up, to enduring friendship. Starring Terry Sendgraff on trapeze.\" — Barbara Hammer <br/><br/>\"\"The poetry of Barbara's images carries us through the duration of a relationship: its intensely erotic beginnings, its sense of serenity, its playfulness and comedy and its closure -- the alienation, pain, anger and loss of contact. The death of the body, a theme tenderly interwoven into the ageless strength and agility of Terry Sendgraff's body, becomes the death of a relationship, a closing out, a leaving of the body behind. The body becomes a source of life. Its movement, grace, pain and happiness are contrasted with the inertness of things and the stillness of photos that merely document the brief passage of light.\" — Jacquelyn Zita, Jump Cut -- <a href=\"http://www.eai.org/titles/double-strength\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_dream_age","ok":true,"partial":false,"title":"Dream Age","artist":"Barbara Hammer","year":"1979","startOffset":0,"sourceSecs":658.176,"sourceHeight":1080,"sourceWidth":1440,"hasAudio":true,"hasAmbientMp4":true,"bytes":297199418,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_dream_age/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_dream_age/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_dream_age.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_dream_age/main.mp4?v=2","description":"1979, 10:58 min, color, sound, 16 mm film on HD video<br/>\"\"A 70-year-old lesbian feminist, seeing little change in the society after years of work, sends out her 40-year-old self on a journey taking her around the perimeters of the San Francisco Bay. During her quest she encounters aspects of her personality: the guardian angel who has all that she needs; the seductress who leads her astray; the wise woman of secrets who she meets underground. The film culminates in a visual crescendo ascending a tower as the heroine's hair is painted white by her counterparts. A dream vision film.\" — Barbara Hammer -- <a href=\"http://www.eai.org/titles/dream-age\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_dyketactics_1974","ok":true,"partial":false,"title":"Dyketactics","artist":"Barbara Hammer","year":"1974","startOffset":0,"sourceSecs":241.856,"sourceHeight":480,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":42291743,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_dyketactics_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_dyketactics_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_dyketactics_1974.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_dyketactics_1974/main.mp4?v=2","description":"1974, 4:00 min, b&w and color, sound, 16 mm film on video<br/>\"\"A popular lesbian 'commercial,' 110 images of sensual touching montages in A, B, C, D rolls of 'kinaesthetic' editing.\" — Barbara Hammer <br/><br/>\"\"Hammer's films of the '70's are the first made by an openly lesbian American filmmaker to explore lesbian identity, desire and sexuality though avant-garde strategies. Merging the physicality of the female body with that of the film medium, Hammer's films remain memorable for their pioneering articulation of a lesbian aesthetic.' - Jenni Sorkin, WACK! Art and The Feminist Revolution, 2007. -- <a href=\"http://www.eai.org/titles/dyketactics\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_endangered_1988","ok":true,"partial":false,"title":"Endangered","artist":"Barbara Hammer","year":"1988","startOffset":0,"sourceSecs":1084.608,"sourceHeight":480,"sourceWidth":706,"hasAudio":true,"hasAmbientMp4":true,"bytes":191551172,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_endangered_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_endangered_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_endangered_1988.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_endangered_1988/main.mp4?v=2","description":"1988, 18:02 min, color, sound, 16 mm film on video<br/>\"\"...Endangered is a compelling expression of the unique power of celluloid and the filmmaking process. Hammer does not hide behind the process of filmmaking – in Endangered we see her making the film. In her hands, the transformation of film into a poetic and avant garde art form comes about through the direct manipulation of celluloid.' – John Hanhardt, Biennial Exhibition Catalogue, Whitney Museum of American Art, 1989. -- <a href=\"http://www.eai.org/titles/endangered\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_evidentiary_bodies","ok":true,"partial":false,"title":"Evidentiary Bodies","artist":"Barbara Hammer","year":"2018","startOffset":0,"sourceSecs":586.026,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":222934407,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_evidentiary_bodies/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_evidentiary_bodies/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_evidentiary_bodies.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_evidentiary_bodies/main.mp4?v=2","description":"2018, 9:30 min, color, sound, three-channel HD video<br/>\"\"Evidence, broadly construed, is anything presented in support of an assertion.<br/><br/> \"\"In these horrific times when lies are blatantly exclaimed as truths, when fear makes us withdraw from each other, when difference is maligned as xenophobia, and when atrocities are committed in the name of spectacle, we must find and practice a quiet way of compassion, sympathy, and generosity through empathy.<br/><br/> \"\"As a child and teenager in the years before going to college, I thought there must be some way we could understand the other person completely. Some way we could go inside our neighbor and feel as she feels, think as he thinks, know as they know. I thought there might be some medical hookup where fluids, innards could be exchanged. Where was feeling located anyway? We speak of the heart, the stomach, but isn't it the brain? We are instructed to 'open our hearts' but shouldn't we 'open our brains'?<br/><br/> \"\"In any case, no matter what we open, I have found no way to completely understand the 'other' or be understood by another. I have resorted to film, moving images, and sound as the best path for me to make myself open, vulnerable, giving, sharing, and, yes, unique to my friends and fellow filmmakers, my artist colleagues, and those who love and appreciate creative and experimental making the world over.<br/><br/> \"\"I still long for that most intimate of sharing and although I can't crawl inside my lover's skin and experience her from the inside out, I can practice an empathetic listening, repeating back what I have heard and learned, sympathetically embracing 'otherness' and difference. Through this 'domestic' practice I extend these tools to the audience through performance in film. This places the work and the viewer in a new relationship in which the spatial field of the screen is expanded through exhalation and collapsed through inhalation. The work is experienced and perceived through the performer's body as we breathe together remembering that cancer is not a 'battle,' cancer is a disease. There are aberrant cells not 'deadly foes.' She is not 'combative' and 'brave,' she is living with cancer. She is not going to win or lose her 'battle.' She is not a 'survivor,' she is living with cancer. There is not a 'war' on cancer; there is concentrated research.<br/><br/> \"\"This could be empathy.\" — Barbara Hammer<br/><br/> Producer/Director/Editor: Barbara Hammer. Cinematography: Angel Favorite. Music: Norman Scott Johnson. Sound Processing: David Lawrence Goldman. Sound Editing/Composition: Barbara Hammer. Final Edit/Sound Mix: Paul Hill. Thanks to The Wexner Center for the Arts, Artist Residency. -- <a href=\"http://www.eai.org/titles/evidentiary-bodies\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_history_lessons","ok":true,"partial":false,"title":"History Lessons","artist":"Barbara Hammer","year":"2000","startOffset":0,"sourceSecs":3952.536,"sourceHeight":448,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":230625746,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_history_lessons/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_history_lessons/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_history_lessons.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_history_lessons/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_history_lessons/main/master.m3u8?v=2","hasMainHls":true,"description":"2000, 66:51 min, color, sound, 16 mm film on video<br/> In History Lessons, Hammer reclaims and rewrites lesbian history through her playful but empowering manipulation of a vast array of archival footage, from popular films to newsreels, sex ed pics, stag reels, medical and educational films, old nudies, and more. <br/><br/> Producer, Director, Cinematographer, Editor: Barbara Hammer. Associate Producer and Director: Anna Viola Halleberg. Production Assistant and Errand Boy: Tamela Sloan. Butch Text and Voice: Sue Hyde. French Script: Mary Klein. French Voice: Catherine Ruello. Eleanor Roosevelt's Lesbian Voice: Florrie Burke. <br/><br/> With: Kajsa Aman, Antonia Caputo (aka Toni), Denise Coles, David Del Tredice, Cambrea Ezell, Coco Feliciano, Jane Fine, Mo Fisher (aka Mo B. Dick), Coco Fusco, Mildren Gerestant (aka Oreo), Anna Hallberg , Barbara Lempel, Ann Maguire, Piper Macleod, Sharon Jane Smith, Kathryn Thomas, Laura Marie Thompson, Carmelita Tropicana. -- <a href=\"http://www.eai.org/titles/history-lessons\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_i_was_i_am_1973","ok":true,"partial":false,"title":"I Was/I Am","artist":"Barbara Hammer","year":"1973","startOffset":0,"sourceSecs":335.424,"sourceHeight":720,"sourceWidth":900,"hasAudio":true,"hasAmbientMp4":true,"bytes":123467058,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_i_was_i_am_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_i_was_i_am_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_i_was_i_am_1973.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_i_was_i_am_1973/main.mp4?v=2","description":"973, 5:44 min, b&w, sound, 16 mm film on video -- <a href=\"http://www.eai.org/titles/i-was-i-am\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_lesbian_whale_2015","ok":true,"partial":false,"title":"Lesbian Whale","artist":"Barbara Hammer","year":"2015","startOffset":0,"sourceSecs":413.184,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":176822201,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_lesbian_whale_2015/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_lesbian_whale_2015/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_lesbian_whale_2015.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_lesbian_whale_2015/main.mp4?v=2","description":"2015, 6:35 min, color, sound, HD video<br/>\"\"Lesbian Whale ... is a video animation of Hammer's early notebook drawings set to a sound track of commentary by the artist's friends and peers. The script is composed of fragments and stray thoughts – 'as a feminist I'm very skeptical'; 'not necessarily physical time but emotional time' – and it's not quite clear whether it's spontaneous, planned, composed by the speakers, or read from Hammer's notebooks. If Hammer's artistic influence is well documented, this slippage between voices, authors, and images suggests an ethos of collaboration and conviviality that may prove to be her greatest legacy.\" — Andrew Kachel, Artforum <br/><br/> Director/Drawer/Sound Designer: Barbara Hammer. After Effects: JiYe Kim. Post Production: Valery Estabrook. <br/><br/> Voice Participants: A.K. Burns, Heather Cassils, Myrel Chernick, Janlori Goldman, Holly Hughes, Daniel Alexander Jones, Reena Katz, Bradford Nordeen, Liz Rosenfeld, Julia Steinmatz. -- <a href=\"http://www.eai.org/titles/lesbian-whale\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_lover_other_2006","ok":true,"partial":false,"title":"Lover/Other","artist":"Barbara Hammer","year":"2006","startOffset":0,"sourceSecs":3291.521,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":558789230,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_lover_other_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_lover_other_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_lover_other_2006.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_lover_other_2006/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_lover_other_2006/main/master.m3u8?v=2","hasMainHls":true,"description":"2006, 55:06, color, sound<br/> 1920s Surrealist artists Claude Cahun and Marcel Moore come to life in this hybrid documentary. Lesbians and step-sisters, the gender-bending artists lived and worked together all their lives. Heroic resisters to the Nazis occupying Jersey Isle during WWII, they were captured and sentenced to death. Hammer infuses this film with vigor, using photographs, archival footage, dramatic interludes of a \"found Cahun script,\" and unique interviews with Jersey Isle residents who knew the \"sisters.\" <br/><br/> Sound Design: Pamela Z. Actors: Kathleen Chalfant, Marty Pottenger, Alana Chazan, Yves Musard. Costumes: Alicia Relles, Eva Saks. Make-Up: Jerry Lopez. Sound Mix: Paul Hill. Production Assitants: Sam Feder, Kalup Linzy, Sean Solowiej, Stephanie Testa, Christina Wall. Archives: Jersey Film Archive, Olive Thompson Film, Jersey Heritage Trust, Jersey War Tunnels, Société Jersiasise, San Francisco Museum of Modern Art. Funding and Support, New York State Council on the Arts, Women In Film, Experimental T.V. Center, Wexner, Center Media Arts Program, The Ohio State University, The Hugh M.Hefner Foundation. -- <a href=\"http://www.eai.org/titles/lover-other\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_maya_derens","ok":true,"partial":false,"title":"Maya Deren's Sink","artist":"Barbara Hammer","year":"2011","startOffset":0,"sourceSecs":1794.543,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":109601520,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_maya_derens/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_maya_derens/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_maya_derens.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_maya_derens/main.mp4?v=2","description":"2011, 29:08 min, color, sound, HD video<br/><br/> Maya Deren's Sink explores Deren's concepts of space, time and form through visits and projections filmed in her Los Angeles and New York homes. The project began after Hammer discovered a sink formerly owned by Deren at Anthology Film Archives and embarked on an homage to the \"Mother of American Experimental Cinema.\"<br/><br/> Hammer re-imagines Deren’s film locations of the 1940s in the present, providing entry into intimate spaces and former times, reclaiming the places that inspired the influential filmmaker. Hammer interweaves the performance of an actor, as well as the voices of the current home owners, Judith Malina, Carolee Schneemann, Ross Lipmann and others. The meditation on space and architecture investigates the relationship between private and public spheres, creating a unique architectural portrait of Deren.<br/><br/> The experimental soundtrack is created from the music of Teiji Ito (Deren's third husband), Tavia Ito, and Teiji’s daughter.<br/><br/> Director of Photography: Erin Harper, Barbara Hammer. Second Camera: K.J. Mohr. Editor: Stephanie Testa, Barbara Hammer. Actor: Bekka Lindstrom, Tavia Ito: Daughter of Teiji Ito, Abby Johannes: Writer, Ross Lipman: Filmmaker, Robert Polito: Writer, Judith Malina: The Living Theatre, John Mhiripiri: Anthology Film Archives, Gail Ryan: Second Wife of Teiji Ito, May Routh: Los Angeles, Jean Reynolds: New York, Carolee Schneemann: Artist, Jerry Tallmer: Village Voice. Alan Wynroth: New York. Sound Design & Mix: Stephanie Testa.<br/><br/>\"\"\"Lifelines, Handwritten, Operation, Hourglass, Water Music Study, Tenno\" Composed & Performed by Teiji Ito. Courtesy of Tzadik Records. \"Flute Music\" Composed & Performed by Tavia Ito. Courtesy of Tavia Ito. \"Haitian Music\" Recorded by Maya Deren.<br/><br/> Film Clips: \"Meshes of the Afternoon\" by Maya Deren & Alexander Hammid. \"Ritual in Transfigured Time\" by Maya Deren. \"At Land\" by Maya Deren. \"Divine Horsemen\" by Maya Deren. \"Private Life of a Cat\" by Alexander Hammid.<br/><br/> Text: Maya Deren \"Film Culture, 39,\" 1965.<br/><br/> -- <a href=\"https://www.eai.org/titles/maya-deren-s-sink\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_menses_1974","ok":true,"partial":false,"title":"Menses","artist":"Barbara Hammer","year":"1974","startOffset":0,"sourceSecs":238.88,"sourceHeight":480,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":43660669,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_menses_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_menses_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_menses_1974.mkv","hasFrames":true,"description":"1974, 3:15 min, color, sound, 16 mm film on HD video<br/> A wry comedy on the disagreeable aspects of menstruation, in which women act out their own dramas on a California hillside, in a supermarket, in a red-filtered ritual of mutual bonding. Menses combines both the imagery and the politics of menstruation in a fine blend of comedy and drama. -- <a href=\"http://www.eai.org/titles/menses\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_multiple_orgasm_1976","ok":true,"partial":false,"title":"Multiple Orgasm","artist":"Barbara Hammer","year":"1976","startOffset":0,"sourceSecs":340.128,"sourceHeight":480,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":62051234,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_multiple_orgasm_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_multiple_orgasm_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_multiple_orgasm_1976.mkv","hasFrames":true,"description":"The first shot of the film is of the filmmaker, Barbara Hammer, pointing her camera to the ground and zooming into her shadow. Superimposed is an extreme close-up of a clitoris, superimposed over a series of static shots of smooth, sensual rock formations. The closeup evolves into a sequence showing the clitoris being stimulated, then switches to a close shot of a woman's face as she experiences orgasm. <br/><br/> 1976, 5:32 min, color, silent, 16 mm film on HD video-- <a href=\"http://www.eai.org/titles/women-i-love\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_nitrate_kisses","ok":true,"partial":false,"title":"Nitrate Kisses","artist":"Barbara Hammer","year":"1992","startOffset":0,"sourceSecs":3913.08,"sourceHeight":400,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":228090347,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_nitrate_kisses/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_nitrate_kisses/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_nitrate_kisses.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_nitrate_kisses/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_nitrate_kisses/main/master.m3u8?v=2","hasMainHls":true,"description":"1992, 66:55 min, b&w, sound, 16 mm film on video<br/> In her first feature, after decades as a pioneer of lesbian cinema, Barbara Hammer weaves striking images of four contemporary gay and lesbian couples with footage of an unearthed, forbidden, and invisible history, searching eroded emulsions and images for lost vestiges of queer culture. Questions of historic representation are examined through addressing the margins, between-the-line readings, and images outside of prescribed textual boundaries. Archival footage from Lot In Sodom (1933), often regarded as the first queer film made in the United States, as well as footage from German narrative and documentary films of the thirties, are interwoven with contemporary footage in this multi-faceted, haunting documentary.<br/><br/> \"\"Nitrate Kisses questions how history is recorded and encourages the viewer, gay or straight, to save scraps, letters, books, records, and snapshots in order to preserve our 'ordinary' lives as history.\" — Barbara Hammer -- <a href=\"http://www.eai.org/titles/nitrate-kisses\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_no_no_nooky_tv_1987","ok":true,"partial":false,"title":"No No Nooky T.V.","artist":"Barbara Hammer","year":"1987","startOffset":0,"sourceSecs":707.046,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":121288876,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_no_no_nooky_tv_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_no_no_nooky_tv_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_no_no_nooky_tv_1987.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_no_no_nooky_tv_1987/main.mp4?v=2","description":"1987, 11:52 min, color, sound, 16 mm film on HD video<br/> Using a 16mm Bolex and Amiga computer, Hammer creates a witty and stunning film about how women view their sexuality versus the way male images of women and sex are perceived. The impact of technology on sexuality and emotion and the sensual self is explored through computer language juxtaposed with everyday colloquial language of sex. No No Nooky T.V. confronts the feminist controversy around sexuality with electronic language, pixels and interface. Even the monitor is eroticized in this film/video hybrid that pokes fun at romance, sexuality, and love in our post-industrial age. -- <a href=\"http://www.eai.org/titles/no-no-nooky-tv\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_optic_nerve_1985","ok":true,"partial":false,"title":"Optic Nerve","artist":"Barbara Hammer","year":"1985","startOffset":0,"sourceSecs":1004.576,"sourceHeight":480,"sourceWidth":706,"hasAudio":true,"hasAmbientMp4":true,"bytes":169920924,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_optic_nerve_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_optic_nerve_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_optic_nerve_1985.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_optic_nerve_1985/main.mp4?v=2","description":"1985, 16:43 min, color, sound, 16 mm film on video<br/>\"\"Barbara Hammer's Optic Nerve is a powerful personal reflection on family and aging. Hammer employs filmed footage which, through optical printing and editing, is layered and manipulated to create a compelling meditation on her visit to her grandmother in a nursing home. The sense of sight becomes a constantly evolving process of reseeing images retrieved from the past and fused into the eternal present of the projected image. Hammer has lent a new voice to the long tradition of personal meditation in the avant-garde of the American independent cinema.\" -- John Hanhardt, Biennial Exhibition Catalogue, Whitney Museum of American Art, New York, 1987 -- <a href=\"http://www.eai.org/titles/optic-nerve\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_out_in_south_africa","ok":true,"partial":false,"title":"Out in South Africa","artist":"Barbara Hammer","year":"1994","startOffset":0,"sourceSecs":3044.074,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":515012643,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_out_in_south_africa/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_out_in_south_africa/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_out_in_south_africa.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_out_in_south_africa/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_out_in_south_africa/main/master.m3u8?v=2","hasMainHls":true,"description":"1994, 50:46 min, color, sound<br/> In the summer of 1994, Hammer was in invited to have a retrospective at the first Gay and Lesbian Film Festival on the African continent. In addition to screening her films there, Hammer created Out in South Africa, a documentary on race, sexual orientation, and civil rights in a transitional post-apartheid South Africa. -- <a href=\"http://www.eai.org/titles/out-in-south-africa\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_place_mattes_1987","ok":true,"partial":false,"title":"Place Mattes","artist":"Barbara Hammer","year":"1987","startOffset":0,"sourceSecs":463.488,"sourceHeight":480,"sourceWidth":706,"hasAudio":true,"hasAmbientMp4":true,"bytes":80445563,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_place_mattes_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_place_mattes_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_place_mattes_1987.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_place_mattes_1987/main.mp4?v=2","description":"1987, 7:36 min, color, sound, 16 mm film on video<br/> Traveling mattes of the artist's torso, limbs, and extremities in Puget Sound, Yosemite and the Yucatan. Her attempt to \"touch\" nature is removed and blocked between figure and ground setups by the optical printer's flatness of planes. <br/><br/> As the figure and ground are presented as two planar relationships, flattened and made two-dimensional through optical printing, so the artist (figure) is unable to touch the natural environment (ground) in Puget Sound, Yosemite and the Yucatan, yet finally comes to rest in the interior space of a restaurant. -- <a href=\"http://www.eai.org/titles/place-mattes\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_sanctus_1990","ok":true,"partial":false,"title":"Sanctus","artist":"Barbara Hammer","year":"1990","startOffset":0,"sourceSecs":1094.933,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":193056164,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_sanctus_1990/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_sanctus_1990/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_sanctus_1990.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_sanctus_1990/main.mp4?v=2","description":"Director: Barbara Hammer<br/> Year: 1990<br/> Time: 18 mins<br/> Music: Neil Rolnick<br/> <br/> Sadly reduced by hype machines to a pioneer of \"lesbian cinema\" (whatever that means), Barbara Hammer has a long career in creative and critical filmmaking, constantly trying to find new narrative forms and technical possibilities to offer the world a personal view on such themes as physical disease, media, gender, sexuality, age or health-care. In her 1990 short Sanctus, the main point seems to be the time-honored dictum of the body as a temple, or, as the author put it, of a body in need of skeletal protection from a corrupting and diseasing environment. Hammer used old x-ray footage, rearranged, colored and orchestrated through optical printing, in order to reveal hidden bodily movements and rhythms in its constant juxtaposition. Rolnick's soundtrack is a characteristically hectic electronic piece in which choral (probably religious) music excerpts are mutilated, stretched, rephrased and rebuilt in ways that sometimes allow us a glimpse of the original materials but more often than not chop them beyond recognition. Its highly artificial and surreal timbres should be known to anyone familiar with Neil Rolnick's synth antics, although it could be said that this piece is perhaps more complex and rich than most of his works from this period. Although frequently returning to their sources, both Hammer's images and Rolnick's music seem to make a gradual progression from more or less discrete shapes to progressively more abstract territories in a movement that sometimes could be said to lead us further inside the authors' subjects and themes. In all its beauty, enchantment and delirious dynamics, Sanctus is a truly overwhelming piece. -- Sound of Eye","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_superdyke_1975","ok":true,"partial":false,"title":"Superdyke","artist":"Barbara Hammer","year":"1975","startOffset":0,"sourceSecs":1060.928,"sourceHeight":480,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":187815197,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_superdyke_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_superdyke_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_superdyke_1975.mkv","hasFrames":true,"description":"1975, 17:34 min, color, sound, 16 mm film on video<br/>\"\"Superdyke is a gem from early liberation days. Influenced by feminism and lesbian militancy, Hammer's films are politically pointed, bearing witness to lesbian empowerment and visibility, and formally sophisticated, fully cognizant of experimental film history. Superdyke gives the superhero a witty dyke inflection. It runs from mellow nature-loving to savvy urban pop, showing the thematic range of its author and the multiplicity of lesbian experience.\" — Juan Antonio Suarez -- <a href=\"http://www.eai.org/titles/superdyke\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_superdyke_meets_madame_x","ok":true,"partial":false,"title":"Superdyke Meets Madame X","artist":"Barbara Hammer","year":"1975","startOffset":0,"sourceSecs":1159.179,"sourceHeight":480,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":205191609,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_superdyke_meets_madame_x/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_superdyke_meets_madame_x/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_superdyke_meets_madame_x.mkv","hasFrames":true,"description":"Max Almy, Barbara Hammer 1975, 20:32 min, b&w, sound Winner of the Louise Riskin Prize at the 1976 San Francisco Art Festival, Superdyke Meets Madame X documents the Barbara Hammer's relationship with Max Almy on a reel-to-reel ¾' videotape recorder and microphone. This was Hammer's first foray into recording with the Sony Portapak and was produced as part of a skill swap with Almy. -- <a href=\"http://www.eai.org/titles/superdyke-meets-madame-x\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_tourist_1984","ok":true,"partial":false,"title":"Tourist","artist":"Barbara Hammer","year":"1984","startOffset":0,"sourceSecs":171.072,"sourceHeight":480,"sourceWidth":706,"hasAudio":true,"hasAmbientMp4":true,"bytes":27173360,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_tourist_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_tourist_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_tourist_1984.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_tourist_1984/main.mp4?v=2","description":"1984, 2:44 min, color, sound, 16 mm film on video<br/>\"\"The slide of the image into politics finds concrete expression in the film Tourist as the word 'spectacle' nestles in the Hollywood Hills like an Edward Ruscha painting. Psychic desires of 'tourists' permeate the architecture of seeing. The fleeting spectacle is a series of imaginative possessions, a conquest through the gaze accented by the shots fired on the video arcade game soundtrack. The tourist 'look' is as ephemeral as the animation of the collage suggesting a miniaturizing and glazing of the grandiose wonders of the world.\" — Kathleen Hulser, \"Frames of Passage: Nine Recent Films of Barbara Hammer,\" Centre Georges Pompidou <a href=\"http://www.eai.org/titles/15790\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_tv_tart_1988","ok":true,"partial":false,"title":"T.V. Tart","artist":"Barbara Hammer","year":"1988","startOffset":0,"sourceSecs":555.37,"sourceHeight":360,"sourceWidth":534,"hasAudio":true,"hasAmbientMp4":true,"bytes":38751383,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_tv_tart_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_tv_tart_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_tv_tart_1988.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_tv_tart_1988/main.mp4?v=2","description":"T.V. Tart<br/> Women’s Caucus for the Arts<br/> Hilton Hotel, New York City<br/> February 1989<br/> <br/> “At the dinner celebrating Whitney Chadwick, I was asked to perform T.V. Tart. I built a candy-covered case for a video monitor and set it on the dessert table. After dinner, I tuned on the monitor to play the video, and served pastries to all. I dressed as a ‘tart’ with short skirt, bustier, net stockings, etc. The video critiques excessive sugar intake and the similarities of empty calories in sweets and TV programs.” <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_women_i_love_1976","ok":true,"partial":false,"title":"Women I Love","artist":"Barbara Hammer","year":"1976","startOffset":0,"sourceSecs":1368,"sourceHeight":480,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":238063224,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_women_i_love_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_women_i_love_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_women_i_love_1976.mkv","hasFrames":true,"description":"1976, 22:39 min, color, sound, 16 mm film on video<br/> Women I Love is a series of cameo portraits of the filmmaker's friends and lovers intercut with a playful celebration of fruits and vegetables in nature. Culminating footage evokes a tantric painting of sexuality sustained. -- <a href=\"http://www.eai.org/titles/women-i-love\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_would_you_like_to_meet_your_neighbor","ok":true,"partial":false,"title":"Would You Like to Meet Your Neighbor? A New York Subway Tape","artist":"Barbara Hammer","year":"1985","startOffset":0,"sourceSecs":759.125,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":137091741,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_would_you_like_to_meet_your_neighbor/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_would_you_like_to_meet_your_neighbor/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_would_you_like_to_meet_your_neighbor.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_would_you_like_to_meet_your_neighbor/main.mp4?v=2","description":"1985, 12:39 min, color, sound<br/> Would You Like to Meet Your Neighbor? A New York City Subway Tape finds Barbara Hammer (wearing a mask made of subway maps) conducting gonzo interviews with subway riders, getting their thoughts on the city, their fellow passengers, and navigating public space. -- <a href=\"http://www.eai.org/titles/optic-nerve\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammer_barbara_x_1973","ok":true,"partial":false,"title":"X","artist":"Barbara Hammer","year":"1973","startOffset":0,"sourceSecs":424.853,"sourceHeight":432,"sourceWidth":540,"hasAudio":true,"hasAmbientMp4":true,"bytes":29736568,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_x_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammer_barbara_x_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammer_barbara_x_1973.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammer_barbara_x_1973/main.mp4?v=2","description":"1973, 7:27 min, color, sound, 16 mm film on HD video.<br/><br/> -- <a href=\"http://www.eai.org/titles/x\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"1939-2019"},{"slug":"hammid_alexander_bezucelna_prochazka_1930","ok":true,"partial":false,"title":"Bezucelna Prochazka","artist":"Alexander Hammid","year":"1930","startOffset":0,"sourceSecs":473.643,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":29166012,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammid_alexander_bezucelna_prochazka_1930/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammid_alexander_bezucelna_prochazka_1930/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammid_alexander_bezucelna_prochazka_1930.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammid_alexander_bezucelna_prochazka_1930/main.mp4?v=2","description":"This first true Czech avant-garde film turns away from a purely celebratory approach to the city. The camera follows a detached protagonist on his wanderings, as his highly subjective journey becomes a fragmented visualization of urban landscapes. (Alexandr Hackenschmied, 1930, 35mm, silent, 20 mins.)","artist_bio":"HAMMID, Alexander(b. A. Hackenschmied, 1907-2004). Born in Austria, he grew up in Prague, making his first silent experimental film,\nBezucelna Prochazka/ Aimless Walk\nin 1930. Working as a cinematographer for the leftist American documentarian Herbert Kline, he fled Czechoslovakia in 1939 to the US where he met and married Eleonora Derenkowskaya who took the name, perhaps with his advice, of Maya Deren, much as he too took a new name. With her he collaborated on the classic avant-garde film\nMeshes in the Afternoon\n(1943) that established her reputation that survived their divorce. In the 1960s, Hammid began collaborating with the sometime painter Francis Thompson on multi-screen films:\nTo Be Alive\n(1964), which knocked me out at the Montreal World's Fair, both of which remain in my mind as masterpieces of the under-developed genre. Later Hammid and Thompson, among the great collaborations in modern film, produced\nTo Fly!\n(1976), which remains the pioneering classic in the -- Richard Kostelanetz,\nDictionary of the Avant Gardes","bio_dates":"1907-2004"},{"slug":"hammid_alexander_na_prazskem_hrade_1931","ok":true,"partial":false,"title":"Bezucelna Prochazka","artist":"Alexander Hammid","year":"1931","startOffset":0,"sourceSecs":670.037,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":43501704,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammid_alexander_na_prazskem_hrade_1931/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammid_alexander_na_prazskem_hrade_1931/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammid_alexander_na_prazskem_hrade_1931.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammid_alexander_na_prazskem_hrade_1931/main.mp4?v=2","description":"In 1932 Hammid bought a handheld camera Bell-Howell and made his second film, Na Pražském hradě [Prague Castle], in close collaboration with the composer of the sound track, striving for an organic intertwining of image and music.","artist_bio":"HAMMID, Alexander(b. A. Hackenschmied, 1907-2004). Born in Austria, he grew up in Prague, making his first silent experimental film,\nBezucelna Prochazka/ Aimless Walk\nin 1930. Working as a cinematographer for the leftist American documentarian Herbert Kline, he fled Czechoslovakia in 1939 to the US where he met and married Eleonora Derenkowskaya who took the name, perhaps with his advice, of Maya Deren, much as he too took a new name. With her he collaborated on the classic avant-garde film\nMeshes in the Afternoon\n(1943) that established her reputation that survived their divorce. In the 1960s, Hammid began collaborating with the sometime painter Francis Thompson on multi-screen films:\nTo Be Alive\n(1964), which knocked me out at the Montreal World's Fair, both of which remain in my mind as masterpieces of the under-developed genre. Later Hammid and Thompson, among the great collaborations in modern film, produced\nTo Fly!\n(1976), which remains the pioneering classic in the -- Richard Kostelanetz,\nDictionary of the Avant Gardes","bio_dates":"1907-2004"},{"slug":"hammid_alexander_silnice_zpiva_1937","ok":true,"partial":false,"title":"The Highway Sings","artist":"Alexander Hammid","year":"1937","startOffset":0,"sourceSecs":214.443,"sourceHeight":400,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":13540906,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammid_alexander_silnice_zpiva_1937/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammid_alexander_silnice_zpiva_1937/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammid_alexander_silnice_zpiva_1937.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammid_alexander_silnice_zpiva_1937/main.mp4?v=2","description":"A film advertisement entitled Silnice zpívá [The Highway Sings] (1937), directed by Elmar Klos, and showing auto tires in motion. It won the Gold Medal at the Paris Exhibition.","artist_bio":"HAMMID, Alexander(b. A. Hackenschmied, 1907-2004). Born in Austria, he grew up in Prague, making his first silent experimental film,\nBezucelna Prochazka/ Aimless Walk\nin 1930. Working as a cinematographer for the leftist American documentarian Herbert Kline, he fled Czechoslovakia in 1939 to the US where he met and married Eleonora Derenkowskaya who took the name, perhaps with his advice, of Maya Deren, much as he too took a new name. With her he collaborated on the classic avant-garde film\nMeshes in the Afternoon\n(1943) that established her reputation that survived their divorce. In the 1960s, Hammid began collaborating with the sometime painter Francis Thompson on multi-screen films:\nTo Be Alive\n(1964), which knocked me out at the Montreal World's Fair, both of which remain in my mind as masterpieces of the under-developed genre. Later Hammid and Thompson, among the great collaborations in modern film, produced\nTo Fly!\n(1976), which remains the pioneering classic in the -- Richard Kostelanetz,\nDictionary of the Avant Gardes","bio_dates":"1907-2004"},{"slug":"hammons_david_a_look_at","ok":true,"partial":false,"title":"A Look at David Hammons (undated), Directed by Alex Harsley","artist":"David Hammons","year":"1943","startOffset":0,"sourceSecs":677.164,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":117510421,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammons_david_a_look_at/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammons_david_a_look_at/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammons_david_a_look_at.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammons_david_a_look_at/main.mp4?v=2","description":"Video by Alex Harsley.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/papers/hammons_interview.html\" rel=\"noopener\" target=\"_blank\">David Hammons in UbuWeb Papers</a></br>","artist_bio":"David Hammons was born in Springfield, Illinois in 1943. He moved to Los Angeles in 1963 attending Chouinard Art Institute (now CalArts) from 1966 – 1968 and the Otis Art Institute from 1968 – 1972. In 1974 Hammons settled in New York City.\nAn African-American installation artist, performance artist, and sculptor, Hammons is primarily known for his work in and around New York City during the 1970's and 80's. Influenced by Arte Povera, Hammons's work speaks of cultural overtones; employing provocative materials such as elephant dung, chicken parts, strands of hair, and bottles of cheap wine. Centered in the black urban experience, Hammons often uses sarcasm as a means of confronting cultural stereotypes and racial issues. Hammons was the recipient of the MacArthur Fellowship in July 1991.","bio_dates":"b. 1943"},{"slug":"hammons_david_inthemidnighthour_2010_ulysses_jenkins","ok":true,"partial":false,"title":"In The Midnight Hour (2010) Directed by Ulysses Jenkins","artist":"David Hammons","year":"2010","startOffset":0,"sourceSecs":411.643,"sourceHeight":424,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":27497131,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammons_david_inthemidnighthour_2010_ulysses_jenkins/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammons_david_inthemidnighthour_2010_ulysses_jenkins/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammons_david_inthemidnighthour_2010_ulysses_jenkins.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammons_david_inthemidnighthour_2010_ulysses_jenkins/main.mp4?v=2","description":"A studio visit by David Hammons to John Outterbridge's studio. Recorded by Ulysses Jenkins as Hammons proclaims an arts affliction.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/papers/hammons_interview.html\" rel=\"noopener\" target=\"_blank\">David Hammons in UbuWeb Papers</a></br>","artist_bio":"David Hammons was born in Springfield, Illinois in 1943. He moved to Los Angeles in 1963 attending Chouinard Art Institute (now CalArts) from 1966 – 1968 and the Otis Art Institute from 1968 – 1972. In 1974 Hammons settled in New York City.\nAn African-American installation artist, performance artist, and sculptor, Hammons is primarily known for his work in and around New York City during the 1970's and 80's. Influenced by Arte Povera, Hammons's work speaks of cultural overtones; employing provocative materials such as elephant dung, chicken parts, strands of hair, and bottles of cheap wine. Centered in the black urban experience, Hammons often uses sarcasm as a means of confronting cultural stereotypes and racial issues. Hammons was the recipient of the MacArthur Fellowship in July 1991.","bio_dates":"b. 1943"},{"slug":"hammons_david_king_david_1978_ulysses_jenkins","ok":true,"partial":false,"title":"King David (1978), Directed by Ulysses Jenkins","artist":"David Hammons","year":"1978","startOffset":0,"sourceSecs":1050.54,"sourceHeight":424,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":67392907,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammons_david_king_david_1978_ulysses_jenkins/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammons_david_king_david_1978_ulysses_jenkins/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammons_david_king_david_1978_ulysses_jenkins.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammons_david_king_david_1978_ulysses_jenkins/main.mp4?v=2","description":"This is a documentary of David Hammons prior to his leaving the Los Angeles arts community. This video covers the artist's creative strategies at that time. It served as both an interview and video performance by David Hammons. This video has rarely been seen.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/papers/hammons_interview.html\" rel=\"noopener\" target=\"_blank\">David Hammons in UbuWeb Papers</a></br>","artist_bio":"David Hammons was born in Springfield, Illinois in 1943. He moved to Los Angeles in 1963 attending Chouinard Art Institute (now CalArts) from 1966 – 1968 and the Otis Art Institute from 1968 – 1972. In 1974 Hammons settled in New York City.\nAn African-American installation artist, performance artist, and sculptor, Hammons is primarily known for his work in and around New York City during the 1970's and 80's. Influenced by Arte Povera, Hammons's work speaks of cultural overtones; employing provocative materials such as elephant dung, chicken parts, strands of hair, and bottles of cheap wine. Centered in the black urban experience, Hammons often uses sarcasm as a means of confronting cultural stereotypes and racial issues. Hammons was the recipient of the MacArthur Fellowship in July 1991.","bio_dates":"b. 1943"},{"slug":"hammons_david_phatfree","ok":true,"partial":false,"title":"A Look at David Hammons (undated), Directed by Alex Harsley","artist":"David Hammons","year":"1943","startOffset":0,"sourceSecs":304.762,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":17512329,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammons_david_phatfree/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hammons_david_phatfree/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hammons_david_phatfree.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hammons_david_phatfree/main.mp4?v=2","description":"Video by Alex Harsley.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/papers/hammons_interview.html\" rel=\"noopener\" target=\"_blank\">David Hammons in UbuWeb Papers</a></br>","artist_bio":"David Hammons was born in Springfield, Illinois in 1943. He moved to Los Angeles in 1963 attending Chouinard Art Institute (now CalArts) from 1966 – 1968 and the Otis Art Institute from 1968 – 1972. In 1974 Hammons settled in New York City.\nAn African-American installation artist, performance artist, and sculptor, Hammons is primarily known for his work in and around New York City during the 1970's and 80's. Influenced by Arte Povera, Hammons's work speaks of cultural overtones; employing provocative materials such as elephant dung, chicken parts, strands of hair, and bottles of cheap wine. Centered in the black urban experience, Hammons often uses sarcasm as a means of confronting cultural stereotypes and racial issues. Hammons was the recipient of the MacArthur Fellowship in July 1991.","bio_dates":"b. 1943"},{"slug":"hanak_dusan_den_radosti_day_of_happiness_1972","ok":true,"partial":false,"title":"Den Radosti Day Of Happiness","artist":"Dušan Hanák","year":"1972","startOffset":0,"sourceSecs":1304.512,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":222617849,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hanak_dusan_den_radosti_day_of_happiness_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hanak_dusan_den_radosti_day_of_happiness_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hanak_dusan_den_radosti_day_of_happiness_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hanak_dusan_den_radosti_day_of_happiness_1972/main.mp4?v=2","description":"Dusan Hanak, in addition to his retrospective of feature films earlier in the festival, is represented by two shorts: the sugary Impresia (Impression, 1966), based on the music of Debussy and Impressionist paintings; and the pivotal film Den radosti (Day of Joy, 1972), a playful depiction of the festivities around the performance \"If All Trains of the World\" by Alexander Mlynarcik. Den radosti shows Hanak using the \"inter-genre\" style of documentary which made his feature film Obrazy stareho sveta (Pictures of the Old World, 1971) a masterpiece. Still photography, live action, interviews, old etchings and archive footage of old train journeys are skilfully blended to create a sympathetic and humorous portrait of the romance of an old steam train and the joy of artists and the general public in participating in this children's game for adults. Once again, the avant garde is imaginatively used to eulogise over traditional values and the past.\n\nDen radosti is important not just for the considerable pleasure it brings; it is the first of a series of films in which artists use film to document \"happenings.\" Lift (1974) by Vladimir Havrilla, a sculptor, shoots frames of people at the peak of successive jumps to create an almost conceptual work exploring levitation. Kvetoslav Hecko's Atd... (Etc..., 1987) takes us into the world of Matej Kren and tries to convince us just what a wild and wacky artist he is. The film itself is not particularly experimental, though, and since Kren has produced far stranger pieces than those shown here, it is a disappointing example of the genre."},{"slug":"hand_of_the_master_1995","ok":true,"partial":false,"title":"Simon Bogojević Narath - HAND OF THE MASTER","artist":"Simon Bogojević","year":"1995","startOffset":0,"sourceSecs":373.12,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":63363272,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hand_of_the_master_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hand_of_the_master_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hand_of_the_master_1995.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hand_of_the_master_1995/main.mp4?v=2"},{"slug":"hangjun_lee_chulki_hong_metaphysics_of_sound","ok":true,"partial":false,"title":"The Metaphysics of Sound","artist":"Hangjun Lee","year":"2007","startOffset":0,"sourceSecs":1695.068,"sourceHeight":240,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":101356233,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hangjun_lee_chulki_hong_metaphysics_of_sound/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hangjun_lee_chulki_hong_metaphysics_of_sound/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hangjun_lee_chulki_hong_metaphysics_of_sound.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hangjun_lee_chulki_hong_metaphysics_of_sound/main.mp4?v=2","description":"2007 / 16mm / color / sound / 2S / 28' 00 <br/><br/> Adopting mainly hand contact printing with photographic enlarger, «Metaphysics of sound» started from September of 2006 and completed in July of 2007. With a 35mm soundtrack image, I made a hand-drawn soundtrack on the 16mm film strip. The sounds were made either by directly contact printing the 35mm sound tracks or collaging the scratch images. I found an educational film about insect collecting at Japan in 2005 as the main materials for images work. Using a peculiar attribute of film medium, I began to think fundamentally about seen sound and heard image. According to pattern of sound on the 20% blank of 16mm film strip (normally used as space for optical recording), I edited whole image and made structure of film. Hence the margin is a where image is sound, and vice versa. Later, I studied the sound patterns which varied according to the kinds of images used or the concentration of the image, and made various attempts at rearranging the structure of the sound with the image. The most significant idea of this work was derived from the gap between playback logic and reproduction logic, and the discovery of the collision between the transfer of formats within film media. - Hangjun Lee","bio_dates":"b. 1977"},{"slug":"hanlon_terri_meringue_diplomacy_2010_iphone","ok":true,"partial":false,"title":"Meringue Diplomacy","artist":"Terri Hanlon","year":"2010","startOffset":0,"sourceSecs":3410.866,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":195756999,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hanlon_terri_meringue_diplomacy_2010_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hanlon_terri_meringue_diplomacy_2010_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hanlon_terri_meringue_diplomacy_2010_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hanlon_terri_meringue_diplomacy_2010_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hanlon_terri_meringue_diplomacy_2010_iphone/main/master.m3u8?v=2","hasMainHls":true,"artist_bio":"Terri Hanlon is the author of two micro feature video works, Meringue Diplomacy (2010) and Inversion of Solitude (1993). Both integrate performances by a circle of her gifted artist colleagues with music, lighting, camera and costumes.\nTerri received a BA in sculpture from the California College of the Arts. In the late 70's she co-founded a performance art group, The EVA Sisters (Terri, Fern Friedman and Deborah Slater) based in San Francisco. She met these collaborators while earning her MA in the \"Interdisciplinary Arts\" program at San Francisco State, one of the first of its kind in the U.S. The EVA Sisters, named after the astronaut term extra-vehicular activity, also collaborated with David Behrman to produce an early interactive performance art piece, Looking Past the Future in 1979.\nThe EVA Sisters project What House, based on a feminist \"bottom-line\" perspective of the art world, toured nationally. In the late 70's and early 80's, Friedman and Hanlon collaborated with composers Paul DeMarinis and David Behrman and performer Anne Klingensmith to produce the record She's Wild. They also did several live interactive performance versions of that piece in San Francisco and New York.\nTerri brought an interest in sociology with her when she moved to New York City in the early 80's, creating a series of short music videos based on various aspects of life on the East and West Coasts. Music by Frankie Mann and Rhys Chatham was featured in several of these videos, which were shown on PBS and various downtown nightclubs such as CBGB's and the Mudd Club. At that time Terri became a \"computer graphics missionary\", working at an early computer graphics company in training designers in corporations like Colgate Palmolive to put down their pencils and pick up the digital pen. That position allowed her early access to the newest technology. She also worked with software designer Jonathan Cohen; he developed pioneering early digital interactive graphics software used in her short pieces You Pay Rent and I Should Have Stayed Home.\nIn the 90's, inspired by the choreography and conceptual work of the EVA Sisters, Terri moved into making larger-scale video / music features under an hour in length. These works incorporated the choreographic visions of Eric Barsness and Carol Clements, the camera work of Howard Grossman and Marc Kroll, and music by a number of gifted composers.\nThe first of these pieces, Inversion of Solitude, was completed in the mid-90's. Frankie Mann created its sound score and the designer and creative director Matthew Duntemann contributed computer graphics. Inversion of Solitude was shown on PBS and at the New York Film Festival.\nMeringue Diplomacy is the second of these larger pieces. It was completed in 2010, after a ten year involvement with digital printmaking, CD cover design and commissioned portraits. While involved in printmaking, Terri started shooting the video in 1997, and in a timeline inspired by Marcel Proust completed her scene and animation collection in 2009, working in almost every pre-hi-def format then available, from Video-8 to DV Cam. It is a video with music, inspired by the life of the great chef Antonin Carême. One could say of this work that it delivers information on two very different levels: one rational, as in traditional documentary, the other painterly, visual, abstract, perceptual. MERINGUE DIPLOMACY has a music score directed by David Behrman.\nBoth Meringue Diplomacy and Inversion of Solitude could be characterized as performance art-based \"disjunctive narratives,\" growing out of the work she had started in the late 70's with The EVA Sisters.The score features the music of Jacques Bekaert, Jon Gibson, Barbara Held, John King, Laetitia Sonami and avid Behrman. Choreography is by Carol Clements.","bio_dates":"2010"},{"slug":"harrington_curtis_fragment_of_seeking_1946","ok":true,"partial":false,"title":"Fragment of Seeking","artist":"Curtis Harrington","year":"1946","startOffset":0,"sourceSecs":821.321,"sourceHeight":1080,"sourceWidth":1444,"hasAudio":true,"hasAmbientMp4":true,"bytes":365518510,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harrington_curtis_fragment_of_seeking_1946/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harrington_curtis_fragment_of_seeking_1946/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/harrington_curtis_fragment_of_seeking_1946.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/harrington_curtis_fragment_of_seeking_1946/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/harrington_curtis_fragment_of_seeking_1946/main/master.m3u8?v=2","hasMainHls":true,"description":"Harrington plays a young man desperately seeking out the fleeting image of a female companion, and though he never quite catches her, he discovers much more through the surreal explorations of his own sexuality. Made a year before Kenneth Anger’s Fireworks, the films contain some similarities in their treatment of homoerotic themes, though Fragment is more restrained and subtle.<br/><br/> Curtis Harrington, widely regarded as one of the important avant-garde directors of the 1940’s, as well as an early influential figure in what would come to be known as ‘New Queer Cinema,’ was born in Los Angeles in 1926. He began making films as a teenager, often deeply surreal, intuitive, and owing much to the writings of Edgar Allan Poe. After graduating from UCLA with a degree in film studies, his unique career trajectory led him from the academic circles of cinematic criticism (he wrote a publication on the films of Josef von Sternberg); to the Hollywood assistant desk of writer/producer Jerry Wald; to the elite group of independent filmmakers associated with Kenneth Anger (the two remained life-long friends and colleagues); to the famed film factory of cult icon Roger Corman; then on to his own stint in the world of genre movie-making with Night Tide and Games; and most unpredictable of all, to finding commercial success in television. .<br/><br/> Once upon a time, the U.S. of A. had our own Jean Cocteau in the making, but he was too early for the 1960s window that let his spiritual kin (Kenneth Anger) and progeny (Andy Warhol) in, and we consigned him to a downward trajectory of increasingly camp-value-laden features until he finally had to make his living directing scattered episodes of addictive-crap TV like Dynasty. But a little treasure trove of Curtis Harrington’s dreamlike, lush, sexually ambiguous, and death-obsessed short films remains, the newly restored versions of which have now been carefully compiled for this new Blu-ray release, and they are a revelation. In the five shorts that he made between 1946 and 1955, Harrington, using more imagination and inspiration than material resources, used the magical medium of cinema to inscribe his wordless visions of the ineffable exaltations and horrors of sex and death, longing, and perpetually mutable identity onto celluloid in a way more famously associated with Luis Bunuel or David Lynch; in some ways, in the chronological aesthetic lineage of cinema, he’s the long-missing link between the two. But it’s much better late than never to have the chance to get lost in Harrington’s transfixing, seductive miniature dreamscapes; The Curtis Harrington Collection is the most gratifying resurrection of an undeservedly obscured film artist to be bestowed upon us in quite some time, and is sure to secure the ascension of these lost, strange, highly accomplished labors of love to their rightful place — right up alongside the best of Maya Deren and Stan Brakhage — in the pantheon of American avant-garde/experimental cinema.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/creed.html\" rel=\"noopener\" target=\"_blank\">Curtis Harrington in UbuWeb Sound</a>","artist_bio":"Curtis Harrington, widely regarded as one of the most important avant-garde directors of the 1940's, as well as an early influential figure in what would come to be known as \"New Queer Cinema,\" was born in Los Angeles in 1926. He began making films as a teenager, often deeply surreal, intuitive, and owing much to the writings of Edgar Allan Poe. His unique career trajectory led him from the academic circles of cinematic criticism to Hollywood assistant, and to the famed film factory of cult icon Roger Corman, and on to a successful career of genre movie-making with Night Tide and Games, and commercial success in television.","bio_dates":"1926-2007"},{"slug":"harris_hilary_9_variations_1966","ok":true,"partial":false,"title":"Nine Variations on a Dance Theme","artist":"Hilary Harris","year":"1966","startOffset":0,"sourceSecs":781.447,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":140572151,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harris_hilary_9_variations_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harris_hilary_9_variations_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/harris_hilary_9_variations_1966.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/harris_hilary_9_variations_1966/main.mp4?v=2","description":"This prize-winning film captures dancer Bettie de Jong, a longtime member of the Paul Taylor Company, as she performs a single dance theme numerous times. Harris shot de Jong from a variety of different camera angles during twenty-five filming sessions over the course of a year, and then edited the sequences together as a montage, resulting in nine different variations on an identical series of movements. Like Maya Deren's 1945 dance film <a href=\"https://ubu.com/film/deren_study-in-choreography.html\" rel=\"noopener\" target=\"_blank\">A Study in Choreography for Camera</a>, Harris' film explores the possibilities opened up by dance on camera.","artist_bio":"Eleanor Antin, Charles Atlas, Natalie Bookchin, James Byrne and Victoria Marks, Ann Carlson and Mary Ellen Strom, Shirley Clarke, Bruce Conner, Thierry de Mey, Tacita Dean, Maya Deren, Ed Emshwiller, William Forsythe, Amy Greenfield, Hilary Harris, Oliver Herring, Luis Jacob, Mike Kelley, Joachim Koester, Elad Lassry, Sharon Lockhart, Babette Mangolte, Norman McLaren, Frank Moore and Jim Self, Bruce Nauman, Kelly Nipper, Sidney Peterson and Hy Hirsh, Yvonne Rainer, robbinschilds + A.L. Steiner, Uri Tzaig, Flora Wiegmann, and Christopher Williams.\nIn the 1937 musical film\nShall We Dance\n, Fred Astaire's character falls in love with a flip book, or rather, the woman depicted on its pages: a popular dancer played by Ginger Rogers. \"That's grace, that's rhythm,\" he swoons over the photographs. The camera, it almost need not be stated, captures things that move. Dance with Camera features art works in film, video, and photography that exemplify the ways dance has compelled artists to record bodies moving in space and time. The exhibition begins with films from the 1960s, a period when associations between dancers, filmmakers, musicians and visual artists flourished at Judson Dance Theater in downtown New York. The interdisciplinary practices that emerged at Judson, and beyond, were an extension of the collaborative work of composer John Cage and choreographer Merce Cunningham, both of whom made use of chance procedures. This \"anything goes\" methodology demolished creative traditions and hierarchies, moves that influenced the way the works on view use an imagery of dance that threads through Hollywood musicals, avant-garde cinema, postmodern dance and MTV.\nDance with Camera\nincludes works in which dance is a subject, or mode, used to explore broader themes of collaboration, narrative, structure, metaphor and abstraction. These works propose choreography for the camera lens: movement is designed for the area prescribed by the camera's frame; the ephemerality of live performance is fixed in time. The camera also allows close-ups that bring us in proximity to the dance, or in some cases, performs as a partner in unusual pas de deux. Photographic series freeze time while also expanding the notion of dance as a time-based medium. Editing techniques compress time and space, conjure dances impossible in real time, and even transform relatively static performers into dancers. Finally, the camera is not merely a recording device, but stage and audience simultaneously.","bio_dates":"1929-1999"},{"slug":"harris_hilary_9_variations_1966_3ebc35","ok":true,"partial":false,"title":"Nine Variations on a Dance Theme","artist":"Hilary Harris","year":"1966","startOffset":0,"sourceSecs":781.483,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":140512829,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harris_hilary_9_variations_1966_3ebc35/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harris_hilary_9_variations_1966_3ebc35/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/harris_hilary_9_variations_1966_3ebc35.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/harris_hilary_9_variations_1966_3ebc35/main.mp4?v=2","description":"This prize-winning film captures dancer Bettie de Jong, a longtime member of the Paul Taylor Company, as she performs a single dance theme numerous times. Harris shot de Jong from a variety of different camera angles during twenty-five filming sessions over the course of a year, and then edited the sequences together as a montage, resulting in nine different variations on an identical series of movements. Like Maya Deren's 1945 dance film <a href=\"https://ubu.com/film/deren_study-in-choreography.html\" rel=\"noopener\" target=\"_blank\">A Study in Choreography for Camera</a>, Harris' film explores the possibilities opened up by dance on camera.","artist_bio":"Eleanor Antin, Charles Atlas, Natalie Bookchin, James Byrne and Victoria Marks, Ann Carlson and Mary Ellen Strom, Shirley Clarke, Bruce Conner, Thierry de Mey, Tacita Dean, Maya Deren, Ed Emshwiller, William Forsythe, Amy Greenfield, Hilary Harris, Oliver Herring, Luis Jacob, Mike Kelley, Joachim Koester, Elad Lassry, Sharon Lockhart, Babette Mangolte, Norman McLaren, Frank Moore and Jim Self, Bruce Nauman, Kelly Nipper, Sidney Peterson and Hy Hirsh, Yvonne Rainer, robbinschilds + A.L. Steiner, Uri Tzaig, Flora Wiegmann, and Christopher Williams.\nIn the 1937 musical film\nShall We Dance\n, Fred Astaire's character falls in love with a flip book, or rather, the woman depicted on its pages: a popular dancer played by Ginger Rogers. \"That's grace, that's rhythm,\" he swoons over the photographs. The camera, it almost need not be stated, captures things that move. Dance with Camera features art works in film, video, and photography that exemplify the ways dance has compelled artists to record bodies moving in space and time. The exhibition begins with films from the 1960s, a period when associations between dancers, filmmakers, musicians and visual artists flourished at Judson Dance Theater in downtown New York. The interdisciplinary practices that emerged at Judson, and beyond, were an extension of the collaborative work of composer John Cage and choreographer Merce Cunningham, both of whom made use of chance procedures. This \"anything goes\" methodology demolished creative traditions and hierarchies, moves that influenced the way the works on view use an imagery of dance that threads through Hollywood musicals, avant-garde cinema, postmodern dance and MTV.\nDance with Camera\nincludes works in which dance is a subject, or mode, used to explore broader themes of collaboration, narrative, structure, metaphor and abstraction. These works propose choreography for the camera lens: movement is designed for the area prescribed by the camera's frame; the ephemerality of live performance is fixed in time. The camera also allows close-ups that bring us in proximity to the dance, or in some cases, performs as a partner in unusual pas de deux. Photographic series freeze time while also expanding the notion of dance as a time-based medium. Editing techniques compress time and space, conjure dances impossible in real time, and even transform relatively static performers into dancers. Finally, the camera is not merely a recording device, but stage and audience simultaneously.","bio_dates":"1929-1999"},{"slug":"harris_hilary_highway_1958","ok":true,"partial":false,"title":"Highway","artist":"Hilary Harris","year":"1958","startOffset":0,"sourceSecs":302.848,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":51795689,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harris_hilary_highway_1958/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harris_hilary_highway_1958/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/harris_hilary_highway_1958.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/harris_hilary_highway_1958/main.mp4?v=2","description":"Hilary Harris’ nervy tour of Robert Moses’ New York hearkens back to the classic city symphonies of the 1920s but cut to fit the “go go go” energy of the new era. “The most exciting thing in film is movement,” Harris once wrote, and in HIGHWAY he shows why, shooting from a moving car for the road itself of its ramps, signs and overall pretzel logic. The film can be enjoyed purely as a riot of graphic forms, but at a deeper level Harris is revising the traditional panorama to capture the automotive experience of urban space. He peppers the expressway view with all manner of camera effects, but it’s finally his simple fascination with the changing shape of the road at speed that makes the screen come alive. Bronze medalist at the Brussels International Experimental Film Festival in 1958, HIGHWAY today appears a snappy detour between \"On the Road\" (published the year before) and the early films of the French New Wave (just around the bend). - Max Goldberg","artist_bio":"Hilary Harris (December 9, 1929 — October 26, 1999) was an Academy Award winning documentary filmmaker, one of the pioneers of time-lapse photography. The documentary, S\neawards the Great Ships\n, directed by Harris, won the Academy Award for best short subject in 1962.","bio_dates":"1929-1999"},{"slug":"harris_hilary_longhorns_1951","ok":true,"partial":false,"title":"Longhorns","artist":"Hilary Harris","year":"1951","startOffset":0,"sourceSecs":275.563,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":44870140,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harris_hilary_longhorns_1951/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harris_hilary_longhorns_1951/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/harris_hilary_longhorns_1951.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/harris_hilary_longhorns_1951/main.mp4?v=2","description":"LONGHORNS is cine-dance with a surrealist tang. There are no human figures in this early short from Hilary Harris, only a pair of Texas longhorns turning endless spirals in the tall reeds of a New York inlet. The strangeness of this scene abstracts the horns’ mesmerizing rotation, the better for Harris to explore the choreographic possibilities of cutting and framing (Cyril Jackson’s propulsive drum score provides the beat). Harris was a lifelong sculptor in addition to being a pioneering experimental filmmaker, and in LONGHORNS we see him reveling in the interplay between the two mediums. Though somewhat shaggier than his later motion studies (such as 9 VARIATIONS ON A DANCE THEME), LONGHORNS remains a tactile treat. The majestic images of clouds, in particular, evince his special ability to transform the mundane into something revelatory. - Max Goldberg","artist_bio":"Hilary Harris (December 9, 1929 — October 26, 1999) was an Academy Award winning documentary filmmaker, one of the pioneers of time-lapse photography. The documentary, S\neawards the Great Ships\n, directed by Harris, won the Academy Award for best short subject in 1962.","bio_dates":"1929-1999"},{"slug":"harris_hilary_organism_1975","ok":true,"partial":false,"title":"Organism","artist":"Hilary Harris","year":"1975","startOffset":0,"sourceSecs":1162.709,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":205023435,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harris_hilary_organism_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/harris_hilary_organism_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/harris_hilary_organism_1975.mp4","hasFrames":true,"description":"Before KOYAANISQATSI, there was ORGANISM. Hilary Harris actually contributed some of his innovative time-lapse footage to Godfrey Reggio’s art-house blockbuster but his ORGANISM remains a singular achievement. Shot over the course of fifteen years, the film deepens its splendid visual investigations of how New York works by likening the city’s complex systems to those of a single biological organism. Harris is hardly the first to suggest this metaphor but it registers with fresh life in his canny montage: the flickering lights of the skyline at night correspond with descriptions of neurons firing and the flow of traffic is brilliantly juxtaposed with the microscopic movement of blood cells. Within the time-lapse frame, Harris carefully engineers continuous zooms and layers the composition so as to realize several concurrent elements of circulation. Time itself registers in many guises here: the routinized movements of a cafeteria at lunch, the precise intervals of planes touching down at LaGuardia and the long haul of a construction site. The wondrous view may be technologically enhanced but ORGANISM is unmistakably cinema with a human touch. - Max Goldberg","artist_bio":"Hilary Harris (December 9, 1929 — October 26, 1999) was an Academy Award winning documentary filmmaker, one of the pioneers of time-lapse photography. 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Packaged in a specially designed LP-style sleeve, the disc features 16 works plus a range of extras, ephemera and a Tate Shots interview."},{"slug":"hatoum_mona_changing_parts","ok":true,"partial":false,"title":"Changing Parts","artist":"Mona Hatoum","year":"1984","startOffset":0,"sourceSecs":1417.267,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":85664231,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hatoum_mona_changing_parts/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hatoum_mona_changing_parts/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hatoum_mona_changing_parts.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hatoum_mona_changing_parts/main.mp4?v=2","description":"Hatoum made Changing Parts during a year's residency at Western Front Art Centre in Vancouver, Canada. It is a Western Front Production. It operates through the juxtaposition of two strands of ambiguously contrasting image and sound. She has said: 'I want to remind the audience that there are different realities that people have to live through … Changing Parts … is about such different realities - the big contrast between a priviledged space, like the West, and the Third World where there's death, destruction, hunger.' (Quoted in Mona Hatoum, 1997, p.127.)<br/><br/> Material for one part of the video was derived from super-8 footage of a seven hour performance Hatoum made in 1982 at the London Film Makers Co-op and Aspex Gallery, Portsmouth, titled Under Siege, in which she moved around in a transparent plastic cubicle-like container filled with mud. In Changing Parts, grainy freeze-frame images of the artist's face and mouth as she struggles to bite and tear her way out of the mud-smeared plastic membrane are intercut with a series of black and white photographs of a bathroom interior. These were taken in the bathroom in Beirut while Hatoum was visiting her family. The video begins with the tranquil bathroom photographs accompanied by Bach's Cello Suite No.4. This mood is abruptly shattered by the disorientating cacophony of street noise and half-audible news reports which accompany the images from Under Siege, providing a claustrophobic and visceral contrast to the peaceful images of tiles and water which preceded. The transition from first to second sequence is violent and grating, implying a harsh reality outside invading the secure internal space. But the bathroom's tranquillity could also be seen as static and cold, while in the second part a sense of birth and vitality is communicated, suggesting productivity as the artist appears to be tearing herself out of a womb. Neither of the two parts is privileged over the other, indicating that Hatoum is expressing difference rather than making a didactic political statement, drawing the viewer's attention to the difficult co-existence of contrasting extremes within social structures on both microcosmic (individual and familial) and macrocosmic (political) levels.","artist_bio":"Mona Hatoum was born into a Palestinian family in Beirut, Lebanon in 1952 and now lives and works in London and Berlin. She has participated in numerous important group exhibitions including The Turner Prize (1995), Venice Biennale (1995 and 2005), Documenta XI, Kassel, 2002, Biennale of Sydney (2006), the Istanbul Biennial (1995 and 2011) and The Fifth Moscow Biennale of Contemporary Art (2013).\nSolo exhibitions include Centre Pompidou, Paris (1994), Museum of Contemporary Art, Chicago (1997), The New Museum of Contemporary Art, New York (1998), Castello di Rivoli, Turin (1999), Tate Britain, London (2000), Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3, Stockholm (2004) and Museum of Contemporary Art, Sydney (2005). Recent exhibitions include Measures of Entanglement, UCCA, Beijing (2009), Interior Landscape, Fondazione Querini Stampalia, Venice (2009), Witness, Beirut Art Center, Beirut (2010), Le Grand Monde, Fundaciòn Marcelino Botìn, Santander (2010) and as the winner of the 2011 Joan Miró Prize, she held a solo exhibition at Fundació Joan Miró in Barcelona in 2012. In 2013-2014 she was the subject of a solo exhibition at the Kunstmuseum St Gallen and the largest survey of her work to be shown in the Arab world is currently held at Mathaf: Arab Museum of Modern Art in Doha.","bio_dates":"b. 1952"},{"slug":"hatoum_mona_eyes_skinned","ok":true,"partial":false,"title":"Eyes Skinned","artist":"Mona Hatoum","year":"1988","startOffset":0,"sourceSecs":268.567,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":14894809,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hatoum_mona_eyes_skinned/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hatoum_mona_eyes_skinned/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hatoum_mona_eyes_skinned.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hatoum_mona_eyes_skinned/main.mp4?v=2","description":"The tapes shows a blackhooded face - interspersed with slide projections of torture and brutality - scratching at her eyes with a sharp knife as we hear snips of news accounts of the eradication of the Palestinian people.","artist_bio":"Mona Hatoum was born into a Palestinian family in Beirut, Lebanon in 1952 and now lives and works in London and Berlin. She has participated in numerous important group exhibitions including The Turner Prize (1995), Venice Biennale (1995 and 2005), Documenta XI, Kassel, 2002, Biennale of Sydney (2006), the Istanbul Biennial (1995 and 2011) and The Fifth Moscow Biennale of Contemporary Art (2013).\nSolo exhibitions include Centre Pompidou, Paris (1994), Museum of Contemporary Art, Chicago (1997), The New Museum of Contemporary Art, New York (1998), Castello di Rivoli, Turin (1999), Tate Britain, London (2000), Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3, Stockholm (2004) and Museum of Contemporary Art, Sydney (2005). Recent exhibitions include Measures of Entanglement, UCCA, Beijing (2009), Interior Landscape, Fondazione Querini Stampalia, Venice (2009), Witness, Beirut Art Center, Beirut (2010), Le Grand Monde, Fundaciòn Marcelino Botìn, Santander (2010) and as the winner of the 2011 Joan Miró Prize, she held a solo exhibition at Fundació Joan Miró in Barcelona in 2012. In 2013-2014 she was the subject of a solo exhibition at the Kunstmuseum St Gallen and the largest survey of her work to be shown in the Arab world is currently held at Mathaf: Arab Museum of Modern Art in Doha.","bio_dates":"b. 1952"},{"slug":"hatoum_mona_measures_of_distance_1988","ok":true,"partial":false,"title":"Measures of Distance","artist":"Mona Hatoum","year":"1988","startOffset":0,"sourceSecs":934.955,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":147077873,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hatoum_mona_measures_of_distance_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hatoum_mona_measures_of_distance_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hatoum_mona_measures_of_distance_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hatoum_mona_measures_of_distance_1988/main.mp4?v=2","description":"This early piece of Mona Hatoum is jarring. The raw directness of the relationship between a mother and daughter is almost too much to handle. The video starts with close-up images of what appears to be body parts, behind a translucent drop, covered with Arabic script. Visually, these images are threatening to a Western observer viewing this video after 9/11. Arabic is associated with terror, the Other, the unknown. The juxtaposition of the intimacy of another person's body and the ominous nature of the script is puzzling. The combination is further complicated by the image of the female voice and body with Arabic. In our common perception, women of Islam, women associated with Arabic are behind veils, they do not speak out and nor show their body, they are not self-expressive yet the viewer is en face with a very intimate portrait of a woman. At the beginning of the video, there are two women talking in the background in what appears to be Arabic while the viewer is confronted with the images of the body and the script. A woman's voice takes over, reading letters. The letters are from Mona Hatoum's mother to Mona and the age of the voice identifies the reader as the artist herself. Hatoum reads the letters, slowly, clearly, without a trace of emotion. <br/><br/> The letters mention the war, the longing of the mother for Hatoum, sexuality, marriage and the father. The letters are not monotonous and are very layered in meaning. The mother misses Hatoum yet she is pleased by their newfound relationship through Hatoum photographing her and using the mother's videotapes in her work. The mother feels a guilty pleasure in sharing something with her daughter that her husband can't. The sisterhood achieved through their nakedness together is not comprehensible to the father and the mother acknowledges that he seems to feel that Hatoum has trespassed into his territory, claiming his object, as the nakedness of the woman belongs to the husband. Somehow, to the father, the bond between the husband the wife is more private, intimate and sacred than the bond between the two women. <br/><br/> The mother's tone borders on frivolous without ever losing the genuine love and care she has for her daughter. She acknowledges the \"fun\" in sexuality, claiming that this is one of the primary reasons she wants her daughter to get married. She wants her daughter to cherish her sexuality as men need to prove their manhood every day and a woman is reminded of her sexuality only once a month. These thoughts are obviously affected by the cultural background of the mother and yet do not fit a stereotypical representation of the Muslim female: the mother is outspoken, sincere, and articulate. <br/><br/> It is impossible not to think about Shirin Neshat's images, with provocative, posed portraits of women, juxtaposed with Persian script. I believe that Hatoum's work is visually in dialogue with Neshat's work and yet there is something about Hatoum's work that troubles me and attracts me in a way that Neshat's work does not. The immaculate aesthetic of Neshat's images does not leave room for me. Hatoum's work, on the other hand, turns the mirror to me, showing me what I think and believe through secretly sharing the intimate world between herself and her mother. There is something timeless, universal and beautiful about this gesture and I cannot help but think that the video becomes a means to close the distances, between Hatoum and her mother and between me and the work, rather than measuring those distances. <br/><br/> -- Merve Unsal","artist_bio":"Mona Hatoum was born into a Palestinian family in Beirut, Lebanon in 1952 and now lives and works in London and Berlin. She has participated in numerous important group exhibitions including The Turner Prize (1995), Venice Biennale (1995 and 2005), Documenta XI, Kassel, 2002, Biennale of Sydney (2006), the Istanbul Biennial (1995 and 2011) and The Fifth Moscow Biennale of Contemporary Art (2013).\nSolo exhibitions include Centre Pompidou, Paris (1994), Museum of Contemporary Art, Chicago (1997), The New Museum of Contemporary Art, New York (1998), Castello di Rivoli, Turin (1999), Tate Britain, London (2000), Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3, Stockholm (2004) and Museum of Contemporary Art, Sydney (2005). Recent exhibitions include Measures of Entanglement, UCCA, Beijing (2009), Interior Landscape, Fondazione Querini Stampalia, Venice (2009), Witness, Beirut Art Center, Beirut (2010), Le Grand Monde, Fundaciòn Marcelino Botìn, Santander (2010) and as the winner of the 2011 Joan Miró Prize, she held a solo exhibition at Fundació Joan Miró in Barcelona in 2012. In 2013-2014 she was the subject of a solo exhibition at the Kunstmuseum St Gallen and the largest survey of her work to be shown in the Arab world is currently held at Mathaf: Arab Museum of Modern Art in Doha.","bio_dates":"b. 1952"},{"slug":"hatoum_mona_somuchiwanttosay_1983","ok":true,"partial":false,"title":"So Much I Want to Say (1983)","artist":"Mona Hatoum","year":"1983","startOffset":0,"sourceSecs":457.055,"sourceHeight":536,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":83667786,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hatoum_mona_somuchiwanttosay_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hatoum_mona_somuchiwanttosay_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hatoum_mona_somuchiwanttosay_1983.mp4","hasFrames":true,"description":"The video So Much I Want to Say consists of a series of still images, changing every eight seconds, which show the artist's face in close-up with a pair of male hands gagging her mouth and preventing her from speaking. Meanwhile her voice on the sound-track repeats over and over the words of the title. This is one of Hatoum's earliest video works and is based on material from a live performance. During a tour of Canada in 1983 she participated in a slowscan video exchange between Vienna and Vancouver entitled Wiencouver IV. Slowscan satellite transmits an image every eight seconds, with continuous sound via telephone lines. Hatoum's contribution, transmitted live from Vancouver, was also titled So Much I Want to Say. The video work uses footage from the live transmission. It was made at the Western Front Art Centre and is a Western Front Production.\n\nHatoum grew up in Beirut, but became an exile during a visit to London in 1975 when war broke out in Lebanon. She attended art schools in London (Byam Shaw 1975-9 and Slade 1979-81), where she began to make work about her experience of cultural displacement. She has said: 'my work is about my experience of living in the West as a person from the Third World, about being an outsider, about occupying a marginal position, being excluded, being defined as \"Other\" or as one of \"Them\"' (quoted in Mona Hatoum, London 1997, p.127). Her early performance works focused with great intensity on her body, which she used as a metaphor for oppression, often separated from the audience by some form of barrier, membrane, cage, cell, wall, hood or veil.\n\nIn So Much I Want to Say the male hands, which gag Hatoum's mouth, form a physical and visual barrier between the artist and her audience, which seems on one level to prevent her from being seen, heard or understood. They provide a symbol for a cultural elite which stifles the voice of society's dispossessed, those who are alienated through their race, nationality and gender. By presenting images where she appears to be silenced, Hatoum exposes the predicament of political minorities who are silenced or ignored. Her ineffectual struggle to pluck the hands from her face contrasts with the persistent repetition of her voice on the sound-track, demonstrating that it is through her artwork that she has found a channel for her political ideas.\n\nMona Hatoum, exhibition catalogue, Arnolfini, Bristol 1993, pp.8-9, 16, reproduced p.5\n\nMichael Archer, Guy Brett, Catherine de Zegher, Mona Hatoum, Mona Hatoum, London 1997, pp.42-3, reproduced p.42"},{"slug":"haynes_todd_hestand_mary_dottie_gets_spanked","ok":true,"partial":false,"title":"Dottie Gets Spanked","artist":"Todd Haynes","year":"1993","startOffset":0,"sourceSecs":1782.699,"sourceHeight":400,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":107094172,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/haynes_todd_hestand_mary_dottie_gets_spanked/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/haynes_todd_hestand_mary_dottie_gets_spanked/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/haynes_todd_hestand_mary_dottie_gets_spanked.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/haynes_todd_hestand_mary_dottie_gets_spanked/main.mp4?v=2","description":"Made between <i>Safe</i> and <i>Poison</i>, <i>Dottie Gets Spanked</i> is a strange, affectionate rumination on childhood sexuality, fantasy and repression, featuring a possible stand-in for Haynes as a young boy. The boy, Steven, is fixated on two things: spanking and a TV comedienne named Dottie. His obsessions come full-circle as he visit the set of The Dottie Show and witnesses Dottie being spanked theatrically during a comedy routine. The film is short, made for TV, but packs an emotional wallop, with stilted, dark dream sequences of Steven’s guilty pleasure.","artist_bio":"Todd Haynes (born January 2, 1961) is an American independent film director and screenwriter. He is best known for his feature films Superstar: The Karen Carpenter Story, Poison, Velvet Goldmine, Safe, and the Academy Award-nominated Far from Heaven and I'm Not There.","bio_dates":"b. 1961"},{"slug":"heartfield_john_zygosis_john_heartfield_and_the_political_image_1991","ok":true,"partial":false,"title":"Zygosis: John Heartfield and the Political Image","artist":"John Heartfield","year":"1991","startOffset":0,"sourceSecs":1492.924,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":261118513,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/heartfield_john_zygosis_john_heartfield_and_the_political_image_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/heartfield_john_zygosis_john_heartfield_and_the_political_image_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/heartfield_john_zygosis_john_heartfield_and_the_political_image_1991.mkv","hasFrames":true,"description":"English language <br/> Director: Gavin Hodge & Tim Morrison <br/><br/> Zygosis: John Heartfield and the Political Image is a documentary tribute to John Heartfield, the anti-Nazi German satirist who pioneered photomontage. Featuring a fusion of video techniques, archive material and interviews.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/acconci.html\" rel=\"noopener\" target=\"_blank\">John Heartfield in UbuWeb Sound</a> <br/> <a href=\"https://ubu.com/concept/index.html\" rel=\"noopener\" target=\"_blank\">John Heartfield in the UbuWeb Anthology of Conceptual Writing</a>","artist_bio":"John Heartfield, original name in full Helmut Franz Josef Herzfeld, (born June 19, 1891, Berlin, Germany—died April 26, 1968, East Berlin, East Germany), German artist best known for his agitprop photomontages—collages of text and imagery found in mass-produced media—and his role in the development of the Dada movement in Berlin.\nThe child of politically active socialist parents, Heartfield (who retained the name Herzfeld until 1916) witnessed the political persecution of his father, writer Franz Herzfeld (who wrote under the pen name Franz Held). The Herzfeld family fled Berlin, first moving to Switzerland. About 1899, when they were forced to seek refuge outside Switzerland, his parents abandoned him and his siblings. Information about who cared for them at that point is ambiguous.\nHeartfield studied graphic design at the Royal School of Arts and Crafts in Munich, specializing in poster and advertising art. Soon after completing his studies, about 1912, he found his first job as a graphic designer for a paper-packaging company in Mannheim, though that position lasted for less than a year. Before the outbreak of World War I, Heartfield moved to Berlin with his brother, Wieland Herzfelde (who added an e to his surname in 1914), and the pair quickly connected with the avant-garde writers and artists there. When in 1914 war broke out, the brothers were both drafted, Herzfelde to the front lines. Heartfield managed to avoid active service by feigning mental illness. The brothers were reunited when Herzfelde returned to Berlin in 1915. That year the brothers met German caricaturist and social critic George Grosz, who, at the time, was still called Georg Gross.\nIn response to the rampant German nationalism, which engendered extreme anti-British sentiments, in 1916 Helmut Herzfeld Anglicized his name to John Heartfield, a new persona that he inhabited fully through his artistic and political expression. Grosz, who also had changed his name by then, had a profound impact on the direction of Heartfield’s art. It was at least partly due to his relationship with Grosz that Heartfield arrived at the conclusion that the only art worth creating was that which depicted and commented on social and political issues. He destroyed all of the art that he had created before the war. Heartfield joined the German Communist Party in 1918. In that same year he and Grosz became founding members of the Berlin Dada Club, which included avant-garde artists such as Hannah Höch, Raoul Hausmann, and Johannes Baader. As an anti-art movement, Dada allowed Heartfield the freedom to experiment with new materials and forms of expression. Starting with a clean slate and a fresh outlook, Heartfield voiced his political and social views through photomontage.\nHeartfield continued to advance his skills as a book designer, becoming an innovator in the use of photography on dust jackets. He served as the in-house designer for Malik Verlag, a publishing house founded and run by his brother. In early 1919 Malik Verlag published Jedermann sein eigner Fussball (“Everyone His Own Soccer Ball”), a four-page satirical broadside written and designed by the brothers that was quickly censored. They followed up with Die Pleite (“Bankruptcy”), another satirical political periodical that critiqued the Weimar Republic and was also censored. The publishing house also put out Der Gegner (1919–23; “The Opponent”), to which Herzfelde, Heartfield, and Grosz contributed. Grosz and Heartfield also coedited the Communist Party’s satirical weekly magazine, Der Knüppel (“The Cudgel”), from 1923 to 1927 and designed posters and covers for the party’s daily paper, Die rote Fahne (“The Red Flag”). Along with Grosz and Hausmann, Heartfield organized the First International Dada Fair in Berlin in 1920, and one of his photomontages was used as the cover art for the exhibition catalogue. With Neue Sachlichkeit artist Rudolf Schlichter, Heartfield created Prussian Archangel, a dummy of a German soldier with a papier-mâché pig’s head that hung from the ceiling of the Dada exhibition gallery. The figure’s body was wrapped with a sign that read “I come from Heaven, from Heaven on high.” The work attracted the attention of the German military, who charged the artists with defamation. During the 1920s Heartfield also designed sets for plays directed by Erwin Piscator, the founder of the Proletarian Theatre in Berlin, and befriended and collaborated with playwright Bertolt Brecht.\nThough a celebrated graphic and scenic designer, Heartfield is best known for his work with photomontage. He was a master at conveying strong pointed messages with his juxtapositions of images and text fragments from mass media. His commentary was chiefly reserved for Nazi actions and party leaders such as Adolph Hitler, Hermann Göring, and Joseph Goebbels. Heartfield’s earliest photomontages date to 1916, but his best-known works were created for the Arbeiter-Illustrierte Zeitung (AIZ; “Workers’ Illustrated Newspaper”), a widely circulated left-wing weekly that he worked for from 1927 to 1938. Because he was a regular contributor to journals and newspapers, his work was gaining a lot of exposure—so much so that in 1929 an entire room of the famous photography exhibition “Film und Foto” (Stuttgart, Germany, May–July 1929) was dedicated to him; the room was labeled “Benütze Foto als Waffe” (“Use Photography as a Weapon”). Two of his most-recognized photomontages date to 1932: Adolf the Superman Swallows Gold and Spouts Tin, a picture of Hitler with his mouth open speaking and a chest X-ray superimposed over his torso, which reveals an esophagus made of gold coins and a pile of coins in the pit of his stomach; and The Meaning of Geneva, depicting a dove speared by a bayonet in front of the League of Nations headquarters, which is flying a Swiss flag whose cross has morphed into a swastika. The former image was so powerful that it was produced as a political poster featured prominently throughout Berlin.\nWhen the Nazis came to power in 1933, Heartfield and his anti-Nazi imagery were immediately targeted. With the Nazis on his heels, Heartfield left Berlin on foot for Prague, where he continued to work for AIZ. He is said to have created some 230 images for AIZ, with more than half of them appearing on the front or back cover. In 1938, when the Nazi invasion of Czechoslovakia was imminent, he moved to London, where he worked as a book designer for the Lindsay Drummond and Penguin Books publishing houses.\nIn poor health after 17 years in exile, Heartfield returned to his homeland, settling in Leipzig (then in East Germany) in 1950 and eventually moving to East Berlin, where he continued to make art and to design sets for the Berliner Ensemble and the Deutsches Theater. Heartfield’s years in London raised suspicions of treason among the Stasi (the East German secret police). Brecht and writer Stefan Heym advocated for his innocence and the value of his art and helped pave the way for his election to the East German Academy of the Arts in 1956. In 1960 he became a professor there. In 1964 his name was legally changed to Heartfield.\nSince his death his work has been exhibited regularly throughout the United States and Europe, including a retrospective that he helped organize but that ran posthumously at the Institute of Contemporary Arts in London in 1969 and an extensive exhibition, the first of its size in the United States, at the Museum of Modern Art in New York City in 1993.","bio_dates":"1891-1968"},{"slug":"hebert_ostertag_statua_di_giordano_bruno_2005","ok":true,"partial":false,"title":"Statua Di Giordano Bruno","artist":"Pierre Hébert","year":"2005","startOffset":0,"sourceSecs":730.005,"sourceHeight":464,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":122761079,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hebert_ostertag_statua_di_giordano_bruno_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hebert_ostertag_statua_di_giordano_bruno_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hebert_ostertag_statua_di_giordano_bruno_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hebert_ostertag_statua_di_giordano_bruno_2005/main.mp4?v=2","description":"This film has been created from a performance made in Roma, in January 19 2005, at the Teatro Paladium during the Festival Sensoralia. This is a commentary about pictures shot at Campo dei Fiori (Roma) where the philosopher Giordano Bruno has been burned as an heretic by the Inquisition in February 1600.The gloomy statua dominates this place where many people walk every day, not knowing the meaning of this monument. This film is a step back to a part of History."},{"slug":"hebert_pierre_population_explosion_1968","ok":true,"partial":false,"title":"Population Explosions","artist":"Pierre Hébert","year":"1968","startOffset":0,"sourceSecs":874.005,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":156064914,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hebert_pierre_population_explosion_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hebert_pierre_population_explosion_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hebert_pierre_population_explosion_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hebert_pierre_population_explosion_1968/main.mp4?v=2","description":"Voice Actors: Patrick Watson.<br/> Directed By Pierre Hébert.<br/> Produced By Robert Verrall, Wolf Koenig.<br/> Animated By Pierre Hébert.<br/> Written By Pierre Hébert.<br/> Music: Ornette Coleman.<br/> <br/> A film in cut-out animation depicting the demographic problems of the world. It shows that in many countries freedom from the old scourges of famine and disease has in turn created the new problem of more mouths to feed. The film suggests that wealthier nations might increase all forms of aid to struggling nations to create a better world.","artist_bio":"Pierre Hébert, recipient in 2004 of the Albert-Tessier Quebec government award for cinema, was born in 1944 in Montreal. Self taugh, strongly influenced by animation film makers Norman McLaren and Len Lye, he directed his first films independently while he was still studying Anthropology at the University of Montreal. He worked at The National Film Board of Canada from 1965 until the end of 1999. Since then he pursue his carreer as an independant artist and filmmaker. From 1996 to 1999, he was producer and director of the Animation/Youth studio of the French program of the NFB. He was first known for his abstract experimental films dealing with perception phenomena ( Op hop, Opus 3, Around perception, Fundamentals of genetics ). Later, although he always kept an experimental approach, his films became more socially and politically involved (Entre chiens et loup, Memories of war). Later, his work grew out of interdisciplinary projects ( Etienne et sara, Songs and dances of the inanimate world-the metro, O Picasso-tableaux d'une surexposition, Adieu bipèdes, La Lettre d'amour ). From 1983, he started to take part in live performances with musicians (Jean Derome, Robert M. Lepage and René Lussier, Fred Frith and Bob Ostertag) and choreographers (Ginette Laurin, Rosalind Newman, Louise Bédard and Jean-Marc Matos).\nRight from his first film in 1962, Pierre Hébert has been experimenting with the animation technique of engraving images directly on 16mm or 35mm processed black film. In the eighties, he has developped a new type of performance involving \"live\" animation scratched directly on a film loop while it is rolling in a projector, usually associated with improvised music and occasionnally with dance. He was invited to perform in several New Music or Jazz festivals around the world (Victoriaville, Moers, Glasgow, New Music America 89, Taktlos, SchlachthofWels). He is currently expanding this live animation practice with the use of computers in the Living Cinema project along with composer Bob Ostertag.\nIn 1991, he started to work on is first animated feature film (La Plante humaine) based on the images improvised during the live performances of the recent years. This film was completed in 1996, released in Montreal in november 1996 and in Paris in april 1997.\nFrom 1993 to 1995, he was president of La Cinémathèque québecoise, a film archive based in Montréal. He has also been teaching animation in various universities and writing for cinema and art magazines. In 1999, he published an essay, L’Ange et l’automate, about his work, animation and other related subjects and, in 2006, Corps, langage, technologie, a collection of articles written from 1985 to 2004.","bio_dates":"b. 1939"},{"slug":"hebert_pierre_variations_on_two_photographs_of_tina_modotti_iphone","ok":true,"partial":false,"title":"Variations on Two Photographs of Tina Modotti","artist":"Pierre Hébert","year":"2005","startOffset":0,"sourceSecs":2231.661,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":129102891,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hebert_pierre_variations_on_two_photographs_of_tina_modotti_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hebert_pierre_variations_on_two_photographs_of_tina_modotti_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hebert_pierre_variations_on_two_photographs_of_tina_modotti_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hebert_pierre_variations_on_two_photographs_of_tina_modotti_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hebert_pierre_variations_on_two_photographs_of_tina_modotti_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"Starting in August 2000, I'd begun film scratching for a projection for the choreography 'Elles' by Louise Bédard. As far as I can tell now, it's perhaps the last time I used this technique.\"","artist_bio":"Pierre Hébert, recipient in 2004 of the Albert-Tessier Quebec government award for cinema, was born in 1944 in Montreal. Self taugh, strongly influenced by animation film makers Norman McLaren and Len Lye, he directed his first films independently while he was still studying Anthropology at the University of Montreal. He worked at The National Film Board of Canada from 1965 until the end of 1999. Since then he pursue his carreer as an independant artist and filmmaker. From 1996 to 1999, he was producer and director of the Animation/Youth studio of the French program of the NFB. He was first known for his abstract experimental films dealing with perception phenomena ( Op hop, Opus 3, Around perception, Fundamentals of genetics ). Later, although he always kept an experimental approach, his films became more socially and politically involved (Entre chiens et loup, Memories of war). Later, his work grew out of interdisciplinary projects ( Etienne et sara, Songs and dances of the inanimate world-the metro, O Picasso-tableaux d'une surexposition, Adieu bipèdes, La Lettre d'amour ). From 1983, he started to take part in live performances with musicians (Jean Derome, Robert M. Lepage and René Lussier, Fred Frith and Bob Ostertag) and choreographers (Ginette Laurin, Rosalind Newman, Louise Bédard and Jean-Marc Matos).\nRight from his first film in 1962, Pierre Hébert has been experimenting with the animation technique of engraving images directly on 16mm or 35mm processed black film. In the eighties, he has developped a new type of performance involving \"live\" animation scratched directly on a film loop while it is rolling in a projector, usually associated with improvised music and occasionnally with dance. He was invited to perform in several New Music or Jazz festivals around the world (Victoriaville, Moers, Glasgow, New Music America 89, Taktlos, SchlachthofWels). He is currently expanding this live animation practice with the use of computers in the Living Cinema project along with composer Bob Ostertag.\nIn 1991, he started to work on is first animated feature film (La Plante humaine) based on the images improvised during the live performances of the recent years. This film was completed in 1996, released in Montreal in november 1996 and in Paris in april 1997.\nFrom 1993 to 1995, he was president of La Cinémathèque québecoise, a film archive based in Montréal. He has also been teaching animation in various universities and writing for cinema and art magazines. In 1999, he published an essay, L’Ange et l’automate, about his work, animation and other related subjects and, in 2006, Corps, langage, technologie, a collection of articles written from 1985 to 2004.","bio_dates":"b. 1939"},{"slug":"hege_laszlo_six_characters_1968","ok":true,"partial":false,"title":"Six Characters","artist":"Laszlo Hege","year":"1968","startOffset":0,"sourceSecs":335.893,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":19121660,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hege_laszlo_six_characters_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hege_laszlo_six_characters_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hege_laszlo_six_characters_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hege_laszlo_six_characters_1968/main.mp4?v=2","description":"The 5-minute short titled <i>Six Characters</i> was shot in 1968. A production executive at East-West Films loaned me an Arriflex 16mm camera with one roll of film for a weekend because he wanted me to do a filmed test for them. I also had some leftover short ends so I called my friends living in the Village at the time, James Hall (The China Syndrome), the models Angela Ho and Azi Aday, Clay Tagliaferro, Grandin Conover (author of play <i>The Party on Greenwich Avenue</i>) and others to \"let's do something\". We utilized Jimmy's apartment and roof as a location and since the now-defunct airline Braniff was already a client of mine we were given permission to shoot on one of their planes. I made a rudimentary storyboard with stills and we shot it in two days. My teacher at The School of Visual Arts, the film editor Marion Kraft took pity and cut it for me. I never heard of East-West Films again. The original 16mm negative, print and other elements were stolen so this digital version has been made from the last surviving VHS video. <br/><br/> - Laszlo Hege (Director & Cameraman)<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/hoffman.html\" rel=\"noopener\" target=\"_blank\">Laszlo Hege in UbuWeb Sound</a>","bio_dates":"b. 1928"},{"slug":"heliczer_piero_cronkite_walter_the_making_of_an_underground_film_1965","ok":true,"partial":false,"title":"The Making of an Underground Film","artist":"Piero Heliczer","year":"1965","startOffset":0,"sourceSecs":365.032,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":62659187,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/heliczer_piero_cronkite_walter_the_making_of_an_underground_film_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/heliczer_piero_cronkite_walter_the_making_of_an_underground_film_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/heliczer_piero_cronkite_walter_the_making_of_an_underground_film_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/heliczer_piero_cronkite_walter_the_making_of_an_underground_film_1965/main.mp4?v=2","description":"Piero Heliczer shooting his film 'Venus in Furs' (they mistakenly call it 'Dirt'). Released by Boo-Hooray as part of their exhibit on Heliczer and The Dead Language Press. Features the earliest known footage of The Velvet Underground. Shots of Angus MacLise on percussion, a bit of Heliczer on sax, interview segments with Jonas Mekas, Stan Brakhage (with a clip of a film he shot of Michael McClure) and Edie Segewick.<br/><br/> Here's some random bits about this and the lost film:<br/><br/> Quote:<br/><br/> December 31, 1965, Walter Cronkite Show, CBS<br/><br/> The Making of an Underground Film about Piero Heliczer's film Venus In Furs, with the Velvet Underground performing Heroin, Heliczer joining in on saxophone.<br/><br/> Quote:<br/><br/> Film Venus in Furs was shoot by Heliczer on 8mm camera. CBS TV crew was around with their video? camera, so Heliczer and CBS footage is different. http://mujweb.cz/www/heliczer/filmography/muf.htm<br/><br/> Film had to be silent, but as far as I know Piero used music taped by CBS. By the way Piero taped some very early VU music and used it during his film projections.<br/><br/> Quote:<br/><br/> VENUS IN FURS<br/><br/> Piero Heliczer, 16 mm, color, 16 minutes, silent with sound on tape, 1965<br/><br/> Featuring : Julie Garfield, Barbara Rubin, Chas Stanley and Margaret Boyce Cam, Lou Reed, John Cale, Angus MacLise and others.<br/><br/> Original soundtrack by The Velvet Underground. Tape speed: 7.5 ips.<br/><br/> There is also a series of photos, shot on the film set by Adam Ritchie, which have been published in various books/magazines.<br/><br/> \"\"Sound engineer: CBS-TV News. This companion film to Satisfaction is set as the opposite solstice and recapitulates part of Dirt. With Julie Garfield and Barbara Rubin (as Nuns), Chas Stanley (as Death) and Margaret Boyce Cam (as the Nurse), Lou Reed, John Cale, Angus MacLise and others. A chess game under the bridge becomes a Christmas party in Hell. A must for lepidopterists\" - Piero Heliczer<br/><br/> \"\"Previously shown one night per week to club or subscription audiences, 'The Bridge' attractions become Gotham's 'hip evenings at the bijou', as jet setters smuggled friends into screenings to watch each other. Whether or not regular full week showings will trim the glamor now that 'anybody' can viaw Venus In Furs Meets The Velvet Underground is conjonctural. Latter sample is part of the Bridge's first program dubbed 'Obsessions' skedded March 9 through 15 and is described as 'where a nun and nurse go to hell because of their sinful life in St. Vincent's Hospital.\" - Variety","artist_bio":"The Making of an Underground Film (1965)\ndocumentary with Walter Cronkite\nSOURCE: http://www.independent.co.uk/news/people/obituary-piero-heliczer-1460471.html\nPiero Heliczer, poet, film-maker, actor, printer; born Rome 20 June 1937; died Preaux du Perche, Normandy 22 July 1993.\nDURING the very early 1960s a door opened briefly into the room of British poetry and for a while the air was breathable. Public readings by Michael Horovitz, Pete Brown, Adrian Mitchell, Libby Houston, Michael Shayer and many others gave energy and hope to a generation bored with verse that seemed without connection to their experience and surroundings. Among the poets from abroad whose contribution to this moment should not be forgotten were the Finnish- born Anselm Hollo, the American David Ball, and Piero Heliczer, who was tragically killed in a road-accident in Normandy two weeks ago.\nHeliczer was born in Rome on midsummer's eve, 1937. His mother was Jewish, from Prussia; his father Italian-Polish. Between the ages of four and six he was a child film-star ('Il Piccolo Tucci') after winning a contest for the most typical Italian boy in Rome. He acted with Alida Valli, and in Augusto Genina's Bengasi, which won first prize at Venice in 1942. After the war he was offered parts in Shoeshine, and Rome - Open City, but his mother 'didn't want me to play with the dirty kids from the streets'. The family was in hiding during the last two years of the war.\nFor a time Piero was secreted in a Catholic orphanage, where he was baptised. His father, a doctor who was a member of the Resistance, was captured, tortured and killed by the Gestapo.\nIn 1947 he moved to the United States and after attending Forest Hills High School he went to Harvard, which he left suddenly after an aesthetic difference with the authorities about the siting of a statue. By 1956 he was in Paris putting on plays and writing poetry. He began a small press - The Dead Language - hand-printing books, broadsides, and A Pulp Magazine for the Dead Generation, which included early work by Gregory Corso and Angus MacLise. Moving to England for a few years, he married Catharine Cowper, living first in London and then for some time in Brighton, where he made his first film, The Autumn Feast. He listened to William Byrd and Henry Purcell, gave readings around the country, and was an example to the growing small-press network of what could be achieved with very little money.\nBack in New York he became involved with the Film-makers Co-operative, acted in Jack Smith's Flaming Creatures and continued making experimental films: Satisfaction, Venus in Furs, Joan of Arc (in which Andy Warhol had a role), and the unfinished three-hour epic Dirt. Another magazine appeared: The Wednesday Paper. After many years the German government awarded him a sum of money in reparation for the death of his father. Heliczer, true to his vision, gave most of it away to fellow artists, using what remained to buy a small house in Normandy to which he would retreat.\nFor a while, in the 1970s, he lived on a dilapidated house-boat in Amsterdam which was mysteriously scuttled during one of his absences. In 1978 when I visited him he was staying on the worst street in the city, surrounded by books in a storefront that had been a Chinese restaurant the ownership of which was being disputed by two violent gangs.\nHe survived that, as he had so much else, and moved permanently to Normandy, where he lived simply, selling second-hand books in the local market. It was while travelling on his mobylette to visit his family in Holland that he was killed.\nPiero Heliczer's early books, Imprimatur 1281, You Could Hear the Snow Dripping and Falling into the Deer's Mouth, The First Battle of the Marne, have long since disappeared. The Soap Opera, a collection published in London by Trigram Press, with illustrations by Warhol, Wallace Berman and others, although out of print, is well worth searching for. As an American living abroad, he missed inclusion with his contemporaries in such anthologies as The New American Poetry, and as a foreigner he is in (with the honourable exception of Children of Albion) no British anthology of the period. He deserves better.\nWhile his way of life might have been an irritation to the trendy newcomers, the old Norman farmers who, along with the Mayor, attended his funeral were more tolerant. Reporting his death, the village newspaper said that he was 'apprecie pour sa gentillesse et son rire'. He would have liked that.","bio_dates":"1937-1993"},{"slug":"heliczer_piero_dirt_1965","ok":true,"partial":false,"title":"Dirt","artist":"Piero Heliczer","year":"1965","startOffset":0,"sourceSecs":653.205,"sourceHeight":448,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":45293348,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/heliczer_piero_dirt_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/heliczer_piero_dirt_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/heliczer_piero_dirt_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/heliczer_piero_dirt_1965/main.mp4?v=2","description":"<b>DIRT</b><br/> Date of release:<br/> 1965<br/> Format: 8mm, 12 minutes, black & white and color, silent / sound on tape<br/> Note:<br/> Planned as three hour epic, but when finished was only 12 minutes: also known as BATH SEQUENCE.<br/> Cast:<br/> Irene Nolan, Gretl Learned, Angus MacLise, Mario Montez [screen name of Rene Rivera], Harry Smith, Gerard Malanga, Andy Warhol, Charles Henri Ford, Ann Mattingley, Barbara Rubin, Jack Martin, Jack Smith, Rosebud, Bobby Driscoll, D. D. Driscoll, Edie Sedgwick, Sally Kirkland, John Cale, Yoram, Kate Heliczer, Bobby Notkoff, N. Y. police dept., Marian Zazeela, La Monte Young, Julie Garfield, Barbara Maultsby, Charles Stanley, Storm De Hirsch, Jonas Mekas and others Music:<br/> Marc Antoine Charpentier: Kyrie and Credo from the mass, \"Assumpta Est Maria\" <br/><br/>\"\"Two nuns take a bath, then meet a sailor on the Staten Island Ferry\" - Piero Heliczer <br/><br/>\"\"Among all the new movies (it has been quiet lately on the underground scene) Piero Heliczer's Dirt touched me most deeply. Its beauty is very personal and lyrical. And every frame of it is cinema. I can do not justice to this beautiful work in one paragraph. It was shot on 8mm and much of its beauty and its cinema come from 8mm properities of camera and film. It is all motion. Together with Brakhage's Songs, Branaman's abstractions and Ken Jackob's not yet released work, Heliczer's Dirt is one of the four works that use 8mm film properly and for art's sake\" - Jonas Mekas, Village Voice.","artist_bio":"The Making of an Underground Film (1965)\ndocumentary with Walter Cronkite\nSOURCE: http://www.independent.co.uk/news/people/obituary-piero-heliczer-1460471.html\nPiero Heliczer, poet, film-maker, actor, printer; born Rome 20 June 1937; died Preaux du Perche, Normandy 22 July 1993.\nDURING the very early 1960s a door opened briefly into the room of British poetry and for a while the air was breathable. Public readings by Michael Horovitz, Pete Brown, Adrian Mitchell, Libby Houston, Michael Shayer and many others gave energy and hope to a generation bored with verse that seemed without connection to their experience and surroundings. Among the poets from abroad whose contribution to this moment should not be forgotten were the Finnish- born Anselm Hollo, the American David Ball, and Piero Heliczer, who was tragically killed in a road-accident in Normandy two weeks ago.\nHeliczer was born in Rome on midsummer's eve, 1937. His mother was Jewish, from Prussia; his father Italian-Polish. Between the ages of four and six he was a child film-star ('Il Piccolo Tucci') after winning a contest for the most typical Italian boy in Rome. He acted with Alida Valli, and in Augusto Genina's Bengasi, which won first prize at Venice in 1942. After the war he was offered parts in Shoeshine, and Rome - Open City, but his mother 'didn't want me to play with the dirty kids from the streets'. The family was in hiding during the last two years of the war.\nFor a time Piero was secreted in a Catholic orphanage, where he was baptised. His father, a doctor who was a member of the Resistance, was captured, tortured and killed by the Gestapo.\nIn 1947 he moved to the United States and after attending Forest Hills High School he went to Harvard, which he left suddenly after an aesthetic difference with the authorities about the siting of a statue. By 1956 he was in Paris putting on plays and writing poetry. He began a small press - The Dead Language - hand-printing books, broadsides, and A Pulp Magazine for the Dead Generation, which included early work by Gregory Corso and Angus MacLise. Moving to England for a few years, he married Catharine Cowper, living first in London and then for some time in Brighton, where he made his first film, The Autumn Feast. He listened to William Byrd and Henry Purcell, gave readings around the country, and was an example to the growing small-press network of what could be achieved with very little money.\nBack in New York he became involved with the Film-makers Co-operative, acted in Jack Smith's Flaming Creatures and continued making experimental films: Satisfaction, Venus in Furs, Joan of Arc (in which Andy Warhol had a role), and the unfinished three-hour epic Dirt. Another magazine appeared: The Wednesday Paper. After many years the German government awarded him a sum of money in reparation for the death of his father. Heliczer, true to his vision, gave most of it away to fellow artists, using what remained to buy a small house in Normandy to which he would retreat.\nFor a while, in the 1970s, he lived on a dilapidated house-boat in Amsterdam which was mysteriously scuttled during one of his absences. In 1978 when I visited him he was staying on the worst street in the city, surrounded by books in a storefront that had been a Chinese restaurant the ownership of which was being disputed by two violent gangs.\nHe survived that, as he had so much else, and moved permanently to Normandy, where he lived simply, selling second-hand books in the local market. It was while travelling on his mobylette to visit his family in Holland that he was killed.\nPiero Heliczer's early books, Imprimatur 1281, You Could Hear the Snow Dripping and Falling into the Deer's Mouth, The First Battle of the Marne, have long since disappeared. The Soap Opera, a collection published in London by Trigram Press, with illustrations by Warhol, Wallace Berman and others, although out of print, is well worth searching for. As an American living abroad, he missed inclusion with his contemporaries in such anthologies as The New American Poetry, and as a foreigner he is in (with the honourable exception of Children of Albion) no British anthology of the period. He deserves better.\nWhile his way of life might have been an irritation to the trendy newcomers, the old Norman farmers who, along with the Mayor, attended his funeral were more tolerant. Reporting his death, the village newspaper said that he was 'apprecie pour sa gentillesse et son rire'. He would have liked that.","bio_dates":"1937-1993"},{"slug":"helms_hans_g_john_cage_birdcage_1972","ok":true,"partial":false,"title":"Birdcage – 73'20.958\" for a Composer","artist":"John Cage","year":"1972","startOffset":0,"sourceSecs":3441.12,"sourceHeight":432,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":202807467,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/helms_hans_g_john_cage_birdcage_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/helms_hans_g_john_cage_birdcage_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/helms_hans_g_john_cage_birdcage_1972.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/helms_hans_g_john_cage_birdcage_1972/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/helms_hans_g_john_cage_birdcage_1972/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: <a href=\"https://ubu.com/sound/helms.html\" rel=\"noopener\" target=\"_blank\">Hans G. Helms</a> <br/><br/> A movie meant to re-introduce people to Cage & his then-current pieces, which was first shown at Darmstadt. Since it was made for a German audience, there's often an overdubbed narrator in German, who translates what Cage says while he's talking. However, there's lots of shots of Cage talking to birds, talking to colleagues, hanging out at home or even messing around with a piano. Pianist Maro Ajemian's playing in real time is amazing to watch. You get to see Cage accompanying Merce Cunningham during a dance rehearsal. He also gives a reading at a church where the suggested donation is a dollar & a bunch of hippie girls come & listen. There's even some footage of David Tudor playing a prepared piano piece in 1954, and then again in '72. And Yoko Ono shows up & talks about breathing techniques. 75 minutes NTSC","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"helmut_herbst_germany_dada_1","ok":true,"partial":false,"title":"Deutschland Dada, Part 1","artist":"Helmut Herbst","year":"1969","startOffset":0,"sourceSecs":1880.236,"sourceHeight":304,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":115281529,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/helmut_herbst_germany_dada_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/helmut_herbst_germany_dada_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/helmut_herbst_germany_dada_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/helmut_herbst_germany_dada_1/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/helmut_herbst_germany_dada_1/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/herbst_dd2.html\" rel=\"noopener\" target=\"_blank\">Go To Deutschland Dada, Part 2</a> <br/><br/> The one-hour 35mm film DEUTSCHLAND DADA was made in 1968/69 in the form of a dada alphabet. He begins with the letter Z = Zurich and, according to this order, inspects the fragments and splinters of the Dadaist explosion scattered all over the world, without hanging them on one of the art historians' clotheslines. Outstanding: the statements and performances of the Dadaists Raoul Hausmann, Richard Huelsenbeck and Hans Richter who were still alive at the time.<br/><br/> It is the first of my \"3 20th Century Art History Films\" and owes its creation to Brant Sloan and American money. GERMANY DADA and the other two films in the trilogy, JOHN HEARTFIELD FOTOMONTEUR and HAPPENINGKUNSTPROTEST1968, deal with those rare and precious moments in German history in which radical social protest and radical art allied themselves for a short time. <br/><br/> This documentary concerns the contributions of German artists to the Dadaist movement. Created in 1916, the organizers rejected previous convention and delighted in nihilistic satire in painting, sculpture and literature. Comparisons are made between the movement and the political and social upheaval at the time of the release of this feature (1969).<br/><br/>Credit: Helmut Herbst - Director; Helmut Herbst - Cinematographer; Helmut Herbst - Screenwriter","artist_bio":"Helmut Herbst (born 2 December 1934) is a German film director, producer and screenwriter. He has directed 16 films between 1963 and 1998. His 1982 film Eine deutsche Revolution was entered into the 32nd Berlin International Film Festival.","bio_dates":"b. 1934"},{"slug":"helmut_herbst_germany_dada_2","ok":true,"partial":false,"title":"Deutschland Dada, Part 2","artist":"Helmut Herbst","year":"1969","startOffset":0,"sourceSecs":1435.876,"sourceHeight":304,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":89626491,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/helmut_herbst_germany_dada_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/helmut_herbst_germany_dada_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/helmut_herbst_germany_dada_2.mp4","hasFrames":true,"description":"<a href=\"https://ubu.com/film/herbst_dd1.html\" rel=\"noopener\" target=\"_blank\">Go To Deutschland Dada, Part 1</a> <br/><br/> The one-hour 35mm film DEUTSCHLAND DADA was made in 1968/69 in the form of a dada alphabet. He begins with the letter Z = Zurich and, according to this order, inspects the fragments and splinters of the Dadaist explosion scattered all over the world, without hanging them on one of the art historians' clotheslines. Outstanding: the statements and performances of the Dadaists Raoul Hausmann, Richard Huelsenbeck and Hans Richter who were still alive at the time.<br/><br/> It is the first of my \"3 20th Century Art History Films\" and owes its creation to Brant Sloan and American money. GERMANY DADA and the other two films in the trilogy, JOHN HEARTFIELD FOTOMONTEUR and HAPPENINGKUNSTPROTEST1968, deal with those rare and precious moments in German history in which radical social protest and radical art allied themselves for a short time. <br/><br/> This documentary concerns the contributions of German artists to the Dadaist movement. Created in 1916, the organizers rejected previous convention and delighted in nihilistic satire in painting, sculpture and literature. Comparisons are made between the movement and the political and social upheaval at the time of the release of this feature (1969).<br/><br/>Credit: Helmut Herbst - Director; Helmut Herbst - Cinematographer; Helmut Herbst - Screenwriter","artist_bio":"Helmut Herbst (born 2 December 1934) is a German film director, producer and screenwriter. He has directed 16 films between 1963 and 1998. His 1982 film Eine deutsche Revolution was entered into the 32nd Berlin International Film Festival.","bio_dates":"b. 1934"},{"slug":"henrot_camille_a_mountain_for_president_2007","ok":true,"partial":false,"title":"A Mountain for President","artist":"Camille Henrot","year":"2007","startOffset":0,"sourceSecs":200.062,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":14267631,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henrot_camille_a_mountain_for_president_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henrot_camille_a_mountain_for_president_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/henrot_camille_a_mountain_for_president_2007.mp4","hasFrames":true,"description":"Vidéo-clip pour Principles of Geometry featuring Sébastien Tellier <br/><br/> This video is simple, but effective. Music by Principles of Geometry, \"A Mountain for President\" - starring Sebastien Tellier on vocals. The video was directed by Camille Henrot and first screened for Paris Museum Of Modern Art exhibition \"Playback\".<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Camille Henrotin UbuWeb Sound</a>","artist_bio":"Best-known for her videos and animated films combining drawn art, music and occasionally scratched or reworked cinematic images, Camille Henrot’s work blurs the traditionally hierarchical categories of art history. Her recent work, adapted into the diverse media of sculpture, drawing, photography and, as always, film, considers the fascination with the \"other\" and \"elsewhere\" in terms of both geography and sexuality. This fascination is reflected in popular modern myths that have inspired her, such as King Kong and Frankenstein. The artist's impure, hybrid objects cast doubt upon the linear and partitioned transcription of Western history and highlight its borrowings and grey areas. In the series of sculptures Endangered Species, for example, the artist has created objects inspired by African art by using pieces from car engines; placed on tall pedestals, these slender silhouettes with zoomorphic allure make reference to the migration of symbols and forms as well as to the economic circulation of objects. This survival of the past, full of misunderstandings, shifts and projections (as shown in the slideshow Egyptomania, the film Cynopolis, drawings of the Sphinx, and even in the photographs of prehistoric flints) troubles cultural codes and conventions. In this way, Camille Henrot's work questions mental resistances and the past’s resonance, whether it be drawn from myth or from reality.\nCamille Henrot's work has been exhibited at Schinkel Pavillon, Berlin; Chisenhale Gallery, London; SculptureCenter in New York; the Institute of Contemporary Art in London; the Centre Pompidou in Paris; the Museum of Modern Art in Paris; the New Orleans Museum of Art; and the Palais de Tokyo. In 2010 she was nominated for the Prix Marcel Duchamp. In 2013 she was the recipient of the Smithsonian Artist Research Fellowship in Washington DC where she produced the video Grosse Fatigue which won the Silver Lion at the 55th Venice Biennale. Camille Henrot is represented by Galerie Kamel Mennour, Paris; Johann König, Berlin; and Metro Pictures, New York. She has upcoming solo exhibitions at the New Museum, New York, Kunsthal Charlottenborg, Denmark, and is nominated for the 2014 Hugo Boss Prize.","bio_dates":"b. 1978"},{"slug":"henrot_camille_deep_inside_2005","ok":true,"partial":false,"title":"Deep Inside","artist":"Camille Henrot","year":"2005","startOffset":0,"sourceSecs":396.062,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":23643746,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henrot_camille_deep_inside_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henrot_camille_deep_inside_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/henrot_camille_deep_inside_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/henrot_camille_deep_inside_2005/main.mp4?v=2","description":"Video, felt tip on film, 7' <br/> Music by Benjamin Morando <br/> Song written by Nicolas Ker & Camille Henrot <br/> <br/> In Deep Inside a pornographic film is transformed into a voyeuristic, lovelorn ballad. Drawn frame by frame on the 35mm film stock of a '70s pornographic film, the sexual content is partially revealed and partially hidden by black animated forms that seem to be fugitive memories of an old love. Composed by Benjamin Morando (Discodeine, Octet), written and performed by Nicolas Ker (Poni Hoax), the music is slow and harrowing like a howl for love. The artist works with marker as one might use a stencil, revealing part of the original film in the drawing's negative space. By combining pornographic and sentimental expression, the film posits that emotional misery is also physical... Sexual excitation and heartache are both based on an alternation of empty and full, presence and absence, hidden and revealed things... This manipulated film creates ambiguous images where scopophilia is no longer based on tactile frustration.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Camille Henrotin UbuWeb Sound</a>","artist_bio":"Best-known for her videos and animated films combining drawn art, music and occasionally scratched or reworked cinematic images, Camille Henrot’s work blurs the traditionally hierarchical categories of art history. Her recent work, adapted into the diverse media of sculpture, drawing, photography and, as always, film, considers the fascination with the \"other\" and \"elsewhere\" in terms of both geography and sexuality. This fascination is reflected in popular modern myths that have inspired her, such as King Kong and Frankenstein. The artist's impure, hybrid objects cast doubt upon the linear and partitioned transcription of Western history and highlight its borrowings and grey areas. In the series of sculptures Endangered Species, for example, the artist has created objects inspired by African art by using pieces from car engines; placed on tall pedestals, these slender silhouettes with zoomorphic allure make reference to the migration of symbols and forms as well as to the economic circulation of objects. This survival of the past, full of misunderstandings, shifts and projections (as shown in the slideshow Egyptomania, the film Cynopolis, drawings of the Sphinx, and even in the photographs of prehistoric flints) troubles cultural codes and conventions. In this way, Camille Henrot's work questions mental resistances and the past’s resonance, whether it be drawn from myth or from reality.\nCamille Henrot's work has been exhibited at Schinkel Pavillon, Berlin; Chisenhale Gallery, London; SculptureCenter in New York; the Institute of Contemporary Art in London; the Centre Pompidou in Paris; the Museum of Modern Art in Paris; the New Orleans Museum of Art; and the Palais de Tokyo. In 2010 she was nominated for the Prix Marcel Duchamp. In 2013 she was the recipient of the Smithsonian Artist Research Fellowship in Washington DC where she produced the video Grosse Fatigue which won the Silver Lion at the 55th Venice Biennale. Camille Henrot is represented by Galerie Kamel Mennour, Paris; Johann König, Berlin; and Metro Pictures, New York. She has upcoming solo exhibitions at the New Museum, New York, Kunsthal Charlottenborg, Denmark, and is nominated for the 2014 Hugo Boss Prize.","bio_dates":"b. 1978"},{"slug":"henrot_camille_dying_living_woman_2005","ok":true,"partial":false,"title":"Dying Living Woman","artist":"Camille Henrot","year":"2005","startOffset":0,"sourceSecs":375.048,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":21811273,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henrot_camille_dying_living_woman_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henrot_camille_dying_living_woman_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/henrot_camille_dying_living_woman_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/henrot_camille_dying_living_woman_2005/main.mp4?v=2","description":"Video, scratching on film, 6’30’’ <br/> Soundtrack Benjamin Morando <br/> <br/> In the original horror movie The Night of the Living-Dead, a young girl is followed by an army of zombies. In Dying Living Woman, her character has been scratched out, image by image. Physically erased, she is even more visible, glowing with a surnatural light. The fictional character is erased, but her disapearance haunts the film.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Camille Henrotin UbuWeb Sound</a>","artist_bio":"Best-known for her videos and animated films combining drawn art, music and occasionally scratched or reworked cinematic images, Camille Henrot’s work blurs the traditionally hierarchical categories of art history. Her recent work, adapted into the diverse media of sculpture, drawing, photography and, as always, film, considers the fascination with the \"other\" and \"elsewhere\" in terms of both geography and sexuality. This fascination is reflected in popular modern myths that have inspired her, such as King Kong and Frankenstein. The artist's impure, hybrid objects cast doubt upon the linear and partitioned transcription of Western history and highlight its borrowings and grey areas. In the series of sculptures Endangered Species, for example, the artist has created objects inspired by African art by using pieces from car engines; placed on tall pedestals, these slender silhouettes with zoomorphic allure make reference to the migration of symbols and forms as well as to the economic circulation of objects. This survival of the past, full of misunderstandings, shifts and projections (as shown in the slideshow Egyptomania, the film Cynopolis, drawings of the Sphinx, and even in the photographs of prehistoric flints) troubles cultural codes and conventions. In this way, Camille Henrot's work questions mental resistances and the past’s resonance, whether it be drawn from myth or from reality.\nCamille Henrot's work has been exhibited at Schinkel Pavillon, Berlin; Chisenhale Gallery, London; SculptureCenter in New York; the Institute of Contemporary Art in London; the Centre Pompidou in Paris; the Museum of Modern Art in Paris; the New Orleans Museum of Art; and the Palais de Tokyo. In 2010 she was nominated for the Prix Marcel Duchamp. In 2013 she was the recipient of the Smithsonian Artist Research Fellowship in Washington DC where she produced the video Grosse Fatigue which won the Silver Lion at the 55th Venice Biennale. Camille Henrot is represented by Galerie Kamel Mennour, Paris; Johann König, Berlin; and Metro Pictures, New York. She has upcoming solo exhibitions at the New Museum, New York, Kunsthal Charlottenborg, Denmark, and is nominated for the 2014 Hugo Boss Prize.","bio_dates":"b. 1978"},{"slug":"henrot_camille_filmspatial","ok":true,"partial":false,"title":"Film spatial","artist":"Camille Henrot","year":"2008","startOffset":0,"sourceSecs":728.027,"sourceHeight":720,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":307907774,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henrot_camille_filmspatial/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henrot_camille_filmspatial/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/henrot_camille_filmspatial.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/henrot_camille_filmspatial/main.mp4?v=2","description":"The 'Film Spatial' proposes a subjective visit to Yona Friedman's apartment Yona Friedman is an 86 year old visionary architect and urbanist. His work has overthrown the dominating position of the architect as well as the established link between citizens with their cities, and of man and his environment. Unlike how one conceives of an architect's apartment nowadays, Yona Friedman's space can be perceived from an erratic point of view or angle, which could be the one of his dog, Baltkis, who is the key figure of Yonas Friedman's universe. Through the exploration of a floating universe tinged with mysteries,'Film Spatial' invites one to another way of perceiving the world, freed from intellectual and conceptual conformism.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Camille Henrotin UbuWeb Sound</a>","artist_bio":"Best-known for her videos and animated films combining drawn art, music and occasionally scratched or reworked cinematic images, Camille Henrot’s work blurs the traditionally hierarchical categories of art history. Her recent work, adapted into the diverse media of sculpture, drawing, photography and, as always, film, considers the fascination with the \"other\" and \"elsewhere\" in terms of both geography and sexuality. This fascination is reflected in popular modern myths that have inspired her, such as King Kong and Frankenstein. The artist's impure, hybrid objects cast doubt upon the linear and partitioned transcription of Western history and highlight its borrowings and grey areas. In the series of sculptures Endangered Species, for example, the artist has created objects inspired by African art by using pieces from car engines; placed on tall pedestals, these slender silhouettes with zoomorphic allure make reference to the migration of symbols and forms as well as to the economic circulation of objects. This survival of the past, full of misunderstandings, shifts and projections (as shown in the slideshow Egyptomania, the film Cynopolis, drawings of the Sphinx, and even in the photographs of prehistoric flints) troubles cultural codes and conventions. In this way, Camille Henrot's work questions mental resistances and the past’s resonance, whether it be drawn from myth or from reality.\nCamille Henrot's work has been exhibited at Schinkel Pavillon, Berlin; Chisenhale Gallery, London; SculptureCenter in New York; the Institute of Contemporary Art in London; the Centre Pompidou in Paris; the Museum of Modern Art in Paris; the New Orleans Museum of Art; and the Palais de Tokyo. In 2010 she was nominated for the Prix Marcel Duchamp. In 2013 she was the recipient of the Smithsonian Artist Research Fellowship in Washington DC where she produced the video Grosse Fatigue which won the Silver Lion at the 55th Venice Biennale. Camille Henrot is represented by Galerie Kamel Mennour, Paris; Johann König, Berlin; and Metro Pictures, New York. She has upcoming solo exhibitions at the New Museum, New York, Kunsthal Charlottenborg, Denmark, and is nominated for the 2014 Hugo Boss Prize.","bio_dates":"b. 1978"},{"slug":"henrot_camille_million_dollars_point","ok":true,"partial":false,"title":"Million Dollars Point","artist":"Camille Henrot","year":"2011","startOffset":0,"sourceSecs":335.48,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":152538884,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henrot_camille_million_dollars_point/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henrot_camille_million_dollars_point/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/henrot_camille_million_dollars_point.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/henrot_camille_million_dollars_point/main.mp4?v=2","description":"Video, 5'35''<br/> <br/> Million Dollars Point is the name of a dive site on Santo Island, in Vanuatu, a lagoon that had become an underwater cemetery for hundreds of tanks and canons abandoned by the U.S. army after World War II. The site was named after the amount offered by the natives to buy this war material out, brand new but already outdated. The film Million Dollars Point juxtaposes the images of this submarine battlefield with footage of a local music video showing a French mustached man dancing and singing on a Pacific beach with Polynesian girls at his side. Our awkward position as a spectator of these highly stereotyped images of the Polynesian woman, products of the consequences of war, can be read in their own gestures. The choreography of the young women seems to respond the images of engulfed weapons, they hide their faces as a refusal to see, and they mimic waves, which recall the borderline between the surface and the sea bottom, a line that would symbolize the wish of keeping this history away.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Camille Henrotin UbuWeb Sound</a>","artist_bio":"Best-known for her videos and animated films combining drawn art, music and occasionally scratched or reworked cinematic images, Camille Henrot’s work blurs the traditionally hierarchical categories of art history. Her recent work, adapted into the diverse media of sculpture, drawing, photography and, as always, film, considers the fascination with the \"other\" and \"elsewhere\" in terms of both geography and sexuality. This fascination is reflected in popular modern myths that have inspired her, such as King Kong and Frankenstein. The artist's impure, hybrid objects cast doubt upon the linear and partitioned transcription of Western history and highlight its borrowings and grey areas. In the series of sculptures Endangered Species, for example, the artist has created objects inspired by African art by using pieces from car engines; placed on tall pedestals, these slender silhouettes with zoomorphic allure make reference to the migration of symbols and forms as well as to the economic circulation of objects. This survival of the past, full of misunderstandings, shifts and projections (as shown in the slideshow Egyptomania, the film Cynopolis, drawings of the Sphinx, and even in the photographs of prehistoric flints) troubles cultural codes and conventions. In this way, Camille Henrot's work questions mental resistances and the past’s resonance, whether it be drawn from myth or from reality.\nCamille Henrot's work has been exhibited at Schinkel Pavillon, Berlin; Chisenhale Gallery, London; SculptureCenter in New York; the Institute of Contemporary Art in London; the Centre Pompidou in Paris; the Museum of Modern Art in Paris; the New Orleans Museum of Art; and the Palais de Tokyo. In 2010 she was nominated for the Prix Marcel Duchamp. In 2013 she was the recipient of the Smithsonian Artist Research Fellowship in Washington DC where she produced the video Grosse Fatigue which won the Silver Lion at the 55th Venice Biennale. Camille Henrot is represented by Galerie Kamel Mennour, Paris; Johann König, Berlin; and Metro Pictures, New York. She has upcoming solo exhibitions at the New Museum, New York, Kunsthal Charlottenborg, Denmark, and is nominated for the 2014 Hugo Boss Prize.","bio_dates":"b. 1978"},{"slug":"henry_pierre_the_art_of_sounds","ok":true,"partial":false,"title":"The Art of Sounds","artist":"Pierre Henry","year":"2007","startOffset":0,"sourceSecs":3126.023,"sourceHeight":368,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":184780697,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henry_pierre_the_art_of_sounds/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/henry_pierre_the_art_of_sounds/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/henry_pierre_the_art_of_sounds.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/henry_pierre_the_art_of_sounds/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/henry_pierre_the_art_of_sounds/main/master.m3u8?v=2","hasMainHls":true,"description":"Directors: Éric Darmon & Franck Mallet<br/> Year: 2007<br/> Time: 52 mins<br/> Music: Pierre Henry<br/> <br/> Eye of Sound: Veteran and co-inventor of Musique Concrète, Pierre Henry invites us for a short walk through his long career, his music, his concerts, his film-collaborations, and his home. An unique personality who fathered some of the most important developments in the music of the 20th century, remaining faithful to his vision and work till today.","artist_bio":"Pierre Henry was born in Paris, France, and began experimenting at the age of 15 with sounds produced by various objects. He became fascinated with the integration of noise into music. He studied with Nadia Boulanger, Olivier Messiaen, and Félix Passerone at the Paris Conservatoire from 1938 to 1948 (Dhomont 2001).\nBetween 1949 and 1958, Henry worked at the Club d'Essai studio at RTF, which had been founded by Pierre Schaeffer in 1943 (Dhomont 2001). During this period, he wrote the 1950 piece Symphonie pour un homme seul, in cooperation with Schaeffer; he also composed the first musique concrète to appear in a commercial film, the 1952 short film Astrologie ou le miroir de la vie. Henry has scored numerous additional films and ballets.\nTwo years after leaving the RTF, he founded with Jean Baronnet the first private electronic studio in France, the Apsone-Cabasse Studio (Dhomont 2001).\nAmong Henry's works is the 1967 ballet Messe pour le temps présent (Dhomont 2001), a collaboration with choreographer Maurice Béjart that debuted in Avignon (Rubin 2001). In 1970 Henry collaborated with British rock band Spooky Tooth on the album Ceremony (Rubin 2001, 308).\nComposer Christopher Tyng was heavily inspired by Henry's \"Psyché Rock\" when writing the theme to the popular animated cartoon show Futurama. The theme is so reminiscent of the Henry's song, it is considered a variation of the original (Cohen 2001).-- Wikipedia","bio_dates":"b. 1927"},{"slug":"herbert_pierre_around_perception_1968","ok":true,"partial":false,"title":"Around Perception","artist":"Pierre Hébert","year":"1968","startOffset":0,"sourceSecs":988.608,"sourceHeight":448,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":63898653,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/herbert_pierre_around_perception_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/herbert_pierre_around_perception_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/herbert_pierre_around_perception_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/herbert_pierre_around_perception_1968/main.mp4?v=2","description":"Director: Pierre Hébert<br/> Year: 1968<br/> Time: 16 mins<br/> Music: Pierre Hébert<br/><br/>Canadian animation genius Pierre Hébert started his career with studies on pure shape-driven abstraction and the limits of human perception. Around Perception is a groundbreaking experiment on computer-based animation, consisting of 11 audiovisual events designed to baffle cognition and unrest comfortable notions of reality. Unlike most of his later films, Hébert chose not to collaborate with top-notch experimental musicians and created the soundtrack himself. In this, he followed a method also used by Norman McLaren: to scratch sound directly onto the film itself. The relation between sound and picture, however, is not as symbiotic as in McLaren's Synchromy: although there are organic reactions between the two domains, one is not a direct translation of the other. This, of course, need not be seen as a weakness. Indeed, with its fast-paced changes of color and geometrical patterns, and the employment of Columbia-like richly crafted electronic tones, Around Perception works as a tremendously hallucinatory exercise in trompe l'oeil (and l'oreille) techniques. Or, as stated by Hébert himself at the beginning of the film, an exercise \"for the mind and against the mind\".","artist_bio":"Pierre Hébert, recipient in 2004 of the Albert-Tessier Quebec government award for cinema, was born in 1944 in Montreal. Self taugh, strongly influenced by animation film makers Norman McLaren and Len Lye, he directed his first films independently while he was still studying Anthropology at the University of Montreal. He worked at The National Film Board of Canada from 1965 until the end of 1999. Since then he pursue his carreer as an independant artist and filmmaker. From 1996 to 1999, he was producer and director of the Animation/Youth studio of the French program of the NFB. He was first known for his abstract experimental films dealing with perception phenomena ( Op hop, Opus 3, Around perception, Fundamentals of genetics ). Later, although he always kept an experimental approach, his films became more socially and politically involved (Entre chiens et loup, Memories of war). Later, his work grew out of interdisciplinary projects ( Etienne et sara, Songs and dances of the inanimate world-the metro, O Picasso-tableaux d'une surexposition, Adieu bipèdes, La Lettre d'amour ). From 1983, he started to take part in live performances with musicians (Jean Derome, Robert M. Lepage and René Lussier, Fred Frith and Bob Ostertag) and choreographers (Ginette Laurin, Rosalind Newman, Louise Bédard and Jean-Marc Matos).\nRight from his first film in 1962, Pierre Hébert has been experimenting with the animation technique of engraving images directly on 16mm or 35mm processed black film. In the eighties, he has developped a new type of performance involving \"live\" animation scratched directly on a film loop while it is rolling in a projector, usually associated with improvised music and occasionnally with dance. He was invited to perform in several New Music or Jazz festivals around the world (Victoriaville, Moers, Glasgow, New Music America 89, Taktlos, SchlachthofWels). He is currently expanding this live animation practice with the use of computers in the Living Cinema project along with composer Bob Ostertag.\nIn 1991, he started to work on is first animated feature film (La Plante humaine) based on the images improvised during the live performances of the recent years. This film was completed in 1996, released in Montreal in november 1996 and in Paris in april 1997.\nFrom 1993 to 1995, he was president of La Cinémathèque québecoise, a film archive based in Montréal. He has also been teaching animation in various universities and writing for cinema and art magazines. In 1999, he published an essay, L’Ange et l’automate, about his work, animation and other related subjects and, in 2006, Corps, langage, technologie, a collection of articles written from 1985 to 2004.","bio_dates":"b. 1939"},{"slug":"herbst_helmut_john_heartfield","ok":true,"partial":false,"title":"John Heartfield","artist":"Helmut Herbst","year":"1977","startOffset":0,"sourceSecs":3613.88,"sourceHeight":568,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":617179081,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/herbst_helmut_john_heartfield/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/herbst_helmut_john_heartfield/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/herbst_helmut_john_heartfield.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/herbst_helmut_john_heartfield/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/herbst_helmut_john_heartfield/main/master.m3u8?v=2","hasMainHls":true,"description":"A documentary which looks at Heartfield primarily as a political activist working in a specific historical context. It demonstrates this relationship by the use of documentary material, such as archive footage of inter-war Germany, in juxtaposition with Heartfield's works. (These are here frequently shown, as they are rarely reproduced, in their original format as magazine or book covers.) Far from manifesting an obsequious reverence for the works, the film takes the bold step, thoroughly justified by its results, of re-using the elements of Heartfield's montages for short snippets of photo-animation. It also documents artistic influences on Heartfield's work – Berlin Dada, which was in general more immediately political in nature than its Zurich counterpart, and George Grosz in particular – and includes a detailed demonstration of how the photomontages were produced and printed. 63 min."},{"slug":"herring_oliver_nathan_2007","ok":true,"partial":false,"title":"Nathan (Hotel Room CT)","artist":"Oliver Herring","year":"2007","startOffset":0,"sourceSecs":330.837,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":57599286,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/herring_oliver_nathan_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/herring_oliver_nathan_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/herring_oliver_nathan_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/herring_oliver_nathan_2007/main.mp4?v=2","description":"The subject of <i>Nathan</i> answered an ad to join Oliver Herring for some spontaneous art making sessions, a mode of working adopted by the artist in 2001. <i>Nathan</i> is by definition a solo, but it's also a pas de deux between dancer and camera. A young man in casual business attire enters a nondescript hotel room. Immediately he begins a series of improvisatory dance phrases, partnering with chairs, lamps, bed. Repeated attempts at graceful, balletic poses often end in crashes to the floor, broken chairs, and twisted bed sheets.","artist_bio":"Eleanor Antin, Charles Atlas, Natalie Bookchin, James Byrne and Victoria Marks, Ann Carlson and Mary Ellen Strom, Shirley Clarke, Bruce Conner, Thierry de Mey, Tacita Dean, Maya Deren, Ed Emshwiller, William Forsythe, Amy Greenfield, Hilary Harris, Oliver Herring, Luis Jacob, Mike Kelley, Joachim Koester, Elad Lassry, Sharon Lockhart, Babette Mangolte, Norman McLaren, Frank Moore and Jim Self, Bruce Nauman, Kelly Nipper, Sidney Peterson and Hy Hirsh, Yvonne Rainer, robbinschilds + A.L. Steiner, Uri Tzaig, Flora Wiegmann, and Christopher Williams.\nIn the 1937 musical film\nShall We Dance\n, Fred Astaire's character falls in love with a flip book, or rather, the woman depicted on its pages: a popular dancer played by Ginger Rogers. \"That's grace, that's rhythm,\" he swoons over the photographs. The camera, it almost need not be stated, captures things that move. Dance with Camera features art works in film, video, and photography that exemplify the ways dance has compelled artists to record bodies moving in space and time. The exhibition begins with films from the 1960s, a period when associations between dancers, filmmakers, musicians and visual artists flourished at Judson Dance Theater in downtown New York. The interdisciplinary practices that emerged at Judson, and beyond, were an extension of the collaborative work of composer John Cage and choreographer Merce Cunningham, both of whom made use of chance procedures. This \"anything goes\" methodology demolished creative traditions and hierarchies, moves that influenced the way the works on view use an imagery of dance that threads through Hollywood musicals, avant-garde cinema, postmodern dance and MTV.\nDance with Camera\nincludes works in which dance is a subject, or mode, used to explore broader themes of collaboration, narrative, structure, metaphor and abstraction. These works propose choreography for the camera lens: movement is designed for the area prescribed by the camera's frame; the ephemerality of live performance is fixed in time. The camera also allows close-ups that bring us in proximity to the dance, or in some cases, performs as a partner in unusual pas de deux. Photographic series freeze time while also expanding the notion of dance as a time-based medium. Editing techniques compress time and space, conjure dances impossible in real time, and even transform relatively static performers into dancers. Finally, the camera is not merely a recording device, but stage and audience simultaneously.","bio_dates":"b. 1964"},{"slug":"hi_red_center","ok":true,"partial":false,"title":"Shelter Plan","artist":"Hi-Red-Center","year":"1964","startOffset":0,"sourceSecs":4295.506,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":730552166,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hi_red_center/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hi_red_center/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hi_red_center.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hi_red_center/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hi_red_center/main/master.m3u8?v=2","hasMainHls":true,"description":"The Shieruta puran ('Shelter plan') event in the Teikoku Hotel, Tokyo (1964), involved the creation of personalized nuclear fall-out shelters by the group's members.","artist_bio":"Founded in Tokyo by the artists Genpei Akasegawa, Natsuyuki Nakanishi and Jiro Takamatsu, Hi-Red Center created happenings and events that were socially reflective, anti-establishment and anti-commercial. Inspired by Japan's neo-dada movement and Fluxus, the group used the urban environment as their canvas, creating interventions that raised questions about centralised authority and the role of the individual in society.\nOne of their most famous performances consisted of an ironic action in which the artists scrubbed the streets of Tokyo during the 1964 Tokyo Olympic Games, in response to the government's demands that the city should present a clean image to the world. The group disbanded in 1964.","bio_dates":"1964"},{"slug":"hill_gary_bathing_1977","ok":true,"partial":false,"title":"Bathing","artist":"Gary Hill","year":"1977","startOffset":0,"sourceSecs":273.216,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":47148612,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_bathing_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_bathing_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hill_gary_bathing_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hill_gary_bathing_1977/main.mp4?v=2","description":"INSERT DESCRIPTION PARAGRAPHS HERE 1977, 4:30 min, color, sound <br/><br/> Hill's early formalist works explore the manipulation of electronic color and image density through the camera obscura and image processing devices. Of these tapes, Hill has written that \"much of the subject matter and the expressionistic method of working underline and in some sense parody the traditional medium of painting.\" In Bathing Hill transforms the traditional image of a bathing figure by subtly integrating color video and digitized, re-scanned stills. -- <a href=\"http://www.eai.org/title.htm?id=13873\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.\nThis exploration would give way to thoroughly unique investigations of linguistics and consciousness — including the empirical inquiries of\nWhy Do Things Get in a Muddle? (Come on Petunia)\n(1984),\nURA ARU (the backside exists)\n(1985-86) and\nIncidence of Catastrophe\n(1987-88) — offering resonant articulations of philosophical and poetic insights.\nHill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: \"The earlier works, e.g\nAir Raid, Sums & Differences, Ring Modulation (Full Circle)\n— variations on the notion of a sound-image construct — arose primarily out of a dialogue with the properties of the medium. In\nProcessual Video, Black/White/Text\nand\nHappenstance\n, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates — a kind of image/language Moebius strip.\nAround & About\nand\nPrimarily Speaking\nwere an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech...\nWhy Do Things Get In A Muddle? (Come On Petunia)\nand\nURA ARU (the backside exists)\n, originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time.\"\nPerhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill \"writes\" masterfully on Maurice Blanchot in\nIncidence of Catastrophe\n, and Jacques Derrida writes on Hill's \"writing.\" But in its correlation to the \"French\" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as\nPrimarily Speaking\nand\nHappenstance\ndazzle with their perspicacious and illuminating language play; stunning structural achievements such as\nWhy Do Things Get In A Muddle?\nand\nURA ARU\nawe with their elaborate execution; and\nIncidence of Catastrophe\n, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.\nHill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries. In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.\nHis installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.\nHill lives in Seattle. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1951"},{"slug":"hill_gary_black_white_text_1980","ok":true,"partial":false,"title":"Black/White/Text (1980)","artist":"Gary Hill","year":"1980","startOffset":0,"sourceSecs":449.984,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":81170119,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_black_white_text_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_black_white_text_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hill_gary_black_white_text_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hill_gary_black_white_text_1980/main.mp4?v=2","description":"INSERT DESCRIPTION PARAGRAPHS HERE 1980, 7:23 min, b&w, sound <br/><br/> In his early works, Hill explores the structural and organic relation of linguistics to electronic phenomena. He states, \"Certain structural properties of video are revealed in an almost primal sense.\" Black/White/Text is a linguistic deconstruction that represents the syllabic structure of words as text on the screen. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.\nThis exploration would give way to thoroughly unique investigations of linguistics and consciousness — including the empirical inquiries of\nWhy Do Things Get in a Muddle? (Come on Petunia)\n(1984),\nURA ARU (the backside exists)\n(1985-86) and\nIncidence of Catastrophe\n(1987-88) — offering resonant articulations of philosophical and poetic insights.\nHill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: \"The earlier works, e.g\nAir Raid, Sums & Differences, Ring Modulation (Full Circle)\n— variations on the notion of a sound-image construct — arose primarily out of a dialogue with the properties of the medium. In\nProcessual Video, Black/White/Text\nand\nHappenstance\n, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates — a kind of image/language Moebius strip.\nAround & About\nand\nPrimarily Speaking\nwere an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech...\nWhy Do Things Get In A Muddle? (Come On Petunia)\nand\nURA ARU (the backside exists)\n, originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time.\"\nPerhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill \"writes\" masterfully on Maurice Blanchot in\nIncidence of Catastrophe\n, and Jacques Derrida writes on Hill's \"writing.\" But in its correlation to the \"French\" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as\nPrimarily Speaking\nand\nHappenstance\ndazzle with their perspicacious and illuminating language play; stunning structural achievements such as\nWhy Do Things Get In A Muddle?\nand\nURA ARU\nawe with their elaborate execution; and\nIncidence of Catastrophe\n, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.\nHill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries. In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.\nHis installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.\nHill lives in Seattle. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1951"},{"slug":"hill_gary_electronic_linguistic_1978","ok":true,"partial":false,"title":"Electronic Linguistic","artist":"Gary Hill","year":"1977","startOffset":0,"sourceSecs":226.432,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":39118132,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_electronic_linguistic_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_electronic_linguistic_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hill_gary_electronic_linguistic_1978.mp4","hasFrames":true,"description":"INSERT DESCRIPTION PARAGRAPHS HERE 1977, 3:39 min, b&w, sound <br/><br/> In his early works, Hill explores the structural and organic relation of linguistics to electronic phenomena. He states, \"Certain structural properties of video are revealed in an almost primal sense.\" In Electronic Linguistics, small electronic shapes on the screen, moving in a gradually accelerating rhythm, serve as visual interpretations of an electronic sound. In its construction of a language of electronic images and sound, this is a precursor to Hill's later, more complex investigations. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.\nThis exploration would give way to thoroughly unique investigations of linguistics and consciousness — including the empirical inquiries of\nWhy Do Things Get in a Muddle? (Come on Petunia)\n(1984),\nURA ARU (the backside exists)\n(1985-86) and\nIncidence of Catastrophe\n(1987-88) — offering resonant articulations of philosophical and poetic insights.\nHill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: \"The earlier works, e.g\nAir Raid, Sums & Differences, Ring Modulation (Full Circle)\n— variations on the notion of a sound-image construct — arose primarily out of a dialogue with the properties of the medium. In\nProcessual Video, Black/White/Text\nand\nHappenstance\n, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates — a kind of image/language Moebius strip.\nAround & About\nand\nPrimarily Speaking\nwere an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech...\nWhy Do Things Get In A Muddle? (Come On Petunia)\nand\nURA ARU (the backside exists)\n, originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time.\"\nPerhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill \"writes\" masterfully on Maurice Blanchot in\nIncidence of Catastrophe\n, and Jacques Derrida writes on Hill's \"writing.\" But in its correlation to the \"French\" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as\nPrimarily Speaking\nand\nHappenstance\ndazzle with their perspicacious and illuminating language play; stunning structural achievements such as\nWhy Do Things Get In A Muddle?\nand\nURA ARU\nawe with their elaborate execution; and\nIncidence of Catastrophe\n, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.\nHill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries. In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.\nHis installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.\nHill lives in Seattle. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1951"},{"slug":"hill_gary_mirror_road_1976","ok":true,"partial":false,"title":"Mirror Road","artist":"Gary Hill","year":"1976","startOffset":0,"sourceSecs":388.693,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":68736413,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_mirror_road_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_mirror_road_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hill_gary_mirror_road_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hill_gary_mirror_road_1976/main.mp4?v=2","description":"INSERT DESCRIPTION PARAGRAPHS HERE 6:26 min, color, silent <br/><br/> Hill's early formalist works explore the manipulation of electronic color and image density. Of these works, Hill has written that \"much of the subject matter and the expressionistic method of working underline and in some sense parody the traditional medium of painting.\" In the silent Mirror Road, Hill creates an increasingly abstracted harmony of landscapes in layered compositions of movement. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.\nThis exploration would give way to thoroughly unique investigations of linguistics and consciousness — including the empirical inquiries of\nWhy Do Things Get in a Muddle? (Come on Petunia)\n(1984),\nURA ARU (the backside exists)\n(1985-86) and\nIncidence of Catastrophe\n(1987-88) — offering resonant articulations of philosophical and poetic insights.\nHill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: \"The earlier works, e.g\nAir Raid, Sums & Differences, Ring Modulation (Full Circle)\n— variations on the notion of a sound-image construct — arose primarily out of a dialogue with the properties of the medium. In\nProcessual Video, Black/White/Text\nand\nHappenstance\n, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates — a kind of image/language Moebius strip.\nAround & About\nand\nPrimarily Speaking\nwere an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech...\nWhy Do Things Get In A Muddle? (Come On Petunia)\nand\nURA ARU (the backside exists)\n, originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time.\"\nPerhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill \"writes\" masterfully on Maurice Blanchot in\nIncidence of Catastrophe\n, and Jacques Derrida writes on Hill's \"writing.\" But in its correlation to the \"French\" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as\nPrimarily Speaking\nand\nHappenstance\ndazzle with their perspicacious and illuminating language play; stunning structural achievements such as\nWhy Do Things Get In A Muddle?\nand\nURA ARU\nawe with their elaborate execution; and\nIncidence of Catastrophe\n, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.\nHill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries. In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.\nHis installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.\nHill lives in Seattle. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1951"},{"slug":"hill_gary_objects_with_destinations_1979","ok":true,"partial":false,"title":"Objects With Destinations","artist":"Gary Hill","year":"1979","startOffset":0,"sourceSecs":230.272,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":38038962,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_objects_with_destinations_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_objects_with_destinations_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hill_gary_objects_with_destinations_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hill_gary_objects_with_destinations_1979/main.mp4?v=2","description":"INSERT DESCRIPTION PARAGRAPHS HERE 1979, 3:57 min, color, silent <br/><br/> Silent or with minimal sound, Hill's early formalist works explore the manipulation of electronic color and image density through the camera obscura and image processing devices. Of these works, Hill has written that \"much of the subject matter and the expressionistic method of working underline and in some sense parody the traditional medium of painting.\" <br/><br/> In Objects With Destinations, ordinary objects such as pliers, a shopping bag and a hammer move in staccato rhythm across the screen, washed with subtle hues. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.\nThis exploration would give way to thoroughly unique investigations of linguistics and consciousness — including the empirical inquiries of\nWhy Do Things Get in a Muddle? (Come on Petunia)\n(1984),\nURA ARU (the backside exists)\n(1985-86) and\nIncidence of Catastrophe\n(1987-88) — offering resonant articulations of philosophical and poetic insights.\nHill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: \"The earlier works, e.g\nAir Raid, Sums & Differences, Ring Modulation (Full Circle)\n— variations on the notion of a sound-image construct — arose primarily out of a dialogue with the properties of the medium. In\nProcessual Video, Black/White/Text\nand\nHappenstance\n, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates — a kind of image/language Moebius strip.\nAround & About\nand\nPrimarily Speaking\nwere an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech...\nWhy Do Things Get In A Muddle? (Come On Petunia)\nand\nURA ARU (the backside exists)\n, originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time.\"\nPerhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill \"writes\" masterfully on Maurice Blanchot in\nIncidence of Catastrophe\n, and Jacques Derrida writes on Hill's \"writing.\" But in its correlation to the \"French\" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as\nPrimarily Speaking\nand\nHappenstance\ndazzle with their perspicacious and illuminating language play; stunning structural achievements such as\nWhy Do Things Get In A Muddle?\nand\nURA ARU\nawe with their elaborate execution; and\nIncidence of Catastrophe\n, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.\nHill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries. In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.\nHis installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.\nHill lives in Seattle. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1951"},{"slug":"hill_gary_site_recite_1989","ok":true,"partial":false,"title":"Site/Recite (a prologue)","artist":"Gary Hill","year":"1989","startOffset":0,"sourceSecs":255.957,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":13725378,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_site_recite_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_site_recite_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hill_gary_site_recite_1989.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hill_gary_site_recite_1989/main.mp4?v=2","description":"INSERT DESCRIPTION PARAGRAPHS HERE 1989, 4:05 min, color, sound <br/><br/> With startling precision, Site/Recite moves across and around a table-top graveyard - bones, butterfly wings, egg shells, seed pods, crumpled notes, skulls - in a series of seamless edits that present a continuous flow of detailed close-ups. This taxonomy of dispossession, \"little deaths that pile up,\" is juxtaposed to a narration on the linkage between semantic self-consciousness and visual experience. Through the window of this text, the objects on the table come to model how consciousness affixes itself to material manifestations and how memory is constituted by the collection of empty vessels. Site/Recite is a prologue for Which Tree, an interactive videodisc installation that presents viewers with a maze of interconnected branch points, allowing them to wander through its forest of images and words to discover the \"texts\" of their own thinking patterns. <br/><br/> Voice: Lou Hetler. Camera/Lighting: Rex Barker. Produced by IMATCO/ATANOR for Television Espanola S.A. El Arte de Video. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.\nThis exploration would give way to thoroughly unique investigations of linguistics and consciousness — including the empirical inquiries of\nWhy Do Things Get in a Muddle? (Come on Petunia)\n(1984),\nURA ARU (the backside exists)\n(1985-86) and\nIncidence of Catastrophe\n(1987-88) — offering resonant articulations of philosophical and poetic insights.\nHill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: \"The earlier works, e.g\nAir Raid, Sums & Differences, Ring Modulation (Full Circle)\n— variations on the notion of a sound-image construct — arose primarily out of a dialogue with the properties of the medium. In\nProcessual Video, Black/White/Text\nand\nHappenstance\n, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates — a kind of image/language Moebius strip.\nAround & About\nand\nPrimarily Speaking\nwere an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech...\nWhy Do Things Get In A Muddle? (Come On Petunia)\nand\nURA ARU (the backside exists)\n, originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time.\"\nPerhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill \"writes\" masterfully on Maurice Blanchot in\nIncidence of Catastrophe\n, and Jacques Derrida writes on Hill's \"writing.\" But in its correlation to the \"French\" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as\nPrimarily Speaking\nand\nHappenstance\ndazzle with their perspicacious and illuminating language play; stunning structural achievements such as\nWhy Do Things Get In A Muddle?\nand\nURA ARU\nawe with their elaborate execution; and\nIncidence of Catastrophe\n, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.\nHill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries. In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.\nHis installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.\nHill lives in Seattle. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1951"},{"slug":"hill_gary_soundings_1978","ok":true,"partial":false,"title":"Soundings","artist":"Gary Hill","year":"1978","startOffset":0,"sourceSecs":1069.717,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":178928208,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_soundings_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_soundings_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hill_gary_soundings_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hill_gary_soundings_1978/main.mp4?v=2","description":"INSERT DESCRIPTION PARAGRAPHS HERE 1978, 18:03 min, color, sound <br/><br/> In Soundings, conceived by Hill as a work for broadcast, the found object of a loud speaker becomes the source for a sequence of image/sound/text constructs. A series of what Hill terms \"processual rituals\" ends with a text \"from\" the speaker, in which it describes its electronic, changing state as a relationship with the viewer. As Hill speaks about touch and sound in an extrapolated monologue, he buries the speaker in sand, drives a spike through it, sets it on fire and pours waters onto it. <br/><br/> Produced by the TV Lab at WNET/Thirteen, New York <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.\nThis exploration would give way to thoroughly unique investigations of linguistics and consciousness — including the empirical inquiries of\nWhy Do Things Get in a Muddle? (Come on Petunia)\n(1984),\nURA ARU (the backside exists)\n(1985-86) and\nIncidence of Catastrophe\n(1987-88) — offering resonant articulations of philosophical and poetic insights.\nHill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: \"The earlier works, e.g\nAir Raid, Sums & Differences, Ring Modulation (Full Circle)\n— variations on the notion of a sound-image construct — arose primarily out of a dialogue with the properties of the medium. In\nProcessual Video, Black/White/Text\nand\nHappenstance\n, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates — a kind of image/language Moebius strip.\nAround & About\nand\nPrimarily Speaking\nwere an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech...\nWhy Do Things Get In A Muddle? (Come On Petunia)\nand\nURA ARU (the backside exists)\n, originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time.\"\nPerhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill \"writes\" masterfully on Maurice Blanchot in\nIncidence of Catastrophe\n, and Jacques Derrida writes on Hill's \"writing.\" But in its correlation to the \"French\" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as\nPrimarily Speaking\nand\nHappenstance\ndazzle with their perspicacious and illuminating language play; stunning structural achievements such as\nWhy Do Things Get In A Muddle?\nand\nURA ARU\nawe with their elaborate execution; and\nIncidence of Catastrophe\n, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.\nHill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries. In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.\nHis installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.\nHill lives in Seattle. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1951"},{"slug":"hill_gary_sums_and_differences_1978","ok":true,"partial":false,"title":"Sums & Differences","artist":"Gary Hill","year":"1978","startOffset":0,"sourceSecs":506.88,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":90715532,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_sums_and_differences_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_sums_and_differences_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hill_gary_sums_and_differences_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hill_gary_sums_and_differences_1978/main.mp4?v=2","description":"INSERT DESCRIPTION PARAGRAPHS HERE 1978, 8:24 min, b&w, sound <br/><br/> In his early works, Hill explores the structural and organic relation of linguistics to electronic phenomena. He states, \"Certain structural properties of video are revealed in an almost primal sense.\" In Sums & Differences, images of musical instruments and their corresponding sounds are sequentially switched at an increasingly rapid rate. Sound and image are modulated by the switching of multiples of vertical/horizontal sync pulses, creating a simultaneity of visual and aural information. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.\nThis exploration would give way to thoroughly unique investigations of linguistics and consciousness — including the empirical inquiries of\nWhy Do Things Get in a Muddle? (Come on Petunia)\n(1984),\nURA ARU (the backside exists)\n(1985-86) and\nIncidence of Catastrophe\n(1987-88) — offering resonant articulations of philosophical and poetic insights.\nHill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: \"The earlier works, e.g\nAir Raid, Sums & Differences, Ring Modulation (Full Circle)\n— variations on the notion of a sound-image construct — arose primarily out of a dialogue with the properties of the medium. In\nProcessual Video, Black/White/Text\nand\nHappenstance\n, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates — a kind of image/language Moebius strip.\nAround & About\nand\nPrimarily Speaking\nwere an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech...\nWhy Do Things Get In A Muddle? (Come On Petunia)\nand\nURA ARU (the backside exists)\n, originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time.\"\nPerhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill \"writes\" masterfully on Maurice Blanchot in\nIncidence of Catastrophe\n, and Jacques Derrida writes on Hill's \"writing.\" But in its correlation to the \"French\" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as\nPrimarily Speaking\nand\nHappenstance\ndazzle with their perspicacious and illuminating language play; stunning structural achievements such as\nWhy Do Things Get In A Muddle?\nand\nURA ARU\nawe with their elaborate execution; and\nIncidence of Catastrophe\n, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.\nHill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries. In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.\nHis installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.\nHill lives in Seattle. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1951"},{"slug":"hill_gary_windows_1978","ok":true,"partial":false,"title":"Windows","artist":"Gary Hill","year":"1978","startOffset":0,"sourceSecs":510.144,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":89692240,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_windows_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hill_gary_windows_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hill_gary_windows_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hill_gary_windows_1978/main.mp4?v=2","description":"INSERT DESCRIPTION PARAGRAPHS HERE 1978, 8:28 min, color, silent <br/><br/> Silent or with minimal sound, Hill's early formalist works explore the manipulation of electronic color and image density through the camera obscura and image processing devices. Of these tapes, Hill has written that \"much of the subject matter and the expressionistic method of working underline and in some sense parody the traditional medium of painting.\" In Windows, the image of windows in a darkened room is digitized, densely layered, and otherwise abstracted in a series of graphic compositions. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Gary Hill is one of the most important contemporary artists investigating the relationships between words and electronic images — an inquiry that has dominated the video art of the past decade. Originally trained as a sculptor, Hill began working in video in 1973 and has produced a major body of single-channel videotapes and video installations that includes some of the most significant works in the field of video art. His first tapes explored formal properties of the emerging medium, particularly through integral conjunctions of electronic visual and audio elements.\nThis exploration would give way to thoroughly unique investigations of linguistics and consciousness — including the empirical inquiries of\nWhy Do Things Get in a Muddle? (Come on Petunia)\n(1984),\nURA ARU (the backside exists)\n(1985-86) and\nIncidence of Catastrophe\n(1987-88) — offering resonant articulations of philosophical and poetic insights.\nHill's works are characterized by their experimental rigor, conceptual precision and imaginative leaps of discovery. Writing on the course of the development of his work in the Program Notes for the Whitney Museum of American Art's New American Filmmakers Series #30, Hill states: \"The earlier works, e.g\nAir Raid, Sums & Differences, Ring Modulation (Full Circle)\n— variations on the notion of a sound-image construct — arose primarily out of a dialogue with the properties of the medium. In\nProcessual Video, Black/White/Text\nand\nHappenstance\n, the orientation shifted toward the 'processual,' into a reflexive space wherein an experience with language informs the image-making that in turn folds back upon the ways in which language originates — a kind of image/language Moebius strip.\nAround & About\nand\nPrimarily Speaking\nwere an attempt to engage the 'positions' of the viewer and to treat images offhandedly, making their context and content susceptible to the utterances of speech...\nWhy Do Things Get In A Muddle? (Come On Petunia)\nand\nURA ARU (the backside exists)\n, originally stirred by explorations concerned with the acoustic elements of language, led me via the metalogues of Gregory Bateson to fundamental questions on the directionality of thought with respect to time.\"\nPerhaps as much as any artist using image/sound media, Hill's work in video is about, and is, a new form of writing. It is informed by, and at times can even be seen to vindicate, post-structuralist perspectives about changing relationships between speech, writing and language; Hill \"writes\" masterfully on Maurice Blanchot in\nIncidence of Catastrophe\n, and Jacques Derrida writes on Hill's \"writing.\" But in its correlation to the \"French\" theoretical discourse, these works are neither theory-driven nor aridly academic. Brilliant videotapes, such as\nPrimarily Speaking\nand\nHappenstance\ndazzle with their perspicacious and illuminating language play; stunning structural achievements such as\nWhy Do Things Get In A Muddle?\nand\nURA ARU\nawe with their elaborate execution; and\nIncidence of Catastrophe\n, a work many consider to be Hill's tour de force, simply overpowers with its intellectual ferocity.\nHill was born in 1951. He studied at the Arts Student League in Woodstock, New York. Among his many grants and fellowships are awards from the New York State Council on the Arts, the National Endowment for the Arts, two Rockefeller Foundation Fellowships and a Guggenheim Foundation Fellowship. In 1984-85, he received a Japan/United States Exchange Fellowship, and in 1988, he received a France/United States Exchange Fellowship, completing major works in both countries. In 1998 Hill was awarded the prestigious McArthur Foundation Fellowship. Hill has served as artist-in-residence at the Television Laboratory at WNET/Thirteen; Synapse Video Center, Syracuse, New York; Portable Channel, Rochester, New York; the Experimental Television Center, Owego, New York; Sony Corporation, Hon Atsugi, Japan; Chicago Art Institute; and California Institute of the Arts. He has taught at the Center for Media Study, Buffalo; Bard College, Annandale-on-Hudson, New York; and the Cornish College of the Arts, Seattle.\nHis installations and tapes have been seen throughout the world, in group exhibitions at The Museum of Modern Art, New York; Centre Georges Pompidou, Paris; Documenta 8, Kassel, West Germany; Long Beach Museum of Art, California; Stedelijk Museum, Amsterdam, and the Video Sculpture Retrospective 1963-1989, Cologne, West Germany, among other festivals and institutions. Hill's work has also been the subject of retrospectives and one-person shows at The American Center, Paris; Whitney Museum of American Art, New York; 2nd International Video Week, St. Gervais, Geneva; Musee d'Art Moderne, Villeneuve d'Ascq, France; and The Museum of Modern Art, New York.\nHill lives in Seattle. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1951"},{"slug":"hills_henry_money_1985","ok":true,"partial":false,"title":"Money","artist":"Henry Hills","year":"1985","startOffset":0,"sourceSecs":861.632,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":152725306,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hills_henry_money_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hills_henry_money_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hills_henry_money_1985.mp4","hasFrames":true,"description":"Money (1985) is an historical document of the early days of \"language poetry\" and the downtown improvised music scene.<br/><br/> A manic collage film from the mid-80s when it still seemed that Reaganism of the soul could be defeated. Filmed primarily on the streets of Manhattan for the ambient sounds and movements and occasional pedestrian interaction to create a rich tapestry of swirling colors and juxtaposed architectural spaces in deep focus and present the intense urban overflowing energy that is experience living here. Money is thematically centered around a discussion of economic problems facing avant-garde artists. Discussion, however, is fragmented into words and phrases and reassembled into writing. Musical and movement phrases are woven through this conversation to create an almost operatic composition. Give me money!<br/><br/> Starring: John Zorn, Diane Ward, Carmen Vigil, Susie Timmons, Sally Silvers, Ron Silliman, James Sherry, Peter Hall, David Moss, Mark Miller, Christian Marclay, Arto Lindsay, Pooh Kaye, Fred Frith, Alan Davies, Tom Cora, Jack Collom, Yoshiko Chuma, Abigail Child, Charles Bernstein, Derek Bailey, and Bruce Andrews.<br/><br/> Includes rare footage of the premieres of Zorn's Croquet at Soundscape and Track & Field at Roulette, the Toy Killers at Studio Henry (One Morton Street), and early Skeleton Crew at the Public Theatre.<br/><br/><b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Henry Hills has been making dense, intensely rhythmic experimental films since 1975. A longtime resident of New York's East Village, he has ongoing working relationships with the L=A=N=G=U=A=G=E Poets, composer John Zorn, and choreographer Sally Silvers. Since 2005 he has been Visiting Professor at FAMU, the Czech national film academy in Prague, and currently lives in Vienna. He received a 2009 John Simon Guggenheim Memorial Fellowship & his films, which are included in the permanent collection of the Museum of Modern Art, are available on DVD from Tzadik (www.tzadik.com). His most recent work, \"arcana\", was awarded Best Experimental Film at both Curtas Vila do Conde festival in Portugal and the Melbourne International Film Festival in Australia. His films, with an eccentric humor, seek abstraction within sharply-focused naturalistic imagery & the ethereal within the mundane, promoting an active attentiveness through a relentlessly concentrated montage.","bio_dates":"1985"},{"slug":"hindle_will_saint_flournoy_lobos_logos_1970_iphone","ok":true,"partial":false,"title":"Saint Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air","artist":"Will Hindle","year":"1970","startOffset":0,"sourceSecs":697.104,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":45681394,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hindle_will_saint_flournoy_lobos_logos_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hindle_will_saint_flournoy_lobos_logos_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hindle_will_saint_flournoy_lobos_logos_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hindle_will_saint_flournoy_lobos_logos_1970_iphone/main.mp4?v=2","description":"The title of celebrated ’70s experimental-filmmaking mainstay and current cine-avant-garde Invisible Man Will Hindle’s Saint Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air (1970) is almost impossible to remember. The film itself—a gorgeously photographed, fluidly edited slice of fin de siècle ’60s love and dread, shot largely in Death Valley, and both of the Manson Family moment and altogether adrift in time—is impossible to forget. In it, a shirtless bearded dude in flour-sack yoga pants treks and stumbles barefoot through the white-hot desert, pausing occasionally to assume the lotus position and radiate silent “om”s into the shimmering heat—Gus Van Sant’s Gerry (2002) as one man show. Dude might be “Saint Flournoy Lobos-Logos” (whoever that is), we’re never really sure. The “Eastern Europe Fetus” shows up, “crawling” through a fiery mandala in some indeterminate space and looking like a cross between 2001: A Space Odyssey’s (1968) star child and one of those hideous little edible chocolate babies. There are lens flares and eclipse halos, dude’s supple movements mesmerizingly match cut and complexly lap-dissolved one into the next, and there are more dudes, and nudes, dancing on balconies to bongos and the tinkling of ice cubes in drink glasses echoing down through the canyon…then the orange slash of a shadow-play knife in the night.<br/><br/> Hindle was born in Shreveport, Louisiana in 1929, went to Stanford, joined the Army, worked for Walt Disney (as an animator), CBS/Westinghouse (directing 150 short segments for public broadcast), and filmed the South Sea voyages of Sterling Hayden’s schooner “Wanderer.” He began making personal/experimental films in the late ’50s, stopped for a while, then resumed in the late ’60s. His films began to win numerous small-festival awards and were regularly screened at Bruce Baillie’s Canyon Cinema gatherings. After moving to Alabama (to suck air) in 1970, Hindle finally settled and began teaching filmmaking at the University of South Florida in Tampa in 1973; he stayed there until 1985. He only made two films after 1972. Most of Hindle’s films are still available for rental through Canyon Cinema, even as the Academy Film Archive’s experimental film restoration expert Mark Toscano continues patiently, passionately restoring the filmmaker’s work from color negatives and remnant prints. (Don’t miss Toscano’s fascinating accounts of working with Hindle’s original elements at preservationinsanity.blogspot.ca/2011/11/will-hindles-visual-cue-rolls.html.)<br/><br/> What you’re reading here then are only notes on Hindle: your columnist, eager for more for eons, has only ever seen Flournoy. Once seen, it’s forever stuck, like David Bowie’s human-eye lenses in The Man Who Fell To Earth (1976), which fleetingly resembles Flournoy. Other touchstones include Werner Schroeter’s Willow Springs (1973), Peter Fonda’s Idaho Transfer (1973), and Jim McBride’s Glen and Randa (1971)—visions of flower children and psycho killers at the end of the orgy on various terminal beaches and post-blast bleak-scapes. But that’s just Flournoy; there’s so much more waiting to be rediscovered. We’ll leave you with a wish list, and—as Hindle’s hand forever reaches toward that glimmering void beyond his door—the hope of something more. -- Chuck Stevens<br><br><b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Sound</a><br/> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a>","artist_bio":"Will \"William Mayo\" Hindle (December 29, 1929 – April 7, 1987) was an independent American filmmaker of personal visual 16mm movies.\nFrom 1958 to 1976, he made ten 16 mm films. He employed complex rear-projection rephotography, slow motion, and subtle tinting techniques in his work. His movies have been widely praised for their astonishing cinematic techniques and deep personal feeling.[1]\nHe was born in Shreveport, Louisiana on December 29, 1929 and later attended Burbank High School, CA and Stanford University, Palo Alto CA.[2]\nHe served two tours as a Sergeant in the United States Army Air Force. During the first tour, he worked on the U.S. edition of the Stars & Stripes and was given his own cartoon feature. The second tour, he served as the Editor of the North African edition. In between military tours, Will was employed by Walt Disney Studios and was, at that time, the youngest animator to have ever worked for the company.[3]\nBeginning in the late 1950s with Non-Catholicam and Pastorale d'Ete, he began crafting his uniquely beautiful cinematic motion pictures. He financed his personal work by making 150 short movies for CBS / Westinghouse which were all aired nationally on their PM West/PM East show.[4] His major accomplishments include Chinese Firedrill, Watersmith, 29: 'Merci, Merci', and Saint Flournoy Lobos-Logos and the Eastern Europe Fetus Taxing Japan Brides in West Coast Places Sucking Alabama Air.\nOver a number of years, Will taught many workshops, gave lectures and was invited as a guest to seminars and conferences all over the United States and also abroad. After turning down numerous teaching position offers, he was then courted by the new University of South Florida in 1972. Their stated view of motion picture film as an art form and affirmations of the single author approach appealed to Will. He joined the faculty, teaching in Tampa until 1985.\nDuring his lifetime, Will Hindle taught hundreds of students about the basics of film making, art, and about life, producing a number of strong prot'eg'ees, including college professors, film artists/moving media artists, documentarians, script writers and fiction writers, along with artists in many other mediums.[5]\nHis films won many prizes at festivals such as Ann Arbor, Kenyon and Kent State Festivals, San Francisco Int'l Film Festival, Barn Gallery in Maine, Foothill College Film Festival, and the American Film Festival in New York. He also received invitational tributes internationally from the Moscow Film Festival, Cannes Film Festival, and Canadian National Film Festival in Montreal. And for a time, 3 of his films were distributed by Time-Life.[6]","bio_dates":"1929-1987"},{"slug":"hirschhorn_thomas_2_tranen_1995","ok":true,"partial":false,"title":"2 Tränen etc.","artist":"Thomas Hirschhorn","year":"1995","startOffset":0,"sourceSecs":101.08,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":17929924,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_2_tranen_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_2_tranen_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_2_tranen_1995.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirschhorn_thomas_2_tranen_1995/main.mp4?v=2","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirschhorn_thomas_for_nelson_mandela_biko_1995","ok":true,"partial":false,"title":"For Nelson Mandela (Biko)","artist":"Thomas Hirschhorn","year":"1995","startOffset":0,"sourceSecs":422.8,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":67134891,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_for_nelson_mandela_biko_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_for_nelson_mandela_biko_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_for_nelson_mandela_biko_1995.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirschhorn_thomas_for_nelson_mandela_biko_1995/main.mp4?v=2","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirschhorn_thomas_i_will_win_1995","ok":true,"partial":false,"title":"I Will Win","artist":"Thomas Hirschhorn","year":"1995","startOffset":0,"sourceSecs":249.16,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":45444501,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_i_will_win_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_i_will_win_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_i_will_win_1995.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirschhorn_thomas_i_will_win_1995/main.mp4?v=2","description":"La pratique de la vidéo occupe une place particulière dans le travail de Thomas Hirschhorn, elle est en effet complémentaire à son utilisation des lay-out, expression qu’il utilise pour désigner ses installations et les systèmes de représentations qu’il a mis en place. Ses vidéos prennent un sens au regard de sa pratique du dessin ou de la sculpture comme 50/50 à Belleville en 1992, Les monstres en 1993 ou une série réalisée en 1995 (Robert Walser Video, Antifaschistiche Aktion, I Will Win, Thank You). Ces quatre vidéos, toutes tournées en 1995, peuvent s’envisager comme une série sur le plan de la construction et des éléments formels. Elles sont tournées dans l’atelier de Thomas Hirschhorn, en plan fixe et le cadre est conçu comme celui d’un tableau. Leur durée est conditionnée par la longueur d’un morceau de rock, un peu à la manière d’un clip vidéo. Le son est diffusé sur un système de qualité médiocre, il n’est pas ajouté au montage mais c’est le son enregistré en direct dans l’atelier. Thomas Hirschhorn privilégie toujours le sens au détriment d’une qualité formelle qui pourrait enjoliver la lecture de ses œuvres : de la même manière qu’il exploite des matériaux jugés non nobles par la tradition de l’art, il diffuse la musique sur un support de qualité commune. L’artiste utilise en arrière plan ses collages ou ses dessins et se met en scène dans les attitudes de la protestation : poing levé, drapeau militant, torse nu comme un guérillero. Chaque vidéo peut se lire comme une performance. I Will Win le met en scène devant un panneau rouge sur lequel est inscrit le titre de la bande. Il est entouré par deux feuilles d’aluminium. Un morceau de musique pop rock débute et Thomas Hirschhorn enroule du papier d’aluminium autour de sa tête. Il moule quasiment son visage sur ces feuilles et ne bouge plus. Il fait ensuite le signe symbolisant la victoire, un V avec le majeur et l’index. Le rouge du panneau rappel la couleur usuellement associée à la révolte et la révolution. Le papier d’aluminium est un élément formel récurrent dans son œuvre plastique, Thomas Hirschhorn le considère comme une liaison entre les éléments formels de ses lay-out, comme dans l’installation Jumbo Spoons and Big Cake, datant de 2000 et présentée dans l’exposition Dyonisiac en 2004 au Centre Georges Pompidou. -- Laetitia Rouiller","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirschhorn_thomas_integrated_videos_1995_1999","ok":true,"partial":false,"title":"Integrated Videos 1995-1999","artist":"Thomas Hirschhorn","year":"1999","startOffset":0,"sourceSecs":987.24,"sourceHeight":272,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":64713425,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_integrated_videos_1995_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_integrated_videos_1995_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_integrated_videos_1995_1999.mp4","hasFrames":true,"description":"Realized by Coralie Suard-Hirschhorn This video presents a series of filmed excerpts from performances and actions by Thomas Hirschhorn dating from 1995 to 1999. The film follows the trajectory of the artist’s political and social commitment through his art.<br/>The excerpts of the following performances and actions are listed here according to their order of appearance in <i>Integrated Videos</i> (some performances were done several times):<br/><br/>“Flugplatz Welt / World Airport,” 1999; “Rolex, etc., Freunlich Aufstieg und Skulptur-Sortier-Station-Dokumentation,” 1998; “Record-Jonas,” 1997; “Very Derivated Products,” 1998; “Merci-Bus,” 1996; “Skulptur-Sortier-Station,” 1997; “Zentraltisch,” 1997; “Robert Walser Kiosk,” 1998; “Swiss Army Knife,” 1998; “Ingeborg Bachmann Altar,” 1998; “Time to go,” 1997; “Swiss Converter,” 1998; “Virus Ausstellung,” 1996; “Mondrian Autel,” 1997; “Les Bêtes, les Plaintifs, les Politiques,” 1995; “Diorama,” 1997; “24/24, 7/7, Blauer Schwebender Raum,” 1997; “Transformator,” 1997; “Spinoza Moment,” 1998; “Lascaux III,” 1997.<br/><br/>The montage of these different excerpts borrows from the style seen in advertising and television. Treated like products, each one, stamped with a round blue logo in which the words “Integrated Videos” are inscribed, lasts for the same length of time and is identified by a title in bright large letters. The sequences play out according to an identical pattern, a woman’s voice marking the overall rhythm as she recites the alphabet. In a suave tone she says in German, “<i>A wie…</i>” (A as in…). A second voice answers, “<i>A wie</i>…” then pronounces words beginning with the letter a. There is nothing random about the selection of words that are spoken, which are explicitly intended to denounce the social and economic situation of the world. The words pronounced for each letter, A, B, C and so on, are repeated by a chorus of female voices. The intoned refrain enumerates a primer of misfortunes and injustices in startling contrast to the seductive tone with which this caustic alphabet is spelled out. The contrast created by the polished <i>mise en scène</i> of the images, deftly edited according to marketing strategies, is no less shocking.<br/><br/>A short excerpt from the primer:<br/><i>A wie Angst</i> (fear) <i>Armut</i> (poverty).../<i>C wie Cash</i>, <i>Chemiotherapie</i> (chemotherapy).../<i>D wie Demut</i> (humility), <i>Diskriminierung</i> (discrimination).../<i>F wie Folter</i> (torture) <i>Fanatismus</i> (fanaticism).../<i>H wie Hass</i> (hate) <i>Hunger</i>.../<i>K wie Krieg</i> (war).../<i>M wie Macht</i> (power) <i>Militär</i> (military).../<i>O wie Opfer</i> (victim).../<i>S wie Sorge</i> (worry) <i>Sucht</i> (addiction).../<i>T wie Tod</i> (death).../<i>X wie Xenophobie</i> (Xenophobia).<br/><br/>Three or four words are pronounced per letter. The alphabet is recited twice from A to Z, the third time stopping at the letter K. Behind these light and lively appearances of advertising style, the litany becomes obsessive, raising a number of uncomfortable questions about society and the economy and the way political and governmental authorities deal with them.","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirschhorn_thomas_invisible_merci_man_1996","ok":true,"partial":false,"title":"Invisible \"Merci\"-Man","artist":"Thomas Hirschhorn","year":"1996","startOffset":0,"sourceSecs":241.88,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":44105787,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_invisible_merci_man_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_invisible_merci_man_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_invisible_merci_man_1996.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirschhorn_thomas_invisible_merci_man_1996/main.mp4?v=2","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirschhorn_thomas_les_roses_blanches_1997","ok":true,"partial":false,"title":"Les Roses blanches","artist":"Thomas Hirschhorn","year":"1995","startOffset":0,"sourceSecs":1294.72,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":224789325,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_les_roses_blanches_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_les_roses_blanches_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_les_roses_blanches_1997.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirschhorn_thomas_les_roses_blanches_1997/main.mp4?v=2","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirschhorn_thomas_prince_and_me_1995","ok":true,"partial":false,"title":"Prince and Me","artist":"Thomas Hirschhorn","year":"1995","startOffset":0,"sourceSecs":308.6,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":56015013,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_prince_and_me_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_prince_and_me_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_prince_and_me_1995.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirschhorn_thomas_prince_and_me_1995/main.mp4?v=2","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirschhorn_thomas_robert_walser_video_1995","ok":true,"partial":false,"title":"Robert Walser Video","artist":"Thomas Hirschhorn","year":"1995","startOffset":0,"sourceSecs":248.92,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":45608192,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_robert_walser_video_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_robert_walser_video_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_robert_walser_video_1995.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirschhorn_thomas_robert_walser_video_1995/main.mp4?v=2","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirschhorn_thomas_rotes_tuch_desire_i_1995","ok":true,"partial":false,"title":"Rotes Tuch (Desire I)","artist":"Thomas Hirschhorn","year":"1995","startOffset":0,"sourceSecs":375.4,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":68531735,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_rotes_tuch_desire_i_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_rotes_tuch_desire_i_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_rotes_tuch_desire_i_1995.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirschhorn_thomas_rotes_tuch_desire_i_1995/main.mp4?v=2","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirschhorn_thomas_stars_in_the_sky_1995","ok":true,"partial":false,"title":"Stars in the sky","artist":"Thomas Hirschhorn","year":"1995","startOffset":0,"sourceSecs":243.36,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":44204814,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_stars_in_the_sky_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_stars_in_the_sky_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_stars_in_the_sky_1995.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirschhorn_thomas_stars_in_the_sky_1995/main.mp4?v=2","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirschhorn_thomas_thank_you_1995","ok":true,"partial":false,"title":"Thank you","artist":"Thomas Hirschhorn","year":"1995","startOffset":0,"sourceSecs":507,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":92903413,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_thank_you_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirschhorn_thomas_thank_you_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirschhorn_thomas_thank_you_1995.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirschhorn_thomas_thank_you_1995/main.mp4?v=2","description":"‘My videos are boring, repetitive, too long […] I want to do something so simple that it becomes boring […] I do think simplicity is boring, or rather is felt as being boring. Because it doesn’t bore me. True, I never get bored, maybe because I have no expectations’, writes Thomas Hirschhorn in one of his texts. The videos he makes are mostly included as part of his sculptures, adding further visual and sound stimuli to the artist’s overloaded arrangements; some of them, however, are separable and can exist on their own. As Hirschhorn writes, all the videos obey the same principles: ‘I decide very clearly: no cuts, original soundtrack, duration determined by some outside thing, total limit camera movement, no close-ups etc.’<br/><br/> In front of a plain green panel on which are inscribed the words ‘Thank you’, with a piece of rock music playing in the background, Thomas Hirschhorn, stripped to the waist and holding one of his collages on packing board up to his face, slaps himself at a rapid, steady rate. At the end of the song, Hirschhorn moves his collage to the other side of his face and, as the same music starts up again, he starts slapping himself on the other cheek. When the music is over again, he gets up and walks off screen. Like all Thomas Hirschhorn’s works, the videos are made with extremely simple resources; he has no desire to ‘make an image’ (it is actually very poor quality, and the collage is illegible), but what matters is the performative sign. The music is present merely as a background, and the set is very basic; the elements making up the video circumscribe the action, focusing attention on the action as a symbolic sign, and not in narrative terms. The image of the artist slapping himself refers back to a question mark over his status. This is not an exploration of the limits of suffering, of the body’s endurance; it is not so much about catharsis as an illustration or demonstration of the artist’s role as being to resist the intelligence of liberal society, through stupidity and absurdity. ‘We shall never be able to outsmart capitalism’, says Hirschhorn. ‘I don’t want to be intelligent or clever. But I still want to work. I want to be productive. My position is not a parody.’1<br/><br/> While the artist claims status as an ‘artist-worker-soldier’, this does not mean he has no doubts, and he frequently questions certain parts of his work, writing self-criticism and moving forward by successive corrections. He does it with humour, the slapping possibly meaning this right of the artist to make mistakes and his will to be responsible and improve.<br/><br/> François Piron","artist_bio":"In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.","bio_dates":"b. 1957"},{"slug":"hirsh_hy_come_closer_1952","ok":true,"partial":false,"title":"Come Closer","artist":"Hy Hirsch","year":"1952","startOffset":0,"sourceSecs":335.381,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":20615729,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirsh_hy_come_closer_1952/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirsh_hy_come_closer_1952/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirsh_hy_come_closer_1952.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirsh_hy_come_closer_1952/main.mp4?v=2","description":"I am trying to expand the researching I am doing more broadly while still keeping it focused to my interests and in relation to other research I have done so that I can build on that. This means looking at new artists, but with a framework of abstract animation and the absolute film movement. This leads me to looking at Hy Hirsh, who I have not written about before. By looking at different artists subtle differences in approach to the use of line, pressure, scale etc will become evident, and subtle variations are what I am interested in utilising to distinguish areas of my work apart. <br/><br/> Something that I think I can learn from looking at this video is ways of considering the use of having two lines being drawn at the same time. It seems to make sense that if there are two lines that they should clearly interact rather than acting as if the other does not exist. An example of this in this video is when there is a rotating loop built from two lines interlocking around each other, this is something I can do some experiments with, such as having them rotate like this for example, or having one line grow faster than the other or have one line loop around with much sharper curves than the other, maybe even with this swapping back and forth, there is a lot of room for experimentation with this. <br/><br/> Looking at this video I had the realisation that I generally draw the loops in my drawings counter clockwise, probably because I am left handed, this does not really make a difference because of the creation of multiple layers, but if I was to draw two lines at the same time I could play around with one heading clockwise and when heading counter clockwise, this is an interesting way to approach having different lines, particularly with having different speeds of line as well. -- Christopher Boote","artist_bio":"Born in 1911 in Chicago, Hy Hirsh worked all his life as a camera operator and a photographer in advertising. In 1937, he turned to avant-garde cinema and collaborated on a few projects as a comic actor and a camera operator in San Francisco. A friend of Belson's and Smith's, he counselled the two artists during their first experiments, and was inspired by them to create films of his own. In about a twelve year span, Hirsh made a large number of films, in the United States first, then in The Netherlands and finally in Paris, where he died in 1960 of a heart attack.\nHis disorderly life and his lack of interest in his own works make his filmography very difficult to compile. Many films have been lost, and any conjecture about the actual form of his surviving works is impossible, as some of them have been mutilated. Treating each show as a happening, Hirsh edited and re-edited his films according to the need, favouring live-music over soundtracks and, at times, choosing multivision. In short, he acted as a choreographer of cinema, refusiing to bring his films to completion. What is left shows a genial and uneasy jack-of-all-trades. Gifted with great visual and rhythmic sensitivity, vivacious taste and unrestrained vitality, Hirsh was probably too attracted by the novelty of the next experiment to complete the artistic themes he had just discovered.\nChasse de touches (The Chase of Brushstrokes)is a beautiful, elegant graphic game, marred only by a banal ending of fireworks. The film employs the same technique of drawing on dense oils used in the late 1940s by John Whitney. Come Closer is a festive, carnival-like three-dimensional experiment, best viewed with 3-D glasses, which is held together by a sure handed use of form and rhythm. Scratch Pad mixes graffiti on film stock and live-action, while Gyromorphosis frames the close-up of a metallic structure as a three-dimensional sculpture, and enriches it with superpositions [sic]. Autumn Spectrum is a ÔliquidÕ film, edited with live-action shots of water effects, reflections and waves; it is similar to Defense d'afficher (Post No Bills), a sequence of peeled off walls and pieces of old posters.\nHirsch's finest remaining work is Eneri (almost certainly made for 3-D), which recalls McLaren's Around is Around or Alexeieff's Fumees(Smoke, 1951); a complex film, it includes a brilliant use of the split-screen and a reappearance of Hirsch's fireworks theme (presented here in a figuratively coherent manner).","bio_dates":"b. 1973"},{"slug":"hirsh_hy_gyromorphosis_1954","ok":true,"partial":false,"title":"Gyromorphosis","artist":"Hy Hirsch","year":"1954","startOffset":0,"sourceSecs":402.432,"sourceHeight":576,"sourceWidth":766,"hasAudio":true,"hasAmbientMp4":true,"bytes":61240091,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirsh_hy_gyromorphosis_1954/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirsh_hy_gyromorphosis_1954/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirsh_hy_gyromorphosis_1954.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirsh_hy_gyromorphosis_1954/main.mp4?v=2","description":"The inherent kinetic qualities are brought into actuality in GYROMORPHOSIS, as seen in the construction-sculpture of Constant Nieuwenhuys of Amsterdam. To realize this aim I have put into motion, one by one, pieces of this sculpture and, with color lighting, filmed them in various detail, overlaying the images on the film as they appear and disappear. In this way I have hoped to produce sensations of acceleration and suspension which are suggested to me by the sculpture itself. - Hy Hirsh","artist_bio":"Born in 1911 in Chicago, Hy Hirsh worked all his life as a camera operator and a photographer in advertising. In 1937, he turned to avant-garde cinema and collaborated on a few projects as a comic actor and a camera operator in San Francisco. A friend of Belson's and Smith's, he counselled the two artists during their first experiments, and was inspired by them to create films of his own. In about a twelve year span, Hirsh made a large number of films, in the United States first, then in The Netherlands and finally in Paris, where he died in 1960 of a heart attack.\nHis disorderly life and his lack of interest in his own works make his filmography very difficult to compile. Many films have been lost, and any conjecture about the actual form of his surviving works is impossible, as some of them have been mutilated. Treating each show as a happening, Hirsh edited and re-edited his films according to the need, favouring live-music over soundtracks and, at times, choosing multivision. In short, he acted as a choreographer of cinema, refusiing to bring his films to completion. What is left shows a genial and uneasy jack-of-all-trades. Gifted with great visual and rhythmic sensitivity, vivacious taste and unrestrained vitality, Hirsh was probably too attracted by the novelty of the next experiment to complete the artistic themes he had just discovered.\nChasse de touches (The Chase of Brushstrokes)is a beautiful, elegant graphic game, marred only by a banal ending of fireworks. The film employs the same technique of drawing on dense oils used in the late 1940s by John Whitney. Come Closer is a festive, carnival-like three-dimensional experiment, best viewed with 3-D glasses, which is held together by a sure handed use of form and rhythm. Scratch Pad mixes graffiti on film stock and live-action, while Gyromorphosis frames the close-up of a metallic structure as a three-dimensional sculpture, and enriches it with superpositions [sic]. Autumn Spectrum is a ÔliquidÕ film, edited with live-action shots of water effects, reflections and waves; it is similar to Defense d'afficher (Post No Bills), a sequence of peeled off walls and pieces of old posters.\nHirsch's finest remaining work is Eneri (almost certainly made for 3-D), which recalls McLaren's Around is Around or Alexeieff's Fumees(Smoke, 1951); a complex film, it includes a brilliant use of the split-screen and a reappearance of Hirsch's fireworks theme (presented here in a figuratively coherent manner).","bio_dates":"b. 1973"},{"slug":"hirst_damien_a_couple_of_cannibals_eating_a_clown","ok":true,"partial":false,"title":"A Couple of Cannibals Eating a Clown (I Should Coco)","artist":"Damien Hirst","year":"1993","startOffset":0,"sourceSecs":1329.667,"sourceHeight":480,"sourceWidth":600,"hasAudio":true,"hasAmbientMp4":true,"bytes":223074790,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirst_damien_a_couple_of_cannibals_eating_a_clown/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hirst_damien_a_couple_of_cannibals_eating_a_clown/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hirst_damien_a_couple_of_cannibals_eating_a_clown.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hirst_damien_a_couple_of_cannibals_eating_a_clown/main.mp4?v=2","description":"Film by Angus Fairhurst and Damien Hirst. Filmed by Gregor Muir.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">Damien Hirst in UbuWeb Sound</a>","artist_bio":"A Couple of Cannibals Eating a Clown (I Should Coco) (1993)\nwith\nDamien Hirst\nAngus Fairhurst was born in Pembury, Kent. Having attended The Judd School between 1978 and 1985, he studied at Canterbury Art College 1985–1986, and graduated in 1989 in Fine Art at Goldsmiths College, where he was in the same year as Damien Hirst. In February 1988, Fairhurst organised a show of student work, which was a precursor to the Freeze show largely organised by Hirst in July 1988 with sixteen other students from Goldsmith, including Fairhurst. Fairhurst and Hirst became close friends and collaborated on many projects. Fairhurst was also for several years the partner and sometime-collaborator of Sarah Lucas.\nFairhurst's work was often characterised by visual distortion and practical jokes. In 1991, he did a piece in which he networked together the phones of leading contemporary art dealers in London so that they could only talk to each other – a witty and telling remark that the art world is often only interested in speaking to itself.\nHe worked in different media, including video, photography and painting, and is noted for sculptures of gorillas.\nAngus Fairhurst exhibited nationally and internationally after graduating from Goldsmiths. Exhibitions include Freeze and Some Went Mad and Some Ran Away, Brilliant! at the Walker Art Center and Apocalypse at the Royal Academy in 2001. A 2004 exhibition In-A-Gadda-Da-Vida, was held at the Tate Gallery with Hirst and Lucas.\n“Angus Fairhurst was always deprecating about his own talent, but he made some of the most engaging, witty and perceptive works of his generation and was an enormously influential friend of other British artists who came to prominence in the early nineties.”\nFairhurst exhibited at Sadie Coles HQ in London. On 29 March 2008, the final day of his third solo show at the gallery, he was found hanging from a tree in a remote Highland woodland near Bridge of Orchy in Scotland, having taken his own life. He is survived by his mother and brother.","bio_dates":"b. 1965"},{"slug":"hockney_david_a_bigger_splash","ok":true,"partial":false,"title":"A Bigger Splash","artist":"David Hockney","year":"1974","startOffset":0,"sourceSecs":6283.32,"sourceHeight":336,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":362227814,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hockney_david_a_bigger_splash/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hockney_david_a_bigger_splash/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hockney_david_a_bigger_splash.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hockney_david_a_bigger_splash/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hockney_david_a_bigger_splash/main/master.m3u8?v=2","hasMainHls":true,"description":"October 4, 1974<br/> At Film Festival: 'A Bigger Splash'<br/> By VINCENT CANBY, LAWRENCE VAN GELDER<br/> New York Times<br/><br/>\"\"\"A Bigger Splash,\" which was shown at the New York Film Festival last night, is a fiction film about David Hockney, one of the more successful and durable of the English pop artists to come out of the nineteen-sixties, in which Mr. Hockney and his friends play themselves in situations that may or may not have happened in life. <br><br> A note in the festival program draws a parallel between what Jack Hazan, the director-cameraman-producer of this film, is doing in \"A Bigger Splash\" and what Mr. Hockney's paintings do when the artist takes details from life, strips them to their essential lines and colors, then projects them into larger-than-life reality onto huge canvases. <br/><br/> Perhaps because most movie screens, including the one at Alice Tully Hall (where the film will be repeated tonight), are already larger than life, the effect of this fragmented, often self-conscious film is to make the subject seem sort of small and drab, a fact that is immediately denied whenever we are given a chance to look at the paintings themselves. <br/><br/> There is a kind of story line to the film, which, we're told, was three years in the making. It's about Mr. Hockney's inability to finish a painting when his lover for the last five years, another artist named Peter Schlesinger, walks out on him. His friends worry about him. They worry about a forthcoming show, and they worry about the décor of his house. \"It looks like a waiting room now,\" says Celia Birtwell, a beautiful young woman who looks a lot like Andy Warhol's Viva. Another friend says, \"When love goes wrong, it's more than two people suffer.\" <br/><br/> In these moments, there's a suggestion of the satire that is almost always evident in Mr. Hockney's paintings, but the film's Hockney-like gags are mostly blunt, as when Henry Geldzahler of the Metropolitan Museum of Art is \"discovered\" striking the pose in which Mr. Hockney once painted him. <br/><br/> The manner of making the film—in London, Geneva, California and New York, whenever the artist's schedule permitted—has as much to do with the non-content of the film as with its style. There are only the slightest traces of the outrageous self-promotion and put-on that once were so much a part of the pop scene. \"A Bigger Splash\" is unforgivably solemn, something that Andy Warhol and Paul Morrissey would never have allowed.</br></br>","artist_bio":"David Hockney, (born 9 July 1937) is an English painter, draughtsman, printmaker, stage designer and photographer, who is based in Bridlington, Yorkshire, although he also maintains a base in London. An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth century.","bio_dates":"1974"},{"slug":"hodell_ake_lagsniff_1965","ok":true,"partial":false,"title":"Lågsniff","artist":"Åke Hodell","year":"1965","startOffset":0,"sourceSecs":1176.171,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":75023878,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hodell_ake_lagsniff_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hodell_ake_lagsniff_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hodell_ake_lagsniff_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hodell_ake_lagsniff_1965/main.mp4?v=2","description":"Directed by: Åke Hodell and Per Wiklund<br/> Photo: Per Wiklund<br/> Performers: Åke Hodell, Torsten Ekbom, Bengt Emil Johnson, Leif Nylén, Sissi Nilsson and Elisabeth Nylén.<br/> Running time: 20 minutes.<br/><br/>This is one of the most essential DVD-releases of 2002, by the controversial Swedish text-sound poet Åke Hodell (1919-2000). \"Lågsniff\" is only screened once on Swedish television in 1965, and then creating such a stir that the film immediately was put into the dark vaults of SVT, where it has been hidden since. <br><br> Now the amazing visual recording of the event has been made available on DVD, 37 years after. <br/><br/> This experimental stageplay is a masterpiece in the use of live voices, (by fellow leading avantgardists of the time, Bengt-Emil Johnson, Leif Nylén a.o.) black and white cut ups and an innovative use of the camera. <br/><br/> Åke Hodell (April 30, 1919 - July 29, 2000, Stockholm, Sweden) was a Swedish fighter pilot, poet, author, text-sound composer, and artist. Son of author Björn Hodell and brother of actor Ulla Hodell. <br/><br/> Hodell was trained as a fighter pilot, but after a crash during practice July 17, 1941, he had to spend the next few years in hospital. This became a turning point and he became a dedicated antimilitarist. Lying in hospital he got to know author Gunnar Ekelöf and Hodell made his debut with Flyende Pilot in 1953. That same spring Hodell and Ekelöf travels to Rome. In his books, Hodell experiments with what he calls elektronismer, while he on stage and in radio in the early 60's works with text-sound composition. During this period he is also active at Pistolteatern in Stockholm. He also creates publisher Kerberos.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/hodell.html\" rel=\"noopener\" target=\"_blank\">Åke Hodell in UbuWeb Sound</a></br></br></br>","artist_bio":"Åke Hodell (April 30, 1919 - July 29, 2000, Stockholm, Sweden) was a Swedish fighter pilot, poet, author, text-sound composer, and artist. Son of author Björn Hodell and brother of actor Ulla Hodell.\nHodell was trained as a fighter pilot, but after a crash during practice July 17, 1941, he had to spend the next few years in hospital. This became a turning point and he became a dedicated antimilitarist. Lying in hospital he got to know author Gunnar Ekelöf and Hodell made his debut with Flyende Pilot in 1953. That same spring Hodell and Ekelöf travel to Rome. In his books, Hodell experiments with what he calls elektronismer, while he on stage and in radio in the early 60's works with text-sound composition. During this period he is also active at Pistolteatern in Stockholm. He also created publisher Kerberos.\nOne of his visual artworks, the piece \"220 Volt Buddha\", was use as the album cover of Swedish heavy metal band At the Gates' 1993 album With Fear I Kiss the Burning Darkness.","bio_dates":"1919-2000"},{"slug":"hoffman_abbie_jerry_rubin_the_great_debate_1986_iphone","ok":true,"partial":false,"title":"Yippie vs. Yuppie: The Great Debate (Abbie Hoffman and Jerry Rubin)","artist":"Abbie Hoffman","year":"1986","startOffset":0,"sourceSecs":4858.093,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":282437772,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hoffman_abbie_jerry_rubin_the_great_debate_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hoffman_abbie_jerry_rubin_the_great_debate_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hoffman_abbie_jerry_rubin_the_great_debate_1986_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hoffman_abbie_jerry_rubin_the_great_debate_1986_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hoffman_abbie_jerry_rubin_the_great_debate_1986_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Abbie Hoffman and Jerry Rubin were both on the leading edge of protest in the 1960's. Rubin became an entrepreneur and the chief spokesman for the Baby Boom generation. Hoffman remained active in environmental issues and grass roots politics, maintaining his anti-establishment stance until the end of his life.<br/> <br/> The 1986 debate featured in this one-hour video was the \"final\" debate for these two eloquent speakers, following 18 months of touring North America. Though many years had passed since their heyday as counterculture icons, thousands flocked to auditoriums to hear the opinions of Hoffman- idealistic, unrelenting champion for truth and justice- and Rubin- the pragmatic voice of the new right.<br/> <br/> *This was ripped from a DVD, but the DVD's original source was apparently a VHS tape. There is a slight video flicker at the bottom of the screen...I think you can see it in the screenshots...but this is rare footage, and definitely worth a watch.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/hoffman.html\" rel=\"noopener\" target=\"_blank\">Abbie Hoffman in UbuWeb Sound</a></br>","artist_bio":"Yippie vs. Yuppie: The Great Debate (Abbie Hoffman and Jerry Rubin)\n(1986)\nAbbot Howard \"Abbie\" Hoffman (November 30, 1936 – April 12, 1989) was a political and social activist who co-founded the Youth International Party (\"Yippies\").\nHoffman was arrested and tried for conspiracy and inciting to riot as a result of his role in protests that led to violent confrontations with police during the 1968 Democratic National Convention, along with Jerry Rubin, David Dellinger, Tom Hayden, Rennie Davis, John Froines, Lee Weiner and Bobby Seale. The group was known collectively as the \"Chicago Eight\"; when Seale's prosecution was separated from the others, they became known as the Chicago Seven. While the defendants were initially convicted of intent to incite a riot, the verdicts were overturned on appeal.\nHoffman came to prominence in the 1960s, and continued practicing his activism in the 1970s, and has remained a symbol of the youth rebellion of that era.","bio_dates":"1936-1989"},{"slug":"holler_carsten_jenny_iphone","ok":true,"partial":false,"title":"Jenny","artist":"Carsten Höller","year":"1992","startOffset":0,"sourceSecs":1193.599,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":72914730,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holler_carsten_jenny_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holler_carsten_jenny_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holler_carsten_jenny_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holler_carsten_jenny_iphone/main.mp4?v=2","description":"À travers l’ensemble de ses propositions, Carsten Höller décline une sorte de catalogue des sentiments et pulsions humaines : l’amour, le dévouement, l’amitié mais aussi l’égoïsme, l’envie, la cruauté. Sur la base ironique et brutale d’un des derniers tabous de notre société, l’infanticide, “Jenny” est le récit implacable de nos projections de meurtre et de sadisme à l’égard des enfants.\n\nC’est ici le projet d’un seul homme (interprété par l’artiste lui-même) qui consiste à poser des pièges, empoisonner, tromper ou noyer des innocents. Un geste qui peut aussi se lire comme un questionnement ouvert des principes scientifiques de reproduction, où l’enfant se définit comme un véhicule à travers le temps et l’espace des gênes de ses parents. Sous une forme fragmentaire, Carsten Höller dégage avec ce film sans dénouement une sorte de méthodologie froide et regarde l’essentiel de notre représentation de l’enfance, en bref un monde protégé, inaliénable et intouchable fondé sur une croyance commune du devenir de l’homme, de sa survie et de son progrès."},{"slug":"holler_carsten_one_minute_of_doubt","ok":true,"partial":false,"title":"One Minute of Doubt","artist":"Carsten Höller","year":"1999","startOffset":0,"sourceSecs":74.731,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":2664207,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holler_carsten_one_minute_of_doubt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holler_carsten_one_minute_of_doubt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holler_carsten_one_minute_of_doubt.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holler_carsten_one_minute_of_doubt/main.mp4?v=2","description":"In the short looping film “One Minute of Doubt,” a Mercedes-Benz wagon drives in circles with loudspeaker spreading doubts, until the tires are stolen. The film is projected on two screens, standing side by side from the 1999 work “Laboratory of Doubt.” “This was this mobile laboratory spreading doubt among the citizens, doubt about what we know, about the world we know,” said associate curator Gary Carrion-Murayari. ”He is using science to make sense about questions we don’t know the answers to.” <br/><br/> Critic Jessica Morgan writes that the piece is key to understanding the artist’s work. “Perhaps this is why we are yet to know what his work is really about. Quite possibly, Höller does not know either, but by embracing this idea of doubt—the most radical and the most impossible to realize—he has para- doxically brought into focus all that came before and all that comes after. As Höller has explained:“I am happy about this perplexity. I used to suppress it for a long time because it is associated with uneasiness, which is a totally wrong approach—one should rather try to disengage one from the other and come to appreciate perplexity for what it is. Doubt and its semantic cousin, perplexity, which are both equally important to me, are unsightly states of mind we’d rather keep under lock and key because we associate them with uneasiness, with a failure of values. But wouldn’t it be more accurate to claim the opposite, that certainty in the sense of brazen, untenable affirmation is much more pathetic? It is sim- ply its association with notions of well-being that gives affirmation its current status. What needs to be done is to sever the association between affirmation and well-being.”","artist_bio":"One of the great European documentarians, Nicolas Philibert began his education by studying philosophy and later worked as an assistant director with such filmmakers as Rene Allio and Alain Tanner. Philibert's ability to approach man with tenderness, directness and sensitivity appears in his film In the Land of the Deaf, an exploration of the world through the eyes of those born without the sense of hearing. In 1995 Philibert revisited the subject of museums--also explored in Louvre City--finding humanity and humor within these stately institutions. Animals and More Animals examines the zoological wing of France's Museum of Natural History, which had been closed for years, and brings to light its unusual treasures. Minimalist and exceedingly moving, Philibert's films have received awards in festivals and various events, but have also achieved a rare feat in France: box office success. Along with Cahiers du Cinema editor Jean Michel Frodon, Philibert joins us to discuss his unique work in nonfiction film.","bio_dates":"b. 1961"},{"slug":"holler_carsten_punktefilm","ok":true,"partial":false,"title":"Punktefilm","artist":"Carsten Höller","year":"1998","startOffset":0,"sourceSecs":230.635,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":4546250,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holler_carsten_punktefilm/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holler_carsten_punktefilm/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holler_carsten_punktefilm.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holler_carsten_punktefilm/main.mp4?v=2","description":"Carsten Höller plays equally enticing tricks with light. He has filmed Swedish folk dancers performing with lights attacked to their heads and joints and then digitally edited it so that only tiny planets of white light set against total blackness are left. The lights switch off one by one until only a single dot remains and then the entire process restarts and all the dots dance for us. The sillyness of traditional Nordic folk dancing has been transformed into the wonder of a performance of changing molecules by skilled subtraction and abstraction.","artist_bio":"One of the great European documentarians, Nicolas Philibert began his education by studying philosophy and later worked as an assistant director with such filmmakers as Rene Allio and Alain Tanner. Philibert's ability to approach man with tenderness, directness and sensitivity appears in his film In the Land of the Deaf, an exploration of the world through the eyes of those born without the sense of hearing. In 1995 Philibert revisited the subject of museums--also explored in Louvre City--finding humanity and humor within these stately institutions. Animals and More Animals examines the zoological wing of France's Museum of Natural History, which had been closed for years, and brings to light its unusual treasures. Minimalist and exceedingly moving, Philibert's films have received awards in festivals and various events, but have also achieved a rare feat in France: box office success. Along with Cahiers du Cinema editor Jean Michel Frodon, Philibert joins us to discuss his unique work in nonfiction film.","bio_dates":"b. 1961"},{"slug":"holmqvist_karl_im_with_you_in_rockland","ok":true,"partial":false,"title":"I'm With You In Rockland","artist":"Karl Holmqvist","year":"2005","startOffset":0,"sourceSecs":1503.851,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":45432330,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holmqvist_karl_im_with_you_in_rockland/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holmqvist_karl_im_with_you_in_rockland/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holmqvist_karl_im_with_you_in_rockland.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holmqvist_karl_im_with_you_in_rockland/main.mp4?v=2","description":"The work of Karl Holmqvist (b.1964) revolves around inter-human communication, experiments with language in all its aspects, and texts that he presents in printed as well as sonic form. In his performances and videos both the spoken and written word feature centrally. In his works Holmqvist often refers to other artists and figures extracted from popular culture, in particular to the world of rock and pop, as well as religion and politics. As a contemporary counterpart to Vito Acconci's historically important language based oeuvre that is being shown in parallel, Argos presents Holmqvist's 'I'm with you in Rockland', a video work that is exclusively composed of a black image with white subtitles, where the artist on the soundtrack navigates between extraneous quotes extracted from the media and pop culture. The text-based piece openly refers to Allen Ginsberg's well-known poem 'Howl' from 1955 (in which the third part has the same title) and adds elements from popular culture together in a way that closely relates to slam poetry. 'I'm With You in Rockland' stimulates, asking the viewer to take an active position; depending on the frame of reference of the recipient the words come across as alternately serious, funny, and moving.","artist_bio":"Karl Holmqvist is an artist that works mostly with text material, publications and readings. During the last years he has also made a number of performances on the tours and shows Make it Happen has arranged, he also used to be a member of Chihuahua.","bio_dates":"b. 1964"},{"slug":"holmqvist_karl_kurt_schwitters_all_the_single_ladies_25april2009_2","ok":true,"partial":false,"title":"All the Single Ladies","artist":"Karl Holmqvist","year":"1964","startOffset":0,"sourceSecs":874.36,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":57964910,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holmqvist_karl_kurt_schwitters_all_the_single_ladies_25april2009_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holmqvist_karl_kurt_schwitters_all_the_single_ladies_25april2009_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holmqvist_karl_kurt_schwitters_all_the_single_ladies_25april2009_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holmqvist_karl_kurt_schwitters_all_the_single_ladies_25april2009_2/main.mp4?v=2","description":"Private view, performance day on Hjertøya island and visit to Schwitters' Hütte: 25 April 2009<br><br><b>RESOURCES:</b> <br> <br> <a href=\"https://ubu.com/contemp/goldsmith/index.html\" rel=\"noopener\" target=\"_blank\">Karl Holmqvist in UbuWeb Contemporary</a> <br/> This UbuWeb resource is presented in partnership with <a href=\"http://www.electra-productions.com/\" rel=\"noopener\" target=\"_blank\">Electra</a></br></br>","artist_bio":"Karl Holmqvist is an artist that works mostly with text material, publications and readings. During the last years he has also made a number of performances on the tours and shows Make it Happen has arranged, he also used to be a member of Chihuahua.","bio_dates":"b. 1964"},{"slug":"holt_nancy_bob_with_books_roof_of_799_greenwich_st_new_york_1971","ok":true,"partial":false,"title":"Bob with Books: Roof of 799 Greenwich St., New York","artist":"Nancy Holt","year":"1971","startOffset":0,"sourceSecs":170.517,"sourceHeight":720,"sourceWidth":980,"hasAudio":true,"hasAmbientMp4":true,"bytes":76299944,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_bob_with_books_roof_of_799_greenwich_st_new_york_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_bob_with_books_roof_of_799_greenwich_st_new_york_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holt_nancy_bob_with_books_roof_of_799_greenwich_st_new_york_1971.mkv","hasFrames":true,"description":"A short silent film by Nancy Holt on her husband, artist Robert Smithson, two years before he passed away.","artist_bio":"Nancy Holt studied at Tufts University in Massachusetts. In the mid-60s, Holt helped introduce a post-minimalist sensibility to the field of sculpture. She used video for the first time in 1969 \"when Peter Campus rented a video camera and came over.\"\n\"\"There was a tremendous sense of discovery because it was so accessible and so Bob [Smithson] and I immediately did a work of art. We invited a large group of people over to our loft that night, including Richard Serra, Michael Heizer, Nancy Graves, and Keith Sonnier to see it. It was very unusual [to] discover a medium, make a work of art and show it in the same day. That broke the ice and gave me a sense of what it was about—what were film ideas and what were video ideas.\"\nHolt's early tapes, like her site-specific sculptures, explore the recorded experience of a particular time and place and the function of memory in perception. Holt's tapes twist the technical limits of video, calling attention to the medium's artificial nature, and maintaining a critical distance between public presentation and private reality.","bio_dates":"1938-2014"},{"slug":"holt_nancy_making_of_dark_star_park","ok":true,"partial":false,"title":"Art in the Public Eye: The Making of Dark Star Park","artist":"Nancy Holt","year":"1988","startOffset":0,"sourceSecs":1969.772,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":116992201,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_making_of_dark_star_park/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_making_of_dark_star_park/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holt_nancy_making_of_dark_star_park.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holt_nancy_making_of_dark_star_park/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holt_nancy_making_of_dark_star_park/main/master.m3u8?v=2","hasMainHls":true,"description":"1988, 33 min, color, sound<br/><br/> This piece documents the process behind the creation of Holt's major public art installation, Dark Star Park, in Arlington, Virginia. The park, which features giant concrete spheres and pipes, allows the visitor to reconsider the experience of space, earth and sky within an urban context. It also serves as a kind of contemporary Stonehenge: once a year, on August 1 at 9:30 am, the shadows of the objects exactly align with outlines on the ground. Interviews with the artist, the architects, engineers, contractors, and the public, among others, reveal Dark Star Park as both a public sculpture and a functioning park that reclaims a blighted urban environment.<br/><br/> Producer/Director: Nancy Holt. Editor: Julia Keydel. Camera: Peter M. Sears, Nancy Holt, James Dellon. Still Photography: Colleen Chartier. CMX Editor: Tom Crawford. Special Thanks: Thomas Parker, J.W. Kaempfer, Mark Wilkenson, Elmer Baker, David Pierce, John Beardsley, Gary Kirkbride, John Polk, Donald Thalacker, Chapel Hill Landscape Co., Geo-Hydro Inc., Paddock Pools, Inc., Urban Engineering & Associates, Inc., and the People in the Park...Steve Abeles, Heidi Boocock, Melissa Brinsfield, Fred Green, The Jaworski Children, Yvonne Sherron, Betty Stewart, Randy Swart, Jeff Thomas, Tracy Wilson, Arlington County Department of Community Affairs, Gallaudet College Audiovisual Department, New York University Tisch School of the Arts Film/Video Arts, Downtown Community TV [Electric Film], On-Line/Media Alliance, Standby at Matrix. -- <a href=\"http://www.eai.org/title.htm?id=11677\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Nancy Holt studied at Tufts University in Massachusetts. In the mid-60s, Holt helped introduce a post-minimalist sensibility to the field of sculpture. She used video for the first time in 1969 \"when Peter Campus rented a video camera and came over.\"\n\"\"There was a tremendous sense of discovery because it was so accessible and so Bob [Smithson] and I immediately did a work of art. We invited a large group of people over to our loft that night, including Richard Serra, Michael Heizer, Nancy Graves, and Keith Sonnier to see it. It was very unusual [to] discover a medium, make a work of art and show it in the same day. That broke the ice and gave me a sense of what it was about—what were film ideas and what were video ideas.\"\nHolt's early tapes, like her site-specific sculptures, explore the recorded experience of a particular time and place and the function of memory in perception. Holt's tapes twist the technical limits of video, calling attention to the medium's artificial nature, and maintaining a critical distance between public presentation and private reality.","bio_dates":"1938-2014"},{"slug":"holt_nancy_mangrove_ring_1971","ok":true,"partial":false,"title":"Mangrove Ring","artist":"Nancy Holt","year":"1971","startOffset":0,"sourceSecs":177.237,"sourceHeight":538,"sourceWidth":712,"hasAudio":true,"hasAmbientMp4":true,"bytes":28946501,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_mangrove_ring_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_mangrove_ring_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holt_nancy_mangrove_ring_1971.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holt_nancy_mangrove_ring_1971/main.mp4?v=2","description":"Film made by Nancy Holt on a sculpture made by her husband, artist Robert Smithson.","artist_bio":"Nancy Holt studied at Tufts University in Massachusetts. In the mid-60s, Holt helped introduce a post-minimalist sensibility to the field of sculpture. She used video for the first time in 1969 \"when Peter Campus rented a video camera and came over.\"\n\"\"There was a tremendous sense of discovery because it was so accessible and so Bob [Smithson] and I immediately did a work of art. We invited a large group of people over to our loft that night, including Richard Serra, Michael Heizer, Nancy Graves, and Keith Sonnier to see it. It was very unusual [to] discover a medium, make a work of art and show it in the same day. That broke the ice and gave me a sense of what it was about—what were film ideas and what were video ideas.\"\nHolt's early tapes, like her site-specific sculptures, explore the recorded experience of a particular time and place and the function of memory in perception. Holt's tapes twist the technical limits of video, calling attention to the medium's artificial nature, and maintaining a critical distance between public presentation and private reality.","bio_dates":"1938-2014"},{"slug":"holt_nancy_resolve","ok":true,"partial":false,"title":"Resolve","artist":"Nancy Holt","year":"1977","startOffset":0,"sourceSecs":4611.39,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":265664292,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_resolve/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_resolve/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holt_nancy_resolve.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holt_nancy_resolve/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holt_nancy_resolve/main/master.m3u8?v=2","hasMainHls":true,"description":"1977, 77 min, b&w, sound<br/><br/> Using multiple camera angles and minimal repetitions to modulate her friend David Wheeler's personal narrative of his battle with leukemia, Holt presents his physical illness as a site for metaphysical and aesthetic reflection. Holt's editing procedure both frees Wheeler's narrative and closes in on it, effectively projecting the personal into the conceptual.<br/><br/> With: Dennis Wheeler. Dennis Wheeler died November 8, 1977. A Production of Corday NYC. Copyright (c) 1977 Nancy Holt. Canadian Production: Dennis Wheeler. With Assistance From: Biomedical Department, University of British Columbia; Video Inn, Vancouver; Isis, Vancouver; Ardele Lister. Camera: Leigh Deering, Marian Penner-Bancroft, Susan Penner-Wheeler. Post Production: Carlota F. Schoolman, Michael H. Shamberg. Technical and Administrative Assistance: The Kitchen Center for Video and Music NYC; WGBH New Television Workshop, Boston; Castelli-Sonnabend Tapes and Films, NYC. Edited at the Facilities of the Television Laboratory at WNET/13, NYC. Associate Director: Terry Benson. Supervising Engineer: John J. Godfrey. Post Production Supervision: Chris Jorgensen. Videotape Editors: John J. Godfrey, Robert Pounds, Jr. Production Manager: Harriet Abraham. Coordinating Producer: Carol Brandenburg. Executive Producer: David Loxton. This Videotape was made possible by grants from: The National Endowment for the Arts, The New York State Council on the Arts, Canada Council, Beard's Fund. The Television Laboratory is supported by grants from The Rockefeller Foundation and The New York State Council on the Arts.<br/><br/> -- <a href=\"http://www.eai.org/title.htm?id=12572\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Nancy Holt studied at Tufts University in Massachusetts. In the mid-60s, Holt helped introduce a post-minimalist sensibility to the field of sculpture. She used video for the first time in 1969 \"when Peter Campus rented a video camera and came over.\"\n\"\"There was a tremendous sense of discovery because it was so accessible and so Bob [Smithson] and I immediately did a work of art. We invited a large group of people over to our loft that night, including Richard Serra, Michael Heizer, Nancy Graves, and Keith Sonnier to see it. It was very unusual [to] discover a medium, make a work of art and show it in the same day. That broke the ice and gave me a sense of what it was about—what were film ideas and what were video ideas.\"\nHolt's early tapes, like her site-specific sculptures, explore the recorded experience of a particular time and place and the function of memory in perception. Holt's tapes twist the technical limits of video, calling attention to the medium's artificial nature, and maintaining a critical distance between public presentation and private reality.","bio_dates":"1938-2014"},{"slug":"holt_nancy_the_making_of_amarillo_ramp_2013","ok":true,"partial":false,"title":"The Making of Amarillo Ramp","artist":"Nancy Holt","year":"1973/2013","startOffset":0,"sourceSecs":1912.789,"sourceHeight":526,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":320407143,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_the_making_of_amarillo_ramp_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_the_making_of_amarillo_ramp_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holt_nancy_the_making_of_amarillo_ramp_2013.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holt_nancy_the_making_of_amarillo_ramp_2013/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holt_nancy_the_making_of_amarillo_ramp_2013/main/master.m3u8?v=2","hasMainHls":true,"description":"The Making of Amarillo Ramp documents the construction of Robert Smithson's earthwork Amarillo Ramp. At age thirty-five, while photographing the site of the earthwork in progress, Smithson died in a small airplane accident, along with pilot Gale Ray Rogers and photographer Robert E. Curtin. After Smithson's passing, Nancy Holt, Richard Serra, and Tony Shafrazi completed Amarillo Ramp according to Smithson's specifications. This film documents the sounds and actions of the powerful machinery necessary to create an earthwork of this scale, while underscoring the human skill and personal relationships that were integral to the completion of the work. <br/><br/> Nancy Holt shot this film on site in 1973, however the film was not edited until 2013. The Making of Amarillo Ramp premiered at the opening of Robert Smithson in Texas, at the Dallas Museum of Art in November of 2013.","artist_bio":"Nancy Holt studied at Tufts University in Massachusetts. In the mid-60s, Holt helped introduce a post-minimalist sensibility to the field of sculpture. She used video for the first time in 1969 \"when Peter Campus rented a video camera and came over.\"\n\"\"There was a tremendous sense of discovery because it was so accessible and so Bob [Smithson] and I immediately did a work of art. We invited a large group of people over to our loft that night, including Richard Serra, Michael Heizer, Nancy Graves, and Keith Sonnier to see it. It was very unusual [to] discover a medium, make a work of art and show it in the same day. That broke the ice and gave me a sense of what it was about—what were film ideas and what were video ideas.\"\nHolt's early tapes, like her site-specific sculptures, explore the recorded experience of a particular time and place and the function of memory in perception. Holt's tapes twist the technical limits of video, calling attention to the medium's artificial nature, and maintaining a critical distance between public presentation and private reality.","bio_dates":"1938-2014"},{"slug":"holt_nancy_underscan_1973_74","ok":true,"partial":false,"title":"Underscan","artist":"Nancy Holt","year":"1974","startOffset":0,"sourceSecs":566.101,"sourceHeight":474,"sourceWidth":702,"hasAudio":true,"hasAmbientMp4":true,"bytes":102326249,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_underscan_1973_74/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_underscan_1973_74/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holt_nancy_underscan_1973_74.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holt_nancy_underscan_1973_74/main.mp4?v=2","description":"1974 | 00:09:20 | United States | English | B&W | Mono | 4:3 | Video <br/><br/> Holt's terrain is her Aunt Ethel's home in New Bedford, Massachusetts, presented in still images and excerpts from letters to the artist from her aunt. Holt pays particular attention to her aunt's poignant story of aging, altering the images by \"underscanning\" them—a technical process that compresses the edges of the video image—building an intrinsic limitation into the tape: the compression of time and personal history represented by the images and narrative. This process echoes Holt's reading, slightly distorting and compressing the information in the letters as she presents them.","artist_bio":"Nancy Holt studied at Tufts University in Massachusetts. In the mid-60s, Holt helped introduce a post-minimalist sensibility to the field of sculpture. She used video for the first time in 1969 \"when Peter Campus rented a video camera and came over.\"\n\"\"There was a tremendous sense of discovery because it was so accessible and so Bob [Smithson] and I immediately did a work of art. We invited a large group of people over to our loft that night, including Richard Serra, Michael Heizer, Nancy Graves, and Keith Sonnier to see it. It was very unusual [to] discover a medium, make a work of art and show it in the same day. That broke the ice and gave me a sense of what it was about—what were film ideas and what were video ideas.\"\nHolt's early tapes, like her site-specific sculptures, explore the recorded experience of a particular time and place and the function of memory in perception. Holt's tapes twist the technical limits of video, calling attention to the medium's artificial nature, and maintaining a critical distance between public presentation and private reality.","bio_dates":"1938-2014"},{"slug":"holt_nancy_utah_sequences_1970","ok":true,"partial":false,"title":"Utah Sequences","artist":"Nancy Holt","year":"1970","startOffset":0,"sourceSecs":566.042,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":226570707,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_utah_sequences_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/holt_nancy_utah_sequences_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/holt_nancy_utah_sequences_1970.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/holt_nancy_utah_sequences_1970/main.mp4?v=2","description":"Shot on 16 mm film, Utah Sequences shows Holt’s deep investigation of Utah’s landscape. Created six years before the completion of her landmark sculpture Sun Tunnels (1973–76), Holt’s earthwork situated in Utah’s west desert, this film explores the manmade and natural environment at Rozel Point on the north arm of Great Salt Lake. The film captures wood cabins, an amphibious vehicle, and remnants of oil drilling that have largely disappeared from the site today. By contrast, the tar-seeps and salt-encrusted pelicans so present in this film remain a constant at the site.","artist_bio":"Nancy Holt studied at Tufts University in Massachusetts. In the mid-60s, Holt helped introduce a post-minimalist sensibility to the field of sculpture. She used video for the first time in 1969 \"when Peter Campus rented a video camera and came over.\"\n\"\"There was a tremendous sense of discovery because it was so accessible and so Bob [Smithson] and I immediately did a work of art. We invited a large group of people over to our loft that night, including Richard Serra, Michael Heizer, Nancy Graves, and Keith Sonnier to see it. It was very unusual [to] discover a medium, make a work of art and show it in the same day. That broke the ice and gave me a sense of what it was about—what were film ideas and what were video ideas.\"\nHolt's early tapes, like her site-specific sculptures, explore the recorded experience of a particular time and place and the function of memory in perception. Holt's tapes twist the technical limits of video, calling attention to the medium's artificial nature, and maintaining a critical distance between public presentation and private reality.","bio_dates":"1938-2014"},{"slug":"home_stewart_baked_bean_junkie_gross_out_1986_iphone","ok":true,"partial":false,"title":"Baked Bean Junkie Gross Out","artist":"Stewart Home","year":"1986","startOffset":0,"sourceSecs":417.863,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":28630681,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_baked_bean_junkie_gross_out_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_baked_bean_junkie_gross_out_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_baked_bean_junkie_gross_out_1986_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_baked_bean_junkie_gross_out_1986_iphone/main.mp4?v=2","description":"The avant-garde art of boredom taken to new extremes back in 1986! A Neoist anti-classic! I performed for the camera and immediately after shooting I recorded the voice over in one take, sounding about as sincere as a snake oil salesman. Pete Horobin shot this and nearly all the edits are in camera because we didn't have free access to proper edit suites at the time and tried to minimise whatever time we paid for. Any visual edits we made to what we did were crashed between a domestic machine and the camera, cruder than editing Super 8, hence our preference for in camera editing - and not even a master of multi-tasking like me was able to perform and simultaneously do in camera editing. That said VHS film was cheaper to the superior looking 8mm celluloid and enabled us impoverished dole queue 'aesthetes' to shoot a lot more 'film'. As a result we didn't title this piece or much other material at the time, the titles and credits were added just before I put this up here, but the rest of the visuals are exactly as we left them 21 years ago. I didn't bother showing this anywhere at the time, but on reviewing it recently I realised I was making YouTube type shorts a couple of decades before most of you; it just looks different because we had clunky VHS cameras then, not digital... but the 'spirit' is the same. And please note the sacrifices I make for aesthetic effect; I even drink a can of Coke in this (well it looks like I did, but actually I poured the crud inside the can away and replaced it with water - couldn't have got away with that using a bottle). And dig the Wm Low baked bean tin, a supermarket that could be found around Scottish north east back in the eighties but that disappeared a decade or probably more ago...<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_i_wanna_die_in_the_tv_1986_iphone","ok":true,"partial":false,"title":"I Wanna Die In The TV","artist":"Stewart Home","year":"1986","startOffset":0,"sourceSecs":37.759,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":2371987,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_i_wanna_die_in_the_tv_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_i_wanna_die_in_the_tv_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_i_wanna_die_in_the_tv_1986_iphone.m4v","hasFrames":true,"description":"The screen is pure surface, it has no depth, and where there is no life there is no death..... The voices on the soundtrack belong to Stewart Home and Pete Horobin<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_no_pity_1993","ok":true,"partial":false,"title":"No Pity","artist":"Stewart Home","year":"1993","startOffset":0,"sourceSecs":253.355,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":33206498,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_no_pity_1993/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_no_pity_1993/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_no_pity_1993.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_no_pity_1993/main.mp4?v=2","description":"Promo video for short story collection \"No Pity\" by Stewart Home (AK Press 1993), made with Nick Abrahams and Mikey Tomkins and featuring music by Bloodsausage<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_red_london_1994","ok":true,"partial":false,"title":"Red London","artist":"Stewart Home","year":"1994","startOffset":0,"sourceSecs":420.437,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":76833550,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_red_london_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_red_london_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_red_london_1994.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_red_london_1994/main.mp4?v=2","description":"Promo for Stewart Home novel Red London made with Nick Abrahams and Mickey Tompkins in 1994. I hope to source a better quality version of this by accessing the master tape at some time, but for now you'll just have to live with this watchable but not perfect version digitised from a VHS copy.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_refuse_1988","ok":true,"partial":false,"title":"Refuse","artist":"Stewart Home","year":"1988","startOffset":0,"sourceSecs":273.984,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":49188211,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_refuse_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_refuse_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_refuse_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_refuse_1988/main.mp4?v=2","description":"By Stewart Home, Andy Hopton, Art In Ruins, Denise Hawrysio, Ed Baxter and Simon Dickason at Galleriet Läderfabriken Malmö, October-November 1988. Note the sound on this was played at volume on a tape loop throughout the show; the lighting was ambient and while this couldn't be captured on camera, video effects were used in an attempt to replicate this. Please note that the quality reflects both the video technology of when this was done (1988) and tape decay (the colours have faded considerably and there are other faults). It is presented here as a historical artifact to give something of the flavour of the site specific installation work I was doing in the eighties.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_screams_in_favour_of_de_sade_2002_iphone","ok":true,"partial":false,"title":"Screams In Favour Of De Sade","artist":"Stewart Home","year":"2002","startOffset":0,"sourceSecs":4420.224,"sourceHeight":320,"sourceWidth":390,"hasAudio":true,"hasAmbientMp4":true,"bytes":253584518,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_screams_in_favour_of_de_sade_2002_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_screams_in_favour_of_de_sade_2002_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_screams_in_favour_of_de_sade_2002_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_screams_in_favour_of_de_sade_2002_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_screams_in_favour_of_de_sade_2002_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"English language colour remake of Guy Debord's avant-garde classic from 1952. Like the original this film has no images, but whereas Debord's consisted of black with silence and white with dialogue in French, mine has black with silence and TV colour bars with dialogue in English. The original dialogue is translated and in a number of places also rewritten. However, while Debord had five voices reading his script, I have one voice with an additional spoken indication of which voice is speaking. <br/><br/> The periods of blackness and silence in Debord's film are strictly adhered to, with the final twenty four minutes being entirely black and silent. Although Debord never explained his original film in this way, I believe his intention was to transform cinema in theatre, turning the audience into actors rather than treating them as passive spectators. If this is the case, then it should matter little to viewers whether they watch Debord's original or my remake, what's important is what happens amongst the audience, not what is on screen (which in a classical gesture of avant-garde iconoclasm is essentially nothing). For more info please see: <a href=\"http://www.stewarthomesociety.org\" rel=\"noopener\" target=\"_blank\">Home's site.</a><br><br><b>RESOURCES:</b><br> <br> <a href=\"https://ubu.com/film/debord.html\" rel=\"noopener\" target=\"_blank\">Guy Debord, UbuWeb Film</a> <br/> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_the_art_strike_1990_1993_2004","ok":true,"partial":false,"title":"The Art Strike, 1990-1993","artist":"Stewart Home","year":"2004","startOffset":0,"sourceSecs":2176.64,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":373006812,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_the_art_strike_1990_1993_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_the_art_strike_1990_1993_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_the_art_strike_1990_1993_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_the_art_strike_1990_1993_2004/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_the_art_strike_1990_1993_2004/main/master.m3u8?v=2","hasMainHls":true,"description":"Stewart Home in Tom McCarthy's studio, London, 2004 <br/> <a href=\"http://www.stewarthomesociety.org/artstrik.htm\" rel=\"noopener\" target=\"_blank\">The Art Strike Papers</a> The Art Strike Papers is a substantial collection of material produced in response to the Art Strike 1990-93. It is made up entirely of pieces which have appeared since the publication of The Art Strike Handbook in April 1989. <a href=\"http://www.stewarthomesociety.org/sp/postas.htm\" rel=\"noopener\" target=\"_blank\">Assessing The Art Strike</a> Stewart Home on the Art Strike after the Art Strike. Notes for lecture at Victoria and Albert Museum 30 January 1993.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_the_eclipse_and_reemergence_of_the_oedipus_complex_2004_iphone","ok":true,"partial":false,"title":"The Eclipse & Re-Emergence of the Oedipus Complex","artist":"Stewart Home","year":"2004","startOffset":0,"sourceSecs":2509.549,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":131870099,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_the_eclipse_and_reemergence_of_the_oedipus_complex_2004_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_the_eclipse_and_reemergence_of_the_oedipus_complex_2004_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_the_eclipse_and_reemergence_of_the_oedipus_complex_2004_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_the_eclipse_and_reemergence_of_the_oedipus_complex_2004_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_the_eclipse_and_reemergence_of_the_oedipus_complex_2004_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Colour & b/w, 41 mins, 2004. This was made while Stewart was in Melbourne as visiting artist at the Victorian College of the Arts in May 04. In the movie avant-garde techniques and the avant-garde obsession with death interweave with reflections on the life and death of his mother Julia Callan-Thompson. Images of his mum working as a fashion model and club hostess during the sixties are cut against an at times deliberately dissociated soundtrack that uses stories about her to explore the limits of documentary cinema. This is simultaneously an expression of love and loss and an attempt to draw out the ways in which the avant-garde Lettrist cinema of the early fifties in France was commercialised in the later work of Godard, Marker and Resnais. For more info about Stewart Home please see: <a href=\"http://www.stewarthomesociety.org\" rel=\"noopener\" target=\"_blank\">Home's site</a>. For more info about Stewart Home's Australian tour, see <a href=\"http://www.ledatape.net/pages/lfs\" rel=\"noopener\" target=\"_blank\">ledatape.net</a>.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_the_eighties_1986","ok":true,"partial":false,"title":"The Eighties","artist":"Stewart Home","year":"1986","startOffset":0,"sourceSecs":225.387,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":14741748,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_the_eighties_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_the_eighties_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_the_eighties_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_the_eighties_1986/main.mp4?v=2","description":"This is an edit of a durational piece made in May 1986 which originally lasted one hour and only had incidental ambient noise on the soundtrack. It is more hardcore 'art' as it was originally made but this is the YouTube generation recut 21 years down the line. Other hour long durational pieces made in the eighties include a fabulous video of Pete Horobin and I taking afternoon tea that begins with a five minute static shot of the table before we sit down at it. We really knew how to make fun films back then... I love them, but YouTube doesn't carry hour long works, so you got this instead. My song on the soundtrack was also composed in the eighties, although this particular version was recorded in the nineties. But this static record of my head being shaved from a curly mop sums up the eighties for me. Immediately prior to this a friend in Hackney used to do my hair for me, and she also worked on Mel & Kim's barnets (so I met them a couple of times before they were famous when I headed down to Shakespeare Walk to get my hair cut)... - and since I first put this up I have been getting a lot of comments about how much Britney Spears looks like me (don't forget I did this 20 years before her...)<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_turn_on_tune_in_freak_out_1989","ok":true,"partial":false,"title":"Turn On, Tune In, Freak Out","artist":"Stewart Home","year":"1989","startOffset":0,"sourceSecs":753.024,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":131546961,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_turn_on_tune_in_freak_out_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_turn_on_tune_in_freak_out_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_turn_on_tune_in_freak_out_1989.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_turn_on_tune_in_freak_out_1989/main.mp4?v=2","description":"Made With Neil Aberdeen, featuring Stefan Szczelkun, Gabrielle Quinn, Dick Arlen.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_tv_freak_1986_iphone","ok":true,"partial":false,"title":"TV Freak","artist":"Stewart Home","year":"1986","startOffset":0,"sourceSecs":121.27,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":3466311,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_tv_freak_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_tv_freak_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_tv_freak_1986_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_tv_freak_1986_iphone/main.mp4?v=2","description":"Another oldie but goldie video piece from May 1986, but this is the length I always intended it to be. Looks just about perfect to me now I've added the titles, which I didn't manage at the time I made it 21 years ago.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"home_stewart_ut_pictura_poesis_1997","ok":true,"partial":false,"title":"Ut Pictura Poesis","artist":"Stewart Home","year":"1997","startOffset":0,"sourceSecs":67.093,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":1270268,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_ut_pictura_poesis_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/home_stewart_ut_pictura_poesis_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/home_stewart_ut_pictura_poesis_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_ut_pictura_poesis_1997/main.mp4?v=2","description":"This was made as part of the Arts Council funded Blipvert Project in 1997, so it was one of six commissioned pieces cut into the ads at independent cinemas and was seen in that context by an audience of something like three quarters of a million people. It was shot at 50 Beck Road in Hackney (since I appear in it, Nick Abrahams was operating the camera) and edited at Artec at Highbury Corner. It was intended for cinema screening and the \"alienation effect\" that is integral to it doesn't work outside that context, so it is placed here as a curiousity. This was an attempt to distill the lettrist cinematic experiments of the early 1950s (and in particular the feature length pieces \"Has The Film Already Started\", \"Anti-Concept\" and \"Screams In Favour Of De Sade\") into 45 seconds. Proletarian post-modernism lives on...<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/home.html\" rel=\"noopener\" target=\"_blank\">Stewart Home on UbuWeb Sound</a></br>","artist_bio":"Going back in time, the first film I ever made was with a guy called Chris Wilson in the early eighties. It was called\nWet Dream\nand features me writhing about in a chair. Chris had one of those old Polaroid video cameras and he used to get a lot of young men round to his flat in Hampstead where he'd film them. I then did a few films with the Scottish artist Pete Horobin. I think the first was\nTower Bridge Exchange\n. In this three minute short I was doing super 8 camera work as well as appearing in footage. I then shot a twenty minute silent super 8 film of Pete Horobin pushing a pram - with a rubber rooster on the front and his camping gear inside where the baby should have been - around the Highlands of Scotland, which was called\nPram 84\n. There were various other deliberately unpleasant shorts in the late-eighties including\nRefuse\nand\nTurn On, Tune In, Freak Out\nboth made with Neil Aberdeen and with the latter incorporating genuine suicide footage. In the mid-nineties I was doing stuff with pop video makers Nick Abrahams and Mikey Thompson. We did promos for some of my books in pop video format including the AK Press titles\nNo Pity\nand\nRed London\n. In these I would appear in skinhead drag doing stuff like sucking yoghurt off the toes of an 'Asian babe', or eating whipped cream out of the armpit of a 'rock chick'. In the late nineties I also made stuff like\nUt Pictura Poesis\n, a forty-five second short that attempted to do in condensed fashion what I felt Debord set out to achieve with his first feature film Screams In Favour Of De Sade. I appear in this 'blipvert' dressed in boxing gloves and a skirt and attempt to make the audience extremely self-conscious; the film concludes with the slogan - \"long live revolutionary communism, long live the hermaphrodite international\". This got shown alongside the advertisements at independent cinemas in the UK in the late nineties. I understand it was seen by about half-a-million people. -- Stewart Home\nStewart Home (born 1962) is an English artist, filmmaker, writer, pamphleteer, art historian, and activist. He is best known for his novels such as the non-narrative\n69 Things To Do With A Dead Princess\n(2002), his re-imagining of the 1960s in\nTainted Love\n(2005), and earlier parodistic pulp fictions\nPure Mania, Red London, No Pity, Cunt,\nand\nDefiant Pose\nthat pastiche the work of 1970s British skinhead pulp novel writer Richard Allen and combine it with pornography, political agit-prop, and historical references to punk rock and avant-garde art. -- Wikipedia","bio_dates":"b. 1962"},{"slug":"homme_centre_l_univers_1978_feneri_bucure_ti_rom_nia_1978","ok":true,"partial":false,"title":"\"Homme centre l'univers\"","artist":"Ion Grigorescu","year":"1978","startOffset":0,"sourceSecs":360.24,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":64348178,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/homme_centre_l_univers_1978_feneri_bucure_ti_rom_nia_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/homme_centre_l_univers_1978_feneri_bucure_ti_rom_nia_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/homme_centre_l_univers_1978_feneri_bucure_ti_rom_nia_1978.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/homme_centre_l_univers_1978_feneri_bucure_ti_rom_nia_1978/main.mp4?v=2"},{"slug":"hopf_judith_geene_stephan_bei_mir_zu_dir_2002","ok":true,"partial":false,"title":"Bei mir zu dir (TV low Dunkel)","artist":"Judith Hopf, Stephan Geene","year":"2002","startOffset":0,"sourceSecs":1067.24,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":182692297,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopf_judith_geene_stephan_bei_mir_zu_dir_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopf_judith_geene_stephan_bei_mir_zu_dir_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hopf_judith_geene_stephan_bei_mir_zu_dir_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopf_judith_geene_stephan_bei_mir_zu_dir_2002/main.mp4?v=2","description":"A sailing boat is cruising into the wind. The camera detaches itself from the scenery to enlarge the field of vision and pans over a suburb tinged in faded light: a still life of white fences, all absolutely identical, little green lawns and red gabled roofs ~~ just as much models as the miniature schooner. The tranquil progress of the camera over the raster of stereotyped detached and terrace houses presents an artificial idyll dominated by exclusions and norms. Life is only lived here on the soundtrack: wind, bird calls, the sound of a motor muttering in the distance, the noise made by a piece of wheeled luggage being dragged, then a telephone interminably ringing. An answering machine comes into play. An insurance broker asks to be called back in order to dscuss 'Ms Schnitt's' old-age provisions ~~ only to make a point of reminding her that a ballpoint pen must be returned. The unsure voice off switches the situation to absurdity: the writing utensil has become a fetish seemingly linked to identity and power. In the meantime the camera eye lights on a terrace door opening into a living room and focuses on a painting: Jan Vermeer's 'A Girl Asleep' (1657). The picture, which looks bacchantic indeed in these dead surroundings, exposes the normed, typical notions of life for what they are: cliché-ridden and phantasmagorical alike and succinctly closes the circle leading to the opening sequence.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"hopinka_sky_anti_objects_or_space_without_path_or_boundary_2017","ok":true,"partial":false,"title":"Anti-Objects, Or Space Without Path Or Boundary","artist":"Sky Hopinka","year":"2017","startOffset":0,"sourceSecs":784.96,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":328803676,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_anti_objects_or_space_without_path_or_boundary_2017/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_anti_objects_or_space_without_path_or_boundary_2017/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hopinka_sky_anti_objects_or_space_without_path_or_boundary_2017.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopinka_sky_anti_objects_or_space_without_path_or_boundary_2017/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopinka_sky_anti_objects_or_space_without_path_or_boundary_2017/main/master.m3u8?v=2","hasMainHls":true,"description":"The title of this video, taken from the texts of the architect Kengo Kuma, suggests a way of looking at everything as “interconnected and intertwined” – such as the historical and the present and the tool and the artifact. Images and representations of two structures in the Portland Metropolitan Area that have direct and complicated connections to the Chinookan people who inhabit(ed) the land are woven with audio tapes of one of the last speakers of chinuk wawa, the Chinookan creole. These localities of matter resist their reduction into objects, and call anew for space and time given to wandering as a deliberate act, and the empowerment of shared utility.","artist_bio":"\"I've always known who I was. It’s always been a part of my life,” says Sky Hopinka, a Ho-Chunk artist and filmmaker. A descendent of the Pechanga Band of Luiseño Native Americans, Hopinka, who was born in Ferndale, Washington, completed his undergraduate studies at Portland State University (PSU), where he first became interested in documentary cinema. His early films, operating in a more traditional vérité style, exhibit an abiding interest in Indigenous language revitalization and a commitment to cultural heritage. These initial forays into filmmaking, he says, were reactions of a sort to issues of the cinematic representation of Native Americans—projects undertaken to “feel like we had control over what we were doing and the films we were making.”\nAfter a few years teaching Indigenous languages at PSU—with a focus on the Pacific Northwest–derived Chinuk Wawa tongue—Hopinka relocated in 2013 to Milwaukee, Wisconsin, homeland of the Ho-Chunk Nation, where he enrolled in a graduate program for experimental film at the University of Wisconsin-Milwaukee. His first brush with experimental cinema was a revelation. Realizing he could more uniquely express the nuances of endangered languages through forms unrelated to conventional modes of nonfiction filmmaking, he began to apply new techniques and explore a whole new lineage of moving image art. (He cites Basma Alsharif, Peter Rose and James Benning as touchstones). In essence, Hopinka explains, experimental cinema allowed him to freely combine his teaching and filmmaking practices: “Deconstructing language [through cinema] is a way for me to be free from the dogma of traditional storytelling and then, from there, to explore or propose more of what Indigenous cinema has the possibility to look like.”\nThe result has been some of the most striking, thought-provoking and intricately assembled video works of recent years. In wawa (2014) and Anti-Objects, or Space Without Path or Boundary (2017), Hopinka explores the linguistic variances of Chinook Wawa through a combination of video interviews, audio recordings and carefully counterpointed subtitle tracks that convey the contradictions at the very heart of communication and translation. (“Nothing is equivocal, nothing translates correctly,” Hopinka says.) Language and its fundamental relationship to landscape informs the lion’s share of Hopinka’s recent work, including Jáaji Approx. (2015), a beguiling travelogue in which the filmmaker’s father recounts his experiences on the American powwow circuit; Visions of an Island (2016), an elegant portrait of St. Paul’s Island and its native Aleut dialect; and his latest, Fainting Spells (2018), a feverish epistolary narrative framed around the supposed healing powers of the Indian Pipe Plant. With finishing funds provided by Sundance and a postproduction fellowship from Harvard’s Radcliffe Institute, Hopinka spent the summer shooting his first feature, which he describes as a kind of hybrid film. Set in the Columbia River Basin, where he shot his first short back in 2010, and spoken entirely in Chinuk Wawa, it should also prove to be a homecoming. — Jordan Cronk","bio_dates":"b. 1984"},{"slug":"hopinka_sky_come_all_and_let_us_speak_2015","ok":true,"partial":false,"title":"Come All And Let Us Speak","artist":"Sky Hopinka","year":"2015","startOffset":0,"sourceSecs":643.264,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":265470154,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_come_all_and_let_us_speak_2015/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_come_all_and_let_us_speak_2015/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hopinka_sky_come_all_and_let_us_speak_2015.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopinka_sky_come_all_and_let_us_speak_2015/main.mp4?v=2","description":"A group of students and teachers gather in an historical mansion in the woods of West Virginia for a week-long retreat in spoken Latin. I observe and I participate while navigating the errata with my camera.","artist_bio":"\"I've always known who I was. It’s always been a part of my life,” says Sky Hopinka, a Ho-Chunk artist and filmmaker. A descendent of the Pechanga Band of Luiseño Native Americans, Hopinka, who was born in Ferndale, Washington, completed his undergraduate studies at Portland State University (PSU), where he first became interested in documentary cinema. His early films, operating in a more traditional vérité style, exhibit an abiding interest in Indigenous language revitalization and a commitment to cultural heritage. These initial forays into filmmaking, he says, were reactions of a sort to issues of the cinematic representation of Native Americans—projects undertaken to “feel like we had control over what we were doing and the films we were making.”\nAfter a few years teaching Indigenous languages at PSU—with a focus on the Pacific Northwest–derived Chinuk Wawa tongue—Hopinka relocated in 2013 to Milwaukee, Wisconsin, homeland of the Ho-Chunk Nation, where he enrolled in a graduate program for experimental film at the University of Wisconsin-Milwaukee. His first brush with experimental cinema was a revelation. Realizing he could more uniquely express the nuances of endangered languages through forms unrelated to conventional modes of nonfiction filmmaking, he began to apply new techniques and explore a whole new lineage of moving image art. (He cites Basma Alsharif, Peter Rose and James Benning as touchstones). In essence, Hopinka explains, experimental cinema allowed him to freely combine his teaching and filmmaking practices: “Deconstructing language [through cinema] is a way for me to be free from the dogma of traditional storytelling and then, from there, to explore or propose more of what Indigenous cinema has the possibility to look like.”\nThe result has been some of the most striking, thought-provoking and intricately assembled video works of recent years. In wawa (2014) and Anti-Objects, or Space Without Path or Boundary (2017), Hopinka explores the linguistic variances of Chinook Wawa through a combination of video interviews, audio recordings and carefully counterpointed subtitle tracks that convey the contradictions at the very heart of communication and translation. (“Nothing is equivocal, nothing translates correctly,” Hopinka says.) Language and its fundamental relationship to landscape informs the lion’s share of Hopinka’s recent work, including Jáaji Approx. (2015), a beguiling travelogue in which the filmmaker’s father recounts his experiences on the American powwow circuit; Visions of an Island (2016), an elegant portrait of St. Paul’s Island and its native Aleut dialect; and his latest, Fainting Spells (2018), a feverish epistolary narrative framed around the supposed healing powers of the Indian Pipe Plant. With finishing funds provided by Sundance and a postproduction fellowship from Harvard’s Radcliffe Institute, Hopinka spent the summer shooting his first feature, which he describes as a kind of hybrid film. Set in the Columbia River Basin, where he shot his first short back in 2010, and spoken entirely in Chinuk Wawa, it should also prove to be a homecoming. — Jordan Cronk","bio_dates":"b. 1984"},{"slug":"hopinka_sky_dislocation_blues_2017","ok":true,"partial":false,"title":"Dislocation Blues","artist":"Sky Hopinka","year":"2017","startOffset":0,"sourceSecs":1017.066,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":419619843,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_dislocation_blues_2017/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_dislocation_blues_2017/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hopinka_sky_dislocation_blues_2017.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopinka_sky_dislocation_blues_2017/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopinka_sky_dislocation_blues_2017/main/master.m3u8?v=2","hasMainHls":true,"description":"Filmed during the 2016 Standing Rock protests in South Dakota, Sky Hopinka's Dislocation Blues offers a portrait of the movement and its water protectors, refuting grand narratives and myth-making in favour of individual testimonials.","artist_bio":"\"I've always known who I was. It’s always been a part of my life,” says Sky Hopinka, a Ho-Chunk artist and filmmaker. A descendent of the Pechanga Band of Luiseño Native Americans, Hopinka, who was born in Ferndale, Washington, completed his undergraduate studies at Portland State University (PSU), where he first became interested in documentary cinema. His early films, operating in a more traditional vérité style, exhibit an abiding interest in Indigenous language revitalization and a commitment to cultural heritage. These initial forays into filmmaking, he says, were reactions of a sort to issues of the cinematic representation of Native Americans—projects undertaken to “feel like we had control over what we were doing and the films we were making.”\nAfter a few years teaching Indigenous languages at PSU—with a focus on the Pacific Northwest–derived Chinuk Wawa tongue—Hopinka relocated in 2013 to Milwaukee, Wisconsin, homeland of the Ho-Chunk Nation, where he enrolled in a graduate program for experimental film at the University of Wisconsin-Milwaukee. His first brush with experimental cinema was a revelation. Realizing he could more uniquely express the nuances of endangered languages through forms unrelated to conventional modes of nonfiction filmmaking, he began to apply new techniques and explore a whole new lineage of moving image art. (He cites Basma Alsharif, Peter Rose and James Benning as touchstones). In essence, Hopinka explains, experimental cinema allowed him to freely combine his teaching and filmmaking practices: “Deconstructing language [through cinema] is a way for me to be free from the dogma of traditional storytelling and then, from there, to explore or propose more of what Indigenous cinema has the possibility to look like.”\nThe result has been some of the most striking, thought-provoking and intricately assembled video works of recent years. In wawa (2014) and Anti-Objects, or Space Without Path or Boundary (2017), Hopinka explores the linguistic variances of Chinook Wawa through a combination of video interviews, audio recordings and carefully counterpointed subtitle tracks that convey the contradictions at the very heart of communication and translation. (“Nothing is equivocal, nothing translates correctly,” Hopinka says.) Language and its fundamental relationship to landscape informs the lion’s share of Hopinka’s recent work, including Jáaji Approx. (2015), a beguiling travelogue in which the filmmaker’s father recounts his experiences on the American powwow circuit; Visions of an Island (2016), an elegant portrait of St. Paul’s Island and its native Aleut dialect; and his latest, Fainting Spells (2018), a feverish epistolary narrative framed around the supposed healing powers of the Indian Pipe Plant. With finishing funds provided by Sundance and a postproduction fellowship from Harvard’s Radcliffe Institute, Hopinka spent the summer shooting his first feature, which he describes as a kind of hybrid film. Set in the Columbia River Basin, where he shot his first short back in 2010, and spoken entirely in Chinuk Wawa, it should also prove to be a homecoming. — Jordan Cronk","bio_dates":"b. 1984"},{"slug":"hopinka_sky_fainting_spells_2018","ok":true,"partial":false,"title":"Fainting Spells","artist":"Sky Hopinka","year":"2018","startOffset":0,"sourceSecs":645.013,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":260147929,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_fainting_spells_2018/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_fainting_spells_2018/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hopinka_sky_fainting_spells_2018.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopinka_sky_fainting_spells_2018/main.mp4?v=2","description":"Told through recollections of youth, learning, lore, and departure, this is an imagined myth for the Xąwįska, or the Indian Pipe Plant - used by the Ho-Chunk to revive those who have fainted.","artist_bio":"\"I've always known who I was. It’s always been a part of my life,” says Sky Hopinka, a Ho-Chunk artist and filmmaker. A descendent of the Pechanga Band of Luiseño Native Americans, Hopinka, who was born in Ferndale, Washington, completed his undergraduate studies at Portland State University (PSU), where he first became interested in documentary cinema. His early films, operating in a more traditional vérité style, exhibit an abiding interest in Indigenous language revitalization and a commitment to cultural heritage. These initial forays into filmmaking, he says, were reactions of a sort to issues of the cinematic representation of Native Americans—projects undertaken to “feel like we had control over what we were doing and the films we were making.”\nAfter a few years teaching Indigenous languages at PSU—with a focus on the Pacific Northwest–derived Chinuk Wawa tongue—Hopinka relocated in 2013 to Milwaukee, Wisconsin, homeland of the Ho-Chunk Nation, where he enrolled in a graduate program for experimental film at the University of Wisconsin-Milwaukee. His first brush with experimental cinema was a revelation. Realizing he could more uniquely express the nuances of endangered languages through forms unrelated to conventional modes of nonfiction filmmaking, he began to apply new techniques and explore a whole new lineage of moving image art. (He cites Basma Alsharif, Peter Rose and James Benning as touchstones). In essence, Hopinka explains, experimental cinema allowed him to freely combine his teaching and filmmaking practices: “Deconstructing language [through cinema] is a way for me to be free from the dogma of traditional storytelling and then, from there, to explore or propose more of what Indigenous cinema has the possibility to look like.”\nThe result has been some of the most striking, thought-provoking and intricately assembled video works of recent years. In wawa (2014) and Anti-Objects, or Space Without Path or Boundary (2017), Hopinka explores the linguistic variances of Chinook Wawa through a combination of video interviews, audio recordings and carefully counterpointed subtitle tracks that convey the contradictions at the very heart of communication and translation. (“Nothing is equivocal, nothing translates correctly,” Hopinka says.) Language and its fundamental relationship to landscape informs the lion’s share of Hopinka’s recent work, including Jáaji Approx. (2015), a beguiling travelogue in which the filmmaker’s father recounts his experiences on the American powwow circuit; Visions of an Island (2016), an elegant portrait of St. Paul’s Island and its native Aleut dialect; and his latest, Fainting Spells (2018), a feverish epistolary narrative framed around the supposed healing powers of the Indian Pipe Plant. With finishing funds provided by Sundance and a postproduction fellowship from Harvard’s Radcliffe Institute, Hopinka spent the summer shooting his first feature, which he describes as a kind of hybrid film. Set in the Columbia River Basin, where he shot his first short back in 2010, and spoken entirely in Chinuk Wawa, it should also prove to be a homecoming. — Jordan Cronk","bio_dates":"b. 1984"},{"slug":"hopinka_sky_visions_of_an_island","ok":true,"partial":false,"title":"Visions of an Island","artist":"Sky Hopinka","year":"2016","startOffset":0,"sourceSecs":902.868,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":365823381,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_visions_of_an_island/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_visions_of_an_island/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hopinka_sky_visions_of_an_island.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopinka_sky_visions_of_an_island/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopinka_sky_visions_of_an_island/main/master.m3u8?v=2","hasMainHls":true,"description":"Hopinka’s video is a meaningful introduction to the series, not least because of its poetic treatment of the relationship between geography, language, and culture. In the work, an Unangam Tunuu elder describes cliffs and summits, drifting birds, and deserted shores in the traditional language of his Aleutian ancestors. Intermixed throughout, a group of students and teachers play and invent games in efforts to revitalize their language, while a visitor wanders the landscape and chronicles both its earthly and its celestial qualities. Woven together to form a tapestry of different visions, these loosely constructed narratives offer glimpses of an island in the center of the Bering Sea, and of evolving relationships between the people, land, and sea.","artist_bio":"\"I've always known who I was. It’s always been a part of my life,” says Sky Hopinka, a Ho-Chunk artist and filmmaker. A descendent of the Pechanga Band of Luiseño Native Americans, Hopinka, who was born in Ferndale, Washington, completed his undergraduate studies at Portland State University (PSU), where he first became interested in documentary cinema. His early films, operating in a more traditional vérité style, exhibit an abiding interest in Indigenous language revitalization and a commitment to cultural heritage. These initial forays into filmmaking, he says, were reactions of a sort to issues of the cinematic representation of Native Americans—projects undertaken to “feel like we had control over what we were doing and the films we were making.”\nAfter a few years teaching Indigenous languages at PSU—with a focus on the Pacific Northwest–derived Chinuk Wawa tongue—Hopinka relocated in 2013 to Milwaukee, Wisconsin, homeland of the Ho-Chunk Nation, where he enrolled in a graduate program for experimental film at the University of Wisconsin-Milwaukee. His first brush with experimental cinema was a revelation. Realizing he could more uniquely express the nuances of endangered languages through forms unrelated to conventional modes of nonfiction filmmaking, he began to apply new techniques and explore a whole new lineage of moving image art. (He cites Basma Alsharif, Peter Rose and James Benning as touchstones). In essence, Hopinka explains, experimental cinema allowed him to freely combine his teaching and filmmaking practices: “Deconstructing language [through cinema] is a way for me to be free from the dogma of traditional storytelling and then, from there, to explore or propose more of what Indigenous cinema has the possibility to look like.”\nThe result has been some of the most striking, thought-provoking and intricately assembled video works of recent years. In wawa (2014) and Anti-Objects, or Space Without Path or Boundary (2017), Hopinka explores the linguistic variances of Chinook Wawa through a combination of video interviews, audio recordings and carefully counterpointed subtitle tracks that convey the contradictions at the very heart of communication and translation. (“Nothing is equivocal, nothing translates correctly,” Hopinka says.) Language and its fundamental relationship to landscape informs the lion’s share of Hopinka’s recent work, including Jáaji Approx. (2015), a beguiling travelogue in which the filmmaker’s father recounts his experiences on the American powwow circuit; Visions of an Island (2016), an elegant portrait of St. Paul’s Island and its native Aleut dialect; and his latest, Fainting Spells (2018), a feverish epistolary narrative framed around the supposed healing powers of the Indian Pipe Plant. With finishing funds provided by Sundance and a postproduction fellowship from Harvard’s Radcliffe Institute, Hopinka spent the summer shooting his first feature, which he describes as a kind of hybrid film. Set in the Columbia River Basin, where he shot his first short back in 2010, and spoken entirely in Chinuk Wawa, it should also prove to be a homecoming. — Jordan Cronk","bio_dates":"b. 1984"},{"slug":"hopinka_sky_wawa_2014","ok":true,"partial":false,"title":"Wawa","artist":"Sky Hopinka","year":"2014","startOffset":0,"sourceSecs":360.32,"sourceHeight":720,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":137572024,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_wawa_2014/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopinka_sky_wawa_2014/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hopinka_sky_wawa_2014.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopinka_sky_wawa_2014/main.mp4?v=2","description":"Featuring speakers of chinuk wawa, an Indigenous language from the Pacific Northwest, Wawa begins slowly, patterning various forms of documentary and ethnography. Quickly, the patterns tangle and become confused and commingled, while translating and transmuting ideas of cultural identity, language, and history.","artist_bio":"\"I've always known who I was. It’s always been a part of my life,” says Sky Hopinka, a Ho-Chunk artist and filmmaker. A descendent of the Pechanga Band of Luiseño Native Americans, Hopinka, who was born in Ferndale, Washington, completed his undergraduate studies at Portland State University (PSU), where he first became interested in documentary cinema. His early films, operating in a more traditional vérité style, exhibit an abiding interest in Indigenous language revitalization and a commitment to cultural heritage. These initial forays into filmmaking, he says, were reactions of a sort to issues of the cinematic representation of Native Americans—projects undertaken to “feel like we had control over what we were doing and the films we were making.”\nAfter a few years teaching Indigenous languages at PSU—with a focus on the Pacific Northwest–derived Chinuk Wawa tongue—Hopinka relocated in 2013 to Milwaukee, Wisconsin, homeland of the Ho-Chunk Nation, where he enrolled in a graduate program for experimental film at the University of Wisconsin-Milwaukee. His first brush with experimental cinema was a revelation. Realizing he could more uniquely express the nuances of endangered languages through forms unrelated to conventional modes of nonfiction filmmaking, he began to apply new techniques and explore a whole new lineage of moving image art. (He cites Basma Alsharif, Peter Rose and James Benning as touchstones). In essence, Hopinka explains, experimental cinema allowed him to freely combine his teaching and filmmaking practices: “Deconstructing language [through cinema] is a way for me to be free from the dogma of traditional storytelling and then, from there, to explore or propose more of what Indigenous cinema has the possibility to look like.”\nThe result has been some of the most striking, thought-provoking and intricately assembled video works of recent years. In wawa (2014) and Anti-Objects, or Space Without Path or Boundary (2017), Hopinka explores the linguistic variances of Chinook Wawa through a combination of video interviews, audio recordings and carefully counterpointed subtitle tracks that convey the contradictions at the very heart of communication and translation. (“Nothing is equivocal, nothing translates correctly,” Hopinka says.) Language and its fundamental relationship to landscape informs the lion’s share of Hopinka’s recent work, including Jáaji Approx. (2015), a beguiling travelogue in which the filmmaker’s father recounts his experiences on the American powwow circuit; Visions of an Island (2016), an elegant portrait of St. Paul’s Island and its native Aleut dialect; and his latest, Fainting Spells (2018), a feverish epistolary narrative framed around the supposed healing powers of the Indian Pipe Plant. With finishing funds provided by Sundance and a postproduction fellowship from Harvard’s Radcliffe Institute, Hopinka spent the summer shooting his first feature, which he describes as a kind of hybrid film. Set in the Columbia River Basin, where he shot his first short back in 2010, and spoken entirely in Chinuk Wawa, it should also prove to be a homecoming. — Jordan Cronk","bio_dates":"b. 1984"},{"slug":"hopkins_phil_amplified_gesture_2009_iphone","ok":true,"partial":false,"title":"Amplified Gesture: An Introduction to Free Improvisation: Practitioners and their Philosophy","artist":"Phil Hopkins","year":"2008/2009","startOffset":0,"sourceSecs":3375.341,"sourceHeight":264,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":195377830,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopkins_phil_amplified_gesture_2009_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hopkins_phil_amplified_gesture_2009_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hopkins_phil_amplified_gesture_2009_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopkins_phil_amplified_gesture_2009_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hopkins_phil_amplified_gesture_2009_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Phil Hopkins<br/> Year: 2009<br/> Time: 56 mins<br/><br/>Music: Eddie Prévost, Evan Parker, Fennesz, John Tilbury, Keith Rowe, Michael Moser, David Sylvian, Otomo Yoshihide, Sachiko M, Toshimaru Nakamura, Werner Dafeldecker. <br><br> The subtitle for this suspenseful documentary, An Introduction to Free Improvistation: Practicioners and their Philosophy, could perhaps be criticised for being misleading or, at least, for failing to deliver its promise. But it would probably be unfair to blame director Phil Hopkins for all its shortcomings: Amplified Gesture was commissioned as a visual companion to David Syvian's Manafon and, as such, the director was forced to interview all the musicians participating in the project. Strangely enough, improv is not an area in which \"practitioners\" have developed an acute sense of theoretical and critical creativity: except for Tim Hodgkinson, whose theoretical polemics sometimes draw close to absurdity and fundamentalism, and a few others thinkers, the \"scene\" seems not to have an articulate spokesmen to explore its mysteries, dilemmas and \"philosophy\". Nevertheless, there is a clear generational divide in the cast for Amplified Gesture: on the one hand, old-school British giants such as Evan Parker, Eddie Prévost and Keith Rowe; on the other, younger Japanese luminaries and miscigenators like Sachiko M, Otomo Yoshihide and Toshimaru Nakamura. It is perhaps sad to note that the old folks win by a landslide, discussing pertinent issues on the politics and practice of improv, while the kids usually have nothing to say but such platitudes as \"I wanted to do my own thing\" or \"I started playing because I wanted to get a girlfriend\". John Butcher rightfully comments on the progressive standardisation and narrowing down of improv musical practices, but also notes that this is concomitant with a more detailed analysis of materials. Prévost discusses the political implications of technique and composition, and briefly alludes to the art of listening in playing as well as to the creative role of audiences and their input on performance. Evan Parker, perhaps the most solid thinker in the cast, explores the dynamic \"bio-feedback\" relation between musician and instrument, the wills and destinies of the instrument when in charge of the musician, and the need for \"estimation\" abilities in the context of the ideals of control over the improvised event; he also touches on the humanist dimensions of music communication, and tries to place improv in the context of a continuing resistance to commodification that also extends to other fields of expression. Overall, as an essay on the art of memory and forgetting as condensed in the always expanding field of \"free improv\", Amplified Gesture falls short of the expectations it creates. Nevertheless, it is a enticing work for anyone interested in improv or the musicians involved.</br></br>"},{"slug":"horn_rebecca_aneroticconcert_1993_iphone","ok":true,"partial":false,"title":"An Erotic Concert","artist":"Rebecca Horn","year":"1998","startOffset":0,"sourceSecs":2562.797,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":153013380,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/horn_rebecca_aneroticconcert_1993_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/horn_rebecca_aneroticconcert_1993_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/horn_rebecca_aneroticconcert_1993_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/horn_rebecca_aneroticconcert_1993_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/horn_rebecca_aneroticconcert_1993_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1998, Germany, 44 min. A series of filmed interviews with Rebecca Horn, performance artist, filmmaker and sculptress whose work explores the themes of sexuality, human vulnerability and emotional fragility.","artist_bio":"Since the\nbeginning of the 1970s, Rebecca Horn has been creating an oeuvre\nwhich constitutes an ever-growing flow of performances, films,\nsculptures, spatial installations, drawings and photographs.\nThe essence of their imagery comes out of the tremendous precision\nof the physical and technical functionality she uses to stage\nher works each time within a particular space.\nIn the first performances, the body-extensions,\nshe explores the equilibrium between body and space. In later\nworks she replaces the human body with kinetic sculptures which\ntake on their own life. Her new works define and cut through\nspaces with reflections of mirrors, light and music.\nThe objects used and specially made for her installations\nsuch as violins, suitcases, batons, ladders, pianos, feather\nfans, metronomes, small metal hammers, black water basins, spiral\ndrawing machines and huge funnels together build the elements\nfor kinetic sculptures that are liberated from their defined\nmateriality and continuously transposed into ever-changing metaphors\ntouching on mythical, historical, literary and spiritual imagery.\nHer work is bound together by a consistency in\nlogic; each new work appears to develop stringently from the\npreceding one. Elements may be readdressed, yet appear in totally\ndifferent, divergent contexts.\nFollowing the physical experience of her performances with body extensions,\nmasks and feather objects of the 1970s came the first kinetic sculptures featured\nin her films such as\nThe Feathered Prison Fan\nin\nDer EintŠnzer\n(1978),\nor\nThe Peacock Machine\nin\nLa Ferdinanda\n(1981).\nIn the 1980s and 1990s huge installations were\ncreated out of and dedicated to places charged with political\nand historical importance. With her kinetic sculptures, the artist\nreleases and rediverts the weight of the past on these physical\nspaces: as for example in\nConcert in Reverse\n(1997)\nin MŸnster, where an old municipal tower turns out to be\nan execution site for the Third Reich: or in Vienna, with the\nTower\nof the Nameless\n(1994), where she sets a monument to the\nrefugees from Balkan states in the form of a tower with mechanically\nplaying violins. In Weimar, Europe's city of culture 1999,\nthe\nConcert for Buchenwald\nwas composed on the premises\nof a former tram depot. The artist has layered 40 metre long\nwalls of ashes behind glass, as archives of petrifaction. In\nMirror\nof the Night\n(1998), at a derelict synagogue in Cologne,\nshe uses the energy of writing, textured to counter historical\namnesia.\nTo work with energy in this way can also mean to\nset the turbulence of passion as a magnetic flow into the space\nas we see in\nHigh Moon\n(1991) in New York or in\nEl\nRio de la Luna\n(1992) in Barcelona.\nThe circulatory systems of mercury pumps, atmospheric\nenergies like sonorous structures or voiced lamentations, metamorphose\nin recent works into an incorporeity of space that is filled\nwith newly generated energy: at an old monastery church on Majorca,\nin\nMoon Mirror\n(2003), the artist sets up an invisible\nyet tangible column of energy that spans the space between a\nrotating mirror on the floor and a vortex of light high up in\nthe cupola.\nWith the outdoor installation\nSpiriti di Madreperla\n(2002),\nshe transforms Italy's largest city square, the Piazza\ndel Plebiscito in Naples, into a space encompassed by magnetic\nenergy. Shimmering light rings of mother of pearl hover high\nabove the square and exactly beneath these, set between the cobbled\nstones, cast-iron skulls (models of the so-called \"capuzzelle\" within\nthe enormous city underground vaults) form the vertical energy\nwithin the square. Here the viewer walks through the installation\nand becomes part of this charged energy field in dialogue with\nthe city.\nThe work\nLight Imprisoned in the Belly of the\nWhale\n(2002) is also part of this cycle of spatial and\nlight installations. Out of wandering texts projected into\na black basin of water, a golden staff writing in the water\nand the movement of the words around the space produce a myriad\nof new texts and images. Rebecca Horn opens up expanses of\nspace, drawing her installations into dimensions that call\nfor redefinition. These new works are accompanied by the vocal\nand instrumental compositions of Hayden Chisholm, pieces of\nmusic that combine gracefully with the installations in their\nsubtlety, fragility and hint at the unspeakable.\nWhat is unique and continuously new about the work\nof this artist is that each single installation is a step towards\nbreaking down completely the boundaries of space and time, opening\nup crevices to a universe, the existence of which we can only\nsense.\nRebecca Horn's works have been shown in solo\nexhibitions at leading international institutions: at the Staatliche\nKunsthalle Baden-Baden (1981), the M.O.C.A. Los Angeles (1990),\nthe Guggenheim Museum New York (1993), the Nationalgalerie Berlin\n(1994), the Serpentine Gallery London (1994), the Tate Gallery\nLondon (1994), the Kestner Gesellschaft Hannover (1997) and at\nthe CarrŽ d'Art, Nimes (2000). The most recent exhibition -\nBodylandscapes\n- is\ndevoted to her drawings. After stations in DŸsseldorf, Lisbon\nand London, the exhibition will be shown from September to December\n2006 in the Martin-Gropius-Bau in Berlin.The artist has been\ndistinguished on numerous occasions, counting among her awards\nthe documenta Prize (1986), the Carnegie Prize for\nThe Hydra\nForest, Performing Oscar Wilde\n(1988), the Kaiserring from the\ncity of Goslar (1992), and the Barnett and Annalee Newman Award\n(2004).","bio_dates":"b. 1944"},{"slug":"horowitz_jonathan_art_festivals_deliver_people","ok":true,"partial":false,"title":"Art Festivals Deliver People","artist":"Jonathan Horowitz","year":"2011","startOffset":0,"sourceSecs":83.337,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":5701409,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/horowitz_jonathan_art_festivals_deliver_people/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/horowitz_jonathan_art_festivals_deliver_people/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/horowitz_jonathan_art_festivals_deliver_people.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Jonathan Horowitz (born 1966) is a New York based artist working in video, sculpture, sound installation, and photography. Horowitz critically examines the cultures of politics, celebrity, cinema, war, and consumerism. From found footage, Horowitz visually and spatially juxtaposes elements from film, television, and the media to reveal connections and breakdowns between these overlapping modes of communication. He is a 1987 graduate of Wesleyan University.","bio_dates":"b. 1966"},{"slug":"horowitz_jonathan_countown_1995","ok":true,"partial":false,"title":"Countdown","artist":"Jonathan Horowitz","year":"1995","startOffset":0,"sourceSecs":121.121,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":20689491,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/horowitz_jonathan_countown_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/horowitz_jonathan_countown_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/horowitz_jonathan_countown_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/horowitz_jonathan_countown_1995/main.mp4?v=2","description":"Single-channel video for projection or monitor<br/> <br/> 1995<br/> <br/> The movie Philadelphia plays in its entirety with the image visible only through a number in the middle of a superimposed white field. Each time an edit occurs, the number increases, counting the number of edits in the film.","artist_bio":"Jonathan Horowitz (born 1966) is a New York based artist working in video, sculpture, sound installation, and photography. Horowitz critically examines the cultures of politics, celebrity, cinema, war, and consumerism. From found footage, Horowitz visually and spatially juxtaposes elements from film, television, and the media to reveal connections and breakdowns between these overlapping modes of communication. He is a 1987 graduate of Wesleyan University.","bio_dates":"b. 1966"},{"slug":"horowitz_jonathan_maxell","ok":true,"partial":false,"title":"Maxell","artist":"Jonathan Horowitz","year":"1990","startOffset":0,"sourceSecs":387.387,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":59557917,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/horowitz_jonathan_maxell/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/horowitz_jonathan_maxell/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/horowitz_jonathan_maxell.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/horowitz_jonathan_maxell/main.mp4?v=2","description":"Single-channel video for projection or monitor<br/> <br/> 1990<br/> <br/> Every 10 seconds, the still image of the word/logo Maxell degrades by a generation. The VCR struggles to read the tape until the image disintegrates into static. The tape hiss becomes progressively amplified.","artist_bio":"Jonathan Horowitz (born 1966) is a New York based artist working in video, sculpture, sound installation, and photography. Horowitz critically examines the cultures of politics, celebrity, cinema, war, and consumerism. From found footage, Horowitz visually and spatially juxtaposes elements from film, television, and the media to reveal connections and breakdowns between these overlapping modes of communication. He is a 1987 graduate of Wesleyan University.","bio_dates":"1990"},{"slug":"hour_glass_1971","ok":true,"partial":false,"title":"Hour Glass","artist":"Haile Gerima","year":"1971","startOffset":0,"sourceSecs":802.768,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":144205431,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hour_glass_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hour_glass_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hour_glass_1971.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hour_glass_1971/main.mp4?v=2"},{"slug":"hovinbole_tom_nor_noise_2004_iphone","ok":true,"partial":false,"title":"Nor Noise","artist":"Tom Hovinbøle","year":"2004","startOffset":0,"sourceSecs":7123.074,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":398076489,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovinbole_tom_nor_noise_2004_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovinbole_tom_nor_noise_2004_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hovinbole_tom_nor_noise_2004_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hovinbole_tom_nor_noise_2004_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hovinbole_tom_nor_noise_2004_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Music: Francisco López, Otomo Yoshihide, Jazzkammer, Merzbow, Toshimaru Nakamura, Supersilent, Tore H. Boe, David Cotner, Lasse Marhaug, Deathprod, Nordic Miracle, John Hegre, ARM, Hakon Kornstad, Alexander Rishaug, Fe-Mail, DEL, Helge Sten, MBD, Michael Duch, KA, Kai Mikalsen, Jan de Gier, H.C. Gilje, Arne Borgan, Ivar Grydlland, XYZ, Ingar Zach.\n\nNor Noise is a documentary – or rather an interview film – about Noise music. Which is not music nor mere noise but something in between.\n\nThrough 12 interviews with 12 highly diverse artists within the Noise scene, answers are given to What is Noise? Where does it come from? How do you work with sounds as your main instrument? The relationship between Noise and popular culture is reflected upon, and Noise is put into a historical context spanning from the Futurists and up to todays laptop artists.\n\nThe film contains a lot of rare concert footage with the artists. Featured artists: TORE H. BØE, DAVID COTNER, MASAMI AKITA, LASSE MARHAUG, TASHIMARU NAKAMURA, ARM, ASBJØRN FLØ, MAJA S.K. RATKJE, KJELL RUNAR JENSSEN, FRANCISCO LÓPEZ, HELGE STEN and OTOMO YOSHIHIDE.\n\n“This film started out with me wanting to make a documentary about Lasse Marhaug. But that had to include what happened on the especially vibrant noise scene in Trondheim around the turn of the century. And it had to include Tore H. Bøe, whom together with Lasse organized it all.\n\nThis was back in 2001. That year was seminal for Noise in Norway. The compilation “Le Jazz Non” got rave reviews and made the media aware of the fact that Norwegian Noise artists were having success abroad. And a lot of big names came to Norway: Masami Akita, Otomo Yoshihide, Tashimaru Nakamura, Francisco López. Suddenly “everybody” talked about Noise music. And I was in the middle of it all with a camera, asking every artist I met the same simple question: “What is Noise music?”\n\nThis film collects twelve different answers from twelve very different artists. Even though they work differently, have different musical backgrounds and seem to have very little in common musically, they belong to the same tradition. Through the interviews the history, aesthetics and technical aspects of Noise is covered. That’s the red line of this film.\n\nI never had any money making this film, so the artists interviewed are the ones I had the opportunity to meet. But this isn’t a comprehensive history about noise music or about the artists anyway, it’s a documentation of some of the ideas and techniques that make up Noise music. Another thing: This film was always meant to be released as a DVD; hence the structure. Also I wanted to make a simple, clean cut film where the visual expression didn’t emulate the Noise music. I wanted to make a film where the artist got the time to say what they had to say about what they were doing. And that’s this."},{"slug":"hovsepian_hamlet_head_1975","ok":true,"partial":false,"title":"Head","artist":"Hamlet Hovsepian","year":"1975","startOffset":0,"sourceSecs":723.325,"sourceHeight":576,"sourceWidth":840,"hasAudio":true,"hasAmbientMp4":true,"bytes":121229604,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovsepian_hamlet_head_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovsepian_hamlet_head_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hovsepian_hamlet_head_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hovsepian_hamlet_head_1975/main.mp4?v=2","description":"1975, 16mm, 12 minutes <br/><br/> Statement by Hamlet Hovsepian regarding the films: <br/><br/>\"\"What have been presented are totally unrelated events (material) at the outset.<br/> The relation between them portrays neither pleasant nor unpleasant feelings. To find interest in a place outside man's attention.\"<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"In the late sixties and early seventies, Hovsepian, who was then living in Moscow for a while, was in close contact with the left-wing aesthetic avant-garde in the capital. But he differed from it in his artistic approach. As opposed to aesthetic critique as work in a symbolic space that draws on the formal apparatuses of everyday and ruling culture, as it is always incorporated, reflected, in Moscow conceptual art of the time, in his film, which was made after he had left Moscow, Hovsepian inserts the social back into the subjects. This conjuring trick - which, in one bold move, dispenses with the oppressive burden of the hollow ideological kitsch of the bureaucratic culture of the Brezhnev area as an aesthetic projection surface and withdraws to the stage of abstract, everyday acts - and the completely unspectacular camera work have no parallel anywhere else in the Soviet counter-avant-garde of those years. In the mid-seventies, Hovsepian returned to Armenia, to his studio in the small village of Ashnak, where he has lived ever since. There, in voluntary reclusion, he began consistently to create a body of conceptual works. As well as this film, which was conceived and filmed on one of the rural afternoons in Ashnak, and is today only available as a copy urgently in need of conservation, he created a number of installations and interventions on an equally reduced scale: a few plants in plastic bags in front of a house wall, newspaper that draws a line in the landscape along a slope at the foot of Mount Aragats. And later, he produced a series of paintings following the new conventions of Perestroika art. In the Caucasus, Hovsepian is seen by many artists of the middle and younger generation as one of the erratic avant-garde figures of the seventies. Arman Grigorian once paradoxically and ironically called Hovsepian's studio \"The Kitchen\" of the Soviet Caucasus. Not completely without reason. This one film alone places the filmmaker Hovsepian in a genealogy in which the films of the New York underground are also inscribed. Washing long hair, biting nails, yawning - gestures of deviance that positively reverse the image of isolation current among cultural pessimists, as a seizure of space in a world of standardization, of the mass society, as cultural critics called it in those years. Hamlet Hovsepian's film is not only the result of a small revolt against the deadly passivity of this society. The reduction it carries out, its silence, gives a universal turn to the meaning of emptiness, to the abstract space, and the frequently extended time.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. Ashnak, Armenia"},{"slug":"hovsepian_hamlet_itch_1975","ok":true,"partial":false,"title":"Itch","artist":"Hamlet Hovsepian","year":"1975","startOffset":0,"sourceSecs":278.848,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":46439919,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovsepian_hamlet_itch_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovsepian_hamlet_itch_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hovsepian_hamlet_itch_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hovsepian_hamlet_itch_1975/main.mp4?v=2","description":"1975, 16mm, 4:30 minutes <br/><br/> Statement by Hamlet Hovsepian regarding the films: <br/>\"\"What have been presented are totally unrelated events (material) at the outset.<br/> The relation between them portrays neither pleasant nor unpleasant feelings. To find interest in a place outside man's attention.\"<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"In the late sixties and early seventies, Hovsepian, who was then living in Moscow for a while, was in close contact with the left-wing aesthetic avant-garde in the capital. But he differed from it in his artistic approach. As opposed to aesthetic critique as work in a symbolic space that draws on the formal apparatuses of everyday and ruling culture, as it is always incorporated, reflected, in Moscow conceptual art of the time, in his film, which was made after he had left Moscow, Hovsepian inserts the social back into the subjects. This conjuring trick - which, in one bold move, dispenses with the oppressive burden of the hollow ideological kitsch of the bureaucratic culture of the Brezhnev area as an aesthetic projection surface and withdraws to the stage of abstract, everyday acts - and the completely unspectacular camera work have no parallel anywhere else in the Soviet counter-avant-garde of those years. In the mid-seventies, Hovsepian returned to Armenia, to his studio in the small village of Ashnak, where he has lived ever since. There, in voluntary reclusion, he began consistently to create a body of conceptual works. As well as this film, which was conceived and filmed on one of the rural afternoons in Ashnak, and is today only available as a copy urgently in need of conservation, he created a number of installations and interventions on an equally reduced scale: a few plants in plastic bags in front of a house wall, newspaper that draws a line in the landscape along a slope at the foot of Mount Aragats. And later, he produced a series of paintings following the new conventions of Perestroika art. In the Caucasus, Hovsepian is seen by many artists of the middle and younger generation as one of the erratic avant-garde figures of the seventies. Arman Grigorian once paradoxically and ironically called Hovsepian's studio \"The Kitchen\" of the Soviet Caucasus. Not completely without reason. This one film alone places the filmmaker Hovsepian in a genealogy in which the films of the New York underground are also inscribed. Washing long hair, biting nails, yawning - gestures of deviance that positively reverse the image of isolation current among cultural pessimists, as a seizure of space in a world of standardization, of the mass society, as cultural critics called it in those years. Hamlet Hovsepian's film is not only the result of a small revolt against the deadly passivity of this society. The reduction it carries out, its silence, gives a universal turn to the meaning of emptiness, to the abstract space, and the frequently extended time.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. Ashnak, Armenia"},{"slug":"hovsepian_hamlet_thinker_1975_6","ok":true,"partial":false,"title":"Thinker","artist":"Hamlet Hovsepian","year":"1975","startOffset":0,"sourceSecs":406.443,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":65467362,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovsepian_hamlet_thinker_1975_6/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovsepian_hamlet_thinker_1975_6/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hovsepian_hamlet_thinker_1975_6.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hovsepian_hamlet_thinker_1975_6/main.mp4?v=2","description":"1975-6, 16mm, 6:40 minutes <br/><br/> Statement by Hamlet Hovsepian regarding the films: <br/>\"\"What have been presented are totally unrelated events (material) at the outset.<br/> The relation between them portrays neither pleasant nor unpleasant feelings. To find interest in a place outside man's attention.\"<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"In the late sixties and early seventies, Hovsepian, who was then living in Moscow for a while, was in close contact with the left-wing aesthetic avant-garde in the capital. But he differed from it in his artistic approach. As opposed to aesthetic critique as work in a symbolic space that draws on the formal apparatuses of everyday and ruling culture, as it is always incorporated, reflected, in Moscow conceptual art of the time, in his film, which was made after he had left Moscow, Hovsepian inserts the social back into the subjects. This conjuring trick - which, in one bold move, dispenses with the oppressive burden of the hollow ideological kitsch of the bureaucratic culture of the Brezhnev area as an aesthetic projection surface and withdraws to the stage of abstract, everyday acts - and the completely unspectacular camera work have no parallel anywhere else in the Soviet counter-avant-garde of those years. In the mid-seventies, Hovsepian returned to Armenia, to his studio in the small village of Ashnak, where he has lived ever since. There, in voluntary reclusion, he began consistently to create a body of conceptual works. As well as this film, which was conceived and filmed on one of the rural afternoons in Ashnak, and is today only available as a copy urgently in need of conservation, he created a number of installations and interventions on an equally reduced scale: a few plants in plastic bags in front of a house wall, newspaper that draws a line in the landscape along a slope at the foot of Mount Aragats. And later, he produced a series of paintings following the new conventions of Perestroika art. In the Caucasus, Hovsepian is seen by many artists of the middle and younger generation as one of the erratic avant-garde figures of the seventies. Arman Grigorian once paradoxically and ironically called Hovsepian's studio \"The Kitchen\" of the Soviet Caucasus. Not completely without reason. This one film alone places the filmmaker Hovsepian in a genealogy in which the films of the New York underground are also inscribed. Washing long hair, biting nails, yawning - gestures of deviance that positively reverse the image of isolation current among cultural pessimists, as a seizure of space in a world of standardization, of the mass society, as cultural critics called it in those years. Hamlet Hovsepian's film is not only the result of a small revolt against the deadly passivity of this society. The reduction it carries out, its silence, gives a universal turn to the meaning of emptiness, to the abstract space, and the frequently extended time.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. Ashnak, Armenia"},{"slug":"hovsepian_hamlet_untitled_1976","ok":true,"partial":false,"title":"Untitled","artist":"Hamlet Hovsepian","year":"1976","startOffset":0,"sourceSecs":270.528,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":45022737,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovsepian_hamlet_untitled_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovsepian_hamlet_untitled_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hovsepian_hamlet_untitled_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hovsepian_hamlet_untitled_1976/main.mp4?v=2","description":"1976, 16mm, 4:25 minutes <br/><br/> Statement by Hamlet Hovsepian regarding the films: <br/>\"\"What have been presented are totally unrelated events (material) at the outset.<br/> The relation between them portrays neither pleasant nor unpleasant feelings. To find interest in a place outside man's attention.\"<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"In the late sixties and early seventies, Hovsepian, who was then living in Moscow for a while, was in close contact with the left-wing aesthetic avant-garde in the capital. But he differed from it in his artistic approach. As opposed to aesthetic critique as work in a symbolic space that draws on the formal apparatuses of everyday and ruling culture, as it is always incorporated, reflected, in Moscow conceptual art of the time, in his film, which was made after he had left Moscow, Hovsepian inserts the social back into the subjects. This conjuring trick - which, in one bold move, dispenses with the oppressive burden of the hollow ideological kitsch of the bureaucratic culture of the Brezhnev area as an aesthetic projection surface and withdraws to the stage of abstract, everyday acts - and the completely unspectacular camera work have no parallel anywhere else in the Soviet counter-avant-garde of those years. In the mid-seventies, Hovsepian returned to Armenia, to his studio in the small village of Ashnak, where he has lived ever since. There, in voluntary reclusion, he began consistently to create a body of conceptual works. As well as this film, which was conceived and filmed on one of the rural afternoons in Ashnak, and is today only available as a copy urgently in need of conservation, he created a number of installations and interventions on an equally reduced scale: a few plants in plastic bags in front of a house wall, newspaper that draws a line in the landscape along a slope at the foot of Mount Aragats. And later, he produced a series of paintings following the new conventions of Perestroika art. In the Caucasus, Hovsepian is seen by many artists of the middle and younger generation as one of the erratic avant-garde figures of the seventies. Arman Grigorian once paradoxically and ironically called Hovsepian's studio \"The Kitchen\" of the Soviet Caucasus. Not completely without reason. This one film alone places the filmmaker Hovsepian in a genealogy in which the films of the New York underground are also inscribed. Washing long hair, biting nails, yawning - gestures of deviance that positively reverse the image of isolation current among cultural pessimists, as a seizure of space in a world of standardization, of the mass society, as cultural critics called it in those years. Hamlet Hovsepian's film is not only the result of a small revolt against the deadly passivity of this society. The reduction it carries out, its silence, gives a universal turn to the meaning of emptiness, to the abstract space, and the frequently extended time.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. Ashnak, Armenia"},{"slug":"hovsepian_hamlet_yawning_1975","ok":true,"partial":false,"title":"Yawning","artist":"Hamlet Hovsepian","year":"1975","startOffset":0,"sourceSecs":146.133,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":23845055,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovsepian_hamlet_yawning_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hovsepian_hamlet_yawning_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hovsepian_hamlet_yawning_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hovsepian_hamlet_yawning_1975/main.mp4?v=2","description":"1975, 16mm, 2:20 minutes <br/><br/> Statement by Hamlet Hovsepian regarding the films: <br/>\"\"What have been presented are totally unrelated events (material) at the outset.<br/> The relation between them portrays neither pleasant nor unpleasant feelings. To find interest in a place outside man's attention.\"<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"In the late sixties and early seventies, Hovsepian, who was then living in Moscow for a while, was in close contact with the left-wing aesthetic avant-garde in the capital. But he differed from it in his artistic approach. As opposed to aesthetic critique as work in a symbolic space that draws on the formal apparatuses of everyday and ruling culture, as it is always incorporated, reflected, in Moscow conceptual art of the time, in his film, which was made after he had left Moscow, Hovsepian inserts the social back into the subjects. This conjuring trick - which, in one bold move, dispenses with the oppressive burden of the hollow ideological kitsch of the bureaucratic culture of the Brezhnev area as an aesthetic projection surface and withdraws to the stage of abstract, everyday acts - and the completely unspectacular camera work have no parallel anywhere else in the Soviet counter-avant-garde of those years. In the mid-seventies, Hovsepian returned to Armenia, to his studio in the small village of Ashnak, where he has lived ever since. There, in voluntary reclusion, he began consistently to create a body of conceptual works. As well as this film, which was conceived and filmed on one of the rural afternoons in Ashnak, and is today only available as a copy urgently in need of conservation, he created a number of installations and interventions on an equally reduced scale: a few plants in plastic bags in front of a house wall, newspaper that draws a line in the landscape along a slope at the foot of Mount Aragats. And later, he produced a series of paintings following the new conventions of Perestroika art. In the Caucasus, Hovsepian is seen by many artists of the middle and younger generation as one of the erratic avant-garde figures of the seventies. Arman Grigorian once paradoxically and ironically called Hovsepian's studio \"The Kitchen\" of the Soviet Caucasus. Not completely without reason. This one film alone places the filmmaker Hovsepian in a genealogy in which the films of the New York underground are also inscribed. Washing long hair, biting nails, yawning - gestures of deviance that positively reverse the image of isolation current among cultural pessimists, as a seizure of space in a world of standardization, of the mass society, as cultural critics called it in those years. Hamlet Hovsepian's film is not only the result of a small revolt against the deadly passivity of this society. The reduction it carries out, its silence, gives a universal turn to the meaning of emptiness, to the abstract space, and the frequently extended time.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. Ashnak, Armenia"},{"slug":"hsieh_tehching_one_year_80_81_punch_clock","ok":true,"partial":false,"title":"One Year Performance 1980–1981 (Time Clock Piece)","artist":"Tehching Hsieh","year":"1980","startOffset":0,"sourceSecs":404.467,"sourceHeight":240,"sourceWidth":360,"hasAudio":false,"hasAmbientMp4":true,"bytes":21446767,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hsieh_tehching_one_year_80_81_punch_clock/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hsieh_tehching_one_year_80_81_punch_clock/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hsieh_tehching_one_year_80_81_punch_clock.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hsieh_tehching_one_year_80_81_punch_clock/main.mp4?v=2","description":"For one year, from 11 April 1980 through 11 April 1981, Hsieh punched a time clock every hour on the hour. Each time he punched the clock, he took a single picture of himself, which together yield a 6-minute movie. He shaved his head before the piece, so his growing hair reflects the passage of time","artist_bio":"Tehching Hsieh was born in 1950 in Nan-Chou, Taiwan. His father, Ching Hsieh, was an atheist and his mother, Su-Choung Hong, a devoted Christian. Hsieh dropped out of high school in 1967 and took up painting. After finishing his army service (1970-1973), Hsieh had his first solo show at the gallery of the American News Bureau in Taiwan. Shortly after this show, he stopped painting. In 1973, Hsieh made a performance action, Jump Piece, in which he broke both of his ankles. He was trained as a sailor, which he then used as a means to enter the United States. In July of 1974, Hsieh arrived at the port of a small town by the Delaware River near Philadelphia. He was an illegal immigrant for fourteen years until he was granted amnesty in the US in 1988.\nBeginning in the late 1970s, Hsieh made five One Year Performances and a Thirteen-year Plan, inside and outside his studio in New York City. Using long durations of time as context for the work, making art and life simultaneous, the first four One Year Performances made Hsieh a regular name in the art scene in New York; the last two pieces, in which he intentionally retreated from the art world, set a tone of sustained invisibility.\nSince the Millennium, released from the restriction of not showing his works during the period of the Thirteen-year Plan, Hsieh has exhibited his work in North and South America, Asia and Europe. Hsieh's One Year Performance 1978-1979 (often referred to as Cage Piece) was shown at the Museum of Modern Art in Performance 1: Tehching Hsieh in 2009; One Year Performance 1980-1981 (often referred to as Time Clock Piece) was included in The Third Mind: Artists Contemplate Asia, 1860-1989, at the Guggenheim Museum, 2009, the Liverpool Biennial in the United Kingdom and the Gwangju Biennial in South Korea, both in 2010, and in the São Paulo Biennial, 2012. One Year Performance 1980–1981 was also shown in a solo exhibition at the Ullens Center for Contemporary Art in Beijing, China and Carriageworks in Sydney, Australia.\nIn 2013, the West Kowloon Cultural District Authority/M+ Museum in Hong Kong announced the acquisition of the six individual performance works realized by Hsieh between 1978 and 1999, making it the most comprehensive collection of Hsieh’s work to be held in a public institution.","bio_dates":"b. 1950"},{"slug":"hubbard_alex_collapseoftheexpandedfield","ok":true,"partial":false,"title":"Cineapolis","artist":"Alex Hubbard","year":"2007","startOffset":0,"sourceSecs":115.716,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":3439565,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hubbard_alex_collapseoftheexpandedfield/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hubbard_alex_collapseoftheexpandedfield/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hubbard_alex_collapseoftheexpandedfield.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hubbard_alex_collapseoftheexpandedfield/main.mp4?v=2"},{"slug":"hughes_robert_shock_of_the_new_1_the_mechanical_paradise_iphone","ok":true,"partial":false,"title":"The Shock of the New, The Mechanical Paradise - Episode 1","artist":"Robert Hughes","year":"1982","startOffset":0,"sourceSecs":3472.706,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":204769211,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_1_the_mechanical_paradise_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_1_the_mechanical_paradise_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hughes_robert_shock_of_the_new_1_the_mechanical_paradise_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_1_the_mechanical_paradise_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_1_the_mechanical_paradise_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/hughes.html\" rel=\"noopener\" target=\"_blank\">Back to Shock of the New </a><br/><br/>Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism. <br><br> A classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.</br></br>","artist_bio":"Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism.\nHughes explores the interplay between art and politics, seeing how artists were affected by the development of mechanised warfare and ideologies like fascism and communism.\nThe French artists who attempted to reconcile man with nature, from the determination of the impressionists to paint outside to Matisse's vibrant use of colour.\nHow modern architects in the wake of the Bauhaus aspired to change societies with their designs, a move represented both by Le Corbusier and the plans for the city Brasilia.\nThe art movement that gripped its exponents with the fervour of a religion: surrealism. Artists like Di Chirico, Ernst, Mir— and Dal'; brought the subconscious to the fore and attempted to tap into innocent and irrationality.\nExpressionism sprung out of the harsh, secular atmosphere of the 20th Century and evolved, through the strong colours and often sombre moods of artists like Munch, to the non-figurative work of Pollock and De Kooning.\nArtists began to take man-made images as their inspiration, leading to the pop art of Andy Warhol and Roy Lichtenstein as well as Stuart Davis' collages inspired by jazz.\nThe final episode in the series explores the decline of modernism and how various artists have reacted to the consequent commercialisation of their art.\nA classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.","bio_dates":"1938-2012"},{"slug":"hughes_robert_shock_of_the_new_2_the_powers_that_be_iphone","ok":true,"partial":false,"title":"The Shock of the New, The Powers that Be - Episode 2","artist":"Robert Hughes","year":"1982","startOffset":0,"sourceSecs":3520.045,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":207463339,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_2_the_powers_that_be_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_2_the_powers_that_be_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hughes_robert_shock_of_the_new_2_the_powers_that_be_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_2_the_powers_that_be_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_2_the_powers_that_be_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/hughes.html\" rel=\"noopener\" target=\"_blank\">Back to Shock of the New </a><br/><br/>Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism. <br><br> A classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.</br></br>","artist_bio":"Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism.\nHughes explores the interplay between art and politics, seeing how artists were affected by the development of mechanised warfare and ideologies like fascism and communism.\nThe French artists who attempted to reconcile man with nature, from the determination of the impressionists to paint outside to Matisse's vibrant use of colour.\nHow modern architects in the wake of the Bauhaus aspired to change societies with their designs, a move represented both by Le Corbusier and the plans for the city Brasilia.\nThe art movement that gripped its exponents with the fervour of a religion: surrealism. Artists like Di Chirico, Ernst, Mir— and Dal'; brought the subconscious to the fore and attempted to tap into innocent and irrationality.\nExpressionism sprung out of the harsh, secular atmosphere of the 20th Century and evolved, through the strong colours and often sombre moods of artists like Munch, to the non-figurative work of Pollock and De Kooning.\nArtists began to take man-made images as their inspiration, leading to the pop art of Andy Warhol and Roy Lichtenstein as well as Stuart Davis' collages inspired by jazz.\nThe final episode in the series explores the decline of modernism and how various artists have reacted to the consequent commercialisation of their art.\nA classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.","bio_dates":"1938-2012"},{"slug":"hughes_robert_shock_of_the_new_3_the_landscape_of_pleasure_iphone","ok":true,"partial":false,"title":"The Shock of the New, The Landscape of Pleasure - Episode 3","artist":"Robert Hughes","year":null,"startOffset":0,"sourceSecs":3471.832,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":204584562,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_3_the_landscape_of_pleasure_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_3_the_landscape_of_pleasure_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hughes_robert_shock_of_the_new_3_the_landscape_of_pleasure_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_3_the_landscape_of_pleasure_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_3_the_landscape_of_pleasure_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/hughes.html\" rel=\"noopener\" target=\"_blank\">Back to Shock of the New </a><br/><br/>Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism. <br><br> A classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.</br></br>","artist_bio":"Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism.\nHughes explores the interplay between art and politics, seeing how artists were affected by the development of mechanised warfare and ideologies like fascism and communism.\nThe French artists who attempted to reconcile man with nature, from the determination of the impressionists to paint outside to Matisse's vibrant use of colour.\nHow modern architects in the wake of the Bauhaus aspired to change societies with their designs, a move represented both by Le Corbusier and the plans for the city Brasilia.\nThe art movement that gripped its exponents with the fervour of a religion: surrealism. Artists like Di Chirico, Ernst, Mir— and Dal'; brought the subconscious to the fore and attempted to tap into innocent and irrationality.\nExpressionism sprung out of the harsh, secular atmosphere of the 20th Century and evolved, through the strong colours and often sombre moods of artists like Munch, to the non-figurative work of Pollock and De Kooning.\nArtists began to take man-made images as their inspiration, leading to the pop art of Andy Warhol and Roy Lichtenstein as well as Stuart Davis' collages inspired by jazz.\nThe final episode in the series explores the decline of modernism and how various artists have reacted to the consequent commercialisation of their art.\nA classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.","bio_dates":"1938-2012"},{"slug":"hughes_robert_shock_of_the_new_4_trouble_in_utopia_iphone","ok":true,"partial":false,"title":"The Shock of the New, Trouble in Utopia - Episode 4","artist":"Robert Hughes","year":null,"startOffset":0,"sourceSecs":3546.178,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":208801477,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_4_trouble_in_utopia_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_4_trouble_in_utopia_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hughes_robert_shock_of_the_new_4_trouble_in_utopia_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_4_trouble_in_utopia_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_4_trouble_in_utopia_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/hughes.html\" rel=\"noopener\" target=\"_blank\">Back to Shock of the New </a><br/><br/>Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism. <br><br> A classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.</br></br>","artist_bio":"Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism.\nHughes explores the interplay between art and politics, seeing how artists were affected by the development of mechanised warfare and ideologies like fascism and communism.\nThe French artists who attempted to reconcile man with nature, from the determination of the impressionists to paint outside to Matisse's vibrant use of colour.\nHow modern architects in the wake of the Bauhaus aspired to change societies with their designs, a move represented both by Le Corbusier and the plans for the city Brasilia.\nThe art movement that gripped its exponents with the fervour of a religion: surrealism. Artists like Di Chirico, Ernst, Mir— and Dal'; brought the subconscious to the fore and attempted to tap into innocent and irrationality.\nExpressionism sprung out of the harsh, secular atmosphere of the 20th Century and evolved, through the strong colours and often sombre moods of artists like Munch, to the non-figurative work of Pollock and De Kooning.\nArtists began to take man-made images as their inspiration, leading to the pop art of Andy Warhol and Roy Lichtenstein as well as Stuart Davis' collages inspired by jazz.\nThe final episode in the series explores the decline of modernism and how various artists have reacted to the consequent commercialisation of their art.\nA classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.","bio_dates":"1938-2012"},{"slug":"hughes_robert_shock_of_the_new_5_the_threshold_of_liberty_iphone","ok":true,"partial":false,"title":"Shock Of The New 5 The Threshold Of Liberty","artist":"Robert Hughes","year":"1993","startOffset":0,"sourceSecs":3475.096,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":204297547,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_5_the_threshold_of_liberty_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_5_the_threshold_of_liberty_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hughes_robert_shock_of_the_new_5_the_threshold_of_liberty_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_5_the_threshold_of_liberty_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_5_the_threshold_of_liberty_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"One way street explores the life and work of German Jewish critic and philosopher, Walter Benjamin, who died escaping the Gestapo in 1940. Although Benjamin's work is little known in this country, he is regarded in Europe as one of the most influential figures in 20th Century thought.\n\nOne way street provides clear and accessible introductions to some of the central ideas in Benjamin's writings. Expert commentary from a range of English scholars situate Benjamin's work in the context of their time and evoke a sense of the excitement that his work has generated. A heightened visual style, montage structure and strong musical treatments correspond in evocative and powerful ways with the concerns and the strategies of Benjamin himself."},{"slug":"hughes_robert_shock_of_the_new_6_the_view_from_the_edge_iphone","ok":true,"partial":false,"title":"The Shock of the New, The View From the Edge - Episode 6","artist":"Robert Hughes","year":null,"startOffset":0,"sourceSecs":3521.795,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":207840760,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_6_the_view_from_the_edge_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_6_the_view_from_the_edge_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hughes_robert_shock_of_the_new_6_the_view_from_the_edge_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_6_the_view_from_the_edge_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_6_the_view_from_the_edge_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/hughes.html\" rel=\"noopener\" target=\"_blank\">Back to Shock of the New </a><br/><br/>Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism. <br><br> A classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.</br></br>","artist_bio":"Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism.\nHughes explores the interplay between art and politics, seeing how artists were affected by the development of mechanised warfare and ideologies like fascism and communism.\nThe French artists who attempted to reconcile man with nature, from the determination of the impressionists to paint outside to Matisse's vibrant use of colour.\nHow modern architects in the wake of the Bauhaus aspired to change societies with their designs, a move represented both by Le Corbusier and the plans for the city Brasilia.\nThe art movement that gripped its exponents with the fervour of a religion: surrealism. Artists like Di Chirico, Ernst, Mir— and Dal'; brought the subconscious to the fore and attempted to tap into innocent and irrationality.\nExpressionism sprung out of the harsh, secular atmosphere of the 20th Century and evolved, through the strong colours and often sombre moods of artists like Munch, to the non-figurative work of Pollock and De Kooning.\nArtists began to take man-made images as their inspiration, leading to the pop art of Andy Warhol and Roy Lichtenstein as well as Stuart Davis' collages inspired by jazz.\nThe final episode in the series explores the decline of modernism and how various artists have reacted to the consequent commercialisation of their art.\nA classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.","bio_dates":"1938-2012"},{"slug":"hughes_robert_shock_of_the_new_7_culture_as_nature_iphone","ok":true,"partial":false,"title":"Shock of the New, Culture as Nature - Episode 7","artist":"Robert Hughes","year":null,"startOffset":0,"sourceSecs":3557.912,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":209112079,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_7_culture_as_nature_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_7_culture_as_nature_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hughes_robert_shock_of_the_new_7_culture_as_nature_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_7_culture_as_nature_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_7_culture_as_nature_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/hughes.html\" rel=\"noopener\" target=\"_blank\">Back to Shock of the New </a><br/><br/>Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism. <br><br> A classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC. <br/><br/> A classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.</br></br>","artist_bio":"Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism.\nHughes explores the interplay between art and politics, seeing how artists were affected by the development of mechanised warfare and ideologies like fascism and communism.\nThe French artists who attempted to reconcile man with nature, from the determination of the impressionists to paint outside to Matisse's vibrant use of colour.\nHow modern architects in the wake of the Bauhaus aspired to change societies with their designs, a move represented both by Le Corbusier and the plans for the city Brasilia.\nThe art movement that gripped its exponents with the fervour of a religion: surrealism. Artists like Di Chirico, Ernst, Mir— and Dal'; brought the subconscious to the fore and attempted to tap into innocent and irrationality.\nExpressionism sprung out of the harsh, secular atmosphere of the 20th Century and evolved, through the strong colours and often sombre moods of artists like Munch, to the non-figurative work of Pollock and De Kooning.\nArtists began to take man-made images as their inspiration, leading to the pop art of Andy Warhol and Roy Lichtenstein as well as Stuart Davis' collages inspired by jazz.\nThe final episode in the series explores the decline of modernism and how various artists have reacted to the consequent commercialisation of their art.\nA classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.","bio_dates":"1938-2012"},{"slug":"hughes_robert_shock_of_the_new_8_the_future_that_was_iphone","ok":true,"partial":false,"title":"Shock of the New, The Future That Was - Episode 8","artist":"Robert Hughes","year":null,"startOffset":0,"sourceSecs":3531.906,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":207893465,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_8_the_future_that_was_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hughes_robert_shock_of_the_new_8_the_future_that_was_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hughes_robert_shock_of_the_new_8_the_future_that_was_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_8_the_future_that_was_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hughes_robert_shock_of_the_new_8_the_future_that_was_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/hughes.html\" rel=\"noopener\" target=\"_blank\">Back to Shock of the New</a><br/><br/>Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism. <br><br> A classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.</br></br>","artist_bio":"Traces how developments in technology inspired art between 1880 and the end of WWI, leading to movements like cubism and futurism.\nHughes explores the interplay between art and politics, seeing how artists were affected by the development of mechanised warfare and ideologies like fascism and communism.\nThe French artists who attempted to reconcile man with nature, from the determination of the impressionists to paint outside to Matisse's vibrant use of colour.\nHow modern architects in the wake of the Bauhaus aspired to change societies with their designs, a move represented both by Le Corbusier and the plans for the city Brasilia.\nThe art movement that gripped its exponents with the fervour of a religion: surrealism. Artists like Di Chirico, Ernst, Mir— and Dal'; brought the subconscious to the fore and attempted to tap into innocent and irrationality.\nExpressionism sprung out of the harsh, secular atmosphere of the 20th Century and evolved, through the strong colours and often sombre moods of artists like Munch, to the non-figurative work of Pollock and De Kooning.\nArtists began to take man-made images as their inspiration, leading to the pop art of Andy Warhol and Roy Lichtenstein as well as Stuart Davis' collages inspired by jazz.\nThe final episode in the series explores the decline of modernism and how various artists have reacted to the consequent commercialisation of their art.\nA classic eight part documentary that offers a comprehensive view on the development of modernist art in its cultural context. It focusses minly on painting and sculpting but pays some attention to architecture as well. The documentary is presented and narrated by the art critic Robert Hughes, whose views on modernism have left an unmistakable stamp on the film. It was originally aired by the BBC.","bio_dates":"1938-2012"},{"slug":"hugo_ian_bells_of_atlantis_1952","ok":true,"partial":false,"title":"Bells of Atlantis","artist":"Ian Hugo","year":"1952","startOffset":0,"sourceSecs":553.045,"sourceHeight":352,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":38147398,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hugo_ian_bells_of_atlantis_1952/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hugo_ian_bells_of_atlantis_1952/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hugo_ian_bells_of_atlantis_1952.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hugo_ian_bells_of_atlantis_1952/main.mp4?v=2","description":"This is the most influential film by Ian Hugo, inspired by the house of incest by his wife Anaïs Nin, Len Lye was involved and features one of the first electronic music scores. The quality of the files is quite bad, it comes from an old vhs tape, and as you can see, time left its mark, but i'm afraid its as good as it gets... <br/><br/> Quote: BELLS OF ATLANTIS (Ian Hugo 1952 16mm 10 mins)<br/> A perfect fusion of poetry and film, with dense layered imagery and music from electro pioneers Louis and Bebe Barron. The writer Anais Nin provides dialogue from her novella 'House of Incest' and appears adrift in the undersea realm of Atlantis before ascending to dry land.","artist_bio":"Born Hugh Parker Guiler in Boston, he lived his childhood in Puerto Rico (a \"tropical paradise\" the memory of which stayed with him and surfaces in both his engravings and his films). Parker then spent his school years in Scotland and at Columbia University where he studied economics and literature. He was working with the National City Bank when he met and married Anais Nin in 1923; they moved to Paris the next year, and in that city Nin’s diary and Parker’s artistic aspirations flowered. Parker feared his business associates would not understand his interests in art and music, let alone those of his wife, so he began a second life, as Ian Hugo. In 1940 he took up engraving and etching, studying under S.W. Hayter of Atelier 17, producing surreal images that often accompanied Nin’s books. For Nin his unwavering love and financial support were indispensable, he was \"the fixed center, core...my home, my refuge\" (Sept. 16, 1937, Nearer the Moon, The Unexpurgated Diary of Anais Nin, 1937-1939). A fictionalized portrait of him appears in Philip Kaufman’s 1990 Henry & June.\nResponding to comments that viewers saw motion in his engravings, Hugo chose to take up film-making. He asked Sasha Hammid for instruction, but was told \"Use the camera yourself, make your own mistakes, make your own style.\" What Ian Hugo did was to delve into his dreams, his unconscious, his memories. With no specific plan when he began a film, Hugo would collect images, then reorder or superimpose them, finding poetic meaning in these juxtapositions. These spontaneous inventions greatly resembled his engravings which he described in 1946 as \"hieroglyphs of a language in which our unconscious is trying to convey important, urgent messages.\"\nIn the underwater world of Bells of Atlantis all of the light in the film is from the world above the surface — it is otherworldly, out of place yet necessary. In Jazz of Lights, the street lights of Times Square become, in Nin’s words, \"an ephemeral flow of sensations\"; this flow that she also calls \"phantasmagorical\" had a crucial impact on Stan Brakhage who now says that without Jazz of Lights (in 1954) \"there would have been no Anticipation of the Night\" (in 1958).\nHugo lived the last two decades of his life in a New York apartment high above street level; in the evening, surrounded by an electrically illuminated landscape, he dictated his memoirs into tape recorders and would from time to time polish the large copper panels that had been used to print his engravings from the worlds of the unconscious and the dream. (RH)","bio_dates":"1898-1985"},{"slug":"hulten_pontus_hans_nordenstrom_en_dag_i_staden_1958","ok":true,"partial":false,"title":"Pontus Hulten & Hans Nordenström - En Dag I Staden AKA A Day in Town","artist":"Pontus Hultén","year":"1958","startOffset":0,"sourceSecs":1194.584,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":199077632,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hulten_pontus_hans_nordenstrom_en_dag_i_staden_1958/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hulten_pontus_hans_nordenstrom_en_dag_i_staden_1958/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hulten_pontus_hans_nordenstrom_en_dag_i_staden_1958.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hulten_pontus_hans_nordenstrom_en_dag_i_staden_1958/main.mp4?v=2","description":"A dadaist explosion that starts as a typical Hollywood travelogue of Stockholm and ends in the city's total destruction by fire and dynamite. This is an hilarious anarchist film, made by the then unknown Hulten, now director of Stockholm's Museum of Modern Art. In a particularly subversive scene, the fire engine, arriving at a fire, goes up in flames. With Jean Tinguely.","artist_bio":"Pontus Hulten & Hans Nordenström - En Dag I Staden AKA A Day in Town (1958)\nKarl Gunnar Vougt Pontus Hultén (21 June 1924 – 26 October 2006) was a Swedish art collector and museum director. Pontus Hultén is regarded as one of the most distinguished museum professionals of the twentieth century. He was the pioneering former head of the Museum for modern art in Stockholm and in the 1970s he was invited to participate in the creation of the Centre Georges Pompidou in Paris, where he was its first director in 1974–1981.","bio_dates":"1924-2006"},{"slug":"hura_sohrab_pati_2010","ok":true,"partial":false,"title":"Pati","artist":"Sohrab Hura","year":"2010","startOffset":0,"sourceSecs":707.648,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":295178778,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hura_sohrab_pati_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hura_sohrab_pati_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hura_sohrab_pati_2010.mkv","hasFrames":true,"description":"Only very recently has the economic boom of India begun to reach its citizens in rural areas who suffer some of the worst poverty conditions in the world and need such progress the most. Over three-­‐fourths of India’s poor live in rural areas, with a majority of this population working as daily agricultural labourers for less than a dollar a day. The introduction of the National Rural Employment Guarantee Act in 2005, which guarantees rural citizens 100 days of paid, public work began the first large government support system of the rural poor. <br/><br/> But when water is often a several mile journey, health care is a full day’s walk, and agricultural yield has steadily fallen due to global warming, this transformation of rural India into civil society is not only a long journey, but the clashes between public and private interests are surfacing quick. Photographer Sohrab Hura documents the current conditions of poverty in rural India and the introduction of government-supported work programs.<br><br><b>RESOURCES:</b> <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/sound/bowles.html\" rel=\"noopener\" target=\"_blank\">Sohrab Hura in UbuWeb Sound</a>","artist_bio":"Sohrab Hura (born 17 October 1981) is an Indian photographer based in New Delhi.[1] He is a full member of Magnum Photos.\nHura's self-published trilogy Sweet Life comprises the books Life is Elsewhere (2015), A Proposition for Departure (2017) and Look It's Getting Sunny Outside!!! (2018); the latter was shortlisted for Photobook of the Year in the Paris Photo–Aperture Foundation PhotoBook Awards. He has also self-published The Coast (2019) and The Levee (2020). His work has been shown in solo exhibitions in London and in Kolkata, India.","bio_dates":"b. 1981"},{"slug":"hura_sohrab_the_lost_head_the_bird_2019","ok":true,"partial":false,"title":"The Lost Head & The Bird","artist":"Sohrab Hura","year":"2019","startOffset":0,"sourceSecs":612.458,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":179321497,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hura_sohrab_the_lost_head_the_bird_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hura_sohrab_the_lost_head_the_bird_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hura_sohrab_the_lost_head_the_bird_2019.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hura_sohrab_the_lost_head_the_bird_2019/main.mp4?v=2","description":"ohrab Hura discusses the fluid interplay between photography and film, and channeling the growing chaos and absurdity of life in India in his work. <br/><br/> The Lost Head & the Bird uses India’s coastline as a lens through which to re-examine the nation’s changing politics, and society – the growing and pervasive sense of caste, sexual, religious and political violence. The project, accompanied by his unnerving short story of the same name, morphed into a new short film. Here, Hura discusses the advantages of moving image, the use of sometimes brutal found imagery, and his working process.<br><br><b>RESOURCES:</b> <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/sound/bowles.html\" rel=\"noopener\" target=\"_blank\">Sohrab Hura in UbuWeb Sound</a>","artist_bio":"Sohrab Hura (born 17 October 1981) is an Indian photographer based in New Delhi.[1] He is a full member of Magnum Photos.\nHura's self-published trilogy Sweet Life comprises the books Life is Elsewhere (2015), A Proposition for Departure (2017) and Look It's Getting Sunny Outside!!! (2018); the latter was shortlisted for Photobook of the Year in the Paris Photo–Aperture Foundation PhotoBook Awards. He has also self-published The Coast (2019) and The Levee (2020). His work has been shown in solo exhibitions in London and in Kolkata, India.","bio_dates":"b. 1981"},{"slug":"hutton_peter_boston_fire","ok":true,"partial":false,"title":"Boston Fire","artist":"Peter Hutton","year":"1979","startOffset":0,"sourceSecs":311.765,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":43319684,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hutton_peter_boston_fire/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hutton_peter_boston_fire/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hutton_peter_boston_fire.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hutton_peter_boston_fire/main.mp4?v=2","description":"Peter Hutton’s ‘Boston Fire’ depicts the abstracted burning of a unidentified building and a group of fire-fighter’s futile attempts to drown out the blaze. Constructed as a series of stationary shots aimed at different parts of the fire, it begins by focussing on the endless plumes of smoke that the fire emits, then looking at the ruins of the building and the nameless and faceless men attempting to put out the fire. Each shot is separated by a short length of black footage, which works to construct the images into a progression of events, rather than letting a straight forward montage attempt to create a narrative out of the events, locations and people present.<br/><br/> It begins with the an image of billowing smoke emerging from somewhere just below the frame of the camera, initiating a play between darkness and light and the continual transformation of the image between presence and absence. Because we don’t initially know the origin of the smoke clouds, we focus on the after-effects of this unidentified catastrophic event rather than the event itself, bringing the relationship between cause and effect and our human connection and implication in events to the foreground. The clouds of smoke are repeated in several shots, some filmed in slow-motion to highlight the unnatural and unrelenting persistence of the emerging smoke, and to hint at the ability of the film camera to capture and project this phenomenon in a situation outside of its natural origin. This initial series of repetitive images allows us to contemplate on its visual and aesthetic qualities without having to be present at its temporal location.<br/><br/> A few shots later we are shown the burning wreckage of a building, identifying the cause of the smoke as the destruction of a human construction. We do not know the purpose of this building; it may be a school, hospital, a home or simply an old barn or storage facility. This uncertainty about the buildings previous existence brings the purpose of all human constructions into question; it does not matter what this building was, all we know and see is the aftermath of its inevitable destruction. Man’s ability to create is sidelined for the portrayal of its eventual destruction, which appears to question the temporality of our industrial creations and their ultimate impermanence.<br/><br/> Shortly after we see the first signs of human involvement in this situation. Two figures walk across the path of the camera’s view, their identity not made explicit but alluding to the existence of man’s activity at this space. We see fire hoses spraying water from off screen onto the fire in front of us, but this does little to stop the blaze, merely pushing and manipulating the continuous stream of dark smoke into the sky above them. Man’s involvement in this situation is abstracted to anonymous figures who are invested in stopping the fire but are merely seen as powerless manipulators in the spatial and temporal interplay between darkness and light. Both man and his architectural constructions are abstracted to the point of invisibility, we know that they exist, but specific points of reference have been removed to allude to the futile and impermanent nature of our existence.<br/><br/> Because each shot is separated from the previous one by a short gap or darkness, it does not create a specific narrative out of the depicted events but alludes to a progression of events that transcends history to place what we see not at a specific point in time and space but as a universal comment on the connection between mans place and involvement in the world around him. More classical depictions of real life events and the use of documentary footage often works to place the developments in human life in a series or chain of events; one event causing another which leads to another, which is how traditional history has taught us to understand the progression of human life through the ages. Hutton’s film, however, uses cinema’s ability to manipulate events to show us how we have been manipulated into seeing things as chronologically specific to certain temporal and spatial locations. While the title of the film identifies the location of the fire as Boston, it works to show the universal qualities that a series of images and events can have by making us aware of the nature of traditional narrative and editing techniques that have become so dominant in the way we understand our contemporary lives.","artist_bio":"Peter Hutton (born 1944 in Detroit, Michigan) is an experimental filmmaker, known primarily for his silent cinematic portraits of cities and landscapes around the world. He has also worked as a professional cinematographer, most notably for his former student Ken Burns. Hutton studied painting, sculpture and film at the San Francisco Art Institute. He has taught filmmaking at CalArts, Hampshire College, Harvard University, SUNY Purchase, and Bard College, where he has served as the director of the Film and Electronic Arts Program since 1989. Much of Hutton's career was influenced by his time in the merchant marine. Hutton's films are distributed by Canyon Cinema in San Francisco. In May 2008 the Museum of Modern Art in New York held a full retrospective of Hutton's films. His most recent work, Three Landscapes premièred at the Toronto International Film Festival in September 2013.","bio_dates":"1944-2016"},{"slug":"hutton_peter_images_of_asian_music_1974","ok":true,"partial":false,"title":"Images of Asian Music","artist":"Peter Hutton","year":"1973-1974","startOffset":0,"sourceSecs":1579.011,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":276519770,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hutton_peter_images_of_asian_music_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hutton_peter_images_of_asian_music_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hutton_peter_images_of_asian_music_1974.avi","hasFrames":true,"description":"\"\"IMAGES OF ASIAN MUSIC represents footage compiled during 1973-1974 when Peter Hutton was living in Thailand and working at sea as a merchant seaman. While the film is silent, the title was intended to evoke a comparison to the movement of classical Asian music. IMAGES OF ASIAN MUSIC is a personal celebration of Asia formed by a sensitivity to filmic composition and to the perception of these images in a silent time created by the filmmaker.\" - Whitney Museum of American Art\n\n\"\"... The camera records a ship working out of Thailand, the faces of the seamen, the sea, a storm, fireworks, a big snake coiling exploratorily about a young girl, the huge Buddha in the lotus position and landscapes and skyscapes reminiscent of the film work of Satyajit Ray. It is beautiful, mute, and meaningful in the silence.\" - Archer Winston, New York Post","artist_bio":"Peter Hutton (born 1944 in Detroit, Michigan) is an experimental filmmaker, known primarily for his silent cinematic portraits of cities and landscapes around the world. He has also worked as a professional cinematographer, most notably for his former student Ken Burns. Hutton studied painting, sculpture and film at the San Francisco Art Institute. He has taught filmmaking at CalArts, Hampshire College, Harvard University, SUNY Purchase, and Bard College, where he has served as the director of the Film and Electronic Arts Program since 1989. Much of Hutton's career was influenced by his time in the merchant marine. Hutton's films are distributed by Canyon Cinema in San Francisco. In May 2008 the Museum of Modern Art in New York held a full retrospective of Hutton's films. His most recent work, Three Landscapes premièred at the Toronto International Film Festival in September 2013.","bio_dates":"1944-2016"},{"slug":"hutton_peter_new_york_portrait_part_ii","ok":true,"partial":false,"title":"New York Portrait, Chapter Two","artist":"Peter Hutton","year":"1981","startOffset":0,"sourceSecs":687.125,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":106527546,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hutton_peter_new_york_portrait_part_ii/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/hutton_peter_new_york_portrait_part_ii/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/hutton_peter_new_york_portrait_part_ii.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/hutton_peter_new_york_portrait_part_ii/main.mp4?v=2","description":"Peter Hutton’s ‘Boston Fire’ depicts the abstracted burning of a unidentified building and a group of fire-fighter’s futile attempts to drown out the blaze. Constructed as a series of stationary shots aimed at different parts of the fire, it begins by focussing on the endless plumes of smoke that the fire emits, then looking at the ruins of the building and the nameless and faceless men attempting to put out the fire. Each shot is separated by a short length of black footage, which works to construct the images into a progression of events, rather than letting a straight forward montage attempt to create a narrative out of the events, locations and people present.<br/><br/> It begins with the an image of billowing smoke emerging from somewhere just below the frame of the camera, initiating a play between darkness and light and the continual transformation of the image between presence and absence. Because we don’t initially know the origin of the smoke clouds, we focus on the after-effects of this unidentified catastrophic event rather than the event itself, bringing the relationship between cause and effect and our human connection and implication in events to the foreground. The clouds of smoke are repeated in several shots, some filmed in slow-motion to highlight the unnatural and unrelenting persistence of the emerging smoke, and to hint at the ability of the film camera to capture and project this phenomenon in a situation outside of its natural origin. This initial series of repetitive images allows us to contemplate on its visual and aesthetic qualities without having to be present at its temporal location.<br/><br/> A few shots later we are shown the burning wreckage of a building, identifying the cause of the smoke as the destruction of a human construction. We do not know the purpose of this building; it may be a school, hospital, a home or simply an old barn or storage facility. This uncertainty about the buildings previous existence brings the purpose of all human constructions into question; it does not matter what this building was, all we know and see is the aftermath of its inevitable destruction. Man’s ability to create is sidelined for the portrayal of its eventual destruction, which appears to question the temporality of our industrial creations and their ultimate impermanence.<br/><br/> Shortly after we see the first signs of human involvement in this situation. Two figures walk across the path of the camera’s view, their identity not made explicit but alluding to the existence of man’s activity at this space. We see fire hoses spraying water from off screen onto the fire in front of us, but this does little to stop the blaze, merely pushing and manipulating the continuous stream of dark smoke into the sky above them. Man’s involvement in this situation is abstracted to anonymous figures who are invested in stopping the fire but are merely seen as powerless manipulators in the spatial and temporal interplay between darkness and light. Both man and his architectural constructions are abstracted to the point of invisibility, we know that they exist, but specific points of reference have been removed to allude to the futile and impermanent nature of our existence.<br/><br/> Because each shot is separated from the previous one by a short gap or darkness, it does not create a specific narrative out of the depicted events but alludes to a progression of events that transcends history to place what we see not at a specific point in time and space but as a universal comment on the connection between mans place and involvement in the world around him. More classical depictions of real life events and the use of documentary footage often works to place the developments in human life in a series or chain of events; one event causing another which leads to another, which is how traditional history has taught us to understand the progression of human life through the ages. Hutton’s film, however, uses cinema’s ability to manipulate events to show us how we have been manipulated into seeing things as chronologically specific to certain temporal and spatial locations. While the title of the film identifies the location of the fire as Boston, it works to show the universal qualities that a series of images and events can have by making us aware of the nature of traditional narrative and editing techniques that have become so dominant in the way we understand our contemporary lives.","artist_bio":"Peter Hutton (born 1944 in Detroit, Michigan) is an experimental filmmaker, known primarily for his silent cinematic portraits of cities and landscapes around the world. He has also worked as a professional cinematographer, most notably for his former student Ken Burns. Hutton studied painting, sculpture and film at the San Francisco Art Institute. He has taught filmmaking at CalArts, Hampshire College, Harvard University, SUNY Purchase, and Bard College, where he has served as the director of the Film and Electronic Arts Program since 1989. Much of Hutton's career was influenced by his time in the merchant marine. Hutton's films are distributed by Canyon Cinema in San Francisco. In May 2008 the Museum of Modern Art in New York held a full retrospective of Hutton's films. His most recent work, Three Landscapes premièred at the Toronto International Film Festival in September 2013.","bio_dates":"1944-2016"},{"slug":"igwe_onyeka_a_so_called_archive_2020","ok":true,"partial":false,"title":"a so-called archive","artist":"Onyeka Igwe","year":"2020","startOffset":0,"sourceSecs":1180.736,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":515292960,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/igwe_onyeka_a_so_called_archive_2020/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/igwe_onyeka_a_so_called_archive_2020/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/igwe_onyeka_a_so_called_archive_2020.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/igwe_onyeka_a_so_called_archive_2020/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/igwe_onyeka_a_so_called_archive_2020/main/master.m3u8?v=2","hasMainHls":true,"description":"The truth – obscured behind the static noise of old VHS tapes, behind the gaze of In Lagos, the former Nigerian Film Unit building was one of the first self-directed outposts of the British visual propaganda engine, the Colonial Film Unit (1932–1955). Today it stands empty. Its rooms are full of dust, cobwebs, stopped clocks, and rusty and rotting celluloid film cans. The films found in this building are hard to see, not only because of their condition, but also perhaps because people do not want to see them. They reveal a colonial residue, echoed in walls of the building itself.\n\nMeanwhile, in Bristol Temple Meads, the former British Empire and Commonwealth Museum (2002-2009) was previously housed in the vaults of one Isambard Kingdom Brunel’s most famous railway designs. The museum included photographic, film, sound and object collections from across the former British Empire. However, it is now shrouded in ignominy after the alleged illegal sale of several items from its collection, leading to its closure. The monetisation and obscurity of its collection points to an attitude to Britain’s colonial past.\n\na so-called archive imagines the ‘lost’ films from both of these archives, using distinctive soundscapes, choral arrangements and a radio play within the confines of images from a disembodied tour of the equisite corpse of an archive building.\n\nfor further information about this artist and work. The LUX site offers extensive resources for curators, students, artists and educators.","artist_bio":"the names have changed, including my own and truths have been altered (2019)\nOnyeka Igwe is an artist and researcher working between cinema and installation. She is born and based in London, UK.\nThrough her work, Onyeka is animated by the question — how do we live together? — with particular interest in the ways the sensorial, spatiality, and non-canonical ways of knowing can provide answers. She uses embodiment, voice, archives, narration and text to create structural ‘figure-of-eights’, a format that exposes a multiplicity of narratives. The work comprises untying strands and threads, anchored by a rhythmic editing style, as well as close attention to the dissonance, reflection and amplification that occurs between image and sound.\nOnyeka’s video works have been screened at Artists’ Film Club: Black Radical Imagination, ICA, London, 2017; Dhaka Art Summit, Bangladesh, 2020, and at film festivals internationally including the London Film Festival, 2015 and 2020; Rotterdam International, Netherlands, 2018, 2019 and 2020; Edinburgh Artist Moving Image, 2016; Images Festival, Canada, 2019, and the Smithsonian African American film festival, USA, 2018.\nSolo projects include Corrections, with Aliya Pabani, Trinity Square Video, Toronto, Canada, 2018, and There Were Two Brothers, Jerwood Arts, 2019.\nRecent group projects include KW Production Series, Berlin, Germany, 2020, New Labor Movements, McEvoy Foundation for the Arts, San Francisco, USA, [POST] Colonial Bodies II, CC Matienzo, Buenos Aires, Argentina, 2019, there’s something in the conversation that is more interesting than the finality of (a title), The Showroom, London, UK, 2018; and World Cup!, articule, Montreal, Canada, 2018.\nForthcoming exhibitions include, The Only Good System is a Soundsystem (BOSS Collective), Liverpool Biennial, UK, Reconfigured, (group show), Timothy Taylor New York, USA, and a so-called archive, (solo show), Mercer Union, Toronto, Canada, all 2021.\nShe was awarded 2020 Arts Foundation Futures Award for Experimental Short Film and was the recipient of the Berwick New Cinema Award in 2019. Onyeka's work is distributed by\nLux\n.\nThese titles are available for exhibitions, screenings, and institutional use through\nLux\n, London. Please visit the\nLUX Online Collection\nfor further information about this artist and work. The LUX site offers extensive resources for curators, students, artists and educators.","bio_dates":"2019"},{"slug":"igwe_onyeka_the_names_have_changed_including_my_own_and_truths_have_been_altered_2019","ok":true,"partial":false,"title":"the names have changed, including my own and truths have been altered","artist":"Onyeka Igwe","year":"2019","startOffset":0,"sourceSecs":1548.096,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":685144382,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/igwe_onyeka_the_names_have_changed_including_my_own_and_truths_have_been_altered_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/igwe_onyeka_the_names_have_changed_including_my_own_and_truths_have_been_altered_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/igwe_onyeka_the_names_have_changed_including_my_own_and_truths_have_been_altered_2019.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/igwe_onyeka_the_names_have_changed_including_my_own_and_truths_have_been_altered_2019/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/igwe_onyeka_the_names_have_changed_including_my_own_and_truths_have_been_altered_2019/main/master.m3u8?v=2","hasMainHls":true,"description":"The truth – obscured behind the static noise of old VHS tapes, behind the gaze of photographed subjects in a colonial archive, behind the words of the stories told – is hard to pinpoint. And as the title of this film suggests, it can be altered. Onyeka Igwe trudges through personal, colonial and televisual archives in Nigeria to tell the story of her grandfather. The tales she encounters are complicated, but she finds her own rhythm in recounting them.\n\nfor further information about this artist and work. The LUX site offers extensive resources for curators, students, artists and educators.","artist_bio":"the names have changed, including my own and truths have been altered (2019)\nOnyeka Igwe is an artist and researcher working between cinema and installation. She is born and based in London, UK.\nThrough her work, Onyeka is animated by the question — how do we live together? — with particular interest in the ways the sensorial, spatiality, and non-canonical ways of knowing can provide answers. She uses embodiment, voice, archives, narration and text to create structural ‘figure-of-eights’, a format that exposes a multiplicity of narratives. The work comprises untying strands and threads, anchored by a rhythmic editing style, as well as close attention to the dissonance, reflection and amplification that occurs between image and sound.\nOnyeka’s video works have been screened at Artists’ Film Club: Black Radical Imagination, ICA, London, 2017; Dhaka Art Summit, Bangladesh, 2020, and at film festivals internationally including the London Film Festival, 2015 and 2020; Rotterdam International, Netherlands, 2018, 2019 and 2020; Edinburgh Artist Moving Image, 2016; Images Festival, Canada, 2019, and the Smithsonian African American film festival, USA, 2018.\nSolo projects include Corrections, with Aliya Pabani, Trinity Square Video, Toronto, Canada, 2018, and There Were Two Brothers, Jerwood Arts, 2019.\nRecent group projects include KW Production Series, Berlin, Germany, 2020, New Labor Movements, McEvoy Foundation for the Arts, San Francisco, USA, [POST] Colonial Bodies II, CC Matienzo, Buenos Aires, Argentina, 2019, there’s something in the conversation that is more interesting than the finality of (a title), The Showroom, London, UK, 2018; and World Cup!, articule, Montreal, Canada, 2018.\nForthcoming exhibitions include, The Only Good System is a Soundsystem (BOSS Collective), Liverpool Biennial, UK, Reconfigured, (group show), Timothy Taylor New York, USA, and a so-called archive, (solo show), Mercer Union, Toronto, Canada, all 2021.\nShe was awarded 2020 Arts Foundation Futures Award for Experimental Short Film and was the recipient of the Berwick New Cinema Award in 2019. Onyeka's work is distributed by\nLux\n.\nThese titles are available for exhibitions, screenings, and institutional use through\nLux\n, London. Please visit the\nLUX Online Collection\nfor further information about this artist and work. The LUX site offers extensive resources for curators, students, artists and educators.","bio_dates":"2019"},{"slug":"iimura_takahiko_aiueonn_six_features_1993","ok":true,"partial":false,"title":"AIUEONN Six Features","artist":"Takahiko Iimura","year":"1993","startOffset":0,"sourceSecs":375.542,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":67615481,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_aiueonn_six_features_1993/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_aiueonn_six_features_1993/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/iimura_takahiko_aiueonn_six_features_1993.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/iimura_takahiko_aiueonn_six_features_1993/main.mp4?v=2","description":"AIUEONN Six Features (1993, 7min.) plays on computerized funny faces with Japanese vowels which don't synchronize with the voice except the first time. Repeated delay between the voice and the mouth may actualize the theory of “Differance” with “a” by Jacques Derrida combining “difference” and “delay.”<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/ono.html\" rel=\"noopener\" target=\"_blank\">Yoko Ono in UbuWeb Sound</a>","artist_bio":"A pioneering figure in the New York and Japanese film and video undergounds, Taka iimura has had a tremendous impact upon the development of experimental cinema in both the U.S. and Japan. iimura's work in video has concentrated on deconstructing the language of video, especially video's power to obscure the author of the image, through the audience's immediate acceptance of what is shown on screen as true. iimura establishes a relation between the self-reflexive nature of language and the simultaneous feedback characteristic of video, exploiting this relation to investigate the shifting position of video's subject (who is behind the camera) and object (who is in front of the camera). Through his videos, which read like elaborate semiotic riddles, iimura has educated audiences to the structure of video in a way that has profoundly changed the way the medium is viewed.\nHe is a widely established international artist, having had numerous solo exhibitions in major museums such as the Musem of Modern Art, the Whitney Museum, Anthology Film Archives, Centre Georges Pompidou, the National Gallery Jeu de Paume, Palais des Beaux-Arts, Reina Sofia National Museum, and the Tokyo Metropolitan Museum of Photography, in addition to artist residencies at the German Academy of Arts and Bellagio Rockefeller Foundation Study Center.\nRecently he has been involved in using computers, publishing more than 20 DVDs/CD-ROMs, and writing several books on film, video, and multimedia, including a book published in English, \"The Collected Writings of Takahiko iimura\".\n\"I am concerned with the whole system of video, not just what you see on the screen, but including the camera, monitor, the whole system.\"","bio_dates":"b. 1937"},{"slug":"iimura_takahiko_early_film_poems_1962_1971","ok":true,"partial":false,"title":"Early Film Poems","artist":"Takahiko Iimura","year":"1962-1971","startOffset":0,"sourceSecs":2677.444,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":447360043,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_early_film_poems_1962_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_early_film_poems_1962_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/iimura_takahiko_early_film_poems_1962_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/iimura_takahiko_early_film_poems_1962_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/iimura_takahiko_early_film_poems_1962_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"I made these films originally shot in 8mm in the early days of my filmmaking before 1971 and now collected first time in DVD with re-editing and new music in some films (T.I.)<br><br><b>The Pacific Ocean (1971) </b>7 min. music: Akiko Samukawa (2012)<br> Shot on 8mm on the 12-day boat journey between Yokohama and San Francisco, Iimura's The Pacific Ocean consumes the anticipation and uncertainties of a voyage on waves with an obsessive attention on the ripples. An added score by Akiko Samukawa (2012) deepens the anxiety as it sinks in that we are no longer aware of the direction in which we are heading.(Julian Ross)<br><br><b>Kiri (The Fog) (1970)</b> 3 min. silent<br> Shot on 8mm on a mountain in Japan, the abrasive winds that drift the fog in Iimura's Kiri are so fierce we almost believe it to have grazed the filmstrip. The scratches, however, emerge as dust particles that submerge in and out of the mist. A comparative piece to Larry Gottheim's Fog Line (1970), Kiri shows rare patience in such a situation.(J.R)<br><br><b>Honey Moon (1966)</b> 7 min. music: Akiko Samukawa (2012)<br> A touching portrait of his partner Akiko and the days following their wedding, Iimura's conceptual rigour loosens in favour of intimacy in Honey Moon.(J.R)<br><br><b>I Saw the Shadow (1966)</b> 7 min. silent<br> A precedent to Iimura's video work where he becomes his own subject, I Saw the Shadow sees Iimura follow his own shadow in and out of vision as he roams around streets, steps and fields. As the film progresses, it becomes increasingly unclear whether it is his shadow or camera that is guiding his steps.(J.R)<br><br><b>Iro (Colors) (1962)</b> 10 min. music: Yasunao Tone (1962)<br> First projected onto Jiro Takamatsu's naked back at the legendary Sogetsu Art Center for the performance Screen Play, Colors is an experiment in concoction. Iimura drops paint into oil and water and melts wax as he films the colors take shape whilst simultaneously dissolving into one another. An eerie soundtrack by Yasunao Tone of Group Ongaku and Fluxus creates an impression of music being the witch behind the craft.(J.R)<br><br><b>Dada 62 (1962)</b> 10 min. music: Haruyuki Suzuki (2012)<br> Yomiuri Independent was an annual show between 1949-1963 that exhibited all art that was submitted. Artists in the early 60s began to take advantage of the challenge by provoking the organisers with their submissions that cast a question on the framework of art within the gallery space. The objet d'art and performances we see in Dada 62 are fragments of what was shown in its 1962 version with pieces by Genpei Akasegawa, Jiro Takamatsu and Shinmei Kojima making an appearance.(In case of the performance in 1963, Iimura interpreted a graphic score by Yasunao Tone in his projection of the film at the Naiqua Gallery where he performed the projector as an instrument. As usual for Iimura, the piece is not simply a document but an interaction with the art he films.)(J.R)<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Takahiko Iimura in UbuWeb Sound</a></br></br></br></br></br></br></br></br></br></br></br></br>","artist_bio":"A pioneering figure in the New York and Japanese film and video undergounds, Taka iimura has had a tremendous impact upon the development of experimental cinema in both the U.S. and Japan. iimura's work in video has concentrated on deconstructing the language of video, especially video's power to obscure the author of the image, through the audience's immediate acceptance of what is shown on screen as true. iimura establishes a relation between the self-reflexive nature of language and the simultaneous feedback characteristic of video, exploiting this relation to investigate the shifting position of video's subject (who is behind the camera) and object (who is in front of the camera). Through his videos, which read like elaborate semiotic riddles, iimura has educated audiences to the structure of video in a way that has profoundly changed the way the medium is viewed.\nHe is a widely established international artist, having had numerous solo exhibitions in major museums such as the Musem of Modern Art, the Whitney Museum, Anthology Film Archives, Centre Georges Pompidou, the National Gallery Jeu de Paume, Palais des Beaux-Arts, Reina Sofia National Museum, and the Tokyo Metropolitan Museum of Photography, in addition to artist residencies at the German Academy of Arts and Bellagio Rockefeller Foundation Study Center.\nRecently he has been involved in using computers, publishing more than 20 DVDs/CD-ROMs, and writing several books on film, video, and multimedia, including a book published in English, \"The Collected Writings of Takahiko iimura\".\n\"I am concerned with the whole system of video, not just what you see on the screen, but including the camera, monitor, the whole system.\"","bio_dates":"b. 1937"},{"slug":"iimura_takahiko_face_1968_69","ok":true,"partial":false,"title":"Face","artist":"Takahiko Iimura","year":"1968-1969","startOffset":0,"sourceSecs":1130.697,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":198215181,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_face_1968_69/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_face_1968_69/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/iimura_takahiko_face_1968_69.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/iimura_takahiko_face_1968_69/main.mp4?v=2","description":"Face (1968-69, 17min.) is featuring Warhol's super stars, Mario Montez, and underground comic star of the Kuchar brothers', Donna Kerness, in their sexual process on faces in acting mixed with the ”real”one in close-ups questions the difference between what is \"real\" and what is \"fake\" in film. Continuous laughing voice over the images makes one wonder as an absurd play.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/ono.html\" rel=\"noopener\" target=\"_blank\">Yoko Ono in UbuWeb Sound</a>","artist_bio":"A pioneering figure in the New York and Japanese film and video undergounds, Taka iimura has had a tremendous impact upon the development of experimental cinema in both the U.S. and Japan. iimura's work in video has concentrated on deconstructing the language of video, especially video's power to obscure the author of the image, through the audience's immediate acceptance of what is shown on screen as true. iimura establishes a relation between the self-reflexive nature of language and the simultaneous feedback characteristic of video, exploiting this relation to investigate the shifting position of video's subject (who is behind the camera) and object (who is in front of the camera). Through his videos, which read like elaborate semiotic riddles, iimura has educated audiences to the structure of video in a way that has profoundly changed the way the medium is viewed.\nHe is a widely established international artist, having had numerous solo exhibitions in major museums such as the Musem of Modern Art, the Whitney Museum, Anthology Film Archives, Centre Georges Pompidou, the National Gallery Jeu de Paume, Palais des Beaux-Arts, Reina Sofia National Museum, and the Tokyo Metropolitan Museum of Photography, in addition to artist residencies at the German Academy of Arts and Bellagio Rockefeller Foundation Study Center.\nRecently he has been involved in using computers, publishing more than 20 DVDs/CD-ROMs, and writing several books on film, video, and multimedia, including a book published in English, \"The Collected Writings of Takahiko iimura\".\n\"I am concerned with the whole system of video, not just what you see on the screen, but including the camera, monitor, the whole system.\"","bio_dates":"b. 1937"},{"slug":"iimura_takahiko_filmmakers_1969","ok":true,"partial":false,"title":"Filmmakers","artist":"Takahiko Iimura","year":"1969","startOffset":0,"sourceSecs":1775.641,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":309590442,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_filmmakers_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_filmmakers_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/iimura_takahiko_filmmakers_1969.mp4","hasFrames":true,"description":"Filmmakers (1969, 28min.) documents in a very personal manner the portraits of the most active experimental filmmakers in the mid 1960's:\n\n, and Takahiko Iimura. It is a rare historical document of the \"Golden Age\" of underground film. The film also characterizes the shooting method to each filmmaker as partially uses their style of filming in their parts. The sound counteracts the shooting style as Iimura himself records the voice in words what he sees in the picture objectifying the voice over the image."},{"slug":"iimura_takahiko_fluxus_replayed_1991","ok":true,"partial":false,"title":"Fluxus Replayed","artist":"Takahiko Iimura","year":"1991","startOffset":0,"sourceSecs":1769.001,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":307659350,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_fluxus_replayed_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_fluxus_replayed_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/iimura_takahiko_fluxus_replayed_1991.mp4","hasFrames":true,"description":"In a radical action like Nam June Paik destroying a violin, and rolling up in bandages the bodies of the players in in a concert by Yoko Ono, the international avant-garde group Fluxus changed not only art, but the concept of it.<br/><br/> Fluxus Replayed is a document of a 1991 performance in New York, which reproduced historical Fluxus performance pieces from the early 1960s. The S.E.M. Ensemble together with some of the Fluxus artists themselves, perform works by <a href=\"https://ubu.com/film/paik.html\" rel=\"noopener\" target=\"_blank\">Nam June Paik</a>, <a href=\"https://ubu.com/film/ono.html\" rel=\"noopener\" target=\"_blank\">Yoko Ono</a>, <a href=\"https://ubu.com/sound/higgins.html\" rel=\"noopener\" target=\"_blank\">Dick Higgins</a>, <a href=\"https://ubu.com/film/brecht.html\" rel=\"noopener\" target=\"_blank\">George Brecht</a>, <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Allison Knowles</a>, <a href=\"https://ubu.com/sound/patterson.html\" rel=\"noopener\" target=\"_blank\">Ben Patterson</a>, <a href=\"https://ubu.com/film/maclow.html\" rel=\"noopener\" target=\"_blank\">Jackson Mac Low</a> and <a href=\"https://ubu.com/sound/williams_e.html\" rel=\"noopener\" target=\"_blank\">Emett Williams</a>.<br/><br/> Quote:<br/><br/> \"\"Taka iimura is a senior figure among contemporary Japanese artists and has been working with film, sound and video since the 1960s. He was one of several Japanese who, coming from a 20th Century tradition of avant-garde intervention, contributed to the Fluxus group in the 60s... As the cycle of experimentation moves through another generation, glimpses of precursors through archive recordings of this kind help ground artists’ surviving words and artworks.\"<br/><br/> -- Mike Leggett, Leonardo Digital Review, MIT Press<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/ono.html\" rel=\"noopener\" target=\"_blank\">Yoko Ono in UbuWeb Sound</a>","artist_bio":"A pioneering figure in the New York and Japanese film and video undergounds, Taka iimura has had a tremendous impact upon the development of experimental cinema in both the U.S. and Japan. iimura's work in video has concentrated on deconstructing the language of video, especially video's power to obscure the author of the image, through the audience's immediate acceptance of what is shown on screen as true. iimura establishes a relation between the self-reflexive nature of language and the simultaneous feedback characteristic of video, exploiting this relation to investigate the shifting position of video's subject (who is behind the camera) and object (who is in front of the camera). Through his videos, which read like elaborate semiotic riddles, iimura has educated audiences to the structure of video in a way that has profoundly changed the way the medium is viewed.\nHe is a widely established international artist, having had numerous solo exhibitions in major museums such as the Musem of Modern Art, the Whitney Museum, Anthology Film Archives, Centre Georges Pompidou, the National Gallery Jeu de Paume, Palais des Beaux-Arts, Reina Sofia National Museum, and the Tokyo Metropolitan Museum of Photography, in addition to artist residencies at the German Academy of Arts and Bellagio Rockefeller Foundation Study Center.\nRecently he has been involved in using computers, publishing more than 20 DVDs/CD-ROMs, and writing several books on film, video, and multimedia, including a book published in English, \"The Collected Writings of Takahiko iimura\".\n\"I am concerned with the whole system of video, not just what you see on the screen, but including the camera, monitor, the whole system.\"","bio_dates":"b. 1937"},{"slug":"iimura_takahiko_onan_1963","ok":true,"partial":false,"title":"Onan","artist":"Takahiko Iimura","year":"1963","startOffset":0,"sourceSecs":488.121,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":89344218,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_onan_1963/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_onan_1963/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/iimura_takahiko_onan_1963.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/iimura_takahiko_onan_1963/main.mp4?v=2","description":"Onan (1963, 7min.) Winner of Special Prize at legendary Brussels International Experimental Film Festival, 1964. A surreal short tale of a young guy bears a big egg after masturbation...<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/ono.html\" rel=\"noopener\" target=\"_blank\">Yoko Ono in UbuWeb Sound</a>","artist_bio":"A pioneering figure in the New York and Japanese film and video undergounds, Taka iimura has had a tremendous impact upon the development of experimental cinema in both the U.S. and Japan. iimura's work in video has concentrated on deconstructing the language of video, especially video's power to obscure the author of the image, through the audience's immediate acceptance of what is shown on screen as true. iimura establishes a relation between the self-reflexive nature of language and the simultaneous feedback characteristic of video, exploiting this relation to investigate the shifting position of video's subject (who is behind the camera) and object (who is in front of the camera). Through his videos, which read like elaborate semiotic riddles, iimura has educated audiences to the structure of video in a way that has profoundly changed the way the medium is viewed.\nHe is a widely established international artist, having had numerous solo exhibitions in major museums such as the Musem of Modern Art, the Whitney Museum, Anthology Film Archives, Centre Georges Pompidou, the National Gallery Jeu de Paume, Palais des Beaux-Arts, Reina Sofia National Museum, and the Tokyo Metropolitan Museum of Photography, in addition to artist residencies at the German Academy of Arts and Bellagio Rockefeller Foundation Study Center.\nRecently he has been involved in using computers, publishing more than 20 DVDs/CD-ROMs, and writing several books on film, video, and multimedia, including a book published in English, \"The Collected Writings of Takahiko iimura\".\n\"I am concerned with the whole system of video, not just what you see on the screen, but including the camera, monitor, the whole system.\"","bio_dates":"b. 1937"},{"slug":"iimura_takahiko_white_calligraphy_1967","ok":true,"partial":false,"title":"White Calligraphy","artist":"Takahiko Iimura","year":"1967","startOffset":0,"sourceSecs":664.564,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":110548850,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_white_calligraphy_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_white_calligraphy_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/iimura_takahiko_white_calligraphy_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/iimura_takahiko_white_calligraphy_1967/main.mp4?v=2","description":"White Calligraphy (1967, 11min) is a film featuring calligraphy scratched directly on black film one character in every frame taken from the famous story of Kojiki, written in 8th Century. When projected, it is too fast to read, but seen as an abstract line animation film. It is an almost like autonomous writing of surrealist, lines rapidly explode like fireworks.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/ono.html\" rel=\"noopener\" target=\"_blank\">Yoko Ono in UbuWeb Sound</a>","artist_bio":"A pioneering figure in the New York and Japanese film and video undergounds, Taka iimura has had a tremendous impact upon the development of experimental cinema in both the U.S. and Japan. iimura's work in video has concentrated on deconstructing the language of video, especially video's power to obscure the author of the image, through the audience's immediate acceptance of what is shown on screen as true. iimura establishes a relation between the self-reflexive nature of language and the simultaneous feedback characteristic of video, exploiting this relation to investigate the shifting position of video's subject (who is behind the camera) and object (who is in front of the camera). Through his videos, which read like elaborate semiotic riddles, iimura has educated audiences to the structure of video in a way that has profoundly changed the way the medium is viewed.\nHe is a widely established international artist, having had numerous solo exhibitions in major museums such as the Musem of Modern Art, the Whitney Museum, Anthology Film Archives, Centre Georges Pompidou, the National Gallery Jeu de Paume, Palais des Beaux-Arts, Reina Sofia National Museum, and the Tokyo Metropolitan Museum of Photography, in addition to artist residencies at the German Academy of Arts and Bellagio Rockefeller Foundation Study Center.\nRecently he has been involved in using computers, publishing more than 20 DVDs/CD-ROMs, and writing several books on film, video, and multimedia, including a book published in English, \"The Collected Writings of Takahiko iimura\".\n\"I am concerned with the whole system of video, not just what you see on the screen, but including the camera, monitor, the whole system.\"","bio_dates":"b. 1937"},{"slug":"iimura_takahiko_yoko_ono_this_is_not_here_1966","ok":true,"partial":false,"title":"Yoko Ono : This Is Not Here","artist":"Takahiko Iimura","year":"1971","startOffset":0,"sourceSecs":1177.176,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":186691075,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_yoko_ono_this_is_not_here_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/iimura_takahiko_yoko_ono_this_is_not_here_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/iimura_takahiko_yoko_ono_this_is_not_here_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/iimura_takahiko_yoko_ono_this_is_not_here_1966/main.mp4?v=2","description":"With guest artist, John Lennon, and Yoko Ono, a document of YOKO ONO solo exhibition THIS IS NOT HERE at Everson Museum, New York, 1971.<br/><br/> A document of the Yoko Ono retrospective art show with John Lennon as guest artist, \"This is not here\" held at Everson Museum, New York, 1971. The film begins with Yoko's speech at the press conference that continues throughout the film as she talks about \"radical art\", a non-violent one, and advocates \"total communication\". Many important art objects and installations of Yoko's are seen as the camera goes along with Yoko and John through the installations.<br/><br/> Allen Ginsberg and George Maciunas were among two of many guest artists who participated in the exhibition. At the end a \"piano piece\" by Yoko in which people including John and Yoko are just hitting continuously the surface of a closed piano is over- whelming.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/ono.html\" rel=\"noopener\" target=\"_blank\">Yoko Ono in UbuWeb Sound</a></br>","artist_bio":"A pioneering figure in the New York and Japanese film and video undergounds, Taka iimura has had a tremendous impact upon the development of experimental cinema in both the U.S. and Japan. iimura's work in video has concentrated on deconstructing the language of video, especially video's power to obscure the author of the image, through the audience's immediate acceptance of what is shown on screen as true. iimura establishes a relation between the self-reflexive nature of language and the simultaneous feedback characteristic of video, exploiting this relation to investigate the shifting position of video's subject (who is behind the camera) and object (who is in front of the camera). Through his videos, which read like elaborate semiotic riddles, iimura has educated audiences to the structure of video in a way that has profoundly changed the way the medium is viewed.\nHe is a widely established international artist, having had numerous solo exhibitions in major museums such as the Musem of Modern Art, the Whitney Museum, Anthology Film Archives, Centre Georges Pompidou, the National Gallery Jeu de Paume, Palais des Beaux-Arts, Reina Sofia National Museum, and the Tokyo Metropolitan Museum of Photography, in addition to artist residencies at the German Academy of Arts and Bellagio Rockefeller Foundation Study Center.\nRecently he has been involved in using computers, publishing more than 20 DVDs/CD-ROMs, and writing several books on film, video, and multimedia, including a book published in English, \"The Collected Writings of Takahiko iimura\".\n\"I am concerned with the whole system of video, not just what you see on the screen, but including the camera, monitor, the whole system.\"","bio_dates":"b. 1937"},{"slug":"in_dividu_1998","ok":true,"partial":false,"title":"In/Dividu","artist":"Nicole Hewitt","year":"1998","startOffset":0,"sourceSecs":461.84,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":75191155,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/in_dividu_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/in_dividu_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/in_dividu_1998.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/in_dividu_1998/main.mp4?v=2"},{"slug":"inside_outside_1964","ok":true,"partial":false,"title":"Inside & Outside","artist":"Takahiko Iimura","year":"1964","startOffset":0,"sourceSecs":115.348,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":20402025,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/inside_outside_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/inside_outside_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/inside_outside_1964.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/inside_outside_1964/main.mp4?v=2"},{"slug":"irwin_nsk_embassy_moscow_1992","ok":true,"partial":false,"title":"NSK Embassy Moscow","artist":"IRWIN","year":"1992","startOffset":0,"sourceSecs":659.957,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":115944120,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/irwin_nsk_embassy_moscow_1992/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/irwin_nsk_embassy_moscow_1992/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/irwin_nsk_embassy_moscow_1992.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/irwin_nsk_embassy_moscow_1992/main.mp4?v=2","description":"NSK Embassy Moscow (1992)<br/> How the East sees the East, May 10 - June 10, 1992 <br/> <br/> NSK Embassy was conceptualized by Irwin as a month long live installation with a program of lectures and public discussions, organized in cooperation by Irwin and Eda Čufer. The project was part of Apt-Art International and co-organised by Ridzhina Gallery. <br/><br/> The apartement was simultaneously a living quarters for NSK members and an exhibition and performance space with works from series Kapital by group Irwin, posters by Novi Kolektivizem, works by guest artists Goran Đorđević, Mladen Stlinović and Milivoj Bijelić, Laibach videos by Retrovision and a special performance by Kozmokinetini kabinet Noordung. <br/><br/> The lecturers were Rastko Močnik, Marina Gržinić and Matjaž Berger from Slovenia, Vesna Kesić from Croatia, and Viktor Misiano, Valeri Podoroga, Aleksandr Yakimovich, Tatiana Didenko and Artiom Troitsky from Russia.The aim of the event was to confront the similar social and artistic contexts of the ex-Soviet Union and ex-Yugoslavia. <br/><br/> Black Square on the Red Square was executed with a help of friends and was part of the NSK Embassy Moscow project."},{"slug":"irwin_nsk_passport_holders_2007_iphone","ok":true,"partial":false,"title":"NSK Passport Holders, Filmed by Iwrin in Vienna from Dec. 12-13","artist":"IRWIN","year":"2007","startOffset":0,"sourceSecs":2039.85,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":124394371,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/irwin_nsk_passport_holders_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/irwin_nsk_passport_holders_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/irwin_nsk_passport_holders_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/irwin_nsk_passport_holders_2007_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/irwin_nsk_passport_holders_2007_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"IRWIN: The Rye of the State<br/> The Israel Center for Digital Art Holon<br/> 6 February to 10 April <br/> <br/> Israel and the NSK (Neue Slowenische Kunst), the quasi-fictional Slovenian artist state, running joke, political-historical mythology and branding operation, enjoy an intimate relationship. Both began life as fin de siecle European visions, roughly 100 years apart. In different ways, both exhibit what vision can do. With a famous line delivered from a balcony in Basel, the prophet Herzl stated that the vision could be willed, and willed it was. Later, as communism crumbled in Europe, the NSK manifested as a kind of cracked mirror, associating different art groups through an umbrella identity. Laibach, the rock band, was always the power; IRWIN, initially a collective of painters, became something more: tacticians, designers, diplomats, archivists, bureaucrats and, finally, the agency for distributing NSK passports. <br/><br/> IRWIN was greeted in February on the opening of 'The Eye of the State' with an action by the Israeli group Public Movement. In collaboration with a local scout troop, Public Movement raised the Israeli flag and sang the national anthem before setting fire to wooden effigies of the Star of David and the NSK emblem Black Cross. The action, Opening Ceremony for the Embassy of the NSK State in Israel, 2010, seemed intended as a variation on the theme of over-identification, or the idea that it is more politically positive to play with the symbols of power rather than stand back and criticise them. In the radical setting of the Center for Digital Art, a markedly anti-Zionist institution recently responsible for a poster exhibition commemorating the Geneva Convention, there was real subversion here in the form of institutional critique. Perhaps, since critical-leftist identity can operate as an alibi--especially in artistic and intellectual circles--t might be better if we identified with our enemies? <br/><br/> In the event, the audience (and also IRWIN) seemed mostly baffled, and the proposition remained largely obscure. Here is a theme which has also always accompanied IRWIN. Practices of over-identification animated the group from the start, often in the form of flirtations with (the aesthetics of) fascism and at other times taking on mystical cadences. Throughout IRWIN's practice, however, it has remained hard to discern the deep claim: an early action consisted of an entry, centred on a modified Nazi emblem to a poster competition for a Yugoslavian national sports day. The entry won first prize, resulting in the sports day being cancelled. Still more enigmatic was the laying of the Black Square on the Red Square in Moscow in 1991. What did it mean, now and then? In my opinion, and despite a determined essay by the curator Avi Pitchon outlining the counter-case, what this show strongly clarifies is that the agenda was always more formal than ideological, more ambivalent than militant. IRWIN never was activist, at least not in any conventional or normative sense. The group was interested in art not politics, and, rather than engaging, it withdrew. This was IRWIN's power. <br/><br/> Besides the new passports which were sold on the opening night--clearly IRWIN's major work--pieces on display in 'The Eye of the State' included a set of heavy-framed icons (from the 1980s series 'Was Ist Kunst?') and the ingenious diagram Retroavantgarda, 2002, which, partly inspired by Peter Weibel, mapped the connections between the NSK's different subgroups. One room was devoted to a gallery of travelogue photoops-taken with various armies and in a single case, inexplicably--four Japanese salarymen. Another room presented bureaucratic-demographic material on NSK citizens, arranged in the format of attractive graphs. The most arresting single series, though, was the four films of interviews conducted with NSK passport holders in four different cities. In Taipei, Ljubljana and Vienna, educated respondents spoke fluently about dialectics and discourse. In London, immigrant Africans with their faces blacked out were told repeatedly that NSK passports do not confer Slovenian citizenship. 'It is an artist state,' IRWIN points out, trying to make sure the passport project is understood, and not succeeding. <br/><br/> The key fact is that the NSK has seen a sharp rise in passport requests from Nigeria. In effect, after years of creatively mining symbols, IRWIN is now experiencing the revenge of the real in the form of an immigration crisis. Israel is currently experiencing the same issue. The liveliest neighbourhood in Tel Aviv is New Barcelona, the area around the bus station inhabited by a population of itinerant, exploited workers. Handsome Africans play football, wiry Chinese chop fishheads, and sex-workers, glassy-eyed, observe the scene. The new Jews. -- DANIEL MILLER, 2010"},{"slug":"irwin_nsw_passport_holders_london_2007_iphone","ok":true,"partial":false,"title":"NSK Passport Holders, London","artist":"IRWIN","year":"2007","startOffset":0,"sourceSecs":4407.4,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":255170084,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/irwin_nsw_passport_holders_london_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/irwin_nsw_passport_holders_london_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/irwin_nsw_passport_holders_london_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/irwin_nsw_passport_holders_london_2007_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/irwin_nsw_passport_holders_london_2007_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Irwin, NSK Passport Holders<br/> Filmed in London from May 5-7, 2007 by film maker and visual anthropologist Esben Hansen (collaborator: Julie Boticello, anthropologist) <br/> Duration: approximate 80 minutes. <br/> Non-edited material.<br/><br/>IRWIN: The Rye of the State<br> The Israel Center for Digital Art Holon<br> 6 February to 10 April <br/> <br/> Israel and the NSK (Neue Slowenische Kunst), the quasi-fictional Slovenian artist state, running joke, political-historical mythology and branding operation, enjoy an intimate relationship. Both began life as fin de siecle European visions, roughly 100 years apart. In different ways, both exhibit what vision can do. With a famous line delivered from a balcony in Basel, the prophet Herzl stated that the vision could be willed, and willed it was. Later, as communism crumbled in Europe, the NSK manifested as a kind of cracked mirror, associating different art groups through an umbrella identity. Laibach, the rock band, was always the power; IRWIN, initially a collective of painters, became something more: tacticians, designers, diplomats, archivists, bureaucrats and, finally, the agency for distributing NSK passports. <br/><br/> IRWIN was greeted in February on the opening of 'The Eye of the State' with an action by the Israeli group Public Movement. In collaboration with a local scout troop, Public Movement raised the Israeli flag and sang the national anthem before setting fire to wooden effigies of the Star of David and the NSK emblem Black Cross. The action, Opening Ceremony for the Embassy of the NSK State in Israel, 2010, seemed intended as a variation on the theme of over-identification, or the idea that it is more politically positive to play with the symbols of power rather than stand back and criticise them. In the radical setting of the Center for Digital Art, a markedly anti-Zionist institution recently responsible for a poster exhibition commemorating the Geneva Convention, there was real subversion here in the form of institutional critique. Perhaps, since critical-leftist identity can operate as an alibi--especially in artistic and intellectual circles--t might be better if we identified with our enemies? <br/><br/> In the event, the audience (and also IRWIN) seemed mostly baffled, and the proposition remained largely obscure. Here is a theme which has also always accompanied IRWIN. Practices of over-identification animated the group from the start, often in the form of flirtations with (the aesthetics of) fascism and at other times taking on mystical cadences. Throughout IRWIN's practice, however, it has remained hard to discern the deep claim: an early action consisted of an entry, centred on a modified Nazi emblem to a poster competition for a Yugoslavian national sports day. The entry won first prize, resulting in the sports day being cancelled. Still more enigmatic was the laying of the Black Square on the Red Square in Moscow in 1991. What did it mean, now and then? In my opinion, and despite a determined essay by the curator Avi Pitchon outlining the counter-case, what this show strongly clarifies is that the agenda was always more formal than ideological, more ambivalent than militant. IRWIN never was activist, at least not in any conventional or normative sense. The group was interested in art not politics, and, rather than engaging, it withdrew. This was IRWIN's power. <br/><br/> Besides the new passports which were sold on the opening night--clearly IRWIN's major work--pieces on display in 'The Eye of the State' included a set of heavy-framed icons (from the 1980s series 'Was Ist Kunst?') and the ingenious diagram Retroavantgarda, 2002, which, partly inspired by Peter Weibel, mapped the connections between the NSK's different subgroups. One room was devoted to a gallery of travelogue photoops-taken with various armies and in a single case, inexplicably--four Japanese salarymen. Another room presented bureaucratic-demographic material on NSK citizens, arranged in the format of attractive graphs. The most arresting single series, though, was the four films of interviews conducted with NSK passport holders in four different cities. In Taipei, Ljubljana and Vienna, educated respondents spoke fluently about dialectics and discourse. In London, immigrant Africans with their faces blacked out were told repeatedly that NSK passports do not confer Slovenian citizenship. 'It is an artist state,' IRWIN points out, trying to make sure the passport project is understood, and not succeeding. <br/><br/> The key fact is that the NSK has seen a sharp rise in passport requests from Nigeria. In effect, after years of creatively mining symbols, IRWIN is now experiencing the revenge of the real in the form of an immigration crisis. Israel is currently experiencing the same issue. The liveliest neighbourhood in Tel Aviv is New Barcelona, the area around the bus station inhabited by a population of itinerant, exploited workers. Handsome Africans play football, wiry Chinese chop fishheads, and sex-workers, glassy-eyed, observe the scene. The new Jews. -- DANIEL MILLER, 2010</br></br>"},{"slug":"irwin_report_on_transnacionala_1996","ok":true,"partial":false,"title":"Transnacionala - A Journey from the East to the West","artist":"IRWIN","year":"1996","startOffset":0,"sourceSecs":300.884,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":51356968,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/irwin_report_on_transnacionala_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/irwin_report_on_transnacionala_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/irwin_report_on_transnacionala_1996.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/irwin_report_on_transnacionala_1996/main.mp4?v=2","description":"Transnacionala was an artistic event within the framework of which an international group of artists (comprising Alexander Brener, Vadim Fishkin, Yuri Leiderman, Goran Djordjević, Michael Benson, Eda Čufer and the five-member Irwin group) set out on a one-month journey across the United States in two recreational vehicles. The aim, quite simply, was to discuss various issues during the course of the trip: art, theory, politics, and existence itself - all in the context of the contemporary world. <br/><br/> On their way, the group made stops in Atlanta, Richmond, Chicago, San Francisco and Seattle. In cooperation with hosts Mary Jane Jacob, Katharine Gates, Randy Alexander, Charles Krafft, Robin Held, and Larry Reed, a number of artistic events, presentations, and discussions with local art communities were organized. <br/><br/> The installation Transnacionala was developed through several exhibitions in a year following the actual journey to find its final form in \"Transnacionala Vienna\"."},{"slug":"irwin_robert_primariesandsecondaries_2008","ok":true,"partial":false,"title":"Primaries and Secondaries","artist":"Robert Irwin","year":"2008","startOffset":0,"sourceSecs":1152.651,"sourceHeight":478,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":195981227,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/irwin_robert_primariesandsecondaries_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/irwin_robert_primariesandsecondaries_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/irwin_robert_primariesandsecondaries_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/irwin_robert_primariesandsecondaries_2008/main.mp4?v=2","description":"20 min documentary accompanying the catalogue to Robert Irwin's exhibition at the Museum of Contemporary Art San Diego <br/><br/>\"\"A pivotal influence in contemporary art, Robert Irwin's work investigates perception and phenomenological experience through sculptural and installation works that engage directly with a location's physical conditions. In the late 1960s, Irwin's early pieces helped to define the aesthetics of the West Coast Light and Space movement. In 1970, Irwin abandoned his studio-based art and stripped away all of his conceptions about art-making, until only those two criteria truly did remain: light and space. By the 1980s, he had evolved guidelines for how a site-based art could proceed, and, in a seminal 1986 statement, he laid out approaches for \"site dominant,\" \"site adjusted,\" \"site specific\" or \"site conditioned\" art--terms that are still essential today. Robert Irwin: Primaries and Secondaries spans five decades of the artist's work. Produced to accompany the largest exhibition of Irwin's work since 1993, it includes five of his most recent installation works, four of which were created specifically for MCASD--and features a DVD documentary of the exhibition installation.\"","artist_bio":"Robert Irwin was born in Long Beach, California, in 1928, and studied in Los Angeles at the Otis Art Institute (1948¡©50), the Jepson Art Institute (1951), and the Chinouard School of Art (1952¡©54). Since his first solo exhibition, at the Landau Gallery, Los Angeles, in 1957, he has exhibited widely in galleries and museums in North America and abroad. Irwin received a MacArthur Fellowship in 1984. In 1993, the Museum of Contemporary Art, Los Angeles, initiated a major retrospective of his work, which subsequently traveled to Paris, Madrid, and Cologne. Among his numerous public projects, the most recent is the monumental garden he designed for the Getty Center in Los Angeles, which opened in 1997. Dia held a two-part exhibition of Irwin's work in 1998¡©99, showing two site-specific installations, Prologue: x183 and Excursus: Homage to the Square©ø. Irwin currently lives and works in San Diego.","bio_dates":"b. 1928"},{"slug":"isherwood_christopher_chris_don_love_story_2007","ok":true,"partial":false,"title":"Chris & Don: A Love Story","artist":"Christopher Isherwood","year":"2007","startOffset":0,"sourceSecs":5429.097,"sourceHeight":406,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":313229913,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/isherwood_christopher_chris_don_love_story_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/isherwood_christopher_chris_don_love_story_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/isherwood_christopher_chris_don_love_story_2007.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/isherwood_christopher_chris_don_love_story_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/isherwood_christopher_chris_don_love_story_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"Chris & Don: A Love Story is a 2007 documentary film that chronicles the lifelong relationship between author Christopher Isherwood and his much younger lover, artist Don Bachardy. Chris & Don combines present-day interviews, archival footage shot by the couple from the 1950s, excerpts from Isherwood's diaries, and playful animations to recount their romance. It was directed by Guido Santi and Tina Mascara, and was the centerpiece film at NewFest, the New York LGBTQ Film Festival, in 2008.","artist_bio":"Christopher Isherwood, byname of Christopher William Bradshaw-Isherwood, (born August 26, 1904, High Lane, Cheshire, England—died January 4, 1986, Santa Monica, California, U.S.), Anglo-American novelist and playwright best known for his novels about Berlin in the early 1930s.\nAfter working as a secretary and a private tutor, Isherwood gained a measure of coterie recognition with his first two novels, All the Conspirators (1928) and The Memorial (1932). During the 1930s he collaborated with his friend W.H. Auden on three verse dramas, including The Ascent of F6 (1936). But it had been in 1929 that he found the theme that was to make him widely known. Between 1929 and 1933 he lived in Berlin, gaining an outsider’s view of the simultaneous decay of the Weimar Republic and the rise of Nazism. His novels Mr. Norris Changes Trains (1935; The Last of Mr. Norris) and Goodbye to Berlin (1939), which were later published together as The Berlin Stories, established his reputation as an important writer and inspired the play I Am a Camera (1951; film 1955) and the musical Cabaret (1966; film 1972). These books are detached but humorous studies of dubious characters leading seedy expatriate lives in the German capital. In 1938 Isherwood published Lions and Shadows, an amusing and sensitive account of his early life and friendships while a student at the University of Cambridge.\nThe coming of World War II saw not merely a change of outlook in Isherwood’s writing but also a permanent change of domicile. He immigrated to the United States in 1939 and settled in southern California, where he taught and wrote for Hollywood films. He was naturalized in 1946. It was also in 1939 that Isherwood turned to pacifism and the self-abnegation of Indian Vedanta, becoming a follower of Swami Prabhavananda. In the following decades, Isherwood produced several works on Vedanta and translations with Prabhavananda, including one of the Bhagavadgita.\nIsherwood’s postwar novels continued to demonstrate his personal style of fictional autobiography. A Single Man (1964; film 2009), a brief but highly regarded novel, presents a single day in the life of a lonely middle-aged homosexual. His avowedly autobiographical works include a self-revealing memoir of his parents, Kathleen and Frank (1971); a retrospective biography of himself in the 1930s, Christopher and His Kind (1977); and a study of his relationship with Prabhavananda and Vedanta, My Guru and His Disciple (1980). Diaries: Volume One: 1939–1960 (1996), The Sixties: Diaries: 1960–1969 (2010), and Liberation: Diaries: Volume Three: 1970–1983 (2012) were published posthumously.","bio_dates":"1904-1986"},{"slug":"ito_takashi_devils_circuit_1988","ok":true,"partial":false,"title":"Devil's Circuit","artist":"Ito Takashi","year":"1988","startOffset":0,"sourceSecs":461.973,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":81946311,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ito_takashi_devils_circuit_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ito_takashi_devils_circuit_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ito_takashi_devils_circuit_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ito_takashi_devils_circuit_1988/main.mp4?v=2","description":"Up jumped the devil, in this case an imposing skyscraper somewhere in Tokyo, Kyoto, or any given Japanese metropolis. Maybe Takashi Ito decided to demonise the building for its brute ugliness, or maybe for deeper symbolic reasons. But the fact is that the filmmaker pays homage to this devil, performing a riveting circumambulation around its concrete body without ever losing sight of it; and, indeed, Ito's original idea was to honour not an anonymous skyscraper, but Mount Fuji itself - a massive physical body with strong religious resonances in Japanese culture. The idea is as simple as its execution is brilliant: having identified the object of worship, Ito elected it as the centre of an imaginary radius of about 500 metres which was then divided in 48 sections; Ito then photographed the building from these 48 spots, on different occasions, and edited the photos, frame by frame, into a hypnotic, accelerated cityscape carrousel. The result is not only a beautiful study on the overarching presence of this building across the city, but also a richly detailed map in which the evil skyscraper is consistently contrasted with and contextualized against different or similar forms of urban landscape. Inagake's soundtrack, with which the stills seem to be synched, is a soothing but somehow bleak embrace of soft electro loops, as if Tom Dokoupil had woken up in a particularly good humour before joining up with the Laughing Hands for a good healthy breakfast. Silly framings aside, Inagake's atmospherics do manage to soften the Devil's experience, for which a more predictable accompaniment would be a noise assault so typical of contemporary reflections on modernity and the city. One of Ito's most impressive works.","artist_bio":"Born 1956 in Fukuoka. Graduated from Kyushu University of Art and Design. Studied under Matsumoto Toshio during college years, learnt about experimental films. Professor of Kyoto University of Art and Design. Major works are SPACY (81), THUNDER (82), MONOCHROME HEAD (97), DIZZINESS (01), A SILENT DAY(02)","bio_dates":"b. 1956"},{"slug":"ito_takashi_ghost_1984","ok":true,"partial":false,"title":"Ghost","artist":"Ito Takashi","year":"1984","startOffset":0,"sourceSecs":339.264,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":60426178,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ito_takashi_ghost_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ito_takashi_ghost_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ito_takashi_ghost_1984.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ito_takashi_ghost_1984/main.mp4?v=2","description":"Director: Takashi Ito<br/> Year: 1984<br/> Time: 5 mins<br/> Music: Yosuke Inagaki<br/><br/>One of the most important names in Japanese experimental film, Takashi Ito has built a long and rich filmography that (and this is increasingly rare in experimental arts) bears a clear and unmistakeable signature. In Ghost, as in many of his films, Ito explores some of the most basic dimensions of cinematic illusion, such as space depth, lightning and movement, to create a visual feast that seems to touch on the horror genre. But it's not quite so, for the Ghost we are allowed to see is not designed to frighten but to mesmerize the spectators. Bulb shutters, long exposures and time-lapse are used to dazzle perception and insinuate the presence of floating life-forms in a closed space. Inagaki's soundtrack kicks off with a steady electronic ambiance but soon descends into a hellish world of rhythmical distortion and mutli-dimensional lo-fi mayhem. I don't think your children will be scared with this extraordinary piece, but if you do have them, please make them watch this in a closed dark room and report the results. -- Eye of Sound","artist_bio":"Born 1956 in Fukuoka. Graduated from Kyushu University of Art and Design. Studied under Matsumoto Toshio during college years, learnt about experimental films. Professor of Kyoto University of Art and Design. Major works are SPACY (81), THUNDER (82), MONOCHROME HEAD (97), DIZZINESS (01), A SILENT DAY(02)","bio_dates":"b. 1956"},{"slug":"ivens_joris_regen_1929","ok":true,"partial":false,"title":"Regen","artist":"Joris Ivens","year":"1929","startOffset":0,"sourceSecs":707.221,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":48898161,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ivens_joris_regen_1929/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ivens_joris_regen_1929/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ivens_joris_regen_1929.mp4","hasFrames":true,"description":"REGEN (1929) RAIN / LA PLUIE<br/> (12 min, b/w, silent, 35 mm)<br/> Ivens' first abstract film is a beautiful and evocative portrait of his native city of Amsterdam. Together with THE BRIDGE, these two early films established Ivens' international reputation as a visual poet of the cinema.","artist_bio":"Joris Ivens, the Dutch creator of more than 50 documentary films, many of them about revolutionary struggle, died Wednesday at Laennec Hospital in Paris. He was 90 years old.\nMarceline Loridan, his wife and longtime collaborator, said he died of a heart attack brought on by kidney failure.\nMr. Ivens, who made a cowboys-and-Indians movie, ''Flaming Arrow,'' featuring his family at the age of 13, viewed documentaries as a way to improve the human condition and said they were ''deeper and more personal than newsreel truth.''\nEarly films by Mr. Ivens, a founder of the Dutch film industry, included ''The Bridge,'' a rhythmic 1928 study of the structure and functions of a Rotterdam drawbridge; ''Zuiderzee,'' a 1930 record of the Herculean task of reclaiming the flood plain for farming; ''Song of Heroes,'' a 1932 report on the construction of blast furnaces in Siberia, and ''Borinage,'' a stark 1933 account of a strike by Belgian coal miners. His early films tended to be experimental and lyrical while the later ones were more realistic, socially concerned and polemical. Spanish Civil War Film\nHis masterpiece was considered to be ''The Spanish Earth,'' a compelling 1937 study of the struggle of Spanish Loyalists to preserve new liberties threatened by the Falangists and to reclaim farmland neglected by generations of absentee landlords. Speaking about the feature-length documentary, which he produced for less than $10,000, he said the civil war in Spain was not essentially for ideology but for ''melons, tomatoes, onions.''\nThe film was made on battlegrounds and in a war-ravaged village on the Madrid-Valencia road with a movingly understated commentary written and spoken by Ernest Hemingway and a score of Spanish country music arranged by Marc Blitzstein. The cast was the villagers, and Mr. Ivens said a main objective was to show ''that life must go on, that it cannot stop because of daily bombing and strafing.''\nOther films included ''The 400 Million,'' about China; ''The Power and the Land,'' a study of rural American electrification; ''Our Russian Front''; ''Indonesia Calling!'' and ''How Lukong Moves the Mountain,'' in China. Most of his later documentaries were made in Communist countries, including North Vietnam and Cuba, and elsewhere in Latin America.\nThe movie maker was born Georg Henri Anton Ivens in Nijmegen, the Netherlands. His grandfather was a pioneer photographer and his father owned a chain of camera shops. Young Ivens was a field artillery lieutenant in World War I and a militant among students and then workers in both the Netherlands and Germany before he began making documentaries in the late 1920's. He won many film awards, including Dutch, French and Venice film festival honors.\nHis wife said yesterday, ''We have no children; our films were our children.''","bio_dates":"1898-1989"},{"slug":"ivens_joris_the_bridge_1927_28","ok":true,"partial":false,"title":"The Bridge","artist":"Joris Ivens","year":"1928","startOffset":0,"sourceSecs":938.923,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":60736557,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ivens_joris_the_bridge_1927_28/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ivens_joris_the_bridge_1927_28/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ivens_joris_the_bridge_1927_28.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ivens_joris_the_bridge_1927_28/main.mp4?v=2","description":"DE BRUG (1928) THE BRIDGE / LE PONT<br/> (11 min, b/w, silent, 35 mm)<br/> This landmark abstract study of a massive iron bridge in Rotterdam, with its stark black & white montages and fluid camera, was described in the British journal CLOSEUP (1928) as a \"pure visual symphony\".","artist_bio":"Joris Ivens, the Dutch creator of more than 50 documentary films, many of them about revolutionary struggle, died Wednesday at Laennec Hospital in Paris. He was 90 years old.\nMarceline Loridan, his wife and longtime collaborator, said he died of a heart attack brought on by kidney failure.\nMr. Ivens, who made a cowboys-and-Indians movie, ''Flaming Arrow,'' featuring his family at the age of 13, viewed documentaries as a way to improve the human condition and said they were ''deeper and more personal than newsreel truth.''\nEarly films by Mr. Ivens, a founder of the Dutch film industry, included ''The Bridge,'' a rhythmic 1928 study of the structure and functions of a Rotterdam drawbridge; ''Zuiderzee,'' a 1930 record of the Herculean task of reclaiming the flood plain for farming; ''Song of Heroes,'' a 1932 report on the construction of blast furnaces in Siberia, and ''Borinage,'' a stark 1933 account of a strike by Belgian coal miners. His early films tended to be experimental and lyrical while the later ones were more realistic, socially concerned and polemical. Spanish Civil War Film\nHis masterpiece was considered to be ''The Spanish Earth,'' a compelling 1937 study of the struggle of Spanish Loyalists to preserve new liberties threatened by the Falangists and to reclaim farmland neglected by generations of absentee landlords. Speaking about the feature-length documentary, which he produced for less than $10,000, he said the civil war in Spain was not essentially for ideology but for ''melons, tomatoes, onions.''\nThe film was made on battlegrounds and in a war-ravaged village on the Madrid-Valencia road with a movingly understated commentary written and spoken by Ernest Hemingway and a score of Spanish country music arranged by Marc Blitzstein. The cast was the villagers, and Mr. Ivens said a main objective was to show ''that life must go on, that it cannot stop because of daily bombing and strafing.''\nOther films included ''The 400 Million,'' about China; ''The Power and the Land,'' a study of rural American electrification; ''Our Russian Front''; ''Indonesia Calling!'' and ''How Lukong Moves the Mountain,'' in China. Most of his later documentaries were made in Communist countries, including North Vietnam and Cuba, and elsewhere in Latin America.\nThe movie maker was born Georg Henri Anton Ivens in Nijmegen, the Netherlands. His grandfather was a pioneer photographer and his father owned a chain of camera shops. Young Ivens was a field artillery lieutenant in World War I and a militant among students and then workers in both the Netherlands and Germany before he began making documentaries in the late 1920's. He won many film awards, including Dutch, French and Venice film festival honors.\nHis wife said yesterday, ''We have no children; our films were our children.''","bio_dates":"1898-1989"},{"slug":"jacir_emily_compilation_a_sketch_in_the_egyptian_museum_2003","ok":true,"partial":false,"title":"a sketch in the Egyptian Museum April 24, 2003 Cairo","artist":"Emily Jacir","year":"2003","startOffset":0,"sourceSecs":401.88,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":60752961,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_compilation_a_sketch_in_the_egyptian_museum_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_compilation_a_sketch_in_the_egyptian_museum_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacir_emily_compilation_a_sketch_in_the_egyptian_museum_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacir_emily_compilation_a_sketch_in_the_egyptian_museum_2003/main.mp4?v=2","description":"a sketch in the Egyptian Museum April 24, 2003 Cairo (2003), where Jacir has documented a museum worker casually dusting off a stone bearing a five-thousand-year-old hieroglyphic inscription as visitors pass by unperturbed. Filmed in the days following the catastrophic loss of Iraq’s National Library and Museum it is at once a memorial to the cultural devastation of that April and an omen of the future.","artist_bio":"Emil Jacir is a Palestinian artist and filmmaker. Born in Bethlehem in 1972, Jacir spent her childhood in Saudi Arabia, attending high school in Italy. She attended Memphis College of Art and graduated with an art degree. She divides her time between Rome, Italy and Ramallah.\nJacir works in a variety of media including film, photography, installation, performance, video, writing and sound. She has exhibited extensively throughout the Americas, Europe, and the Middle East since 1994, holding solo exhibitions in places including New York, Los Angeles, Ramallah, Beirut, London and Linz.\nActive in the building of Ramallah's art scene since 1999, Jacir has also worked with various organizations including the Qattan Foundation, al-Ma'mal Foundation and the Sakakini Cultural Center. She has been involved in creating numerous projects and events such as Birzeit's Virtual Art Gallery. She also founded and curated the first International Video Festival in Ramallah in 2002, . She curated a selection of shorts; Palestinian Revolution Cinema (1968 – 1982) which went on tour in 2007 [4]. Between 2000 - 2002 she curated several Arab Film programs in NYC with Alwan for the Arts including the first Palestinian Film Festival in 2002. She works as a full-time professor at the vanguard International Academy of Art Palestine since it opened its doors in 2006 and she also served on its Academic Board from 2006 through 2012. Jacir led the first year of the Ashkal Alwan Home Workspace Program in Beirut (2011-2012) and created the curriculum and programming after serving on the founding year of the Curricular Committee from 2010-2011.","bio_dates":"b. 1972"},{"slug":"jacir_emily_compilation_entry_denied_2003","ok":true,"partial":false,"title":"ENTRY DENIED (a concert in Jerusalem)","artist":"Emily Jacir","year":"2003","startOffset":0,"sourceSecs":304.08,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":45156999,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_compilation_entry_denied_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_compilation_entry_denied_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacir_emily_compilation_entry_denied_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacir_emily_compilation_entry_denied_2003/main.mp4?v=2","description":"ENTRY DENIED (a concert in Jerusalem), 2003, was filmed in an empty theater in Vienna, where I asked Marwan and his band to perform the concert exactly as it was to have taken place in Jerusalem, as if they were in Jerusalem.<br/><br/> Israel has complete control over the population of the Occupied Palestinian Territories, and the only way to enter is via Israeli ports of entry. Israel decides who gets in and who does not by granting visas and permits to enter. Those who are denied entry and have the highest risk of deportation are Palestinians who hold foreign passports, as well as children and/or foreigners who are married to someone with a Palestinian ID. Others also affected by Israel's undeclared policy of denying entry and/or re-entry to the occupied Palestinian territories are human rights workers, NGO employees, professors, cultural workers etc.<br/><br/> Palestinians who hold foreign passports are forbidden by Israel from residing in their own country. They are forced to continuously renew three-month tourist visas because Israel will not allow them family reunification nor work nor visitors permits nor allow them to regain their residency rights. Many of these Palestinians have been living like this for over 30 years. Every three months they are strip searched, interrogated and humiliated at Israeli border crossings and have no idea if they will be allowed back home or not. There are approximately 45,000 Palestinians with American passports living in the West Bank and an additional 10,000 with other foreign passports. Out of the fear of being denied entry and being separated from their families, tens of thousands of these residents have become \"persons staying illegally\" (overstaying their three-month tourist visas). If caught at Israeli checkpoints they will be immediately detained and deported.<br/><br/> This is just one method in a complex system designed to ethnically cleanse Palestinians from their land. Other Israeli means of direct and indirect transfer include: revocation of residency rights, expulsion, house demolitions, land confiscations, mass detention, torture, military closure and curfews, military attacks and sieges, and the apartheid wall.<br/><br/> The photo series (2003 - 2006) in ENTRY DENIED captures fleeting moments of fragmented lives. I focused on instants where I found both the presence and absence of these missing Palestinians: abandoned projects and buildings, places waiting for their return, houses standing empty, a landscape frozen in time. I also tried to photograph the spaces in between all the destruction wrought by the Israeli occupation. I found myself searching for hope, or a feeling of freedom in the landscape or sky. It was my attempt at a refusal to document our own destruction and the slow death of our land and our people.","artist_bio":"Emil Jacir is a Palestinian artist and filmmaker. Born in Bethlehem in 1972, Jacir spent her childhood in Saudi Arabia, attending high school in Italy. She attended Memphis College of Art and graduated with an art degree. She divides her time between Rome, Italy and Ramallah.\nJacir works in a variety of media including film, photography, installation, performance, video, writing and sound. She has exhibited extensively throughout the Americas, Europe, and the Middle East since 1994, holding solo exhibitions in places including New York, Los Angeles, Ramallah, Beirut, London and Linz.\nActive in the building of Ramallah's art scene since 1999, Jacir has also worked with various organizations including the Qattan Foundation, al-Ma'mal Foundation and the Sakakini Cultural Center. She has been involved in creating numerous projects and events such as Birzeit's Virtual Art Gallery. She also founded and curated the first International Video Festival in Ramallah in 2002, . She curated a selection of shorts; Palestinian Revolution Cinema (1968 – 1982) which went on tour in 2007 [4]. Between 2000 - 2002 she curated several Arab Film programs in NYC with Alwan for the Arts including the first Palestinian Film Festival in 2002. She works as a full-time professor at the vanguard International Academy of Art Palestine since it opened its doors in 2006 and she also served on its Academic Board from 2006 through 2012. Jacir led the first year of the Ashkal Alwan Home Workspace Program in Beirut (2011-2012) and created the curriculum and programming after serving on the founding year of the Curricular Committee from 2010-2011.","bio_dates":"b. 1972"},{"slug":"jacir_emily_compilation_israeli_day_parade_2002","ok":true,"partial":false,"title":"Israeli Day Parade","artist":"Emily Jacir","year":"2002","startOffset":0,"sourceSecs":226.48,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":37776107,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_compilation_israeli_day_parade_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_compilation_israeli_day_parade_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacir_emily_compilation_israeli_day_parade_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacir_emily_compilation_israeli_day_parade_2002/main.mp4?v=2","description":"Emily Jacir's video of the annual Israeli Day Parade in New York: On the one hand, several images emphasize bonds of friendship between the United States and Israel, with parade participants carrying flags from both countries and wearing T-shirts with pro-United States slogans emblazoned across them. On the other hand, other images contain nasty anti-Arab references.","artist_bio":"Emil Jacir is a Palestinian artist and filmmaker. Born in Bethlehem in 1972, Jacir spent her childhood in Saudi Arabia, attending high school in Italy. She attended Memphis College of Art and graduated with an art degree. She divides her time between Rome, Italy and Ramallah.\nJacir works in a variety of media including film, photography, installation, performance, video, writing and sound. She has exhibited extensively throughout the Americas, Europe, and the Middle East since 1994, holding solo exhibitions in places including New York, Los Angeles, Ramallah, Beirut, London and Linz.\nActive in the building of Ramallah's art scene since 1999, Jacir has also worked with various organizations including the Qattan Foundation, al-Ma'mal Foundation and the Sakakini Cultural Center. She has been involved in creating numerous projects and events such as Birzeit's Virtual Art Gallery. She also founded and curated the first International Video Festival in Ramallah in 2002, . She curated a selection of shorts; Palestinian Revolution Cinema (1968 – 1982) which went on tour in 2007 [4]. Between 2000 - 2002 she curated several Arab Film programs in NYC with Alwan for the Arts including the first Palestinian Film Festival in 2002. She works as a full-time professor at the vanguard International Academy of Art Palestine since it opened its doors in 2006 and she also served on its Academic Board from 2006 through 2012. Jacir led the first year of the Ashkal Alwan Home Workspace Program in Beirut (2011-2012) and created the curriculum and programming after serving on the founding year of the Curricular Committee from 2010-2011.","bio_dates":"b. 1972"},{"slug":"jacir_emily_crossing_sudra_2002","ok":true,"partial":false,"title":"Crossing Surda (a record of going to and from work)","artist":"Emily Jacir","year":"2002","startOffset":0,"sourceSecs":636.48,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":105980776,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_crossing_sudra_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_crossing_sudra_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacir_emily_crossing_sudra_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacir_emily_crossing_sudra_2002/main.mp4?v=2","description":"On December 9, 2002, I decided to record my daily walk to work across the Surda checkpoint to Birzeit University. When the Israeli Occupation Army saw me filming my feet with my video camera, they stopped me and asked for my I.D. I gave them my American passport, and they threw it in the mud. They told me that this was \"Israel,\" that it was a military zone, and that no filming was allowed. They detained me at gunpoint in the winter rain next to their tank. After three hours, they confiscated my videotape and then released me. I watched the soldier slip my videotape into the pocket of his army pants. That night when I returned home, I cut a hole in my bag and put my video camera in the bag. I recorded my daily walk across Surda checkpoint, to and from work, for eight days.","artist_bio":"Emil Jacir is a Palestinian artist and filmmaker. Born in Bethlehem in 1972, Jacir spent her childhood in Saudi Arabia, attending high school in Italy. She attended Memphis College of Art and graduated with an art degree. She divides her time between Rome, Italy and Ramallah.\nJacir works in a variety of media including film, photography, installation, performance, video, writing and sound. She has exhibited extensively throughout the Americas, Europe, and the Middle East since 1994, holding solo exhibitions in places including New York, Los Angeles, Ramallah, Beirut, London and Linz.\nActive in the building of Ramallah's art scene since 1999, Jacir has also worked with various organizations including the Qattan Foundation, al-Ma'mal Foundation and the Sakakini Cultural Center. She has been involved in creating numerous projects and events such as Birzeit's Virtual Art Gallery. She also founded and curated the first International Video Festival in Ramallah in 2002, . She curated a selection of shorts; Palestinian Revolution Cinema (1968 – 1982) which went on tour in 2007 [4]. Between 2000 - 2002 she curated several Arab Film programs in NYC with Alwan for the Arts including the first Palestinian Film Festival in 2002. She works as a full-time professor at the vanguard International Academy of Art Palestine since it opened its doors in 2006 and she also served on its Academic Board from 2006 through 2012. Jacir led the first year of the Ashkal Alwan Home Workspace Program in Beirut (2011-2012) and created the curriculum and programming after serving on the founding year of the Curricular Committee from 2010-2011.","bio_dates":"b. 1972"},{"slug":"jacir_emily_nothing_will_happen","ok":true,"partial":false,"title":"Nothing Will Happen (eight normal Saturdays in Linz)","artist":"Emily Jacir","year":"2003","startOffset":0,"sourceSecs":307.92,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":48989748,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_nothing_will_happen/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_nothing_will_happen/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacir_emily_nothing_will_happen.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacir_emily_nothing_will_happen/main.mp4?v=2","description":"For eight consecutive Saturdays, Jacir filmed the city's main square from an aerial perspective and recorded the air raid sirens which happen at noon and are heard throughout the city of Linz.","artist_bio":"Emil Jacir is a Palestinian artist and filmmaker. Born in Bethlehem in 1972, Jacir spent her childhood in Saudi Arabia, attending high school in Italy. She attended Memphis College of Art and graduated with an art degree. She divides her time between Rome, Italy and Ramallah.\nJacir works in a variety of media including film, photography, installation, performance, video, writing and sound. She has exhibited extensively throughout the Americas, Europe, and the Middle East since 1994, holding solo exhibitions in places including New York, Los Angeles, Ramallah, Beirut, London and Linz.\nActive in the building of Ramallah's art scene since 1999, Jacir has also worked with various organizations including the Qattan Foundation, al-Ma'mal Foundation and the Sakakini Cultural Center. She has been involved in creating numerous projects and events such as Birzeit's Virtual Art Gallery. She also founded and curated the first International Video Festival in Ramallah in 2002, . She curated a selection of shorts; Palestinian Revolution Cinema (1968 – 1982) which went on tour in 2007 [4]. Between 2000 - 2002 she curated several Arab Film programs in NYC with Alwan for the Arts including the first Palestinian Film Festival in 2002. She works as a full-time professor at the vanguard International Academy of Art Palestine since it opened its doors in 2006 and she also served on its Academic Board from 2006 through 2012. Jacir led the first year of the Ashkal Alwan Home Workspace Program in Beirut (2011-2012) and created the curriculum and programming after serving on the founding year of the Curricular Committee from 2010-2011.","bio_dates":"b. 1972"},{"slug":"jacir_emily_ramallah_new_york_2004_05","ok":true,"partial":false,"title":"Ramallah/New York","artist":"Emily Jacir","year":"2004-2005","startOffset":0,"sourceSecs":583.32,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":94026937,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_ramallah_new_york_2004_05/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacir_emily_ramallah_new_york_2004_05/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacir_emily_ramallah_new_york_2004_05.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacir_emily_ramallah_new_york_2004_05/main.mp4?v=2","description":"The two-channel video Ramallah/New York (2004–05), which deliberately confuses the everyday details of the two cities; and the magisterial, multidisciplinary installation Where We Come From (2001–03), one of the most haunting and effective works of contemporary art I’ve ever seen. For it, she asked some 30 Palestinians living in the diaspora and occupied territories the question: ‘If I could do anything for you, anywhere in Palestine, what would it be?’ and then documented in photographs, objects and films her attempts to enact the answers. These included: take flowers to my mother’s grave, pay my phone bill and go on a date with a girl in East Jerusalem to whom I’ve only spoken by phone. -- https://frieze.com/article/influences-emily-jacir","artist_bio":"Emil Jacir is a Palestinian artist and filmmaker. Born in Bethlehem in 1972, Jacir spent her childhood in Saudi Arabia, attending high school in Italy. She attended Memphis College of Art and graduated with an art degree. She divides her time between Rome, Italy and Ramallah.\nJacir works in a variety of media including film, photography, installation, performance, video, writing and sound. She has exhibited extensively throughout the Americas, Europe, and the Middle East since 1994, holding solo exhibitions in places including New York, Los Angeles, Ramallah, Beirut, London and Linz.\nActive in the building of Ramallah's art scene since 1999, Jacir has also worked with various organizations including the Qattan Foundation, al-Ma'mal Foundation and the Sakakini Cultural Center. She has been involved in creating numerous projects and events such as Birzeit's Virtual Art Gallery. She also founded and curated the first International Video Festival in Ramallah in 2002, . She curated a selection of shorts; Palestinian Revolution Cinema (1968 – 1982) which went on tour in 2007 [4]. Between 2000 - 2002 she curated several Arab Film programs in NYC with Alwan for the Arts including the first Palestinian Film Festival in 2002. She works as a full-time professor at the vanguard International Academy of Art Palestine since it opened its doors in 2006 and she also served on its Academic Board from 2006 through 2012. Jacir led the first year of the Ashkal Alwan Home Workspace Program in Beirut (2011-2012) and created the curriculum and programming after serving on the founding year of the Curricular Committee from 2010-2011.","bio_dates":"b. 1972"},{"slug":"jacobs_ken_a_tom_tom_chaser_2002","ok":true,"partial":false,"title":"A Tom Tom Chaser","artist":"Ken Jacobs","year":"2002","startOffset":0,"sourceSecs":651.691,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":36491908,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_a_tom_tom_chaser_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_a_tom_tom_chaser_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacobs_ken_a_tom_tom_chaser_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacobs_ken_a_tom_tom_chaser_2002/main.mp4?v=2","description":"11 min, b&w, silent <br/><br/> A Tom Tom Chaser is Jacobs' 2002 poetic riff on the transformation of his classic film Tom Tom the Piper's Son from chemical to electronic form during the telecine process. <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"A pioneer of the American film avant-garde of the 1960s and '70s, Ken Jacobs is a central figure in post-war experimental cinema. From his first films of the late 1950s to his recent experiments with digital video, his investigations and innovations have influenced countless artists.\nA New Yorker by birth, Jacobs graduated from City University to find himself in the midst of the downtown art scene of the 1960s, which included artists Robert Rauschenberg and Andy Warhol, beat writers Allen Ginsberg and Jack Kerouac; and the experimental theater troupes of Trisha Brown and Yvonne Rainer. Although Jacobs had studied painting with Hans Hoffman, he quickly gravitated to film, finding kindred spirits in radical filmmakers such as Jonas Mekas and Hollis Frampton. An early friendship with Jack Smith yielded several collaborations, including the seminal underground films Blonde Cobra (which Jonas Mekas dubbed \"the masterpiece of Baudelairean cinema\") and Little Stabs at Happiness, as well as a Provincetown beach-based live show, The Human Wreckage Review.\nJacobs has long been a cinema activist. He was an integral part of Manhattan's burgeoning alternative film scene, which included venues such as the Film-Makers' Cooperative and The Bleecker Street Cinema (which notoriously premiered Blonde Cobra with Smith's Flaming Creatures) as well as his own loft, where the Kuchar brothers first screened their 8mm work. In 1966, he and his wife Flo founded Millennium Film Workshop, and he was a cofounder of one of the country's earliest departments of cinema, at Binghamton University.\nJacobs has always been interested primarily in the act of viewing, rather than in textual decoding or analysis. As he points out, \"my work is experiential, not conceptual. I want to work with experiences all the time.\" In this respect, his breakthrough was Tom, Tom the Piper's Son (1969-71). A landmark work of appropriation, the film takes as its source material a ten-minute short from 1905. During the course of Jacobs' two-hour film, this fragment from the dawn of cinema is subjected to extensive and varied re-photography, including manipulations of speed, light, and motion, as well as the minute examination of abstractly enlarged areas of the frame. A masterpiece of cinematic deconstruction, Tom, Tom the Piper's Son is, in its total concentration on the formal and material properties of the medium, perhaps the quintessential work of 1970s structuralist filmmaking. It was also an indication of the direction in which Jacobs would proceed, wherein actors and narrative would fall away, replaced by a concentration on the rigorous pleasures of the cinematic unconscious. As he has suggested, \"there's already so much film. Let's draw some of it out for a deeper look, toy with it, take it into a new light with inventive and expressive projection. Freud would suggest doing so as a way to look into our minds.\"\nIn later films such as Perfect Film (1986) and Opening the Nineteenth Century: 1896 (1990), Jacobs continued to explore his pioneering appropriation strategies. His interest in performance has never waned, however, as evidenced by Nervous System, a live show incorporating two film projectors, a propeller, and individual filters through which audience members view the double image. Writes Jacobs: \"The throbbing flickering is necessary to create 'eternalisms': unfrozen slices of time, sustained movements going nowhere and unlike anything in life.\" Jacobs' recent video work, such as Flo Rounds A Corner (1999), have successfully transferred the \"eternalisms\" effect to the digital realm.\nJacobs' insistence on cinema as a \"development of mind\" can be seen, despite his protestations to the contrary, as a conceptual approach to art-making practice, one that has yielded groundbreaking work across media. In his activism, film, performance, and video, he has consistently expanded the practice of the avant-garde moving image. Whether undertaking archaeological journeys to the birth of cinema, or scrutinizing the interstices of new digital technologies, Jacobs' work investigates, provokes, and draws power from the mysteries of the nature of human vision.\nKen Jacobs was born in 1933 in Brooklyn, New York. He has received numerous awards, including the Maya Deren Award, a John Simon Guggenheim Fellowship, as well as grants from the National Endowment for the Arts, the Rockefeller Foundation, and the New York State Council on the Arts. In 1969, with the help of Larry Gottheim and Gottheim's students (one of whom was J. Hoberman, current senior film critic for the Village Voice), Jacobs began the Cinema Department at SUNY Binghamton and taught there until 2002. His films, videos and performances have received international venues such as the Berlin Film Festival, the London Film Festival, the Hong Kong Film Festival, the New York Film Festival, the American Museum of the Moving Image, Astoria, New York; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York. He was a featured filmmaker at the International Film Festival Rotterdam in 2004.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1933"},{"slug":"jacobs_ken_blonde_cobra_1963_iphone","ok":true,"partial":false,"title":"Blonde Cobra","artist":"Ken Jacobs","year":"1933","startOffset":0,"sourceSecs":2041.035,"sourceHeight":320,"sourceWidth":434,"hasAudio":true,"hasAmbientMp4":true,"bytes":122606060,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_blonde_cobra_1963_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_blonde_cobra_1963_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacobs_ken_blonde_cobra_1963_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacobs_ken_blonde_cobra_1963_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacobs_ken_blonde_cobra_1963_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1963, 33 min, color and b&w, sound<br/><br/> This legendary film features artist Jack Smith in what Jacobs calls \"a look in on an exploding life, on a man of imagination suffering pre-fashionable lower East Side deprivation and consumed with American 1950's, 40's, 30s disgust. \" Jacobs did little of the shooting himself, instead drawing on two unfinished films shot by Bob Fleischner. With its dissociative editing strategies, wild costumes, and scraps of music and voiceover, this baroque portrait deserves Jonas Mekas' recommendation as \"the masterpiece of Baudelairean cinema.\"<br/><br/> Writes Jacobs: \"Jack says I made the film too heavy. It was his and Bob's intention to create light monster-movie comedy. Two comedies, actually, two separate stories that were being shot simultaneously until they had a falling-out over who should pay for the raw stock destroyed in a fire started when Jack's cat knocked over a candle (Jack was behind in his electricity bill). Jack claimed it was an act of God and wouldn't (couldn't) pay for the burnt film. In the winter of '59, Bob showed me the footage. Having no idea of the original story plans I was able to view the material not as the fragments of a failure, of two failures, but as the makings of a new entity. Bob gave over the footage to me with the freedom to develop it as I saw fit. I think it was in late 1960 that Jack and I ignored our personal animosities long enough to record his words and songs for the sound track. The phrases he repeated for me into the tape recorder were mostly ones I'd at some time heard him say; most were pet phrases he loved to recite, over and over, his lessons, and a very few I made up in his style. This was the procedure for recording his monologues and songs: I played him selections from my 78 collection, music from the '20's and '30's, often only the beginning of a record and if he liked it we would restart the record and immediately record. I don't think there was a second take of anything, the Cult Of Spontaneity was in the air. Any lack of clarity is due to the very second-rate equipment, third-rate, fourth-rate, we were using. I play a piano harp for the Madame Nescience monologue, Jack supplied the Arabic music from his small but choice collection. There's also some SAFARI IN HIFI; a Villa-Lobos string quartet speeded up; a haunting section of a children's 45... Baby Wants To Sleep. A small amount of my own previous shooting was cut into the film, the 'drowning in nescience' color sequence near the beginning.<br/><br/> BLONDE COBRA is an erratic narrative -- no, not really a narrative, it's only stretched out in time for convenience of delivery. It's a look in on an exploding life, on a man of imagination suffering pre-fashionable Lower East Side deprivation and consumed with American 1950's, 40's, 30's disgust. Silly, self-pitying, guilt-strictured and yet triumphing--on one level--over the situation with style, because he's unapologetically gifted, has a genius for courage, knows that a state of indignity can serve to show his character in sharpest relief. He carries on, states his presence for what it is. Does all he can to draw out our condemnation, testing our love for limits, enticing us into an absurd moral posture the better to dismiss us with a regal 'screw-off.'\"<br/><br/> Camera: Bob Fleischner. -- <a href=\"http://eai.org/title.htm?id=9104\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"A pioneer of the American film avant-garde of the 1960s and '70s, Ken Jacobs is a central figure in post-war experimental cinema. From his first films of the late 1950s to his recent experiments with digital video, his investigations and innovations have influenced countless artists.\nA New Yorker by birth, Jacobs graduated from City University to find himself in the midst of the downtown art scene of the 1960s, which included artists Robert Rauschenberg and Andy Warhol, beat writers Allen Ginsberg and Jack Kerouac; and the experimental theater troupes of Trisha Brown and Yvonne Rainer. Although Jacobs had studied painting with Hans Hoffman, he quickly gravitated to film, finding kindred spirits in radical filmmakers such as Jonas Mekas and Hollis Frampton. An early friendship with Jack Smith yielded several collaborations, including the seminal underground films Blonde Cobra (which Jonas Mekas dubbed \"the masterpiece of Baudelairean cinema\") and Little Stabs at Happiness, as well as a Provincetown beach-based live show, The Human Wreckage Review.\nJacobs has long been a cinema activist. He was an integral part of Manhattan's burgeoning alternative film scene, which included venues such as the Film-Makers' Cooperative and The Bleecker Street Cinema (which notoriously premiered Blonde Cobra with Smith's Flaming Creatures) as well as his own loft, where the Kuchar brothers first screened their 8mm work. In 1966, he and his wife Flo founded Millennium Film Workshop, and he was a cofounder of one of the country's earliest departments of cinema, at Binghamton University.\nJacobs has always been interested primarily in the act of viewing, rather than in textual decoding or analysis. As he points out, \"my work is experiential, not conceptual. I want to work with experiences all the time.\" In this respect, his breakthrough was Tom, Tom the Piper's Son (1969-71). A landmark work of appropriation, the film takes as its source material a ten-minute short from 1905. During the course of Jacobs' two-hour film, this fragment from the dawn of cinema is subjected to extensive and varied re-photography, including manipulations of speed, light, and motion, as well as the minute examination of abstractly enlarged areas of the frame. A masterpiece of cinematic deconstruction, Tom, Tom the Piper's Son is, in its total concentration on the formal and material properties of the medium, perhaps the quintessential work of 1970s structuralist filmmaking. It was also an indication of the direction in which Jacobs would proceed, wherein actors and narrative would fall away, replaced by a concentration on the rigorous pleasures of the cinematic unconscious. As he has suggested, \"there's already so much film. Let's draw some of it out for a deeper look, toy with it, take it into a new light with inventive and expressive projection. Freud would suggest doing so as a way to look into our minds.\"\nIn later films such as Perfect Film (1986) and Opening the Nineteenth Century: 1896 (1990), Jacobs continued to explore his pioneering appropriation strategies. His interest in performance has never waned, however, as evidenced by Nervous System, a live show incorporating two film projectors, a propeller, and individual filters through which audience members view the double image. Writes Jacobs: \"The throbbing flickering is necessary to create 'eternalisms': unfrozen slices of time, sustained movements going nowhere and unlike anything in life.\" Jacobs' recent video work, such as Flo Rounds A Corner (1999), have successfully transferred the \"eternalisms\" effect to the digital realm.\nJacobs' insistence on cinema as a \"development of mind\" can be seen, despite his protestations to the contrary, as a conceptual approach to art-making practice, one that has yielded groundbreaking work across media. In his activism, film, performance, and video, he has consistently expanded the practice of the avant-garde moving image. Whether undertaking archaeological journeys to the birth of cinema, or scrutinizing the interstices of new digital technologies, Jacobs' work investigates, provokes, and draws power from the mysteries of the nature of human vision.\nKen Jacobs was born in 1933 in Brooklyn, New York. He has received numerous awards, including the Maya Deren Award, a John Simon Guggenheim Fellowship, as well as grants from the National Endowment for the Arts, the Rockefeller Foundation, and the New York State Council on the Arts. In 1969, with the help of Larry Gottheim and Gottheim's students (one of whom was J. Hoberman, current senior film critic for the Village Voice), Jacobs began the Cinema Department at SUNY Binghamton and taught there until 2002. His films, videos and performances have received international venues such as the Berlin Film Festival, the London Film Festival, the Hong Kong Film Festival, the New York Film Festival, the American Museum of the Moving Image, Astoria, New York; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York. He was a featured filmmaker at the International Film Festival Rotterdam in 2004.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1933"},{"slug":"jacobs_ken_disorient_express_1996","ok":true,"partial":false,"title":"Disorient Express","artist":"Ken Jacobs","year":"1996","startOffset":0,"sourceSecs":855.818,"sourceHeight":240,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":46152251,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_disorient_express_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_disorient_express_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacobs_ken_disorient_express_1996.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacobs_ken_disorient_express_1996/main.mp4?v=2","description":"1996, 30 min, b&w, silent In Disorient Express, Jacobs reproduces a sequence of 1906 film shots depicting a journey by train, optically reprinting the footage with different formal manipulations. Dramatically altered through repetition, mirroring, inversion, and directional reversal, the film continually challenges the viewer's perceptual understanding and sense of depth. Jacobs has screened this work as part of his multi-projection \"Nervous System\" film performances. As in much of his work, he asks his audience to enter a state of expanded consciousness, to \"look for impossible depth inversions, for jewelled splendour, for CAT scans of the brain.\" -- <a href=\"http://eai.org/title.htm?id=9121\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"A pioneer of the American film avant-garde of the 1960s and '70s, Ken Jacobs is a central figure in post-war experimental cinema. From his first films of the late 1950s to his recent experiments with digital video, his investigations and innovations have influenced countless artists.\nA New Yorker by birth, Jacobs graduated from City University to find himself in the midst of the downtown art scene of the 1960s, which included artists Robert Rauschenberg and Andy Warhol, beat writers Allen Ginsberg and Jack Kerouac; and the experimental theater troupes of Trisha Brown and Yvonne Rainer. Although Jacobs had studied painting with Hans Hoffman, he quickly gravitated to film, finding kindred spirits in radical filmmakers such as Jonas Mekas and Hollis Frampton. An early friendship with Jack Smith yielded several collaborations, including the seminal underground films Blonde Cobra (which Jonas Mekas dubbed \"the masterpiece of Baudelairean cinema\") and Little Stabs at Happiness, as well as a Provincetown beach-based live show, The Human Wreckage Review.\nJacobs has long been a cinema activist. He was an integral part of Manhattan's burgeoning alternative film scene, which included venues such as the Film-Makers' Cooperative and The Bleecker Street Cinema (which notoriously premiered Blonde Cobra with Smith's Flaming Creatures) as well as his own loft, where the Kuchar brothers first screened their 8mm work. In 1966, he and his wife Flo founded Millennium Film Workshop, and he was a cofounder of one of the country's earliest departments of cinema, at Binghamton University.\nJacobs has always been interested primarily in the act of viewing, rather than in textual decoding or analysis. As he points out, \"my work is experiential, not conceptual. I want to work with experiences all the time.\" In this respect, his breakthrough was Tom, Tom the Piper's Son (1969-71). A landmark work of appropriation, the film takes as its source material a ten-minute short from 1905. During the course of Jacobs' two-hour film, this fragment from the dawn of cinema is subjected to extensive and varied re-photography, including manipulations of speed, light, and motion, as well as the minute examination of abstractly enlarged areas of the frame. A masterpiece of cinematic deconstruction, Tom, Tom the Piper's Son is, in its total concentration on the formal and material properties of the medium, perhaps the quintessential work of 1970s structuralist filmmaking. It was also an indication of the direction in which Jacobs would proceed, wherein actors and narrative would fall away, replaced by a concentration on the rigorous pleasures of the cinematic unconscious. As he has suggested, \"there's already so much film. Let's draw some of it out for a deeper look, toy with it, take it into a new light with inventive and expressive projection. Freud would suggest doing so as a way to look into our minds.\"\nIn later films such as Perfect Film (1986) and Opening the Nineteenth Century: 1896 (1990), Jacobs continued to explore his pioneering appropriation strategies. His interest in performance has never waned, however, as evidenced by Nervous System, a live show incorporating two film projectors, a propeller, and individual filters through which audience members view the double image. Writes Jacobs: \"The throbbing flickering is necessary to create 'eternalisms': unfrozen slices of time, sustained movements going nowhere and unlike anything in life.\" Jacobs' recent video work, such as Flo Rounds A Corner (1999), have successfully transferred the \"eternalisms\" effect to the digital realm.\nJacobs' insistence on cinema as a \"development of mind\" can be seen, despite his protestations to the contrary, as a conceptual approach to art-making practice, one that has yielded groundbreaking work across media. In his activism, film, performance, and video, he has consistently expanded the practice of the avant-garde moving image. Whether undertaking archaeological journeys to the birth of cinema, or scrutinizing the interstices of new digital technologies, Jacobs' work investigates, provokes, and draws power from the mysteries of the nature of human vision.\nKen Jacobs was born in 1933 in Brooklyn, New York. He has received numerous awards, including the Maya Deren Award, a John Simon Guggenheim Fellowship, as well as grants from the National Endowment for the Arts, the Rockefeller Foundation, and the New York State Council on the Arts. In 1969, with the help of Larry Gottheim and Gottheim's students (one of whom was J. Hoberman, current senior film critic for the Village Voice), Jacobs began the Cinema Department at SUNY Binghamton and taught there until 2002. His films, videos and performances have received international venues such as the Berlin Film Festival, the London Film Festival, the Hong Kong Film Festival, the New York Film Festival, the American Museum of the Moving Image, Astoria, New York; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York. He was a featured filmmaker at the International Film Festival Rotterdam in 2004.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1933"},{"slug":"jacobs_ken_little_stabs_at_happiness_1960_avijacobs_ken_little_stabs_at_happiness_1960","ok":true,"partial":false,"title":"Little Stabs at Happiness","artist":"Ken Jacobs","year":"1960","startOffset":0,"sourceSecs":284.746,"sourceHeight":448,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":17111998,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_little_stabs_at_happiness_1960_avijacobs_ken_little_stabs_at_happiness_1960/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_little_stabs_at_happiness_1960_avijacobs_ken_little_stabs_at_happiness_1960/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacobs_ken_little_stabs_at_happiness_1960_avijacobs_ken_little_stabs_at_happiness_1960.mp4","hasFrames":true,"description":"1960, 14:57 min, color, sound <br/><br/>\"\"Material was cut in as it came out of the camera, embarrassing moments intact. 100' rolls timed well with music on old 78's. I was interested in immediacy, a sense of ease, and an art where suffering was acknowledged but not trivialized with dramatics. Whimsy was our achievement, as well as breaking out of step.\" -- Ken Jacobs <br/><br/> Video: Ken Jacobs. Assisted by Kim Rosenthal -- <a href=\"http://eai.org/title.htm?id=15260\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"A pioneer of the American film avant-garde of the 1960s and '70s, Ken Jacobs is a central figure in post-war experimental cinema. From his first films of the late 1950s to his recent experiments with digital video, his investigations and innovations have influenced countless artists.\nA New Yorker by birth, Jacobs graduated from City University to find himself in the midst of the downtown art scene of the 1960s, which included artists Robert Rauschenberg and Andy Warhol, beat writers Allen Ginsberg and Jack Kerouac; and the experimental theater troupes of Trisha Brown and Yvonne Rainer. Although Jacobs had studied painting with Hans Hoffman, he quickly gravitated to film, finding kindred spirits in radical filmmakers such as Jonas Mekas and Hollis Frampton. An early friendship with Jack Smith yielded several collaborations, including the seminal underground films Blonde Cobra (which Jonas Mekas dubbed \"the masterpiece of Baudelairean cinema\") and Little Stabs at Happiness, as well as a Provincetown beach-based live show, The Human Wreckage Review.\nJacobs has long been a cinema activist. He was an integral part of Manhattan's burgeoning alternative film scene, which included venues such as the Film-Makers' Cooperative and The Bleecker Street Cinema (which notoriously premiered Blonde Cobra with Smith's Flaming Creatures) as well as his own loft, where the Kuchar brothers first screened their 8mm work. In 1966, he and his wife Flo founded Millennium Film Workshop, and he was a cofounder of one of the country's earliest departments of cinema, at Binghamton University.\nJacobs has always been interested primarily in the act of viewing, rather than in textual decoding or analysis. As he points out, \"my work is experiential, not conceptual. I want to work with experiences all the time.\" In this respect, his breakthrough was Tom, Tom the Piper's Son (1969-71). A landmark work of appropriation, the film takes as its source material a ten-minute short from 1905. During the course of Jacobs' two-hour film, this fragment from the dawn of cinema is subjected to extensive and varied re-photography, including manipulations of speed, light, and motion, as well as the minute examination of abstractly enlarged areas of the frame. A masterpiece of cinematic deconstruction, Tom, Tom the Piper's Son is, in its total concentration on the formal and material properties of the medium, perhaps the quintessential work of 1970s structuralist filmmaking. It was also an indication of the direction in which Jacobs would proceed, wherein actors and narrative would fall away, replaced by a concentration on the rigorous pleasures of the cinematic unconscious. As he has suggested, \"there's already so much film. Let's draw some of it out for a deeper look, toy with it, take it into a new light with inventive and expressive projection. Freud would suggest doing so as a way to look into our minds.\"\nIn later films such as Perfect Film (1986) and Opening the Nineteenth Century: 1896 (1990), Jacobs continued to explore his pioneering appropriation strategies. His interest in performance has never waned, however, as evidenced by Nervous System, a live show incorporating two film projectors, a propeller, and individual filters through which audience members view the double image. Writes Jacobs: \"The throbbing flickering is necessary to create 'eternalisms': unfrozen slices of time, sustained movements going nowhere and unlike anything in life.\" Jacobs' recent video work, such as Flo Rounds A Corner (1999), have successfully transferred the \"eternalisms\" effect to the digital realm.\nJacobs' insistence on cinema as a \"development of mind\" can be seen, despite his protestations to the contrary, as a conceptual approach to art-making practice, one that has yielded groundbreaking work across media. In his activism, film, performance, and video, he has consistently expanded the practice of the avant-garde moving image. Whether undertaking archaeological journeys to the birth of cinema, or scrutinizing the interstices of new digital technologies, Jacobs' work investigates, provokes, and draws power from the mysteries of the nature of human vision.\nKen Jacobs was born in 1933 in Brooklyn, New York. He has received numerous awards, including the Maya Deren Award, a John Simon Guggenheim Fellowship, as well as grants from the National Endowment for the Arts, the Rockefeller Foundation, and the New York State Council on the Arts. In 1969, with the help of Larry Gottheim and Gottheim's students (one of whom was J. Hoberman, current senior film critic for the Village Voice), Jacobs began the Cinema Department at SUNY Binghamton and taught there until 2002. His films, videos and performances have received international venues such as the Berlin Film Festival, the London Film Festival, the Hong Kong Film Festival, the New York Film Festival, the American Museum of the Moving Image, Astoria, New York; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York. He was a featured filmmaker at the International Film Festival Rotterdam in 2004.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1933"},{"slug":"jacobs_ken_perfect_film_1986","ok":true,"partial":false,"title":"Perfect Film","artist":"Ken Jacobs","year":"1986","startOffset":0,"sourceSecs":1326.379,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":83373008,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_perfect_film_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_perfect_film_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacobs_ken_perfect_film_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacobs_ken_perfect_film_1986/main.mp4?v=2","description":"The fortuitous find and instant conception of Perfect Film (1986), a found footage film of eyewitness accounts of the assassination of Malcolm X, is a perfect allegory for Jacobs' notion of \"the movies that make up our minds, are our minds in large part\". The footage was being sold for the reel on which it was spooled. Jacobs found it, and didn't touch it at all. The drama of shock reveals itself, first in the animated account of a journalist who happened to be in the auditorium, then in the grave and weary non-answers the police chief gives reporters. The story changes, the number of shots fired rises, and the lone newsman in the auditorium refines his story, growing with its power. There is a crowd around him, half of them listening intently, the other half trained on the camera. One man is smiling like an idiot. The film is historically potent, to be sure, but Jacobs perhaps recognised it for its darker suggestions, that in the instant of shock we forget and succumb to the storyteller. - Genevieve Yue (Senses of Cinema, 2004) <br/><br/> Jacobs writes: I wish more stuff was available in its raw state, as primary source material for anyone to consider, and to leave for others in just that way, the evidence uncontaminated by compulsive proprietary misapplied artistry, \"editing\", the purposeful \"pointing things out\" that cuts a road straight and narrow through the cine-jungle; we barrel through thinking we're going somewhere and miss it all. Better to just be pointed to the territory, to put in time exploring, roughing it, on our own. For the straight scoop we need the whole scoop, or no less than the clues entire and without rearrangement. O, for a Museum of Found Footage, or cable channel, library, a shit-museum of telling discards accessible to all talented viewers/auditors. A wilderness haven salvaged from Entertainment.","artist_bio":"A pioneer of the American film avant-garde of the 1960s and '70s, Ken Jacobs is a central figure in post-war experimental cinema. From his first films of the late 1950s to his recent experiments with digital video, his investigations and innovations have influenced countless artists.\nA New Yorker by birth, Jacobs graduated from City University to find himself in the midst of the downtown art scene of the 1960s, which included artists Robert Rauschenberg and Andy Warhol, beat writers Allen Ginsberg and Jack Kerouac; and the experimental theater troupes of Trisha Brown and Yvonne Rainer. Although Jacobs had studied painting with Hans Hoffman, he quickly gravitated to film, finding kindred spirits in radical filmmakers such as Jonas Mekas and Hollis Frampton. An early friendship with Jack Smith yielded several collaborations, including the seminal underground films Blonde Cobra (which Jonas Mekas dubbed \"the masterpiece of Baudelairean cinema\") and Little Stabs at Happiness, as well as a Provincetown beach-based live show, The Human Wreckage Review.\nJacobs has long been a cinema activist. He was an integral part of Manhattan's burgeoning alternative film scene, which included venues such as the Film-Makers' Cooperative and The Bleecker Street Cinema (which notoriously premiered Blonde Cobra with Smith's Flaming Creatures) as well as his own loft, where the Kuchar brothers first screened their 8mm work. In 1966, he and his wife Flo founded Millennium Film Workshop, and he was a cofounder of one of the country's earliest departments of cinema, at Binghamton University.\nJacobs has always been interested primarily in the act of viewing, rather than in textual decoding or analysis. As he points out, \"my work is experiential, not conceptual. I want to work with experiences all the time.\" In this respect, his breakthrough was Tom, Tom the Piper's Son (1969-71). A landmark work of appropriation, the film takes as its source material a ten-minute short from 1905. During the course of Jacobs' two-hour film, this fragment from the dawn of cinema is subjected to extensive and varied re-photography, including manipulations of speed, light, and motion, as well as the minute examination of abstractly enlarged areas of the frame. A masterpiece of cinematic deconstruction, Tom, Tom the Piper's Son is, in its total concentration on the formal and material properties of the medium, perhaps the quintessential work of 1970s structuralist filmmaking. It was also an indication of the direction in which Jacobs would proceed, wherein actors and narrative would fall away, replaced by a concentration on the rigorous pleasures of the cinematic unconscious. As he has suggested, \"there's already so much film. Let's draw some of it out for a deeper look, toy with it, take it into a new light with inventive and expressive projection. Freud would suggest doing so as a way to look into our minds.\"\nIn later films such as Perfect Film (1986) and Opening the Nineteenth Century: 1896 (1990), Jacobs continued to explore his pioneering appropriation strategies. His interest in performance has never waned, however, as evidenced by Nervous System, a live show incorporating two film projectors, a propeller, and individual filters through which audience members view the double image. Writes Jacobs: \"The throbbing flickering is necessary to create 'eternalisms': unfrozen slices of time, sustained movements going nowhere and unlike anything in life.\" Jacobs' recent video work, such as Flo Rounds A Corner (1999), have successfully transferred the \"eternalisms\" effect to the digital realm.\nJacobs' insistence on cinema as a \"development of mind\" can be seen, despite his protestations to the contrary, as a conceptual approach to art-making practice, one that has yielded groundbreaking work across media. In his activism, film, performance, and video, he has consistently expanded the practice of the avant-garde moving image. Whether undertaking archaeological journeys to the birth of cinema, or scrutinizing the interstices of new digital technologies, Jacobs' work investigates, provokes, and draws power from the mysteries of the nature of human vision.\nKen Jacobs was born in 1933 in Brooklyn, New York. He has received numerous awards, including the Maya Deren Award, a John Simon Guggenheim Fellowship, as well as grants from the National Endowment for the Arts, the Rockefeller Foundation, and the New York State Council on the Arts. In 1969, with the help of Larry Gottheim and Gottheim's students (one of whom was J. Hoberman, current senior film critic for the Village Voice), Jacobs began the Cinema Department at SUNY Binghamton and taught there until 2002. His films, videos and performances have received international venues such as the Berlin Film Festival, the London Film Festival, the Hong Kong Film Festival, the New York Film Festival, the American Museum of the Moving Image, Astoria, New York; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York. He was a featured filmmaker at the International Film Festival Rotterdam in 2004.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1933"},{"slug":"jacobs_ken_shorts_from_the_underground_2002","ok":true,"partial":false,"title":"Shorts From The Underground","artist":"Ken Jacobs","year":"2002","startOffset":0,"sourceSecs":1153.493,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":203822734,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_shorts_from_the_underground_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_shorts_from_the_underground_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacobs_ken_shorts_from_the_underground_2002.mp4","hasFrames":true,"description":"Our daughter's name. Something to wrap up this obsession with homes, finding and making homes... their ephemeral quality, the believlng-makes-it-so pathos of them, the crazy landslide terrain we desperate creatures stick them on for want of bedrock; bedrock! Flo and me used to go to a theater on Second Avenue that showed old Yiddish films with stage shows in which old Yiddish vaudeville cadavers romped with all the electric energy they once displayed to Kafka. One Polish movie, Without a Home, had a subsidiary character, a ne'er-do-well amiable scholar named Fedel. One scene showed him at his breakfast table in his sunny old-world poverty digs, cracking open his soft-boiled breakfast eggÑthis said everythingÑwith a tuning fork, to which he then listened. Anyway, the film: We see both Flo and pet cat China pregnant. Expecting. Then a brief pause in darkness, for the movie magic to work, and there's the kid, and kittens. Not so easy to fix on film a picture of the little adventurer. No happier ending than our kitten in its catbox. Home movies are my favorite. - Ken Jacobs"},{"slug":"jacobs_ken_window_1964","ok":true,"partial":false,"title":"Window (1964) 16mm, color, silent","artist":"Ken Jacobs","year":"1964","startOffset":0,"sourceSecs":574.357,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":98070777,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_window_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacobs_ken_window_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacobs_ken_window_1964.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacobs_ken_window_1964/main.mp4?v=2","description":"The moving camera shapes the screen image with great purposefulness, using the frame of a window as fulcrum upon which to wheel about the exterior scene. The zoom lens rips, pulling depth planes apart and slapping them together, contracting and expanding in concurrence with camera movements to impart a terrific apparent-motion to the complex of the object-forms pictured on the horizontal-vertical screen, its axis steadied by the audience's sense of gravity. The camera's movements in being transferred to objects tend also to be greatly magnified (instead of the camera the adjacent building turns). About four years of studying the window-complex preceded the afternoon of actual shooting (a true instance of cinematic action-painting). The film exists as it came out of the camera barring one mechanically necessary mid-reel splice. --K. J.","artist_bio":"A pioneer of the American film avant-garde of the 1960s and '70s, Ken Jacobs is a central figure in post-war experimental cinema. From his first films of the late 1950s to his recent experiments with digital video, his investigations and innovations have influenced countless artists.\nA New Yorker by birth, Jacobs graduated from City University to find himself in the midst of the downtown art scene of the 1960s, which included artists Robert Rauschenberg and Andy Warhol, beat writers Allen Ginsberg and Jack Kerouac; and the experimental theater troupes of Trisha Brown and Yvonne Rainer. Although Jacobs had studied painting with Hans Hoffman, he quickly gravitated to film, finding kindred spirits in radical filmmakers such as Jonas Mekas and Hollis Frampton. An early friendship with Jack Smith yielded several collaborations, including the seminal underground films Blonde Cobra (which Jonas Mekas dubbed \"the masterpiece of Baudelairean cinema\") and Little Stabs at Happiness, as well as a Provincetown beach-based live show, The Human Wreckage Review.\nJacobs has long been a cinema activist. He was an integral part of Manhattan's burgeoning alternative film scene, which included venues such as the Film-Makers' Cooperative and The Bleecker Street Cinema (which notoriously premiered Blonde Cobra with Smith's Flaming Creatures) as well as his own loft, where the Kuchar brothers first screened their 8mm work. In 1966, he and his wife Flo founded Millennium Film Workshop, and he was a cofounder of one of the country's earliest departments of cinema, at Binghamton University.\nJacobs has always been interested primarily in the act of viewing, rather than in textual decoding or analysis. As he points out, \"my work is experiential, not conceptual. I want to work with experiences all the time.\" In this respect, his breakthrough was Tom, Tom the Piper's Son (1969-71). A landmark work of appropriation, the film takes as its source material a ten-minute short from 1905. During the course of Jacobs' two-hour film, this fragment from the dawn of cinema is subjected to extensive and varied re-photography, including manipulations of speed, light, and motion, as well as the minute examination of abstractly enlarged areas of the frame. A masterpiece of cinematic deconstruction, Tom, Tom the Piper's Son is, in its total concentration on the formal and material properties of the medium, perhaps the quintessential work of 1970s structuralist filmmaking. It was also an indication of the direction in which Jacobs would proceed, wherein actors and narrative would fall away, replaced by a concentration on the rigorous pleasures of the cinematic unconscious. As he has suggested, \"there's already so much film. Let's draw some of it out for a deeper look, toy with it, take it into a new light with inventive and expressive projection. Freud would suggest doing so as a way to look into our minds.\"\nIn later films such as Perfect Film (1986) and Opening the Nineteenth Century: 1896 (1990), Jacobs continued to explore his pioneering appropriation strategies. His interest in performance has never waned, however, as evidenced by Nervous System, a live show incorporating two film projectors, a propeller, and individual filters through which audience members view the double image. Writes Jacobs: \"The throbbing flickering is necessary to create 'eternalisms': unfrozen slices of time, sustained movements going nowhere and unlike anything in life.\" Jacobs' recent video work, such as Flo Rounds A Corner (1999), have successfully transferred the \"eternalisms\" effect to the digital realm.\nJacobs' insistence on cinema as a \"development of mind\" can be seen, despite his protestations to the contrary, as a conceptual approach to art-making practice, one that has yielded groundbreaking work across media. In his activism, film, performance, and video, he has consistently expanded the practice of the avant-garde moving image. Whether undertaking archaeological journeys to the birth of cinema, or scrutinizing the interstices of new digital technologies, Jacobs' work investigates, provokes, and draws power from the mysteries of the nature of human vision.\nKen Jacobs was born in 1933 in Brooklyn, New York. He has received numerous awards, including the Maya Deren Award, a John Simon Guggenheim Fellowship, as well as grants from the National Endowment for the Arts, the Rockefeller Foundation, and the New York State Council on the Arts. In 1969, with the help of Larry Gottheim and Gottheim's students (one of whom was J. Hoberman, current senior film critic for the Village Voice), Jacobs began the Cinema Department at SUNY Binghamton and taught there until 2002. His films, videos and performances have received international venues such as the Berlin Film Festival, the London Film Festival, the Hong Kong Film Festival, the New York Film Festival, the American Museum of the Moving Image, Astoria, New York; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York. He was a featured filmmaker at the International Film Festival Rotterdam in 2004.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1933"},{"slug":"jacques_juliet_revivification_art_activism_politics_in_ukraine","ok":true,"partial":false,"title":"Revivification: Art, activism and politics in Ukraine","artist":"Juliet Jacques","year":"2018","startOffset":0,"sourceSecs":1683.413,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":749779594,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacques_juliet_revivification_art_activism_politics_in_ukraine/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jacques_juliet_revivification_art_activism_politics_in_ukraine/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jacques_juliet_revivification_art_activism_politics_in_ukraine.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacques_juliet_revivification_art_activism_politics_in_ukraine/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jacques_juliet_revivification_art_activism_politics_in_ukraine/main/master.m3u8?v=2","hasMainHls":true,"description":"Since the Euromaidan revolution of 2014, Ukrainian politics has largely been contested between pro-European Union neoliberals and far-right nationalists, united only by their hatred of the Soviet past. Revivification looks at how contemporary artists in Ukraine, inspired by radical ideals as well as queer and feminist theory, are trying to work in this context, looking back at the socialist past and trying to build a more utopian future. Directed and narrated by Juliet Jacques, shot and edited by Oksana Kazmina, and commissioned by CHASE (Consortium for the Arts and Humanities in the South-East) and the Izolyatsia platform for cultural initiatives in Kyiv. Colour, digital, 28 mins.","artist_bio":"Revivification: Art, activism and politics in Ukraine (2018)\nI am a writer and filmmaker based in London. I have published two books, Rayner Heppenstall: A Critical Study (Dalkey Archive, 2007) and Trans: A Memoir (Verso, 2015), with my third, a volume of short stories entitled Variations, due on Influx Press in June 2021. I have also contributed to volumes published by Penguin, Influx Press and others. I write short fiction, as well as journalism, essays and criticism on literature, film, art, music, politics, gender, sexuality and football. My work has appeared in The Guardian, for whom I documented my gender reassignment in a landmark series entitled A Transgender Journey as well as London Review of Books, Granta, Sight & Sound, Frieze, Art Review, New York Times, The Washington Post, TimeOut, New Humanist, Five Dials, New Inquiry, The New Statesman, Berfrois, Schirn, Mal, 3:AM and many other places.\nI have made two 16mm films – Approach/Withdraw, co-directed with artist Ker Wallwork (2016), and You Will Be Free (2017). I have also directed a documentary entitled Revivification: Art, Activism and Politics in Ukraine (2018), as part of a residency with the Izolyatsia platform for cultural initiatives in Kyiv. I co-wrote NADA: Act III with Jasmina Cibic, and acted in Female Human Animal (Josh Appignanesi, 2017) and the Superflux short film Our Friends Electric (2017).\nI also founded and co-host Suite (212) on Resonance 104.4fm – a radio programme that looks at the arts in their social, cultural, political and historical contexts, funded by Patreon subscriptions.\nI teach a course on queer fiction at City Lit in London, and also teach on the Contemporary Art Practice MA at the Royal College of Art; I have also given guest lectures and workshops at Brunel, Central Saint Martin’s, Studio Voltaire, Birkbeck, the University of Sussex, The American University of Central Asia (Bishkek) and elsewhere. I completed my PhD in Creative & Critical Writing at the University of Sussex in July 2019.\nI was included on The Independent on Sunday Pink List of influential LGBT people in 2012, 2013, 2014 and 2015, and appeared on a panel at the PEN International Congress in 2014. My Transgender Journey column was longlisted for the Orwell Prize for blogs in 2011, and Trans: A Memoir was runner-up in Polari LGBT Literary Salon’s First Book Award for 2016. In 2019, Val McDermid chose me as one of ten British LGBT+ writers for an International Literary Showcase. I have presented my work across the world, speaking across the United Kingdom, in France, Belgium, Switzerland, Italy and Greece, in Serbia, Croatia and Slovenia, in the USA and Canada, Ukraine and Kyrgyzstan, Australia and elsewhere.\n- https://julietjacques.com/about/","bio_dates":"b. 1981"},{"slug":"jafa_arthur_akingdoncomethas_2018","ok":true,"partial":false,"title":"akingdoncomethas (2018)","artist":"Arthur Jafa","year":"2018","startOffset":0,"sourceSecs":5886.561,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":2592375139,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jafa_arthur_akingdoncomethas_2018/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jafa_arthur_akingdoncomethas_2018/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jafa_arthur_akingdoncomethas_2018.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jafa_arthur_akingdoncomethas_2018/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jafa_arthur_akingdoncomethas_2018/main/master.m3u8?v=2","hasMainHls":true,"description":"A montage of filmed sermons and gospel songs performed in black churches from the 1980s to the 2000s.","artist_bio":"Arthur Jafa is a cinematographer, director and visual artist. Jafa was born in 1960 in Toldeo, Mississippi and raised in Clarksdale, MS. He graduated in 1983 from Howard University in Washington, D.C, where he trained as an architect.\nAfter graduation, Jafa experimented with film making, directing the film Considerations (1983) and Slowly This (1995). It was Jafa’s work as a cinematographer that gained him global recognition. His role as director of photography for the 1991 film, Daughters of the Dust, directed by Julie Dash, earned him ‘Best Cinematography’ at the Sundance Film Festival. He went on to work as a cinematographer for many influential films including Seven Songs for Malcolm X (1993), Crooklyn (1994) and I Am Ali (2002), collaborating with directors such as Spike Jonze, Andrew Dosunmu and Haile Gerima.\nHe later began to direct more of his own films including Sharifa Walks (2015), APEX (2013), Black Millennium (2000) and Corner (2000), along with co-directing Deshotten 1.0 (2009) and Adrian Younge (2015) with Malik Sayeed. Jafa co-founded TNEG with Sayeed, a motion picture studio 'whose goal is to create a black cinema as culturally, socially, and economically central to the 21st century as was black music to the 20th century.'\nJafa’s 2013 film Dreams are Colder Than Death won him the ‘Best Documentary Award’ at the Black Star Film Festival in 2015. Arguably, Jafa’s breakthrough on the art scene came with Love is the Message, the Message is Death (2016), which premiered a few days after the US presidential election. The work is a seven-minute video set to Kanye West’s gospel-inspired song Ultralight Beam.\nAdditionally, Jafa has worked on a number of music videos and was notably the director of photography on videos for Solange's Don't Touch My Hair and Cranes in the Sky, as well as Jay-Z's song 4:44 with TNEG. In 2018, Jafa released the approximately forty minute-long video essay entitled The White Album, which uses found video clips from CCTV, cell phones, documentaries, and more to explore whiteness and racism in the United States of America. This was awarded The Golden Lion for best artist at the 2019 Venice Biennale.\nHe has had solo exhibitions at the likes of the Museum of Contemporary Art (MOCA) in Los Angeles (2017), the Institute of Contemporary Art in Boston (2018) and the Serpentine Galleries in London (2017).","bio_dates":"b. 1960"},{"slug":"jafa_arthur_dreams_are_colder_than_death_2013","ok":true,"partial":false,"title":"Dreams are Colder than Death","artist":"Arthur Jafa","year":"2014","startOffset":0,"sourceSecs":3176.851,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":1356385217,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jafa_arthur_dreams_are_colder_than_death_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jafa_arthur_dreams_are_colder_than_death_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jafa_arthur_dreams_are_colder_than_death_2013.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jafa_arthur_dreams_are_colder_than_death_2013/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jafa_arthur_dreams_are_colder_than_death_2013/main/master.m3u8?v=2","hasMainHls":true,"description":"Arthur Jafa’s critically acclaimed experimental documentary Dreams are Colder than Death (2014) lyrically reflects on the legacy of Martin Luther King Jr. and contemporary black experiences in the United States. The film layers and weaves together a range of imagery with narrations from artistic and intellectual visionaries such as filmmaker Charles Burnett; poet, critic, and theorist Fred Moten; artists Wangechi Mutu and Kara Walker; and scholars Saidiya Hartman and Hortense Spillers. Initially made to mark the fiftieth anniversary of the 1963 March on Washington, Dreams asks what it means to be black in this country today. As Jafa stated about this work, “It was always about creating a platform for black folks—as I say, uncommon black folks—and for specialists to voice their feelings about where they were but ostensibly where we are, collectively.”","artist_bio":"Arthur Jafa is a cinematographer, director and visual artist. Jafa was born in 1960 in Toldeo, Mississippi and raised in Clarksdale, MS. He graduated in 1983 from Howard University in Washington, D.C, where he trained as an architect.\nAfter graduation, Jafa experimented with film making, directing the film Considerations (1983) and Slowly This (1995). It was Jafa’s work as a cinematographer that gained him global recognition. His role as director of photography for the 1991 film, Daughters of the Dust, directed by Julie Dash, earned him ‘Best Cinematography’ at the Sundance Film Festival. He went on to work as a cinematographer for many influential films including Seven Songs for Malcolm X (1993), Crooklyn (1994) and I Am Ali (2002), collaborating with directors such as Spike Jonze, Andrew Dosunmu and Haile Gerima.\nHe later began to direct more of his own films including Sharifa Walks (2015), APEX (2013), Black Millennium (2000) and Corner (2000), along with co-directing Deshotten 1.0 (2009) and Adrian Younge (2015) with Malik Sayeed. Jafa co-founded TNEG with Sayeed, a motion picture studio 'whose goal is to create a black cinema as culturally, socially, and economically central to the 21st century as was black music to the 20th century.'\nJafa’s 2013 film Dreams are Colder Than Death won him the ‘Best Documentary Award’ at the Black Star Film Festival in 2015. Arguably, Jafa’s breakthrough on the art scene came with Love is the Message, the Message is Death (2016), which premiered a few days after the US presidential election. The work is a seven-minute video set to Kanye West’s gospel-inspired song Ultralight Beam.\nAdditionally, Jafa has worked on a number of music videos and was notably the director of photography on videos for Solange's Don't Touch My Hair and Cranes in the Sky, as well as Jay-Z's song 4:44 with TNEG. In 2018, Jafa released the approximately forty minute-long video essay entitled The White Album, which uses found video clips from CCTV, cell phones, documentaries, and more to explore whiteness and racism in the United States of America. This was awarded The Golden Lion for best artist at the 2019 Venice Biennale.\nHe has had solo exhibitions at the likes of the Museum of Contemporary Art (MOCA) in Los Angeles (2017), the Institute of Contemporary Art in Boston (2018) and the Serpentine Galleries in London (2017).","bio_dates":"b. 1960"},{"slug":"jafa_arthur_love_is_the_message_the_message_is_death","ok":true,"partial":false,"title":"Love is the Message, The Message is Death","artist":"Arthur Jafa","year":"2016","startOffset":0,"sourceSecs":453.903,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":116731448,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jafa_arthur_love_is_the_message_the_message_is_death/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jafa_arthur_love_is_the_message_the_message_is_death/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jafa_arthur_love_is_the_message_the_message_is_death.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jafa_arthur_love_is_the_message_the_message_is_death/main.mp4?v=2","description":"Jafa’s work is a seven-minute video made up of clips collaged from original and found footage. Distressing scenes of historic and contemporary violence inflicted on Black Americans by individuals and institutions are woven with scenes of religious ecstasy, athletic prowess, poetic and musical performance – what Jafa has called ‘a Black display of Black excellence.’","artist_bio":"Arthur Jafa is a cinematographer, director and visual artist. Jafa was born in 1960 in Toldeo, Mississippi and raised in Clarksdale, MS. He graduated in 1983 from Howard University in Washington, D.C, where he trained as an architect.\nAfter graduation, Jafa experimented with film making, directing the film Considerations (1983) and Slowly This (1995). It was Jafa’s work as a cinematographer that gained him global recognition. His role as director of photography for the 1991 film, Daughters of the Dust, directed by Julie Dash, earned him ‘Best Cinematography’ at the Sundance Film Festival. He went on to work as a cinematographer for many influential films including Seven Songs for Malcolm X (1993), Crooklyn (1994) and I Am Ali (2002), collaborating with directors such as Spike Jonze, Andrew Dosunmu and Haile Gerima.\nHe later began to direct more of his own films including Sharifa Walks (2015), APEX (2013), Black Millennium (2000) and Corner (2000), along with co-directing Deshotten 1.0 (2009) and Adrian Younge (2015) with Malik Sayeed. Jafa co-founded TNEG with Sayeed, a motion picture studio 'whose goal is to create a black cinema as culturally, socially, and economically central to the 21st century as was black music to the 20th century.'\nJafa’s 2013 film Dreams are Colder Than Death won him the ‘Best Documentary Award’ at the Black Star Film Festival in 2015. Arguably, Jafa’s breakthrough on the art scene came with Love is the Message, the Message is Death (2016), which premiered a few days after the US presidential election. The work is a seven-minute video set to Kanye West’s gospel-inspired song Ultralight Beam.\nAdditionally, Jafa has worked on a number of music videos and was notably the director of photography on videos for Solange's Don't Touch My Hair and Cranes in the Sky, as well as Jay-Z's song 4:44 with TNEG. In 2018, Jafa released the approximately forty minute-long video essay entitled The White Album, which uses found video clips from CCTV, cell phones, documentaries, and more to explore whiteness and racism in the United States of America. This was awarded The Golden Lion for best artist at the 2019 Venice Biennale.\nHe has had solo exhibitions at the likes of the Museum of Contemporary Art (MOCA) in Los Angeles (2017), the Institute of Contemporary Art in Boston (2018) and the Serpentine Galleries in London (2017).","bio_dates":"b. 1960"},{"slug":"jafa_arthur_malik_sayeed_deshotten_1_0_2009","ok":true,"partial":false,"title":"Deshotten 1.0","artist":"Arthur Jafa","year":"2009","startOffset":0,"sourceSecs":577.294,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":38682599,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jafa_arthur_malik_sayeed_deshotten_1_0_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jafa_arthur_malik_sayeed_deshotten_1_0_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jafa_arthur_malik_sayeed_deshotten_1_0_2009.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jafa_arthur_malik_sayeed_deshotten_1_0_2009/main.mp4?v=2","description":"Deshotten 1.0 2009 Directed by Arthur Jafa, Malik Hassan Sayeed <br/><br/> \"Deshotten 1.0\" was the first collaboration between Arthur Jafa and Malik Sayeed and is the first TNEG project. Laying in a hospital bed, a young man replays the moments leading up to a nighttime shootout in the streets of New York.","artist_bio":"Arthur Jafa is a cinematographer, director and visual artist. Jafa was born in 1960 in Toldeo, Mississippi and raised in Clarksdale, MS. He graduated in 1983 from Howard University in Washington, D.C, where he trained as an architect.\nAfter graduation, Jafa experimented with film making, directing the film Considerations (1983) and Slowly This (1995). It was Jafa’s work as a cinematographer that gained him global recognition. His role as director of photography for the 1991 film, Daughters of the Dust, directed by Julie Dash, earned him ‘Best Cinematography’ at the Sundance Film Festival. He went on to work as a cinematographer for many influential films including Seven Songs for Malcolm X (1993), Crooklyn (1994) and I Am Ali (2002), collaborating with directors such as Spike Jonze, Andrew Dosunmu and Haile Gerima.\nHe later began to direct more of his own films including Sharifa Walks (2015), APEX (2013), Black Millennium (2000) and Corner (2000), along with co-directing Deshotten 1.0 (2009) and Adrian Younge (2015) with Malik Sayeed. Jafa co-founded TNEG with Sayeed, a motion picture studio 'whose goal is to create a black cinema as culturally, socially, and economically central to the 21st century as was black music to the 20th century.'\nJafa’s 2013 film Dreams are Colder Than Death won him the ‘Best Documentary Award’ at the Black Star Film Festival in 2015. Arguably, Jafa’s breakthrough on the art scene came with Love is the Message, the Message is Death (2016), which premiered a few days after the US presidential election. The work is a seven-minute video set to Kanye West’s gospel-inspired song Ultralight Beam.\nAdditionally, Jafa has worked on a number of music videos and was notably the director of photography on videos for Solange's Don't Touch My Hair and Cranes in the Sky, as well as Jay-Z's song 4:44 with TNEG. In 2018, Jafa released the approximately forty minute-long video essay entitled The White Album, which uses found video clips from CCTV, cell phones, documentaries, and more to explore whiteness and racism in the United States of America. This was awarded The Golden Lion for best artist at the 2019 Venice Biennale.\nHe has had solo exhibitions at the likes of the Museum of Contemporary Art (MOCA) in Los Angeles (2017), the Institute of Contemporary Art in Boston (2018) and the Serpentine Galleries in London (2017).","bio_dates":"b. 1960"},{"slug":"jafa_arthur_ms_hillsonga","ok":true,"partial":false,"title":"Ms Hillsonga","artist":"Arthur Jafa","year":"2017","startOffset":0.334,"sourceSecs":268.096,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":119402740,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jafa_arthur_ms_hillsonga/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jafa_arthur_ms_hillsonga/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jafa_arthur_ms_hillsonga.mkv","hasFrames":true,"description":"A minute of still images set to a fast beat by Jeff Mills, cut almost too quickly to be identifiable (including the shot my letterboxd avatar is from), then the images repeat but motion video footage is added, then it repeats again with new clips or stills substituted to keep things lively. More great montage, again full of imagery of Black freedom and oppression, the footage replacement reminding me of Zorns Lemma in a good way.","artist_bio":"Arthur Jafa is a cinematographer, director and visual artist. Jafa was born in 1960 in Toldeo, Mississippi and raised in Clarksdale, MS. He graduated in 1983 from Howard University in Washington, D.C, where he trained as an architect.\nAfter graduation, Jafa experimented with film making, directing the film Considerations (1983) and Slowly This (1995). It was Jafa’s work as a cinematographer that gained him global recognition. His role as director of photography for the 1991 film, Daughters of the Dust, directed by Julie Dash, earned him ‘Best Cinematography’ at the Sundance Film Festival. He went on to work as a cinematographer for many influential films including Seven Songs for Malcolm X (1993), Crooklyn (1994) and I Am Ali (2002), collaborating with directors such as Spike Jonze, Andrew Dosunmu and Haile Gerima.\nHe later began to direct more of his own films including Sharifa Walks (2015), APEX (2013), Black Millennium (2000) and Corner (2000), along with co-directing Deshotten 1.0 (2009) and Adrian Younge (2015) with Malik Sayeed. Jafa co-founded TNEG with Sayeed, a motion picture studio 'whose goal is to create a black cinema as culturally, socially, and economically central to the 21st century as was black music to the 20th century.'\nJafa’s 2013 film Dreams are Colder Than Death won him the ‘Best Documentary Award’ at the Black Star Film Festival in 2015. Arguably, Jafa’s breakthrough on the art scene came with Love is the Message, the Message is Death (2016), which premiered a few days after the US presidential election. The work is a seven-minute video set to Kanye West’s gospel-inspired song Ultralight Beam.\nAdditionally, Jafa has worked on a number of music videos and was notably the director of photography on videos for Solange's Don't Touch My Hair and Cranes in the Sky, as well as Jay-Z's song 4:44 with TNEG. In 2018, Jafa released the approximately forty minute-long video essay entitled The White Album, which uses found video clips from CCTV, cell phones, documentaries, and more to explore whiteness and racism in the United States of America. This was awarded The Golden Lion for best artist at the 2019 Venice Biennale.\nHe has had solo exhibitions at the likes of the Museum of Contemporary Art (MOCA) in Los Angeles (2017), the Institute of Contemporary Art in Boston (2018) and the Serpentine Galleries in London (2017).","bio_dates":"b. 1960"},{"slug":"jamie_cameron_jo","ok":true,"partial":false,"title":"JO","artist":"Cameron Jamie","year":"2004","startOffset":0,"sourceSecs":1096.3,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":67186133,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jamie_cameron_jo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jamie_cameron_jo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jamie_cameron_jo.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jamie_cameron_jo/main.mp4?v=2","description":"For his fourth film, JO, Cameron Jamie unfolds a three-part investigation of the precarious line that separates nationalism, patriotism, and bigotry. Beginning in Orléans, France, he recorded a series of events organized in conjunction with the annual celebration of the feast day of Saint Joan of Arc. On the second Sunday in May, a teenage girl dressed in armor rides through the streets on horseback in celebration of the female warrior’s great feats in battle and in commemoration of her martyrdom at the hands of the English. Joan of Arc, one of the most popular saints of the Roman Catholic Church, has also been a military and political symbol of French national pride since the time of Napoleon.<br/><br/> Most recently, the Maid of Orléans has been proclaimed the patron saint of the right-wing party Front National led by Jean-Marie Le Pen, who has become known for his excessive national pride, conservatism, and xenophobia. The second chapter of the film spotlights the FN’s homage to this heroine, with Le Pen and other politicians placing flowers at a golden Joan of Arc statue.<br/><br/> JO concludes with another annual celebration, no less patriotic: the Fourth of July Nathan’s Hot Dog Eating Contest in Coney Island, New York, at which Japanese champion Takeru Kobayashi breaks his own record by eating 53.5 hot dogs in 12 minutes. Through this collage of extreme systems of identification, Jamie exposes the grotesque side of nationalism.","artist_bio":"American artist Cameron Jamie (1969 Los Angeles, lives and works in Berlin) is a chronicler of our time. With his works, he examines subcultural phenomena, surreal phenomena in the everyday and group-ritual manifestations within society, and documents people's fantasies and ideas. In the newly fashioned combination of mysterious and familiar forms and scenarios, he creates aesthetic experiences, which question the nature of human existence and our tragic fate as members of society.","bio_dates":"b. 1969"},{"slug":"jamie_cameron_kranky_klaus","ok":true,"partial":false,"title":"Kranky Klaus","artist":"Cameron Jamie","year":"2002-2003","startOffset":0,"sourceSecs":1571.5,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":92770008,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jamie_cameron_kranky_klaus/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jamie_cameron_kranky_klaus/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jamie_cameron_kranky_klaus.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jamie_cameron_kranky_klaus/main.mp4?v=2","description":"Kranky Klaus (2002–03), is about an ancient Austrian folk tradition involving a sadistic mythical beast and the benevolent St. Nicholas.","artist_bio":"American artist Cameron Jamie (1969 Los Angeles, lives and works in Berlin) is a chronicler of our time. With his works, he examines subcultural phenomena, surreal phenomena in the everyday and group-ritual manifestations within society, and documents people's fantasies and ideas. In the newly fashioned combination of mysterious and familiar forms and scenarios, he creates aesthetic experiences, which question the nature of human existence and our tragic fate as members of society.","bio_dates":"b. 1969"},{"slug":"jamie_cameron_massage","ok":true,"partial":false,"title":"Massage the History","artist":"Cameron Jamie","year":"2007-2009","startOffset":0,"sourceSecs":670.196,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":41537042,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jamie_cameron_massage/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jamie_cameron_massage/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jamie_cameron_massage.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jamie_cameron_massage/main.mp4?v=2","description":"Featuring an original soundtrack by <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth</a>, the film documents young adults from Alabama who dance themselves into trance states in the privacy of their living rooms.","artist_bio":"American artist Cameron Jamie (1969 Los Angeles, lives and works in Berlin) is a chronicler of our time. With his works, he examines subcultural phenomena, surreal phenomena in the everyday and group-ritual manifestations within society, and documents people's fantasies and ideas. In the newly fashioned combination of mysterious and familiar forms and scenarios, he creates aesthetic experiences, which question the nature of human existence and our tragic fate as members of society.","bio_dates":"b. 1969"},{"slug":"jamie_cameron_spookhouse_iphone","ok":true,"partial":false,"title":"JO","artist":"Cameron Jamie","year":"2004","startOffset":0,"sourceSecs":1263.048,"sourceHeight":320,"sourceWidth":418,"hasAudio":true,"hasAmbientMp4":true,"bytes":76214758,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jamie_cameron_spookhouse_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jamie_cameron_spookhouse_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jamie_cameron_spookhouse_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jamie_cameron_spookhouse_iphone/main.mp4?v=2","description":"For his fourth film, JO, Cameron Jamie unfolds a three-part investigation of the precarious line that separates nationalism, patriotism, and bigotry. Beginning in Orléans, France, he recorded a series of events organized in conjunction with the annual celebration of the feast day of Saint Joan of Arc. On the second Sunday in May, a teenage girl dressed in armor rides through the streets on horseback in celebration of the female warrior’s great feats in battle and in commemoration of her martyrdom at the hands of the English. Joan of Arc, one of the most popular saints of the Roman Catholic Church, has also been a military and political symbol of French national pride since the time of Napoleon.<br/><br/> Most recently, the Maid of Orléans has been proclaimed the patron saint of the right-wing party Front National led by Jean-Marie Le Pen, who has become known for his excessive national pride, conservatism, and xenophobia. The second chapter of the film spotlights the FN’s homage to this heroine, with Le Pen and other politicians placing flowers at a golden Joan of Arc statue.<br/><br/> JO concludes with another annual celebration, no less patriotic: the Fourth of July Nathan’s Hot Dog Eating Contest in Coney Island, New York, at which Japanese champion Takeru Kobayashi breaks his own record by eating 53.5 hot dogs in 12 minutes. Through this collage of extreme systems of identification, Jamie exposes the grotesque side of nationalism.","artist_bio":"American artist Cameron Jamie (1969 Los Angeles, lives and works in Berlin) is a chronicler of our time. With his works, he examines subcultural phenomena, surreal phenomena in the everyday and group-ritual manifestations within society, and documents people's fantasies and ideas. In the newly fashioned combination of mysterious and familiar forms and scenarios, he creates aesthetic experiences, which question the nature of human existence and our tragic fate as members of society.","bio_dates":"b. 1969"},{"slug":"jankowski_christian_rose_2001","ok":true,"partial":false,"title":"Rosa","artist":"Christian Jankowski","year":"2001","startOffset":0,"sourceSecs":1142.037,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":186829898,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jankowski_christian_rose_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jankowski_christian_rose_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jankowski_christian_rose_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jankowski_christian_rose_2001/main.mp4?v=2","description":"Rosa, is a weirdly mangled feature film excerpted from a film whose artist-character makes work that is, in fact, Mr. Jankowski's. In exchange for using his art, the director let Mr. Jankowski script short interruptions in which the actors step out of character to pontificate about art -- these scenes became \"Rosa.\"","artist_bio":"One of the great European documentarians, Nicolas Philibert began his education by studying philosophy and later worked as an assistant director with such filmmakers as Rene Allio and Alain Tanner. Philibert's ability to approach man with tenderness, directness and sensitivity appears in his film In the Land of the Deaf, an exploration of the world through the eyes of those born without the sense of hearing. In 1995 Philibert revisited the subject of museums--also explored in Louvre City--finding humanity and humor within these stately institutions. Animals and More Animals examines the zoological wing of France's Museum of Natural History, which had been closed for years, and brings to light its unusual treasures. Minimalist and exceedingly moving, Philibert's films have received awards in festivals and various events, but have also achieved a rare feat in France: box office success. Along with Cahiers du Cinema editor Jean Michel Frodon, Philibert joins us to discuss his unique work in nonfiction film.","bio_dates":"b. 1968"},{"slug":"jankowski_christian_the_holy_artwork_2001","ok":true,"partial":false,"title":"The holy artwork","artist":"Christian Jankowski","year":"2001","startOffset":0,"sourceSecs":950.8,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":166441764,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jankowski_christian_the_holy_artwork_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jankowski_christian_the_holy_artwork_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jankowski_christian_the_holy_artwork_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jankowski_christian_the_holy_artwork_2001/main.mp4?v=2","description":"The Holy Artwork is a conceptual video work made in collaboration with Pastor Peter Spencer of the Texas-based Harvest Fellowship Church, which was filmed and broadcast as part of Spencer’s weekly televangelical show. It is characteristic of Christian Jankowski’s performative practice, where he works with people operating outside of the art world to question its value-systems and the problems associated with artistic production and authorship.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1968"},{"slug":"jarry_ubu_roi_1965_smz_iphone","ok":true,"partial":false,"title":"Ubu Roi","artist":"Alfred Jarry","year":"1965","startOffset":0,"sourceSecs":5799.384,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":333779097,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jarry_ubu_roi_1965_smz_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jarry_ubu_roi_1965_smz_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jarry_ubu_roi_1965_smz_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jarry_ubu_roi_1965_smz_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jarry_ubu_roi_1965_smz_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>Director:</b> Jean-Christophe Averty<br><br><b>Cast:</b><br> Jean Bouise ... Père Ubu<br> Rosy Varte ... Mère Ubu<br/> Hubert Deschamps ... Capitaine Bordure<br/> Henri Virlojeux ... Le roi Venceslas<br/> Micha Bayard ... La reine Rosemonde<br/> Johnny Monteilhet ... Boleslas<br/> David Gafsou ... Ladislas<br/> Didier Haudepin ... Bougrelas<br/> Armand Meffre ... Général Lascy<br/> Bernard Musson ... Stanislas Leczinski<br/> Jocelyn Canoen ... Jean Sobieski<br/> Denis Palos ... Nicole Renski<br/> Gabriel Jabbour ... Le tsar Alexis<br/> Michel Muller ... Palotin Giron<br/> Abdel Hanmi ... Palotin Cotice<br/><br/>The plays of Alfred Jarry are considered by many to be the first dramatic works of the theatre of the absurd. They are credited with a great number of literary innovations and are seen as major influences of the dada and symbolist movements in art. Ubu Roi (translated as King Ubu and King Turd) is Jarry’s most famous work. Ubu Roi eliminates the dramatic action from its Shakespearean antecedents and uses scatological humor and farce to present Jarry’s views on art, literature, politics, the ruling classes, and current events.<br/> <br> Ubu Roi first saw life as schoolboy farce, a parody of Felix Hebert, one of Jarry’s teachers. Co-authored with his friend, Henri Morin, the skit was transformed into a marionette play through several versions. In 1891, Jarry published a story, “Guignol,” reminiscent of the Punch and Judy performances popular throughout Europe, which showcased a vile and murderous Pere Ubu. A two-act version of Ubu Roi with songs for marionettes, Ubu sur la Batte, appeared in print in 1906.<br> <br> The opening night of December 11,1896, caused quite a stir according to Roger Shattuck in his work The Banquet Years. Actor Firmin Gernier stepped forward to speak the opening line — “Merdre!” (translated as “Shifter!”). The audience erupted in pandemonium. It took nearly fifteen minutes to silence the house and continue the play. Several people walked out without hearing any more. Fist fights broke out in the orchestra. Jarry supporters shouted, “You wouldn’t understand Shakespeare either!” Those who did not appreciate Jarry’s attack on theatrical realism replied with variations of le mot Ubu.<br/> <br/> The stage manager startled the audience into silence by turning up the house lights and catching several screaming patrons standing on their seats and shaking their upraised fists. Gernier improvised a dance and the audience settled back down long enough for the action to proceed to the next “merdre,” when the audience exploded once again. The interruptions continued throughout the play until the curtain fell. One audience member, a stunned and saddened William Butler Yeats, remarked “[W]hat more is possible? After us the Savage God.”<br/> <br/> In his book Jarry: Ubu Roi, Keith Beaumont detailed three accusations that were made against Ubu Roi by spectators and critics in the aftermath of the outrageous performance. The first focused on the play’s “alleged” vulgarity and obscenity. Secondly, perhaps in view of the political atmosphere of the time, critics condemned the play and its performance as the theatrical equivalent of an “anarchist” bomb attack and as an act of political subversion. The third accusation leveled against the play and its performance was that they in no way constituted a “serious” piece of literature or of theater but rather a gigantic hoax.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/jarry.html\" rel=\"noopener\" target=\"_blank\">Alfred Jarry in UbuWeb Sound</a> </br></br></br></br></br></br>","artist_bio":"Alfred Jarr-y-mages (documentary on Jarry, French language, 1971)\nHistoire de Melody Nelson [Serge Gainsbourg, Jane Birkin] (1971)\nJean-Christophe Averty (6 August 1928 – 4 March 2017) was a French television and radio director, and Satrap of the College of 'Pataphysique.\nMany of his television productions from the 1960s were early examples of French video art. His studies were used in the following decades by the research groups of the French National Audiovisual Institute (INA).\nAverty was born in Paris. A graduate of the IDHEC film school, he started in television in 1952 at the then French Television Office. He directed over five hundred programs for television and radio, across all disciplines: fiction, documentary, drama, variety, and jazz. His many awards include an Emmy award in the United States.\nAverty was appointed Satrap of the College of 'Pataphysique in 1990, due to his fascination for Alfred Jarry and Pataphysique.\nAverty made his reputation on his strong character, his taste for provocation and his sense for innovative television. His 1963 series The Green Grapes was infamous for a recurring sequence of a baby being put through a grater.\nA keen connoisseur of jazz, Averty filmed the Jazz à Juan festival for many years. The pianist Martial Solal paid him a tribute in one of his compositions: Averty, c'est moi (Averty that's me).\nOver 28 years, he hosted 1,805 episodes of his radio show Les Cinglés du music-hall, based on his own collection of jazz and variety 78s that he had bought in flea markets around the world. The show was cancelled in 2006 under Jean-Paul Cluzel's chairmanship of Radio France. The French section of the shows was based on notebooks entrusted to him by André Cauzard, filled with daily details of pre-war jazz music events.\nAverty directed television shows where he applied his singular style to showcase the greatest francophone singers such as Françoise Hardy, Yves Montand, Johnny Hallyday, Sylvie Vartan, Juliette Gréco, Georges Brassens, Dalida, France Gall, Serge Gainsbourg, Gilbert Bécaud, Guy Marchand, Léo Ferré, Tino Rossi, and Jean Sablon.\nIn 1969 Averty directed the TV movie Le Songe d'une nuit d'été, starring Claude Jade, Christine Delaroche and Jean-Claude Drouot, and filmed entirely in bluescreen.\nHis television creations are landmarks in their use of video as a mode of artistic expression. Averty made great use of characters filmed against a blue screen, overlaid on a drawn background. Examples are Sapeur Camembert, based on the eponymous work of Georges Colomb, and a production of Edmond Rostand's classic play Chantecler.\nAverty was one of the last salaried directors of the French Production Company. In 2012, he entrusted the management, conservation and safeguarding of the rights of all of his television and radio works to the French National Audiovisual Institute (INA); nearly a thousand television programs on jazz, sports, fashion, variety and the theater.","bio_dates":"1873-1907"},{"slug":"jenkins_ulysses_inconsequential_doggereal_1981","ok":true,"partial":false,"title":"Inconsequential Doggereal","artist":"Ulysses Jenkins","year":"1981","startOffset":0,"sourceSecs":921.158,"sourceHeight":424,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":58276930,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jenkins_ulysses_inconsequential_doggereal_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jenkins_ulysses_inconsequential_doggereal_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jenkins_ulysses_inconsequential_doggereal_1981.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jenkins_ulysses_inconsequential_doggereal_1981/main.mp4?v=2","description":"This video marks the beginning of Jenkins's experimentation with unconventional filming and editing techniques. Inconsequential Doggereal addresses issues of time, broken narratives, politics, and creativity. Jenkins considers the changes in one's interpretations of events and issues over time and the ways in which an individual's understanding can evolve. The video does not have a true ending but rather exemplifies the progression and process of reassessment that the artist narrates throughout. Historically rooted in Dada and surrealist film, this work flashes through scenes of drama and vulnerability, as well as ones of humor and personal interaction.","artist_bio":"Ulysses S. Jenkins was one of the first artists of his generation to combine video and performance to address topics of race, history, and the power of the state. He has been active in the Los Angeles art scene since the 1960s, often collaborating with other artists, founding the media group Venice Video News, and later opening Othervisions Studios, a collective performance space and studio. In his art, Jenkins blends conceptual complexity and political urgency with earthy humor as he explores the media’s portrayal of African Americans.\nUlysses Jenkins received his BA from Southern University (1969) and his MFA from Otis Art Institute (1979). He is currently an associate professor of studio art and an affiliate professor in the African American Studies program at the University of California, Irvine. His group exhibitions include Now Dig This! Art and Black Los Angeles, 1960–1980, Hammer Museum, Los Angeles (2011, traveling); VideoStudio: Playback, The Studio Museum in Harlem, New York (2011); Sympathetic Magic: Video Myths and Rituals, Armory Center for the Arts, Pasadena, CA (2011); California Video, J. Paul Getty Museum, Los Angeles (2008); Cross Sections, 18th Street Arts Center, Santa Monica, CA (2007); Les soirées nomades: Nuits noires, Fondation Cartier pour l’art contemporain, Paris (2006); African American Artists in Los Angeles: A Survey Exhibition; Fade, 1990–2003, Luckman Gallery, California State University, Los Angeles (2004); Race in Digital Space, The Studio Museum in Harlem, New York (2002); and Audiovisual Poetry from the United States, 10th Videobrasil International Electronic Arts Festival, Sao Paulo (1994).","bio_dates":"b. 1946"},{"slug":"jenkins_ulysses_mass_of_images_1978","ok":true,"partial":false,"title":"Mass of Images","artist":"Ulysses Jenkins","year":"1978","startOffset":0,"sourceSecs":259.065,"sourceHeight":424,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":17368262,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jenkins_ulysses_mass_of_images_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jenkins_ulysses_mass_of_images_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jenkins_ulysses_mass_of_images_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jenkins_ulysses_mass_of_images_1978/main.mp4?v=2","description":"Mass of Images, a recorded performance that does indeed engage black stereotypes perpetuated by the American media. In the work, Jenkins appears on a set accompanied by a stack of televisions, his face obscured by a plastic mask and sunglasses, neck wrapped in American-flag-print scarf, and sporting an Adidas t-shirt underneath a bathrobe, arranged such that only the “ID” of Adidas is visible. The video cuts between this scene and examples of blackface and racist stereotyping from American films and TV. Jenkins repeats a mantra as he settles into a wheelchair and wheels himself toward center stage: “You’re just a mass of images you’ve gotten to know / from years and years of TV shows. / The hurting thing; the hidden pain / was written and bitten into your veins / I don’t and I won’t relate / and I think for some it’s too late!”2<br/><br/> Continuing the refrain, he gathers his strength and rears to smash the TVs but falters. He gasps and laughs, rather manically, and says, “Oh, I’d love to do this, but they won’t let me.” He turns toward the camera, repeats the mantra one more time, and then the screen goes dark.<br/><br/> The few published texts on the work that are in circulation—and they are minimal—focus on the inserted panels featuring images of Hattie McDaniel in her all too familiar mammy guise, Bert Williams in blackface, Allen Hoskins playing “Farina” in The Little Rascals, and other instances of blackface and racist imagery. The authors argue that Jenkins aims to illustrate the possibility of overcoming the power of these representations. In the catalog for Now Dig This!, for example, Roberto Tejada focuses on Jenkins’s regaining of his composure following his outburst as signaling the “possibility of…self-possession within the mass of images that work to contain black bodies in representation.”3 However, I would argue against Tejada’s claim, because this possibility is unrealized in the work. At the video’s closing, we leave Jenkins exactly where we found him, repeating the same refrain. Other readings of the video find Jenkins generally critiquing cultural stereotypes, again performing the work that has come to be expected of the black artist of his time.<br/><br/> Across all readings of Mass of Images, the lack of interest in Jenkins’s failure to destroy the television sets is surprising. If the conceptual thrust of the work is meant to be the black-artist-as-subject’s triumph over his flattened, essentialized, racist image—as readings so far have claimed it to be—then we must ask the question: Why doesn’t Jenkins smash them? He tells us why. It is because “they won’t let” him. The line “they won’t let me” betrays a wholehearted desire to commit the act. Jenkins wants to smash the televisions but someone is stopping him. This moment, this break in the otherwise meditative pacing and relative calm of the video, becomes a focal point and in turn positions desire as the unseen force propelling the work. Jenkins noted, in a 2008 interview, that he very carefully positioned the bathrobe over his Adidas t-shirt such that only the “ID” is visible to the viewer, as a sly nod to Freud, signaling that he is concerned primarily with the libidinal economy of the work. Here, we are not quite within the domain of ethics or politics—the domains that the Black Nationalist agenda and Jenkins’s Black Arts Movement contemporaries would have had him occupy. The only politics here is a desire to be himself.<br/><br/> Focusing on this break and viewing Mass of Images as an exercise in failure, rather than a victory over representation, we follow Jenkins into a rather unusual realm of inquiry, one that makes sense to have downplayed when it comes to historicizing black art of the period. Jenkins and his Los Angeles contemporaries, such as Senga Nengudi, Maren Hassinger, Barbara McCullough, and (for a brief period) David Hammons, were often accused of making art that was not political enough or “black enough” due to their interest in new media and abstraction and their willingness to draw on sources from outside of the black tradition. Following Jenkins down this rabbit hole unravels much of the twentieth century’s work toward a black politic of representation and provides a counter-argument against attempts by Black Arts Movement leaders, such as Larry Neal and Ron Karenga, toward a black aesthetic and a black art that articulates a self-determined blackness through images that “speak to and inspire black people.”8 Jenkins departs from this concern over what Frank Wilderson III calls the “hegemonic value” and pedagogical power of visual representations of blackness and black people, which ruled black art criticism and black cinematic theory of the time. Instead, Jenkins is interested in questioning the very nature of blackness itself.","artist_bio":"Ulysses S. Jenkins was one of the first artists of his generation to combine video and performance to address topics of race, history, and the power of the state. He has been active in the Los Angeles art scene since the 1960s, often collaborating with other artists, founding the media group Venice Video News, and later opening Othervisions Studios, a collective performance space and studio. In his art, Jenkins blends conceptual complexity and political urgency with earthy humor as he explores the media’s portrayal of African Americans.\nUlysses Jenkins received his BA from Southern University (1969) and his MFA from Otis Art Institute (1979). He is currently an associate professor of studio art and an affiliate professor in the African American Studies program at the University of California, Irvine. His group exhibitions include Now Dig This! Art and Black Los Angeles, 1960–1980, Hammer Museum, Los Angeles (2011, traveling); VideoStudio: Playback, The Studio Museum in Harlem, New York (2011); Sympathetic Magic: Video Myths and Rituals, Armory Center for the Arts, Pasadena, CA (2011); California Video, J. Paul Getty Museum, Los Angeles (2008); Cross Sections, 18th Street Arts Center, Santa Monica, CA (2007); Les soirées nomades: Nuits noires, Fondation Cartier pour l’art contemporain, Paris (2006); African American Artists in Los Angeles: A Survey Exhibition; Fade, 1990–2003, Luckman Gallery, California State University, Los Angeles (2004); Race in Digital Space, The Studio Museum in Harlem, New York (2002); and Audiovisual Poetry from the United States, 10th Videobrasil International Electronic Arts Festival, Sao Paulo (1994).","bio_dates":"b. 1946"},{"slug":"jenkins_ulysses_two_zone_transfer_1979","ok":true,"partial":false,"title":"Two Zone Transfer","artist":"Ulysses Jenkins","year":"1979","startOffset":0,"sourceSecs":1431.903,"sourceHeight":424,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":88784684,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jenkins_ulysses_two_zone_transfer_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jenkins_ulysses_two_zone_transfer_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jenkins_ulysses_two_zone_transfer_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jenkins_ulysses_two_zone_transfer_1979/main.mp4?v=2","description":"Two Zone Transfer follows closely in the footsteps of Mass of Images, with Jenkins zeroing in on blackface and minstrelsy’s effects on black Americans. The video, also staged as a performance at Otis College, opens with Jenkins boarding a city bus, where we witness white riders’ suspicion of him as a black man. Jenkins drifts off to sleep, and a figure in a dream says, “You know why you can’t sleep; it’s the same old problem that every black person in this country has had.” Jenkins replies: “You mean the misunderstandings I encounter, or the same old, basic image problem?”11 The “image problem” spoken of is the career-defining conundrum of black representation.<br/><br/> However, Two Zone Transfer marks a shift in Jenkins’s approach to the image problem, away from the traditional inquiries of first wave black filmmaking and film theory—described by Frank Wilderson as an intense preoccupation with “identifying and critiquing the recurrence of stereotyped representation in Hollywood films,”12 and exemplified in the writings of such critics as Don Bogle, Thomas Cripps, and Gladstone L. Yearwood. Instead, Jenkins looks to the source of the problem, interrogating the history of early twentieth century vaudeville. On screen, Jenkins is joined by three actors—Kerry James Marshall, Greg Pitts, and Ronnie Nichols—who wear masks in the likeness of presidents Nixon and Ford. In a strange layering of whiteface and blackface, the masks are smeared unevenly with black paint. The men brag about the history of minstrelsy in the United States and how they have, for years, manipulated and misused African-Americans’ images and culture in order to distort society’s understanding of black life.<br/><br/> Here, Jenkins recognizes blackness itself as an image rather than focusing on its inaccuracy when contrasted with what might be posed as an authentic black life, once again departing from the efforts of black art and cinematic theory of the time. “The image problem” is not that the image fails to correspond to reality, but that the image has partly crafted reality, inextricably linking Jenkins’s own experience—as exemplified by his earlier interaction on the bus—to popular images of blackness and black people. The developing line of thought here resonates with Frantz Fanon’s realization of blackness as some “impure product.”13 As Fred Moten reads Fanon’s “The Fact of Blackness” (in Black Skin, White Masks), blackness has always been and always will be “a function of a making that is not its own, an intentionality that could never have been its own.”","artist_bio":"Ulysses S. Jenkins was one of the first artists of his generation to combine video and performance to address topics of race, history, and the power of the state. He has been active in the Los Angeles art scene since the 1960s, often collaborating with other artists, founding the media group Venice Video News, and later opening Othervisions Studios, a collective performance space and studio. In his art, Jenkins blends conceptual complexity and political urgency with earthy humor as he explores the media’s portrayal of African Americans.\nUlysses Jenkins received his BA from Southern University (1969) and his MFA from Otis Art Institute (1979). He is currently an associate professor of studio art and an affiliate professor in the African American Studies program at the University of California, Irvine. His group exhibitions include Now Dig This! Art and Black Los Angeles, 1960–1980, Hammer Museum, Los Angeles (2011, traveling); VideoStudio: Playback, The Studio Museum in Harlem, New York (2011); Sympathetic Magic: Video Myths and Rituals, Armory Center for the Arts, Pasadena, CA (2011); California Video, J. Paul Getty Museum, Los Angeles (2008); Cross Sections, 18th Street Arts Center, Santa Monica, CA (2007); Les soirées nomades: Nuits noires, Fondation Cartier pour l’art contemporain, Paris (2006); African American Artists in Los Angeles: A Survey Exhibition; Fade, 1990–2003, Luckman Gallery, California State University, Los Angeles (2004); Race in Digital Space, The Studio Museum in Harlem, New York (2002); and Audiovisual Poetry from the United States, 10th Videobrasil International Electronic Arts Festival, Sao Paulo (1994).","bio_dates":"b. 1946"},{"slug":"jenkins_ulysses_zgrass_1983","ok":true,"partial":false,"title":"ZGrass","artist":"Ulysses Jenkins","year":"1983","startOffset":0,"sourceSecs":184.11,"sourceHeight":424,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":13161598,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jenkins_ulysses_zgrass_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jenkins_ulysses_zgrass_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jenkins_ulysses_zgrass_1983.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jenkins_ulysses_zgrass_1983/main.mp4?v=2","description":"Experiemental video using Datamax graphics software. This piece is a very early example of the use of computer animation in video art. ZGrass refers to the programming language used to create the images.","artist_bio":"Ulysses S. Jenkins was one of the first artists of his generation to combine video and performance to address topics of race, history, and the power of the state. He has been active in the Los Angeles art scene since the 1960s, often collaborating with other artists, founding the media group Venice Video News, and later opening Othervisions Studios, a collective performance space and studio. In his art, Jenkins blends conceptual complexity and political urgency with earthy humor as he explores the media’s portrayal of African Americans.\nUlysses Jenkins received his BA from Southern University (1969) and his MFA from Otis Art Institute (1979). He is currently an associate professor of studio art and an affiliate professor in the African American Studies program at the University of California, Irvine. His group exhibitions include Now Dig This! Art and Black Los Angeles, 1960–1980, Hammer Museum, Los Angeles (2011, traveling); VideoStudio: Playback, The Studio Museum in Harlem, New York (2011); Sympathetic Magic: Video Myths and Rituals, Armory Center for the Arts, Pasadena, CA (2011); California Video, J. Paul Getty Museum, Los Angeles (2008); Cross Sections, 18th Street Arts Center, Santa Monica, CA (2007); Les soirées nomades: Nuits noires, Fondation Cartier pour l’art contemporain, Paris (2006); African American Artists in Los Angeles: A Survey Exhibition; Fade, 1990–2003, Luckman Gallery, California State University, Los Angeles (2004); Race in Digital Space, The Studio Museum in Harlem, New York (2002); and Audiovisual Poetry from the United States, 10th Videobrasil International Electronic Arts Festival, Sao Paulo (1994).","bio_dates":"b. 1946"},{"slug":"jennifer_reeves_the_girls_nervy","ok":true,"partial":false,"title":"The Girl's Nervy","artist":"Jennifer Reeves","year":"1995","startOffset":0,"sourceSecs":302.016,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":20354504,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jennifer_reeves_the_girls_nervy/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jennifer_reeves_the_girls_nervy/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jennifer_reeves_the_girls_nervy.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jennifer_reeves_the_girls_nervy/main.mp4?v=2","description":"(1995, color 16mm, 5 minutes) <br/><br/> Exuberant rhythms are created for the eyes in this nostalgic study of the single film frame, through cutting, pasting, and painting clear and photographed film images. Fleeting shapes in lush, spattered color flicker and dance to big band beats.","artist_bio":"Jennifer Reeves (b. 1971, Ceylon) is a New York-based filmmaker working primarily on 16mm. Her films have shown extensively, from the Berlin, New York, Vancouver, London, Sundance, and Seoul Film Festivals to many Microcinemas in the US and Canada, the Robert Flaherty Seminar, Princeton University, and the Museum of Modern Art. In August 2008, Reeves completed her 4.5 years in-the-making WHEN IT WAS BLUE, which premiered at Toronto International Film Festival in September with live music by Skúli Sverrisson. In 2007 Reeves performed her double-projection films LIGHT WORK MOOD DISORDER and HE WALKED AWAY (with music by Anthony Burr) at Rotterdam Film Festival, the Wexner Center, AFI Fest, Diapason Gallery in New York, Kino Arsenal in Berlin, and the Contemporary Art Museum of Strasbourg. Jennifer has been the proud recipient of a 2007 Wexner Center Capital Residency Award, which made it possible for her to complete production and post-production on her LIGHT WORK MOOD DISORDER, and gave partial completion funds for her recently completed WHEN IT WAS BLUE. The MacDowell Colony and the Experimental Television Center also gave support to the project.\nReeves has made experimental films since 1990 (or since 1986 if you consider high-school video-making). She does her own writing, cinematography, editing, and sound design. Her subjective and personal films push the boundaries of film through optical-printing, film stock \"mis-use\", and direct-on-film techniques (including hand-painting and sewing 16mm film). Reeves has consistently explored themes of memory, mental health and recovery, feminism and sexuality, landscape, wildlife, and politics in her work since the early 90s.\nSince 2003 Reeves has collaborated with some of the finest composer/ musicians today, including Anthony Burr, Skúli Sverrisson, Elliott Sharp, Zeena Parkins, Marc Ribot, Erik Hoversten, Pitt Reeves, Hilmar Jensson, John Stone, Eliza Slavet, and Dave Cerf. The daughter of a trumpeter, gravitating toward film and music collaborations was natural. In 2003, Reeves expanded her work as a \"single strand filmmaker\" by creating multiple-projection films, to be performed with live original music. This direction in her work began with HE WALKED AWAY (several scores with different composers) and has culminated in her recent work LIGHT WORK MOOD DISORDER (composer Anthony Burr), and WHEN IT WAS BLUE (score by Skœli Sverrisson). In 2005, Reeves was commissioned to make a silent film for the Bard Music Festival. SHADOWS CHOOSE THEIR HORRORS premiered with the American Symphony Orchestra's performance of Aaron Copland's Grohg (Leon Botstein, conductor).\nReeves has also made a number of experiemental narratives, most notably her highly acclaimed feature THE TIME WE KILLED. The 2004 film won the FIPRESCI Critics prize at the Berlin Film Festival, Outstanding Artistic Achievement at OUTFEST, and Best NY, NY Narrative Feature at Tribeca Film Festival (receiving an abstract painting by Christopher Walken) and the film screened at the 2006 Whitney Biennial. The Village Voice Film Critic's poll (2005) honored THE TIME WE KILLED with votes from six film critics for categories including: Best Film, Best Cinematography, and Best Performance. THE TIME WE KILLED had an Art-House run at Anthology Film Archives in New York, alongside a retrospective of her short films. THE TIME WE KILLED was also shown in New York's 2006 Summer River to River Festival, where the fabulously talented Joan Allen introduced and interviewed Jennifer Reeves to the outdoor audience before the screening.\nReeves also teaches film part-time at Bard College's Milton Avery School of the Arts, The Cooper Union, Millennium Film Workshop and the School of Visual Arts in the Photography and Related Media MFA program.","bio_dates":"b. 1971"},{"slug":"jodi_osx_tiger_desktop_live_2005","ok":true,"partial":false,"title":"Tiger Desktop Live","artist":"JODI","year":"2005","startOffset":0,"sourceSecs":280.079,"sourceHeight":352,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":18662816,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jodi_osx_tiger_desktop_live_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jodi_osx_tiger_desktop_live_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jodi_osx_tiger_desktop_live_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jodi_osx_tiger_desktop_live_2005/main.mp4?v=2","description":"Internet provocateurs JODI pioneered Web art in the mid-1990s. Based in The Netherlands, JODI (Joan Heemskerk and Dirk Paesmans) were among the first artists to investigate and subvert conventions of the Internet, computer programs, and video and computer games. Radically disrupting the very language of these systems, including interfaces, commands, errors and code, JODI stages extreme digital interventions that destabilize the relationship between computer technology and its users.\n\nJODI (Joan Heemskerk and Dirk Paesmans) was formed in 1994. Joan Heemskerk was born in 1968 in Kaatsheue, The Netherlands. Dirk Paesmans was born in 1965 in Brussels, Belgium. Heemskerk and Paesman both attended Silicon Valley's electronic arts laboratory CADRE at San Jose State University in California; Paesmans also studied with Nam June Paik at the Kunstakademie in Dusseldorf. JODI's works are typically seen online. Their recent solo exhibitions include INSTALL.EXE at Eyebeam, New York, which toured to [plug-in], Basel, and BuroFriedrich, Berlin; and Computing 101B at FACT Centre, Liverpool, England. Their works have also been exhibited at Centre for Contemporary Art, Glasgow; Kunstverein Bonn; Stedelijk Museum, Amsterdam; Zentrum fur Kunst und Medientechnologie, Karlsruhe, Germany, and Documenta X, Kassel, Germany, among others."},{"slug":"johns_jasper_ideas_in_paint_1989_iphone","ok":true,"partial":false,"title":"Ideas in Paint","artist":"Jasper Johns","year":"1989","startOffset":0,"sourceSecs":3344.344,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":197832029,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johns_jasper_ideas_in_paint_1989_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johns_jasper_ideas_in_paint_1989_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/johns_jasper_ideas_in_paint_1989_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johns_jasper_ideas_in_paint_1989_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johns_jasper_ideas_in_paint_1989_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Runtime: 56 min.<br/> Director: Rick Tejada-Flores<br/> With<br/> John Cage, Merce Cunningham, Jasper Johns","artist_bio":"Jasper Johns was born in 1930 in Augusta, Georgia, and raised in South Carolina. He began drawing as a young child, and from the age of five knew he wanted to be an artist. For three semesters he attended the University of South Carolina at Columbia, where his art teachers urged him to move to New York, which he did in late 1948. There he saw numerous exhibitions and attended the Parsons School of Design for a semester. After serving two years in the army during the Korean War, stationed in South Carolina and Sendai, Japan, he returned to New York in 1953. He soon became friends with the artist Robert Rauschenberg (born 1925), also a Southerner, and with the composer John Cage and the choreographer Merce Cunningham.\nTogether with Rauschenberg and several Abstract Expressionist painters of the previous generation, Jackson Pollock, Willem de Kooning, and Barnett Newman, Johns is one of most significant and influential American painters of the twentieth century. He also ranks with Dürer, Rembrandt, Goya, Munch, and Picasso as one of the greatest printmakers of any era. In addition, he makes many drawings—unique works on paper, usually based on a painting he has previously painted—and he has created an unusual body of sculptural objects.\nJohns' early mature work, of the mid- to late 1950s, invented a new style that helped to engender a number of subsequent art movements, among them Pop, Minimal, and Conceptual art. The new style has usually been understood to be coolly antithetical to the expressionistic gestural abstraction of the previous generation. This is partly because, while Johns' painting extended the allover compositional techniques of Abstract Expressionism, his use of these techniques stresses conscious control rather than spontaneity.\nJohns' early style is perfectly exemplified by the lush reticence of the large monochrome White Flag of 1955 (1998.329). This painting was preceded by a red, white, and blue version, Flag (1954–55; Museum of Modern Art, New York), and followed by numerous drawings and prints of flags in various mediums, including the elegant oil on paper Flag (1957; 1999.425). In 1958, Johns painted Three Flags (Whitney Museum of Art, New York), in which three canvases are superimposed on one another in what appears to be reverse perspective, projecting toward the viewer.\nThe American flag subject is typical of Johns' use of quotidian imagery in the mid- to late 1950s. As he explained, the imagery derives from \"things the mind already knows,\" utterly familiar icons such as flags, targets, stenciled numbers, ale cans, and, slightly later, maps of the U.S.\nIt has been suggested that the American flag in Johns' work is an autobiographical reference, because a military hero after whom he was named, Sergeant William Jasper, raised the flag in a brave action during the Revolutionary War. Because a flag is a flat object, it may signify flatness or the relative lack of depth in much modernist painting. The flag may of course function as an emblem of the United States and may in turn connote American art, Senator Joseph McCarthy, or the Vietnam War, depending on the date of Johns' use of the image, the date of the viewer's experience of it, or the nationality of the viewer. Or the flag may connote none of these things. Used in Johns' recent work, for example, The Seasons (Summer), an intaglio print of 1987 (1999.407b), it seems inescapably to refer to his own art. In other words, the meaning of the flag in Johns' art suggests the extent to which the \"meaning\" of this subject matter may be fluid and open to continual reinterpretation.\nAs Johns became well known—and perhaps as he realized his audience could be relied upon to study his new work—his subjects with a demonstrable prior existence expanded. In addition to popular icons, Johns chose images that he identified in interviews as things he had seen—for example, a pattern of flagstones he glimpsed on a wall while driving. Still later, the \"things the mind already knows\" became details from famous works of art, such as the Isenheim Altarpiece by Matthias Grünewald (1475/80–1528), which Johns began to trace onto his work in 1981. Throughout his career, Johns has included in most of his art certain marks and shapes that clearly display their derivation from factual, unimagined things in the world, including handprints and footprints, casts of parts of the body, or stamps made from objects found in his studio, such as the rim of a tin can.\n-- Nan Rosenthal, Department of Modern and Contemporary Art, The Metropolitan Museum of Art","bio_dates":"b. 1930"},{"slug":"johnson_b_s_1967_youre_human_like_the_rest_of_them","ok":true,"partial":false,"title":"You're Human Like the Rest of Them","artist":"B.S. Johnson","year":"1967","startOffset":0,"sourceSecs":1021.664,"sourceHeight":576,"sourceWidth":792,"hasAudio":true,"hasAmbientMp4":true,"bytes":179490187,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_b_s_1967_youre_human_like_the_rest_of_them/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_b_s_1967_youre_human_like_the_rest_of_them/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/johnson_b_s_1967_youre_human_like_the_rest_of_them.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_b_s_1967_youre_human_like_the_rest_of_them/main.mp4?v=2","description":"Although perhaps best known for ground-breaking novels such as The Unfortunates and Christy Malry’s Own Double-Entry, BS Johnson was also the director a number of a number of extraordinary and daring films that have been out of circulation for decades. You’re Human Like the Rest of Them brings these rare and fascinating works - experimental shorts, humorous animation, provocative agitprop and uniquely personal documentaries - together for the first time, revealing Johnson to have been as radical and inventive a filmmaker as he was a writer. From his award-winning 1967 experimental film You’re Human Like the Rest of Them, which was based on his own poem, written in decasyllabics, to his ground-breaking TV films, including The Unfortunates (BBC) and the extraordinary Fat Man on a Beach (HTV), Johnson’s work is fuelled by his passionate belief in the power of words and images to convey the truth of our existence, and is filled with his infectious sense of humour. Amongst the ten premiere presentations in this unique collection is Not Counting the Savages, Johnson's uncompromising 1972 TV play, directed by Mike Newell. Considered lost for decades, it is presented from the only surviving material a black and white video recording discovered only a few months ago in the Johnson family home. <br/><br/> You're Human Like the Rest of Them (1967, 17 mins): multi-award-winning tale of a teacher confronting his own mortality.","bio_dates":"1933-1973"},{"slug":"johnson_b_s_1968_up_yours_too_guillaume_apollinaire","ok":true,"partial":false,"title":"Up Yours Too Guillaume Apollinaire!","artist":"B.S. Johnson","year":"1968","startOffset":0,"sourceSecs":135.712,"sourceHeight":576,"sourceWidth":792,"hasAudio":true,"hasAmbientMp4":true,"bytes":24692976,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_b_s_1968_up_yours_too_guillaume_apollinaire/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_b_s_1968_up_yours_too_guillaume_apollinaire/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/johnson_b_s_1968_up_yours_too_guillaume_apollinaire.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_b_s_1968_up_yours_too_guillaume_apollinaire/main.mp4?v=2","description":"Made in 1968 at the invitation of the ICA (Institute of Contemporary Arts), B.S. Johnson's animated take on Apollinaire's 'Calligrammes' (1918) - precursors of 'concrete' or 'visual' poetry - is both a cheeky two-fingered salute to French Modernism, and an irreverent homage to surrealism; a humorous animated take on the calligrams of the famous poet and eroticist. <br/><br/> lthough perhaps best known for ground-breaking novels such as The Unfortunates and Christy Malry’s Own Double-Entry, BS Johnson was also the director a number of a number of extraordinary and daring films that have been out of circulation for decades. You’re Human Like the Rest of Them brings these rare and fascinating works - experimental shorts, humorous animation, provocative agitprop and uniquely personal documentaries - together for the first time, revealing Johnson to have been as radical and inventive a filmmaker as he was a writer. From his award-winning 1967 experimental film You’re Human Like the Rest of Them, which was based on his own poem, written in decasyllabics, to his ground-breaking TV films, including The Unfortunates (BBC) and the extraordinary Fat Man on a Beach (HTV), Johnson’s work is fuelled by his passionate belief in the power of words and images to convey the truth of our existence, and is filled with his infectious sense of humour. Amongst the ten premiere presentations in this unique collection is Not Counting the Savages, Johnson's uncompromising 1972 TV play, directed by Mike Newell. Considered lost for decades, it is presented from the only surviving material a black and white video recording discovered only a few months ago in the Johnson family home.","bio_dates":"1933-1973"},{"slug":"johnson_b_s_1970_unfair","ok":true,"partial":false,"title":"Unfair!","artist":"B.S. Johnson","year":"1970","startOffset":0,"sourceSecs":483.104,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":83575330,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_b_s_1970_unfair/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_b_s_1970_unfair/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/johnson_b_s_1970_unfair.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_b_s_1970_unfair/main.mp4?v=2","description":"This incredibly strange short film was commissioned by the union ACTT (Association of Cinematograph, Television and allied Technicians, of which the filmmaker and novelist B.S. Johnson was a member) as part of its action against the Industrial Relations Bill passed by parliament in 1971. <br/><br/> Unfair! (1970, 8 mins): provocative agitprop piece with Bill Owen. <br/><br/> Although perhaps best known for ground-breaking novels such as The Unfortunates and Christy Malry’s Own Double-Entry, BS Johnson was also the director a number of a number of extraordinary and daring films that have been out of circulation for decades. You’re Human Like the Rest of Them brings these rare and fascinating works - experimental shorts, humorous animation, provocative agitprop and uniquely personal documentaries - together for the first time, revealing Johnson to have been as radical and inventive a filmmaker as he was a writer. From his award-winning 1967 experimental film You’re Human Like the Rest of Them, which was based on his own poem, written in decasyllabics, to his ground-breaking TV films, including The Unfortunates (BBC) and the extraordinary Fat Man on a Beach (HTV), Johnson’s work is fuelled by his passionate belief in the power of words and images to convey the truth of our existence, and is filled with his infectious sense of humour. Amongst the ten premiere presentations in this unique collection is Not Counting the Savages, Johnson's uncompromising 1972 TV play, directed by Mike Newell. Considered lost for decades, it is presented from the only surviving material a black and white video recording discovered only a few months ago in the Johnson family home.","bio_dates":"1933-1973"},{"slug":"johnson_b_s_1971_march","ok":true,"partial":false,"title":"March!","artist":"B.S. Johnson","year":"1971","startOffset":0,"sourceSecs":802.112,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":140818814,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_b_s_1971_march/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_b_s_1971_march/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/johnson_b_s_1971_march.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_b_s_1971_march/main.mp4?v=2","description":"This balancing act between respect for the subject matter and a little bit of stylistic cheek is best laid out in the two films Johnson made in relation to the Industrial Relations Bill. One of them, March!, is a documentary record pure and simple. The other, Unfair!, is an inventive dramatized affair that gets to the root of the issue through mostly comic means. The bill, which became an Act when it was approved by MPs in August 1971, set out to introduce the National Industrial Relations Court as a means of limiting the powers of the unions. If the NIRC deemed a union action unfair, that action would then become illegal; in other words, the voice of the employee could be diminished. Prior to the bill's passing the TUC organised a mass protest in London on February 21st that would become the subject of March!. Johnson is believed to have penned the commentary (and possibly, according to Jonathan Coe's biography, directed too), which is simple, clear-eyed, no-nonsense and effective. <br/><br/> The anger so clearly detectable in March!'s voice-over translates itself into absurdity in Unfair!. Co-written with fellow experimental novelist Alan Burns, this eight-minute piece enacts the potential consequences of the Industrial Relations Bill using three actors (Bill Owen as the worker, Freddie Earle as the employer and George Colouris as the judge) and a strain of easy-to-swallow, expertly-performed and colourfully-languaged satire. The sloganeering that would appear in B.S. Johnson on Dr. Samuel Johnson also makes itself known in case the humour was not already punchy enough: \"WHAT IS UNFAIR? THE TORIES WILL DECIDE!\"","bio_dates":"1933-1973"},{"slug":"johnson_bs_british_library_archive_interview_the_johnson_papers","ok":true,"partial":false,"title":"The B.S. Johnson Papers: British Library Archive Interview","artist":"B.S. Johnson","year":"1971","startOffset":0,"sourceSecs":931.84,"sourceHeight":576,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":156310418,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_bs_british_library_archive_interview_the_johnson_papers/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_bs_british_library_archive_interview_the_johnson_papers/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/johnson_bs_british_library_archive_interview_the_johnson_papers.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_bs_british_library_archive_interview_the_johnson_papers/main.mp4?v=2","description":"Beyond the Unfortunates by Laurence Byrne, Curator Printed Heritage Collections.\n\n50 years ago, in 1969, B. S. Johnson published a novel about a sports writer assailed by memories of a deceased friend as he attempts to report on a football match. The Unfortunates was Johnson’s fourth novel and was not as well received as his previous work, getting a ‘fine clobbering’ in the press, according to Hugh Hebert’s sympathetic appraisal in the Guardian (13 March 1969). The novel comes in a box with 27 removable chapters of which only the first and last are marked – the reader must choose which in which order to read the 25 chapters in-between – and much of the criticism apparently centred on the novel’s formal experimentalism. Perhaps taking this criticism to heart, at some point, the first edition held by the Library had each chapter numbered in pencil by a librarian seeking to shelter readers from the novel’s aleatoric possibilities.\n\nReprinted in 1999 with an introduction by Johnson’s biographer Jonathan Coe, the work found a more favourable audience. William Leith wrote: “In its way, this is brilliant - it is the best evocation of small- time misery I have ever read.” (The Daily Telegraph, 23 October 1999). Thanks to the efforts of supporters such as Coe, Johnson has since gone from being a largely forgotten (and out-of-print) author to occupying a central place in the history of British experimental (a term he regarded as ‘the dirtiest of words’) fiction, with The Unfortunates now regarded as a seminal achievement. In 2008, the British Library acquired a large archive of B. S. Johnson’s papers.\n\nAlthough welcome, Johnson’s re-evaluation has been so comprehensive that his legacy now obscures somewhat the writers with whom he was once associated. Figures such as Christine Brooke-Rose, Alan Burns, Jeff Nutall, Stefan Themerson and Reyner Heppenstall are perhaps still amongst the better known experimental writers of the time, but during the late-1960s up until the mid-1970s a much wider range of authors than is commonly cited were producing novels which were experimental in different ways. *\n\nOf course the definition of ‘experimental’ is of very much up-for-grabs, and many of the writers included here had a difficult relationship with the term. However, all of these works in some way foreground innovative techniques, both in terms of their form or narrative, and often both. Several of the authors mentioned contributed to the ‘group novel’ London Consequences [RF.2012.a.147] (which Johnson co-edited with Margaret Drabble). The fact that they were able to call on 18 contributors is further evidence that there was a keen interest in experimental writing in Britain during the period. Indeed, Drabble herself published arguably her most innovative work The Waterfall [Cup.410.g.596] in 1969.\n\nEva Figes contributed to London Consequences and is perhaps one of the authors (along with Drabble) who is most familiar to readers today. The BL acquired an archive of drafts and working papers relating to Figes’s fourteen novels in 2009. In the same year as The Unfortunates, Figes published Konek Landing [Nov.14015] a work which, like Johnson’s, utilises intertextuality and temporal confusion to represent the trauma of memory – like Figes herself, the protagonist Stefan Konek is a holocaust survivor.\n\nAnother notable contributor to the group novel was Wilson Harris. In his writing during this period – and particularly the 1970 novel Ascent to Omai [Nov.14851] – Harris continually works to destabilise novelistic convention in order to subvert what he the “novel of persuasion” – that is a form of literature which makes use of common sense and “fashionable judgements” to both reflect and maintain a particular fixed perspective on the world. In Ascent to Omai, Harris employs unexpected combinations of words and ideas in order to allow for binary judgements to be dissolved and new associations to occur.\n\nThe malleability of time and space in Harris’s work brings to mind the genre of science fiction, or slipstream. Indeed, during this period, Brian Aldiss (Barefoot in the head, 1969 [Nov.14184]) Angela Carter (Heroes and villains, 1969 [Nov.14699]) and Anna Kavan published works which consciously utilised innovative literary techniques within a science fiction framework. The setting for Kavan’s Ice [Nov.10580] is an apocalyptic world encroached upon by a monolithic ice-shelf. It is an intensely experimental work which seeks to question the inevitability of patriarchal violence through repeated shifts in narrative perspective, leaving the reader to question the ‘reality’ of what is being described to us.\n\nPublished two years later, Passages (1969) [Nov.13283.] shares a number of similarities with Ice. Ann Quin’s third novel takes place in an unspecified country, apparently under the control of a violent military government, where the novel’s nameless protagonists (a man and a woman) seem to be searching for the woman’s missing brother. Quin’s writing is stark and elliptical and, like Kavan, the narrative often shifts perspective mid-paragraph – an experimental technique which conveys an intimate sense of disorientation and upheaval.\n\nA similar sense of puzzlement pervades In Transit (1969) [Nov.14383], which finds the unreliable narrator trapped in an airport and in a state of uncertainty about their gender. Brigid Brophy employs a dense interior narrative, full of puns and language games (in several different languages) and formal experimentation – including multiple-choice sentences and pages divided into columns. The novel is an acerbic examination of the structures of both personal and political identity, where linguistic trickery works to disturb a number of assumptions and certainties on which these structures are founded.\n\nBeryl Gilroy’s Black Teacher (1976) [X.529/31034] is often considered a work of autobiographical writing. However, Sandra Courtman’s Discovering literature article argued that the work is “an experiment with an intermediary form – somewhere between fiction and autobiography, with a distinct non-linear structure.” Indeed, the narrator voice of the text moves between first and third-person at different moments, perhaps reflective of the way in which Gilroy’s own identity was formed and re-formed in the midst of the challenging circumstances she faced.\n\nAll of this is not to say that The Unfortunates does not deserve to be seen as a landmark of experimental writing in Britain, rather it is the case that Johnson was writing within a context in which experimental / innovative techniques were being more widely employed than ever before.\n\n*Other works which for the sake of space could not be included were Bogies (1972), Rosalind Belben [Nov.18729]; Run, come see Jerusalem (1968), David Coxhead [Nov.12845]; Langrishe, go down (1996), Aidan Higgins [X.908/13486]; The Gasteropod (1968), Maggie Ross [Nov.12300]; All the usual hours of sleeping (1969) Penelope Shuttle [Nov.13304]; and Vacation (1972) Alan Sheridan [Nov.18928]\n\nBooth, Francis Amongst those left: the British experimental novel 1940-1980 (London: Dalkey Archive Press, 2019). [Shelfmark forthcoming]\n\nFriedman, Ellen G., and Miriam Fuchs, eds. Breaking the Sequence: Women's Experimental Fiction. (London: Princeton University Press, 1989). [YH.1990.b.128]\n\nJordan, Julia, and Ryle, Martin, eds. B.S. Johnson and Post-War Literature: Possibilities of the Avant-Garde (London: Palgrave, 2014). [YC.2014.a.11127]"},{"slug":"johnson_bs_paradigm_1970","ok":true,"partial":false,"title":"Paradigm","artist":"B.S. Johnson","year":"1969","startOffset":0,"sourceSecs":526.87,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":90872825,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_bs_paradigm_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_bs_paradigm_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/johnson_bs_paradigm_1970.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_bs_paradigm_1970/main.mp4?v=2","description":"Paradigm 1969<br/> United Kingdom Director. B.S. Johnson <br/><br/> This arresting experimental film explores one of writer and film-maker B.S. Johnson's recurring obsessions - that the older you get, the less you have to say and the more difficulty you have in saying it. William Hoyland stars as a nameless protagonist who speaks to the camera in a fabricated language and, though the course of the film, transforms from young and verbose, to old and inarticulate.","bio_dates":"1933-1973"},{"slug":"johnson_rashid_the_new_black_yoga","ok":true,"partial":false,"title":"The New Black Yoga","artist":"Rashid Johnson","year":"2011","startOffset":0,"sourceSecs":649.525,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":42069505,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_rashid_the_new_black_yoga/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_rashid_the_new_black_yoga/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/johnson_rashid_the_new_black_yoga.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_rashid_the_new_black_yoga/main.mp4?v=2","description":"Rashid Johnson’s installations frequently take the form of embellished support structures that display found objects, imbuing them with a new significance that hovers between the archaeological and the talismanic. These collections of items—which together build an iconography that spans literature, music, intellectual history, and echoes of the artist’s childhood in Chicago—reflect deeply personal references interwoven with pervasive cultural narratives. Exemplifying this facet of his work, The Ritual (2015) collates books, a vinyl record, and a sculpture by the artist’s wife, Sheree Hovsepian, as well as forms modeled from shea butter—an emollient salve derived from the African shea nut that recurs throughout Johnson’s work. Cosmic Slop “Bitter” (2015) is created from a concoction of wax mixed with a black West African soap that is often used for the treatment of sensitive skin. Inscribed with the artist’s dense mark-making, this work merges the modernist tradition of the black monochrome with the cultural resonances of its unconventional materials. Representing the performative aspect of Johnson’s practice, The New Black Yoga (2011) is a short film depicting an enigmatic scenario in which five African-American men perform choreographed movements on a deserted beach. Their gestures alternately appear balletic, athletic, and martial, conjuring a range of potential narratives that ultimately remain elusive.","bio_dates":"b. 1977"},{"slug":"johnson_ray_how_to_draw_a_bunny","ok":true,"partial":false,"title":">How to Draw a Bunny: A Ray Johnson Portrait","artist":"Ray Johnson","year":"2002","startOffset":0,"sourceSecs":5372.933,"sourceHeight":394,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":308236302,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_ray_how_to_draw_a_bunny/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_ray_how_to_draw_a_bunny/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/johnson_ray_how_to_draw_a_bunny.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_ray_how_to_draw_a_bunny/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_ray_how_to_draw_a_bunny/main/master.m3u8?v=2","hasMainHls":true,"description":"How to Draw a Bunny: A Ray Johnson Portrait, is a 2002 American documentary film about the Detroit-born pop, collage and performance artist Ray Johnson. <br/><br/> Filmmakers John Walter and Andrew L. Moore delve into the mysterious life and death of Johnson, an artist whose “world was made up of amazing coincidences, serendipities and karmic gags,” according to Michael Kimmelman of The New York Times. After Johnson's suicide, Moore and Walter conducted interviews with artists including Christo, Chuck Close, Roy Lichtenstein, Judith Malina, and James Rosenquist. In addition, they gathered photographs, works of art, and home movies, which were edited into a fast-paced narrative exploring the artist's life.","artist_bio":"Raymond Edward Johnson (October 16, 1927 – January 13, 1995), known primarily as a collagist and correspondence artist, was a seminal figure in the history of Neo-Dada and early Pop art. Once called \"New York's most famous unknown artist\", Johnson also staged and participated in early performance art events associated with the Fluxus movement and was the founder of a far-ranging mail art network – the New York Correspondence School – which picked up momentum in the 1960s and is still active today. He lived in New York City from 1949 to 1968, when he moved to a small town in Long island and remained there until his suicide.","bio_dates":"1927-1995"},{"slug":"johnson_ray_one_iphone","ok":true,"partial":false,"title":"One","artist":"Ray Johnson","year":"1987","startOffset":0,"sourceSecs":6768.234,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":387442879,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_ray_one_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/johnson_ray_one_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/johnson_ray_one_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_ray_one_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/johnson_ray_one_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Days after discussing videotaping to Ray at the Islip Museum Director Madeline Burnside’s New Yearʼs Party, Ray, Nadine and I got together at Hofstra University where I was teaching at the time. We began with the recording of Rayʼs artworks. Ray was immediately interested in the video process. Events led to recording Rayʼs performances and his telling of interesting information. His recollection of Guy Trebay’s Village Voice article stands out. At the end of the afternoon we were enthusiastic about doing future recordings."},{"slug":"jonas_joan_disturbances_1974","ok":true,"partial":false,"title":"Disturbances","artist":"Joan Jonas","year":"1974","startOffset":0,"sourceSecs":815.7,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":51757909,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_disturbances_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_disturbances_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jonas_joan_disturbances_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_disturbances_1974/main.mp4?v=2","description":"1974, 11 min, b&w, sound <br/><br/> Disturbances extends Jonas' investigation of mirrored surfaces and spaces, as she explores reflections of movement and images in water. The tape begins with Jonas, like Narcissus, leaning over a reflecting pool. Throughout this lyrical exercise, the viewer sees only reflected images and inversions, disturbances of the water's surface. Figures walking at the edge of the pool are seen as abstracted shimmers, upside down and backwards; shadowy figures move underwater and swim through the pool as in a choreographed dance. This simply rendered, evocative work is a phenomenological study of reflection, as Jonas draws a parallel between the spatial and mirroring effects of water and video. -- <a href=\"http://eai.org/title.htm?id=1239\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Joan Jonas in UbuWeb Sound</a></br>","artist_bio":"Joan Jonas: Reanimation (documentary, 2013), dir. Rima Yamazaki\nAn acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas' elusive theatrical portrayal of female identity is a unique and intriguing inquiry.\nTrained in art history and sculpture, Jonas was a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in Organic Honey's Visual Telepathy (1972), in which a live camera and monitor functioned as both a mirror and a masking device, a means of transforming and layering images, space and time.\nIn the same year Jonas began making single-channel videotapes. Reflecting the conceptual performance and body art movements of the 1970s, Jonas' early video works break new ground in their application of the phenomenological properties of the new medium to a self-reflexive study of female identity. Her classic early works, including Vertical Roll (1972), explore the phenomenology of the video medium — its one-on-one directness and function as a mirror — to create a theater of the self and the body.\nJonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols.\nIn the 1980s Jonas began developing her emblematic, personal grammar of gesture, ritual and sound into intricate, multi-textual works that exhibit a sophisticated layering of nonlinear narrative forms with performance, theatricality, and electronic manipulations of space, time and image. Her elliptical, fragmented video narratives often merged such storytelling forms as fairy tales\n(Upsidedown and Backwards, 1980), science fiction (Double Lunar Dogs, 1984), legends (Volcano Saga, 1989), myths and dreams with topical and autobiographical references. Just as Jonas' works of the 1970s exploited the rudimentary technological properties of video as conceptual devices, so these later works utilize sophisticated electronic techniques to achieve a multi-dimensional theater that explores the fragmentation and loss of memory and identity in postmodern culture.\nFrom her earliest, face-to-face confrontations with video as a mirroring device, to her densely collaged narrative texts, Jonas herself always appears as a performer, confronting the viewer in an enigmatic theater of self-discovery.\nJoan Jonas was born in 1936 in New York. She received a B.A. in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an M.F.A. in Sculpture from Columbia University in 1965. She was awarded the American Film Institute's Maya Deren Award in 1988, the Third Annual Polaroid Video Art Award in 1987 and was also the recipient of the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival. Jonas has received grants for choreography, video and the visual arts from the New York State Council on the Arts, the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation. She was artist-in-residence at the TV Lab at WNET/Thirteen in New York, and was selected for the Deutscher Akademischer Austauschdienst Artists-in-Berlin program. Since 2000 Jonas has taught at Massachusetts Institute of Technology, Cambridge, MA.\nJonas has performed and exhibited her work extensively throughout the world. In 2004 she was honored with a retrospective at the Queens Museum of Art in New York, titled Joan Jonas: Five Works. She has also had major retrospectives at Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, Netherlands, and Stadtsgalerie Stuttgart, Stuttgart, Germany. In 2005, Jonas presented a site-specific, five-channel video installation at Dia:Beacon, New York, titled The Shape, the Scent, the Feel of Things, which subsequently traveled in 2007 to Castello di Rivoli Museo d'Arte Contemporanea, Torino, Italy; Rosamund Felsen Gallery, Los Angeles, and Yvon Lambert Gallery, New York. Other one-person exhibitions and performances include Kunstmuseum, Bern; Walker Art Center, Minneapolis; The Kitchen, New York; San Francisco Museum of Art; Berkeley Art Museum and Pacific Film Archive; University of California, Berkeley; Yvon Lambert Gallery, Paris and New York; Pat Hearn Gallery, New York, and Sonnabend Gallery, New York, among others. Group exhibitions include the Whitney Biennial, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Long Beach Museum of Art, California; Museum of Contemporary Art, Los Angeles; Documentas 5, 6, 8, and 11 in Kassel, Germany; P.S.1 Contemporary Art Center, Long Island City, New York; Kunsthaus Graz, Austria; Museum Moderner Kunst, Vienna, and Montreal Festival du Nouveau Cinema et de la Video, among many others.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1936"},{"slug":"jonas_joan_documentary_reanimation_rima_yamazaki_2005","ok":true,"partial":false,"title":"Reanimation","artist":"Joan Jonas","year":"2013","startOffset":0,"sourceSecs":4333.536,"sourceHeight":532,"sourceWidth":954,"hasAudio":true,"hasAmbientMp4":true,"bytes":727928692,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_documentary_reanimation_rima_yamazaki_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_documentary_reanimation_rima_yamazaki_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jonas_joan_documentary_reanimation_rima_yamazaki_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_documentary_reanimation_rima_yamazaki_2005/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_documentary_reanimation_rima_yamazaki_2005/main/master.m3u8?v=2","hasMainHls":true,"description":"Dir. Rima Yamazaki <br/><br/> Joan Jonas is a pioneer of video and performance art. As a beginning she studied sculpture, but in the mid-1960s she started exploring new media, and became one of the most influential artists.<br/><br/> We followed her work on her latest installation and performance, \"Reanimation\" which she created for dOCUMENTA(13) in 2012. Inspired by the novel \"Under the Glacier\" by the Icelandic writer Halldor Laxness, she created a video installation piece, mixing footage of a trip to Norway, music, text, drawings, props, and reanimated videos from her past work. For the performance, she collaborated with jazz pianist Jason Moran who had worked with her on multiple projects over the past years. The performance includes music, video, and live-action.<br/><br/> The artist also offers insights into her inspirations and her early work including \"Wind\", \"Organic Honey\", \"Volcano Saga\" and \"The Shape, The Scent, The Feel of Things\".<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Joan Jonas in UbuWeb Sound</a></br>","artist_bio":"Joan Jonas: Reanimation (documentary, 2013), dir. Rima Yamazaki\nAn acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas' elusive theatrical portrayal of female identity is a unique and intriguing inquiry.\nTrained in art history and sculpture, Jonas was a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in Organic Honey's Visual Telepathy (1972), in which a live camera and monitor functioned as both a mirror and a masking device, a means of transforming and layering images, space and time.\nIn the same year Jonas began making single-channel videotapes. Reflecting the conceptual performance and body art movements of the 1970s, Jonas' early video works break new ground in their application of the phenomenological properties of the new medium to a self-reflexive study of female identity. Her classic early works, including Vertical Roll (1972), explore the phenomenology of the video medium — its one-on-one directness and function as a mirror — to create a theater of the self and the body.\nJonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols.\nIn the 1980s Jonas began developing her emblematic, personal grammar of gesture, ritual and sound into intricate, multi-textual works that exhibit a sophisticated layering of nonlinear narrative forms with performance, theatricality, and electronic manipulations of space, time and image. Her elliptical, fragmented video narratives often merged such storytelling forms as fairy tales\n(Upsidedown and Backwards, 1980), science fiction (Double Lunar Dogs, 1984), legends (Volcano Saga, 1989), myths and dreams with topical and autobiographical references. Just as Jonas' works of the 1970s exploited the rudimentary technological properties of video as conceptual devices, so these later works utilize sophisticated electronic techniques to achieve a multi-dimensional theater that explores the fragmentation and loss of memory and identity in postmodern culture.\nFrom her earliest, face-to-face confrontations with video as a mirroring device, to her densely collaged narrative texts, Jonas herself always appears as a performer, confronting the viewer in an enigmatic theater of self-discovery.\nJoan Jonas was born in 1936 in New York. She received a B.A. in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an M.F.A. in Sculpture from Columbia University in 1965. She was awarded the American Film Institute's Maya Deren Award in 1988, the Third Annual Polaroid Video Art Award in 1987 and was also the recipient of the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival. Jonas has received grants for choreography, video and the visual arts from the New York State Council on the Arts, the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation. She was artist-in-residence at the TV Lab at WNET/Thirteen in New York, and was selected for the Deutscher Akademischer Austauschdienst Artists-in-Berlin program. Since 2000 Jonas has taught at Massachusetts Institute of Technology, Cambridge, MA.\nJonas has performed and exhibited her work extensively throughout the world. In 2004 she was honored with a retrospective at the Queens Museum of Art in New York, titled Joan Jonas: Five Works. She has also had major retrospectives at Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, Netherlands, and Stadtsgalerie Stuttgart, Stuttgart, Germany. In 2005, Jonas presented a site-specific, five-channel video installation at Dia:Beacon, New York, titled The Shape, the Scent, the Feel of Things, which subsequently traveled in 2007 to Castello di Rivoli Museo d'Arte Contemporanea, Torino, Italy; Rosamund Felsen Gallery, Los Angeles, and Yvon Lambert Gallery, New York. Other one-person exhibitions and performances include Kunstmuseum, Bern; Walker Art Center, Minneapolis; The Kitchen, New York; San Francisco Museum of Art; Berkeley Art Museum and Pacific Film Archive; University of California, Berkeley; Yvon Lambert Gallery, Paris and New York; Pat Hearn Gallery, New York, and Sonnabend Gallery, New York, among others. Group exhibitions include the Whitney Biennial, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Long Beach Museum of Art, California; Museum of Contemporary Art, Los Angeles; Documentas 5, 6, 8, and 11 in Kassel, Germany; P.S.1 Contemporary Art Center, Long Island City, New York; Kunsthaus Graz, Austria; Museum Moderner Kunst, Vienna, and Montreal Festival du Nouveau Cinema et de la Video, among many others.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1936"},{"slug":"jonas_joan_glasspuzzle_1973","ok":true,"partial":false,"title":"Glass Puzzle","artist":"Joan Jonas","year":"1973","startOffset":0,"sourceSecs":1060.779,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":186465375,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_glasspuzzle_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_glasspuzzle_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jonas_joan_glasspuzzle_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_glasspuzzle_1973/main.mp4?v=2","description":"1973, 17:27 min, b&w, sound <br/><br/> This complex and enigmatic work, which is performed by Jonas and Lois Lane, explores female gestures, poses, the body and narcissism. Mirroring each other with synchronized movements as they perform as alter-egos, Jonas and Lane reference archetypal female gestures and poses from popular and traditional cultures. Throughout the performance, space is dislocated and altered as a formal device — segmented by a swinging bar, superimposed in layers, transformed by subtle changes in light and shadow, or flattened by the video screen. With its evocative personal theater and idiosyncratic vocabulary of gestures, ritual and symbolism, Glass Puzzle is a quintessential Jonas work. <br/><br/> Camera: Babette Mangolte. Music: The Liquidators. With: Lois Lane, Joan Jonas. -- <a href=\"http://eai.org/title.htm?id=943\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Joan Jonas in UbuWeb Sound</a></br>","artist_bio":"Joan Jonas: Reanimation (documentary, 2013), dir. Rima Yamazaki\nAn acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas' elusive theatrical portrayal of female identity is a unique and intriguing inquiry.\nTrained in art history and sculpture, Jonas was a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in Organic Honey's Visual Telepathy (1972), in which a live camera and monitor functioned as both a mirror and a masking device, a means of transforming and layering images, space and time.\nIn the same year Jonas began making single-channel videotapes. Reflecting the conceptual performance and body art movements of the 1970s, Jonas' early video works break new ground in their application of the phenomenological properties of the new medium to a self-reflexive study of female identity. Her classic early works, including Vertical Roll (1972), explore the phenomenology of the video medium — its one-on-one directness and function as a mirror — to create a theater of the self and the body.\nJonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols.\nIn the 1980s Jonas began developing her emblematic, personal grammar of gesture, ritual and sound into intricate, multi-textual works that exhibit a sophisticated layering of nonlinear narrative forms with performance, theatricality, and electronic manipulations of space, time and image. Her elliptical, fragmented video narratives often merged such storytelling forms as fairy tales\n(Upsidedown and Backwards, 1980), science fiction (Double Lunar Dogs, 1984), legends (Volcano Saga, 1989), myths and dreams with topical and autobiographical references. Just as Jonas' works of the 1970s exploited the rudimentary technological properties of video as conceptual devices, so these later works utilize sophisticated electronic techniques to achieve a multi-dimensional theater that explores the fragmentation and loss of memory and identity in postmodern culture.\nFrom her earliest, face-to-face confrontations with video as a mirroring device, to her densely collaged narrative texts, Jonas herself always appears as a performer, confronting the viewer in an enigmatic theater of self-discovery.\nJoan Jonas was born in 1936 in New York. She received a B.A. in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an M.F.A. in Sculpture from Columbia University in 1965. She was awarded the American Film Institute's Maya Deren Award in 1988, the Third Annual Polaroid Video Art Award in 1987 and was also the recipient of the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival. Jonas has received grants for choreography, video and the visual arts from the New York State Council on the Arts, the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation. She was artist-in-residence at the TV Lab at WNET/Thirteen in New York, and was selected for the Deutscher Akademischer Austauschdienst Artists-in-Berlin program. Since 2000 Jonas has taught at Massachusetts Institute of Technology, Cambridge, MA.\nJonas has performed and exhibited her work extensively throughout the world. In 2004 she was honored with a retrospective at the Queens Museum of Art in New York, titled Joan Jonas: Five Works. She has also had major retrospectives at Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, Netherlands, and Stadtsgalerie Stuttgart, Stuttgart, Germany. In 2005, Jonas presented a site-specific, five-channel video installation at Dia:Beacon, New York, titled The Shape, the Scent, the Feel of Things, which subsequently traveled in 2007 to Castello di Rivoli Museo d'Arte Contemporanea, Torino, Italy; Rosamund Felsen Gallery, Los Angeles, and Yvon Lambert Gallery, New York. Other one-person exhibitions and performances include Kunstmuseum, Bern; Walker Art Center, Minneapolis; The Kitchen, New York; San Francisco Museum of Art; Berkeley Art Museum and Pacific Film Archive; University of California, Berkeley; Yvon Lambert Gallery, Paris and New York; Pat Hearn Gallery, New York, and Sonnabend Gallery, New York, among others. Group exhibitions include the Whitney Biennial, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Long Beach Museum of Art, California; Museum of Contemporary Art, Los Angeles; Documentas 5, 6, 8, and 11 in Kassel, Germany; P.S.1 Contemporary Art Center, Long Island City, New York; Kunsthaus Graz, Austria; Museum Moderner Kunst, Vienna, and Montreal Festival du Nouveau Cinema et de la Video, among many others.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1936"},{"slug":"jonas_joan_organic_honeys_visual_telepathy","ok":true,"partial":false,"title":"Organic Honey's Visual Telepathy","artist":"Joan Jonas","year":"1972","startOffset":0,"sourceSecs":1056.533,"sourceHeight":480,"sourceWidth":634,"hasAudio":true,"hasAmbientMp4":true,"bytes":184491835,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_organic_honeys_visual_telepathy/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_organic_honeys_visual_telepathy/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jonas_joan_organic_honeys_visual_telepathy.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_organic_honeys_visual_telepathy/main.mp4?v=2","description":"1972, 17:24 min, b&w, sound <br/><br/> Organic Honey's Visual Telepathy is based on Jonas' 1972 performance of the same name, the first in which she used video. In an enigmatic ritual of identity, Jonas performs as herself and as her masked double, Organic Honey. Dressed in a feathered headdress and costumes, Organic Honey is the embodiment of artifice, masquerade and narcissism — a female alter-ego whose guise is a frozen doll's face. This elliptical, nonlinear narrative performance explores themes that are emblematic of Jonas' early video work: The study of female gestures and archetypes, both personal and cultural; the use of disguise and masquerade, ritual objects and ritualized self-examination; and an inquiry into subjectivity and objectivity. The work's formal elements — the layering of mirrors and mirrored images, manipulations of reflective space and spatial ambiguity, and the use of drawing to add a further layering of meaning — are also Jonas' signatures. -- <a href=\"http://eai.org/title.htm?id=2475\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Joan Jonas in UbuWeb Sound</a></br>","artist_bio":"Joan Jonas: Reanimation (documentary, 2013), dir. Rima Yamazaki\nAn acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas' elusive theatrical portrayal of female identity is a unique and intriguing inquiry.\nTrained in art history and sculpture, Jonas was a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in Organic Honey's Visual Telepathy (1972), in which a live camera and monitor functioned as both a mirror and a masking device, a means of transforming and layering images, space and time.\nIn the same year Jonas began making single-channel videotapes. Reflecting the conceptual performance and body art movements of the 1970s, Jonas' early video works break new ground in their application of the phenomenological properties of the new medium to a self-reflexive study of female identity. Her classic early works, including Vertical Roll (1972), explore the phenomenology of the video medium — its one-on-one directness and function as a mirror — to create a theater of the self and the body.\nJonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols.\nIn the 1980s Jonas began developing her emblematic, personal grammar of gesture, ritual and sound into intricate, multi-textual works that exhibit a sophisticated layering of nonlinear narrative forms with performance, theatricality, and electronic manipulations of space, time and image. Her elliptical, fragmented video narratives often merged such storytelling forms as fairy tales\n(Upsidedown and Backwards, 1980), science fiction (Double Lunar Dogs, 1984), legends (Volcano Saga, 1989), myths and dreams with topical and autobiographical references. Just as Jonas' works of the 1970s exploited the rudimentary technological properties of video as conceptual devices, so these later works utilize sophisticated electronic techniques to achieve a multi-dimensional theater that explores the fragmentation and loss of memory and identity in postmodern culture.\nFrom her earliest, face-to-face confrontations with video as a mirroring device, to her densely collaged narrative texts, Jonas herself always appears as a performer, confronting the viewer in an enigmatic theater of self-discovery.\nJoan Jonas was born in 1936 in New York. She received a B.A. in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an M.F.A. in Sculpture from Columbia University in 1965. She was awarded the American Film Institute's Maya Deren Award in 1988, the Third Annual Polaroid Video Art Award in 1987 and was also the recipient of the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival. Jonas has received grants for choreography, video and the visual arts from the New York State Council on the Arts, the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation. She was artist-in-residence at the TV Lab at WNET/Thirteen in New York, and was selected for the Deutscher Akademischer Austauschdienst Artists-in-Berlin program. Since 2000 Jonas has taught at Massachusetts Institute of Technology, Cambridge, MA.\nJonas has performed and exhibited her work extensively throughout the world. In 2004 she was honored with a retrospective at the Queens Museum of Art in New York, titled Joan Jonas: Five Works. She has also had major retrospectives at Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, Netherlands, and Stadtsgalerie Stuttgart, Stuttgart, Germany. In 2005, Jonas presented a site-specific, five-channel video installation at Dia:Beacon, New York, titled The Shape, the Scent, the Feel of Things, which subsequently traveled in 2007 to Castello di Rivoli Museo d'Arte Contemporanea, Torino, Italy; Rosamund Felsen Gallery, Los Angeles, and Yvon Lambert Gallery, New York. Other one-person exhibitions and performances include Kunstmuseum, Bern; Walker Art Center, Minneapolis; The Kitchen, New York; San Francisco Museum of Art; Berkeley Art Museum and Pacific Film Archive; University of California, Berkeley; Yvon Lambert Gallery, Paris and New York; Pat Hearn Gallery, New York, and Sonnabend Gallery, New York, among others. Group exhibitions include the Whitney Biennial, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Long Beach Museum of Art, California; Museum of Contemporary Art, Los Angeles; Documentas 5, 6, 8, and 11 in Kassel, Germany; P.S.1 Contemporary Art Center, Long Island City, New York; Kunsthaus Graz, Austria; Museum Moderner Kunst, Vienna, and Montreal Festival du Nouveau Cinema et de la Video, among many others.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1936"},{"slug":"jonas_joan_songdelay_1973","ok":true,"partial":false,"title":"Songdelay","artist":"Joan Jonas","year":"1973","startOffset":0,"sourceSecs":1176.256,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":205724239,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_songdelay_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_songdelay_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jonas_joan_songdelay_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_songdelay_1973/main.mp4?v=2","description":"1973, 18:35 min, b&w, sound, 16 mm film on video <br/><br/> This 1973 black-and-white film is a rediscovered classic. Performing with a \"cast\" that includes Gordon Matta-Clark, Jonas choreographs a theater of space, movement, and sound, with the urban landscape of New York in a featured role. Jonas creates a highly original if enigmatic theatrical language of gesture and sound, as she and her performers play with emblematic props, unexpected rhythms of space and scale, references to painting, and audio delays. At once delightfully improvisational and precisely choreographed, Song Delay resonates with themes and strategies that recur throughout Jonas' performance work. <br/><br/> Camera: Robert Fiore. Editors: Robert Fiore, Joan Jonas. Sound Technician: Kurt Munkacsi. Performers: Ariel Bach, Marion Cajuri, James Cobb, Carol Gooden, Randy Hardy, Michael Harvey, Glenda Hydler, Joan Jonas, EP Kotkas, Gordon Matta-Clark, Michael Oliver, Steve Paxton, Penelope, James Reineking, Robin Winters. -- <a href=\"http://eai.org/title.htm?id=2759\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Joan Jonas in UbuWeb Sound</a></br>","artist_bio":"Joan Jonas: Reanimation (documentary, 2013), dir. Rima Yamazaki\nAn acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas' elusive theatrical portrayal of female identity is a unique and intriguing inquiry.\nTrained in art history and sculpture, Jonas was a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in Organic Honey's Visual Telepathy (1972), in which a live camera and monitor functioned as both a mirror and a masking device, a means of transforming and layering images, space and time.\nIn the same year Jonas began making single-channel videotapes. Reflecting the conceptual performance and body art movements of the 1970s, Jonas' early video works break new ground in their application of the phenomenological properties of the new medium to a self-reflexive study of female identity. Her classic early works, including Vertical Roll (1972), explore the phenomenology of the video medium — its one-on-one directness and function as a mirror — to create a theater of the self and the body.\nJonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols.\nIn the 1980s Jonas began developing her emblematic, personal grammar of gesture, ritual and sound into intricate, multi-textual works that exhibit a sophisticated layering of nonlinear narrative forms with performance, theatricality, and electronic manipulations of space, time and image. Her elliptical, fragmented video narratives often merged such storytelling forms as fairy tales\n(Upsidedown and Backwards, 1980), science fiction (Double Lunar Dogs, 1984), legends (Volcano Saga, 1989), myths and dreams with topical and autobiographical references. Just as Jonas' works of the 1970s exploited the rudimentary technological properties of video as conceptual devices, so these later works utilize sophisticated electronic techniques to achieve a multi-dimensional theater that explores the fragmentation and loss of memory and identity in postmodern culture.\nFrom her earliest, face-to-face confrontations with video as a mirroring device, to her densely collaged narrative texts, Jonas herself always appears as a performer, confronting the viewer in an enigmatic theater of self-discovery.\nJoan Jonas was born in 1936 in New York. She received a B.A. in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an M.F.A. in Sculpture from Columbia University in 1965. She was awarded the American Film Institute's Maya Deren Award in 1988, the Third Annual Polaroid Video Art Award in 1987 and was also the recipient of the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival. Jonas has received grants for choreography, video and the visual arts from the New York State Council on the Arts, the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation. She was artist-in-residence at the TV Lab at WNET/Thirteen in New York, and was selected for the Deutscher Akademischer Austauschdienst Artists-in-Berlin program. Since 2000 Jonas has taught at Massachusetts Institute of Technology, Cambridge, MA.\nJonas has performed and exhibited her work extensively throughout the world. In 2004 she was honored with a retrospective at the Queens Museum of Art in New York, titled Joan Jonas: Five Works. She has also had major retrospectives at Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, Netherlands, and Stadtsgalerie Stuttgart, Stuttgart, Germany. In 2005, Jonas presented a site-specific, five-channel video installation at Dia:Beacon, New York, titled The Shape, the Scent, the Feel of Things, which subsequently traveled in 2007 to Castello di Rivoli Museo d'Arte Contemporanea, Torino, Italy; Rosamund Felsen Gallery, Los Angeles, and Yvon Lambert Gallery, New York. Other one-person exhibitions and performances include Kunstmuseum, Bern; Walker Art Center, Minneapolis; The Kitchen, New York; San Francisco Museum of Art; Berkeley Art Museum and Pacific Film Archive; University of California, Berkeley; Yvon Lambert Gallery, Paris and New York; Pat Hearn Gallery, New York, and Sonnabend Gallery, New York, among others. Group exhibitions include the Whitney Biennial, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Long Beach Museum of Art, California; Museum of Contemporary Art, Los Angeles; Documentas 5, 6, 8, and 11 in Kassel, Germany; P.S.1 Contemporary Art Center, Long Island City, New York; Kunsthaus Graz, Austria; Museum Moderner Kunst, Vienna, and Montreal Festival du Nouveau Cinema et de la Video, among many others.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1936"},{"slug":"jonas_joan_the_shapes_the_scent_the_feel_of_things_2005","ok":true,"partial":false,"title":"The Shape, the Scent, the Feel of Things","artist":"Joan Jonas","year":"2004","startOffset":0,"sourceSecs":3855.1,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":222213649,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_the_shapes_the_scent_the_feel_of_things_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_the_shapes_the_scent_the_feel_of_things_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jonas_joan_the_shapes_the_scent_the_feel_of_things_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_the_shapes_the_scent_the_feel_of_things_2005/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_the_shapes_the_scent_the_feel_of_things_2005/main/master.m3u8?v=2","hasMainHls":true,"description":"Dia presented a new performance by Joan Jonas, which responds to German art historian Aby Warburg’s essay about his visit to the American Southwest. Jason Moran, who will perform live on the piano, has composed new music for this collaborative work. These performances were held in 2005 and 2006. ~~ <a href=\"http://eai.org/title.htm?id=3493\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Joan Jonas in UbuWeb Sound</a></br>","artist_bio":"Joan Jonas: Reanimation (documentary, 2013), dir. Rima Yamazaki\nAn acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas' elusive theatrical portrayal of female identity is a unique and intriguing inquiry.\nTrained in art history and sculpture, Jonas was a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in Organic Honey's Visual Telepathy (1972), in which a live camera and monitor functioned as both a mirror and a masking device, a means of transforming and layering images, space and time.\nIn the same year Jonas began making single-channel videotapes. Reflecting the conceptual performance and body art movements of the 1970s, Jonas' early video works break new ground in their application of the phenomenological properties of the new medium to a self-reflexive study of female identity. Her classic early works, including Vertical Roll (1972), explore the phenomenology of the video medium — its one-on-one directness and function as a mirror — to create a theater of the self and the body.\nJonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols.\nIn the 1980s Jonas began developing her emblematic, personal grammar of gesture, ritual and sound into intricate, multi-textual works that exhibit a sophisticated layering of nonlinear narrative forms with performance, theatricality, and electronic manipulations of space, time and image. Her elliptical, fragmented video narratives often merged such storytelling forms as fairy tales\n(Upsidedown and Backwards, 1980), science fiction (Double Lunar Dogs, 1984), legends (Volcano Saga, 1989), myths and dreams with topical and autobiographical references. Just as Jonas' works of the 1970s exploited the rudimentary technological properties of video as conceptual devices, so these later works utilize sophisticated electronic techniques to achieve a multi-dimensional theater that explores the fragmentation and loss of memory and identity in postmodern culture.\nFrom her earliest, face-to-face confrontations with video as a mirroring device, to her densely collaged narrative texts, Jonas herself always appears as a performer, confronting the viewer in an enigmatic theater of self-discovery.\nJoan Jonas was born in 1936 in New York. She received a B.A. in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an M.F.A. in Sculpture from Columbia University in 1965. She was awarded the American Film Institute's Maya Deren Award in 1988, the Third Annual Polaroid Video Art Award in 1987 and was also the recipient of the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival. Jonas has received grants for choreography, video and the visual arts from the New York State Council on the Arts, the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation. She was artist-in-residence at the TV Lab at WNET/Thirteen in New York, and was selected for the Deutscher Akademischer Austauschdienst Artists-in-Berlin program. Since 2000 Jonas has taught at Massachusetts Institute of Technology, Cambridge, MA.\nJonas has performed and exhibited her work extensively throughout the world. In 2004 she was honored with a retrospective at the Queens Museum of Art in New York, titled Joan Jonas: Five Works. She has also had major retrospectives at Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, Netherlands, and Stadtsgalerie Stuttgart, Stuttgart, Germany. In 2005, Jonas presented a site-specific, five-channel video installation at Dia:Beacon, New York, titled The Shape, the Scent, the Feel of Things, which subsequently traveled in 2007 to Castello di Rivoli Museo d'Arte Contemporanea, Torino, Italy; Rosamund Felsen Gallery, Los Angeles, and Yvon Lambert Gallery, New York. Other one-person exhibitions and performances include Kunstmuseum, Bern; Walker Art Center, Minneapolis; The Kitchen, New York; San Francisco Museum of Art; Berkeley Art Museum and Pacific Film Archive; University of California, Berkeley; Yvon Lambert Gallery, Paris and New York; Pat Hearn Gallery, New York, and Sonnabend Gallery, New York, among others. Group exhibitions include the Whitney Biennial, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Long Beach Museum of Art, California; Museum of Contemporary Art, Los Angeles; Documentas 5, 6, 8, and 11 in Kassel, Germany; P.S.1 Contemporary Art Center, Long Island City, New York; Kunsthaus Graz, Austria; Museum Moderner Kunst, Vienna, and Montreal Festival du Nouveau Cinema et de la Video, among many others.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1936"},{"slug":"jonas_joan_upsidedown_and_backwards_1980","ok":true,"partial":false,"title":"Upside Down and Backwards","artist":"Joan Jonas","year":"1980","startOffset":0,"sourceSecs":1764.096,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":304598173,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_upsidedown_and_backwards_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_upsidedown_and_backwards_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jonas_joan_upsidedown_and_backwards_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_upsidedown_and_backwards_1980/main.mp4?v=2","description":"In Upsidedown and Backwards, two fairy tales The Frog Prince and The Boy Who Went Out to Learn Fear are told simultaneously, one backwards and one forwards, each interrupting the other. Jonas' ironic use of visual symbolism further inverts the structure and content of the fragmented fairy tale narratives, creating multiple, mirror-image reversals of the texts and their meaning. The inverted and mixed-up tales, which are intercut with Jonas' ritualistic performances, merge into a composition of transformation and sexuality that evokes the tangled subconscious of male and female desire. Jonas performs wearing a veiled doll face as she manipulates childlike objects or partners a skeleton in a danse macabre. Charged with the sublimated fears and fantasies of childhood, the tape's imagery mirrors the fairy tales in its fusion of innocence and horror, dream and nightmare. -- <a href=\"http://www.eai.org/titles/upsidedown-and-backwards\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Joan Jonas in UbuWeb Sound</a></br>","artist_bio":"Joan Jonas: Reanimation (documentary, 2013), dir. Rima Yamazaki\nAn acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas' elusive theatrical portrayal of female identity is a unique and intriguing inquiry.\nTrained in art history and sculpture, Jonas was a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in Organic Honey's Visual Telepathy (1972), in which a live camera and monitor functioned as both a mirror and a masking device, a means of transforming and layering images, space and time.\nIn the same year Jonas began making single-channel videotapes. Reflecting the conceptual performance and body art movements of the 1970s, Jonas' early video works break new ground in their application of the phenomenological properties of the new medium to a self-reflexive study of female identity. Her classic early works, including Vertical Roll (1972), explore the phenomenology of the video medium — its one-on-one directness and function as a mirror — to create a theater of the self and the body.\nJonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols.\nIn the 1980s Jonas began developing her emblematic, personal grammar of gesture, ritual and sound into intricate, multi-textual works that exhibit a sophisticated layering of nonlinear narrative forms with performance, theatricality, and electronic manipulations of space, time and image. Her elliptical, fragmented video narratives often merged such storytelling forms as fairy tales\n(Upsidedown and Backwards, 1980), science fiction (Double Lunar Dogs, 1984), legends (Volcano Saga, 1989), myths and dreams with topical and autobiographical references. Just as Jonas' works of the 1970s exploited the rudimentary technological properties of video as conceptual devices, so these later works utilize sophisticated electronic techniques to achieve a multi-dimensional theater that explores the fragmentation and loss of memory and identity in postmodern culture.\nFrom her earliest, face-to-face confrontations with video as a mirroring device, to her densely collaged narrative texts, Jonas herself always appears as a performer, confronting the viewer in an enigmatic theater of self-discovery.\nJoan Jonas was born in 1936 in New York. She received a B.A. in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an M.F.A. in Sculpture from Columbia University in 1965. She was awarded the American Film Institute's Maya Deren Award in 1988, the Third Annual Polaroid Video Art Award in 1987 and was also the recipient of the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival. Jonas has received grants for choreography, video and the visual arts from the New York State Council on the Arts, the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation. She was artist-in-residence at the TV Lab at WNET/Thirteen in New York, and was selected for the Deutscher Akademischer Austauschdienst Artists-in-Berlin program. Since 2000 Jonas has taught at Massachusetts Institute of Technology, Cambridge, MA.\nJonas has performed and exhibited her work extensively throughout the world. In 2004 she was honored with a retrospective at the Queens Museum of Art in New York, titled Joan Jonas: Five Works. She has also had major retrospectives at Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, Netherlands, and Stadtsgalerie Stuttgart, Stuttgart, Germany. In 2005, Jonas presented a site-specific, five-channel video installation at Dia:Beacon, New York, titled The Shape, the Scent, the Feel of Things, which subsequently traveled in 2007 to Castello di Rivoli Museo d'Arte Contemporanea, Torino, Italy; Rosamund Felsen Gallery, Los Angeles, and Yvon Lambert Gallery, New York. Other one-person exhibitions and performances include Kunstmuseum, Bern; Walker Art Center, Minneapolis; The Kitchen, New York; San Francisco Museum of Art; Berkeley Art Museum and Pacific Film Archive; University of California, Berkeley; Yvon Lambert Gallery, Paris and New York; Pat Hearn Gallery, New York, and Sonnabend Gallery, New York, among others. Group exhibitions include the Whitney Biennial, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Long Beach Museum of Art, California; Museum of Contemporary Art, Los Angeles; Documentas 5, 6, 8, and 11 in Kassel, Germany; P.S.1 Contemporary Art Center, Long Island City, New York; Kunsthaus Graz, Austria; Museum Moderner Kunst, Vienna, and Montreal Festival du Nouveau Cinema et de la Video, among many others.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1936"},{"slug":"jonas_joan_vertical_roll_1972","ok":true,"partial":false,"title":"Vertical Roll","artist":"Joan Jonas","year":"1972","startOffset":0,"sourceSecs":1182.101,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":198289476,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_vertical_roll_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_vertical_roll_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jonas_joan_vertical_roll_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_vertical_roll_1972/main.mp4?v=2","description":"1972, 19:38 min, b&w, sound <br/><br/> Vertical Roll is a seminal work. In a startling collusion of form and content, Jonas constructs a theater of female identity by deconstructing representations of the female body and the technology of video. Using an interrupted electronic signal — or \"vertical roll\" — as a dynamic formal device, she dislocates space, re-framing and fracturing the image. The relentless vertical roll, which repeats throughout the tape, disrupts the image by exposing the medium's materiality. Using her body as performance object and video as a theatrical construct, Jonas unveils a disjunctive self-portrait. As she performs in front of the camera — masked, wearing a feathered headdress, or costumed as a belly-dancer — her feet, torso, arms and legs appear as disembodied fragments. Subjected to the violence of the vertical roll and the scrutiny of the video mirror, these disjointed images of the body — including a photographic representation of a female nude — are even further abstracted and mediated. The incessantly jumping picture frame, with its repeating horizontal black bar, both confronts and distances the viewer, creating a tension between subjectivity and objectivity. The tape's staccato, insistent visual rhythm is heightened by the regular, sharp crack of a spoon hitting a surface, which resounds as if Jonas were smacking the video equipment itself. In the tape's final moments, Jonas confronts the viewer face-to-face in front of the aggressively rolling video screen, adding yet another spatial and metaphorical layer of fragmentation and self-reflection to this theatrical hall of mirrors. -- <a href=\"http://eai.org/title.htm?id=2013\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Joan Jonas in UbuWeb Sound</a></br>","artist_bio":"Joan Jonas: Reanimation (documentary, 2013), dir. Rima Yamazaki\nAn acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas' elusive theatrical portrayal of female identity is a unique and intriguing inquiry.\nTrained in art history and sculpture, Jonas was a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in Organic Honey's Visual Telepathy (1972), in which a live camera and monitor functioned as both a mirror and a masking device, a means of transforming and layering images, space and time.\nIn the same year Jonas began making single-channel videotapes. Reflecting the conceptual performance and body art movements of the 1970s, Jonas' early video works break new ground in their application of the phenomenological properties of the new medium to a self-reflexive study of female identity. Her classic early works, including Vertical Roll (1972), explore the phenomenology of the video medium — its one-on-one directness and function as a mirror — to create a theater of the self and the body.\nJonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols.\nIn the 1980s Jonas began developing her emblematic, personal grammar of gesture, ritual and sound into intricate, multi-textual works that exhibit a sophisticated layering of nonlinear narrative forms with performance, theatricality, and electronic manipulations of space, time and image. Her elliptical, fragmented video narratives often merged such storytelling forms as fairy tales\n(Upsidedown and Backwards, 1980), science fiction (Double Lunar Dogs, 1984), legends (Volcano Saga, 1989), myths and dreams with topical and autobiographical references. Just as Jonas' works of the 1970s exploited the rudimentary technological properties of video as conceptual devices, so these later works utilize sophisticated electronic techniques to achieve a multi-dimensional theater that explores the fragmentation and loss of memory and identity in postmodern culture.\nFrom her earliest, face-to-face confrontations with video as a mirroring device, to her densely collaged narrative texts, Jonas herself always appears as a performer, confronting the viewer in an enigmatic theater of self-discovery.\nJoan Jonas was born in 1936 in New York. She received a B.A. in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an M.F.A. in Sculpture from Columbia University in 1965. She was awarded the American Film Institute's Maya Deren Award in 1988, the Third Annual Polaroid Video Art Award in 1987 and was also the recipient of the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival. Jonas has received grants for choreography, video and the visual arts from the New York State Council on the Arts, the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation. She was artist-in-residence at the TV Lab at WNET/Thirteen in New York, and was selected for the Deutscher Akademischer Austauschdienst Artists-in-Berlin program. Since 2000 Jonas has taught at Massachusetts Institute of Technology, Cambridge, MA.\nJonas has performed and exhibited her work extensively throughout the world. In 2004 she was honored with a retrospective at the Queens Museum of Art in New York, titled Joan Jonas: Five Works. She has also had major retrospectives at Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, Netherlands, and Stadtsgalerie Stuttgart, Stuttgart, Germany. In 2005, Jonas presented a site-specific, five-channel video installation at Dia:Beacon, New York, titled The Shape, the Scent, the Feel of Things, which subsequently traveled in 2007 to Castello di Rivoli Museo d'Arte Contemporanea, Torino, Italy; Rosamund Felsen Gallery, Los Angeles, and Yvon Lambert Gallery, New York. Other one-person exhibitions and performances include Kunstmuseum, Bern; Walker Art Center, Minneapolis; The Kitchen, New York; San Francisco Museum of Art; Berkeley Art Museum and Pacific Film Archive; University of California, Berkeley; Yvon Lambert Gallery, Paris and New York; Pat Hearn Gallery, New York, and Sonnabend Gallery, New York, among others. Group exhibitions include the Whitney Biennial, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Long Beach Museum of Art, California; Museum of Contemporary Art, Los Angeles; Documentas 5, 6, 8, and 11 in Kassel, Germany; P.S.1 Contemporary Art Center, Long Island City, New York; Kunsthaus Graz, Austria; Museum Moderner Kunst, Vienna, and Montreal Festival du Nouveau Cinema et de la Video, among many others.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1936"},{"slug":"jonas_joan_volcanasaga_1989","ok":true,"partial":false,"title":"Volcano Saga","artist":"Joan Jonas","year":"1989","startOffset":0,"sourceSecs":1811.349,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":292868201,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_volcanasaga_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jonas_joan_volcanasaga_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jonas_joan_volcanasaga_1989.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_volcanasaga_1989/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jonas_joan_volcanasaga_1989/main/master.m3u8?v=2","hasMainHls":true,"description":"1989, 28 min, color, sound <br/><br/> Based on the thirteenth-century Icelandic Laxdeala Saga, this narrative reverie is a televisual retelling of a medieval myth about a young woman (played by Tilda Swinton) whose dreams foretell the future. Shot in the dramatic natural landscapes of Iceland and in New York, this performance-based work uses ancient dream analysis as a starting point for a densely textured tale, in which the young woman's interpreter (played by Ron Vawter) hears her dreams and sees their meaning. Jonas employs multilayered digital effects to create a ritualistic dreamscape of the young woman's imagination and desires. The ghostly overlays, otherworldly images and mythical text imbue Volcano Saga with a haunting beauty. Directors of Photography: Toon Illegems, Jules Backus. Music: Alvin Lucier, Jon Cooper. Editors: Robert Burden, Kathryn High, Joan Jonas, Branda Miller, Jill Kroesen. With: Tilda Swinton, Ron Vawter, Joan Jonas. Narration: Ruth Maleczech. Produced by Joan Jonas and Alan Kleinberg. Coproduced by Continental Video, Antwerp. Produced in association with New Television, WNET/WGBH. -- <a href=\"http://eai.org/title.htm?id=2055\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Joan Jonas in UbuWeb Sound</a></br>","artist_bio":"Joan Jonas: Reanimation (documentary, 2013), dir. Rima Yamazaki\nAn acclaimed multi-media performance artist, Joan Jonas is also a major figure in video art. From her seminal performance-based exercises of the 1970s to her later televisual narratives, Jonas' elusive theatrical portrayal of female identity is a unique and intriguing inquiry.\nTrained in art history and sculpture, Jonas was a central figure in the performance art movement of the mid-1960s. In works that examined space and perceptual phenomena, she merged elements of dance, modern theater, the conventions of Japanese Noh and Kabuki theater, and the visual arts. Jonas first began using video in performance in Organic Honey's Visual Telepathy (1972), in which a live camera and monitor functioned as both a mirror and a masking device, a means of transforming and layering images, space and time.\nIn the same year Jonas began making single-channel videotapes. Reflecting the conceptual performance and body art movements of the 1970s, Jonas' early video works break new ground in their application of the phenomenological properties of the new medium to a self-reflexive study of female identity. Her classic early works, including Vertical Roll (1972), explore the phenomenology of the video medium — its one-on-one directness and function as a mirror — to create a theater of the self and the body.\nJonas' investigation of subjectivity and objectivity is articulated through an idiosyncratic, personal vocabulary of ritualized gesture and self-examination. Often performing in masks, veils, or costumes, Jonas uses disguise and masquerade to study the personal and cultural semiotics of female gesture and symbols. The layering of mirrors and mirrored images is one of her most powerful metaphorical devices. Among Jonas' signature formal strategies are the manipulation of theatrical and video space, the use of drawing to add a rich density of texture and content, and objects that convey meaning as cultural icons, archetypes and symbols.\nIn the 1980s Jonas began developing her emblematic, personal grammar of gesture, ritual and sound into intricate, multi-textual works that exhibit a sophisticated layering of nonlinear narrative forms with performance, theatricality, and electronic manipulations of space, time and image. Her elliptical, fragmented video narratives often merged such storytelling forms as fairy tales\n(Upsidedown and Backwards, 1980), science fiction (Double Lunar Dogs, 1984), legends (Volcano Saga, 1989), myths and dreams with topical and autobiographical references. Just as Jonas' works of the 1970s exploited the rudimentary technological properties of video as conceptual devices, so these later works utilize sophisticated electronic techniques to achieve a multi-dimensional theater that explores the fragmentation and loss of memory and identity in postmodern culture.\nFrom her earliest, face-to-face confrontations with video as a mirroring device, to her densely collaged narrative texts, Jonas herself always appears as a performer, confronting the viewer in an enigmatic theater of self-discovery.\nJoan Jonas was born in 1936 in New York. She received a B.A. in Art History from Mount Holyoke College in 1958, studied sculpture at the School of the Museum of Fine Arts, Boston, and received an M.F.A. in Sculpture from Columbia University in 1965. She was awarded the American Film Institute's Maya Deren Award in 1988, the Third Annual Polaroid Video Art Award in 1987 and was also the recipient of the Hyogo Prefecture Museum of Modern Art Prize at the Tokyo International Video Art Festival. Jonas has received grants for choreography, video and the visual arts from the New York State Council on the Arts, the National Endowment for the Arts, the Guggenheim Foundation and the Rockefeller Foundation. She was artist-in-residence at the TV Lab at WNET/Thirteen in New York, and was selected for the Deutscher Akademischer Austauschdienst Artists-in-Berlin program. Since 2000 Jonas has taught at Massachusetts Institute of Technology, Cambridge, MA.\nJonas has performed and exhibited her work extensively throughout the world. In 2004 she was honored with a retrospective at the Queens Museum of Art in New York, titled Joan Jonas: Five Works. She has also had major retrospectives at Stedelijk Museum, Amsterdam; Van Abbemuseum, Eindhoven, Netherlands, and Stadtsgalerie Stuttgart, Stuttgart, Germany. In 2005, Jonas presented a site-specific, five-channel video installation at Dia:Beacon, New York, titled The Shape, the Scent, the Feel of Things, which subsequently traveled in 2007 to Castello di Rivoli Museo d'Arte Contemporanea, Torino, Italy; Rosamund Felsen Gallery, Los Angeles, and Yvon Lambert Gallery, New York. Other one-person exhibitions and performances include Kunstmuseum, Bern; Walker Art Center, Minneapolis; The Kitchen, New York; San Francisco Museum of Art; Berkeley Art Museum and Pacific Film Archive; University of California, Berkeley; Yvon Lambert Gallery, Paris and New York; Pat Hearn Gallery, New York, and Sonnabend Gallery, New York, among others. Group exhibitions include the Whitney Biennial, New York; The Museum of Modern Art, New York; Institute of Contemporary Art, Philadelphia; Long Beach Museum of Art, California; Museum of Contemporary Art, Los Angeles; Documentas 5, 6, 8, and 11 in Kassel, Germany; P.S.1 Contemporary Art Center, Long Island City, New York; Kunsthaus Graz, Austria; Museum Moderner Kunst, Vienna, and Montreal Festival du Nouveau Cinema et de la Video, among many others.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1936"},{"slug":"jordan_larry_carabosse_1980","ok":true,"partial":false,"title":"Carabosse","artist":"Larry Jordan","year":"1980","startOffset":0,"sourceSecs":197.355,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":25056045,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jordan_larry_carabosse_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jordan_larry_carabosse_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jordan_larry_carabosse_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jordan_larry_carabosse_1980/main.mp4?v=2","description":"Animation, also of a new order in the recent series of short works. Mostly on black space, the figures in blue perform a very compact and jewel-like opera in surreal form, again to Satie's piano music. Ideally, the film should be projected on a 30\" wide white card sitting on a music stand, center stage of a large auditorium or music hall, with sound from the projector piped into the big speaker system. The film is most effective this way, but can be shown normal-size also.","artist_bio":"Larry Jordan is an independent filmmaker who has been working in the Bay Area in California since 1955, and making films since 1952. He has produced some 40 experimental and animation films, and three feature-length dramatic films. He is most widely known for his animated collage films. In 1970 he received a Guggenheim award to make\nSacred Art of Tibet\n. His animation has shown by invitation at the Cannes Film Festival. Jordan is one of the founding directors of Canyon Cinema Cooperative. He has shown films and lectured throughout the country. He is presently chairman of the film department at the San Francisco Art Institute.\n\"\"Jordan is one of the most prolific and accomplished stalwarts of the Bay Area independent film community. He takes full advantage of the tendency of disparate objects to take on new meaning, and form new relationships when they are brought into close proximity or when their usual context is changed. While these film collages link together a myriad of symbolic forms in new combination, the smooth, lyrical progression of the work results in a powerful sense of wholeness and totality.\" - Hal Aigner, San Francisco Chronicle\n\"\"One thing: If I'd have to name one dozen really creative artists in the independent (avant-garde) film area, I'd name Larry Jordan as one. His animated (collage) films are among the most beautiful short films made today. They are surrounded with love and poetry. His content is subtle, his technique is perfect, his personal style unmistakable.\" - Jonas Mekas","bio_dates":"b. 1934"},{"slug":"jordan_larry_gymnopedies","ok":true,"partial":false,"title":"Gymnopedies","artist":"Larry Jordan","year":"1965","startOffset":0,"sourceSecs":340.437,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":125710242,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jordan_larry_gymnopedies/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jordan_larry_gymnopedies/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jordan_larry_gymnopedies.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jordan_larry_gymnopedies/main.mp4?v=2","description":"Animation. The theme is weightlessness. Objects and characters are cut loose from habitual meanings as well as tensions and gravitational limitations. A lyric Erik Satie track accompanies the film. Such a portrait seems necessary from time to time to remind us that equilibrium and harmony are possible and that we will not dissolve into a jelly if we allow ourselves to relax into them: a horseman rides through the landscape, through the town, but never arrives anywhere in particular. An acrobat swings on a rope above a canal in Venice and is content just to swing there. Nothing threatens to disturb them. This film is a total contrast to the Kafka-like oddities of Eastern European animation.\n\n\"It is impossible not to hallucinate on your own while watching it.\" - Lita Eliseu, East Village Other"},{"slug":"jordan_larry_visions_of_a_city_1978","ok":true,"partial":false,"title":"Visions of a City","artist":"Larry Jordan","year":"1978","startOffset":0,"sourceSecs":377.877,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":61583785,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jordan_larry_visions_of_a_city_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jordan_larry_visions_of_a_city_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jordan_larry_visions_of_a_city_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jordan_larry_visions_of_a_city_1978/main.mp4?v=2","description":"Director: Larry Jordan<br/> Year: 1978<br/> Time: 6 mins<br/> Music: William Moraldo<br/> <br/> I confess that I'm not a fan of Moraldo's music, though it does have a soothing effect after a few minutes of Visions of a City. But I'm a big admirer of Larry Jordan's work, and I'm especially fond of most of his non-collage works (which I absolutely adore, of course). Visions of a City was shot in 1957 but was not edited till 1978. Using beat poet and playwright Michael McClure (Ike in Kerouac's Dharma Bums) as a \"guide\" and visual counterpoint, it is a short portrait of San Francisco shot almost entirely through reflections of all sorts: mirrors, shop windows, car windows, bottles. The mirror trope, obviously, has endless theoretical and philosophical possibilities. Suffice to say that the sepia tinted images, the powerful editing and the distorting effects of mirrors make this one of Jordan's most beautiful films.-- Eye of Sound","artist_bio":"Larry Jordan is an independent filmmaker who has been working in the Bay Area in California since 1955, and making films since 1952. He has produced some 40 experimental and animation films, and three feature-length dramatic films. He is most widely known for his animated collage films. In 1970 he received a Guggenheim award to make\nSacred Art of Tibet\n. His animation has shown by invitation at the Cannes Film Festival. Jordan is one of the founding directors of Canyon Cinema Cooperative. He has shown films and lectured throughout the country. He is presently chairman of the film department at the San Francisco Art Institute.\n\"\"Jordan is one of the most prolific and accomplished stalwarts of the Bay Area independent film community. He takes full advantage of the tendency of disparate objects to take on new meaning, and form new relationships when they are brought into close proximity or when their usual context is changed. While these film collages link together a myriad of symbolic forms in new combination, the smooth, lyrical progression of the work results in a powerful sense of wholeness and totality.\" - Hal Aigner, San Francisco Chronicle\n\"\"One thing: If I'd have to name one dozen really creative artists in the independent (avant-garde) film area, I'd name Larry Jordan as one. His animated (collage) films are among the most beautiful short films made today. They are surrounded with love and poetry. His content is subtle, his technique is perfect, his personal style unmistakable.\" - Jonas Mekas","bio_dates":"b. 1934"},{"slug":"jordan_lawrence_hamfat_asar_1965","ok":true,"partial":false,"title":"Hamfat Asar","artist":"Larry Jordan","year":"1965","startOffset":0,"sourceSecs":774.827,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":51909280,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jordan_lawrence_hamfat_asar_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/jordan_lawrence_hamfat_asar_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/jordan_lawrence_hamfat_asar_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/jordan_lawrence_hamfat_asar_1965/main.mp4?v=2","description":"\"Jordan is one of the collagists and animators of film who can produce a significant vision. He is finding a way to work seriously with animation. Jordan is starting to significantly develop animation, in HAMFAT ASAR, as a fine arts mode.\" - Carl Linder, SF Observer <br/><br/> Animation. The strangeness of this film is laced with carefully molded apocalypses as the filmmaker explores a vision of life beyond death - the Elysian fields of Homer, Dante's Purgatorio, de Chirico's stitched plain. A moving single picture. <br/><br/> Evolving the structure or script for the film involved a process of controlled hallucination, whereby I sat quietly without moving, looking at the background until the pieces began to move without my inventing things for them to do. I found that, given the chance, they really did have important business to attend to, and my job was to furnish them with the power of motion. I never deviated from this plan. <br/><br/> Awards: First Prize, University of Wisconsin Film Festival; Kokosing Award, Kenyon Film Festival. <br/><br/> Exhibition: Museum of Modern Art, NY; Pacific Film Archive; Carpenter Center, Harvard University; American Avant-garde Film Exhibition, Tokyo; Filmex, LA. <br/><br/> Collection: Anthology Film Archives; Australian National Library. <br/><br/> 1965, 16mm, b&w/so, 15m<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Larry Jordan is an independent filmmaker who has been working in the Bay Area in California since 1955, and making films since 1952. He has produced some 40 experimental and animation films, and three feature-length dramatic films. He is most widely known for his animated collage films. In 1970 he received a Guggenheim award to make\nSacred Art of Tibet\n. His animation has shown by invitation at the Cannes Film Festival. Jordan is one of the founding directors of Canyon Cinema Cooperative. He has shown films and lectured throughout the country. He is presently chairman of the film department at the San Francisco Art Institute.\n\"\"Jordan is one of the most prolific and accomplished stalwarts of the Bay Area independent film community. He takes full advantage of the tendency of disparate objects to take on new meaning, and form new relationships when they are brought into close proximity or when their usual context is changed. While these film collages link together a myriad of symbolic forms in new combination, the smooth, lyrical progression of the work results in a powerful sense of wholeness and totality.\" - Hal Aigner, San Francisco Chronicle\n\"\"One thing: If I'd have to name one dozen really creative artists in the independent (avant-garde) film area, I'd name Larry Jordan as one. His animated (collage) films are among the most beautiful short films made today. They are surrounded with love and poetry. His content is subtle, his technique is perfect, his personal style unmistakable.\" - Jonas Mekas","bio_dates":"b. 1934"},{"slug":"joselit_david_gareth_james_late_night_legal_formalities_2006","ok":true,"partial":false,"title":"Late night legal formalities","artist":"David Joselit","year":"2006","startOffset":0,"sourceSecs":745.378,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":124998648,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/joselit_david_gareth_james_late_night_legal_formalities_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/joselit_david_gareth_james_late_night_legal_formalities_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/joselit_david_gareth_james_late_night_legal_formalities_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/joselit_david_gareth_james_late_night_legal_formalities_2006/main.mp4?v=2","description":"In preparation for “Late Night Legal Formalities,” a unique collaboration between British artist Gareth James and art historian David Joselit, James requested that Joselit view each of Elizabeth Dee Gallery’s exhibitions in 2005 and produce a short text in response. Joselit chose to deliver his contribution as an informal e-mail, which James has redeployed here as subtitles to the first chapter of Lars von Trier’s film Manderlay (2005). The cacophonous relationship between the movie’s own dialogue and Joselit’s remarks is both humorous and irritating, underlining the often-frustrating differend between methods of critical and artistic judgment. (It helps that the film’s Brechtian narrative techniques function here as a sort of opening or adhesive for Joselit’s text.) “Does criticism matter to you?” asks Joselit near the end of his contribution. It’s an intriguing, almost accusatory question in the context of an exhibition devoted to interrogating the relationship between art and its attendant critical discourses, and it reveals numerous tensions between the two fields. One can easily imagine asking in return, “Does art matter to you?” Joselit addresses this question with notable ambivalence in his e-mail. In a sharp play on Adrian Piper’s video installation Cornered, 1988—now on view in the Whitney’s “Full House” exhibition—James has precariously balanced the television set playing Manderlay atop two tipped folding chairs, further complicating the pedagogical and racially charged content of the film. While some of the artistic choices remain enigmatic, Joselit and James’s tangential dialogue is rewarding in its numerous provocations. – David Velasco","artist_bio":"Late night legal formalities (2006)\nDavid Joselit & Gareth James\nJoselit began his career as a curator at The ICA in Boston from 1983-1989. After receiving his PhD from Harvard in 1995, he has taught at the University of California, Irvine, and Yale University where he was Department Chair from 2006-09, and most recently at the CUNY Graduate Center. Joselit is author of Infinite Regress: Marcel Duchamp 1910-1941 (MIT, 1998), American Art Since 1945 (Thames and Hudson, 2003), Feedback: Television Against Democracy (MIT, 2007), and After Art (Princeton University Press, 2012). He co-organized the exhibition, “Painting 2.0: Expression in the Information Age,” which opened at the Brandhorst Museum in Munich in 2015. Joselit is an editor of the journal OCTOBER and writes regularly on contemporary art and culture. His most recent book is Heritage and Debt: Art in Globalization (forthcoming as an October Book from MIT Press in Spring 2020).","bio_dates":"2006"},{"slug":"juilien_isaac_who_killed_colin_roach1983","ok":true,"partial":false,"title":"Who Killed Colin Roach?","artist":"Isaac Julien","year":"1983","startOffset":0,"sourceSecs":2078.293,"sourceHeight":540,"sourceWidth":674,"hasAudio":true,"hasAmbientMp4":true,"bytes":349565894,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/juilien_isaac_who_killed_colin_roach1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/juilien_isaac_who_killed_colin_roach1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/juilien_isaac_who_killed_colin_roach1983.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/juilien_isaac_who_killed_colin_roach1983/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/juilien_isaac_who_killed_colin_roach1983/main/master.m3u8?v=2","hasMainHls":true,"description":"Who Killed Colin Roach? is Isaac Julien's first film, which reflects upon the death of Colin Roach, a 23 year old who was shot at the entrance of a police station in East London, in 1982. Even though the police claimed Roach had commited suicide, evidence showed otherwise. Isaac Julien says that this work is essentially a response to the riots, an answer to certain fixed ways of looking at black cultures, but also at those ways we might feel about ourselves.","artist_bio":"Julien graduated from Saint Martin's School of Art in 1985, where he studied painting and fine art film. He founded Sankofa Film and Video Collective, and was a founding member of Normal Films in 1991.\nJulien came to prominence in the film world with his 1989 drama-documentary Looking for Langston, gaining a cult following with this poetic exploration of Langston Hughes and the Harlem Renaissance. This following was expanded in 1991 when his film Young Soul Rebels won the Semaine de la Critique prize for best film at the Cannes Film Festival.\nOne of the objectives of Julien's work is to break down the barriers that exist between different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting these to construct a powerfully visual narrative. Thematically, much of his work directly relates to experiences of black and gay identity (he is himself gay), including issues of class, sexuality, and artistic and cultural history. He was nominated for the Turner Prize in 2001, and in 2003 he won the Grand Jury Prize at the Kunst filmBiennale in Cologne for his single screen version of Baltimore. Julien is also a documentary filmmaker - his work in this genre includes BaadAsssss Cinema, a film on the history and influence of blaxploitation cinema.\nJulien lives and works in London. He was visiting lecturer at Harvard University's Schools of Afro-American and Visual Environmental Studies, and is currently a visiting professor at the Whitney Museum of American Arts. He was also a research fellow at Goldsmiths College, University of London, and in September 2009 he became a professor at the Karlsruhe University of Arts and Design. Julien is a patron of the Live Art Development Agency.","bio_dates":"b. 1960"},{"slug":"juku_sankai_butoh_dance_battersea","ok":true,"partial":false,"title":"Butoh Dance at Battersea Power Station","artist":"Sankai Juku","year":"1980","startOffset":0,"sourceSecs":419.115,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":25539942,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/juku_sankai_butoh_dance_battersea/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/juku_sankai_butoh_dance_battersea/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/juku_sankai_butoh_dance_battersea.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/juku_sankai_butoh_dance_battersea/main.mp4?v=2","description":"Sankai Juku is an internationally known butoh dance troupe. Co-founded by Amagatsu Ushio in 1975, they are touring worldwide, performing and teaching. As of 2010, Sankai Juku had performed in 43 countries and visited more than 700 cities. <br/><br/> Butoh’s source is the Japanese avant-garde of the 1960s, a period when Japan struggled with the lingering effects of the atomic bomb detonations at Hiroshima and Nagasaki that ended World War II. Originally called \"ankoku butoh,\" or \"dance of darkness,\" the medium created a space for the intensely grotesque and perverse on the stage. Amagatsu's work exhibits the conventional tensions of butoh and envelops them in a mood of emotional stillness. “Sankai Juku” means \"studio by the mountain and the sea\" and implies the serenity and calm which is characteristic of the work. <br/><br/> Sankai Juku's dancers have, like other tipical Butoh dancers, shaved heads and bodies covered in white powder.They may be costumed, partially costumed, or almost unclothed. Rarely wearing typical “street” clothing onstage, they sometimes wear long skirt-like garments. <br/><br/> The all-male company’s work is performed by as few as six dancers eschewing the movements typical of modern or other dance forms. The performances are characterized by slow, mesmerizing passages, often using repetition and incorporating the whole body, sometimes focusing only on the feet or fingers. Sometimes minuscule movement or no movement is discernible and one is presented a meditative vision of statuesque postures or groupings. Occasionally recognizable emotive postures and gestures are used, notably contorted body shapes and facial expressions conveying ecstasy and perhaps more often, pain and silent “shrieks.” Frequently, ritualized formal patterns are employed, smoothly evolving or abruptly fractured into quick, sharp, seemingly disjointed sequences whose symbolism or “meanings” are obscure. <br/><br/> Music and sound effects are employed, often repetitiously, and range from dynamic drumming to jazz, natural sounds such as wind, sirens, etc., to electronic music and sounds so soft as to be barely perceptible - and periods of silence. Spare scenic backgrounds, delicately nuanced lighting and arresting props (in \"Kinkan Shonen,\" a live peacock) add to the ethereal nature of their performances.","artist_bio":"Sankai Juku (山海塾?) is an internationally known butoh dance troupe. Co-founded by Amagatsu Ushio in 1975, they are touring worldwide, performing and teaching. As of 2010, Sankai Juku had performed in 43 countries and visited more than 700 cities.\nButoh’s source is the Japanese avant-garde of the 1960s, a period when Japan struggled with the lingering effects of the atomic bomb detonations at Hiroshima and Nagasaki that ended World War II.[1] Originally called \"ankoku butoh,\" or \"dance of darkness,\" the medium created a space for the intensely grotesque and perverse on the stage. Amagatsu's work exhibits the conventional tensions of butoh and envelops them in a mood of emotional stillness. “Sankai Juku” means \"studio by the mountain and the sea\" and implies the serenity and calm which is characteristic of the work.\nSankai Juku's dancers have, like other tipical Butoh dancers, shaved heads and bodies covered in white powder.They may be costumed, partially costumed, or almost unclothed. Rarely wearing typical “street” clothing onstage, they sometimes wear long skirt-like garments.\nThe all-male company’s work is performed by as few as six dancers eschewing the movements typical of modern or other dance forms. The performances are characterized by slow, mesmerizing passages, often using repetition and incorporating the whole body, sometimes focusing only on the feet or fingers. Sometimes minuscule movement or no movement is discernible and one is presented a meditative vision of statuesque postures or groupings. Occasionally recognizable emotive postures and gestures are used, notably contorted body shapes and facial expressions conveying ecstasy and perhaps more often, pain and silent “shrieks.” Frequently, ritualized formal patterns are employed, smoothly evolving or abruptly fractured into quick, sharp, seemingly disjointed sequences whose symbolism or “meanings” are obscure.\nMusic and sound effects are employed, often repetitiously, and range from dynamic drumming to jazz, natural sounds such as wind, sirens, etc., to electronic music and sounds so soft as to be barely perceptible - and periods of silence. Spare scenic backgrounds, delicately nuanced lighting and arresting props (in \"Kinkan Shonen,\" a live peacock) add to the ethereal nature of their performances. -- Wikipedia"},{"slug":"julien_isaac_baltimore_2003","ok":true,"partial":false,"title":"Baltimore","artist":"Isaac Julien","year":"2003","startOffset":0,"sourceSecs":758.698,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":131748592,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_baltimore_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_baltimore_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/julien_isaac_baltimore_2003.mkv","hasFrames":true,"description":"Filmed in Baltimore at The Great Blacks in Wax Museum, the Peabody Library, and the Walters Museum, the film stars the famed blaxploitation film director Melvin Van Peebles and an archetypal, Foxy Brown-type character played by Vanessa Myre. Baltimore, incorporating high tech special effects and futuristic disjunction, pays homage to 70's blaxploitation films inspired by the styles, gesture, language and iconography explored in Julien's documentary film on the genre Baadasssss Cinema. <br/><br/> This is a single screen version.","artist_bio":"Julien graduated from Saint Martin's School of Art in 1985, where he studied painting and fine art film. He founded Sankofa Film and Video Collective, and was a founding member of Normal Films in 1991.\nJulien came to prominence in the film world with his 1989 drama-documentary Looking for Langston, gaining a cult following with this poetic exploration of Langston Hughes and the Harlem Renaissance. This following was expanded in 1991 when his film Young Soul Rebels won the Semaine de la Critique prize for best film at the Cannes Film Festival.\nOne of the objectives of Julien's work is to break down the barriers that exist between different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting these to construct a powerfully visual narrative. Thematically, much of his work directly relates to experiences of black and gay identity (he is himself gay), including issues of class, sexuality, and artistic and cultural history. He was nominated for the Turner Prize in 2001, and in 2003 he won the Grand Jury Prize at the Kunst filmBiennale in Cologne for his single screen version of Baltimore. Julien is also a documentary filmmaker - his work in this genre includes BaadAsssss Cinema, a film on the history and influence of blaxploitation cinema.\nJulien lives and works in London. He was visiting lecturer at Harvard University's Schools of Afro-American and Visual Environmental Studies, and is currently a visiting professor at the Whitney Museum of American Arts. He was also a research fellow at Goldsmiths College, University of London, and in September 2009 he became a professor at the Karlsruhe University of Arts and Design. Julien is a patron of the Live Art Development Agency.","bio_dates":"b. 1960"},{"slug":"julien_isaac_encore_2007_iphone","ok":true,"partial":false,"title":"Encore: Tabula Rasa (Ten Thousand Waves)","artist":"Isaac Julien","year":"2010","startOffset":0,"sourceSecs":692.04,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":39747978,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_encore_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_encore_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/julien_isaac_encore_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/julien_isaac_encore_2007_iphone/main.mp4?v=2","description":"11 minutes <br/><br/> Isaac Julien is a video artist and a filmmaker who weaves powerful visual narratives when creating his multi-screen installations. The artist’s practice successfully dissolves the separations that are traditionally associated with different creative disciplines, uniting film and photography, dance and movement, theatre, music and sound art, and painting and sculpture. With works that often explore themes of class, cultural history and identity, this exclusive new media artwork Encore: Tabula Rasa (Ten Thousand Waves) relates to Julien’s nine-screen installation Ten Thousand Waves (2010), which examines the relationship between China's ancient past and rapidly-evolving present. In Latin, the term tabula rasa means blank slate, and here, we witness the cyclic depiction and erasure of traditional Chinese calligraphy, in a dance between older and newer generations.","artist_bio":"Julien graduated from Saint Martin's School of Art in 1985, where he studied painting and fine art film. He founded Sankofa Film and Video Collective, and was a founding member of Normal Films in 1991.\nJulien came to prominence in the film world with his 1989 drama-documentary Looking for Langston, gaining a cult following with this poetic exploration of Langston Hughes and the Harlem Renaissance. This following was expanded in 1991 when his film Young Soul Rebels won the Semaine de la Critique prize for best film at the Cannes Film Festival.\nOne of the objectives of Julien's work is to break down the barriers that exist between different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting these to construct a powerfully visual narrative. Thematically, much of his work directly relates to experiences of black and gay identity (he is himself gay), including issues of class, sexuality, and artistic and cultural history. He was nominated for the Turner Prize in 2001, and in 2003 he won the Grand Jury Prize at the Kunst filmBiennale in Cologne for his single screen version of Baltimore. Julien is also a documentary filmmaker - his work in this genre includes BaadAsssss Cinema, a film on the history and influence of blaxploitation cinema.\nJulien lives and works in London. He was visiting lecturer at Harvard University's Schools of Afro-American and Visual Environmental Studies, and is currently a visiting professor at the Whitney Museum of American Arts. He was also a research fellow at Goldsmiths College, University of London, and in September 2009 he became a professor at the Karlsruhe University of Arts and Design. Julien is a patron of the Live Art Development Agency.","bio_dates":"b. 1960"},{"slug":"julien_isaac_looking_for_langston_1989","ok":true,"partial":false,"title":"Looking for Langston","artist":"Isaac Julien","year":"1988","startOffset":0,"sourceSecs":2681.12,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":449367647,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_looking_for_langston_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_looking_for_langston_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/julien_isaac_looking_for_langston_1989.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/julien_isaac_looking_for_langston_1989/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/julien_isaac_looking_for_langston_1989/main/master.m3u8?v=2","hasMainHls":true,"description":"In this lyrical and poetic consideration of the life of revered Harlem Renaissance poet Langston Hughes, award-winning British film-maker Isaac Julien invokes Hughes as a black gay cultural icon, against an impressionistic, atmospheric setting that parallels a Harlem speakeasy of the 1920s with an 80s London nightclub.<br/><br/> Extracts from Hughes' poetry are interwoven with the work of cultural figures from the 1920s and beyond, including black poets Essex Hemphill and Bruce Nugent, and photographer Robert Mapplethorpe, constructing a lyrical and multilayered narrative. Julien explores the ambiguous sexual subtexts of a period of rich artistic expression, and the enduring cultural significance of these pioneers' work.<br/><br/> Shot in black and white by cinematographer Nina Kellgren, the film combines archival footage with newly staged set pieces, fantasy sequences, and an imagined love story. The result is a beautiful and ultimately celebratory piece about artistic expression and the nature of black gay desire. SOURCE: From British Film Institute Site","artist_bio":"Julien graduated from Saint Martin's School of Art in 1985, where he studied painting and fine art film. He founded Sankofa Film and Video Collective, and was a founding member of Normal Films in 1991.\nJulien came to prominence in the film world with his 1989 drama-documentary Looking for Langston, gaining a cult following with this poetic exploration of Langston Hughes and the Harlem Renaissance. This following was expanded in 1991 when his film Young Soul Rebels won the Semaine de la Critique prize for best film at the Cannes Film Festival.\nOne of the objectives of Julien's work is to break down the barriers that exist between different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting these to construct a powerfully visual narrative. Thematically, much of his work directly relates to experiences of black and gay identity (he is himself gay), including issues of class, sexuality, and artistic and cultural history. He was nominated for the Turner Prize in 2001, and in 2003 he won the Grand Jury Prize at the Kunst filmBiennale in Cologne for his single screen version of Baltimore. Julien is also a documentary filmmaker - his work in this genre includes BaadAsssss Cinema, a film on the history and influence of blaxploitation cinema.\nJulien lives and works in London. He was visiting lecturer at Harvard University's Schools of Afro-American and Visual Environmental Studies, and is currently a visiting professor at the Whitney Museum of American Arts. He was also a research fellow at Goldsmiths College, University of London, and in September 2009 he became a professor at the Karlsruhe University of Arts and Design. Julien is a patron of the Live Art Development Agency.","bio_dates":"b. 1960"},{"slug":"julien_isaac_maureen_blackwood_the_passion_of_remembrance_1986","ok":true,"partial":false,"title":"The Passion of Remembrance","artist":"Isaac Julien","year":"1986","startOffset":0,"sourceSecs":4709.705,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":271437830,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_maureen_blackwood_the_passion_of_remembrance_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_maureen_blackwood_the_passion_of_remembrance_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/julien_isaac_maureen_blackwood_the_passion_of_remembrance_1986.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/julien_isaac_maureen_blackwood_the_passion_of_remembrance_1986/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/julien_isaac_maureen_blackwood_the_passion_of_remembrance_1986/main/master.m3u8?v=2","hasMainHls":true,"description":"A Sankofa film by Maureen Blackwood and Isaac Julien<br/> England, 1986, 80 minutes, Color<br/> <br/> The first film by Sankofa Film and Video, THE PASSION OF REMEMBRANCE has gained classic status as a representation of the totality and diversity of Black experience. Within a dramatic framework the film gives a mosaic impression of the different dimensions of Black experience lived and imagined by a generation of filmmakers in the UK. As beautiful as it is eloquent, THE PASSION OF REMEMBRANCE is critical viewing for those interested in race, gender, history and cinema studies.","artist_bio":"Julien graduated from Saint Martin's School of Art in 1985, where he studied painting and fine art film. He founded Sankofa Film and Video Collective, and was a founding member of Normal Films in 1991.\nJulien came to prominence in the film world with his 1989 drama-documentary Looking for Langston, gaining a cult following with this poetic exploration of Langston Hughes and the Harlem Renaissance. This following was expanded in 1991 when his film Young Soul Rebels won the Semaine de la Critique prize for best film at the Cannes Film Festival.\nOne of the objectives of Julien's work is to break down the barriers that exist between different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting these to construct a powerfully visual narrative. Thematically, much of his work directly relates to experiences of black and gay identity (he is himself gay), including issues of class, sexuality, and artistic and cultural history. He was nominated for the Turner Prize in 2001, and in 2003 he won the Grand Jury Prize at the Kunst filmBiennale in Cologne for his single screen version of Baltimore. Julien is also a documentary filmmaker - his work in this genre includes BaadAsssss Cinema, a film on the history and influence of blaxploitation cinema.\nJulien lives and works in London. He was visiting lecturer at Harvard University's Schools of Afro-American and Visual Environmental Studies, and is currently a visiting professor at the Whitney Museum of American Arts. He was also a research fellow at Goldsmiths College, University of London, and in September 2009 he became a professor at the Karlsruhe University of Arts and Design. Julien is a patron of the Live Art Development Agency.","bio_dates":"b. 1960"},{"slug":"julien_isaac_the_attendant_1993_iphone","ok":true,"partial":false,"title":"The Attendant","artist":"Isaac Julien","year":"1993","startOffset":0,"sourceSecs":489.76,"sourceHeight":288,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":31873300,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_the_attendant_1993_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_the_attendant_1993_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/julien_isaac_the_attendant_1993_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/julien_isaac_the_attendant_1993_iphone/main.mp4?v=2","description":"10 mins, Colour 35mm, Sound <br/><br/> “The Attendant” (1993) is actually set in a museum: Wilberforce House in Hull, England, which is devoted to the history of slavery. It’s a real place, though in Mr. Julien’s hands it looks surreal.<br/><br/> The plot revolves around sexual fantasies aroused in a middle-aged black male museum guard — or attendant — by a young white male visitor. Much of the action takes place after closing time. As the guard paces the galleries, a huge 19th-century painting titled “Slaves on the West Coast of Africa”, by the French artist François-Auguste Biard, comes to life, its melodramatic scene of a white master bending over a dying black slave transformed into an up-to-date, leather clad sadomasochistic grouping.<br/><br/> Next, there’s an erotic scene between a guard and a young man in a gallery hung with soft-core drawings by Tom of Finland, one of many references to the contemporary art in the film. Their cries are overheard by a third character, a black woman called the conservator, who approvingly listens through the wall as she cleans the museum’s picture frames.<br/><br/> The film is only 10 minutes long, but it packs in a rich variety of images and moods. They include some funky camp humour (gold-lamé bar-boy; mosquito-size Cupids), a complex sexual and racial dynamic of dominance and submission and a poignant sense of loss, which serves as a reminder that the piece was made at the height of the AIDS epidemic. <br/><br/> Holland Cotter, The New York Times (24 November 2006)","artist_bio":"Julien graduated from Saint Martin's School of Art in 1985, where he studied painting and fine art film. He founded Sankofa Film and Video Collective, and was a founding member of Normal Films in 1991.\nJulien came to prominence in the film world with his 1989 drama-documentary Looking for Langston, gaining a cult following with this poetic exploration of Langston Hughes and the Harlem Renaissance. This following was expanded in 1991 when his film Young Soul Rebels won the Semaine de la Critique prize for best film at the Cannes Film Festival.\nOne of the objectives of Julien's work is to break down the barriers that exist between different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting these to construct a powerfully visual narrative. Thematically, much of his work directly relates to experiences of black and gay identity (he is himself gay), including issues of class, sexuality, and artistic and cultural history. He was nominated for the Turner Prize in 2001, and in 2003 he won the Grand Jury Prize at the Kunst filmBiennale in Cologne for his single screen version of Baltimore. Julien is also a documentary filmmaker - his work in this genre includes BaadAsssss Cinema, a film on the history and influence of blaxploitation cinema.\nJulien lives and works in London. He was visiting lecturer at Harvard University's Schools of Afro-American and Visual Environmental Studies, and is currently a visiting professor at the Whitney Museum of American Arts. He was also a research fellow at Goldsmiths College, University of London, and in September 2009 he became a professor at the Karlsruhe University of Arts and Design. Julien is a patron of the Live Art Development Agency.","bio_dates":"b. 1960"},{"slug":"julien_isaac_this_is_not_an_aids_advertisement","ok":true,"partial":false,"title":"This Is Not an AIDS Advertisement","artist":"Isaac Julien","year":"1988","startOffset":0,"sourceSecs":636.97,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":116445678,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_this_is_not_an_aids_advertisement/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/julien_isaac_this_is_not_an_aids_advertisement/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/julien_isaac_this_is_not_an_aids_advertisement.mkv","hasFrames":true,"description":"How is sexual desire surviving under the regime of AIDS fearing morality? This video reclaims some of the territory seized by the new puritans. A pulsating soundtrack and hot pink tinting make men the objects of desire in this unashamedly erotic and stylish video. <br/><br/> \"This Is Not an AIDS Advertisement is stylistically impressionistic and elegiac. Sankofa's sensual mix was particularly striking for its assertion of sexual desire over guilt.\"-- Independent Media Magazine, Mary Downes (1987) <br/><br/> \"Protest as style; sumptuous, powerful Gay retort to the New Puritanism.\" -- City Limits, Steve Bode (1987)","artist_bio":"Julien graduated from Saint Martin's School of Art in 1985, where he studied painting and fine art film. He founded Sankofa Film and Video Collective, and was a founding member of Normal Films in 1991.\nJulien came to prominence in the film world with his 1989 drama-documentary Looking for Langston, gaining a cult following with this poetic exploration of Langston Hughes and the Harlem Renaissance. This following was expanded in 1991 when his film Young Soul Rebels won the Semaine de la Critique prize for best film at the Cannes Film Festival.\nOne of the objectives of Julien's work is to break down the barriers that exist between different artistic disciplines, drawing from and commenting on film, dance, photography, music, theatre, painting and sculpture, and uniting these to construct a powerfully visual narrative. Thematically, much of his work directly relates to experiences of black and gay identity (he is himself gay), including issues of class, sexuality, and artistic and cultural history. He was nominated for the Turner Prize in 2001, and in 2003 he won the Grand Jury Prize at the Kunst filmBiennale in Cologne for his single screen version of Baltimore. Julien is also a documentary filmmaker - his work in this genre includes BaadAsssss Cinema, a film on the history and influence of blaxploitation cinema.\nJulien lives and works in London. He was visiting lecturer at Harvard University's Schools of Afro-American and Visual Environmental Studies, and is currently a visiting professor at the Whitney Museum of American Arts. He was also a research fellow at Goldsmiths College, University of London, and in September 2009 he became a professor at the Karlsruhe University of Arts and Design. Julien is a patron of the Live Art Development Agency.","bio_dates":"b. 1960"},{"slug":"just_jesper_a_vicious_undertow_2007","ok":true,"partial":false,"title":"A Vicious Undertow","artist":"Jesper Just","year":"2007","startOffset":0,"sourceSecs":600.085,"sourceHeight":576,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":94965180,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_a_vicious_undertow_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_a_vicious_undertow_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/just_jesper_a_vicious_undertow_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/just_jesper_a_vicious_undertow_2007/main.mp4?v=2","description":"Shot in black and white Super 16mm film and then transferred to video, the slick contrast, staged lighting and elegant camera movements in A Vicious Undertow are so aesthetically precise that film appears almost artificial. Just's protagonist, an older woman, plays out an enigmatic narrative alongside the film's two other characters, a timeless looking young man and woman, in a dramatic lounge constructed of lush wood-paneling. Whether these characters exist in real time or in a remote space within the older woman's memory, the charged exchange between the two lovers lingers just out of reach. Youth, beauty, and sexuality permeate the film's rich texture, while tones of melancholy and naiveté obscure the characters, their relationships, and the ultimately the film itself, with swaying currents of unrequited moments. <br/><br/> A Vicious Undertow opens like a dance, as the camera pans across a piece of fabric, slowly revealing its owner, Just's whistling female protagonist. Here, through song and movement, Just introduces his three characters with highly physical modes of expression; modes that form the basis of communication in all of Just's films. Until A Vicious Undertow, Just dealt mainly with the complexities of male relationships, usually between a father figure and a son. As in his previous films, there is the continuous suggestion of a storyline in the background, but ultimately Just leaves it to the viewer to tell the story, based on one's own personal memories and associations. <br/><br/> Often using visual and aural cues that reference mainstream film and television Just employs cinematic and narrative tropes from media and film history in order to dissect their conventions. He extracts the climax of a filmÑthe point at which the viewer is completely seduced and rife with anxiety, when the music starts in and the plot is in its final stages of unfoldingÑbut does not offer a single resolution. <br/><br/> A Vicious Undertow has been shown at the Witte de With Center for Contemporary Art in Rotterdam, the 'Five Year Anniversary Show' at Galleri Christina Wilson and the Montreal Biennale. It will be shown at the Beijing Center for Creativity in conjunction with the Millennium Art Museum this summer and at the inaugural exhibition of the MediaLabArt Museum in Moscow in the fall. This past year Just has had solo exhibitions at the Witte de With Center for Contemporary Art, the Vienna Kunsthalle, the Moore Space in Miami, FL, the Hirschorn Museum and Sculpture Garden in Washington D.C., and the Stedelijk Museum in Amsterdam. Just graduated from the Copenhagen Royal Academy of Fine Arts in 2003. He was born in 1974 in Copenhagen, Denmark, and currently splits his time between Copenhagen and New York.","artist_bio":"Jesper Just (born 1974 in Copenhagen, Denmark) is a Danish artist, and living and working in Copenhagen and New York, NY. From 1997 to 2003 he studied at the Royal Danish Academy of Fine Arts.\nJust works exclusively in film, shooting on a variety of film stock, including 8 mm, 16 mm and 35 mm. Works dating from 2003 and before were recorded in digital video. All later works are shot on film and then transferred to HD video. The resulting images are dense and atmospheric. Their prominent soundtracks are conceived specifically for each film in cooperation with different musicians.\nHis works have been shown throughout Europe and the United States, including: the Hammer Museum, Los Angeles, CA (2005), the Miami Art Museum, Miami, FL (2007); and the Witte de With in Rotterdam, The Netherlands (2007). His most recent exhibitions opened in September 2008; they include: Romantic Delusions at the Brooklyn Museum, Brooklyn, NY, U-Turn, the Copenhagen Quadrennial in Copenhagen, Denmark, and the Liverpool Biennial in Liverpool, UK. In 2009, Jesper Just will present a new film at Perry Rubenstein Gallery in New York, NY.\nJesper Just's films are moody, atmospheric narratives often comprised of ambiguous and unresolved storylines. Thematically, his film works revolve around \"the complex inter-relations between sexuality, love and cinema.\" Many of his older films specifically question conventional notions of masculinity. Nina Folkersma writes: \"A real man is supposed to contain his emotions, to be inviolable, intellectual, pragmatic, virile, and dominant. That, at least, is the image of man portrayed in most Hollywood films. Transgressing social and cinematographic conventional representations of masculinity is a crucial element of Just's work.\"\nJust uses Hollywood conventions as a kind of backdrop for his narratives. His films surprise the viewer with unexpected plot twists and characters stepping out of their expected roles. In \"Invitation to Love\" (2003), for instance, a young man takes off his shoes and dances barefoot on a table for an older man. A press release that introduced his recent exhibition, A Voyage in Dwelling, states: \"Just's videos attempt to dissect the nature of human interaction and the awkwardness of relationships. As in \"A Vicious Undertow\" (2007) - a seductive pas de trois between a middle-aged woman, and a younger woman and man – Just often seeks to emphasize the absurdity of gender roles and the way which cultures generate them. He presents charged relationships that could be perceived as perverse and endows them with beauty and dignity.\"[3] The film A Vicious Undertow (2006) marks a change in Just's oeuvre. It is the first film that uses a female protagonist. This development can be followed throughout Just's newer films up to 2008. In a recent article in frieze, Eliza Williams notes: \"Far from naturalistic, his films contain a deliberate ambiguity, which, while at times unsettling, allows for an emotional resonance that speaks of a meaning above and beyond mere storytelling.\"\nInfluences of film noir aesthetics are present in his work and Just reveres the films of iconic directors such as Ingmar Bergman, Bob Fosse, Alain Resnais, Alfred Hitchcock, David Lynch and Michelangelo Antonioni. He employs a reappearing cast of professional actors, dancers and opera singers (the Danish actor Johannes Lilleøre, professional mathematician H.C., musician Dorit Chrysler and Mieskuoro Huutajat of The Finnish Screaming Men's Choir).","bio_dates":"b. 1974"},{"slug":"just_jesper_blissandheaven_2005","ok":true,"partial":false,"title":"Bliss and Heaven","artist":"Jesper Just","year":"2005","startOffset":0,"sourceSecs":524.075,"sourceHeight":436,"sourceWidth":758,"hasAudio":true,"hasAmbientMp4":true,"bytes":32983525,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_blissandheaven_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_blissandheaven_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/just_jesper_blissandheaven_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/just_jesper_blissandheaven_2005/main.mp4?v=2","description":"Near the beginning of \"Bliss and Heaven\" (2004), a short film by the Danish artist Jesper Just, a young man crouches at the edge of a wheat field as a trailer truck roars into an open lot next to an electrical substation. The driver, a big middle-aged guy in a trucker hat and, like the young man, wearing a white tank top and worn bluejeans, gets out, looks around as if he knows he's being watched and ambles to the back of the trailer, where he opens the door and climbs in. The young man follows. Once inside, he finds himself in a small, ornate 19th-century music hall. <br/><br/> The older man appears in a spotlight onstage wearing a woman's blond wig and a long, diaphanous scarf. In an extraordinarily deep voice and with great feeling, he proceeds to sing \"Please Don't Keep Me Waiting,\" a song made famous by Olivia Newton-John. It is beautiful and powerfully stirring. Even when he points to the sky and rocks his hips disco-style, his scarf billowing on fan-driven wind, it seems not absurd but urgently expressive. <br/><br/> And when he collapses onstage at the end, as the lights flicker violently, you feel you've witnessed an emotional upheaval of monumental proportions. The young man, visibly moved, rises from his seat in the middle of the hall and applauds slowly and steadily as the film ends. <br/><br/> Included in \"Romantic Delusions,\" an enchanting show of four short films by Mr. Just at the Brooklyn Museum, \"Bliss and Heaven\" exhibits most of the qualities for which he has become known since completing his studies at the Royal Danish Academy of Fine Arts, Copenhagen, in 2003. Melodramatic but never campy or over the top and with Hollywood-quality production values, his films probe vulnerable, ordinarily well-armored zones of the masculine psyche like grief, same-sex love, Oedipal conflict and spiritual desire.","artist_bio":"Jesper Just (born 1974 in Copenhagen, Denmark) is a Danish artist, and living and working in Copenhagen and New York, NY. From 1997 to 2003 he studied at the Royal Danish Academy of Fine Arts.\nJust works exclusively in film, shooting on a variety of film stock, including 8 mm, 16 mm and 35 mm. Works dating from 2003 and before were recorded in digital video. All later works are shot on film and then transferred to HD video. The resulting images are dense and atmospheric. Their prominent soundtracks are conceived specifically for each film in cooperation with different musicians.\nHis works have been shown throughout Europe and the United States, including: the Hammer Museum, Los Angeles, CA (2005), the Miami Art Museum, Miami, FL (2007); and the Witte de With in Rotterdam, The Netherlands (2007). His most recent exhibitions opened in September 2008; they include: Romantic Delusions at the Brooklyn Museum, Brooklyn, NY, U-Turn, the Copenhagen Quadrennial in Copenhagen, Denmark, and the Liverpool Biennial in Liverpool, UK. In 2009, Jesper Just will present a new film at Perry Rubenstein Gallery in New York, NY.\nJesper Just's films are moody, atmospheric narratives often comprised of ambiguous and unresolved storylines. Thematically, his film works revolve around \"the complex inter-relations between sexuality, love and cinema.\" Many of his older films specifically question conventional notions of masculinity. Nina Folkersma writes: \"A real man is supposed to contain his emotions, to be inviolable, intellectual, pragmatic, virile, and dominant. That, at least, is the image of man portrayed in most Hollywood films. Transgressing social and cinematographic conventional representations of masculinity is a crucial element of Just's work.\"\nJust uses Hollywood conventions as a kind of backdrop for his narratives. His films surprise the viewer with unexpected plot twists and characters stepping out of their expected roles. In \"Invitation to Love\" (2003), for instance, a young man takes off his shoes and dances barefoot on a table for an older man. A press release that introduced his recent exhibition, A Voyage in Dwelling, states: \"Just's videos attempt to dissect the nature of human interaction and the awkwardness of relationships. As in \"A Vicious Undertow\" (2007) - a seductive pas de trois between a middle-aged woman, and a younger woman and man – Just often seeks to emphasize the absurdity of gender roles and the way which cultures generate them. He presents charged relationships that could be perceived as perverse and endows them with beauty and dignity.\"[3] The film A Vicious Undertow (2006) marks a change in Just's oeuvre. It is the first film that uses a female protagonist. This development can be followed throughout Just's newer films up to 2008. In a recent article in frieze, Eliza Williams notes: \"Far from naturalistic, his films contain a deliberate ambiguity, which, while at times unsettling, allows for an emotional resonance that speaks of a meaning above and beyond mere storytelling.\"\nInfluences of film noir aesthetics are present in his work and Just reveres the films of iconic directors such as Ingmar Bergman, Bob Fosse, Alain Resnais, Alfred Hitchcock, David Lynch and Michelangelo Antonioni. He employs a reappearing cast of professional actors, dancers and opera singers (the Danish actor Johannes Lilleøre, professional mathematician H.C., musician Dorit Chrysler and Mieskuoro Huutajat of The Finnish Screaming Men's Choir).","bio_dates":"b. 1974"},{"slug":"just_jesper_llano_2012","ok":true,"partial":false,"title":"Llano","artist":"Jesper Just","year":"2009","startOffset":0,"sourceSecs":453.018,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":196997411,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_llano_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_llano_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/just_jesper_llano_2012.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/just_jesper_llano_2012/main.mp4?v=2","description":"Just’s cinematic films are known for their poetic explorations of place. In \"Llano,\" a young woman attempts to rebuild, stone by stone, a collapsing wall amidst a torrential downpour on an otherwise sunny day. The absurdity of the action becomes apparent as the camera pulls back from the subject to reveal the artificial source of the rain — a makeshift structure of plastic tubing much like that used on Hollywood movie sets. The subject of Just’s film is locked in a laborious and fruitless attempt to rebuild while the man-made irrigation system continually thwarts her efforts.","artist_bio":"Jesper Just (born 1974 in Copenhagen, Denmark) is a Danish artist, and living and working in Copenhagen and New York, NY. From 1997 to 2003 he studied at the Royal Danish Academy of Fine Arts.\nJust works exclusively in film, shooting on a variety of film stock, including 8 mm, 16 mm and 35 mm. Works dating from 2003 and before were recorded in digital video. All later works are shot on film and then transferred to HD video. The resulting images are dense and atmospheric. Their prominent soundtracks are conceived specifically for each film in cooperation with different musicians.\nHis works have been shown throughout Europe and the United States, including: the Hammer Museum, Los Angeles, CA (2005), the Miami Art Museum, Miami, FL (2007); and the Witte de With in Rotterdam, The Netherlands (2007). His most recent exhibitions opened in September 2008; they include: Romantic Delusions at the Brooklyn Museum, Brooklyn, NY, U-Turn, the Copenhagen Quadrennial in Copenhagen, Denmark, and the Liverpool Biennial in Liverpool, UK. In 2009, Jesper Just will present a new film at Perry Rubenstein Gallery in New York, NY.\nJesper Just's films are moody, atmospheric narratives often comprised of ambiguous and unresolved storylines. Thematically, his film works revolve around \"the complex inter-relations between sexuality, love and cinema.\" Many of his older films specifically question conventional notions of masculinity. Nina Folkersma writes: \"A real man is supposed to contain his emotions, to be inviolable, intellectual, pragmatic, virile, and dominant. That, at least, is the image of man portrayed in most Hollywood films. Transgressing social and cinematographic conventional representations of masculinity is a crucial element of Just's work.\"\nJust uses Hollywood conventions as a kind of backdrop for his narratives. His films surprise the viewer with unexpected plot twists and characters stepping out of their expected roles. In \"Invitation to Love\" (2003), for instance, a young man takes off his shoes and dances barefoot on a table for an older man. A press release that introduced his recent exhibition, A Voyage in Dwelling, states: \"Just's videos attempt to dissect the nature of human interaction and the awkwardness of relationships. As in \"A Vicious Undertow\" (2007) - a seductive pas de trois between a middle-aged woman, and a younger woman and man – Just often seeks to emphasize the absurdity of gender roles and the way which cultures generate them. He presents charged relationships that could be perceived as perverse and endows them with beauty and dignity.\"[3] The film A Vicious Undertow (2006) marks a change in Just's oeuvre. It is the first film that uses a female protagonist. This development can be followed throughout Just's newer films up to 2008. In a recent article in frieze, Eliza Williams notes: \"Far from naturalistic, his films contain a deliberate ambiguity, which, while at times unsettling, allows for an emotional resonance that speaks of a meaning above and beyond mere storytelling.\"\nInfluences of film noir aesthetics are present in his work and Just reveres the films of iconic directors such as Ingmar Bergman, Bob Fosse, Alain Resnais, Alfred Hitchcock, David Lynch and Michelangelo Antonioni. He employs a reappearing cast of professional actors, dancers and opera singers (the Danish actor Johannes Lilleøre, professional mathematician H.C., musician Dorit Chrysler and Mieskuoro Huutajat of The Finnish Screaming Men's Choir).","bio_dates":"b. 1974"},{"slug":"just_jesper_no_man_is_an_island_2002","ok":true,"partial":false,"title":"No Man Is an Island","artist":"Jesper Just","year":"2002","startOffset":0,"sourceSecs":225.04,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":71175350,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_no_man_is_an_island_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_no_man_is_an_island_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/just_jesper_no_man_is_an_island_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/just_jesper_no_man_is_an_island_2002/main.mp4?v=2","description":"No Man Is an Island is the earliest video made when Just was a student at the Royal Academy of Fine Arts in Copenhagen. It's an impressive debut with his later trademarks in nascent form. An older man begins dancing in a public square, oblivious to the laughing gawkers who pass by. He seems to want to engage the attention of a young man sitting on a bench who begins weeping. <br/><br/> A group of youngsters mimics and mocks the dancer. He's oblivious to them. The music is a sprightly tune that Fred Astaire might have used as he enticed Ginger Rogers into his arms. And didn't he do a lot of dancing in the streets in his movies? Nobody laughed at him. But, of course, he was only on a pretend street in a Hollywood soundstage. We know this is also a setup. Still, it's embarrassing. They're making public displays of themselves. The man, expressionless, continues to dance. The other man continues to weep. One kid starts taking the performance seriously and joins in the dance as a sort of pas de deux. Both men ignore him. And then it's over. We don't know why it began or ended. Courting ritual or celebration of self, it's unclear.","artist_bio":"Jesper Just (born 1974 in Copenhagen, Denmark) is a Danish artist, and living and working in Copenhagen and New York, NY. From 1997 to 2003 he studied at the Royal Danish Academy of Fine Arts.\nJust works exclusively in film, shooting on a variety of film stock, including 8 mm, 16 mm and 35 mm. Works dating from 2003 and before were recorded in digital video. All later works are shot on film and then transferred to HD video. The resulting images are dense and atmospheric. Their prominent soundtracks are conceived specifically for each film in cooperation with different musicians.\nHis works have been shown throughout Europe and the United States, including: the Hammer Museum, Los Angeles, CA (2005), the Miami Art Museum, Miami, FL (2007); and the Witte de With in Rotterdam, The Netherlands (2007). His most recent exhibitions opened in September 2008; they include: Romantic Delusions at the Brooklyn Museum, Brooklyn, NY, U-Turn, the Copenhagen Quadrennial in Copenhagen, Denmark, and the Liverpool Biennial in Liverpool, UK. In 2009, Jesper Just will present a new film at Perry Rubenstein Gallery in New York, NY.\nJesper Just's films are moody, atmospheric narratives often comprised of ambiguous and unresolved storylines. Thematically, his film works revolve around \"the complex inter-relations between sexuality, love and cinema.\" Many of his older films specifically question conventional notions of masculinity. Nina Folkersma writes: \"A real man is supposed to contain his emotions, to be inviolable, intellectual, pragmatic, virile, and dominant. That, at least, is the image of man portrayed in most Hollywood films. Transgressing social and cinematographic conventional representations of masculinity is a crucial element of Just's work.\"\nJust uses Hollywood conventions as a kind of backdrop for his narratives. His films surprise the viewer with unexpected plot twists and characters stepping out of their expected roles. In \"Invitation to Love\" (2003), for instance, a young man takes off his shoes and dances barefoot on a table for an older man. A press release that introduced his recent exhibition, A Voyage in Dwelling, states: \"Just's videos attempt to dissect the nature of human interaction and the awkwardness of relationships. As in \"A Vicious Undertow\" (2007) - a seductive pas de trois between a middle-aged woman, and a younger woman and man – Just often seeks to emphasize the absurdity of gender roles and the way which cultures generate them. He presents charged relationships that could be perceived as perverse and endows them with beauty and dignity.\"[3] The film A Vicious Undertow (2006) marks a change in Just's oeuvre. It is the first film that uses a female protagonist. This development can be followed throughout Just's newer films up to 2008. In a recent article in frieze, Eliza Williams notes: \"Far from naturalistic, his films contain a deliberate ambiguity, which, while at times unsettling, allows for an emotional resonance that speaks of a meaning above and beyond mere storytelling.\"\nInfluences of film noir aesthetics are present in his work and Just reveres the films of iconic directors such as Ingmar Bergman, Bob Fosse, Alain Resnais, Alfred Hitchcock, David Lynch and Michelangelo Antonioni. He employs a reappearing cast of professional actors, dancers and opera singers (the Danish actor Johannes Lilleøre, professional mathematician H.C., musician Dorit Chrysler and Mieskuoro Huutajat of The Finnish Screaming Men's Choir).","bio_dates":"b. 1974"},{"slug":"just_jesper_romantic_delusions_2009_iphone","ok":true,"partial":false,"title":"Romantic Delusions","artist":"Jesper Just","year":"2008","startOffset":0,"sourceSecs":616.04,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":37431766,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_romantic_delusions_2009_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_romantic_delusions_2009_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/just_jesper_romantic_delusions_2009_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/just_jesper_romantic_delusions_2009_iphone/main.mp4?v=2","description":"Just puts a different spin on gender in his latest film, Romantic Delusions, a three-channel projection featuring Udo Kier [..] as a hermaphrodite who wanders through Bucharest. The character's duality, Just explains, represents the merging (and the clash) of East and West in Romania, opposites also mirrored in the film's music: The hermaphrodite, with a high-pitched voice dubbed by a countertenor, warbles over a death-metal track.<br/><br/> Filmed in 8mm, the work marks a return to Just's earlier documentary style. Shooting Romantic Delusions, he says, simply involved \"going out with a vague idea and working in reality, and seeing what happens if you have a man with tits in Bucharest.\" In a tank top, gazing at his surroundings with his trademark ice-blue eyes, Kier strolls past drab apartment buildings, visits the enormous People's Palace, and finally ends up in a derelict casino on the Black Sea, where he participates in an eroticized tableau vivant. The journey's moods track the city's sudden architectural shifts, a jumble that Just calls \"weird, schizophrenic, random, postmodern.\" The description works pretty well for the film, too—like Just's other work, it's absorbingly enigmatic.","artist_bio":"Jesper Just (born 1974 in Copenhagen, Denmark) is a Danish artist, and living and working in Copenhagen and New York, NY. From 1997 to 2003 he studied at the Royal Danish Academy of Fine Arts.\nJust works exclusively in film, shooting on a variety of film stock, including 8 mm, 16 mm and 35 mm. Works dating from 2003 and before were recorded in digital video. All later works are shot on film and then transferred to HD video. The resulting images are dense and atmospheric. Their prominent soundtracks are conceived specifically for each film in cooperation with different musicians.\nHis works have been shown throughout Europe and the United States, including: the Hammer Museum, Los Angeles, CA (2005), the Miami Art Museum, Miami, FL (2007); and the Witte de With in Rotterdam, The Netherlands (2007). His most recent exhibitions opened in September 2008; they include: Romantic Delusions at the Brooklyn Museum, Brooklyn, NY, U-Turn, the Copenhagen Quadrennial in Copenhagen, Denmark, and the Liverpool Biennial in Liverpool, UK. In 2009, Jesper Just will present a new film at Perry Rubenstein Gallery in New York, NY.\nJesper Just's films are moody, atmospheric narratives often comprised of ambiguous and unresolved storylines. Thematically, his film works revolve around \"the complex inter-relations between sexuality, love and cinema.\" Many of his older films specifically question conventional notions of masculinity. Nina Folkersma writes: \"A real man is supposed to contain his emotions, to be inviolable, intellectual, pragmatic, virile, and dominant. That, at least, is the image of man portrayed in most Hollywood films. Transgressing social and cinematographic conventional representations of masculinity is a crucial element of Just's work.\"\nJust uses Hollywood conventions as a kind of backdrop for his narratives. His films surprise the viewer with unexpected plot twists and characters stepping out of their expected roles. In \"Invitation to Love\" (2003), for instance, a young man takes off his shoes and dances barefoot on a table for an older man. A press release that introduced his recent exhibition, A Voyage in Dwelling, states: \"Just's videos attempt to dissect the nature of human interaction and the awkwardness of relationships. As in \"A Vicious Undertow\" (2007) - a seductive pas de trois between a middle-aged woman, and a younger woman and man – Just often seeks to emphasize the absurdity of gender roles and the way which cultures generate them. He presents charged relationships that could be perceived as perverse and endows them with beauty and dignity.\"[3] The film A Vicious Undertow (2006) marks a change in Just's oeuvre. It is the first film that uses a female protagonist. This development can be followed throughout Just's newer films up to 2008. In a recent article in frieze, Eliza Williams notes: \"Far from naturalistic, his films contain a deliberate ambiguity, which, while at times unsettling, allows for an emotional resonance that speaks of a meaning above and beyond mere storytelling.\"\nInfluences of film noir aesthetics are present in his work and Just reveres the films of iconic directors such as Ingmar Bergman, Bob Fosse, Alain Resnais, Alfred Hitchcock, David Lynch and Michelangelo Antonioni. He employs a reappearing cast of professional actors, dancers and opera singers (the Danish actor Johannes Lilleøre, professional mathematician H.C., musician Dorit Chrysler and Mieskuoro Huutajat of The Finnish Screaming Men's Choir).","bio_dates":"b. 1974"},{"slug":"just_jesper_sirens_of_chrome_2010_iphone","ok":true,"partial":false,"title":"Sirens of Chrome","artist":"Jesper Just","year":"2010","startOffset":0,"sourceSecs":720.04,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":45611874,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_sirens_of_chrome_2010_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_sirens_of_chrome_2010_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/just_jesper_sirens_of_chrome_2010_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/just_jesper_sirens_of_chrome_2010_iphone/main.mp4?v=2","description":"A single-screen projection, Sirens of Chrome comprises a similar two-scene dramatic format. Just seems to thrive on this – arguably a film with a beginning and middle, but no end. Two fanciful visions of Detroit are depicted: three African-American women in a black Chevy with a purple door and mismatched tyres cruise through desert­ed streets to a plaintive piano soundtrack. They find themselves in an opera-house-turned-carpark, involved in a ritualistic, possibly violent, slow-motion dance sequence. The scene is punctuated by a harsh drumbeat, which is itself propelled by the metallic crunches of a fourth woman rolling herself over the car. Just allows himself to revel in a degree of cultural generalization: he romanticizes Detroit by presenting two floating dream worlds – the American stereotype of the timeless space of driving, combined with the West Side Story-esque fabrication of rhythmic urban confrontation. But Sirens of Chrome is a stunning balletic piece notwithstanding.","artist_bio":"Jesper Just (born 1974 in Copenhagen, Denmark) is a Danish artist, and living and working in Copenhagen and New York, NY. From 1997 to 2003 he studied at the Royal Danish Academy of Fine Arts.\nJust works exclusively in film, shooting on a variety of film stock, including 8 mm, 16 mm and 35 mm. Works dating from 2003 and before were recorded in digital video. All later works are shot on film and then transferred to HD video. The resulting images are dense and atmospheric. Their prominent soundtracks are conceived specifically for each film in cooperation with different musicians.\nHis works have been shown throughout Europe and the United States, including: the Hammer Museum, Los Angeles, CA (2005), the Miami Art Museum, Miami, FL (2007); and the Witte de With in Rotterdam, The Netherlands (2007). His most recent exhibitions opened in September 2008; they include: Romantic Delusions at the Brooklyn Museum, Brooklyn, NY, U-Turn, the Copenhagen Quadrennial in Copenhagen, Denmark, and the Liverpool Biennial in Liverpool, UK. In 2009, Jesper Just will present a new film at Perry Rubenstein Gallery in New York, NY.\nJesper Just's films are moody, atmospheric narratives often comprised of ambiguous and unresolved storylines. Thematically, his film works revolve around \"the complex inter-relations between sexuality, love and cinema.\" Many of his older films specifically question conventional notions of masculinity. Nina Folkersma writes: \"A real man is supposed to contain his emotions, to be inviolable, intellectual, pragmatic, virile, and dominant. That, at least, is the image of man portrayed in most Hollywood films. Transgressing social and cinematographic conventional representations of masculinity is a crucial element of Just's work.\"\nJust uses Hollywood conventions as a kind of backdrop for his narratives. His films surprise the viewer with unexpected plot twists and characters stepping out of their expected roles. In \"Invitation to Love\" (2003), for instance, a young man takes off his shoes and dances barefoot on a table for an older man. A press release that introduced his recent exhibition, A Voyage in Dwelling, states: \"Just's videos attempt to dissect the nature of human interaction and the awkwardness of relationships. As in \"A Vicious Undertow\" (2007) - a seductive pas de trois between a middle-aged woman, and a younger woman and man – Just often seeks to emphasize the absurdity of gender roles and the way which cultures generate them. He presents charged relationships that could be perceived as perverse and endows them with beauty and dignity.\"[3] The film A Vicious Undertow (2006) marks a change in Just's oeuvre. It is the first film that uses a female protagonist. This development can be followed throughout Just's newer films up to 2008. In a recent article in frieze, Eliza Williams notes: \"Far from naturalistic, his films contain a deliberate ambiguity, which, while at times unsettling, allows for an emotional resonance that speaks of a meaning above and beyond mere storytelling.\"\nInfluences of film noir aesthetics are present in his work and Just reveres the films of iconic directors such as Ingmar Bergman, Bob Fosse, Alain Resnais, Alfred Hitchcock, David Lynch and Michelangelo Antonioni. He employs a reappearing cast of professional actors, dancers and opera singers (the Danish actor Johannes Lilleøre, professional mathematician H.C., musician Dorit Chrysler and Mieskuoro Huutajat of The Finnish Screaming Men's Choir).","bio_dates":"b. 1974"},{"slug":"just_jesper_some_draughty_window_2007_iphone","ok":true,"partial":false,"title":"Some Draughty Window","artist":"Jesper Just","year":"2007","startOffset":0,"sourceSecs":477.04,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":29495533,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_some_draughty_window_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_some_draughty_window_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/just_jesper_some_draughty_window_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/just_jesper_some_draughty_window_2007_iphone/main.mp4?v=2","description":"These emotionally charged pieces contain all of the tropes of high production cinematic works – meticulous and lavish set design, dramatic lighting, and sweeping musical scores and sound effects – but refuse to adhere to any linear narrative conventions. Just’s work is deliberately ambiguous and open ended, calling for a viewer to inject personal meanings into these dream-like scenarios.","artist_bio":"Jesper Just (born 1974 in Copenhagen, Denmark) is a Danish artist, and living and working in Copenhagen and New York, NY. From 1997 to 2003 he studied at the Royal Danish Academy of Fine Arts.\nJust works exclusively in film, shooting on a variety of film stock, including 8 mm, 16 mm and 35 mm. Works dating from 2003 and before were recorded in digital video. All later works are shot on film and then transferred to HD video. The resulting images are dense and atmospheric. Their prominent soundtracks are conceived specifically for each film in cooperation with different musicians.\nHis works have been shown throughout Europe and the United States, including: the Hammer Museum, Los Angeles, CA (2005), the Miami Art Museum, Miami, FL (2007); and the Witte de With in Rotterdam, The Netherlands (2007). His most recent exhibitions opened in September 2008; they include: Romantic Delusions at the Brooklyn Museum, Brooklyn, NY, U-Turn, the Copenhagen Quadrennial in Copenhagen, Denmark, and the Liverpool Biennial in Liverpool, UK. In 2009, Jesper Just will present a new film at Perry Rubenstein Gallery in New York, NY.\nJesper Just's films are moody, atmospheric narratives often comprised of ambiguous and unresolved storylines. Thematically, his film works revolve around \"the complex inter-relations between sexuality, love and cinema.\" Many of his older films specifically question conventional notions of masculinity. Nina Folkersma writes: \"A real man is supposed to contain his emotions, to be inviolable, intellectual, pragmatic, virile, and dominant. That, at least, is the image of man portrayed in most Hollywood films. Transgressing social and cinematographic conventional representations of masculinity is a crucial element of Just's work.\"\nJust uses Hollywood conventions as a kind of backdrop for his narratives. His films surprise the viewer with unexpected plot twists and characters stepping out of their expected roles. In \"Invitation to Love\" (2003), for instance, a young man takes off his shoes and dances barefoot on a table for an older man. A press release that introduced his recent exhibition, A Voyage in Dwelling, states: \"Just's videos attempt to dissect the nature of human interaction and the awkwardness of relationships. As in \"A Vicious Undertow\" (2007) - a seductive pas de trois between a middle-aged woman, and a younger woman and man – Just often seeks to emphasize the absurdity of gender roles and the way which cultures generate them. He presents charged relationships that could be perceived as perverse and endows them with beauty and dignity.\"[3] The film A Vicious Undertow (2006) marks a change in Just's oeuvre. It is the first film that uses a female protagonist. This development can be followed throughout Just's newer films up to 2008. In a recent article in frieze, Eliza Williams notes: \"Far from naturalistic, his films contain a deliberate ambiguity, which, while at times unsettling, allows for an emotional resonance that speaks of a meaning above and beyond mere storytelling.\"\nInfluences of film noir aesthetics are present in his work and Just reveres the films of iconic directors such as Ingmar Bergman, Bob Fosse, Alain Resnais, Alfred Hitchcock, David Lynch and Michelangelo Antonioni. He employs a reappearing cast of professional actors, dancers and opera singers (the Danish actor Johannes Lilleøre, professional mathematician H.C., musician Dorit Chrysler and Mieskuoro Huutajat of The Finnish Screaming Men's Choir).","bio_dates":"b. 1974"},{"slug":"just_jesper_this_nameless_spectacle_2011_iphone","ok":true,"partial":false,"title":"This Nameless Spectacle","artist":"Jesper Just","year":"2011","startOffset":0,"sourceSecs":781.04,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":48210713,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_this_nameless_spectacle_2011_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/just_jesper_this_nameless_spectacle_2011_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/just_jesper_this_nameless_spectacle_2011_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/just_jesper_this_nameless_spectacle_2011_iphone/main.mp4?v=2","description":"Grand mal, la petite mort or divine revelation? The question lingers in the wake of the Danish artist Jesper Just’s astounding 13-minute video “This Nameless Spectacle.” On opposite walls, two extremely wide-screen projections follow the peregrinations of an attractive, middle-aged woman rolling herself along in a wheelchair in Paris. First she progresses through the Buttes Chaumont park, passing by forests, cliffs and a waterfall. Then she is on a deserted street where a young man follows her from a distance, staring with enigmatic, possibly menacing intensity.<br/><br/> Reaching the safety of her apartment, she gets out of her chair and putters about in high heels and a tightfitting dress. She pauses to look out her living room window, where she is transfixed by a beam of sunlight glinting off a high window in a building far away. We see then that the young man who was following her is pivoting the window on its hinge, directing the light into her eyes.<br/><br/> Suddenly she falls to the floor in what seems at first to be an epileptic seizure but then begins to seem like sexual or religious ecstasy. Eventually coming to rest, she rises and walks out of the camera frame. The young man, wild-eyed and distraught, bangs on his window, evidently desperate for reconnection.","artist_bio":"Jesper Just (born 1974 in Copenhagen, Denmark) is a Danish artist, and living and working in Copenhagen and New York, NY. From 1997 to 2003 he studied at the Royal Danish Academy of Fine Arts.\nJust works exclusively in film, shooting on a variety of film stock, including 8 mm, 16 mm and 35 mm. Works dating from 2003 and before were recorded in digital video. All later works are shot on film and then transferred to HD video. The resulting images are dense and atmospheric. Their prominent soundtracks are conceived specifically for each film in cooperation with different musicians.\nHis works have been shown throughout Europe and the United States, including: the Hammer Museum, Los Angeles, CA (2005), the Miami Art Museum, Miami, FL (2007); and the Witte de With in Rotterdam, The Netherlands (2007). His most recent exhibitions opened in September 2008; they include: Romantic Delusions at the Brooklyn Museum, Brooklyn, NY, U-Turn, the Copenhagen Quadrennial in Copenhagen, Denmark, and the Liverpool Biennial in Liverpool, UK. In 2009, Jesper Just will present a new film at Perry Rubenstein Gallery in New York, NY.\nJesper Just's films are moody, atmospheric narratives often comprised of ambiguous and unresolved storylines. Thematically, his film works revolve around \"the complex inter-relations between sexuality, love and cinema.\" Many of his older films specifically question conventional notions of masculinity. Nina Folkersma writes: \"A real man is supposed to contain his emotions, to be inviolable, intellectual, pragmatic, virile, and dominant. That, at least, is the image of man portrayed in most Hollywood films. Transgressing social and cinematographic conventional representations of masculinity is a crucial element of Just's work.\"\nJust uses Hollywood conventions as a kind of backdrop for his narratives. His films surprise the viewer with unexpected plot twists and characters stepping out of their expected roles. In \"Invitation to Love\" (2003), for instance, a young man takes off his shoes and dances barefoot on a table for an older man. A press release that introduced his recent exhibition, A Voyage in Dwelling, states: \"Just's videos attempt to dissect the nature of human interaction and the awkwardness of relationships. As in \"A Vicious Undertow\" (2007) - a seductive pas de trois between a middle-aged woman, and a younger woman and man – Just often seeks to emphasize the absurdity of gender roles and the way which cultures generate them. He presents charged relationships that could be perceived as perverse and endows them with beauty and dignity.\"[3] The film A Vicious Undertow (2006) marks a change in Just's oeuvre. It is the first film that uses a female protagonist. This development can be followed throughout Just's newer films up to 2008. In a recent article in frieze, Eliza Williams notes: \"Far from naturalistic, his films contain a deliberate ambiguity, which, while at times unsettling, allows for an emotional resonance that speaks of a meaning above and beyond mere storytelling.\"\nInfluences of film noir aesthetics are present in his work and Just reveres the films of iconic directors such as Ingmar Bergman, Bob Fosse, Alain Resnais, Alfred Hitchcock, David Lynch and Michelangelo Antonioni. He employs a reappearing cast of professional actors, dancers and opera singers (the Danish actor Johannes Lilleøre, professional mathematician H.C., musician Dorit Chrysler and Mieskuoro Huutajat of The Finnish Screaming Men's Choir).","bio_dates":"b. 1974"},{"slug":"kac_accident_digitalpoem_1994_iphone","ok":true,"partial":false,"title":"Accident, 1994","artist":"Eduardo Kac","year":"1994","startOffset":0,"sourceSecs":11.234,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":7476,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_accident_digitalpoem_1994_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_accident_digitalpoem_1994_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kac_accident_digitalpoem_1994_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kac_accident_digitalpoem_1994_iphone/main.mp4?v=2","description":"Runtime looped animation in which language continuously emerges and disappears. As a speech fragment is repeated and letters disappear from it, new meanings emerge. Accident is presented here as a single-channel video.","artist_bio":"Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced \"Katz\") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the \"exotic\" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his \"transgenic art\"--first with a groundbreaking piece entitled Genesis (1999), which included an \"artist's gene\" he invented, and then with \"GFP Bunny,\" his fluorescent rabbit called Alba (2000). Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York; Maison Européenne de la Photographie, Paris; Castello di Rivoli, Turin, Italy; Mori Art Museum, Tokyo; Reina Sofia Museum, Madrid; Zendai Museum of Modern Art, Shanghai; and Seoul Museum of Art, Korea. Kac's work has been showcased in biennials such as Yokohama Triennial, Japan, Biennial of the End of the World, Ushuaia, Argentina, Gwangju Biennale, Korea, Bienal de Sao Paulo, Brazil, and International Triennial of New Media Art, National Art Museum of China, Beijing. His work is part of the permanent collection of the Victoria & Albert Museum, London, the Museum of Modern Art in New York, the Museum of Modern Art of Valencia, Spain, the ZKM Museum, Karlsruhe, Germany, and the Museum of Modern Art in Rio de Janeiro, among others. Kac's work has been featured both in contemporary art publications (Contemporary, Flash Art, Artforum, ARTnews, Kunstforum, Tema Celeste, Artpress, NY Arts Magazine), contemporary art books (Phaidon, Thames and Hudson, Oxford, MIT Press) and in the mass media (ABC, BBC, PBS, Le Monde, Boston Globe, Washington Post, Chicago Tribune, New York Times). Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. He lectures and publishes worldwide. His work is documented on the Web: http://www.ekac.org.","bio_dates":"b. 1962"},{"slug":"kac_io_digitalpoem_1990","ok":true,"partial":false,"title":"Digitalpoem","artist":"Eduardo Kac","year":"1990","startOffset":0,"sourceSecs":58.334,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":4082167,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_io_digitalpoem_1990/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_io_digitalpoem_1990/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kac_io_digitalpoem_1990.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kac_io_digitalpoem_1990/main.mp4?v=2","description":"Three-dimensional navigational poem in which the letters/numbers I and O appear as elements of an imaginary landscape. IO is \"I\" in Italian. In this piece it also stands for reconciled differences (one/zero, line/circle, etc.). The reader is invited to explore the space created by the stylized letters/numbers and experience it both as an abstract environment and as a visual text. In the expanded cosmogonal self the dot of the letter \"i\" is the sun. IO is presented here as video documentation of an interactive reading experience."},{"slug":"kac_letter_digitalpoem_1996_iphone","ok":true,"partial":false,"title":"Letter, 1996","artist":"Eduardo Kac","year":"1996","startOffset":0,"sourceSecs":66.7,"sourceHeight":240,"sourceWidth":320,"hasAudio":false,"hasAmbientMp4":true,"bytes":3952114,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_letter_digitalpoem_1996_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_letter_digitalpoem_1996_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kac_letter_digitalpoem_1996_iphone.m4v","hasFrames":true,"description":"A navigational poem that presents the viewer with the image of a three-dimensional spiral jetting off the center of a two-dimensional spiral. Both spirals are made exclusively of text. The reader is able to grab and spin this cosmic verbal image in all directions. Thus, reading becomes a process of probing the virtual object from all possible angles. The reader is also able to fly through and around the object, thus expanding reading possibilities. In \"Letter\" a spiraling cone made of words can be interpreted as both converging to or diverging from the flat one. Together they may evoke the creation or destruction of a star. All texts are created as if they were fragments of letters written to the same person. However, in order to convey a particular emotional sphere, the author conflated the subject positions of grandmother, mother, and daughter into one addressee. It is not possible to distinguish to whom each fragment is addressed. The poem makes reference to moments of death and birth in the poet's family. Letter is presented here as video documentation of an interactive reading experience.","artist_bio":"Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced \"Katz\") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the \"exotic\" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his \"transgenic art\"--first with a groundbreaking piece entitled Genesis (1999), which included an \"artist's gene\" he invented, and then with \"GFP Bunny,\" his fluorescent rabbit called Alba (2000). Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York; Maison Européenne de la Photographie, Paris; Castello di Rivoli, Turin, Italy; Mori Art Museum, Tokyo; Reina Sofia Museum, Madrid; Zendai Museum of Modern Art, Shanghai; and Seoul Museum of Art, Korea. Kac's work has been showcased in biennials such as Yokohama Triennial, Japan, Biennial of the End of the World, Ushuaia, Argentina, Gwangju Biennale, Korea, Bienal de Sao Paulo, Brazil, and International Triennial of New Media Art, National Art Museum of China, Beijing. His work is part of the permanent collection of the Victoria & Albert Museum, London, the Museum of Modern Art in New York, the Museum of Modern Art of Valencia, Spain, the ZKM Museum, Karlsruhe, Germany, and the Museum of Modern Art in Rio de Janeiro, among others. Kac's work has been featured both in contemporary art publications (Contemporary, Flash Art, Artforum, ARTnews, Kunstforum, Tema Celeste, Artpress, NY Arts Magazine), contemporary art books (Phaidon, Thames and Hudson, Oxford, MIT Press) and in the mass media (ABC, BBC, PBS, Le Monde, Boston Globe, Washington Post, Chicago Tribune, New York Times). Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. He lectures and publishes worldwide. His work is documented on the Web: http://www.ekac.org.","bio_dates":"b. 1962"},{"slug":"kac_oco_digitalpoem_orig1985_iphone","ok":true,"partial":false,"title":"Digitalpoem Orig","artist":"Eduardo Kac","year":"1985","startOffset":0,"sourceSecs":65.167,"sourceHeight":240,"sourceWidth":320,"hasAudio":false,"hasAmbientMp4":true,"bytes":3314827,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_oco_digitalpoem_orig1985_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_oco_digitalpoem_orig1985_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kac_oco_digitalpoem_orig1985_iphone.m4v","hasFrames":true,"description":"OCO explores the three-dimensional architecture of the letters O, C, and I, and the multiple meanings (in Portuguese) that emerge when the letter I rhythmically appears and disappears. These meanings emerge through the cognitive associations made by the viewer as well as the perceived spatial relationships between the letters. Originally presented in 1985 as an interactive holopoem (lost), OCO was recreated in 1990 as an interactive digital poem. OCO is presented here as video documentation of an interactive reading experience."},{"slug":"kac_secret_digitalpoem_1996_iphone","ok":true,"partial":false,"title":"Secret, 1996","artist":"Eduardo Kac","year":"1996","startOffset":0,"sourceSecs":66.762,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":172832,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_secret_digitalpoem_1996_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_secret_digitalpoem_1996_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kac_secret_digitalpoem_1996_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kac_secret_digitalpoem_1996_iphone/main.mp4?v=2","description":"The words in \"Secret\" are dispersed in the semantic darkness of a potential space. The reader is invited to navigate this space and create verbal and visual links between immaterial presences, voids, and distant signs. This VRML navigational poem was the first poem written directly in VRML. Secret is presented here as video documentation of an interactive reading experience.","artist_bio":"Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced \"Katz\") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the \"exotic\" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his \"transgenic art\"--first with a groundbreaking piece entitled Genesis (1999), which included an \"artist's gene\" he invented, and then with \"GFP Bunny,\" his fluorescent rabbit called Alba (2000). Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York; Maison Européenne de la Photographie, Paris; Castello di Rivoli, Turin, Italy; Mori Art Museum, Tokyo; Reina Sofia Museum, Madrid; Zendai Museum of Modern Art, Shanghai; and Seoul Museum of Art, Korea. Kac's work has been showcased in biennials such as Yokohama Triennial, Japan, Biennial of the End of the World, Ushuaia, Argentina, Gwangju Biennale, Korea, Bienal de Sao Paulo, Brazil, and International Triennial of New Media Art, National Art Museum of China, Beijing. His work is part of the permanent collection of the Victoria & Albert Museum, London, the Museum of Modern Art in New York, the Museum of Modern Art of Valencia, Spain, the ZKM Museum, Karlsruhe, Germany, and the Museum of Modern Art in Rio de Janeiro, among others. Kac's work has been featured both in contemporary art publications (Contemporary, Flash Art, Artforum, ARTnews, Kunstforum, Tema Celeste, Artpress, NY Arts Magazine), contemporary art books (Phaidon, Thames and Hudson, Oxford, MIT Press) and in the mass media (ABC, BBC, PBS, Le Monde, Boston Globe, Washington Post, Chicago Tribune, New York Times). Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. He lectures and publishes worldwide. His work is documented on the Web: http://www.ekac.org.","bio_dates":"b. 1962"},{"slug":"kac_tesao_digitalpoem_1986_iphone","ok":true,"partial":false,"title":"Digitalpoem","artist":"Eduardo Kac","year":"1986","startOffset":0,"sourceSecs":205.034,"sourceHeight":240,"sourceWidth":320,"hasAudio":false,"hasAmbientMp4":true,"bytes":2403694,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_tesao_digitalpoem_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_tesao_digitalpoem_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kac_tesao_digitalpoem_1986_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kac_tesao_digitalpoem_1986_iphone/main.mp4?v=2","description":"Minitel animated poem shown online in the group exhibition Brazil High-Tech (1986), a minitel art gallery organized by Eduardo Kac and Flavio Ferraz and presented by Companhia Telefônica de São Paulo. Words (in Portuguese) emerge and disappear through layers of lines and color masses, forming an ephemeral digital graffiti."},{"slug":"kac_upc_digitalpoem_1994_iphone","ok":true,"partial":false,"title":"UPC, 1994","artist":"Eduardo Kac","year":"1994","startOffset":0,"sourceSecs":96.6,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":3157805,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_upc_digitalpoem_1994_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kac_upc_digitalpoem_1994_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kac_upc_digitalpoem_1994_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kac_upc_digitalpoem_1994_iphone/main.mp4?v=2","description":"In this looped and silent installation-poem 7-foot tall letters are projected against the wall. They emerge out of focus on the right, move across diagonally into focus, and disappear again out of focus to the left. Literal and at the same time metaphorical, the verbal material evokes multiple analogies: \"Nothing Above To Left Or Right Nothing Below\".","artist_bio":"Eduardo Kac is internationally recognized for his telepresence and bio art. A pioneer of telecommunications art in the pre-Web '80s, Eduardo Kac (pronounced \"Katz\") emerged in the early '90s with his radical works combining telerobotics and living organisms. His visionary integration of robotics, biology and networking explores the fluidity of subject positions in the post-digital world. His work deals with issues that range from the mythopoetics of online experience (Uirapuru) to the cultural impact of biotechnology (Genesis); from the changing condition of memory in the digital age (Time Capsule) to distributed collective agency (Teleporting an Unknown State); from the problematic notion of the \"exotic\" (Rara Avis) to the creation of life and evolution (GFP Bunny). At the dawn of the twenty-first century Kac opened a new direction for contemporary art with his \"transgenic art\"--first with a groundbreaking piece entitled Genesis (1999), which included an \"artist's gene\" he invented, and then with \"GFP Bunny,\" his fluorescent rabbit called Alba (2000). Kac’s work has been exhibited internationally at venues such as Exit Art and Ronald Feldman Fine Arts, New York; Maison Européenne de la Photographie, Paris; Castello di Rivoli, Turin, Italy; Mori Art Museum, Tokyo; Reina Sofia Museum, Madrid; Zendai Museum of Modern Art, Shanghai; and Seoul Museum of Art, Korea. Kac's work has been showcased in biennials such as Yokohama Triennial, Japan, Biennial of the End of the World, Ushuaia, Argentina, Gwangju Biennale, Korea, Bienal de Sao Paulo, Brazil, and International Triennial of New Media Art, National Art Museum of China, Beijing. His work is part of the permanent collection of the Victoria & Albert Museum, London, the Museum of Modern Art in New York, the Museum of Modern Art of Valencia, Spain, the ZKM Museum, Karlsruhe, Germany, and the Museum of Modern Art in Rio de Janeiro, among others. Kac's work has been featured both in contemporary art publications (Contemporary, Flash Art, Artforum, ARTnews, Kunstforum, Tema Celeste, Artpress, NY Arts Magazine), contemporary art books (Phaidon, Thames and Hudson, Oxford, MIT Press) and in the mass media (ABC, BBC, PBS, Le Monde, Boston Globe, Washington Post, Chicago Tribune, New York Times). Kac has received many awards, including the Golden Nica Award, the most prestigious award in the field of media arts and the highest prize awarded by Ars Electronica. He lectures and publishes worldwide. His work is documented on the Web: http://www.ekac.org.","bio_dates":"b. 1962"},{"slug":"kaganof_aryan_nicolas_first_orgasm_2003","ok":true,"partial":false,"title":"Nicola’s First Orgasm","artist":"Ian Kerkhof / Aryan Kaganof","year":"2003","startOffset":0,"sourceSecs":341.418,"sourceHeight":470,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":52561218,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kaganof_aryan_nicolas_first_orgasm_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kaganof_aryan_nicolas_first_orgasm_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kaganof_aryan_nicolas_first_orgasm_2003.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kaganof_aryan_nicolas_first_orgasm_2003/main.mp4?v=2","description":"Aryan Kaganof & Nicola Deane | 2003 | 5 min. | video | no dialogue <br/><br/> “We cannot abstain from watching the revelation of a being that would be an object neither for herself nor for any other gaze and yet which would effect, in the mystery of her own invisibility, the condensation of all objectivity.” <br/><br/> Aryan Kaganof plays with the contradiction and relationship between the vulnerable, private realm and the voyeuristic, objectified domain in a film about a young woman’s sexual initiation.","artist_bio":"South African independent filmmaker, Aryan Kaganof is a visual artist, novelist and poet, who explores provocative and politically charged subject matter. Born in 1964 as Ian Kerkhof, he left South Africa for the Netherlands at nineteen to avoid conscription into the South African army during Apartheid. Before enrolling in the Netherlands Film and Television Academy in 1990, he worked for the Dutch Anti-Apartheid Movement, while also writing for international publications and programming jazz for pirate radio stations. He won a Golden Calf (Best Feature) for Kyodi Makes the Big Time, a self-produced 16mm production shot in 14 days while still a second-year student. In 1996 he pioneered the use of digital video as a feature film medium with the transfer to 35mm of Naar De Klote! (Wasted!) and went on to direct the first Japanese film utilizing this process (Tokyo Elegy, 1999).\nIn March 2000, following Kaganof’s return to South Africa, a retrospective of his films was held at the Yerba Buena Center for the Arts in San Francisco. His 2002 film Western 4.33, which tells the story of the German concentration camps on Shark Island off the coast of Luderitz, Namibia, was screened at the 2004 Berlinale and won awards for Best Video Made in Africa at the 12th Milan African Film Festival, and Best Documentary Made in Africa at the Reunion Africa and Islands Film Festival. In 2005, he shot the world’s first feature film made with a mobile phone camera (SMS Sugarman) and was a Visiting Professor at K3 Malmo University, Sweden following the film’s success there. He has had solo exhibitions in Cape Town’s Association for Visual Arts (AVA) and in Durban at the NSA Gallery, where he was also artist in residence.\nKaganof has worked as an editor with many South African film directors including Akin Omotoso (Jesus and the Giant, which Kaganof also scripted) Ntshavheni wa Luruli (Elelwani) (Imagine) and Craig Matthew (Welcome Nelson, a documentary about the 20th anniversary of Nelson Mandela’s release from prison, screened by eTV in 2010).\nHis on-going music research project the African Noise Foundation performed as part of the Badilisha Poetry Festival at Spier in December 2009 features Zim Ngqawana, Mantombi Matotiyana and the Kalahari Surfers. In November 2010, he collaborated with Cape Town filmmaker Dylan Valley on The Uprising of Hangberg, a documentary exposing human rights violations in Hout Bay (a Cape Town suburb) by the Metro police force. Recently a retrospective film festival of his work, AK47, organized by DOMUS was held in Stellenbosch. In November, 2013 he screened An Inconsolable Memory, a long form documentary about the Eoan Group Book Project, at the International Documentary Film Festival in Amsterdam.","bio_dates":"b. 1964"},{"slug":"kaganof_aryan_seven_last_words_of_jesus_christ_2001","ok":true,"partial":false,"title":"The Seven Last Words of Jesus Christ","artist":"Ian Kerkhof / Aryan Kaganof","year":"2001","startOffset":0,"sourceSecs":417.664,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":67976614,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kaganof_aryan_seven_last_words_of_jesus_christ_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kaganof_aryan_seven_last_words_of_jesus_christ_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kaganof_aryan_seven_last_words_of_jesus_christ_2001.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kaganof_aryan_seven_last_words_of_jesus_christ_2001/main.mp4?v=2","description":"The two sides of the end of culture–in all the aspects of knowledge as well as in all the aspects of perceptible representations exist in a unified manner in what used to be art in the most general sense. In the case of knowledge, the accumulation of branches of fragmentary knowledge, which become unusable because the approval of existing conditions must finally renounce knowledge of itself, confronts the theory of praxis which alone holds the truth of them all since it alone holds the secret of their use. In the case of representations, the critical self-destruction of society's former common language confronts its artificial recomposition in the commodity spectacle, the illusory representation of the non-lived.","artist_bio":"South African independent filmmaker, Aryan Kaganof is a visual artist, novelist and poet, who explores provocative and politically charged subject matter. Born in 1964 as Ian Kerkhof, he left South Africa for the Netherlands at nineteen to avoid conscription into the South African army during Apartheid. Before enrolling in the Netherlands Film and Television Academy in 1990, he worked for the Dutch Anti-Apartheid Movement, while also writing for international publications and programming jazz for pirate radio stations. He won a Golden Calf (Best Feature) for Kyodi Makes the Big Time, a self-produced 16mm production shot in 14 days while still a second-year student. In 1996 he pioneered the use of digital video as a feature film medium with the transfer to 35mm of Naar De Klote! (Wasted!) and went on to direct the first Japanese film utilizing this process (Tokyo Elegy, 1999).\nIn March 2000, following Kaganof’s return to South Africa, a retrospective of his films was held at the Yerba Buena Center for the Arts in San Francisco. His 2002 film Western 4.33, which tells the story of the German concentration camps on Shark Island off the coast of Luderitz, Namibia, was screened at the 2004 Berlinale and won awards for Best Video Made in Africa at the 12th Milan African Film Festival, and Best Documentary Made in Africa at the Reunion Africa and Islands Film Festival. In 2005, he shot the world’s first feature film made with a mobile phone camera (SMS Sugarman) and was a Visiting Professor at K3 Malmo University, Sweden following the film’s success there. He has had solo exhibitions in Cape Town’s Association for Visual Arts (AVA) and in Durban at the NSA Gallery, where he was also artist in residence.\nKaganof has worked as an editor with many South African film directors including Akin Omotoso (Jesus and the Giant, which Kaganof also scripted) Ntshavheni wa Luruli (Elelwani) (Imagine) and Craig Matthew (Welcome Nelson, a documentary about the 20th anniversary of Nelson Mandela’s release from prison, screened by eTV in 2010).\nHis on-going music research project the African Noise Foundation performed as part of the Badilisha Poetry Festival at Spier in December 2009 features Zim Ngqawana, Mantombi Matotiyana and the Kalahari Surfers. In November 2010, he collaborated with Cape Town filmmaker Dylan Valley on The Uprising of Hangberg, a documentary exposing human rights violations in Hout Bay (a Cape Town suburb) by the Metro police force. Recently a retrospective film festival of his work, AK47, organized by DOMUS was held in Stellenbosch. In November, 2013 he screened An Inconsolable Memory, a long form documentary about the Eoan Group Book Project, at the International Documentary Film Festival in Amsterdam.","bio_dates":"b. 1964"},{"slug":"kagel_die_zeit_ueberwinden","ok":true,"partial":false,"title":"Zeit Ueberwinden","artist":"Mauricio Kagel","year":"2007","startOffset":0,"sourceSecs":3110.2,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":182984565,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_die_zeit_ueberwinden/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_die_zeit_ueberwinden/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kagel_die_zeit_ueberwinden.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_die_zeit_ueberwinden/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_die_zeit_ueberwinden/main/master.m3u8?v=2","hasMainHls":true,"description":"Mauricio Kagel, einer der bedeutendsten Komponisten der Gegenwart, ist tot. Der deutsch-argentinische Künstler starb am Donnerstag, 18. September 2008, im Alter von 76 Jahren in Köln. Aus diesem aktuellen Anlass zeigt die Redaktion «Klanghotel» des Schweizer Fernsehens die Fernsehdokumentation «Die Zeit überwinden», die auf Mauricio Kagels Lebenswerk zurückblickt. Kaum ein Komponist hat die Musik der zweiten Hälfte des 20. Jahrhunderts so extrem und nachhaltig geprägt wie Mauricio Kagel. Mit verblüffend neuen instrumentalen, theatralischen und multimedialen Ansätzen entwickelte er in den 1960er- und 70er-Jahren eine völlig eigenständige und neue Musiksprache.\n\nEin halbes Jahrhundert europäischer Musikgeschichte hat er miterlebt und mitgeschrieben: Mauricio Kagel. In Argentinien geboren lebte der Komponist seit mehr als einem halben Jahrhundert in Köln. Die Stadt am Rhein war längst zu seiner Heimat geworden. Hier leitete er die Kölner Kurse für Neue Musik, hier arbeitete er im Studio für Elektronische Musik des WDR, hier wurde er Professor für Neues Musiktheater an der Hochschule für Musik. In Bonn drehte er einen seiner ersten Experimentalfilme, «Ludwig van».\n\nMit den Vorbereitungen zu seinem musiktheatralischen Ensemblestück «Divertimento?» beginnt die Fernsehdokumentation, in der Mauricio Kagel über seine Kunst und sein Leben erzählt. Ein Leben, das von der Musik verschiedener Kulturen geprägt ist. Beginnend in der Gegenwart führt der Film in Rückblenden auch zurück in die 1960er- und 70er-Jahre, als Kagel mit Werken für das Radio, den Film und das Fernsehen - mehrmals auch für das Schweizer Fernsehen - das enge Korsett der Neuen Musik sprengte.\n\nDer Film blickt zurück auf Mauricio Kagels Lebenswerk und begleitet den Komponisten bei seiner täglichen Arbeit, bei Proben und Aufführungen seiner Werke vor, auf und hinter der Bühne in Amsterdam, Donaueschingen und Krefeld. Dabei erzählt Kagel über seine Stücke, seine künstlerischen und kompositorischen Ideen, seine Kritik an der Moderne und seine ästhetischen Überzeugungen. Und deutlich wird, warum die Lust an der musikalischen Kommunikation sowie am spielerischen, oft ironischen Umgang mit Klang und Komposition für ihn existenziell wichtig war."},{"slug":"kagel_mauricio_antithese_1965","ok":true,"partial":false,"title":"Antithese","artist":"Mauricio Kagel","year":"1965","startOffset":0,"sourceSecs":1071.317,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":69662916,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_antithese_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_antithese_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kagel_mauricio_antithese_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_antithese_1965/main.mp4?v=2","description":"ANTITHESE is an awe inspiring bit of comic paranoia concerning the duties of a studio engineer and his psychic meltdown.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/kagel.html\" rel=\"noopener\" target=\"_blank\">Mauricio Kagel in UbuWeb Sound</a></br>","artist_bio":"Mauricio Kagel is wonderfully hard to pigeonhole. An Argentinian resident of Germany, one might say Kagel's dramatic and often humorous music is both rooted in and rooting against the European classical tradition. His wildly inventive scores call for a high degree of theatricality and physical interaction, continuously making us aware of the codes of performing. Whether in the classical music hall, the theatrical stage or film/video, Kagel's neo-dada performances and wickedly original techniques always opens one's eyes and ears to the pure possibilities of sounds and their production. Although this aspect of his varied productions is little known in the US, Kagel's output as a filmmaker is tremendous. He just about made a film or video each year in the 60s and 70s, and has only begun to slow down in recent times. A lot of these movies were originally produced for the small screen, but this has in no way dulled the expansiveness and surreal qualities of his vision. Kagel's films are rarely, if ever, screened outside of Europe, so series may well be the largest sampling of his films in North America to date.\nRare films by the Austrian-based experimental composer. Kagel's early films (1965-68) are influenced by the French and German avant garde of the 1920s: from Rene Clair's \"Entr'acte,\" Bunuel's \"Un Chien Andalou\" and \"L'Age d'or,\" Hans Richter's \"Vormittagsspuk\" and abstract films, as well as from E.S. Porter's \"The Great Train Robbery\" (1903). Kagel's films are rebelliously \"educated\" happenings. Like Eric Satie, their director believes he must deny education although he cannot live and work without it...","bio_dates":"1931-2008"},{"slug":"kagel_mauricio_blues_blue_1981","ok":true,"partial":false,"title":"Blue's Blue","artist":"Mauricio Kagel","year":"1981","startOffset":0,"sourceSecs":646.421,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":45533183,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_blues_blue_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_blues_blue_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kagel_mauricio_blues_blue_1981.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_blues_blue_1981/main.mp4?v=2","description":"BLUE'S BLUE stars Kagel as a couch potato living in a small dark room with three other musicians who attempt to channel the muse of the titular bluesman, in a desperate attempt to rouse themselves from their malaise.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/kagel.html\" rel=\"noopener\" target=\"_blank\">Mauricio Kagel in UbuWeb Sound</a></br>","artist_bio":"Mauricio Kagel is wonderfully hard to pigeonhole. An Argentinian resident of Germany, one might say Kagel's dramatic and often humorous music is both rooted in and rooting against the European classical tradition. His wildly inventive scores call for a high degree of theatricality and physical interaction, continuously making us aware of the codes of performing. Whether in the classical music hall, the theatrical stage or film/video, Kagel's neo-dada performances and wickedly original techniques always opens one's eyes and ears to the pure possibilities of sounds and their production. Although this aspect of his varied productions is little known in the US, Kagel's output as a filmmaker is tremendous. He just about made a film or video each year in the 60s and 70s, and has only begun to slow down in recent times. A lot of these movies were originally produced for the small screen, but this has in no way dulled the expansiveness and surreal qualities of his vision. Kagel's films are rarely, if ever, screened outside of Europe, so series may well be the largest sampling of his films in North America to date.\nRare films by the Austrian-based experimental composer. Kagel's early films (1965-68) are influenced by the French and German avant garde of the 1920s: from Rene Clair's \"Entr'acte,\" Bunuel's \"Un Chien Andalou\" and \"L'Age d'or,\" Hans Richter's \"Vormittagsspuk\" and abstract films, as well as from E.S. Porter's \"The Great Train Robbery\" (1903). Kagel's films are rebelliously \"educated\" happenings. Like Eric Satie, their director believes he must deny education although he cannot live and work without it...","bio_dates":"1931-2008"},{"slug":"kagel_mauricio_duo_1967_68_iphone","ok":true,"partial":false,"title":"Solo","artist":"Mauricio Kagel","year":"1967","startOffset":0,"sourceSecs":2513.944,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":149238786,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_duo_1967_68_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_duo_1967_68_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kagel_mauricio_duo_1967_68_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_duo_1967_68_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_duo_1967_68_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/kagel_duo.html\" rel=\"noopener\" target=\"_blank\">DUO</a> and SOLO are psycho-dramas of musicians, and audiences worst nightmares, a series of absurd scenarios, electric guitar solos on the subway, mannequins hogging bathroom stalls and conductors lost in a melting environment of absolute resistance.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/kagel.html\" rel=\"noopener\" target=\"_blank\">Mauricio Kagel in UbuWeb Sound</a></br>","artist_bio":"Mauricio Kagel is wonderfully hard to pigeonhole. An Argentinian resident of Germany, one might say Kagel's dramatic and often humorous music is both rooted in and rooting against the European classical tradition. His wildly inventive scores call for a high degree of theatricality and physical interaction, continuously making us aware of the codes of performing. Whether in the classical music hall, the theatrical stage or film/video, Kagel's neo-dada performances and wickedly original techniques always opens one's eyes and ears to the pure possibilities of sounds and their production. Although this aspect of his varied productions is little known in the US, Kagel's output as a filmmaker is tremendous. He just about made a film or video each year in the 60s and 70s, and has only begun to slow down in recent times. A lot of these movies were originally produced for the small screen, but this has in no way dulled the expansiveness and surreal qualities of his vision. Kagel's films are rarely, if ever, screened outside of Europe, so series may well be the largest sampling of his films in North America to date.\nRare films by the Austrian-based experimental composer. Kagel's early films (1965-68) are influenced by the French and German avant garde of the 1920s: from Rene Clair's \"Entr'acte,\" Bunuel's \"Un Chien Andalou\" and \"L'Age d'or,\" Hans Richter's \"Vormittagsspuk\" and abstract films, as well as from E.S. Porter's \"The Great Train Robbery\" (1903). Kagel's films are rebelliously \"educated\" happenings. Like Eric Satie, their director believes he must deny education although he cannot live and work without it...","bio_dates":"1931-2008"},{"slug":"kagel_mauricio_hallelujah_1968_iphone","ok":true,"partial":false,"title":"Hallelujah","artist":"Mauricio Kagel","year":"1968","startOffset":0,"sourceSecs":2766.232,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":164829363,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_hallelujah_1968_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_hallelujah_1968_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kagel_mauricio_hallelujah_1968_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_hallelujah_1968_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_hallelujah_1968_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"HALLELUJAH is one of Kagel's major works, a surreal story about the mouth and it's many permutations. Hands, eyes, lips, tongues, etc are in quite a quandary without means of escape.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/kagel.html\" rel=\"noopener\" target=\"_blank\">Mauricio Kagel in UbuWeb Sound</a></br>","artist_bio":"Mauricio Kagel is wonderfully hard to pigeonhole. An Argentinian resident of Germany, one might say Kagel's dramatic and often humorous music is both rooted in and rooting against the European classical tradition. His wildly inventive scores call for a high degree of theatricality and physical interaction, continuously making us aware of the codes of performing. Whether in the classical music hall, the theatrical stage or film/video, Kagel's neo-dada performances and wickedly original techniques always opens one's eyes and ears to the pure possibilities of sounds and their production. Although this aspect of his varied productions is little known in the US, Kagel's output as a filmmaker is tremendous. He just about made a film or video each year in the 60s and 70s, and has only begun to slow down in recent times. A lot of these movies were originally produced for the small screen, but this has in no way dulled the expansiveness and surreal qualities of his vision. Kagel's films are rarely, if ever, screened outside of Europe, so series may well be the largest sampling of his films in North America to date.\nRare films by the Austrian-based experimental composer. Kagel's early films (1965-68) are influenced by the French and German avant garde of the 1920s: from Rene Clair's \"Entr'acte,\" Bunuel's \"Un Chien Andalou\" and \"L'Age d'or,\" Hans Richter's \"Vormittagsspuk\" and abstract films, as well as from E.S. Porter's \"The Great Train Robbery\" (1903). Kagel's films are rebelliously \"educated\" happenings. Like Eric Satie, their director believes he must deny education although he cannot live and work without it...","bio_dates":"1931-2008"},{"slug":"kagel_mauricio_ludwig_van_1969_iphone","ok":true,"partial":false,"title":"Ludwig Van","artist":"Mauricio Kagel","year":"1969","startOffset":0,"sourceSecs":5443.309,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":313944430,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_ludwig_van_1969_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_ludwig_van_1969_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kagel_mauricio_ludwig_van_1969_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_ludwig_van_1969_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_ludwig_van_1969_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Kagel's major film work. An epic meditation on deafness, loudness, musical wallpaper, costumes, and of course Beethoven. With a cast of hundreds including Joseph Beuys, Dieter Roth, Robert Filliou and many, many permutations of the titular star.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/kagel.html\" rel=\"noopener\" target=\"_blank\">Mauricio Kagel in UbuWeb Sound</a></br>","artist_bio":"Mauricio Kagel is wonderfully hard to pigeonhole. An Argentinian resident of Germany, one might say Kagel's dramatic and often humorous music is both rooted in and rooting against the European classical tradition. His wildly inventive scores call for a high degree of theatricality and physical interaction, continuously making us aware of the codes of performing. Whether in the classical music hall, the theatrical stage or film/video, Kagel's neo-dada performances and wickedly original techniques always opens one's eyes and ears to the pure possibilities of sounds and their production. Although this aspect of his varied productions is little known in the US, Kagel's output as a filmmaker is tremendous. He just about made a film or video each year in the 60s and 70s, and has only begun to slow down in recent times. A lot of these movies were originally produced for the small screen, but this has in no way dulled the expansiveness and surreal qualities of his vision. Kagel's films are rarely, if ever, screened outside of Europe, so series may well be the largest sampling of his films in North America to date.\nRare films by the Austrian-based experimental composer. Kagel's early films (1965-68) are influenced by the French and German avant garde of the 1920s: from Rene Clair's \"Entr'acte,\" Bunuel's \"Un Chien Andalou\" and \"L'Age d'or,\" Hans Richter's \"Vormittagsspuk\" and abstract films, as well as from E.S. Porter's \"The Great Train Robbery\" (1903). Kagel's films are rebelliously \"educated\" happenings. Like Eric Satie, their director believes he must deny education although he cannot live and work without it...","bio_dates":"1931-2008"},{"slug":"kagel_mauricio_match_1966","ok":true,"partial":false,"title":"Match","artist":"Mauricio Kagel","year":"1966","startOffset":0,"sourceSecs":1175.595,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":74169441,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_match_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_match_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kagel_mauricio_match_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_match_1966/main.mp4?v=2","description":"(1966, 27 minutes, 16mm) <br/><br/> MATCH stars new music stars Siegfried Palm and Christoph Caskel as instrumentalists at odds with one another.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/kagel.html\" rel=\"noopener\" target=\"_blank\">Mauricio Kagel in UbuWeb Sound</a></br>","artist_bio":"Mauricio Kagel is wonderfully hard to pigeonhole. An Argentinian resident of Germany, one might say Kagel's dramatic and often humorous music is both rooted in and rooting against the European classical tradition. His wildly inventive scores call for a high degree of theatricality and physical interaction, continuously making us aware of the codes of performing. Whether in the classical music hall, the theatrical stage or film/video, Kagel's neo-dada performances and wickedly original techniques always opens one's eyes and ears to the pure possibilities of sounds and their production. Although this aspect of his varied productions is little known in the US, Kagel's output as a filmmaker is tremendous. He just about made a film or video each year in the 60s and 70s, and has only begun to slow down in recent times. A lot of these movies were originally produced for the small screen, but this has in no way dulled the expansiveness and surreal qualities of his vision. Kagel's films are rarely, if ever, screened outside of Europe, so series may well be the largest sampling of his films in North America to date.\nRare films by the Austrian-based experimental composer. Kagel's early films (1965-68) are influenced by the French and German avant garde of the 1920s: from Rene Clair's \"Entr'acte,\" Bunuel's \"Un Chien Andalou\" and \"L'Age d'or,\" Hans Richter's \"Vormittagsspuk\" and abstract films, as well as from E.S. Porter's \"The Great Train Robbery\" (1903). Kagel's films are rebelliously \"educated\" happenings. Like Eric Satie, their director believes he must deny education although he cannot live and work without it...","bio_dates":"1931-2008"},{"slug":"kagel_mauricio_mm51_with_nosferatu_1977","ok":true,"partial":false,"title":"MM51 / Nosferatu","artist":"Mauricio Kagel","year":"1977","startOffset":0,"sourceSecs":1421.525,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":89613922,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_mm51_with_nosferatu_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_mm51_with_nosferatu_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kagel_mauricio_mm51_with_nosferatu_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_mm51_with_nosferatu_1977/main.mp4?v=2","description":"MM51 does more than mark time, it mics it. Film within film as Murnau's silent \"Nosferatu\" leads an accompanist by the hand, and whose feet are quite literally tied to time. A tug of war between the vertical and the horizontal.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/kagel.html\" rel=\"noopener\" target=\"_blank\">Mauricio Kagel in UbuWeb Sound</a></br>","artist_bio":"Mauricio Kagel is wonderfully hard to pigeonhole. An Argentinian resident of Germany, one might say Kagel's dramatic and often humorous music is both rooted in and rooting against the European classical tradition. His wildly inventive scores call for a high degree of theatricality and physical interaction, continuously making us aware of the codes of performing. Whether in the classical music hall, the theatrical stage or film/video, Kagel's neo-dada performances and wickedly original techniques always opens one's eyes and ears to the pure possibilities of sounds and their production. Although this aspect of his varied productions is little known in the US, Kagel's output as a filmmaker is tremendous. He just about made a film or video each year in the 60s and 70s, and has only begun to slow down in recent times. A lot of these movies were originally produced for the small screen, but this has in no way dulled the expansiveness and surreal qualities of his vision. Kagel's films are rarely, if ever, screened outside of Europe, so series may well be the largest sampling of his films in North America to date.\nRare films by the Austrian-based experimental composer. Kagel's early films (1965-68) are influenced by the French and German avant garde of the 1920s: from Rene Clair's \"Entr'acte,\" Bunuel's \"Un Chien Andalou\" and \"L'Age d'or,\" Hans Richter's \"Vormittagsspuk\" and abstract films, as well as from E.S. Porter's \"The Great Train Robbery\" (1903). Kagel's films are rebelliously \"educated\" happenings. Like Eric Satie, their director believes he must deny education although he cannot live and work without it...","bio_dates":"1931-2008"},{"slug":"kagel_mauricio_solo_1967","ok":true,"partial":false,"title":"Solo","artist":"Mauricio Kagel","year":"1967","startOffset":0,"sourceSecs":1589.461,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":97851657,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_solo_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_solo_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kagel_mauricio_solo_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_solo_1967/main.mp4?v=2","description":"<a href=\"https://ubu.com/film/kagel_duo.html\" rel=\"noopener\" target=\"_blank\">DUO</a> and SOLO are psycho-dramas of musicians, and audiences worst nightmares, a series of absurd scenarios, electric guitar solos on the subway, mannequins hogging bathroom stalls and conductors lost in a melting environment of absolute resistance.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/kagel.html\" rel=\"noopener\" target=\"_blank\">Mauricio Kagel in UbuWeb Sound</a></br>","artist_bio":"Mauricio Kagel is wonderfully hard to pigeonhole. An Argentinian resident of Germany, one might say Kagel's dramatic and often humorous music is both rooted in and rooting against the European classical tradition. His wildly inventive scores call for a high degree of theatricality and physical interaction, continuously making us aware of the codes of performing. Whether in the classical music hall, the theatrical stage or film/video, Kagel's neo-dada performances and wickedly original techniques always opens one's eyes and ears to the pure possibilities of sounds and their production. Although this aspect of his varied productions is little known in the US, Kagel's output as a filmmaker is tremendous. He just about made a film or video each year in the 60s and 70s, and has only begun to slow down in recent times. A lot of these movies were originally produced for the small screen, but this has in no way dulled the expansiveness and surreal qualities of his vision. Kagel's films are rarely, if ever, screened outside of Europe, so series may well be the largest sampling of his films in North America to date.\nRare films by the Austrian-based experimental composer. Kagel's early films (1965-68) are influenced by the French and German avant garde of the 1920s: from Rene Clair's \"Entr'acte,\" Bunuel's \"Un Chien Andalou\" and \"L'Age d'or,\" Hans Richter's \"Vormittagsspuk\" and abstract films, as well as from E.S. Porter's \"The Great Train Robbery\" (1903). Kagel's films are rebelliously \"educated\" happenings. Like Eric Satie, their director believes he must deny education although he cannot live and work without it...","bio_dates":"1931-2008"},{"slug":"kagel_mauricio_zwei_mann_orchester","ok":true,"partial":false,"title":"Two-Man Orchestra","artist":"Mauricio Kagel","year":"1971-1973","startOffset":0,"sourceSecs":4358.378,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":733311051,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_zwei_mann_orchester/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kagel_mauricio_zwei_mann_orchester/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kagel_mauricio_zwei_mann_orchester.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_zwei_mann_orchester/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kagel_mauricio_zwei_mann_orchester/main/master.m3u8?v=2","hasMainHls":true,"description":"In 2011, a new version of Mauricio Kagel's Two-Man Orchestra (1971-73) was realized in Basel and performed by the two one-man orchestras Wilhelm Bruck and Matthias Würsch at the Museum Tinguely. A production of the research department of the University of Music Basel, the Paul Sacher Foundation and point de vue. The video documentation was developed in collaboration with students of the Institute of Art of the HGK FHNW, Basel under the direction of Reinhard Manz. <br/><br/> ZWEI-MANN-ORCHESTER [Two-Man Orchestra] for two one-man orchestras (1971–73), described by its creator Mauricio Kagel (1931–2008) as an \"unautonomous automatophone,\" is surely one of the strangest yet most original pieces of contemporary music ever composed. <br/><br/> When it was premièred at the Donaueschingen Festival in 1973, Kagel and his musicians, Wilhelm Bruck and Theodor Ross, surprised their mystified audience with a gigantic contraption pieced together from more than 200 broken, battered and discarded instruments and dysfunctional sound-generators. They were played with the aid of strings, rods, levers and all manner of other movable elements by the smallest combination of musicians capable of forming an ensemble. The traditional instrumental body of the renowned festival that had commissioned the work – the orchestra – was reflected in a caricature raised to the level of sound-art. <br/><br/> In 2011 a new version of ZWEI-MANN-ORCHESTER was produced in Basel as part of a joint project involving the Paul Sacher Foundation, the Hochschule für Musik Basel and the Museum Tinguely. It marks the third rendering of this conceptual score following its world première and a second version produced at the Kassel Documenta IX in 1992.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/kagel.html\" rel=\"noopener\" target=\"_blank\">Mauricio Kagel in UbuWeb Sound</a></br>","artist_bio":"Mauricio Kagel is wonderfully hard to pigeonhole. An Argentinian resident of Germany, one might say Kagel's dramatic and often humorous music is both rooted in and rooting against the European classical tradition. His wildly inventive scores call for a high degree of theatricality and physical interaction, continuously making us aware of the codes of performing. Whether in the classical music hall, the theatrical stage or film/video, Kagel's neo-dada performances and wickedly original techniques always opens one's eyes and ears to the pure possibilities of sounds and their production. Although this aspect of his varied productions is little known in the US, Kagel's output as a filmmaker is tremendous. He just about made a film or video each year in the 60s and 70s, and has only begun to slow down in recent times. A lot of these movies were originally produced for the small screen, but this has in no way dulled the expansiveness and surreal qualities of his vision. Kagel's films are rarely, if ever, screened outside of Europe, so series may well be the largest sampling of his films in North America to date.\nRare films by the Austrian-based experimental composer. Kagel's early films (1965-68) are influenced by the French and German avant garde of the 1920s: from Rene Clair's \"Entr'acte,\" Bunuel's \"Un Chien Andalou\" and \"L'Age d'or,\" Hans Richter's \"Vormittagsspuk\" and abstract films, as well as from E.S. Porter's \"The Great Train Robbery\" (1903). Kagel's films are rebelliously \"educated\" happenings. Like Eric Satie, their director believes he must deny education although he cannot live and work without it...","bio_dates":"1931-2008"},{"slug":"kahn_stanya_itscoolimgood_2010_iphone","ok":true,"partial":false,"title":"Itscoolimgood","artist":"Stanya Kahn","year":"2010","startOffset":0,"sourceSecs":2122.513,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":127579773,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kahn_stanya_itscoolimgood_2010_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kahn_stanya_itscoolimgood_2010_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kahn_stanya_itscoolimgood_2010_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kahn_stanya_itscoolimgood_2010_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kahn_stanya_itscoolimgood_2010_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"is one of three films from her first body of solo video works. The most narrative of the three, It's Cool, I'm Good continues Kahn's longstanding exploration of the blurred lines between fiction and document, performance and being, humor and distress, the scripted and the improvised. Commandeering a rotating staff of nurses with wit and belligerence, a severely injured protagonist (Kahn) moves through the city, hospice, and wilderness, seducing, harassing and charming caretakers into doubling as video witnesses. Memory and time have been destabilized by trauma. Mirroring economic collapse, urban tension and ecological demise as contexts for contemporary stress, the “patient” embodies damage and resilience with a relentless albeit morbid stream of jokes and facts. With a 22-track surround-sound audio score and over 20 locations featured,\n\ncreates a visceral cinematic space in which place and action, landscape and soundscape operate literally and metaphorically, signaling a tenuous relationship between experiences of trauma and moments of agency. Paralleling the ways in which jokes simultaneously compress and expand meaning, here living and and naming collapse into each other, in a narrative that unpacks more along psycho-emotional lines, creating many small arcs in place of one grand one.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"kamler_piotr_chronopolis_1982_iphone","ok":true,"partial":false,"title":"Chronopolis","artist":"Pitor Kamler","year":"1982","startOffset":0,"sourceSecs":3121.709,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":184963628,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kamler_piotr_chronopolis_1982_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kamler_piotr_chronopolis_1982_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kamler_piotr_chronopolis_1982_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kamler_piotr_chronopolis_1982_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kamler_piotr_chronopolis_1982_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Chronopolis is a 1982 science fiction film directed by Polish animator Piotr Kamler with music composed by Luc Ferrari and narration by Michael Lonsdale. This was Piotr Kamler's first and only full length film apart from nine other short animations he had accomplished during the 1960s, 1970s and early 1990s. The film won Best Children's Film for 1982 and was nominated for the International Fantasy Film Award in 1983. The film was shown out of competition at the 1982 Cannes Film Festival. <br/><br/> It took animator/filmmaker Piotr Kamler nearly half a decade to make this fantastic animated 3-D sci-fi film that is set in a futuristic city inhabited by powerful immortals who are utterly bored with the idea of eternity and so begin playing with time. -- Sandra Brennan, All Movie Guide <br/><br/> Music: <a href=\"https://ubu.com/sound/ferrari.html\" rel=\"noopener\" target=\"_blank\">Luc Ferrari</a> <br/><br/> Michel Lonsdale - Narrator<br/> Maria Tataczuk - Special Effects<br/> Diane Chretien - Special Effects<br/> Babette Vimenet - Special Effects<br/> Piotr Kamler - Screenwriter, Producer, Cinematographer, Production Designer, Director, Animator","artist_bio":"Piotr Kamler was born in Warsaw in 1936. He is a graduate of the Warsaw Academy of Fine Art. In 1959 he went to Paris to continue his art studies. it was there that he came into contact with Research Department at ORTF( directed by Pierre Schaeffer) and began to collaborate with \"concrete\" musicians such as Xenakis on experimental shorts( musical abstract films and \"fables\"). The ORTF Research Department which was later taken over by INA, was a hothouse for talent, enabling diverse artists such as Peter Foldes, Robert Lapoujade, Jacques Espagne, Jacques Rouxel, Andre Martin and Michel Boschet, Jacques Colombat, Jean-Francois Laguionie, Henry Lacam and Kamler to carry out a large number of bold and innovative personal projects.\nWith astonishing regularity, Kamler came up with no less than 8 unusual short films between 1962 and 1973. The films themselves were incorrectly described as science fiction-in fact they were much closer to the universe of Borges than to Space Opera. Kamler, who created strange, improbable but plausible world, began to explore a whole range of different visual techniques. Le Trou (1968), Araignelephant (1968), Delicieuse Catastrophe (1971), Coeur de secours (1973) all won awards at major film festivals (Cracow, New York, Mamaiea , Melbourne... ). After Le Pas (Grand prix at Annecy 1975) Kamler went underground for a while until he resurfaced with the full-length feature Chronopolis (1982).\nKamler's animated cinema suggests a singular variety of science fiction; it was he who provided the original idea for the Shadoks TV series. Completely unalike to more conventionally linear and text-based narratives, Kamler's films instead explore a series of dynamic visual motifs. Typically, the conclusion of these films is less suggestive of resolution, than it is of recurring episode. What is most striking in all his films is the variety of visual invention that Kamler brings to each work - he is as assured working with clay (as in his feature, Chronopolis) as he is with ink and paper, or even animating digitally on computer (in the most recent work in this program, Une mission ephemere). These visual flourishes embellish some of the most amazing animated films ever made - an achievement which won his Le Pas the Grand Prix of the 1975 Annecy Animation Festival.","bio_dates":"b. 1936"},{"slug":"kamler_piotr_coeur_de_secours_1973","ok":true,"partial":false,"title":"Coeur de secours","artist":"Pitor Kamler","year":"1973","startOffset":0,"sourceSecs":559.74,"sourceHeight":464,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":102099343,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kamler_piotr_coeur_de_secours_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kamler_piotr_coeur_de_secours_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kamler_piotr_coeur_de_secours_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kamler_piotr_coeur_de_secours_1973/main.mp4?v=2","description":"Music by <a href=\"https://ubu.com/sound/bayle.html\" rel=\"noopener\" target=\"_blank\">Francois Bayle</a> <br/><br/> Visually, this one brings to mind Edward Gorey as well as shadow puppet plays. The opening suggests that Kamler is exploring the nature of time here, and indeed it's difficult to imagine anyone better suited to do so than a stop-motion animator. Note the interesting recursive scalar relationship wherein the men playing chess are themselves inside of a rook on a larger chessboard. Once again, Kamler works with a genius of electronic music from GRM - this time, composer Francois Bayle.","artist_bio":"Piotr Kamler was born in Warsaw in 1936. He is a graduate of the Warsaw Academy of Fine Art. In 1959 he went to Paris to continue his art studies. it was there that he came into contact with Research Department at ORTF( directed by Pierre Schaeffer) and began to collaborate with \"concrete\" musicians such as Xenakis on experimental shorts( musical abstract films and \"fables\"). The ORTF Research Department which was later taken over by INA, was a hothouse for talent, enabling diverse artists such as Peter Foldes, Robert Lapoujade, Jacques Espagne, Jacques Rouxel, Andre Martin and Michel Boschet, Jacques Colombat, Jean-Francois Laguionie, Henry Lacam and Kamler to carry out a large number of bold and innovative personal projects.\nWith astonishing regularity, Kamler came up with no less than 8 unusual short films between 1962 and 1973. The films themselves were incorrectly described as science fiction-in fact they were much closer to the universe of Borges than to Space Opera. Kamler, who created strange, improbable but plausible world, began to explore a whole range of different visual techniques. Le Trou (1968), Araignelephant (1968), Delicieuse Catastrophe (1971), Coeur de secours (1973) all won awards at major film festivals (Cracow, New York, Mamaiea , Melbourne... ). After Le Pas (Grand prix at Annecy 1975) Kamler went underground for a while until he resurfaced with the full-length feature Chronopolis (1982).\nKamler's animated cinema suggests a singular variety of science fiction; it was he who provided the original idea for the Shadoks TV series. Completely unalike to more conventionally linear and text-based narratives, Kamler's films instead explore a series of dynamic visual motifs. Typically, the conclusion of these films is less suggestive of resolution, than it is of recurring episode. What is most striking in all his films is the variety of visual invention that Kamler brings to each work - he is as assured working with clay (as in his feature, Chronopolis) as he is with ink and paper, or even animating digitally on computer (in the most recent work in this program, Une mission ephemere). These visual flourishes embellish some of the most amazing animated films ever made - an achievement which won his Le Pas the Grand Prix of the 1975 Annecy Animation Festival.","bio_dates":"b. 1936"},{"slug":"kamler_piotr_le_labyrinthe_1969","ok":true,"partial":false,"title":"Le labyrinthe","artist":"Pitor Kamler","year":"1969","startOffset":0,"sourceSecs":741.653,"sourceHeight":420,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":39327660,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kamler_piotr_le_labyrinthe_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kamler_piotr_le_labyrinthe_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kamler_piotr_le_labyrinthe_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kamler_piotr_le_labyrinthe_1969/main.mp4?v=2","description":"(12 min, colour, 1970 france; Piotr Kamler dir)<br/> Music: <a href=\"https://ubu.com/sound/parmegiani.html\" rel=\"noopener\" target=\"_blank\">Bernard Parmegiani</a> <br/><br/> The landscape surveyed here might be the estranged interior of your typical East-European-émigré-animator's skull; with its deranged narrative values, artfully disturbed graphic style, and aggressive \"musique concrete\" sonorities, Kamler's are among the most astounding works you'll ever see... <br/><br/> In company of Walerian Borowczyk, Peter Foldes & Arcady, Kamler is successor to a prestigious tradition of East European émigré animators (think: Alexieff, Bartosch, Starewycz). Like their precursors, they are also among the most distinguished artists in cinema, celebrated for graphic style and narrative experiment. This film boasts a striking electronic soundtrack, from one of the finest 'musique concrete' composers (no surprise - this film was produced by the famous INA-GRM, the audio-visual research institute founded by electronic music pioneer Pierre Schaeffer. -- Jim Knox, originally written for the OtherFilm Festival","artist_bio":"Piotr Kamler was born in Warsaw in 1936. He is a graduate of the Warsaw Academy of Fine Art. In 1959 he went to Paris to continue his art studies. it was there that he came into contact with Research Department at ORTF( directed by Pierre Schaeffer) and began to collaborate with \"concrete\" musicians such as Xenakis on experimental shorts( musical abstract films and \"fables\"). The ORTF Research Department which was later taken over by INA, was a hothouse for talent, enabling diverse artists such as Peter Foldes, Robert Lapoujade, Jacques Espagne, Jacques Rouxel, Andre Martin and Michel Boschet, Jacques Colombat, Jean-Francois Laguionie, Henry Lacam and Kamler to carry out a large number of bold and innovative personal projects.\nWith astonishing regularity, Kamler came up with no less than 8 unusual short films between 1962 and 1973. The films themselves were incorrectly described as science fiction-in fact they were much closer to the universe of Borges than to Space Opera. Kamler, who created strange, improbable but plausible world, began to explore a whole range of different visual techniques. Le Trou (1968), Araignelephant (1968), Delicieuse Catastrophe (1971), Coeur de secours (1973) all won awards at major film festivals (Cracow, New York, Mamaiea , Melbourne... ). After Le Pas (Grand prix at Annecy 1975) Kamler went underground for a while until he resurfaced with the full-length feature Chronopolis (1982).\nKamler's animated cinema suggests a singular variety of science fiction; it was he who provided the original idea for the Shadoks TV series. Completely unalike to more conventionally linear and text-based narratives, Kamler's films instead explore a series of dynamic visual motifs. Typically, the conclusion of these films is less suggestive of resolution, than it is of recurring episode. What is most striking in all his films is the variety of visual invention that Kamler brings to each work - he is as assured working with clay (as in his feature, Chronopolis) as he is with ink and paper, or even animating digitally on computer (in the most recent work in this program, Une mission ephemere). These visual flourishes embellish some of the most amazing animated films ever made - an achievement which won his Le Pas the Grand Prix of the 1975 Annecy Animation Festival.","bio_dates":"b. 1936"},{"slug":"kamler_piotr_une_mission_ephemere_1993","ok":true,"partial":false,"title":"Une mission ephemere","artist":"Pitor Kamler","year":"1993","startOffset":0,"sourceSecs":489.045,"sourceHeight":420,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":35032285,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kamler_piotr_une_mission_ephemere_1993/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kamler_piotr_une_mission_ephemere_1993/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kamler_piotr_une_mission_ephemere_1993.mp4","hasFrames":true,"description":"35mm, black & white, stereo<br/> 10 mins<br/> Music: <a href=\"https://ubu.com/sound/parmegiani.html\" rel=\"noopener\" target=\"_blank\">Bernard Parmegiani</a>","artist_bio":"Piotr Kamler was born in Warsaw in 1936. He is a graduate of the Warsaw Academy of Fine Art. In 1959 he went to Paris to continue his art studies. it was there that he came into contact with Research Department at ORTF( directed by Pierre Schaeffer) and began to collaborate with \"concrete\" musicians such as Xenakis on experimental shorts( musical abstract films and \"fables\"). The ORTF Research Department which was later taken over by INA, was a hothouse for talent, enabling diverse artists such as Peter Foldes, Robert Lapoujade, Jacques Espagne, Jacques Rouxel, Andre Martin and Michel Boschet, Jacques Colombat, Jean-Francois Laguionie, Henry Lacam and Kamler to carry out a large number of bold and innovative personal projects.\nWith astonishing regularity, Kamler came up with no less than 8 unusual short films between 1962 and 1973. The films themselves were incorrectly described as science fiction-in fact they were much closer to the universe of Borges than to Space Opera. Kamler, who created strange, improbable but plausible world, began to explore a whole range of different visual techniques. Le Trou (1968), Araignelephant (1968), Delicieuse Catastrophe (1971), Coeur de secours (1973) all won awards at major film festivals (Cracow, New York, Mamaiea , Melbourne... ). After Le Pas (Grand prix at Annecy 1975) Kamler went underground for a while until he resurfaced with the full-length feature Chronopolis (1982).\nKamler's animated cinema suggests a singular variety of science fiction; it was he who provided the original idea for the Shadoks TV series. Completely unalike to more conventionally linear and text-based narratives, Kamler's films instead explore a series of dynamic visual motifs. Typically, the conclusion of these films is less suggestive of resolution, than it is of recurring episode. What is most striking in all his films is the variety of visual invention that Kamler brings to each work - he is as assured working with clay (as in his feature, Chronopolis) as he is with ink and paper, or even animating digitally on computer (in the most recent work in this program, Une mission ephemere). These visual flourishes embellish some of the most amazing animated films ever made - an achievement which won his Le Pas the Grand Prix of the 1975 Annecy Animation Festival.","bio_dates":"b. 1936"},{"slug":"kantor_tadeusz_sczezna_artysci_niech_1988","ok":true,"partial":false,"title":"Let the Artists Die / Niech szczezną artyści","artist":"Tadeusz Kantor","year":"1986","startOffset":0,"sourceSecs":2507.43,"sourceHeight":352,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":149979541,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kantor_tadeusz_sczezna_artysci_niech_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kantor_tadeusz_sczezna_artysci_niech_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kantor_tadeusz_sczezna_artysci_niech_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kantor_tadeusz_sczezna_artysci_niech_1988/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kantor_tadeusz_sczezna_artysci_niech_1988/main/master.m3u8?v=2","hasMainHls":true,"description":"Let the Artists Die opened a series of performances by Kantor in which reflections on his achievements and transformations of old motifs played a very important part. <br/><br/> Let the Artists Die / Niech szczezną artyści was created in collaboration with Nuremberg’s Institut für moderne Kunst and Milan’s Centro di Ricerca per il Teatro. Kantor also accepted an invitation to Nuremberg from the banker and art patron Karl G. Schmidt. The final rehearsals took place there (they had began in Kraków). The play premiered in the German city in 1985. <br/><br/> The performance’s title is linked to an anecdote often told by Kantor: the neighbours of a Paris gallery ran by Catherine Thieck didn’t want to agree to the reconstruction of this gallery located in a shared tenement building. One of the neighbours shouted in protest: “Let the artists die!”. The title also references the biography of one of the characters – Veit Stoss. After returning to Nuremberg from Kraków, the sculptor was punished for forgery by being branded on both cheeks. Kantor was very strongly affected by this story, which became to him an illustration of the conflict between artist and society. <br/><br/> The play had the subtitle Revue / Rewia. It blends childhood memories, images from the past (the committed-to-memory image of Marshal Józef Piłsudski, who is called “You-Know-Who” in the play), scenes of death and burial, and references to Veit Stoss.<br/><br/> The artist told Krzysztof Miklaszewski what follows: <br/><br/> To me, the setting doesn’t exist this time, but the memories evoked time and time again cause the “shared room” to sometimes be a pub, a place of refuge for a gang of artists and crooks, sometimes a cemetery warehouse, whose inhabitants exist on the same terms as stored items and sometimes a nursery, in which a little boy plays with his imagination. <br/><br/> The topic of dying, taken partially from Zbigniew Uniłowski’s novel The Shared Room / Wspólny pokój (1932), became a very important component of the play. In the aforementioned interview Kantor explained that:<br/><br/> In this performance, I wanted dying to be an “adhesive”, joining various symptoms of life, and becoming almost a structure of the whole.<br/><br/> Kantor looks closely at his childhood memories and at his own death. As in the earlier performances, he is present on stage, he performs as “I – a real character, the main perpetrator of it all”. The twin brothers Wacław and Lesław Janicki play the part of a certain, double emanation of Kantor. One of them performs as “I – the dying one, a stage character”, the other as “Author of the stage character of the dying one, the one that describes himself and his own death in this character”. Kantor added the character of a small boy in a wooden pram to this split stage portrait of himself: “I – when I was six”. <br/><br/> After the room turns into a second-rate pub, Master Veit Stoss enters it to abruptly “assemble” his work with the assistance of his aggressive torturers. They attach the characters present on stage to whipping posts, creating a living sculpture resembling Stoss’ altar from St. Mary’s Church in Kraków. <br/><br/> Let the Artists Die opens a series of performances by Kantor in which reflections on his achievements and transformations of old motifs play a very important part. Jan Kłossowicz commented on this issue in the following way:<br/><br/> It’s clear to see how all the basic tendencies and stylistic qualities which predominated in his earlier performances meet in this one. There are “machines”, objects, objects-actors and bio-objects here. There are also “found” objects and characters. Happening activities recur and the actors’ actions are based on the principle of “circus vividness” – clownishness. The whole relates to The Reality of the Lowest Rank and takes place in a “marketplace booth”, a “theatre of thrills”.<br/><br/> Author: Karolina Czerska, December 2014 Transl. M.K.","artist_bio":"Tadeusz Kantor (6 April 1915 – 8 December 1990) was a Polish painter, assemblage artist, set designer and theatre director. Kantor is renowned for his revolutionary theatrical performances in Poland and abroad.\nBorn in Wielopole Skrzyńskie, Galicia (then in Austria-Hungary, now in Poland), Kantor graduated from the Cracow Academy in 1939. During the Nazi occupation of Poland, he founded the Independent Theatre, and served as a professor at the Academy of Fine Arts in Kraków as well as a director of experimental theatre in Kraków from 1942 to 1944. After the war, he became known for his avant-garde work in stage design including designs for Saint Joan (1956) and Measure for Measure (1956). Specific examples of such changes to standard theatre were stages that extended out into the audience, and the use of mannequins as real-life actors.\nDisenchanted with the growing institutionalization of avant-garde, in 1955 he with a group of visual artists formed a new theatre ensemble called Cricot 2. In the 1960s, Cricot 2 gave performances in many theatres in Poland and abroad, gaining recognition for their stage happenings. His interest was mainly with the absurdists and Polish writer and playwright Stanisław Ignacy Witkiewicz (also known as \"Witkacy\"). Stage productions of Witkacy's plays The Cuttlefish (1956) and The Water Hen (1969) were regarded as his best achievements during this time. A 1972 performance of The Water Hen was described as \"the least-publicised, most talked-about event at the Edinburgh festival\".\nTadeusz Kantor, Kantor's chair, concrete sculpture, height 14 m. Hucisko, Poland\nDead Class (1975) was the most famous of his theatre pieces of the 1970s. In the play, Kantor himself played the role of a teacher who presided over a class of apparently dead characters who are confronted by mannequins which represented their younger selves. He had begun experimenting with the juxtaposition of mannequins and live actors in the 1950s.\nHis later works of the 1980s were very personal reflections. As in Dead Class, he would sometimes represent himself on stage. In the 1990s, his works became well known in the United States due to presentations at Ellen Stewart's La MaMa Experimental Theatre Club which inspired Lower East Side cultural leaders such as the Nuyorican poet Giannina Braschi.\nThroughout his life, Kantor had an interesting and unique relationship with Jewish culture, despite being a nominal Catholic Kantor incorporated many elements of what was known as \"Jewish theatre\" into his works.","bio_dates":"1915-1990"},{"slug":"kapoor_anish","ok":true,"partial":false,"title":"Marsyas","artist":"Anish Kapoor","year":"2002","startOffset":0,"sourceSecs":1716.326,"sourceHeight":272,"sourceWidth":464,"hasAudio":true,"hasAmbientMp4":true,"bytes":102399211,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kapoor_anish/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kapoor_anish/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kapoor_anish.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kapoor_anish/main.mp4?v=2","description":"In October 2002 Anish Kapoor completed his extraordinary sculpture Marsyas for the Unilever Series of commissions in the Turbine Hall at Tate Modern, London. This film follows the making of Marsyas, from the earliest maquettes to the complex installation at Tate. Anish Kapoor comments on each stage of the process, and on the ideas and concerns of his art.","artist_bio":"British sculptor of Indian birth. He was one of a generation of British-based sculptors who became established in the international arena during the 1980s and is prominent among his contemporaries for the quality of hermetic lyricism that permeates his work. He has acknowledged a bearing on his art of both Western and Eastern culture. The powerful spiritual and mythological resonances of his sculptures arise in part from frequent return visits to India. Natural materials such as sandstone, marble and slate are impregnated with raw powdered pigment of vivid hues, thus enhancing a feeling of inner radiance. In the early 1990s he introduced a more enigmatic slant by boring holes in the flanks of standing stones, while in The Earth (1992; installed San Diego, CA, Mus. A.; Des Moines, IA, A. Cent.; Ottawa, N.G.; and elsewhere) a perfect circle was removed from the gallery floor to intimate the generative effect of negative space. In other works impressions of weightlessness stem from the skilled transformation of materials by an almost alchemical process; earth slabs coated with brilliant blue pigment become signs for sky and water. By imaginative combination of disparate materials in meditative structures, attention is focused on qualities of interior balance and well-being.","bio_dates":"b. 1954"},{"slug":"kast_pierre_la_brulure_de_mille_soleils_1965","ok":true,"partial":false,"title":"La brûlure de mille soleils","artist":"Pierre Kast","year":"1965","startOffset":0,"sourceSecs":1494.847,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":90556628,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kast_pierre_la_brulure_de_mille_soleils_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kast_pierre_la_brulure_de_mille_soleils_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kast_pierre_la_brulure_de_mille_soleils_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kast_pierre_la_brulure_de_mille_soleils_1965/main.mp4?v=2","description":"In the far future a young man, bored by his surroundings, blasts off into space with only his cat and some robots for company. On a distant planet he discovers a serene, tranquil culture and falls in love with a girl. The story follows his problems adjusting to their sociological standards and customs where family units are comprised of sexual groups of eight people. <br/><br/> Music - <a href=\"https://ubu.com/sound/parmegiani.html\" rel=\"noopener\" target=\"_blank\">Bernard Parmegiani</a>","artist_bio":"Pierre Kast (September 22nd, 1920 – 20th October, 1984) was a Second World War Resistance activist, co-founder of the University of Paris Cinéclub, film critic (for Cahiers du Cinéma) and a director of documentaries and features. A fiercely independent spirit, who, despite early affiliations with both the communist party and the surrealists, described himself as an intellectual dandy and nobody’s accomplice. His films are marked by their wit, attack on bourgeois norms and refined style.","bio_dates":"1920-1984"},{"slug":"kaufman_andy_stormy_justice","ok":true,"partial":false,"title":"Stormy Justice (undated)","artist":"Andy Kaufman","year":null,"startOffset":0,"sourceSecs":1864.149,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":112338069,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kaufman_andy_stormy_justice/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kaufman_andy_stormy_justice/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kaufman_andy_stormy_justice.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kaufman_andy_stormy_justice/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kaufman_andy_stormy_justice/main/master.m3u8?v=2","hasMainHls":true,"description":"With Judge Tony Clifton.","artist_bio":"Andrew Geoffrey \"Andy\" Kaufman (January 17, 1949 – May 16, 1984) was an American entertainer, actor and performance artist. While often referred to as a comedian, Kaufman did not consider himself one. He disdained telling jokes and engaging in comedy as it was traditionally understood, referring to himself instead as a \"song-and-dance man.\" Elaborate hoaxes and pranks were major elements of his career. His act maintained a steady cult following, and he continues to be greatly respected among comedians for both his original material and unflinching commitment to character.-- Wikipedia","bio_dates":"1949-1984"},{"slug":"keen_jeff_heliczer_piero_the_autumn_feast_1961","ok":true,"partial":false,"title":"The Autumn Feast","artist":"Piero Heliczer","year":"1961","startOffset":0,"sourceSecs":978.091,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":158909327,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keen_jeff_heliczer_piero_the_autumn_feast_1961/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keen_jeff_heliczer_piero_the_autumn_feast_1961/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keen_jeff_heliczer_piero_the_autumn_feast_1961.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keen_jeff_heliczer_piero_the_autumn_feast_1961/main.mp4?v=2","description":"AUTUMN FEAST Date of release:<br/> 1961<br/> Format: 8mm, 14 minutes, black & white and color, silent / sound on tape<br/> Cameraman: Jeff Keen<br/> Cast: Piero Heliczer, Kate Heliczer, Jacqueline Keen and others<br/> Music: Angus MacLise - cembalum, Tony Conrad - mandolin, Piero Heliczer - flute <br/><br/>\"\"A grown-up fantasy based on Guy Fawkes Day, the great children's holiday of England, which is a combination of Halloween and the Fourth of July\" - Piero Heliczer <br/><br/>\"\"The Autumn Feast lays bare (there should be something that rhymes with hair here or bare there) the mythic structure behind the orange domes and cardboard battlements and gilded gables of our Pasty National Howard Johnsons Baghdad. It rubs the very noses of our mannequins in our mold and sends us spinning into the street - undone and toothless\"- Jack Smith","artist_bio":"The Making of an Underground Film (1965)\ndocumentary with Walter Cronkite\nSOURCE: http://www.independent.co.uk/news/people/obituary-piero-heliczer-1460471.html\nPiero Heliczer, poet, film-maker, actor, printer; born Rome 20 June 1937; died Preaux du Perche, Normandy 22 July 1993.\nDURING the very early 1960s a door opened briefly into the room of British poetry and for a while the air was breathable. Public readings by Michael Horovitz, Pete Brown, Adrian Mitchell, Libby Houston, Michael Shayer and many others gave energy and hope to a generation bored with verse that seemed without connection to their experience and surroundings. Among the poets from abroad whose contribution to this moment should not be forgotten were the Finnish- born Anselm Hollo, the American David Ball, and Piero Heliczer, who was tragically killed in a road-accident in Normandy two weeks ago.\nHeliczer was born in Rome on midsummer's eve, 1937. His mother was Jewish, from Prussia; his father Italian-Polish. Between the ages of four and six he was a child film-star ('Il Piccolo Tucci') after winning a contest for the most typical Italian boy in Rome. He acted with Alida Valli, and in Augusto Genina's Bengasi, which won first prize at Venice in 1942. After the war he was offered parts in Shoeshine, and Rome - Open City, but his mother 'didn't want me to play with the dirty kids from the streets'. The family was in hiding during the last two years of the war.\nFor a time Piero was secreted in a Catholic orphanage, where he was baptised. His father, a doctor who was a member of the Resistance, was captured, tortured and killed by the Gestapo.\nIn 1947 he moved to the United States and after attending Forest Hills High School he went to Harvard, which he left suddenly after an aesthetic difference with the authorities about the siting of a statue. By 1956 he was in Paris putting on plays and writing poetry. He began a small press - The Dead Language - hand-printing books, broadsides, and A Pulp Magazine for the Dead Generation, which included early work by Gregory Corso and Angus MacLise. Moving to England for a few years, he married Catharine Cowper, living first in London and then for some time in Brighton, where he made his first film, The Autumn Feast. He listened to William Byrd and Henry Purcell, gave readings around the country, and was an example to the growing small-press network of what could be achieved with very little money.\nBack in New York he became involved with the Film-makers Co-operative, acted in Jack Smith's Flaming Creatures and continued making experimental films: Satisfaction, Venus in Furs, Joan of Arc (in which Andy Warhol had a role), and the unfinished three-hour epic Dirt. Another magazine appeared: The Wednesday Paper. After many years the German government awarded him a sum of money in reparation for the death of his father. Heliczer, true to his vision, gave most of it away to fellow artists, using what remained to buy a small house in Normandy to which he would retreat.\nFor a while, in the 1970s, he lived on a dilapidated house-boat in Amsterdam which was mysteriously scuttled during one of his absences. In 1978 when I visited him he was staying on the worst street in the city, surrounded by books in a storefront that had been a Chinese restaurant the ownership of which was being disputed by two violent gangs.\nHe survived that, as he had so much else, and moved permanently to Normandy, where he lived simply, selling second-hand books in the local market. It was while travelling on his mobylette to visit his family in Holland that he was killed.\nPiero Heliczer's early books, Imprimatur 1281, You Could Hear the Snow Dripping and Falling into the Deer's Mouth, The First Battle of the Marne, have long since disappeared. The Soap Opera, a collection published in London by Trigram Press, with illustrations by Warhol, Wallace Berman and others, although out of print, is well worth searching for. As an American living abroad, he missed inclusion with his contemporaries in such anthologies as The New American Poetry, and as a foreigner he is in (with the honourable exception of Children of Albion) no British anthology of the period. He deserves better.\nWhile his way of life might have been an irritation to the trendy newcomers, the old Norman farmers who, along with the Mayor, attended his funeral were more tolerant. Reporting his death, the village newspaper said that he was 'apprecie pour sa gentillesse et son rire'. He would have liked that.","bio_dates":"1937-1993"},{"slug":"keller_marjorie_ancient_parts_foreign_parts_1979","ok":true,"partial":false,"title":"Ancient Parts/Foreign Parts","artist":"Marjorie Keller","year":"1979","startOffset":0,"sourceSecs":313.313,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":43337855,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_ancient_parts_foreign_parts_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_ancient_parts_foreign_parts_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keller_marjorie_ancient_parts_foreign_parts_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_ancient_parts_foreign_parts_1979/main.mp4?v=2","description":"The first two in a series of in-camera edited films. ANCIENT PARTS portrays the symbolic differentiation and mock conquest of a boy and his mother. ... I watched the boy play Narcissus and Oedipus in three minutes. The small camera, the fact that we had all lived together for so long (during the shooting of MISCONCEPTION), the rich golden grain of the film all provide the privilege of intimacy. FOREIGN PARTS portrays the poetics of family life in an unfamiliar context. FOREIGN PARTS is a single camera roll. Many people go home to foreign parts: a few familiar faces in a strange landscape. In such circumstances the ordinary is the most precious, given a slight shift of being in its new context. All we can glean from the experiences are a few new memories built on old images. Using a camera at such times is refined work; raw intuition works better than careful planning.","artist_bio":"Marjorie Keller (b. 1950; Yorktown, NY. d. 1994) was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts University for participating in a protest, Keller finished her undergraduate coursework at the School of the Art Institute, Chicago. She later went on to pursue a master’s degree and then a doctorate in Cinema Studies at New York University. Keller taught filmmaking and film history at several institutions and was a professor the University of Rhode Island until her death in 1994.\nKeller began exhibiting films in 1969, creating more than twenty-five films during her lifetime. Among her best-known works are “Misconception” (1977), “Daughters of Chaos” (1980) and “Herein” (1992). Like many filmmakers of the American avant-garde, as well as the earliest documentary filmmakers of the feminist conscious-raising movement of the 1960s, Keller used the raw material of her life for both the images and themes of her films. Misconception, her longest film, documents the birth of her niece, using the small format of home movies, jagged editing and synchronized sound to express the pain and joy of the event, and the chasm between experience and memory. Daughters of Chaos takes footage of a wedding, and jumps backwards and forwards in time (adolescent girls in the process of becoming women, and a woman recalling her girlhood) to reflect the mysteries of growing up.\nIn addition to her achievements as a filmmaker, Keller produced a substantial body of writings as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Maya Deren and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. She was married to P. Adams Sitney (b. 1944; New Haven, CT), a historian of American avant-garde cinema.","bio_dates":"1950-1994"},{"slug":"keller_marjorie_daughters_of_chaos_1980","ok":true,"partial":false,"title":"Daughters of Chaos","artist":"Marjorie Keller","year":"1980","startOffset":0,"sourceSecs":1171.604,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":206013735,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_daughters_of_chaos_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_daughters_of_chaos_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keller_marjorie_daughters_of_chaos_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_daughters_of_chaos_1980/main.mp4?v=2","description":"The film deals simultaneously with girls becoming women, woman looking back on her childhood. It is pervaded with voluptuousness, with longing: the woman, disappointed in love, looking for lost innocence, the girl yearning for the power of her sex.\" – Anne Becker <br/><br/>\"\"A circling around female adolescence in America. The film pulses with images and sounds the praise and bemoan the loss of the potential of youth.\"–M.K","artist_bio":"Marjorie Keller (b. 1950; Yorktown, NY. d. 1994) was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts University for participating in a protest, Keller finished her undergraduate coursework at the School of the Art Institute, Chicago. She later went on to pursue a master’s degree and then a doctorate in Cinema Studies at New York University. Keller taught filmmaking and film history at several institutions and was a professor the University of Rhode Island until her death in 1994.\nKeller began exhibiting films in 1969, creating more than twenty-five films during her lifetime. Among her best-known works are “Misconception” (1977), “Daughters of Chaos” (1980) and “Herein” (1992). Like many filmmakers of the American avant-garde, as well as the earliest documentary filmmakers of the feminist conscious-raising movement of the 1960s, Keller used the raw material of her life for both the images and themes of her films. Misconception, her longest film, documents the birth of her niece, using the small format of home movies, jagged editing and synchronized sound to express the pain and joy of the event, and the chasm between experience and memory. Daughters of Chaos takes footage of a wedding, and jumps backwards and forwards in time (adolescent girls in the process of becoming women, and a woman recalling her girlhood) to reflect the mysteries of growing up.\nIn addition to her achievements as a filmmaker, Keller produced a substantial body of writings as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Maya Deren and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. She was married to P. Adams Sitney (b. 1944; New Haven, CT), a historian of American avant-garde cinema.","bio_dates":"1950-1994"},{"slug":"keller_marjorie_herein_1991","ok":true,"partial":false,"title":"Herein","artist":"Marjorie Keller","year":"1991","startOffset":0,"sourceSecs":1871.87,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":314766760,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_herein_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_herein_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keller_marjorie_herein_1991.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_herein_1991/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_herein_1991/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"If you put it on tape, you can't erase it.\" HEREIN charts the movement from political activism to filmmaking through the metaphor of a dwelling. An FBI film obtained under the Freedom of Information Act, Emma Goldman's autobiography, the making of films on the Lower East Side in New York, street prostitution and drug addiction, all inflect the sense of place, space and history.","artist_bio":"Marjorie Keller (b. 1950; Yorktown, NY. d. 1994) was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts University for participating in a protest, Keller finished her undergraduate coursework at the School of the Art Institute, Chicago. She later went on to pursue a master’s degree and then a doctorate in Cinema Studies at New York University. Keller taught filmmaking and film history at several institutions and was a professor the University of Rhode Island until her death in 1994.\nKeller began exhibiting films in 1969, creating more than twenty-five films during her lifetime. Among her best-known works are “Misconception” (1977), “Daughters of Chaos” (1980) and “Herein” (1992). Like many filmmakers of the American avant-garde, as well as the earliest documentary filmmakers of the feminist conscious-raising movement of the 1960s, Keller used the raw material of her life for both the images and themes of her films. Misconception, her longest film, documents the birth of her niece, using the small format of home movies, jagged editing and synchronized sound to express the pain and joy of the event, and the chasm between experience and memory. Daughters of Chaos takes footage of a wedding, and jumps backwards and forwards in time (adolescent girls in the process of becoming women, and a woman recalling her girlhood) to reflect the mysteries of growing up.\nIn addition to her achievements as a filmmaker, Keller produced a substantial body of writings as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Maya Deren and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. She was married to P. Adams Sitney (b. 1944; New Haven, CT), a historian of American avant-garde cinema.","bio_dates":"1950-1994"},{"slug":"keller_marjorie_misconception_1977","ok":true,"partial":false,"title":"Misconception","artist":"Marjorie Keller","year":"1977","startOffset":0,"sourceSecs":2590.588,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":445690458,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_misconception_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_misconception_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keller_marjorie_misconception_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_misconception_1977/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_misconception_1977/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"MISCONCEPTION is a film structured on juxtapositions: indoors/outdoors; redecoration/destruction; exercises/actual birth; male opinion/female opinion; preparation/pain. Its montage structure of both image and sound balances MISCONCEPTION on the precarious moment, like birth, between these counterposed positions: conception/misconception, point/counterpoint.\" – Anne Friedberg \"MISCONCEPTION is composed of six parts that together chronicle the experience of one woman and her husband during the course of her natural childbirth. The film communicates the precision and care with which it has been assembled. (The) structure lends the film a pacing rhythm that has less to do with traditional cinema-verité documentary or film journalism than with the pacing and rhythm of poetry.\" – B. Ruby Rich","artist_bio":"Marjorie Keller (b. 1950; Yorktown, NY. d. 1994) was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts University for participating in a protest, Keller finished her undergraduate coursework at the School of the Art Institute, Chicago. She later went on to pursue a master’s degree and then a doctorate in Cinema Studies at New York University. Keller taught filmmaking and film history at several institutions and was a professor the University of Rhode Island until her death in 1994.\nKeller began exhibiting films in 1969, creating more than twenty-five films during her lifetime. Among her best-known works are “Misconception” (1977), “Daughters of Chaos” (1980) and “Herein” (1992). Like many filmmakers of the American avant-garde, as well as the earliest documentary filmmakers of the feminist conscious-raising movement of the 1960s, Keller used the raw material of her life for both the images and themes of her films. Misconception, her longest film, documents the birth of her niece, using the small format of home movies, jagged editing and synchronized sound to express the pain and joy of the event, and the chasm between experience and memory. Daughters of Chaos takes footage of a wedding, and jumps backwards and forwards in time (adolescent girls in the process of becoming women, and a woman recalling her girlhood) to reflect the mysteries of growing up.\nIn addition to her achievements as a filmmaker, Keller produced a substantial body of writings as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Maya Deren and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. She was married to P. Adams Sitney (b. 1944; New Haven, CT), a historian of American avant-garde cinema.","bio_dates":"1950-1994"},{"slug":"keller_marjorie_objection_1974","ok":true,"partial":false,"title":"Objection","artist":"Marjorie Keller","year":"1974","startOffset":0,"sourceSecs":1055.989,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":184176480,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_objection_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_objection_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keller_marjorie_objection_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_objection_1974/main.mp4?v=2","description":"Begun as a document for insurance purposes, OBJECTION catalogues the contents of a house with ever-increasing horror. The soundtrack carries the voices and sounds of the family unseen.","artist_bio":"Marjorie Keller (b. 1950; Yorktown, NY. d. 1994) was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts University for participating in a protest, Keller finished her undergraduate coursework at the School of the Art Institute, Chicago. She later went on to pursue a master’s degree and then a doctorate in Cinema Studies at New York University. Keller taught filmmaking and film history at several institutions and was a professor the University of Rhode Island until her death in 1994.\nKeller began exhibiting films in 1969, creating more than twenty-five films during her lifetime. Among her best-known works are “Misconception” (1977), “Daughters of Chaos” (1980) and “Herein” (1992). Like many filmmakers of the American avant-garde, as well as the earliest documentary filmmakers of the feminist conscious-raising movement of the 1960s, Keller used the raw material of her life for both the images and themes of her films. Misconception, her longest film, documents the birth of her niece, using the small format of home movies, jagged editing and synchronized sound to express the pain and joy of the event, and the chasm between experience and memory. Daughters of Chaos takes footage of a wedding, and jumps backwards and forwards in time (adolescent girls in the process of becoming women, and a woman recalling her girlhood) to reflect the mysteries of growing up.\nIn addition to her achievements as a filmmaker, Keller produced a substantial body of writings as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Maya Deren and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. She was married to P. Adams Sitney (b. 1944; New Haven, CT), a historian of American avant-garde cinema.","bio_dates":"1950-1994"},{"slug":"keller_marjorie_part_four_green_hill_no_date","ok":true,"partial":false,"title":"Green Hill (no date)","artist":"Marjorie Keller","year":null,"startOffset":0,"sourceSecs":231.231,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":38234954,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_part_four_green_hill_no_date/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_part_four_green_hill_no_date/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keller_marjorie_part_four_green_hill_no_date.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_part_four_green_hill_no_date/main.mp4?v=2","description":"This lyric records observations of the filmmaker's year in a rented house on a tidal inlet in Rhonde Island while her own house was being built nearby.","artist_bio":"Marjorie Keller (b. 1950; Yorktown, NY. d. 1994) was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts University for participating in a protest, Keller finished her undergraduate coursework at the School of the Art Institute, Chicago. She later went on to pursue a master’s degree and then a doctorate in Cinema Studies at New York University. Keller taught filmmaking and film history at several institutions and was a professor the University of Rhode Island until her death in 1994.\nKeller began exhibiting films in 1969, creating more than twenty-five films during her lifetime. Among her best-known works are “Misconception” (1977), “Daughters of Chaos” (1980) and “Herein” (1992). Like many filmmakers of the American avant-garde, as well as the earliest documentary filmmakers of the feminist conscious-raising movement of the 1960s, Keller used the raw material of her life for both the images and themes of her films. Misconception, her longest film, documents the birth of her niece, using the small format of home movies, jagged editing and synchronized sound to express the pain and joy of the event, and the chasm between experience and memory. Daughters of Chaos takes footage of a wedding, and jumps backwards and forwards in time (adolescent girls in the process of becoming women, and a woman recalling her girlhood) to reflect the mysteries of growing up.\nIn addition to her achievements as a filmmaker, Keller produced a substantial body of writings as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Maya Deren and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. She was married to P. Adams Sitney (b. 1944; New Haven, CT), a historian of American avant-garde cinema.","bio_dates":"1950-1994"},{"slug":"keller_marjorie_private_parts_1988","ok":true,"partial":false,"title":"Private Parts","artist":"Marjorie Keller","year":"1988","startOffset":0,"sourceSecs":769.769,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":128776692,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_private_parts_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_private_parts_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keller_marjorie_private_parts_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_private_parts_1988/main.mp4?v=2","description":"Private parts is the third in a series of in camera edited films. A portrait of Blake Sitney on some summer days.","artist_bio":"Marjorie Keller (b. 1950; Yorktown, NY. d. 1994) was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts University for participating in a protest, Keller finished her undergraduate coursework at the School of the Art Institute, Chicago. She later went on to pursue a master’s degree and then a doctorate in Cinema Studies at New York University. Keller taught filmmaking and film history at several institutions and was a professor the University of Rhode Island until her death in 1994.\nKeller began exhibiting films in 1969, creating more than twenty-five films during her lifetime. Among her best-known works are “Misconception” (1977), “Daughters of Chaos” (1980) and “Herein” (1992). Like many filmmakers of the American avant-garde, as well as the earliest documentary filmmakers of the feminist conscious-raising movement of the 1960s, Keller used the raw material of her life for both the images and themes of her films. Misconception, her longest film, documents the birth of her niece, using the small format of home movies, jagged editing and synchronized sound to express the pain and joy of the event, and the chasm between experience and memory. Daughters of Chaos takes footage of a wedding, and jumps backwards and forwards in time (adolescent girls in the process of becoming women, and a woman recalling her girlhood) to reflect the mysteries of growing up.\nIn addition to her achievements as a filmmaker, Keller produced a substantial body of writings as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Maya Deren and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. She was married to P. Adams Sitney (b. 1944; New Haven, CT), a historian of American avant-garde cinema.","bio_dates":"1950-1994"},{"slug":"keller_marjorie_she_va_1973","ok":true,"partial":false,"title":"She/Va","artist":"Marjorie Keller","year":"1973","startOffset":0,"sourceSecs":162.129,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":26556148,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_she_va_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_she_va_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keller_marjorie_she_va_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_she_va_1973/main.mp4?v=2","description":"A young dancer rechoreographed through film editing. This film was originally made in standard 8mm, from a home movie.","artist_bio":"Marjorie Keller (b. 1950; Yorktown, NY. d. 1994) was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts University for participating in a protest, Keller finished her undergraduate coursework at the School of the Art Institute, Chicago. She later went on to pursue a master’s degree and then a doctorate in Cinema Studies at New York University. Keller taught filmmaking and film history at several institutions and was a professor the University of Rhode Island until her death in 1994.\nKeller began exhibiting films in 1969, creating more than twenty-five films during her lifetime. Among her best-known works are “Misconception” (1977), “Daughters of Chaos” (1980) and “Herein” (1992). Like many filmmakers of the American avant-garde, as well as the earliest documentary filmmakers of the feminist conscious-raising movement of the 1960s, Keller used the raw material of her life for both the images and themes of her films. Misconception, her longest film, documents the birth of her niece, using the small format of home movies, jagged editing and synchronized sound to express the pain and joy of the event, and the chasm between experience and memory. Daughters of Chaos takes footage of a wedding, and jumps backwards and forwards in time (adolescent girls in the process of becoming women, and a woman recalling her girlhood) to reflect the mysteries of growing up.\nIn addition to her achievements as a filmmaker, Keller produced a substantial body of writings as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Maya Deren and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. She was married to P. Adams Sitney (b. 1944; New Haven, CT), a historian of American avant-garde cinema.","bio_dates":"1950-1994"},{"slug":"keller_marjorie_the_answering_furrow_1985","ok":true,"partial":false,"title":"The Answering Furrow","artist":"Marjorie Keller","year":"1985","startOffset":0,"sourceSecs":1206.439,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":211149011,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_the_answering_furrow_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_the_answering_furrow_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keller_marjorie_the_answering_furrow_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_the_answering_furrow_1985/main.mp4?v=2","description":"Owing to Virgil's Georgics. With assistance from Hollis Melton and Helene Kaplan. Music: Charles Ives, \"Sonata for Violin and Piano #4 (Children's Day at the Camp Meeting)\" and \"Ambrosian Chant (Capella Musicale del Duomo di Milano).\" Filmed in Yorktown Heights, New York; St. Remy en Provence, France; Mantua, Rome and Brindisi, Italy; and in Arcadia and the island of Kea in Greece. Georgic I – The annual produce first seen in spring – The furrowed earth ready for planting - The distribution, support and protection of young plants – The implements of the garden. Georgic II – The life of Virgil is recapitulated in summer, with a digression on the sacred – The sheep of Arcadia – The handling of bees – The pagan Lion of Kea. Georgic III – The skill and industry of the old man in autumn – Ancient custom and modern method – The use of implements of the garden. Georgic IV – The compost is prepared at season's end – The filmmaker completes THE ANSWERING FURROW with the inclusion of her own image. Note on the music: The music works with the image to parallel the trace of history. Ives recalls Protestant hymns, which recall the origin of the hymn in 12th century Milanese music, which allows for that music closest (in my experience of making this film) to the hum of bees and of amplifiers, the Orthodox Greek chant.","artist_bio":"Marjorie Keller (b. 1950; Yorktown, NY. d. 1994) was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts University for participating in a protest, Keller finished her undergraduate coursework at the School of the Art Institute, Chicago. She later went on to pursue a master’s degree and then a doctorate in Cinema Studies at New York University. Keller taught filmmaking and film history at several institutions and was a professor the University of Rhode Island until her death in 1994.\nKeller began exhibiting films in 1969, creating more than twenty-five films during her lifetime. Among her best-known works are “Misconception” (1977), “Daughters of Chaos” (1980) and “Herein” (1992). Like many filmmakers of the American avant-garde, as well as the earliest documentary filmmakers of the feminist conscious-raising movement of the 1960s, Keller used the raw material of her life for both the images and themes of her films. Misconception, her longest film, documents the birth of her niece, using the small format of home movies, jagged editing and synchronized sound to express the pain and joy of the event, and the chasm between experience and memory. Daughters of Chaos takes footage of a wedding, and jumps backwards and forwards in time (adolescent girls in the process of becoming women, and a woman recalling her girlhood) to reflect the mysteries of growing up.\nIn addition to her achievements as a filmmaker, Keller produced a substantial body of writings as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Maya Deren and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. She was married to P. Adams Sitney (b. 1944; New Haven, CT), a historian of American avant-garde cinema.","bio_dates":"1950-1994"},{"slug":"keller_marjorie_the_fallen_world_1983","ok":true,"partial":false,"title":"The Fallen World","artist":"Marjorie Keller","year":"1983","startOffset":0,"sourceSecs":570.57,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":103731259,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_the_fallen_world_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keller_marjorie_the_fallen_world_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keller_marjorie_the_fallen_world_1983.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keller_marjorie_the_fallen_world_1983/main.mp4?v=2","description":"An elegy for a Newfoundland dog named Melville and a portrait of his owner.","artist_bio":"Marjorie Keller (b. 1950; Yorktown, NY. d. 1994) was an influential filmmaker, author, activist, and scholar. After being expelled from Tufts University for participating in a protest, Keller finished her undergraduate coursework at the School of the Art Institute, Chicago. She later went on to pursue a master’s degree and then a doctorate in Cinema Studies at New York University. Keller taught filmmaking and film history at several institutions and was a professor the University of Rhode Island until her death in 1994.\nKeller began exhibiting films in 1969, creating more than twenty-five films during her lifetime. Among her best-known works are “Misconception” (1977), “Daughters of Chaos” (1980) and “Herein” (1992). Like many filmmakers of the American avant-garde, as well as the earliest documentary filmmakers of the feminist conscious-raising movement of the 1960s, Keller used the raw material of her life for both the images and themes of her films. Misconception, her longest film, documents the birth of her niece, using the small format of home movies, jagged editing and synchronized sound to express the pain and joy of the event, and the chasm between experience and memory. Daughters of Chaos takes footage of a wedding, and jumps backwards and forwards in time (adolescent girls in the process of becoming women, and a woman recalling her girlhood) to reflect the mysteries of growing up.\nIn addition to her achievements as a filmmaker, Keller produced a substantial body of writings as well as notes towards a proposed study of women’s experimental cinema that would have charted a trajectory from pioneers like Maya Deren and Carolee Schneemann through to a younger generation represented by Peggy Ahwesh, Su Friedrich, and Leslie Thornton, among others. She was married to P. Adams Sitney (b. 1944; New Haven, CT), a historian of American avant-garde cinema.","bio_dates":"1950-1994"},{"slug":"kelley_mike_extracurricularactivitysupermanrecites_1999_2000","ok":true,"partial":false,"title":"Extracurricular Activity & Superman Recites (1999 - 2000)","artist":"Mike Kelley","year":"2000","startOffset":0,"sourceSecs":2292.928,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":137616170,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kelley_mike_extracurricularactivitysupermanrecites_1999_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kelley_mike_extracurricularactivitysupermanrecites_1999_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kelley_mike_extracurricularactivitysupermanrecites_1999_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kelley_mike_extracurricularactivitysupermanrecites_1999_2000/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kelley_mike_extracurricularactivitysupermanrecites_1999_2000/main/master.m3u8?v=2","hasMainHls":true,"description":"Kelley has constructed a half-hour drama inspired by a photo found in a high school yearbook. The original, a still from a school play, depicts two young men in a shabby apartment. From this image Kelley has re-staged a 'Domestic Scene': the protagonists' unnerving, at times histrionic, relationship.\n\nMike Kelley writes: \"In Superman Recites Selections from 'The Bell Jar' and Other Works by Sylvia Plath an actor portrays Superman and does exactly what the title describes. In a dark no-place evocative of Superman's own psychic 'Fortress of Solitude' the alienated Man of Steel recites those sections of Plath's writings that utilize the image of the bell jar. Superman directs these lines to Kandor, the bell jar city that represents his own traumatic past, for he is the only surviving member of a planet that has been destroyed. Kandor now sits, frozen in time, a perpetual reminder of his inability to escape that past, and his alienated relationship to his present world. For us, Kandor is an image of a time that never was -- the utopian city of the future that never came to be.\n\nThis videotape was originally produced as an element for the installation work Kandor-Con 2000, which was presented as part of the exhibition Zeitwenden at the Kunstmuseum Bonn in 2000. The title mimics the term comic-con, which is a comic book collector's convention, and the piece is meant to be reminiscent of the kinds of displays found at such events.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"kelley_mike_testroom_part1_1999","ok":true,"partial":false,"title":"Testroom Part1","artist":"Mike Kelley","year":"1999","startOffset":0,"sourceSecs":1039.627,"sourceHeight":352,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":64403160,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kelley_mike_testroom_part1_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kelley_mike_testroom_part1_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kelley_mike_testroom_part1_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kelley_mike_testroom_part1_1999/main.mp4?v=2","description":"A Dance Incorporating Movements Derived from Experiments by Harry F. Harlow and choreographed in the manner of Martha Graham 1999 (1999), Part 1\n\nTest Room... is a choreographic work that merges movements related to Martha Graham's mythological dance pieces, gestures derived from monkey behavior observed in Harry Harlow's 1960's experiments, and \"cathartic\" violent behavior evoking the films of psychologist Albert Bandura's studies of the effect of televised violence on preschool children. The dance piece is intercut with actions performed by four actors, including men in gorilla suits.\n\nA Dance... is a black and white version that presents the complete dance piece, minus the other actions.\n\nWith: Sonia Kazorov, Kristen Hernstein, Dion Derizzo, David Bicha, Anita Pace, Carl Burkley. Choreography: Anita Pace. Production Supervisor: Patti Podesta. Camera: Robert Elhardt, Greg Kucera (Dance), Lighting Assistant: Derth Adams. Editor: Greg Kucera. Crew: Catherine Sullivan, Cameron Jamie, Abram Boosinger, Joycelyn Shipley (Dance). --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"kerkhof_ian_ten_monologues_from_the_lives_of_the_serial_killers_1994","ok":true,"partial":false,"title":"Ten Monologues from the Lives of the Serial Killers","artist":"Ian Kerkhof / Aryan Kaganof","year":"1994","startOffset":0,"sourceSecs":748.971,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":124577965,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kerkhof_ian_ten_monologues_from_the_lives_of_the_serial_killers_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kerkhof_ian_ten_monologues_from_the_lives_of_the_serial_killers_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kerkhof_ian_ten_monologues_from_the_lives_of_the_serial_killers_1994.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kerkhof_ian_ten_monologues_from_the_lives_of_the_serial_killers_1994/main.mp4?v=2","description":"Psychopaths and sociopaths are the focus of this Dutch film which is based upon a blend of written facts and fiction to create ten haunting vignettes. The most disturbing episode involves a young sexually molested boy who watches his father's murder in a city park and finds himself drawn to the corpse. Also included are passages from J.G. Ballard's book Crash, interviews with murderers, and the Geto Boys singing \"Murder Avenue,\" a rap inspired by Jeffrey Dahmer. J.G Ballard, Henry Rollins and Charles Manson intermingled.","artist_bio":"South African independent filmmaker, Aryan Kaganof is a visual artist, novelist and poet, who explores provocative and politically charged subject matter. Born in 1964 as Ian Kerkhof, he left South Africa for the Netherlands at nineteen to avoid conscription into the South African army during Apartheid. Before enrolling in the Netherlands Film and Television Academy in 1990, he worked for the Dutch Anti-Apartheid Movement, while also writing for international publications and programming jazz for pirate radio stations. He won a Golden Calf (Best Feature) for Kyodi Makes the Big Time, a self-produced 16mm production shot in 14 days while still a second-year student. In 1996 he pioneered the use of digital video as a feature film medium with the transfer to 35mm of Naar De Klote! (Wasted!) and went on to direct the first Japanese film utilizing this process (Tokyo Elegy, 1999).\nIn March 2000, following Kaganof’s return to South Africa, a retrospective of his films was held at the Yerba Buena Center for the Arts in San Francisco. His 2002 film Western 4.33, which tells the story of the German concentration camps on Shark Island off the coast of Luderitz, Namibia, was screened at the 2004 Berlinale and won awards for Best Video Made in Africa at the 12th Milan African Film Festival, and Best Documentary Made in Africa at the Reunion Africa and Islands Film Festival. In 2005, he shot the world’s first feature film made with a mobile phone camera (SMS Sugarman) and was a Visiting Professor at K3 Malmo University, Sweden following the film’s success there. He has had solo exhibitions in Cape Town’s Association for Visual Arts (AVA) and in Durban at the NSA Gallery, where he was also artist in residence.\nKaganof has worked as an editor with many South African film directors including Akin Omotoso (Jesus and the Giant, which Kaganof also scripted) Ntshavheni wa Luruli (Elelwani) (Imagine) and Craig Matthew (Welcome Nelson, a documentary about the 20th anniversary of Nelson Mandela’s release from prison, screened by eTV in 2010).\nHis on-going music research project the African Noise Foundation performed as part of the Badilisha Poetry Festival at Spier in December 2009 features Zim Ngqawana, Mantombi Matotiyana and the Kalahari Surfers. In November 2010, he collaborated with Cape Town filmmaker Dylan Valley on The Uprising of Hangberg, a documentary exposing human rights violations in Hout Bay (a Cape Town suburb) by the Metro police force. Recently a retrospective film festival of his work, AK47, organized by DOMUS was held in Stellenbosch. In November, 2013 he screened An Inconsolable Memory, a long form documentary about the Eoan Group Book Project, at the International Documentary Film Festival in Amsterdam.","bio_dates":"b. 1964"},{"slug":"keuken_johan_van_der_paris_a_l_aube_1957","ok":true,"partial":false,"title":"Paris A L'Aube","artist":"Johan van der Keuken","year":"1957-1960","startOffset":0,"sourceSecs":511.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":94010550,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keuken_johan_van_der_paris_a_l_aube_1957/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/keuken_johan_van_der_paris_a_l_aube_1957/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/keuken_johan_van_der_paris_a_l_aube_1957.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/keuken_johan_van_der_paris_a_l_aube_1957/main.mp4?v=2","description":"Gemaakt met medestudenten James Blue en Derry Hall. In 1957 stonden James Blue, filmstudent uit Portland/Oregon en Johan van der Keuken, filmstudent uit Amsterdam, dikwijls heel vroeg op om de dageraad te filmen. Ze wilden zelf met de camera aan de slag, iets waar de Parijse filmschool nauwelijks toe uitnodigde. Deze film is hun eigen leerstukje.","artist_bio":"Johan van der Keuken (4 April 1938, Amsterdam – 7 January 2001, Amsterdam) was a Dutch documentary filmmaker, author, and photographer. In a career that spanned 42 years, Keuken produced 55 documentary films, six of which won eight awards. He also wrote nine books on photography and films, his field of interest. For all his efforts, he received seven awards for his life work, and one other for photography.","bio_dates":"1938-2001"},{"slug":"khatibi_parviz_seh_mullah_1985_iphone","ok":true,"partial":false,"title":"Seh Mullah","artist":"Parviz Khatibi","year":"1985","startOffset":0,"sourceSecs":3200.429,"sourceHeight":268,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":189032008,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/khatibi_parviz_seh_mullah_1985_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/khatibi_parviz_seh_mullah_1985_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/khatibi_parviz_seh_mullah_1985_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/khatibi_parviz_seh_mullah_1985_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/khatibi_parviz_seh_mullah_1985_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Farsi, 53 Mins <br/><br/> Parviz Khatibi was an iconoclastic intellectual, active across countless media, who kept one foot in popular entertainment and the other in political activism. During the Shah's regime, Khatibi relentlessly published a satirical weekly named Haji Baba despite harsh censorship and several arrests. After the Islamic revolution, Khatibi continued the publication of the paper both in Iran and later in exile in New York and Los Angeles. In the realm of popular culture, he was a successful playwright, a key figure in the golden years of Radio Iran where he hosted a popular four hour morning show, an accomplished film directer (over 20 pictures under his belt) and a successful songwriter. Most notably, he penned the lyrics to Vigen and Delkash's Bordi Az Yadam - one of the most iconic songs of Persian pop history. His gift for sharp but poppy lyrics is TK evident in Seh Mullah (1985), a made-for-television satirical musical mocking the then leaders of the Islamic Republic. In characteristic Khatibi style, the play utilizes popular folk and joke musical tropes combined with found footage and video effects to voice fervent political commentaries. The mullahs, played by actors donning clumsy masks and fake beards, are often seen singing, dancing and being chastised by their wives. In one scene Khomeini, with a baseball bat in his lap, calls Saddam Hossein on the telephone to share his woes and suggest a war between their countries to solve all their problems. Khatibi himself appears throughout as a diegetic narrator.<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"He was a prominent Iranian journalist, writer, director, playwright, songwriter and social and political critic. Parviz Khatibi was born on May 18th, 1923 in Tehran, Iran. His mother was the daughter of Mirza Reza Kermani, a liberal political activist and the assassin of Naser' din Shah Qajar. On his fathers side his great grandfather was a famed preacher in the town of Noor, in the province of Mazandaran.\nKhatibi had an interest at an early age for poetry, and reading. He enjoyed such works of \"Hafez\" and \"Sadi\". At age 13, he wrote his first poem to be published in the only satire newspaper of that time called \"Towfigh\". By the age of 17 he became \"Towfigh's\" youngest editor in chief. At age 21, Khatibi finished schooling at the American College in Tehran. He then started to publish his own weekly political satire paper called \"Bahram\", and later \"Ali Baba\". Boldly and at criticizing the Iranian social situations of the time, \"Ali Baba\" was banned from publication by the government numerous times until it was finally forced to discontinue completely. Khatibi then began to publish yet another paper. Staying true to his views, he published \"Haji Baba\", which went on to become one of the most popular papers of its time. In his early twenties Khatibi began writing political Satire songs as a form of entertainment for theatres during intermissions. His fearless social and political lyrics became the main attraction of the four major theaters of those days. Later he became one of the first and the youngest accomplished comedy playwrights of that era. He staged popular plays in Tehran and many other provinces which would go on to sell out for the months of their running. Not only limiting himself to the theatrical and radio world, he attempted filmmaking. He once again succeeded in becoming one the first writer/directors of his time. In his efforts to make films, he produced, wrote and directed over 23 works all together.\nKhatibi had also found interest in radio plays, and proved successful, writing over 3,000 radio plays. In the early days of Radio Iran, Khatibi created live comedy shows using famous theatre actors and actress of the time. In later years, this show would evolve into a 4 hour morning show with millions of listeners around the country.\nHis artistic ventures came to a sudden halt by the summer of 1953. At this time, British and American governments initiated a joint plan for the covert overthrow of Dr. Mohammad Mossadegh, the Prime Minister of Iran. The decision was made in June 1953 to replace Dr. Mossadegh with General Fazlollah Zahedi; one of the men arrested in February 1953 on charges of plotting to overthrow the nationalist government, ironically enough. So, as the time of the Nationalist government died out, so did the era of free press.\nKhatibi's magazine \"Haji Baba\" was banned by law, and Parviz Khatibi was imprisoned and banned from working for any Iranian government entity for many years to come.\nAfter the Revolution Khatibi once again began publication of \"Haji Baba\" but the short lived freedom of press of the Islamic Republic of Iran again banned the popular weekly paper and forced Khatibi into exile.\nWhile in Exile, Khatibi began publishing \"Haji Baba\" once more, but this time in the United States. He continued to criticize the social and political situation under the ruling of the mullahs in Iran. He was on various radio and television stations, continuously getting his message across to the public in any way he could. He put on a variety of live plays which proved popular, and profound in their hidden meanings. These political endeavors were a prominent part of Parviz Khatibi's life until a week before his death in 1993, in Los Angeles, California at the age of 71.\nKhatibi's memory and art continue to stay persevered, even in his death. He was not only an artist, but a political revolutionary who influenced the Iranian world of artistic expression, even years after his death.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1923-1993"},{"slug":"kilimnik_karen_introducing_tabitha","ok":true,"partial":false,"title":"Introducing Tabitha","artist":"Karen Kilimnik","year":"2011","startOffset":0,"sourceSecs":30.628,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":2217355,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kilimnik_karen_introducing_tabitha/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kilimnik_karen_introducing_tabitha/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kilimnik_karen_introducing_tabitha.m4v","hasFrames":true,"description":"Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice."},{"slug":"kilimnik_karen_katemoss","ok":true,"partial":false,"title":"Kate Moss at the Beginning (undated)","artist":"Karen Kilimnik","year":"1955","startOffset":0,"sourceSecs":416.583,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":72648593,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kilimnik_karen_katemoss/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kilimnik_karen_katemoss/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kilimnik_karen_katemoss.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kilimnik_karen_katemoss/main.mp4?v=2","description":"An astonishing deconstruction of the vapidity of supermodel Kate Moss at the beginning of her career. Kilimnik's trigger-finger on the VCR found footage disrupts the seamless montage -- and thereby the illusionary life and times -- of perhaps the most famous supermodel of the past two decades. It's as if a fashion magazine is torn asunder, revealing the mere pulp from which it is made. Simple and thereby devastating... the power of the pause button.","artist_bio":"Best known for the\ndeconstructed, so-dubbed \"Scatter\" installations she\npioneered in the late 1980s, Karen Kilimnik has more\nrecently alighted on painting-based mise-en-scènes\nreplete with diminutive, loosely rendered canvases and\nrelated props. In\nThe Debonair General's Tent\n(2006), a\nNapoleonic campaign tent furnished with a desk, maps,\nand a phalanx of toy soldiers is positioned alongside\na suite of ThŽodore Géricault-inspired paintings. Like\nher earlier work, Kilimnik's new projects evidence a\nlush, quasi-fictive world where august artistic references\n(e.g., Jean-Baptiste Oudry, George Stubbs, and Sir\nHenry Raeburn) brush shoulders with contemporary\nnews and cultural icons including Keith Richards, Kate\nMoss, and Leonardo DiCaprio (especially memorable as\nKilimnik's louche\nPrince Charming\n[1998]).\nFog machines and minutely chosen decor and furniture\nlikewise abet a through-the-looking-glass experience\nwhere, moored in the particularities of specific\ncontexts, nothing is what it seems. As Kilimnik states:\n\"Being so inspired by fairy tales, mysteries, books, TV\nshows, and ballets, et cetera, I like to make up characters\nmyself as if I'm a playwright.\" Her mode of appropriation\nthus involves possession as much as fantasy.\nMediation predicated on distance is explicit in\nThe\nHellfire Club Episode of the Avengers\n(1989), which pays\nhomage to an infamous 1966 episode ( banned by U.S.\ncensors) of the British spy show with an installation\nof black-and-white photocopies, photographs, and a\nsoundtrack sampling harpsichord music, the\nAvengers\nAs seen in the recent work shown in her 2007 survey\nat the Institute of Contemporary Art in Philadelphia,\nKilimnik's period sensibilities have become even more\nstriking.\nthe bluebird in the folly\n(2006) is a coyly graceful\ngarden pavilion seemingly plucked from Marie\nAntoinette's Versailles--except that it harbors a video\nof Thumbelina-like ballerinas alighting on trees amid\nverdant woodland scenery. Such eighteenth-century\nfantasies of escapism played out by aristocrats on palace\ngrounds give way to an investigation of eighteenthcentury\nsalon display strategies in\nThe Red Room\n(2007): inside a nondescript, freestanding white cube\nplaced in a corner of the gallery is a richly appointed\nred brocade chamber on whose walls fifty of the artist's\npaintings hang cheek by jowl. In this matryoshka-like\nexhibition within an exhibition, Kilimnik makes\nexplicit her operative use of the gallery as a frame--\nand as an ersatz if dream factory-worthy facade. SUZANNE HUDSON","bio_dates":"b. 1955"},{"slug":"kim_hong_joon_joo_ho_hwang_seoul_7000_1976","ok":true,"partial":false,"title":"Seoul 7000","artist":"Hong-joon Kim","year":"1976","startOffset":0,"sourceSecs":456.81,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":182392586,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kim_hong_joon_joo_ho_hwang_seoul_7000_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kim_hong_joon_joo_ho_hwang_seoul_7000_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kim_hong_joon_joo_ho_hwang_seoul_7000_1976.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kim_hong_joon_joo_ho_hwang_seoul_7000_1976/main.mp4?v=2","description":"According to the information written in the credit roll of \"Seoul 7000,\" the film was filmed in Seoul in November 1976 with an 'Elmo 108' 8mm camera using Kodachrome 40 film. It was also stated that \"it was filmed frame by frame, and the shooting speed was adjusted differently for each shot,\" and \"the number 7000 in the title of this film represents the total number of frames in all parts except for the title.\"<br/><br/> \"Seoul 7000\" was co-directed by Hong-joon Kim and Joo-ho Hwang in 1976 (to quote Kim's own words, \"it's not an independent film but a 'personal film'\"), who were attending Seoul National University at the time, and won the creater award at the 3rd Korea Youth Film Festival (held at the Korea Film Council's screening room on June 10, 1977). The work, which documents the scenery from place to place in Seoul in the so-called 'comma shooting' method (shooting in frames at regular time intervals), is in the form of 'city symphony' that reconstructs Seoul's day following the temporal progress from dawn to sunrise and sunset to night.<br/><br/> The early members of Seoul National University's film club 'Yalashung', the birthplace of the film movement in the 1980s, made it personally before the club was formed in 1979, but also screened with the club's first collaboration \"Several and One\" (1980) at Yalashung's first official screening ('First Film Yard') on November 7-8, 1980. However, \"Seoul 7000,\" which focuses on capturing the rhythm of the Seoul as rapidly modernized city, seems to be closer to some personal and experimental works produced from the late 1960s to 1970s than films produced by the Seoul Film Group (1982-1986), formed by Yalashung and its club members.<br/><br/> For example, the urban sensitivity surrounding works such as Gu-rim Kim's \"The Meaning of 1/24 Second\" (1969), (arguably) the first experimental film in Korea, and \"Hole\" (1974) directed by Ok-hee Han who leads Kaidu Club, an experimental filmmaking group formed by female filmmakers from Ewha Womans University, is also clearly detected in \"Seoul 7000.\" If there is a difference, the subject as a mediator which embraces and bends the urban rhythm, that is, the image of a bored or alienated urban subject - deeply permeated into Korean films since Hyun-mok Yoo's \"Aimless Bullet\" (1961) - does not appear in \"Seoul 7000\". That's why this work was able to remain a vivid sketch of the scenery of Seoul in the mid-1970s.<br/><br/> Hong-joon Kim, who made two feature films in the 1990s, has released personal works in the 21st century such as \"My Korean Cinema\" series (2002-2006) and \"Garujigi Redux\" (2008) which makes us realize that the essay-film tendency clearly seen in these works is nothing new at all. (Un-seong Yoo)"},{"slug":"kim_kyung_mook_faceless_things_2005","ok":true,"partial":false,"title":"Eolgul eopnun geotdul AKA Faceless Things","artist":"Kyung-mook Kim","year":"2005","startOffset":0,"sourceSecs":3866.4,"sourceHeight":400,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":222709824,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kim_kyung_mook_faceless_things_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kim_kyung_mook_faceless_things_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kim_kyung_mook_faceless_things_2005.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kim_kyung_mook_faceless_things_2005/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kim_kyung_mook_faceless_things_2005/main/master.m3u8?v=2","hasMainHls":true,"description":"Warnings about gay sadomasochism to the contrary, this doesn’t offer much you can’t see in Warhol or Waters. What it does provide is three shots. The first, nearly 45 minutes long, provides virtually a one-act play about a motel tryst between a businessman and his teenage lover. The second shot shifts us to an anonymous sexual encounter that is admittedly fairly off-putting, but handled with the mix of casual framing and off-kilter suspense we find in, again, Warhol. The very last shot is very brief and puts the other two into a new context.\n\nFaceless Things shows two acts of gay sadomasochistic sex—one acted, the other not—with such bare-faced cheek that some viewers will be repelled. But this remarkable movie announces the 21-year-old Kim as a filmmaker in the Apichatpong league: an allusive poet whose direction of non-pro actors is as impressive as his grasp of the possibilities and limitations of cinematic form. The film consists of only three shots, the first (around 45 minutes) fiction, the second (around 20 minutes) documentary, and the third (very brief) something else. Exploring the space between cleanliness and “dirt,” this is the indie triumph of the year.\n\nWhen I was a teen, sick and tired of this disgusting world, I began to meet strange men secretly. All these relationships are written in my journal, recorded by the camcorder, or between the traces of my memories. In the sight of candid shot, or in the pornography-like representation, I and they (in and out of the frame) were just like a funambulism on a single line struggling with out lives. Looking back now, I realize why I wrote and taped them. In their hidden faces that \"the daytime-people\" can never see, I saw myself sinking below ceaselessly.","artist_bio":"Kyung-mook Kim is a filmmaker based in Seoul. His films—short, feature, and documentary—explore the uncertain lives of marginalized groups of people, such as homosexuals, transsexuals, sex workers, North Korean defectors, and others. Through his works, he attempts to reveal the ambiguity of boundaries lying between appearance/disappearance, visibility/invisibility, and presence/absence.\nHis films have been selected for and received awards in numerous international film festivals, such as the Venice Film Festival, the International Film Festival Rotterdam, the BFI London Film Festival and the Museum Of Modern Art. Recently, his works were the subject of retrospectives at the Indie Space (South Korea, 2016), Black Movie Film Festival (Switzerland, 2013), Taipei Film Festival (Taiwan, 2012) and Festival du Film Coréen à Paris (France, 2012).\nKyung-mook also worked as a journalist and a columnist for a number of publications since 2001. He served on the editorial board of Korea’s only independent film magazine, Independent Film, (2006-2007), and served also as a committee member of the Association of Korean Independent Film and Video (2011-2012).","bio_dates":"b. 1985"},{"slug":"kimiavi_parviz_ya_zamane_ahu_1970_iphone","ok":true,"partial":false,"title":"Ya Zamene Ahu (Oh Guardian of Deer!)","artist":"Parviz Kimiavi","year":"1970","startOffset":0,"sourceSecs":1199.16,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":74403558,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kimiavi_parviz_ya_zamane_ahu_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kimiavi_parviz_ya_zamane_ahu_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kimiavi_parviz_ya_zamane_ahu_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kimiavi_parviz_ya_zamane_ahu_1970_iphone/main.mp4?v=2","description":"Ya Zamene Ahu is a quiet documentary about the visitors of the shrine of Imam Reza, the eighth Shiite Imam, in the city of Mashhad in the North East of Iran. Nicknamed the \"Guardian of Deer,\" it is said that Imam Reza once protected a deer chased by a hunter. <br/><br/>\"\"There is the religious belief which leads the human beings to the shrine. All that I do is to show the space between the hands of the believers and the shrine. The symbolism in my film is rooted in reality. All the human beings and things in the film are real, nothing has been arranged.\" — Parviz Kimiavi<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Parviz Kimiavi (Born 1939, Tehran) is an internationally acclaimed Iranian (Persian) film director, screenwriter, editor and one of the most prominent figures of Persian cinema of the 20th century.\nKimiavi studied photography and film at l'École Louis Lumière (Louis Lumiere School of Cinematography) and IDHEC. His works gained critical success and won several prizes in important international events such as Berlin and Cannes\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1939"},{"slug":"kimsooja_a_beggar_woman_cairo","ok":true,"partial":false,"title":"A Beggar Woman - Cairo","artist":"Kimsooja","year":"2001","startOffset":0,"sourceSecs":520.554,"sourceHeight":324,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":35533908,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kimsooja_a_beggar_woman_cairo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kimsooja_a_beggar_woman_cairo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kimsooja_a_beggar_woman_cairo.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kimsooja_a_beggar_woman_cairo/main.mp4?v=2","description":"\"A Beggar Woman\" and \"A Homeless Woman\" (both 2000-01) — realized in cities around the world: Cairo, Delhi, Lagos, and Mexico City. Kimsoojas videos and installations blur the boundaries between aesthetics and transcendent experience through their use of repetitive actions, meditative practices, and serial forms. In many pieces, everyday actions—such as sewing or doing laundry—become two- and three-dimensional or performative activities. In videos that feature her in various personas (Needle Woman, Beggar Woman, Homeless Woman), she leads us to reflect on the human condition, offering open-ended perspectives through which she presents and questions reality.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Ira Cohen in UbuWeb Sound</a>","artist_bio":"Kimsooja was born in 1957 in Taegu, South Korea. She earned a BFA (1980) and MA (1984) from Hong-Ik University, Seoul. Kimsooja's videos and installations blur the boundaries between aesthetics and transcendent experience through their use of repetitive actions, meditative practices, and serial forms. In many pieces, everyday actions—such as sewing or doing laundry—become two- and three-dimensional or performative activities. Central to her work is the \"bottari,' a traditional Korean bed cover used to wrap and protect personal belongings, which Kimsooja transforms into a philosophical metaphor for structure and connection.\nIn videos that feature her in various personas (Needle Woman, Beggar Woman, Homeless Woman), she leads us to reflect on the human condition, offering open-ended perspectives through which she presents and questions reality. Using her own body, facing away from the camera, Kimsooja becomes a void; we literally see and respond through her. While striking for their vibrant color and density of imagery, Kimsooja's works emphasize metaphysical changes within the artist-as-performer as well as the viewer.","bio_dates":"b. 1957"},{"slug":"kimsooja_to_breathe_invisible_mirror_invisible_needle","ok":true,"partial":false,"title":"To Breathe: Invisible Mirror/Invisible Needle","artist":"Kimsooja","year":"2005","startOffset":0,"sourceSecs":592.626,"sourceHeight":324,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":12329597,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kimsooja_to_breathe_invisible_mirror_invisible_needle/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kimsooja_to_breathe_invisible_mirror_invisible_needle/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kimsooja_to_breathe_invisible_mirror_invisible_needle.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kimsooja_to_breathe_invisible_mirror_invisible_needle/main.mp4?v=2","description":"From blue to violet. The nine minutes of To Breathe: Invisible Mirror/Invisible Needle involve a lifecycle of the color spectrum, an electronic spiritual autobiography of red-yellow-blue sanctified at the four hard edges of the screen. These are colors that command, rather than pacify, the eye; the problem, to borrow Duchamp's phrase, of being \"up to the neck in the retina,\" here becomes a compelling visual solution, an optical tease with metaphysical consequences. \"My motivation for creating this piece was to question the depth of the surface,\" Kimsooja has said. \"Where is the surface? What in the world is there between things?\"<br/><br/> These migrating color fields, these on-screen anti-surfaces, frustrate the eye, if only temporarily; the effort here is to re-educate our visual intelligence, to make the eye more buoyant, less habituated. What Kimsooja calls her interest in in-betweens – in those enigmatic medial spaces that can be intuited but never experienced simultaneously – gives this work its itinerant sensibility, and it is this skepticism of the surface that disaffiliates To Breathe from a mid-twentieth-century aesthetics apotheosized by Barnett Newman, Ellsworth Kelly, Anne Truitt, Robert Ryman, etc. A more suitable list of aesthetic influences might include: magic lantern shows, Stan Brakhage films, Technicolor, stained glass windows, and also Cézanne, whose attraction to what he called \"the meeting of planes in the sunlight\" might describe another visual corollary to this work: the sensation, the flicker of colors, produced when staring at the sun with one's closed.<br/><br/> The two channels. The inhale-exhale component of the soundtrack forms its metrical unit: the couplet. The rhyming of inhale and exhale is made possible by an activity (breathing) which, in this instance, becomes increasingly less agile, more labored and urgent. Once the last exhale is replaced by the low, monophonic sound of humming, however, we assume that a change in condition has taken place, that a transaction between physical and spiritual experience has culminated in repose. And yet, Kimsooja's colors continue their gestation; the juxtaposition of an uninterrupted, trifurcated human hum and an image with no reliable surface and no discernable visual plane is the technique of a stereoscopic aesthetics. The effort is toward two radically dissociated channels of information that cannot be unified by the eye alone, but that require a bit of imaginative thinking and mental ingenuity to grant their coalescence.<br/><br/> But to think imaginatively entails a sensorial leap of faith and a transfiguration of the commonplace that often feels peculiar and difficult, but that is also necessarily clarifying and inventive. Hence the statement by Kimsooja: \"I don't believe in creating something new but in inventing new perspectives based on mundane daily life.\" The result plays like an ecstatic vision; a flash of light and sound that transforms Duchamp's \"retinal element\" into an instrument – a needle to thread and combine, a mirror to duplicate and rhyme – for achieving the movement from surface to spirit.<br/><br/> -- Ricky D'Ambrose, 2012<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Ira Cohen in UbuWeb Sound</a>","artist_bio":"Kimsooja was born in 1957 in Taegu, South Korea. She earned a BFA (1980) and MA (1984) from Hong-Ik University, Seoul. Kimsooja's videos and installations blur the boundaries between aesthetics and transcendent experience through their use of repetitive actions, meditative practices, and serial forms. In many pieces, everyday actions—such as sewing or doing laundry—become two- and three-dimensional or performative activities. Central to her work is the \"bottari,' a traditional Korean bed cover used to wrap and protect personal belongings, which Kimsooja transforms into a philosophical metaphor for structure and connection.\nIn videos that feature her in various personas (Needle Woman, Beggar Woman, Homeless Woman), she leads us to reflect on the human condition, offering open-ended perspectives through which she presents and questions reality. Using her own body, facing away from the camera, Kimsooja becomes a void; we literally see and respond through her. While striking for their vibrant color and density of imagery, Kimsooja's works emphasize metaphysical changes within the artist-as-performer as well as the viewer.","bio_dates":"b. 1957"},{"slug":"kipnis_laura_marx_the_video_1990","ok":true,"partial":false,"title":"Marx: The Video","artist":"Laura Kipnis","year":"1990","startOffset":0,"sourceSecs":1806.315,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":306144065,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kipnis_laura_marx_the_video_1990/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kipnis_laura_marx_the_video_1990/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kipnis_laura_marx_the_video_1990.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kipnis_laura_marx_the_video_1990/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kipnis_laura_marx_the_video_1990/main/master.m3u8?v=2","hasMainHls":true,"description":"Kipnis describes this tape as \"an appropriation of the aesthetics of both late capitalism and early Soviet cinema—MTV meets Eisenstein—reconstructing Karl Marx for the video age.' She presents a postmodern lecture delivered by a chorus of drag queens on the unexpected corelations between Marx’s theories and the carbuncles that plagued the body of the rotund thinker for over thirty years. Marx’s erupting, diseased body is juxtaposed with the “body politic\", and posited as a symbol of contemporary society proceeding the failed revolutions of the late 1960s. Seeking a parallel between the body of the state and women’s bodies, Kipnis brings to light the manner in which women’s bodies have been used as the site of displacement for social and political anxiety, with the state of the nation currently reflected in a female body plagued by anorexia and bulimia, traversed by pornography, manners, and regulations on abortion. --\n\nfor further information about this artist and work. The Video Data Bank site offers extensive resources for curators, students, artists and educators.","artist_bio":"Laura Kipnis is a cultural theorist/critic and former video artist. Her present work focuses on the intersections of American politics, psyche, and the body—with detours through love, Marx, gender distress, adultery, scandal, Freud, and the legacy of the avant-garde. In addition to six books, her essays and reviews have appeared in Slate, The Nation, Critical Inquiry, Social Text, Wide Angle, the Village Voice, Harper’s, the New York Times Magazine, and numerous edited collections. Her books and essays have been translated into fifteen languages. Her video-essays have been screened and broadcast in North America, (Museum of Modern Art, American Film Institute, Whitney Museum-Equitable Center, et al), Europe, Japan, and Australia, and are distributed by Video Data Bank, Electronic Arts Intermix, Cinema Guild, and V/Tape in Canada. She is the writer-director-producer of Marx: The Video (1990), A Man’s Woman (1988, in association with Channel Four Television, Great Britain), and Ecstasy Unlimited: The Interpenetrations of Sex and Capital (1985).","bio_dates":"b. 1956"},{"slug":"kirby_peter_john_baldessari_some_stories_1990_iphone","ok":true,"partial":false,"title":"Some Stories","artist":"John Baldessari","year":"1990","startOffset":0,"sourceSecs":1726.296,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":105860379,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kirby_peter_john_baldessari_some_stories_1990_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kirby_peter_john_baldessari_some_stories_1990_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kirby_peter_john_baldessari_some_stories_1990_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kirby_peter_john_baldessari_some_stories_1990_iphone/main.mp4?v=2","description":"Presented without commentary, this film reveals the thinking behind his work and provides clues to the understanding of the artist's paintings, photographic work and books. What emerges is a portrait of a thoughtful, quietly rebellious artist who has influenced a large number of younger artists over the last 20 years. 1990, 28 mins.\n\nThis tape reveals Baldessari's thoughts and intentions for his work over the course of his career, providing clues to the understanding of his paintings, books, and photos. What emerges is a portrait of a rebellious artist who attempts to undermine the catagories and dogmas of the art world- with the full realization that in the long run, some catagory or other will be named to label his work."},{"slug":"kirsanov_dimitri_menilmontant_1924_25","ok":true,"partial":false,"title":"Ménilmontant","artist":"Dimitri Kirsanov","year":"1924-1925","startOffset":0,"sourceSecs":1516.054,"sourceHeight":256,"sourceWidth":336,"hasAudio":true,"hasAmbientMp4":true,"bytes":93510586,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kirsanov_dimitri_menilmontant_1924_25/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kirsanov_dimitri_menilmontant_1924_25/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kirsanov_dimitri_menilmontant_1924_25.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kirsanov_dimitri_menilmontant_1924_25/main.mp4?v=2","description":"1924-25, 25 minutes<br/> <br/> Cast: Nadia Sibirskaia, Yolande Beaulieu, Guy Belmont, Jean Pasquier <br/><br/> Produced by Dimitri Kirsanov. Scenario by Dimitri Kirsanov. Cinematography by Dimitri Kirsanov. Edited by Dimitri Kirsanov. / Standard 35mm spherical 1.37:1 format.<br><br><b>Ménilmontant by Donato Totaro</b> Every now and then you are caught unaware by an unfamiliar film. Exactly that happened when I watched a 16mm print of a film I was preparing to teach, the 1924 short French film Ménilmontant, by Russian emigré Dimitri Kirsanov. After previewing it I calmly walked back into the projector room, threaded it up and re-watched it. I did it one more time. The film's story is pure melodrama, maybe even banal, but its visual treatment is pure poetry. I stress visual, since this is one of the earliest films that I know of to completely refrain from using any explanatory intertitles (French film scholar Richard Abel speculates that it is the first French film to do so). [1] What is fascinating is that director Kirsanov begins the film with an audacious and brutal montage flurry which contains several split second shots that foreshadow Eisentein's famous Odessa Steps sequence of one year later. But Kirsanov's varied style is more properly placed within the tradition of French Impressionism, which valued a musical approach to cinematic rhythm with alternating rapid montage scenes and slower lyrical moments, and 'in-camera' effects such as dissolves, fades, irises, fast motion, blurred or out of focus shots, and superimpositions. Counter pointing the film's raw montage is the realistic on-location shooting in the seedy, rundown milieu of the 20th arrondissement of Ménilmontant. Kirsanov depicts two urban visions: a thriving Paris depicted in vivid daytime flash montages of trams, cars, wheels, and storefronts, and dark, lonely alleyways, cobblestone roads, and plaster-decaying buildings. Before we settle into our seats the sum of the opening montage leaves us with an unexplained double murder. We infer this from a series of jump cut images: a billowing window curtain, close-ups of people struggling, enraged faces, a woman violently clasped by the hair from behind, an axe raised in the air, a bloodied face, an axe falling to the muddy ground. This brutal mélange, both in its harsh cuts and disturbing content, gives way to a counter pointal scene of two young girls playing in a rustic park, climbing a tree after a cat. The scene cuts back to a group of people huddled together looking down below frame at what must be an awful site: the two corpses. Although the spatial relationships are never made clear, the next series of shots unites the previous space with eyeline matches. The younger of the two girls is attracted to the crowd. A series of four dynamically articulated static shots of her face, from medium to extreme close-up, reveals her shocked expression. The film soon flashforwards ten or so years, without any clues other than what we must infer: the two sisters, now older but played by the same actresses, the older sister (Yolande Beaulieu) and the younger sister (Nadia Sibirskaia, Kirsanov's wife), dressed in black at a cemetery. The camera cuts to closer shots of two headstones that read: \"to our mother,\" and \"to our father.\" We can now infer that the two people murdered in the opening were the parents of these two sisters, who have since had to fend for themselves. The sisters move to Paris, where they become involved in a three-way relationship with an enigmatic young man (Guy Belmore). Things begin well, as they share an apartment and find work in a flower shop. The motivation for the subsequent actions of the three characters remain unclear. The younger sister's first encounter with the young man is spied on by the older sister from a street corner. After realizing the amarous nature of the encounter, she walks away dejectedly down a cobblestone road. In one of the most enigmatic scenes, Kirsanov crosscuts from the younger sister's first-time visit to the young man's apartment and the older sister lying in wait in bed. As he does throughout the film, Kirsanov makes arresting use of the dissolve (like in the earlier scene of the sisters' long walk away from the cemetery down a long narrow country road, with the walk advancing through a series of elliptical dissolves). The man and woman enter the room in long shot. A slow dissolve finds them seated on the other side of the room. The sister resists his sexual advances, but then coyly kisses him then runs to the window. The scene cuts to her sister in bed. She glances at the alarm clock on the night table, and then her sister's absent side of the bed. What follows is a complex montage of a clock, a nude female torso, and alternating car wheels whose conflicting rhythmic movements superimposed over the nude corpse suggests the sexual act. The montage ends and she moves her hand over to caress her sister's pillow. What are we to infer from this montage? Was it her imagination of her sister with the man? Or was it her own sexual fantasy? After her encounter with the man the young sister takes a stroll along a bridge and stops to gaze at a park down below. Perhaps triggered by the loss of her innocence, the film cuts from a close-up to a flashback of her as a young girl, dressed in white with long curls, playing in the park as she did prior to the murder of her parents. For reasons never explained, the older sister allows herself to be seduced by her sister's lover. Kirsanov establishes their sexual consummation with a series of simple shots and dissolves of the street level door they enter and exit from. Once they exit the door Kirsanov dissolves from a shot of them embracing which oddly flips their position in the frame (crossing the axis), resulting in a quiet emotional effect of discord and unease. Echoing the sister's initial encounter with the man, now it is the younger sister who accidentally sees the amorous encounter, a revelation which leads her into an emotional downspin which leads her to contemplate suicide. Kirsanov advances the narrative forward approximately nine months with a simple transition to a stone sign above a door which reads: \"maternite.\" The camera tilts down to the younger sister crouched on the doorstep, looking worn and unhealthy, holding a baby in her arms. As a single mother living in one of the poorer districts in Paris, things become desperate. In a touching park scene that would make Chaplin proud, Kirsanov demonstrates the strength of the human spirit and human kindness. The scene begins with the two-timing lover seated alone on a park bench. He stands to leave, but before he exits in the foreground his body fades out, while the younger sister's body fades into view at the exact same spot on the bench. This use of the dissolve demonstrates the problematic association of cinema as a language akin to the written word. The dissolve is a technique rarely used today, but in the 1930's and 1940's was a common form of temporal transition. However, when the dissolve was first used in early cinema it was not coded as a temporal signifier. It was most often used to 'soften' a cut from, for example, a long shot of a person to a closer shot. By 1924, as evidenced in this film, the dissolve was already being used not only as a means of temporal ellipsis, but to establish mood, invoke irony (as in this latter case), or for an emotional effect. Seated next to the woman is an old man quietly eating bread with salami. The woman can not stop her starving eyes from glancing at the man. After a few alternating cuts, the camera films a close up of the man gently placing a piece of bread and meat on the bench between them. The woman picks the food up and begins to eat, the gesture bringing sorrowful tears to her eyes. The film concludes with a series of powerful moments that include a reconciliation between the two estranged sisters, another brutal murder that echoes the opening one, and an ambiguous ending perched somewhere between despair and hope. While walking through the dark city streets the younger sister, with baby in arm, notices a well dressed woman standing outside a hotel. The camera marks her stature with an angled shot of her high heels sinking into the muddy terrain. The two sisters make eye contact. It only takes a few moments before they take pity on each other: one a single mother drenched in poverty, the other a night owl prostitute. An amazing juxtaposition symbolizes their estrangement: Kirsanov repeatedly sandwiches close-ups of the two sisters with the flashing neon hotel light. The sign \"hotel\" signifies all that has come between the two sisters: the big city, the seedy nightlife, the life of prostitution. She hands her the baby, and they embrace. The older sister takes her into her well furnished apartment. Meanwhile, poetic justice brews on the outside. A nervous looking, steely-eyed woman shuffles into a bar and helps herself to unfinished drinks on the bar counter, almost as if to instill courage for an upcoming act. She spies on our young male protagonist, who hovers about the side of the hotel. The woman enters the hotel door with a man. The camera tilts up to the hotel sign, and then back down. A man counts coins in his hand. The strange woman from the bar, aided by a barely seen male accomplice, attack the male protagonist, a character whose actions have painted him as the villain. In a flurry of shots matching the intensity and violence of the opening, the woman picks up a large stone and brings it crashing down onto the man's head, knocking him unconscious. The two assailants flee. The nature of the attack remains as oblique as the first. Was it simply a random attack, or a robbery? Or was the woman a prostitute settling scores with her pimp? Given the status of the older sister as a prostitute, the latter reading holds weight. The film concludes with a final 'poetic justice' moment that crosscuts from the injured man crawling along the street trying to find his way to, we imagine, the older sister's home, to the two sisters in the comfort of the apartment. In the final shot we see the older sister asleep with the baby, and the younger sister seated at the foot of the bed, praying. The overall effect is one spiritual rebirth. The younger sister appears angelic, with her hair down, bathed by the sunlight streaming into the room. But the hope invoked through the formal properties seems oddly unwarranted. For in the end the sister is still a prostitute, and the other a troubled single mother. There is so much to admire about this precious film. For instance, I have not even broached the stunning performance of Nadia Sibirskaia in the lead role of the younger sister. Kirsanov's camera loves her. In certain profile close-ups Sibirskaia reminded me of Anna Karina, Jean Luc-Godard's actress wife of the 1960's. Her performance, the Soviet-styled montages, and the alternating between the background realism and the low tech impressionist camera effects makes Ménilmontant of the great lesser known classics of silent cinema. Notes 1-Richard Abel. French Cinema: The first Wave, 1915-1929. (Princeton, New Jersey: Princeton University Press, 1984), 395.","artist_bio":"In France from 1923. Kirsanoff was at the forefront of Parisian avant-garde filmmaking thanks to works such as Ménilmontant (1926), which combined soviet style montage with hand-held camerawork and lyrically composed static shots. Kirsanoff's early silent films, many starring his first wife Nadia Sibirskaia, are considered his best works. With the coming of sound the quality of his output declined, though he continued to direct commercial ventures into the 1950's. His second marriage was to editor Monique Kirsanoff.","bio_dates":"1899-1957"},{"slug":"kitchen_byrne_david_reports","ok":true,"partial":false,"title":"David Reports","artist":"David Byrne","year":"1986","startOffset":0,"sourceSecs":271.125,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":18277209,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kitchen_byrne_david_reports/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kitchen_byrne_david_reports/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kitchen_byrne_david_reports.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kitchen_byrne_david_reports/main.mp4?v=2","description":"The television production Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes. This production reflects a moment when art centers were experimenting with new modes of presenting the arts for television. The participating artists read like a \"who's who\" of 1980's downtown art icons. Short excerpts from video and film works (by artists including Vito Acconci, Dara Birnbaum, Bruce Connor and Bill Viola) are intercut with performances and art installations in the Kitchen's gallery spaces. Laurie Anderson performs Difficult Listening Hour, speaking through the male voice of her \"Soul Doctor\" character; Talking Heads' front man David Byrne is featured in the performance piece Report from L.A.; choreographer and dancer Bill T. Jones performs Inspiration to the accompaniment of John and Evan Lurie's music. Art works by '80s art stars Cindy Sherman, Robert Longo and Jonathan Borofsky are integral to the mise en scene, while music by downtown legends Brian Eno, Philip Glass and Arto Lindsay, among others, provides a running soundtrack. --\n\nThis title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the\n\nThe EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"kjartansson_ragnar_mercy_2005","ok":true,"partial":false,"title":"Mercy","artist":"Ragnar Kjartansson<","year":"2005","startOffset":0,"sourceSecs":1199.961,"sourceHeight":384,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":76629600,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kjartansson_ragnar_mercy_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kjartansson_ragnar_mercy_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kjartansson_ragnar_mercy_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kjartansson_ragnar_mercy_2005/main.mp4?v=2","description":"Duration 20 minutes <br/><br/> The video Mercy (2005) presents an alt-country ode consisting of a single lyric — \"Oh why do I keep on hurting you\" — which Kjartansson, standing alone with a guitar, sings over and over in front of the camera like an actor perfecting his role. Now plaintive, now crass, now searching, now pleading, the line takes on a haunting quality not quite undercut by the tune’s tongue-in-cheek twang. The work introduced a recurring motif in the artist’s repertoire: the slick-haired singer, a persona Kjartansson has honed in real life as front man for the synth-heavy Reykjavík rock band Trabant, now on hiatus. The band’s performances — as seen on YouTube, anyway — have been blowout affairs, full of rock ’n’ roll swagger and screaming teenage fans. Mercy was a first step toward connecting this sassy streak with the artist’s maturing explorations of Icelandic identity.<br><br><b>RESOURCES:</b> <br/><a href=\"https://ubu.com/sound/moorman.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Sound</a> <br/> <a href=\"../historical/moorman/index.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Historical</a>","artist_bio":"Kjartansson trained as a painter at the Iceland Academy of the Arts, but soon concentrated on performance art. In a 2002 work called Death and the Children, he dressed up in a dark suit and carried a scythe, leading young children — who had no idea what the costume meant — through a cemetery, trying earnestly to answer their questions about fate. In his 2006 live performance Sorrow Conquers Happiness, captured in the video God, he wore a tuxedo and played the role of an 1940s nightclub crooner on a pink-draped stage with an orchestra, singing, “Sorrow conquers happiness” over and over as the music swelled. That same year, in his two-day piece The Blossoming Trees Performance, he assumed the role of plein-air painter in the mode of the Impressionists or Hudson River School artists at Rokeby Farm, a nearly 200-year-old house in the Hudson Valley.\nKjartansson represented Iceland at the Venice Biennale in 2009, becoming the youngest to represent his country at 33.For his exhibition at Palazzo Michiel dal Brusa near the Rialto Bridge, the artist relentlessly painted the portrait of fellow Icelandic artist Páll Haukur Björnsson who poses before him in a black Speedo, cigarette and beer in hand.\nIn 2011, Kjartansson won the inaugural Malcolm Award at Performa 11, the visual art performance biennial. He won for his 12-hour work Bliss, which was performed without a break at the Abrons Arts Center involving repeated performances of the denouement of Mozart’s “Marriage of Figaro”, the moment when the count gets down on one knee and asks his wife for forgiveness, which she grants in an aria. Kristjan Johannson, an Icelandic tenor, played the count, with members of his master class in the other roles.","bio_dates":"b. 1976"},{"slug":"kjartansson_ragnar_satan_is_real","ok":true,"partial":false,"title":"Satan Is Real","artist":"Ragnar Kjartansson<","year":"2005","startOffset":59.96,"sourceSecs":3820.72,"sourceHeight":578,"sourceWidth":1052,"hasAudio":true,"hasAmbientMp4":true,"bytes":644745660,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kjartansson_ragnar_satan_is_real/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kjartansson_ragnar_satan_is_real/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kjartansson_ragnar_satan_is_real.mp4","hasFrames":true,"description":"For “Satan Is Real,” Kjartansson buried himself waist-deep and shirtless in the earth in a public park in Reykjavik, strummed a guitar, and sang “Satan is real, and he’s working for me” over and over for more than an hour. In the video, children frolic and even picnic around him. <br/><br/> The scene recalls Samuel Beckett’s “Happy Days,” although Kjartansson’s brooding lyrics distinguish him from the Pollyanna character half-buried in that play. The words come from the artist’s mishearing of the Louvin Brothers’s gospel song, which isn’t quite as bleak: “Satan is real, and he’s working in spirit. . . . He can tempt you and lead you astray.”<br><br><b>RESOURCES:</b> <br/><a href=\"https://ubu.com/sound/moorman.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Sound</a> <br/> <a href=\"../historical/moorman/index.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Historical</a>","artist_bio":"Kjartansson trained as a painter at the Iceland Academy of the Arts, but soon concentrated on performance art. In a 2002 work called Death and the Children, he dressed up in a dark suit and carried a scythe, leading young children — who had no idea what the costume meant — through a cemetery, trying earnestly to answer their questions about fate. In his 2006 live performance Sorrow Conquers Happiness, captured in the video God, he wore a tuxedo and played the role of an 1940s nightclub crooner on a pink-draped stage with an orchestra, singing, “Sorrow conquers happiness” over and over as the music swelled. That same year, in his two-day piece The Blossoming Trees Performance, he assumed the role of plein-air painter in the mode of the Impressionists or Hudson River School artists at Rokeby Farm, a nearly 200-year-old house in the Hudson Valley.\nKjartansson represented Iceland at the Venice Biennale in 2009, becoming the youngest to represent his country at 33.For his exhibition at Palazzo Michiel dal Brusa near the Rialto Bridge, the artist relentlessly painted the portrait of fellow Icelandic artist Páll Haukur Björnsson who poses before him in a black Speedo, cigarette and beer in hand.\nIn 2011, Kjartansson won the inaugural Malcolm Award at Performa 11, the visual art performance biennial. He won for his 12-hour work Bliss, which was performed without a break at the Abrons Arts Center involving repeated performances of the denouement of Mozart’s “Marriage of Figaro”, the moment when the count gets down on one knee and asks his wife for forgiveness, which she grants in an aria. Kristjan Johannson, an Icelandic tenor, played the count, with members of his master class in the other roles.","bio_dates":"b. 1976"},{"slug":"klein_yves_anthropometries_of_the_blue_period_and_fire_paintings_1960","ok":true,"partial":false,"title":"Anthropometries of the Blue Period and Fire Paintings: Two Performances","artist":"Yves Klein","year":"1960","startOffset":0,"sourceSecs":418.432,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":75159620,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klein_yves_anthropometries_of_the_blue_period_and_fire_paintings_1960/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klein_yves_anthropometries_of_the_blue_period_and_fire_paintings_1960/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/klein_yves_anthropometries_of_the_blue_period_and_fire_paintings_1960.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/klein_yves_anthropometries_of_the_blue_period_and_fire_paintings_1960/main.mp4?v=2","description":"During the last two years of his life Yves Klein devoted himself to the creation of large-scale \"Fire Paintings\" and \"Anthropometries\"--body prints made by nude, usually female models covered in blue paint and directed in their movements by Klein. At the Ludwig, these works were shown in an immense, all-white concluding gallery. The room was divided diagonally by a free-standing white wall about 30 feet high, on top of which was set a vast horizontal disk of white scrim; the disk was dramatically lit from below so that, stretching out over the gallery, it seemed to hover weightlessly in space. The dazzling whiteness of the enormous room created a startling sci-fi setting for Klein's most flamboyant works.<br/><br/> The 10 \"Anthropometries\" on display ranged from modest single-figure works to a sprawling 9-by-14-foot canvas in which the human forms have become quite illegible and all that is visible is a central expanse of smeared blue pigment on a white ground. In their insistent figural quality, some of the works are strikingly reminiscent of Rauschenberg's blueprints of outlined bodies from the late '40s. Klein, however, continued to vary the details of his presentation: the works are carried out sometimes on linen, sometimes on unpigmented white silk. Some works are made by means of straightforward body prints, others by spray-painting around the models' bodies. Some works are meant to be hung conventionally on the wall, others are allowed to \"float\" upright within a light-blue Plexiglas box. As the constantly playing video monitor in the gallery confirmed, it remains difficult to separate these works from the film footage shot in 1960 of Klein in action at the Galerie Internationale d'Art Contemporain in Paris. The film portrays a dapper Klein in formal attire, accompanied by a small orchestra, directing three nude models before an audience of terminally jaded members of the Parisian haute bourgeoisie.<br/><br/> The dozen \"Fire Paintings\" included both minimalistic pieces created by singeing a bare canvas with the flames of Bunsen burners and epic-scale works whose dramatic molten forms were produced with the aid of a flame-thrower. There were also four \"Fire-Color\" works, all modest in size, in which flames were directed at pigment-covered canvases. The resulting distressed surfaces are animated by scorched and reticulated puddles of color. Klein's carefully staged making of these pieces, too, was shown via period film footage on video monitors in the gallery.<br/><br/> Despite their imposing size and unusual means of fabrication, Klein's \"Anthropometries\" and the \"Fire Paintings\" seem visually and conceptually a step backward--a return to the congealed formulas of French painterly abstraction and Tachisme of the early '50s. They are, in the end, rather conventional expressionist paintings arrived at by unconventional methods. The same can be said of Klein's late \"Cosmogonies,\" works made by exposing painted canvases to the effects of rain, wind and flowing water. Like many artists in the 1960s, Klein may have sensed the possibilities of nonmanual mark-making procedures; unfortunately he never took the time to carry out more than a small series of very uneven works. Instead, during the last years of his life he relentlessly courted mass-media attention with ever more theatricalized performances; in the process he settled for increasingly predictable pictorial results.<br><br><b>RESOURCES:</b> <br/><a href=\"https://ubu.com/sound/moorman.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Sound</a> <br/> <a href=\"../historical/moorman/index.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Historical</a>","artist_bio":"Yves Klein: The Blue Revolution (English language, 2007), dir. François Levy-Kuentz\nYves Klein: Anthropométrie de l'époque bleu (French langauge, 1996), dir. Alan Jaubert\nYves Klein was a French artist considered an important figure in post-war European art. He is the leading member of the French artistic movement of Nouveau rŽalisme founded in 1960 by art critic Pierre Restany. Klein was a pioneer in the development of Performance art, and is seen as an inspiration to and as a forerunner of Minimal art, as well as Pop art.","bio_dates":"1928-1962"},{"slug":"klein_yves_symphonie_monotonesilence","ok":true,"partial":false,"title":"Symphonie Monotonesilence","artist":"Yves Klein","year":"1947","startOffset":0,"sourceSecs":186.294,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":8982196,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klein_yves_symphonie_monotonesilence/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klein_yves_symphonie_monotonesilence/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/klein_yves_symphonie_monotonesilence.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/klein_yves_symphonie_monotonesilence/main.mp4?v=2","description":"\"During this period of concentration, I created, around 1947--1948, a 'monotone' symphony whose theme expresses what I wished my life to be.\n\nThis symphony of forty minutes duration (although that is of no importance, as one will see) consisted of one unique continuous 'sound,' drawn out and deprived of its beginning and of its end, creating a feeling of vertigo and of aspiration outside of time. Thus, even in its presence, this symphony does not exist. It exists outside of the phenomenology of time because it is neither born nor will it die. However, in the world of our possibilities of conscious perception, it is silence -- audible presence.\"\n\n\"My old Monotone Symphony of 1949, which was performed under my direction, by a small orchestra on March 9, 1960, was destined to create an 'after-silence' after all sounds had ended in each of us who were present at that manifestation.\n\nSilence... This is really my symphony and not the sounds during its performance. This silence is so marvelous because it grants 'happenstance' and even sometimes the possibility of true happiness, if only for only a moment, for a moment whose duration is immeasurable.\""},{"slug":"klein_yves_yves_klein_the_blue_revolution_2007","ok":true,"partial":false,"title":"François Levy-Kuentz - Yves Klein - The Blue Revolution","artist":"Yves Klein","year":"2007","startOffset":0,"sourceSecs":3118.991,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":529992056,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klein_yves_yves_klein_the_blue_revolution_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klein_yves_yves_klein_the_blue_revolution_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/klein_yves_yves_klein_the_blue_revolution_2007.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/klein_yves_yves_klein_the_blue_revolution_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/klein_yves_yves_klein_the_blue_revolution_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"Director : François Levy-Kuentz<br/> Date : 2007<br/> <br/> This is a FANTASTIC documented fiction film made up of library footage, artwork and re-enactments about Yves Klein (1928-1962). It follows the artist’s life in chronological order, showing the progress of his career and unravelling the mysterious correlations running through his work. The film is narrated by the artist himself, who tells his tale like a jigsaw puzzle, bringing to life the man, the artist, the work and the era.<br/> <br/>\"\"They mocked me. They treated me like a lunatic instead of an artist. They didn't believe I could think with my paintbrush...\"<br/> — Yves Klein<br/> <br/> ...So begins the film, in the first person.<br/> <br/> Yves Klein’s career, which lasted from 1955 to 1962, was cut short by death. He had had only seven years to create and convince. A unique phenomenon in contemporary art, Yves Klein, inventor of both the monochrome and the happening, died at the age of 34 of a surfeit of passion. He had exhausted himself striving to make art live, and live art; to birth a superior and invisible world. Few of his contemporaries understood the focus of the mission he had given himself. Today, it is still being discovered.<br><br><b>RESOURCES:</b> <br/><a href=\"https://ubu.com/sound/moorman.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Sound</a> <br/> <a href=\"../historical/moorman/index.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Historical</a>","artist_bio":"Yves Klein: The Blue Revolution (English language, 2007), dir. François Levy-Kuentz\nYves Klein: Anthropométrie de l'époque bleu (French langauge, 1996), dir. Alan Jaubert\nYves Klein was a French artist considered an important figure in post-war European art. He is the leading member of the French artistic movement of Nouveau rŽalisme founded in 1960 by art critic Pierre Restany. Klein was a pioneer in the development of Performance art, and is seen as an inspiration to and as a forerunner of Minimal art, as well as Pop art.","bio_dates":"1928-1962"},{"slug":"klitclique_auto","ok":true,"partial":false,"title":"Chérie, je suis un genie","artist":"KLITCLIQUE","year":"2017","startOffset":0,"sourceSecs":221.952,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":96837201,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klitclique_auto/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klitclique_auto/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/klitclique_auto.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/klitclique_auto/main.mp4?v=2","description":"(04:19 min.)<br/> Video, 2017<br/> shot & edited by: JAYONE BBC <br/> written & performed by: $CHWANGER & G-UDIT <br/> make up: KASHINK <br/> music produced by: MIRZA KEBO BAD IN BED RECORDS C 2017","artist_bio":"KLITCLIQUE - (Judith Rohrmoser aka G-UDIT * 1983, Salzburg, AT / 2011 * Diploma Academy of Fine Arts Vienna, Graphics and Mirjam Schweiger aka $CHWANGER * 1986 / Salzburg / AT 2012 * Diploma Academy of Fine Arts Vienna, Contextual Painting)\nKLITCLIQUE is Vienna's answer to sad boys.\nNobody ever recorded them - because they did not want to be on record, but rather cause disruption live - in the Art World, Street Art and various Freestyle Rap Battles. But now finally! With the DIY release of their first single and video \"D€R ƒ€MINI$T\" , G-udit and $chwanger left the Vienna Undergruntsound, destroying the Parisian genius penis on their way - \"Cherié, je suis un genié\", touring Germany twice, shitting on ur Gallerist - \"D1G IRGENDWA$\" - because your mother is our booker, and performing in all kinds of settings.\nRap is not a hole but something else that touches you. On trappy beats, they've acknowledged the museumless painter Maria Lassnig, and often featured the Performance Superstar Florentina Holzinger for ever more frightening stage presence.\nTheir first album was released in 2018 by BAD IN THE BED records.","bio_dates":"2019"},{"slug":"klitclique_cherie_je_suis_un_genie","ok":true,"partial":false,"title":"Chérie, je suis un genie","artist":"KLITCLIQUE","year":"2017","startOffset":0,"sourceSecs":259.692,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":110696654,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klitclique_cherie_je_suis_un_genie/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klitclique_cherie_je_suis_un_genie/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/klitclique_cherie_je_suis_un_genie.mp4","hasFrames":true,"description":"(04:19 min.)<br/> Video, 2017<br/> shot & edited by: JAYONE BBC <br/> written & performed by: $CHWANGER & G-UDIT <br/> make up: KASHINK <br/> music produced by: MIRZA KEBO BAD IN BED RECORDS C 2017","artist_bio":"KLITCLIQUE - (Judith Rohrmoser aka G-UDIT * 1983, Salzburg, AT / 2011 * Diploma Academy of Fine Arts Vienna, Graphics and Mirjam Schweiger aka $CHWANGER * 1986 / Salzburg / AT 2012 * Diploma Academy of Fine Arts Vienna, Contextual Painting)\nKLITCLIQUE is Vienna's answer to sad boys.\nNobody ever recorded them - because they did not want to be on record, but rather cause disruption live - in the Art World, Street Art and various Freestyle Rap Battles. But now finally! With the DIY release of their first single and video \"D€R ƒ€MINI$T\" , G-udit and $chwanger left the Vienna Undergruntsound, destroying the Parisian genius penis on their way - \"Cherié, je suis un genié\", touring Germany twice, shitting on ur Gallerist - \"D1G IRGENDWA$\" - because your mother is our booker, and performing in all kinds of settings.\nRap is not a hole but something else that touches you. On trappy beats, they've acknowledged the museumless painter Maria Lassnig, and often featured the Performance Superstar Florentina Holzinger for ever more frightening stage presence.\nTheir first album was released in 2018 by BAD IN THE BED records.","bio_dates":"2019"},{"slug":"klopfenstein_clemens_geschichte_der_nacht_1979_iphone","ok":true,"partial":false,"title":"Geschichte der Nacht","artist":"Clemens Klopfenstein","year":"1979","startOffset":0,"sourceSecs":3677.08,"sourceHeight":320,"sourceWidth":410,"hasAudio":true,"hasAmbientMp4":true,"bytes":212104149,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klopfenstein_clemens_geschichte_der_nacht_1979_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/klopfenstein_clemens_geschichte_der_nacht_1979_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/klopfenstein_clemens_geschichte_der_nacht_1979_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/klopfenstein_clemens_geschichte_der_nacht_1979_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/klopfenstein_clemens_geschichte_der_nacht_1979_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"It's a black-and-white record of European cities in the dark (2-5am), from Basle to Belfast. Quiet, and meditative, what ermerges most strongly is an eerie sense of city landscapes as deserted film sets, in which the desolate architecture overwhelms any sense of reality. The only reassurance that we are not in some endless machine-Metropolis is the shadow of daytime activity: a juggernaut plunging through a darkened village, a plague of small birds in the predawn light. The whole thing is underscored by a beautiful 'composed' soundtrack, from quietly humming stretlamps to reggae and the rumble of armoured cars in Belfast. A strange and remarkable combination of dream, documentary and science-fiction.\" -- Chris Auty, Programme Note London Film Co-op","artist_bio":"Clemens Klopfenstein ist für uns der unabhängige Filmemacher par excellence - kreativ, temperamentvoll, fantasiereich, humorvoll, dem Experiment aufgeschlossen.\nEin Filmautor, der sich jeder Anpassung oder jedem kommerziellen Erfolgsrezept verweigert, aber aus seiner Umwelt, seinem Erleben, dem Umgang mit Freunden und der Auseinandersetzung mit dem Filmmedium immer neue, frische, Impulse entwickelt; auch aus der Reaktion auf Landschaften, auf Milieu und Ambiente.\nDie Lust auf das Abenteuer und die Erkundung des Fremden / Exotischen, aber auch die ironische, selbstkritische Observierung des Nahen, Vertrautem und Bekanntem sind Klopfensteins Grundmotive. Und immer gibt es bei ihm eine Ebene der Ironie, der Doppeldeutigkeit, des Spiels mit Nuancen. Auf eine konventionell erzählende Handlungslinie kann Klopfenstein in seinen Filmen, die auf der Grenzlinie zwischen Fiktion und Dokument angesiedelt sind, durchaus verzichten, oder aber er benutzt das Narrative nur als Hilfsmittel, als Faden, auf dem als Perlen Episoden, Einfälle oder Improvisationen aufgereiht werden.\nIn seiner Anfangszeit huldigte Klopfenstein dem reinen kinematographischen Essay, schon in diesem Bereich glückten ihm einige seiner schönsten Leistungen. Ich werde nie den Eindruck vergessen den \"\nGeschichte der Nacht\n\" (1979) beim ersten Sehen auf uns machte, diese eindringliche und rein visuelle Studie nächtlicher Landschaften aus Europäischen Grossstädten, die an der Grenze der Wahrnehmbarkeit liegt und mit ganz wenigen Geräuschen operiert, aus diesen sorgsam gefilterten Eindrücken aber eine unvergleichliche Intensität der Beobachtung, des Lichts und der atmosphärischen Dichte entwickelt.\nAuf dem gleichen Weg ging \"\nTranses - Reiter auf dem toten Pferd\n\" (1981) noch weiter, hier wahren es Auto- und Kamerafahrten durch schneebedeckten Landschaften die ein traumhaftes Klima erzeugten.\nKlopfensteins Filme haben oft zu tun mit Reisen und der Erkundung von Landschaften. Im Fremden entdeckt er das Bekannte, seine Protagonisten tragen auch an entfernten Orten ihre Individualität, ihre Obsessionen mit sich herum, in einer Umwelt, zu der diese Elemente eigentlich nicht passen wollen; aber daraus entwickelt Klopfenstein die schönsten\nKontraste und wechselseitige Beleuchtungen.\nEr oszilliert zwischen Märchen und Realismus, so zum Beispiel in \"\nMacao oder die Rückseite des Meeres\n\" (1988) das Reisethema ist auch Klopfensteins späteren Filmen auf besondere Weise inhärent, dem Kurzfilm \"\nDie Gemmi - ein Übergang\n\" (1994) und dessen Fortsetzung \"\nDas Schweigen der Männer\n\" (1997) der zum Teil in Ägypten spielt, und auch seine letzten Schauspielerimprovisation \"\nWerAngstWolf\n\" (2000),\ndie Darsteller klassische und modernen Texte in italienischen Berglandschaften rezitieren lässt ist so eine Reise ein Stück Poesie, eine Erkundung des Unbekannten, ein Wagnis und ein Experiment das doch mit Witz, Ironie und spielerischer Anmut ausgestattet ist.","bio_dates":"b. 1944"},{"slug":"kluge_alexander_auf_der_suche_nach_einer_praktisch_realistischen_haltung_1983","ok":true,"partial":false,"title":"Auf der Suche nach einer praktisch-realistischen Haltung","artist":"Alexander Kluge","year":"1983","startOffset":0,"sourceSecs":732.267,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":47024823,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_auf_der_suche_nach_einer_praktisch_realistischen_haltung_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_auf_der_suche_nach_einer_praktisch_realistischen_haltung_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kluge_alexander_auf_der_suche_nach_einer_praktisch_realistischen_haltung_1983.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kluge_alexander_auf_der_suche_nach_einer_praktisch_realistischen_haltung_1983/main.mp4?v=2","description":"Feuerlöscher E. A. Winterstein (Fire Fighter E. A. Winterstein, 1968) S. Alexander Kluge. P. Kairos-Film. C. Edgar Reitz, Thomas Mauch. E. Beate Mainka-Jellinghaus. A. Alexandra Kluge, Hans Korte, Peter Staimmer, Bernd Hoeltz. 35 mm. B & W. 11 min","artist_bio":"Brutalität in Stein (Die Ewigkeit von gestern; Brutality in Stone; Yesterday Goes on for Ever)\n(1960)\nFrau Blackburn, geb. 5 Jan. 1872, wird gefilmt (Frau Blackburn, Born 5 Jan. 1872, Is Filmed)\n(1963)\nPorträet einer Bewäehrung (Portrait of One Who Proved His Mettle)\n(1964)\nFeuerlöscher E. A. Winterstein (Fireman E. A. Winterstein)\n(1968)\nBesitzbürgerin, Jahrgang 1908 (A Woman from the Property-owning Middle Class, Born 1908)\n(1972)\nGelegenheitsarbeit einer Sklavin. Zur realistischen Methode, Frankfurt\n(1975)\nDie Menschen, die das Staufer-Austellung vorbereiten (Die Menschen, die das Stauferjahr vorbereiten\n(1977)\nNachrichten von den Staufern (News from the Hohenstaufens)\n(1977)\nWriter, theorist, filmmaker, and television pioneer, Alexander Kluge is one of the intellectual giants of post-war Germany. Despite the scope of his achievements, his reputation in the United States rests largely on his contribution to the Oberhausen Manifesto, one of film history's seminal documents. In 1962, at the Oberhausen Film Festival, a group of twenty-six filmmakers, including future luminaries Wim Wenders, Werner Herzog, and Rainer Werner Fassbinder, signed a well-publicized declaration that \"the old film is dead, we believe in the new,\" thereby kicking off the cinematic Golden Age now known as Das Neue Kino: \"the New German Cinema.\"\nKluge is often seen as the group's intellectual father figure. Slightly older than the others, he had already trained as a lawyer and worked as an assistant to Fritz Lang. Perhaps more importantly, Kluge was the artist among them whose pursuit of the new most closely hewed to the revolutionary mandate; he consistently shunned commercial, narrative filmmaking, and employed political lobbying as well as avant-garde techniques. It may be that the calls-to-arms of the soixante-huitards were foreshadowed by the Manifesto's upstart rhetoric, but where many filmmakers saw May '68 as the culmination of this impulse, for Kluge it was only one event in a long, considered career of political and theoretical engagement.\nAlthough he directed nearly thirty films in the following decades, Kluge's uncompromising politics and formal experimentation ensured that most of these critically celebrated works never reached a mass audience. Yesterday Girl (1965), his first and most typically Neue Kino film, remains the most widely known, but later works such as The Female Patriot (1979), which mixed fiction with fairy-tale animations and the voiceover of a soldier's amputated knee, were often judged overly oblique or abstract, even within the context of the art film.\nIn 1972 Kluge published Public Sphere and Experience:\nToward an Analysis of the Bourgeois and Proletarian Public Sphere\n, the first of several collaborations with sociologist Oskar Negt. This book clarified his theoretical concerns, and signaled an increased interest in the social functions of media. By the mid-1980s he had more or less abandoned film, an arcane realm, in favor of television, which was cheaper to produce, reached a wider audience, and was potentially more democratic. With Negt, Kluge had argued that one must work within bourgeois social structures in order to effect change; now, finding little to his liking in the TV landscape, he founded his own production company, and struck bureaucratic arrangements that even today insure the inclusion of off-beat programming in which full editorial control is yielded to the directors.\nDespite this groundbreaking work, it is his career as a fiction writer that has contributed most to his European renown. Although little-read in Britain and the United States, his writing has been as influential on German-language literature as that of Thomas Bernhard, Heiner Müller, or Peter Handke. As with his film and video work, Kluge's writing draws freely on documentary material, both real and invented, and incorporates interviews, diagrams and news photographs. Indeed, Frederic Jameson called one of these dense, hybrid fictive/philosophical books a \"theoretical film.\" Kluge has treated media as a fluid field, one in which disciplinary boundaries are as questionable as the distinctions between high and low, individual and society, history and the present: all are texts up for renegotiation.","bio_dates":"b. 1932"},{"slug":"kluge_alexander_besitzburgerin_jahrgang_1908_1973","ok":true,"partial":false,"title":"Besitzbürgerin, Jahrgang 1908 (A Woman from the Property-owning Middle Class, Born 1908)","artist":"Alexander Kluge","year":"1972","startOffset":0,"sourceSecs":676.928,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":43682489,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_besitzburgerin_jahrgang_1908_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_besitzburgerin_jahrgang_1908_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kluge_alexander_besitzburgerin_jahrgang_1908_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kluge_alexander_besitzburgerin_jahrgang_1908_1973/main.mp4?v=2","description":"Besitzbürgerin, Jahrgang 1908 (1973) S. Alexander Kluge. P. Kairos-Film. C. Thomas Mauch. E. Beate Mainka-Jellinghaus. A. Alice Schneider, Herr Guhl. 35 mm. B & W. 11 min.","artist_bio":"Brutalität in Stein (Die Ewigkeit von gestern; Brutality in Stone; Yesterday Goes on for Ever)\n(1960)\nFrau Blackburn, geb. 5 Jan. 1872, wird gefilmt (Frau Blackburn, Born 5 Jan. 1872, Is Filmed)\n(1963)\nPorträet einer Bewäehrung (Portrait of One Who Proved His Mettle)\n(1964)\nFeuerlöscher E. A. Winterstein (Fireman E. A. Winterstein)\n(1968)\nBesitzbürgerin, Jahrgang 1908 (A Woman from the Property-owning Middle Class, Born 1908)\n(1972)\nGelegenheitsarbeit einer Sklavin. Zur realistischen Methode, Frankfurt\n(1975)\nDie Menschen, die das Staufer-Austellung vorbereiten (Die Menschen, die das Stauferjahr vorbereiten\n(1977)\nNachrichten von den Staufern (News from the Hohenstaufens)\n(1977)\nWriter, theorist, filmmaker, and television pioneer, Alexander Kluge is one of the intellectual giants of post-war Germany. Despite the scope of his achievements, his reputation in the United States rests largely on his contribution to the Oberhausen Manifesto, one of film history's seminal documents. In 1962, at the Oberhausen Film Festival, a group of twenty-six filmmakers, including future luminaries Wim Wenders, Werner Herzog, and Rainer Werner Fassbinder, signed a well-publicized declaration that \"the old film is dead, we believe in the new,\" thereby kicking off the cinematic Golden Age now known as Das Neue Kino: \"the New German Cinema.\"\nKluge is often seen as the group's intellectual father figure. Slightly older than the others, he had already trained as a lawyer and worked as an assistant to Fritz Lang. Perhaps more importantly, Kluge was the artist among them whose pursuit of the new most closely hewed to the revolutionary mandate; he consistently shunned commercial, narrative filmmaking, and employed political lobbying as well as avant-garde techniques. It may be that the calls-to-arms of the soixante-huitards were foreshadowed by the Manifesto's upstart rhetoric, but where many filmmakers saw May '68 as the culmination of this impulse, for Kluge it was only one event in a long, considered career of political and theoretical engagement.\nAlthough he directed nearly thirty films in the following decades, Kluge's uncompromising politics and formal experimentation ensured that most of these critically celebrated works never reached a mass audience. Yesterday Girl (1965), his first and most typically Neue Kino film, remains the most widely known, but later works such as The Female Patriot (1979), which mixed fiction with fairy-tale animations and the voiceover of a soldier's amputated knee, were often judged overly oblique or abstract, even within the context of the art film.\nIn 1972 Kluge published Public Sphere and Experience:\nToward an Analysis of the Bourgeois and Proletarian Public Sphere\n, the first of several collaborations with sociologist Oskar Negt. This book clarified his theoretical concerns, and signaled an increased interest in the social functions of media. By the mid-1980s he had more or less abandoned film, an arcane realm, in favor of television, which was cheaper to produce, reached a wider audience, and was potentially more democratic. With Negt, Kluge had argued that one must work within bourgeois social structures in order to effect change; now, finding little to his liking in the TV landscape, he founded his own production company, and struck bureaucratic arrangements that even today insure the inclusion of off-beat programming in which full editorial control is yielded to the directors.\nDespite this groundbreaking work, it is his career as a fiction writer that has contributed most to his European renown. Although little-read in Britain and the United States, his writing has been as influential on German-language literature as that of Thomas Bernhard, Heiner Müller, or Peter Handke. As with his film and video work, Kluge's writing draws freely on documentary material, both real and invented, and incorporates interviews, diagrams and news photographs. Indeed, Frederic Jameson called one of these dense, hybrid fictive/philosophical books a \"theoretical film.\" Kluge has treated media as a fluid field, one in which disciplinary boundaries are as questionable as the distinctions between high and low, individual and society, history and the present: all are texts up for renegotiation.","bio_dates":"b. 1932"},{"slug":"kluge_alexander_brutalititaet_in_stein_1960","ok":true,"partial":false,"title":"Brutalität in Stein (Die Ewigkeit von gestern; Brutality in Stone; Yesterday Goes on for Ever)","artist":"Alexander Kluge","year":"1960","startOffset":0,"sourceSecs":649.984,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":45782478,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_brutalititaet_in_stein_1960/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_brutalititaet_in_stein_1960/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kluge_alexander_brutalititaet_in_stein_1960.mp4","hasFrames":true,"description":"In his experimental short film _Brutalitaet in Stein_ (brutality in stone), Alexander Kluge demonstrates how Nazi architecture used dimensions of inhuman and super-human scale to bolster the regime's politics of the same kind. Shots of huge neo-classical architectural structures from the Nazi period are confronted with equally anti-human national-socialist language as a voice-over.","artist_bio":"Brutalität in Stein (Die Ewigkeit von gestern; Brutality in Stone; Yesterday Goes on for Ever)\n(1960)\nFrau Blackburn, geb. 5 Jan. 1872, wird gefilmt (Frau Blackburn, Born 5 Jan. 1872, Is Filmed)\n(1963)\nPorträet einer Bewäehrung (Portrait of One Who Proved His Mettle)\n(1964)\nFeuerlöscher E. A. Winterstein (Fireman E. A. Winterstein)\n(1968)\nBesitzbürgerin, Jahrgang 1908 (A Woman from the Property-owning Middle Class, Born 1908)\n(1972)\nGelegenheitsarbeit einer Sklavin. Zur realistischen Methode, Frankfurt\n(1975)\nDie Menschen, die das Staufer-Austellung vorbereiten (Die Menschen, die das Stauferjahr vorbereiten\n(1977)\nNachrichten von den Staufern (News from the Hohenstaufens)\n(1977)\nWriter, theorist, filmmaker, and television pioneer, Alexander Kluge is one of the intellectual giants of post-war Germany. Despite the scope of his achievements, his reputation in the United States rests largely on his contribution to the Oberhausen Manifesto, one of film history's seminal documents. In 1962, at the Oberhausen Film Festival, a group of twenty-six filmmakers, including future luminaries Wim Wenders, Werner Herzog, and Rainer Werner Fassbinder, signed a well-publicized declaration that \"the old film is dead, we believe in the new,\" thereby kicking off the cinematic Golden Age now known as Das Neue Kino: \"the New German Cinema.\"\nKluge is often seen as the group's intellectual father figure. Slightly older than the others, he had already trained as a lawyer and worked as an assistant to Fritz Lang. Perhaps more importantly, Kluge was the artist among them whose pursuit of the new most closely hewed to the revolutionary mandate; he consistently shunned commercial, narrative filmmaking, and employed political lobbying as well as avant-garde techniques. It may be that the calls-to-arms of the soixante-huitards were foreshadowed by the Manifesto's upstart rhetoric, but where many filmmakers saw May '68 as the culmination of this impulse, for Kluge it was only one event in a long, considered career of political and theoretical engagement.\nAlthough he directed nearly thirty films in the following decades, Kluge's uncompromising politics and formal experimentation ensured that most of these critically celebrated works never reached a mass audience. Yesterday Girl (1965), his first and most typically Neue Kino film, remains the most widely known, but later works such as The Female Patriot (1979), which mixed fiction with fairy-tale animations and the voiceover of a soldier's amputated knee, were often judged overly oblique or abstract, even within the context of the art film.\nIn 1972 Kluge published Public Sphere and Experience:\nToward an Analysis of the Bourgeois and Proletarian Public Sphere\n, the first of several collaborations with sociologist Oskar Negt. This book clarified his theoretical concerns, and signaled an increased interest in the social functions of media. By the mid-1980s he had more or less abandoned film, an arcane realm, in favor of television, which was cheaper to produce, reached a wider audience, and was potentially more democratic. With Negt, Kluge had argued that one must work within bourgeois social structures in order to effect change; now, finding little to his liking in the TV landscape, he founded his own production company, and struck bureaucratic arrangements that even today insure the inclusion of off-beat programming in which full editorial control is yielded to the directors.\nDespite this groundbreaking work, it is his career as a fiction writer that has contributed most to his European renown. Although little-read in Britain and the United States, his writing has been as influential on German-language literature as that of Thomas Bernhard, Heiner Müller, or Peter Handke. As with his film and video work, Kluge's writing draws freely on documentary material, both real and invented, and incorporates interviews, diagrams and news photographs. Indeed, Frederic Jameson called one of these dense, hybrid fictive/philosophical books a \"theoretical film.\" Kluge has treated media as a fluid field, one in which disciplinary boundaries are as questionable as the distinctions between high and low, individual and society, history and the present: all are texts up for renegotiation.","bio_dates":"b. 1932"},{"slug":"kluge_alexander_feuerloescher_e_a_winterstein_1968","ok":true,"partial":false,"title":"LFeuerlöscher E. A. Winterstein (Fireman E. A. Winterstein)","artist":"Alexander Kluge","year":"1968","startOffset":0,"sourceSecs":619.968,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":39767299,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_feuerloescher_e_a_winterstein_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_feuerloescher_e_a_winterstein_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kluge_alexander_feuerloescher_e_a_winterstein_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kluge_alexander_feuerloescher_e_a_winterstein_1968/main.mp4?v=2","description":"Feuerlöscher E. A. Winterstein (Fire Fighter E. A. Winterstein, 1968) S. Alexander Kluge. P. Kairos-Film. C. Edgar Reitz, Thomas Mauch. E. Beate Mainka-Jellinghaus. A. Alexandra Kluge, Hans Korte, Peter Staimmer, Bernd Hoeltz. 35 mm. B & W. 11 min","artist_bio":"Brutalität in Stein (Die Ewigkeit von gestern; Brutality in Stone; Yesterday Goes on for Ever)\n(1960)\nFrau Blackburn, geb. 5 Jan. 1872, wird gefilmt (Frau Blackburn, Born 5 Jan. 1872, Is Filmed)\n(1963)\nPorträet einer Bewäehrung (Portrait of One Who Proved His Mettle)\n(1964)\nFeuerlöscher E. A. Winterstein (Fireman E. A. Winterstein)\n(1968)\nBesitzbürgerin, Jahrgang 1908 (A Woman from the Property-owning Middle Class, Born 1908)\n(1972)\nGelegenheitsarbeit einer Sklavin. Zur realistischen Methode, Frankfurt\n(1975)\nDie Menschen, die das Staufer-Austellung vorbereiten (Die Menschen, die das Stauferjahr vorbereiten\n(1977)\nNachrichten von den Staufern (News from the Hohenstaufens)\n(1977)\nWriter, theorist, filmmaker, and television pioneer, Alexander Kluge is one of the intellectual giants of post-war Germany. Despite the scope of his achievements, his reputation in the United States rests largely on his contribution to the Oberhausen Manifesto, one of film history's seminal documents. In 1962, at the Oberhausen Film Festival, a group of twenty-six filmmakers, including future luminaries Wim Wenders, Werner Herzog, and Rainer Werner Fassbinder, signed a well-publicized declaration that \"the old film is dead, we believe in the new,\" thereby kicking off the cinematic Golden Age now known as Das Neue Kino: \"the New German Cinema.\"\nKluge is often seen as the group's intellectual father figure. Slightly older than the others, he had already trained as a lawyer and worked as an assistant to Fritz Lang. Perhaps more importantly, Kluge was the artist among them whose pursuit of the new most closely hewed to the revolutionary mandate; he consistently shunned commercial, narrative filmmaking, and employed political lobbying as well as avant-garde techniques. It may be that the calls-to-arms of the soixante-huitards were foreshadowed by the Manifesto's upstart rhetoric, but where many filmmakers saw May '68 as the culmination of this impulse, for Kluge it was only one event in a long, considered career of political and theoretical engagement.\nAlthough he directed nearly thirty films in the following decades, Kluge's uncompromising politics and formal experimentation ensured that most of these critically celebrated works never reached a mass audience. Yesterday Girl (1965), his first and most typically Neue Kino film, remains the most widely known, but later works such as The Female Patriot (1979), which mixed fiction with fairy-tale animations and the voiceover of a soldier's amputated knee, were often judged overly oblique or abstract, even within the context of the art film.\nIn 1972 Kluge published Public Sphere and Experience:\nToward an Analysis of the Bourgeois and Proletarian Public Sphere\n, the first of several collaborations with sociologist Oskar Negt. This book clarified his theoretical concerns, and signaled an increased interest in the social functions of media. By the mid-1980s he had more or less abandoned film, an arcane realm, in favor of television, which was cheaper to produce, reached a wider audience, and was potentially more democratic. With Negt, Kluge had argued that one must work within bourgeois social structures in order to effect change; now, finding little to his liking in the TV landscape, he founded his own production company, and struck bureaucratic arrangements that even today insure the inclusion of off-beat programming in which full editorial control is yielded to the directors.\nDespite this groundbreaking work, it is his career as a fiction writer that has contributed most to his European renown. Although little-read in Britain and the United States, his writing has been as influential on German-language literature as that of Thomas Bernhard, Heiner Müller, or Peter Handke. As with his film and video work, Kluge's writing draws freely on documentary material, both real and invented, and incorporates interviews, diagrams and news photographs. Indeed, Frederic Jameson called one of these dense, hybrid fictive/philosophical books a \"theoretical film.\" Kluge has treated media as a fluid field, one in which disciplinary boundaries are as questionable as the distinctions between high and low, individual and society, history and the present: all are texts up for renegotiation.","bio_dates":"b. 1932"},{"slug":"kluge_alexander_frau_blackburn_geb_5_jan_1872_wird_gefilmt_1967","ok":true,"partial":false,"title":"Frau Blackburn, geb. 5 Jan. 1872, wird gefilmt (Frau Blackburn, Born 5 Jan. 1872, Is Filmed) (1963)","artist":"Alexander Kluge","year":"1967","startOffset":0,"sourceSecs":803.648,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":50890450,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_frau_blackburn_geb_5_jan_1872_wird_gefilmt_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_frau_blackburn_geb_5_jan_1872_wird_gefilmt_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kluge_alexander_frau_blackburn_geb_5_jan_1872_wird_gefilmt_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kluge_alexander_frau_blackburn_geb_5_jan_1872_wird_gefilmt_1967/main.mp4?v=2","description":"Frau Blackburn, geb. 5. Jan. 1872, wird gefilmt (1967) S. Alexander Kluge. P. Kairos-Film. C. Thomas Mauch. E. Beate Mainka-Jellinghaus. A. Martha Blackburn, Herr Guhl. 35 mm. B & W. 14 min.","artist_bio":"Brutalität in Stein (Die Ewigkeit von gestern; Brutality in Stone; Yesterday Goes on for Ever)\n(1960)\nFrau Blackburn, geb. 5 Jan. 1872, wird gefilmt (Frau Blackburn, Born 5 Jan. 1872, Is Filmed)\n(1963)\nPorträet einer Bewäehrung (Portrait of One Who Proved His Mettle)\n(1964)\nFeuerlöscher E. A. Winterstein (Fireman E. A. Winterstein)\n(1968)\nBesitzbürgerin, Jahrgang 1908 (A Woman from the Property-owning Middle Class, Born 1908)\n(1972)\nGelegenheitsarbeit einer Sklavin. Zur realistischen Methode, Frankfurt\n(1975)\nDie Menschen, die das Staufer-Austellung vorbereiten (Die Menschen, die das Stauferjahr vorbereiten\n(1977)\nNachrichten von den Staufern (News from the Hohenstaufens)\n(1977)\nWriter, theorist, filmmaker, and television pioneer, Alexander Kluge is one of the intellectual giants of post-war Germany. Despite the scope of his achievements, his reputation in the United States rests largely on his contribution to the Oberhausen Manifesto, one of film history's seminal documents. In 1962, at the Oberhausen Film Festival, a group of twenty-six filmmakers, including future luminaries Wim Wenders, Werner Herzog, and Rainer Werner Fassbinder, signed a well-publicized declaration that \"the old film is dead, we believe in the new,\" thereby kicking off the cinematic Golden Age now known as Das Neue Kino: \"the New German Cinema.\"\nKluge is often seen as the group's intellectual father figure. Slightly older than the others, he had already trained as a lawyer and worked as an assistant to Fritz Lang. Perhaps more importantly, Kluge was the artist among them whose pursuit of the new most closely hewed to the revolutionary mandate; he consistently shunned commercial, narrative filmmaking, and employed political lobbying as well as avant-garde techniques. It may be that the calls-to-arms of the soixante-huitards were foreshadowed by the Manifesto's upstart rhetoric, but where many filmmakers saw May '68 as the culmination of this impulse, for Kluge it was only one event in a long, considered career of political and theoretical engagement.\nAlthough he directed nearly thirty films in the following decades, Kluge's uncompromising politics and formal experimentation ensured that most of these critically celebrated works never reached a mass audience. Yesterday Girl (1965), his first and most typically Neue Kino film, remains the most widely known, but later works such as The Female Patriot (1979), which mixed fiction with fairy-tale animations and the voiceover of a soldier's amputated knee, were often judged overly oblique or abstract, even within the context of the art film.\nIn 1972 Kluge published Public Sphere and Experience:\nToward an Analysis of the Bourgeois and Proletarian Public Sphere\n, the first of several collaborations with sociologist Oskar Negt. This book clarified his theoretical concerns, and signaled an increased interest in the social functions of media. By the mid-1980s he had more or less abandoned film, an arcane realm, in favor of television, which was cheaper to produce, reached a wider audience, and was potentially more democratic. With Negt, Kluge had argued that one must work within bourgeois social structures in order to effect change; now, finding little to his liking in the TV landscape, he founded his own production company, and struck bureaucratic arrangements that even today insure the inclusion of off-beat programming in which full editorial control is yielded to the directors.\nDespite this groundbreaking work, it is his career as a fiction writer that has contributed most to his European renown. Although little-read in Britain and the United States, his writing has been as influential on German-language literature as that of Thomas Bernhard, Heiner Müller, or Peter Handke. As with his film and video work, Kluge's writing draws freely on documentary material, both real and invented, and incorporates interviews, diagrams and news photographs. Indeed, Frederic Jameson called one of these dense, hybrid fictive/philosophical books a \"theoretical film.\" Kluge has treated media as a fluid field, one in which disciplinary boundaries are as questionable as the distinctions between high and low, individual and society, history and the present: all are texts up for renegotiation.","bio_dates":"b. 1932"},{"slug":"kluge_alexander_lehrer_im_wandel_1963","ok":true,"partial":false,"title":"Lehrer im Wandel (Teachers in Transformation)","artist":"Alexander Kluge","year":"1963","startOffset":0,"sourceSecs":660.501,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":42953170,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_lehrer_im_wandel_1963/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_lehrer_im_wandel_1963/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kluge_alexander_lehrer_im_wandel_1963.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kluge_alexander_lehrer_im_wandel_1963/main.mp4?v=2","description":"Lehrer im Wandel (1962–63) Co-directed with Karen Kluge. P. Alexander Kluge. C. Alfred Tichawsky. E. Alexander Kluge. 35 mm. B & W. 11 min.","artist_bio":"Brutalität in Stein (Die Ewigkeit von gestern; Brutality in Stone; Yesterday Goes on for Ever)\n(1960)\nFrau Blackburn, geb. 5 Jan. 1872, wird gefilmt (Frau Blackburn, Born 5 Jan. 1872, Is Filmed)\n(1963)\nPorträet einer Bewäehrung (Portrait of One Who Proved His Mettle)\n(1964)\nFeuerlöscher E. A. Winterstein (Fireman E. A. Winterstein)\n(1968)\nBesitzbürgerin, Jahrgang 1908 (A Woman from the Property-owning Middle Class, Born 1908)\n(1972)\nGelegenheitsarbeit einer Sklavin. Zur realistischen Methode, Frankfurt\n(1975)\nDie Menschen, die das Staufer-Austellung vorbereiten (Die Menschen, die das Stauferjahr vorbereiten\n(1977)\nNachrichten von den Staufern (News from the Hohenstaufens)\n(1977)\nWriter, theorist, filmmaker, and television pioneer, Alexander Kluge is one of the intellectual giants of post-war Germany. Despite the scope of his achievements, his reputation in the United States rests largely on his contribution to the Oberhausen Manifesto, one of film history's seminal documents. In 1962, at the Oberhausen Film Festival, a group of twenty-six filmmakers, including future luminaries Wim Wenders, Werner Herzog, and Rainer Werner Fassbinder, signed a well-publicized declaration that \"the old film is dead, we believe in the new,\" thereby kicking off the cinematic Golden Age now known as Das Neue Kino: \"the New German Cinema.\"\nKluge is often seen as the group's intellectual father figure. Slightly older than the others, he had already trained as a lawyer and worked as an assistant to Fritz Lang. Perhaps more importantly, Kluge was the artist among them whose pursuit of the new most closely hewed to the revolutionary mandate; he consistently shunned commercial, narrative filmmaking, and employed political lobbying as well as avant-garde techniques. It may be that the calls-to-arms of the soixante-huitards were foreshadowed by the Manifesto's upstart rhetoric, but where many filmmakers saw May '68 as the culmination of this impulse, for Kluge it was only one event in a long, considered career of political and theoretical engagement.\nAlthough he directed nearly thirty films in the following decades, Kluge's uncompromising politics and formal experimentation ensured that most of these critically celebrated works never reached a mass audience. Yesterday Girl (1965), his first and most typically Neue Kino film, remains the most widely known, but later works such as The Female Patriot (1979), which mixed fiction with fairy-tale animations and the voiceover of a soldier's amputated knee, were often judged overly oblique or abstract, even within the context of the art film.\nIn 1972 Kluge published Public Sphere and Experience:\nToward an Analysis of the Bourgeois and Proletarian Public Sphere\n, the first of several collaborations with sociologist Oskar Negt. This book clarified his theoretical concerns, and signaled an increased interest in the social functions of media. By the mid-1980s he had more or less abandoned film, an arcane realm, in favor of television, which was cheaper to produce, reached a wider audience, and was potentially more democratic. With Negt, Kluge had argued that one must work within bourgeois social structures in order to effect change; now, finding little to his liking in the TV landscape, he founded his own production company, and struck bureaucratic arrangements that even today insure the inclusion of off-beat programming in which full editorial control is yielded to the directors.\nDespite this groundbreaking work, it is his career as a fiction writer that has contributed most to his European renown. Although little-read in Britain and the United States, his writing has been as influential on German-language literature as that of Thomas Bernhard, Heiner Müller, or Peter Handke. As with his film and video work, Kluge's writing draws freely on documentary material, both real and invented, and incorporates interviews, diagrams and news photographs. Indeed, Frederic Jameson called one of these dense, hybrid fictive/philosophical books a \"theoretical film.\" Kluge has treated media as a fluid field, one in which disciplinary boundaries are as questionable as the distinctions between high and low, individual and society, history and the present: all are texts up for renegotiation.","bio_dates":"b. 1932"},{"slug":"kluge_alexander_nachrichten_von_den_stauffern_1977","ok":true,"partial":false,"title":"Nachrichten von den Staufern (News from the Hohenstaufens)","artist":"Alexander Kluge","year":"1977","startOffset":0,"sourceSecs":1348.885,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":81562096,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_nachrichten_von_den_stauffern_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_nachrichten_von_den_stauffern_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kluge_alexander_nachrichten_von_den_stauffern_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kluge_alexander_nachrichten_von_den_stauffern_1977/main.mp4?v=2","artist_bio":"Brutalität in Stein (Die Ewigkeit von gestern; Brutality in Stone; Yesterday Goes on for Ever)\n(1960)\nFrau Blackburn, geb. 5 Jan. 1872, wird gefilmt (Frau Blackburn, Born 5 Jan. 1872, Is Filmed)\n(1963)\nPorträet einer Bewäehrung (Portrait of One Who Proved His Mettle)\n(1964)\nFeuerlöscher E. A. Winterstein (Fireman E. A. Winterstein)\n(1968)\nBesitzbürgerin, Jahrgang 1908 (A Woman from the Property-owning Middle Class, Born 1908)\n(1972)\nGelegenheitsarbeit einer Sklavin. Zur realistischen Methode, Frankfurt\n(1975)\nDie Menschen, die das Staufer-Austellung vorbereiten (Die Menschen, die das Stauferjahr vorbereiten\n(1977)\nNachrichten von den Staufern (News from the Hohenstaufens)\n(1977)\nWriter, theorist, filmmaker, and television pioneer, Alexander Kluge is one of the intellectual giants of post-war Germany. Despite the scope of his achievements, his reputation in the United States rests largely on his contribution to the Oberhausen Manifesto, one of film history's seminal documents. In 1962, at the Oberhausen Film Festival, a group of twenty-six filmmakers, including future luminaries Wim Wenders, Werner Herzog, and Rainer Werner Fassbinder, signed a well-publicized declaration that \"the old film is dead, we believe in the new,\" thereby kicking off the cinematic Golden Age now known as Das Neue Kino: \"the New German Cinema.\"\nKluge is often seen as the group's intellectual father figure. Slightly older than the others, he had already trained as a lawyer and worked as an assistant to Fritz Lang. Perhaps more importantly, Kluge was the artist among them whose pursuit of the new most closely hewed to the revolutionary mandate; he consistently shunned commercial, narrative filmmaking, and employed political lobbying as well as avant-garde techniques. It may be that the calls-to-arms of the soixante-huitards were foreshadowed by the Manifesto's upstart rhetoric, but where many filmmakers saw May '68 as the culmination of this impulse, for Kluge it was only one event in a long, considered career of political and theoretical engagement.\nAlthough he directed nearly thirty films in the following decades, Kluge's uncompromising politics and formal experimentation ensured that most of these critically celebrated works never reached a mass audience. Yesterday Girl (1965), his first and most typically Neue Kino film, remains the most widely known, but later works such as The Female Patriot (1979), which mixed fiction with fairy-tale animations and the voiceover of a soldier's amputated knee, were often judged overly oblique or abstract, even within the context of the art film.\nIn 1972 Kluge published Public Sphere and Experience:\nToward an Analysis of the Bourgeois and Proletarian Public Sphere\n, the first of several collaborations with sociologist Oskar Negt. This book clarified his theoretical concerns, and signaled an increased interest in the social functions of media. By the mid-1980s he had more or less abandoned film, an arcane realm, in favor of television, which was cheaper to produce, reached a wider audience, and was potentially more democratic. With Negt, Kluge had argued that one must work within bourgeois social structures in order to effect change; now, finding little to his liking in the TV landscape, he founded his own production company, and struck bureaucratic arrangements that even today insure the inclusion of off-beat programming in which full editorial control is yielded to the directors.\nDespite this groundbreaking work, it is his career as a fiction writer that has contributed most to his European renown. Although little-read in Britain and the United States, his writing has been as influential on German-language literature as that of Thomas Bernhard, Heiner Müller, or Peter Handke. As with his film and video work, Kluge's writing draws freely on documentary material, both real and invented, and incorporates interviews, diagrams and news photographs. Indeed, Frederic Jameson called one of these dense, hybrid fictive/philosophical books a \"theoretical film.\" Kluge has treated media as a fluid field, one in which disciplinary boundaries are as questionable as the distinctions between high and low, individual and society, history and the present: all are texts up for renegotiation.","bio_dates":"b. 1932"},{"slug":"kluge_alexander_richtlinien_und_maerchen_1974","ok":true,"partial":false,"title":"Richtlinien und Märchen","artist":"Alexander Kluge","year":"1974","startOffset":0,"sourceSecs":735.275,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":47285593,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_richtlinien_und_maerchen_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kluge_alexander_richtlinien_und_maerchen_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kluge_alexander_richtlinien_und_maerchen_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kluge_alexander_richtlinien_und_maerchen_1974/main.mp4?v=2","description":"Porträt einer Bewährung (1964) S. Alexander Kluge. P. Kairos-Film. C Winfried E. Reinke, Günter Hörmann. E. Beate Mainka. A. Polizeihauptwachtmeister Müller-Seegeberg. 35 mm. B & W. 13 min.","artist_bio":"Brutalität in Stein (Die Ewigkeit von gestern; Brutality in Stone; Yesterday Goes on for Ever)\n(1960)\nFrau Blackburn, geb. 5 Jan. 1872, wird gefilmt (Frau Blackburn, Born 5 Jan. 1872, Is Filmed)\n(1963)\nPorträet einer Bewäehrung (Portrait of One Who Proved His Mettle)\n(1964)\nFeuerlöscher E. A. Winterstein (Fireman E. A. Winterstein)\n(1968)\nBesitzbürgerin, Jahrgang 1908 (A Woman from the Property-owning Middle Class, Born 1908)\n(1972)\nGelegenheitsarbeit einer Sklavin. Zur realistischen Methode, Frankfurt\n(1975)\nDie Menschen, die das Staufer-Austellung vorbereiten (Die Menschen, die das Stauferjahr vorbereiten\n(1977)\nNachrichten von den Staufern (News from the Hohenstaufens)\n(1977)\nWriter, theorist, filmmaker, and television pioneer, Alexander Kluge is one of the intellectual giants of post-war Germany. Despite the scope of his achievements, his reputation in the United States rests largely on his contribution to the Oberhausen Manifesto, one of film history's seminal documents. In 1962, at the Oberhausen Film Festival, a group of twenty-six filmmakers, including future luminaries Wim Wenders, Werner Herzog, and Rainer Werner Fassbinder, signed a well-publicized declaration that \"the old film is dead, we believe in the new,\" thereby kicking off the cinematic Golden Age now known as Das Neue Kino: \"the New German Cinema.\"\nKluge is often seen as the group's intellectual father figure. Slightly older than the others, he had already trained as a lawyer and worked as an assistant to Fritz Lang. Perhaps more importantly, Kluge was the artist among them whose pursuit of the new most closely hewed to the revolutionary mandate; he consistently shunned commercial, narrative filmmaking, and employed political lobbying as well as avant-garde techniques. It may be that the calls-to-arms of the soixante-huitards were foreshadowed by the Manifesto's upstart rhetoric, but where many filmmakers saw May '68 as the culmination of this impulse, for Kluge it was only one event in a long, considered career of political and theoretical engagement.\nAlthough he directed nearly thirty films in the following decades, Kluge's uncompromising politics and formal experimentation ensured that most of these critically celebrated works never reached a mass audience. Yesterday Girl (1965), his first and most typically Neue Kino film, remains the most widely known, but later works such as The Female Patriot (1979), which mixed fiction with fairy-tale animations and the voiceover of a soldier's amputated knee, were often judged overly oblique or abstract, even within the context of the art film.\nIn 1972 Kluge published Public Sphere and Experience:\nToward an Analysis of the Bourgeois and Proletarian Public Sphere\n, the first of several collaborations with sociologist Oskar Negt. This book clarified his theoretical concerns, and signaled an increased interest in the social functions of media. By the mid-1980s he had more or less abandoned film, an arcane realm, in favor of television, which was cheaper to produce, reached a wider audience, and was potentially more democratic. With Negt, Kluge had argued that one must work within bourgeois social structures in order to effect change; now, finding little to his liking in the TV landscape, he founded his own production company, and struck bureaucratic arrangements that even today insure the inclusion of off-beat programming in which full editorial control is yielded to the directors.\nDespite this groundbreaking work, it is his career as a fiction writer that has contributed most to his European renown. Although little-read in Britain and the United States, his writing has been as influential on German-language literature as that of Thomas Bernhard, Heiner Müller, or Peter Handke. As with his film and video work, Kluge's writing draws freely on documentary material, both real and invented, and incorporates interviews, diagrams and news photographs. Indeed, Frederic Jameson called one of these dense, hybrid fictive/philosophical books a \"theoretical film.\" Kluge has treated media as a fluid field, one in which disciplinary boundaries are as questionable as the distinctions between high and low, individual and society, history and the present: all are texts up for renegotiation.","bio_dates":"b. 1932"},{"slug":"knowles_christopher_rutkowski_richard_sunshine_superman_sd","ok":true,"partial":false,"title":"Sunshine Superman","artist":"Christopher Knowles","year":"1987","startOffset":0,"sourceSecs":888.52,"sourceHeight":488,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":157134191,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/knowles_christopher_rutkowski_richard_sunshine_superman_sd/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/knowles_christopher_rutkowski_richard_sunshine_superman_sd/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/knowles_christopher_rutkowski_richard_sunshine_superman_sd.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/knowles_christopher_rutkowski_richard_sunshine_superman_sd/main.mp4?v=2","description":"Sunshine Superman tells the story of artist Christopher Knowles through the voice of his friend and collaborator, director Richard Rutkowski. In 1985 in his first year at Harvard College, Richard met a 27-year-old Christopher Knowles and began their ongoing collaborations on stage and film. Working with Knowles, already at the time a world famous artist and principal collaborator to theater director Robert Wilson, Rutkowski set out to explore the mind and creative impulses of the shy young man whose autism and introvert nature contained a brilliance for patterns and numbers as well as a savant-like memory.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Christopher Knowles in UbuWeb Sound</a></br>","artist_bio":"Christopher Knowles (born 1959) is an American poet and painter. He was born in New York City and has received a diagnosis of possible brain damage. He is often referred to as autistic. In 1976, his poetry was used by Robert Wilson for the avant-garde minimalist Philip Glass opera, Einstein on the Beach.","bio_dates":"b. 1959"},{"slug":"knowles_christopher_rutkowski_richard_the_watch_movie_1","ok":true,"partial":false,"title":"The Watch Movie (undated)","artist":"Christopher Knowles","year":"1959","startOffset":0,"sourceSecs":346.902,"sourceHeight":486,"sourceWidth":708,"hasAudio":true,"hasAmbientMp4":true,"bytes":60757141,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/knowles_christopher_rutkowski_richard_the_watch_movie_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/knowles_christopher_rutkowski_richard_the_watch_movie_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/knowles_christopher_rutkowski_richard_the_watch_movie_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/knowles_christopher_rutkowski_richard_the_watch_movie_1/main.mp4?v=2","description":"A film by Richard Rutkowski based on a tape by Christopher Knowles. <br/> Starring Reggie Jackson and friends.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Christopher Knowles in UbuWeb Sound</a></br>","artist_bio":"Christopher Knowles (born 1959) is an American poet and painter. He was born in New York City and has received a diagnosis of possible brain damage. He is often referred to as autistic. In 1976, his poetry was used by Robert Wilson for the avant-garde minimalist Philip Glass opera, Einstein on the Beach.","bio_dates":"b. 1959"},{"slug":"koester_joachim_buckingham_matthew_three_dots_2001","ok":true,"partial":false,"title":"Three Dots & Sandra of the Tulip House or How To Live in a Free State","artist":"Matthew Buckingham","year":"2001","startOffset":0,"sourceSecs":1158.571,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":195284643,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/koester_joachim_buckingham_matthew_three_dots_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/koester_joachim_buckingham_matthew_three_dots_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/koester_joachim_buckingham_matthew_three_dots_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/koester_joachim_buckingham_matthew_three_dots_2001/main.mp4?v=2","description":"Matthew Buckingham and Joachim Koester's video installation Sandra of the Tuliphouse or How to Live in a Free State, 2001, is a ruminative work inspired by the complex history of Christiania, a famous anarchistic community established in Copenhagen in 1971. Divided between large freestanding screens--each accompanied by its own unidirectional speaker to minimize the discordant buildup of sound--Sandra of the Tuliphouse comprises five independent twelve-to-twenty-minute video loops that may be watched in any order, in part or (by the more determined visitor) from beginning to end. Making its belated New York debut at the Kitchen, Buckingham and Koester's project feels oddly removed from real time, its ostensible subject an anachronistic curiosity repositioned as a locus for open-ended reflection.\n\nWhile the project relies on a deliberate blurring of fact and fiction, historical record and self-conscious mythmaking, we are at least fairly certain that Christiania--however unlikely it is sometimes made to seem--is a real place. A self-governing squat located on eighty-five acres of land owned by the Danish Defense Ministry, it is currently inhabited by nearly one thousand people, but is scheduled for government dissolution next year. Buckingham and Koester explore the site and its social, political, and philosophical implications through a suite of meandering narratives related from the point of view of Sandra, a fictional character who moves into the tumbledown \"free state\" for a summer. Commenting on her situation in placid voice-over, Sandra poses at least as many questions as she answers, moving from accounts and enactments of her daily activities to divergent observations on the very particular context in which they occur.\n\nResolutely nonlinear and multivalent, Sandra of the Tuliphouse exhibits all the pros and cons of dinner-party conversation: Opinions are expounded with unshakable insistence but a dearth of verifiable supporting evidence; allusions and references of questionable provenance and relevance are continually introduced; absorbing problems are raised only to be abandoned unresolved. The work ranges across subjects including the intertwined histories of the libertarian movement and the recreational drug economy, the linked ideas of the frontier and the border, and militarism and utopianism--all presented (nominally at least) in the context of Christiania's shifting fortunes. And just as the community's triumphs and failings are extrapolated into a model for the challenges of idealism in general, its Copenhagen environs provide an opportunity for amiable pondering on the progress of European urban civilization as a whole.\n\nDiscussing the origins and meanings of the apparently ubiquitous design of Christiania's flag--three yellow dots against a scarlet ground--Sandra suggests that it implies doubt and transition, possibility without conclusion, infinity. If Sandra of the Tuliphouse has a critical weakness, it is perhaps a surfeit of interest, a profusion of anecdotal detail that shifts the viewer's response from genuine fascination to a kind of appreciative torpor. The voice-over, at first rather refreshing in its utter lack of drama (the actress who plays Sandra is an amateur), eventually becomes soporific. And as the work's diegetic paths fork and fork again, our compulsion to sort the actual from the fanciful gradually loses momentum. Like Sandra herself, we are immediately compelled by Christiania's insular milieu, but to remain within the orbit of this work for more than, say, half an hour is to feel the pull of one's own world with a renewed intensity."},{"slug":"koester_joachim_pit_music_1996","ok":true,"partial":false,"title":"Pit Music","artist":"Joachim Koester","year":"1996","startOffset":0,"sourceSecs":294.72,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":53786819,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/koester_joachim_pit_music_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/koester_joachim_pit_music_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/koester_joachim_pit_music_1996.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/koester_joachim_pit_music_1996/main.mp4?v=2","description":"The title Pit Music refers to music coming from the orchestra pit and to the set-up of the installation, which consists of a stage and a pit. Apart from this, the work is video documentation of a concert in a gallery with a string quartet playing Shostakovich's string quartet No. 8 in C minor. The music continues uninterrupted all through the video, but due to the editing and images in slow and stop motion the music changes between being represented as what could be termed diegetic and non-diegetic - referring to reality vs. fiction, as well as the idea of showing art and causing a response. Pit Music was first filmed and shown at gallery Nicolai Wallner in 1996. Apart from Koester's above-mentioned intentions regarding performativity and documentation, there is another reason we have chosen to re-install this piece. Pit Music is also a micro narrative. Without nostalgia the video portraits a group of people, and evokes an art scene at a specific time in Copenhagen more than a decade ago.","artist_bio":"Three Dots & Sandra of the Tulip House or How To Live in a Free State\n(2001)\nwith\nMatthew Buckingham\nJoachim Koester (born 1962 in Copenhagen) is a conceptual artist and a graduate of the Royal Danish Academy of Art in his native city. Over the last fifteen years, his work has been exhibited internationally, in Europe, North America, and Africa. He works principally in still photography and video. Hal Foster, writing in Artforum, has characterized his work as being \"along the borders between documentary and fiction.\" Koester was a 2008 finalist for the Hugo Boss Prize.","bio_dates":"b. 1962"},{"slug":"koh_terence_untitled_sunset","ok":true,"partial":false,"title":"Untitled Sunset","artist":"Ternece Koh","year":"2011","startOffset":0,"sourceSecs":90.164,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":5354025,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/koh_terence_untitled_sunset/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/koh_terence_untitled_sunset/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/koh_terence_untitled_sunset.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Terence Koh employs a wide variety of materials in his works - simultaneously: a crystal chandelier, lollipops, vegetables, hair of every conceivable origin, perfectly intact and deliberately destroyed glass, gold, extremely valuable china, the plastic of consumer items and kitsch, a hawser found after midnight, urine, blood, toys and much more.\nTerence Koh, who works in New York, Berlin, Beijing, and occasionally Toronto where he was raised, creates with his installations, objects, murals, but also in his performances, suggestive spaces in which recollection and fantasy are mixed with art history and sub-cultural extreme cultures (predominantly of the sexual, polymorph perverted type), in which contemporary trivial culture is united with fetish cultures and a use of rituals and practices that is historically and geographically taken from all cult cultures to create a cosmos that is both disrespectful and imbued with new mythology.","bio_dates":"b. 1977"},{"slug":"koolhass_rem_lagos","ok":true,"partial":false,"title":"Lagos / Koolhaas","artist":"Rem Koolhaas","year":"2002","startOffset":0,"sourceSecs":3311.308,"sourceHeight":476,"sourceWidth":696,"hasAudio":true,"hasAmbientMp4":true,"bytes":565969942,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/koolhass_rem_lagos/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/koolhass_rem_lagos/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/koolhass_rem_lagos.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/koolhass_rem_lagos/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/koolhass_rem_lagos/main/master.m3u8?v=2","hasMainHls":true,"description":"dir. Bregtje van der Haak <br/><br/> Lagos' population is expected to reach 24 million people by 2020, which would make it the third largest city in the world. Every hour, 21 new inhabitants set out to start a life in the city, a life that is highly unpredictable and requires risk taking, networking and improvisation as essential strategies for survival. <br/><br/> Rem Koolhaas – winner of architecture’s Nobel, the Pritzker Architecture Prize – is a Professor of Architecture and Urban Design at Harvard. For the past four years Koolhaas and students from The Harvard Project on the City have come to Lagos regularly to research the type of urban environment that is produced by explosive population growth. The Project on the City is framed by two concepts: academia’s bewilderment with new forms of accelerated urbanization in developing regions and the maelstrom of redevelopment in existing urban areas; and, second, the failure of the design professions to adequately cope with these changes.<br/> <br/> LAGOS / KOOLHAAS follows Koolhaas during his research in Lagos over a period of two years as he wanders through the city, talking with people and recognizing the problems with water, electricity and traffic. But instead of judging the city to be doomed, he is able to interpret this ‘culture of congestion’ positively, thereby creating a completely new concept of the big city.<br/> <br/> For example, in most North American cities we grumble about the traffic and turn up the CD. In Lagos, traffic jams are such an overwhelming feature of the city that they have become a key marketplace. When the cars stop, the trading begins. Or, as Koolhaas’s report puts it, “the ubiquitous traffic jam: lulled in congestion, captive to the road’s breadth, and thriving with entrepreneurial activity.”<br/> <br/> For Koolhaas, the key to understanding a city such as Lagos is the realization that it is not the controllable result of Western planning. The city should be seen as an anarchic organism in which the enterprise of the inhabitants turns any apparent disadvantage into an advantage: “Anguish over the city’s shortcomings in traditional urban systems obscures the reasons for the continued, exuberant existence of Lagos and other megacities like it. These shortcomings have generated ingenious, critical alternative systems.”<br/> <br/> Thus, for Koolhaas and his team, Lagos is a case study of a city at the forefront of a globalizing modernity: “Lagos is not catching up with us. Rather, we may be catching up with Lagos . . .”<br/> <br/> “Highly Recommended! Excellent production values… easy to view and understand. Rem Koolhaas has done it again.”—Educational Media Reviews Online<br/> <br/> ** 2004 African Studies Association Film Festival<br/> ** 2003 Architects Series, Museum of Modern Art (New York)<br/> ** 2003 Marseille International Documentary Film Festival<br/> ** 2003 International Environmental Film Festival (Rhodes, Egypt)<br/> ** 2004 Wellesly College African Film Festival","artist_bio":"Rem Koolhaas, (born Nov. 17, 1944, Rotterdam, Netherlands), Dutch architect known for buildings and writings that embrace the energy of modernity.\nKoolhaas worked as a journalist before becoming an architect. Changing his focus to architecture, from 1968 to 1972 he studied at the Architectural Association in London, and from 1972 to 1975 he studied at Cornell University in Ithaca, New York. In 1975 he formed the Office for Metropolitan Architecture (OMA) with Elia and Zoe Zenghelis and Madelon Vriesendorp, his wife, with offices in Rotterdam and London.\nKoolhaas first achieved recognition not as an architect but as an urban theorist when his book Delirious New York: A Retroactive Manifesto for Manhattan was published in 1978. The book suggested that the architectural development of Manhattan was an organic process created through a variety of cultural forces. In this way, New York and other major cities functioned as a metaphor for contemporary experience. During this period Koolhaas and OMA frequently operated at a theoretical and conceptual level, conceiving of varied works that remained unbuilt, including the Parc de La Villette (1982–83) and Très Grande Bibliothèque (1989), both in Paris. One major work that was realized was the National Dance Theatre (1984–87) at The Hague, which was notable for its wavy roof and clearly divided series of spaces.\nIn the 1990s Koolhaas and OMA saw several important works to fruition, including the Nexus Housing project (1989–91) in Fukuoka, Japan; the Kunsthal (1992) in Rotterdam; a private residence (1994–98) in Bordeaux, France; and the Educatorium (1993–97), a multipurpose building at the University of Utrecht, Netherlands. Unlike many of his contemporaries, who developed a distinctive aesthetic, Koolhaas did not establish a constant look from project to project. Instead, he created architecture that, utilizing the best of modern technology and materials, spoke to the needs of a particular site and client. For instance, the Bordeaux house, made for a client in a wheelchair, utilized a dramatic glass room that acted as an elevator between the levels of the house. In these commissions, Koolhaas refused to refer to past styles (he called for an “end to sentimentality”), choosing instead to engage directly with the true gritty character of the modern world. For example, his Kunsthal dramatically engages with urban modernity through its electronic billboard and orange steel components.\nKoolhaas’s second book, S, M, L, XL (1995), chronicles the accomplishments of OMA and architecture at the end of the 20th century. At the turn of the 21st century, Koolhaas and OMA received numerous commissions. Among the most noteworthy were a series of international stores for the Prada fashion house, the Netherlands embassy (1997–2003) in Berlin, a student centre at the Illinois Institute of Technology (1997–2003) in Chicago, the Seattle (Washington) Public Library (1999–2004), and the headquarters for Beijing’s state-owned China Central Television (CCTV; 2004–08). The CCTV building, noted for its angular-loop shape, is the centrepiece of a complex including the Koolhaas-designed Mandarin Oriental hotel, which was under construction when it was severely damaged by fire in 2009.\nBeginning in 1995, Koolhaas taught graduate seminars at Harvard University. Among his many honours was the Pritzker Prize in 2000; the foundation’s president, Thomas J. Pritzker, described him as “a prophet of a new modern architecture.” In 2003 Koolhaas was awarded the Japan Art Association’s Praemium Imperiale prize for architecture, and in 2004 he was awarded the Royal Institute of British Architects’ Royal Gold Medal.","bio_dates":"b. 1944"},{"slug":"korpys_loffler_the_nuclear_football_2004","ok":true,"partial":false,"title":"The nuclear football","artist":"Korpys / Löffler","year":"2004","startOffset":0,"sourceSecs":1842,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":305906007,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/korpys_loffler_the_nuclear_football_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/korpys_loffler_the_nuclear_football_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/korpys_loffler_the_nuclear_football_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/korpys_loffler_the_nuclear_football_2004/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/korpys_loffler_the_nuclear_football_2004/main/master.m3u8?v=2","hasMainHls":true,"description":"Solmaz Shahbazi's trilogy explores the recent historical, social and urban trajectory of the Iranian capital, a city that has experienced several revolutions in the 20th century and counts over 12 million inhabitants today. Tehran 1380 (45min, 2002) is the result of a collaboration between Solmaz Shahbazi and Tirdad Zolghadr. Through interviews with permanent inhabitants and visitors, professionals of architecture and non-professionals, juxtaposed with images from Tehran, Shahbazi and Zolghadr ask pertinent questions about the place of the city in the process of globalisation, and carve out a portrait of Tehran as a socially heterogeneous, ever expanding metropolis that does not fit into any existing urban planning or aesthetic standards. Good Times / Bad Times (31 min, 2003). With over 70% of the population aged under 25, Iranian youth culture is an incredible transformative power that shapes the country's social, economical and political trajectories. Good Times / Bad Times follows five young people, each as a representative of a certain group in the Iranian society. The documentary looks at some of the strictures confronting Iranian youth and examines the practices of everyday life through which young people demonstrate defiance against the official culture and parental dominance. Persepolis (2005, 17min), the last video of the trilogy, is as much a tale about Tehran as it is about how individuals situate themselves in relation to the grander narratives of history. Set in a large scale, bourgeois housing complex in Tehran, the video explores a layered history through composed interior shots, played back against the voice of their owners, as they recount their lives in this neighbourhood and its place in the city's recent evolution, often referring to before\" and \"after\" the Islamic Revolution of 1979.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"kowalski_dariusz_elements_2005","ok":true,"partial":false,"title":"Elements","artist":"Dariusz Kowalski","year":"2005","startOffset":0,"sourceSecs":483.925,"sourceHeight":384,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":32562899,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kowalski_dariusz_elements_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kowalski_dariusz_elements_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kowalski_dariusz_elements_2005.mp4","hasFrames":true,"description":"Although perhaps cruder in gesture and less lyrical in effect, Kowalski's Elements shares many technical and thematic affinites with Elke Groen's Nightstill. The protagonists are the same: the snowy uninhabitable landscapes, not of the Alps, but of the Alaska; the unflinching winds that daily sweep its vast plains and push cloud formations to their inevitable dissolution; the monotonous light cycles that cast an illusion of change on an unchanging eyescape; and the sometimes disturbingly illusory permanence of man-made and natural scenic objects immersed in a tumultuous and violent wash of transformation. The technical means used to articulate this beautiful study on landscape also bear similarities to Nightstill, resorting to an impressive application of time-lapse in order to inflict violent temporal dislocations on an otherwise placid picture. Unlike Groen's work, however, Elements does not venture into the field and uses footage taken from a website designed to observe the weather in Alaskan airfields: this lends it a much rougher quality but also a starker, unembellished perspective on the ice deserts. This starker approach is also reflected in Németh's soundtrack: grainy particles of sound that seem intended to emulate the violent clash of wind and dust against the camera only briefly give in to more \"musical\" drones that are immediately followed by figurative allusions to aeroplanes, wind hisses and control-tower voice-cracks."},{"slug":"kramer_robert_ice_1969","ok":true,"partial":false,"title":"Extract from \"Ice\"","artist":"Robert Kramer","year":"1969","startOffset":0,"sourceSecs":1255.893,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":79991785,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kramer_robert_ice_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kramer_robert_ice_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kramer_robert_ice_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kramer_robert_ice_1969/main.mp4?v=2","description":"A pioneering work that blurred the boundaries between fictional and documentary styles, Ice was hailed by filmmaker and Village Voice critic Jonas Mekas as “the most original and most significant American narrative film” of the late sixties. An underground revolutionary group struggles against internal strife which threatens its security and stages urban guerrilla attacks against a fictionalized fascist regime in the United States. Interspersed throughout the narrative are rhetorical sequences that explain the philosophy of radical action and serve to restrain the melodrama inherent in the “thriller” genre. Shot in the gray landscape of New York City in a gritty cinema-verité style, the film has been compared to Jean-Luc Godard’s Alphaville. Jonathan Rosenbaum from the Chicago Reader: “One of American independent Robert Kramer’s strongest “underground” features (1969), arguably his best, made in and around New York before he resettled in Paris. This potent and grim SF thriller about urban guerrillas of the radical left, shot in the manner of a rough documentary in black and white, has an epic sweep to it. (Like many politically informed art movies of the period, starting with Alphaville and including even THX 1138, it was set in the future mainly as a ruse for critiquing the present.) Now as then, the power of this creepy movie rests largely in its dead-on critique of the paranoia and internecine battles that characterized revolutionary politics during the 60s; the mood is terrorized and often brutal, but the behavioral observations and some of the tenderness periodically call to mind early Cassavetes. A searing, unnerving history lesson, it’s an American counterpart to some of Jacques Rivette’s conspiracy pictures, a desperate message found in a bottle.” Jonas Mekas said that ‘ Ice ‘ was “the most original and most significant American narrative film of the late sixties. Born in New York in 1939, Robert Kramer ranks as one of the most original directors of American underground cinema. This exacting loner, the bard of the counterculture, has worked on the fringe both in his homeland and in France. In 1967, he founded The Newsreel, a militant collective that was among the first to produce films about the Vietnam war and its impact in America. His films constantly work at wearing away the impermeability of documentary and fiction forms, paying special attention to his characters. In 1969, Kramer visited Hanoï and brought back Peoples’ War. He returned 23 years later, keen on understanding what had become of Vietnam in the nineties - the result was Starting Place/Point de départ. The country was then in pieces; the old generation had its pride intact whereas the new generation had forgotten. Starting Place is also a melancholic stroll among faces, objects and vestiges that question our relationship with memory and images. His exploration of the American heartlands has been the other fixture of his work. Milestones (1976) is the polyphonic evocation of a rural community, which paints a pessimistic portrait of American society in the seventies. In 1989, he made Route One/USA - Route One is an historic, now disused, road that runs down the east coast. Through Kramer’s eyes, this route becomes the focal point that condenses American history and its traditions of violence, blends fiction and documentary, sets up echoes between collective memory and private recollections. This geographer’s work evokes wars (from the Civil War to Vietnam), confronts feminists with Christian fundamentalists, examines the demands of minority communities. There gradually takes forms a mosaic of America and its history as a living organism with a thousand facets.","artist_bio":"Robert Kramer, 60, a Director Of Films With a Political Edge\nRobert Kramer, an American movie director whose portrayals of militants caught up in the antiwar movement of the late 1960's and early 1970's earned him a prominent place in modern political cinema, died on Wednesday in a hospital in Rouen, France, at the age of 60. Friends gave the cause of death as meningitis.\nAlthough Mr. Kramer was best known in the United States for his radical early movies, notably ''The Edge,'' ''Ice'' and ''Milestones,'' he remained a prolific filmmaker after he moved to Paris in 1980. ''Doc's Kingdom'' and ''Route 1/U.S.A.'' were among his later films that were also released in the United States. At the time of his death, he had just completed a new movie, ''Cities of the Plains.''\nMr. Kramer's films never reached a wide audience, but they had a loyal following in the world of avant-garde and experimental cinema and were frequently featured at film festivals around the world. ''A Toute Allure'' was one of three official French selections for the 1982 Cannes International Film Festival.\nAfter his 1980 film ''Guns'' was shown at the New York Film Festival, Vincent Canby wrote in The New York Times that ''its director is one of the most exciting filmmakers we have and it's incredible that he can find financing only in France.''\nPaul McIsaac, an American actor who appeared in several of Mr. Kramer's films, said an implosion of the radical movement in the United States also prompted the director to move to France. ''The French film world attracted him because he could continue to be political,'' Mr. McIsaac said in a telephone interview from New York.\nBut while his films remained broadly political (for instance, ''Doc's Kingdom,'' made in 1987, is about a burned-out former radical living in Portugal), they were no less distinguished by his strongly personal directing style. For him, reality and fiction, like art and life, constantly blurred so that, as he once said, ''one day or other all these films that I'm making will make up a single long film, a 'story' that is always developing.''\nBorn in New York on June 22, 1939, Mr. Kramer studied philosophy and Western European history at Swarthmore College and Stanford University, where he emerged as a committed leftist. After organizing a community project in an African-American area in Newark in 1965, he helped found the Newsreel movement, which between 1967 and 1971 made some 60 documentaries and short films about radical political subjects and the antiwar movement.\nIt was during this period that Mr. Kramer also made ''The Edge'' and ''Ice,'' which won him the attention of American film experts. ''Ice,'' for example, focused on ''imminent urban guerrilla warfare in the United States'' against an American regime intervening repressively in Mexico. ''It is an awfully proud and humorless film and although I can't say that I really like it, I do admire it,'' Mr. Canby wrote at the time, ''and I'd recommend it to anyone interested in politics or movies.''\nReviewing ''Milestones'' in 1975, Mr. Canby again referred to Mr. Kramer's seriousness. ''Mr. Kramer's concerns are so particular, and his manner usually so humorless, that one doesn't easily recognize his talent as one of the most original and gifted young filmmakers,'' he wrote.\nIn his review of ''Guns,'' Mr. Canby developed this idea. ''Mr. Kramer seems incapable of shooting a scene, framing a shot or catching a line of dialogue that isn't loaded with information one usually finds only in the best, the most spare poetry,'' he wrote.\nMr. Kramer is survived by his wife, Erika, and their daughter, Keja, as well as by Rain Kramer, his daughter from an earlier marriage.","bio_dates":"b. 1962"},{"slug":"kraus_bernd_sender_mittelfranken_2002_2004","ok":true,"partial":false,"title":"Sender Mittelfranken","artist":"Bernd Krauss","year":"2002-2004","startOffset":0,"sourceSecs":1765.64,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":295807821,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_bernd_sender_mittelfranken_2002_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_bernd_sender_mittelfranken_2002_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kraus_bernd_sender_mittelfranken_2002_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kraus_bernd_sender_mittelfranken_2002_2004/main.mp4?v=2","description":"Solmaz Shahbazi's trilogy explores the recent historical, social and urban trajectory of the Iranian capital, a city that has experienced several revolutions in the 20th century and counts over 12 million inhabitants today. Tehran 1380 (45min, 2002) is the result of a collaboration between Solmaz Shahbazi and Tirdad Zolghadr. Through interviews with permanent inhabitants and visitors, professionals of architecture and non-professionals, juxtaposed with images from Tehran, Shahbazi and Zolghadr ask pertinent questions about the place of the city in the process of globalisation, and carve out a portrait of Tehran as a socially heterogeneous, ever expanding metropolis that does not fit into any existing urban planning or aesthetic standards. Good Times / Bad Times (31 min, 2003). With over 70% of the population aged under 25, Iranian youth culture is an incredible transformative power that shapes the country's social, economical and political trajectories. Good Times / Bad Times follows five young people, each as a representative of a certain group in the Iranian society. The documentary looks at some of the strictures confronting Iranian youth and examines the practices of everyday life through which young people demonstrate defiance against the official culture and parental dominance. Persepolis (2005, 17min), the last video of the trilogy, is as much a tale about Tehran as it is about how individuals situate themselves in relation to the grander narratives of history. Set in a large scale, bourgeois housing complex in Tehran, the video explores a layered history through composed interior shots, played back against the voice of their owners, as they recount their lives in this neighbourhood and its place in the city's recent evolution, often referring to before\" and \"after\" the Islamic Revolution of 1979.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"kraus_chris_foolproof_illusion","ok":true,"partial":false,"title":"Foolproof Illusion","artist":"Chris Kraus","year":"1986","startOffset":0,"sourceSecs":1049.648,"sourceHeight":480,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":185212677,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_foolproof_illusion/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_foolproof_illusion/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kraus_chris_foolproof_illusion.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kraus_chris_foolproof_illusion/main.mp4?v=2","description":"Foolproof Illusion (1986) features Artaud translator David Rattray and a segment with Kraus in a blond wig and black brassiere, building a snow-something on location in Saugerties, New York","artist_bio":"Chris Kraus is a filmmaker and the author of I Love Dick and Aliens & Anorexia, and coeditor of Hatred of Capitalism: A Semiotext(e) Reader. Index called her \"one of the most subversive voices in American fiction.\" Her work has been praised for its damning intelligence, vulnerability and dazzling speed.","bio_dates":"b. 1955"},{"slug":"kraus_chris_golden_bowl","ok":true,"partial":false,"title":"The Golden Bowl or Repression","artist":"Chris Kraus","year":"1984/1988","startOffset":0,"sourceSecs":743.342,"sourceHeight":480,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":125302819,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_golden_bowl/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_golden_bowl/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kraus_chris_golden_bowl.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kraus_chris_golden_bowl/main.mp4?v=2","description":"In The Golden Bowl or Repression (1984/88), inspired partly by the Henry James novel, you can feel the hangover of '70s New York: bankruptcy, dereliction, Patti Smith punk-poetry; images of empty rooms and silent people not connecting, even when they're having sex.","artist_bio":"Chris Kraus is a filmmaker and the author of I Love Dick and Aliens & Anorexia, and coeditor of Hatred of Capitalism: A Semiotext(e) Reader. Index called her \"one of the most subversive voices in American fiction.\" Her work has been praised for its damning intelligence, vulnerability and dazzling speed.","bio_dates":"b. 1955"},{"slug":"kraus_chris_gravity_grace","ok":true,"partial":false,"title":"Gravity & Grace","artist":"Chris Kraus","year":"1996","startOffset":0,"sourceSecs":5346.641,"sourceHeight":480,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":896818346,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_gravity_grace/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_gravity_grace/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kraus_chris_gravity_grace.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kraus_chris_gravity_grace/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kraus_chris_gravity_grace/main/master.m3u8?v=2","hasMainHls":true,"description":"Gravity and Grace (1996) serves in many ways as a swan song—or a renunciation. Filmed in New York and her native New Zealand, it follows Gravity and Grace through their sexcapades, association with a millennialist group, and beyond. <br/><br/> In its pacing and conceit, Gravity and Grace is not unlike Todd Haynes’s Safe (1995). Yet Kraus’s discomfort with the three-act narrative-feature is conspicuous. Critique slides into camp: Godard-like texts flash up, announcing, “Feelings Are Shit.” Gravity complains to Grace about another character: “All he talks about is his past. And besides, the stories don’t even add up. I mean, how could he have written the Situationist manifesto with Guy Debord if he was living with Paul Bowles in Tangiers?” <br/><br/> The movie ends with a hilarious cameo of Kraus as a New Museum curator, berating the young Gravity (turned artist) with theory-speak: “You had a chance to make an explicit feminist critique in your work, but you don’t address the politics of representation.” Gravity’s failure, according to the imperious curator, is that “the sublime has always been on the side of shit,” but “frankly, your work just isn’t shitty enough.”","artist_bio":"Chris Kraus is a filmmaker and the author of I Love Dick and Aliens & Anorexia, and coeditor of Hatred of Capitalism: A Semiotext(e) Reader. Index called her \"one of the most subversive voices in American fiction.\" Her work has been praised for its damning intelligence, vulnerability and dazzling speed.","bio_dates":"b. 1955"},{"slug":"kraus_chris_inordertopass","ok":true,"partial":false,"title":"In Order to Pass","artist":"Chris Kraus","year":"1982","startOffset":0,"sourceSecs":900.899,"sourceHeight":480,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":159271338,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_inordertopass/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_inordertopass/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kraus_chris_inordertopass.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kraus_chris_inordertopass/main.mp4?v=2","description":"In Order to Pass (1982), is a 30-minute meditation: very Maya Deren, Nan Goldin, with a bit of Dan Graham's Homes for America and fragments of illuminated green text, filmed from the screen of an electric typewriter.","artist_bio":"Chris Kraus is a filmmaker and the author of I Love Dick and Aliens & Anorexia, and coeditor of Hatred of Capitalism: A Semiotext(e) Reader. Index called her \"one of the most subversive voices in American fiction.\" Her work has been praised for its damning intelligence, vulnerability and dazzling speed.","bio_dates":"b. 1955"},{"slug":"kraus_chris_lotringer_how_to_shoot_a_crime","ok":true,"partial":false,"title":"How to Shoot a Crime","artist":"Chris Kraus","year":"1987","startOffset":0,"sourceSecs":1731.429,"sourceHeight":480,"sourceWidth":708,"hasAudio":true,"hasAmbientMp4":true,"bytes":295609884,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_lotringer_how_to_shoot_a_crime/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_lotringer_how_to_shoot_a_crime/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kraus_chris_lotringer_how_to_shoot_a_crime.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kraus_chris_lotringer_how_to_shoot_a_crime/main.mp4?v=2","description":"How to Shoot a Crime (1987), made with & Sylvère Lotringer, virtually spells out the argument made by Lotringer’s Sorbonne adviser Roland Barthes in S/Z: that literary narrative snares the reader through a system of codes. Only here, it’s done in filmic form, with a police videographer describing how to construct evidence videos so that viewers (in his case, jurors) actually look forward to seeing a corpse.","artist_bio":"Chris Kraus is a filmmaker and the author of I Love Dick and Aliens & Anorexia, and coeditor of Hatred of Capitalism: A Semiotext(e) Reader. Index called her \"one of the most subversive voices in American fiction.\" Her work has been praised for its damning intelligence, vulnerability and dazzling speed.","bio_dates":"b. 1955) and & Sylvère Lotringer"},{"slug":"kraus_chris_traveling_at_night","ok":true,"partial":false,"title":"Traveling at Night","artist":"Chris Kraus","year":"1991","startOffset":0,"sourceSecs":714.513,"sourceHeight":478,"sourceWidth":698,"hasAudio":true,"hasAmbientMp4":true,"bytes":125403150,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_traveling_at_night/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_traveling_at_night/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kraus_chris_traveling_at_night.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kraus_chris_traveling_at_night/main.mp4?v=2","description":"Traveling at Night #2 (1990), a study of the underground railroad filtered through a children's field trip to caves that once sheltered slaves.","artist_bio":"Chris Kraus is a filmmaker and the author of I Love Dick and Aliens & Anorexia, and coeditor of Hatred of Capitalism: A Semiotext(e) Reader. Index called her \"one of the most subversive voices in American fiction.\" Her work has been praised for its damning intelligence, vulnerability and dazzling speed.","bio_dates":"b. 1955"},{"slug":"kraus_chris_voyage_to_rodez_1986","ok":true,"partial":false,"title":"Voyage to Rodez","artist":"Chris Kraus","year":"1986","startOffset":0,"sourceSecs":837.674,"sourceHeight":480,"sourceWidth":630,"hasAudio":true,"hasAmbientMp4":true,"bytes":145364690,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_voyage_to_rodez_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kraus_chris_voyage_to_rodez_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kraus_chris_voyage_to_rodez_1986.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kraus_chris_voyage_to_rodez_1986/main.mp4?v=2","artist_bio":"Chris Kraus is a filmmaker and the author of I Love Dick and Aliens & Anorexia, and coeditor of Hatred of Capitalism: A Semiotext(e) Reader. Index called her \"one of the most subversive voices in American fiction.\" Her work has been praised for its damning intelligence, vulnerability and dazzling speed.","bio_dates":"b. 1955"},{"slug":"kren_kurt_1957_1_57_versuch_mit_synthetischem_ton","ok":true,"partial":false,"title":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test))","artist":"Kurt Kren","year":"1957","startOffset":0,"sourceSecs":104.96,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":18187226,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1957_1_57_versuch_mit_synthetischem_ton/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1957_1_57_versuch_mit_synthetischem_ton/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1957_1_57_versuch_mit_synthetischem_ton.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1960_2_60_48_kopfe_aus_dem_szondi_test","ok":true,"partial":false,"title":"1960 - 2-60-48 Kopfe aus dem Szondi Test","artist":"Kurt Kren","year":"1960","startOffset":0,"sourceSecs":258.603,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":44085633,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1960_2_60_48_kopfe_aus_dem_szondi_test/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1960_2_60_48_kopfe_aus_dem_szondi_test/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1960_2_60_48_kopfe_aus_dem_szondi_test.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1960_3_60_baume_im_herbst","ok":true,"partial":false,"title":"1960 - 360 Baume im Herbst (360 Trees in Autumn)","artist":"Kurt Kren","year":"1960","startOffset":0,"sourceSecs":303.317,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":54857299,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1960_3_60_baume_im_herbst/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1960_3_60_baume_im_herbst/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1960_3_60_baume_im_herbst.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1961_4_61_mauern_po_neg_und_weg","ok":true,"partial":false,"title":"1961 - 4-61 Mauern Po. Neg und Weg","artist":"Kurt Kren","year":"1961","startOffset":0,"sourceSecs":365.333,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":62194727,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1961_4_61_mauern_po_neg_und_weg/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1961_4_61_mauern_po_neg_und_weg/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1961_4_61_mauern_po_neg_und_weg.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1962_5_62_fenstergucker_abfall_etc","ok":true,"partial":false,"title":"1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)","artist":"Kurt Kren","year":"1962","startOffset":0,"sourceSecs":317.248,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":54672287,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1962_5_62_fenstergucker_abfall_etc/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1962_5_62_fenstergucker_abfall_etc/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1962_5_62_fenstergucker_abfall_etc.mp4","hasFrames":true,"description":"1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)","artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1964_6_64_mama_und_papa","ok":true,"partial":false,"title":"1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening))","artist":"Kurt Kren","year":"1964","startOffset":0,"sourceSecs":242.005,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":41362847,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1964_6_64_mama_und_papa/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1964_6_64_mama_und_papa/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1964_6_64_mama_und_papa.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1964_7_64_leda_mit_dem_schwan","ok":true,"partial":false,"title":"1964 - 764 Leda mit dem Schwan (764 Leda and the Swan)","artist":"Kurt Kren","year":"1964","startOffset":0,"sourceSecs":182.443,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":30986897,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1964_7_64_leda_mit_dem_schwan/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1964_7_64_leda_mit_dem_schwan/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1964_7_64_leda_mit_dem_schwan.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1964_8_64_ana","ok":true,"partial":false,"title":"1964 - 864 Ana - Aktion Brus (864 Ana Action Brus)","artist":"Kurt Kren","year":"1964","startOffset":0,"sourceSecs":164.715,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":27483774,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1964_8_64_ana/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1964_8_64_ana/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1964_8_64_ana.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1965_10_65_selbstverstummelung","ok":true,"partial":false,"title":"1965 - 10-65 Selbstverstummelung","artist":"Kurt Kren","year":"1965","startOffset":0,"sourceSecs":319.04,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":54605306,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1965_10_65_selbstverstummelung/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1965_10_65_selbstverstummelung/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1965_10_65_selbstverstummelung.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1965_10b_65_silber_aktion_brus","ok":true,"partial":false,"title":"1965 - 10b65 Silber - Aktion Brus (Silver Action Brus)","artist":"Kurt Kren","year":"1965","startOffset":0,"sourceSecs":133.163,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":23216359,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1965_10b_65_silber_aktion_brus/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1965_10b_65_silber_aktion_brus/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1965_10b_65_silber_aktion_brus.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1965_10c_65_brus_wunscht_euch_seine_weihnachten","ok":true,"partial":false,"title":"1965 - 10c-65 Brus Wunscht Euch Seine Weihnachten","artist":"Kurt Kren","year":"1965","startOffset":0,"sourceSecs":184.533,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":31542983,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1965_10c_65_brus_wunscht_euch_seine_weihnachten/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1965_10c_65_brus_wunscht_euch_seine_weihnachten/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1965_10c_65_brus_wunscht_euch_seine_weihnachten.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1966_12_66_cosinus_alpha","ok":true,"partial":false,"title":"1966 - 1266 Cosinus Alpha","artist":"Kurt Kren","year":"1966","startOffset":0,"sourceSecs":546.325,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":94076076,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1966_12_66_cosinus_alpha/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1966_12_66_cosinus_alpha/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1966_12_66_cosinus_alpha.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1967_13_67_sinus_beta","ok":true,"partial":false,"title":"1967 - 1367 Sinus Beta","artist":"Kurt Kren","year":"1967","startOffset":0,"sourceSecs":353.835,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":60797893,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1967_13_67_sinus_beta/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1967_13_67_sinus_beta/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1967_13_67_sinus_beta.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1967_15_67_tv","ok":true,"partial":false,"title":"1967 15-67 TV","artist":"Kurt Kren","year":"1967","startOffset":0,"sourceSecs":250.155,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":43049986,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1967_15_67_tv/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1967_15_67_tv/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1967_15_67_tv.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1967_16_67_20_september","ok":true,"partial":false,"title":"1967 - 1667 20. September","artist":"Kurt Kren","year":"1967","startOffset":0,"sourceSecs":401.173,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":69511205,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1967_16_67_20_september/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1967_16_67_20_september/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1967_16_67_20_september.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1968_17_68_grun_rot","ok":true,"partial":false,"title":"17-68 Grun-rot","artist":"Kurt Kren","year":"1968","startOffset":0,"sourceSecs":178.923,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":30565764,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1968_17_68_grun_rot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1968_17_68_grun_rot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1968_17_68_grun_rot.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1968_20_68_schatzi","ok":true,"partial":false,"title":"1968 - 2068 Schatzi","artist":"Kurt Kren","year":"1968","startOffset":0,"sourceSecs":154.475,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":26340840,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1968_20_68_schatzi/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1968_20_68_schatzi/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1968_20_68_schatzi.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1973_28_73_zeitaufnehme","ok":true,"partial":false,"title":"1973 - 2873 Zeitaufnahme(n) (Time Exposure)","artist":"Kurt Kren","year":"1973","startOffset":0,"sourceSecs":180.715,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":30850234,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1973_28_73_zeitaufnehme/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1973_28_73_zeitaufnehme/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1973_28_73_zeitaufnehme.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1975_31_75_asyl","ok":true,"partial":false,"title":"1975 - 3175 Asyl (3175 Asylum)","artist":"Kurt Kren","year":"1975","startOffset":0,"sourceSecs":490.411,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":84677352,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1975_31_75_asyl/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1975_31_75_asyl/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1975_31_75_asyl.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1978_36_78_rischart","ok":true,"partial":false,"title":"1978 - 3678 Rischart","artist":"Kurt Kren","year":"1978","startOffset":0,"sourceSecs":184.768,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":32172188,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1978_36_78_rischart/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1978_36_78_rischart/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1978_36_78_rischart.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1978_37_78_tree_again","ok":true,"partial":false,"title":"1978 - 3778 Tree Again","artist":"Kurt Kren","year":"1978","startOffset":0,"sourceSecs":227.008,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":38059098,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1978_37_78_tree_again/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1978_37_78_tree_again/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1978_37_78_tree_again.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1979_38_79_sentimental_punk","ok":true,"partial":false,"title":"1979 - 3879 Sentimental Punk","artist":"Kurt Kren","year":"1979","startOffset":0,"sourceSecs":268.245,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":45907391,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1979_38_79_sentimental_punk/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1979_38_79_sentimental_punk/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1979_38_79_sentimental_punk.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kren_kurt_1995_49_95_tausendjahrekino","ok":true,"partial":false,"title":"1995 - 4995 Tausendjahrekino (Thousand-Years-Cinema)","artist":"Kurt Kren","year":"1995","startOffset":0,"sourceSecs":168.853,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":29662530,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1995_49_95_tausendjahrekino/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kren_kurt_1995_49_95_tausendjahrekino/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kren_kurt_1995_49_95_tausendjahrekino.mp4","hasFrames":true,"artist_bio":"1957 - 157 Versuch mit synthetischem Ton (Test) (Experiment with Synthetic Sound (Test)\n1962 - 562 Fenstergucker, Abfall, etc. (562 People Looking Out of the Window, Trash, etc.)\n1964 - 664 Mama und Papa (Materialaktion Otto Mühl) (664 Mom and Dad (An Otto Mühl Happening)\nPresenting Kurt Kren - humble bank teller by day, radical action naked performance artist by night!\nThe exigencies of living and working miles from the mainstream can prevent even the most noteworthy artists from achieving the kind of renown their work would seem to warrant. This has been the unfortunate fate of the late Austrian filmmaker Kurt Kren (1929-1998), whose films predate and predict many of the strategies of present-day radical art. In one aspect of his career - documenting the work of some of his wilder associates in the Austrian avant-garde - he arguably helped prepare us for groups like\nSurvival Research Laboratories\n, body outlaws, and modern primitives - gay, straight, and all other variants.\nCalled the \"father of postwar European avant-garde cinema\" and regarded in some circles as the continental equivalent of America's Stan Brakhage, Kren was an unlikely pioneer. A bank cashier by trade and by all accounts rather elfin, charming, and unassuming in manner, Kren began making experimental short films in 8mm in the early 1950s, moving up to 16mm in 1957. His subjects were everyday objects - walls, trees, people - but manipulated according to amusingly elaborate diagrams and charts that showed a sensibility both rigorous and whimsical. The effect in one of his earliest official works, 4/61: Walls, Positive and Negative, is hypnotic; as the title implies, it's a series of strobe-rapid shots of walls, alternating in hard rhythms to induce a kind of dream state in the viewer.\nKurt KrenIn 9/64: O Tannenbaum - all Kren's films are named by the order in which they were made (9) and their year of execution (64) - the filmmaker documents a ritual by members of Vienna's renegade Direct Art, Material Action group, with whom he had become associated. This explicit film counterposes disturbingly intense imagery - blood, paint, eggs, feathers, and candlewax smeared all over naked, writhing men and women - with the comic element of a pathetically ragged Christmas tree on top of the writhers. In one recurring shot, a dick and a woman's breast pop up through cut-out holes in an opened suitcase; in another, a woman attempts a faltering blow job on a man as both are sprayed head-to-toe with red paint. Like most of his films, this one is extremely economical at a mere three minutes running time, this being perhaps the limit of what any audience would accept. (Not surprisingly, Kren had great difficulty finding labs to develop such material.)\nEven more unsettling, if possible, is 10/65, another brief record of a performance, this time of Kren's confrere Gunther Brus using his nude body as a canvas. The cinematic equivalent of a Francis Bacon painting, fraught with existential anxiety, this film features Brus covered entirely in a white substance that might be paint or whipped cream and opening his mouth as if to scream without being able to. The grim intensity of the subject matter - Brus appears as a kind of animated corpse surrounded and sometimes pierced by sharp, rusty weapons - is again countered by Kren's mathematical editing, which finds order behind the chaos on the screen.\nKurt KrenKren's fantastic formal command of his work is evident in 3/75: Asyl, a veritable epic at nine minutes. This one recalls transporting works like Gregory Markopoulos's Ming Green with its in-camera flashing effects and surprisingly dramatic treatment of a simple country scene by using cut-out masks that allow parts of the landscape to pop in and out of view in fanciful rhythm. Kren himself appears in 36/78: Rischart, but this is no ordinary self-portrait: it's a series of double-, triple-, and then countless multiple exposures of a smiling Kren with a cigarette in his mouth. The instability of the image reaches dizzying proportions as the same or related image wavers and wobbles, with the subject both fixed on the film and eternally elusive, unknowable within it.\nIn one of his most notorious films, 16/67: September 20-Gunther Brus (a.k.a., Eating, Drinking, Pissing, Shitting Film), Kren again used his always accommodating pal Brus, this time to reduce existence to its mechanical essence as stated in the subtitle. Kren was typically unpretentious about this startling work: \"It is very dirty, being about eat-drink-piss-shitting. Many friends will hate me after having seen that film.\" But he added, in a phrase that shows his career as an irresistible command to create, \"Sorry. It had to be done!\"\nreprinted from exhibition catalog, Kurt Kren at Wiener Secession, 1996\nBe that as it may - the \"© Kren\" jutting out over the frame can easily be understood as a metaphor of the avant-garde and a harbinger of cinema outside the screen - Expanded Cinema. It is precisely during the \"Jedlersdorf period\" in his oeuvre that Kurt Kren demonstrates some of its best knacks to modern cinematography.\nIn his essay \"On the question of form\" dating from 1912, Wassily Kandinsky proclaimed that the \"Great Abstraction \" and \"Great Realism\" were equivalent. Kandinsky's text marks the acme of a development in Western art that started in the late Middle Ages and can be followed stringently ever since the renaissance. It is a development that oscillates between two polarities: on the one hand, there is a type of painting that sets aspects of form and composition aside to depict nature as accurately as possible. On the other hand, there is the opposite type of painting that strives for the strict adherence to formal principles in all its idealizing styles. This longing for a lofty reproduction of reality, which concurrently seeks to express that which is hidden behind the appearances, unites a great variety of styles and artists, such as idealizing Classicism, Gauguin, Expressionism and Mondrian's extreme formalization of the phenomenal world along the same lines of visual development. Kandinsky deals with what he calls the other genealogy of modern art which is based on \"realistic\" art striving to depict everything true to nature. However, when it turns away from space to represent the moment as we perceive it, it introduces the component of time into the structure of the picture, something reflected in the light application of paint, in sketchy freehand drawings: objects become volatile. The imminent renunciation of form found in Naturalism (the reproduction of phenomena the way they appear) eventually leads - via Impressionism - to a two-pronged approach ending in the disintegration of form: in Kandinsky's free abstraction and in the extreme realism of the ready-made and comparable collages of objects from the workshops of the Dadaists. The Great Abstraction foregoes the mediation of the perceptual world and represents the creative media themselves; the Great Realism foregoes representation, substituting for it the object itself. To put it in a nutshell, the names Kandinsky, Mondrian and Marcel Duchamp map out the terrain wherein twentieth century art is located. As we all know, the aesthetic issues at stake in the conflicts between these positions in the visual arts also come to bear on cinematography with some delay. Their impact is all the more tremendous, and Kurt Kren's contribution in this context is no less than outstanding, from a global perspective, too.\nGunter Brus and Otto Muhl: they depart from the easel painting and use the human body as their expressive central means in art. This common trait tends to obscure the fundamental differences between their actions. On the one hand, Brus and his grandiose pathos belong to the tradition of Expressionism. The way in which he uses paint gives it a continuing central function as a link between body, surrounding space and delimiting surfaces. On the other hand, Muhl is the Dadaist among the Actionists. His version of realism does not need the expressively fraught double bottom of a special world of signs (as in Brus's surgical gauze, scalpels, scissors, razor blades and tacks). Muhl's staged realities are still lives of paint, refuse and food in motion, spirited, and devoid of symbolic or allegorical allusions. Where Brus arranges a mise-en-scene of creatures suffering, Muhl is looking for fun.\nKurt Kren enters the picture amidst these two contrasting Actionist programs - and he, too, reacts in strikingly different ways. Ever since his second film - 2/60 48 Kopfe aus dem Szondi -Test - Kren had organized his material according to serial rules.*1* He counteracted the mimetic abundance of the film with brittle mathematical principles (the length of a take was determined from the sum total of the two preceding takes: 1, 2, 3, 5, 8, 13, 21, 34 frames). All his early films were edited in the camera by means of the single frame mechanism. Kren lastingly made his mark in the history of cinematography when he developed his flash-editing technique from his fifth film onward - 5/62 Fenstergucker, Abfall, etc. is characterized by cuts down to single frames. Here, too, the sequence was determined by serial patterns laid down in scores.\nThe serial flash editing technique is what Kren uses to create a contrast to \"Realist\" Muhl's actions. Unlike single-frame editing in the camera, real editing enables a much more appropriate option to formalize within the sequence of images. A single-frame process in nature, as shown in 3/60 Baume im Herbst, has no repetitions; each frame holds a new view in store. In the first action he filmed, 6/64 Papa und Mama, Kren's editing leads to many interlocking continuous shots; central takes recur like a leitmotif, circular motion and networking can be observed throughout the film. Kren painstakingly weaves the fury in front of his camera lens into dense geometrical figures. Shot/countershot sequences alternate, jumping back and forth between single (!) frames, they turn the Actionist turmoil into ornaments, rigid geometrical patterns, the equivalent in time to what Mondrian used to distill on canvas in space. Then comes Kren's first film with Gunter Brus 8/64 Ana - Aktion Brus. The expressive style Kren is suddenly confronted with makes him depart from seriality and flash editing. His response is the \"Great Abstraction.\" Free gestural photography corresponds to Brus's pathos; Kren pumps images of Tachist disintegration onto the film strip. While flash editing had made Muhl's actions rage, the repetitive qualities had ensured that the \"moving ornament\" was still legible. The single-frame process Kren uses to record Brus's action as if writing with his camera makes the image almost less than discernible; 10b/65 Silber - Aktion Brus floats even more freely in the pre-representational haze of gestural traces. When Kren steadies his camera a little more for a change, he is less interested in the action than in the abstract traces left by the act of painting - the splashes of paint on the studio walls. Where Dadaist Muhl celebrates Naturalism taken to extremes, Kren responds by strategies of concentration as found in Mondrian, and Expressionism, for that matter. Confronted with Expressionism as continued in Brus's actions, Kren resorts to the \"Great Abstraction'\", clearing the board of all signs fraught with meaning. However, there are two exceptions to this rule: 9/64 O Tannenbaum featuring Muhl is characterized by the use of the single frame mechanism and a static camera; 10/65 Selbstverstummelung shows Brus in relatively long takes following an A-B-C-B-C-D-C-D-E-etc. pattern. These two films do without applying an aesthetic opposite in terms of structure, and as a result, they are comparatively documentary in character.\nThe dialogue with Modernism, which Kren had an important share in shaping, can be tracked down in most of his 49 films. Not even Dadaist realism is missing in 18/68 Venecia kaputt, in 27/71 Auf der Pfaueninsel, in 29/73 Ready-made, in his expanded movies. But let's move on to Kren's latest film, thirty years after he started.\nIn 1995 Kurt Kren turned the centenary of the cinema into a commemorative year. The office \"hundertjahrekino\" commissioned him to make a trailer which he gave the title tausendjahrekino.*2* For several weeks, Kren filmed tourists in the square in front of St. Stephen's in Vienna while they were taking pictures of the cathedral or recording it on video. He used frequencies of 2, 4 and 8 frames per second and touched the limits of his lens: maximum focal length (66 mm) and minimum distance (1.2 meters). The takes are usually two to four frames long, they do not follow any fixed rule. The soundtrack is a brief sequence from Peter Lorre's movie Der Verlorene (FRG 1951) in which a drunkard recognizes a killer protected by the Nazis, accosts him and repeats over and over again: \"We've met before, I don't know where, but we've met before. . . \" \"When the end of the film draws near, the same voice is heard again over the din of an air alert: 'Everybody down to the heroes' shelter, everybody die a hero. . . '. Kren associates the anniversary of cinematography with the Third Reich, which was to last a thousand years. 'One Hundred Years of Cinema' also means images ruling for one hundred years, images which have lost there referentiality and come to dominate reality. The question is whether the tourists will actually 'have come to know' St. Stephen's Cathedral. When the voice on the sound track sends everybody down to the heroes' shelter, Kren pans up St. Stephen's, his camera shaking. At the end of the film he seems to seek the lost reality of the cathedral, but it has been bombed by the images.\"*3* The technical-formal givens mentioned above arouse curiosity beyond such an interpretation. Tourists taking pictures of cathedrals and similarly large structures may inevitably move the onlooker to ask: \"How do you get such a big building into such a small thing?\" The trivial technical reply would be: infinity focusing and the longest focal length possible - a wide-angle lens. As regards the focal length of the cameras used, Kren positions himself on the opposite end of the scale from the tourists. But that is not the only point. Instead of seeking clarity by keeping his distance (infinity focusing), thus concerning himself with mimesis, he gets as close to reality as his lens allows him to. The low frequency of frames he works with stipulate long exposure times: in combination with a hand-held camera and telelens, this leads to rather blurred images. Again, we have arrived at the figure of handwriting on the way to Kandinsky's \"Great Abstraction,\" and again, Kren wants to visualize the other side of the appearances.\nWhat about the people whose outlines haunt Kren's hazy shots? They all look at the cathedral through their view finders, at the sculptures in the round adorning its facade. These sculptures in the round of human bodies standing freely are precisely the objects via which perceptual reality began to enter the realm of art in the late Middle Ages. These sculptures were the first formulations of a program that was ultimately to be implemented by the Renaissance, and its visual echo is still refracted by every camera lens of this world. In tausendjahrekino, we witness a meeting with the \"Lucy\" of the photo, film and video generation: these Gothic fossils are to photographic mimesis what the first mother of humankind is to anthropologists. The only difference is that the participants in this family reunion on St. Stephen's Square are not aware of the fact that they are related. \"We've met before, I don't know where, but we've met before... \"For Kren, this is tausendjahremimesis, and no end to it.\n*1* For a detailed analysis of his first, pre-serial film 1/57 Versuch mit synthetischem Ton cf Tscherkassky, Peter: Die rekonstruierte Kinematographie. In: Horwath, A./Ponger, L./Schlemmer, G. (eds.): Avantgardefilm. Osterreich 1950 bis heute, Vienna 1995, p. 41-44.\n*2* Kren has been making films to order for some time: 44/84 foot' age shoot'- out was the first commission, three trailers (45/88 Trailer; 46/90 Falter 2; 49/95 tausendjahrekino) and an episode for the compilation Denkwurdigkeiten eines Nervenkranken, part 3, after Ernst Schmidt jr., followed. Moreover, in 1996 Kren will be on screen playing a hard-rocking bishop who is also an expert stripper for the cinema advertising film of the movie magazine \"Meteor\" (directed by Franz Novotny).\n*3* Jutz, Gabriele: Eine Poetik der Zeit. Kurt Kren und der strukturelle Film. In: Scheugl, Hans (ed.): Ex Underground. Kurt Kren seine Filme. Vienna 1996, p. 109.\n\"\"Kurt Kren, Portrat eines experimentellen Filmemachers\". Hans Peter Kochenrath und Birgit Hein Saarlandischer Rundfunk. Sud- West 3. gesendet am 1.7.1978. 45 Min. \"Kurt Kren - One frame at the time\". Paul Yeager und Ralph McKay. KUHT8 (Channel 8). Houston, gesendet am 25.4.1988. 30 Min. \"Keine Donau - Kurt Kren und seine Filme\". Hans Scheugl. ORF (Kunststucke). gesendet am 2.12.1988 und am 20.9.1991. 45 Min.\nPreise/Awards\n\"\"17/68 Grun-rot\" 1. Preis bei Maraisiade \"Junger hlm 68\". Wien. (oder \" Invasion of the Jurysnatchers \") \"31/75 Asyl\" (Selection) Film as Art 1979, New York Wurdigungspreis fur Filmkunst 1986, Wien 1989 Z-Preis fur Kunst-hlm, Adolf Scharf Fonds zur Forderung von Wissenschah und Kunst, Wien 1989 Forderungsstipendium, Anni und Heinrich Sussmann Stiftung, Wien 1991\nAN ACTIONIST BEGINS TO SING: An Interview With Otto Mühl, September 4, 2002\n(Bright Lights Film Journal)","bio_dates":"1929-1998"},{"slug":"kriwet_ferdinand_apollovision_1969","ok":true,"partial":false,"title":"Apollovision","artist":"Ferdinand Kriwet","year":"1969","startOffset":0,"sourceSecs":1314.773,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":211165372,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kriwet_ferdinand_apollovision_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kriwet_ferdinand_apollovision_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kriwet_ferdinand_apollovision_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kriwet_ferdinand_apollovision_1969/main.mp4?v=2","description":"Director: Ferdinand Kriwet<br/> Year: 1969<br/> Time: 13 mins<br/><br/>An attempt to fuse together the media sources Kriwet encountered on a trip to the US during the hubbub surrounding the Appollo 11 mission to the moon. Grainy television footage is cut and pasted together, paired with a soundtrack of radio broadcasts, sometimes allowed to flow, at other times cut down to single repeated words and looped announcements, to mesmeric effect. <br><br> Kriwet does not limit himself to sounds and images of the Apollo 11 mission, though, also homing in on the advertising slogans of broadcast sponsors (including, neatly enough, Brillo, a brand immortalised by Andy Warhol some five years earlier), allows the relentlessly American Superman through his filter and overlays recorded images with boldface single-word inter-titles, flashed up for just a split second: GAS, LSD, LAW, ORDER, VIET, and so on. The repeated compère's introduction of Richard Nixon, Spiro Agnew and the Apollo astronauts to some celebratory function sees Kriwet complete a complex picture of the moon landing as glorious scientific adventure, all-American hero worship, and advertising-laden capitalist propaganda victory. <br/><br/> During the 1960s and 70s Ferdinand Kriwet made art works for broadcast, publication and performance alongside writing Concrete poetry. Apollovision also exists as a book and an audio piece documenting the Apollo 11 spaceflight in 1969. Kriwet, who was in US at the time of the launch, filmed the story via its channels of dissemination in the American media, referring to the piece as a \"bild-ton-collage\" or \"sound-picture-collage.\"</br></br>","artist_bio":"Ferdinand Kriwet is a multimedia artist and poet who has produced many seminal films and sound works for radio and television, in particular throughout the 1960s and 1970s. Kriwet created the work\nApollovision\nwhilst in America at the time of the Apollo moon launch, his aim being to compose a work derived from all the information he gathered on radio and television about the Apollo 11 launch.\nKriwet is most well know for his sound collages, originally broadcast on German radio. He describes these works as\n'H??rtexts / Radio Texts\n- pieces composed of noise, sound bites and samples, which include\n'Apollo America'\n(1969),\n'Voice of America'\n(1970),\n'Campaign'\n(1973), all snapshots of American media at the beginning of the 1970s and\n'Radioball'\n(1975) and\n'Ball'\n(1974), reflecting soccer sports in Germany in the 1970s. His politically engaged and avant-garde approach was influenced by aesthetic and Conceptual currents in Constructivism, New Music, Beat Generation and Pop.","bio_dates":"b. 1942"},{"slug":"kriznar_nasko_white_people_1970","ok":true,"partial":false,"title":"OHO Group (Nasko Kriznar) - White People","artist":"Jon Krocker","year":"1970","startOffset":0,"sourceSecs":633.92,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":42583138,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kriznar_nasko_white_people_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kriznar_nasko_white_people_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kriznar_nasko_white_people_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kriznar_nasko_white_people_1970/main.mp4?v=2","description":"\"\"Beli Ljudi\" (1970)<br/> A.K.A.: “White People”<br/> Directed by: OHO Group (Nasko Kriznar)<br/> Country: Slovenia<br/> Length: 10 min.<br/> Genre: Video Art, Performance, Short","artist_bio":"The turning point in the activity of the Slovenian OHO group was in the sense that their earlier thinking and creation still formed part of the European conceptualism, i. e. of art: now, however, they gradually left the field of art and were only partly linked with it. They turned to mysticism and transcendental meditation, in which the only functional means of information are telepathy and supersensory perception and energies. This change should not, however, be interpreted as an abandoning of the group's basic principles or the adoption of a private mythology. OHO still operated as a coherent group, but the individual development of each member, his perception of time and space, history and intellect became the source and structure of their conceptualism. The tendency towards the mental and the spiritual, which presupposes a thorough knowledge of the real material world, became the starting point of their activity. Though they did not become religious, their attention was drawn to all the phenomena in the area of spiritual production and its history. Marko Pogacnik, who was looking for a foothold in the intellectual tradition of Europe, found it in Empedocles and the Celts, in the study of the ethical tradition of European art history; Matanovic and Nez added to this and interest in Indian philosophy, Tarot and contemporary experimental music.\nSeen from outside, this looks like a return to themselves: as a group they became composed and silent. Their life together and their mediations gained in intensity and further developed an indestructible link between them as well as true spiritual work which grew out of friendship and evolved into an emotional, intellectual and experiential whole. The OHO man, as explained by Marko Pogacnik was not an invention — he could be noticed and experienced at their shows in their work and in conversations with the artists themselves.\nInternational group project America – Europe, 1970It all began in the early winter of 1970, when Matanovic and Nez went to New York to prepare the ground for the “Information Show”, a large-scale exhibition of conceptual art. Kynaston McShine had invited them through Taja Vidmar, to the exhibition which was planned for July, and their work throughout the preceding winter and spring was geared to it. While apart, they each recorded their mutual links during the separation in space and time. In the period between the 4th and the 28th February 1970, David Nez and Milenko Matanovic in New York and Andraz Salamun and Marko Pogacnik in Ljubljana simultaneously chose one of the combinations in a square, which had been prepared previously by Marko Pogacnik. In accordance with Milenko Matanovic's idea, all four of them looked toward the sun at the convened moment, dropped a match from a height of 10 cm onto a piece of paper and marked its position.\nThese simple exercises strengthened their mutual links, their awareness of the smallest shift of one towards the others and helped them develop the power of concentration and intuition in their relations, so that they could later communicate with each other regardless of the distance or time that separated them. This communion, which was based on the preceding expansion of individual actions, became their main task. But the plunge into the spiritual sphere of interrelationships, the search for a foothold in the knowledge of one another, suddenly acquired a broader spiritual context, the registration of which are the projects in the Zarica Valley near Kranj. The valley hides a rich and stable spiritual tradition: neolithic settlements, Celtic burial mounds, a Slavonic burial ground, a medieval Gothic church, and, as the last layer of recollection located in this almost sacred area of nature, the OHO projects.\nIn them the artists used sun and light, night and fire, ritual movements, stones and water — all closely connected with the entire spiritual energy. Their theme is spiritual communication with the past, the cosmos, the rhythm of nature, the beats of their own hearts and thoughts. At that time they also conceived their night projects of linking the sky and the earth, which, even if recorded only in the way that Matanovic's projects have been described here, paved the way for the transcendental level of their existence.\nThe year 1970 brought them success at the “Information Show” in New York and further exhibitions abroad and at home, where they took part at the Fourth Belgrade Triennale. When Walter de Maria came on a short visit in the summer, they produced with him a friendly project; however, they devoted most of their time to joint meditations (in the village of Cezsoca in Trenta) and to life together. It was there that they made the decision which turned out to be the only right solution: as a result of their spiritual experiences they were no longer interested in exhibiting their increasingly intimate and metaphysical concepts and messages but in the everyday realization of these experiences, and this was possible only in nature, in close contact with it, in work and meditation which was taking them away from artistic life. In the spring of 1971 they found an abandoned farm-house at Sempas in the Vipava valley and moved into it. After that, they dispersed. Though only Marko's family stayed at Sempas, the spiritual and emotional community of the OHO group never ceased to exist.\nWhy did the OHO group stop exhibition in 1970, at the time when they earned recognition for the first time, when the way to the European conceptualist scene was open and when they were perhaps on the threshold of their greatest success? Simply because they were honest, because their creativity was always linked with their life, because the identity of conceptualism (in art) and their most personal decisions waere always consistent and complete, because they never belonged to the \"art system\" dictated by the art market and exhibition policies in the late sixties. When they felt the call to turn to a different kind of work, they did it unhesitatingly and immediately.\nExcerpt from Tomaz Brejc, “OHO as an Artistic Phenomenon 1966—1971”, The New Art Practice in Yugoslavia 1966-1978, Gallery of Contemporary Art, Zagreb, 1978","bio_dates":"1969"},{"slug":"krocker_jon_38_jansky_units_1982","ok":true,"partial":false,"title":"38 Jansky Units","artist":"Jon Krocker","year":"1982","startOffset":0,"sourceSecs":212.587,"sourceHeight":448,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":15246880,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/krocker_jon_38_jansky_units_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/krocker_jon_38_jansky_units_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/krocker_jon_38_jansky_units_1982.mp4","hasFrames":true,"description":"This early new wave classic references the unit of luminous flux used by radio astronomers in measuring electromagnetic raìdiation from space, named for Karl Jansky, the first person to detect radio frequency energy from the Milky Way. <br/><br/> After taking the early Winnipeg film scene by storm writing, directing and creating the soundtrack for 38 Jansky Units, Jon Krocker became an engineer for Boeing. Still into strange electronic music, he recently restored a 1966 250 Ducati motorcycle.","artist_bio":"Krocker was a member of The Winnipeg Film Group, an artist-run education, production, exhibition and distribution centre committed to promoting the art of cinema. He took the early Winnipeg film scene by storm writing, directing and creating the soundtrack for \"38 Jansky Units\"","bio_dates":"1982"},{"slug":"kruger_barbara_inviolence1","ok":true,"partial":false,"title":"In Violence","artist":"Barbara Kruger","year":"2011","startOffset":0,"sourceSecs":21.084,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":2384729,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kruger_barbara_inviolence1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kruger_barbara_inviolence1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kruger_barbara_inviolence1.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kruger_barbara_inviolence1/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Barbara Kruger was born on January 26, 1945, in Newark, New Jersey. She spent a year at Syracuse University in 1964 and a semester at Parsons School of Design in New York in 1965, where she studied with Diane Arbus and graphic designer Marvin Israel. In 1966, she took a job with Condé Nast, working in the design department of Mademoiselle. She was named that magazine’s head designer a year later. For the next decade, Kruger supported herself doing graphic design for magazines, book jacket designs, and freelance picture editing. In the late 1960s, she also developed an interest in poetry, attending readings and writing.\nKruger’s earliest artworks date to 1969. Large woven wall hangings of yarn, beads, sequins, feathers, and ribbons, they exemplify the feminist recuperation of craft during this period. Despite her inclusion in the Whitney Biennial in 1973 and solo exhibitions at Artists Space and Fischbach Gallery, both in New York, the following two years, she was dissatisfied with her output and its detachment from her growing social and political concerns. In the fall of 1976, Kruger abandoned art making and moved to Berkeley, California, where she taught at the University of California for four years and steeped herself in the writings of Walter Benjamin and Roland Barthes. She took up photography in 1977, producing a series of black-and-white details of architectural exteriors paired with her own textual ruminations on the lives of those living inside. Published as an artist’s book, Picture/Readings (1979) foreshadows the aesthetic vocabulary Kruger developed in her mature work.\nBy 1979, Kruger stopped taking photographs and began to employ found images in her art, mostly from mid-century American print-media sources, with words collaged directly over them. Untitled (Perfect) (1980) portrays the torso of a woman, hands clasped in prayer, evoking the Virgin Mary, the embodiment of submissive femininity; the word “perfect” is emblazoned along the lower edge of the image. These early collages, in which Kruger deployed techniques she had perfected as a graphic designer, inaugurated the artist’s ongoing political, social, and especially feminist provocations and commentaries on religion, sexuality, racial and gender stereotypes, consumerism, corporate greed, and power.\nDuring the early 1980s, Kruger perfected a signature agitprop style, using cropped, large-scale, black-and-white photographic images juxtaposed with raucous, pithy, and often ironic aphorisms, printed in Futura Bold typeface against black, white, or deep red text bars. The inclusion of personal pronouns in works like Untitled (Your Gaze Hits the Side of My Face) (1981) and Untitled (I Shop Therefore I Am) (1987) implicates viewers by confounding any clear notion of who is speaking. These rigorously composed mature works function successfully on any scale. Their wide distribution—under the artist’s supervision—in the form of umbrellas, tote bags, postcards, mugs, T-shirts, posters, and so on, confuses the boundaries between art and commerce and calls attention to the role of the advertising in public debate.\nIn recent years, Kruger has extended her aesthetic project, creating public installations of her work in galleries, museums, municipal buildings, train stations, and parks, as well as on buses and billboards around the world. Walls, floors, and ceilings are covered with images and texts, which engulf and even assault the viewer. Since the late 1990s, Kruger has incorporated sculpture into her ongoing critique of modern American culture. Justice (1997), in white-painted fiberglass, depicts J. Edgar Hoover and Roy Cohn—two right-wing public figures who hid their homosexuality—in partial drag, kissing one another. In this kitsch send-up of commemorative statuary, Kruger highlights the conspiracy of silence that enabled these two men to accrue social and political power.\nMajor solo exhibitions of Kruger’s work have been organized by the Institute of Contemporary Arts in London (1983), Museum of Contemporary Art in Los Angeles (1999), and Palazzo delle Papesse Centro Arte Contemporanea in Siena (2002). She represented the United States at the Venice Biennale in 1982. Kruger lives and works in New York and Los Angeles.","bio_dates":"b. 1945"},{"slug":"kruger_barbara_youwantit1","ok":true,"partial":false,"title":"Youwantit1","artist":"Barbara Kruger","year":"2011","startOffset":0,"sourceSecs":17.996,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":66496,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kruger_barbara_youwantit1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kruger_barbara_youwantit1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kruger_barbara_youwantit1.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kruger_barbara_youwantit1/main.mp4?v=2","description":"Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice."},{"slug":"krystufek_elke_skin_mail_iphone","ok":true,"partial":false,"title":"Skin Mail","artist":"Elke Krystufek","year":"1998","startOffset":0,"sourceSecs":3965.629,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":231958604,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/krystufek_elke_skin_mail_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/krystufek_elke_skin_mail_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/krystufek_elke_skin_mail_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/krystufek_elke_skin_mail_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/krystufek_elke_skin_mail_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"“Skinmail” est une des représentations puissantes de cet effort constant. La vidéo devient un prolongement de ce corps-interface et produit une succession de rapports in/out, des passages entre différents paysages extérieurs et intérieurs, entre les supports, les sources sonores, les zones de proximités, entre tous les individus désirés ou emblématiques qui peuplent son monde. Ce travail renvoie à la structure du réseau, le corps même de l’artiste devenant une surface sensible d’impression, d’expérimentation, d’exposition. Dans cette hémorragie de signes, d’images, de sensations, l’existence de l’artiste absorbe chaque élément, dans un flux visuel et sonore ininterrompu, chaque partie étant intégrée dans une architecture de la perception, sans début ni fin. Une façon de vivre, de créer et de penser qui ne connaît plus de limites et qui ne cesse de se risquer dans l’épuisement et la répétition (d’une figure ou d’une séquence entière).","artist_bio":"Elke Silvia Krystufek (born 1970) is an Austrian conceptual artist who lives and works in Berlin and Vienna. She works in a variety of media including: painting, sculpture, video and performance art.","bio_dates":"b. 1970"},{"slug":"krystufek_elke_twister_iphone","ok":true,"partial":false,"title":"Twister","artist":"Elke Krystufek","year":"1999","startOffset":0,"sourceSecs":1102.635,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":70077873,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/krystufek_elke_twister_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/krystufek_elke_twister_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/krystufek_elke_twister_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/krystufek_elke_twister_iphone/main.mp4?v=2","description":"“Twister” emprunte son titre à une chanson des Cranberries et travaille de façon radicale à l’effacement des frontières entre le rôle, l’image de l’artiste et sa vie privée. Elke Krystufek dégage de ce dernier segment une sorte d’énergie dévastatrice, un mouvement de tornade qui aspire et pulvérise les temporalités et les territoires. C’est le propre de la libido de hanter l’histoire et la géographie, de dessiner des cartes du monde. C’est le propre de ce travail de hanter ses propres fondements et de creuser d’autres lignes, à même la peau.","artist_bio":"Elke Silvia Krystufek (born 1970) is an Austrian conceptual artist who lives and works in Berlin and Vienna. She works in a variety of media including: painting, sculpture, video and performance art.","bio_dates":"b. 1970"},{"slug":"kubelka_1955_77","ok":true,"partial":false,"title":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause!","artist":"Peter Kubelka","year":"1955-1977","startOffset":0,"sourceSecs":2944.708,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":501131409,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kubelka_1955_77/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kubelka_1955_77/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kubelka_1955_77.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kubelka_1955_77/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kubelka_1955_77/main/master.m3u8?v=2","hasMainHls":true,"description":"Peter Kubelka (b. 1934) is a multifaceted artist and theoretician who has worked in the art forms of film, cuisine, music, architecture, speaking and writing. Since the beginning of the fifties he has been a leading exponent of the international avante garde film and has had screenings in all the European countries as well as in the USA and Japan. <br/><br/> In 1964 Kubelka co-founded the Austrian Film Museum and has been its curator ever since. <br/><br/> Kubelka has been involved in creating avante garde film collections, a music ensemble and has taught at various universities in the USA and Europe. In addition, he has been a professor in film at the Art Academy in Frankfurt since 1978 where he also served as Rector in the period of 1985-88. As a theoretician he has held numerous lectures and participated in many symposiums among others, “Non-Industrial Film – Non-Industrial Cuisine”. Already in 1967 Kubelka created his first theoretical work in cuisine as an art form and in 1980 his teaching position was expanded to include “Film and Cuisine as Art”. Another of his large projects has been his plan for the ideal cinema – The Invisible Cinema – the first draft of which he finished in 1958. It was created again in 1970 for Anthology Film Archives in New York where he was also a co-founder. It was created once again nineteen years later for the Austrian Film Museum in Vienna. <br/><br/> Kubelkas achievement is that he has taken Soviet montage one step further. While Eisenstein used shots as his basic units and edited them together in a pattern to make meanings, Kubelka has gone back to the individual still frame as the essence of cinema. The fact that a projected film consists of 24 still images per second serves as the basis for his art. <br/><br/> This idea has different materializations in different Kubelka films. In Adebar, only certain shot lengths are used — 13, 26 and 52 frames — and the image material in the film is combined according to certain rules. For instance, there is a consistent alternation between positive and negative. The film’s images are extremely high contrast black-and-white shots of dancing figures; the images are stripped down to their black-and-white essentials so that they can be used in an almost terrifyingly precise construct of image, motion, and repeated sound. (Fred Camper) <br/><br/> In 1957, Peter Kubelka was hired to make a short commercial for Scwechater beer. The beer company undoubtedly thought they were commissioning a film that would help them sell their beers; Kubelka had other ideas. He shot his film with a camera that did not even have a viewer, simply pointing it in the general direction of the action. He then took many months to edit his footage, while the company fumed and demanded a finished product. Finally he submitted a film, 90 seconds long, that featured extremely rapid cutting (cutting at the limits of most viewers’ perception) between images washed out almost to the point of abstraction — in black-and-white positive and negative and with red tint — of dimly visible people drinking beer and of the froth of beer seen in a fully abstract pattern. This ´commercialª may not have sold any beer in the twenty years since it was made, but I (as someone who hates beer) have woved that if I’m ever in Austria i’ll drink some Swechater, in tribute to what i consider one of the most intense, most pure, and most perfect minutes of cinema anyone has ever achieved. <br/><br/> Kubelka’s most recent film before Pause! is Unsere Afrikareise, whose images are relatively conventional ´recordsª of a hunting-trip in Africa. The shooting records multiple ´systemsª — white hunters, natives, animals, natural objects, buildings — in a manner that preserves the individuality of each. At the same time, the editing of sound and image brings these systems into comparison and collision, producing a complex of multiple meanings, statements, ironies… <br/><br/> I know of no other cinema like this. The ultimate precision, even fixity, that Kubelka’s films achieve frees them to become objects that have some of the complexity of nature itself — but they are films of a nature refined and defined, remade into a series of relationships. Those rare and miraculous moments in nature when the sun’s rays align themselves precisely with the edge of a rock or the space between two buildings, or when a pattern on sand or in clouds suddenly seems to take on some other aspect, animal or human, are parallelled in single events of a Kubelka film. The whole film is forged out of so many such precisions with an ecstatic compression possible only in cinema. -- Fred Camper Unsere Afrikareise (1966, 13min) Pause! (1977) His triumph is really quadruple. First triumph: Pause! is an ecstatic work. Second triumph: With the perfection and intensity of his work he dissolved the audience’s swollen-up expectations which had grown out of normal proportions during the ten years of waiting. He enabled us to receive his new work in its newborn nakedness. Third triumph: His dissolving of Arnulf Rainer. Arnulf Rainer himself is an artist of unique originality and intensity. His face art, which constitutes the source of imagery in Pause!, is a chapter of modern art itself. I have a particular aversion to film-makers who use other artists and their art as materials of their films. These films never transcend their sources. During the first few images of Pause! I had an existential fear. Kubelka had to consume and to transcend not only Arnulf Rainer but also — and this constitutes his fourth triumph — to transcend the entire genre of contemporary art known as face art. A few more images, and my heart regained itself and jumped into excitement: Both Rainer and Art disintegrated and became molecules, frames of movements and expressions, material at the disposal of the Muse of Cinema. I am not saying this to diminish the person and art of Arnulf Rainer: His own greatness cannot be dissolved, in his art. But here we speak about the art of Peter Kubelka, and in a wokr of art, as in the heavens so on earth, there is only one God and Creator. (Jonas Mekas)","artist_bio":"Mosaik im Vertrauen / Adebar / Schwechater / Arnulf Rainer / Unsere Afrikareise / Pause! (1955 – 1977)\nPeter Kubelka (born March 23rd, 1934 in Vienna, Austria) is an experimental filmmaker, architect, musician, curator and lecturer. For the most part, his films are shorts experiments linking contrasting sound and images. His most well-known work is his avant-garde piece from 1966, ‘Unsere Afrikareise’ (Our Trip to Africa).\nKubelka made mostly 16mm short films, also known as ‘flicker films’. The term came from having the black and clear film alternate, thus creating a ‘flicker’ effect. In the 1970s, he designed the Anthology Film Archive film screening space, located in New York. In this fully painted black space, each seat was covered with black velvet and there was a barrier between the seats in order for the audience members to be completely isolated from one another. The only source of light came from the spotlight aimed at the screen. This design encapsulated the purist, untarnished aesthetic of the Avant-Garde film movement.\nKubelka received the Austrian Decoration for Science and Art in 2005.","bio_dates":"b. 1934"},{"slug":"kubota_installations_01_title_01_converted","ok":true,"partial":false,"title":"Video Installations 1970-1994","artist":"Shigeko Kubota","year":"1994","startOffset":0,"sourceSecs":1191.558,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":207964292,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kubota_installations_01_title_01_converted/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kubota_installations_01_title_01_converted/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kubota_installations_01_title_01_converted.mp4","hasFrames":true,"description":"Over the past several decades, Shigeko Kubota has produced a significant body of video installation work. Kubota's sculptural installations include works that recast the iconography and theories of Marcel Duchamp, and those that focus on landscape and nature. In each work, her signature electronic image processing plays a central role. Kubota's conceptual and visual inventiveness and art historical wit are evident in such works as Duchampiana: Nude Descending a Staircase (1976), in which video monitors in the configuration of a wooden staircase show the synthesized image of a descending woman, or Bicycle Wheel (1983), in which a miniature video monitor revolves on the eponymous wheel. Works such as Niagara Falls (1985) are breathtaking celebrations of natural landscape, poetically transformed by technology. This comprehensive historical overview of Kubota's installation work is a lucid visual document. In addition to the above-mentioned works, this compilation includes such major pieces as Duchampiana: Chess (1968-75), Duchampiana: Duchamp's Grave (1972-75), Meta-Marcel: Window Snow (1976), Three Mountains(1976-79), River(1981), Video Haiku Hanging Piece(1981) Meta- Marcel: Window Stars (1982), Meta-Marcel: Window Flowers (1983), Video Relief (1983), Green Installation (1983), Window in Window (1983), Rock Video: Cherry Blossom(1986), and Dry Mountain, Dry Water(1987-88). Camera: Bob Harris, Ann Eugenia Volkes. Editors: Paul Garrin, Shigeko Kubota. Slide Photography: Peter Moore."},{"slug":"kubota_shigeko_my_father_1973","ok":true,"partial":false,"title":"My Father","artist":"Shigeko Kubota","year":"1973","startOffset":0,"sourceSecs":934.433,"sourceHeight":486,"sourceWidth":648,"hasAudio":true,"hasAmbientMp4":true,"bytes":154867759,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kubota_shigeko_my_father_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kubota_shigeko_my_father_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kubota_shigeko_my_father_1973.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kubota_shigeko_my_father_1973/main.mp4?v=2","description":"Shigeko Kubota was one of the first artists living in New York City with access to the Sony Portapak, a portable video camera released in 1967. A Japanese sculptor, video artist, and performance artist associated with the Fluxus movement, her practice was closely tied to her personal experience as a woman as well as to her commitment to the avant-garde. She sometimes collaborated with her husband, Nam June Paik, himself another video pioneer. My Father is an example of Kubota’s exploration of the video diary form, wherein she memorializes her dad and confronts her own grief and regret. <br/><br/> \"Father, why did you die?\" With this deeply intimate statement of grief, Kubota mourns the death of her father. Video and television are central to her ritual of mourning, and allow her father to assume a presence after death. Kubota and her father, who was dying of cancer in Japan, are seen watching television together on New Year's Eve. The suffering of father and daughter is rendered even more poignant when contrasted with the everyday banality of the pop music and New Year's celebrations on TV. After his death, Kubota weeps alone in front of a video monitor. Awash with tears and personal pain, My Father is a cathartic exorcism of grief, with video serving as witness and memory.","artist_bio":"Charles Atlas, Shigeko Kobuta & Nam June Paik - Merce by Merce by Paik (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nAfter receiving a bachelor's degree in sculpture from Tokyo University, Shigeko Kubota moved to the United States where she studied at New York University and the New School for Social Research in the mid 60s. Kubota encountered video through her involvement with the New York-based Fluxus Movement, which included Nam June Paik, Allison Knowles, Allan Kaprow, and George Maciunas. In 1972, she produced the first of her video diaries (Europe on 1/2 Inch a Day), while also exploring the image processing equipment at WNET's TV Lab (Video Girls and Video Songs for Navajo Skies, 1973). The fusion of spontaneous autobiography and electronic processing characterized her subsequent work which ranged in focus from everyday events to meditations on the work of Marcel Duchamp. Kubota's work was included in the Women's Video Festival in 1972 and 1976.\n\"\"I want to create a fusion of art and life, Asia and America, Duchampiana and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the nomadic Asians who crossed over the Bering Strait over 10,000 years ago. Then, I came, flying in a Boeing 707, on July 4th in 1964, drawn to the glittering Pop Art world of New York.\"","bio_dates":"1937-2015"},{"slug":"kucera_jan_burleska_1932","ok":true,"partial":false,"title":"Burleska","artist":"Jan Kučera","year":"1932","startOffset":0,"sourceSecs":324.522,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":18520980,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kucera_jan_burleska_1932/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kucera_jan_burleska_1932/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kucera_jan_burleska_1932.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kucera_jan_burleska_1932/main.mp4?v=2","description":"Directed by J. Kučera<br/> Cinematography by K. Kopřiva, Silent<br/> <br/> Kučera's only film. This man was and still remains important for his writing about TV and film theory, especially cutting. He was a teacher at FAMU and published some acclaimed theoretical work.","bio_dates":"b. 1928"},{"slug":"kucia_jerzy_parada_1986","ok":true,"partial":false,"title":"Parada","artist":"Jerzy Kucia","year":"1986","startOffset":0,"sourceSecs":856.96,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":146966500,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kucia_jerzy_parada_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kucia_jerzy_parada_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kucia_jerzy_parada_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kucia_jerzy_parada_1986/main.mp4?v=2","description":"scenariusz: Jerzy Kucia, Ewa Gołogórska<br/> produced in: 1986<br/> running time: 14’<br/> cinematography: Marek Wylon, Andrzej Jeziorek<br/> production: Studio Filmów Animowanych w Krakowie<br/> music: Józef Rychlik<br/> <br/> A delirium of Polish animation, somewhere between the flux of light and the play of shadows, grains, and the subtleties of motion. <br/><br/> Harvest evokes the time that has passed as well as reflections and memories. The sequence of events has been replaced in this film by the sequence of memories.","artist_bio":"Scriptwriter, artistic director, animated film director, artist, producer and university teacher. He was born on 14 January in Sołtysy near Wieluń. He earned his degree from the Painting and Graphic Arts Department of Krakow Academy of Fine Arts (1967). He was a student of the same Animated Film Studio that he began to run in 1981. Jerzy Kucia has taught at a number of film schools including those in Vancouver, London and Mumbai. He is also a graphic artist. Since 1970 he has been associated with the Animated Film Studio and in 1992 he started to produce his own films. Professor Kucia co-organizes and runs the International Animated Film Workshops in Krakow. In 1994 - 1997 he was the Vice-president of Association Internationale du Film d’Animation (ASIFA). Jerzy Kucia has won many awards, which include the First Prize of the Wiosna Opolska Festival (1970), the Award of the City of Krakow (1982), the First Degree Award of the Minister of Culture and Arts in Animation (1985), Krakow’s Governor Award for artistic achievement in animation and educational activity (1993), MTV Bronze Award (1994), the Prize of the Holland Animation Film Festival in Utrecht (1996), the Award of the City of Krakow for achievement in culture promotion (1996), the Special Golden Dinosaur for the ability to combine artistic and pedagogical activity awarded at the Etiuda International Film Festival in Krakow (2003) and numerous festival prizes.","bio_dates":"b. 1942"},{"slug":"kurenniemi_erkki_carnaby_street","ok":true,"partial":false,"title":"Carnaby Street","artist":"Erkki Kurenniemi","year":"1968","startOffset":0,"sourceSecs":247,"sourceHeight":572,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":45036203,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_carnaby_street/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_carnaby_street/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kurenniemi_erkki_carnaby_street.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kurenniemi_erkki_carnaby_street/main.mp4?v=2","description":"Kinotar, Kiasma / 2003<br/> 180 mins, Subtitles: English, Dialogue: Finnish/Swedish/English<br/> <br/> Mika Taanila’s film about the Finnish electronic music visionary Erkki Kurenniemi, The Future Is Not What It Used To Be, was screened as part of the opening events for the 50th Venice Biennale on June 13, 2003. After the screening there was a special tribute concert, featuring Pan sonic, Carl Michael von Hauswolff and Erkki Kurenniemi himself. This DVD contains the documentary, plus Kurenniemi’s various short films and animations and concert footage from the early 70s. Also includes a booklet with an essay by Erkki Huhtamo, full track credits with complete background information plus archive photographs.","artist_bio":"Steve Kurtz is a professor of art at the SUNY Buffalo, former professor of art history at Carnegie Mellon University and a founding member of the performance art group, Critical Art Ensemble. He is known for his work in BioArt, and Electronic Civil Disobedience, and because of his arrest by the FBI in May 2004. His work often deals with social criticism.","bio_dates":"b. 1941"},{"slug":"kurenniemi_erkki_computer_music","ok":true,"partial":false,"title":"Computer Music","artist":"Erkki Kurenniemi","year":"1966","startOffset":0,"sourceSecs":389,"sourceHeight":572,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":60275005,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_computer_music/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_computer_music/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kurenniemi_erkki_computer_music.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kurenniemi_erkki_computer_music/main.mp4?v=2","description":"Computer Music 1966 <br/> Directed by Erkki Kurenniemi<br/> <br/> The film stars two computers: Elliott 803 (in the Department of Nuclear Physics, the University of Helsinki) and IBM 1130 (in the computer centre at the University of Turku). At times, the coexistence of man and machine provokes suffocating frustration. This is only the starting point for something more subtle: the art created with computers.","artist_bio":"Steve Kurtz is a professor of art at the SUNY Buffalo, former professor of art history at Carnegie Mellon University and a founding member of the performance art group, Critical Art Ensemble. He is known for his work in BioArt, and Electronic Civil Disobedience, and because of his arrest by the FBI in May 2004. His work often deals with social criticism.","bio_dates":"b. 1941"},{"slug":"kurenniemi_erkki_electronics_in_the_world_of_tomorrow_1968","ok":true,"partial":false,"title":"Electronics in the World of Tomorrow","artist":"Erkki Kurenniemi","year":"1964","startOffset":0,"sourceSecs":294.917,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":53170449,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_electronics_in_the_world_of_tomorrow_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_electronics_in_the_world_of_tomorrow_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kurenniemi_erkki_electronics_in_the_world_of_tomorrow_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kurenniemi_erkki_electronics_in_the_world_of_tomorrow_1968/main.mp4?v=2","description":"4:56, colour & B/W <br/><br/> Erkki Kurenniemi was arguably one of the first artists to propose or fantasise about a complete cultural surrender to cyber existence, and his entire career, covering such diverse fields as artificial intelligence, music, engineering, film, dance or rhetorics, testifies to this desire to escape the limits of the human body and transgress into a different dimension, bordering on techno-fetishism. In his 1964 short Electronics in the World of Tomorrow, Kurenniemi presents a slideshow of the most aseptic signs of technological imagination: diagrams, chips, machines, cold surfaces. But footage of human warmth also comes up - mostly in black and white, as if to give humans the status of a memory. Originally silent, the film was in this version endowed with a electronic music piece by Kurenneimi himself: a cold, aggressive soundtrack that could be said to present technology as a potentially menacing affair, although this is a reading that the director would certainly refute.","artist_bio":"Steve Kurtz is a professor of art at the SUNY Buffalo, former professor of art history at Carnegie Mellon University and a founding member of the performance art group, Critical Art Ensemble. He is known for his work in BioArt, and Electronic Civil Disobedience, and because of his arrest by the FBI in May 2004. His work often deals with social criticism.","bio_dates":"b. 1941"},{"slug":"kurenniemi_erkki_flora_and_fauna","ok":true,"partial":false,"title":"Fora & Fauna","artist":"Erkki Kurenniemi","year":"1965","startOffset":0,"sourceSecs":359,"sourceHeight":572,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":64299536,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_flora_and_fauna/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_flora_and_fauna/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kurenniemi_erkki_flora_and_fauna.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kurenniemi_erkki_flora_and_fauna/main.mp4?v=2","description":"Flora & Fauna embraces the dark charms of nature. Rich, colourful close-ups of flowers, leaves, ants, spiders, and inchworms blend into the silent mystique of water and woods. Kurenniemi’s original 16 mm film were all silent, but in 2003 Mika Taanila and Kurenniemi added for this version the recorded composition Death, 2nd Version (1973). <br/><br/> An incorrigible techno buff, Kurenniemi would occasionally also get ‘good vibes’ from nature mysticism. In the fantastically colourful Flora & Fauna, close-ups of inchworms and spiders merge in double and triple exposures with shimmering water and darkness of a dense conifer forest. <br/><br/> Originally, Erkki Kurenniemi made this experimental film without sound but much later he added his own electronic music to it.","artist_bio":"Steve Kurtz is a professor of art at the SUNY Buffalo, former professor of art history at Carnegie Mellon University and a founding member of the performance art group, Critical Art Ensemble. He is known for his work in BioArt, and Electronic Civil Disobedience, and because of his arrest by the FBI in May 2004. His work often deals with social criticism.","bio_dates":"b. 1941"},{"slug":"kurenniemi_erkki_florence_1970","ok":true,"partial":false,"title":"Florence","artist":"Erkki Kurenniemi","year":"1970","startOffset":0,"sourceSecs":554.52,"sourceHeight":572,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":97779467,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_florence_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_florence_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kurenniemi_erkki_florence_1970.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kurenniemi_erkki_florence_1970/main.mp4?v=2","description":"Florence 1970 ‘Firenze’ <br/> Directed by Erkki Kurenniemi <br/><br/> One of several experimental films shot in the late ’60s and early ’70s by the recently deceased computer music pioneer Erkki Kurenniemi, Florence is a dazzling, abstract travelogue shot between Italy, Switzerland, and the artist’s home in Finland.","artist_bio":"Steve Kurtz is a professor of art at the SUNY Buffalo, former professor of art history at Carnegie Mellon University and a founding member of the performance art group, Critical Art Ensemble. He is known for his work in BioArt, and Electronic Civil Disobedience, and because of his arrest by the FBI in May 2004. His work often deals with social criticism.","bio_dates":"b. 1941"},{"slug":"kurenniemi_erkki_the_punched_tape_of_life","ok":true,"partial":false,"title":"The Punched Tape of Life","artist":"Erkki Kurenniemi","year":"1964","startOffset":0,"sourceSecs":483,"sourceHeight":572,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":76649637,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_the_punched_tape_of_life/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurenniemi_erkki_the_punched_tape_of_life/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kurenniemi_erkki_the_punched_tape_of_life.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kurenniemi_erkki_the_punched_tape_of_life/main.mp4?v=2","description":"In this satirical film, Kurenniemi explores the possibilities of a symbiosis between man and machine with contemporaneous knowledge. The computer is a 'giant brain' - a future-building companion we can hate and mock at the same time. The soundtrack consists of the collaborative tape piece Bells (1969).","artist_bio":"Steve Kurtz is a professor of art at the SUNY Buffalo, former professor of art history at Carnegie Mellon University and a founding member of the performance art group, Critical Art Ensemble. He is known for his work in BioArt, and Electronic Civil Disobedience, and because of his arrest by the FBI in May 2004. His work often deals with social criticism.","bio_dates":"b. 1941"},{"slug":"kurtz_steve_aarhuslecture_2007","ok":true,"partial":false,"title":"Aarhuslecture","artist":"Erkki Kurenniemi","year":"2007","startOffset":0,"sourceSecs":3235.2,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":546218605,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurtz_steve_aarhuslecture_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kurtz_steve_aarhuslecture_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kurtz_steve_aarhuslecture_2007.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kurtz_steve_aarhuslecture_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kurtz_steve_aarhuslecture_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"Steve Kurtz is a member of Critical Art Ensemble. They are primarily known for their work on bio politics. This is a one hour talk Steve did at a Digital Art Festival in Aarhus, on crime and political aspects in art.\n\nStrange Culture by Lynn Hershman Leeson, which is a 75min. documentary, will be posted here somewhat soon since Lynn has agreed to let me distribute it via this site, karagarga and several other bittorrent trackers.\n\nThe surreal nightmare of internationally-acclaimed artist and professor Steve Kurtz began when his wife Hope died in her sleep of heart failure. Police who responded to Kurtz’s 911 call deemed Kurtz’s art suspicious and called the FBI. Within hours the artist was detained as a suspected \"bioterrorist\" as dozens of federal agents in Hazmat suits sifted through his work and impounded his computers, manuscripts, books, his cat, and even his wife’s body. Today Kurtz and his long-time collaborator Dr. Robert Ferrell, Professor of Genetics at the University of Pittsburgh Graduate School of Public Health, await a trial date."},{"slug":"kusama_infinity_2018_720p_web_dl_h264_ac3_deep","ok":true,"partial":false,"title":"Kusama: Infinity","artist":"Yayoi Kusama","year":"2018","startOffset":0,"sourceSecs":4596.672,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":263670181,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kusama_infinity_2018_720p_web_dl_h264_ac3_deep/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kusama_infinity_2018_720p_web_dl_h264_ac3_deep/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kusama_infinity_2018_720p_web_dl_h264_ac3_deep.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kusama_infinity_2018_720p_web_dl_h264_ac3_deep/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kusama_infinity_2018_720p_web_dl_h264_ac3_deep/main/master.m3u8?v=2","hasMainHls":true,"description":"Artist Yayoi Kusama and experts discuss her life and work, from her modest beginnings in Japan to becoming an internationally renowned artist.<br/><br/> Roger Ebert wrote:<br/><br/> “I come up with new ideas,” Yayoi Kusama says early in “Kusama - Infinity,” “and my canvas cannot keep up with me.” That’s one thing that director Heather Lenz’s documentary makes perfectly clear. Most of the film’s interviews—and as there’s no narrator, there are lots of interviews—include perhaps a brief clip of the person speaking, and then it’s back to the main event. That would be the art. It’s a fitting focus, as Kusama has, it would seem, always been about the art as well; throughout Lenz’s film, the camera spends most of its time slowly panning her creations, or photos of her in the process of creating them, and there was almost endless creation. As a study of an artist who, in the film’s telling, was nearly always ahead of the curve, it’s a surprisingly traditional approach. But Lenz’s frank, admiring approach adds a sense of clarity that gives the film an undeniable potency. Here is what she made, it says; is it not wondrous? Here is the hand she was dealt, it says; is it not unjust?<br/><br/> The approach is perhaps a little tame for an artist whose creations are so spiked with wildness, but it’s effective, all the same. After all, those creations are the purest pleasure of “Kusama - Infinity,” which follows the rise of a woman who, after years of work, innovation, and struggle both personal and professional, became one of the world’s most popular and celebrated living artists. The film uses those lingering gazes to take viewers right up to her vast canvases, overwhelming sculptures, and sparkling, seemingly endless “Infinity Rooms.” We see her brushstrokes, the places paint has thinned or globbed. We see the tiny little wobbles in the line that appears as she pulls a far marker across her canvas. We see the glint of one mirror ball before we see the effect of them all lined up together, wobbling on the ground as the mind behind them attempts to disrupt a system not built for her.<br/><br/> If the film does nothing more than introduce unfamiliar viewers to her body of work, it will have been a worthwhile endeavor. But Wenz, and co-writer Keita Ideno, take a similar approach to Kusama’s biography. In some ways, the narrative of the film is somewhat less satisfying—more on that below—but the respectful frankness suits in particular one aspect of her life story, and that’s the way both the art world and the world in general did, at best, a disservice to a groundbreaking talent. On three separate occasions, we see something Kusama creates, some innovation quietly but enthusiastically received by those who see it, often artists. Then one of those artists takes that innovation and makes it his (it’s always his) own, and roses rain down. There’s no sense of heightened drama at work. We’re shown, for example, one of Kusama’s overflowing sculptures, in this case a boat, positioned on a floor and amidst walls covered with pictures of that boat. It’s jarring, enveloping, plain old cool. Andy Warhol agreed, and in the film’s telling, told her so. Soon that exact approach would be used in one of his widely covered, heralded exhibitions.<br/><br/> It’s a pattern that repeats, and each time, there’s a just-the-facts- approach that suits the telling. It’s not about accusations, or stolen glory. It is what happened to this woman, over and over again. We see her work, we’re told about their connection, we see his work, and we get the timeline. They become legends. She toils endlessly for a foothold. Were she a white man, the film effectively demonstrates, it would almost certainly not have been this way.<br/><br/> Still, the tone and energy of “Kusama - Infinity” are far from bleak. Despite the artist’s lifelong struggle with mental illness, addressed from what you might call a generous distance, it’s an openly energetic story, capturing the independence, invention, playfulness, and unabashed desire to provoke of its subject. When combined with the art, and with composer Allyson Newman’s infectious, playful score, it becomes joyful and affectionate. Those being interviewed help reinforce the tone. Even those discussing some of the darker chapters of Kusama’s life seem alight with satisfaction at her success; one speaks admiringly of her ability to “manage madness,” adding, “She’s used her trauma to enormously productive ends.”<br/><br/> And that’s where Lenz’s work comes up just a bit short. Within minutes, moments really, most viewers, even those previously unfamiliar with Kusama’s work, will have accepted the argument that she’s a creative giant whose work is well worthy of this kind of film. But also within moments, we’re introduced to corners of the artists’ life where darkness lives, and it’s made clear, in Kusama’s own words, that the darkness is not just an important facet of her life, but an inextricable element of the art as well, if not its primary drive. I personally, to an extent, appreciate the restraint Lenz and Ideno show—a story about a person with mental illness that doesn’t salivate over trauma and drama is a rare and welcome thing. But Kusama tells us about a life-altering, traumatizing experience in a field of flowers—something formative and shattering—and we’re never brought closer. She tells us about throwing herself out a window, surviving only because she landed on a bicycle, and we learn little about how this affected her, how her her art changed, if it changed, if she changed. We see the blobs on the canvas, but only fleetingly the shaking of the hand that guides the brush.<br/><br/> Yayoi Kusama began life with parents who didn’t value her art, in a country that didn’t value it for many decades; she entered a world that loved her ideas, especially when they came from someone else, and reviled her for having a knack for publicity that earned her male contemporaries huzzahs. She makes, to put it plainly, weird, evocative stuff that’s much more affecting and challenging than the odd glimpse of the selfie-friendly “Infinity Boxes” might lead one to believe. There’s something oddly comforting about such a person serving as the subject for a documentary this respectful, and traditional. It’s the treatment you get when you’re one of the greats. It allows viewers to see her art the way she has always seen the polka dots that dominate her work: “When I see them, my eyes get brighter, and I am always moved.”","artist_bio":"Yayoi Kusama, b. March 22, 1929 in Matsumoto, Nagano Prefecture) is a Japanese artist whose paintings, collages, soft sculptures, performance art and environmental installations all share an obsession with repetition, pattern, and accumulation. (She herself has describes herself as an \"obsessive artist.\")\nKusama's work is based in Conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design.","bio_dates":"b. 1929"},{"slug":"kusama_yayoi_2008_i_love_me_iphone","ok":true,"partial":false,"title":"Near equal Yayoi Kusama AKA Yayoi Kusama: I love me","artist":"Yayoi Kusama","year":"2008","startOffset":0,"sourceSecs":6137.112,"sourceHeight":320,"sourceWidth":436,"hasAudio":true,"hasAmbientMp4":true,"bytes":349258480,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kusama_yayoi_2008_i_love_me_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kusama_yayoi_2008_i_love_me_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kusama_yayoi_2008_i_love_me_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kusama_yayoi_2008_i_love_me_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kusama_yayoi_2008_i_love_me_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Takako Matsumoto - Near equal Yayoi Kusama AKA Yayoi Kusama: I love me (2008) <br/><br/> (...) Yayoi Kusama: I Love Me digs beneath the artist's eclectic appearance and manner to reveal a complex person striving to fulfill her creative impulses while fighting the effects of mental illness and aging. Yayoi Kusama, who is in her mid-to-late 70s, left Japan in the 1950s to create visual and performance art in New York City. Upon returning to Japan, she carved out a niche with a style readily identified by the use of polka dots. These works ignited international interest in the artist. More recently, she has worked on detailed black and white illustrations (...) - Rodney Perkins","artist_bio":"Yayoi Kusama, b. March 22, 1929 in Matsumoto, Nagano Prefecture) is a Japanese artist whose paintings, collages, soft sculptures, performance art and environmental installations all share an obsession with repetition, pattern, and accumulation. (She herself has describes herself as an \"obsessive artist.\")\nKusama's work is based in Conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design.","bio_dates":"b. 1929"},{"slug":"kusama_yayoi_yalkut_jud_kusamas_self_obliteration_1967","ok":true,"partial":false,"title":"Kusama's Self-Obliteration","artist":"Yayoi Kusama","year":"1967","startOffset":0,"sourceSecs":1410.709,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":88427101,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kusama_yayoi_yalkut_jud_kusamas_self_obliteration_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/kusama_yayoi_yalkut_jud_kusamas_self_obliteration_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/kusama_yayoi_yalkut_jud_kusamas_self_obliteration_1967.mp4","hasFrames":true,"description":"Only the film Kusama's <i>Self-Obliteration</i> can today still give an idea of the energy and radicality with which Yayoi Kusama provoked the New York art world of the late 1960s with her performances.The film documents the legendary 'nude happenings' of these years, and has been shown at numerous international film festivals and awarded several prizes.","artist_bio":"Yayoi Kusama, b. March 22, 1929 in Matsumoto, Nagano Prefecture) is a Japanese artist whose paintings, collages, soft sculptures, performance art and environmental installations all share an obsession with repetition, pattern, and accumulation. (She herself has describes herself as an \"obsessive artist.\")\nKusama's work is based in Conceptual art and shows some attributes of feminism, minimalism, surrealism, Art Brut, pop art, and abstract expressionism, and is infused with autobiographical, psychological, and sexual content. Kusama is also a published novelist and poet, and has created notable work in film and fashion design.","bio_dates":"b. 1929"},{"slug":"l_a_in_my_mind_2006","ok":true,"partial":false,"title":"L.A. in my mind...","artist":"O. Funmilayo Makarah","year":"2006","startOffset":0,"sourceSecs":260.461,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":44542679,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/l_a_in_my_mind_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/l_a_in_my_mind_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/l_a_in_my_mind_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/l_a_in_my_mind_2006/main.mp4?v=2"},{"slug":"l_air_du_large_1995","ok":true,"partial":false,"title":"L’air du Large","artist":"Goran Trbuljak","year":"1995","startOffset":0,"sourceSecs":275.32,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":39952511,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/l_air_du_large_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/l_air_du_large_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/l_air_du_large_1995.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/l_air_du_large_1995/main.mp4?v=2"},{"slug":"l_atelier_national_du_manitoba_death_by_popcorn_2006","ok":true,"partial":false,"title":"The Tragedy of the Winnipeg Jets","artist":"L'Atelier National du Manitoba","year":"2006","startOffset":0,"sourceSecs":3627.243,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":616407768,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/l_atelier_national_du_manitoba_death_by_popcorn_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/l_atelier_national_du_manitoba_death_by_popcorn_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/l_atelier_national_du_manitoba_death_by_popcorn_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/l_atelier_national_du_manitoba_death_by_popcorn_2006/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/l_atelier_national_du_manitoba_death_by_popcorn_2006/main/master.m3u8?v=2","hasMainHls":true,"description":"\"Winnipeg is not a city, it is a form of irony\" - Matthew Rankin, L'Aterlier National du Manitoba<br/> <br/> Using degraded scraps of de-accessioned Winnipeg television found in BFI bins and rubbish heaps, the filmmakers of the Atelier National du Manitoba have pieced together a surreal and ridiculous alternative history of the Winnipeg Jets.  Combining depraved lo-fi video depictions of on-ice Jet humiliation with found footage of Quebec politics, Billy Van, Wayne Gretzky and porn, this experimental collage creates a provocative and satiric portrait of Winnipeg identity.  Banned in its native Manitoba, \"Death by Popcorn\" has nonetheless become a cult hit throughout the art-house hockey circuit.<br/> <br/> The Atelier National du Manitoba contends that the ironic epic of the Winnipeg Jets seems to mirror the mysterious trajectory of Winnipeg history itself.  Both tell a story about people whose triumph was short-lived, whose defeat was monumental, whose drama was played out upon a cruel bed of ice, and who, at the end of their lives, moved to far away Phoenix Arizona.","artist_bio":"L'Atelier national du Manitoba is a filmmaking and art collective based in Winnipeg, Canada. Founded in February 2005, the club's artistic output often focuses on the history, culture and ephemera of Winnipeg and Manitoba, in general. In collaboration, and individually under the l'Atelier rubric, the group's members have created an array of short and feature-length films, videos, posters, art projects, curatorial showcases and essays.","bio_dates":"2006"},{"slug":"la_ribot_distinguida_luc_peter","ok":true,"partial":false,"title":"La Ribot Distinguida","artist":"La Ribot","year":"1963","startOffset":0,"sourceSecs":3790.61,"sourceHeight":360,"sourceWidth":448,"hasAudio":true,"hasAmbientMp4":true,"bytes":27258313,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/la_ribot_distinguida_luc_peter/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/la_ribot_distinguida_luc_peter/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/la_ribot_distinguida_luc_peter.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/la_ribot_distinguida_luc_peter/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/la_ribot_distinguida_luc_peter/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Luc Peter <br/><br/> For the past 10 years, the flame haired artist La Ribot has toured the world with performances that straddle the world of dance, visual arts and performance. La Ribot's humorous and provocative performances make use of the body's endless expressive possibilities -- political, neutral, minimalist, simple, complex, sexual. In between performances at the Tate Modern in London, La Ribot talks candidly about her working methods and of her passion for dance and art. Peter's film captures La Ribot's highly individualistic personality and is an intimate portrait of one of the most vibrant and important artists of recent years. <br/><br/> Piezas Distinguidas shown:<br/> 01 Oh! Compositione No. 22, 1997<br/> 02 Outsized Baggage, No. 28, 2000<br/> 03 Another Bloody Mary, No. 27, 2000<br/> 04 Capricho Mio, No. 8, 1994<br/> 05 Manuel de uso, No. 20, 1997<br/> 06 No. 14, No. 14, 1996<br/> 07 !Ya me gusteria a mi ser pez!, No. 6, 1993<br/> 08 de la Mancha, No. 31, 2000<br/> 09 Eufemia, No. 5, 1993<br/> 10 Zurrutada, No. 32, 2000<br/> 11 No. 26, No. 26, 1997<br/> 12 Chair 2000, No. 29, 2000<br/> 13 Narcisa, No. 16, 1996<br/> Luc Peter<br/> <br/> Born in 1963. 1986 Degree in Political Science from University of Geneva. 1989 Research into communication during political campaigns, University of Geneva. 1994 Diploma in directing from DAVI (Département d'Audiovisuel de l'École Cantonale d'Art de Lausanne, Bussigny). 1991-98 Assistant director for various films, artistic director at the UNHCR visitor centre in Geneva, producer of a video installation at the Galeries Lafayettes and cameraman for German Swiss Broadcasting Service (SF DRS). 1995 Founded the Belle Journée association for producing and directing his own films. Since 2001 associated with Intermezzo Films SA.","artist_bio":"La Ribot, performer, dancer, choreographer and visual artist, develops her first choreographic Works in Madrid in the 80’s. Together with Blanca Calvo she founds in 1986 « Bocanada Danza », one of the first independent contemporary dance companies in Spain. Her work is internationally acclaimed since the early 90’s, when La Ribot starts to produce the Distinguished Pieces – short solos presented in series. Solitary and long, this project brings her since 1993 to work on several media and to question the place of dance and of the dancer in the cultural and economic context of the arts. Put on sale and purchased by art collectors, the Distinguished Pieces, ephemeral Works of art, will be presented in 2003 under the title of Panoramix – a meta-performance which combines the 34 solos produced until than – at the Tate Modern in London, at the Museo Reina Sofia in Madrid and at the Centre Pompidou in Paris among others.\nEstablished in London between 1997 and 2004, La Ribot consolidates her relationship with the visual arts and becomes a figurehead of Live Art. From England she organizes in Madrid “Desviaciones” (1997-2001), a festival which brings together most of the personalities that will influence the contemporary dance over the following years. She creates her first video Works like pa amb tomaquet (2000), Travelling (2003) or Despliegue (2001) which today is part of public collections (ARTIUM – Vitoria, MUSAC – Léon, Spain and FRAC Lorraine – Metz, France).\nIn 2004 La Ribot settles in Switzerland where she is invited to teach at the HEAD – Haute Ecole d’Art et de Design in Geneva. In collaboration with her colleagues she founds a new Department for the live arts – Art/Action – to which she dedicates until 2008. In parallel La Ribot continues her choreographic work and multiplies the projects and collaborations within her company. Several productions emerge of which 40 espontaneos (2004) a piece for 40 extras, Laughing Hole (2006) a 6 hours performance for 3 performers and one musician, Gustavia (2008) a duet signed and performed with Mathilde Monnier or llamame mariachi (2009).\nShe makes a series of single sequence shot videos and develops the idea of the body as camera operator – corps opératuer. In these Works the choreographer develops a system of points of view and deconstructs the perception of space and time going beyond the documentary relationship that film usually maintains with dance. Treintaycuatropiècesdistinguées&onestriptease (2007) and Mariachi 17 (2009) are the most recent examples of these series started at the beginning of 2000.\nIn the recent years, La Ribot diversifies her Work and creates Walk the Chair (2010), installation of 50 pyrographed chairs presented at the “Move: Choreographing you. Art and Dance since 1960’s” exhibition at the Hayward Gallery in London. In 2011 she makes a new series of distinguished pieces, PARAdistinguidas, and breaks the initial protocol by multiplying the solos in a choral piece for 5 performers and 20 extras. In 2012 she produces a piece for the Ballet de Lorraine in Nancy: EEEXEEECUUUUTIOOOOONS!!!\nLa Ribot presented her work in various theatres and numerous museums, passing from Théâtre de la Ville and Festival d’Automne in Paris, from Queen Elizabeth Hall in London and from Festival Montpellier Danse to Art Unlimited / Art Basel in Switzerland, Museo Serralves in Porto, S.M.A.K. in Gent, Nam Jun Paik Art Centre in Seoul, Aichi Triennale in Japan, Galeria Soledad Lorenzo in Madrid or to the Haus der Kunst in Munich. In 2012 MUAC – Museum of Contemporary Art in Mexico inaugurated a new exhibition space dedicated to Live Art by presenting a significant exhibition on La Ribot.","bio_dates":"b. 1963"},{"slug":"labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000","ok":true,"partial":false,"title":"Un Siècle d'Écrivains: Antonin Artaud","artist":"Antonin Artaud","year":"2000","startOffset":0,"sourceSecs":2757.568,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":465394145,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000/main/master.m3u8?v=2","hasMainHls":true,"description":"In French. No English subtitles. <br/><br/> Labarthe, André. Antonin Artaud (1896-1948). CNC, 2000. 47 min. Images de la culture Résumé : En janvier 1947 sur la scène du Vieux-Colombier, Artaud donne l'ultime représentation de son \"Théâtre de la cruauté\" : une scandaleuse et mémorable conférence où, pour s'incarner, il se déchire devant un public médusé. Un portrait non chronologique et structuré, plutôt que par sa vision du théâtre ou sa critique hallucinée de la société occidentale, par des motifs qui traversent tous les écrits d'Artaud : angoisse, impossibilité d'être au monde, incapacité à \"atteindre\" ses pensées. <br/><br/> André S. Labarthe (born 18 December 1931) is a French actor, film producer and director. He starred alongside Anna Karina in the 1962 film <i>Vivre sa vie</i>.","artist_bio":"Considered among the most influential figures in the evolution of modern drama theory, Antonin Artaud associated himself with Surrealist writers, artists, and experimental theater groups in Paris during the 1920s. When political differences resulted in his break from the Surrealists, he founded the Theatre Alfred Jarry with Roger Vitrac and Robert Aron. Together they hoped to create a forum for works that would radically change French theater. Artaud, especially, expressed disdain for Western theater of the day, panning the ordered plot and scripted language his contemporaries typically employed to convey ideas, and he recorded his ideas in such works as Le Theatre de la cruaute and The Theater and Its Double.\nMost critics believe that Artaud's most noted contribution to drama theory is his \"theater of cruelty,\" an intense theatrical experience that combined elaborate props, magic tricks, special lighting, primitive gestures and articulations, and themes of rape, torture, and murder to shock the audience into confronting the base elements of life. Les Cenci, Artaud's play about a man who rapes his own daughter and is then murdered by men the girl hires to eliminate him, typifies Artaud's theater of cruelty. Les Cenci was produced in Paris in 1935 but was closed after seventeen dismal performances. Another example of Artaud's work is The Fountain of Blood, a farce about the creation of the world and its destruction by humans, especially women. Like many of Artaud's other plays, scenarios, and prose, Les Cenci and The Fountain of Blood were designed to challenge conventional, civilized values and bring out the natural, barbaric instincts Artaud felt lurked beneath the refined, human facade. Of The Fountain of Blood, Albert Bermel wrote in Artaud's Theater of Cruelty: \"All in all, The Fountain of Blood is a tragic, repulsive, impassioned farce, a marvelous wellspring for speculation, and a unique contribution to the history of the drama.\"\nAlthough Artaud's theater of cruelty was not widely embraced, his ideas have been the subject of many essays on modern theater, and many writers continue to study Artaud's concepts. Author George E. Wellwarth, for example, in Drama Survey, explained the theater of cruelty as \"the impersonal, mindless—and therefore implacable—cruelty to which all men are subject. The universe with its violent natural forces was cruel in Artaud's eyes, and this cruelty, he felt, was the one single most important fact of which man must be aware. . . . Artaud's theater must be ecstatic. It must crush and hypnotize the onlooker's sense.\" Another description of the theater of cruelty was offered by Wallace Fowlie in an essay published in Sewanee Review. Fowlie wrote: \"A dramatic presentation should be an act of initiation during which the spectator will be awed and even terrified. . . . During that experience of terror or frenzy . . . the spectator will be in a position to understand a new set of truths, superhuman in quality.\"\nArtaud's creative abilities were developed, in part, as a means of therapy during the artist's many hospitalizations for mental illness. While being treated in a hospital by Edouard Toulouse, Artaud was encouraged to express himself in poetry, which Toulouse later published in the journal Demain. Artaud's life and his work, despite the efforts of psychotherapy, reflected his mental afflictions and were further complicated by his dependence on narcotics. At times he expressed faith in God; other times he denounced the Church and deified himself. He was also obsessed with the human body; he loathed the idea of sex and expressed a desire to separate himself from his sexual self.\nIn Antonin Artaud: Man of Vision, author Bettina L. Knapp wrote of the theorist's mental illness: \"Artaud was unable to adapt to life; he could not relate to others; he was not even certain of his own identity.\" Knapp commented that \"Artaud was in essence constructing an entire metaphysical system around his sickness, or, if you will, entering the realm of the mystic via his own disease. The focal point of his universe was himself and everything radiated from him outward.\" Referring to Artaud's The Umbilicus of Limbo, Knapp indicated Artaud \"intended to 'derange man,' to take people on a journey 'where they would never have consented to go.'\" She further explained, \"Since Artaud's ideas concerning the dramatic arts were born from his sickness, he looked upon the theater as a curative agent; a means whereby the individual could come to the theater to be dissected, split and cut open first, and then healed.\" Knapp also offered an explanation of Artaud's popularity long after his death: \"In his time, he was a man alienated from his society, divided within himself, a victim of inner and outer forces beyond his control. . . . The tidal force of his imagination and the urgency of his therapeutic quest were disregarded and cast aside as the ravings of a madman. . . . Modern man can respond to Artaud now because they share so many psychological similarities and affinities.\"\nSimilar words were issued in a Horizon essay by Sanche de Gramont, who wrote of Artaud: \"If he was mad, he welcomed his madness. . . . To him the rational world was deficient; he welcomed the hallucinations that abolished reason and gave meaning to his alienation. He purposely placed himself outside the limits in which sanity and madness can be opposed, and gave himself up to a private world of magic and irrational visions.\"\nArtaud spent nine of his last eleven years confined in mental facilities but continued to write, producing some of his finest poetry during the final three years of his life, according to biographer Susan Sontag. \"Not until the great outburst of writing in the period between 1945 and 1948 . . . did Artaud, by then indifferent to the idea of poetry as a closed lyric statement, find a long-breathed voice that was adequate to the range of his imaginative needs—a voice that was free of established forms and open-ended, like the poetry of [Ezra] Pound.\" However, Sontag, other biographers, and reviewers agree that Artaud's primary influence was on the theater. According to Sontag, Artaud \"has had an impact so profound that the course of all recent serious theater in Western Europe and the Americas can be said to divide into two periods—before Artaud and after Artaud.\"","bio_dates":"1896-1948"},{"slug":"labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000_iphone","ok":true,"partial":false,"title":"Un Siècle d'Écrivains: Antonin Artaud","artist":"Antonin Artaud","year":"2000","startOffset":0,"sourceSecs":2757.592,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":161382335,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/labarthe_andre_un_siecle_d_ecrivains_antonin_artaud_2000_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"In French. No English subtitles. <br/><br/> Labarthe, André. Antonin Artaud (1896-1948). CNC, 2000. 47 min. Images de la culture Résumé : En janvier 1947 sur la scène du Vieux-Colombier, Artaud donne l'ultime représentation de son \"Théâtre de la cruauté\" : une scandaleuse et mémorable conférence où, pour s'incarner, il se déchire devant un public médusé. Un portrait non chronologique et structuré, plutôt que par sa vision du théâtre ou sa critique hallucinée de la société occidentale, par des motifs qui traversent tous les écrits d'Artaud : angoisse, impossibilité d'être au monde, incapacité à \"atteindre\" ses pensées. <br/><br/> André S. Labarthe (born 18 December 1931) is a French actor, film producer and director. He starred alongside Anna Karina in the 1962 film <i>Vivre sa vie</i>.","artist_bio":"Considered among the most influential figures in the evolution of modern drama theory, Antonin Artaud associated himself with Surrealist writers, artists, and experimental theater groups in Paris during the 1920s. When political differences resulted in his break from the Surrealists, he founded the Theatre Alfred Jarry with Roger Vitrac and Robert Aron. Together they hoped to create a forum for works that would radically change French theater. Artaud, especially, expressed disdain for Western theater of the day, panning the ordered plot and scripted language his contemporaries typically employed to convey ideas, and he recorded his ideas in such works as Le Theatre de la cruaute and The Theater and Its Double.\nMost critics believe that Artaud's most noted contribution to drama theory is his \"theater of cruelty,\" an intense theatrical experience that combined elaborate props, magic tricks, special lighting, primitive gestures and articulations, and themes of rape, torture, and murder to shock the audience into confronting the base elements of life. Les Cenci, Artaud's play about a man who rapes his own daughter and is then murdered by men the girl hires to eliminate him, typifies Artaud's theater of cruelty. Les Cenci was produced in Paris in 1935 but was closed after seventeen dismal performances. Another example of Artaud's work is The Fountain of Blood, a farce about the creation of the world and its destruction by humans, especially women. Like many of Artaud's other plays, scenarios, and prose, Les Cenci and The Fountain of Blood were designed to challenge conventional, civilized values and bring out the natural, barbaric instincts Artaud felt lurked beneath the refined, human facade. Of The Fountain of Blood, Albert Bermel wrote in Artaud's Theater of Cruelty: \"All in all, The Fountain of Blood is a tragic, repulsive, impassioned farce, a marvelous wellspring for speculation, and a unique contribution to the history of the drama.\"\nAlthough Artaud's theater of cruelty was not widely embraced, his ideas have been the subject of many essays on modern theater, and many writers continue to study Artaud's concepts. Author George E. Wellwarth, for example, in Drama Survey, explained the theater of cruelty as \"the impersonal, mindless—and therefore implacable—cruelty to which all men are subject. The universe with its violent natural forces was cruel in Artaud's eyes, and this cruelty, he felt, was the one single most important fact of which man must be aware. . . . Artaud's theater must be ecstatic. It must crush and hypnotize the onlooker's sense.\" Another description of the theater of cruelty was offered by Wallace Fowlie in an essay published in Sewanee Review. Fowlie wrote: \"A dramatic presentation should be an act of initiation during which the spectator will be awed and even terrified. . . . During that experience of terror or frenzy . . . the spectator will be in a position to understand a new set of truths, superhuman in quality.\"\nArtaud's creative abilities were developed, in part, as a means of therapy during the artist's many hospitalizations for mental illness. While being treated in a hospital by Edouard Toulouse, Artaud was encouraged to express himself in poetry, which Toulouse later published in the journal Demain. Artaud's life and his work, despite the efforts of psychotherapy, reflected his mental afflictions and were further complicated by his dependence on narcotics. At times he expressed faith in God; other times he denounced the Church and deified himself. He was also obsessed with the human body; he loathed the idea of sex and expressed a desire to separate himself from his sexual self.\nIn Antonin Artaud: Man of Vision, author Bettina L. Knapp wrote of the theorist's mental illness: \"Artaud was unable to adapt to life; he could not relate to others; he was not even certain of his own identity.\" Knapp commented that \"Artaud was in essence constructing an entire metaphysical system around his sickness, or, if you will, entering the realm of the mystic via his own disease. The focal point of his universe was himself and everything radiated from him outward.\" Referring to Artaud's The Umbilicus of Limbo, Knapp indicated Artaud \"intended to 'derange man,' to take people on a journey 'where they would never have consented to go.'\" She further explained, \"Since Artaud's ideas concerning the dramatic arts were born from his sickness, he looked upon the theater as a curative agent; a means whereby the individual could come to the theater to be dissected, split and cut open first, and then healed.\" Knapp also offered an explanation of Artaud's popularity long after his death: \"In his time, he was a man alienated from his society, divided within himself, a victim of inner and outer forces beyond his control. . . . The tidal force of his imagination and the urgency of his therapeutic quest were disregarded and cast aside as the ravings of a madman. . . . Modern man can respond to Artaud now because they share so many psychological similarities and affinities.\"\nSimilar words were issued in a Horizon essay by Sanche de Gramont, who wrote of Artaud: \"If he was mad, he welcomed his madness. . . . To him the rational world was deficient; he welcomed the hallucinations that abolished reason and gave meaning to his alienation. He purposely placed himself outside the limits in which sanity and madness can be opposed, and gave himself up to a private world of magic and irrational visions.\"\nArtaud spent nine of his last eleven years confined in mental facilities but continued to write, producing some of his finest poetry during the final three years of his life, according to biographer Susan Sontag. \"Not until the great outburst of writing in the period between 1945 and 1948 . . . did Artaud, by then indifferent to the idea of poetry as a closed lyric statement, find a long-breathed voice that was adequate to the range of his imaginative needs—a voice that was free of established forms and open-ended, like the poetry of [Ezra] Pound.\" However, Sontag, other biographers, and reviewers agree that Artaud's primary influence was on the theater. According to Sontag, Artaud \"has had an impact so profound that the course of all recent serious theater in Western Europe and the Americas can be said to divide into two periods—before Artaud and after Artaud.\"","bio_dates":"1896-1948"},{"slug":"labruce_bruce_super_8_1993_part1_iphone","ok":true,"partial":false,"title":"Super 8 1/2 (1993) Part 1","artist":"Bruce LaBruce","year":"1993","startOffset":0,"sourceSecs":3192.514,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":189093577,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/labruce_bruce_super_8_1993_part1_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/labruce_bruce_super_8_1993_part1_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/labruce_bruce_super_8_1993_part1_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/labruce_bruce_super_8_1993_part1_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/labruce_bruce_super_8_1993_part1_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/labruce_super8-2.html\" rel=\"noopener\" target=\"_blank\">Part 2</a> <br/><br/> LaBruce stars in this vaguely autobiographical look at a triple-X star-director caught in the downward spiral of his career. Remarks Googie, the art-house auteur who's either exploiting LaBruce or launching his comeback, \"He was actually attempting to break down the whole subject-camera relationship... It was as if he was an existentialist trapped in a porno star's body.\" Well, almost. <br/><br/> Just as LaBruce's scrawny, hangover aesthetics challenge the conventions of gay porn's Wonder Bread desire, his newly adroit camera unsettles narrative assumptions. A dense weave of self-reflexive interviews, cynical vignettes, and outrageous cameos by \"Kids In The Hall\" Scott Thompson and drag goddess Vaginal Creme Davis - along with moments stolen almost verbatim from films like Fellini's 8 1/2 and Perry's Play It As It Lays - Super 8 1/2 still manages enough rude sex to keep the whole unruly narrative in your face.","artist_bio":"Bruce LaBruce is a Toronto based filmmaker, writer, director, photographer, and artist. He began his career in the mid eighties making a series of short experimental super 8 films and co-editing a punk fanzine called J.D.s, which begat the queercore movement. He has directed and starred in three feature length movies, \"No Skin Off My Ass\" (1991), \"Super 8 1/2\" (1994), and \"Hustler White\" (1996). More recently he has directed two art/porn features, “Skin Flick” (2000)(hardcore version: “Skin Gang”) and “The Raspberry Reich” (2004)(hardcore version: “The Revolution Is My Boyfriend”), and the independent feature “Otto; or, Up with Dead People” (2008). After premiering at Sundance and Berlin, “The Raspberry Reich” took off on the international film festival circuit, playing at over 150 festivals, including the Istanbul, Guadalajara, and Rio de Janeiro International Film Festivals. He was also honoured with retrospectives at the end of ’05 at the Madrid and Hong Kong Gay and Lesbian Film Festivals. “Otto; or, Up with Dead People” also debuted at Sundance and Berlin and played at over 150 film festivals, culminating in a screening at MoMA in New York City in November of 2008. His new film, L.A. Zombie, starring French star Francois Sagat, premiered in competition at the Locarno International Film Festival in August, 2010. It will have it’s French premier at the L’Etrange Film Festival in Paris and its North American premier at the Toronto International Film Festival in Septemer. 2010. The hardcore version, L.A. Zombie Hardcore, will be released at Halloween, 2010.\nLaBruce has written a premature memoir entitled “The Reluctant Pornographer”, from Gutter Press. The Plug-In Gallery in Winnipeg, Canada published a book on LaBruce’s work, “Ride Queer Ride”, in 1998.\nIn the past several years, LaBruce has written and directed three theatrical productions. “Cheap Blacky” (2007) and “The Bad Breast; or, The Strange Case of Theda Lange” (2009) were both produced at the Hau 2 and featured Susanne Sachsse and Vaginal Davis. “Macho Family Romance” (2009), commissioned by Theater Neumarkt in Zurich, also featured Ms. Sachsse and Ms. Davis.\nLaBruce was a contributing editor and frequent writer and photographer for Index magazine, and he has also been a regular contributor to Eye and Exclaim magazines, Dutch, Vice, the National Post, Nerve.com. and Black Book. He was also formerly a frequent photographer for the US porn mags Honcho and Inches, and has recently contributed to Butt, Kink, Jack, Currency, Kaiserin, and Slurp. As a fashion photographer he has contributed stories to such magazines as Dazed and Confused, Bon, Tank, Tetu, Fake, Attitude, Blend, Tokion, Purple Fashion, and the National Post.\nLaBruce had his first solo show of photographs presented by the Alleged Gallery in New York in December 1999. He has had subsequent solo exhibits of his photographs at the Pitt Gallery in Vancouver, MC MAGMA in Milano, Italy, Bailey Fine Arts Gallery in Toronto, Peres Projects in San Francisco, and at John Connelly Presents in New York. His show “Heterosexuality Is the Opiate of the Masses” opened on July 16th/05 at Peres Projects in Los Angeles. In July/06 he mounted “Polaroid Rage: A Survey of Polaroids, 2000-2006” at Gallery 1313 in Toronto. He has also participated in numerous group shows. In October of 2006 he was the featured artist at the Barcelona International Erotic Festival. His latest solo shows include “Untitled Hardcore Zombie Project”, which opened at Peres Projects in Culver City, LA, on May 23rd, 2009, and “L.A. Zombie: The Movie That Would Not Die”, which premiered at Peres Projects Berlin on January 30th, 2010.\nLaBruce has also made a number of popular music videos in Canada, two of which won him MuchMusic video awards.","bio_dates":"b. 1964"},{"slug":"labruce_bruce_super_8_1993_part2_iphone","ok":true,"partial":false,"title":"Super 8 1/2 (1993) Part 1","artist":"Bruce LaBruce","year":"1993","startOffset":0,"sourceSecs":2474.221,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":149039543,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/labruce_bruce_super_8_1993_part2_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/labruce_bruce_super_8_1993_part2_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/labruce_bruce_super_8_1993_part2_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/labruce_bruce_super_8_1993_part2_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/labruce_bruce_super_8_1993_part2_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/labruce_super8-2.html\" rel=\"noopener\" target=\"_blank\">Part 2</a> <br/><br/> LaBruce stars in this vaguely autobiographical look at a triple-X star-director caught in the downward spiral of his career. Remarks Googie, the art-house auteur who's either exploiting LaBruce or launching his comeback, \"He was actually attempting to break down the whole subject-camera relationship... It was as if he was an existentialist trapped in a porno star's body.\" Well, almost. <br/><br/> Just as LaBruce's scrawny, hangover aesthetics challenge the conventions of gay porn's Wonder Bread desire, his newly adroit camera unsettles narrative assumptions. A dense weave of self-reflexive interviews, cynical vignettes, and outrageous cameos by \"Kids In The Hall\" Scott Thompson and drag goddess Vaginal Creme Davis - along with moments stolen almost verbatim from films like Fellini's 8 1/2 and Perry's Play It As It Lays - Super 8 1/2 still manages enough rude sex to keep the whole unruly narrative in your face.","artist_bio":"Bruce LaBruce is a Toronto based filmmaker, writer, director, photographer, and artist. He began his career in the mid eighties making a series of short experimental super 8 films and co-editing a punk fanzine called J.D.s, which begat the queercore movement. He has directed and starred in three feature length movies, \"No Skin Off My Ass\" (1991), \"Super 8 1/2\" (1994), and \"Hustler White\" (1996). More recently he has directed two art/porn features, “Skin Flick” (2000)(hardcore version: “Skin Gang”) and “The Raspberry Reich” (2004)(hardcore version: “The Revolution Is My Boyfriend”), and the independent feature “Otto; or, Up with Dead People” (2008). After premiering at Sundance and Berlin, “The Raspberry Reich” took off on the international film festival circuit, playing at over 150 festivals, including the Istanbul, Guadalajara, and Rio de Janeiro International Film Festivals. He was also honoured with retrospectives at the end of ’05 at the Madrid and Hong Kong Gay and Lesbian Film Festivals. “Otto; or, Up with Dead People” also debuted at Sundance and Berlin and played at over 150 film festivals, culminating in a screening at MoMA in New York City in November of 2008. His new film, L.A. Zombie, starring French star Francois Sagat, premiered in competition at the Locarno International Film Festival in August, 2010. It will have it’s French premier at the L’Etrange Film Festival in Paris and its North American premier at the Toronto International Film Festival in Septemer. 2010. The hardcore version, L.A. Zombie Hardcore, will be released at Halloween, 2010.\nLaBruce has written a premature memoir entitled “The Reluctant Pornographer”, from Gutter Press. The Plug-In Gallery in Winnipeg, Canada published a book on LaBruce’s work, “Ride Queer Ride”, in 1998.\nIn the past several years, LaBruce has written and directed three theatrical productions. “Cheap Blacky” (2007) and “The Bad Breast; or, The Strange Case of Theda Lange” (2009) were both produced at the Hau 2 and featured Susanne Sachsse and Vaginal Davis. “Macho Family Romance” (2009), commissioned by Theater Neumarkt in Zurich, also featured Ms. Sachsse and Ms. Davis.\nLaBruce was a contributing editor and frequent writer and photographer for Index magazine, and he has also been a regular contributor to Eye and Exclaim magazines, Dutch, Vice, the National Post, Nerve.com. and Black Book. He was also formerly a frequent photographer for the US porn mags Honcho and Inches, and has recently contributed to Butt, Kink, Jack, Currency, Kaiserin, and Slurp. As a fashion photographer he has contributed stories to such magazines as Dazed and Confused, Bon, Tank, Tetu, Fake, Attitude, Blend, Tokion, Purple Fashion, and the National Post.\nLaBruce had his first solo show of photographs presented by the Alleged Gallery in New York in December 1999. He has had subsequent solo exhibits of his photographs at the Pitt Gallery in Vancouver, MC MAGMA in Milano, Italy, Bailey Fine Arts Gallery in Toronto, Peres Projects in San Francisco, and at John Connelly Presents in New York. His show “Heterosexuality Is the Opiate of the Masses” opened on July 16th/05 at Peres Projects in Los Angeles. In July/06 he mounted “Polaroid Rage: A Survey of Polaroids, 2000-2006” at Gallery 1313 in Toronto. He has also participated in numerous group shows. In October of 2006 he was the featured artist at the Barcelona International Erotic Festival. His latest solo shows include “Untitled Hardcore Zombie Project”, which opened at Peres Projects in Culver City, LA, on May 23rd, 2009, and “L.A. Zombie: The Movie That Would Not Die”, which premiered at Peres Projects Berlin on January 30th, 2010.\nLaBruce has also made a number of popular music videos in Canada, two of which won him MuchMusic video awards.","bio_dates":"b. 1964"},{"slug":"lacan_jacques_jacques_lacan_speaks_1971","ok":true,"partial":false,"title":"Jacques Lacan Speaks","artist":"Jacques Lacan","year":"1971","startOffset":0,"sourceSecs":3572.694,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":606947705,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lacan_jacques_jacques_lacan_speaks_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lacan_jacques_jacques_lacan_speaks_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lacan_jacques_jacques_lacan_speaks_1971.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lacan_jacques_jacques_lacan_speaks_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lacan_jacques_jacques_lacan_speaks_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"As JACQUES LACAN SPEAKS, a rare filmed documentary record of a 1971 university speaking appearance, makes clear, Lacan was also a highly controversial figure, with legions of both worshipful adherents and scornful critics. Appearing before a packed lecture hall, Lacan discourses—in his slow, deliberate, often circumlocuitous speaking style—on such subjects as death, language, psychoanalysis, love, alienation, paranoia and life itself. <br/><br/> At one point his talk is disrupted by a young student, who contributes his own Situationist-inspired ridicule of self-styled public intellectuals such as Lacan. Rather than allowing security personnel to remove him, Lacan allows the young man to speak and later attempts to “respond” to his criticisms and to incorporate them into his presentation. <br/><br/> The following morning, Lacan submits to a filmed interview—interspersed with images of the various apartments, consulting rooms and lecture halls he used throughout his career—in which he responds to the filmmaker’s questions about psychoanalysis, discussing how delirium reveals the unconscious, the role of the psychoanalyst, the relationship between doctor and patient, the process of transference, and the close bond between love and hate.","artist_bio":"Jacques Marie Émile Lacan; 13 April 1901 – 9 September 1981) was a French psychoanalyst and psychiatrist who has been called \"the most controversial psycho-analyst since Freud\". Giving yearly seminars in Paris from 1953 to 1981, Lacan influenced many leading French intellectuals in the 1960s and the 1970s, especially those associated with post-structuralism. His ideas had a significant impact on post-structuralism, critical theory, linguistics, 20th-century French philosophy, film theory, and clinical psychoanalysis.","bio_dates":"1901-1981"},{"slug":"lacan_jacquies_conference_a_luniversite_catholique_de_louvain","ok":true,"partial":false,"title":"Conférence à l'Université catholique de Louvain","artist":"Jacques Lacan","year":"1972","startOffset":0,"sourceSecs":3579.681,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":208617551,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lacan_jacquies_conference_a_luniversite_catholique_de_louvain/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lacan_jacquies_conference_a_luniversite_catholique_de_louvain/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lacan_jacquies_conference_a_luniversite_catholique_de_louvain.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lacan_jacquies_conference_a_luniversite_catholique_de_louvain/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lacan_jacquies_conference_a_luniversite_catholique_de_louvain/main/master.m3u8?v=2","hasMainHls":true,"artist_bio":"Jacques Marie Émile Lacan; 13 April 1901 – 9 September 1981) was a French psychoanalyst and psychiatrist who has been called \"the most controversial psycho-analyst since Freud\". Giving yearly seminars in Paris from 1953 to 1981, Lacan influenced many leading French intellectuals in the 1960s and the 1970s, especially those associated with post-structuralism. His ideas had a significant impact on post-structuralism, critical theory, linguistics, 20th-century French philosophy, film theory, and clinical psychoanalysis.","bio_dates":"1901-1981"},{"slug":"lacuesta_isaki_cravan_vs_cravan_2002","ok":true,"partial":false,"title":"Cravan vs. Cravan","artist":"Arthur Cravan","year":"2002","startOffset":0,"sourceSecs":5878.48,"sourceHeight":456,"sourceWidth":712,"hasAudio":true,"hasAmbientMp4":true,"bytes":335908677,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lacuesta_isaki_cravan_vs_cravan_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lacuesta_isaki_cravan_vs_cravan_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lacuesta_isaki_cravan_vs_cravan_2002.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lacuesta_isaki_cravan_vs_cravan_2002/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lacuesta_isaki_cravan_vs_cravan_2002/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Isaki Lacuesta<br/> Language: French/Spanish <br/><br/> In Chris Marker and Yannick Bellon's Remembrance of Things to Come, a thoughtful and illuminating survey of Denis Bellon's photo-reportage between the two world wars, the filmmakers provide a framework for the interpretation of Bellon's artistically rendered, zeitgeist images as prescient, historical documents that, in hindsight, provide an insightful glimpse of the looming, profoundly transformative world events that would unfold at the first half of the twentieth century. However, in this subjective, often arbitrary process of contemporal assignment of the meaning of images, the intersection between logical deduction and extrapolation continues to be amorphous and untenable. In this cognitive processing of \"history as prophesy\", when does documentation end and mythification begin? This ambiguity lies at the core of Isaki Lacuesta's elegantly conceived essay film Cravan vs. Cravan on the enigma of Arthur Cravan - the legendary poet-boxer, Dadaist, writer, critic, eccentric, provocateur, editor of the notorious Left Bank cultural publication Maintenant (whose readership included such notable personalities as Ezra Pound, Maurice Ravel, Jean Cocteau, and Gertrude Stein), and nephew of famed Irish playwright and novelist Oscar Wilde who, in 1918, set alone on a boat off the coast of Mexico bound for Argentina to reunite with his expectant wife, poet Mina Loy, and disappeared.<br/><br/> Born Fabian Avenarius Lloyd in Lausanne, Switzerland, Cravan's early life would be marked, not only by the abandonment of his father soon after his birth, but also by the family's closely guarded silence over a quietly buried scandal involving the family's famous uncle (Wilde's imprisonment under homosexuality charges of gross indecency). Whether in search of a father figure, or simply fascinated by the sensation caused by the taboo circumstances that led to his uncle's downfall and marginalization during the final years of his life, Cravan would become obsessed with the idea of him, even reporting fabricated sightings and conversations in articles that would be carried by such reputable newspapers as The New York Times. But more importantly, this potent combination of celebrity and scandal may also be seen as a catalyst to Cravan's immersion in the avant-garde community of turn-of-the-century Paris, relishing his role as instigator, provocateur, and cultural critic who equally attracted the attention of Dadaists, Surrealists, Impressionists, Fauvists (most notably, his friendship with Kees Van Dongen), and especially the Futurists, whose aesthetic fascination with the speed and strength of mechanization not correlated favorably with the radicalism and bluntness of Cravan's writing, but in some ways, also personified the physical ideals of industrial machinery with his ruggedly handsome, charismatic, intimidating, and complex persona as a pugilist and intellectual.<br/><br/> Moreover, in filming re-enactments and conducting personal interviews from the perspective of Frank Nicotra whose own unusual career trajectory as boxer turned filmmaker and writer (and occasional poet) bears more than a passing resemblance to that of Cravan, Lacuesta illustrates the often colliding interpenetration of documented reality and subjective memory, between creation and fabrication. This permeability of historical record may be seen in the controversial classification of Cravan as a painter, an attribution that, ironically, evolved from Cravan's practice of publishing under an array of pseudonyms, specifically, in his use of the name Edouard Archinard for an article in Maintenant that links him (whether validly or not) to a series of paintings by an obscure, turn of the century artist, Edouard Archinard (a connection that is dismissed by Cravan scholar and editor, María Luisa Borrás). Similarly, this historical distortion may be seen in Cravan's self-created celebrity, a penchant for fictionalization that is perhaps best exemplified by his instigated exhibition match in Barcelona with heavyweight boxing champion, Jack \"Galveston Giant\" Johnson (who, then plagued in America by controversy over his interracial relationships, sought refuge in France shortly after his second marriage), claiming several nebulous and unverifiable titles across Europe (including a purported match with an Olympic champion in Greece) in order to position himself as a valid contender. Sustained in the ring for six rounds only by Johnson himself who had consciously tried to prolong the fight as requested by the event's sponsors, Cravan was easily overpowered by the heavyweight champion, a defeat that would inevitably punctuate Cravan's departure from Europe and migration to New York City, once again turning to his cultivated associations with the European avant-gardists - a community increasingly in self-imposed exile from the Great War - this time, hosted by famed artist Marcel Duchamp (that led to his fateful encounter with Futurist muse and poet, Mina Loy).<br/><br/> Incorporating elements of biographic documentary, historical re-enactment, and essay film, Cravan vs. Cravan, too, invariably serves to reinforce the subject's inexhaustible sense of irreconcilable contradiction and self re-invention, in essence, orchestrating an elaborate semblance of real-life performance art that enabled - and continues to inspire - the very transfiguration of personal memory to public mythology. Concluding with the blurry, disintegrating archived footage of Cravan in the midst of his workout - perhaps for a boxing match - unfolding in slow speed, the degraded image encapsulates not only the elusiveness of Cravan's ephemeral (and often veiled) persona, but also the tenuous, often indefinable bounds that exist between the contextualization of a historical image and its signification.<br><br><b>RELATED RESOURCES</b>: <br> <a href=\"https://ubu.com/sound/cravan.html\" rel=\"noopener\" target=\"_blank\">Arthur Cravan in UbuWeb Sound</a></br>","artist_bio":"Cravan set out to promote himself as an eccentric and an art critic, though his interest was showing off a powerful, striking personal style rather than discussing art. He staged public spectacles and stunts with himself at the centre, once acting on the front of a line of carts where he paraded his skills as a boxer and singer, although he never pursued either of these activities on stage with anyone else. His style of looking for the striking and shocking had some roots in the contemporary cult of the young man of action [athletes, soldiers, flamboyant artists] but strongly prefigured dadaism. From 1911 to 1915 he published a critical magazine, Maintenant! [Now!] which appeared in five issues. It was gathered together and reprinted by Eric Losfeld in 1971 as J’étais Cigare in the dadaist collection Le Désordre. The magazine was designed to cause sensation and in a piece about the 1912 arts salon he criticized a self–portrait by Marie Laurencin, remarks which drove her lover and influential modernist critic Guillaume Apollinaire to fury and a bid for a duel. But his rough vibrant poetry, and provocative, anarchistic lectures and public appearances [often degenerating into drunken brawls] also earned him the admiration of Marcel Duchamp, Francis Picabia, André Breton, and other young artists and intellectuals.\nAfter the First World War began, Cravan left Paris to avoid being drafted into military service. On a stopover in the Canary Islands a boxing match was arranged between Cravan and the reigning world champion Jack Johnson to raise money for Cravan’s passage to the United States. Posters for the match touted Cravan as European champion. Johnson, who didn’t know who the man was, knocked Cravan out solidly and in his autobiography noted that Cravan must have been out of training.\nIn retrospect, the incident has been cited as an archetypal example of the anyone can reinvent himself philosophy found in later artistic movements–Cravan didn’t need to be a professional boxer to lay a claim on being world champion. His personal style involved continuous re — invention of his public persona, and outrageous statements and boasts. His pride in being the nephew of Oscar Wilde even produced hoaxes–documents and poems–Cravan wrote and then signed Oscar Wilde. In 1913 he published an article in his self–edited review Maintenant claiming that his uncle was still alive and had visited him in Paris. The New York Times published the rumor, even though Cravan and Wilde never met.\nAfter arriving in New York in 1914, Craven met the poet Mina Loy in 1917, who considered him the love her life. Together, despite Cravan’s links to Dada, they refused to identify with any movement, fought against war and all notions of conventionality, then moved on to Mexico where they married. When the United States entered the war, as draft — dodgers they planned a trip from Mexico to Argentina and Cravan set out alone on a sailboat they had fixed up in the Mexican town of Salina Cruz. Without enough money for both of them to book passage on the same vessel, Loy took the trip on a regular ship, always hoping Cravan would resurface. Cravan never arrived and it is presumed that he capsized and drowned in a storm raging at sea in the following days.","bio_dates":"1887-1919"},{"slug":"lamas_salome_theatrum_orbis_terrarum","ok":true,"partial":false,"title":"Theatrum Orbis Terrarum","artist":"Salomé Lamas","year":"2013","startOffset":0,"sourceSecs":1580.01,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":682432659,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lamas_salome_theatrum_orbis_terrarum/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lamas_salome_theatrum_orbis_terrarum/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lamas_salome_theatrum_orbis_terrarum.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lamas_salome_theatrum_orbis_terrarum/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lamas_salome_theatrum_orbis_terrarum/main/master.m3u8?v=2","hasMainHls":true,"description":"In civilisations that do not have boats, “dreams dry up, adventure gives way to spying and pirates are replaced by the police.” Theatrum Orbis Terrarum creates a territory where we can imagine another kind of geography, formed of chance and contingency, with sailors on land, and lands adrift.<br/><br/> The “Theatrum Orbis Terrarum” (Theatre of the World) is considered to be the first modern atlas. Written by Abraham Ortelius and originally printed on May 20, 1570, it consisted of a collection of 70 maps. The concept of map as an imaginary and constantly evolving representation of space is at the origin of this extremely singular ‘adventure piece’ by Salomé Lamas, who seems to extend the ambiguously fictional nature of maps to museums and archives, seen as other “theatres” of representation.<br/><br/> Although the filmic spaces Lamas creates are often no man’s lands or terra incognita, there is actually always somebody on this supposedly forbidden territories. Somebody who is not feeling safe, nor comfortable: somebody challenging the situation.<br/><br/> From Encounters with Landscape (3X), to No Man’s Land, from The Tower to the most recent Eldorado XXI, the Portuguese artist clearly states her desire to explore the limits, being those of linear storytelling, chronological perspective, or documentary material itself. Often this challenge includes the artist’s own physical limits, revealing a process which is also at the core of several of Werner Herzog’s works: confronting hostile environments as the necessary conflicted condition for images to appear.<br/><br/> Theatrum Orbis Terrarum is no exception within her body of work, as viewers embark on a daring dialectical journey through the borders that separate sea from land, surface from depth, and define all sort of conventional temporality, while chronologically historicised objects become only elements of a subjective multi-layered storytelling.<br/><br/> Lamas creates an elegantly controlled perceptive confusion, which carries the original DNA of the three channel installation, first presented at the Museu do Chiado (The Portuguese National Museum of Contemporary Art) in 2013.<br/><br/> As viewers, we navigate through a mythological sea, a dark epic ride where the boundaries of knowledge expand, before realising we are caught in a clash of temporalities, floating in the ocean of memories and lost in the pleasure of deep sensorial fascinations. It’s almost unavoidable to fall for the magnetic mystery of the unknown and dive into the realms of research, which by definition implies unprecedented connections, overlapping and collisions. Birds announce the land and a new day. A new territory is conquered, temporarily defined; a new view is expanding our perception of the world. Exploration will write new lines in maps and new histories in memory.<br/><br/> Actress Ana Moreira plays a character with the traits of a lost guide; coming from the fictional universes of Teresa Villaverde (Os Mutantes, Água e Sal, Transe) or Miguel Gomes (Tabu), she seems to suddenly find herself in a environment closer to Jean Rouch’s, speaking the language of Antonioni (“I can't look at the sea for long or I lose interest in what’s happening on land.”) and not really knowing her way around. She seems to be following the map of her memories, which leads to an intimate and mysterious bar, where she is the only customer. Representation and reality dissolve as she fades in the haze and echoes of the memory of a lost love; a memory which, on her own personal map, is located across the ocean, out of reach. Utopia.<br/><br/> Like an anthropological alchemist, Salomé Lamas slowly prepares a smoking and bubbling magic potion, which causes historical vertigo and sensorial excitement at the same time, temporary disorientation and sudden clearness of vision.<br/><br/>(Paolo Moretti – La Roche-sur-Yon International Film Festival) <br><br> Credits <br/><br/> Director: Salomé Lamas<br/> Producer: Joana Gusmão<br/> With the special participation of: Ana Moreira<br/> With: Cavaleiros do Mar, João Fernandes, Dr. Miguel Ramalho, Renato Cortes<br/> Music by: Montanhas Azuis f/João Lobo<br/> Sound mixing: Bruno Moreira<br/> Camera: Telmo Romão, Monica Gomes, Rafael Matos, Salomé Lamas, Gonçalo Soares</br></br>","artist_bio":"Salomé Lamas is one of the most interesting young filmmakers at the moment. She works in cinema as well as in the context of fine arts, sometimes using minimal settings and reduced cinematic procedures, then again switching to an essayistic mode, shifting between documentary and fiction. Multiple layers of meaning pile up next to each other and one above the other. In order to refer to those intentional and coincidental permeations of fact and fiction, Lamas introduced the term “parafiction”. In her practice, this term displays by her playfully handling the concepts of history and individual memory, disclosing seemingly objective narratives’ construction mechanisms and questioning human judgement. Doing so, the films put themselves at the heart of the discourse on truth and reliable narration, a discourse which, interestingly, she leads on a theoretic level in her publications as well.","bio_dates":"b. 1987"},{"slug":"lamelas_david_films_1","ok":true,"partial":false,"title":"Films (1969 - 1972) Part 1","artist":"David Lamelas","year":"1969","startOffset":0,"sourceSecs":1289.003,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":224059611,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lamelas_david_films_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lamelas_david_films_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lamelas_david_films_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lamelas_david_films_1/main.mp4?v=2","description":"<a href=\"https://ubu.com/film/lamelas_films2.html\" rel=\"noopener\" target=\"_blank\">Part 2</a> <br/> <a href=\"https://ubu.com/film/lamelas_films3.html\" rel=\"noopener\" target=\"_blank\">Part 3</a> <br/><br/> 9 films produced between 1969 and 1972 by David Lamelas, (1946 Buenos Aires), a pioneer of 70's conceptual cinema. This major artist introduced the notion of real time information through his piece at the 1968 Venice Biennial entitled \"Office of Information About the Vietnam War\"; whilst the reference film \"A Study of the Relationship Between Inner and Outer Space\" produced at Camden Arts Center London in 1969 explored the organisation of cinematic production within the exhibiton space. <br/><br/> An opportunity to consider the contribution of Lamelas' major body of film and video work, both in relation to contemporary visual culture and as an incisive analysis of the information age. <br/><br/> David Lamelas (1946, Buenos Aires) is a pioneer of 70’s conceptual cinema. <br/><br/> A Study of the Relationships Between Inner and Outer Space, 1969, 16 mm, 19’35’’<br/> Time as Activity, 1969, 16 mm, 12’55’’<br/> Reading of an Extract from « Labyrinths » by J.L.Borges, 1970, 16 mm, 3’52’’<br/> Reading film from « Knots » by R.D.Laing, 1970, 16 mm, 12’09’’<br/> « Interview » with Marguerite Duras, 1970, 16 mm, 5’13’’ (installation)<br/> Gente di Milano, 1970, super 8, 2’25’’ (installation)<br/> Cumulative Script, 1971, 16 mm, 10’22’’ (installation)<br/> To pour milk into a glass, 1972, 16 mm, 7’35’’ (installation)<br/> Film 18 Paris, 1970/2004, video, 9’26’’","artist_bio":"Born in Argentina, David Lamelas, lived in London before he moved to Los Angeles in 1976. Since the 1960s, David Lamelas has been among the most important proponents of a conceptual approach to art. His early structuralist films and media installations, made in the '60s and '70s, display a highly individual treatment of time and space. In his projects, Lamelas deals with the question of the limits of art's temporality, and its potential for creating alternative processes of communication and cognition. Recent solo exhibitions include Museum für Gegenwartskunst, Basel (2008); Wien Secession, Vienna (2006); and Museo Nacional Centro de Arte Reina Sofia, Madrid (2005). He was part of the group exhibition The Quick and the Dead at the Walker Arts Center, Minneapolis (2009).","bio_dates":"b. 1946"},{"slug":"lamelas_david_films_2","ok":true,"partial":false,"title":"Films (1969 - 1972) Part 2","artist":"David Lamelas","year":"1969","startOffset":0,"sourceSecs":1288.533,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":223848394,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lamelas_david_films_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lamelas_david_films_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lamelas_david_films_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lamelas_david_films_2/main.mp4?v=2","description":"<a href=\"https://ubu.com/film/lamelas_films1.html\" rel=\"noopener\" target=\"_blank\">Part 1</a> <br/> <a href=\"https://ubu.com/film/lamelas_films3.html\" rel=\"noopener\" target=\"_blank\">Part 3</a> <br/><br/> 9 films produced between 1969 and 1972 by David Lamelas, (1946 Buenos Aires), a pioneer of 70's conceptual cinema. This major artist introduced the notion of real time information through his piece at the 1968 Venice Biennial entitled \"Office of Information About the Vietnam War\"; whilst the reference film \"A Study of the Relationship Between Inner and Outer Space\" produced at Camden Arts Center London in 1969 explored the organisation of cinematic production within the exhibiton space. <br/><br/> An opportunity to consider the contribution of Lamelas' major body of film and video work, both in relation to contemporary visual culture and as an incisive analysis of the information age. <br/><br/> David Lamelas (1946, Buenos Aires) is a pioneer of 70’s conceptual cinema. <br/><br/> A Study of the Relationships Between Inner and Outer Space, 1969, 16 mm, 19’35’’<br/> Time as Activity, 1969, 16 mm, 12’55’’<br/> Reading of an Extract from « Labyrinths » by J.L.Borges, 1970, 16 mm, 3’52’’<br/> Reading film from « Knots » by R.D.Laing, 1970, 16 mm, 12’09’’<br/> « Interview » with Marguerite Duras, 1970, 16 mm, 5’13’’ (installation)<br/> Gente di Milano, 1970, super 8, 2’25’’ (installation)<br/> Cumulative Script, 1971, 16 mm, 10’22’’ (installation)<br/> To pour milk into a glass, 1972, 16 mm, 7’35’’ (installation)<br/> Film 18 Paris, 1970/2004, video, 9’26’’","artist_bio":"Born in Argentina, David Lamelas, lived in London before he moved to Los Angeles in 1976. Since the 1960s, David Lamelas has been among the most important proponents of a conceptual approach to art. His early structuralist films and media installations, made in the '60s and '70s, display a highly individual treatment of time and space. In his projects, Lamelas deals with the question of the limits of art's temporality, and its potential for creating alternative processes of communication and cognition. Recent solo exhibitions include Museum für Gegenwartskunst, Basel (2008); Wien Secession, Vienna (2006); and Museo Nacional Centro de Arte Reina Sofia, Madrid (2005). He was part of the group exhibition The Quick and the Dead at the Walker Arts Center, Minneapolis (2009).","bio_dates":"b. 1946"},{"slug":"lamelas_david_films_3","ok":true,"partial":false,"title":"Films (1969 - 1972) Part 3","artist":"David Lamelas","year":"1969","startOffset":0,"sourceSecs":1288.32,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":226376602,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lamelas_david_films_3/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lamelas_david_films_3/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lamelas_david_films_3.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lamelas_david_films_3/main.mp4?v=2","description":"<a href=\"https://ubu.com/film/lamelas_films1.html\" rel=\"noopener\" target=\"_blank\">Part 1</a> <br/> <a href=\"https://ubu.com/film/lamelas_films2.html\" rel=\"noopener\" target=\"_blank\">Part 2</a> <br/><br/> 9 films produced between 1969 and 1972 by David Lamelas, (1946 Buenos Aires), a pioneer of 70's conceptual cinema. This major artist introduced the notion of real time information through his piece at the 1968 Venice Biennial entitled \"Office of Information About the Vietnam War\"; whilst the reference film \"A Study of the Relationship Between Inner and Outer Space\" produced at Camden Arts Center London in 1969 explored the organisation of cinematic production within the exhibiton space. <br/><br/> An opportunity to consider the contribution of Lamelas' major body of film and video work, both in relation to contemporary visual culture and as an incisive analysis of the information age. <br/><br/> David Lamelas (1946, Buenos Aires) is a pioneer of 70’s conceptual cinema. <br/><br/> A Study of the Relationships Between Inner and Outer Space, 1969, 16 mm, 19’35’’<br/> Time as Activity, 1969, 16 mm, 12’55’’<br/> Reading of an Extract from « Labyrinths » by J.L.Borges, 1970, 16 mm, 3’52’’<br/> Reading film from « Knots » by R.D.Laing, 1970, 16 mm, 12’09’’<br/> « Interview » with Marguerite Duras, 1970, 16 mm, 5’13’’ (installation)<br/> Gente di Milano, 1970, super 8, 2’25’’ (installation)<br/> Cumulative Script, 1971, 16 mm, 10’22’’ (installation)<br/> To pour milk into a glass, 1972, 16 mm, 7’35’’ (installation)<br/> Film 18 Paris, 1970/2004, video, 9’26’’","artist_bio":"Born in Argentina, David Lamelas, lived in London before he moved to Los Angeles in 1976. Since the 1960s, David Lamelas has been among the most important proponents of a conceptual approach to art. His early structuralist films and media installations, made in the '60s and '70s, display a highly individual treatment of time and space. In his projects, Lamelas deals with the question of the limits of art's temporality, and its potential for creating alternative processes of communication and cognition. Recent solo exhibitions include Museum für Gegenwartskunst, Basel (2008); Wien Secession, Vienna (2006); and Museo Nacional Centro de Arte Reina Sofia, Madrid (2005). He was part of the group exhibition The Quick and the Dead at the Walker Arts Center, Minneapolis (2009).","bio_dates":"b. 1946"},{"slug":"lamorisse_albert_badeh_sabah_postscript_1978","ok":true,"partial":false,"title":"Title Unknown (Postscript to Baadeh Sabah)","artist":"Albert Lamorisse","year":"1978","startOffset":0,"sourceSecs":419.677,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":66625962,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lamorisse_albert_badeh_sabah_postscript_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lamorisse_albert_badeh_sabah_postscript_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lamorisse_albert_badeh_sabah_postscript_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lamorisse_albert_badeh_sabah_postscript_1978/main.mp4?v=2","description":"Shot 1970, completed posthumously 1978, 35mm<br/> <br/> <a href=\"https://ubu.com/film/lamorisse_vent.html\" rel=\"noopener\" target=\"_blank\">Baadeh Sabah / The Lovers' Wind / Vent Des Amoureux [English language]</a> [<a href=\"https://ubu.com/film/lamorisse_vent-farsi.html\" rel=\"noopener\" target=\"_blank\">Farsi Version</a>] <br/><br/> Things not commonly known about Lamorisse: <br/> a) He invented the popular board game Risk <br/> b) In 1970 he was living amongst a community of French ex-pats in Tehran with mystical inclinations <br/><br/> Lamorisse is said to have had constant premonitions about dying over water in the Caspian Sea. Instead, he died in a helicopter crash over the Karaj Dam. The Shah had insisted he shoot additional footage for Baadeh Sabah depicting his ultra-Modernized version Iran: The neon lights of Tehran avenues, the newly constructed Hilton Hotel, his own palaces, various marvels of engineering...the Karaj Dam. Lamorisse had expressed concern about the high-tension wires over the water, but was reassured by the Shah's military pilot that had been assigned to him in place of his original crew member who was no longer available. The helicopter caught in the wires and crashed into the bed of the dam. The film was edited and completed 8 years later by Albert's wife, Claude Lamorisse, and was even nominated for an Oscar for best documentary. This haunting seven minute addendum created from Baadeh Sabah footage is a tribute to her husband's death. Using only the industrial/urban shots that came of the Shah's request, Claude refashioned her husband's film into a hauntingly ominous and unsettling portrait of the his coveted modernizations, ending affectingly with repeated strokes over the Karaj Dam, the site of Lamorisse's death. The film was completed just months before the revolution of 1979. <br/><br/> -- <a href=\"https://ubu.com/sound/bidoun.html\" rel=\"noopener\" target=\"_blank\">Bidoun</a><br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Baadeh Sabah / The Lovers' Wind / Vent Des Amoureux [English Version]\n|\n[Farsi Version]\n(1970/1978)\nAlbert Lamorisse (13 January 1922 - 2 June 1970) was a French award-winning filmmaker, film producer, and writer, who is best known for his award winning short films which he began making in the late 1940s, and also for inventing the famous strategic board game Risk in 1957. He was born in Paris, France.\nHe first came into prominence - just after Bim - for directing and producing White Mane (1953), an award winning short film that tells a fable of how a young boy gentles an untamable wild white stallion in the marshes of Camargue (the Petite Camargue).\nHis best known work is the short film The Red Balloon (1956), which earned him the Palme d'Or Grand Prize at the Cannes Film Festival, and an Oscar for writing the best original screenplay in 1956.\nLamorisse also wrote, directed and produced the well-regarded films Stowaway in the Sky (1960) and Circus Angel, as well as the documentaries Versailles and Paris Jamais Vu. In addition to films, he created the popular strategy board game Risk in 1957.\nLamorisse and his wife had three children: Pascal, a son, and two daughters named Sabine and Fanny. Pascal and Sabine were featured in The Red Balloon. Albert Lamorisse died in a helicopter crash while filming the documentary\nLe Vent des amoureux (The Lovers' Wind)\n, during a helicopter-tour of Iran in 1970. His son and his widow completed the film, based on his production notes, and released the film eight years later, in 1978. It was nominated for a posthumous Oscar for best documentary.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1922-1970"},{"slug":"lampert_andrew_4_okkyung_2004","ok":true,"partial":false,"title":"#4 Okkyung","artist":"Andrew Lampert","year":"2004","startOffset":0,"sourceSecs":158.033,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":26424961,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lampert_andrew_4_okkyung_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lampert_andrew_4_okkyung_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lampert_andrew_4_okkyung_2004.m4v","hasFrames":true,"description":"2004, 3:30, 16mm, silent <br/><br/> As an artist, Andrew Lampert works in film, video and performance. He primarily focuses on live multiple-projector pieces, portraits, short-term installations and private performances. His 3-screen installation/performance VARITIES OF SLOW and OKKYUNG DUET, a film performance with cellist Okkyung Lee, were included in the 2006 Whitney Biennial. GROWTH OPPORTUNITIES, a performance piece originally staged in 2000, was revived last year at the Getty Museum in Los Angeles. His work has been presented at the New York Film Festival, the Lux Centre, The Rotterdam Festival, the Images Festival and at institutions in the US, Mexico, Canada, UK, Holland, France and Russia. <br/><br/> As an Archivist, Lampert works at Anthology Film Archives where he is responsible for the day-to-day maintenance and preservation of the collection. He is currently preserving films by artists including Paul Sharits. Bruce Conner, Harry Smith, Greg Sharits, Marie Menken, Melvin Van Peebles, Robert Breer, Carolee Schneemann and Wallace Berman. As a Programmer, Lampert curates Anthology's regular UNESSENTIAL CINEMA, AUDIO VERITE and PERSONAL ARCHIVE shows, as well as a variety of festivals, series and one-off screenings. Lampert is also Director of Public Opinion Laboratory.","artist_bio":"Andrew Lampert is at the forefront of a new generation of artists engaging with film, video and performance, revisiting and extending the dialogue around an expanded cinema. Lampert pursues the alchemy between artist, art, and audience in a public space, especially that of cinema. Bringing unscripted and chance elements into cinema's veneer of control, and often working with found material, he foregrounds the contingency of film as a medium. Reveling in cinema as a performative environment, Lampert reclaims this space from a mass media culture to emphasize its potential for immediacy and accident—and to make each of his screenings and performances a one-of-a-kind event.\nLampert explores the cinematic experience as content, experimenting with the physical spaces between projector, projectionist, audience and screen, and with the experiences made possible through their convergence. The cinema becomes a site of abstract and magical production in his performances, videos and films, as Lampert investigates the gap between an artwork's private intent and its public reception.\nLampert's media works defy strict categorization as films or videos. His projects are unified in their emphasis on the frame around the edges of narrative—the genres and clichés in which he cloaks on-screen action, the happy accidents during production, and the unexpected events during a screening that shape the audience's response and foreground human activity in the cinematic context.\nLampert was born in St. Louis, Missouri in 1976. His work has been shown at the 2006 Whitney Biennial; The Getty Museum, Los Angeles; Mitchell Algus Gallery, New York; British Film Institute, London; The Kitchen, New York, and Light Industry, Brooklyn, amongst many other venues. Lampert's work has also been featured in a number of international festivals, including the New York Film Festival and the Rotterdam International Film Festival. In addition to his work as an interdisciplinary artist, he is the Film Archivist at Anthology Film Archives in New York.","bio_dates":"b. 1976"},{"slug":"landow_george_film_in_which_there_appear_1965_66","ok":true,"partial":false,"title":"Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles Etc.","artist":"George Landow (aka Owen Land)","year":"1965-1966","startOffset":0,"sourceSecs":367.409,"sourceHeight":272,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":25877831,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/landow_george_film_in_which_there_appear_1965_66/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/landow_george_film_in_which_there_appear_1965_66/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/landow_george_film_in_which_there_appear_1965_66.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/landow_george_film_in_which_there_appear_1965_66/main.mp4?v=2","description":"The «imperfections» of filmmaking, which are normally suppressed, are at the core of a work that uses a brief loop made from a Kodak colour test. «The dirtiest film ever made,» is one of the earliest examples of the film material dictating the film content. It may seem minimal, but keep looking – there's so much going on.","artist_bio":"Film in Which There Appear Edge Lettering, Sprocket Holes, Dirt Particles Etc. (1965-66)\nGeorge Landow (1944 – June 8, 2011[A]), also known as Owen Land, was a painter, writer, photographer, and experimental filmmaker. He has also worked under the pen names Orphan Morphan and Apollo Jize.\nAccording to film historian Mark Webber, Land made some of his first films as a teenager, and his later films, made mostly during the 1960s and 1970s, are some of the first examples of the \"structural film\" movement. Land's films usually involve word play, and have been described by Webber as having humor & wit that separates his films from the \"boring\" world of avant-garde cinema.\nHis work is also known to parody the experimental & \"structural film\" movement, as featured in his 1975 film Wide Angle Saxon. His style of filmmaking is also inspired by Bertolt Brecht, educational films, advertising, and television, and employs devices used by such in his films to destroy any sense of \"reality\", as exhibited in What's Wrong With this Picture 1 and Remedial Reading Comprehension.\nShortly after the release of his film On the Marriage Broker Joke as Cited by Sigmund Freud... (1977), Landow rearranged his name to Owen Land. It is an anagram of \"Landow N.E.\" Land served as the model for Robert Heinlein's character Jubal Harshaw, unbeknownst to Heinlein.\nThe book Two Films By Owen Land (Lux, London) features the complete scripts of Landow/Land's films Wide Angle Saxon and On the Marriage Broker Joke as Cited by Sigmund Freud in Wit and its Relation to the Unconscious or Can the Avant-Garde Artist Be Wholed?, as well as footnotes written by Land interpreting the many references and elements of these two films and a filmography by Mark Webber. Released in May 2011, the book \"Dialogues - a film by Owen Land\" (Paraguay Press, Paris) features the complete script of his last film, as well as two interviews with the artist and essays written by Philippe Pirotte, Julia Strebelow and Chris Sharp.","bio_dates":"1944-2011"},{"slug":"landow_george_remedial_readingprehension_1970_iphone","ok":true,"partial":false,"title":"Remedial Reading Comprehension","artist":"George Landow (aka Owen Land)","year":"1970","startOffset":0,"sourceSecs":289.904,"sourceHeight":320,"sourceWidth":402,"hasAudio":true,"hasAmbientMp4":true,"bytes":16521752,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/landow_george_remedial_readingprehension_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/landow_george_remedial_readingprehension_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/landow_george_remedial_readingprehension_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/landow_george_remedial_readingprehension_1970_iphone/main.mp4?v=2","description":"Landow rejects the dream imagery of the historical trance film for the self-referential present, using macrobiotics, the language of advertising, and a speed-reading test on the definition of hokum. The alienated filmmaker appears, running uphill to distance himself from the lyrical cinema, but remember, \"This is a film about you, not about its maker.\""},{"slug":"lane_abigail_the_inspirator_2000","ok":true,"partial":false,"title":"Inspirator","artist":"Abigail Lane","year":"2000","startOffset":0,"sourceSecs":107.242,"sourceHeight":360,"sourceWidth":542,"hasAudio":true,"hasAmbientMp4":true,"bytes":3200242,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lane_abigail_the_inspirator_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lane_abigail_the_inspirator_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lane_abigail_the_inspirator_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lane_abigail_the_inspirator_2000/main.mp4?v=2","description":"The Inspirator is an installation that incorporates projected video, a mirrored fountain and glitter ball/s. The filmed image is of someone dressed as a panda playing the trumpet in the forest. He bursts from a glittery explosion to play his badly synched performance for a few minutes before turning to retreat into the forest bubble. The footage repeats itself on a continuous loop. The footage is projected into a masked circular frame cut at the top and bottom by the wall's limits and the room is painted dark green outside this projected area. The fountain is filled with running water, the sound of which is amplified through speakers that are built into its sides, adding another layer to the installation's sound. The film's soundtrack was produced specially by Matty Skylab.<br/><br/> Although first shown as a work on its own at Andrehn Shiptjenko gallery, Sweden in 2001, this installation was made to accompany The Figment and The Inspirator as part of Tomorrow's World Yesterday's Fever (mental guests incorporated) at Milton Keynes and then Victoria Miro gallery, London, both in 2001. The Inspirator installation was also produced as part of a solo show in 2003, The Good the Bad and the Beautiful, Distrito 4 gallery in Madrid, Spain. The installation was also part of Dream Extensions curated by Filip Luyckx, at the SMAK Museum in Belgium in 2004<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Abigail Lanein UbuWeb Sound</a>","artist_bio":"Abigail Lane (born 1967, Penzance, Cornwall) is an English artist. Lane was one of the exhibitors in the 1988 Damien Hirst-led Freeze exhibition—a mixed show of art which was significant in the development of the later-to-be YBA scene of art.\nL ane studied at Bristol Polytechnic and Goldsmiths College, University of London.[1] Lane exhibited the Damien Hirst curated Freeze in 1988, with others including Gary Hume RA, Sarah Lucas and Fiona Rae RA.\nHer work is based on late Victorian displays such as séances, circus imagery and magic shows. It has included wallpaper with a repeated design of images of her rear, scratching and scraping noises heard behind a shut door and wax replicas of bodily fragments suspended from the ceiling.\nConsidering Lane's sensibility, Tracey Emin said, \"Abigail could show the contents of her fridge and it would be fantastic.\"\nIn October 2003, with Bob Pain and Brigitte Stepputtis, she launched a design company called \"Showroom Dummies\". Work has included cushions, blankets, uniforms and wall coverings. She asked artists to adapt plastic skulls. Sarah Lucas cast one in concrete; Peter Blake covered one with the endings of books.","bio_dates":"b. 1967"},{"slug":"lang_helmut_something_to_think_about","ok":true,"partial":false,"title":"Something to Think About","artist":"Helmut Lang","year":"2011","startOffset":0,"sourceSecs":55.264,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1965238,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lang_helmut_something_to_think_about/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lang_helmut_something_to_think_about/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lang_helmut_something_to_think_about.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Helmut Lang (born March 10, 1956 in Vienna) is an Austrian artist who lives and works in New York and on Long Island.\nWhen he was five months old Lang's parents divorced and sent him to live with his maternal grandparents in Ramsau am Dachstein in the Austrian Alps. When he was ten his father remarried and brought Lang back to Vienna to live with him and his wife. Lang moved out of his father's house at the age of eighteen, and began to teach himself clothing design. A few years later he opened a made-to-measure shop in Vienna. In 1984 he closed the shop and two years later showed his first runway collection in Paris at Centre Georges Pompidou. In 1997 he moved to New York.\nLang used unconventional materials such as rubber, feathers and metallic fabrics and redefined the silhouette of the 1990s and early 2000s. He broke away from the runway show-as-spectacle in the height of the 1980s opulence and was the first to ever stream his collection online. As one of the most important designers of our times, his work left an undeniable imprint on contemporary culture and his influence continues to reverberate among the fashion community today.\nLang’s seamless relationship with art has included collaborations with artists Jenny Holzer and Louise Bourgeois. His recent works explore abstract sculptural forms and physical arrangements and space beyond the limitations of the human body. Lang had his first solo art exhibition ALLES GLEICH SCHWER at the Kestnergesellschaft in Hanover in 2008.\nLang has published excerpts from his ongoing art projects Long Island Diaries and The Selective Memory Series in a number of publications, such as BUTT Magazine , Fannzine 137 , Visionaire and most recently The Travel Almanac.\nIn 1999, Lang sold a 51% stake in his company to the Prada Group, with Prada running distribution and manufacturing and Lang controlling design and advertising. Afterwards, Prada developed a line of Helmut Lang accessories such as shoes, belts and bags, and opened Helmut Lang stores in Hong Kong and Singapore. In 2005 he retired from fashion.","bio_dates":"b. 1956"},{"slug":"laser_liz_magic_flight_excerpt","ok":true,"partial":false,"title":"Fight (excerpt)","artist":"Liz Magic Laser","year":"2011","startOffset":0,"sourceSecs":64.111,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":4453396,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/laser_liz_magic_flight_excerpt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/laser_liz_magic_flight_excerpt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/laser_liz_magic_flight_excerpt.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Everybody's Work is Equally Important (2011)\nwith\nLaToya Ruby Frazier\nLiz Magic Laser was born in 1981 in New York City, where she lives and works. Her performances and videos intervene in semi-public spaces such as bank vestibules, movie theaters and newsrooms, and have involved collaborations with actors, dancers, surgeons, and motorcycle gang members. She is a graduate of the Whitney Museum Independent Study Program and Columbia University’s MFA program. In 2013 Laser had solo exhibitions at DiverseWorks in Houston, Texas, and at the Westfälische Kunstverein, Münster, Germany, for which she received the Alfried Krupp von Bohlen und Halback Foundation Grant. She was The Armory Show 2013 Commissioned Artist, New York City. Liz Magic Laser is her real name from birth.","bio_dates":"b. 1981"},{"slug":"laser_liz_magic_stand_behind_me_2013","ok":true,"partial":false,"title":"Stand Behind Me","artist":"Liz Magic Laser","year":"2013","startOffset":0,"sourceSecs":605.28,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":97195649,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/laser_liz_magic_stand_behind_me_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/laser_liz_magic_stand_behind_me_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/laser_liz_magic_stand_behind_me_2013.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/laser_liz_magic_stand_behind_me_2013/main.mp4?v=2","description":"Working with dancer Ariel Freedman, Laser isolates and replicates the trained body language of politicians. In a live-feed video produced at the opening reception the audience becomes the backdrop, simulating a media strategy used to demonstrate public support.","artist_bio":"Everybody's Work is Equally Important (2011)\nwith\nLaToya Ruby Frazier\nLiz Magic Laser was born in 1981 in New York City, where she lives and works. Her performances and videos intervene in semi-public spaces such as bank vestibules, movie theaters and newsrooms, and have involved collaborations with actors, dancers, surgeons, and motorcycle gang members. She is a graduate of the Whitney Museum Independent Study Program and Columbia University’s MFA program. In 2013 Laser had solo exhibitions at DiverseWorks in Houston, Texas, and at the Westfälische Kunstverein, Münster, Germany, for which she received the Alfried Krupp von Bohlen und Halback Foundation Grant. She was The Armory Show 2013 Commissioned Artist, New York City. Liz Magic Laser is her real name from birth.","bio_dates":"b. 1981"},{"slug":"laser_liz_magic_the_digital_face","ok":true,"partial":false,"title":"The Digital Face","artist":"Liz Magic Laser","year":"2012","startOffset":0,"sourceSecs":634.5,"sourceHeight":480,"sourceWidth":852,"hasAudio":true,"hasAmbientMp4":true,"bytes":105181793,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/laser_liz_magic_the_digital_face/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/laser_liz_magic_the_digital_face/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/laser_liz_magic_the_digital_face.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/laser_liz_magic_the_digital_face/main.mp4?v=2","description":"The New York-based artist Liz Magic Laser (b. 1981) brought her political performance, The Digital Face, to the McKittrick Hotel on May 5, 2012, as part of “Oh, you mean cellophane and all that crap,” a 12-hour-long fete put on by the Calder Foundation. For a meticulously rehearsed ten minutes, Laser had two professional dancers, Cori Kresge and Alan Good, replicate the gestures from two State of the Union addresses -- President Barack Obama’s 2012 speech and President George H. W. Bush’s 1990 oration (which, by the way, Laser says was the first televised address to employ strategic oratorical gesture).<br/><br/> Dressed in shape-revealing gray spandex body suits, the performers enacted their silent, robotic movements to the amplified sound of a camera shutter snapping one frame a second. Generic yet somehow specific, they channeled the concentrated intensity of factory workers on the production line, operating as if programmed for maximum efficiency. The effect was at turns firm and relaxed, aggressive and defensive. Harmonious and jarring at once, their lithe bodies consigned to the awkward machinations of political rhetoric, their dance was hypnotic -- propaganda without a message.<br/><br/> After making a splash in “Greater New York” at MoMA PS1 in 2010, Laser was the hit of Performa ‘11 with a theatrical performance that dispersed her actors throughout the audience at the SVA Theater on West 23rd Street, where they re-mixed and re-enacted political speeches, memos and other texts as melodrama -- a show that was filmed and recently exhibited at Derek Eller Gallery on West 27th Street in Manhattan.<br/><br/> This McKittrick Hotel event -- a bit of a departure for the Calder Foundation, which has until now been better known for stewarding the American sculptor’s reputation -- began at 2 pm and concluded at 2 am, and featured performance art, film and music by 32 artists past and present, including Alexandre Singh, Francis Alys and Yves Klein. Part of its programming took place concurrently with a staging of “Sleep No More,” an appealingly nightmarish exhibition in the hotel’s other rooms.","artist_bio":"Everybody's Work is Equally Important (2011)\nwith\nLaToya Ruby Frazier\nLiz Magic Laser was born in 1981 in New York City, where she lives and works. Her performances and videos intervene in semi-public spaces such as bank vestibules, movie theaters and newsrooms, and have involved collaborations with actors, dancers, surgeons, and motorcycle gang members. She is a graduate of the Whitney Museum Independent Study Program and Columbia University’s MFA program. In 2013 Laser had solo exhibitions at DiverseWorks in Houston, Texas, and at the Westfälische Kunstverein, Münster, Germany, for which she received the Alfried Krupp von Bohlen und Halback Foundation Grant. She was The Armory Show 2013 Commissioned Artist, New York City. Liz Magic Laser is her real name from birth.","bio_dates":"b. 1981"},{"slug":"laser_liz_magic_the_thought_leader_2015","ok":true,"partial":false,"title":"The Thought Leader","artist":"Liz Magic Laser","year":"2015","startOffset":0,"sourceSecs":561.642,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":226464036,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/laser_liz_magic_the_thought_leader_2015/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/laser_liz_magic_the_thought_leader_2015/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/laser_liz_magic_the_thought_leader_2015.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/laser_liz_magic_the_thought_leader_2015/main.mp4?v=2","description":"For The Thought Leader, Laser used the format of the increasingly popular TED Talk. She directed 10-year-old actor, Alex Ammerman, to deliver a monologue she adapted from Fyodor Dostoevsky’s Notes from the Underground (1864). TED (Technology, Entertainment, Design) is a global series of motivational speeches with the mission to promote “the power of ideas to change attitudes, lives and ultimately, the world.” TED Talks, primarily viewed as online videos, have promoted a forceful and inspirational presentation style across a wide spectrum of professions. Speakers typically propose idealistic solutions to contemporary issues but have often been criticized for failing to offer tangible steps for achieving their utopian visions. Laser insinuates the Underground Man’s views into the TED Talk format: she applies Dostoevsky’s attack on the socialist ideal of enlightened self-interest to its contemporary capitalist incarnation.<br/><br/> Laser enlisted speech coach Kristian Nammack to craft Ammerman’s lecture style in The Thought Leader. In the companion piece, My Mind is My Own (2015), Laser asked professional vocal coach, Kate Wilson, to teach her own daughter, eleven-year-old actor Ella Maré, to perform the role of a trainer in an instructional video. Laser worked with the mother-daughter duo to develop sinister versions of their vocal exercises.<br/><br/> In addition to prop elements created for the videos, there are two related sculptures. These mirrored glass works incorporate Laser’s versions of diagrams from a 19th Century manual by François Delsarte on how to deliver a powerful speech. These ideas on the art of oratory have developed into common strategies governing the delivery of TED Talks.<br/><br/> When it was first exhibited at Various Small Fires Gallery, Los Angeles, The Thought Leader was accompanied by a related sound piece, Hi there! (2015), made in collaboration with artist Rachel Mason. Hi there! hailed gallery visitors in the entryway corridor with mantras derived from the texts of The Thought Leader and My Mind is My Own.<br/><br/> Credits:<br/><br/> Featuring actor Alex Ammerman. Script written by Liz Magic Laser based on Notes From the Underground (1864) by Fyodor Dostoyevsky. Speech coach: Kristian Nammack; Directors of Photography: Chris Heinrich and Tom Richmond; Audio Engineer: Nikola Chapelle; Sound Mixer: Scott Benzel; Sound Effects Editor: Molly Fitzjarrald; Color Correction: Alejandro Wilkins; Production Manager: Anna Riley; Production Assistants: Esther Hayes, Jasmine Kyoko and Samantha Rosner. Filmed at Kickstarter in Brooklyn, NY. Participating actors: Cole Akers, Kelela Blake, Tyler Booker, Travis Branch, Virginia Ferrer, Sein Gay, Jessica Gallucci, Ryan Healey, Joseph Henry, Minki Hong, Kelvin Lofton, Rebekah Loy, Roberto Mugnai, Job Piston, James Pyecka, Mike Quinn, Hobson Riley, Khalid Rivera, Alexis Rosenbaum, Malaika Said, Stephanie Samford, Noriko Sato, Isaiah Seward, Charlii Tv, Alex Xenos and Liz Zito. Special thanks to Kathy Ammerman, Sanya Kantarovsky, Owen Katz, Ken Laser, Ella Maré, Fabrice Nadjari, Wendy Osserman, Chadwick Rantanen, Anna Riley, Hobson Riley, Hong-An Truong, Esther Kim Varet, Joseph Varet, Tomasz Werner, Kate Wilson, Spencer Wolff and Kickstarter. Produced with support from Various Small Fires Gallery, Los Angeles.","artist_bio":"Everybody's Work is Equally Important (2011)\nwith\nLaToya Ruby Frazier\nLiz Magic Laser was born in 1981 in New York City, where she lives and works. Her performances and videos intervene in semi-public spaces such as bank vestibules, movie theaters and newsrooms, and have involved collaborations with actors, dancers, surgeons, and motorcycle gang members. She is a graduate of the Whitney Museum Independent Study Program and Columbia University’s MFA program. In 2013 Laser had solo exhibitions at DiverseWorks in Houston, Texas, and at the Westfälische Kunstverein, Münster, Germany, for which she received the Alfried Krupp von Bohlen und Halback Foundation Grant. She was The Armory Show 2013 Commissioned Artist, New York City. Liz Magic Laser is her real name from birth.","bio_dates":"b. 1981"},{"slug":"lassnig_art_education_1978","ok":true,"partial":false,"title":"Art Education","artist":"Maria Lassnig","year":"1976","startOffset":0,"sourceSecs":494.4,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":90620819,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_art_education_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_art_education_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lassnig_art_education_1978.mp4","hasFrames":true,"description":"MARIA LASSNIG - Animation Films <br/><br/> Lassnig trained at the academy of Fine Arts, Vienna, and then spent several years in Paris in the 1950s and 60s, where she was exposed to Art Informel and Surrealism. From 1968 to 1980, she lived in New York, where she did pioneering work in film, producing a series of remarkably inventive animations all presented by INDEX for the first time on DVD. Drawing on some of the same themes and subjects as her paintings, the narratives are profound and astute observations of the complexities of male-female relationships and of the experience of being both a woman and an artist. Her most celebrated film - Kantate - was produced later, in 1992, when Lassnig was 73. It presents her life story in a 14-verse song performed by the artist in a variety of costumes and accompanied by animations that are filled with humour and wit. <br/><br/> The work resisted any art-historical categorization, with Lassnig remaining independent from any particular art movement, and yet it has consistently engaged with successive generations of artists. While she is mainly celebrated in Austria and Germany, the significance of Lassnig´s work has been increasingly recognised through greater exposure in exhibitions worldwide. <br/><br/> (Serpentine Gallery catalogue - excerpt)","artist_bio":"Maria Lassnig (Austrian, 1919-2014) is one of the most important contemporary painters and can be seen as a pioneer in many areas of art today. Emphatically refusing to make “pictures,” she has long focused on ways of representing her internal world. Using the term “body awareness,” Lassnig has regularly tried to paint the way her body feels to her from the inside, rather than attempting to depict it from without. Throughout a remarkable career that has spanned more than 70 years, she has continued to create work that vulnerably explores the way she comes into contact with the world, often placing particular emphasis upon the disjunctions between her own self-image and the way she is seen by others—as a woman, as a painter, and as a person living through the dramatic technological and cultural developments that have marked the century of her lifetime. Bravely exposing personal traumas, fantasies, and nightmares, Lassnig’s art offers instruction for courageous living in a time of increasingly spectacularized social interaction.","bio_dates":"1919-2014"},{"slug":"lassnig_baroque_statues_1970_74","ok":true,"partial":false,"title":"Baroque Statues","artist":"Maria Lassnig","year":"1970-1974","startOffset":0,"sourceSecs":895.56,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":155133461,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_baroque_statues_1970_74/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_baroque_statues_1970_74/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lassnig_baroque_statues_1970_74.mp4","hasFrames":true,"description":"MARIA LASSNIG - Animation Films <br/><br/> Lassnig trained at the academy of Fine Arts, Vienna, and then spent several years in Paris in the 1950s and 60s, where she was exposed to Art Informel and Surrealism. From 1968 to 1980, she lived in New York, where she did pioneering work in film, producing a series of remarkably inventive animations all presented by INDEX for the first time on DVD. Drawing on some of the same themes and subjects as her paintings, the narratives are profound and astute observations of the complexities of male-female relationships and of the experience of being both a woman and an artist. Her most celebrated film - Kantate - was produced later, in 1992, when Lassnig was 73. It presents her life story in a 14-verse song performed by the artist in a variety of costumes and accompanied by animations that are filled with humour and wit. <br/><br/> The work resisted any art-historical categorization, with Lassnig remaining independent from any particular art movement, and yet it has consistently engaged with successive generations of artists. While she is mainly celebrated in Austria and Germany, the significance of Lassnig´s work has been increasingly recognised through greater exposure in exhibitions worldwide. <br/><br/> (Serpentine Gallery catalogue - excerpt)","artist_bio":"Maria Lassnig (Austrian, 1919-2014) is one of the most important contemporary painters and can be seen as a pioneer in many areas of art today. Emphatically refusing to make “pictures,” she has long focused on ways of representing her internal world. Using the term “body awareness,” Lassnig has regularly tried to paint the way her body feels to her from the inside, rather than attempting to depict it from without. Throughout a remarkable career that has spanned more than 70 years, she has continued to create work that vulnerably explores the way she comes into contact with the world, often placing particular emphasis upon the disjunctions between her own self-image and the way she is seen by others—as a woman, as a painter, and as a person living through the dramatic technological and cultural developments that have marked the century of her lifetime. Bravely exposing personal traumas, fantasies, and nightmares, Lassnig’s art offers instruction for courageous living in a time of increasingly spectacularized social interaction.","bio_dates":"1919-2014"},{"slug":"lassnig_couples_1972","ok":true,"partial":false,"title":"Couples","artist":"Maria Lassnig","year":"1972","startOffset":0,"sourceSecs":549.12,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":100439513,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_couples_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_couples_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lassnig_couples_1972.mp4","hasFrames":true,"description":"The tone is lyrical, the voices are real, the bodies are sketchy: A couple talks at the phone and in bed (a casanova and his victim). “You helped me, you made me strong, but you can´t blame me for anything. When somebody loves so blindly, they pay with their life.”<br/><br/>Per l’estrema cura con cui lo stesso è stato realizzato, Couples, della pittrice austriaca Maria Lassnig, ci appare un lavoro decisamente maturo, dove l’animazione, la pittura, la fotografia e il cinema in live action si incontrano per dare vita a un piccolo ma significativo lavoro, fondendosi l’un l’altro in perfetta armonia.<br><br> Inconfondibile il tratto della celebre pittrice austriaca Maria Lassnig. Così come sono inconfondibili le sue figure astratte, i suoi corpi mutanti e le sue tematiche considerate spesso “scomode”, ma tanto, tanto attuali. E se l’artista si è affermata nel corso degli anni soprattutto in ambito pittorico, è altrettanto degno di nota anche il suo contributo in ambito cinematografico, con la realizzazione di numerosi cortometraggi – molti dei quali di animazione – quali perfette trasposizioni sul grande schermo dei suoi stessi dipinti. E se pensiamo a un lavoro come il presente Couples (1972), realizzato già una volta che l’autrice si era trasferita negli Stati Uniti, ci rendiamo conto come lo stesso contenga al suo interno la vera essenza poetica e pittorica dell’intera opera della sua autrice.<br/><br/> Nel presente lavoro, dunque, la Lassnig prosegue la sua esperienza nel mondo dell’animazione iniziato già con Selfportrait (1971), adoperando i suoi stessi dipinti per raccontare l’evoluzione tipica di un rapporto di coppia. O, sarebbe meglio dire, di una relazione agli inizi, in cui il desiderio di una vita condivisa fa parte unicamente dell’universo della donna, mentre l’uomo, al contrario, sembra desiderare soltanto un approccio sessuale, a dispetto di quanto da lui stesso affermato dopo il primo incontro.<br/><br/> Ed ecco che, in apertura del presente Couples, uomo e donna ci appaiono unicamente quasi come delle macchie indistinte, ma che – con pochi, elementari movimenti realizzati in stop motion – rendono bene l’idea di un atto sessuale in corso. Poi, immediatamente, le figure si fanno più distinte, i tratti sempre più marcati e, finalmente, ci è dato da udire i primi, essenziali ed elementari dialoghi. Tutto, dall’inizio alla fine, si svolge secondo un copione che abbiamo più e più volte visto: un uomo e una donna si incontrano. L’uomo, successivamente, continua a chiamare la donna, affermando, in seguito alla remore di lei, di desiderare a tutti i costi una relazione. Poi, improvvisamente, dopo un primo rapporto sessuale la musica cambia: la donna chiede coccole e attenzioni che l’uomo non ha voglia di dare. Fino al momento in cui lo stesso – con le stesse immagini in bianco e nero che abbiamo visto nei primi minuti e che lo vedono avvicinarsi a una cabina telefonica – lascia la sua partner con una semplice telefonata, affermando che non si sente pronto a vivere un rapporto di coppia.<br/><br/> Un punto di vista, questo di Maria Lassnig, più che cinico, decisamente disincantato, in cui la figura della donna, anche se inizialmente sofferente ed emotiva, ci appare sempre la più forte. Ed ecco che, anche nel presente Couples, vengono posti al centro dell’attenzione proprio una serie di interrogativi riguardanti la propria identità, i propri desideri. E, a tal proposito, i corpi che, nel corso della messa in scena, cambiano forma e colori, alternandosi a immagini di vecchie fotografie e di scene girate in live action, sono specchio di un importante cambiamento interiore, di una crescita e di molti passi avanti verso una nuova consapevolezza. Nonostante i momenti in cui sembra non esserci soluzione alcuna. E a dispetto del primo piano di un uomo i cui occhi vengono coperti da una fascia nera, segno che le parole da lui pronunciate possono essere le stesse di molti altri esseri umani, per un copione che continua a ripetersi all’infinito.<br/><br/> Per questo e per l’estrema cura con cui lo stesso è stato realizzato, Couples ci appare un lavoro decisamente maturo, dove l’animazione, la pittura, la fotografia e il cinema in live action si incontrano per dare vita a un piccolo ma significativo lavoro, fondendosi l’un l’altro in perfetta armonia. <br/><br/> MARIA LASSNIG - Animation Films <br/><br/> Lassnig trained at the academy of Fine Arts, Vienna, and then spent several years in Paris in the 1950s and 60s, where she was exposed to Art Informel and Surrealism. From 1968 to 1980, she lived in New York, where she did pioneering work in film, producing a series of remarkably inventive animations all presented by INDEX for the first time on DVD. Drawing on some of the same themes and subjects as her paintings, the narratives are profound and astute observations of the complexities of male-female relationships and of the experience of being both a woman and an artist. Her most celebrated film - Kantate - was produced later, in 1992, when Lassnig was 73. It presents her life story in a 14-verse song performed by the artist in a variety of costumes and accompanied by animations that are filled with humour and wit. <br/><br/> The work resisted any art-historical categorization, with Lassnig remaining independent from any particular art movement, and yet it has consistently engaged with successive generations of artists. While she is mainly celebrated in Austria and Germany, the significance of Lassnig´s work has been increasingly recognised through greater exposure in exhibitions worldwide. <br/><br/> (Serpentine Gallery catalogue - excerpt)</br></br>","artist_bio":"Maria Lassnig (Austrian, 1919-2014) is one of the most important contemporary painters and can be seen as a pioneer in many areas of art today. Emphatically refusing to make “pictures,” she has long focused on ways of representing her internal world. Using the term “body awareness,” Lassnig has regularly tried to paint the way her body feels to her from the inside, rather than attempting to depict it from without. Throughout a remarkable career that has spanned more than 70 years, she has continued to create work that vulnerably explores the way she comes into contact with the world, often placing particular emphasis upon the disjunctions between her own self-image and the way she is seen by others—as a woman, as a painter, and as a person living through the dramatic technological and cultural developments that have marked the century of her lifetime. Bravely exposing personal traumas, fantasies, and nightmares, Lassnig’s art offers instruction for courageous living in a time of increasingly spectacularized social interaction.","bio_dates":"1919-2014"},{"slug":"lassnig_iris_1971","ok":true,"partial":false,"title":"Iris","artist":"Maria Lassnig","year":"1971","startOffset":0,"sourceSecs":615.84,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":112255393,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_iris_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_iris_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lassnig_iris_1971.mp4","hasFrames":true,"description":"MARIA LASSNIG - Animation Films <br/><br/> Lassnig trained at the academy of Fine Arts, Vienna, and then spent several years in Paris in the 1950s and 60s, where she was exposed to Art Informel and Surrealism. From 1968 to 1980, she lived in New York, where she did pioneering work in film, producing a series of remarkably inventive animations all presented by INDEX for the first time on DVD. Drawing on some of the same themes and subjects as her paintings, the narratives are profound and astute observations of the complexities of male-female relationships and of the experience of being both a woman and an artist. Her most celebrated film - Kantate - was produced later, in 1992, when Lassnig was 73. It presents her life story in a 14-verse song performed by the artist in a variety of costumes and accompanied by animations that are filled with humour and wit. <br/><br/> The work resisted any art-historical categorization, with Lassnig remaining independent from any particular art movement, and yet it has consistently engaged with successive generations of artists. While she is mainly celebrated in Austria and Germany, the significance of Lassnig´s work has been increasingly recognised through greater exposure in exhibitions worldwide. <br/><br/> (Serpentine Gallery catalogue - excerpt)","artist_bio":"Maria Lassnig (Austrian, 1919-2014) is one of the most important contemporary painters and can be seen as a pioneer in many areas of art today. Emphatically refusing to make “pictures,” she has long focused on ways of representing her internal world. Using the term “body awareness,” Lassnig has regularly tried to paint the way her body feels to her from the inside, rather than attempting to depict it from without. Throughout a remarkable career that has spanned more than 70 years, she has continued to create work that vulnerably explores the way she comes into contact with the world, often placing particular emphasis upon the disjunctions between her own self-image and the way she is seen by others—as a woman, as a painter, and as a person living through the dramatic technological and cultural developments that have marked the century of her lifetime. Bravely exposing personal traumas, fantasies, and nightmares, Lassnig’s art offers instruction for courageous living in a time of increasingly spectacularized social interaction.","bio_dates":"1919-2014"},{"slug":"lassnig_maria_kantate","ok":true,"partial":false,"title":"Kantate","artist":"Maria Lassnig","year":"1992","startOffset":0,"sourceSecs":463.83,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":72004905,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_maria_kantate/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_maria_kantate/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lassnig_maria_kantate.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lassnig_maria_kantate/main.mp4?v=2","description":"Maria Lassnig Kantate<br/> AT / 1992 <br/> 8 min.<br/> <br/> The Austrian artist Maria Lassnig tells us the story of her life in 14 verses, beginning with her birth and ending with her life as it is today. Simultaneusly - in the background - we see the story as animated drawings, full of irony, humor and wisdom. (Hubert Sielecki) <br/><br/>\"\"The world and the people in their comic-tragic confusion, prejudices, and superstitions gave me plenty of material, to point my finger at. Imperfection and pain can be overcome with humor. To write articles, dialogues, and songs as a painter was a big adventure, but it also awakened my conscience and a feeling of responsibility, if not before the film then in any case afterwards.\" (Maria Lassnig)","artist_bio":"Maria Lassnig (Austrian, 1919-2014) is one of the most important contemporary painters and can be seen as a pioneer in many areas of art today. Emphatically refusing to make “pictures,” she has long focused on ways of representing her internal world. Using the term “body awareness,” Lassnig has regularly tried to paint the way her body feels to her from the inside, rather than attempting to depict it from without. Throughout a remarkable career that has spanned more than 70 years, she has continued to create work that vulnerably explores the way she comes into contact with the world, often placing particular emphasis upon the disjunctions between her own self-image and the way she is seen by others—as a woman, as a painter, and as a person living through the dramatic technological and cultural developments that have marked the century of her lifetime. Bravely exposing personal traumas, fantasies, and nightmares, Lassnig’s art offers instruction for courageous living in a time of increasingly spectacularized social interaction.","bio_dates":"1919-2014"},{"slug":"lassnig_palmistry_1973","ok":true,"partial":false,"title":"Palmistry","artist":"Maria Lassnig","year":"1973","startOffset":0,"sourceSecs":623.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":114134797,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_palmistry_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_palmistry_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lassnig_palmistry_1973.mp4","hasFrames":true,"description":"MARIA LASSNIG - Animation Films <br/><br/> Lassnig trained at the academy of Fine Arts, Vienna, and then spent several years in Paris in the 1950s and 60s, where she was exposed to Art Informel and Surrealism. From 1968 to 1980, she lived in New York, where she did pioneering work in film, producing a series of remarkably inventive animations all presented by INDEX for the first time on DVD. Drawing on some of the same themes and subjects as her paintings, the narratives are profound and astute observations of the complexities of male-female relationships and of the experience of being both a woman and an artist. Her most celebrated film - Kantate - was produced later, in 1992, when Lassnig was 73. It presents her life story in a 14-verse song performed by the artist in a variety of costumes and accompanied by animations that are filled with humour and wit. <br/><br/> The work resisted any art-historical categorization, with Lassnig remaining independent from any particular art movement, and yet it has consistently engaged with successive generations of artists. While she is mainly celebrated in Austria and Germany, the significance of Lassnig´s work has been increasingly recognised through greater exposure in exhibitions worldwide. <br/><br/> (Serpentine Gallery catalogue - excerpt)","artist_bio":"Maria Lassnig (Austrian, 1919-2014) is one of the most important contemporary painters and can be seen as a pioneer in many areas of art today. Emphatically refusing to make “pictures,” she has long focused on ways of representing her internal world. Using the term “body awareness,” Lassnig has regularly tried to paint the way her body feels to her from the inside, rather than attempting to depict it from without. Throughout a remarkable career that has spanned more than 70 years, she has continued to create work that vulnerably explores the way she comes into contact with the world, often placing particular emphasis upon the disjunctions between her own self-image and the way she is seen by others—as a woman, as a painter, and as a person living through the dramatic technological and cultural developments that have marked the century of her lifetime. Bravely exposing personal traumas, fantasies, and nightmares, Lassnig’s art offers instruction for courageous living in a time of increasingly spectacularized social interaction.","bio_dates":"1919-2014"},{"slug":"lassnig_selfportrait_1971","ok":true,"partial":false,"title":"Selfportrait","artist":"Maria Lassnig","year":"1971","startOffset":0,"sourceSecs":268.32,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":48821195,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_selfportrait_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_selfportrait_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lassnig_selfportrait_1971.mp4","hasFrames":true,"description":"MARIA LASSNIG - Animation Films <br/><br/> Lassnig trained at the academy of Fine Arts, Vienna, and then spent several years in Paris in the 1950s and 60s, where she was exposed to Art Informel and Surrealism. From 1968 to 1980, she lived in New York, where she did pioneering work in film, producing a series of remarkably inventive animations all presented by INDEX for the first time on DVD. Drawing on some of the same themes and subjects as her paintings, the narratives are profound and astute observations of the complexities of male-female relationships and of the experience of being both a woman and an artist. Her most celebrated film - Kantate - was produced later, in 1992, when Lassnig was 73. It presents her life story in a 14-verse song performed by the artist in a variety of costumes and accompanied by animations that are filled with humour and wit. <br/><br/> The work resisted any art-historical categorization, with Lassnig remaining independent from any particular art movement, and yet it has consistently engaged with successive generations of artists. While she is mainly celebrated in Austria and Germany, the significance of Lassnig´s work has been increasingly recognised through greater exposure in exhibitions worldwide. <br/><br/> (Serpentine Gallery catalogue - excerpt)","artist_bio":"Maria Lassnig (Austrian, 1919-2014) is one of the most important contemporary painters and can be seen as a pioneer in many areas of art today. Emphatically refusing to make “pictures,” she has long focused on ways of representing her internal world. Using the term “body awareness,” Lassnig has regularly tried to paint the way her body feels to her from the inside, rather than attempting to depict it from without. Throughout a remarkable career that has spanned more than 70 years, she has continued to create work that vulnerably explores the way she comes into contact with the world, often placing particular emphasis upon the disjunctions between her own self-image and the way she is seen by others—as a woman, as a painter, and as a person living through the dramatic technological and cultural developments that have marked the century of her lifetime. Bravely exposing personal traumas, fantasies, and nightmares, Lassnig’s art offers instruction for courageous living in a time of increasingly spectacularized social interaction.","bio_dates":"1919-2014"},{"slug":"lassnig_shapes_1972","ok":true,"partial":false,"title":"Shapes","artist":"Maria Lassnig","year":"1972","startOffset":0,"sourceSecs":536.64,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":98193902,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_shapes_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lassnig_shapes_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lassnig_shapes_1972.mp4","hasFrames":true,"description":"MARIA LASSNIG - Animation Films <br/><br/> Lassnig trained at the academy of Fine Arts, Vienna, and then spent several years in Paris in the 1950s and 60s, where she was exposed to Art Informel and Surrealism. From 1968 to 1980, she lived in New York, where she did pioneering work in film, producing a series of remarkably inventive animations all presented by INDEX for the first time on DVD. Drawing on some of the same themes and subjects as her paintings, the narratives are profound and astute observations of the complexities of male-female relationships and of the experience of being both a woman and an artist. Her most celebrated film - Kantate - was produced later, in 1992, when Lassnig was 73. It presents her life story in a 14-verse song performed by the artist in a variety of costumes and accompanied by animations that are filled with humour and wit. <br/><br/> The work resisted any art-historical categorization, with Lassnig remaining independent from any particular art movement, and yet it has consistently engaged with successive generations of artists. While she is mainly celebrated in Austria and Germany, the significance of Lassnig´s work has been increasingly recognised through greater exposure in exhibitions worldwide. <br/><br/> (Serpentine Gallery catalogue - excerpt)","artist_bio":"Maria Lassnig (Austrian, 1919-2014) is one of the most important contemporary painters and can be seen as a pioneer in many areas of art today. Emphatically refusing to make “pictures,” she has long focused on ways of representing her internal world. Using the term “body awareness,” Lassnig has regularly tried to paint the way her body feels to her from the inside, rather than attempting to depict it from without. Throughout a remarkable career that has spanned more than 70 years, she has continued to create work that vulnerably explores the way she comes into contact with the world, often placing particular emphasis upon the disjunctions between her own self-image and the way she is seen by others—as a woman, as a painter, and as a person living through the dramatic technological and cultural developments that have marked the century of her lifetime. Bravely exposing personal traumas, fantasies, and nightmares, Lassnig’s art offers instruction for courageous living in a time of increasingly spectacularized social interaction.","bio_dates":"1919-2014"},{"slug":"latham_john_speak_1962","ok":true,"partial":false,"title":"Speak","artist":"John Latham","year":"1962","startOffset":0,"sourceSecs":600.258,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":41398263,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/latham_john_speak_1962/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/latham_john_speak_1962/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/latham_john_speak_1962.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/latham_john_speak_1962/main.mp4?v=2","description":"UK, 1962<br/> Soundtrack: Pink Floyd<br/> 10 minutes Colour, 4:3, Opt.<br/> 16mm, Digibeta tape, DVD, Film, SD Digital file, SD Video<br/> <br/> Is his second attack on the cinema. Not since Len Lye's films in the thirties has England produced such a brilliant example of animated abstraction. SPEAK burns its way directly into the brain. It is one of the few films about which it can truly be said, \"it will live in your mind\". - Ray Durgnat.<br/> <br/> ---- <br/><br/> Being obsessed with this recording I did a search of the forum archives and only saw two or three mentions of it. I imagine that lots of fans aren't aware it exists. IMO this is the Floyd holy grail. It also might be the most obscure Pink Floyd recording of all. As far as I know none of the members of the Floyd have even mentioned it in interviews. <br/><br/> A little back-story...John Latham was one of the more controversial conceptual artists in the 1960's (think Yoko Ono, Fluxus). A couple of Latham's films, most notably Speak, were projected behind the Floyd's live set at the International Times launch at the Roundhouse in October '66 and later at a few shows in early 1967. He also had something to do with a 1/67 gig at the Commonworth Institute in London. It was mentoned in a local paper but the description it pretty vague. Anthony Stern thought he did some sort of set design. Back to the soundtrack.. <br/><br/> Speak is an 11 minute animated film that was known for it's intense flicker/strobe effect when shown in London area psychedelic clubs. That being the case Latham thought the Floyd would be a good match for its soundtrack. <br/><br/> Near the end of the 10/67 De Lane Lea sessions (which produced Jugband Blues, Remember a Day, Vegetable Man and Beechwoods) the Syd led Floyd set aside some time to take a stab at recording a soundtrack for the film. A recording was completed and submitted to Latham but he rejected it.* <br/><br/> Unfortunately neither the film nor the Floyd's soundtrack have circulated. The soundtrack does survive on a 1/2\" 4 track reel and is stored with the rest of Pink Floyd's early recordings at EMI and is logged as \"John Latham\"**. Norman Smith produced and one M. Cooper was the engineer. Nothing has been done with the reel since 1967. <br/><br/> What is interesting is the band thought enough of the recording to give to Latham. That and ever thing that was recorded at quick De Lane Lea sessions is ****ing great. Someone shoud bring this to Nick's or Paul Loasby's attention. Nick probably forgot all about it. <br/><br/> *Latham ended up using the sounds of a motor driving a circular saw while being used to saw up books for the soundtrack <br/><br/> **see the Random Precision book for more details on the De Lane Lea sessions.. -- <br/><br/> -- From http://yeeshkul.com/forum/showthread.php?16256-John-Latham-s-film-Speak-Lost-1967-Floyd-soundtrack","artist_bio":"Conceptual artist John Latham (1921–2006) was a 20th-century firebrand, who, through performances, assemblages, films and extensive writings, fuelled controversy and continues to inspire. Preoccupied with time, he was visionary in mapping systems of knowledge, scientific or religious. He developed his own philosophy of time, known as ‘Event Structure’, which proposes that the most basic component of reality is not the particle, as purported by physics, but the ‘least event’, or shortest departure from a state of nothing. His unprecedented use of spray paint in 1954 followed through on the theory, as he explained at the time: “Use of a paint-spraying device enables a unit Least Mark, (quantum of a mark) to serve as a representational accretive historical process. This has opened up several new approaches to form.” Latham famously incorporated books – the keepers of all knowledge – into what he called ‘skoob’ works (‘books’ spelt backwards). The seminal skoob happened in 1966, while he was teaching at St Martins School of Art. Latham invited his students to join him in a ritualistic ceremony: the chewing and spitting out of Clement Greenberg’s art history tome Art and Culture. He then decanted the vestiges into a phial, which he duly returned to the St Martins library. Latham demonstrated that destruction was an equal and opposite process to creation – and for this his place in the history of Conceptual art is sealed.\nJohn Latham was born in Livingstone, Northern Rhodesia (now Maramba, Zambia) in 1921. In 1946 he enrolled at Regent Street Polytechnic and then studied painting at Chelsea College of Art and Design (1947–51). Solo exhibitions include P.S.1 Contemporary Art Center, New York (2006), Tate Britain, London (2005), Staatsgalerie, Stuttgart, Germany (1991), Société des Expositions du Palais des Beaux-Arts, Brussels (1984) and Städtische Kunsthalle, Düsseldorf, Germany (1975). His work was shown in many group exhibitions including documenta 6, Kassel, Germany (1977) and the 51st Venice Biennale (2005).","bio_dates":"1921-2006"},{"slug":"laurette_matthieu_deja_vu_2001_2","ok":true,"partial":false,"title":"Deja Vu: The 2nd International Look-alike Convention at Castello di Rivoli (Making of)","artist":"Matthieu Laurette","year":"2001-2002","startOffset":0,"sourceSecs":146.797,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":26828585,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/laurette_matthieu_deja_vu_2001_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/laurette_matthieu_deja_vu_2001_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/laurette_matthieu_deja_vu_2001_2.mp4","hasFrames":true,"description":"Laurette invited look-alikes of celebrities in the arts and entertainment worlds to attend the gala cocktail hour and interact with Dia’s patrons and guests. Those in attendance were not aware of the project prior to the event. Slowly, as the look-alikes mingled with the crowd, guests began to see that some of the “celebrities” were imposters, causing them to question their ability to distinguish “real celebrities” from their doubles. Through his Look-Alike Conventions, Laurette explores the social dynamics of spectacle and celebrity as it permeates the protocols of the art world, highlighting society’s obsessive relationship with fame. <br/><br/> Among the 15 look-alikes who participated were Jennifer Aniston (Jeannine Gavlick), Roseanne Barr (Anne Kissel), Sean Connery (Bob Prussian), Robert De Niro (Joseph Manuella), Gloria Estefan (Marlene Suarez), Whoopi Goldberg (Tara McKee), Angelina Jolie (Maria Angelica), Bette Midler (Donna Maxon), Eddie Murphy (Joseph Hope), Conan O’Brien (Bruce Christensen), Diana Ross (Charlotte Fleming), Anna Nicole Smith (Jeanine Gearity), Howard Stern (Stewart Brodian), Rod Stewart (Carmine Cassino), and Harvey Weinstein (Stephen Arthur). Laurette arranged for a professional event photographer to document the cocktail hour and will commission a graphic designer to design a poster commemorating the “convention.” <br/><br/> Previous Déjà vu - International Look-Alike Conventions organized by Laurette, which have taken place at exhibition openings, have been held at Institute of Contemporary Art, London (2003); Contemporary Art Centre, Vilnius, Lithuania (2003); Perth Institute of Contemporary Arts, Australia (2002); Artsonje Center, Seoul (2002); Castello di Rivoli, Torino (2001); and Centre Pompidou, Paris (2000). <br/><br/> Matthieu Laurette was born in 1970 in Villeneuve St Georges, France, Laurette currently lives and works in Paris and New York. His multi-media and performance works frequently utilize mass media and commercial marketing opportunities in an attempt to exploit the transformation of life into an endless accumulation of spectacles.","artist_bio":"One of the great European documentarians, Nicolas Philibert began his education by studying philosophy and later worked as an assistant director with such filmmakers as Rene Allio and Alain Tanner. Philibert's ability to approach man with tenderness, directness and sensitivity appears in his film In the Land of the Deaf, an exploration of the world through the eyes of those born without the sense of hearing. In 1995 Philibert revisited the subject of museums--also explored in Louvre City--finding humanity and humor within these stately institutions. Animals and More Animals examines the zoological wing of France's Museum of Natural History, which had been closed for years, and brings to light its unusual treasures. Minimalist and exceedingly moving, Philibert's films have received awards in festivals and various events, but have also achieved a rare feat in France: box office success. Along with Cahiers du Cinema editor Jean Michel Frodon, Philibert joins us to discuss his unique work in nonfiction film.","bio_dates":"b. 1970"},{"slug":"lavey_anton_into_the_devils_den","ok":true,"partial":false,"title":"Into the Devil's Den","artist":"Anton LaVey","year":"2019","startOffset":0,"sourceSecs":6347.947,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":363171263,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lavey_anton_into_the_devils_den/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lavey_anton_into_the_devils_den/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lavey_anton_into_the_devils_den.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lavey_anton_into_the_devils_den/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lavey_anton_into_the_devils_den/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Carl Abrahamsson <br/><br/> \"In 1989, I met Anton LaVey for the first time. At this time in his life, LaVey was seeing only a select few people. For this film, I've met and interviewed some of them, to try and create a composite image of what he was really like, and what he meant to these people. It's a memory lane trip, filled with personal stories, dark humor, great music and never before seen material with the \"Black Pope\" himself.\" - Carl Abrahamsson<br/><br/> Anton LaVey was many things to many people: musician, magician, writer, wild animal trainer, police photographer, film buff, founder of a magical group, and possibly of a new religion, and yes - He was a Satanist. With his creation of the infamous Church of Satan in 1966, and his bestselling book The Satanic Bible in 1969, Anton LaVey changed the ballgame in many ways.<br/><br/> Here was a free-spirited San Francisco based group neither in favour of mind-expanding drugs, nor of peace and love for its own sake. Here was a group that was decidedly, outspokenly anti-Christian. Here was a group that brought dark pro-sexual psychodrama and the philosophy of Friedrich Nietzsche straight into American living rooms and TV couches. Anton LaVey became a celebrity scapegoat who basked in the attention, and made a successful career out of it.<br/><br/> But who was Anton LaVey behind the public persona that so easily provoked primitive American Christians and other intolerants? Who was this enigmatic \"American Adversary\"?<br/><br/> This film contains never before shown interview material with LaVey, private photographs, and rare recordings, plus in-depth interviews with Blanche Barton, Peter Gilmore, Peggy Nadramia, Bob Johnson, Kenneth Anger, Michael Moynihan, Mitch Horowitz, Ruth Waytz, Larry Wessel, Margie Bauer, Jack Stevenson, and Jim Morton.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/riley.html\" rel=\"noopener\" target=\"_blank\">Terry Riley in UbuWeb Sound</a>","artist_bio":"Anton LaVey, in full Anton Szandor LaVey, original name Howard Stanton Levey, (born April 11, 1930, Chicago, Illinois, U.S.—died October 29, 1997, San Francisco, California), American author and counterculture figure who founded the Church of Satan.\nMany details of LaVey’s early life are disputed or unknown. Soon after he was born, his family moved to the San Francisco Bay area. According to some accounts, he left high school to join a circus. He subsequently worked as a psychic and as a nightclub organist, among other occupations. Meanwhile, he developed an interest in the occult and gained local celebrity in San Francisco as a dark, mysterious figure who rejected traditional Christian morality. Having changed his name to Anton Szandor LaVey, in 1966 he founded the Church of Satan, calling himself its high priest, on Walpurgis Night (April 30), a traditional night of revelry in northern Europe and Scandinavia. Three years later he published The Satanic Bible, in which he set down the teachings and rituals of his church.\nLaVey presented Satanism not as the practice of evil or as the worship of an actual Antichrist but as a kind of ethical egoism. According to LaVey, traditional religions were fundamentally hypocritical and dangerously inhibited the physical tendencies and emotional needs that were vital to human life. He claimed that his brand of Satanism was inspired by his having noticed as a teenager that the men he saw at church on Sunday, praying to God for absolution, were the same ones he had seen at burlesque shows on Saturday night. LaVey’s Satanism was in fact atheistic: the opposition between God and Satan represented for him the struggle between hypocrisy and repression on the one hand and indulgence and liberation on the other. LaVey was also not a nihilist: he instructed his followers to obey the law, and he taught that indulgence in pleasure could be beneficial only if it did not harm others.\nLaVey’s persona was always greater than the Church of Satan, whose membership never exceeded about 2,000 people and which declined when a splinter group, the Temple of Set, formed in 1975 in response to LaVey’s selling of higher church offices. His fame was enhanced through his popular writings, the best known of which was The Satanic Bible. However, many of the claims he made about his past—including that he had had romantic affairs with the actresses Marilyn Monroe and Jayne Mansfield—were demonstrated by biographers and even by the Church of Satan to have been fabrications.","bio_dates":"1930-1997"},{"slug":"lawder_standish_color_film_1971","ok":true,"partial":false,"title":"Col1orfilm","artist":"Standish Lawder","year":"1971","startOffset":0,"sourceSecs":143.659,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":14961132,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lawder_standish_color_film_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lawder_standish_color_film_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lawder_standish_color_film_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lawder_standish_color_film_1971/main.mp4?v=2","description":"Further examining the medium of film itself, Colorfilm is a work Lawder made while trying to make a minimalist, \"pure color\" film. Using spliced-together strips of colored film leader in white, yellow, blue, red, green, etc., Lawder ran the film through a projector and found the results to be quite boring. While he was running the film, though, he noticed how beautiful the colored strips of film looked as they ran through the projector. So, he turned a camera on the projector and filmed the colored film gorgeously winding its way through the projector's machinery.\" - Noel Black, Colorado Springs Independent <br/><br/> Music by The Mothers of Invention. <br/><br/> Quote:<br/>\"\"COLORFILM is the ultimate consummate self-referential film, in color yet!\" - Henry Kissinger <","artist_bio":"Born in Connecticut in 1936, Lawder attended Williams College and the National Autonomous University of Mexico as an undergraduate, and studied at the Ludwig Maximilian University of Munich. While at the University of Munich, he became a test subject for a neurologist researching phosphenes at around 1960. During these experiments, he was injected with measured amounts of LSD, mescaline and psilocybin, and \"spent a whole day in the clinic\". In this, he became an early subject of psychedelics. Afterwards, he received his Doctor of Philosophy as an art historian at Yale University. His thesis, which was later published as The Cubist Cinema, examines the correlation between the history of film and its impact on modern art, described as a holistic overview by Anthony Reveaux in Film Quarterly.\nHis body of work is purported to span over 25 films and his literary works encapsulates several essays on experimental film. His first endeavors with experimental films started in his basement during a sabbatical of his in the late 1960s and early 1970s. One of his works during this span, Necrology, has been cited by fellow filmmaker Hollis Frampton as \"the sickest joke I've ever seen on film\".\nLawder utilized a coffee can to house a contact printer for the production of his films Runaway and Corridor.\nFor production of his first two films, Runaway and Corridor, Lawder built his own contact printer using a incandescent light bulb housed within a coffee can.\\With it, he would process his films by manipulating the brightness of the light bulb, then shined the beam it created through the flashlight tube to the film gate of his camera. All release prints struck from these films were made using this printer by Lawder personally.","bio_dates":"1936-2014"},{"slug":"lawder_standish_corridor_1970","ok":true,"partial":false,"title":"Corridor","artist":"Standish Lawder","year":"1970","startOffset":0,"sourceSecs":1330.496,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":225802885,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lawder_standish_corridor_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lawder_standish_corridor_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lawder_standish_corridor_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lawder_standish_corridor_1970/main.mp4?v=2","description":"Music by Terry Riley. Sound for prologue by Standish Lawder. <br/><br/> CORRIDOR took two years to make. It is my best film. (Standish Lawder) <br/><br/> Quote:<br/>\"\"... an extraordinary exercise in visual polyphony ... the pyrotechnic surface is exfoliated with Hegelian relentlessness from an elemental formal core ... the many are no less the many for being inescapably the One.\" - Sheldon Nodelman <br/><br/> Quote:<br/>\"\"CORRIDOR is a marvelous meld of music and cinematic tension that maintains a visual excitement throughout with its constant exploration of horizontal and rectilinear patterns, chiaroscuros and deep grains, pulsating double and negative exposures, and constant tracking shots of a nude figure standing at the end of a long, close corridor. A first-rate piece of work that has to be seen to be appreciated. CORRIDOR is a film of which any filmmaker would be rightly proud.\" - James Childs, New Haven Register<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/riley.html\" rel=\"noopener\" target=\"_blank\">Terry Riley in UbuWeb Sound</a></br>","artist_bio":"Born in Connecticut in 1936, Lawder attended Williams College and the National Autonomous University of Mexico as an undergraduate, and studied at the Ludwig Maximilian University of Munich. While at the University of Munich, he became a test subject for a neurologist researching phosphenes at around 1960. During these experiments, he was injected with measured amounts of LSD, mescaline and psilocybin, and \"spent a whole day in the clinic\". In this, he became an early subject of psychedelics. Afterwards, he received his Doctor of Philosophy as an art historian at Yale University. His thesis, which was later published as The Cubist Cinema, examines the correlation between the history of film and its impact on modern art, described as a holistic overview by Anthony Reveaux in Film Quarterly.\nHis body of work is purported to span over 25 films and his literary works encapsulates several essays on experimental film. His first endeavors with experimental films started in his basement during a sabbatical of his in the late 1960s and early 1970s. One of his works during this span, Necrology, has been cited by fellow filmmaker Hollis Frampton as \"the sickest joke I've ever seen on film\".\nLawder utilized a coffee can to house a contact printer for the production of his films Runaway and Corridor.\nFor production of his first two films, Runaway and Corridor, Lawder built his own contact printer using a incandescent light bulb housed within a coffee can.\\With it, he would process his films by manipulating the brightness of the light bulb, then shined the beam it created through the flashlight tube to the film gate of his camera. All release prints struck from these films were made using this printer by Lawder personally.","bio_dates":"1936-2014"},{"slug":"le_grice_malcolm_berlin_horse_1970","ok":true,"partial":false,"title":"Berlin Horse","artist":"Malcolm Le Grice","year":"1970","startOffset":0,"sourceSecs":397.572,"sourceHeight":448,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":27792919,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/le_grice_malcolm_berlin_horse_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/le_grice_malcolm_berlin_horse_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/le_grice_malcolm_berlin_horse_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/le_grice_malcolm_berlin_horse_1970/main.mp4?v=2","description":"<a href=\"https://ubu.com/media/video/Le-Grice-Malcolm_Berlin-Horse_1970.avi\" rel=\"noopener\" target=\"_blank\">Berlin Horse (1970)</a> <br/><br/> This film is largely filmed with an exploration of the film medium in certain aspects. <br/><br/> It is also concerned with making certain conceptions about time in a more illusory way than I have been inclined to explore in many other of my films. It attempts to deal with some of the paradoxes of the relationships of the \"real\" time which exists when the film was being shot, with the \"real\" time which exists when the film is being screened, and how this can be modulated by technical manipulation of the images and sequences. <br/><br/> The film is in two parts joined by a central superimposition of the material from both parts. The first part is made from a small section of film shot by me in 8mm colour, and later refilmed in various ways from the screen in 16mm b/w. The b/w material was then printed in a negative positive superimposition through colour filters creating a continually changing 'solarization' image, which works in its own time abstractly from the image. The second part is made by treating very early b/w newsreel of a similar subject in the same way. As a two screen film the second screen has a b/w version of the whole film. MLG.<br><br><b>RESOURCES:</b> <br><br> This UbuWeb resource is presented in partnership with <a href=\"http://www.lux.org.uk\" rel=\"noopener\" target=\"_blank\">Lux<!--/a--> <br/> This film is available on the DVD compilation <a href=\"http://shop.lux.org.uk/index.php/dvd/lux-dvds/afterimages-1.html\" rel=\"noopener\" target=\"_blank\">Afterimages 1: Malcolm Le Grice Volume 1</a> </a></br></br>","artist_bio":"Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960's. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the\nParis Biennale No.8, Arte Inglese Oggi\n, Milan,\nUne Histoire du Cinema\n, Paris,\nDocumenta 6\n, Kassel,\nX-Screen\nat the Museum of Modern Art, Vienna, and\nBehind the Facts\nat the Fondacion Joan Miro, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D'Avignon. A number of longer films have been transmitted on British TV, including 'Finnegans Chin', 'Sketches for a Sensual Philosophy' and 'Chronos Fragmented'. His main work since the mid 1980's is in video and digital media and includes the multi-projection video installation works 'The Cyclops Cycle' and 'Treatise'.\nLe Grice has written critical and theoretical work including a history of experimental cinema 'Abstract Film and Beyond' (1977, Studio Vista and MIT). For three years in the 1970's he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected and recently published under the title 'Experimental Cinema in the Digital Age' by the British Film Institute (2001).\nLe Grice is a Professor Emeritus of the University of the Arts London where he is a collaborating director with David Curtis of the British Artists Film and Video Study Collection.","bio_dates":"b. 1940"},{"slug":"le_grice_malcolm_blind_white_duration_1968","ok":true,"partial":false,"title":"Blind White Duration","artist":"Malcolm Le Grice","year":"1967","startOffset":0,"sourceSecs":757.815,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":309827445,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/le_grice_malcolm_blind_white_duration_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/le_grice_malcolm_blind_white_duration_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/le_grice_malcolm_blind_white_duration_1968.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/le_grice_malcolm_blind_white_duration_1968/main.mp4?v=2","description":"“Firstly it is a film concerned with constructing an experience out of limited perceptions. The viewer is introduced to a limited range of images in short soft fade-ins and outs or quick flashes.\n\nSecondly it is concerned with the light of the projector- the white screen and the white image which emerges out of it. The material was shot in the snow in Jan. ’68.\n\nThirdly it is concerned with repeats and near repeats in different sequential and superimpositional juxtapositions. Fourthly, with the role of the viewer as a positive constructor of his own experience of the images. And fifthly with the use of the unexpectional images which are not contrived in a studio or dramatic sense.\n\nI think this film might be seen as a more poetic and less dogmatic Vertov-like piece. Vertov himself preditced a kind of iflm which might have visual rhythms and poetic metre. Maybe this is a useful way of thinking about this film.” — M.L.G. --\n\nfor further information about this artist and work. The LUX site offers extensive resources for curators, students, artists and educators.","artist_bio":"Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960's. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the\nParis Biennale No.8, Arte Inglese Oggi\n, Milan,\nUne Histoire du Cinema\n, Paris,\nDocumenta 6\n, Kassel,\nX-Screen\nat the Museum of Modern Art, Vienna, and\nBehind the Facts\nat the Fondacion Joan Miro, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D'Avignon. A number of longer films have been transmitted on British TV, including 'Finnegans Chin', 'Sketches for a Sensual Philosophy' and 'Chronos Fragmented'. His main work since the mid 1980's is in video and digital media and includes the multi-projection video installation works 'The Cyclops Cycle' and 'Treatise'.\nLe Grice has written critical and theoretical work including a history of experimental cinema 'Abstract Film and Beyond' (1977, Studio Vista and MIT). For three years in the 1970's he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected and recently published under the title 'Experimental Cinema in the Digital Age' by the British Film Institute (2001).\nLe Grice is a Professor Emeritus of the University of the Arts London where he is a collaborating director with David Curtis of the British Artists Film and Video Study Collection.","bio_dates":"b. 1940"},{"slug":"le_grice_malcolm_yes_no_maybe_not_1967","ok":true,"partial":false,"title":"Yes No Maybe Maybe Not","artist":"Malcolm Le Grice","year":"1967","startOffset":0,"sourceSecs":459.524,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":175364032,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/le_grice_malcolm_yes_no_maybe_not_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/le_grice_malcolm_yes_no_maybe_not_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/le_grice_malcolm_yes_no_maybe_not_1967.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/le_grice_malcolm_yes_no_maybe_not_1967/main.mp4?v=2","description":"This is a film, which like Little Dog For Roger, makes its experience through specific cutting devices in the printing and processing technique. The images which are used certainly have been chosen for meanings and qualities they imply. But the impact of the film comes through the way in which they are transformed in the printing – mainly involving certain kinds of positive-negative superimposition. There is no thematic or narrative aspect to this film…it is almost entirely a present visual-movement experience. --\n\nfor further information about this artist and work. The LUX site offers extensive resources for curators, students, artists and educators.","artist_bio":"Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960's. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the\nParis Biennale No.8, Arte Inglese Oggi\n, Milan,\nUne Histoire du Cinema\n, Paris,\nDocumenta 6\n, Kassel,\nX-Screen\nat the Museum of Modern Art, Vienna, and\nBehind the Facts\nat the Fondacion Joan Miro, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D'Avignon. A number of longer films have been transmitted on British TV, including 'Finnegans Chin', 'Sketches for a Sensual Philosophy' and 'Chronos Fragmented'. His main work since the mid 1980's is in video and digital media and includes the multi-projection video installation works 'The Cyclops Cycle' and 'Treatise'.\nLe Grice has written critical and theoretical work including a history of experimental cinema 'Abstract Film and Beyond' (1977, Studio Vista and MIT). For three years in the 1970's he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected and recently published under the title 'Experimental Cinema in the Digital Age' by the British Film Institute (2001).\nLe Grice is a Professor Emeritus of the University of the Arts London where he is a collaborating director with David Curtis of the British Artists Film and Video Study Collection.","bio_dates":"b. 1940"},{"slug":"lebel_jean_jacques_les_avatars_de_venus_2007","ok":true,"partial":true,"title":"Les Avatars de Vénus","artist":"Jean-Jacques Lebel","year":"2007","startOffset":0,"sourceSecs":2379.24,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":407016421,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lebel_jean_jacques_les_avatars_de_venus_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lebel_jean_jacques_les_avatars_de_venus_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lebel_jean_jacques_les_avatars_de_venus_2007.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lebel_jean_jacques_les_avatars_de_venus_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lebel_jean_jacques_les_avatars_de_venus_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"40-minute morphing of Venus figures from all ages and civilizations, which have been collected by Jean-Jacques Lebel over the years. The video is part of Lebel's installation in time and space Reliquaire pour un culte de Vénus.","artist_bio":"Jean-Jacques Lebel & Xavier Villetard - Beat Generation (2013)\nJean-Jacques Lebel (born in Paris on June 30, 1936) is a French artist, poet, translator, poetry publisher, political activist, art collector, and art historian. Besides his heterogeneous artworks and poetry, Lebel is also known for his very early work with Happenings, as an art theory writer with close ties to the American scene, and as an art curator. He is the son of Robert Lebel art critic and close friend of Marcel Duchamp.","bio_dates":"b. 1936"},{"slug":"leccia_ange_aze_2003","ok":true,"partial":false,"title":"Azé","artist":"Ange Leccia","year":"2003","startOffset":0,"sourceSecs":4203.96,"sourceHeight":432,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":241646518,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leccia_ange_aze_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leccia_ange_aze_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leccia_ange_aze_2003.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leccia_ange_aze_2003/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leccia_ange_aze_2003/main/master.m3u8?v=2","hasMainHls":true,"description":"Fleeing the Middle East, a terrorist discovers Western civilization. His subjective journey provides the occasion for a fiction halfway between an adventure and romance movie. Sensation and feelings guide the story along and give rise to a series of visual and aural impressions that speak of the encounter between different cultures.","artist_bio":"Ange Leccia (born 19 April 1952) is a contemporary French painter, photographer and film-maker. He works in Paris primarily with photography and video.\nLeccia was born in Minerbio, Barrettali commune, in Corsica, and studied the fine arts. Initially he was engaged in both painting and photography, but as time passed he devoted himself more to photography and video as his chosen media.\nLeccia is a lecturer at the École nationale supérieure d'arts de Cergy-Pontoise (ENSAPC). He also directs research for young artists at the Palais de Tokyo in Paris.\nLeccia's first film was the short, Stridura, in 1980. In December 2004, his film Azé, made in 1999, was released. Like his earlier work, such as the shorts Île de beauté (Island of Beauty) (1996) and Gold (2000), both co-produced with Dominique Gonzalez-Foerster, in Azé Ange Leccia continued to stress the light and sound effects.","bio_dates":"b. 1952"},{"slug":"leccia_ange_perfect_day_2007_iphone","ok":true,"partial":false,"title":"Perfect Day","artist":"Ange Leccia","year":"2007","startOffset":0,"sourceSecs":3876.034,"sourceHeight":320,"sourceWidth":436,"hasAudio":true,"hasAmbientMp4":true,"bytes":213178062,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leccia_ange_perfect_day_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leccia_ange_perfect_day_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leccia_ange_perfect_day_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leccia_ange_perfect_day_2007_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leccia_ange_perfect_day_2007_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"A recollection of almost 40 years of career. A giant image-jukebox, from early 70s autoportrait to films for Alain Bashung / Elli Medeiros, private karaokes to \"video sculptures\" applied to John Travolta or Maria Callas, and much much more...","artist_bio":"Ange Leccia (born 19 April 1952) is a contemporary French painter, photographer and film-maker. He works in Paris primarily with photography and video.\nLeccia was born in Minerbio, Barrettali commune, in Corsica, and studied the fine arts. Initially he was engaged in both painting and photography, but as time passed he devoted himself more to photography and video as his chosen media.\nLeccia is a lecturer at the École nationale supérieure d'arts de Cergy-Pontoise (ENSAPC). He also directs research for young artists at the Palais de Tokyo in Paris.\nLeccia's first film was the short, Stridura, in 1980. In December 2004, his film Azé, made in 1999, was released. Like his earlier work, such as the shorts Île de beauté (Island of Beauty) (1996) and Gold (2000), both co-produced with Dominique Gonzalez-Foerster, in Azé Ange Leccia continued to stress the light and sound effects.","bio_dates":"b. 1952"},{"slug":"leccia_ange_stridura_1980","ok":true,"partial":false,"title":"Stridura","artist":"Ange Leccia","year":"1980","startOffset":0,"sourceSecs":829.291,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":146510118,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leccia_ange_stridura_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leccia_ange_stridura_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leccia_ange_stridura_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leccia_ange_stridura_1980/main.mp4?v=2","description":"STRIDURA, 1980, 16 mm, couleur, son, 13 min. Image : Richard Pizon Son : Michel Rossi Mus : André Almurò Mont : Milka Assaf Int : Pierre Clémenti. <br/><br/> In a desolated world, a martyr is steered by a man giving orders from a control room. His henchmen torture the resistance fighter. Are the parts played by victim and hangman defined as clearly as it seems? Ange Leccia offers a political reflection about the power of images and their manipulative force.<br/><br/>FABIEN DANESI<br> Stridura, de Ange Leccia <br><br/> Dans un monde survivant après une catastrophe, un homme, attaché à un arbre comme le fut autrefois saint Sébastien, attend l'heure de son tourment. Celui-ci prend place dans un terrain vague sur ordre d'un bourreau élégant et théâtral, chef d'orchestre confiné à l'intérieur d'une salle de contrôle d'où il dirige l'ensemble de cette opération. La sentence survient quand les sbires s'emparent du prisonnier pour le faire tournoyer avant qu'il ne s'écroule comme un pantin désarticulé. La dépouille, suivie par le cortège funèbre, est traînée dans les amas de gravats, comme le triomphe de l'oppression. Elle n'est cependant pas la conclusion du scénario. <br/><br/> En effet, Stridura, court métrage d'Ange Leccia réalisé avec le concours du G.R.E.C. en 1979, n'est pas une dénonciation politique d'un quelconque régime mais s'intéresse tout d'abord à la manipulation inhérente à son art. L'image et le son sont travaillés tous les deux par l'incertitude. Le dirigeant est relié à la scène du martyre par une caméra invisible. Le talkie-walkie grâce auquel il entre en contact avec ses subalternes ne donne, quant à lui, aucune information sur les directives car le flux de paroles est parasité, masqué par des ronflements métalliques mêlés à un vent violent. Si la stridence lie l'environnement rougeoyant, irradié, suffocant, à la pièce des écrans de surveillance bleutés, froids, distanciés, la réalité n'en disparaît pas moins dans la séparation de ces deux univers. Lorsque le commanditaire rejoint le lieu du supposé assassinat, il découvre, pour unique indice de la scène à laquelle il crut assister, le bandeau qui couvrait les yeux du mort. Le spectateur devine de la sorte le véritable aveugle de l'histoire. Le face-à-face était un simulacre, la présidence de cette mascarade ne revient pas à qui l'on croit. Il nous est ainsi montré que les moyens de communication abolissent toute faculté de discernement, toute vérité. Les opérations pour que l'image ne s'évanouisse pas sont finalement frappées d'inutilité puisqu'elles servent uniquement à alimenter l'illusion du pouvoir. Un plan des pieds nus marchant sur un brasier de pierres symbolise pleinement cette duplicité : le calme du détenu libéré souligne sa capacité de résistance, qu'il doit seulement à l'image. Elle crée littéralement ce feu ardent. Elle est elle-même une combustion, une véritable puissance, la première des armes. <br/><br/> Marqué par une inquiétante confusion entre la victime et son tortionnaire, Stridura est un film schizophrénique, dont l'hallucination révèle la déchirure du titre : en 1979, alors qu'Ange Leccia se trouvait à Paris, certains de ses amis nationalistes corses étaient emprisonnés. L'homme au bandeau fait écho à l'emblème de son île natale, la tête de Maure, et signifie son écartèlement durant cette période. Le bandeau est aussi le signe célèbre de Pier Paolo Pasolini, mort le 2 novembre 1975 sur un terrain vague près de la plage d'Ostie, dans des circonstances non élucidées. L'artiste a toujours exprimé son admiration pour le cinéaste et poète italien dont il a choisi ici l'un des acteurs, Pierre Clémenti. Ce dernier est le manipulateur manipulé, l'ordonnateur de sa propre duperie, le jouet d'une mise en scène qui lui échappe. <br/><br/> Il faut alors noter que Stridura apparaît comme un moment d'autant plus particulier dans la carrière d'Ange Leccia qu'il fut sa seule et unique expérience de travail en groupe. Les difficultés qu'il eut avec l'équipe de tournage pour imposer ses idées, notamment dans la direction des acteurs, l'amenèrent à privilégier les arts plastiques où la solitude de la création dispense de tout compromis. Reste un court métrage déjà marqué par sa fascination pour l'image et pour l'énergie que celle-ci peut dégager. L'esthétique des années soixante-dix et l'aspect obsolète de la technologie, loin d'affaiblir son propos, lui confèrent à présent une paradoxale atemporalité. <br/><br/> STRIDURA, 1980, 16 mm, couleur, son, 13 min. Image : Richard Pizon Son : Michel Rossi Mus : André Almurò Mont : Milka Assaf Int : Pierre Clémenti.</br></br>","artist_bio":"Ange Leccia (born 19 April 1952) is a contemporary French painter, photographer and film-maker. He works in Paris primarily with photography and video.\nLeccia was born in Minerbio, Barrettali commune, in Corsica, and studied the fine arts. Initially he was engaged in both painting and photography, but as time passed he devoted himself more to photography and video as his chosen media.\nLeccia is a lecturer at the École nationale supérieure d'arts de Cergy-Pontoise (ENSAPC). He also directs research for young artists at the Palais de Tokyo in Paris.\nLeccia's first film was the short, Stridura, in 1980. In December 2004, his film Azé, made in 1999, was released. Like his earlier work, such as the shorts Île de beauté (Island of Beauty) (1996) and Gold (2000), both co-produced with Dominique Gonzalez-Foerster, in Azé Ange Leccia continued to stress the light and sound effects.","bio_dates":"b. 1952"},{"slug":"leckey_mark_3_minute_wonder","ok":true,"partial":false,"title":"3 minute wonder [Turner Prize 2008 : Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes].","artist":"Mark Leckey","year":"2008","startOffset":0,"sourceSecs":191.96,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":80559550,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_3_minute_wonder/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_3_minute_wonder/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_3_minute_wonder.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leckey_mark_3_minute_wonder/main.mp4?v=2","description":"[U.K.] : Tate/Art for the world/ Channel 4, 2008","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"leckey_mark_bigboxstatueaction_02_06_2011","ok":true,"partial":false,"title":"BigBoxStatueAction (2011)","artist":"Mark Leckey","year":"2011","startOffset":0,"sourceSecs":273.74,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":125999444,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_bigboxstatueaction_02_06_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_bigboxstatueaction_02_06_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_bigboxstatueaction_02_06_2011.mp4","hasFrames":true,"description":"Thursday 2 June 2011<br/><br/> Performed on the occasion of the exhibition, Mark Leckey, SEE WE ASSEMBLE, Serpentine Gallery.","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"leckey_mark_cinema_in_the_round_2007","ok":true,"partial":false,"title":"Cinema in the Round","artist":"Mark Leckey","year":"2007","startOffset":0,"sourceSecs":2541.404,"sourceHeight":566,"sourceWidth":714,"hasAudio":true,"hasAmbientMp4":true,"bytes":434237288,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_cinema_in_the_round_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_cinema_in_the_round_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_cinema_in_the_round_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leckey_mark_cinema_in_the_round_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leckey_mark_cinema_in_the_round_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"Artworlders turned out in droves at the Guggenheim this past Wednesday for Mark Leckey's performance-cum-lecture, \"Cinema in the Round,\" the penultimate event in Creative Time's Hey Hey Glossolalia series. Pairing a handsome suit with his blonde, surfer shag, Leckey looked every bit the irreverent orator as he assumed the lectern in the museum auditorium and delivered a refreshingly unorthodox reading of art and cinema history. Of particular importance was the question of how something cinematic may move from a state of \"pure horizontality\" to that of \"pure verticality,\" which, for Leckey, was analogous to asking how a cinematic image may become an object, sculpture, monument or \"beast.\" James Cameron's Titanic was one of many exemplars of this process, described by Leckey as a \"time-travel film\" that compressed \"the bookends of the 20th century\" (the materiality of early industrial manufacturing, the immateriality of late software production and 3D design) and torqued this resulting hybrid around one deceptively small iceberg. At other moments, Leckey's interest in exploring the sculptural and material language of cinema led to his relating Philip Guston's \"ham-fisted, meat-and-potatoes\" paintings and Georg Baselitz's still-lives of severed feet to skitterish, early Felix the Cat animations and the mass-agglutination aesthetics of music video production company Encylopedia Pictura. Such eclectic sampling would seem haphazard in other hands, but Leckey's familiarity with his source material bolstered its expressive content, and the narrational pliancy he brought to the lecture's structure proved thoughtful and engaging. - Tyler Coburn","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"leckey_mark_concrete_vache","ok":true,"partial":false,"title":"Concrete Vache","artist":"Mark Leckey","year":"2010","startOffset":0,"sourceSecs":1062,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":427785817,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_concrete_vache/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_concrete_vache/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_concrete_vache.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leckey_mark_concrete_vache/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leckey_mark_concrete_vache/main/master.m3u8?v=2","hasMainHls":true,"description":"Leckey has created two new films about Milton Keynes Gallery. The first, Concrete Vache makes use of the Gallery's extensive documentation, splicing together footage from numerous past exhibitions and events to create a continuous narrative which will be presented alongside a number of 3D models. The second film combines images of the empty Gallery itself, and is shown with imaginary drawings made from descriptions of the site by Viz cartoonist Lee Healey. There will also be a wall-based installation comprising hundreds of thumbnail images from past Milton Keynes Gallery exhibitions.","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"leckey_mark_dream_english_kid_1964_199ad","ok":true,"partial":false,"title":"Dream English Kid 1964 – 1999AD","artist":"Mark Leckey","year":"1964","startOffset":0,"sourceSecs":1382.058,"sourceHeight":578,"sourceWidth":788,"hasAudio":true,"hasAmbientMp4":true,"bytes":234694848,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_dream_english_kid_1964_199ad/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_dream_english_kid_1964_199ad/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_dream_english_kid_1964_199ad.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leckey_mark_dream_english_kid_1964_199ad/main.mp4?v=2","description":"my memoirs using found footage”<br/><br/> In 1979, Eric’s nightclub in Liverpool hosted a gig by Joy Division that Mark Leckey attended in his youth. Recently, the artist located amateur footage of the event on YouTube. Realising that many of the personal memories we have can be found online, Leckey began to assemble a film. 'Dream English Kid 1964 – 1999AD' uses archival material from television shows, advertisements and music, to recreate a record of all the significant events in his life from the 1970s until the 1990s. “I set out to make","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"leckey_mark_drunken_bakers","ok":true,"partial":false,"title":"Drunken Bakers","artist":"Mark Leckey","year":"2006","startOffset":0,"sourceSecs":304.378,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":14478993,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_drunken_bakers/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_drunken_bakers/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_drunken_bakers.mp4","hasFrames":true,"description":"The Drunken Bakers is a strip cartoon in the British adult humour magazine Viz created by Barney Farmer and Lee Healey. It depicts the alcohol-dominated lives of two forlorn bakers who attempt to run a small bakery. The strip was adapted into a video-art installation piece by the artist Mark Leckey in 2006. The strip has been compared to the work of Samuel Beckett. Its nihilistic aspects have impressed critics. Roberta Smith, in the New York Times said \"The aesthetic compression of Mr Farmer's dialogue and Mr Healey's line...convey an oppressive sense of the drinker's irresistible drive for oblivion.\"","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"leckey_mark_effects_shots_from_the_thing_in_regents_pa","ok":true,"partial":false,"title":"Effects shots from ‘The Thing In Regents Park’ 2007","artist":"Mark Leckey","year":"2007","startOffset":0,"sourceSecs":140.04,"sourceHeight":360,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":4553797,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_effects_shots_from_the_thing_in_regents_pa/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_effects_shots_from_the_thing_in_regents_pa/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_effects_shots_from_the_thing_in_regents_pa.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leckey_mark_effects_shots_from_the_thing_in_regents_pa/main.mp4?v=2","description":"These are the effects shots from Mark Leckey's 'The Thing In Regents Park'. The 'Thing' was modelled on a now-destroyed sculpture by JD Williams. As far as I know the film itself is not currently available online.","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"leckey_mark_felix_gets_broadcasted","ok":true,"partial":false,"title":"Felix Gets Broadcasted","artist":"Mark Leckey","year":"2007","startOffset":0,"sourceSecs":296.777,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":17636893,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_felix_gets_broadcasted/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_felix_gets_broadcasted/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_felix_gets_broadcasted.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leckey_mark_felix_gets_broadcasted/main.mp4?v=2","description":"In his video \"Felix Gets Broadcasted\" (2007), Mark Leckey explores the history of the moving image. Based on photographs that document the television experiments conducted by America’s National Broadcasting Company (NBC) in the late 1920s, the artist attempts to trace the course of the first television transmissions. While today’s electronic television works with cameras, early television images were scanned by a mechanical scanner and then transmitted. The central element of this scanner was the so-called Nipkow disk, on which holes are punched in a spiral arrangement. Each hole is exactly one hole-width deeper on the disc than the previous one. The subsequent image field is as large as the distance between two consecutive holes. When the disc is rotated, a hole thus moves from left to right through the scanned image window. This process repeats for each line of the image in each second. Light reflected from the object can thus be scanned over the entire image with a single light-sensitive selenium cell line by line – in 1928 there were just 30 lines – and converted into a continuous electrical signal. (1)<br/><br/>In the experiments of the 1920s, Otto Messmer’s cartoon character Felix the Cat served as a test object; in \"Felix Gets Broadcasted\" Leckey reconstructs these first American television broadcasts by placing a sculpture of the comic figure against a black enclosure, in the middle of which is a mirror surrounded by four spotlights. The figure stands in the center of the arrangement on a grammophone turntable, which begins to rotate. Situated across from this is a mechanical scanner with two wooden discs. A ray of light is emitted from the point at which the photocell would be. The apparatus seems to scan Felix the Cat; besides shrieking and screeching noises, the rotating disks can be heard (this, however, is more reminiscent of a crushing sound than the sound of scanning). The video repeatedly shows closeup images of Felix’s head – fragmented and cut up into bar patterns – underlaid by an electrical crackle. This is what the image in the interior of the machine must have looked like when it was sent to the airwaves the first time. The flashing light from the system intermittently makes the cartoon cat look monstrous and frightening – it was not for nothing that the cinema world feared the invention of television. With the first television broadcasts, the cinema encountered its greatest competitors: While information was initially available only in a process of collective viewing, the invention of television made individual reception possible.<br/><br/>In “Felix Gets Broadcasted” (as <br>in other works), what is crucial to Leckey is the transformation of an object into an image of the object. \"Actually, it’s about the fact that I have a problem with experiencing objects in the world, so I have to turn that object into an image before I can experience it as an object.\" (2) Our perception of objects has been influenced by visual media such as film or television ever since their existence, whereby the two forms of media are fundamentally different: Film is primarily about the rapid succession of individual photographic images. The object in its entirety is captured on celluloid, and the change from one image to the next is perceived as a movement. The focus is on the issue of image and likeness. In television (and video), on the other hand, the image – thus, the object – is divided into lines. The object is \"dematerialized\" and the light is converted into electrical current, which passes through a conduit to the receiver. These types of images consist of a steady flow of signals that have nothing in common with the object in the real sense. Therefore, with \"Felix Gets Broadcasted\", Leckey also exposes the nature of television as well as digital images, whose main feature is the fragmentation of reality and its reconstruction.</br>","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"leckey_mark_fioruccimademehardcore_1999","ok":true,"partial":false,"title":"Fiorucci Made Me Hardcore","artist":"Mark Leckey","year":"1999","startOffset":0,"sourceSecs":886.763,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":158609022,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_fioruccimademehardcore_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_fioruccimademehardcore_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_fioruccimademehardcore_1999.mp4","hasFrames":true,"description":"The work, a video, is a compilation of found footage from the 1970s, 1980s and 1990s underground music and party scene in the U.K. It follows on the path of several previous appropriative art video artists and critics have remarked on its similarities with William S. Burroughs' technique of cut-ups,[8] a literary technique whereupon a text’s sentences or words are cut up and later randomly re-hashed into a new text. Through “found and original footage of discos and raves across Britain during the 1970s, 1980s and 1990s” he “chronicle[s] the rites of passage experienced by successive generations of British (sub)urban youth”.[3]<br/><br/> Fiorucci Made Me Hardcore patches up several videos of young people dancing, singing and partying. It starts with the disco scene of the 1970s, touches upon the Northern soul of the late 1970s and early 1980s and climaxes with the rave scene of the 1990s. One underlying soundtrack plays during the whole video, giving a sense of unity and narrative to the video. At one point an animated element - a bird tattoo image - appears as if released from the hand of a dancer, then carried into the next shot finds its place on the arm of another of the film's nightclubbing subjects. Some dance moves are played on loop for a few seconds, some are played in slow motion. Writing about Leckey’s first few video pieces, which in addition to Fiorucci… include We Are (Untitled) (2000) and Parade (2003), the art critic Catherine Wood said that they “represent the human subject striving to spread itself out into a reduced dimensionality. His subjects dance, take drugs and dress up in their attempts to transcend the obstinate physicality of the body and disappear in abstract identification with the ecstasy of music, or the seamlessness of the image.”[9]","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"leckey_mark_flix","ok":true,"partial":false,"title":"Flix","artist":"Mark Leckey","year":"2008","startOffset":0,"sourceSecs":119.958,"sourceHeight":464,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":19459847,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_flix/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_flix/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_flix.mp4","hasFrames":true,"description":"Film, 16 mm, projection, black and white<br/> Dimensions","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"leckey_mark_green_screen_refrigerator_2010","ok":true,"partial":false,"title":"GreenScreenRefrigeratorAction (2010)","artist":"Mark Leckey","year":"2010","startOffset":0,"sourceSecs":1030.28,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":67222366,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_green_screen_refrigerator_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leckey_mark_green_screen_refrigerator_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leckey_mark_green_screen_refrigerator_2010.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leckey_mark_green_screen_refrigerator_2010/main.mp4?v=2","description":"London-based Mark Leckey, recipient of the 2008 Turner prize, immerses himself in images and objects through a ritualistic process of communication. In doing so, Leckey consumes the already-made in order to conjure new experiences with it. His multi-disciplinary approach is rooted in performance and expands into sculpture, printmaking, sound and moving image.<br/><br/> In the early part of the last decade, Leckey began work with large speaker stacks to produce a series of performances. Compositions of sound, voice and music were directed through the speakers, which Leckey refers to as “big surrogate voice boxes”, towards large modern sculptures. These actions offer the artist a common ground from which he is able to speak with a monumental sculpture. Recently, Leckey has expanded his choice of objects to include things from outside the artistic canon. Earlier this year in Manchester, he performed BigBoxIndustrialAction, for a three tonne steam engine, an object that can be read as a proxy for the industrial history of the city. In Banff, BigBoxNaturalAction pairs one of the artist’s speaker stacks with a slab of Rundle rock. This stone is quarried locally and is commonly used for buildings in the region; most notably, the Banff Springs Hotel is constructed from this material. BigBoxNaturalAction stages a conversation between Leckey and the layers of ancient sediment found in the Rundle rock; reactivating its matter, atom by atom.<br/><br/> The notion of communication with an object is further explored in the work GreenScreenRefrigeratorAction. Created in 2010 as the environment for a performance in New York, the work features a Samsung smart fridge positioned within an infinity green screen. The accompanying video recalls the script of the original performance and includes imagery of the fridge pondering its existence and attempting to position itself with like objects and within strange environments. By means of radio frequency identification technology embedded within our food products, this model of refrigerator is able to keep track of its contents and adjusts its temperature accordingly. Leckey evokes a dialogue with the refrigerator in order to attempt to understand this recent concept of objects and tools becoming instilled with their own sentience. The smart fridge is an example of ambient technology, in which a machine is able to create its own data aura and position itself and its functions towards the humans and other objects around it. As we layer our environments with these self-prophesying technologies, a new digital ecosystem will emerge. Leckey shows us other possibilities for activity within this soon-to-come reality.","artist_bio":"3 minute wonder [Turner Prize: Runa Islam, Mark Leckey , Goshka Macuga, Cathy Wilkes] (2008)\nMark Leckey (born 1964 in Birkenhead, Wirral) is a British artist, working with collage art, music and video. His found art and found footage pieces span several videos, most notably Fiorucci Made Me Hardcore (1999) and Industrial Lights and Magic (2008), for which he won the 2008 Turner Prize.","bio_dates":"b. 1964"},{"slug":"lee_helen_myniagara_1992","ok":true,"partial":false,"title":"My Niagara","artist":"Helen Lee","year":"1992","startOffset":0,"sourceSecs":2314.356,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":397253871,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lee_helen_myniagara_1992/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lee_helen_myniagara_1992/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lee_helen_myniagara_1992.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lee_helen_myniagara_1992/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lee_helen_myniagara_1992/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"An inspired and resonant portrait of tenuous teen sensuality emerging from seamless suburban facades.\" - David McIntosh, Toronto Festival of Festivals <br/><br/>\"\"'My Niagara' is definitely set in Toronto for people who know Toronto. But I wanted it to be read both ways, the character to be either Japanese Canadian or Japanese American. It's also a matter of political self-definition, of what it means to be Asian American or Asian Canadian... It's a matte of dissolving boundaries, about collapsing categories, as much as about self definition.\" - Helen Lee, Fuse Magazine, Fall 1993","artist_bio":"Helen Lee is an independent filmmaker\nbased in Toronto and Seoul. She emigrated from Korea, where she was\nborn, at age four with her family to Canada.\nLee studied English Literature and\nCinema Studies at the University of Toronto, where she was awarded\nthe Norman Jewison Fellowship for further studies in film. She received\nher Master’s Degree in Cinema Studies at New York University\nand attended the Whitney Museum’s Independent Study Program\nin Critical and Curatorial Studies as a Helena Rubinstein Fellow.\nThrough the Academy of Canadian Film and TV’s Director Observer\nProgram, Lee served a directing internship with Atom Egoyan during\nthe making of “\nExotica\n.” She completed her film\ntraining at the Canadian Film Centre as Director Resident.\nLee has made a number of acclaimed\nfilms, all of which premiered at the Toronto International Film Festival.\nHer first short film, “\nSally’s Beauty Spot\n”\n(1990) received an Award of Excellence at the Ann Arbor Film Festival\nand is screened widely in Asian American cinema classes. “\nMy\nNiagara\n” (1992) was awarded a Special Jury Citation for\nBest Short Film at TIFF. Her CFC thesis film,“\nPrey\n”\n(1995) was an official selection of the Clermont-Ferrand Short Film\nFestival. “\nSubrosa\n” (2000) received a Director’s\nCitation Award from the Black Maria Film Festival. Lee’s debut\nfeature, “\nThe Art of Woo\n” (2001) was released\nby Odeon Films/Alliance Atlantis domestically and invited to numerous\nfestivals worldwide.\nPrior to filmmaking, Lee was a music\ncritic and contributing editor of the Toronto weekly, NOW Magazine.\nShe also worked in film distribution at DEC Films/Full Frame and Women\nMake Movies. Lee has taught courses at the Ontario College of Art\nand Design, served on various juries, and presented numerous guest\nlectures in Canada and the U.S. Her essay, “A Peculiar Sensation:\nA Personal Genealogy of Korean American Women’s Cinema,”\nwas published in\nDangerous Women: Gender and Korean Nationalism\n(New York: Routledge, 1997), and excerpted in\nCineaste\nand\nreprinted in\nScreening Asian Americans\n. She co-edited with\nKerri Sakamoto,\nLike Mangoes in July: The Work of Richard Fung\n,\nfor the Images Festival. A conversation with Celine Parrenas Shimizu\nabout her film work, “Sex Acts: Two Meditations on Race and\nSexuality,” appears in\nSigns: Journal of Women in Culture\nand Society\n.\nLee’s various film and\nscreenwriting projects have received support from Telefilm Canada,\nthe Harold Greenberg Fund, Canada Council, Ontario Arts Council, Toronto\nArts Council, LIFT and other film organizations. In 2002, Lee was\na guest of the DAAD’s Berliner Kunstlerprogramm in Germany,\nwhere she mounted a 3-channel performance-based video installation,\n“Cleaving” (2002) at the Werkleitz Biennale in Saxony-Anhalt.\nHer films were also the subject of a mini-retrospective at Kino Arsenal\nin Berlin. She received the BFC Award at the 2003 Pusan Promotion\nPlan (PPP), Pusan International Film Festival, and also a Chalmers\nAward from the OAC in 2004. Currently, she sits on the advisory boards\nof the Toronto Reel Asian International Film Festival and TIFFG’s\nCinematheque Ontario.","bio_dates":"b. 1965"},{"slug":"lee_helen_sallys_beauty_spot_1990_iphone","ok":true,"partial":false,"title":"Sally's Beauty Spot","artist":"Helen Lee","year":"1990","startOffset":0,"sourceSecs":757.924,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":51942445,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lee_helen_sallys_beauty_spot_1990_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lee_helen_sallys_beauty_spot_1990_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lee_helen_sallys_beauty_spot_1990_iphone.m4v","hasFrames":true,"description":"Canada/US, 1990, 12 minutes, Color, VHS/16mm <br/><br/> A large black mole above an Asian woman's breast serves as a metaphor for cultural and racial difference in this engaging experimental film. Offscreen women's voices and scenes from THE WORLD OF SUZIE WONG parallel and counterpoint Sally's own interracial relationships and emerging self-awareness. A provocative and stylish meditation on Asian femininity.","artist_bio":"Helen Lee is an independent filmmaker\nbased in Toronto and Seoul. She emigrated from Korea, where she was\nborn, at age four with her family to Canada.\nLee studied English Literature and\nCinema Studies at the University of Toronto, where she was awarded\nthe Norman Jewison Fellowship for further studies in film. She received\nher Master’s Degree in Cinema Studies at New York University\nand attended the Whitney Museum’s Independent Study Program\nin Critical and Curatorial Studies as a Helena Rubinstein Fellow.\nThrough the Academy of Canadian Film and TV’s Director Observer\nProgram, Lee served a directing internship with Atom Egoyan during\nthe making of “\nExotica\n.” She completed her film\ntraining at the Canadian Film Centre as Director Resident.\nLee has made a number of acclaimed\nfilms, all of which premiered at the Toronto International Film Festival.\nHer first short film, “\nSally’s Beauty Spot\n”\n(1990) received an Award of Excellence at the Ann Arbor Film Festival\nand is screened widely in Asian American cinema classes. “\nMy\nNiagara\n” (1992) was awarded a Special Jury Citation for\nBest Short Film at TIFF. Her CFC thesis film,“\nPrey\n”\n(1995) was an official selection of the Clermont-Ferrand Short Film\nFestival. “\nSubrosa\n” (2000) received a Director’s\nCitation Award from the Black Maria Film Festival. Lee’s debut\nfeature, “\nThe Art of Woo\n” (2001) was released\nby Odeon Films/Alliance Atlantis domestically and invited to numerous\nfestivals worldwide.\nPrior to filmmaking, Lee was a music\ncritic and contributing editor of the Toronto weekly, NOW Magazine.\nShe also worked in film distribution at DEC Films/Full Frame and Women\nMake Movies. Lee has taught courses at the Ontario College of Art\nand Design, served on various juries, and presented numerous guest\nlectures in Canada and the U.S. Her essay, “A Peculiar Sensation:\nA Personal Genealogy of Korean American Women’s Cinema,”\nwas published in\nDangerous Women: Gender and Korean Nationalism\n(New York: Routledge, 1997), and excerpted in\nCineaste\nand\nreprinted in\nScreening Asian Americans\n. She co-edited with\nKerri Sakamoto,\nLike Mangoes in July: The Work of Richard Fung\n,\nfor the Images Festival. A conversation with Celine Parrenas Shimizu\nabout her film work, “Sex Acts: Two Meditations on Race and\nSexuality,” appears in\nSigns: Journal of Women in Culture\nand Society\n.\nLee’s various film and\nscreenwriting projects have received support from Telefilm Canada,\nthe Harold Greenberg Fund, Canada Council, Ontario Arts Council, Toronto\nArts Council, LIFT and other film organizations. In 2002, Lee was\na guest of the DAAD’s Berliner Kunstlerprogramm in Germany,\nwhere she mounted a 3-channel performance-based video installation,\n“Cleaving” (2002) at the Werkleitz Biennale in Saxony-Anhalt.\nHer films were also the subject of a mini-retrospective at Kino Arsenal\nin Berlin. She received the BFC Award at the 2003 Pusan Promotion\nPlan (PPP), Pusan International Film Festival, and also a Chalmers\nAward from the OAC in 2004. Currently, she sits on the advisory boards\nof the Toronto Reel Asian International Film Festival and TIFFG’s\nCinematheque Ontario.","bio_dates":"b. 1965"},{"slug":"lefebvre_henri_e_droit_a_la_ville_de_henri_lefebvre","ok":true,"partial":false,"title":"Le droit à la ville. Un film de Jean Louis Bertuccelli","artist":"Henri Lefebvre","year":"1974","startOffset":0,"sourceSecs":1544.824,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":92562293,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lefebvre_henri_e_droit_a_la_ville_de_henri_lefebvre/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lefebvre_henri_e_droit_a_la_ville_de_henri_lefebvre/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lefebvre_henri_e_droit_a_la_ville_de_henri_lefebvre.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lefebvre_henri_e_droit_a_la_ville_de_henri_lefebvre/main.mp4?v=2","description":"En mars 1968, Le Droit à la ville de Henri Lefebvre paraît. Il provoque une prise de conscience dans l’histoire des idées sur la perception de la ville comme enjeu de société. Ce court métrage réalisé par Jean-Louis Bertucelli en 1975 a été conçu selon la formule « carte blanche ». Bertucelli est intervenu alors pour accrocher au beau texte de Lefebvre des plans tournés au hasard de Paris.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/lefebvre.html\" rel=\"noopener\" target=\"_blank\">Henri Lefebvre in UbuWeb Sound</a></br>","artist_bio":"Le droit à la ville. Un film de Jean Louis Bertuccelli (1974)\nHenri Lefebvre was a French Marxist philosopher and sociologist, best known for pioneering the critique of everyday life, for introducing the concepts of the right to the city and the production of social space, and for his work on dialectics, alienation, and criticism of Stalinism, existentialism, and structuralism. In his prolific career, Lefebvre wrote more than sixty books and three hundred articles. He founded or took part in the founding of several intellectual and academic journals such as Philosophies, La Revue Marxiste, Arguments, Socialisme et Barbarie, Espaces et Sociétés.","bio_dates":"1901-1001"},{"slug":"leger_fernand_ballet_mecanique_1924","ok":true,"partial":false,"title":"Ballet mécanique","artist":"Fernand Leger","year":"1924","startOffset":0,"sourceSecs":625.012,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":36894448,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leger_fernand_ballet_mecanique_1924/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leger_fernand_ballet_mecanique_1924/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leger_fernand_ballet_mecanique_1924.mp4","hasFrames":true,"description":"Ballet mécanique is a 1924 experimental film directed by Fernand Léger and Dudley Murphy with cinematography by <a href=\"https://ubu.com/film/ray.html\" rel=\"noopener\" target=\"_blank\">Man Ray</a>, music by George Antheil, and starring Alice Prin. The film was premiered by Frederick Kiesler in Vienna on 24 September 1924, and runs approximately 16 minutes. The original version of Antheil's music ran almost 30 minutes, and a married print of film and music was not made until 2000 by sound engineer and composer Paul Lehrman. Silent.<br/><br/> George Antheil's composition can be heard on his <a href=\"https://ubu.com/sound/antheil.html\" rel=\"noopener\" target=\"_blank\">UbuWeb Sound</a> page.","artist_bio":"Joseph Fernand Henri Léger (February 4, 1881 – August 17, 1955) was a French painter, sculptor, and filmmaker. In his early works he created a personal form of cubism which he gradually modified into a more figurative, populist style. His boldly simplified treatment of modern subject matter has caused him to be regarded as a forerunner of pop art.","bio_dates":"b. 1952"},{"slug":"leggett_mike_shepherds_bush_mike_leggett","ok":true,"partial":false,"title":"Shepherd’s Bush","artist":"Mike Leggett","year":"1971","startOffset":0,"sourceSecs":883.32,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":157746932,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leggett_mike_shepherds_bush_mike_leggett/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leggett_mike_shepherds_bush_mike_leggett/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leggett_mike_shepherds_bush_mike_leggett.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leggett_mike_shepherds_bush_mike_leggett/main.mp4?v=2","description":"Part of <a href=\"https://ubu.com/film/shoot.html\" rel=\"noopener\" target=\"_blank\">Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s (1966 - 1976)</a> <br/><br/> Taking a re-found image of a patchwork of black and white confusion and working on it using the Debrie Pinter neutral densities and aperture band the resultant image is re-related into the environment of the cinema. –M. L. \"... concerned with post-camera structuring. Again the range is wide, including systematic procedure in printing as in SHEPHERD'S BUSH... the system is not a 'content' to be 'discovered'... a loop of film shot from a fast moving camera, presumably close to the ground, is repeatedly printed, each time with a change in exposure, so that its visual quality alters in imperceptible stages from totally black to totally white, while the sound track, also a continously repeated pattern, gets lower and lower in pitch. The systematic or structural aspect of this film is again partly directed towards the appreciation of duration through attention to minimal developments in the image.\" –Malcolm LeGrice, Abstract Film and Beyond<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Taylor Mead in UbuWeb Sound</a>","artist_bio":"Mike Leggett (born 1945) is a British filmmaker, photographer, installation artist, curator, and occasional writer. He was a founding member of the London Filmmakers Co-op Workshop. Leggett now works in Australia.","bio_dates":"b. 1948"},{"slug":"legrice_malcolm_after_lumiere_larroseur_arrose_1974","ok":true,"partial":false,"title":"After Lumiere - L'Arroseur Arrose","artist":"Malcolm Le Grice","year":"1974","startOffset":0,"sourceSecs":776.853,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":137430592,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/legrice_malcolm_after_lumiere_larroseur_arrose_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/legrice_malcolm_after_lumiere_larroseur_arrose_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/legrice_malcolm_after_lumiere_larroseur_arrose_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/legrice_malcolm_after_lumiere_larroseur_arrose_1974/main.mp4?v=2","description":"Director: Malcolm Le Grice<br/> Year: 1974<br/> Country: UK<br/> Language: English<br/> Length: 12 mins<br/> Format: pal | R0<br/> Colour: Colour<br/> Certificate: E<br/> <br/> Synopsis<br/><br/> 'Though shot in 1974 before After Manet, its conception post-dated all the preparatory work for that film. It handles in a single screen way a similar area of problematic relying more evidently on speculation by the audience of the 'out of shot' state of affairs, and on the expected development of the work. Like the Manet film, it is based loosely on another work, in this case adding a character who does not feature in the Lumiere film. Both works are concerned with cinematic procedures and with the audience procedure in structuring the material.' MLG","artist_bio":"Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960's. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the\nParis Biennale No.8, Arte Inglese Oggi\n, Milan,\nUne Histoire du Cinema\n, Paris,\nDocumenta 6\n, Kassel,\nX-Screen\nat the Museum of Modern Art, Vienna, and\nBehind the Facts\nat the Fondacion Joan Miro, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D'Avignon. A number of longer films have been transmitted on British TV, including 'Finnegans Chin', 'Sketches for a Sensual Philosophy' and 'Chronos Fragmented'. His main work since the mid 1980's is in video and digital media and includes the multi-projection video installation works 'The Cyclops Cycle' and 'Treatise'.\nLe Grice has written critical and theoretical work including a history of experimental cinema 'Abstract Film and Beyond' (1977, Studio Vista and MIT). For three years in the 1970's he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected and recently published under the title 'Experimental Cinema in the Digital Age' by the British Film Institute (2001).\nLe Grice is a Professor Emeritus of the University of the Arts London where he is a collaborating director with David Curtis of the British Artists Film and Video Study Collection.","bio_dates":"b. 1940"},{"slug":"legrice_malcolm_blackbird_descending_1977","ok":true,"partial":false,"title":"Blackbird Descending - Tense Alignment","artist":"Malcolm Le Grice","year":"1977","startOffset":0,"sourceSecs":6528.448,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":1100635907,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/legrice_malcolm_blackbird_descending_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/legrice_malcolm_blackbird_descending_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/legrice_malcolm_blackbird_descending_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/legrice_malcolm_blackbird_descending_1977/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/legrice_malcolm_blackbird_descending_1977/main/master.m3u8?v=2","hasMainHls":true,"description":"MALCOLM LE GRICE is tiptoeing so gingerly backwards into that forbidden zone for the English 'Structural' filmmaker that is known as 'Narrative'.<br/><br/> Here lurk those evils 'mystification' and 'manipulation'; there is a third, of course, more horrible: the all-encompassing 'illusion'. Have the Le Grice and his Blackbird emerged unscathed and untainted? The answer is unequivocally yes, and what is more, they bear with them a whole new set of options. And this at a time when avant-garde film seems to be in need of a new direction, of renewed energy.<br/><br/> Le Grice, of course, is not alone in his endeavour. It is absolutely not a question of a 'return' to narrative; it is more a wholly new approach made possible by the investigation of 'first things', the foregrounding of cinematic procedures, characteristic of Le Grice's work - and that of other avant-garde filmmakers - over the last ten years. It might be better to speak of narrative - the act of talking - for in BLACKBIRD DESCENDING as in AFTER LUMIERE before it, the focus is not so much on the 'what' as on the 'how', the way the film describes or involves - in Michael Snow's words - \"one thing or another\". Significantly the events of the film are simple.<br/><br/> Spoken dialogue, written text and elaborate montage here join strategies that will be familiar to those acquainted with Le Grice's early work. The result is a film of great vigour, ambition, even playfulness. Simon Field from London Filmmakers' Co-op Catalogue 1997.","artist_bio":"Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960's. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the\nParis Biennale No.8, Arte Inglese Oggi\n, Milan,\nUne Histoire du Cinema\n, Paris,\nDocumenta 6\n, Kassel,\nX-Screen\nat the Museum of Modern Art, Vienna, and\nBehind the Facts\nat the Fondacion Joan Miro, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D'Avignon. A number of longer films have been transmitted on British TV, including 'Finnegans Chin', 'Sketches for a Sensual Philosophy' and 'Chronos Fragmented'. His main work since the mid 1980's is in video and digital media and includes the multi-projection video installation works 'The Cyclops Cycle' and 'Treatise'.\nLe Grice has written critical and theoretical work including a history of experimental cinema 'Abstract Film and Beyond' (1977, Studio Vista and MIT). For three years in the 1970's he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected and recently published under the title 'Experimental Cinema in the Digital Age' by the British Film Institute (2001).\nLe Grice is a Professor Emeritus of the University of the Arts London where he is a collaborating director with David Curtis of the British Artists Film and Video Study Collection.","bio_dates":"b. 1940"},{"slug":"legrice_malcolm_little_dog_for_roger_1967","ok":true,"partial":false,"title":"Little Dog For Roger","artist":"Malcolm Le Grice","year":"1967","startOffset":0,"sourceSecs":731.648,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":130523561,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/legrice_malcolm_little_dog_for_roger_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/legrice_malcolm_little_dog_for_roger_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/legrice_malcolm_little_dog_for_roger_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/legrice_malcolm_little_dog_for_roger_1967/main.mp4?v=2","description":"Part of <a href=\"https://ubu.com/film/shoot.html\" rel=\"noopener\" target=\"_blank\">Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s (1966 - 1976)</a> <br/><br/> LITTLE DOG FOR ROGER, 1967, 12 min, b/w, sd<br/> ‘Little Dog For Roger is made from some fragments of 9.5 home movie that my father shot of my mother - myself, and a dog we had. This vaguely nostalgic material has provided an opportunity for me to play with medium of celluloid and various kinds of printing and processing devices. The qualities of film the sprockets the individual frames the deterioration of records like memories, all play an important part in the meaning of this film.’ MLG","artist_bio":"Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960's. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the\nParis Biennale No.8, Arte Inglese Oggi\n, Milan,\nUne Histoire du Cinema\n, Paris,\nDocumenta 6\n, Kassel,\nX-Screen\nat the Museum of Modern Art, Vienna, and\nBehind the Facts\nat the Fondacion Joan Miro, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D'Avignon. A number of longer films have been transmitted on British TV, including 'Finnegans Chin', 'Sketches for a Sensual Philosophy' and 'Chronos Fragmented'. His main work since the mid 1980's is in video and digital media and includes the multi-projection video installation works 'The Cyclops Cycle' and 'Treatise'.\nLe Grice has written critical and theoretical work including a history of experimental cinema 'Abstract Film and Beyond' (1977, Studio Vista and MIT). For three years in the 1970's he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected and recently published under the title 'Experimental Cinema in the Digital Age' by the British Film Institute (2001).\nLe Grice is a Professor Emeritus of the University of the Arts London where he is a collaborating director with David Curtis of the British Artists Film and Video Study Collection.","bio_dates":"b. 1940"},{"slug":"legrice_malcolm_threshold_1972","ok":true,"partial":false,"title":"Threshold","artist":"Malcolm Le Grice","year":"1972","startOffset":0,"sourceSecs":802.645,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":138958245,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/legrice_malcolm_threshold_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/legrice_malcolm_threshold_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/legrice_malcolm_threshold_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/legrice_malcolm_threshold_1972/main.mp4?v=2","description":"THRESHOLD, 1972, 17 min, col, sd<br/>\"\"Threshold, made five years later, aptly offers points of comparison with <a href=\"https://ubu.com/film/legrice_dog.html\" rel=\"noopener\" target=\"_blank\">Little Dog For Roger</a>. Le Grice no longer simply uses the printer as a reflexive mechanism, but utilises the possibilities of colour-shift and permutation of imagery as the film progresses from simplicity to complexity. The initial use of pure red and green filters gives way to a broad variety of colours and the introduction of strips of coloured/celluloid which are drawn through the printer begins to build an image which becomes graphically and spatially complex - if still abstract - and which evokes the paintings of, say, Clifford Still or Morris Louis. With the film's culmination in representational, photographic imagery, one would anticipate a culminating 'richness' of image; yet the insistent evidence of splice bars and the loop and repetition of the short piece of found footage and the conflicting superimposition of filtered loops all reiterate (as in Little Dog) the work which is necessary to decipher that cinematic image.\" - Deke Dusinberre.","artist_bio":"Born in May 1940, Malcolm Le Grice started as a painter but began to make film and computer works in the mid 1960's. Since then he has shown regularly in Europe and the USA and his work has been screened in many international film festivals. He has also shown in major art exhibitions like the\nParis Biennale No.8, Arte Inglese Oggi\n, Milan,\nUne Histoire du Cinema\n, Paris,\nDocumenta 6\n, Kassel,\nX-Screen\nat the Museum of Modern Art, Vienna, and\nBehind the Facts\nat the Fondacion Joan Miro, Barcelona. His work has been screened at the Museum of Modern Art, New York, the Louvre Museum in Paris and the Tate Modern and Tate Britain in London and is in permanent collections including: the Centre Georges Pompidou, Paris; the Royal Belgian Film Archive, Brussels; the National Film Library of Australia, Canberra; German Cinamatheque Archive, Berlin; Canadian Distribution Centre, Montreal and Archives du Film Experimental D'Avignon. A number of longer films have been transmitted on British TV, including 'Finnegans Chin', 'Sketches for a Sensual Philosophy' and 'Chronos Fragmented'. His main work since the mid 1980's is in video and digital media and includes the multi-projection video installation works 'The Cyclops Cycle' and 'Treatise'.\nLe Grice has written critical and theoretical work including a history of experimental cinema 'Abstract Film and Beyond' (1977, Studio Vista and MIT). For three years in the 1970's he wrote a regular column for the art monthly Studio International and has published numerous other articles on film, video and digital media. Many of these have been collected and recently published under the title 'Experimental Cinema in the Digital Age' by the British Film Institute (2001).\nLe Grice is a Professor Emeritus of the University of the Arts London where he is a collaborating director with David Curtis of the British Artists Film and Video Study Collection.","bio_dates":"b. 1940"},{"slug":"lehovec_jiri_divotvorne_oko_1939","ok":true,"partial":false,"title":"Divotvorné oko (Thaumaturgic Eye)","artist":"Jirí Lehovec","year":"1939","startOffset":0,"sourceSecs":580.522,"sourceHeight":304,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":40907960,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lehovec_jiri_divotvorne_oko_1939/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lehovec_jiri_divotvorne_oko_1939/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lehovec_jiri_divotvorne_oko_1939.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lehovec_jiri_divotvorne_oko_1939/main.mp4?v=2","description":"Film, nazvaný „Divotvorné oko“, natočil v roce 1939 významný tvůrce krátkých filmů Jiří Lehovec, spolu s kameramany Milošem Hlávkou a Miroslavem Bártou. Něco podobného před nimi ještě nikdo neudělal – podívali se pěkně zblízka na běžné věci jako je rýžový kartáč, zvonek budíku, útroby kapesních hodinek, zdrhovadlo, bublinky v sodovce, starý gramofon – mimo jiné...","bio_dates":"1909-1995"},{"slug":"lek_lawrenc_sinofuturism_1839_2046_ad","ok":true,"partial":false,"title":"Sinofuturism (1839 - 2046 AD)","artist":"Lawrence Lek","year":"2016","startOffset":0,"sourceSecs":3600.021,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":1584117512,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lek_lawrenc_sinofuturism_1839_2046_ad/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lek_lawrenc_sinofuturism_1839_2046_ad/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lek_lawrenc_sinofuturism_1839_2046_ad.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lek_lawrenc_sinofuturism_1839_2046_ad/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lek_lawrenc_sinofuturism_1839_2046_ad/main/master.m3u8?v=2","hasMainHls":true,"description":"Sinofuturism is an invisible movement. A spectre already embedded into a trillion industrial products, a billion individuals, and a million veiled narratives. It is a movement, not based on individuals, but on multiple overlapping flows. Flows of populations, of products, and of processes. Because Sinofuturism has arisen without conscious intention or authorship, it is often mistaken for contemporary China. But it is not. It is a science fiction that already exists. Sinofuturism is a video essay combining elements of science fiction, documentary melodrama, social realism, and Chinese cosmologies, in order to critique the present-day dilemmas of China and the people of its diaspora.<br/><br/> With reference to Afrofuturism and Gulf Futurism, Sinofuturism presents a critical and playful approach to subverting cultural clichés. In Western media and Orientalist perceptions, China is exotic, strange, bizarre, kitsch, tacky, or cheap. In its domestic media, China portrayed as heroic, stable, historic, grand, and unified. Rather than counteract these skewed narratives, Sinofuturism proposes to push them much further. By embracing seven key stereotypes of Chinese society (Computing, Copying, Gaming, Studying, Addiction, Labour and Gambling), it shows how China's technological development can be seen as a form of Artificial Intelligence.<br/><br/> Lawrence Lek is an artist, filmmaker, and musician who unifies diverse practices—architecture, gaming, video, and fiction—into a continuously expanding cinematic universe. His works include the feature-length CGI filmAIDOL (2019), the video game Unreal Estate: The Royal Academy is Yours(2015), the video essay Sinofuturism (1839-2046 AD) (2016), the AI-coming-of-age story Geomancer (2017), and Nøtel, a simulation of a fully-automated luxury hotel in collaboration with Kode9 (ICA, London; Art Basel). As a musician, Lek composes soundtracks and conducts live audio-visual mixes of his works, often incorporating live playthroughs of his open-world games. His most recent release is Temple OST, the soundtrack to a site-specific installation at 180 The Strand, London.<br/><br/> Interlaced with conspiracy theories and speculative fiction, Lawrence Lek’s CGI films, installations, and open-world games explore the geopolitical impact of automation and simulation. His cinematic universe is populated with dreamers—intelligent satellites, freedom fighters, fading superstars—searching for autonomy in a future dominated by data. For this discussion about his work, Lek will integrate a live mix of excerpts from his recent films and video games, focusing on Geomancer (2017) and AIDOL (2019), his first feature-length film. These projects revolve around the ideas theorized in Sinofuturism (1839–2046 AD), Lek’s 2016 video essay about the parallels between Chinese industrialization and portrayals of artificial intelligence.<br/><br/> Lek is an artist, filmmaker, and musician working in the fields of virtual reality and simulation. He creates site-specific virtual worlds and speculative films using game software, 3-D animation, installation, and performance. Often rendering real places within fictional scenarios, his environments reflect the impact of the virtual on the politics of creativity.","artist_bio":"Based in London, Lawrence Lek (1982, Germany) is an artist working in the fields of virtual reality and simulation. He was educated at Trinity College, University of Cambridge, the Architectural Association in London, and the Cooper Union in New York. He creates site-specific virtual worlds and speculative films using gaming software, 3D animation, installation and performance. His work has been shown in exhibitions all over the world, and he has received several awards for his oeuvre.","bio_dates":"b. 1982"},{"slug":"lelouch_claude_iran_1971_iphone","ok":true,"partial":false,"title":"Iran","artist":"Claude LeLouch","year":"1937","startOffset":0,"sourceSecs":1177.478,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":72005781,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lelouch_claude_iran_1971_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lelouch_claude_iran_1971_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lelouch_claude_iran_1971_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lelouch_claude_iran_1971_iphone/main.mp4?v=2","description":"Audio/Visual: sound, color<br/> Music: Francis Lai<br/> 18 Minutes<br/> <br/> This film is best understood after watching Albert Lamorisse's <a href=\"https://ubu.com/film/lamorisse_vent.html\" rel=\"noopener\" target=\"_blank\">Baadeh Sabah</a>, an ostentatious propaganda film of the same commission that was originally rejected for it's inadequate portrayal of Iran's nouveau-modernism (urban youth, industrial marvels) and it's overly-lyrical style. In LeLouche's rendition, there are no such inadequacies. The focus is on culture - heritage, modernity and (what soon would be named) Westernization. Past and present meet - veils and miniskirts, camels and helicopters, remains of ancient Persia, the highlights of Islamic art, caviar and the oil fields and gas pumps. The Shah looks good in white turtlenecks and Farah Diba is seen in the Farah Diba hairstyle. This charming couple didn't copy Europan royalty, rather appeared as an Eastern equivalent to Mr. and Mrs. John F. Kennedy - Pax Americana had succeeded Rule Britannia. The Pahlavi dynasty was a young one, but here the Shah is depicted as the modern link in an old tradition. Many emperors have used this trick to establish a dynasty, or at least their own position. By this time the picture of Iran was changing. There was more talk of political refugees than of hairstyles. Some years passed. Came the the Islamic revolution, and Westernization was banned. Very soon it was about good or evil, black or white. This film has the quality of being both entertaining and evoking the big question of our time.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Claude LeLouch (born 30 October 1937) is a French film director, writer, cinematographer, actor and producer.\nBorn in the 9th arrondissement of Paris to a Jewish family of Algerian origin[1], LeLouch won the Palme d'Or at the Cannes Film Festival in 1966 for Un homme et une femme (A Man and a Woman), as well as two oscars including best foreign language film. The 1981 musical epic Les Uns et les Autres is widely considered as his masterpiece, and his credits now add up to 50 or so films. His father gave him a camera to give him a fresh start after his failure in the baccalaureat. He started his career with reportage - one of the first to film daily life in the U.S.S.R., the camera hidden under his coat as he made his personal journey. He also filmed sporting events like the 24 Hours of Le Mans and the Tour de France. His first full length film as director, Le Propre de l'homme, was decried by the critics - 'Claude LeLouch, remember this name well, because you will not hear it again' - Cahiers du Cinema said. La Femme Spectacle (1963), following prostitutes, women shopping, going for nose-jobs, was censored for its misogynist tendency. Un homme et une femme changed his fortunes and was met with favour even by the Cahiers group. Legend has it that LeLouch found himself one morning on the beach at Deauville when he caught sight of a young woman and her child on the sand. He thought about her story, tried to put together the story of how she had arrived at that moment. The scenario for the film was born. LeLouch set in place here some of the techniques of his filming he will use all his career. He used the locations for decor (here, the Grand Hotel at Deauville), recycled images from his old films (here, the 24 Hours of Le Mans), and used product placement as a means of financing his work (here, Jean-Louis Trintignant and his Ford Mustang.)\nLeLouch is known for making movies based heavily on improvised dialogue.\nHe was arrested after his 1976 film, C'Žtait un rendez-vous, featuring a Mercedes-Benz 450SEL 6.9 being illegally driven at high speed through the streets of Paris, was first shown publicly.\nRecent claims made by the director himself, however, suggest he drove his own Mercedes-Benz 450SEL 6.9 in the film and dubbed the sound effects of a Ferrari 275GTB.\nIn recent years the public and the critics have seemed less interested in the director. The first part of his intended trilogy ' Le Genre Humain', 'Les Parisiens' was described in Paris Match as one of the most resounding flops of French cinema. Perhaps a director like Cedric Klapisch had replaced him in the hearts of the younger generation? LeLouch responded, ' It's true no doubt, my public has grown old. It stays home and watches television.'\nHe has collaborated on no fewer than 28 occasions with the composer Francis Lai. They scored a great hit with the piece 'chabadabada' for the film Un homme et une femme sung by Nicole Croisille and Pierre Barouh, and more than 300 versions of the song exist.\nHe is the father of 7 children and is currently married to Alessandra Martines.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1937"},{"slug":"lemaitre_maurice_au_dela_du_declic_1965","ok":true,"partial":false,"title":"Au-delà du déclic","artist":"Maurice Lemaître","year":"1965","startOffset":0,"sourceSecs":594.922,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":245372118,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_au_dela_du_declic_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_au_dela_du_declic_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lemaitre_maurice_au_dela_du_declic_1965.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lemaitre_maurice_au_dela_du_declic_1965/main.mp4?v=2","description":"'hypergraphie représente pour les Lettristes le stade créateur du roman après James Joyce, car en remplaçant des mots par des dessins, des collages, par tous les signes visuels possibles, elle dépasse ainsi la prose à lettres simples. La cynégraphie ajoute à l'hypergraphie la dimension propre du cinéma, l'écoulement des reproductions visuelles et sonor","artist_bio":"Toujours A L'avant - Garde De L'avant - Garde Jusqu'Au Paradis Et Au-Dela aka Ever the Avant-Garde of the Avant-Garde till Heaven and After\n(1970)\nFilms D'Amour (1968-1989)\nL'Amour réinventé, 1979, 15 min; Des scènes d'amour très réalistes avec force détails et gros plans, 1978, 15 min 30; L'Amour, qu'est-ce?, 1976-1989, 24 min; Chantal D., Star, 1968, 26 min.\nLa biographie et la filmographie de la auteur, Maurice Lemaître, Tarzan et Mao (Frederic Acquaviva)\n(2006)\nBorn in Paris, 1926. Reads for I'Ecole des Arts et Métiers and I'Ecole des Travaux Publics. After taking part in the Liberation of Paris, he starts studying philosophy in the Sorbonne.\nIn 1949, he joins the Libertarian Movement and goes in for journalism contributing articles to the paper of this movement. In early 1950, he joins the Avant-garde lettrist group and launches two magazines simultaneously: Front de la jeunesse and Ur; one was political and the other, which was literary and pictorial is still regarded as the \"Minotaure\" of Lettrism.\nEver since, he has kept creating and working for this movement in the different fields it has dealt with : poetry, drama, painting, photography, cinema, dancing as well as economics, philosophy and recently psychopathology and psychotherapy.\nKnown as a poet and a novelist, he is mentioned in all the surveys of contemporary literature (Hachette, Larousse, etc...) in France, in the West and the East.\nVery much concerned with plastic arts and photography, he participated in more than a hundred painting and sculpture exhibitions and organized about ten shows of his own works (Salon de Mai, Comparaisons, ete ... ) His works have been purchased by museums (Museum of Modem Art of Paris, Centre Georges Pompidou, ete ... ), shown abroad in many exhibitions, (Berlin, Hambourg, Cologne, Mannheim, London, Turin, New-York, Chicago, Los Angeles, ete ... ) and acquired by many famous private collectors. Besides, he founded three Salons: \"Ecritures\", le \"Salon de la Lettre et du Signe\", le Salon \"Art, Vidéo, et cinema\".\nHe organized a great retrospective of paintings, sculptures and lettrist publications in the National Museum of Modem Art of Paris. This event foreshadowed the opening of gallery permanently dedicated to works of this tendency ; this famous lettrist hypergraphic school created super-writing, and launched all over the world many artists and successful groups such as \"Pop Art\", \"New Realism\", \"Conceptual Art\", \"Happening\" ... The National Library of Paris also exhibited Lettrist works and engravings.\nMaurice Lemaltre pioneered research in experimental cinema as he created \"Syncinéma\" and was one of the founders of the Screen Lettrist School that explicitly or implicitly influenced the New Wave. It also inspired the current cinema avant-garde including the American and European Underground as it could be seen when the French Cinémathèque paid homage to his work, or when retrospectives of his films were screnned at the Pompidou Center.\nIn March 1967, Maurice Lemaitre ran for legislative elections against the Minister of youth of the time, in order to defend the economic solutions advocated by the youth movement he was leading , I'Union de la Jeunesse. Created in 1949, this movement was the first to formulate the now widely accepted conception that it is youth, together with the ambitious of all ages, of all social classes and the creative minds in all the fields of knowledge, who constitute the driving, dynamic force of History. This theory and its implications as regards school, banking, currency, planification and the civil service gradually make their way in every country, may they be liberal or collectivise, where they have been applied smoothly or violently, inspiring such movements as the French uprising of May 68.\nThe different dramatic works of Maurice Lemaltre were performed in various places and at the Biennial of Paris, in particular those integrating the audience, a new device he was one of the first to introduce.\nHe wrote more than forty books and published numerous pamphlets, articles, magazines, handouts. He also published a new review, along with Lettrism, La Revue d'Histoire du Cin6ma, L'Avant-Garde/Arts Plastiques, L'Avant-Garde Audiovisuelle, Le Bonheur Mental .... which came after Front de, la Jeunesse, Ur, L'Art du Cinéma, Cinema Marginal, la Revue de Psychokladologie et de Psychothéie , Ecritures, Poésie Nouvelle, Le Cinéma même, Culture et Vie, etc...","bio_dates":"b. 1926"},{"slug":"lemaitre_maurice_ever_the_avant_garde_of_the_avant_garde_till_heaven_and_after_1970","ok":true,"partial":false,"title":"Toujours A L'avant - Garde De L'avant - Garde Jusqu'Au Paradis Et Au-Dela aka Ever the Avant-Garde of the Avant-Garde till Heaven and After","artist":"Maurice Lemaître","year":"1970","startOffset":0,"sourceSecs":1207.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":210751032,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_ever_the_avant_garde_of_the_avant_garde_till_heaven_and_after_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_ever_the_avant_garde_of_the_avant_garde_till_heaven_and_after_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lemaitre_maurice_ever_the_avant_garde_of_the_avant_garde_till_heaven_and_after_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lemaitre_maurice_ever_the_avant_garde_of_the_avant_garde_till_heaven_and_after_1970/main.mp4?v=2","description":"This film is a supertemporal oeuvre. The support of the audience's participations is constitued by an image, which has varied several times during the course of many a projection. A projection by Maurice Lemaître, himself, in the soundtrack, clarifies the function of the session and finishes on a challenge thrown to the room. <br/><br/> TOUJOURS A L'AVANT-GARDE DE L'AVANT-GARDE JUSQU'AU PARADIS ET AU-DELA<br/> <i>Ever the Avant-Garde of the Avant-Garde till Heaven and After</i><br/> 1970, N&B, Son, 21 min de<br/><br/><b>Maurice Lemaître</b>.<br> <br>\"\"Ce film est une oeuvre supertemporelle. Le support des participations du public est constitué par une image, qui a varié plusieurs fois au cours des diverses projections. Une projection de Maurice Lemaître, lui-même, dans la bande sonore, éclaire le fonctionnement de la séance, pour se terminer sur un défi lancé à la salle.\"</br></br>","artist_bio":"Toujours A L'avant - Garde De L'avant - Garde Jusqu'Au Paradis Et Au-Dela aka Ever the Avant-Garde of the Avant-Garde till Heaven and After\n(1970)\nFilms D'Amour (1968-1989)\nL'Amour réinventé, 1979, 15 min; Des scènes d'amour très réalistes avec force détails et gros plans, 1978, 15 min 30; L'Amour, qu'est-ce?, 1976-1989, 24 min; Chantal D., Star, 1968, 26 min.\nLa biographie et la filmographie de la auteur, Maurice Lemaître, Tarzan et Mao (Frederic Acquaviva)\n(2006)\nBorn in Paris, 1926. Reads for I'Ecole des Arts et Métiers and I'Ecole des Travaux Publics. After taking part in the Liberation of Paris, he starts studying philosophy in the Sorbonne.\nIn 1949, he joins the Libertarian Movement and goes in for journalism contributing articles to the paper of this movement. In early 1950, he joins the Avant-garde lettrist group and launches two magazines simultaneously: Front de la jeunesse and Ur; one was political and the other, which was literary and pictorial is still regarded as the \"Minotaure\" of Lettrism.\nEver since, he has kept creating and working for this movement in the different fields it has dealt with : poetry, drama, painting, photography, cinema, dancing as well as economics, philosophy and recently psychopathology and psychotherapy.\nKnown as a poet and a novelist, he is mentioned in all the surveys of contemporary literature (Hachette, Larousse, etc...) in France, in the West and the East.\nVery much concerned with plastic arts and photography, he participated in more than a hundred painting and sculpture exhibitions and organized about ten shows of his own works (Salon de Mai, Comparaisons, ete ... ) His works have been purchased by museums (Museum of Modem Art of Paris, Centre Georges Pompidou, ete ... ), shown abroad in many exhibitions, (Berlin, Hambourg, Cologne, Mannheim, London, Turin, New-York, Chicago, Los Angeles, ete ... ) and acquired by many famous private collectors. Besides, he founded three Salons: \"Ecritures\", le \"Salon de la Lettre et du Signe\", le Salon \"Art, Vidéo, et cinema\".\nHe organized a great retrospective of paintings, sculptures and lettrist publications in the National Museum of Modem Art of Paris. This event foreshadowed the opening of gallery permanently dedicated to works of this tendency ; this famous lettrist hypergraphic school created super-writing, and launched all over the world many artists and successful groups such as \"Pop Art\", \"New Realism\", \"Conceptual Art\", \"Happening\" ... The National Library of Paris also exhibited Lettrist works and engravings.\nMaurice Lemaltre pioneered research in experimental cinema as he created \"Syncinéma\" and was one of the founders of the Screen Lettrist School that explicitly or implicitly influenced the New Wave. It also inspired the current cinema avant-garde including the American and European Underground as it could be seen when the French Cinémathèque paid homage to his work, or when retrospectives of his films were screnned at the Pompidou Center.\nIn March 1967, Maurice Lemaitre ran for legislative elections against the Minister of youth of the time, in order to defend the economic solutions advocated by the youth movement he was leading , I'Union de la Jeunesse. Created in 1949, this movement was the first to formulate the now widely accepted conception that it is youth, together with the ambitious of all ages, of all social classes and the creative minds in all the fields of knowledge, who constitute the driving, dynamic force of History. This theory and its implications as regards school, banking, currency, planification and the civil service gradually make their way in every country, may they be liberal or collectivise, where they have been applied smoothly or violently, inspiring such movements as the French uprising of May 68.\nThe different dramatic works of Maurice Lemaltre were performed in various places and at the Biennial of Paris, in particular those integrating the audience, a new device he was one of the first to introduce.\nHe wrote more than forty books and published numerous pamphlets, articles, magazines, handouts. He also published a new review, along with Lettrism, La Revue d'Histoire du Cin6ma, L'Avant-Garde/Arts Plastiques, L'Avant-Garde Audiovisuelle, Le Bonheur Mental .... which came after Front de, la Jeunesse, Ur, L'Art du Cinéma, Cinema Marginal, la Revue de Psychokladologie et de Psychothéie , Ecritures, Poésie Nouvelle, Le Cinéma même, Culture et Vie, etc...","bio_dates":"b. 1926"},{"slug":"lemaitre_maurice_films_damour_1968_1989_iphone","ok":true,"partial":false,"title":"Films D'Amour","artist":"Maurice Lemaître","year":"1968-1989","startOffset":0,"sourceSecs":4683.949,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":264832905,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_films_damour_1968_1989_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_films_damour_1968_1989_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lemaitre_maurice_films_damour_1968_1989_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lemaitre_maurice_films_damour_1968_1989_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lemaitre_maurice_films_damour_1968_1989_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Includes several found-footage movies from the famed lettrist: <br/><br/> L'Amour réinventé, 1979, 15 min<br/> Des scènes d'amour très réalistes avec force détails et gros plans, 1978, 15 min 30 <br/> L'Amour, qu'est-ce?, 1976-1989, 24 min<br/> Chantal D., Star, 1968, 26 min <br/><br/>\"\"For a long time now, we have been seeing outrageous attempts at tackling the 'woman problem' (and the 'man problem') by pretentious and old-fashioned 'professors' or 'revolu-tionaries,' related to the Nazis or Stalinists, who have just as outrage-ously exalted the proletariat, race or nationality, leading to racist and imperialist crimes. Such excessive behavior can only lead to the exploita-tion and destruction of the very gender concerned. In any case, the basic components of simple love and simple friendship (and a fortiori of Super-Love and Super-Friendship), that we have explored in depth (as evoked in my film, What is Love?), are still so poorly understood today by our contemporaries that even those who claim to be happily experiencing these run the risk of being quickly proven wrong by Life itself.\"","artist_bio":"Toujours A L'avant - Garde De L'avant - Garde Jusqu'Au Paradis Et Au-Dela aka Ever the Avant-Garde of the Avant-Garde till Heaven and After\n(1970)\nFilms D'Amour (1968-1989)\nL'Amour réinventé, 1979, 15 min; Des scènes d'amour très réalistes avec force détails et gros plans, 1978, 15 min 30; L'Amour, qu'est-ce?, 1976-1989, 24 min; Chantal D., Star, 1968, 26 min.\nLa biographie et la filmographie de la auteur, Maurice Lemaître, Tarzan et Mao (Frederic Acquaviva)\n(2006)\nBorn in Paris, 1926. Reads for I'Ecole des Arts et Métiers and I'Ecole des Travaux Publics. After taking part in the Liberation of Paris, he starts studying philosophy in the Sorbonne.\nIn 1949, he joins the Libertarian Movement and goes in for journalism contributing articles to the paper of this movement. In early 1950, he joins the Avant-garde lettrist group and launches two magazines simultaneously: Front de la jeunesse and Ur; one was political and the other, which was literary and pictorial is still regarded as the \"Minotaure\" of Lettrism.\nEver since, he has kept creating and working for this movement in the different fields it has dealt with : poetry, drama, painting, photography, cinema, dancing as well as economics, philosophy and recently psychopathology and psychotherapy.\nKnown as a poet and a novelist, he is mentioned in all the surveys of contemporary literature (Hachette, Larousse, etc...) in France, in the West and the East.\nVery much concerned with plastic arts and photography, he participated in more than a hundred painting and sculpture exhibitions and organized about ten shows of his own works (Salon de Mai, Comparaisons, ete ... ) His works have been purchased by museums (Museum of Modem Art of Paris, Centre Georges Pompidou, ete ... ), shown abroad in many exhibitions, (Berlin, Hambourg, Cologne, Mannheim, London, Turin, New-York, Chicago, Los Angeles, ete ... ) and acquired by many famous private collectors. Besides, he founded three Salons: \"Ecritures\", le \"Salon de la Lettre et du Signe\", le Salon \"Art, Vidéo, et cinema\".\nHe organized a great retrospective of paintings, sculptures and lettrist publications in the National Museum of Modem Art of Paris. This event foreshadowed the opening of gallery permanently dedicated to works of this tendency ; this famous lettrist hypergraphic school created super-writing, and launched all over the world many artists and successful groups such as \"Pop Art\", \"New Realism\", \"Conceptual Art\", \"Happening\" ... The National Library of Paris also exhibited Lettrist works and engravings.\nMaurice Lemaltre pioneered research in experimental cinema as he created \"Syncinéma\" and was one of the founders of the Screen Lettrist School that explicitly or implicitly influenced the New Wave. It also inspired the current cinema avant-garde including the American and European Underground as it could be seen when the French Cinémathèque paid homage to his work, or when retrospectives of his films were screnned at the Pompidou Center.\nIn March 1967, Maurice Lemaitre ran for legislative elections against the Minister of youth of the time, in order to defend the economic solutions advocated by the youth movement he was leading , I'Union de la Jeunesse. Created in 1949, this movement was the first to formulate the now widely accepted conception that it is youth, together with the ambitious of all ages, of all social classes and the creative minds in all the fields of knowledge, who constitute the driving, dynamic force of History. This theory and its implications as regards school, banking, currency, planification and the civil service gradually make their way in every country, may they be liberal or collectivise, where they have been applied smoothly or violently, inspiring such movements as the French uprising of May 68.\nThe different dramatic works of Maurice Lemaltre were performed in various places and at the Biennial of Paris, in particular those integrating the audience, a new device he was one of the first to introduce.\nHe wrote more than forty books and published numerous pamphlets, articles, magazines, handouts. He also published a new review, along with Lettrism, La Revue d'Histoire du Cin6ma, L'Avant-Garde/Arts Plastiques, L'Avant-Garde Audiovisuelle, Le Bonheur Mental .... which came after Front de, la Jeunesse, Ur, L'Art du Cinéma, Cinema Marginal, la Revue de Psychokladologie et de Psychothéie , Ecritures, Poésie Nouvelle, Le Cinéma même, Culture et Vie, etc...","bio_dates":"b. 1926"},{"slug":"lemaitre_maurice_ganeden_2003","ok":true,"partial":false,"title":"Ganeden","artist":"Maurice Lemaître","year":"2003","startOffset":0,"sourceSecs":1006.463,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":169547290,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_ganeden_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_ganeden_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lemaitre_maurice_ganeden_2003.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lemaitre_maurice_ganeden_2003/main.mp4?v=2","description":"Synopsis <br/><br/> An original reflection on the theme of travel, that the filmmaker sees, not as a tiring and vain disturbance, amongst the illusions of reality, which are sometimes dangerous, but as a movement, an action, an undertaking, an adventure. <br/><br/> “I thought I would at first offer you a simple lesson – sorry, you don’t like being preached to – so let’s say a little advice, which of course you are not obliged to follow, well, let’s say a tip …which calls upon us to first explore the steps that were cleared by our predecessors, since it was out of the question for me to remake the new geographical landscapes of the Romantics: Rousseau, Goethe, Chateaubriand or the Naturalist descriptions of places that were miserable or picturesque, of Eugène Sue or Victor Hugo, or Dada trips to regions without any particular interest, or also the random objective encounters of the Surrealists, and of course, the travels of the explorer Amerigo Vespucci …I found accounts of travel that were extraordinary, imaginary, marvelous, utopian, exotic, fantastic explorations, etc.”<br/><br/> Trying to encapsulate the texturally complex, amorphous, and indefinable essence of Maurice Lemaître’s film Ganeden is a daunting task. On the surface, the film – evocatively named after the Hebrew word for the Garden of Eden – is a highly experimental, yet approachable anti-travelogue exposition on the imaginative adventure of mundane travel (or, in de-romanticized terms, the daily commute), an instinctively cohesive journey that strikes a sympathetic chord with Robert Breer’s wordless, stream-of-consciousness animated work Fuji, and that appropriately opens with a similar illustrative image of a figurative point of departure – the train station – in this case, appearing in the form of a still (or more accurately, paused) image of a man frozen in mid step of boarding a train from a subway station platform. However, the film also represents the culmination of the iconic Lettrist novelist, poet, artist, and filmmaker’s body of work: a creative philosophy that his groundbreaking film, Le film est déjà commencé? would prefigure in its tongue-in-cheek usurpation and cataclysmic (or at the very least, cacophonic) dismantling of the hallowed and rarefied experience of mid century cinema by upending such conventional notions of screen, projection, ambient sound, and artist performance. Intrinsic in this subversive aesthetic – and in particular, Lemaître’s evocation of urban escapism – is its empirical evolution from the Lettrist concept of psychogeography, a consciousness of an environment’s effects on an individual’s psyche. It is within this philosophical imperative that the artistic struggle becomes a broader cultural revolution to transfigure the malleable landscape of the modern city into a more vital organism of inspiration and creation – to humanize it: the city re-imagined as an integrated artistic canvas of tangible, accessible art and uncharted wonderland of quixotic adventure (as Jacques Rivette would whimsically capture the Situationist concept of dérive – a Lettrist splinter faction – in such films as Le Pont du Nord or Celine and Julie Go Boating), moving away from the automated machinery of dehumanized production and towards a state of perpetual metamorphosis and source of creative reinvigoration.<br/><br/> In this respect, the Lettrist ideal of re-asserting the human element into the industrial landscape – and consequently, propelling the creative stimulus of the individual – by reinventing the familiar into novel forms – a detournement – converges with the artistic philosophy of seminal Austrian experimental filmmaker Peter Kubelka, not only in his practical reconstitution of found film, but also in the discretization of sound from images in order to reconstruct new layers of meaning and signification. However, while Kubelka’s aesthetic is integrally rooted in the unique properties and physical materiality of celluloid – and in particular, its projected speed – Lemaître’s aesthetic is rooted in a more atemporal mixed media of traditional and contemporary visual art forms: film and video, photography and sketch drawing, digital post-production effects and hand painting, live footage and animation. In essence, while the principle of reductive, self-imprint governs both filmmakers’ body of work, Lemaître’s aesthetic is revealed through the multilayered juxtaposition of compositions – a creative methodology that is not propelled by the compact delivery of information dynamically presented at 24 frames per second (as is the case with Kubelka’s cinema, where images are often presented liminally at the threshold of registered visibility), but rather, by the conflation of discrete layers of information revealed through the density of images, in their resulting hypergraphy.<br/><br/> In Ganeden, this hypergraphy is manifested though the juxtaposition of iconic, if quotidian images – building and infrastructural architecture, train car views, cityscapes, harbors, identification markings, and informational signage – that define the urban landscape. But beyond the transfiguration of mundane images into works of art, Lemaître’s inspired act of self-imprint – his humanization of the “dehumanized city” – is ingeniously manifested through his incorporation of an inconstant, mutable artistic style throughout the film that, when superimposed against the sequence of manipulated urban images, becomes a contextual survey of several key art movements: from Primitivism (the linear figures riding the train), to Pointillism (the speckled opening sequence), to Impressionism (the lateral shot of a modern bridge painted wispily in a color palette that evokes Claude Monet’s Japanese Bridge at Giverny), to Post-Impressionism (the garishly fluorescent, Van Gogh styled re-coloration of the Eiffel Tower), to Dada (the overlaid chiseling on the iconic image of Mount Fuji), to Abstract (the compositions of saturated color blocks and instinctual geometries), and Pop Art (the alternating negative and positive photographic image of an Asian woman). Ironically, in contrast to the alienating, subversive chaos of Le film est déjà commencé?, what emerges in Lemaître’s personal and cultural journey through the evolution of art history is an assimilative aesthetic that remains reverent towards its foundational roots even as it seeks, not to push the bounds of the disparate art forms, but rather, to collapse the imaginary frontiers that separate them – to return to a unitary ideal – a Garden of Eden. -- Acquarello 2006","artist_bio":"Toujours A L'avant - Garde De L'avant - Garde Jusqu'Au Paradis Et Au-Dela aka Ever the Avant-Garde of the Avant-Garde till Heaven and After\n(1970)\nFilms D'Amour (1968-1989)\nL'Amour réinventé, 1979, 15 min; Des scènes d'amour très réalistes avec force détails et gros plans, 1978, 15 min 30; L'Amour, qu'est-ce?, 1976-1989, 24 min; Chantal D., Star, 1968, 26 min.\nLa biographie et la filmographie de la auteur, Maurice Lemaître, Tarzan et Mao (Frederic Acquaviva)\n(2006)\nBorn in Paris, 1926. Reads for I'Ecole des Arts et Métiers and I'Ecole des Travaux Publics. After taking part in the Liberation of Paris, he starts studying philosophy in the Sorbonne.\nIn 1949, he joins the Libertarian Movement and goes in for journalism contributing articles to the paper of this movement. In early 1950, he joins the Avant-garde lettrist group and launches two magazines simultaneously: Front de la jeunesse and Ur; one was political and the other, which was literary and pictorial is still regarded as the \"Minotaure\" of Lettrism.\nEver since, he has kept creating and working for this movement in the different fields it has dealt with : poetry, drama, painting, photography, cinema, dancing as well as economics, philosophy and recently psychopathology and psychotherapy.\nKnown as a poet and a novelist, he is mentioned in all the surveys of contemporary literature (Hachette, Larousse, etc...) in France, in the West and the East.\nVery much concerned with plastic arts and photography, he participated in more than a hundred painting and sculpture exhibitions and organized about ten shows of his own works (Salon de Mai, Comparaisons, ete ... ) His works have been purchased by museums (Museum of Modem Art of Paris, Centre Georges Pompidou, ete ... ), shown abroad in many exhibitions, (Berlin, Hambourg, Cologne, Mannheim, London, Turin, New-York, Chicago, Los Angeles, ete ... ) and acquired by many famous private collectors. Besides, he founded three Salons: \"Ecritures\", le \"Salon de la Lettre et du Signe\", le Salon \"Art, Vidéo, et cinema\".\nHe organized a great retrospective of paintings, sculptures and lettrist publications in the National Museum of Modem Art of Paris. This event foreshadowed the opening of gallery permanently dedicated to works of this tendency ; this famous lettrist hypergraphic school created super-writing, and launched all over the world many artists and successful groups such as \"Pop Art\", \"New Realism\", \"Conceptual Art\", \"Happening\" ... The National Library of Paris also exhibited Lettrist works and engravings.\nMaurice Lemaltre pioneered research in experimental cinema as he created \"Syncinéma\" and was one of the founders of the Screen Lettrist School that explicitly or implicitly influenced the New Wave. It also inspired the current cinema avant-garde including the American and European Underground as it could be seen when the French Cinémathèque paid homage to his work, or when retrospectives of his films were screnned at the Pompidou Center.\nIn March 1967, Maurice Lemaitre ran for legislative elections against the Minister of youth of the time, in order to defend the economic solutions advocated by the youth movement he was leading , I'Union de la Jeunesse. Created in 1949, this movement was the first to formulate the now widely accepted conception that it is youth, together with the ambitious of all ages, of all social classes and the creative minds in all the fields of knowledge, who constitute the driving, dynamic force of History. This theory and its implications as regards school, banking, currency, planification and the civil service gradually make their way in every country, may they be liberal or collectivise, where they have been applied smoothly or violently, inspiring such movements as the French uprising of May 68.\nThe different dramatic works of Maurice Lemaltre were performed in various places and at the Biennial of Paris, in particular those integrating the audience, a new device he was one of the first to introduce.\nHe wrote more than forty books and published numerous pamphlets, articles, magazines, handouts. He also published a new review, along with Lettrism, La Revue d'Histoire du Cin6ma, L'Avant-Garde/Arts Plastiques, L'Avant-Garde Audiovisuelle, Le Bonheur Mental .... which came after Front de, la Jeunesse, Ur, L'Art du Cinéma, Cinema Marginal, la Revue de Psychokladologie et de Psychothéie , Ecritures, Poésie Nouvelle, Le Cinéma même, Culture et Vie, etc...","bio_dates":"b. 1926"},{"slug":"lemaitre_maurice_lamor_reinvente_1979_iphone","ok":true,"partial":false,"title":"L'Amour réinventé","artist":"Maurice Lemaître","year":"1979","startOffset":0,"sourceSecs":4683.949,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":264830617,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_lamor_reinvente_1979_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_lamor_reinvente_1979_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lemaitre_maurice_lamor_reinvente_1979_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lemaitre_maurice_lamor_reinvente_1979_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lemaitre_maurice_lamor_reinvente_1979_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Des scènes d'amour très réalistes avec force détails et gros plans, 1978, 15 min 30.\n\nFor a long time now, we have been seeing outrageous attempts at tackling the 'woman problem' (and the 'man problem') by pretentious and old-fashioned 'professors' or 'revolu-tionaries,' related to the Nazis or Stalinists, who have just as outrage-ously exalted the proletariat, race or nationality, leading to racist and imperialist crimes. Such excessive behavior can only lead to the exploita-tion and destruction of the very gender concerned. In any case, the basic components of simple love and simple friendship (and a fortiori of Super-Love and Super-Friendship), that we have explored in depth (as evoked in my film, What is Love?), are still so poorly understood today by our contemporaries that even those who claim to be happily experiencing these run the risk of being quickly proven wrong by Life itself.\""},{"slug":"lemaitre_maurice_nos_stars","ok":true,"partial":false,"title":"Nos stars","artist":"Maurice Lemaître","year":"2002","startOffset":0,"sourceSecs":1312.179,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":210442957,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_nos_stars/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_nos_stars/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lemaitre_maurice_nos_stars.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lemaitre_maurice_nos_stars/main.mp4?v=2","description":"A chronicle of the fantasies and dream of women in avant-garde contemporary cinema The faces and bodies of new women haunt the paths and alleyways of avant-garde cinema.<br/><br/> 2002 / color / sound / 1S / 22' 19","artist_bio":"Toujours A L'avant - Garde De L'avant - Garde Jusqu'Au Paradis Et Au-Dela aka Ever the Avant-Garde of the Avant-Garde till Heaven and After\n(1970)\nFilms D'Amour (1968-1989)\nL'Amour réinventé, 1979, 15 min; Des scènes d'amour très réalistes avec force détails et gros plans, 1978, 15 min 30; L'Amour, qu'est-ce?, 1976-1989, 24 min; Chantal D., Star, 1968, 26 min.\nLa biographie et la filmographie de la auteur, Maurice Lemaître, Tarzan et Mao (Frederic Acquaviva)\n(2006)\nBorn in Paris, 1926. Reads for I'Ecole des Arts et Métiers and I'Ecole des Travaux Publics. After taking part in the Liberation of Paris, he starts studying philosophy in the Sorbonne.\nIn 1949, he joins the Libertarian Movement and goes in for journalism contributing articles to the paper of this movement. In early 1950, he joins the Avant-garde lettrist group and launches two magazines simultaneously: Front de la jeunesse and Ur; one was political and the other, which was literary and pictorial is still regarded as the \"Minotaure\" of Lettrism.\nEver since, he has kept creating and working for this movement in the different fields it has dealt with : poetry, drama, painting, photography, cinema, dancing as well as economics, philosophy and recently psychopathology and psychotherapy.\nKnown as a poet and a novelist, he is mentioned in all the surveys of contemporary literature (Hachette, Larousse, etc...) in France, in the West and the East.\nVery much concerned with plastic arts and photography, he participated in more than a hundred painting and sculpture exhibitions and organized about ten shows of his own works (Salon de Mai, Comparaisons, ete ... ) His works have been purchased by museums (Museum of Modem Art of Paris, Centre Georges Pompidou, ete ... ), shown abroad in many exhibitions, (Berlin, Hambourg, Cologne, Mannheim, London, Turin, New-York, Chicago, Los Angeles, ete ... ) and acquired by many famous private collectors. Besides, he founded three Salons: \"Ecritures\", le \"Salon de la Lettre et du Signe\", le Salon \"Art, Vidéo, et cinema\".\nHe organized a great retrospective of paintings, sculptures and lettrist publications in the National Museum of Modem Art of Paris. This event foreshadowed the opening of gallery permanently dedicated to works of this tendency ; this famous lettrist hypergraphic school created super-writing, and launched all over the world many artists and successful groups such as \"Pop Art\", \"New Realism\", \"Conceptual Art\", \"Happening\" ... The National Library of Paris also exhibited Lettrist works and engravings.\nMaurice Lemaltre pioneered research in experimental cinema as he created \"Syncinéma\" and was one of the founders of the Screen Lettrist School that explicitly or implicitly influenced the New Wave. It also inspired the current cinema avant-garde including the American and European Underground as it could be seen when the French Cinémathèque paid homage to his work, or when retrospectives of his films were screnned at the Pompidou Center.\nIn March 1967, Maurice Lemaitre ran for legislative elections against the Minister of youth of the time, in order to defend the economic solutions advocated by the youth movement he was leading , I'Union de la Jeunesse. Created in 1949, this movement was the first to formulate the now widely accepted conception that it is youth, together with the ambitious of all ages, of all social classes and the creative minds in all the fields of knowledge, who constitute the driving, dynamic force of History. This theory and its implications as regards school, banking, currency, planification and the civil service gradually make their way in every country, may they be liberal or collectivise, where they have been applied smoothly or violently, inspiring such movements as the French uprising of May 68.\nThe different dramatic works of Maurice Lemaltre were performed in various places and at the Biennial of Paris, in particular those integrating the audience, a new device he was one of the first to introduce.\nHe wrote more than forty books and published numerous pamphlets, articles, magazines, handouts. He also published a new review, along with Lettrism, La Revue d'Histoire du Cin6ma, L'Avant-Garde/Arts Plastiques, L'Avant-Garde Audiovisuelle, Le Bonheur Mental .... which came after Front de, la Jeunesse, Ur, L'Art du Cinéma, Cinema Marginal, la Revue de Psychokladologie et de Psychothéie , Ecritures, Poésie Nouvelle, Le Cinéma même, Culture et Vie, etc...","bio_dates":"b. 1926"},{"slug":"lemaitre_maurice_tarzan_et_mao","ok":true,"partial":false,"title":"La biographie et la filmographie de l’auteur, Maurice Lemaître, Tarzan et Mao (Frédéric Acquaviva)","artist":"Maurice Lemaître","year":"2006","startOffset":0,"sourceSecs":469.403,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":83965501,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_tarzan_et_mao/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_maurice_tarzan_et_mao/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lemaitre_maurice_tarzan_et_mao.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lemaitre_maurice_tarzan_et_mao/main.mp4?v=2","description":"Interview du cinéaste au sujet de son enafnce au 24 rue de Montreuil.","artist_bio":"Toujours A L'avant - Garde De L'avant - Garde Jusqu'Au Paradis Et Au-Dela aka Ever the Avant-Garde of the Avant-Garde till Heaven and After\n(1970)\nFilms D'Amour (1968-1989)\nL'Amour réinventé, 1979, 15 min; Des scènes d'amour très réalistes avec force détails et gros plans, 1978, 15 min 30; L'Amour, qu'est-ce?, 1976-1989, 24 min; Chantal D., Star, 1968, 26 min.\nLa biographie et la filmographie de la auteur, Maurice Lemaître, Tarzan et Mao (Frederic Acquaviva)\n(2006)\nBorn in Paris, 1926. Reads for I'Ecole des Arts et Métiers and I'Ecole des Travaux Publics. After taking part in the Liberation of Paris, he starts studying philosophy in the Sorbonne.\nIn 1949, he joins the Libertarian Movement and goes in for journalism contributing articles to the paper of this movement. In early 1950, he joins the Avant-garde lettrist group and launches two magazines simultaneously: Front de la jeunesse and Ur; one was political and the other, which was literary and pictorial is still regarded as the \"Minotaure\" of Lettrism.\nEver since, he has kept creating and working for this movement in the different fields it has dealt with : poetry, drama, painting, photography, cinema, dancing as well as economics, philosophy and recently psychopathology and psychotherapy.\nKnown as a poet and a novelist, he is mentioned in all the surveys of contemporary literature (Hachette, Larousse, etc...) in France, in the West and the East.\nVery much concerned with plastic arts and photography, he participated in more than a hundred painting and sculpture exhibitions and organized about ten shows of his own works (Salon de Mai, Comparaisons, ete ... ) His works have been purchased by museums (Museum of Modem Art of Paris, Centre Georges Pompidou, ete ... ), shown abroad in many exhibitions, (Berlin, Hambourg, Cologne, Mannheim, London, Turin, New-York, Chicago, Los Angeles, ete ... ) and acquired by many famous private collectors. Besides, he founded three Salons: \"Ecritures\", le \"Salon de la Lettre et du Signe\", le Salon \"Art, Vidéo, et cinema\".\nHe organized a great retrospective of paintings, sculptures and lettrist publications in the National Museum of Modem Art of Paris. This event foreshadowed the opening of gallery permanently dedicated to works of this tendency ; this famous lettrist hypergraphic school created super-writing, and launched all over the world many artists and successful groups such as \"Pop Art\", \"New Realism\", \"Conceptual Art\", \"Happening\" ... The National Library of Paris also exhibited Lettrist works and engravings.\nMaurice Lemaltre pioneered research in experimental cinema as he created \"Syncinéma\" and was one of the founders of the Screen Lettrist School that explicitly or implicitly influenced the New Wave. It also inspired the current cinema avant-garde including the American and European Underground as it could be seen when the French Cinémathèque paid homage to his work, or when retrospectives of his films were screnned at the Pompidou Center.\nIn March 1967, Maurice Lemaitre ran for legislative elections against the Minister of youth of the time, in order to defend the economic solutions advocated by the youth movement he was leading , I'Union de la Jeunesse. Created in 1949, this movement was the first to formulate the now widely accepted conception that it is youth, together with the ambitious of all ages, of all social classes and the creative minds in all the fields of knowledge, who constitute the driving, dynamic force of History. This theory and its implications as regards school, banking, currency, planification and the civil service gradually make their way in every country, may they be liberal or collectivise, where they have been applied smoothly or violently, inspiring such movements as the French uprising of May 68.\nThe different dramatic works of Maurice Lemaltre were performed in various places and at the Biennial of Paris, in particular those integrating the audience, a new device he was one of the first to introduce.\nHe wrote more than forty books and published numerous pamphlets, articles, magazines, handouts. He also published a new review, along with Lettrism, La Revue d'Histoire du Cin6ma, L'Avant-Garde/Arts Plastiques, L'Avant-Garde Audiovisuelle, Le Bonheur Mental .... which came after Front de, la Jeunesse, Ur, L'Art du Cinéma, Cinema Marginal, la Revue de Psychokladologie et de Psychothéie , Ecritures, Poésie Nouvelle, Le Cinéma même, Culture et Vie, etc...","bio_dates":"b. 1926"},{"slug":"lemaitre_suzanne_all_women_are_joan_of_arcs_1984","ok":true,"partial":false,"title":"TOUTES LES FEMMES SONT DES JEANNE D'ARC [All women are Joan of Arcs]","artist":"Suzanne Lemaître","year":"1984","startOffset":0,"sourceSecs":1424.683,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":248652630,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_suzanne_all_women_are_joan_of_arcs_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lemaitre_suzanne_all_women_are_joan_of_arcs_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lemaitre_suzanne_all_women_are_joan_of_arcs_1984.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lemaitre_suzanne_all_women_are_joan_of_arcs_1984/main.mp4?v=2","description":"TOUTES LES FEMMES SONT DES JEANNE D'ARC All women are Joan of Arcs 1984, Coul, Son, 24 min by Suzanne LEMAîTRE. <br/><br/> On these rare images of many lettrist protests, the director evokes all the creative women of History through the symbolic figure of Joan of Arc. <br/><br/> This film was actually completed by Maurice Lemaître. The soundtrack is in French from the trial of Joan of Arc."},{"slug":"lenya_lotte_sings_kurt_weill_monitor_bbc_ken_russel_1962","ok":true,"partial":false,"title":"Ken Russell - Monitor: Lotte Lenya Sings Kurt Weill","artist":"Lotte Lenya","year":"1961","startOffset":0,"sourceSecs":1014.6,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":179940463,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lenya_lotte_sings_kurt_weill_monitor_bbc_ken_russel_1962/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lenya_lotte_sings_kurt_weill_monitor_bbc_ken_russel_1962/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lenya_lotte_sings_kurt_weill_monitor_bbc_ken_russel_1962.avi","hasFrames":true,"description":"Lenya sings songs by Kurt Weill her husband, the composer who worked with Bertolt Brecht- Mack the Knife, Pirate Jenny, Sarabaya Johnny and Alabama Song. Huw Wheldon introduces each song, then Lenya sings. Sometimes she is singing against a background of Nazi power, in others she is in a bedroom. Russell says \"it was in the early 60s that I met the legendary Lenya herself and was able to talk her into appearing on the BBC Arts programme Monitor. I staged four numbers for her, including Surabaya Johnny and The Alabama Song of which I still have dazzling memories\". Huw Wheldon says the film shows the first ever performances from Mahagonny in Great Britain. The film is on interest in capturing Lotte Lenya singing, but it is disappointing with little imagery or inventiveness. The editor is Allan Tyrer. 16 minutes.","bio_dates":"1898-1981"},{"slug":"leslie_alfred_a_stranger_calls_at_midnight_a_self_interview_of_sorts","ok":true,"partial":false,"title":"A Stranger Calls at Midnight","artist":"Alfred Leslie","year":"2008","startOffset":0,"sourceSecs":1924.55,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":314520056,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leslie_alfred_a_stranger_calls_at_midnight_a_self_interview_of_sorts/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leslie_alfred_a_stranger_calls_at_midnight_a_self_interview_of_sorts/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leslie_alfred_a_stranger_calls_at_midnight_a_self_interview_of_sorts.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leslie_alfred_a_stranger_calls_at_midnight_a_self_interview_of_sorts/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leslie_alfred_a_stranger_calls_at_midnight_a_self_interview_of_sorts/main/master.m3u8?v=2","hasMainHls":true,"description":"A Stranger Calls at Midnight (2008), an innovative self-interview that reveals for the first time the back-story to several of Leslie's films, and contains two recently discovered outtakes from Pull My Daisy.","artist_bio":"Pull My Daisy\n(1959) Directed by Alfred Leslie & Robert Frank O'Hara\nThe Last Clean Shirt\n(1964) Directed by Alfred Leslie & Frank O'Hara\nAlfred Leslie was born in New York. After service in the US Coast Guard at the end of World War II, Leslie studied art at New York University, the Art Students League, and Pratt Institute. A bodybuilder and hand-balancer, Leslie posed for artist Reginald Marsh and others and modeled for classes at the Art Students League and Pratt Institute. Anticipating the Situationist International's detournement, his 1949 film Magic Thinking combined black-and-white cartoons, home movies, GI training films, industrial commercials, strip footage and old feature films. To raise the $250 required of by Tibor de Nagy Gallery to exhibit there in 1952, he appeared on Strike It Rich, an early reality television program, and won. His 1952 exhibition included The Bed-Sheet Painting, a 12 by 16 foot, black painting with a scumbled surface and white bar mounted on unstretched canvas. In the '50s, he made sculptures using seemingly insignificant materials such as plumber's tape, stapes, grommets, nails, housepaint. Anticipating John Chamberlain's sculptures made from recycled cars, Leslie tied together car mufflers and tail pipes with rope after hammering and reassembling them. In 1955, a collector gave him a Polaroid camera, driving him to take hundreds of police-style mugshots, of which only photos of Sam Francis and Al Held survived.\nInvited to partake in Museum of Modern Art's \"Art in Motion\" (1961) exhibition, curated by Pontus Hulten, Leslie proposed Jolly, a kit with the ingredients to make an inflatable sculpture. Anticipating Andy Warhol's Clouds (1966), he proposed that a massive weather balloon suspend a brick over an inflated wading pool. In 1962, having gained recognition as a second generation Abstract Expressionist painter, Leslie abruptly changed course. His new works were realistic figurative paintings in grisaille, of which he later said, \"there was a point at which I realized that if my work was to develop and evolve, and if I was to mature as an artist, these figurative ideas could not be ignored, even though following them could seem to imply that I would be turning my back on the twentieth century, turning my back on my abstract achievement\".\nOn October 17, 1966, nearly all of Leslie's monochrome paintings were destroyed in a fire. Shortly afterwards, Leslie introduced color into his paintings, which have been widely exhibited. Leslie's solo exhibitions include those at the Museum of Fine Arts, Boston (1976); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1976–77); Museum of Contemporary Art, Chicago (1977); Wichita Art Museum, Kansas (1984); Boca Raton Museum of Art, Florida (1989); and St. Louis Art Museum, Missouri (1991). Even though figuration and narration became contentious issues for painters in the 1980s, \"these concerns didn't exist per se in film, theater, literary or still photography world, all of which I was part of.\"\nLeslie is also known for his large scale charcoal drawings, and for his work as a photographer and filmmaker. Together with Robert Frank, Leslie directed the short film Pull My Daisy in 1959. The film, narrated by Jack Kerouac, was selected for the United States National Film Registry by the Library of Congress in 1996. He also created the films Directions: A Walk After the War Games (1946-9), The Last Clean Shirt with the poet Frank O'Hara (1964), The Cedar Bar (2001), Einstein's Secret (2008) and the animated film The New York Story (1963).-- Wikipedia","bio_dates":"b. 1927"},{"slug":"leslie_alfred_birth_of_a_nation","ok":true,"partial":false,"title":"Birth of a Nation 1965","artist":"Alfred Leslie","year":"1965","startOffset":0,"sourceSecs":2352.436,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":397059035,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leslie_alfred_birth_of_a_nation/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leslie_alfred_birth_of_a_nation/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leslie_alfred_birth_of_a_nation.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leslie_alfred_birth_of_a_nation/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leslie_alfred_birth_of_a_nation/main/master.m3u8?v=2","hasMainHls":true,"description":"A tantalizing fragment salvaged from a two-hour sound feature that was shot on 8-millimeter in the 60s and then largely lost in a fire. Goofy, funny, challenging, and unruly in the best sense, it's mainly a group grope with unrelated subtitles, plus a guest appearance by Willem de Kooning as Captain Nemo and the voice of Patrick Magee as the Marquis de Sade.","artist_bio":"Pull My Daisy\n(1959) Directed by Alfred Leslie & Robert Frank O'Hara\nThe Last Clean Shirt\n(1964) Directed by Alfred Leslie & Frank O'Hara\nAlfred Leslie was born in New York. After service in the US Coast Guard at the end of World War II, Leslie studied art at New York University, the Art Students League, and Pratt Institute. A bodybuilder and hand-balancer, Leslie posed for artist Reginald Marsh and others and modeled for classes at the Art Students League and Pratt Institute. Anticipating the Situationist International's detournement, his 1949 film Magic Thinking combined black-and-white cartoons, home movies, GI training films, industrial commercials, strip footage and old feature films. To raise the $250 required of by Tibor de Nagy Gallery to exhibit there in 1952, he appeared on Strike It Rich, an early reality television program, and won. His 1952 exhibition included The Bed-Sheet Painting, a 12 by 16 foot, black painting with a scumbled surface and white bar mounted on unstretched canvas. In the '50s, he made sculptures using seemingly insignificant materials such as plumber's tape, stapes, grommets, nails, housepaint. Anticipating John Chamberlain's sculptures made from recycled cars, Leslie tied together car mufflers and tail pipes with rope after hammering and reassembling them. In 1955, a collector gave him a Polaroid camera, driving him to take hundreds of police-style mugshots, of which only photos of Sam Francis and Al Held survived.\nInvited to partake in Museum of Modern Art's \"Art in Motion\" (1961) exhibition, curated by Pontus Hulten, Leslie proposed Jolly, a kit with the ingredients to make an inflatable sculpture. Anticipating Andy Warhol's Clouds (1966), he proposed that a massive weather balloon suspend a brick over an inflated wading pool. In 1962, having gained recognition as a second generation Abstract Expressionist painter, Leslie abruptly changed course. His new works were realistic figurative paintings in grisaille, of which he later said, \"there was a point at which I realized that if my work was to develop and evolve, and if I was to mature as an artist, these figurative ideas could not be ignored, even though following them could seem to imply that I would be turning my back on the twentieth century, turning my back on my abstract achievement\".\nOn October 17, 1966, nearly all of Leslie's monochrome paintings were destroyed in a fire. Shortly afterwards, Leslie introduced color into his paintings, which have been widely exhibited. Leslie's solo exhibitions include those at the Museum of Fine Arts, Boston (1976); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1976–77); Museum of Contemporary Art, Chicago (1977); Wichita Art Museum, Kansas (1984); Boca Raton Museum of Art, Florida (1989); and St. Louis Art Museum, Missouri (1991). Even though figuration and narration became contentious issues for painters in the 1980s, \"these concerns didn't exist per se in film, theater, literary or still photography world, all of which I was part of.\"\nLeslie is also known for his large scale charcoal drawings, and for his work as a photographer and filmmaker. Together with Robert Frank, Leslie directed the short film Pull My Daisy in 1959. The film, narrated by Jack Kerouac, was selected for the United States National Film Registry by the Library of Congress in 1996. He also created the films Directions: A Walk After the War Games (1946-9), The Last Clean Shirt with the poet Frank O'Hara (1964), The Cedar Bar (2001), Einstein's Secret (2008) and the animated film The New York Story (1963).-- Wikipedia","bio_dates":"b. 1927"},{"slug":"leslie_alfred_einsteins_secret","ok":true,"partial":false,"title":"Einstein's Secret","artist":"Alfred Leslie","year":"2008","startOffset":0,"sourceSecs":2010.343,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":120237822,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leslie_alfred_einsteins_secret/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leslie_alfred_einsteins_secret/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leslie_alfred_einsteins_secret.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leslie_alfred_einsteins_secret/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leslie_alfred_einsteins_secret/main/master.m3u8?v=2","hasMainHls":true,"description":"USA, 2008<br/> 33 minutes Colour, 4:3, Stereo<br/> Digibeta tape, DVD, SD Digital file","artist_bio":"Pull My Daisy\n(1959) Directed by Alfred Leslie & Robert Frank O'Hara\nThe Last Clean Shirt\n(1964) Directed by Alfred Leslie & Frank O'Hara\nAlfred Leslie was born in New York. After service in the US Coast Guard at the end of World War II, Leslie studied art at New York University, the Art Students League, and Pratt Institute. A bodybuilder and hand-balancer, Leslie posed for artist Reginald Marsh and others and modeled for classes at the Art Students League and Pratt Institute. Anticipating the Situationist International's detournement, his 1949 film Magic Thinking combined black-and-white cartoons, home movies, GI training films, industrial commercials, strip footage and old feature films. To raise the $250 required of by Tibor de Nagy Gallery to exhibit there in 1952, he appeared on Strike It Rich, an early reality television program, and won. His 1952 exhibition included The Bed-Sheet Painting, a 12 by 16 foot, black painting with a scumbled surface and white bar mounted on unstretched canvas. In the '50s, he made sculptures using seemingly insignificant materials such as plumber's tape, stapes, grommets, nails, housepaint. Anticipating John Chamberlain's sculptures made from recycled cars, Leslie tied together car mufflers and tail pipes with rope after hammering and reassembling them. In 1955, a collector gave him a Polaroid camera, driving him to take hundreds of police-style mugshots, of which only photos of Sam Francis and Al Held survived.\nInvited to partake in Museum of Modern Art's \"Art in Motion\" (1961) exhibition, curated by Pontus Hulten, Leslie proposed Jolly, a kit with the ingredients to make an inflatable sculpture. Anticipating Andy Warhol's Clouds (1966), he proposed that a massive weather balloon suspend a brick over an inflated wading pool. In 1962, having gained recognition as a second generation Abstract Expressionist painter, Leslie abruptly changed course. His new works were realistic figurative paintings in grisaille, of which he later said, \"there was a point at which I realized that if my work was to develop and evolve, and if I was to mature as an artist, these figurative ideas could not be ignored, even though following them could seem to imply that I would be turning my back on the twentieth century, turning my back on my abstract achievement\".\nOn October 17, 1966, nearly all of Leslie's monochrome paintings were destroyed in a fire. Shortly afterwards, Leslie introduced color into his paintings, which have been widely exhibited. Leslie's solo exhibitions include those at the Museum of Fine Arts, Boston (1976); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1976–77); Museum of Contemporary Art, Chicago (1977); Wichita Art Museum, Kansas (1984); Boca Raton Museum of Art, Florida (1989); and St. Louis Art Museum, Missouri (1991). Even though figuration and narration became contentious issues for painters in the 1980s, \"these concerns didn't exist per se in film, theater, literary or still photography world, all of which I was part of.\"\nLeslie is also known for his large scale charcoal drawings, and for his work as a photographer and filmmaker. Together with Robert Frank, Leslie directed the short film Pull My Daisy in 1959. The film, narrated by Jack Kerouac, was selected for the United States National Film Registry by the Library of Congress in 1996. He also created the films Directions: A Walk After the War Games (1946-9), The Last Clean Shirt with the poet Frank O'Hara (1964), The Cedar Bar (2001), Einstein's Secret (2008) and the animated film The New York Story (1963).-- Wikipedia","bio_dates":"b. 1927"},{"slug":"leslie_alfred_the_last_clean_shirt_1964","ok":true,"partial":false,"title":"Alfred Leslie & Frank O'Hara - The Last Clean Shirt","artist":"Alfred Leslie","year":"1964","startOffset":0,"sourceSecs":822.357,"sourceHeight":368,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":51984883,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leslie_alfred_the_last_clean_shirt_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leslie_alfred_the_last_clean_shirt_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leslie_alfred_the_last_clean_shirt_1964.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leslie_alfred_the_last_clean_shirt_1964/main.mp4?v=2","description":"In 1964, American painter and film maker <a href=\"http://www.alfredleslie.com/\" rel=\"noopener\" target=\"_blank\">Alfred Leslie</a> and poet <a href=\"https://ubu.com/sound/ohara.html\" rel=\"noopener\" target=\"_blank\">Frank O'Hara</a> completed the movie <em>The Last Clean Shirt</em>. It was first shown at the San Francisco Museum of Modern Art in 1964 and later that year at Lincoln Center in New York, causing an uproar among the audience. The movie shows two characters, a black man and a white woman, driving around Manhattan in a convertible car. <em>The Last Clean Shirt</em> is a true collaboration between a film maker and a poet since Frank O'Hara wrote the subtitles to the dialogue or rather the monologue: the woman is indeed the only character who speaks and she furthermore expresses herself in Finnish gibberish, which demanded that subtitles be added. The notion of territory, of American territory, is particularly relevant to see, read or listen to <em>The Last Clean Shirt</em>. According to the Oxford English Dictionary, a territory is 'the extent of the land belonging to or under the jurisdiction of a ruler or State.' It can also be 'an area defended by an animal or group of animals against others of the same species or an area defended by a team or player in a game.' Finally, a territory is 'a tract of land, a district of undefined boundaries; a region' and 'an area of knowledge, a sphere of thought or action, a province.' The film engages some of these notions such as the idea that a territory has to be fought for, or claimed, that it is an area defined by rules and norms. That such rules and norms can be redefined as in a game. To the territory of the city (Manhattan) <em>The Last Clean Shirt</em> juxtaposes more formal and virtual territories: the spaces that matter in the film are more literary and artistic than physical. The idea of bifurcation, of swerving is at the heart of the film. Although the car itself only makes three turns all in all (including a U-turn), the turning, swerving and skidding takes place elsewhere: such is the uncharted territory that Leslie and O'Hara invite us to explore. For us spectators sitting at the back of the car, the question is: when is it that we are getting off the road? One can read or see <em>The Last Clean Shirt</em> as a parodic road movie and one might wonder if we are not driving on a side street instead of on the main street. If we accept the ride we are offered, we soon veer off and hit unknown roads towards metaphorical and virtual territories. <em>The Last Clean Shirt</em> was even more avant-garde or visionary than critics were able to see at the time: it is not merely a film but a new form of work of art, a new literary object, in the wake of the simultaneous poem (<a href=\"http://en.wikipedia.org/wiki/Blaise_Cendrars\" rel=\"noopener\" target=\"_blank\">Blaise Cendrars</a>). One might then wonder how the film goes beyond simultaneity in the mapping of a new artistic space created between images and words. Lastly, 30 years before the advent of the internet, one might contend that <em>The Last Clean Shirt</em> had a stab at creating a form of hypertextual or 'intermedia'* space. [Note * The term 'intermedia' is here borrowed from Dick Higgins's essay <a href=\"https://ubu.com/papers/higgins_intermedia.html\" rel=\"noopener\" target=\"_blank\">Synesthesia &amp; Intersenses : Intermedia</a> originally published in <em>Something Else Newsletter 1</em>, No. 1 (Something Else Press, 1966). It has been reprinted as a chapter in Dick Higgins, <em>Horizons, the Poetics and Theory of the Intermedia</em> (Carbondale, IL: Southern Illinois Univ. Press, 1984). In the essay, Dick Higgins writes that he borrowed the word 'Intermedia' from Coleridge.] —Continue Reading <a href=\"http://jacketmagazine.com/23/bross-ohara.html\" rel=\"noopener\" target=\"_blank\"><em>The Last Clean Shirt; a film by Alfred Leslie and Frank O'Hara</em> by Olivier Brossard, Jacket 23</a>","artist_bio":"Pull My Daisy\n(1959) Directed by Alfred Leslie & Robert Frank O'Hara\nThe Last Clean Shirt\n(1964) Directed by Alfred Leslie & Frank O'Hara\nAlfred Leslie was born in New York. After service in the US Coast Guard at the end of World War II, Leslie studied art at New York University, the Art Students League, and Pratt Institute. A bodybuilder and hand-balancer, Leslie posed for artist Reginald Marsh and others and modeled for classes at the Art Students League and Pratt Institute. Anticipating the Situationist International's detournement, his 1949 film Magic Thinking combined black-and-white cartoons, home movies, GI training films, industrial commercials, strip footage and old feature films. To raise the $250 required of by Tibor de Nagy Gallery to exhibit there in 1952, he appeared on Strike It Rich, an early reality television program, and won. His 1952 exhibition included The Bed-Sheet Painting, a 12 by 16 foot, black painting with a scumbled surface and white bar mounted on unstretched canvas. In the '50s, he made sculptures using seemingly insignificant materials such as plumber's tape, stapes, grommets, nails, housepaint. Anticipating John Chamberlain's sculptures made from recycled cars, Leslie tied together car mufflers and tail pipes with rope after hammering and reassembling them. In 1955, a collector gave him a Polaroid camera, driving him to take hundreds of police-style mugshots, of which only photos of Sam Francis and Al Held survived.\nInvited to partake in Museum of Modern Art's \"Art in Motion\" (1961) exhibition, curated by Pontus Hulten, Leslie proposed Jolly, a kit with the ingredients to make an inflatable sculpture. Anticipating Andy Warhol's Clouds (1966), he proposed that a massive weather balloon suspend a brick over an inflated wading pool. In 1962, having gained recognition as a second generation Abstract Expressionist painter, Leslie abruptly changed course. His new works were realistic figurative paintings in grisaille, of which he later said, \"there was a point at which I realized that if my work was to develop and evolve, and if I was to mature as an artist, these figurative ideas could not be ignored, even though following them could seem to imply that I would be turning my back on the twentieth century, turning my back on my abstract achievement\".\nOn October 17, 1966, nearly all of Leslie's monochrome paintings were destroyed in a fire. Shortly afterwards, Leslie introduced color into his paintings, which have been widely exhibited. Leslie's solo exhibitions include those at the Museum of Fine Arts, Boston (1976); Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC (1976–77); Museum of Contemporary Art, Chicago (1977); Wichita Art Museum, Kansas (1984); Boca Raton Museum of Art, Florida (1989); and St. Louis Art Museum, Missouri (1991). Even though figuration and narration became contentious issues for painters in the 1980s, \"these concerns didn't exist per se in film, theater, literary or still photography world, all of which I was part of.\"\nLeslie is also known for his large scale charcoal drawings, and for his work as a photographer and filmmaker. Together with Robert Frank, Leslie directed the short film Pull My Daisy in 1959. The film, narrated by Jack Kerouac, was selected for the United States National Film Registry by the Library of Congress in 1996. He also created the films Directions: A Walk After the War Games (1946-9), The Last Clean Shirt with the poet Frank O'Hara (1964), The Cedar Bar (2001), Einstein's Secret (2008) and the animated film The New York Story (1963).-- Wikipedia","bio_dates":"b. 1927"},{"slug":"leth_jorgen_the_perfect_human_1967","ok":true,"partial":false,"title":"The Perfect Human (1967)","artist":"Jørgen Leth","year":"1963","startOffset":0,"sourceSecs":780.48,"sourceHeight":416,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":49565837,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leth_jorgen_the_perfect_human_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leth_jorgen_the_perfect_human_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leth_jorgen_the_perfect_human_1967.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leth_jorgen_the_perfect_human_1967/main.mp4?v=2","description":"The Perfect Human (Danish: Det perfekte menneske) is a 1968 short film by Jørgen Leth lasting 13 minutes. It depicts a man and a woman, both labelled 'the perfect human' in a detached manner, 'functioning' in a white boundless room, as though they were subjects in a zoo. <br/><br/> The film was later seen in five different versions when Leth was challenged by filmmaker Lars von Trier, which were compiled in The Five Obstructions.","artist_bio":"Jørgen Leth (born 14 June 1937) is a Danish poet and film director who is considered a leading figure in experimental documentary film making. Most notable are his epic documentary A Sunday in Hell (1977) and his surrealistic short film The Perfect Human (1967). He is also a sports commentator for Danish television and is represented by the film production company Sunset Productions.","bio_dates":"b. 1937"},{"slug":"levitt_helen_loeb_janice_agess_james_in_the_street_1952","ok":true,"partial":false,"title":"In the Street","artist":"James Agee","year":"1948/1952","startOffset":0,"sourceSecs":971.96,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":171821520,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/levitt_helen_loeb_janice_agess_james_in_the_street_1952/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/levitt_helen_loeb_janice_agess_james_in_the_street_1952/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/levitt_helen_loeb_janice_agess_james_in_the_street_1952.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/levitt_helen_loeb_janice_agess_james_in_the_street_1952/main.mp4?v=2","description":"In the Street<br/> Directed by Helen Levitt<br/> US 1948/1952, 16mm, b/w, sound (piano performance by Arthur Kleiner), 16 min.<br/> <br/> In the Street is a 16-minute documentary film released in 1948 and again in 1952. The black and white, silent film was shot in the mid-1940s in the Spanish Harlem section of New York City. Helen Levitt, Janice Loeb, and James Agee were the cinematographers; they used small, hidden 16 mm film cameras to record street life, especially of children. Levitt edited the film and, subsequent to its first release, added a piano soundtrack composed and performed by Arthur Kleiner.<br/><br/> The film is generally considered as an extension of Levitt's (now famed) street photography in New York City, and Levitt subsequently re-used the title, In the Street, for a volume reproducing her photographs. Loeb was a painter and photographer. James Agee was a noted writer; both Loeb and Agee subsequently collaborated with Levitt on a second film, The Quiet One (1948).<br/><br/> Manny Farber summarized the film at the time, \"The movie, to be shown around the 16mm circuit, has been beautifully edited (by Miss Levitt) into a somber study of the American figure, from childhood to old age, growing stiffer, uglier, and lonelier with the passage of years.\" The artist Roy Arden recently summarized the film somewhat differently, \"In The Street is reportage as art. It reports the facts, but for their useless beauty above all. While it could be argued that the film tells us how working class residents of Spanish Harlem lived in the 1930s and 1940s - how they looked and behaved, the addition of expository narration could have told us so much more. Statistics and other facts could have helped us put what we see into context and multiplied the use-value of the film. The absence of narration or other texts proves the artist's intent that we are intended to enjoy the film as a collection of beautiful appearances.\"<br/><br/> In 2006, In the Street was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\". <br/><br/> Very rare film. The film is silent with just some explanations at the beginning in english.","artist_bio":"James Agee, Helen Levitt, Janice Loeb - In the Street (1948)\nJames Rufus Agee was an American novelist, journalist, poet, screenwriter and film critic. In the 1940s, he was one of the most influential film critics in the U.S. His autobiographical novel, A Death in the Family (1957), won the author a posthumous 1958 Pulitzer Prize.","bio_dates":"1909-1955"},{"slug":"leyda_jay_a_bronx_morning_1931","ok":true,"partial":false,"title":"A Bronx Morning","artist":"Jay Leyda","year":"1931","startOffset":0,"sourceSecs":673.152,"sourceHeight":480,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":112118793,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leyda_jay_a_bronx_morning_1931/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/leyda_jay_a_bronx_morning_1931/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/leyda_jay_a_bronx_morning_1931.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/leyda_jay_a_bronx_morning_1931/main.mp4?v=2","description":"1931. USA. 35mm print, black and white, silent, approx. 11 min. <br/><br/> A Bronx Morning is a 1931 avant-garde film by American filmmaker Jay Leyda (1910–1988).<br/><br/> Described as \"city symphony\", the eleven-minute European style film recorded a Bronx street in New York City before it is crowded with traffic. Largely unnoticed in the United States, on the strength of this film Leyda was invited to study with Soviet filmmaker Sergei Eisenstein, the only American to do so.<br/><br/> In 2004, A Bronx Morning was selected for preservation in the United States National Film Registry by the Library of Congress as being \"culturally, historically, or aesthetically significant\".<br/><br/> The film was funded with the proceeds of a sale of a wooden figurine of Henry Ward Beecher, which Leyda had originally found in a junk shop, to a representative of Abby Aldrich Rockefeller.","artist_bio":"Jay Leyda was an American avant-garde filmmaker and film historian, noted for his work on U.S, Soviet and Chinese Cinema.\nLeyda was born on February 12, 1910 in Detroit. He was a member of the Workers Film and Photo League in the early 1930s. He travelled to the Soviet Union in 1933 to study filmmaking at State Film Institute, Moscow, with Sergei Eisenstein. He participated in the filming of Eisenstein's lost film Bezhin Meadow (1935–37).[1] When he returned to the United States in 1936 to become an assistant film curator at the Museum of Modern Art, he brought the only complete print of Eisenstein's Battleship Potemkin. In the 1940s he translated Eisenstein's writings.\nHis The Melville Log (1951) was a day to day compilation of documents which he had painstakingly collected on the life of Herman Melville.\nLeyda’s wife, Si-lan Chen, a ballet dancer of international reputation, was the daughter of Eugene Chen, a colleague of the Chinese revolutionary Sun Yat-sen. Leyda was invited in 1959 to work at the Film Archive of China in Beijing, where he stayed until 1964. His account of Chinese film history, Dianying, was the first full length treatment to appear in English. Although he could use the basic (and now outdated) Chinese scholarship only in summary translations, Leyda’s knowledge of film gave him still useful insights into individual films and techniques.\nHe was awarded the Eastman Kodak Gold Medal Award in 1984. He taught at New York University from 1973 until his death in New York on February 15, 1988 of heart failure. He was professor and dissertation advisor to noted film historian and theorist Tom Gunning. In 1981 he was a member of the jury at the 12th Moscow International Film Festival.","bio_dates":"1910-1988"},{"slug":"ligeti_gyorgy_poeme_symphonique_for_100_metronomes","ok":true,"partial":false,"title":"Poème Symphonique for 100 metronomes","artist":"György Ligeti","year":null,"startOffset":0,"sourceSecs":494.379,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":31006019,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ligeti_gyorgy_poeme_symphonique_for_100_metronomes/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ligeti_gyorgy_poeme_symphonique_for_100_metronomes/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ligeti_gyorgy_poeme_symphonique_for_100_metronomes.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ligeti_gyorgy_poeme_symphonique_for_100_metronomes/main.mp4?v=2","description":"Video from an ARTE (France) broadcast of <em>Poème Symphonique for 100 metronomes</em>. <br/><br/> Translation of the french narration: <em>Poème symphonique</em> was composed by György Ligeti in 1962. We are presenting this work this evening. The concert, which we went to record in Rome, was presented by an orchestra of 100 performers. This rebroadcast is a television premiere. At the end of the concert, we will offer a brief explanation, but first listen and watch. The concert begins in one minute. [the piece is performed] Since its world premiere in the Netherlands in 1963, <em>Poème symphonique for 100 metronomes</em> has been very rarely performed in public. The complicated scenographic staging, the detailed preparation by hand, the need for around ten technicians to activate more or less simultaneously the 100 metronomes, makes the demand for performances limited. Thirty-two years after the premiere, the sculptor and installation artist Gilles Lacombe heard a recording of the work. Impressed, he decided to invent a machine able to perform the piece automatically. After six months, he set up this ingenious device. Ever since, <em>Poème symphonique</em> can be performed accurately, at any time, and in public. Please understand that at its world premiere in 1963, the concert was filmed by Dutch television. On that night, after the final tick-tock of the metronome, there was a heavy silence, followed by booing, screaming, and threats. The concert was never broadcast.","artist_bio":"György Ligeti: Portrait, A Documentary by Michel Follin\n(1993)\nScherzo Infernal\n(Soundtrack by Ligeti; dir.\nWalerian Borowczyk\n1984)\nGyörgy Ligeti was born on 28.5.1923 as the son of Hungarian-Jewish parents in Dicsőszentmárton (now known as Tîrnăveni, in Transylvania/Rumania). He studied at the Conservatory in Klausenburg with Ferenc Farkas from 1941 to 1943 and from 1945 to 1949 at the Franz Liszt Academy in Budapest with Sándor Veress, Pál Járdányi and Lajos Bárdos. Following the abatement of the Hungarian Revolution, he left his native country in December 1956 for both political and artistic reasons. During his time as freelancer in the West German Radio studio for electronic music in Cologne (1957-58), he undertook an intense study of the music of Karlheinz Stockhausen, Mauricio Kagel and Pierre Boulez. In the 1960s, Ligeti was associate professor at the Summer School for Contemporary Music in Darmstadt and guest professor at the Royal Swedish Academy of Music in Stockholm. He received a scholarship from the German Academic Exchange Programme (DAAD) in Berlin for 1969-70 and was Composer in Residence at the Stanford University in California in 1972 before being appointed as Professor for Composition at the Hamburg Musikhochschule the following year. The composer made a substantial impact on international contemporary music both as a university professor (up to 1989) and as an active member of the music scene and became the musical aesthetic benchmark for a whole generation. György Ligeti died in Vienna on 12 June 2006.\nIn specialist musical circles, György Ligeti had already caused a sensation with his electronic composition\nArtikulation\n(1958) which had been produced in the Cologne recording studio. He subsequently gained immediate fame throughout the musical world with his orchestral works\nApparitions\n(1958-59) and\nAtmosphères\n(1961). Leanings towards extreme micro-polyphony were already visible in the works he had previously composed in Hungary, for example the a capella choral works\nÉjszaka\nand\nReggel\nfrom1955. In the works from the late 1950s and 1960s, the concept of an extremely densely interwoven voice structure was increasingly contrasted with static tonal-spatial compositions. This was achieved with stunning effect: the maximum degree of movement in the voices develops into an audibly perceived spatially “static” music. In the 1980s and 1990s, complex polyrhythmic compositional techniques come to the foreground in Ligeti’s works. This development can be followed clearly in the\nEtudes pour piano\nwhich were published in three volumes and span the compositional period between 1985 and 2001. During the same period, Ligeti was working on the solo concertos for\nPiano and Orchestra\n(1985-88) and\nViolin and Orchestra\n(1990/92). These compositions – together with the\nHamburg Concerto\nfor horn und chamber orchestra (1998/99) – have subsequently been adopted in the solo repertoire of numerous soloists.\nLigeti’s full-length stage work\nLe Grand Macabre\nwas composed between 1974 and 1977 (revised version 1996) and was based on a fable by Michel de Ghelderode. The persiflage on the Last Judgement in the imaginary country of “Breughelland” develops into an absurd display of the all too human needs of its citizens. Ligeti also utilises the medium of parody in his music which ranges from acrobatic bel canto and complex tone row structures to grotesque\nsprechgesang.\nAlongside membership in the Free Academy of Arts in Hamburg and the Bavarian Academy of Fine Arts in Munich, György Ligeti was honoured as the recipient of numerous prizes: the following list includes only a selection of these awards: Commandeur dans l'Ordre National des Arts et Lettres, Prix de composition musicale de la Fondation Prince Pierre de Monaco (both in 1988), the Music Prize from the Balzan Foundation (1991), the Ernst-von-Siemens Music Prize (1993), the UNESCO-IMC Music Prize (1996), honorary membership in the Rumanian Academy (1997) and nomination as Associé étranger der Académie des Beaux Arts (1998). Ligeti additionally received the Sibelius Prize from the Jenny and Antti Wihuri Foundation (2000), the Kyoto Prize for Art and Science (2001), the Medal for Art and Science from the Senate of the City of Hamburg (2003), the Theodor W. Adorno Prize from the City of Frankfurt (2003) and the Polar Music Prize from the Royal Music Academy of Sweden (2004).\nRoc Jiménez de Cisneros -- \"Continuum, Expanded\" (on György Ligeti), 2011\n[PDF, 310kb]","bio_dates":"1923-2006"},{"slug":"ligon_glen_orange_and_blue_feeling_iphone","ok":true,"partial":false,"title":"Blue and Orange Feelings","artist":"Glen Ligon","year":"2003","startOffset":0,"sourceSecs":300.095,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":54271928,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ligon_glen_orange_and_blue_feeling_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ligon_glen_orange_and_blue_feeling_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ligon_glen_orange_and_blue_feeling_iphone.m4v","hasFrames":true,"description":"Two-channel video The Orange and Blue Feelings (2003) finds the artist engaged in a session with his therapist, the cameras notably angled away from the talking heads and respectively towards the office bookshelf and the therapist's legs, and the conversation generally affirming the well-known truth that the 'talking cure' is a performance like any other, with a 45-minute running time and an office for a set.","artist_bio":"Glenn Ligon was born in the Bronx, New York, in 1960. Ligon’s paintings and sculptures examine cultural and social identity through found sources—literature, Afrocentric coloring books, photographs—to reveal the ways in which the history of slavery, the civil rights movement, and sexual politics inform our understanding of American society. Ligon appropriates texts from a variety of literary writers including Walt Whitman, Zora Neal Hurston, Gertrude Stein, James Baldwin, and Ralph Ellison, as well from more popular sources such as the comedian Richard Pryor. In Ligon's paintings, the instability of his medium—oil crayon used with letter stencils—transforms the texts he quotes, making them abstract, difficult to read, and layered in meaning, much like the subject matter that he appropriates. In other works that feature silkscreen, neon, and photography, Ligon threads his own image and autobiography into symbols that speak to collective experiences. “It’s not about me,” he says. “It’s about we.”","bio_dates":"b. 1960"},{"slug":"lin_lana_no_power_to_push_up_the_sky_2001","ok":true,"partial":false,"title":"No Power to Push Up the Sky","artist":"Lana Lin","year":"2001","startOffset":0,"sourceSecs":1344.389,"sourceHeight":424,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":79455373,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lin_lana_no_power_to_push_up_the_sky_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lin_lana_no_power_to_push_up_the_sky_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lin_lana_no_power_to_push_up_the_sky_2001.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lin_lana_no_power_to_push_up_the_sky_2001/main.mp4?v=2","description":"23 minute video by Lana Lin, 2001 <br/><br/> No Power to Push Up the Sky takes its name from a literal translation of the slogan 23-year-old student leader Chai Ling wrote on her clothes during the 1989 Tiananmen Square protests. In an interview conducted in Beijing on May 28, 1989, one week before the massacre, Chai Ling recalls this expression of the students' sense of helplessness. For the video, fifteen people spontaneously translate into English excerpts of her original Chinese interview. The video also features running headlines from Western newspapers and journals that chronicle the Tiananmen Square events. Both forms of translation demonstrate the complex process of locating meaning across language, culture, and politics. By positioning translation as an interpretive act, the video points to the subjective motivations underlying any understanding and narrativization of history.<br/><br/>Sharon Hayes<br> Unstable Realities: The Work of Lam Kin-Hung and Lana Lin <br><br/> Lin's video installation lakes its name from a translation of the slogan 23-year-old Student leader Chai Ling wrote on her clothes during the 1989 Tiananmen Square protest. In No Power, the artist asks 15 people to read and spontaneously translate the Chinese transcript of an interview that Ling gave in Beijing on May 28, 1989, five days before the Tiananmen Square massacre. These translations are edited into a three-image projection in which headshots of the translators are interspersed with headlines—taken from English-language Western newspapers—dating from May 28-June 9, 1989. On a 13-inch monitor mounted on an adjacent wall, there is a two-minute excerpt of an interview with Chai Ling on the television program \"The Charlie Rose Show\" conducted seven years after the massacre. <br/><br/> As unprepared translations, the new texts that No Power's translators create, with the attendant effort, qualification and struggle, resist a notion of translation as a simple transmission of information. Lin edits the translations such that they repeat each other: the same line is translated four, live and six times by different translators. In one such sequence, a headline from the Seattle Times: \"History May Just be Repeating Itself in Tiananmen Square' is followed by several slightly varying translations: \"\"At that moment, 1 couldn't endure anymore.\"<br/>\"\"Again I don't think I could have...ah...I think, bear it or had patience.'<br/>\"\"At that time, I couldn't take it anymore.\"<br/>\"\"At that time, I could not, I could not control myself, suppress my feelings anymore.\"<br/><br/> This barrage of interpretation overwhelms the fixed meaning of the text and offers instead a text that has been forced through a multiplicity of reconstructions. Immersed in this chain of varied interpretations, the headlines become yet another subjectivity, imbued with their own distinct ideology.<br/><br/> What is significantly insistent in these reconstructions is the presence of the speaker: the performative gesture of respeaking Chai Ling's historic text. In \"The Task of the Translator,' Walter Benjamin states: \"The basic error of the translator is that he pre-serves the state in which his own language happens to be instead of allowing his language to be powerfully affected by the foreign tongue.\" Following Benjamin's admonition, it could be said that the translation constitutes, as it were, a third language, one resulting from the moment of collision, the moment in which the translation happens. Lin's privileging of the moment of translation in No Power as well as her use of translators with a range of language proficiency raises the question: which is the foreign element—English, Chinese or the act of translation itself? It is toward this question that No Power pushes its viewer, not only on the level of language, but in terms of a larger cultural and political translation of the events of 1989. Though Lin's speakers are dislocated from the time of the original speech, their live translation of the text serves also to collapse temporality. The translators and even the headlines, with a reference to \"President Bush\", speak to us both in and of the past as well as in and of a distinctly present moment. By calling up this text, with its mix of declaration and ambivalence, clarity and confusion, the translators' performative reiteration reenacts the complexity inherent in any attempt to understand and articulate a political event such as Tiananmen through the lens of time, culture and geographic distance. Lin's translations, in their performative state, neither tell nor describe nor communicate something, they do something: displacing the originary status of the text and the author and leaving the viewer to negotiate a multiplicity of meanings.<br/><br/> In Chai Ling's 1989 interview she was quoted, as saying she was (...) or, as it was translated into English, \"hoping\" for bloodshed. In the two-minute loop from \"The Charlie Rose Show,\" Ling, from a distance of seven years, disputes this particular translation of the phrase saying that the word can also mean \"anticipating' or \"expect-ing.\" Far from an authorizing clarification, this excerpt points to the absence of an original meaning. \"There are no originals, but only a heterogeneous continuum of translations, a continual process of rewriting in which meaning—as well as claims of originality and purity—are made.\"<br/><br/> Both Lana Lin's No Power to Push Up the Sky and Lam Kin-Hung's The Circle's Corner are characterized as much by what they cannot communicate as by what they can. Operating in the gaps between historical moments, geographic locations, and fixed meanings, it is precisely Lam and Lin's inability to image, write or speak a stable reality that demonstrates their radicality. Speaking with Charlie Rose, Chai Ling tries to contextualize her 1989 interview within the turbulence and mutablity of the student movement during the five days between the interview and the massacre of students. \"There were so many things happening at the same time,\" she says, 'Five days is a long time.\" It is in this place of vital instability that I locate Lam and Lin 's work.</br></br>","artist_bio":"Lana Lin was born in Montreal in 1966 to Taiwanese parents. In 1988 she enrolled on the MFA Film programme at Bard College in New York, where she became affiliated with an emerging group of artists and filmmakers, including Matthew Buckingham, Sadie Benning, Jennifer Montgomery and Julie Zando. Since then, Lin has been critically engaged with feminism, psychoanalysis, post-colonial studies and experimental ethnography, areas of interest which still inform her practice today.\nLana Lin is a filmmaker, artist, and writer whose creative practice concerns embodied vulnerabilities. She has produced a body of experimental films and videos that interrogate the politics of identity and cultural translation through attention to the formal capacities and historical contingencies of moving image media. Since 2001, she has focused on collaborative multi-disciplinary research-based projects (as Lin + Lam) that examine the construction of history and collective memory. Her works have been screened and exhibited at UnionDocs, Brooklyn, Stedelijk Museum, Amsterdam, Gasworks, London, and Auckland Festival of Photography, among others. Lin has received awards from the Javits Foundation, Fulbright Foundation, Jerome Foundation, New York State Council on the Arts, New York Foundation for the Arts, and has been a fellow at the MacDowell Colony, Civitella Ranieri, and the Vera List Center for Art and Politics.\nLin is Associate Professor of Film Theory and Digital Cinema and Director of the Undergraduate Programs in Media Studies at The New School, New York.","bio_dates":"b. 1966"},{"slug":"lin_lana_taiwan_video_club_1999taketa","ok":true,"partial":false,"title":"Taiwan Video Club (1999)","artist":"Lana Lin","year":"1999","startOffset":0,"sourceSecs":838.937,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":149152594,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lin_lana_taiwan_video_club_1999taketa/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lin_lana_taiwan_video_club_1999taketa/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lin_lana_taiwan_video_club_1999taketa.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lin_lana_taiwan_video_club_1999taketa/main.mp4?v=2","description":"This is brilliant. A portrait of a Taiwanese opera VHS tape traders. Lots of colors, lots of VHS effects.<br/> <br/> Taiwan Video Club profiles a group of cost-cutting Asian immigrants who collect and trade videotapes of their favorite epics broadcast daily in Taiwan. Their pirate distribution marked a turning point in the history of consumer video when stories that were once passed on from mouth to mouth were then passed on from VCR to VCR. Taiwan Video Club's visuals were duplicated from the \"low grade\" tape that united these diasporic women to their native culture and common past. Degenerated and heavily inscribed with text, the video is an invitation and challenge to work through one's own process of translation while viewing.<br/> <br/> Stephanie Bailey in LEAP:<br/> Taiwan Video Club (1999), in which Lin interviews Taiwanese housewives about the underground trade of pirated Taiwanese and Japanese soap operas copied onto VHS tapes modified to accommodate up to six hours of footage each. One woman speaks excitedly and with an American lilt about the historical stories embedded in these soap operas. She recalls one series with a character she sees as the ideal woman: “Very weak, very gentle,” the lady explains. “Sensitive to weather, flowers, everything…we all wanted to be like her; so intelligent but so helpless.”<br/> <br/> In one frame, Lin films a stack of videotapes, with titles including The Story of Taiwan and For Love or Country. For the women being interviewed, these tapes tell the history of their culture, so that “in different places everyone would know the same story.”<br/> <br/> Alex Jenseth in Rhizome:<br/> Lana Lin’s work, on display at Gasworks in London, confronts us with a number of topics: translation, identity, cultural production, and familial reflection. In doing so, her films seek to destabilize our assured hold on what we imagine we understand. In Taiwan Video Club (1999), Lin presents a Taiwanese subculture that records, trades, and holds dear, video recordings of miniseries that are shown daily on television. As we watch a participant in this practice explain her life with her collection of recordings, Lin cuts in clips and sound from the series, providing insight to a specific time and place, not to mention a specific medium which dominated it. As we come to understand this unit of Taiwanese pop-culture, Lin engages in a running commentary of sorts, provided through visual metaphors and homonyms.<br/> <br/> Recording from TV to VHS could be seen as an apt analogy for the process of translation and cultural production that Lin seeks to examine. The final “product” in each case is a copy of the original, inevitably tinged by the process. As anyone who has spent time battling with VHS can tell you, no copy is ever pristine; there remain in the copy the battle scars of mediation: warped sound and image, deterioration of picture, the familiar markings of “CUE”, “STILL”, and “CH-3” all mark the material as part of a process and mode of production unique to video. The lens of Taiwan Video Club operates as a check on the lens of the viewer. Though we come to understand a great deal about this world of VHS-naughts, and Taiwanese daytime television, Lin maintains a field of formal intervention never lets us settle on any one interpretation of what we see.","artist_bio":"Lana Lin was born in Montreal in 1966 to Taiwanese parents. In 1988 she enrolled on the MFA Film programme at Bard College in New York, where she became affiliated with an emerging group of artists and filmmakers, including Matthew Buckingham, Sadie Benning, Jennifer Montgomery and Julie Zando. Since then, Lin has been critically engaged with feminism, psychoanalysis, post-colonial studies and experimental ethnography, areas of interest which still inform her practice today.\nLana Lin is a filmmaker, artist, and writer whose creative practice concerns embodied vulnerabilities. She has produced a body of experimental films and videos that interrogate the politics of identity and cultural translation through attention to the formal capacities and historical contingencies of moving image media. Since 2001, she has focused on collaborative multi-disciplinary research-based projects (as Lin + Lam) that examine the construction of history and collective memory. Her works have been screened and exhibited at UnionDocs, Brooklyn, Stedelijk Museum, Amsterdam, Gasworks, London, and Auckland Festival of Photography, among others. Lin has received awards from the Javits Foundation, Fulbright Foundation, Jerome Foundation, New York State Council on the Arts, New York Foundation for the Arts, and has been a fellow at the MacDowell Colony, Civitella Ranieri, and the Vera List Center for Art and Politics.\nLin is Associate Professor of Film Theory and Digital Cinema and Director of the Undergraduate Programs in Media Studies at The New School, New York.","bio_dates":"b. 1966"},{"slug":"lin_tao_mdma","ok":true,"partial":false,"title":"Megan Boyle & Tao Lin - MDMA","artist":"Tao Lin","year":"2011","startOffset":0,"sourceSecs":6831.83,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":393475239,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lin_tao_mdma/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lin_tao_mdma/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lin_tao_mdma.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lin_tao_mdma/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lin_tao_mdma/main/master.m3u8?v=2","hasMainHls":true,"description":"\"MDMA is a one-shot experiment that begins with Lin and Boyle taking the titular drug and, in what appears to be an unedited two-hour shot, meander around Manhattan, getting lost on the subway and ending up giving each other a sarcastically ironic interview while on the ferris wheel inside Times Square's Toys 'R Us.\" <br/><br/> \"MDMA is 1 hour 54 minutes, shot in real time using the camera from an APPLE MAC BOOK some time in late 2010 in New York City. The film follows Megan Boyle and Tao Lin throughout their experience of taking MDMA (sometimes called pure ecstasy or Molly) while they explore New York City.... The film is simple but not easy. The plot is executing and playing out an idea: Megan Boyle and Tao Lin take MDMA together and film themselves with a MACBOOK. It has no real point. Because of this detachment, the film is soothing because it creates a new kind of viewing. It feels equivalent as leaving music left playing from a record player in the background. I don't feel obliged to anything while watching MDMA. I am just free to watch. Highly recommended.\"","bio_dates":"b. 1983"},{"slug":"lingford_ruth_what_she_wants_1994","ok":true,"partial":false,"title":"What She Wants","artist":"Ruth Lingford","year":"1994","startOffset":0,"sourceSecs":310.464,"sourceHeight":432,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":20118199,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lingford_ruth_what_she_wants_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lingford_ruth_what_she_wants_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lingford_ruth_what_she_wants_1994.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lingford_ruth_what_she_wants_1994/main.mp4?v=2","description":"Director: Ruth Lingford<br/> Year: 1994<br/> Time: 5 mins<br/> Music: Lol Coxhill<br/> <br/> Entirely produced with an Amiga 1500 computer and supported by a haunting solo sax performance by British stalwart Lol Coxhill, What She Wants is a powerful and disturbing reflection both on the contradictory challenges of womanhood in capitalist societies living under the banner of sexual revolution and the increasingly dominant equivalence of status, commodity and sexuality. Using a starker design than the one applied in her famous 1997 work Death and the Mother, Ruth Lingford violently condenses some of the contesting anxieties, fears and aspirations that swarm around contemporary models of femininity, often short-circuiting efforts at completeness and integrity, while drawing a subtle critique of the growing intrusion of capital in the constitution and exercise of desire. Images of erotic abandonment clash with fertility demands; advertisements that explore the commodification of romance and monogamy co-exist with over-sexualized models of status, fitness and public desirability; motherhood threatens sexuality much in the same way that a fellatio becomes an act of infantophagy and a suckling baby is transformed into a raping wolf. Desire is thus besieged by circles of violence, as if conscience and psyche are under constant rape by capitalist courtship, so that a coin purse can be morphed into a bright red vulva or an ejaculating phallus. However, as \"the market\" has taught us, there is a price for everything and, where pleasure and cashflow can be equated, poverty can be a symbol of detumescence.","artist_bio":"Lingford has been making short animated films since studying fine art and art history at Middlesex (1987–1990) and animation at the MA level at the Royal College of Art (1990–92). Her films have been broadcast by Channel 4 in the UK, and have won many awards all over the world. She taught in the MA animation program at the Royal College of Art and at the National Film and Television School. Her films are made using 2D digital techniques, often combining drawing and treated live footage. She is known for making “feelbad films” which use the seductive medium of animation to draw the audience in and take them to uncomfortable places. The Old Fools (2002, 6 min.) is a film of a poem by Philip Larkin, voiced by Bob Geldof. The film looks with a mixture of fear, disgust, and compassion at senile decay and the inevitability of death. An Eye for an Eye (2002, 5 min., 30 sec.), codirected with the Shynola collective, is a music video for UNKLE. An epic and multi-layered fantasy, it has been acclaimed variously as an anti-war film, a psychoanalytic exploration of infantile oral aggression, and a cool pop promo. Pleasures of War (1998, 11 min.) is a retelling of the Biblical story of Judith and Holofernes, and explores female aggression and the links between war and sexual desire. It was devised in collaboration with the novelist Sara Maitland, and was featured as one of the 150 Best Films Ever Made in Film: The Critic’s Choice, edited by Geoff Andrew. Death and the Mother (1997, 11 min.) is based on a Hans Christian Andersen story, and invites the audience to contemplate the things that are worse than death. What She Wants (1994, 4 min.) is a film about sex and shopping, the social deployment of sexuality, and capitalism in detumescence. She animated sequences for the film Secrecy by Peter Galison and Robb Moss, which premiered at Sundance Film Festival in 2008. She was the recipient of a 2008–09 Harvard Film Study Center Fellowship for Orgasm Project, a short animated film using recorded interviews, which was recently accepted into the Ottawa International Animational Festival.","bio_dates":"b. 1953"},{"slug":"living_theater_emergency_1968_iphone","ok":true,"partial":false,"title":"Emergency: The Living Theater","artist":"The Living Theater","year":"1968","startOffset":0,"sourceSecs":1905.965,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":114344269,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/living_theater_emergency_1968_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/living_theater_emergency_1968_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/living_theater_emergency_1968_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/living_theater_emergency_1968_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/living_theater_emergency_1968_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"A 32-minute color film by Gwen Brown, featuring precious footage of Living Theatre productions “Mysteries” and smaller pieces, “Paradise Now” and “Frankenstein.” “The fusion of Brown’s freewheeling direct cinema and the Living Theatre’s performance for revolutionary change (amidst the heydays of both) unite as a dynamic concoction of the era, yielding for the viewer a shifting terrain of both critical insight and ecstatic zeal, not as a vacant nostalgia for a pre-commodified radicality, but as tactical inspiration for future days.” – Andrew Wilson (Artist’s Access Television)","artist_bio":"The Living Theatre was an American theatre company founded in 1947 and based in New York City. It is the oldest experimental theatre group still existing in the U.S. For most of its history it was led by its founders, actress Judith Malina and painter/poet Julian Beck; after Beck's death in 1985, company member Hanon Reznikov became co-director with Malina.\nFrom its conception, The Living Theatre was dedicated to transforming the organization of power within society from a competitive, hierarchical structure to cooperative and communal expression. The troupe attempts to do so by counteracting complacency in the audience through direct spectacle. They oppose the commercial orientation of Broadway productions and have contributed to the off-Broadway theater movement in New York City, staging poetic dramas.\nThe primary text for The Living Theatre is The Theater and Its Double, an anthology of essays written by Antonin Artaud, the French playwright. It was published in France in 1937 and by the Grove Press in the U.S. in 1958. This work deeply influenced Julian Beck, a bisexual painter of abstract expressionist works. The troupe reflects Artaud's influence by staging multimedia plays designed to exhibit his metaphysical Theatre of Cruelty. In these performances, the actors attempt to dissolve the \"fourth wall\" between them and the spectators.\nIn the 1950s, the group was among the first in the U.S. to produce the work of influential European playwrights such as Bertolt Brecht (In The Jungle of Cities in New York, 1960) and Jean Cocteau, as well as modernist poets such as T. S. Eliot and Gertrude Stein. Based in a variety of small New York locations which were frequently closed due to financial problems or conflicts with city authorities, they helped to originate Off-Off-Broadway and Off-Broadway as significant forces in U.S. theater. Their work during this period shared some aspects of style and content with Beat generation writers. Also during the 1950s, the American composer Alan Hovhaness worked closely with the Living Theatre, composing music for its productions. In 1959, their production of The Connection attracted national attention for its harsh portrayal of drug addiction and its equally harsh language.\nThe Brig (1963), an anti-authoritarian look at conditions in a Marine prison, was their last major production in New York before a disagreement with the IRS led to the closure of the theatre space and the brief imprisonment of Beck and Malina. For the rest of the 1960s, the group toured chiefly in Europe. They produced more politically and formally radical work carrying an anarchist and pacifist message, with the company members creating plays collectively and often living together. Major works from this period included the adaptations Antigone and Frankenstein, and Paradise Now, which became their best-known play. Paradise Now, a semi-improvisational piece involving audience participation, was notorious for a scene in which actors recited a list of social taboos that included nudity, while disrobing; this led to multiple arrests for indecent exposure. The group returned to the U.S. in 1968 to tour Paradise Now. In 1971 they toured in Brazil, where they were imprisoned for several months, then deported.\nThe Living Theatre has toured extensively throughout the world, often in non-traditional venues such as streets and prisons. It has greatly influenced other American experimental theatre companies, notably The Open Theater (founded by former Living Theatre member Joseph Chaikin) and Bread and Puppet Theater. Its productions have won four Obie Awards: The Connection (1959), The Brig (1963 and 2007), and Frankenstein (1968). Though its prominence and resources have diminished considerably in recent decades, The Living Theatre continues to produce new plays in New York City, many with anti-war themes.\nIn 2006, The Living Theatre signed a 10-year lease on the 3,500-square-foot (330 m2) basement of a new residential building under construction at 21 Clinton Street, between Houston and Stanton Streets on Manhattan's Lower East Side. The Clinton Street theater is the company's first permanent home since the closing of The Living Theatre on Third Street at Avenue C in 1993. The company moved into the completed space in early 2007 and opened in April 2007 with a revival of The Brig by Kenneth H. Brown, first presented at The Living Theatre at 14th Street and Sixth Avenue in 1963. The re-staging, directed by Judith Malina won Obie Awards for Direction and Ensemble Performance.\nIn October 2006, the company opened a revival of Mysteries and Smaller Pieces, the 1964 collective creation that defined the interactive and Artaudian style for which the company became famous.\nIn late 2007 / early 2008 the company founder Judith Malina performed in Maudie and Jane, a stage adaptation, directed by Reznikov, of the Doris Lessing novel, The Diary of Jane Somers.\nIn April 2008 Hanon Reznikov suffered a stroke. He died on May 3, 2008.\nIn 2010 the company presented Red Noir, adapted and directed by Judith Malina. -- Wikipedia","bio_dates":"1969"},{"slug":"living_theater_interviews_iphone","ok":true,"partial":false,"title":"Interviews","artist":"The Living Theater","year":"2007","startOffset":0,"sourceSecs":2972.546,"sourceHeight":256,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":175319543,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/living_theater_interviews_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/living_theater_interviews_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/living_theater_interviews_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/living_theater_interviews_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/living_theater_interviews_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"VIDEO INTERVIEWS with directors Julian Beck, Judith Malina, Hanon Reznikov, company member Steve Ben Israel, and producer Ira Cohen. 50 minutes.","artist_bio":"The Living Theatre was an American theatre company founded in 1947 and based in New York City. It is the oldest experimental theatre group still existing in the U.S. For most of its history it was led by its founders, actress Judith Malina and painter/poet Julian Beck; after Beck's death in 1985, company member Hanon Reznikov became co-director with Malina.\nFrom its conception, The Living Theatre was dedicated to transforming the organization of power within society from a competitive, hierarchical structure to cooperative and communal expression. The troupe attempts to do so by counteracting complacency in the audience through direct spectacle. They oppose the commercial orientation of Broadway productions and have contributed to the off-Broadway theater movement in New York City, staging poetic dramas.\nThe primary text for The Living Theatre is The Theater and Its Double, an anthology of essays written by Antonin Artaud, the French playwright. It was published in France in 1937 and by the Grove Press in the U.S. in 1958. This work deeply influenced Julian Beck, a bisexual painter of abstract expressionist works. The troupe reflects Artaud's influence by staging multimedia plays designed to exhibit his metaphysical Theatre of Cruelty. In these performances, the actors attempt to dissolve the \"fourth wall\" between them and the spectators.\nIn the 1950s, the group was among the first in the U.S. to produce the work of influential European playwrights such as Bertolt Brecht (In The Jungle of Cities in New York, 1960) and Jean Cocteau, as well as modernist poets such as T. S. Eliot and Gertrude Stein. Based in a variety of small New York locations which were frequently closed due to financial problems or conflicts with city authorities, they helped to originate Off-Off-Broadway and Off-Broadway as significant forces in U.S. theater. Their work during this period shared some aspects of style and content with Beat generation writers. Also during the 1950s, the American composer Alan Hovhaness worked closely with the Living Theatre, composing music for its productions. In 1959, their production of The Connection attracted national attention for its harsh portrayal of drug addiction and its equally harsh language.\nThe Brig (1963), an anti-authoritarian look at conditions in a Marine prison, was their last major production in New York before a disagreement with the IRS led to the closure of the theatre space and the brief imprisonment of Beck and Malina. For the rest of the 1960s, the group toured chiefly in Europe. They produced more politically and formally radical work carrying an anarchist and pacifist message, with the company members creating plays collectively and often living together. Major works from this period included the adaptations Antigone and Frankenstein, and Paradise Now, which became their best-known play. Paradise Now, a semi-improvisational piece involving audience participation, was notorious for a scene in which actors recited a list of social taboos that included nudity, while disrobing; this led to multiple arrests for indecent exposure. The group returned to the U.S. in 1968 to tour Paradise Now. In 1971 they toured in Brazil, where they were imprisoned for several months, then deported.\nThe Living Theatre has toured extensively throughout the world, often in non-traditional venues such as streets and prisons. It has greatly influenced other American experimental theatre companies, notably The Open Theater (founded by former Living Theatre member Joseph Chaikin) and Bread and Puppet Theater. Its productions have won four Obie Awards: The Connection (1959), The Brig (1963 and 2007), and Frankenstein (1968). Though its prominence and resources have diminished considerably in recent decades, The Living Theatre continues to produce new plays in New York City, many with anti-war themes.\nIn 2006, The Living Theatre signed a 10-year lease on the 3,500-square-foot (330 m2) basement of a new residential building under construction at 21 Clinton Street, between Houston and Stanton Streets on Manhattan's Lower East Side. The Clinton Street theater is the company's first permanent home since the closing of The Living Theatre on Third Street at Avenue C in 1993. The company moved into the completed space in early 2007 and opened in April 2007 with a revival of The Brig by Kenneth H. Brown, first presented at The Living Theatre at 14th Street and Sixth Avenue in 1963. The re-staging, directed by Judith Malina won Obie Awards for Direction and Ensemble Performance.\nIn October 2006, the company opened a revival of Mysteries and Smaller Pieces, the 1964 collective creation that defined the interactive and Artaudian style for which the company became famous.\nIn late 2007 / early 2008 the company founder Judith Malina performed in Maudie and Jane, a stage adaptation, directed by Reznikov, of the Doris Lessing novel, The Diary of Jane Somers.\nIn April 2008 Hanon Reznikov suffered a stroke. He died on May 3, 2008.\nIn 2010 the company presented Red Noir, adapted and directed by Judith Malina. -- Wikipedia","bio_dates":"1969"},{"slug":"living_theater_love_and_politics_iphone","ok":true,"partial":false,"title":"Love and Politics: An Introduction to The Living Theatre","artist":"The Living Theater","year":"2007","startOffset":0,"sourceSecs":4023.512,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":231463659,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/living_theater_love_and_politics_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/living_theater_love_and_politics_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/living_theater_love_and_politics_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/living_theater_love_and_politics_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/living_theater_love_and_politics_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"LOVE & POLITICS\": an introduction to the themes and personalities at the heart of the work of The Living Theatre, including scenes from The Living Theatre's repertory and poems and texts by Malina, Reznikov and Julian Beck. With an introduction by Ira Cohen. 67 minutes.","artist_bio":"The Living Theatre was an American theatre company founded in 1947 and based in New York City. It is the oldest experimental theatre group still existing in the U.S. For most of its history it was led by its founders, actress Judith Malina and painter/poet Julian Beck; after Beck's death in 1985, company member Hanon Reznikov became co-director with Malina.\nFrom its conception, The Living Theatre was dedicated to transforming the organization of power within society from a competitive, hierarchical structure to cooperative and communal expression. The troupe attempts to do so by counteracting complacency in the audience through direct spectacle. They oppose the commercial orientation of Broadway productions and have contributed to the off-Broadway theater movement in New York City, staging poetic dramas.\nThe primary text for The Living Theatre is The Theater and Its Double, an anthology of essays written by Antonin Artaud, the French playwright. It was published in France in 1937 and by the Grove Press in the U.S. in 1958. This work deeply influenced Julian Beck, a bisexual painter of abstract expressionist works. The troupe reflects Artaud's influence by staging multimedia plays designed to exhibit his metaphysical Theatre of Cruelty. In these performances, the actors attempt to dissolve the \"fourth wall\" between them and the spectators.\nIn the 1950s, the group was among the first in the U.S. to produce the work of influential European playwrights such as Bertolt Brecht (In The Jungle of Cities in New York, 1960) and Jean Cocteau, as well as modernist poets such as T. S. Eliot and Gertrude Stein. Based in a variety of small New York locations which were frequently closed due to financial problems or conflicts with city authorities, they helped to originate Off-Off-Broadway and Off-Broadway as significant forces in U.S. theater. Their work during this period shared some aspects of style and content with Beat generation writers. Also during the 1950s, the American composer Alan Hovhaness worked closely with the Living Theatre, composing music for its productions. In 1959, their production of The Connection attracted national attention for its harsh portrayal of drug addiction and its equally harsh language.\nThe Brig (1963), an anti-authoritarian look at conditions in a Marine prison, was their last major production in New York before a disagreement with the IRS led to the closure of the theatre space and the brief imprisonment of Beck and Malina. For the rest of the 1960s, the group toured chiefly in Europe. They produced more politically and formally radical work carrying an anarchist and pacifist message, with the company members creating plays collectively and often living together. Major works from this period included the adaptations Antigone and Frankenstein, and Paradise Now, which became their best-known play. Paradise Now, a semi-improvisational piece involving audience participation, was notorious for a scene in which actors recited a list of social taboos that included nudity, while disrobing; this led to multiple arrests for indecent exposure. The group returned to the U.S. in 1968 to tour Paradise Now. In 1971 they toured in Brazil, where they were imprisoned for several months, then deported.\nThe Living Theatre has toured extensively throughout the world, often in non-traditional venues such as streets and prisons. It has greatly influenced other American experimental theatre companies, notably The Open Theater (founded by former Living Theatre member Joseph Chaikin) and Bread and Puppet Theater. Its productions have won four Obie Awards: The Connection (1959), The Brig (1963 and 2007), and Frankenstein (1968). Though its prominence and resources have diminished considerably in recent decades, The Living Theatre continues to produce new plays in New York City, many with anti-war themes.\nIn 2006, The Living Theatre signed a 10-year lease on the 3,500-square-foot (330 m2) basement of a new residential building under construction at 21 Clinton Street, between Houston and Stanton Streets on Manhattan's Lower East Side. The Clinton Street theater is the company's first permanent home since the closing of The Living Theatre on Third Street at Avenue C in 1993. The company moved into the completed space in early 2007 and opened in April 2007 with a revival of The Brig by Kenneth H. Brown, first presented at The Living Theatre at 14th Street and Sixth Avenue in 1963. The re-staging, directed by Judith Malina won Obie Awards for Direction and Ensemble Performance.\nIn October 2006, the company opened a revival of Mysteries and Smaller Pieces, the 1964 collective creation that defined the interactive and Artaudian style for which the company became famous.\nIn late 2007 / early 2008 the company founder Judith Malina performed in Maudie and Jane, a stage adaptation, directed by Reznikov, of the Doris Lessing novel, The Diary of Jane Somers.\nIn April 2008 Hanon Reznikov suffered a stroke. He died on May 3, 2008.\nIn 2010 the company presented Red Noir, adapted and directed by Judith Malina. -- Wikipedia","bio_dates":"1969"},{"slug":"living_theater_paradise_now_1969_iphone","ok":true,"partial":false,"title":"Paradise Now: The Living Theater in Amerika","artist":"The Living Theater","year":"1969","startOffset":0,"sourceSecs":2763.501,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":160586282,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/living_theater_paradise_now_1969_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/living_theater_paradise_now_1969_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/living_theater_paradise_now_1969_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/living_theater_paradise_now_1969_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/living_theater_paradise_now_1969_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"A harrowing, gorgeous, in-your-face-and-mind 45-minute black-and-white film by Marty Topp, produced by Ira Cohen for Universal Mutant. “Marty Topp’s beautiful film of ‘Paradise Now’ reveals how the theories of revolutionary change and the experience of sexual liberation are not separate paths to the beautiful nonviolent anarchist revolution. Practiced together they are a single thrust, encompassing both political action and sensual joy, leading to the dreamed-of terrestrial paradise.” — Judith Malina (The Living Theatre)","artist_bio":"The Living Theatre was an American theatre company founded in 1947 and based in New York City. It is the oldest experimental theatre group still existing in the U.S. For most of its history it was led by its founders, actress Judith Malina and painter/poet Julian Beck; after Beck's death in 1985, company member Hanon Reznikov became co-director with Malina.\nFrom its conception, The Living Theatre was dedicated to transforming the organization of power within society from a competitive, hierarchical structure to cooperative and communal expression. The troupe attempts to do so by counteracting complacency in the audience through direct spectacle. They oppose the commercial orientation of Broadway productions and have contributed to the off-Broadway theater movement in New York City, staging poetic dramas.\nThe primary text for The Living Theatre is The Theater and Its Double, an anthology of essays written by Antonin Artaud, the French playwright. It was published in France in 1937 and by the Grove Press in the U.S. in 1958. This work deeply influenced Julian Beck, a bisexual painter of abstract expressionist works. The troupe reflects Artaud's influence by staging multimedia plays designed to exhibit his metaphysical Theatre of Cruelty. In these performances, the actors attempt to dissolve the \"fourth wall\" between them and the spectators.\nIn the 1950s, the group was among the first in the U.S. to produce the work of influential European playwrights such as Bertolt Brecht (In The Jungle of Cities in New York, 1960) and Jean Cocteau, as well as modernist poets such as T. S. Eliot and Gertrude Stein. Based in a variety of small New York locations which were frequently closed due to financial problems or conflicts with city authorities, they helped to originate Off-Off-Broadway and Off-Broadway as significant forces in U.S. theater. Their work during this period shared some aspects of style and content with Beat generation writers. Also during the 1950s, the American composer Alan Hovhaness worked closely with the Living Theatre, composing music for its productions. In 1959, their production of The Connection attracted national attention for its harsh portrayal of drug addiction and its equally harsh language.\nThe Brig (1963), an anti-authoritarian look at conditions in a Marine prison, was their last major production in New York before a disagreement with the IRS led to the closure of the theatre space and the brief imprisonment of Beck and Malina. For the rest of the 1960s, the group toured chiefly in Europe. They produced more politically and formally radical work carrying an anarchist and pacifist message, with the company members creating plays collectively and often living together. Major works from this period included the adaptations Antigone and Frankenstein, and Paradise Now, which became their best-known play. Paradise Now, a semi-improvisational piece involving audience participation, was notorious for a scene in which actors recited a list of social taboos that included nudity, while disrobing; this led to multiple arrests for indecent exposure. The group returned to the U.S. in 1968 to tour Paradise Now. In 1971 they toured in Brazil, where they were imprisoned for several months, then deported.\nThe Living Theatre has toured extensively throughout the world, often in non-traditional venues such as streets and prisons. It has greatly influenced other American experimental theatre companies, notably The Open Theater (founded by former Living Theatre member Joseph Chaikin) and Bread and Puppet Theater. Its productions have won four Obie Awards: The Connection (1959), The Brig (1963 and 2007), and Frankenstein (1968). Though its prominence and resources have diminished considerably in recent decades, The Living Theatre continues to produce new plays in New York City, many with anti-war themes.\nIn 2006, The Living Theatre signed a 10-year lease on the 3,500-square-foot (330 m2) basement of a new residential building under construction at 21 Clinton Street, between Houston and Stanton Streets on Manhattan's Lower East Side. The Clinton Street theater is the company's first permanent home since the closing of The Living Theatre on Third Street at Avenue C in 1993. The company moved into the completed space in early 2007 and opened in April 2007 with a revival of The Brig by Kenneth H. Brown, first presented at The Living Theatre at 14th Street and Sixth Avenue in 1963. The re-staging, directed by Judith Malina won Obie Awards for Direction and Ensemble Performance.\nIn October 2006, the company opened a revival of Mysteries and Smaller Pieces, the 1964 collective creation that defined the interactive and Artaudian style for which the company became famous.\nIn late 2007 / early 2008 the company founder Judith Malina performed in Maudie and Jane, a stage adaptation, directed by Reznikov, of the Doris Lessing novel, The Diary of Jane Somers.\nIn April 2008 Hanon Reznikov suffered a stroke. He died on May 3, 2008.\nIn 2010 the company presented Red Noir, adapted and directed by Judith Malina. -- Wikipedia","bio_dates":"1969"},{"slug":"lockhart_sharon_exit_2008_iphone","ok":true,"partial":false,"title":"Exit","artist":"Sharon Lockhart","year":"2008","startOffset":0,"sourceSecs":2477.037,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":144394369,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lockhart_sharon_exit_2008_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lockhart_sharon_exit_2008_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lockhart_sharon_exit_2008_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lockhart_sharon_exit_2008_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lockhart_sharon_exit_2008_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Filmed over a five-day workweek, each of the five takes that comprise Sharon Lockhart’s Exit shows the long progression of workers leaving the Bath Iron Works at the end of their shift. Each take starts with a title card stating the day of the week, and then begins a daily routine that varies greatly from day to day. Reminiscent of the original Lumière film Workers Leaving The Lumière Factory, Exit emphasizes the flow of time and the nuances of daily experience.<br><br><b>Artforum:</b> <br> SHARON LOCKHART’S LATEST FILMS depict employees at the Bath Iron Works in Bath, Maine. <a href=\"https://ubu.com/film/lockhart_lunch.html\" rel=\"noopener\" target=\"_blank\">Lunch Break</a> (2008), at eighty-three minutes the longer of the two, is notable first for the artist’s decision to set the camera in motion, something she has not done in any of her previous films. (Exit [2008], a related forty-one-minute study of repetition and difference that depicts workers leaving the facility on five consecutive days, maintains a fixed camera position.) In a long, uninterrupted tracking shot, the camera in Lunch Break traverses at midday what appears to be the spinal cord of the shipyard—a long, uninterrupted passageway—as several dozen employees eat, read the newspaper, and talk in small groups. Most of the workers (all but one are men) do not engage with the camera, perhaps a result of the fact that, as with Pine Flat (2005), Lockhart’s study of children in a small California town, the artist spent considerable time conducting quasi-ethnographic research to familiarize herself with the “community” of shipbuilders, electricians, welders, and pipe fitters before capturing it on film. <br><br> Though the camera moves, the footage it gathers has been slowed down dramatically: Six minutes pass before the first figure is beyond the frame, and another seven elapse before the camera reaches the next trio of relaxing employees. As it progresses, every detail of the claustrophobically hemmed-in environment is revealed in sharp focus: dented garbage cans and putty-colored lockers, some adorned with stickers; olive-green tool chests and brightly colored plastic coolers; gauges that cling to pipes stretching from floor to ceiling; and tubes and hoses that extend every which way, all beneath drab, uniform fluorescent light. The dilatory pace emphasizes the sheer amount of material (and visual detail) packed into this place and highlights how successfully 35-mm film can capture that plenitude. But the unhurriedness also imparts a monumental solemnity to each of the workers’ gestures, which can undercut the film’s tight structure in both negative and positive ways. A man sitting to the left of the aisle with a water bottle in hand, momentarily looking at the floor, becomes, when slowed down, a despondent ruminator seemingly lifted from one of Bill Viola’s histrionic video installations. On the other hand, when, midway through the film, another man reaching above the lockers pulls a bag of popcorn out of an unseen microwave, the humor of his banal action deflates the portentousness that can cloud such snail-paced scrutiny. <br><br/> Lockhart’s deadpan gaze, it should be noted, is in fact far removed from Viola’s schmaltzy recent work. Lunch Break is more closely related to films such as Tacita Dean’s Kodak (2006), a poker-faced threnody that memorializes the last days of the factory in France where Dean’s preferred film stock was made, and Mark Lewis’s Children’s Games, Heygate Estate (2002), in which the camera glides seamlessly along an elevated walkway through a South London housing project, capturing children at play on the sidewalks below. All three infuse sharply delineated formal parameters with content extraneous to that structure. (As Michael Ned Holte has noted elsewhere, Lockhart does not make strictly structuralist films; the same can be said about Dean’s and Lewis’s rigorous work.) Lunch Break is described as being part of Lockhart’s new series “about the present state of US labor,” but the film discloses little concerning this ambitious remit. (For example, nowhere is it explained that Bath Iron Works’ labor is put to very particular ends: The company is part of the General Dynamics conglomerate and a major supplier of destroyers to the US Navy.) The employees’ idleness might be seen as a metaphor for the way in which our economy has ground to a halt, but Lockhart remains a better portraitist and formalist than analyst or polemicist. <br/><br/> The same can be said of James Benning, who is perhaps the single greatest influence on Lockhart’s moving-image corpus and who edited Lunch Break and helped supervise its sound. (For example, RR [2007], his wondrous latest film, is diminished somewhat by its didactic sound-track selections.) He has, with composer Becky Allen, given Lunch Break a deep, consistent, ambient industrial drone (similar to Dean’s Kodak), punctuated occasionally by the clang of metal against metal. Snippets of conversation and, at one point, a Led Zeppelin song bubble up to the surface of the mix as the camera passes by plausible sources for the sounds. The disjunction between edited sounds seemingly played at normal speed and a slowed-down image helps articulate the constructed nature of Lockhart’s elegant, if seemingly transitional, film.</br></br></br></br>","artist_bio":"As one of the very few contemporary artists equally talented and influential in both still photography and cinema, the work of Sharon Lockhart (b. 1964) has engaged a rich and fascinating dialogue between two media whose deep affinities are all too often misunderstood. Lockhart's early work drew frequent inspiration from the Seventies art cinema canon so central to her aesthetic, restaging key emotional moments into abstractly theatricalized tableaux, from the first kiss of French school children in Truffaut's Stolen Kisses (1968)-reimagined in Auditions (1994), her enigmatic serial portraits of Los Angeles youth-to the defamiliarization of late Cassavetes in her short film, Khalil, Shaun, A Woman Under the Influence (1994).\nFavoring a static camera, and dynamic mise-en-scène that plays with depth and surface and renders ambiguous the distance between theatrical and natural gesture, Lockhart's subsequent film work balances its polished, high art aesthetic and formal rigor with a keen and politically astute ethnographic attention to its arresting and markedly \"foreign\" subjects-the Japanese small town girls basketball team in Goshogaoka (1998) and the largely indigenous population of a tropical Brazilian hamlet in Teatro Amazonas (1999). Using nonprofessional actors these two films make bold, unexpected use of the overtly theatrical space of the basketball court and the lavish titular opera house to discover cinematographic majesty and mystery within the everyday.\nWith her latest work, Lunch Break (2009), and its companion piece, Exit (2009), Lockhart's cameraturns upon her native New England, using an iron works in Maine to offer an arrestingly tactile vision of the rhythm and space of labor in the 21st century. The Harvard Film Archive is pleased to welcome back Sharon Lockhart for the opportunity to discuss her latest work and two seminal early films.","bio_dates":"b. 1964"},{"slug":"lockhart_sharon_lunch_break_2008_iphone","ok":true,"partial":false,"title":"Lunch Break","artist":"Sharon Lockhart","year":"2009","startOffset":0,"sourceSecs":4721.389,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":271609362,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lockhart_sharon_lunch_break_2008_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lockhart_sharon_lunch_break_2008_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lockhart_sharon_lunch_break_2008_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lockhart_sharon_lunch_break_2008_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lockhart_sharon_lunch_break_2008_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Sharon Lockhart's latest films depict employees at the Bath Iron Works in Bath, Maine. <em>Lunch Break</em> (2008), the longer of the two, is notable first for the artist's decision to set the camera in motion, something she has not done in any of her previous films. (<em>Exit</em> [2008], a related, forty-one-minute study of repetition and difference that depicts workers leaving the facility on five consecutive days, maintains a fixed camera position.) In a long, uninterrupted tracking shot, the camera in Lunch Break traverses at midday what appears to be the spinal cord of the shipyard-a long, uninterrupted passageway-as several dozen employees eat, read the newspaper, and talk in small groups. Most of the workers (all but one are men) do not engage with the camera, perhaps a result of the fact that, as with <em>Pine Flat</em> (2005), Lockhart's study of children in a small California town, the artist spent considerable time conducting quasi-ethnographic research to familiarize herself with the \"community\" of shipbuilders, electricians, welders, and pipefitters before capturing it on film. Though the camera moved, the footage it gathered has been slowed down dramatically: Six minutes pass before the first figure is beyond the frame, and another seven elapse before the camera reaches the next trio of relaxing employees. As it progresses, every detail of the claustrophobically hemmed-in environment is revealed in sharp focus: dented garbage cans and putty-colored lockers, some adorned with stickers; olive-green tool chests and brightly colored plastic coolers; gauges that cling to pipes stretching from floor to ceiling; and tubes and hoses that extend every which way, all beneath drab, uniform fluorescent light. The dilatory pace emphasizes the sheer amount of material (and visual detail) packed in to this place, and highlights how successfully 35-mm film can capture that plenitude. But the unhurriedness also imparts a monumental solemnity to each of the workers' gestures, which can undercut the film's tight structure in both negative and positive ways. A man sitting to the left of the aisle with a water bottle in hand, momentarily looking at the floor, becomes, when slowed down, a despondent ruminator seemingly lifted from one of Bill Viola's histrionic video installations. On the other hand, when, midway through the film, another man reaching above the lockers pulls a bag of popcorn out of an unseen microwave, the humor of his banal action deflates the portentousness that can cloud such snail-paced scrutiny. Lockhart's deadpan gaze, it should be noted, is in fact far removed from Viola's schmaltzy recent work. Lunch Break is more closely related to films such as Tacita Dean's <em>Kodak</em> (2006), a poker-faced threnody that memorializes the last days in the factory in France where Dean's preferred film stock was made, or Mark Lewis's <em>Children's Games, Heygate Estate</em> (2002), in which the camera glides seamlessly along an elevated walkway through a south London housing project, capturing children at play on the sidewalks below. All three infuse sharply delineated formal parameters with content extraneous to that structure. (As Michael Ned Holte has noted elsewhere, Lockhart does not make strictly <em>structuralist</em> films; the same can be said about Dean and Lewis's rigorous work.) <em>Lunch Break</em> is described as part of Lockhart's new series \"about the present state of US labor,\" but the film discloses little concerning this ambitious remit. (For example, nowhere is it explained that the Bath Iron Workers' labor is put to very particular ends: The company is part of the General Dynamics conglomerate and a major supplier of destroyers to the US Navy.) The employees' idleness might be seen as a metaphor for the way in which our economy has ground to a halt, but Lockhart remains a better portraitist and formalist than analyst or polemicist. The same can be said of James Benning, who is perhaps the single greatest influence on Lockhart's moving-image corpus and who edited <em>Lunch Break</em> and helped supervise its sound. (For example, <em>RR</em> [2007], his wondrous latest film, is diminished somewhat by its didactic sound track selections.) He has, with composer Becky Allen, given Lunch Break a deep, consistent, ambient industrial drone (similar to Dean's <em>Kodak</em>) that is punctuated occasionally by the clang of metal against metal. Snippets of conversation and, at one point, a Led Zeppelin song bubble up to the surface of the mix as the camera passes by plausible sources for the sounds. The disjunction between edited sounds seemingly played at normal speed and a slowed-down image helps articulate the constructed nature of Lockhart's elegant, if seemingly transitional, film. -- Brian Sholis, <i>Artforum</i>, January 15, 2009","artist_bio":"As one of the very few contemporary artists equally talented and influential in both still photography and cinema, the work of Sharon Lockhart (b. 1964) has engaged a rich and fascinating dialogue between two media whose deep affinities are all too often misunderstood. Lockhart's early work drew frequent inspiration from the Seventies art cinema canon so central to her aesthetic, restaging key emotional moments into abstractly theatricalized tableaux, from the first kiss of French school children in Truffaut's Stolen Kisses (1968)-reimagined in Auditions (1994), her enigmatic serial portraits of Los Angeles youth-to the defamiliarization of late Cassavetes in her short film, Khalil, Shaun, A Woman Under the Influence (1994).\nFavoring a static camera, and dynamic mise-en-scène that plays with depth and surface and renders ambiguous the distance between theatrical and natural gesture, Lockhart's subsequent film work balances its polished, high art aesthetic and formal rigor with a keen and politically astute ethnographic attention to its arresting and markedly \"foreign\" subjects-the Japanese small town girls basketball team in Goshogaoka (1998) and the largely indigenous population of a tropical Brazilian hamlet in Teatro Amazonas (1999). Using nonprofessional actors these two films make bold, unexpected use of the overtly theatrical space of the basketball court and the lavish titular opera house to discover cinematographic majesty and mystery within the everyday.\nWith her latest work, Lunch Break (2009), and its companion piece, Exit (2009), Lockhart's cameraturns upon her native New England, using an iron works in Maine to offer an arrestingly tactile vision of the rhythm and space of labor in the 21st century. The Harvard Film Archive is pleased to welcome back Sharon Lockhart for the opportunity to discuss her latest work and two seminal early films.","bio_dates":"b. 1964"},{"slug":"lockhart_sharon_teatro_amazonas_1999_iphone","ok":true,"partial":false,"title":"Teatro Amazonas","artist":"Sharon Lockhart","year":"1999","startOffset":0,"sourceSecs":2329.389,"sourceHeight":240,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":135493897,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lockhart_sharon_teatro_amazonas_1999_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lockhart_sharon_teatro_amazonas_1999_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lockhart_sharon_teatro_amazonas_1999_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lockhart_sharon_teatro_amazonas_1999_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lockhart_sharon_teatro_amazonas_1999_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Sharon Lockhart<br/> Year: 1999<br/> Time: 39 mins<br/> Music: Becky Allen<br/> <br/> One of the most aesthetically rigorous and fecund artists in contemporary experimental filmmaking, Sharon Lockhart has been confounding boundaries between cinema and photography for over three decades, complementing her tight formal exercises with an ethnographic sensibility rarely found on the screen. Teatro Amazonas is undoubtedly among her most radical and intriguing works. The setting is an opera house built in Manaus during the rubber exploration boom of the 19th century. The audience in this <i>Fitzcarraldo</i> utopia, presumably unacquainted with the kind of music to be performed, was personally selected by Lockhart herself. comprising locals descending from both native Amazonians and Europeans. Hidden and fixed, the camera records the audience watching a performance of a musical piece by Becky Allen, specially commissioned for the event. Allen's piece is a powerful minimalist work for choir in which acoustic space, initially overtaken by the singers, gradually gives in to silence - or, to be more precise, to the audience's own choral noise. A sound mass initially emanates from twelve invisible groups of five musicians intoning one single note in vowel cycles, vanishing imperceptibly till only one of these groups is left, therefore allowing the audience's presence to slowly emerge in all its boredom and discomfort. Lockhart thus forces a series of identifications on the part of her \"ideal viewer\": on one level, of course, it is a matter of observers observed, of viewers viewing viewers, both probably restless to the same degree; but on another level there is also a perhaps uncomfortable identification of the urban bourgeois viewer with the director, the composer, the (secretly local) choral group and the camera, somehow mitigating the previous identification. The way in which this strange triangle, composed by the artists and the two spectators, is designed to shift between such identifications endangers some of the most basic and unconscious notions of gaze hierarchy and fixity which are at the very heart of both the ethnographic and cinematographic enterprise, forcing us to reconsider, if only for a while, our own place in the trinity. -- Eye of Sound","artist_bio":"As one of the very few contemporary artists equally talented and influential in both still photography and cinema, the work of Sharon Lockhart (b. 1964) has engaged a rich and fascinating dialogue between two media whose deep affinities are all too often misunderstood. Lockhart's early work drew frequent inspiration from the Seventies art cinema canon so central to her aesthetic, restaging key emotional moments into abstractly theatricalized tableaux, from the first kiss of French school children in Truffaut's Stolen Kisses (1968)-reimagined in Auditions (1994), her enigmatic serial portraits of Los Angeles youth-to the defamiliarization of late Cassavetes in her short film, Khalil, Shaun, A Woman Under the Influence (1994).\nFavoring a static camera, and dynamic mise-en-scène that plays with depth and surface and renders ambiguous the distance between theatrical and natural gesture, Lockhart's subsequent film work balances its polished, high art aesthetic and formal rigor with a keen and politically astute ethnographic attention to its arresting and markedly \"foreign\" subjects-the Japanese small town girls basketball team in Goshogaoka (1998) and the largely indigenous population of a tropical Brazilian hamlet in Teatro Amazonas (1999). Using nonprofessional actors these two films make bold, unexpected use of the overtly theatrical space of the basketball court and the lavish titular opera house to discover cinematographic majesty and mystery within the everyday.\nWith her latest work, Lunch Break (2009), and its companion piece, Exit (2009), Lockhart's cameraturns upon her native New England, using an iron works in Maine to offer an arrestingly tactile vision of the rhythm and space of labor in the 21st century. The Harvard Film Archive is pleased to welcome back Sharon Lockhart for the opportunity to discuss her latest work and two seminal early films.","bio_dates":"b. 1964"},{"slug":"logue_joan_andersonspot","ok":true,"partial":false,"title":"Andersonspot","artist":"Laurie Anderson","year":"1982","startOffset":0,"sourceSecs":30.187,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":11775,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/logue_joan_andersonspot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/logue_joan_andersonspot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/logue_joan_andersonspot.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/logue_joan_andersonspot/main.mp4?v=2"},{"slug":"logue_joan_cagespot","ok":true,"partial":false,"title":"Cagespot","artist":"John Cage","year":"1982","startOffset":0,"sourceSecs":30.571,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":8932,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/logue_joan_cagespot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/logue_joan_cagespot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/logue_joan_cagespot.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/logue_joan_cagespot/main.mp4?v=2","description":"Inverting the form, style and time frame of commercial television advertising, Logue has produced a unique series of dynamic video portraits of avant-garde artists, writers, musicians and performers. In 30 Second Spots: New York, which Logue terms \"commercials for artists,\" each of the succinct vignettes conveys the artistic essence of her subject with clarity, wit, and an elegant economy of means. John Cage, John Cage, Philip Glass, Meredith Monk, Spalding Gray and Nam June Paik are among the artists who are captured here with concise drama. Each subject performs in close-up before a stationary camera; Logue heightens this intimate theater with a precise application of subtle electronic effects. Steve Reich's hands are seen in close-up as he claps out a syncopated rhythm; a dance gesture by Arnie Zane and Bill T. Jones is transformed into a sequence of color and texture; John Cage's face fills the screen as she knocks on her amplified head with unexpected resonance.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"logue_joan_grayspottitle","ok":true,"partial":false,"title":"Grayspottitle","artist":"Spalding Gray","year":"1982","startOffset":0,"sourceSecs":37.035,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":1906955,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/logue_joan_grayspottitle/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/logue_joan_grayspottitle/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/logue_joan_grayspottitle.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/logue_joan_grayspottitle/main.mp4?v=2","description":"Inverting the form, style and time frame of commercial television advertising, Logue has produced a unique series of dynamic video portraits of avant-garde artists, writers, musicians and performers. In 30 Second Spots: New York, which Logue terms \"commercials for artists,\" each of the succinct vignettes conveys the artistic essence of her subject with clarity, wit, and an elegant economy of means. Spalding Gray, Philip Glass, Meredith Monk, and Nam June Paik are among the artists who are captured here with concise drama. Each subject performs in close-up before a stationary camera; Logue heightens this intimate theater with a precise application of subtle electronic effects. Steve Reich's hands are seen in close-up as he claps out a syncopated rhythm; a dance gesture by Arnie Zane and Bill T. Jones is transformed into a sequence of color and texture; Spalding Gray's face fills the screen as she knocks on her amplified head with unexpected resonance.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"logue_joan_paikspot","ok":true,"partial":false,"title":"Paikspot","artist":"Nam June Paik","year":"1982","startOffset":0,"sourceSecs":31.381,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":8971,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/logue_joan_paikspot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/logue_joan_paikspot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/logue_joan_paikspot.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/logue_joan_paikspot/main.mp4?v=2","description":"Inverting the form, style and time frame of commercial television advertising, Logue has produced a unique series of dynamic video portraits of avant-garde artists, writers, musicians and performers. In 30 Second Spots: New York, which Logue terms \"commercials for artists,\" each of the succinct vignettes conveys the artistic essence of her subject with clarity, wit, and an elegant economy of means. John Cage, Nam June Paik, Philip Glass, Meredith Monk, Spalding Gray and Nam June Paik are among the artists who are captured here with concise drama. Each subject performs in close-up before a stationary camera; Logue heightens this intimate theater with a precise application of subtle electronic effects. Steve Reich's hands are seen in close-up as he claps out a syncopated rhythm; a dance gesture by Arnie Zane and Bill T. Jones is transformed into a sequence of color and texture; Nam June Paik's face fills the screen as she knocks on her amplified head with unexpected resonance.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"logue_joan_reichspot","ok":true,"partial":false,"title":"Reichspot","artist":"Steve Reich","year":"1982","startOffset":0,"sourceSecs":29.376,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":8968,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/logue_joan_reichspot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/logue_joan_reichspot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/logue_joan_reichspot.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/logue_joan_reichspot/main.mp4?v=2","description":"Inverting the form, style and time frame of commercial television advertising, Logue has produced a unique series of dynamic video portraits of avant-garde artists, writers, musicians and performers. In 30 Second Spots: New York, which Logue terms \"commercials for artists,\" each of the succinct vignettes conveys the artistic essence of her subject with clarity, wit, and an elegant economy of means. John Cage, Steve Reich, Philip Glass, Meredith Monk, Spalding Gray and Steve Reich are among the artists who are captured here with concise drama. Each subject performs in close-up before a stationary camera; Logue heightens this intimate theater with a precise application of subtle electronic effects. Steve Reich's hands are seen in close-up as he claps out a syncopated rhythm; a dance gesture by Arnie Zane and Bill T. Jones is transformed into a sequence of color and texture; Steve Reich's face fills the screen as she knocks on her amplified head with unexpected resonance.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"lommel_ulli_blank_generation_1980","ok":true,"partial":true,"title":"Blank Generation","artist":"Ulli Lommel","year":"1980","startOffset":0,"sourceSecs":4713.216,"sourceHeight":480,"sourceWidth":664,"hasAudio":true,"hasAmbientMp4":true,"bytes":802860679,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lommel_ulli_blank_generation_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lommel_ulli_blank_generation_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lommel_ulli_blank_generation_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lommel_ulli_blank_generation_1980/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lommel_ulli_blank_generation_1980/main/master.m3u8?v=2","hasMainHls":true,"description":"This underground favorite is centered around a meaning-seeking punk musician consuming relationship with a jo in drugs and a consuming relationship with a journalist (Carole Bouquet) and was filmed entirely on location on NYC's Lower East Side. <br/><br/> Richard Hell, one of the most important and influential figures in the late-'70s New York punk rock scene, stars in this gritty look at the underground art and music community, directed by German filmmaker Ulli Lommel. Billy (Richard Hell) is an up-and-coming musician and poet who meets Nada (Carole Bouquet), a journalist from Europe who has come to New York to do a story on him. Billy and Nada soon fall into a troubled relationship, and Billy has to choose between his career and his feelings for Nada. Andy Warhol appears as himself (being interviewed by Nada); Richard Hell plays three songs with his band The Voidoids, shot live at the legendary club CBGB's. <br/><br/> More a curiosity than a meaningful artifact, Ulli Lommel's 1979 Blank Generation eschews pin-pierced cheeks and other mutilation clichés for a different look at New York's punk scene, one that more closely resembles, in all probability, the aspirations and mixed luck of a New York artist such as Richard Hell at the end of that decade. Hell (of Richard Hell and the Voidoids) plays an earnest and likable fellow named Billy, frontman for a band that's, hey, very much like the Voidoids and features the rudimentary sonic noodlings that got Hell kicked out of the now-legendary group he cofounded, Television. A big draw at CBGB, Billy signs on with a manager to whom he eventually sells, in perpetuity, all rights to his songs and recordings for a measly $5,000. Why? Just to avoid a headache in the future, concentrate on his skills, and explore his mercurial relationship with a beautiful French journalist played by Carole Bouquet. The story has a meandering, unfocused, undisciplined movement to it, which actually furthers one's intuitive understanding of the manic-depressive cycle of Billy's romance, but finally makes Lommel look like he's squeezing out a movie instead of directing one. Hell has an unusually open aspect that runs contrary to his laconic character; it's a nice contrast, but he fares better with his ironic yelping on the title song, a punk classic. - Tom Keogh<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/jonas.html\" rel=\"noopener\" target=\"_blank\">Ulli Lommel in UbuWeb Sound</a>","artist_bio":"Ulli Lommel (21 December 1944 – 2 December 2017) was a German actor and director, noted for his many collaborations with Rainer Werner Fassbinder and his association with the New German Cinema movement.[2] Lommel spent time at The Factory and was a creative associate of Andy Warhol, with whom he made several films and works of art. He moved to the United States in 1977, where he wrote, directed and starred in over 50 movies.","bio_dates":"1944-2017"},{"slug":"longo_robert_arenabrains_1987","ok":true,"partial":false,"title":"Arena Brains","artist":"Robert Longo","year":"1987","startOffset":0,"sourceSecs":2139.27,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":362138902,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/longo_robert_arenabrains_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/longo_robert_arenabrains_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/longo_robert_arenabrains_1987.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/longo_robert_arenabrains_1987/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/longo_robert_arenabrains_1987/main/master.m3u8?v=2","hasMainHls":true,"description":"An extended short from painter-turned-filmmaker Robert Longo, who would later helm Johnny Mnemonic, Arena Brains consists of a series of interlocking vignettes set in New York City in the late 1980s. The stories – created by five different screenwriters, including Eric Bogosian, Richard Price, and Longo himself – are mostly loosely structured attempts at satirizing the neuroses and eccentricities of members of Lower Manhattan’s art community. <br/><br/> Directed by<br/> Robert Longo<br/> <br/> Writing Credits (in alphabetical order) <br/> Eric Bogosian<br/> E. Max Frye<br/> Robert Longo<br/> Emily Prager<br/> Richard Price<br/> <br/> Cast<br/> Eric Bogosian<br/> Steve Buscemi<br/> Jessica Cardindale<br/> Tom Gilroy<br/> Ray Liotta<br/> Richard Price<br/> Richard Schiff<br/> Michael Stipe<br/> Sean Young","artist_bio":"Robert Longo (born January 7, 1953) is a Pictures Generation American artist, filmmaker, photographer and musician. Longo became first well known in the 1980s for his Men in the Cities drawing and print series, which depict sharply dressed men and women writhing in contorted emotion.","bio_dates":"b. 1953"},{"slug":"losier_marie_tony_conrad_dreamminimalist_2008","ok":true,"partial":false,"title":"Tony Conrad, DreaMinimalist","artist":"Tony Conrad","year":"2008","startOffset":0,"sourceSecs":1613.028,"sourceHeight":480,"sourceWidth":712,"hasAudio":true,"hasAmbientMp4":true,"bytes":280726393,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/losier_marie_tony_conrad_dreamminimalist_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/losier_marie_tony_conrad_dreamminimalist_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/losier_marie_tony_conrad_dreamminimalist_2008.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/losier_marie_tony_conrad_dreamminimalist_2008/main.mp4?v=2","description":"The latest in Marie Losier’s ongoing series of film portraits of avant-garde directors (George and Mike Kuchar, Guy Maddin, Richard Foreman), DreaMinimalist offers an insightful and hilarious encounter with Conrad as he sings, dances and remembers his youth and his association with Jack Smith.","artist_bio":"Music in the Afternoon, with Tony Conrad (2002)\n, dir. Woody and Steina Vasulka\nWith a background in mathematics and computer programming, Tony Conrad became active in performance and music composition during the 1960s, and was associated with the founding of both minimal music and underground film in New York City. Along with Marian Zeezela, La Monte Young, John Cale, and Angus MacLise, Conrad was a co-founder of the Theater of Eternal Music, which utilized non-Western musical forms and sustained sound to produce what they called \"dream music.\"\nConrad's work in film ranged from experiments in physically transforming the film's surface to theatrical productions featuring New York's underground scene. The Flicker (1966) is considered a key early work of the structural film movement. Conrad began working in video and performance in the 1970s while teaching at Antioch College in Ohio and the Center for Media Study, State University of New York at Buffalo. Conrad observed that his early tapes \"deal with the construction of the viewer, in the authorizing context of the art environment or within a broader sociopolitical context.\"\nConrad's commitment to developing and sustaining a decentralized cultural infrastructure is evident in his active involvement with Hallwalls Contemporary Arts Center, Squeaky Wheel Media Coalition, and Buffalo Cable Access Media.","bio_dates":"1940-2016"},{"slug":"lucier_mary_air_writing_fire","ok":true,"partial":false,"title":"Two Screen Matrix: Air Writing (1974)/Fire Writing","artist":"Mary Lucier","year":"1975","startOffset":0,"sourceSecs":1114.318,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":68367839,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lucier_mary_air_writing_fire/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lucier_mary_air_writing_fire/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lucier_mary_air_writing_fire.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lucier_mary_air_writing_fire/main.mp4?v=2","description":"for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1944"},{"slug":"lucier_mary_arabesque_letter","ok":true,"partial":false,"title":"Arabesque","artist":"Mary Lucier","year":"2004","startOffset":0,"sourceSecs":431.8,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":24364214,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lucier_mary_arabesque_letter/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lucier_mary_arabesque_letter/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lucier_mary_arabesque_letter.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lucier_mary_arabesque_letter/main.mp4?v=2","description":"Writes Laurel Reuter, Director, North Dakota Museum of Art: \"[Arabesque] explodes into dance, the dance of the bucking horse, the bull, the clown, the rodeo rider. This is the resplendent West, but Lucier undermines its glory with loss. Brilliantly, the artist sets her choreography to George Strait's Country Western song, I Can Still Make Cheyenne. The music and the images cascade back over themselves, folding, repositioning, repeating, alive with rapture ... and, again, longing.\"\n\nArabesque derives from Lucier's five-channel installation The Plains of Sweet Regret, commissioned by the North Dakota Museum of Art.\n\nMusic: George Strait. Lyrics: Aaron Baker. Production Assistant: Emily Owings.--\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1944"},{"slug":"lucier_mary_ohio_to_giverny_amphibian","ok":true,"partial":false,"title":"Ohio at Giverny","artist":"Mary Lucier","year":"1983","startOffset":0,"sourceSecs":4214.967,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":242831362,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lucier_mary_ohio_to_giverny_amphibian/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lucier_mary_ohio_to_giverny_amphibian/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lucier_mary_ohio_to_giverny_amphibian.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lucier_mary_ohio_to_giverny_amphibian/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lucier_mary_ohio_to_giverny_amphibian/main/master.m3u8?v=2","hasMainHls":true,"description":"Praised by The New York Times as a \"stunning paean to Monet,\" Ohio at Giverny is the title of Lucier's highly acclaimed two-channel, seven-monitor installation. Writes Lucier, \"This work is an investigation of light in landscape and its function as an agent of memory, both personal and mythic. It deals with the convergence of disparate entities — geographies, epochs, sensibilities: with transitions from one state of being to another, and how within the frame of imagination and collective memory these 'dissolves' take place. \"Nostalgic images from Lucier's native Ohio — the pastoral countryside and a Victorian home — are fluidly juxtaposed and correlated with the lush beauty of Impressionist painter Claude Monet's gardens in Giverny, France. Note: In this composite version of the installation, the two channels of video are displayed side-by-side on a split screen.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1944"},{"slug":"lumiere_david_lynch_1995","ok":true,"partial":false,"title":"David Lynch","artist":"Lumière and Company","year":"1995","startOffset":0,"sourceSecs":138.879,"sourceHeight":564,"sourceWidth":760,"hasAudio":true,"hasAmbientMp4":true,"bytes":19923051,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lumiere_david_lynch_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lumiere_david_lynch_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lumiere_david_lynch_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lumiere_david_lynch_1995/main.mp4?v=2","description":"Lumière and Company (1995, original title \"Lumière et compagnie\") was a collaboration between 41 international film directors in which each made a short film using the original Cinématographe camera invented by the Lumière brothers.<br/> <br/>Shorts were edited in-camera and abided by three rules: A short may be no longer than 52 seconds No synchronized sound No more than three takes <br/><br/> Thanks to Chris Yewell.","artist_bio":"David Keith Lynch (born January 20, 1946) is an American film director, television director, visual artist, musician, occasional actor, and author. Known for his surrealist films, he has developed a unique cinematic style. The surreal and, in many cases, violent elements contained within his films have been known to \"disturb, offend or mystify\" audiences.","bio_dates":"1995"},{"slug":"lumiere_greenaway_1995","ok":true,"partial":false,"title":"Peter Greenaway","artist":"Lumière and Company","year":"1995","startOffset":0,"sourceSecs":91.627,"sourceHeight":748,"sourceWidth":1008,"hasAudio":true,"hasAmbientMp4":true,"bytes":37754315,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lumiere_greenaway_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lumiere_greenaway_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lumiere_greenaway_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lumiere_greenaway_1995/main.mp4?v=2","description":"Lumière and Company (1995, original title \"Lumière et compagnie\") was a collaboration between 41 international film directors in which each made a short film using the original Cinématographe camera invented by the Lumière brothers.<br/> <br/>Shorts were edited in-camera and abided by three rules: A short may be no longer than 52 seconds No synchronized sound No more than three takes Thanks to Chris Yewell.","artist_bio":"Lumière and Company (1995, original title \"Lumière et compagnie\") was a collaboration between 41 international film directors in which each made a short film using the original Cinématographe camera invented by the Lumière brothers.\nA short may be no longer than 52 seconds\nNo synchronized sound\nBIO:\nThe Lumière brothers, Auguste Marie Louis Nicolas (19 October 1862, Besançon, France – 10 April 1954, Lyon) and Louis Jean (5 October 1864, Besançon, France – 6 June 1948, Bandol), are credited to be first filmmakers in history. They patented the cinematograph, which contrary to Edison's \"peepshow\" kinetoscope, the former allowed viewing by multiple parties at once, like current cinema. Their first film, Sortie de l'usine Lumière de Lyon, shot in 1894, is considered the first real motion picture in history. Curiously, their surname, \"Lumière\", is French for \"light\".","bio_dates":"1896"},{"slug":"lumiere_wim_wenders_1995","ok":true,"partial":false,"title":"Wim Wenders","artist":"Lumière and Company","year":"1995","startOffset":0,"sourceSecs":126.549,"sourceHeight":736,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":54649463,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lumiere_wim_wenders_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lumiere_wim_wenders_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lumiere_wim_wenders_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lumiere_wim_wenders_1995/main.mp4?v=2","description":"Lumière and Company (1995, original title \"Lumière et compagnie\") was a collaboration between 41 international film directors in which each made a short film using the original Cinématographe camera invented by the Lumière brothers."},{"slug":"lunberry_clark_murmur","ok":true,"partial":false,"title":"Murmur of Words","artist":"Clark Lunberry","year":"2009","startOffset":0,"sourceSecs":146.747,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":17956860,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lunberry_clark_murmur/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lunberry_clark_murmur/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lunberry_clark_murmur.mp4","hasFrames":true,"description":"On the pond in front of the University of North Florida's Thomas G. Carpenter Library, Clark Lunberry and several of his students recently installed a large-scale poem directly onto the surface of the water. During the first week, the poem—made of letters (8 ft. by 8 ft.) cut from thick plastic sheeting, clipped to twine, and installed with a kayak - read: \"MURMUR OF WORDS.\" Then, returning with the kayak the following weekend, a small adjustment was made, adding a \"U,\" while replacing an \"R\" with an \"N,\" changing the poem slightly (but significantly) to read during the second week: \"MURMUR OF WOUNDS.\" <br/><br/> Simultaneously, installed in the four-story stairwell of the adjacent library - its tall windows facing directly onto the pond - there was an accompanying sound collage composed of the recorded voices of 25 randomly chosen library readers (all of them having been asked to read and record whatever they happened to be reading when approached). Once in place and heard throughout the stairwell, the various voices mingled into a murmur, while the poem on the pond was seen directly below, its words floating upon the water.","artist_bio":"Clark Lunberry is an Associate Professor in the Dept. of English at the University of North Florida, in Jacksonville, FL, where he is also a visual artist and poet. For the past three years, Lunberry has been engaged in his large-scale \"writing on water\" installations. The \"Murmur of Words/Murmur of Wounds\" installation is the second of three completed installations, all a part of a single on-going poem that is added to annually. For more information about this project go to\nhttp://www.unf.edu/~clunberr\n.\nClark Lunberry -- \"The Poetles Poem: Deviant English and the Para-Poetic\" in UbuWeb Papers\n(PDF)","bio_dates":"2009"},{"slug":"lye_len_a_colour_box_1935","ok":true,"partial":false,"title":"A Colour Box, 1935","artist":"Len Lye","year":"1935","startOffset":0,"sourceSecs":192.6,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":23769177,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_a_colour_box_1935/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_a_colour_box_1935/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lye_len_a_colour_box_1935.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lye_len_a_colour_box_1935/main.mp4?v=2","description":"A Colour Box, 1935, 4 mins <br/><br/> Lye’s first “direct” (camera-less) animation combined popular Cuban dance music with hand-painted abstract designs. Screened in many cinemas in Britain, the film had a huge impact because of its novelty and because it divided audiences – some viewers loved it, others hated it. Colour was still a novelty and Lye’s direct painting on celluloid created brilliant colours. The film won festival awards, though some festivals had to invent a special category for this new style of animation. In Venice, the Fascists disrupted screenings because they saw it as “degenerate” modern art. The film was funded and distributed by John Grierson’s GPO Film Unit on the condition that Lye included a postal advertisement at the end. The film has been restored by the British Film Institute.","artist_bio":"Leonard Charles Huia \"Len\" Lye, was a Christchurch, New Zealand-born artist known primarily for his experimental films and kinetic sculpture. His films are held in archives including the New Zealand Film Archive, British Film Institute, Museum of Modern Art in New York City, and the Pacific Film Archive at University of California, Berkeley. Lye's sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a naturalized citizen of the United States in 1950, much of his work went to New Zealand after his death, where it is housed at the Govett-Brewster Art Gallery in New Plymouth.","bio_dates":"1901-1980"},{"slug":"lye_len_all_souls_carnival_1957","ok":true,"partial":false,"title":"All Souls Carnival","artist":"Len Lye","year":"1957","startOffset":0,"sourceSecs":726.6,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":118247574,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_all_souls_carnival_1957/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_all_souls_carnival_1957/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lye_len_all_souls_carnival_1957.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lye_len_all_souls_carnival_1957/main.mp4?v=2","description":"All Souls Carnival, 1957, 9 mins <br/><br/> This colourful hand-painted film was a showcase for a new kind of “languorous, rhapsodic imagery” that Lye had developed with lacquer paint and felt-tip marker pens. It had affinities with the vanguard painting styles of the period (by artists such as Sam Francis). It also anticipated the extremely fast-moving abstract imagery of later direct film-makers such as Jose Antonio Sistiaga. All Souls Carnival was a collaboration with the Pulitzer Prize-winning American composer Henry Brant (who died in 2008). The film was premiered in 1957 in the Carnegie Recital Hall in New York. The music was performed live, with the images projected on a screen behind the musicians. Lye and Brant decided to create the images and the music separately so that the synchronization between them would be a matter of chance. The meeting of the music with the images was still striking because of the strong sense of affinity between the two elements. This film was thought to have been lost, but the first nine minutes have recently been re-discovered and restored. (Unfortunately the film still lacks the final five minutes.) A recording of Brant’s music has been added, but the order of the images remains deliberately free.","artist_bio":"Leonard Charles Huia \"Len\" Lye, was a Christchurch, New Zealand-born artist known primarily for his experimental films and kinetic sculpture. His films are held in archives including the New Zealand Film Archive, British Film Institute, Museum of Modern Art in New York City, and the Pacific Film Archive at University of California, Berkeley. Lye's sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a naturalized citizen of the United States in 1950, much of his work went to New Zealand after his death, where it is housed at the Govett-Brewster Art Gallery in New Plymouth.","bio_dates":"1901-1980"},{"slug":"lye_len_experimental_animation_peanut_vendor_1934","ok":true,"partial":false,"title":"Experimental Animation (Peanut Vendor)","artist":"Len Lye","year":"1933","startOffset":0,"sourceSecs":117,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":10240004,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_experimental_animation_peanut_vendor_1934/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_experimental_animation_peanut_vendor_1934/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lye_len_experimental_animation_peanut_vendor_1934.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lye_len_experimental_animation_peanut_vendor_1934/main.mp4?v=2","description":"Len Lye made this experimental stop-motion film in the hope of attracting sponsors for a larger animation project. He constructed the monkey puppet from scratch and used his first wife, a rumba dancer, as a model for its movements. The animation is set to a recording of \"Peanut Vendor\" by Red Nichols and his Five Pennies, who also performed one of the songs in Colour Flight.","artist_bio":"Leonard Charles Huia \"Len\" Lye, was a Christchurch, New Zealand-born artist known primarily for his experimental films and kinetic sculpture. His films are held in archives including the New Zealand Film Archive, British Film Institute, Museum of Modern Art in New York City, and the Pacific Film Archive at University of California, Berkeley. Lye's sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a naturalized citizen of the United States in 1950, much of his work went to New Zealand after his death, where it is housed at the Govett-Brewster Art Gallery in New Plymouth.","bio_dates":"1901-1980"},{"slug":"lye_len_free_radicals_1958","ok":true,"partial":false,"title":"Free Radicals, 1958","artist":"Len Lye","year":"1979","startOffset":0,"sourceSecs":268.843,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":10514735,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_free_radicals_1958/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_free_radicals_1958/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lye_len_free_radicals_1958.mp4","hasFrames":true,"description":"Free Radicals, 1958 (revised 1979), 4 mins <br/><br/> Some critics regard this as Lye’s greatest film. He reduced the film medium to its most basic elements – light in darkness – by scratching designs on black film. On screen his scratches were as dramatic as lightning in the night sky. He used a variety of tools ranging from dental tools to an ancient Native American arrow-head, and synchronized the images to traditional African music (“a field tape of the Bagirmi tribe”). The film won second prize out of 400 entries in an International Experimental Film Competition judged by Man Ray, Norman McLaren, Alexander Alexeiff and others, at the 1958 World’s Fair in Brussels. In 1979 Lye decided to shorten this already very concentrated film from 5 to 4 minutes. Stan Brakhage described the final version as “an almost unbelievably immense masterpiece (a brief epic).” In 2008 Free Radicals was selected by the U.S. Library of Congress as a “classic film” that it would “preserve for all time.”","artist_bio":"Leonard Charles Huia \"Len\" Lye, was a Christchurch, New Zealand-born artist known primarily for his experimental films and kinetic sculpture. His films are held in archives including the New Zealand Film Archive, British Film Institute, Museum of Modern Art in New York City, and the Pacific Film Archive at University of California, Berkeley. Lye's sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a naturalized citizen of the United States in 1950, much of his work went to New Zealand after his death, where it is housed at the Govett-Brewster Art Gallery in New Plymouth.","bio_dates":"1901-1980"},{"slug":"lye_len_particles_in_space_1966","ok":true,"partial":false,"title":"Particles in Space","artist":"Len Lye","year":"1980","startOffset":0,"sourceSecs":211.691,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":4905946,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_particles_in_space_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_particles_in_space_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lye_len_particles_in_space_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/lye_len_particles_in_space_1966/main.mp4?v=2","description":"Lye completed his last great film a few months before his death at the age of 78. The film returned to the black-and-white techniques of Free Radicals. Lye created what he called “vibrant little images” or “zig-zags” with a sense of “zizz”. The clusters of small scratches gave the film a unique texture – the images looked rough but were in fact extremely subtle. The title Particles in Space referred to flashes of energy of the kind sometimes seen by astronauts in space. The soundtrack combined “Jumping Dance Drums” from the Bahamas with drum music by the Yoruba of Nigeria and the sounds of Lye’s metal kinetic sculptures. The opening titles demonstrated Lye’s mastery of the scratching of letters and words on film, a method imitated by other film-makers such as <a href=\"https://ubu.com/film/brakhage.html\" rel=\"noopener\" target=\"_blank\">Stan Brakhage</a>.","artist_bio":"Leonard Charles Huia \"Len\" Lye, was a Christchurch, New Zealand-born artist known primarily for his experimental films and kinetic sculpture. His films are held in archives including the New Zealand Film Archive, British Film Institute, Museum of Modern Art in New York City, and the Pacific Film Archive at University of California, Berkeley. Lye's sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a naturalized citizen of the United States in 1950, much of his work went to New Zealand after his death, where it is housed at the Govett-Brewster Art Gallery in New Plymouth.","bio_dates":"1901-1980"},{"slug":"lye_len_trade_tattoo_1937","ok":true,"partial":false,"title":"Trade Tattoo","artist":"Len Lye","year":"1937","startOffset":0,"sourceSecs":327.573,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":23144171,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_trade_tattoo_1937/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/lye_len_trade_tattoo_1937/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/lye_len_trade_tattoo_1937.mp4","hasFrames":true,"description":"Trade Tattoo went even further than Rainbow Dance in its experimental use of the three-colour process. This time Lye used the Technicolor system. The film is based on black and white “found footage” taken from GPO Film Unit documentaries (including Night Mail). The way he transformed these images has been described as the most complex job of film printing and colour grading ever attempted. He added animated words and patterns to make the images incredibly rich and multi-layered. Music was provided by a Cuban group, the Lecuona Band. The GPO sponsored the film as publicity for the idea of “posting early”.","artist_bio":"Leonard Charles Huia \"Len\" Lye, was a Christchurch, New Zealand-born artist known primarily for his experimental films and kinetic sculpture. His films are held in archives including the New Zealand Film Archive, British Film Institute, Museum of Modern Art in New York City, and the Pacific Film Archive at University of California, Berkeley. Lye's sculptures are found in the collections of the Whitney Museum of American Art, the Art Institute of Chicago, the Albright-Knox Art Gallery and the Berkeley Art Museum. Although he became a naturalized citizen of the United States in 1950, much of his work went to New Zealand after his death, where it is housed at the Govett-Brewster Art Gallery in New Plymouth.","bio_dates":"1901-1980"},{"slug":"maas_willard_and_ben_moore_the_mechanics_of_love_1955","ok":true,"partial":false,"title":"Willard Maas & Ben Moore - The Mechanics of Love","artist":"Willard Maas","year":"1955","startOffset":0,"sourceSecs":343.723,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":61542660,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maas_willard_and_ben_moore_the_mechanics_of_love_1955/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maas_willard_and_ben_moore_the_mechanics_of_love_1955/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/maas_willard_and_ben_moore_the_mechanics_of_love_1955.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/maas_willard_and_ben_moore_the_mechanics_of_love_1955/main.mp4?v=2","description":"Quote:<br/> Original zither score by John Gruen. The act of love portrayed through poetic symbols. \"Daring and ingenious ... daring because of its 'forbidden' subject matter; ingenious because commonplace objects are uncommonly related to build an action without actors, the effect of which is vivid, witty and downright bold.\" -- Lewis Jacobs (The Film-Makers' Cooperative)","artist_bio":"He was the husband of filmmaker\nMarie Menken.\nThe couple, married in 1937, achieved some renown in New York City's modern art world from the 1940s through the 1960s, both for their experimental films and for their salons, which brought together artists, writers, filmmakers and intellectuals.\nAccording to their associate, Andy Warhol, \"Willard and Marie were the last of the great bohemians. They wrote and filmed and drank—their friends called them \"scholarly drunks\"—and were involved with all the modern poets.\"\nIn the 1960s, Maas was a faculty member at Wagner College and an organizer of the New York City Writer's Conference at the college where Edward Albee was a writer in residence.\nThe filmmaker\nKenneth Anger\nindicates that Maas and Menken may have been a significant part of the inspiration for the characters of George and Martha in Edward Albee's 1962 play\nWho's Afraid of Virginia Woolf?\n.\nMaas died on January 2, 1971, four days after Menken had died of alcohol related illness. He was cremated.\nThe Maas/Menken materials and letters are located at the University of Texas at Austin. A selection of these items is on deposit/loan (in Trust) at the Anthology Film Archives in New York. The Willard Maas Papers—a collection of approximately 500 letters, manuscripts, page proofs, photographs, drawings, play scripts, and film scripts from the period 1931-1967—is housed at Brown University. -- Wikipedia","bio_dates":"1910-1970"},{"slug":"maas_willard_andy_warhols_silver_flotations_1966","ok":true,"partial":false,"title":"Andy Warhol's Silver Flotations","artist":"Willard Maas","year":"1966","startOffset":0,"sourceSecs":236.203,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":42416940,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maas_willard_andy_warhols_silver_flotations_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maas_willard_andy_warhols_silver_flotations_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/maas_willard_andy_warhols_silver_flotations_1966.m4v","hasFrames":true,"description":"4 min, 1966<br/><br/>Andy Warhol's Silver Flotations is a portrait of Warhol's famous installation of floating silver helium-filled balloons at the Leo Castelli Gallery in 1966. Willard Maas's lyrical \"film poem\" is the only visual document of this seminal exhibition. <br><br> Filmmaker and poet Willard Maas (1906-1971) was married to filmmaker and painter <a href=\"https://ubu.com/film/menken.html\" rel=\"noopener\" target=\"_blank\">Marie Menken</a>. Together they were a legendary couple in the New York art world, not only for their influential underground films, but also for their lavish parties and salons, which brought together artists, writers, filmmakers and intellectuals. According to Warhol, \"Willard and Marie were the last of the great bohemians. They wrote and filmed and drank (their friends called them 'scholarly drunks') and were involved with all the modern poets.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a></br></br></br>","artist_bio":"He was the husband of filmmaker\nMarie Menken.\nThe couple, married in 1937, achieved some renown in New York City's modern art world from the 1940s through the 1960s, both for their experimental films and for their salons, which brought together artists, writers, filmmakers and intellectuals.\nAccording to their associate, Andy Warhol, \"Willard and Marie were the last of the great bohemians. They wrote and filmed and drank—their friends called them \"scholarly drunks\"—and were involved with all the modern poets.\"\nIn the 1960s, Maas was a faculty member at Wagner College and an organizer of the New York City Writer's Conference at the college where Edward Albee was a writer in residence.\nThe filmmaker\nKenneth Anger\nindicates that Maas and Menken may have been a significant part of the inspiration for the characters of George and Martha in Edward Albee's 1962 play\nWho's Afraid of Virginia Woolf?\n.\nMaas died on January 2, 1971, four days after Menken had died of alcohol related illness. He was cremated.\nThe Maas/Menken materials and letters are located at the University of Texas at Austin. A selection of these items is on deposit/loan (in Trust) at the Anthology Film Archives in New York. The Willard Maas Papers—a collection of approximately 500 letters, manuscripts, page proofs, photographs, drawings, play scripts, and film scripts from the period 1931-1967—is housed at Brown University. -- Wikipedia","bio_dates":"1910-1970"},{"slug":"maas_willard_geography_of_the_body_1943","ok":true,"partial":false,"title":"The Geography of the Body","artist":"Willard Maas","year":"1943","startOffset":0,"sourceSecs":440.683,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":39528906,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maas_willard_geography_of_the_body_1943/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maas_willard_geography_of_the_body_1943/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/maas_willard_geography_of_the_body_1943.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/maas_willard_geography_of_the_body_1943/main.mp4?v=2","description":"Quote:<br/> Extreme close-ups of nude male and female bodies, taken through a magnifying glass bought at a dime store, are combined with a surrealist text written and read by poet George Barker. The poem, in Barker's deadpan reading, comments humorously on the body parts, which are photographed in such tiny detail that they appear as landscapes. Geography of the Body was the first widely distributed underground art film, and was a regular fixture of the campus art film circuit for years. Although by the year 2000 it appears as a relatively quaint antique (and is in serious need of preservation assistance), Geography of the Body was easily as influential in its day as Maya Deren and Alexander Hammid's Meshes of the Afternoon, made the same year. <br/><br/> Quote:<br/> Commentary by the British poet, George Barker. An analogical pilgrimage evokes the terrors and splendors of the human body as the undiscovered, mysterious continent. Extreme magnification increases the ambiguity of the visuals, tongue-in-cheek commentary counteracts or reinforces their sexual implications. The method is that used by the imagist-symbolist poet.","artist_bio":"He was the husband of filmmaker\nMarie Menken.\nThe couple, married in 1937, achieved some renown in New York City's modern art world from the 1940s through the 1960s, both for their experimental films and for their salons, which brought together artists, writers, filmmakers and intellectuals.\nAccording to their associate, Andy Warhol, \"Willard and Marie were the last of the great bohemians. They wrote and filmed and drank—their friends called them \"scholarly drunks\"—and were involved with all the modern poets.\"\nIn the 1960s, Maas was a faculty member at Wagner College and an organizer of the New York City Writer's Conference at the college where Edward Albee was a writer in residence.\nThe filmmaker\nKenneth Anger\nindicates that Maas and Menken may have been a significant part of the inspiration for the characters of George and Martha in Edward Albee's 1962 play\nWho's Afraid of Virginia Woolf?\n.\nMaas died on January 2, 1971, four days after Menken had died of alcohol related illness. He was cremated.\nThe Maas/Menken materials and letters are located at the University of Texas at Austin. A selection of these items is on deposit/loan (in Trust) at the Anthology Film Archives in New York. The Willard Maas Papers—a collection of approximately 500 letters, manuscripts, page proofs, photographs, drawings, play scripts, and film scripts from the period 1931-1967—is housed at Brown University. -- Wikipedia","bio_dates":"1910-1970"},{"slug":"maas_willard_image_in_the_snow_1952","ok":true,"partial":false,"title":"Image in the Snow","artist":"Willard Maas","year":"1952","startOffset":0,"sourceSecs":1602.773,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":163517734,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maas_willard_image_in_the_snow_1952/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maas_willard_image_in_the_snow_1952/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/maas_willard_image_in_the_snow_1952.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/maas_willard_image_in_the_snow_1952/main.mp4?v=2","description":"IMAGE IN THE SNOW<br/> US / 1952 / B&W / 26 Min.<br/> Director: Willard Maas<br/> Original score by Ben Weber<br/> Narrated by Ben Moore<br/><br/>The dates of release vary, some state 1943-1948, Kino states 1952.<br/><br/>In striking contrast to the unchanging feel of Target Rock1 stands Image in the Snow. In the human sphere, change is swift and irresolute. Who could imagine making such a film today? It takes us to a time before alternative cultures, a time of industrial monoculture when gays were sent to prison or hospitals. In such a world, sanity was sought in a willful act of creating myths. A body of filmmakers of the time used their cameras to transform dreary ghetto-scapes into places beyond the reach of mundane existence. <br><br> But, how like city children at play these characters seem! You could almost imagine them saying, \"You be the Princess and I'll be the Hero.\" They are more related to the urchins of the Agee-Levitt In the Street than to personages divine. (The \"poetic\" narrator, on the other hand, bears a resemblance to the declamatory style of Katharine Hepburn, the mother, in Suddenly Last Summer.) It is a fragile, see-thru realm of innocents at play. <br><br> The truly fantastic is to be seen in the real-world background: the vanished world of Brooklyn in the 50s. The nineteenth century warehouses, the Myrtle Ave. \"El,\" the vast cemeteries (which, indeed, you took the El to visit) all are well-chosen and photographed with a poetic eye. <br/><br/> Pathos wins out as the hero flees the sadness of his real mother for the stone, frigid hoped-for redemption of ideal, mythic parents at Mount Olive Cemetery. Prayers descend into moans for help. <br/><br/> Jerome Hiler, March 2001</br></br></br></br>","artist_bio":"He was the husband of filmmaker\nMarie Menken.\nThe couple, married in 1937, achieved some renown in New York City's modern art world from the 1940s through the 1960s, both for their experimental films and for their salons, which brought together artists, writers, filmmakers and intellectuals.\nAccording to their associate, Andy Warhol, \"Willard and Marie were the last of the great bohemians. They wrote and filmed and drank—their friends called them \"scholarly drunks\"—and were involved with all the modern poets.\"\nIn the 1960s, Maas was a faculty member at Wagner College and an organizer of the New York City Writer's Conference at the college where Edward Albee was a writer in residence.\nThe filmmaker\nKenneth Anger\nindicates that Maas and Menken may have been a significant part of the inspiration for the characters of George and Martha in Edward Albee's 1962 play\nWho's Afraid of Virginia Woolf?\n.\nMaas died on January 2, 1971, four days after Menken had died of alcohol related illness. He was cremated.\nThe Maas/Menken materials and letters are located at the University of Texas at Austin. A selection of these items is on deposit/loan (in Trust) at the Anthology Film Archives in New York. The Willard Maas Papers—a collection of approximately 500 letters, manuscripts, page proofs, photographs, drawings, play scripts, and film scripts from the period 1931-1967—is housed at Brown University. -- Wikipedia","bio_dates":"1909-1971"},{"slug":"mack_jodie_blanket_statement_no1_home_is_where_the_heart_is","ok":true,"partial":false,"title":"Blanket Statement #1: Home is Where the Heart is","artist":"Jodie Mack","year":"2012","startOffset":0,"sourceSecs":180.888,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":48531105,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mack_jodie_blanket_statement_no1_home_is_where_the_heart_is/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mack_jodie_blanket_statement_no1_home_is_where_the_heart_is/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mack_jodie_blanket_statement_no1_home_is_where_the_heart_is.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mack_jodie_blanket_statement_no1_home_is_where_the_heart_is/main.mp4?v=2","description":"Blanket Statement #1: Home is Where the Heart is (2012, 3m, 16mm, col., sound.) Discordant dysfunction down to the nitty griddy.","artist_bio":"Jodie Mack is an experimental animator who received her MFA in film, video, and new media from The School of the Art Institute of Chicago in 2007. Combining the formal techniques and structures of abstract/absolute animation with those of cinematic genres, her handmade films use collage to explore the relationship between graphic cinema and storytelling, the tension between form and meaning. Musical documentary or stroboscopic archive: her films study domestic and recycled materials to illuminate the elements shared between fine-art abstraction and mass-produced graphic design. The works unleash the kinetic energy of overlooked and wasted objects and question the role of decoration in daily life.","bio_dates":"b. 1983"},{"slug":"mack_ludwig_hirschfield_farbenlichtspiele_1923","ok":true,"partial":false,"title":"Farbenlichtspiele (1923)","artist":"Ludwig Hirschfeld Mack","year":"1923","startOffset":0,"sourceSecs":954.12,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":59708567,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mack_ludwig_hirschfield_farbenlichtspiele_1923/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mack_ludwig_hirschfield_farbenlichtspiele_1923/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mack_ludwig_hirschfield_farbenlichtspiele_1923.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mack_ludwig_hirschfield_farbenlichtspiele_1923/main.mp4?v=2","description":"Two pieces (of 4 in total) from the \"Farbenlichtspiele (the Coloured Lightplays) by Ludwig Hirschfeld-Mack\" video, reconstructed and produced by Corinne Schweizer and Peter Böhm in 2000 for an exhibition about Hirschfeld-Mack's works: <br/><br/> - Sonatine II (rot), 1923/24<br/> - Kreuzspiel, 1923<br/> <br/> The Coloured Lightplays<br/><br/> The artist Ludwig Hirschfeld Mack developed the coloured lightplays at the Bauhaus during 1922 and 1923. Following the principle of greatest possible reduction – the basic units are the circle, triangle and square and the colours blue, yellow and red – a carefully composed sequence of moving images is brought into being, colour and form flowing into each other to the rhythm of a specially composed score.<br/><br/> Practical realisation is effected through a mechanically operated lightbox, with six specially constructed spotlights with changable colour filters, the intensity of which can be regulated by means of switches and resistors. Towards the front of the lightbox are two layers of stencils defining geometric figures whoose forms can be moved and changed by two operators. The lightforms animated by the operators are then projected onto a transparent film of paper, where the transformations of the geometric figures appear in glowing colours.<br/><br/> After months of work the film-maker Corinne Schweizer and the composer Peter Böhm have succeeded in reconstructing this machine-art from sketches and the fragments of scores. Important insights were gained from the Ludwig Hirschfeld Mack's grandson, Kaj Delugan and from the Viennese art historian, Peter Stansy. Together with a team of operators and two musicians, Schweizer and Böhm have prepared five pieces with a total playing time of fourty minutes.<br/><br/> The Step towards Modernism<br/><br/> The coloured lightplays are Ludwig Hirschfeld Mack's most important work and anticipate the tendencies and developments of much 20th century art. His moving images of projected light stand in a line of similar endeavors, not only in the realm of colour/ light /music but also in abstract film and in theatre, where it was sought to unite the gestures of the actors with their movements on the stage, so as to create an overall, total effect.<br/><br/> The idea of constructing an apparatus in which elementary forms, colours and movements could be combined on different levels and thus put in relation to each other, anticipates action painting, animated film, light- and laser shows. Light enters into fascinating dialogue with painting and technology, a dialogue which through the developments of the accompagnying music, can be rhythmicaly structured to become the signifier of emotion.<br/><br/> Hirschfeld Mack described his creation as: \"a play of yellow, red, green and blue fields of light, developing in organically defined units from darkness to maximum intensity. Set: a transparent screen. Elements of design: colours, forms and music: in cornered, sharp, pointed forms, in triangles, squares, polygons and circles, curves and waveforms; upwards, downwards, sideways in all possible rhythmically controlable movements, the elements of the coloured light play being brought into an artistically planned, orchestral presentation. Combined with the interactions, combinations and overlayering of the colours and forms, are the musical elements to which they give rise and from which they become inseperable.\"<br/><br/> Chance as the Instigator<br/><br/> The coloured light plays were developed in the experimental enviroment of the class for stage design at the Bauhaus and are the summation of Hirschfeld Mack's studies in the theory of colour and form. They reflect the design theory of Johannes Itten and the work of Paul Klee as well as being a reaction to the films of Lyonel Feininger and the shadow plays of Moholy-Nagy. Oskar Schlemmer's ideas were also influencial.<br/><br/> The immeadiate precusor was a shadow play presented at a latern party held at the Bauhaus in June 1922. As an actyline lamp was being changed, Hirschfeld Mack noted that, \"through the combination of the chance doubling of the shadows on the transparent paper and the different coloured actyline lamps, a warm and a cold shadow became visible\".<br/><br/> After experiments inspired by this accidental discovery, he arrived at the principles of his Farbenlichtspiele: it is not the shadow of the stencil that appears on the projection screen but rather the unmodified light itself that passes through the modifiable opening of the neagtive form of the stencil and can thus be made to take on various forms.<br/><br/> \"A total composition in fairy-tale metamorphoses\"<br/><br/> Hirschfeld Mack's invention was of great interest to his contemporaries. Performances took place not only at the Bauhaus but also at the Volksbühne in Berlin, in Halle, Celle, Hamburg and Nurenberg as well as in Leipzig where it was shown after a lecture by Wassily Kandinsky.<br/><br/> \"A total composition in fairy-tale metamorphoses and shiftings,\" was the verdict of one reviewer, while another proclaimed \"this incomparable addition to the world of theatre, whose dimensions and possibilities defy estimation\". In September 1924, shortly before the Bauhaus' dissolution, the coloured light plays were performed in Vienna at the Konzerthaus, during the city's festival of Music and Theatre.<br/><br/> After the Second World war, a revival of the coloured light plays was initiated by Hans Maria Wingler, director of the Bauhaus Archive in Darmstadt. During the Sixties he invited Hirschfeld Mack to reconstruct his light playing apparatus, together with some of the light plays from the Twenties and during Hirschfeld Mack's last trip to Europe a performance was held. This reconstructed light playing apparatus was however lost, when the Bauhaus Archive subsequently moved to Berlin during the Seventies.","bio_dates":"1893-1965"},{"slug":"mactilstra_ian_stretched_mike_kelley_and_paul_mccarthy_2008","ok":true,"partial":false,"title":"Ian MacTilstra - Stretched: Mike Kelley and Paul McCarthy","artist":"Mike Kelley","year":"2008","startOffset":0,"sourceSecs":1106.816,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":193127353,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mactilstra_ian_stretched_mike_kelley_and_paul_mccarthy_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mactilstra_ian_stretched_mike_kelley_and_paul_mccarthy_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mactilstra_ian_stretched_mike_kelley_and_paul_mccarthy_2008.mp4","hasFrames":true,"description":"\"Stretched\"; a documentary about Mike Kelley and Paul McCarthy. <br/><br/>\"\"It's actually weird to see the way he has received himself in this sort of this sliver and the way it functions is a bit like architecture, but also like an abstract painting. The way that it's kind of folded back is a big like Jasper Johns. Is it Jasper Johns? Yeah, I think it's Jasper Johns, yeah, it kind of looks like that, like a canvas being peeled away, where you can see the male body in this supermodernist reference, and to me this is pretty interesting, and he seems to be masturbating with ketchup, and I guess the colour part of the ... anyways.\"<br/><br/> -Vivienne Bessette, critic.","artist_bio":"Mike Kelley and Ericka Beckman - Blind Country\n(1989) [web only; no mobile-media]\n\"Stretched\"; a documentary about Mike Kelley and Paul McCarthy\n(2008) dir. Ian MacTilstra\nWest Coast artist Mike Kelley was one of the most provocative and influential figures in contemporary art. Kelley's idiosyncratic body of work includes performance art, installations, and sculptures. His works negotiate a highly charged terrain of desire, dread and sociopathology in everyday American life. With deadpan humor, he often reinvests childhood toys, kitsch, and ordinary objects with subversive meaning.\nFor many years Kelley was involved in video projects as performer, collaborator, and maker. Among his collaborators are important figures in art, performance, film and video, including Paul McCarthy, Raymond Pettibon, Ericka Beckman, Tony Oursler, Tony Conrad, Bob Flanagan and Sheree Rose, and Bruce and Norman Yonemoto. As a performer, Kelley exhibits a psychodramatic intensity; his collaborative video projects inhabit a peculiarly American landscape infused with irony and pop cultural debris.\nMike Kelley was born in 1954 in Detroit, Michigan and died in 2012. Kelley earned a B.F.A. from the University of Michigan and an M.F.A. from California Institute of the Arts. In 2013, Kelley's work was the subject of a major retrospective exhibition at the Stedelijk Museum Amsterdam, which will travel to the Centre Pompidou, Paris, MoMA PS1, New York, and the Museum of Contemporary Art, Los Angeles. In 1993 a retrospective of Kelley's work was exhibited at The Whitney Museum of American Art, New York, which traveled to the Los Angeles County Museum of Art and Haus der Kunst, Munich. A 1997 retrospective was organized by the Museu D'art Contemporani, Barcelona, Spain, and traveled to the Center for Contemporary Art, Malmo, Sweden, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. Kelley's Mobile Homestead, a permanent art work and public sculpture, is located on the grounds of the Museum of Contemporary Art Detroit. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1954-2012"},{"slug":"macuga_goshka_non_consensual_act_in_progress_first_treatment_2013","ok":true,"partial":false,"title":"Non-Consensual Act (in progress) First Treatment","artist":"Goshka Macuga","year":"2013","startOffset":0,"sourceSecs":1302.739,"sourceHeight":568,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":221506929,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/macuga_goshka_non_consensual_act_in_progress_first_treatment_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/macuga_goshka_non_consensual_act_in_progress_first_treatment_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/macuga_goshka_non_consensual_act_in_progress_first_treatment_2013.mkv","hasFrames":true,"description":"In 2012, Goshka Macuga became familiar with the Afghan Film Archive in Kabul. After she learned about their precarious and fragile situation in a war-torn country, she became interested in the visual material of the archive. She asked to purchase off-cuts, strips of film that were thrown away during the process of digitization, to see what its film residues would bring to the surface. Soon she received nineteen separate reels on 35mm film which contained censored, violent and sexually explicit scenes from Afghan and foreign films. She began to understand that she had acquired reels whose content did not meet her expectations. Taking this surprise as a starting point, Macuga developed an interest in the context behind these images which operate in a “totally different affective register” than expected and oftentimes depict men sexually assaulting women. For her project Non-Consensual Act (in progress) (2013), Macuga decided to reedit the material into a narrative that concentrates on the images’ abstract visual language. Simultaneously, the artist gives an oral insight into her research on cultural and societal restrictions in Afghanistan and their influence on the stagnating film production, the representation of women and the apparent commodification of rape. Macuga asks: “What if, in fact, I was being presented with a statement about the intention to cleanse the industry of such violent scenes? That these were censored as a pseudo-heroic act to protect audiences from witnessing rape?” Macuga, unwilling to definitely answer these questions, speaks of the Taliban’s paternalistic attitude towards the protection of women which she considers as closely linked to an actual fear of women. The artist raises awareness that the inherent issues that this material brings to the fore are not confined to the “East” but are also under negotiation in the “West,” in high political circles. Asking about the implication, representation and titling of rape, she comes to understand rape as a transactional tool across the domestic sphere and the global political arena.","artist_bio":"Goshka Macuga was born in Poland. A graduate of Central St. Martins College of Art and Design and Goldsmiths, University of London, she works across mediums from Jacquard woven tapestries to sculptures and robotics. Macuga is known for taking on the role of a curator and archivist within her practice, as her installations often incorporate other artists’ work alongside a variety of disparate objects.[2] Macuga's work is commonly made for the specific institution in which it will be shown, her place-based installations involve many months worth of historical research and have been considered rich storytelling devices.[3]\nIn 2009 Macuga had an exhibition at the newly re-opened Whitechapel Gallery in London wherein she incorporated a 1955 tapestry version of Picasso’s 1937 antiwar painting Guernica into a year-long installation about the 1930s-era controversy generated by the original painting. After 24 years on display just outside the Security Council at the Headquarters of the United Nations, the tapestry commissioned by Nelson Rockefeller was removed and loaned to Whitechapel for Macuga's installation.[4][5] Along with the borrowed tapestry, Macuga made a bronze cubist sculpture of Colin Powell, a documentary film, sourced a handwoven Middle Eastern rug, and installed a conference table. As part of the installation, Macuga invited groups to hold meetings in the space free of charge.[6]\nWhile in residence at the Walker Art Center in 2010-11, Macuga produced work for her first solo show in the United States that would investigate the cultural and political context of the Walker Art Center itself. Culminating in the exhibition, It Broke From Within, Macuga investigated the history of the shaping of the Walker Art Center as an institution through its archives. The exhibition explored the political orientation, community theory, lumber, financial history, and serendipity of clerical errors concerning the Walker.[7] Macuga designed enormous woven tapestries of photographs taken in Minnesotas oldest pine forests and used the textile as a backdrop for select pieces from the Walker's permanent collection, including works from Marcel Duchamp and Joseph Beuys.[8]\nIn 2012 Macuga created two large photorealistic tapestries for dOCUMENTA (13), one was displayed in Kassel, Germany and its counterpart in Kabul, Afghanistan. The two-part work called Of what is, that it is; of what is not, that it is not is to be exhibited simultaneously but never together in the same place. Part 1 depicts a diverse crowd of Afghans and Westerners in front of Darul Aman Palace outside of Kabul, Afghanistan. Part 2, originally exhibited in Kabul, shows a photoshopped collage of an art-world crowd and protesters gathering outside of the Orangerie in Kassel.[9] Macuga's composition technique of collaging together historical photographs and subsequently having the image woven into a unified textile allows her to 'illuminate the elusive relationship between historic documentation and truth'.[10]","bio_dates":"b. 1967"},{"slug":"maderna_bruno_unora_con_bruno_maderna_1971","ok":true,"partial":false,"title":"Un'ora con Bruno Maderna","artist":"Bruno Maderna","year":"1971","startOffset":0,"sourceSecs":2190.013,"sourceHeight":576,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":367391024,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maderna_bruno_unora_con_bruno_maderna_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maderna_bruno_unora_con_bruno_maderna_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/maderna_bruno_unora_con_bruno_maderna_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/maderna_bruno_unora_con_bruno_maderna_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/maderna_bruno_unora_con_bruno_maderna_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Gastone Favero<br/> Production: RAI<br/> Year: 1971<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/maderna.html\" rel=\"noopener\" target=\"_blank\">Bruno Maderna in UbuWeb Sound</a></br>","artist_bio":"Bruno Maderna, (born April 21, 1920, Venice, Italy—died Nov. 13, 1973, Darmstadt, W.Ger.), Italian composer of avant-garde and electronic music and a noted conductor.\nMaderna studied with well-known teachers, including the Italian composer Gian Francesco Malipiero and the German conductor Hermann Scherchen. In 1941 he received his degree in composition at Rome from the Conservatorio di Musica Santa Cecilia. He expanded his musical activities after World War II, becoming known through his association with the Internationale Ferienkurse für Neue Musik (International Vacation Course for New Music) at Darmstadt, a centre of avant-garde musical teaching and composition. With his friend the composer Luciano Berio, Maderna founded the Studio di Fonologia Musicale at Milan Radio in Italy in 1954; the studio became a major laboratory for electronic music in Europe. With Berio he also founded a review devoted to electronic and avant-garde music, Incontri Musicali (“Musical Encounters”). Maderna later taught composition in Milan, at the Dartington Summer School of Music, Devon, Eng., and elsewhere.\nMaderna’s music showed him to be an expressive lyric composer as well as an experimenter. His Serenata (1954) is a colourful orchestral work noteworthy for its subtle sonorities and polyrhythms. The Notturno for tape (1956) and Sintaxis for four different, unspecified electronic timbres (tone colours) display his interest in new sonorities. His oboe concerto (1962) reveals a more conventional viewpoint, although even in this he made use of small-scale aleatory (chance and improvisatory) operations.\nMaderna conducted widely and recorded extensively, including many works of his contemporaries.","bio_dates":"1920-1973"},{"slug":"maghsoudlou_bahman_ardeshir_mohasses_his_caricatures_1972","ok":true,"partial":false,"title":"Ardeshir Mohasses & His Caricatures","artist":"Bahman Maghsoudlou","year":"1972","startOffset":0,"sourceSecs":481.685,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":86938602,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maghsoudlou_bahman_ardeshir_mohasses_his_caricatures_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maghsoudlou_bahman_ardeshir_mohasses_his_caricatures_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/maghsoudlou_bahman_ardeshir_mohasses_his_caricatures_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/maghsoudlou_bahman_ardeshir_mohasses_his_caricatures_1972/main.mp4?v=2","description":"A short documentary about Ardeshir Mohasses (1938-2008) featuring rare footage of the Iranian artist in his studio in Iran before his self-exile in New York which was to last over thirty years. Mohasses' anti-shah and anti-Islamic Republic cartoons used settings and costumes of the Qajar dynasty of 1794 to 1925, a misdirection that fooled nobody. The film features commentary from Iranian intellectuals of the time including Houshang Taheri, Javad Mojabi, and Fereidoun Gilani whereas Mohasses, a man of few words, is noticeably mute throughout. END DESCRIPTION PARAGRAPHS<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Bahman Maghsoudlou is the recipient of Iran's Forough Farrokhzad literary award for writing and editing a series of books about cinema and theater (1975), including Iranian Cinema (1987, New York University's Center for Middle Eastern Studies). He was presented this award at the fourth Forough Farrokhzad awards ceremony, held at the Central Palace for Young Adults in February of 1975.\nMaghsoudlou wrote, directed and produced a short documentary on artist Ardeshir Mohasses called Ardeshir Mohasses and His Caricatures in 1972. This would turn out to be the first in a series of films on Iran's most important artistic figures, although the follow-ups would not be produced for many years afterwards. In 1998, he produced Ahmad Shamlou: Master Poet of Liberty which was subsequently followed by Ahmad Mahmoud: A Noble Novelist in 2004 and Iran Darroudi: The Painter of Ethereal Moments in 2009, the latter two for which he also served as director. The most recent addition to this series is an update to his earlier film on Mohasses, entitled Ardeshir: The Rebellious Artist. Maghsoudlou had long wished to update his earlier film on his friend and the inspiration came after two occurrences in 2008: a long overdue retrospective of Mohasses's work at the Asia Society in New York City and the artist's untimely passing. The new film features interviews with prominent critics and friends from around the world and emphasizes the eternal truth in Mohasses's struggles with censorship.\nAs a producer his films have been to more than 100 film festivals world wide.These films include:\nThe Suitors, selected for the Cannes in 1988; Manhattan by Numbers (by Amir Naderi), selected for Venice and Toronto 1993; Seven Servants by Daryush Shokof, selected for Berlin, Toronto and Locarno 1996, and Silence of the Sea, selected for the Mannheim Film Festival 2003.\nHe is currently producing and directing a feature length documentary on the history of Iranian Cinema entitled, Iranian Cinema, Searching for the Roots: 1900-1979, and the documentary The Life and Legacy of Mohammad Mossadegh.\nHaving organized the first ever Iranian Film Festival in New York in 1980, he organized the International Short Film Festival: Independent Films on Iran, which was held in October 2007, in New York. In 2009, Maghsoudlou authored the book Grass: Untold Stories which detailed the background stories related to the making of the 1925 silent movie, Grass. A major part of the movie had been filmed in Maghsoudlou's native Iran.\nA graduate in cinema studies from the City University of New York (Staten Island) with a PhD from Columbia University, Maghsoudlou lives in New York.\nHe recently became a member of the prestigious list of PEN American Center in 2011.\nMaghsoudlou has served as a jury member for a number of prestigious international film festivals. Most recently, he had the honor of being the lone non-Spanish member of the jury for the 3rd Edition of the IBAFF, International Film Festival (held March 5th through 10th in Murcia, Spain), serving alongside a group of notables of the Spanish film scene, including Alberto Elena.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1946"},{"slug":"maier_johannes_sirene_sang_sie_1998_iphone","ok":true,"partial":false,"title":"Sirene Sang Sie (Siren She Sang)","artist":"Johannes Maier","year":"1998","startOffset":0,"sourceSecs":119.688,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":8206109,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maier_johannes_sirene_sang_sie_1998_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maier_johannes_sirene_sang_sie_1998_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/maier_johannes_sirene_sang_sie_1998_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/maier_johannes_sirene_sang_sie_1998_iphone/main.mp4?v=2","description":"On a suburban street an opera singer sings along to the sound of a police siren. What begins as mere imitation turns into a competition with the siren, the singer’s voice drowning it out when the patrol car appears. The singer has the final note, long after the car and its siren have disappeared.<br/><br/> Singer: Itziar Lesaka","artist_bio":"Johannes Maier (b. Germany 1971) lives and works in London. His films are usually collaborations with individuals working within large institutions such as interpreters at the European Commission or newsroom picture editors at the BBC. The focus of Maier’s work, intentionally positioned at the boundaries of art, documentary and media, is a critical engagement with televisual forms. His work has been regularly shown at international film festivals as well as in many group and solo exhibitions, including: New Contemporaries (UK, 2000), East International (UK, 2001), Oberhausen Short Film Festival (Germany, 2005), and the Bielefelder Kunstverein (Germany, 2010).","bio_dates":"b. 1971"},{"slug":"maier_johannes_the_editors_cut_2004_iphone","ok":true,"partial":false,"title":"The Editor's Cut","artist":"Johannes Maier","year":"2004","startOffset":0,"sourceSecs":192.24,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":13756791,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maier_johannes_the_editors_cut_2004_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maier_johannes_the_editors_cut_2004_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/maier_johannes_the_editors_cut_2004_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/maier_johannes_the_editors_cut_2004_iphone/main.mp4?v=2","description":"Filmed and simultaneously edited in a BBC newsroom in London, the film focuses on picture editor Pete Millest and the correspondent Shaun Ley, both employees of the BBC. Millest is shown working on the edit of a film that is being shot at the same time as he edits, while Ley spontaneously offers a meaningless commentary. The resulting constellation produces an instant continuum of production and postproduction that is vexing and disorientating, and not just to the two protagonists. By turning over this ‘closed circuit’ to the two employees of the BBC newsroom, Maier visibly loses all control over the result of his own film.","artist_bio":"Johannes Maier (b. Germany 1971) lives and works in London. His films are usually collaborations with individuals working within large institutions such as interpreters at the European Commission or newsroom picture editors at the BBC. The focus of Maier’s work, intentionally positioned at the boundaries of art, documentary and media, is a critical engagement with televisual forms. His work has been regularly shown at international film festivals as well as in many group and solo exhibitions, including: New Contemporaries (UK, 2000), East International (UK, 2001), Oberhausen Short Film Festival (Germany, 2005), and the Bielefelder Kunstverein (Germany, 2010).","bio_dates":"b. 1971"},{"slug":"maljkovic_scenes_for_a_new_heritage_no_1_2004","ok":true,"partial":false,"title":"Scene for New Heritage #1","artist":"David Maljkovic","year":"2004","startOffset":0,"sourceSecs":273.322,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":45139463,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maljkovic_scenes_for_a_new_heritage_no_1_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/maljkovic_scenes_for_a_new_heritage_no_1_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/maljkovic_scenes_for_a_new_heritage_no_1_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/maljkovic_scenes_for_a_new_heritage_no_1_2004/main.mp4?v=2","description":"In a subtle and charming way, David Maljkovic’s video Scene for a New Heritage I (2005) tackles the grand narratives of former ’s ideology. Responding to a memorial for the World War II Partisan Hospital, completed in 1981 by Vojin Bakiç in Petrova Gora Park in and severely damaged in the Yugoslav war, the artist subjects the structure to a double removal. Maljkovic sets the time of his intervention in the future (on Tito’s birthday) thus distancing the action from our present time and in turn rendering the monument more distant in time than its 25-year life span would otherwise suggest. This discrepancy between the actual versus the indicated time, and the initial purpose of the monument versus its current (2045’s) state, might seem exaggerated. Nevertheless it should be seen as a critical speculation on how today’s youth is estranged from their national heritage and history, and how, in the case of Maljkovic’s video, memory is relied on with an attempt to give new meaning to these sites.","artist_bio":"One of the great European documentarians, Nicolas Philibert began his education by studying philosophy and later worked as an assistant director with such filmmakers as Rene Allio and Alain Tanner. Philibert's ability to approach man with tenderness, directness and sensitivity appears in his film In the Land of the Deaf, an exploration of the world through the eyes of those born without the sense of hearing. In 1995 Philibert revisited the subject of museums--also explored in Louvre City--finding humanity and humor within these stately institutions. Animals and More Animals examines the zoological wing of France's Museum of Natural History, which had been closed for years, and brings to light its unusual treasures. Minimalist and exceedingly moving, Philibert's films have received awards in festivals and various events, but have also achieved a rare feat in France: box office success. Along with Cahiers du Cinema editor Jean Michel Frodon, Philibert joins us to discuss his unique work in nonfiction film.","bio_dates":"b. 1970"},{"slug":"mambety_djibril_diop_contras_city_1968","ok":true,"partial":false,"title":"Contras City","artist":"Djibril Diop Mambéty","year":"1968","startOffset":0,"sourceSecs":1292.053,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":227195688,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mambety_djibril_diop_contras_city_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mambety_djibril_diop_contras_city_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mambety_djibril_diop_contras_city_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mambety_djibril_diop_contras_city_1968/main.mp4?v=2","description":"Djibril Diop Mambéty's earliest film, a short entitled Contras City (1968), highlighted the contrasts of cosmopolitanism and unrestrained ostentation in Dakar's baroque architecture against the modest, everyday lives of the Senegalese. Mambéty's recurrent theme of hybridity—the blending of elements from precolonial Africa and the colonial West in a neocolonial African context—is already evident in Contras City, which is considered Africa's first comedy film.<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Djibril Diop Mambéty (January 1945 - July 23, 1998) was a Senegalese film director, actor, orator, composer and poet. Though he made only a small number of films, they received international acclaim for their original and experimental cinematic technique and non-linear, unconventional narrative style. Born to a Muslim family near Dakar, Senegal's capital city, Mambéty was Wolof. He died in 1998 while being treated for lung cancer in a Paris hospital. More on\nWikipedia\n.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1945-1998"},{"slug":"man_ray_chateau","ok":true,"partial":false,"title":"Chateau","artist":"Man Ray","year":"1929","startOffset":0,"sourceSecs":1592.107,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":95119559,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_chateau/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_chateau/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/man_ray_chateau.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/man_ray_chateau/main.mp4?v=2","description":"Les Mystères du Château de Dé (English: The Mysteries of the Chateau of Dice) is a 1929 film directed by Man Ray. It depicts a pair of travellers setting off from Paris and travelling to the Villa Noailles in Hyères. At 27 minutes the film was the longest that Man Ray directed during his career."},{"slug":"man_ray_emak_bakia_1927","ok":true,"partial":false,"title":"Emak-Bakia","artist":"Man Ray","year":"1926","startOffset":0,"sourceSecs":959.232,"sourceHeight":720,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":421486622,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_emak_bakia_1927/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_emak_bakia_1927/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/man_ray_emak_bakia_1927.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/man_ray_emak_bakia_1927/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/man_ray_emak_bakia_1927/main/master.m3u8?v=2","hasMainHls":true,"description":"Emak-Bakia (Basque for Leave me alone) is a 1926 film directed by Man Ray. Subtitled as a cinépoéme, it features many techniques Man Ray used in his still photography (for which he is better known), including Rayographs, double exposure, soft focus and ambiguous features.\n\nEmak-Bakia shows elements of fluid mechanical motion in parts, rotating artifacts showing his ideas of everyday objects being extended and rendered useless. Kiki of Montparnasse (Alice Prin) is shown driving a car in a scene through a town. Towards the middle of the film Jacques Rigaut appears dressed in female clothing and make-up. Later in the film a caption appears: \"La raison de cette extravagance\" (the reason for this extravagance). The film then cuts to a car arriving and a passenger leaving with briefcase entering a building, opening the case revealing men's shirt collars which he proceeds to tear in half. The collars are then used as a focus for the film, rotating through double exposures.\n\nThe film features sculptures by Pablo Picasso, and some of Man Ray's mathematical objects both still and animated using a stop motion technique.\n\nOriginally a silent film, recent copies have been dubbed using music taken from Man Ray's personal record collection of the time. The musical reconstruction was by Jacques Guillot.\n\nWhen the film was first exhibited, a man in the audience stood up to complain it was giving him a headache and hurting his eyes. Another man told him to shut up, and they both started to fight. The theatre turned into a frenzy, the fighting ended up out in the street, and the police were called in to stop the riot.\n\nEmak bakia can also mean \"give peace\" (\"emak\" is the imperative form of the verb \"eman\", which means \"give\") in Basque.\n\nIn 2012, Spanish director Oskar Alegria directed a feature-length documentary film La Casa Emak Bakia which details his search for the house where Emak Bakia was filmed."},{"slug":"man_ray_fargier_1998","ok":true,"partial":false,"title":"Photographer Man Ray","artist":"Man Ray","year":"1998","startOffset":0,"sourceSecs":3150.04,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":537760029,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_fargier_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_fargier_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/man_ray_fargier_1998.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/man_ray_fargier_1998/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/man_ray_fargier_1998/main/master.m3u8?v=2","hasMainHls":true},{"slug":"man_ray_home_movies_1","ok":true,"partial":false,"title":"Home Movies","artist":"Man Ray","year":"1923-1937","startOffset":0,"sourceSecs":1948.928,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":117169953,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_home_movies_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_home_movies_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/man_ray_home_movies_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/man_ray_home_movies_1/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/man_ray_home_movies_1/main/master.m3u8?v=2","hasMainHls":true,"description":"Home Movies of Man Ray and Ady Fidelin from 1938, present a simple and intimate portrait of the man behind the artist."},{"slug":"man_ray_home_movies_2","ok":true,"partial":false,"title":"Home Movies","artist":"Man Ray","year":"1923-1937","startOffset":0,"sourceSecs":641.216,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":42979438,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_home_movies_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_home_movies_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/man_ray_home_movies_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/man_ray_home_movies_2/main.mp4?v=2","description":"Home Movies of Man Ray and Ady Fidelin from 1938, present a simple and intimate portrait of the man behind the artist."},{"slug":"man_ray_sa_vie_son_ouvre_1984","ok":true,"partial":false,"title":"Man Ray, sa vie, son œuvre","artist":"Man Ray","year":"1984","startOffset":0,"sourceSecs":2671.272,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":460737240,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_sa_vie_son_ouvre_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_sa_vie_son_ouvre_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/man_ray_sa_vie_son_ouvre_1984.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/man_ray_sa_vie_son_ouvre_1984/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/man_ray_sa_vie_son_ouvre_1984/main/master.m3u8?v=2","hasMainHls":true,"description":"Placé sous le sourire sensuel et introductif du très célèbre tableau 'Les lèvres rouges', le film retrace, en douze chapitres, la carrière de Man Ray.\n\nLe titre annonce exactement le propos. Le film s'ouvre sur le sourire sensuel du tableau 'Les lèvres rouges', pour retracer la carrière de Man Ray en douze chapitres. Photos de famille, extraits de films, extraits de documentaires sur Man Ray, interviews (Philippe Soupault sert de guide et de mémoire) mais aussi sa femme Juliet, Teemy Duchamp, Meret Oppenheim et bien sûr, la présence abondante de ses photos, de ses peintures, de ses objets, de ses inventions, s’entrecroisent d’une manière chronologique pour le raconter. Il explique sa venue à Paris, son rapport à Dada, au surréalisme, son invention de la solarisation, son séjour à Hollywood, sa fascination pour les femmes et le jeu d’échecs et surtout son impossibilité de choisir entre la peinture et la photographie. Un film de montage, classique et informatif qui vaut par ses documents et le bon usage qu’il en est fait."},{"slug":"man_ray_the_bazaar_years","ok":true,"partial":false,"title":"The Bazaar Years","artist":"Man Ray","year":"1994","startOffset":0,"sourceSecs":679.602,"sourceHeight":548,"sourceWidth":794,"hasAudio":true,"hasAmbientMp4":true,"bytes":123480603,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_the_bazaar_years/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/man_ray_the_bazaar_years/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/man_ray_the_bazaar_years.mp4","hasFrames":true,"description":"Director: Unknown<br/> Diane Meier (Host) for \"art / world\" program.<br/> <br/> Description: Man Ray was one of the greatest Surrealist painters and photographers of the 20th century. From 1934 to 1942, he produced a body of work for Harper's Bazaar, photographing personalities in the society, entertainment, and literary worlds as well as the fashions of Chanel, Schiaparelli, Molyneux, featured with his own artwork and those of his friends Constantin Brancusi and Alberto Giacometti. Man Ray had an immediate impact on fashion photography. His work made use of many of the innovative and unorthodox techniques he experimented with. <br/>\"\"Man Ray - The Bazaar Years\" is a tour of an exhibit of Man Ray's commercial work, mainly as a fashion photographer for Haper's Bazaar. It discusses the relation between his commercial work and his artistic photography.","artist_bio":"Man Ray, the master of experimental and fashion photography was also a painter, a filmmaker, a poet, an essayist, a philosopher, and a leader of American modernism. Known for documenting the cultural elite living in France, Man Ray spent much of his time fighting the formal constraints of the visual arts. Ray’s life and art were always provocative, engaging, and challenging.\nBorn Emanuel Radnitzky in 1890, Man Ray spent most of his young life in Williamsburg, Brooklyn. The eldest child of an immigrant Jewish tailor, he was a mediocre student who shunned college for the bohemian artistic life in nearby Manhattan. In New York he began to work as an artist, meeting many of the most important figures of the time. He learned the rudiments of photography from the art dealer and photographer, Alfred Stieglitz, and began to experiment on his own.\nIn 1914, Man Ray married the Belgian poet, Adon Lacroix, and soon after met the experimental artist Marcel Duchamp. Duchamp was to be one of Man Ray’s greatest influences as well as a close friend and collaborator. Together the two attempted to bring some of the verve of the European experimental art movements to America. The most energetic of these movements was “dada.” Dada was an attempt to create work so absurd it confused the viewer’s sense of reality. The dadaists would take everyday objects and present them as if they were finished works of art. For Man Ray, dada’s experimentation was no match for the wild and chaotic streets of New York, and he wrote “Dada cannot live in New York. All New York is dada, and will not tolerate a rival.”\nHaving broken with his wife, Man Ray left New York for Paris in 1921—marking a continuous stream of tempestuous and often doomed romances. Through Duchamp, Man Ray met some of the most exciting artists and thinkers in Paris. Though he didn’t speak a word of French at first, he was welcomed into this group and became its unofficial photographer. Among the many models from this period were Pablo Picasso, Ernest Hemingway, Salvador Dali, Gertude Stein, James Joyce, and the famous performer, Kiki of Montparnasse. For six years Kiki was Ray’s constant model, muse, and lover.\nAmong the most famous of his photographs of the time are the many of Kiki. Man Ray’s photographs of Kiki often use the outline of her body to represent other objects. This interest in minimalism and abstraction carried over to Man Ray’s experiments with what he termed “rayographs.” A “rayograph” was made by placing a three-dimensional object or series of objects on top of a piece of photographic paper and exposing it to light. These images lyrically and impressionistically represented objects such as ropes, light bulbs, and thumb tacks. Many artists responded positively to Man Ray’s daring combination of minimalism, chance, and absurdity, and in 1922 he published his first book of them entitled The Delightful Fields.\nThroughout the 1930s Man Ray continued to paint, sculpt, and make portraits along with the surrealists, whose freewheeling dispositions were similar to his own. Though deeply immersed in the artistic life of France, World War II forced Man Ray to leave Paris, and he moved to Hollywood. In Hollywood, many expatriate artists, musicians, and writers took up residence. He spent ten years there working as a fashion photographer. With his brave use of lighting and minimalist representation, Man Ray produced fashion photographs unlike any that had come before—and forever changed that discipline.\nMan Ray longed, however, to be back in Paris, the city that had nurtured his creative life. So, after the war, married to a young dancer named Juliet Brown, he moved back. He spent the next twenty-five years there, creating paintings, sculptures, films, and photographs. He died on November 18, 1976 at the age of eighty-six. One the great artists and agitators of his time, Man Ray will be remembered not simply for the fascinating and experimental works he left behind, but for the crucial role he played in encouraging the revolutionary in art.","bio_dates":"1945-1998"},{"slug":"mangolte_babette_calico_mingling_1973","ok":true,"partial":false,"title":"Calico Mingling","artist":"Babette Mangolte","year":"1973","startOffset":0,"sourceSecs":596.762,"sourceHeight":544,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":108703379,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mangolte_babette_calico_mingling_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mangolte_babette_calico_mingling_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mangolte_babette_calico_mingling_1973.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mangolte_babette_calico_mingling_1973/main.mp4?v=2","description":"Calico Mingling, a 1973 dance by <a href=\"https://ubu.com/dance/childs.html\" rel=\"noopener\" target=\"_blank\">Lucinda Childs</a> that took place outdoors at Robert Moses Plaza in Fordham University, is recorded in a grainy ten-minute black and white film. Seen from a distance, and sometimes from above like chess pieces on a board, four dancers march backward and forward, raising and lowering their arms. In the photos, others performers are sometimes caught frozen in midair, while the slide show is a shifting succession of static photographic objects.<br/><br/> Structurally dissecting their movements, these artists replaced emotional expression with simple actions that people perform every day -- walking, sitting and running in ordinary clothes. Almost 40 years later, some of the performance sites have disappeared, and the people seen dancing are now on the verge of growing old. They strived to make dance quotidian, but time makes everything unique. The past can never be ordinary.","artist_bio":"Babette Mangolte is an experimental filmmaker living in New York City. She had two complete retrospectives of her films and camerawork in 2000 in Germany (organized by Madeleine Bernstorff and Klaus Volkmer) at the Berlin and Munich Cinematheque and in 2004 at Anthology\nFilms Archives in New York City with the opening of her 2003 film\nLes Modèles de Pickpocket.\nIn 2007 her film\nSeven Easy Pieces\nby Marina Abramović\n(2007) premiered at the Berlinale 2007.\nHer films and photo work were included in \"\nThe\nAmerican Century\n\" show in 1999 at the Whitney\nMuseum in New York and \"\nCentury City\n\" at the\nTate Britain in London in 2001.\nMangolte is also known for her photography of dance,\ntheater and performances. Her work was included with\nseveral performance photographs and two film\ninstallations in a show titled \"\nArt, Lies and\nVideotapes: Exposing Performance\n\" organized by\nAdrian George at TATE Liverpool (United Kingdom) in\n2003.\nAmong her more recent shows, “Live Art on Camera” at John Hansard Gallery, Southampton, UK, Curator Alice Maude-Roxby, “ Un teatre sense teatre” at Museu d’Art Contemporari de Barcelona, Curator Bernard Blistene (tour to Museu Berardo, Lisboa, Portugal) and Mangolte’s first solo show in the US at BROADWAY 1602, New York, curated by Anke Kempkes, all in 2007 and in 2008 a two films installation titled\nPresence\na t the Berlin Biennale 2008 and a second solo show at Broadway 1602 titled “Collision”. A new photo installation TOUCHING was included in a show at Akademie der Künste “re.act.feminism – performancekunst der 1960er & 70er jahre heute” curated by Bettina Knaup und Beatrice E. Stammer, till February 8, 2009.\nShe did a one month residency at OCA in Oslo, Norway in May 2009.\nIn 2010 she was included in numerous shows, in particular in the Whitney Biennial 2010 with “How to look ….”, and in a show at Migros Museum in Zurich, “While Bodies get mirrored… “, Mangolte also had two solo shows, one at Broadway 1602, New York in summer 2010 titled “Movement and Stills” and another solo show at Scorcha Dallas in Glasgow, UK titled “Yvonne Rainer: Testimony to Improvisation 1972-5”. In addition she was included in “Mixed Use: Manhattan” at Museo Reina Sofia in Madrid, Spain, curated by Lynne Cook and Douglas Crimp.","bio_dates":"b. 1941"},{"slug":"mangolte_babette_four_pieces_by_morris","ok":true,"partial":false,"title":"Four Pieces by Morris","artist":"Babette Mangolte","year":"1993","startOffset":0,"sourceSecs":5641.167,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":952268378,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mangolte_babette_four_pieces_by_morris/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mangolte_babette_four_pieces_by_morris/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mangolte_babette_four_pieces_by_morris.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mangolte_babette_four_pieces_by_morris/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mangolte_babette_four_pieces_by_morris/main/master.m3u8?v=2","hasMainHls":true,"description":"The film is a reconstitution of the seminal performance work done in the early Sixties by the sculptor Robert Morris.\n\nFour Pieces by Morris is a dance film is exactly that. Four pieces by sculptor Robert Morris. Robert Morris is an extremely ascetic creator whose structural compositions have less to do with the theatre and more to do with installation. We have a workman moving white boards back and forth across a stage finally revealing a female nude reclining on a couch behind the last one. The woman does not move, the workman does not notice her. Nothing happens. The sonic backdrop is an intense recording of street sounds and construction which was distracting and irritating to my ear but was supposed to serve to \"heighten the presence of the performer\".\n\nEach one was more tedious than the next, with perhaps the exception of the lecture on perception in the third piece.\n\nFilm is the medium of duration, but what we call duration is historically determined. Film spectatorship expectations greatly change in different generations. My biggest question was how to represent the sense of time of another generation. I gambled that if I could create a sense of heightened presence of the performer on screen by restructuring the sound space of the image, I could use the distended time-duration of the Sixties to my advantage and emphasize the importance of the performer’s body.\n\nThe film’s premises rest on maintaining the concept of art as displacement / art as a frame which I thought was at the center of the impact of the performances at the time when their making revolutionizes the new dance in the New York art scene of the early Sixties.-- Babette Mangolte, 1994\n\nThe making of the film was extremely pleasurable because the daily contact with Robert Morris was intellectually stimulating and fun. I also had all freedom to devise the complex tracking shots and gliding camera work, which are meant to be seamless and invisible. I trained myself to know the movement so well that I could guide the tempo of the tracking shot by pure instinct. The task was particularly challenging in Site and Waterman Switch. I also felt that showing two renditions of Waterman Switch was interesting, the first one emphasizing the proscenium effect of the choreography, the other one using point of view shots and inducing the spectator in the narrative. The sound track was the most interesting element to invent for me. It is by sound that you create presence. I feel very grateful that Robert Morris gave me total freedom in the matter. -- Babette Mangolte September 2004"},{"slug":"mangolte_babette_now_aka_maintenant_entre_parentheses_1976_iphone","ok":true,"partial":false,"title":"(NOW) or Maintenant entre parenthèses","artist":"Babette Mangolte","year":"1976","startOffset":0,"sourceSecs":623.457,"sourceHeight":320,"sourceWidth":426,"hasAudio":false,"hasAmbientMp4":true,"bytes":33127024,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mangolte_babette_now_aka_maintenant_entre_parentheses_1976_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mangolte_babette_now_aka_maintenant_entre_parentheses_1976_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mangolte_babette_now_aka_maintenant_entre_parentheses_1976_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mangolte_babette_now_aka_maintenant_entre_parentheses_1976_iphone/main.mp4?v=2","description":"16mm Color 10 minutes <br/><br/> I shot (NOW) in two hours more or less keeping everything that was shot in continuity. I had a studio thanks to a friend that was letting me her loft when she was away in France. So both Linda Patton and James Barth came to the studio because I had asked them to help me tryout things for what I then called “Film Portrait” later titled “The Camera: Je”. At the time I was shooting the same images both in B&W and Color and I did that on that afternoon. The film shows a manipulation of objects and a kind of literalness in the use of the word NOW that I liked. <br/><br/> Film = Now - Projected Film = (Now). <br/><br/> The translated title in French with the parenthesis being spelled out adds to the joke.<br/><br/> (NOW) or MAINTENANT ENTRE PARENTHESES, 1976, 16mm Color 10 minutes, <br/><br/> SILENT (24 frame per second) - With Linda Patton and James Barth","artist_bio":"Babette Mangolte is an experimental filmmaker living in New York City. She had two complete retrospectives of her films and camerawork in 2000 in Germany (organized by Madeleine Bernstorff and Klaus Volkmer) at the Berlin and Munich Cinematheque and in 2004 at Anthology\nFilms Archives in New York City with the opening of her 2003 film\nLes Modèles de Pickpocket.\nIn 2007 her film\nSeven Easy Pieces\nby Marina Abramović\n(2007) premiered at the Berlinale 2007.\nHer films and photo work were included in \"\nThe\nAmerican Century\n\" show in 1999 at the Whitney\nMuseum in New York and \"\nCentury City\n\" at the\nTate Britain in London in 2001.\nMangolte is also known for her photography of dance,\ntheater and performances. Her work was included with\nseveral performance photographs and two film\ninstallations in a show titled \"\nArt, Lies and\nVideotapes: Exposing Performance\n\" organized by\nAdrian George at TATE Liverpool (United Kingdom) in\n2003.\nAmong her more recent shows, “Live Art on Camera” at John Hansard Gallery, Southampton, UK, Curator Alice Maude-Roxby, “ Un teatre sense teatre” at Museu d’Art Contemporari de Barcelona, Curator Bernard Blistene (tour to Museu Berardo, Lisboa, Portugal) and Mangolte’s first solo show in the US at BROADWAY 1602, New York, curated by Anke Kempkes, all in 2007 and in 2008 a two films installation titled\nPresence\na t the Berlin Biennale 2008 and a second solo show at Broadway 1602 titled “Collision”. A new photo installation TOUCHING was included in a show at Akademie der Künste “re.act.feminism – performancekunst der 1960er & 70er jahre heute” curated by Bettina Knaup und Beatrice E. Stammer, till February 8, 2009.\nShe did a one month residency at OCA in Oslo, Norway in May 2009.\nIn 2010 she was included in numerous shows, in particular in the Whitney Biennial 2010 with “How to look ….”, and in a show at Migros Museum in Zurich, “While Bodies get mirrored… “, Mangolte also had two solo shows, one at Broadway 1602, New York in summer 2010 titled “Movement and Stills” and another solo show at Scorcha Dallas in Glasgow, UK titled “Yvonne Rainer: Testimony to Improvisation 1972-5”. In addition she was included in “Mixed Use: Manhattan” at Museo Reina Sofia in Madrid, Spain, curated by Lynne Cook and Douglas Crimp.","bio_dates":"b. 1941"},{"slug":"mann_chris_maybeifyouhitithard","ok":true,"partial":false,"title":"maybe if you hit it hard (2008)","artist":"Chris Mann","year":"2008","startOffset":0,"sourceSecs":1647.509,"sourceHeight":212,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":98143033,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mann_chris_maybeifyouhitithard/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mann_chris_maybeifyouhitithard/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mann_chris_maybeifyouhitithard.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mann_chris_maybeifyouhitithard/main.mp4?v=2"},{"slug":"manovich_lev_softcinema_2004_iphone","ok":true,"partial":false,"title":"Soft Cinema","artist":"Lev Manovich","year":"2004","startOffset":0,"sourceSecs":8059.629,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":463427915,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/manovich_lev_softcinema_2004_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/manovich_lev_softcinema_2004_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/manovich_lev_softcinema_2004_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/manovich_lev_softcinema_2004_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/manovich_lev_softcinema_2004_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"SOFT CINEMA: Navigating the Database is the Soft Cinema projects first DVD published and distributed by The MIT Press (2005). Although the three films presented on the DVD reference the familiar genres of cinema, the process by which they were created and the resulting aesthetics fully belong to the software age. They demonstrate the possibilities of soft(ware) cinema - a 'cinema' in which human subjectivity and the variable choices made by custom software combine to create films that can run infinitely without ever exactly repeating the same image sequences, screen layouts and narratives.","artist_bio":"Dr. Lev Manovich (manovich@ucsd.edu) is an artist, a theorist and a critic of new media. He has published more than thirty articles which have been translated into many languages and reprinted in eighteen countries. In his writings, Manovich places new media within the larger context of modern visual culture, relating it to the histories of art and cinema. Manovich was born in Moscow where he studied fine arts and architecture. Moving to New York in 1981, he begun working in computer animation in 1984 at Digital Effects, one of the first commercial companies devoted to producing 3D animation for television and film. Manovich received an M.A. in experimental psychology from New York University (1988) and a Ph.D. in Visual and Cultural Studies from the University of Rochester (1993). He is now an Assistant Professor in the Department of Visual Arts, University of California, San Diego where he teaches studio and theory classes in new media. Currently he is working on a book entitled \"The Language of New Media\" for the MIT Press. His articles and projects are available at http://jupiter.ucsd.edu/~manovich","bio_dates":"2004"},{"slug":"manupelli_george_dr_chicago_1968","ok":true,"partial":false,"title":"Dr. Chicago","artist":"George Manupelli","year":"1968","startOffset":0,"sourceSecs":6657.6,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1121807789,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/manupelli_george_dr_chicago_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/manupelli_george_dr_chicago_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/manupelli_george_dr_chicago_1968.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/manupelli_george_dr_chicago_1968/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/manupelli_george_dr_chicago_1968/main/master.m3u8?v=2","hasMainHls":true,"description":"Starring: Experimental composer <a href=\"https://ubu.com/film/lucier.html\" rel=\"noopener\" target=\"_blank\">Alvin Lucier</a> With <a href=\"https://ubu.com/film/dance/paxton.html\" rel=\"noopener\" target=\"_blank\">Steve Paxton</a>, Mary Ashley, Jan Onder, Margaret Thornton, <a href=\"https://ubu.com/film/ashley.html\" rel=\"noopener\" target=\"_blank\">Robert Ashley</a>, Walter Blackwell, Alex Hawkins. <br/><br/> The Chicago films do not use actors. Instead, the main characters are played by major avant garde talents from other creative fields. Dr. Chicago is played by renowned composer Alvin Lucier whose stream-of-consciousness soliloquies in the films are punctuated by his ferocious stutter. Painter and performance artist Mary Ashley, a primary member of the legendary <a href=\"https://ubu.com/sound/once.html\" rel=\"noopener\" target=\"_blank\">ONCE Group</a>, smolders throughout as Chicago's girlfriend, Sheila Marie.","artist_bio":"Music with Roots in the Aether: Robert Ashley, Composer (Segment)\n(1975)\nMusic with Roots in the Aether, The Series, Directed by Robert Ashley\n(1975)\nRobert Ashley was a contemporary American composer, best known for his operas and other theatrical works, many of which incorporate electronics and extended techniques. Along with Gordon Mumma, Ashley was also a major pioneer of audio synthesis.\nAshley was born in Ann Arbor, Michigan. He studied at the University of Michigan with Ross Lee Finney, at the Manhattan School of Music, and was later a musician in the US Army. After moving back to Michigan, Ashley worked at the University of Michigan's Speech Research Laboratories. Although he was not officially a student in the acoustic research program there, he was offered the chance to obtain a doctorate, but turned it down to pursue his music. From 1961 to 1969, he organised the ONCE Festival in Ann Arbor with Roger Reynolds, Gordon Mumma, and other local composers and artists. He was a co-founder of the ONCE Group, as well as a member of the Sonic Arts Union, which also included David Behrman, Alvin Lucier, and Gordon Mumma. In 1969 he became director of the San Francisco Tape Music Center. In the 1970s he directed the Mills College Center for Contemporary Music. His notable students include Maggi Payne.\nThe majority of Ashley's recordings have been released by Lovely Music, which was founded by Performing Artservices, the not-for-profit management organization which represents Ashley and other artists. Ashley's opera Perfect Lives was featured in Peter Greenaway's documentary 4 American Composers. November 2011 will see the release of two new books of Ashley's by Burning Books, a re-staging of his 1967 opera That Morning Thing commissioned by Performa '11, and a number of other performances in New York City as part of a week long festival at Incubator Arts.","bio_dates":"1931-2014"},{"slug":"mapplethorpe_robert_arena_1989_iphone","ok":true,"partial":false,"title":"Arena","artist":"Robert Mapplethorpe","year":"1988","startOffset":0,"sourceSecs":3114.819,"sourceHeight":320,"sourceWidth":412,"hasAudio":true,"hasAmbientMp4":true,"bytes":184235841,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mapplethorpe_robert_arena_1989_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mapplethorpe_robert_arena_1989_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mapplethorpe_robert_arena_1989_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mapplethorpe_robert_arena_1989_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mapplethorpe_robert_arena_1989_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Runtime: 52 min.<br/> Director: Nigel Finch (BBC)<br/> Robert Mapplethorpe, Patti Smith, Kathy Acker, Lynn Davis, Robert Miller, Louise Bourgeois, Leo Castelli<br/> <br/> Profile of photographer Robert Mapplethorpe, one of the most controversial of American photographers, which accompanied an exhibition of his work at the National Portrait Gallery in the year before he died. Contains interview with Mapplethorpe himself, along with critic and author Edmund White, and with several of Mapplethorpe's subjects.","artist_bio":"Robert Mapplethorpe was born in 1946 in Floral Park, Queens. Of his childhood he said, \"I come from suburban America. It was a very safe environment and it was a good place to come from in that it was a good place to leave.\"\nIn 1963, Mapplethorpe enrolled at Pratt Institute in nearby Brooklyn, where he studied drawing, painting, and sculpture. Influenced by artists such as Joseph Cornell and Marcel Duchamp, he also experimented with various materials in mixed-media collages, including images cut from books and magazines. He acquired a Polaroid camera in 1970 and began producing his own photographs to incorporate into the collages, saying he felt \"it was more honest.\" That same year he and Patti Smith, whom he had met three years earlier, moved into the Chelsea Hotel. Mapplethorpe quickly found satisfaction taking Polaroid photographs in their own right and indeed few Polaroids actually appear in his mixed-media works. In 1973, the Light Gallery in New York City mounted his first solo gallery exhibition, \"Polaroids.\" Two years later he acquired a Hasselblad medium-format camera and began shooting his circle of friends and acquaintances—artists, musicians, socialites, pornographic film stars, and members of the S & M underground. He also worked on commercial projects, creating album cover art for Patti Smith and Television and a series of portraits and party pictures for Interview Magazine.\nIn the late 70s, Mapplethorpe grew increasingly interested in documenting the New York S & M scene. The resulting photographs are shocking for their content and remarkable for their technical and formal mastery. Mapplethorpe told ARTnews in late 1988, \"I don't like that particular word 'shocking.' I'm looking for the unexpected. I'm looking for things I've never seen before … I was in a position to take those pictures. I felt an obligation to do them.\" Meanwhile his career continued to flourish. In 1977, he participated in Documenta 6 in Kassel, West Germany and in 1978, the Robert Miller Gallery in New York City became his exclusive dealer.\nMapplethorpe met Lisa Lyon, the first World Women's Bodybuilding Champion, in 1980. Over the next several years they collaborated on a series of portraits and figure studies, a film, and the book, Lady, Lisa Lyon. Throughout the 80s, Mapplethorpe produced a bevy of images that simultaneously challenge and adhere to classical aesthetic standards: stylized compositions of male and female nudes, delicate flower still lifes, and studio portraits of artists and celebrities, to name a few of his preferred genres. He introduced and refined different techniques and formats, including color 20\" x 24\" Polaroids, photogravures, platinum prints on paper and linen, Cibachrome and dye transfer color prints. In 1986, he designed sets for Lucinda Childs' dance performance, Portraits in Reflection, created a photogravure series for Arthur Rimbaud's A Season in Hell, and was commissioned by curator Richard Marshall to take portraits of New York artists for the series and book, 50 New York Artists.\nThat same year, in 1986, he was diagnosed with AIDS. Despite his illness, he accelerated his creative efforts, broadened the scope of his photographic inquiry, and accepted increasingly challenging commissions. The Whitney Museum of American Art mounted his first major American museum retrospective in 1988, one year before his death in 1989.\nHis vast, provocative, and powerful body of work has established him as one of the most important artists of the twentieth century. Today Mapplethorpe is represented by galleries in North and South America and Europe and his work can be found in the collections of major museums around the world. Beyond the art historical and social significance of his work, his legacy lives on through the work of the Robert Mapplethorpe Foundation. He established the Foundation in 1988 to promote photography, support museums that exhibit photographic art, and to fund medical research in the fight against AIDS and HIV-related infection.","bio_dates":"1946-1989"},{"slug":"marclay_christian_festival_festival_highlights_2010","ok":true,"partial":false,"title":"5 Minute highlights from the Festival","artist":"Christian Marclay","year":"2010","startOffset":0,"sourceSecs":209.491,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":15002183,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_festival_festival_highlights_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_festival_festival_highlights_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marclay_christian_festival_festival_highlights_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marclay_christian_festival_festival_highlights_2010/main.mp4?v=2","artist_bio":"Record Player: Christian Marclay\n, Documentary, dir. Luc Peter (2000)\nMin Xiao–Fen and Elliot Sharp perform Marclay's Graffiti Composition\nMaria Chavez, Marina Rosenfeld and Tristan Shepherd perform Marclay's Screen Play\nMarclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramaphone records and turntables as musical instruments to create sound collage, Marclay is, in the words of critic Thom Jurek, perhaps the \"unwitting inventor of turntablism.\" His own use of turntables and records, beginning in the mid-1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.\nChristian Marclay was born on 11 January 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.\nDrawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.\nMarclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.\nSome of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.\nMarclay released Album Without a Cover on Neutral Records in 1986, \"...designed to be sold without a jacket, not even a sleeve!\" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's \"coolest theatrical gesture\" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album.\nThom Jurek writes that \"While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious.\"\nMarclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members.\nAt the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for The Clock, a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. Newsweek responded by naming Marclay one of the ten most important artists of today. Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury \"for giving The Clock its fifteen minutes\".","bio_dates":"b. 1955"},{"slug":"marclay_christian_festival_maria_chavez_marina_rosenfeld_and_tristan_shepherd_perform_marclays_screen_play_2010","ok":true,"partial":false,"title":"Maria Chavez, Marina Rosenfeld and Tristan Shepherd perform Marclay's Screen Play","artist":"Christian Marclay","year":"2010","startOffset":0,"sourceSecs":1787.264,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":300807742,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_festival_maria_chavez_marina_rosenfeld_and_tristan_shepherd_perform_marclays_screen_play_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_festival_maria_chavez_marina_rosenfeld_and_tristan_shepherd_perform_marclays_screen_play_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marclay_christian_festival_maria_chavez_marina_rosenfeld_and_tristan_shepherd_perform_marclays_screen_play_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marclay_christian_festival_maria_chavez_marina_rosenfeld_and_tristan_shepherd_perform_marclays_screen_play_2010/main.mp4?v=2","description":"Watch exclusive video footage of Maria Chavez, Marina Rosenfeld and Tristan Shepherd performing Christian Marclay's Screen Play, New York City Whitney Museum, 1 July, 2010 as part of their exhibition Christian Marclay Festival. Video by Scott Clements.","artist_bio":"Record Player: Christian Marclay\n, Documentary, dir. Luc Peter (2000)\nMin Xiao–Fen and Elliot Sharp perform Marclay's Graffiti Composition\nMaria Chavez, Marina Rosenfeld and Tristan Shepherd perform Marclay's Screen Play\nMarclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramaphone records and turntables as musical instruments to create sound collage, Marclay is, in the words of critic Thom Jurek, perhaps the \"unwitting inventor of turntablism.\" His own use of turntables and records, beginning in the mid-1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.\nChristian Marclay was born on 11 January 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.\nDrawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.\nMarclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.\nSome of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.\nMarclay released Album Without a Cover on Neutral Records in 1986, \"...designed to be sold without a jacket, not even a sleeve!\" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's \"coolest theatrical gesture\" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album.\nThom Jurek writes that \"While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious.\"\nMarclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members.\nAt the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for The Clock, a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. Newsweek responded by naming Marclay one of the ten most important artists of today. Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury \"for giving The Clock its fifteen minutes\".","bio_dates":"b. 1955"},{"slug":"marclay_christian_festival_min_xiao_fen_and_elliot_sharp_perform_marclays_graffiti_composition_2010","ok":true,"partial":false,"title":"Min Xiao–Fen and Elliot Sharp perform Marclay's Graffiti Composition","artist":"Christian Marclay","year":"2010","startOffset":0,"sourceSecs":1107.081,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":186242274,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_festival_min_xiao_fen_and_elliot_sharp_perform_marclays_graffiti_composition_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_festival_min_xiao_fen_and_elliot_sharp_perform_marclays_graffiti_composition_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marclay_christian_festival_min_xiao_fen_and_elliot_sharp_perform_marclays_graffiti_composition_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marclay_christian_festival_min_xiao_fen_and_elliot_sharp_perform_marclays_graffiti_composition_2010/main.mp4?v=2","artist_bio":"Record Player: Christian Marclay\n, Documentary, dir. Luc Peter (2000)\nMin Xiao–Fen and Elliot Sharp perform Marclay's Graffiti Composition\nMaria Chavez, Marina Rosenfeld and Tristan Shepherd perform Marclay's Screen Play\nMarclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramaphone records and turntables as musical instruments to create sound collage, Marclay is, in the words of critic Thom Jurek, perhaps the \"unwitting inventor of turntablism.\" His own use of turntables and records, beginning in the mid-1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.\nChristian Marclay was born on 11 January 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.\nDrawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.\nMarclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.\nSome of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.\nMarclay released Album Without a Cover on Neutral Records in 1986, \"...designed to be sold without a jacket, not even a sleeve!\" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's \"coolest theatrical gesture\" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album.\nThom Jurek writes that \"While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious.\"\nMarclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members.\nAt the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for The Clock, a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. Newsweek responded by naming Marclay one of the ten most important artists of today. Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury \"for giving The Clock its fifteen minutes\".","bio_dates":"b. 1955"},{"slug":"marclay_christian_festival_trio_mini_documentary_2010","ok":true,"partial":false,"title":"5 Minute Mini-Documentary","artist":"Christian Marclay","year":"2010","startOffset":0,"sourceSecs":350.451,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":63967894,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_festival_trio_mini_documentary_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_festival_trio_mini_documentary_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marclay_christian_festival_trio_mini_documentary_2010.mp4","hasFrames":true,"artist_bio":"Record Player: Christian Marclay\n, Documentary, dir. Luc Peter (2000)\nMin Xiao–Fen and Elliot Sharp perform Marclay's Graffiti Composition\nMaria Chavez, Marina Rosenfeld and Tristan Shepherd perform Marclay's Screen Play\nMarclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramaphone records and turntables as musical instruments to create sound collage, Marclay is, in the words of critic Thom Jurek, perhaps the \"unwitting inventor of turntablism.\" His own use of turntables and records, beginning in the mid-1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.\nChristian Marclay was born on 11 January 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.\nDrawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.\nMarclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.\nSome of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.\nMarclay released Album Without a Cover on Neutral Records in 1986, \"...designed to be sold without a jacket, not even a sleeve!\" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's \"coolest theatrical gesture\" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album.\nThom Jurek writes that \"While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious.\"\nMarclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members.\nAt the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for The Clock, a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. Newsweek responded by naming Marclay one of the ten most important artists of today. Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury \"for giving The Clock its fifteen minutes\".","bio_dates":"b. 1955"},{"slug":"marclay_christian_festival_ulrich_krieger_marclays_box_set_2010","ok":true,"partial":false,"title":"Ulrich Krieger performs Marclay's Box Set","artist":"Christian Marclay","year":"2010","startOffset":0,"sourceSecs":1105.897,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":186310232,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_festival_ulrich_krieger_marclays_box_set_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_festival_ulrich_krieger_marclays_box_set_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marclay_christian_festival_ulrich_krieger_marclays_box_set_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marclay_christian_festival_ulrich_krieger_marclays_box_set_2010/main.mp4?v=2","description":"From Christian Marclay: Festival (Whitney Museum, NYC, 2010)<br/><br/> In this video, Ulrich Krieger performs Christian Marclay’s Box Set (2008–2010). Like Russian nesting dolls, boxes adorned with musical notation are placed one inside the other, to be opened, played, and then closed by the musician.","artist_bio":"Record Player: Christian Marclay\n, Documentary, dir. Luc Peter (2000)\nMin Xiao–Fen and Elliot Sharp perform Marclay's Graffiti Composition\nMaria Chavez, Marina Rosenfeld and Tristan Shepherd perform Marclay's Screen Play\nMarclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramaphone records and turntables as musical instruments to create sound collage, Marclay is, in the words of critic Thom Jurek, perhaps the \"unwitting inventor of turntablism.\" His own use of turntables and records, beginning in the mid-1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.\nChristian Marclay was born on 11 January 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.\nDrawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.\nMarclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.\nSome of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.\nMarclay released Album Without a Cover on Neutral Records in 1986, \"...designed to be sold without a jacket, not even a sleeve!\" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's \"coolest theatrical gesture\" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album.\nThom Jurek writes that \"While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious.\"\nMarclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members.\nAt the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for The Clock, a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. Newsweek responded by naming Marclay one of the ten most important artists of today. Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury \"for giving The Clock its fifteen minutes\".","bio_dates":"b. 1955"},{"slug":"marclay_christian_guitar_drag","ok":true,"partial":false,"title":"Guitar Drag","artist":"Christian Marclay","year":"2000","startOffset":0,"sourceSecs":179.067,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":8442694,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_guitar_drag/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_guitar_drag/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marclay_christian_guitar_drag.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marclay_christian_guitar_drag/main.mp4?v=2","description":"From the first sounds of duct-tape being ripped, the familiar sound of someone gently slamming the strings of the guitar, to the sounds of an engine starting and then slowly the beginning of a sound that is hollow and at the same time human, and that takes us through the deepest roarings to high pitch screams until the very end when it all slows down and stops, unwillingly it seems. Knowing the story behind the work or not, the sound itself triggers your imaginaton, leaving your soul no peace. For even if this could be seen, or heard, solely as a beautiful noisy sound piece, there is too much to the idea behind Guitar Drag, for it to not leave you restless and thoughtful. <br/><br/> \n\nGuitar Drag has many different layers of references, it alludes to the ritual of smashing guitars in rock concerts, it recalls Fluxus and its many destruction of instruments. It is also like a road movie, with reference to the landscape of Texas, where it was filmed, with references to cowboys and rodeos. It is about violence in general and more specifically about the lynching of James Byrd Jr. who was dragged to his death behind a pickup-truck. I want the video to have these multiple layers and trigger people’s imagination in contradictory ways. The piece ends up being seductive and repulsive at the same time. (C. M.)<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/marclay.html\" rel=\"noopener\" target=\"_blank\">Audio of \"Guitar Drag\" on Christian Marclay's UbuWeb Sound Page</a></br>","artist_bio":"Record Player: Christian Marclay\n, Documentary, dir. Luc Peter (2000)\nMin Xiao–Fen and Elliot Sharp perform Marclay's Graffiti Composition\nMaria Chavez, Marina Rosenfeld and Tristan Shepherd perform Marclay's Screen Play\nMarclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramaphone records and turntables as musical instruments to create sound collage, Marclay is, in the words of critic Thom Jurek, perhaps the \"unwitting inventor of turntablism.\" His own use of turntables and records, beginning in the mid-1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.\nChristian Marclay was born on 11 January 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.\nDrawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.\nMarclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.\nSome of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.\nMarclay released Album Without a Cover on Neutral Records in 1986, \"...designed to be sold without a jacket, not even a sleeve!\" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's \"coolest theatrical gesture\" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album.\nThom Jurek writes that \"While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious.\"\nMarclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members.\nAt the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for The Clock, a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. Newsweek responded by naming Marclay one of the ten most important artists of today. Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury \"for giving The Clock its fifteen minutes\".","bio_dates":"b. 1955"},{"slug":"marclay_christian_made_to_be_destroyed","ok":true,"partial":false,"title":"Made to Be Destroyed","artist":"Christian Marclay","year":"2016","startOffset":0,"sourceSecs":1298.599,"sourceHeight":576,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":222775246,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_made_to_be_destroyed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_made_to_be_destroyed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marclay_christian_made_to_be_destroyed.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marclay_christian_made_to_be_destroyed/main.mp4?v=2","description":"Some art is Made to Be Destroyed—as Christian Marclay titled his 24-minute video of spliced-together scenes of works being torched, smashed, or otherwise destroyed in various films—while some is made to be preserved. In Marclay’s case, it’s the latter, since the Whitney Museum is now the custodian of the work, a donation from the artist that came as part of a fundraising match for the Swiss Institute (which showed the work in 2016) at its benefit in November. The auctioneer Simon de Pury tried to drum up bidders at the event by promising that anyone who donated $50,000 would receive a set of prints as well as have their name displayed on the label of Marclay’s work at the Whitney. “Your name will be associated with Made to Be Destroyed at the museum for eternity! This is incredible! Your name will be there, right along with Christian’s name, of course, for ever and ever and ever!” De Pury got an “A” for enthusiasm, but there were no takers at that level. A few moments later, however, the art adviser Lisa Schiff jumped in with $30,000, followed by further pledges from David Kordansky, Phil Aarons and Shelley Fox Aarons, and Eva Presenhuber, among others. In the end, Made to Be Destroyed was saved from the fire.","artist_bio":"Record Player: Christian Marclay\n, Documentary, dir. Luc Peter (2000)\nMin Xiao–Fen and Elliot Sharp perform Marclay's Graffiti Composition\nMaria Chavez, Marina Rosenfeld and Tristan Shepherd perform Marclay's Screen Play\nMarclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramaphone records and turntables as musical instruments to create sound collage, Marclay is, in the words of critic Thom Jurek, perhaps the \"unwitting inventor of turntablism.\" His own use of turntables and records, beginning in the mid-1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.\nChristian Marclay was born on 11 January 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.\nDrawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.\nMarclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.\nSome of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.\nMarclay released Album Without a Cover on Neutral Records in 1986, \"...designed to be sold without a jacket, not even a sleeve!\" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's \"coolest theatrical gesture\" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album.\nThom Jurek writes that \"While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious.\"\nMarclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members.\nAt the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for The Clock, a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. Newsweek responded by naming Marclay one of the ten most important artists of today. Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury \"for giving The Clock its fifteen minutes\".","bio_dates":"b. 1955"},{"slug":"marclay_christian_record_player_2000_iphone","ok":true,"partial":false,"title":"Record Player: Christian Marclay","artist":"Christian Marclay","year":"2000","startOffset":0,"sourceSecs":2536.472,"sourceHeight":278,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":151287447,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_record_player_2000_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_record_player_2000_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marclay_christian_record_player_2000_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marclay_christian_record_player_2000_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marclay_christian_record_player_2000_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Luc Peter<br/> Year: 2000<br/> Time: 42 mins<br/> Music:<br/> Christian Marclay<br/> with<br/> Elliott Sharp & DJ Soulslinger<br/> Lee Ranaldo &: Thurston Moore<br/> DJ Olive &: Erik M<br/><br/>Although the history of musical pillage certainly starts way before the 20th century, the practice of plunderphonics (stealing snippets of pre-recorded sounds, often leaving its sources perfectly recognisable, in order to create something new and normally at odds with its original purposes) arose with the broadening of the aural spectrum brought about by the musique concrète revolution of the 1950s. The fact that it took so long after the invention of the first recording devices to take this decisive step is probably due to the resilience of modern ego-centered concepts of authorship and individuality that, although still prevalent in face of all the contradictory evidence, gradually started weakening after WWII. Inspired by the roads previously paved by concrète musicians and theorists, but also heavily influenced by the worlds of performance art, punk rock and no wave, Christian Marclay was probably the first musician to steal the plunder from the academic domain and to consistently work on the possibilities of disarranging previously ordered sonic artefacts. Long before being a d.j. meant anything more than someone putting one record after the other to make people dance (which is still what it means today), Marclay was exploring old vinyl collections, scratching vinyl in ways unthought of by Bambaataa, destroying needles against turntables and breaking up records in order to discover what lies beneath the groove. In this fairly conventional documentary, Luc Peter offers us a short portrait of Marclay's activities in more recent years, at a time when he's been elevated to avant-stardom by a society reasonably accustomed to the ideas of a musician using ready-made sources or of someone commanding people's respect behind the decks. Marclay briefly discusses his background, methods and artistic purposes, together with considerations on the turntable/record as an instrument or its place in improvisation and pop music. Luc Peter complements those statements with footage from four live performances. The first one, recorded at the IRCAM in Paris, presents us Marclay as he became known to the world: playing solo with his prepared records and turntables. The remaining performance feature Marclay's more recent challenges, i.e. improvising live with musicians from fairly different backgrounds: downtown NY heavy-weight Elliott Sharp and young noise-turntablist Soulslinger at the Tonic; Sonic Youth's guitar men Ranaldo and Moore at the legendary Victoriaville festival; and finally Olive (of the \"illbient\" collective We) and Erik M (one of the most interesting turntablists of the post- Marclay/Yoshihide/Tétreault generation) at the Centre Pompidou. Record Player hardly goes beyond the intrinsic interest of his subject, which is always a good way to measure one's merit in making a documentary: it is unfortunate, in particular, that no attention whatsoever is payed to Marclay's work as a visual artist (which, as he says, is as much a reflection on sound as his music), that the mighty turntablist's past works aren't even mentioned, and that Peter wasn't able to tap into the artist's known theoretical verve. Nevertheless, Record Player has its strong points: it's clean and sober, it offers us a rare opportunity to see Marclay playing solo and with a few top-notch musicians, and - perhaps even more important and certainly rarer - it gives us a chance to see the man haggling at a local sale for a stack of cheesy old records. -- Eye of Sound","artist_bio":"Record Player: Christian Marclay\n, Documentary, dir. Luc Peter (2000)\nMin Xiao–Fen and Elliot Sharp perform Marclay's Graffiti Composition\nMaria Chavez, Marina Rosenfeld and Tristan Shepherd perform Marclay's Screen Play\nMarclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramaphone records and turntables as musical instruments to create sound collage, Marclay is, in the words of critic Thom Jurek, perhaps the \"unwitting inventor of turntablism.\" His own use of turntables and records, beginning in the mid-1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.\nChristian Marclay was born on 11 January 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.\nDrawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.\nMarclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.\nSome of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.\nMarclay released Album Without a Cover on Neutral Records in 1986, \"...designed to be sold without a jacket, not even a sleeve!\" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's \"coolest theatrical gesture\" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album.\nThom Jurek writes that \"While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious.\"\nMarclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members.\nAt the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for The Clock, a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. Newsweek responded by naming Marclay one of the ten most important artists of today. Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury \"for giving The Clock its fifteen minutes\".","bio_dates":"b. 1955"},{"slug":"marclay_christian_record_players","ok":true,"partial":false,"title":"Record Player: Christian Marclay","artist":"Christian Marclay","year":"2000","startOffset":0,"sourceSecs":179.067,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":8442539,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_record_players/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marclay_christian_record_players/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marclay_christian_record_players.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marclay_christian_record_players/main.mp4?v=2","description":"Director: Luc Peter<br/> Year: 2000<br/> Time: 42 mins<br/> Music:<br/> Christian Marclay<br/> with<br/> Elliott Sharp & DJ Soulslinger<br/> Lee Ranaldo &: Thurston Moore<br/> DJ Olive &: Erik M<br/><br/>Although the history of musical pillage certainly starts way before the 20th century, the practice of plunderphonics (stealing snippets of pre-recorded sounds, often leaving its sources perfectly recognisable, in order to create something new and normally at odds with its original purposes) arose with the broadening of the aural spectrum brought about by the musique concrète revolution of the 1950s. The fact that it took so long after the invention of the first recording devices to take this decisive step is probably due to the resilience of modern ego-centered concepts of authorship and individuality that, although still prevalent in face of all the contradictory evidence, gradually started weakening after WWII. Inspired by the roads previously paved by concrète musicians and theorists, but also heavily influenced by the worlds of performance art, punk rock and no wave, Christian Marclay was probably the first musician to steal the plunder from the academic domain and to consistently work on the possibilities of disarranging previously ordered sonic artefacts. Long before being a d.j. meant anything more than someone putting one record after the other to make people dance (which is still what it means today), Marclay was exploring old vinyl collections, scratching vinyl in ways unthought of by Bambaataa, destroying needles against turntables and breaking up records in order to discover what lies beneath the groove. In this fairly conventional documentary, Luc Peter offers us a short portrait of Marclay's activities in more recent years, at a time when he's been elevated to avant-stardom by a society reasonably accustomed to the ideas of a musician using ready-made sources or of someone commanding people's respect behind the decks. Marclay briefly discusses his background, methods and artistic purposes, together with considerations on the turntable/record as an instrument or its place in improvisation and pop music. Luc Peter complements those statements with footage from four live performances. The first one, recorded at the IRCAM in Paris, presents us Marclay as he became known to the world: playing solo with his prepared records and turntables. The remaining performance feature Marclay's more recent challenges, i.e. improvising live with musicians from fairly different backgrounds: downtown NY heavy-weight Elliott Sharp and young noise-turntablist Soulslinger at the Tonic; Sonic Youth's guitar men Ranaldo and Moore at the legendary Victoriaville festival; and finally Olive (of the \"illbient\" collective We) and Erik M (one of the most interesting turntablists of the post- Marclay/Yoshihide/Tétreault generation) at the Centre Pompidou. Record Player hardly goes beyond the intrinsic interest of his subject, which is always a good way to measure one's merit in making a documentary: it is unfortunate, in particular, that no attention whatsoever is payed to Marclay's work as a visual artist (which, as he says, is as much a reflection on sound as his music), that the mighty turntablist's past works aren't even mentioned, and that Peter wasn't able to tap into the artist's known theoretical verve. Nevertheless, Record Player has its strong points: it's clean and sober, it offers us a rare opportunity to see Marclay playing solo and with a few top-notch musicians, and - perhaps even more important and certainly rarer - it gives us a chance to see the man haggling at a local sale for a stack of cheesy old records. -- Eye of Sound","artist_bio":"Record Player: Christian Marclay\n, Documentary, dir. Luc Peter (2000)\nMin Xiao–Fen and Elliot Sharp perform Marclay's Graffiti Composition\nMaria Chavez, Marina Rosenfeld and Tristan Shepherd perform Marclay's Screen Play\nMarclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramaphone records and turntables as musical instruments to create sound collage, Marclay is, in the words of critic Thom Jurek, perhaps the \"unwitting inventor of turntablism.\" His own use of turntables and records, beginning in the mid-1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.\nChristian Marclay was born on 11 January 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts), and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.\nDrawn to the energy of punk rock, Marclay began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.\nMarclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.\nSome of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.\nMarclay released Album Without a Cover on Neutral Records in 1986, \"...designed to be sold without a jacket, not even a sleeve!\" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's \"coolest theatrical gesture\" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album.\nThom Jurek writes that \"While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious.\"\nMarclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members.\nAt the 2011 Venice Biennale, Marclay was recognised as the best artist in the official exhibition, winning the Golden Lion for The Clock, a 24-hour compilation of time-related scenes from movies that debuted at London's White Cube gallery in 2010. Newsweek responded by naming Marclay one of the ten most important artists of today. Accepting the Golden Lion, Marclay invoked Andy Warhol, thanking the jury \"for giving The Clock its fifteen minutes\".","bio_dates":"b. 1955"},{"slug":"marco_closed_vision_1954_iphone","ok":true,"partial":false,"title":"Vision","artist":"Marc'O","year":"1954","startOffset":0,"sourceSecs":3943.085,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":228936413,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marco_closed_vision_1954_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marco_closed_vision_1954_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marco_closed_vision_1954_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marco_closed_vision_1954_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marco_closed_vision_1954_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Cast: Daniele Maurel, Robert G. Guiot, Merlin Hare, Robert Patisser, Simone Larrous, M. and Mme. Closse, M. and Mme. Dieulivol\n\nA nearly forgotten feature by one of the founders of Lettrism, Closed Vision was the directorial debut of Marc'O (born Marc-Gilbert Guillaumin), editor of the short-lived Lettrist film journal Ion and producer of Jean-Isidore Isou's infamous Traité de bave et d'eternité (Venom and Eternity). Compared to that film or Maurice Lemaitre's Le film est déjà commencé?, Closed Vision is a more literary and downright genial effort. If Isou and Lemaitre were content to \"destroy cinema\" (exposing ugly, banal images or simply splicing in scratched-up blank leader in semi-conjunction with endless soundtrack harangues), Marc'O here seems almost to save it - or at least to invest serious effort toward finding a cinematic idiom equivalent to the novel's stream-of-consciousness (the subtitle is 'Sixty Minutes in the Interior Life of a Man').\n\nDebuting at the 1954 Cannes Film Festival with the endorsements from Jean Cocteau and Luis Buñuel, this bilingual production (itself shot mostly around La Croisette in Cannes) evidently received little attention in the USA. \"Is this movement a sign that the vanguard of thinking people no longer consider cinema a valid art form?\" fretted one American film magazine after earlier Lettrist efforts. It settled into regular rotation with the assorted homoerotic shorts at Rohauer's Coronet Theater."},{"slug":"margaret_salmon_i_you_me_we_us","ok":true,"partial":false,"title":"I you me we us","artist":"Margaret Salmon","year":"2018","startOffset":0,"sourceSecs":1019.947,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":152639536,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/margaret_salmon_i_you_me_we_us/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/margaret_salmon_i_you_me_we_us/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/margaret_salmon_i_you_me_we_us.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/margaret_salmon_i_you_me_we_us/main.mp4?v=2","description":"I you me we us (2018) is a two-channel, 16 mm, silent film presented on two stacked monitors. <br/><br/> In this work, hands of family members and lovers make gestures, play, move, touch and write small notes, interspersed with depictions of plants and flowers held under coloured lights. The film features close-up shots that focus on the intimacy of showing affection with our touch. It portrays visual representations of warmth, empathy, care, kinship and growth.","artist_bio":"Margaret Salmon makes films that are equal parts anthropological study, lyrical narrative, and documentary. Her works intimately study the lives of ordinary individuals as they perform routine habits; she calls these “time-based portraits.” Salmon has made films about her own sisters and about women in various states of motherhood throughout Italy; themes in her work include isolation, childhood, difference, repetition, and self-perception. Her films are made with an eye for formal realism, inspired particularly by Cinema Vérité and Italian Neo-Realist cinematic traditions. Salmon also draws inspiration from street photography, guidebooks, and propaganda film; she sometimes presents her film as a multi-channel installation, showing two different reels of footage side-by-side in order to exaggerate their differences.","bio_dates":"b. 1982"},{"slug":"marievic_tourism","ok":true,"partial":false,"title":"Tourism","artist":"MarieVic","year":"2013","startOffset":0,"sourceSecs":184.084,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":79772640,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marievic_tourism/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marievic_tourism/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marievic_tourism.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marievic_tourism/main.mp4?v=2","description":"Tourism chronicles an individual's journey around the island of Cuba. The camera focuses on the road where the tourist is cruising, moving along on roller skates. The tourist follows its track, turning its back to the landscape and crossing paths with locals, cars, trucks, buses and carriages.","artist_bio":"MarieVic [b. Paris, France] is a visual artist and a trained architect currently living and working in New York City.\nShe graduated from École Spéciale dʼArchitecture and received an MFA from Parsons The New School for Design.\nMarieVicʼs work varies across mediums. She considers the fetishized subcultures of consumption and often employs a decidedly absurdist sense of humor to develop visual idioms that explore the contemporary cultural landscape, and exist within the liminal space of interstitial paradigms.","bio_dates":"b. 1960"},{"slug":"marievic_uniclones","ok":true,"partial":false,"title":"Uniclones","artist":"MarieVic","year":"2017","startOffset":0,"sourceSecs":642.133,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":249782597,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marievic_uniclones/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marievic_uniclones/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marievic_uniclones.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marievic_uniclones/main.mp4?v=2","description":"Uniclones is a video work in which mass produced clothing is decontextualized from its branded myth and repurposed for wry, discordant effect. Uniclones comments on the relationship between Mongolian cashmere goats and Uniqlo cashmere sweaters, and more broadly, between nomadic life and fast fashion products, through rather absurd juxtaposition.\n\nThe work itself is a two-channel video – a binary view of a pastoral landscape in which livestock wander freely. Goats, sheep, camels, reindeers and yaks carry on as any animal would in a rural setting, except that they are draped in Uniqlo products. This gesture juxtaposes an agrarian life with the clothing derived from it.\n\nUniclones takes a close look at agrarian dynamics, at the role of the individual within the flock. This dynamic is somehow mirrored in the marketplace, in which companies like Uniqlo shepherd consumers toward products. As a global brand, Uniqlo has made accessible to the masses a luxury good that was once only available to the few. Their products are attractive, disposable and even ethical. The retailer provides its community of consumers an individuating product: it satisfies the hedonist desire of quality conscious consumers while neutralizing (via corporate social responsibility) the anxiety provoked by its own mechanisms of production, appeasing a sort of ethical dilemma within the herd. In this dynamic, the corporation has become the shepherd and the consumer the flock. Uniclones is somewhat subversive in its message, but playful in its tone. It is not clear that these are the exact animals from which this fabric comes, or that the production process is in any clear way unsettling. What is clear in the video project is that these animals are reasonably happy, and that they are draped in Western clothing, each one an individual, yet posturing collectively.","artist_bio":"MarieVic [b. Paris, France] is a visual artist and a trained architect currently living and working in New York City.\nShe graduated from École Spéciale dʼArchitecture and received an MFA from Parsons The New School for Design.\nMarieVicʼs work varies across mediums. She considers the fetishized subcultures of consumption and often employs a decidedly absurdist sense of humor to develop visual idioms that explore the contemporary cultural landscape, and exist within the liminal space of interstitial paradigms.","bio_dates":"b. 1960"},{"slug":"marievic_whalecumpictures_streetcar_named_desire","ok":true,"partial":false,"title":"Whalecum Pcitures - Streetcar Named Desire","artist":"MarieVic","year":"2015","startOffset":0,"sourceSecs":86.28,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":11657788,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marievic_whalecumpictures_streetcar_named_desire/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marievic_whalecumpictures_streetcar_named_desire/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marievic_whalecumpictures_streetcar_named_desire.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marievic_whalecumpictures_streetcar_named_desire/main.mp4?v=2","description":"Originally presented at Red Bull Studios in New York, Whalecum Pictures is a video installation that playfully investigates the interstice of art and commerce, and the notion of value within a marketplace. The work consists of seven re-imagined scenes from iconic movies, and promotional objects that tie in with these movies. The objects are heavily branded by the fictional production company that develops the movies - Whalecum Pictures.\n\nWhalecum Pictures points to a vicious circle of money through art patronage and consumerism, and exists playfully within it. The brand is philanthropically bestown upon the arts, and the arts bestowed upon the brand. In jest, Whalecum Pictures comes full circle.","artist_bio":"MarieVic [b. Paris, France] is a visual artist and a trained architect currently living and working in New York City.\nShe graduated from École Spéciale dʼArchitecture and received an MFA from Parsons The New School for Design.\nMarieVicʼs work varies across mediums. She considers the fetishized subcultures of consumption and often employs a decidedly absurdist sense of humor to develop visual idioms that explore the contemporary cultural landscape, and exist within the liminal space of interstitial paradigms.","bio_dates":"b. 1960"},{"slug":"mark_carly_did_i_really_die","ok":true,"partial":false,"title":"Did I Really Die?","artist":"Carly Mark","year":"2014","startOffset":0,"sourceSecs":63.43,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":25492807,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mark_carly_did_i_really_die/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mark_carly_did_i_really_die/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mark_carly_did_i_really_die.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mark_carly_did_i_really_die/main.mp4?v=2","artist_bio":"Carly Mark was born in Detroit, Michigan in 1988. She received her BFA from The School of Visual Arts in New York in 2011. She currently works out of her studio in East Williamsburg, Brooklyn. She’s shown work at The Breeder Gallery in Athens, Greece (2016), in Frieze New York (2016), in The Armory Show, New York (2016), at The Museum of Modern Art (2015), at Division Gallery in Montreal (2015), in Frieze London (2014), at The Red Bull Music Academy, New York (2013), at BAM, Brooklyn (2013), and in the Shanghai Biennale, China (2013).","bio_dates":"b. 1988"},{"slug":"mark_carly_good_buy_human","ok":true,"partial":false,"title":"Good Buy Human","artist":"Carly Mark","year":"2016","startOffset":0,"sourceSecs":296.24,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":130864768,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mark_carly_good_buy_human/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mark_carly_good_buy_human/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mark_carly_good_buy_human.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mark_carly_good_buy_human/main.mp4?v=2","description":"STARRING <br/> CARLY MARK as CANDY KONG<br/> ERIC WAREHEIM as GOLD-BEAR<br/> LEAH JAMES as FLIGHT ATTENDANT<br/> POST PRODUCTION ZAK KREVITT<br/> MAKEUP GLOSSY BOHEMOND<br/> COSTUMING ANTHONY ARGENTINA","artist_bio":"Carly Mark was born in Detroit, Michigan in 1988. She received her BFA from The School of Visual Arts in New York in 2011. She currently works out of her studio in East Williamsburg, Brooklyn. She’s shown work at The Breeder Gallery in Athens, Greece (2016), in Frieze New York (2016), in The Armory Show, New York (2016), at The Museum of Modern Art (2015), at Division Gallery in Montreal (2015), in Frieze London (2014), at The Red Bull Music Academy, New York (2013), at BAM, Brooklyn (2013), and in the Shanghai Biennale, China (2013).","bio_dates":"b. 1988"},{"slug":"marker_chris_john_chapman_and_frank_simeone_junkopia_1981","ok":true,"partial":false,"title":"Chris Marker, John Chapman & Frank Simeone: Junkopia","artist":"Chris Marker","year":"1981","startOffset":0,"sourceSecs":434.88,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":68069405,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marker_chris_john_chapman_and_frank_simeone_junkopia_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marker_chris_john_chapman_and_frank_simeone_junkopia_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marker_chris_john_chapman_and_frank_simeone_junkopia_1981.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marker_chris_john_chapman_and_frank_simeone_junkopia_1981/main.mp4?v=2","description":"One day, at the stroke of evening, on Emeryville beach in San Francisco, where unidentified artists, leave, without anyone knowing, sculptures manufactured with items that have washed ashore from the sea. <br/><br/> This includes a short introduction by arte, approx. 1:12 secs long, with the film being around 6 minutes itself....there are 2 intertitles in the film itself, giving the latitudanal and longitudanal co-ordinates of the beach. No subtitles required, but ill work on some anyways.","artist_bio":"Chris Marker (29 July 1921 – 29 July 2012) was a French writer, photographer, documentary film director, multimedia artist and film essayist. His best known films are La Jetée (1962), A Grin Without a Cat (1977), Sans Soleil (1983) and AK (1985), an essay film on the Japanese filmmaker Akira Kurosawa. Marker is often associated with the Left Bank Cinema movement that occurred in the late 1950s and included such other filmmakers as Alain Resnais, Agnès Varda, Henri Colpi and Armand Gatti.\nHis friend and sometime collaborator Alain Resnais has called him \"the prototype of the twenty-first-century man.\"[2] Film theorist Roy Armes has said of him: \"Marker is unclassifiable because he is unique...The French Cinema has its dramatists and its poets, its technicians, and its autobiographers, but only has one true essayist: Chris Marker.\"","bio_dates":"1921-2012"},{"slug":"markopoulos_gregory_j_christmas_usa_1949","ok":true,"partial":false,"title":"Christmas USA","artist":"Gregory Markopoulos","year":"1949","startOffset":0,"sourceSecs":792.917,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":139137317,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/markopoulos_gregory_j_christmas_usa_1949/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/markopoulos_gregory_j_christmas_usa_1949/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/markopoulos_gregory_j_christmas_usa_1949.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/markopoulos_gregory_j_christmas_usa_1949/main.mp4?v=2","description":"Here, Markopoulos uses fragmentary editing and intercuts between claustrophobic and mundane scenes of domestic life — shaving, vacuuming, setting the table — and images of the carnivalesque, the mysterious, the magical. While a young man gets ready for the day and interacts with his family, Markopoulos cuts in shots of carnival rides, a mysterious ritual taking place in the woods, and a strange dream-like scene in which the man gets out of the bath to encounter a creepy moving toy. The theme seems to be the discovery of the fantastic and the wondrous amid the trappings of the everyday.","artist_bio":"One of the key figures in the evolution of the New American Cinema of the 1960s, Gregory J. Markopoulos (1928-1992) developed unique forms of camera work and editing that created ravishing imagery and complex patterns of what he termed \"thought-images.\" With their reliance on mythic and poetic texts and complex themes, his films defy easy description, a situation that was exacerbated by Markopoulos's decision in 1967 to leave this country for Greece (the birthplace of both his parents) and to place restrictions on the screening of his work. While he continued his ambitious work in Europe, including plans to construct an archive and film theater in Lyssaraia, Greece - The Temenos - his films went virtually unseen here for three decades. Fortunately his partner, the filmmaker Robert Beavers, has continued work on The Temenos and on preserving Markopoulos's films. This series, which presents newly remastered prints, includes the artist's important early works, his experimental features, and the series of portrait films he made in Europe.","bio_dates":"1928-1992"},{"slug":"markopoulos_gregory_sorrows_1969","ok":true,"partial":false,"title":"Sorrows","artist":"Gregory Markopoulos","year":"1969","startOffset":0,"sourceSecs":336.875,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":24140490,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/markopoulos_gregory_sorrows_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/markopoulos_gregory_sorrows_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/markopoulos_gregory_sorrows_1969.mp4","hasFrames":true,"description":"Directed by Gregory Markopoulos<br/> Switzerland 1969, 16mm, color, 6 min.<br/> <br/> Set to music by Beethoven, this lyrical portrait moves from a chilled and misty exterior to the crystalline interior of the Swiss chateau that King Ludwig II built for Wagner.","artist_bio":"One of the key figures in the evolution of the New American Cinema of the 1960s, Gregory J. Markopoulos (1928-1992) developed unique forms of camera work and editing that created ravishing imagery and complex patterns of what he termed \"thought-images.\" With their reliance on mythic and poetic texts and complex themes, his films defy easy description, a situation that was exacerbated by Markopoulos's decision in 1967 to leave this country for Greece (the birthplace of both his parents) and to place restrictions on the screening of his work. While he continued his ambitious work in Europe, including plans to construct an archive and film theater in Lyssaraia, Greece - The Temenos - his films went virtually unseen here for three decades. Fortunately his partner, the filmmaker Robert Beavers, has continued work on The Temenos and on preserving Markopoulos's films. This series, which presents newly remastered prints, includes the artist's important early works, his experimental features, and the series of portrait films he made in Europe.","bio_dates":"1928-1992"},{"slug":"marten_helen_evian_disease","ok":true,"partial":false,"title":"Evian Disesase","artist":"Helen Marten","year":"2012","startOffset":0,"sourceSecs":1725.76,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":687810087,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marten_helen_evian_disease/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marten_helen_evian_disease/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marten_helen_evian_disease.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marten_helen_evian_disease/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marten_helen_evian_disease/main/master.m3u8?v=2","hasMainHls":true,"description":"By Helen Marten <br/> Animation by Adam Sinclair<br/> Palais de Tokyo, Paris<br/> 17/10/2012 - 07/01/2013","artist_bio":"Margaux Williamson lives in Toronto. She has had solo  exhibitions in Toronto, New York and Los Angeles. She took a break from exhibiting paintings in 2008 to allow for a time of independent study. In 2009, she was artist in residence in Dawson City, Yukon. Her movie, Teenager Hamlet premiered at the Toronto International Film Festival and was released for distribution in Canada and the U.S. in 2010. In 2010 she started writing about movies on Movie Is My Favorite Word and shortly after created the cultural review site Back to the World with the critics Carl Wilson and Chris Randle. She has recently been asked to write movie reviews for The Believer Magazine.  Her work has been reviewed or featured by The National Post, The Toronto Star, The New York Times, The Artfag, The Paris Review, Canadian Art Magazine, among others. She was the art director and a curator for the Toronto lecture series Trampoline Hall for five years, has created graphics and videos for the band Tomboyfriend, and works the writer Sheila Heti on various projects including The Production Front where they do projects with other artists. Most recently, she was the artist in Residence at the Art Gallery of Ontario.","bio_dates":"b. 1985"},{"slug":"marten_helen_how_to_protect_beauty_from_dust_and_piranha","ok":true,"partial":false,"title":"Dust and Piranhas","artist":"Helen Marten","year":"2011","startOffset":0,"sourceSecs":1526.015,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":550543989,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marten_helen_how_to_protect_beauty_from_dust_and_piranha/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marten_helen_how_to_protect_beauty_from_dust_and_piranha/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marten_helen_how_to_protect_beauty_from_dust_and_piranha.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marten_helen_how_to_protect_beauty_from_dust_and_piranha/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marten_helen_how_to_protect_beauty_from_dust_and_piranha/main/master.m3u8?v=2","hasMainHls":true,"description":"The work of young, London-based artist Helen Marten is underpinned by an examination of contemporary social codes alongside reflections on mercantile grubbiness. In this spirit of cultural thievery, the artist reconfigures everyday impulses into new forms of material space. With some measure of cruelty and violence, Dust and Piranhas unfolds a knotty love letter to object and artefact. Written and composed in response to the Serpentine Gallery Pavilion 2011 designed by Peter Zumthor, this new video work is structured around a scripted text delivered via CGI columns, rap, and cathartic slapstick.<br/><br/> How to protect beauty from dust and piranhas<br/><br/> How to promote beauty to dust and piranhas<br/><br/> The idea is that it's worth getting underneath the Arcadian patina of optimism to say that the alibi of the boys and girls that run in slow motion along Hawaiian beaches with their hair blowing in the wind and their smiling white teeth because their toothpaste is infallible, is in actual fact an alibi that won't stand examination, not for one second.<br/><br/> If you're hooked on urban living, become an internationalist. Cross borders. Check out Kuwait. Check out London. Check into Caracas. Read the National Geographic. Drink sweet fennel tea, throw bone out the door and eat cheesecake way past it's sell-by date, wallow in irresistible texture, in thickness and the blank white taste of nothing.<br/><br/> You can do better than that.<br/><br/> Aren't you ashamed?<br/><br/> We'll change the subject...<br/><br/> Is soft pile more affirming than carpet tiles? Would you know how to fire at a B-52? (yes) (no) and at an F 104 (yes) (no) have you ever been to a fortune-teller or magician? (yes) (no) have you ever seen one working on a General Town Plan? (yes) (no) if you see seagulls in the city along the river, do you think they have flown up the river from the sea or that your city has followed the river down to the sea?.........................","artist_bio":"Margaux Williamson lives in Toronto. She has had solo  exhibitions in Toronto, New York and Los Angeles. She took a break from exhibiting paintings in 2008 to allow for a time of independent study. In 2009, she was artist in residence in Dawson City, Yukon. Her movie, Teenager Hamlet premiered at the Toronto International Film Festival and was released for distribution in Canada and the U.S. in 2010. In 2010 she started writing about movies on Movie Is My Favorite Word and shortly after created the cultural review site Back to the World with the critics Carl Wilson and Chris Randle. She has recently been asked to write movie reviews for The Believer Magazine.  Her work has been reviewed or featured by The National Post, The Toronto Star, The New York Times, The Artfag, The Paris Review, Canadian Art Magazine, among others. She was the art director and a curator for the Toronto lecture series Trampoline Hall for five years, has created graphics and videos for the band Tomboyfriend, and works the writer Sheila Heti on various projects including The Production Front where they do projects with other artists. Most recently, she was the artist in Residence at the Art Gallery of Ontario.","bio_dates":"b. 1985"},{"slug":"marziano_anna_the_mutability_of_all_things_and_the_possibility_of_changing_som","ok":true,"partial":false,"title":"De la mutabilité de toute chose et de la possibilité d’en changer certaines (The Mutability of All Things and the Possibility of Changing Some)","artist":"Anna Marziano","year":"2011","startOffset":0,"sourceSecs":1010.005,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":448036282,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marziano_anna_the_mutability_of_all_things_and_the_possibility_of_changing_som/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/marziano_anna_the_mutability_of_all_things_and_the_possibility_of_changing_som/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/marziano_anna_the_mutability_of_all_things_and_the_possibility_of_changing_som.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marziano_anna_the_mutability_of_all_things_and_the_possibility_of_changing_som/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/marziano_anna_the_mutability_of_all_things_and_the_possibility_of_changing_som/main/master.m3u8?v=2","hasMainHls":true,"description":"16min, 16mm, black and white / color, France 2011.<br/><br/> This journey into mutability takes place in Abruzzi, Italy, in a territory that was damaged by the earthquake in 2009. By way of fragments of conversa- tions, archive material and readings in public spaces, the film explores the becoming of individual and social bodies.<br/><br/> “The transitory nature of our existence is shown with particular clarity in LAquila. The original impulse of this film was to experience the becoming. On one hand it was about dealing with the acceptance of the perpetual change, which reminds us of being something rather little than big. On the other hand, it was about the choice of taking part to this change in public life. In this propensity towards action, the film finds its political di- mension, moved by an always renewed wonder towards the singularity of each being”. - AM","artist_bio":"De la mutabilité de toute chose et de la possibilité d’en changer certaines (The Mutability of All Things and the Possibility of Changing Some) (2011)\nAnna Marziano is a filmmaker experimenting with the documentary form and with the association of fragments (texts, sounds, images). She dedicates great care to the process of meeting the others and the relational possibilities offered by a soundrecorder and a camera. Gathering voices and writing with the others’ words, Anna’s films question the transformations of singular/plural identities and keep traces of the experience of being in the world.","bio_dates":"b. 1982"},{"slug":"matisse_frederic_rossif_henri_langlois_1951","ok":true,"partial":false,"title":"Matisse","artist":"Henri Matisse","year":"1951","startOffset":0,"sourceSecs":460.053,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":180284130,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matisse_frederic_rossif_henri_langlois_1951/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matisse_frederic_rossif_henri_langlois_1951/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matisse_frederic_rossif_henri_langlois_1951.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matisse_frederic_rossif_henri_langlois_1951/main.mp4?v=2","description":"Frédéric Rossif, Henri Langlois<br/> France / 1951 / 7:40 / Silencieux <br/><br/> Les rushes de Matisse, huit minutes de découpes devant une caméra tenue par Frédéric Rossif : il s'agit de l'épisode le plus complet et diffusable de la série de films sur des artistes que Langlois voulait produire. Rare document sur l'artiste au travail, à la villa Le Rêve à Vence et à l'hôtel Régina à Nice, où il systématise le procédé de découpage, entre peinture et sculpture. Entre 1947 et 1954, Matisse réalise plus de 200 gouaches découpées. La vibration chromatique de la gouache s'accorde miraculeusement bien avec le Kodachrome. Matisse est « massivement présent » (Alain Fleischer), sa découpe incertaine et pourtant franche, les rushes offrent une mise en scène digne d'une séance d'occultisme. Enfin, le film est pionnier dans son absence de décor rituel de l'atelier. Selon les notes de l'assistante Lydia Délectorskaya au Musée départemental Matisse (Le Cateau-Cambrésis), l'artiste n'apprécia pas vraiment le dispositif.<br/><br/> Émilie Cauquy<br/><br/> Henri Langlois, producteur de films d'art<br/><br/> Printemps 1950, note d'intention de Langlois : « Nous avons eu l'idée de demander à des poètes, à des peintres, à des savants, à des écrivains et même à des cinéastes refoulés comme Erich von Stroheim, de faire des films en 16 mm, avec les moyens du bord, sans tenir compte d'aucun souci commercial ou de censure. Films, qui, quelle qu'en soit leur technique, parlant ou non, ne manqueront pas de renouveler l'esprit cinématographique. Fernand Léger, Blaise Cendrars, Jacques Prévert, le prince de Broglie, le docteur Mabille, Joris Ivens, d'autres encore, et même Picasso ont, en principe, accepté et tournent déjà. » En fait la liste est encore plus longue d'après les archives : George Bernard Shaw, Paul Delvaux, Balanchine, Brassaï, Éluard, Pablo Neruda, Diego Rivera, Giacometti, Elsa Triolet, Jean-Paul Sartre, Irène Joliot-Curie, Musidora, Cocteau (projet d'un film de 600 mètres de montage des fragments non montrés du Sang d'un poète, des Parents terribles, des Enfants terribles et d'Orphée : « Cela fera un joli micmac. »)<br/><br/> Entre 1950 et 1955, donc, Henri Langlois tente de produire au nom de la Cinémathèque française plusieurs films consacrés à de grands artistes, avec leur coopération, en leur confiant de la pellicule. Il s'agit de Picasso, Matisse, Chagall, Léger et Calder. Malheureusement, nous disposons aujourd'hui de peu d'informations, de peu d'archives, sur le déroulé des faits, très chaotique, suite d'imbroglios juridiques interminables et abandons successifs des projets. Mais on sait que : le MoMA, grâce à Iris Barry, envoie deux lots de pellicule Kodachrome (la facture est lourde : 196 000 francs) ; de la pellicule vierge Kodachrome est offerte en 1950 à Picasso, Léger et Matisse ; la correspondance retrouvée dans les archives témoignent d'une épopée angoissante et malheureuse. Ce qu'il nous reste à voir aujourd'hui :<br/><br/> 8 minutes de rushes pour Matisse, période gouaches découpées.<br/><br/> 25 minutes pour Chagall, en trois fragments filmés entre 1952 et 1960.<br/><br/> Les images de Picasso et Léger restent invisibles (si ce n'est un documentaire photo en 6×6 de Georges Sadoul pour Picasso, conservé à la Cinémathèque)<br/><br/> Les images de Calder réalisées par Jean Painlevé (Le Grand cirque de Calder de 1927, sorti en 1961 et édité par le Centre Pompidou, images également reprises par Carlos Vilardebó).<br/><br/> Malheureusement aucune trace sonore... Mais est-ce qu'un commentaire était prévu ? « Ces tableaux qui bougent », nous dit Apollinaire.<br/><br/> Qu'est-ce que Langlois avait en tête ?<br/><br/> Réaliser un film ou, plus ambitieusement, créer un nouveau genre documentaire expérimental, un film sur et avec l'art, sur l'artiste au travail et qui se filme, comme pour éviter que le regard du cinéaste l'emporte sur la chose regardée. Continuer à affirmer en quelque sorte que le film est un outil de connaissance, mais que c'est aussi un support et moyen de création (influence de Pierre Francastel). Produire une œuvre oui mais surtout la montrer en fanfare, dans un nouveau rendez-vous, le Festival du film de demain à Antibes.<br/><br/> Acquérir une œuvre d'art pour le coût d'un lot de pellicule Kodachrome tout en continuant à démontrer que le cinéma peut entrer au musée ou au temple idéal de l'art moderne.<br/><br/> S'imposer dans un milieu mondain de mécènes et de politiques en tant que connaisseur d'art.<br/><br/> Enregistrer en couleur (tout en profitant de l'imprévisible du Kodachrome mais aussi de sa légèreté, sa maniabilité) l'image d'artistes en situation de testament.<br/><br/> L'homme de la situation est Frédéric Rossif, qui assure les prises de vue (à noter qu'il est également à la caméra pour le film de Cocteau La Villa Santo Sospir), jusqu'en 1951. Jean-Michel Arnold dresse le portrait de la rencontre improbable : « Pour les soirs de cohue (pour L'Âge d'or ou Les Rapaces), Langlois avait demandé à son ami Nico, créateur du cabaret La Rose rouge, de lui prêter son meilleur videur : Frédéric Rossif, un ancien légionnaire monténégrin. L'année suivante, toujours pour Langlois, Frédéric animait le Festival d'avant-garde à Antibes (parmi les invités : Tristan Tzara, André Gide, Paul Éluard) et apportait de la pellicule à Picasso. Reconnaissant, le maître décora sa calvitie naissante. »<br/><br/> C'est un déluge de célébrités, et surtout l'émergence idée nouvelle, signée Langlois : volonté affichée de montrer ce que peut être le cinéma libéré de toute contingence. Libéré de toute contingence, au sens que les aléas financiers d'une production sont mis de côté : il est question de filmer librement, sans contrainte morale, matérielle, économique, technique. Langlois a assurément en tête une idée ambitieuse de renouvellement cinématographique. Il souhaite, comme il l'écrit dans une lettre, « réagir contre la tendance régressive de l'académisme qui entrave actuellement le développement du cinéma, mais d'une manière positive, en montrant que le cinéma est toujours vivant ». Le cinéma sans contingence de Langlois peut être rapproché à cette définition de l'art brut rédigée par Dubuffet en 1945 : « Dessins, peintures, ouvrages d'art de toutes sortes émanant de personnalités obscures, de maniaques, relevant d'impulsions spontanées, animées de fantaisie, voire de délire, et étrangers aux chemins battus de l'art catalogué. » Un cinéma sans la contingence, ce serait une sorte de cinéma absolu, libéré de la contingence au sens où il serait détaché des circonstances, du contexte, des chemins battus de l'art catalogué. Ce serait une position très essentialiste, qui postule une idée du cinéma indépendante du temps, de l'espace et donc de l'histoire. La revendication serait alors : ce film est comme il est et n'aurait pas pu être autrement. Voilà ce qu'est le cinéma, et il n'en sera pas autrement.<br/><br/> Émilie Cauquy","artist_bio":"Throughout his decades-long career as a painter, sculptor, draftsman, and printmaker, Henri Matisse continuously searched, in his own words, “for the same things, which I have perhaps realized by different means.”1 Celebrated as both an orchestrator of tonal harmonies and a draftsman capable of distilling a form to its essentials, he long sought a way to unite color and line in his work. The relationship between these two formal elements can be traced from early works like Dance (I)—in which the side of a dancer’s body, set against fields of rich blue and green, is described in a single, arcing contour—to his late cut-outs like The Swimming Pool, in which the artist discovered a way at the end of his life to “cut directly into vivid color.”2\nMatisse was born in 1869 to generations of weavers in Le Cateau-Cambrésis, a northern French town whose woolen mills constituted the main industry. He was raised in nearby Bohain, famous for its luxury fabrics. This early exposure to textiles would shape his visual language: examples from his own collection of carpets and cloths from Europe, Africa, and the Middle East would deeply inform his sense of color and pattern and appear in his compositions.\nTaking up painting after first studying law, Matisse studied with the Symbolist Gustave Moreau and participated in Paris’s official Salons. His breakthrough as an artist came during the summers of 1904 and 1905, when the bright sunlight of the South of France inspired him—along with artists like André Derain and Maurice de Vlaminck—to create optically dynamic works of bright, clashing colors that led to these artists being derided with the epithet fauves (wild beasts). Known as Fauvism, the work from this period set him on a career-long path that he described as “construction by colored surfaces.”3 This approach remained central through the various stages of Matisse’s body of work—from his rigorous, abstracted paintings of the 1910s to the decorative, sunlit interiors of his so-called “Nice period” of the 1920s to the radically innovative cut-outs of his last decade.\nThough much of his work—whether an ink drawing with a flowing arabesque line or a painting with flat expanses of unmodulated color—looks as if it might have been executed with effortless ease, Matisse cautioned that this effect was only an “apparent simplicity.” In reality, he labored exactingly to achieve the “art of balance, of purity and serenity” of which he dreamed.","bio_dates":"1869-1954"},{"slug":"matta_clark_gordon_automation_house_1972","ok":true,"partial":false,"title":"Automation House","artist":"Gordon Matta-Clark","year":"1972","startOffset":0,"sourceSecs":1957.191,"sourceHeight":472,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":337777672,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_automation_house_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_automation_house_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_clark_gordon_automation_house_1972.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_automation_house_1972/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_automation_house_1972/main/master.m3u8?v=2","hasMainHls":true,"description":"The camera became Gordon Matta-Clark’s companion throughout his artistic career and an instrument of perception for his architectural interventions. Automation House is an exercise in spatial perception and on the role of bodies in a building full of people. By means of a mirror, the artist captures people’s movements in a spectacular manner. The framing alters the normal perspective of the space, while the depth of field allows for different situations to be juxtaposed. A mixture of performance and filmic construction, the work leaves the viewer confused and unable to identify automatically the actions in the image. The principle of framing with mirrors prefigures Matta-Clarks’ famous ‘building cuts’: the reflections in the mirror create openings that transform all architectural logic.","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"matta_clark_gordon_cityslivers_1976","ok":true,"partial":false,"title":"City Slivers","artist":"Gordon Matta-Clark","year":"1976","startOffset":0,"sourceSecs":861.141,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":154917136,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_cityslivers_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_cityslivers_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_clark_gordon_cityslivers_1976.mp4","hasFrames":true,"description":"Images of the deconstruction of abandoned buildings and industrial structures are closely associated with \"anarchitect\" Gordon Matta-Clark. Here, however, are the film works through which Matta-Clark furthered his lifelong excavation of urban dwellings. In this book, San Francisco Cinematheque presents a retrospective of the moving-image works through which Matta-Clark explored his aesthetic assumptions and philosophical inquiry. Featuring rarely published images and a quartet of imaginative essays, City Slivers and Fresh Kills establishes Matta-Clark's films as perhaps his most surprising, and certainly most viscerally arresting body of work, characterized by the same creative provocation, rough aesthetic beauty, and intellectual insight that idefined his signature architectural cuttings and slicings.","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"matta_clark_gordon_clockshower_1973","ok":true,"partial":false,"title":"Clockshower","artist":"Gordon Matta-Clark","year":"1973","startOffset":0,"sourceSecs":792.32,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":134007930,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_clockshower_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_clockshower_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_clark_gordon_clockshower_1973.mp4","hasFrames":true,"description":"In this film of one of his most daring performances, Matta-Clark climbed to the top of the Clocktower in New York and washed, shaved and brushed his teeth while suspended over the streets in front of the huge clockface.","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"matta_clark_gordon_conicalintersect_1975","ok":true,"partial":false,"title":"Conical Intersect","artist":"Gordon Matta-Clark","year":"1975","startOffset":0,"sourceSecs":1163.712,"sourceHeight":320,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":70961817,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_conicalintersect_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_conicalintersect_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_clark_gordon_conicalintersect_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_conicalintersect_1975/main.mp4?v=2","description":"For the Paris Biennale in 1975, Matta-Clark made a major cut in two houses adjacent to the Centre Georges Pompidou in Les Halles. The cut, shaped like a twisted cone, was inspired by Anthony McCall's film Line Describing a Cone. <br/><br/> Camera: Bruno Dewitt, Gordon Matta-Clark.","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"matta_clark_gordon_food_1972","ok":true,"partial":false,"title":"Food","artist":"Gordon Matta-Clark","year":"1972","startOffset":0,"sourceSecs":2573.59,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":434951558,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_food_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_food_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_clark_gordon_food_1972.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_food_1972/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_food_1972/main/master.m3u8?v=2","hasMainHls":true,"description":"1972, 43 min, b&w, sound, 16 mm film on video <br/><br/> This film documents the legendary SoHo restaurant and artists' cooperative Food, which opened in 1971. Owned and operated by Caroline Goodden, Food was designed and built largely by Matta-Clark, who also organized art events and performances there. As a social space, meeting ground and ongoing art project for the emergent downtown artists' community, Food was a landmark that still resonates in the history and mythology of SoHo in the 1970s. <br/><br/> Camera and Sound: Robert Frank, Suzanne Harris, Gordon Matta-Clark, Danny Seymour. Editing: Roger Welch -- <a href=\"http://eai.org/title.htm?id=761\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>These titles are available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"matta_clark_gordon_openhouse_1977_iphone","ok":true,"partial":false,"title":"Open House","artist":"Gordon Matta-Clark","year":"1972","startOffset":0,"sourceSecs":2464.514,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":119175635,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_openhouse_1977_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_openhouse_1977_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_clark_gordon_openhouse_1977_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_openhouse_1977_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_openhouse_1977_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1972, 41 min, color, silent, Super 8mm film on video<br/><br/> In May 1972, Matta-Clark installed an industrial waste container between 98 and 112 Greene Street in New York's SoHo district. He collected discarded doors and pieces of timber and divided the interior into three openings. This piece records an opening-day site performance by the artist, Tina Girouard, Keith Sonnier, and other friends. -- <a href=\"http://www.eai.org/title.htm?id=13678\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"matta_clark_gordon_paris_underground_1977","ok":true,"partial":false,"title":"Sous-Sols de Paris (Paris Underground)","artist":"Gordon Matta-Clark","year":"1977-2005","startOffset":0,"sourceSecs":1532,"sourceHeight":576,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":258634290,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_paris_underground_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_paris_underground_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_clark_gordon_paris_underground_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_paris_underground_1977/main.mp4?v=2","description":"1977-2005, 25:20 min, b&w, sound, Super 8mm film on HD video <br/> In this film Matta-Clark explores underground Paris. The artist shows the complexity of underground spaces with scenes of architectural ruins, car parks, tunnels, ossuaries, cellars, crypts and basements in the Opera district. In French. <br/><br/> -- <a href=\"https://www.eai.org/titles/sous-sols-de-paris-paris-underground\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"matta_clark_gordon_splitting_bingo_ninths_substrait_undergrounddailies_1974_76_iphone","ok":true,"partial":false,"title":"Splitting, Bingo/Ninths, Substrait (Underground Dailies)","artist":"Gordon Matta-Clark","year":"1974","startOffset":0,"sourceSecs":3594.157,"sourceHeight":274,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":201266445,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_splitting_bingo_ninths_substrait_undergrounddailies_1974_76_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_splitting_bingo_ninths_substrait_undergrounddailies_1974_76_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_clark_gordon_splitting_bingo_ninths_substrait_undergrounddailies_1974_76_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_splitting_bingo_ninths_substrait_undergrounddailies_1974_76_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_splitting_bingo_ninths_substrait_undergrounddailies_1974_76_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This film documents the major building cut made by Matta-Clark in a house on Humphrey Street in Englewood, New Jersey.<br><br><b>Bingo/Ninths</b> In August 1974, Matta-Clark made a cut in a house in Niagara Falls, New York. The artist obtained permission to divide the exterior facade into nine parts. An hour after he finished, the house was demolished; segments of the facade were taken to Art Park and dumped.<br><br><b>Substrait [Underground Dailies]</b> In this film, Matta-Clark explored and documented the underground spaces of New York City. The artist chose a range of sites (New York Central railroad tracks, Grand Central Station, 13th Street, Croton Aqueduct in Highgate, etc.) to show the variety and complexity of the underground spaces and tunnels in the metropolitan area.</br></br>","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"matta_clark_gordon_the_wall_1976_2007_iphone","ok":true,"partial":false,"title":"The Wall","artist":"Gordon Matta-Clark","year":"1976-2007","startOffset":0,"sourceSecs":932.015,"sourceHeight":320,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":58006744,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_the_wall_1976_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_clark_gordon_the_wall_1976_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_clark_gordon_the_wall_1976_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_clark_gordon_the_wall_1976_2007_iphone/main.mp4?v=2","description":"1976-2007, 15:04 min, color, sound, 16 mm, video <br/><br/> This newly assembled work is a rare document of a 1976 Matta-Clark performance in Berlin. The piece begins with the following statement: \"In 1976, as part of the Akademie der Kunst and Berliner Festwochen exhibition 'Soho in Berlin,' Gordon Matta-Clark went to Germany with the intention of blowing up a section of the Berlin Wall. Dissuaded by friends from such a suicidal action, the result was the following performance.\" The film records Matta-Clark as he stencils 'Made in America' on the Wall, affixes commercial advertisements over graffiti, and has a run-in with the police. A remarkable record of a little-known Matta-Clark performance, this work is also a historical time capsule of a political and physical landscape that no longer exists. <br/><br/> Music: Peter Gordon. Assembly: Jane Crawford. Post Production: Alex Gunuay. -- <a href=\"http://eai.org/title.htm?id=12568\" rel=\"noopener\" target=\"_blank\">EAI</a>","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"matta_gc_days_end","ok":true,"partial":false,"title":"Days End","artist":"Gordon Matta-Clark","year":"1975","startOffset":0,"sourceSecs":1401.56,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":229528838,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_gc_days_end/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_gc_days_end/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_gc_days_end.mp4","hasFrames":true,"description":"In May 1972, Matta-Clark worked on an abandoned pier in New York for two months, where he cut sections of the door, floor, and roof.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"matta_gc_freshkill","ok":true,"partial":false,"title":"Freshkill","artist":"Gordon Matta-Clark","year":"1943","startOffset":0,"sourceSecs":778.76,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":130903165,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_gc_freshkill/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_gc_freshkill/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_gc_freshkill.mp4","hasFrames":true,"description":"This film records the complete process of the destruction of Matta-Clark's truck (which he called \"Herman Meydag\") by a bulldozer in a rubbish dump. Part of 98.5, a compilation of films by Ed Baynard, George Schneemar and Charles Simons, this piece was shown in Documenta 5 in Kassel, Germany. Camera: Burt Spielvogel, Rudy Burkhardt. Producer: Holly Solomon, Burt Spielvogel.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"matta_gc_office_baroque","ok":true,"partial":false,"title":"Office Baroque","artist":"Gordon Matta-Clark","year":"1977","startOffset":0,"sourceSecs":2372.36,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":382089855,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_gc_office_baroque/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_gc_office_baroque/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_gc_office_baroque.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_gc_office_baroque/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/matta_gc_office_baroque/main/master.m3u8?v=2","hasMainHls":true,"description":"1977-2005, 44 min, b&w and color, sound, 16 mm film on video<br/><br/> Matta-Clark made a cut in a five-story commercial building located in front of the Steen, a tourist spot in Antwerp. (On Matta-Clark's death shortly after, an attempt was made to save the work as a future museum of contemporary art, but the building was demolished.) This tape includes an interview with the artist.<br/><br/> Interview with Gordon Matta-Clark in English. <br/><br/> Camera: Eric Convents. Assistant: Dirk Geens. Audio: Roger Steglaerts. Montage: Roger Steylaerts, Eric Convents. Music: Andre Stordeur \"syntheses.\" Realization: Eric Convents. Producer: E.C.F., Roger Steylaerts. -- <a href=\"http://www.eai.org/title.htm?id=3313\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"matta_gc_tree_dance","ok":true,"partial":false,"title":"Tree Dance","artist":"Gordon Matta-Clark","year":null,"startOffset":0,"sourceSecs":581.32,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":100970078,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_gc_tree_dance/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/matta_gc_tree_dance/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/matta_gc_tree_dance.mp4","hasFrames":true,"description":"For the exhibition Twenty-Six by Twenty Six at the Vassar College of Art Gallery in Poughkeepsie, New York, Matta-Clark created a performance inspired by spring fertility rituals. He performed in a structure made of ladders, ropes and other materials, which he built at the top of a large tree.","artist_bio":"Splitting, Bingo/Ninths, Substrait (Underground Dailies) (1974-1976)\nGordon Matta-Clark (born Gordon Roberto Echaurren Matta; June 22, 1943 – August 27, 1978) was an American artist best known for his site-specific artworks he made in the 1970s.\nMatta-Clark's parents were artists: Anne Clark, an American artist, and Roberto Matta, a Chilean Surrealist painter, of Basque, French and Spanish descent. He was the godson of Marcel Duchamp. His twin brother Sebastian, also an artist, committed suicide in 1976.\nHe studied architecture at Cornell University from 1962 to 1968, including a year at the Sorbonne in Paris, where he studied French literature. In 1971, he changed his name to Gordon Matta-Clark, adopting his mother's last name.[3] He did not practice as a conventional architect; he worked on what he referred to as “Anarchitecture”. At the time of Matta-Clark's tenure there, Cornell's architecture program was guided in part by Colin Rowe, a preeminent architectural theorist of modernism.[citation needed]\nMatta-Clark used a number of media to document his work, including film, video, and photography. His work includes performance and recycling pieces, space and texture works, and his \"building cuts\". He also used puns and other word games as a way to re-conceptualize preconditioned roles and relationships (of everything, from people to architecture). He demonstrates that the theory of entropy applies to language as well as to the physical world, and that language is not a neutral tool but a carrier for societal values and a vehicle for ideology.[citation needed]\nIn February, 1969, the \"Earth Art\" show, curated by Willoughby Sharp at the invitation of Tom Leavitt, was realized at Andrew Dickson White Museum of Art, Cornell University, Ithaca, NY. Matta-Clark, who lived in Ithaca at the time, was invited by Willoughby Sharp to help the artists in \"Earth Art\" with the on-site execution of their works for the exhibition. Sharp then encouraged Gordon Matta-Clark to move to New York City where Sharp continued to introduce him to members of the New York art world. Matta-Clark's work, Museum, at Klaus Kertess' Bykert Gallery, was listed and illustrated on pages 4–5 of Avalanche 1, Fall 1970.\nIn the early 1970s as part of \"the Anarchitecture group\", Matta-Clark was interested in the idea of entropy, metamorphic gaps, and leftover/ambiguous space. Fake Estates was a project engaged with the issue of land ownership and the myth of the American dream - that everyone could become \"landed gentry\" by owning property. Matta-Clark \"buys\" into this dream by purchasing 15 leftover and unwanted properties in Manhattan for $25–$75 a plot.[citation needed]\nIn 1971 Matta-Clark, Carol Goodden, and Tina Girouard co-founded Food, a restaurant in SoHo, New York, managed and staffed by artists. The restaurant turned dining into an event with an open kitchen and exotic ingredients that celebrated cooking. The activities at Food helped delineate how the art community defined itself in downtown Manhattan. The first of its kind in SoHo, Food became well known among artists and was a central meeting-place for groups such as the\nPhilip Glass\nEnsemble, Mabou Mines, and the dancers of Grand Union. He ran Food until 1973.\nIn 1974, he performed a literal deconstruction, by removing the facade of a condemned house along the Love Canal, and moving the resulting walls to Artpark, in his work Bingo.\nFor the Biennale de Paris in 1975, he made the piece titled Conical Intersect by cutting a large cone-shaped hole through two townhouses dating from the 17th century in the market district known as Les Halles which were to be knocked down in order to construct the then-controversial Centre Georges Pompidou.\nFor his final major project, Circus or The Caribbean Orange (1978), Matta-Clark made circle cuts in the walls and floors of a townhouse next-door to the first Museum of Contemporary Art, Chicago, building (237 East Ontario Street), thus altering the space entirely.\nFollowing his 1978 project, the MCA presented two retrospectives of Matta-Clark’s work, in 1985 and in 2008. The 2008 exhibition You Are the Measure included never-before-displayed archival material of his 1978 Chicago project. You Are the Measure traveled to the Whitney Museum of American Art, New York, and the Museum of Contemporary Art, Los Angeles.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1943-1978"},{"slug":"mauri_fabrio_hommage_1971_89","ok":true,"partial":false,"title":"A Homage, 1971-1989","artist":"Fabio Mauri","year":"1971","startOffset":0,"sourceSecs":1599.88,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":271705101,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mauri_fabrio_hommage_1971_89/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mauri_fabrio_hommage_1971_89/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mauri_fabrio_hommage_1971_89.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mauri_fabrio_hommage_1971_89/main.mp4?v=2","description":"This video introduces several installations and performances by the Italian artist. Among others: <i>Che cos’è il fascismo (What Is Fascism)</i>, 1971; <i>Ebrea (Jewess)</i>, 1971; <i>Manipolazione di cultura (Manipulation of Culture)</i>, 1975; <i>Che cos’è la filosofia – Heidegger e la questione tedesca (What Is Philosophy – Heidegger and the German Issue)</i>, 1989. <br/><br/> Subtitles Roberto My. Translation: Pablo Tognetti, Carolyn Christov-Bakargiev, Cesare Pietroiusti <br/><br/> “Evil doesn’t present itself with a T-shirt saying ‘Evil’. <br/> Evil presents itself through the complicity with youth, with beauty” (F.M.)","artist_bio":"Fabio Mauri was born in Rome, Italy, in 1926 and died in 2009. An artist, writer, playwright, critic, publisher and professor at the Art Academy of L’Aquila, he participated in the Venice Biennale in 1954, 1974, 1978, 1993 and 2003. Major exhibitions include: ‘Opere e Azioni 1954 – 94’ (Works and Actions 1954 – 94), Galleria Nazionale d’Arte Moderna, Rome, 1994; Kunsthalle Ritter, Klagenfurt, Germany, 1997; Le Fresnoy, Lille, France, 2003; and Auditorium Parco della Musica, Rome, 2008. ‘spazio/Omaggio a Fabio Mauri’ (space/Homage to Fabio Mauri) was held at maxxi, Rome, in 2010 – 11. ‘Fabio Mauri: The End’, will run at Palazzo Reale, Milan, Italy, from 18 June – 23 October 2012.","bio_dates":"1924-2009"},{"slug":"mautner_jorge_o_demiurgo_aka_the_demiurge_1972","ok":true,"partial":false,"title":"O Demiurgo AKA The Demiurge","artist":"Jorge Mautner","year":"1972","startOffset":0,"sourceSecs":4687.16,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":799963747,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mautner_jorge_o_demiurgo_aka_the_demiurge_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mautner_jorge_o_demiurgo_aka_the_demiurge_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mautner_jorge_o_demiurgo_aka_the_demiurge_1972.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mautner_jorge_o_demiurgo_aka_the_demiurge_1972/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mautner_jorge_o_demiurgo_aka_the_demiurge_1972/main/master.m3u8?v=2","hasMainHls":true,"description":"Never a card-carrying member of the Tropicálists, writer/musician/filmmaker Jorge Mautner still had a moon-like influence on Caetano Veloso and is mentioned in the same breath as artist Hélio Oiticica, poet Augusto de Campos, director Glauber Rocha and designer Rogerio Duarte as one of the movement’s spiritual forefathers.<br/><br/> It was Mautner’s trilogy of novels, the Mythology of Kaos, as well as his song “Radioatividade,” about the Third World War, which caused Mautner to be labelled a dangerous Trotskyist subversive and his name included in the National Security Law. He went into political exile and in London met up with Veloso and Gil, where he filmed O Demiurgo, a low-budget feature film starring Veloso in the title role and Gil as Pan. <br/><br/> A colorful feature film that mixes exile with the figure of the poet Rimbaud and the feminist revolution. “It’s super-intellectual. A fable-musical-philosophical-chanchada”, Mautner says. He also affirms that the work focuses a lot on the longing for Brazil, on the will that the exiled had to return to their homeland. The idea came from conversations between the musician and his old father, “always talking about the pre-Socratics”, he recalls. Glauber Rocha states that “The Demiurge” is the best film “of” and “about” exile.","artist_bio":"Jorge Mautner, stage name of Henrique Jorge Mautner (Rio de Janeiro, January 17, 1941) is a singer, composer and writer in Brazil.\nSon of Anna Illichi of Yugoslav origin and Catholic, and Paul Mautner, an austrian jew, Jorge Mautner was born shortly after his parents landed in Brazil: \"I was born here a month after my parents arrived in Brazil, fleeing the Holocaust\" .\nIn 1948, his parents divorced. Anna married the violinist Henri Muller and moved to São Paulo. Henri George teaches George the violin.\nMautner begins to write his first book, \"Deus da chuva e da morte\" at age 15. The book was published in 1962 and consists, with \"Kaos\" (1964) and \"Narciso em tarde cinza\" (1966), of the trilogy now known as the Kaos mythology.\nIn 1962, adheres to the Brazilian Communist Party, invited by Professor Mario Schenberg to participate, with Jose Roberto Aguilar, in a cultural cell in the Central Committee.\nAfter the 1964 military coup, Mautner is arrested. He is released under the condition that he will express himself more \"carefully\". In 1966, he goes to the United States, where he works at UNESCO and works in translation for Brazilian books. He also gave lectures on these books for the Inter-American Literature. Since 1967, he starts working as secretary to the poet Robert Lowell; he meets Paul Goodman, sociologist, poet and anarchist peace activist of the New Left, from whom he receives significant influence.\nIn 1970, he goes to London, where he approaches Caetano Veloso and Gilberto Gil. Back to Brazil he starts writing in the journal O Pasquim. At this time, Nelson Jacobina knows who will be his musical partner in the following decades.\nOn December 10,1973, the toughest period of military dictatorship, he participates in the Banquete dos Mendigos, show-manifesto conceived and directed by Jards Macalé, commemorating the 25th anniversary of the Universal Declaration of Human Rights. With UN support, the show takes place at the Museum of Modern Art in Rio de Janeiro, transformed into \"free territory\", and results in double-album recorded live. The album was banned for six years by the military regime and only released in 1979.\nMautner releases in 1987, with Gilberto Gil, the movement \"Figa Brasil\" on the show O Poeta e o Esfomeado. Figa Brasil is linked to the Kaos movement, and aims to discuss issues related to Brazilian culture.\nAmong his musical achievements recorded by great names of MPB are included the songs O vampiro (Caetano Veloso), Maracatu atômico (Gilberto Gil e Chico Science & Nação Zumbi), Lágrimas negras (Gal Costa), Samba dos animas (Lulu Santos) Rock Comendo Cereja, O vampiro e Samba Jambo com (Jonge).","bio_dates":"b. 1941"},{"slug":"mccall_anthony_and_andrew_tyndall_argument_1978_iphone","ok":true,"partial":false,"title":"Anthony McCall & Andrew Tyndall - Argument","artist":"Anthony McCall","year":"1978","startOffset":0,"sourceSecs":4910.744,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":279270607,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccall_anthony_and_andrew_tyndall_argument_1978_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccall_anthony_and_andrew_tyndall_argument_1978_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mccall_anthony_and_andrew_tyndall_argument_1978_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccall_anthony_and_andrew_tyndall_argument_1978_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccall_anthony_and_andrew_tyndall_argument_1978_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Argument is a dense and provocative feature-length essay examining one issue of the New York Times magazine to investigate the ideology of news, the language of fashion and the construction of masculinity. <br/><br/>\"\"The twin principles of modernism and marketing: seeing fresh promise in familiar things.\" <br/><br/> Anthony McCall and Andrew Tyndall's legendary and provocative essay film Argument, first screened at the Edinburgh International Film Festival in 1978, has been almost unseen for the last twenty years. LUX has now made a new High Definition restoration of the film, and its trenchant analysis of media ideology seems more pertinent than ever. Three male voices dissect one edition of the New York Times through a series of locked-off shots, revealing the prejudice and latent content of news and advertisements, reading images as texts and presenting text as an image. Fashion photographs are used as a starting point for a political investigation of news, advertising, and images of masculinity - while at the same time, the filmmakers reflect on their own position and the possibility of radical film practice. Influenced by both the America and European avant-gardes, notably Godard and Hollis Frampton, Argument is stylistically beautiful and relentless in its enquiry.<br><br><b>ANTHONY MCCALL &amp; ANDREW TYNDALL</b> <br><br> Anthony McCall began making performances and films in the UK in 1971, moving to New York in 1973. He has exhibited worldwide in museums and galleries, and is internationally famous for his 'solid light' films such as Line Describing a Cone. <br><br> Andrew Tyndall is now a well-know US media commentator, whose website The Tyndall Report (www.tyndallreport.com) provides in-depth monitoring of television news.<br><br><b>RESOURCES:</b> <br><br> This UbuWeb resource is presented in partnership with <a href=\"http://www.lux.org.uk\" rel=\"noopener\" target=\"_blank\">Lux<!--/a--> </a></br></br></br></br></br></br>","artist_bio":"Anthony McCall began making performances and films in the UK in 1971, moving to New York in 1973. He has exhibited worldwide in museums and galleries, and is internationally famous for his 'solid light' films such as Line Describing a Cone.","bio_dates":"b. 1946"},{"slug":"mccarthy_paul_black_and_white_tapes_1972","ok":true,"partial":false,"title":"Black and White Tapes, excerpt","artist":"Paul McCarthy","year":"1972","startOffset":0,"sourceSecs":390.933,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":70780481,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_black_and_white_tapes_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_black_and_white_tapes_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mccarthy_paul_black_and_white_tapes_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_black_and_white_tapes_1972/main.mp4?v=2","description":"1970-75, 32:50 min, b&w, sound <br/><br/> This compilation of thirteen early black and white performance tapes from the 1970s reveals the nascent development of the themes, the raw physicality, and the performance personae that mark McCarthy's well-known later works. In several pieces, McCarthy uses his own body as a tool to examine the process of making art: He becomes a human paintbrush as he drags himself across the floor while holding an open can of white paint; he violently whips the walls and pillars of his studio with a large paint-soaked sheet. Often the artist uses his naked body, body parts, and body fluids in conceptual exercises. These performative acts can be overtly confrontational, as when he repeatedly spits directly onto the camera lens. Other pieces involve more subtle contradictions and inversions of objects, motion, light and shadow. -- <a href=\"http://eai.org/title.htm?id=2941\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"While still a student, Paul McCarthy threw himself out of a second floor window in a performance/action, emulating Yves Klein's legendary \"Leap into the Void.\" McCarthy was an influential figure in the Southern California art and performance scene for decades before achieving international recognition. His performance work in the late 1970s explored areas of Dionysian and shamanistic initiation rituals, as well as the body and sexuality. The intensity of these performances, which often included the graphic depiction of taboo subjects, eventually led to his use of video and installation as primary media.\nMining the depths of the family and childhood via kitsch and pop cultural detritus, the body and sexuality, and an often outrageous theatricality, McCarthy's works inhabit a violent landscape of dysfunction and trauma. In many of his works, he adopts a performance persona that appears crazed, witch-like, or infantile. McCarthy's works often involve liquids, from bodily fluids to paint; one performance involved mixing his own blood with food, an obsessive gesture that is simulated in Family Tyranny.\nIn the late 1980s, McCarthy began using film and television sets as elements in video/performance installations. Often these elaborate fabrications involved the restaging of culturally-charged myths and icons, such as Heidi and Pinocchio, in the context of family psychodramas, Hollywood genres, and mass media.\nAlthough several of the works in this selection have been made in collaboration with Mike Kelley, themes and images that are distinctly McCarthy's are always evident.\nMcCarthy was born in Salt Lake City, Utah, in 1945. After attending the University of Utah, he received his B.F.A. from the San Francisco Art Institute, and his M.F.A. from the University of Southern California. His work has been shown in the 1993 Venice Biennale and Sonsbeek '93, Arnheim, and in exhibitions at Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; The Guggenheim Museum Soho, New York; the Museum of Contemporary Art, Chicago; and Musee d'Art Contemporain, Lausanne, Switzerland, among many others. Solo exhibitions of McCarthy's work have been organized by Zachęta National Gallery of Art, Warsaw, Poland; Whitney Museum of American Art, New York; ARoS Aarhus Kunstmuseum, Aarhus, Denmark; Moderna Museet, Stockholm, Denmark; Tate Modern, London; The Museum of Modern Art, New York; National Museum of Contemporary Art, Oslo, Norway; Galerie Hauser & Wirth, Zurich, Switzerland; Galerie Art & Public, Geneva, Switzerland; Hamburg Kunsthalle, Germany; Luhring Augustine Gallery, New York; New Museum of Contemporary Art, New York, and Air de Paris, Nice. He lives in Altadena, California. --\nEAI\nSore of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1945"},{"slug":"mccarthy_paul_class_fool_1976","ok":true,"partial":false,"title":"Class Fool","artist":"Paul McCarthy","year":"1976","startOffset":0,"sourceSecs":1847.424,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":109863590,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_class_fool_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_class_fool_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mccarthy_paul_class_fool_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_class_fool_1976/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_class_fool_1976/main/master.m3u8?v=2","hasMainHls":true,"description":"His work is often an exercise in abjection and self-humiliation and an exorcism of infantile feelings that sometimes involve grotesque forms of female drag and a fair amount of physical pain. In ''Class Fool'' of 1976, Mr. McCarthy holds a doll between his legs, and hops about on a ketchup-slicked floor, his feet regularly and violently slipping out from under him.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/mccarthy.html\" rel=\"noopener\" target=\"_blank\">Paul McCarthy in UbuWeb Sound</a></br>","artist_bio":"While still a student, Paul McCarthy threw himself out of a second floor window in a performance/action, emulating Yves Klein's legendary \"Leap into the Void.\" McCarthy was an influential figure in the Southern California art and performance scene for decades before achieving international recognition. His performance work in the late 1970s explored areas of Dionysian and shamanistic initiation rituals, as well as the body and sexuality. The intensity of these performances, which often included the graphic depiction of taboo subjects, eventually led to his use of video and installation as primary media.\nMining the depths of the family and childhood via kitsch and pop cultural detritus, the body and sexuality, and an often outrageous theatricality, McCarthy's works inhabit a violent landscape of dysfunction and trauma. In many of his works, he adopts a performance persona that appears crazed, witch-like, or infantile. McCarthy's works often involve liquids, from bodily fluids to paint; one performance involved mixing his own blood with food, an obsessive gesture that is simulated in Family Tyranny.\nIn the late 1980s, McCarthy began using film and television sets as elements in video/performance installations. Often these elaborate fabrications involved the restaging of culturally-charged myths and icons, such as Heidi and Pinocchio, in the context of family psychodramas, Hollywood genres, and mass media.\nAlthough several of the works in this selection have been made in collaboration with Mike Kelley, themes and images that are distinctly McCarthy's are always evident.\nMcCarthy was born in Salt Lake City, Utah, in 1945. After attending the University of Utah, he received his B.F.A. from the San Francisco Art Institute, and his M.F.A. from the University of Southern California. His work has been shown in the 1993 Venice Biennale and Sonsbeek '93, Arnheim, and in exhibitions at Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; The Guggenheim Museum Soho, New York; the Museum of Contemporary Art, Chicago; and Musee d'Art Contemporain, Lausanne, Switzerland, among many others. Solo exhibitions of McCarthy's work have been organized by Zachęta National Gallery of Art, Warsaw, Poland; Whitney Museum of American Art, New York; ARoS Aarhus Kunstmuseum, Aarhus, Denmark; Moderna Museet, Stockholm, Denmark; Tate Modern, London; The Museum of Modern Art, New York; National Museum of Contemporary Art, Oslo, Norway; Galerie Hauser & Wirth, Zurich, Switzerland; Galerie Art & Public, Geneva, Switzerland; Hamburg Kunsthalle, Germany; Luhring Augustine Gallery, New York; New Museum of Contemporary Art, New York, and Air de Paris, Nice. He lives in Altadena, California. --\nEAI\nSore of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1945"},{"slug":"mccarthy_paul_destruction_of_the_body_2001","ok":true,"partial":false,"title":"Destruction of the Body","artist":"Paul McCarthy","year":"2001","startOffset":0,"sourceSecs":2789.589,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":449534768,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_destruction_of_the_body_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_destruction_of_the_body_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mccarthy_paul_destruction_of_the_body_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_destruction_of_the_body_2001/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_destruction_of_the_body_2001/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>Director:</b> Jörg & Ralf Raino Jung<br><br><b>Description:</b> Drawing on the idiom and imagery of the consumer culture he grew up in, video artist Paul McCarthy distorts and mutates the familiar into the disturbing and grotesque as fairy tale narratives and foods are transformed into tableaus of abuse and violation. <br> <br> Discussed works: Pinocchio -- Heidi -- Ma Bell -- Painting face down: white line -- Glass -- Meat cake -- Tubbing -- Family tyranny -- Fresh acconci -- Saloon</br></br>","artist_bio":"While still a student, Paul McCarthy threw himself out of a second floor window in a performance/action, emulating Yves Klein's legendary \"Leap into the Void.\" McCarthy was an influential figure in the Southern California art and performance scene for decades before achieving international recognition. His performance work in the late 1970s explored areas of Dionysian and shamanistic initiation rituals, as well as the body and sexuality. The intensity of these performances, which often included the graphic depiction of taboo subjects, eventually led to his use of video and installation as primary media.\nMining the depths of the family and childhood via kitsch and pop cultural detritus, the body and sexuality, and an often outrageous theatricality, McCarthy's works inhabit a violent landscape of dysfunction and trauma. In many of his works, he adopts a performance persona that appears crazed, witch-like, or infantile. McCarthy's works often involve liquids, from bodily fluids to paint; one performance involved mixing his own blood with food, an obsessive gesture that is simulated in Family Tyranny.\nIn the late 1980s, McCarthy began using film and television sets as elements in video/performance installations. Often these elaborate fabrications involved the restaging of culturally-charged myths and icons, such as Heidi and Pinocchio, in the context of family psychodramas, Hollywood genres, and mass media.\nAlthough several of the works in this selection have been made in collaboration with Mike Kelley, themes and images that are distinctly McCarthy's are always evident.\nMcCarthy was born in Salt Lake City, Utah, in 1945. After attending the University of Utah, he received his B.F.A. from the San Francisco Art Institute, and his M.F.A. from the University of Southern California. His work has been shown in the 1993 Venice Biennale and Sonsbeek '93, Arnheim, and in exhibitions at Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; The Guggenheim Museum Soho, New York; the Museum of Contemporary Art, Chicago; and Musee d'Art Contemporain, Lausanne, Switzerland, among many others. Solo exhibitions of McCarthy's work have been organized by Zachęta National Gallery of Art, Warsaw, Poland; Whitney Museum of American Art, New York; ARoS Aarhus Kunstmuseum, Aarhus, Denmark; Moderna Museet, Stockholm, Denmark; Tate Modern, London; The Museum of Modern Art, New York; National Museum of Contemporary Art, Oslo, Norway; Galerie Hauser & Wirth, Zurich, Switzerland; Galerie Art & Public, Geneva, Switzerland; Hamburg Kunsthalle, Germany; Luhring Augustine Gallery, New York; New Museum of Contemporary Art, New York, and Air de Paris, Nice. He lives in Altadena, California. --\nEAI\nSore of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1912-1992"},{"slug":"mccarthy_paul_family_tyranny_1987","ok":true,"partial":false,"title":"Family Tyranny/Cultural Soup","artist":"Paul McCarthy","year":"1987","startOffset":0,"sourceSecs":923.029,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":154196855,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_family_tyranny_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_family_tyranny_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mccarthy_paul_family_tyranny_1987.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_family_tyranny_1987/main.mp4?v=2","description":"Paul McCarthy. With <a href=\"https://ubu.com/film/kelley.html\" rel=\"noopener\" target=\"_blank\">Mike Kelley</a>.<br/> 1987, 15:03 min, color, sound<br><br><b>Family Tyranny (Modeling and Molding)</b><br> 1987, 8:08 min, color, sound<br><br><b>Cultural Soup</b><br> 1987, 6:55 min, color, sound<br> <br> Writes McCarthy: \"I was given access to a community television studio for two days of shooting and one day of editing. I had been given the grant based on a proposal to do a video tape on child abuse. I taped for one day alone and one day with Mike Kelley. I asked Mike Kelley to be the son and I would be the father. There was no written script. After taping for two days, I edited the tapes, making two separate tapes: Family Tyranny and Cultural Soup. They are often shown together.\" <br/><br/> Writes Kelley: \"Paul McCarthy is an artist familiar in the performance art world who is, finally, starting to become more visible in the general art world. I have been a fan of his work for years. I suppose you could say that Paul is an Automatist but the work is grounded not in Jungian Archetypes but rather in everyday social conventions. His version of the primal the one found in store-bought Halloween masks and embodied in plastic dolls. This tape, Family Tyranny and another one, Cultural Soup, come from one taping session. In a public access television studio, Paul built a rough set approximating the type seen in television situation comedies. He called me in to help him out. When I asked what I was supposed to do he said, 'I'm the father, and you're the son.' That was it. When I arrived at the studio the cameras were turned on and, I would guess, at least six hours of tape was shot. The two tapes that came out of the taping are just short sections of this mass of material.\" -- <a href=\"http://eai.org/title.htm?id=1297\" rel=\"noopener\" target=\"_blank\">EAI</a></br></br></br></br></br></br>","artist_bio":"While still a student, Paul McCarthy threw himself out of a second floor window in a performance/action, emulating Yves Klein's legendary \"Leap into the Void.\" McCarthy was an influential figure in the Southern California art and performance scene for decades before achieving international recognition. His performance work in the late 1970s explored areas of Dionysian and shamanistic initiation rituals, as well as the body and sexuality. The intensity of these performances, which often included the graphic depiction of taboo subjects, eventually led to his use of video and installation as primary media.\nMining the depths of the family and childhood via kitsch and pop cultural detritus, the body and sexuality, and an often outrageous theatricality, McCarthy's works inhabit a violent landscape of dysfunction and trauma. In many of his works, he adopts a performance persona that appears crazed, witch-like, or infantile. McCarthy's works often involve liquids, from bodily fluids to paint; one performance involved mixing his own blood with food, an obsessive gesture that is simulated in Family Tyranny.\nIn the late 1980s, McCarthy began using film and television sets as elements in video/performance installations. Often these elaborate fabrications involved the restaging of culturally-charged myths and icons, such as Heidi and Pinocchio, in the context of family psychodramas, Hollywood genres, and mass media.\nAlthough several of the works in this selection have been made in collaboration with Mike Kelley, themes and images that are distinctly McCarthy's are always evident.\nMcCarthy was born in Salt Lake City, Utah, in 1945. After attending the University of Utah, he received his B.F.A. from the San Francisco Art Institute, and his M.F.A. from the University of Southern California. His work has been shown in the 1993 Venice Biennale and Sonsbeek '93, Arnheim, and in exhibitions at Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; The Guggenheim Museum Soho, New York; the Museum of Contemporary Art, Chicago; and Musee d'Art Contemporain, Lausanne, Switzerland, among many others. Solo exhibitions of McCarthy's work have been organized by Zachęta National Gallery of Art, Warsaw, Poland; Whitney Museum of American Art, New York; ARoS Aarhus Kunstmuseum, Aarhus, Denmark; Moderna Museet, Stockholm, Denmark; Tate Modern, London; The Museum of Modern Art, New York; National Museum of Contemporary Art, Oslo, Norway; Galerie Hauser & Wirth, Zurich, Switzerland; Galerie Art & Public, Geneva, Switzerland; Hamburg Kunsthalle, Germany; Luhring Augustine Gallery, New York; New Museum of Contemporary Art, New York, and Air de Paris, Nice. He lives in Altadena, California. --\nEAI\nSore of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1945"},{"slug":"mccarthy_paul_painter_1995_iphone","ok":true,"partial":false,"title":"Painter","artist":"Paul McCarthy","year":"1995","startOffset":0,"sourceSecs":3004.312,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":177376953,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_painter_1995_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_painter_1995_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mccarthy_paul_painter_1995_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_painter_1995_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_painter_1995_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"In Painter, McCarthy, decked out in a blonde wig, a bulbous drinker's nose, and giant latex hands, staggers around a small, wood-paneled studio with an immense paint brush, yammering things like, \"I can't do it, I can't do it,\" and, \"DeKooning, DeKooning, DeKooning.\" He punctures the sides of gigantesque tubes of paint (one is labeled \"Shit\"), mixes the paint, then slashes and hacks big crude Expressionist swaths onto canvases with crazy electric blue and orange grounds. During the course of the video, he meanders between adjoining rooms ranting against his dealer, sitting in on an absurd conversation with pretentious, bulbous-nosed scholars, has a sycophantic collector sniff his asshole, and chops off his own fingers with a cleaver. Painter is a hilarious satire of inflated Abstract Expressionists and the art world in general, but it is not only that. When McCarthy obsessively mixes his gallons of shit-brown paint, loads up his brush, and, grunting and waving, goes to his canvas, he is pointing towards something important: that paint is the same as shit and dirt -- just unruly filth that flows and stains. That finally, the hopeless drive to make art is drunken, humiliated, violent, sexual and infantile, perhaps tragic as well. (Brooklyn Rail)<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/mccarthy.html\" rel=\"noopener\" target=\"_blank\">Paul McCarthy in UbuWeb Sound</a></br>","artist_bio":"While still a student, Paul McCarthy threw himself out of a second floor window in a performance/action, emulating Yves Klein's legendary \"Leap into the Void.\" McCarthy was an influential figure in the Southern California art and performance scene for decades before achieving international recognition. His performance work in the late 1970s explored areas of Dionysian and shamanistic initiation rituals, as well as the body and sexuality. The intensity of these performances, which often included the graphic depiction of taboo subjects, eventually led to his use of video and installation as primary media.\nMining the depths of the family and childhood via kitsch and pop cultural detritus, the body and sexuality, and an often outrageous theatricality, McCarthy's works inhabit a violent landscape of dysfunction and trauma. In many of his works, he adopts a performance persona that appears crazed, witch-like, or infantile. McCarthy's works often involve liquids, from bodily fluids to paint; one performance involved mixing his own blood with food, an obsessive gesture that is simulated in Family Tyranny.\nIn the late 1980s, McCarthy began using film and television sets as elements in video/performance installations. Often these elaborate fabrications involved the restaging of culturally-charged myths and icons, such as Heidi and Pinocchio, in the context of family psychodramas, Hollywood genres, and mass media.\nAlthough several of the works in this selection have been made in collaboration with Mike Kelley, themes and images that are distinctly McCarthy's are always evident.\nMcCarthy was born in Salt Lake City, Utah, in 1945. After attending the University of Utah, he received his B.F.A. from the San Francisco Art Institute, and his M.F.A. from the University of Southern California. His work has been shown in the 1993 Venice Biennale and Sonsbeek '93, Arnheim, and in exhibitions at Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; The Guggenheim Museum Soho, New York; the Museum of Contemporary Art, Chicago; and Musee d'Art Contemporain, Lausanne, Switzerland, among many others. Solo exhibitions of McCarthy's work have been organized by Zachęta National Gallery of Art, Warsaw, Poland; Whitney Museum of American Art, New York; ARoS Aarhus Kunstmuseum, Aarhus, Denmark; Moderna Museet, Stockholm, Denmark; Tate Modern, London; The Museum of Modern Art, New York; National Museum of Contemporary Art, Oslo, Norway; Galerie Hauser & Wirth, Zurich, Switzerland; Galerie Art & Public, Geneva, Switzerland; Hamburg Kunsthalle, Germany; Luhring Augustine Gallery, New York; New Museum of Contemporary Art, New York, and Air de Paris, Nice. He lives in Altadena, California. --\nEAI\nSore of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1945"},{"slug":"mccarthy_paul_rocky_1976","ok":true,"partial":false,"title":"Rocky","artist":"Paul McCarthy","year":"1976","startOffset":0,"sourceSecs":1311.808,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":218373434,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_rocky_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_rocky_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mccarthy_paul_rocky_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_rocky_1976/main.mp4?v=2","description":"Renowned performance artist Paul McCarthy’s Rocky 1976, where the artist, dressed as a boxer, smears himself in ketchup and punches himself, senseless, around the head. <br/><br/> Rocky comprises a single monitor video and fourteen related drawings. The video exists in an edition of five, but Tate's version is outside the edition since it is uniquely accompanied by the drawings with which it is always displayed. The video begins with a man, McCarthy himself, waiting before the camera with his back turned and then turning to face it. Wearing shorts and boxing gloves, he begins to address the viewer in muttered sounds which mimic the manner in which actor Sylvester Stallone speaks as the character Rocky in the eponymous 1976 film. He begins occasionally to hit himself on the head, as though to clear his thoughts and to demonstrate his virility, but gradually the number and violence of the blows increases. It appears as though the Rocky character is having an imaginary fight with another person, but as the film develops it turns into a masochistic fight with himself. He also smears tomato ketchup over his genitals, occasionally masturbating. Gradually the character runs out of energy as he reaches a state of exhaustion close to unconsciousness, and towards the end of the film he sinks to the floor unable to stand on his feet. The number of punches diminishes but he continues to pummel himself to senselessness. His frustrated motions, like the repetitious actions and statements in McCarthy's early video works and later performances, appear to lock him into the state of trauma which Sigmund Freud (1856-1939) described as the 'repetition compulsion'. This state can also be linked to McCarthy's admiration for the work of Samuel Beckett (1906-1989), whose characters are similarly condemned to a nihilistic zone of meaningless repetition and circularity. The fourteen line drawings which accompany the video each depicts a male figure wearing nothing but a pair of boxing gloves. The figures are rendered schematically - none of the drawings include the figure's feet, for example, which further emphasizes the prominent genitals and frequently erect penis. In each of the drawings the figure adopts slightly different postures, holding his fists aloft in what appear to be pathetic attempts to look threatening. The penultimate drawing has the boxer masturbating, and in the final image he ejaculates while simultaneously punching himself in the face.","artist_bio":"While still a student, Paul McCarthy threw himself out of a second floor window in a performance/action, emulating Yves Klein's legendary \"Leap into the Void.\" McCarthy was an influential figure in the Southern California art and performance scene for decades before achieving international recognition. His performance work in the late 1970s explored areas of Dionysian and shamanistic initiation rituals, as well as the body and sexuality. The intensity of these performances, which often included the graphic depiction of taboo subjects, eventually led to his use of video and installation as primary media.\nMining the depths of the family and childhood via kitsch and pop cultural detritus, the body and sexuality, and an often outrageous theatricality, McCarthy's works inhabit a violent landscape of dysfunction and trauma. In many of his works, he adopts a performance persona that appears crazed, witch-like, or infantile. McCarthy's works often involve liquids, from bodily fluids to paint; one performance involved mixing his own blood with food, an obsessive gesture that is simulated in Family Tyranny.\nIn the late 1980s, McCarthy began using film and television sets as elements in video/performance installations. Often these elaborate fabrications involved the restaging of culturally-charged myths and icons, such as Heidi and Pinocchio, in the context of family psychodramas, Hollywood genres, and mass media.\nAlthough several of the works in this selection have been made in collaboration with Mike Kelley, themes and images that are distinctly McCarthy's are always evident.\nMcCarthy was born in Salt Lake City, Utah, in 1945. After attending the University of Utah, he received his B.F.A. from the San Francisco Art Institute, and his M.F.A. from the University of Southern California. His work has been shown in the 1993 Venice Biennale and Sonsbeek '93, Arnheim, and in exhibitions at Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; The Guggenheim Museum Soho, New York; the Museum of Contemporary Art, Chicago; and Musee d'Art Contemporain, Lausanne, Switzerland, among many others. Solo exhibitions of McCarthy's work have been organized by Zachęta National Gallery of Art, Warsaw, Poland; Whitney Museum of American Art, New York; ARoS Aarhus Kunstmuseum, Aarhus, Denmark; Moderna Museet, Stockholm, Denmark; Tate Modern, London; The Museum of Modern Art, New York; National Museum of Contemporary Art, Oslo, Norway; Galerie Hauser & Wirth, Zurich, Switzerland; Galerie Art & Public, Geneva, Switzerland; Hamburg Kunsthalle, Germany; Luhring Augustine Gallery, New York; New Museum of Contemporary Art, New York, and Air de Paris, Nice. He lives in Altadena, California. --\nEAI\nSore of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1945"},{"slug":"mccarthy_paul_sauce_1974","ok":true,"partial":false,"title":"Sauce","artist":"Paul McCarthy","year":"1974","startOffset":0,"sourceSecs":1070.123,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":67130650,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_sauce_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_sauce_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mccarthy_paul_sauce_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_sauce_1974/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/mccarthy.html\" rel=\"noopener\" target=\"_blank\">Paul McCarthy in UbuWeb Sound</a>","artist_bio":"While still a student, Paul McCarthy threw himself out of a second floor window in a performance/action, emulating Yves Klein's legendary \"Leap into the Void.\" McCarthy was an influential figure in the Southern California art and performance scene for decades before achieving international recognition. His performance work in the late 1970s explored areas of Dionysian and shamanistic initiation rituals, as well as the body and sexuality. The intensity of these performances, which often included the graphic depiction of taboo subjects, eventually led to his use of video and installation as primary media.\nMining the depths of the family and childhood via kitsch and pop cultural detritus, the body and sexuality, and an often outrageous theatricality, McCarthy's works inhabit a violent landscape of dysfunction and trauma. In many of his works, he adopts a performance persona that appears crazed, witch-like, or infantile. McCarthy's works often involve liquids, from bodily fluids to paint; one performance involved mixing his own blood with food, an obsessive gesture that is simulated in Family Tyranny.\nIn the late 1980s, McCarthy began using film and television sets as elements in video/performance installations. Often these elaborate fabrications involved the restaging of culturally-charged myths and icons, such as Heidi and Pinocchio, in the context of family psychodramas, Hollywood genres, and mass media.\nAlthough several of the works in this selection have been made in collaboration with Mike Kelley, themes and images that are distinctly McCarthy's are always evident.\nMcCarthy was born in Salt Lake City, Utah, in 1945. After attending the University of Utah, he received his B.F.A. from the San Francisco Art Institute, and his M.F.A. from the University of Southern California. His work has been shown in the 1993 Venice Biennale and Sonsbeek '93, Arnheim, and in exhibitions at Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; The Guggenheim Museum Soho, New York; the Museum of Contemporary Art, Chicago; and Musee d'Art Contemporain, Lausanne, Switzerland, among many others. Solo exhibitions of McCarthy's work have been organized by Zachęta National Gallery of Art, Warsaw, Poland; Whitney Museum of American Art, New York; ARoS Aarhus Kunstmuseum, Aarhus, Denmark; Moderna Museet, Stockholm, Denmark; Tate Modern, London; The Museum of Modern Art, New York; National Museum of Contemporary Art, Oslo, Norway; Galerie Hauser & Wirth, Zurich, Switzerland; Galerie Art & Public, Geneva, Switzerland; Hamburg Kunsthalle, Germany; Luhring Augustine Gallery, New York; New Museum of Contemporary Art, New York, and Air de Paris, Nice. He lives in Altadena, California. --\nEAI\nSore of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1945"},{"slug":"mccarthy_paul_wgg_test_2003","ok":true,"partial":false,"title":"WGG (Wild Gone Girls)","artist":"Paul McCarthy","year":"2003","startOffset":0,"sourceSecs":334.08,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":56347609,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_wgg_test_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccarthy_paul_wgg_test_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mccarthy_paul_wgg_test_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccarthy_paul_wgg_test_2003/main.mp4?v=2","description":"Depicting a sailing party gone wrong, McCarthy questions the effects that violence and mutilation, both real and simulated, have on the viewer in contemporary culture. -- <a href=\"http://eai.org/title.htm?id=10678\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/mccarthy.html\" rel=\"noopener\" target=\"_blank\">Paul McCarthy in UbuWeb Sound</a></br>","artist_bio":"While still a student, Paul McCarthy threw himself out of a second floor window in a performance/action, emulating Yves Klein's legendary \"Leap into the Void.\" McCarthy was an influential figure in the Southern California art and performance scene for decades before achieving international recognition. His performance work in the late 1970s explored areas of Dionysian and shamanistic initiation rituals, as well as the body and sexuality. The intensity of these performances, which often included the graphic depiction of taboo subjects, eventually led to his use of video and installation as primary media.\nMining the depths of the family and childhood via kitsch and pop cultural detritus, the body and sexuality, and an often outrageous theatricality, McCarthy's works inhabit a violent landscape of dysfunction and trauma. In many of his works, he adopts a performance persona that appears crazed, witch-like, or infantile. McCarthy's works often involve liquids, from bodily fluids to paint; one performance involved mixing his own blood with food, an obsessive gesture that is simulated in Family Tyranny.\nIn the late 1980s, McCarthy began using film and television sets as elements in video/performance installations. Often these elaborate fabrications involved the restaging of culturally-charged myths and icons, such as Heidi and Pinocchio, in the context of family psychodramas, Hollywood genres, and mass media.\nAlthough several of the works in this selection have been made in collaboration with Mike Kelley, themes and images that are distinctly McCarthy's are always evident.\nMcCarthy was born in Salt Lake City, Utah, in 1945. After attending the University of Utah, he received his B.F.A. from the San Francisco Art Institute, and his M.F.A. from the University of Southern California. His work has been shown in the 1993 Venice Biennale and Sonsbeek '93, Arnheim, and in exhibitions at Centro de Arte Reina Sofia, Madrid; Centre Georges Pompidou, Paris; The Guggenheim Museum Soho, New York; the Museum of Contemporary Art, Chicago; and Musee d'Art Contemporain, Lausanne, Switzerland, among many others. Solo exhibitions of McCarthy's work have been organized by Zachęta National Gallery of Art, Warsaw, Poland; Whitney Museum of American Art, New York; ARoS Aarhus Kunstmuseum, Aarhus, Denmark; Moderna Museet, Stockholm, Denmark; Tate Modern, London; The Museum of Modern Art, New York; National Museum of Contemporary Art, Oslo, Norway; Galerie Hauser & Wirth, Zurich, Switzerland; Galerie Art & Public, Geneva, Switzerland; Hamburg Kunsthalle, Germany; Luhring Augustine Gallery, New York; New Museum of Contemporary Art, New York, and Air de Paris, Nice. He lives in Altadena, California. --\nEAI\nSore of these titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1945"},{"slug":"mccoy_jennifer_mccoy_kevin_soft_rains_and_our_second_date_2003","ok":true,"partial":false,"title":"U B U W E B - Film & Jennifer McCoy & Kevin McCoy - Soft Rains & Our Second Date","artist":"Jennifer McCoy & Kevin McCoy","year":"2003","startOffset":0,"sourceSecs":553.6,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":96936154,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccoy_jennifer_mccoy_kevin_soft_rains_and_our_second_date_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mccoy_jennifer_mccoy_kevin_soft_rains_and_our_second_date_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mccoy_jennifer_mccoy_kevin_soft_rains_and_our_second_date_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mccoy_jennifer_mccoy_kevin_soft_rains_and_our_second_date_2003/main.mp4?v=2","description":"Two works, from a Postmasters Gallery installation in 2004: <br/><br/> In this new series of works, the McCoys present electronic installations that examine narrative spaces. Extending from previous work of databased television and film material, the artists new work further explores the idea that thought, experience and memory are structured through genre and repetition. <br/><br/> Entering the gallery, the viewer sees seven platforms each containing a tiny fragmentary film set. The platforms each embody images and sounds from a particular cinematic genre (the eighties slasher, the fifties melodrama, the sixties art film, etc). The platform/genres can each stand autonomously or together they produce a cinema-hopping amalgamation of themes and eras. Over 50 miniature video cameras and lights are suspended over the sets, creating a new filmic entity generated live. By exposing the film sets together with their film, the McCoys expose and yet retain the magic of movie-making. We can see the working parts of the apparatus, but are still won over by the whole. The sets themselves are an exploded spatial view of what one experiences temporally in film. <br/><br/> The images are shot by several cameras simultaneously, each from its own angle, each focused on a different area of the set, and the multipart compound of images that these cameras together create is then sent to a computer running custom software that picks from the range of choices, \"editing\" it into the seven movies.The McCoys handle the passage of time by spreading \"actors\" and locations out in space to represent different moments, which are then intercut onscreen to suggest movement in time and place. Each story is told in six to ten shots. ... In the rear gallery, the McCoys present \"Our Second Date\". This piece extends the form of \"Soft Rains\" by including the artists themselves within the constructed narrative. In \"Our Second Date\", the couple can be seen watching a movie which is being created adjacent to them on a rotating set. This piece begins a new cycle of work which examines the role that media has played in the development of the artists' relationship.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/radio_radio/mccoy.html\" rel=\"noopener\" target=\"_blank\">Jennifer McCoy &amp; Kevin McCoy segment of Radio Radio in UbuWeb Sound</a></br>","artist_bio":"Jennifer and Kevin McCoy are a Brooklyn, New York-based married couple who make art together. They work with interactive media, film, performance and installation to explore personal experience in relation with new technology, the mass media, and global commerce. They often re-examine classic genres and works of cinema, science fiction or television narrative, creating sculptural objects, net art, robotic movies or live performance. They were awarded a 2011 Guggenheim Fellowship.\nJennifer McCoy & Kevin McCoy segment of Radio Radio in UbuWeb Sound","bio_dates":"2003"},{"slug":"mcewen_adam_friedrich","ok":true,"partial":false,"title":"Friedrich","artist":"Adam McEwen","year":"2011","startOffset":0,"sourceSecs":10.612,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1900894,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mcewen_adam_friedrich/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mcewen_adam_friedrich/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mcewen_adam_friedrich.m4v","hasFrames":true,"description":"Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice."},{"slug":"mckay_glenn_altered_states_1966_69_iphone","ok":true,"partial":false,"title":"Altered States: 1966-1999","artist":"Glen McKay","year":"1966","startOffset":0,"sourceSecs":3640.27,"sourceHeight":320,"sourceWidth":466,"hasAudio":true,"hasAmbientMp4":true,"bytes":210585262,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mckay_glenn_altered_states_1966_69_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mckay_glenn_altered_states_1966_69_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mckay_glenn_altered_states_1966_69_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mckay_glenn_altered_states_1966_69_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mckay_glenn_altered_states_1966_69_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"In four movements, the Altered States video starts with vintage rock from Jefferson Airplane, set to McKay's early 60's pulsating sensory overload style. The 70's evolve into a tweaky sound track by Knox Bronson, electronic culture mastermind, with scenes from McKay's world travels in a highly abstracted form. The 80's movement travels into pure geometric and color abstractions, with an uplifting electronic/acoustic soundtrack by Dean Evenson. McKay's 90's movement goes deep into fantastic liquid color landscapes with a dark, electronic music voyage crafted in collaboration with McKay by Greg Jalbert.<br/> <br/> Music<br/> Jefferson Airplane<br/>   Plastic Fantastic Lover - RCA BMI 3:47<br/>   Volunteers - RCA BMI 2:40<br/> Knox Bronson<br/>   3 Seconds Before Maia Smiled<br/>   UBI MEL IBI APES 11:38<br/> Dean Evenson<br/>   From the album Acension 20:14<br/> Greg Jalbert<br/>   Cascades 24:00<br/> <br/> V i d e o<br/> Visuals<br/>   Glenn McKay<br/> Production Manager<br/>   Dennis Keefe<br/> Video Taping,<br/> Editing and Graphics<br/>   George Rosenfeld<br/> Additional Videography<br/>   Dennis Keefe<br/> Additional 60's Film Footage<br/>   Jerry Slick<br/>   Scott Bartlett<br/> Special Thanks<br/>   Robert R. Riley, Curator of Media, S.F. MOMA","artist_bio":"Glen McKay was born in Kansas City in 1936 to a minister's household, attended Kansas City Junior College and the Kansas City Art Institute, and then went to live and paint San Miguel de Allende, Mexico in the early 60's. He went to San Francisco where after experimenting extensively with psychoactive drugs, he went to the Acid Test at the Fillmore Auditorium and saw his first light show, and for the past 35 years has used this media of projected light as his means of expression.","bio_dates":"b. 1936"},{"slug":"mclaren_eyehears_earsees_1970_iphone","ok":true,"partial":false,"title":"The Eye Hears, the Ear Sees","artist":"Norman McLaren","year":"1970","startOffset":0,"sourceSecs":702.033,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":45351317,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mclaren_eyehears_earsees_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mclaren_eyehears_earsees_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mclaren_eyehears_earsees_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mclaren_eyehears_earsees_1970_iphone/main.mp4?v=2","description":"The career of Scots-Canadian animation innovator, Norman McLaren. <br/><br/> Director: Gavin Millar<br/> Writer: Gavin Millar<br/> Stars: Norman McLaren, Gavin Millar and Grant Munro<br/><br/>Thanks to Chris Yewell.","artist_bio":"The Eye Hears, the Ear Sees\n(documentary, 1970. Directed by Gavin Millar)\nNorman McLaren was a Scottish-born Canadian animator and film director known for his work for the National Film Board of Canada (NFB).\nMcLaren was born in Stirling, Scotland and studied set design at the Glasgow School of Art. His early experiments with film and animation included actually scratching and painting the film stock itself, as he did not have ready access to a camera. His earliest extant film, Seven Till Five (1933), a \"day in the life of an art school\" was influenced by Eisenstein and displays a strongly formalist attitude.\nMcLaren's next film, Camera Makes Whoopee (1935), was a more elaborate take on the themes explored in Seven Till Five, inspired by his acquisition of a Ciné-Kodak camera, which enabled him to execute a number of 'trick' shots. McLaren used pixilation effects, superimpositions and animation not only to display the staging of an art school ball, but also to tap into the aesthetic sensations supposedly produced by this event.\nHis two early films won prizes at the Scottish Amateur Film Festival, where fellow Scot and future NFB founder John Grierson was a judge.\nGrierson, who was at that time head of the GPO Film Unit, hired him for the GPO as soon as McLaren completed his studies.\nAfter making a few films for the GPO in London, McLaren moved to New York City in 1939, just as World War II was about to begin in Europe.\nAt the invitation of Grierson, he moved to Canada in 1941 to work for the National Film Board, to open an animation studio and to train Canadian animators. During his work for the NFB, McLaren created his most famous film, Neighbours (1952), which has won various awards around the world, including the Canadian Film Award and the Academy Award. Besides the brilliant combination of visuals and sound, the film has a very strong social message against violence and war. In addition to film, McLaren worked with UNESCO in the 1950s and 1960s on programs to teach film and animation techniques in China and India. His five part \"Animated Motion\" shorts, produced in the late 1970s, are an excellent example of instruction on the basics of film animation.","bio_dates":"1914-1987"},{"slug":"mclaren_malcolm_theghostsofoxfordstreet","ok":true,"partial":false,"title":"The Ghosts of Oxford Street","artist":"Malcolm McLaren","year":"1991","startOffset":0,"sourceSecs":3169.16,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":543238781,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mclaren_malcolm_theghostsofoxfordstreet/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mclaren_malcolm_theghostsofoxfordstreet/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mclaren_malcolm_theghostsofoxfordstreet.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mclaren_malcolm_theghostsofoxfordstreet/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mclaren_malcolm_theghostsofoxfordstreet/main/master.m3u8?v=2","hasMainHls":true,"description":"Although today it’s a pale shadow of its former self, Oxford Street in London’s West End was long a mecca for shoppers from around the world. Built on the site of the Roman Via Trinobantina which ran from Essex to Hampshire via London, it was known as Tyburn Road in the Middle Ages and was the site of the notorious public hangings of prisoners in Newgate Prison – it’s also where Kevin Francis got the name for his minor 70s British horror production company Tyburn Film Productions. Towards the end of the 19th century it began its long transition from largely residential buildings to the world-famous retail heart of London. For many it still holds a romantic mystique, despite the fact that many of the larger and most famous shops have long since closed up their doors and in 1991 former Sex Pistols manager, clothes designer and entrepreneur Malcolm McLaren was the unlikely creator of a Christmas Day love letter to the road. McLaren had long harboured a love for the street, having made an earlier film about it as part of a never finished arts project while studying at Goldsmith’s College in 1970.<br/><br/> There’s not much of a plot here to speak of. The always annoying McLaren (who wrote and directed as well as hogging most of the screen time) wanders around Oxford Street and the neighbouring roads, telling tales of the buildings and people that used to stand or live there. Characters from the street’s past are brought back to life if only briefly though we never really get any sense of what they make of how much the street had changed. It covers a lot of the more unusual aspects of the famed thoroughfare and some of the tales are more interesting than others, though all might have benefited from someone – anyone – else telling them.<br/><br/> Along the way we get a decent helping of musical interludes and these provide some of the films most memorable moments. Tom Jones is on fine form as George Selfridge, founder of the famous department store, belting out top notch renditions of The Beatles’ Money and the blues standard Nobody Knows You When You’re Down and Out; The Happy Mondays give us a typically idiosyncratic version of the Bee Gees’ Stayin’ Alive while re-enacting the Tyburn hangings; Sinéad O’Connor gives us a beautiful, haunting version of Silent Night; and McLaren himself offers a number of tracks, the best being Magic’s Back. But the real highlight is a spirited rendition of The Fairytale of New York by The Pogues and Kirsty MacColl, already something of a Christmas staple just four years after it was released. To be fair though it isn’t about London at all (the clue is right there in the title) and given that The Pogues had several songs about the city it seems a rather odd choice.<br/><br/> And that brings us neatly to the idea of The Ghosts of Oxford Street being a “Christmas film.” You won’t have to go far on the internet to find its admirers holding it up as an offbeat alternative to the usual Yuletide fluff, something they wheel out every year during the festivities. Watching it though, you’d be hard pressed to claim it as a bona fide seasonal offering. Sure it was first broadcast by Channel Four on Christmas day 1991 and there’s the perennial Fairytale though it feels shoe-horned in as a way of giving the film a more festive feel. There’s plenty here to keep your attention, everything from ballet to street rap from Rebel MC, from questionable tales McLaren’s family to fascinating glimpses of an Oxford Street that has already changed almost behind recognition. And the Christmas angle is certainly there (thanks mainly to the songs) but it’s not exactly front and centre, wandering in and out of the narrative as McLaren remembers it. Which is maybe why it’s so well loved by its admirers. The Ghosts of Oxford Street is certainly intriguing and like everything else McLaren was involved in it may annoy you but it’s never boring. But it’s hardly enduring attempt to create a new Christmas television mainstay. -- https://eofftvreview.wordpress.com/2018/12/19/the-ghosts-of-oxford-street-1991/","bio_dates":"1946-2010"},{"slug":"mclaren_norman_keep_your_mouth_shut_1944","ok":true,"partial":false,"title":"Keep Your Mouth Shut","artist":"Norman McLaren","year":"1944","startOffset":0,"sourceSecs":139.883,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":25999346,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mclaren_norman_keep_your_mouth_shut_1944/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mclaren_norman_keep_your_mouth_shut_1944/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mclaren_norman_keep_your_mouth_shut_1944.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mclaren_norman_keep_your_mouth_shut_1944/main.mp4?v=2","description":"Time: 1 min 42 s<br/> <br/> This animated short from Norman McLaren features a human skull cautioning Canadians to \"keep their mouths shut\" in an effort to end gossiping during World War II. <br/><br/> I found this to be very funny short propaganda film. I can't get enough of the talking skull. I have been wanting to sync some other audio to it, since it would work perfect.","artist_bio":"The Eye Hears, the Ear Sees\n(documentary, 1970. Directed by Gavin Millar)\nNorman McLaren was a Scottish-born Canadian animator and film director known for his work for the National Film Board of Canada (NFB).\nMcLaren was born in Stirling, Scotland and studied set design at the Glasgow School of Art. His early experiments with film and animation included actually scratching and painting the film stock itself, as he did not have ready access to a camera. His earliest extant film, Seven Till Five (1933), a \"day in the life of an art school\" was influenced by Eisenstein and displays a strongly formalist attitude.\nMcLaren's next film, Camera Makes Whoopee (1935), was a more elaborate take on the themes explored in Seven Till Five, inspired by his acquisition of a Ciné-Kodak camera, which enabled him to execute a number of 'trick' shots. McLaren used pixilation effects, superimpositions and animation not only to display the staging of an art school ball, but also to tap into the aesthetic sensations supposedly produced by this event.\nHis two early films won prizes at the Scottish Amateur Film Festival, where fellow Scot and future NFB founder John Grierson was a judge.\nGrierson, who was at that time head of the GPO Film Unit, hired him for the GPO as soon as McLaren completed his studies.\nAfter making a few films for the GPO in London, McLaren moved to New York City in 1939, just as World War II was about to begin in Europe.\nAt the invitation of Grierson, he moved to Canada in 1941 to work for the National Film Board, to open an animation studio and to train Canadian animators. During his work for the NFB, McLaren created his most famous film, Neighbours (1952), which has won various awards around the world, including the Canadian Film Award and the Academy Award. Besides the brilliant combination of visuals and sound, the film has a very strong social message against violence and war. In addition to film, McLaren worked with UNESCO in the 1950s and 1960s on programs to teach film and animation techniques in China and India. His five part \"Animated Motion\" shorts, produced in the late 1970s, are an excellent example of instruction on the basics of film animation.","bio_dates":"1914-1987"},{"slug":"mclaren_norman_lignes_verticales","ok":true,"partial":false,"title":"Lignes Verticales","artist":"Norman McLaren","year":"1960","startOffset":0,"sourceSecs":349.056,"sourceHeight":448,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":24621422,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mclaren_norman_lignes_verticales/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mclaren_norman_lignes_verticales/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mclaren_norman_lignes_verticales.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mclaren_norman_lignes_verticales/main.mp4?v=2","description":"An experiment in pure design by film artists Norman McLaren and Evelyn Lambart. Lines, ruled directly on film, move with precision and grace against a background of changing colors, in response to music specially composed for the films. Lines: Vertical is accompanied by composer Maurice Blackburn on the electronic piano."},{"slug":"mclaren_norman_synchromy_1971","ok":true,"partial":false,"title":"Synchromy/Synchromie (1971)","artist":"Norman McLaren","year":"1971","startOffset":0,"sourceSecs":447.147,"sourceHeight":448,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":30455728,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mclaren_norman_synchromy_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mclaren_norman_synchromy_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mclaren_norman_synchromy_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mclaren_norman_synchromy_1971/main.mp4?v=2","description":"1971, 07 min 27 s <br/><br/> Here are pyrotechnics of the keyboard, but with only a camera to \"play the tune.\" To make this film, Norman McLaren employed novel optical techniques to compose the piano rhythms of the sound track. These he then moved, in multicolor, onto the picture area of the screen so that, in effect, you see what you hear. It is synchronization of image and sound in the truest sense of the word.","artist_bio":"The Eye Hears, the Ear Sees\n(documentary, 1970. Directed by Gavin Millar)\nNorman McLaren was a Scottish-born Canadian animator and film director known for his work for the National Film Board of Canada (NFB).\nMcLaren was born in Stirling, Scotland and studied set design at the Glasgow School of Art. His early experiments with film and animation included actually scratching and painting the film stock itself, as he did not have ready access to a camera. His earliest extant film, Seven Till Five (1933), a \"day in the life of an art school\" was influenced by Eisenstein and displays a strongly formalist attitude.\nMcLaren's next film, Camera Makes Whoopee (1935), was a more elaborate take on the themes explored in Seven Till Five, inspired by his acquisition of a Ciné-Kodak camera, which enabled him to execute a number of 'trick' shots. McLaren used pixilation effects, superimpositions and animation not only to display the staging of an art school ball, but also to tap into the aesthetic sensations supposedly produced by this event.\nHis two early films won prizes at the Scottish Amateur Film Festival, where fellow Scot and future NFB founder John Grierson was a judge.\nGrierson, who was at that time head of the GPO Film Unit, hired him for the GPO as soon as McLaren completed his studies.\nAfter making a few films for the GPO in London, McLaren moved to New York City in 1939, just as World War II was about to begin in Europe.\nAt the invitation of Grierson, he moved to Canada in 1941 to work for the National Film Board, to open an animation studio and to train Canadian animators. During his work for the NFB, McLaren created his most famous film, Neighbours (1952), which has won various awards around the world, including the Canadian Film Award and the Academy Award. Besides the brilliant combination of visuals and sound, the film has a very strong social message against violence and war. In addition to film, McLaren worked with UNESCO in the 1950s and 1960s on programs to teach film and animation techniques in China and India. His five part \"Animated Motion\" shorts, produced in the late 1970s, are an excellent example of instruction on the basics of film animation.","bio_dates":"1914-1987"},{"slug":"mcnamara_ryan_smoke","ok":true,"partial":false,"title":"Smoke","artist":"Ryan McNamara","year":"2011","startOffset":0,"sourceSecs":89.931,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":6574451,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mcnamara_ryan_smoke/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mcnamara_ryan_smoke/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mcnamara_ryan_smoke.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Ryan McNamara (b. 1979, Phoenix, Arizona) is a Brooklyn based artist who is known for blending different practices of dance, theater, and history in his work. His works are often situation-specific, and tend to be collaborative or participatory, creating a social discourse and commenting on participation within artistic production. McNamara has held performances and exhibitions at Elizabeth Dee Gallery, The Watermill Performance Center, Barbara Gladstone Gallery, Lehmann Maupin, The Whitney Museum, MoMA P.S.1, The Kitchen, and in various other locations throughout the world. His work is also in the collection of The Museum of Modern Art. In his most recent solo exhibition, Still, in March 2012 at Elizabeth Dee, McNamara transformed the gallery into a photo studio filled with costumes and props where he staged a series of tableaux using visitor participation that were then captured on camera and posted online on the gallery’s website in a nod to social media. The New York Times called the resulting images “spirited and wonderfully improvisatory.” McNamara has participated in the past two Performa Biennials. In Performa 09 his work, Any Fag Could Do That, was inspired by the Sacred band of Thebes – a small brigade of homosexual lovers that defeated the Spartan army in 375 B.C. In Performa 11, he took part in the Performa Commission Three Performances in Search of Tennessee by Laurel Nakadate and James Franco, a three part-project based around Tennessee Williams’ famous play The Glass Menagerie.","bio_dates":"b. 1979"},{"slug":"me_am_1977_bucure_ti_romania_1977","ok":true,"partial":false,"title":"1977 Bucure Ti Romania","artist":"Me Am","year":"1977","startOffset":0,"sourceSecs":911.84,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":161643972,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/me_am_1977_bucure_ti_romania_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/me_am_1977_bucure_ti_romania_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/me_am_1977_bucure_ti_romania_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/me_am_1977_bucure_ti_romania_1977/main.mp4?v=2"},{"slug":"mead_taylor_home_movies_nyc_to_sandiego","ok":true,"partial":false,"title":"My Home Movies","artist":"Taylor Mead","year":"1964","startOffset":0,"sourceSecs":775.084,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":314600807,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mead_taylor_home_movies_nyc_to_sandiego/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mead_taylor_home_movies_nyc_to_sandiego/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mead_taylor_home_movies_nyc_to_sandiego.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mead_taylor_home_movies_nyc_to_sandiego/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mead_taylor_home_movies_nyc_to_sandiego/main/master.m3u8?v=2","hasMainHls":true,"description":"Three silent film diaries of Taylor Mead, a superstar of underground film. <br/><br/> \"My home movies which weigh 2 pounds so far began in Mexico City where I got bored and bought a 50-ft. Keystone at National Pawn Shop-I was immediately turned on-to the City, to Mexico-it really makes a difference-and in 16mm-but I wanted to shoot in color and it costs about 10 dollars/50 ft. in Mexico so I had to push single frame button much of the time-oh me, but its lovely anyway-I kept pushing once I crossed border into U.S. and N.Y. and Malibu\" - T.M.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Taylor Mead in UbuWeb Sound</a>","artist_bio":"Taylor Mead (December 31, 1924 – May 8, 2013) was an American writer, actor and performer. Mead appeared in several of Andy Warhol's underground films filmed at Warhol's Factory, including Tarzan and Jane Regained... Sort of (1963) and Taylor Mead's Ass (1964).","bio_dates":"1924-2013"},{"slug":"mead_taylor_home_movies_rome_florence_venice","ok":true,"partial":false,"title":"Home Movies/Rome/Florence/Venice/Greece","artist":"Taylor Mead","year":"1965","startOffset":0,"sourceSecs":517.056,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":205779376,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mead_taylor_home_movies_rome_florence_venice/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mead_taylor_home_movies_rome_florence_venice/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mead_taylor_home_movies_rome_florence_venice.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mead_taylor_home_movies_rome_florence_venice/main.mp4?v=2","description":"Three silent film diaries of Taylor Mead, a superstar of underground film. <br/><br/> \"My home movies which weigh 2 pounds so far began in Mexico City where I got bored and bought a 50-ft. Keystone at National Pawn Shop-I was immediately turned on-to the City, to Mexico-it really makes a difference-and in 16mm-but I wanted to shoot in color and it costs about 10 dollars/50 ft. in Mexico so I had to push single frame button much of the time-oh me, but its lovely anyway-I kept pushing once I crossed border into U.S. and N.Y. and Malibu\" - T.M.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Taylor Mead in UbuWeb Sound</a>","artist_bio":"Taylor Mead (December 31, 1924 – May 8, 2013) was an American writer, actor and performer. Mead appeared in several of Andy Warhol's underground films filmed at Warhol's Factory, including Tarzan and Jane Regained... Sort of (1963) and Taylor Mead's Ass (1964).","bio_dates":"1924-2013"},{"slug":"mead_taylor_my_home_movies","ok":true,"partial":false,"title":"My Home Movies","artist":"Taylor Mead","year":"1964","startOffset":0,"sourceSecs":1543.04,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":92452676,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mead_taylor_my_home_movies/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mead_taylor_my_home_movies/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mead_taylor_my_home_movies.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mead_taylor_my_home_movies/main.mp4?v=2","description":"Three silent film diaries of Taylor Mead, a superstar of underground film. <br/><br/> \"My home movies which weigh 2 pounds so far began in Mexico City where I got bored and bought a 50-ft. Keystone at National Pawn Shop-I was immediately turned on-to the City, to Mexico-it really makes a difference-and in 16mm-but I wanted to shoot in color and it costs about 10 dollars/50 ft. in Mexico so I had to push single frame button much of the time-oh me, but its lovely anyway-I kept pushing once I crossed border into U.S. and N.Y. and Malibu\" - T.M.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Taylor Mead in UbuWeb Sound</a>","artist_bio":"Taylor Mead (December 31, 1924 – May 8, 2013) was an American writer, actor and performer. Mead appeared in several of Andy Warhol's underground films filmed at Warhol's Factory, including Tarzan and Jane Regained... Sort of (1963) and Taylor Mead's Ass (1964).","bio_dates":"1924-2013"},{"slug":"meditacija_meditation_1994","ok":true,"partial":false,"title":"Vlado Zrnić - MEDITACIJA / MEDITATION","artist":"Zdravko Mustać","year":"1994","startOffset":0,"sourceSecs":347.08,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":59422468,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meditacija_meditation_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meditacija_meditation_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/meditacija_meditation_1994.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/meditacija_meditation_1994/main.mp4?v=2"},{"slug":"meese_jonathan_scarlettierbabys_revolutions_parfum_2008","ok":true,"partial":false,"title":"Scarlettierbaby's Revolutions Parfum: Dictatorship of Art","artist":"Jonathan Meese","year":"2008","startOffset":0,"sourceSecs":929.536,"sourceHeight":352,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":60259983,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meese_jonathan_scarlettierbabys_revolutions_parfum_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meese_jonathan_scarlettierbabys_revolutions_parfum_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/meese_jonathan_scarlettierbabys_revolutions_parfum_2008.mp4","hasFrames":true,"description":"A performance by Jonathan Meese filmed in the artists apartment, from 27th of January 2008. <br/><br/> Its full title is:<br/> Dr Noangstea's Dorian<br/> Scarletierbaby's Revolutions Parfum:<br/> DICTATORSHIP OF ART<br/><br/>(SUSSESUSSESUSSE, YOU... (MR MAJESTICKX on the run Loganfox)) <br><br> A performance in the usual chaotic and neurotic style of Meese. <br/><br/> From Wikipedia: <br/><br/> Jonathan Meese (born January 23, 1970, Tokyo) is a German painter, sculptor, performance artist and installation artist based in Berlin and Hamburg. His (often multi-media) works include collages, drawings and writing. He also designs theater sets and wrote and starred in a play, \"De Frau: Dr. Poundaddylein - Dr. Ezodysseusszeusuzur\" in 2007 at the Volksbühne Theater.</br></br>","artist_bio":"Scarlettierbaby's Revolutions Parfum: Dictatorship of Art (2008)\nJonathan Meese (born January 23, 1970, Tokyo) is a German painter, sculptor, performance artist and installation artist based in Berlin and Hamburg. His (often multi-media) works include collages, drawings and writing. He also designs theater sets and wrote and starred in a play, \"De Frau: Dr. Poundaddylein - Dr. Ezodysseusszeusuzur\" in 2007 at the Volksbühne Theater.","bio_dates":"b. 1970"},{"slug":"meinhof_ulrike_bambule_1970_iphone","ok":true,"partial":false,"title":"Bambule","artist":"Ulrike Meinhof","year":"1970","startOffset":0,"sourceSecs":5638.594,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":314393391,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meinhof_ulrike_bambule_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meinhof_ulrike_bambule_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/meinhof_ulrike_bambule_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/meinhof_ulrike_bambule_1970_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/meinhof_ulrike_bambule_1970_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Runtime: 94 minutes<br/> Language: German<br/> Country: West Germany<br/> Color: White and Black<br/> <br/> Director: Eberhard Itzenplitz<br/> Writer: Ulrike Meinhof<br/> <br/> Cast:<br/> Dagmar Biener ... Irene<br/> Petra Redinger ... Iv<br/> Antje Hagen ... Erzieherin<br/> Barbara Schöne ... Heidi<br/> Christine Diersch<br/> Helge Hennig<br/> <br/> Description: Bambule, Ulrike Meinhof's television play, was published in script form in 1971, while Meinhof was still on the run. The publishing house of Klaus Wagenbach, which had been an unwitting partner in the ruse to free Andreas Baader from prison custody in May of 1970, published \"Bambule.\" <br/><br/> This TV movie was pulled before it was to air on German TV in May of 1970; it seems that the writer of the script, Ulrike Meinhof, had become a terrorist shortly before the air date, and the film was shelved. In 1996 German TV finally showed \"Bambule.\" <br/><br/> Bambule was the TV movie that Ulrike Meinhof had written about a group of girls rioting in their youth home. It was scheduled to air on Sunday, 24 May, at 8:15 PM. But Meinhof had helped free Andreas Baader from prison custody two weeks earlier, and Bambule never aired. It was eventually aired on German TV in 1997. The script was published in book form in 1971.<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/sound/meinhof.html\" rel=\"noopener\" target=\"_blank\">Bambule, radio play in UbuWeb Sound</a></br>","artist_bio":"Ulrike Marie Meinhof (7 October 1934 – 9 May 1976) was a German left-wing militant. She co-founded the Red Army Faction (Rote Armee Fraktion) in 1970 after having previously worked as a journalist for the monthly left-wing magazine Konkret. She was arrested in 1972, and eventually charged with numerous murders and the formation of a criminal association. Before the trial concluded, Meinhof was found hanged in her cell in 1976.","bio_dates":"1934-1976"},{"slug":"meinhof_ulrike_ulrike_marie_meinhof_1994_arte_tv_m4","ok":true,"partial":false,"title":"Ulrike Marie Meinhof (1994), documenatary","artist":"Ulrike Meinhof","year":"1994","startOffset":0,"sourceSecs":3735.84,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":218760665,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meinhof_ulrike_ulrike_marie_meinhof_1994_arte_tv_m4/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meinhof_ulrike_ulrike_marie_meinhof_1994_arte_tv_m4/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/meinhof_ulrike_ulrike_marie_meinhof_1994_arte_tv_m4.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/meinhof_ulrike_ulrike_marie_meinhof_1994_arte_tv_m4/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/meinhof_ulrike_ulrike_marie_meinhof_1994_arte_tv_m4/main/master.m3u8?v=2","hasMainHls":true,"description":"Timon Koulmasis, director<br/> German with English subtitles<br/><br/> This European documentary chronicles the exploits of a radical journalist who joined Germany's most notorious terrorist group in the 1970s. Through a combination of newsreel clips, television reports, and interviews with friends and colleagues, a complex portrait of the journalist, Ulrike Marie Meinhof emerges. While the media portrays the woman, who committed suicide in prison in 1976, as courageous and tremendously self-confident, her friends remember her much differently.<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/sound/meinhof.html\" rel=\"noopener\" target=\"_blank\">Ulrike Meinhof, Bambule, radio play in UbuWeb Sound</a></br>","artist_bio":"Ulrike Marie Meinhof (7 October 1934 – 9 May 1976) was a German left-wing militant. She co-founded the Red Army Faction (Rote Armee Fraktion) in 1970 after having previously worked as a journalist for the monthly left-wing magazine Konkret. She was arrested in 1972, and eventually charged with numerous murders and the formation of a criminal association. Before the trial concluded, Meinhof was found hanged in her cell in 1976.","bio_dates":"1934-1976"},{"slug":"meireles_cildo_by_wilson_coutinho_1979","ok":true,"partial":false,"title":"Cildo Meireles, documentary by Wilson Coutinho","artist":"Cildo Meireles","year":"1979","startOffset":0,"sourceSecs":636.648,"sourceHeight":416,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":43800157,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meireles_cildo_by_wilson_coutinho_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meireles_cildo_by_wilson_coutinho_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/meireles_cildo_by_wilson_coutinho_1979.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/meireles_cildo_by_wilson_coutinho_1979/main.mp4?v=2","description":"English Subtitles (.srt) <a href=\"https://ubu.com/media/video/Meireles-Cildo_by-Wilson-Coutinho_1979.srt\" rel=\"noopener\" target=\"_blank\">here.</a> <br/><br/> This is a film made by the brazilian critic Wilson Coutinho about approximately ten years of artistic prodution of Cildo Meireles. This work in situations, analogies, comments and records of some film work of the artist like Virtual Spaces: Corners (1968), Insertions into Ideological Circuits (1970–76), and others.<br/><br/> Sintonizes with the artist speech, the film builds a narrative of a rupture with the speech that restricts the arts its concern strictly visual, and its subservience to the ability of the manual - the look built by hand. Not only the artist but also the critical - the look of the critical discourse - cutting to the understanding of the facts to what was hitherto invisible, focusing on the history of art and the blurring of boundaries of language and setting the artistic as do cultural product, social, political.<br/><br/> All this is a justaposition of contexts, bricolage, appropriations, recodifications: in a world where the illusions of values and the fetish of money continues as never being manufactured in series to reduce human relations to strategies of consuption, those that have not understood the message, take lead, as would say John Wayne.","artist_bio":"One of the most influential conceptual artists today, Cildo Meireles creates complex installations and sculptures that entice the viewer and challenge political, philosophical, and aesthetic precepts. Meireles’s artistic practice was shaped by the social and political conditions during the dictatorship of Brazil in the 1960s and ‘70s, and by the Neo-Concretist and avant-garde movements. Like his predecessors, Meireles merges physical, cerebral, and sensorial elements in works that elicit audience participation. While Meireles’s works are often created in response to specific political events and situations, they evoke universal themes that are communicated through the viewer’s experience in a shared, rigorously designed and defined space.","bio_dates":"b. 1948"},{"slug":"mekas_jonas_award_presentation_warhol_196","ok":true,"partial":false,"title":"Award Presentation to Andy Warhol","artist":"Andy Warhol","year":"1964","startOffset":0,"sourceSecs":737.963,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":132953675,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mekas_jonas_award_presentation_warhol_196/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mekas_jonas_award_presentation_warhol_196/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mekas_jonas_award_presentation_warhol_196.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mekas_jonas_award_presentation_warhol_196/main.mp4?v=2","description":"Director: Jonas Mekas<br/><br/> Cast:<br/> Gregory Battcock<br/> Baby Jane Holzer<br/> Kenneth King<br/> Gerard Malanga<br/> Ivy Nicholson<br/> Naomi Levine<br/> Gregory Markopoulos<br/> Jonas Mekas<br/> Andy Warhol<br/><br/>\"\"In 1964 Film Culture magazine chose Andy Warhol for its annual Independent Film award. The plan was to show some of Andy's films and have Andy come on stage and hand him the award. Andy said, no, he didn't want a public presentation. So I decided to hand him the award at the Factory, film the occasion, and show the film at the Award Presentation show at the New Yorker Theater. <br><br> Andy thought it was a good idea. He got some of the superstars together for the occasion. I was on my way to the Factory with three rolls of film when I remembered that I had nothing to present to Andy. So on the corner I bought a basket of mixed fruit. It was presented to Andy by Ivy Nicholson's little son. Some of the others present: Baby Jane Holzer, Gerard Malanga, Ivy Nicholson, Naomi Levine, Gregory Battcock, Kenneth King. <br/><br/> Gregory Markopoulos happened to be there, so he operated the Bolex when I wasn't. Gregory is in the film, too, since the camera was motorized. I slowed down the film in the printing as a form of tribute to Andy: most of his films--actually all the films from that period--were projected at 16 frames per second, though they were shot at 24. I did the same thing, but I had to do it by means of optical reprinting because I wanted to add sound to the film: Supremes music which was the daily background at the Factory during those days.\" - Jonas Mekas</br></br>","artist_bio":"Andy Warhol in Antonella Branca's film \"What's Happening?\"\n(1967)\nWARHOL's CINEMA - A Mirror for the Sixties (Documentary)\n(1989)\nChelsea Girls with Andy Warhol\n(1971-76), Directed by\nMichel Auder\nScenes of the Life Of Andy Warhol (dir. Jonas Mekas)\n(1982)\nSuperstar: The Life and Times of Andy Warhol\ndir. Chuck Workman (1990)","bio_dates":"1928-1987"},{"slug":"melhus_bjorn_captain","ok":true,"partial":false,"title":"Captain","artist":"Bjørn Melhus","year":"2005","startOffset":0,"sourceSecs":848.109,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":55328706,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/melhus_bjorn_captain/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/melhus_bjorn_captain/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/melhus_bjorn_captain.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/melhus_bjorn_captain/main.mp4?v=2","artist_bio":"Bjørn Melhus is a German media artist of Norwegian ancestry born in Kirchheim/Teck, Germany, in 1966.\nOriginally rooted in an experimental film context, Bjørn Melhus's work has been shown and awarded at numerous film festivals and exhibitions internationally. Melhus’ work has been screened at the Tate Modern and the LUX in London, the Museum of Modern Art (MediaScope) in New York, and the Centre Pompidou in Paris,[1] amongst others. His work has been exhibited in shows such as The American Effect at the Whitney Museum New York, the 8th International Istanbul Biennial,[2] solo and group shows at FACT Liverpool, Serpentine Gallery London, Sprengel Museum Hanover, Museum Ludwig Cologne, ZKM Karlsruhe and the Denver Art Museum.\nSince 2003 Bjørn Melhus has been a Professor for Virtual Realities at the Kunsthochschule Kassel, Germany","bio_dates":"b. 1966"},{"slug":"melly_george_yetnob_alain_bbc_arena_1978_memoirs_of_a_self_confessed_surrealist","ok":true,"partial":false,"title":"The Memoirs of a Self-Confessed Surrealist","artist":"George Melly","year":"1978","startOffset":0,"sourceSecs":1488,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":257969762,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/melly_george_yetnob_alain_bbc_arena_1978_memoirs_of_a_self_confessed_surrealist/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/melly_george_yetnob_alain_bbc_arena_1978_memoirs_of_a_self_confessed_surrealist/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/melly_george_yetnob_alain_bbc_arena_1978_memoirs_of_a_self_confessed_surrealist.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/melly_george_yetnob_alain_bbc_arena_1978_memoirs_of_a_self_confessed_surrealist/main.mp4?v=2","description":"A tribute to George Melly, a classic Arena documentary, made in 1978. His indirect journey, inspired by the Surrealist derive, takes him through rooms, streets, a strange cafe, with brief curious encounters on the way. Among them, the last of the surrealists in England (Eileen Agar, Conroy Maddox, Robert Melville and Roland Penrose), punk rock band The Stranglers, and an elephant. Melly intersperses the journey with memories of Salvador Dali, Rene Magritte and E.L.T. Mesens, talking about the influence of Dada and Surrealism on his early life <br/><br/> John Coulthart: <br/><br/> It’s a short step from Dada to Surrealism, and George Melly provides a brief skate through the philosophies of both in this 25-minute BBC film from 1978. Melly, like JG Ballard, was struck by Surrealism at an impressionable age, and the love affair was a lasting one. Both Melly and Ballard championed Surrealism during periods when it was deeply unfashionable, an oppositional stance that Ballard at least often seemed to relish. <br/><br/> Melly’s enthusiasm was so well-known that he was often called upon as a token advocate of Surrealism whenever one was required by the TV channels, hence this film whose title implies an admission of something disreputable. A major exhibition of Surrealist art was taking place 1978 at the Hayward Gallery in London, and it’s to this exhibition that Melly journeys, explaining (and demonstrating) what it means to be a Surrealist along the way. I saw this when it was first broadcast, and the absurd phone calls to strangers inspired myself and a few school-friends to similar activities; teenage pranks seemed less frivolous with an artistic justification. There’s a slight connection to yesterday’s post in Melly’s recounting of an anecdote from the 1950s when he was spared a night-time beating by his reciting of Kurt Schwitters’ Ursonate to a group of belligerent youths. Elsewhere you get to see punk band The Stranglers scowling at the camera—Melly suggests that the punks might be inheritors of the Dadaist attitude—and director Alan Yentob standing at a urinal.","artist_bio":"Alan George Heywood Melly (17 August 1926 – 5 July 2007) was an English jazz and blues singer, critic, writer and lecturer. From 1965 to 1973 he was a film and television critic for The Observer; he also lectured on art history, with an emphasis on surrealism.","bio_dates":"1926-2007"},{"slug":"menken_arabesque_for_anger","ok":true,"partial":false,"title":"Arabesque for Kenneth Anger","artist":"Marie Menken","year":"1958-1961","startOffset":0.334,"sourceSecs":294.571,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":53531217,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_arabesque_for_anger/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_arabesque_for_anger/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_arabesque_for_anger.mp4","hasFrames":true,"description":"16mm, color, sound, 4 min <br/> Original score by Teiji Ito. \"A new sound version of this classic. It is a beautiful experience to see her fabulous shooting. The cutting is just as fabulous and is something for all to study; the new score by Teiji Ito is 'out of this world' with its many leveled instrumentation. Marie says 'These animated observations of tiles and Moorish architecture were made as a thank-you to Kenneth for helping to shoot on another film in Spain.' Shot in the Alhambra in one day.\" -- Gryphon Film Group","artist_bio":"Martina Kudlácek - Notes on Marie Menken\n(documentary, 2006)\nMarie Menken was born Marie Menkevicius in New York City on May 25, 1909, the daughter of Catholic Lithuanian immigrants. She grew up in Brooklyn with a brother and a sister, in a home used to frequent financial difficulties. Both she and her sister Adele later changed their surname to Menken. Marie Menken and\nWillard Maas\nhad got married in 1937, moving into a Brooklyn penthouse at 62 Montague Street which they would inhabit until their deaths. She died on December 29, 1970. Four days after her death, on January 2, 1971, Willard Maas died.","bio_dates":"1910-1970"},{"slug":"menken_kudlacek_notes_2006","ok":true,"partial":false,"title":"Martina Kudlácek - Notes on Marie Menken","artist":"Marie Menken","year":"2006","startOffset":0,"sourceSecs":5845.984,"sourceHeight":570,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":991302163,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_kudlacek_notes_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_kudlacek_notes_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_kudlacek_notes_2006.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_kudlacek_notes_2006/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_kudlacek_notes_2006/main/master.m3u8?v=2","hasMainHls":true,"description":"Notes on Marie Menken explores the almost forgotten story of the legendary artist Marie Menken (1909-1970) who became one of New York´s outstanding underground experimental filmmakers of the 1940s through the 1960s, inspiring artists such as Stan Brakhage, Andy Warhol, Jonas Mekas, Kenneth Anger, and Gerard Malanga. She was a probable role model of Edward Albee´s \"Who´s Afraid of Virginia Woolf?\" and ended up as a Warhol Superstar.\n\nThe documentary allows a glimpse into her social and artistic struggle and radical integrity, drawing the picture of a modern myth in personal diary style."},{"slug":"menken_marie_andy_warhol_1965","ok":true,"partial":false,"title":"Andy Warhol","artist":"Marie Menken","year":"1965","startOffset":0,"sourceSecs":1046.656,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":185426823,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_andy_warhol_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_andy_warhol_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_marie_andy_warhol_1965.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_marie_andy_warhol_1965/main.mp4?v=2","description":"Andy Warhol is a lyrical exploration of Warhol's creative process by filmmaker, painter, and actress (Chelsea Girls) Marie Menken. Using a hand-held camera, Menken captures Warhol and his assistants, including Gerard Malanga, as they work at the Factory. The result is an intimate portrait of the artist in the process of creating some of his most famous works, including the Brillo boxes, the Jackie series, and the Flowers silkscreens.\n\nWith her husband, underground filmmaker and poet Willard Maas, Menken (1910-1970) created the Gryphon Group (which also included Stan Brakhage, Charles Boultenhouse, Gregory Markopolous, Ben Moore, and Charles Henri Ford) as a cooperative organization to further the production and distribution of independently made films. Writes Warhol, \"Marie was one of the first to do a film with stop-time. She filmed lots of short movies, some with Willard, and she even did one on a day in my life.\" As a painter, Menken was concerned with capturing light and its effect on textured surfaces and colors, qualities that are carried over into her films."},{"slug":"menken_marie_drips_in_strips_1961","ok":true,"partial":false,"title":"Drips in Strips","artist":"Marie Menken","year":"1961","startOffset":0,"sourceSecs":171,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":48622791,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_drips_in_strips_1961/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_drips_in_strips_1961/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_marie_drips_in_strips_1961.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_marie_drips_in_strips_1961/main.mp4?v=2","description":"A study in light based on persistence of vision and enhancement from eye fatigue","artist_bio":"Martina Kudlácek - Notes on Marie Menken\n(documentary, 2006)\nMarie Menken was born Marie Menkevicius in New York City on May 25, 1909, the daughter of Catholic Lithuanian immigrants. She grew up in Brooklyn with a brother and a sister, in a home used to frequent financial difficulties. Both she and her sister Adele later changed their surname to Menken. Marie Menken and\nWillard Maas\nhad got married in 1937, moving into a Brooklyn penthouse at 62 Montague Street which they would inhabit until their deaths. She died on December 29, 1970. Four days after her death, on January 2, 1971, Willard Maas died.","bio_dates":"1910-1970"},{"slug":"menken_marie_eye_music_in_red_major_1961","ok":true,"partial":false,"title":"Eye Music in Red Major","artist":"Marie Menken","year":"1961","startOffset":0,"sourceSecs":334.084,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":115997912,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_eye_music_in_red_major_1961/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_eye_music_in_red_major_1961/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_marie_eye_music_in_red_major_1961.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_marie_eye_music_in_red_major_1961/main.mp4?v=2","description":"A study in light based on persistence of vision and enhancement from eye fatigue","artist_bio":"Martina Kudlácek - Notes on Marie Menken\n(documentary, 2006)\nMarie Menken was born Marie Menkevicius in New York City on May 25, 1909, the daughter of Catholic Lithuanian immigrants. She grew up in Brooklyn with a brother and a sister, in a home used to frequent financial difficulties. Both she and her sister Adele later changed their surname to Menken. Marie Menken and\nWillard Maas\nhad got married in 1937, moving into a Brooklyn penthouse at 62 Montague Street which they would inhabit until their deaths. She died on December 29, 1970. Four days after her death, on January 2, 1971, Willard Maas died.","bio_dates":"1910-1970"},{"slug":"menken_marie_glimpse_of_the_garden_1957","ok":true,"partial":false,"title":"Glimpse of the Garden","artist":"Marie Menken","year":"1957","startOffset":0,"sourceSecs":305.856,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":53050363,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_glimpse_of_the_garden_1957/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_glimpse_of_the_garden_1957/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_marie_glimpse_of_the_garden_1957.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_marie_glimpse_of_the_garden_1957/main.mp4?v=2","description":"Filmed in a garden through a powerful magnifying glass, filmmaker Marie Menken's Glimpse of the Garden is a simple visual poem accompanied by the sound of birdsongs. When Glimpse of the Garden was shown at the Cinemathèque Française in 1963, Jonas Mekas reported that the French audience laughed at it, embarrassed by the film's benign simplicity. Suffice it to say that Glimpse of the Garden represents Menken's interest in pure visuals and essentially feminine point-of-view","artist_bio":"Martina Kudlácek - Notes on Marie Menken\n(documentary, 2006)\nMarie Menken was born Marie Menkevicius in New York City on May 25, 1909, the daughter of Catholic Lithuanian immigrants. She grew up in Brooklyn with a brother and a sister, in a home used to frequent financial difficulties. Both she and her sister Adele later changed their surname to Menken. Marie Menken and\nWillard Maas\nhad got married in 1937, moving into a Brooklyn penthouse at 62 Montague Street which they would inhabit until their deaths. She died on December 29, 1970. Four days after her death, on January 2, 1971, Willard Maas died.","bio_dates":"1910-1970"},{"slug":"menken_marie_go_go_go_1962_64","ok":true,"partial":false,"title":"Go! Go! Go!","artist":"Marie Menken","year":"1962-1964","startOffset":0,"sourceSecs":691.392,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":115172143,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_go_go_go_1962_64/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_go_go_go_1962_64/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_marie_go_go_go_1962_64.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_marie_go_go_go_1962_64/main.mp4?v=2","description":"For Menken, animation became a way of radically transforming the world around her, reimagining postwar New York City, for example, in her masterpiece of single frame cinematography <i>Go! Go! Go!</i> (1962-64), a work that condenses two years of patient documentary filmmaking into a delirious and exhilarating vision of a hyperactive city.","artist_bio":"Martina Kudlácek - Notes on Marie Menken\n(documentary, 2006)\nMarie Menken was born Marie Menkevicius in New York City on May 25, 1909, the daughter of Catholic Lithuanian immigrants. She grew up in Brooklyn with a brother and a sister, in a home used to frequent financial difficulties. Both she and her sister Adele later changed their surname to Menken. Marie Menken and\nWillard Maas\nhad got married in 1937, moving into a Brooklyn penthouse at 62 Montague Street which they would inhabit until their deaths. She died on December 29, 1970. Four days after her death, on January 2, 1971, Willard Maas died.","bio_dates":"1910-1970"},{"slug":"menken_marie_hurry_hurry_1957","ok":true,"partial":false,"title":"Hurry Hurry","artist":"Marie Menken","year":"1957","startOffset":0,"sourceSecs":288.08,"sourceHeight":720,"sourceWidth":998,"hasAudio":true,"hasAmbientMp4":true,"bytes":114017220,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_hurry_hurry_1957/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_hurry_hurry_1957/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_marie_hurry_hurry_1957.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_marie_hurry_hurry_1957/main.mp4?v=2","description":"1957 / 16mm / color / sound / 1S / 4' 51 <br/><br/> Experimental soundtrack: continuous bombardment. \"A daring film ballet danced by human spermatozoa under powerful magnification ... a dance of death made from scientific footage, printed over murky fire.\" – Cinema 16","artist_bio":"Martina Kudlácek - Notes on Marie Menken\n(documentary, 2006)\nMarie Menken was born Marie Menkevicius in New York City on May 25, 1909, the daughter of Catholic Lithuanian immigrants. She grew up in Brooklyn with a brother and a sister, in a home used to frequent financial difficulties. Both she and her sister Adele later changed their surname to Menken. Marie Menken and\nWillard Maas\nhad got married in 1937, moving into a Brooklyn penthouse at 62 Montague Street which they would inhabit until their deaths. She died on December 29, 1970. Four days after her death, on January 2, 1971, Willard Maas died.","bio_dates":"1910-1970"},{"slug":"menken_marie_lights_1964_66","ok":true,"partial":false,"title":"Lights","artist":"Marie Menken","year":"1964-1966","startOffset":0,"sourceSecs":365.525,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":64409759,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_lights_1964_66/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_lights_1964_66/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_marie_lights_1964_66.mp4","hasFrames":true,"description":"\"\"\"Marie Menken's Lights is a film of such joy, such pure sensual beauty, that it is breathtaking and overwhelming. In just seven minutes, with a breakneck sequence of abstract, colorful images of lights floating in a black nighttime field, Menken delivers an intoxicating visual experience. It's an abstracted vision, like the work of Stan Brakhage, a celebration of light and color in which each frame is alive with furious scribbles of blurred light and tangled rainbow beams. It's as though Menken is drawing with light by shaking her camera, unleashing small hash marks of white light and amber curlicues that twist around each other. Through Menken's expressive stylization, the marks and lines of these lights become a form of handwriting, an abstract language inscribed in the twists and turns of motion-blurred neon, car brake lights and Christmas decorations. The film was assembled over the course of three years, during which Menken shot Christmas window displays and other seasonal decorations, working mostly late in the night, when she could be alone in the darkness with these vibrant beacons. \" <br/><br/>\"\"The resulting film is truly a visceral experience like no other, matched only by the best of Brakhage's light works. Menken molds and shapes light into alien structures, destabilizing the familiar into a blur of fleeting sensory impressions. The film opens with shots of multi-colored Christmas lanterns hanging in a tree. Menken's camera at first patiently pans across these lights, capturing their vibrant glow, their definite shapes: bell-like cups when viewed from the sides, becoming sun-shaped circles with white-hot centers when viewed from below. Then her camera begins to shake, to disrupt the stability of these images, transforming the concrete into the ephemeral. Little white dashes dance across the frame, moving parallel to the motion of the camera, sometimes darting sideways across the frame, sometimes falling like rain. Menken's moving camera creates designs by stretching out a single point of light into a line, as though tracing with a white pen across a black sheet of paper.\" <br/><br/>\"\"\"From this dazzling abstraction, Menken steps back to reveal the source of these light patterns, as she twirls her camera around to make the giant Rockefeller Center Christmas tree do a 360-degree turn through the night, and then sets off on a whirlwind tour through the city's streets. Everywhere, there is light. A church is defined by the lights at its borders, the black foundation of the building seemingly a negative space surrounded by crisp rows of circular lights. Menken captures momentary hints of religious sentiment amidst all this bombast: a cross in lights, glowing palely in utter darkness, a rapid tracking shot across a nativity scene where Mary and the wise men are bathed in a gaudy Las Vegas neon aura emanating from somewhere nearby. These are ephemeral reminders of the origins of this celebration, the reason for all this festivity and brilliance. Blink, and you'll miss it: a recurring theme in Menken's fast-paced, sensually exciting work, of which this film is quite possibly the apex.\" <br/><br/>\"\"\"From here, she's back out into the streets: images of cars, their brake lights glowing red, set off against blue dots the origins of which are more obscure. And then she shatters even this hint of the familiar, further blurring the speeding traffic into curving, bouncing lines, a trail of red lights tracing across one side of the frame with shaky white lines staggering across the other. As the pace picks up, Menken ventures further and further into abstraction, layering multiple exposures and reducing all the light and motion to cryptic calligraphic marks in the darkness, squiggles and check marks and amorphous suggestions of form. Tight clusters of these marks seem to dance across the frame, as though performing some arcane choreography, a Busby Berkeley number as performed by a chorus line of neutrons and electrons, a subatomic musical extravaganza taking place in a silent vacuum.\" <br/><br/> \"\"\"Increasingly, Menken abstracts the imagery even as she incorporates more recognizably photographic exposures. A star field in which gray scratched lines hover like graphite scrapings or stalks of spiky grass. A skeletal outline of a metal globe, gray spirals, splotches of red like blood or paint, dots of light in the dark. A long view of the city skyline from across the water, with strange UFO-like bursts of light floating in the darkness. These images are haunting and beautiful, and Menken's approach makes Lights a kind of sensory fever dream. She makes these external phenomena — the properties of light as it is refracted and processed by her camera — internal and introspective, dream images dancing across the inside of the viewer's closed eyelids. It is a deeply subjective perspective, utilizing objective phenomena, like the way light behaves when it is photographed in certain ways, to create a complex inner landscape. And in its off-kilter beauty, it is a surprisingly moving film, discovering pathos and warmth in its brilliant abstractions..\"","artist_bio":"Martina Kudlácek - Notes on Marie Menken\n(documentary, 2006)\nMarie Menken was born Marie Menkevicius in New York City on May 25, 1909, the daughter of Catholic Lithuanian immigrants. She grew up in Brooklyn with a brother and a sister, in a home used to frequent financial difficulties. Both she and her sister Adele later changed their surname to Menken. Marie Menken and\nWillard Maas\nhad got married in 1937, moving into a Brooklyn penthouse at 62 Montague Street which they would inhabit until their deaths. She died on December 29, 1970. Four days after her death, on January 2, 1971, Willard Maas died.","bio_dates":"1910-1970"},{"slug":"menken_marie_notebook","ok":true,"partial":false,"title":"Notebook","artist":"Marie Menken","year":"1963","startOffset":0,"sourceSecs":637.056,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":109229016,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_notebook/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_notebook/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_marie_notebook.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_marie_notebook/main.mp4?v=2","description":"Regarding <i>Notebook</i>, filmmaker Marie Menken once stated that \"these are too tiny or too obvious for comment, but one or two are my dearest children.\" Menken was being far too humble, as Notebook is considered by many aficionados of experimental cinema as being her greatest work. Notebook was assembled in 1962 and 1963 from bits and pieces of films Menken had shot over the years; some of these short takes date as far back as the late '40s. Individual segments are organized into brief chapters, which include such experiments as single-frame footage of neon signs at night, single-frame footage of the moon, a shot of a leaf collecting water in a light rainstorm, and others. <a href=\"https://ubu.com/film/brakhage.html\" rel=\"noopener\" target=\"_blank\">Stan Brakhage</a> stayed with Menken and her husband, <a href=\"https://ubu.com/film/maas.html\" rel=\"noopener\" target=\"_blank\">Willard Maas</a>, when he first settled in New York in the 1950s. Brakhage was shown many of the individual pieces that ultimately made up Notebook, and later gladly acknowledged his own stylistic debt to them, which is most readily apparent in Brakhage's Anticipation of the Night (1958). ~ David Lewis, All Movie Guide <br/><br/> In a remarkable series of disarmingly unpretentious films she demonstrated a rhythmic inventiveness perhaps previously unmatched in the cinema. In Notebook she stored fragments from all phases of her filmic career, from the mid-forties to the late sixties. There we can see how, at a time when most of her contemporaries were invoking the Dionysian imagination in their invented imagery, Menken was exploring the dynamics of the edge of the screen and playing with the opposition of immanent and imposed rhythm. The exquisite early Raindrops dramatizes the subtle wit of her vision of the perceptual model. As she waits behind the camera for a drop of rain on the tip of a leaf to gather sufficient mass to fall, we sense her impatience and even anxiety lest the film will run out on her; so an unseen hand taps the branch, forcing the drops to fall. Tampering this way with an otherwise straightforward observational film is characteristic of Menken, who cheerfully incorporates the extraneous reflection of herself and her camera, even her cigarette smoke, into an animated fragment and who makes the very nervous instability of the hand-held camera a part of the rhythmic structure of several films.","artist_bio":"Martina Kudlácek - Notes on Marie Menken\n(documentary, 2006)\nMarie Menken was born Marie Menkevicius in New York City on May 25, 1909, the daughter of Catholic Lithuanian immigrants. She grew up in Brooklyn with a brother and a sister, in a home used to frequent financial difficulties. Both she and her sister Adele later changed their surname to Menken. Marie Menken and\nWillard Maas\nhad got married in 1937, moving into a Brooklyn penthouse at 62 Montague Street which they would inhabit until their deaths. She died on December 29, 1970. Four days after her death, on January 2, 1971, Willard Maas died.","bio_dates":"1910-1970"},{"slug":"menken_marie_visual_variations_on_noguchi_1945","ok":true,"partial":false,"title":"Visual Variations on Noguchi","artist":"Marie Menken","year":"1945","startOffset":0,"sourceSecs":140.651,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":24065489,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_visual_variations_on_noguchi_1945/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_visual_variations_on_noguchi_1945/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_marie_visual_variations_on_noguchi_1945.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_marie_visual_variations_on_noguchi_1945/main.mp4?v=2","description":"\"Poetry of natural sound\" score by Lucia Dlugoszewski. <br/><br/>\"\"By use of hand-held, ambulating camera, unusual editing and a startling experimental score by Lucille Dlugozewski, the sculptures of the famous Japanese-American artist, Isamu Noguchi, are given audacious movement in a controversial art-film experiment.\" -- Cinema 16 <br/><br/>\"\"Never before have I seen such purely dynamic treatment of sculpture in film. Marie Menken has successfully transformed Noguchi's sculpture into her own medium.\" -- Norman McLaren (The Film-Makers' Cooperative)","artist_bio":"Martina Kudlácek - Notes on Marie Menken\n(documentary, 2006)\nMarie Menken was born Marie Menkevicius in New York City on May 25, 1909, the daughter of Catholic Lithuanian immigrants. She grew up in Brooklyn with a brother and a sister, in a home used to frequent financial difficulties. Both she and her sister Adele later changed their surname to Menken. Marie Menken and\nWillard Maas\nhad got married in 1937, moving into a Brooklyn penthouse at 62 Montague Street which they would inhabit until their deaths. She died on December 29, 1970. Four days after her death, on January 2, 1971, Willard Maas died.","bio_dates":"1910-1970"},{"slug":"menken_marie_watts_with_eggs_1967","ok":true,"partial":false,"title":"Watts with Eggs","artist":"Marie Menken","year":"1967","startOffset":0,"sourceSecs":126.5,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":25863933,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_watts_with_eggs_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/menken_marie_watts_with_eggs_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/menken_marie_watts_with_eggs_1967.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/menken_marie_watts_with_eggs_1967/main.mp4?v=2","description":"By 1967, Menken had become interested in the work of Fluxus artist <a href=\"https://ubu.com/film/watts.html\" rel=\"noopener\" target=\"_blank\">Robert Watts</a> and made a short animation piece, Watts with Eggs, in which she animates his chrome-casted Box of Eggs.<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/watts.html\" rel=\"noopener\" target=\"_blank\">Robert Watts in UbuWeb Sound</a></br>","artist_bio":"Martina Kudlácek - Notes on Marie Menken\n(documentary, 2006)\nMarie Menken was born Marie Menkevicius in New York City on May 25, 1909, the daughter of Catholic Lithuanian immigrants. She grew up in Brooklyn with a brother and a sister, in a home used to frequent financial difficulties. Both she and her sister Adele later changed their surname to Menken. Marie Menken and\nWillard Maas\nhad got married in 1937, moving into a Brooklyn penthouse at 62 Montague Street which they would inhabit until their deaths. She died on December 29, 1970. Four days after her death, on January 2, 1971, Willard Maas died.","bio_dates":"1910-1970"},{"slug":"metzner_erno_uberfall_1928","ok":true,"partial":false,"title":"Uberfall (Accident)","artist":"Ernö Metzner","year":"1928","startOffset":0,"sourceSecs":1108.821,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":67921969,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/metzner_erno_uberfall_1928/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/metzner_erno_uberfall_1928/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/metzner_erno_uberfall_1928.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/metzner_erno_uberfall_1928/main.mp4?v=2","description":"Accident (German: Polizeibericht Übefilm directed by Ernö Metzner. The film centers on the struggles of a German citizen who happens upon a counterfeit coin lying in a gutter. The opening sequence of the movie gives a brief glimpse into the notion that the coin might be \"cursed,\" as another passerby is struck down by a car while reaching for the coin in the middle of the road. Although the finder of the coin is at first glad, he soon regrets ever having picked it up. Art Director and Director. Nationality: Hungarian. Born: 25 February 1892. Education: Attended the Academy of Fine Arts, Budapest. Family: Married the actress Grace Chiang. Career: Art director on films in Germany from 1920: first film as art director, Sumurun; 1927Ð29Ñdirected and designed several films; 1933Ñleft Germany with the rise of the Nazis, and worked in the United Kingdom and the United States. Died: In 1953. rfall) is a 1928 German short","artist_bio":"Ernő Metzner (February 25, 1892 – September 25, 1953) was a film director and production designer.\nMetzner was born in Subotica (then Austria-Hungary). He studied art at the Budapest Academy of Fine Arts, then worked as a painter and graphic artist. In 1920 he moved to Berlin and began working as an art director and production designer with some of the best-known German directors of the time: Ernst Lubitsch (Sumurun, The Loves of Pharaoh), Robert Wiene (I.N.R.I.) and Karl Grune (Arabella). From the 1926 Secrets of a Soul he developed a close and continuous partnership with Georg Wilhelm Pabst. Metzner was art director for seven major Pabst films from 1926 to 1933, notably designing the production of Kameradschaft (1931), for which Metzner constructed realistic mining tunnels in the studio.\nIn 1927 Metzner began to direct films himself. His first short films are documentaries commissioned by the Social Democratic Party of Germany. His most important work is probably the 1928 short film Polizeibericht Überfall (\"Police Report: Hold-Up\", known in English as \"Accident\"). Metzner both wrote and directed this landmark of the New Objectivity movement in film, banned by authorities as \"brutalizing and demoralizing.\"\nAs a Hungarian Jew, in 1933 Metzner emigrated from Germany to France and then to England, where he reunited with Austrian director Friedrich Feher. From 1936 Metzner moved with his family to the United States, but found only occasional work in Hollywood.","bio_dates":"1892-1950"},{"slug":"meuhl_psychotic_party","ok":true,"partial":false,"title":"Psychotic Party","artist":"Otto Muehl","year":"1970","startOffset":0,"sourceSecs":1282.496,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":81263593,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meuhl_psychotic_party/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/meuhl_psychotic_party/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/meuhl_psychotic_party.mp4","hasFrames":true},{"slug":"michaux_henri_images_du_monde_visionnaire_1963","ok":true,"partial":false,"title":"Images du monde visionnaire","artist":"Henri Michaux","year":"1963","startOffset":0,"sourceSecs":2056.149,"sourceHeight":240,"sourceWidth":312,"hasAudio":true,"hasAmbientMp4":true,"bytes":123022292,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/michaux_henri_images_du_monde_visionnaire_1963/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/michaux_henri_images_du_monde_visionnaire_1963/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/michaux_henri_images_du_monde_visionnaire_1963.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/michaux_henri_images_du_monde_visionnaire_1963/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/michaux_henri_images_du_monde_visionnaire_1963/main/master.m3u8?v=2","hasMainHls":true,"description":"Henri Michaux and Eric Duvivier (1964, 34 min) <br/><br/> In 1963, Belgian writer, painter and mystic Henri Michaux collaborated with film maker Eric Duvivier on Images Du Monde Visionnaire. It was produced by Swiss pharmaceutical company Sandoz as an educational tool to demonstrate the visual effects of mescaline and hashish. The film was based on Michaux’s experiences with psychedelics which he documented in his books Miserable Miracle, L’Infini Turbulent and Paix Dans Les Brisements. <br/><br/> Michaux denounced the film as not being truly representative of the psychedelic experience. He felt that Duvivier, who had never taken mescaline, had no grasp of the drug experience and that film itself was incapable of replicating the visionary aspect of tripping. <br/><br/> When it was proposed to make a film about mescaline hallucinations, I have declared, I have repeated and I repeat it again, that that is to attempt the impossible. Even in a superior film, made with substantial means, with all one needs for an exceptional production, I must state beforehand the images will be insufficient. The images would have to be more dazzling, more instable, more subtle, more changeable, more ungraspable, more trembling, more tormenting, more writhing, infinitely more charged, more intensely beautiful, more frighteningly colored, more aggressive, more idiotic, more strange. <br/><br/> With regard to the film’s speed, it should be so high that all scenes would have to fit in fifty seconds. <br/> While I am sympathetic to Michaux’s frustrations on a spiritual level, I disagree with him about film not being up to the task of duplicating the psychedelic experience on a visual level. Of all the art forms, cinema can come closest to bending the mind in ways that approximate the psychedelic experience. The best examples of which are the films of Stan Brakhage and fragments of James Cameron’s Avatar. More of an avant-garde tone poem than educational film, here is Images Du Monde Visionnaire in its entirety. -- dangerousminds.net","artist_bio":"The French writer, painter and graphic artist Henri Michaux was born in the Belgian town of Namur in 1899 and spent his childhood in Brussels. He wanted to become a priest, but followed his father's wish and began to study medicine in 1919, but soon abandoned this plan and signed on as a seaman. After reading works by Lautréamont he began writing in 1922. His acquaintance with Paul Klee, Max Ernst and Giorgio de Chirico, whom he met in Paris in 1925, inspired him to first painting and drawing attempts. Between 1927 and 1937 he travelled through South America and Asia. Afterwards Michaux sketched and painted his Phantomisms. He had his first exhibitions in Parisian galleries, followed by important shows abroad. In the mid 1950s Michaux began experimenting with hallucinatory drugs, particularly with mescaline, letting his experiences inspire his writing, painting and drawing. These works were first exhibited in 1956 at the Galerie La Hune in Paris. Then there was a large exhibition at the Palais des Beaux-Arts in Brussels in December 1957 and a retrospective exhibition organised by Daniel Cordier in Frankfurt/Main in March 1959. His ink drawings evoke scriptural elements and calligraphic symbols which are a seismographic reflection of the artist's inner emotions. The two systems of word-language and sign-language pervade each other. Michaux's impressive oeuvre attracted much international recognition. He exhibited works at the documenta 2 and 3 in Kassel in 1959 and 1964; he was awarded the Einaudi-Prize at the Biennale in Venice in 1960. Michaux's paintings always remained figurative, in-spite of all tendency towards abstraction. The artist's intention was not to flee from the world, but to expand the world by changing the awareness. The real world was to be enhanced by additional levels of perception. Henri Michaux died in Paris in 1984 at the age of 85.","bio_dates":"1889-1984"},{"slug":"mik_aernout_raw_footage_2006_iphone","ok":true,"partial":false,"title":"Raw Footage","artist":"Aernout Mik","year":"2006","startOffset":0,"sourceSecs":4456.699,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":254404602,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mik_aernout_raw_footage_2006_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mik_aernout_raw_footage_2006_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mik_aernout_raw_footage_2006_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mik_aernout_raw_footage_2006_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mik_aernout_raw_footage_2006_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Raw Footage is a project on the experience and depiction of war, and how normality and extremity are interwoven in wartime situations. In Raw Footage, a two-channel video installation, Mik works with documentary footage for the first time. <br/><br/> The installation is made of raw, unedited images of the war in former Yugoslavia, which the artist unearthed after searching for months in the media archives of Reuters and Independent Television News (ITN). In search of other layers of reality, Mik focuses his attention on the war in former Yugoslavia with the aim of subverting the superficial, yet paradoxically spectacular imagery of war we know from mass media.film by Martens is a documentary in which the maker himself is constantly present as a performance artist. He not only conceived the concept, but is also the cameraman himself, and a reporter and political activist at the same time. With this personal presence, Episode III provides an alternative for the ostensible objectivity in documentary work by both visual artists and filmmakers.","artist_bio":"One of the great European documentarians, Nicolas Philibert began his education by studying philosophy and later worked as an assistant director with such filmmakers as Rene Allio and Alain Tanner. Philibert's ability to approach man with tenderness, directness and sensitivity appears in his film In the Land of the Deaf, an exploration of the world through the eyes of those born without the sense of hearing. In 1995 Philibert revisited the subject of museums--also explored in Louvre City--finding humanity and humor within these stately institutions. Animals and More Animals examines the zoological wing of France's Museum of Natural History, which had been closed for years, and brings to light its unusual treasures. Minimalist and exceedingly moving, Philibert's films have received awards in festivals and various events, but have also achieved a rare feat in France: box office success. Along with Cahiers du Cinema editor Jean Michel Frodon, Philibert joins us to discuss his unique work in nonfiction film.","bio_dates":"b. 1962"},{"slug":"mik_aernout_training_ground_2007","ok":true,"partial":false,"title":"Training Ground","artist":"Aernout Mik","year":"2007","startOffset":0,"sourceSecs":2184.208,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":342783798,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mik_aernout_training_ground_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mik_aernout_training_ground_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mik_aernout_training_ground_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mik_aernout_training_ground_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mik_aernout_training_ground_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"Aernout Mik: Training Ground<br/> Rituals of Engagment<br/> Essay by Claudia Schmuckli <br/><br/>Training Ground (2006), a looping thirty-eight-minute, two-channel-video installation by the Dutch artist Aernout Mik, is part on an ongoing investigation into what he characterizes as defining constituents of contemporary Western society. Having first explored the notion of civil war in pieces such as Raw Footage and Scapegoats (both 2006), he then turned his attention to the issue of illegal immigration. Training Ground, which was at the core of Citizens and Subjects, Mik’s contribution to the Fifty-second Venice Biennale, is exemplary of his recent engagement with pressing issues in the larger geopolitical arena and their metaphoric relevance to the uncertain condition of today’s world. <br/><br/>For the first ten minutes watching Training Ground, the viewer unfamiliar with Mik’s work might be fooled into believing that she is looking at footage of an actual training exercise for police officers in northern Europe as they are instructed in the ways to apprehend refugees and illegal immigrants. The uniformed and armed officials are assembled casually, receiving instructions and watching demonstrations of body searches on one of their own as they furtively put on their latex gloves, while the subjects of their investigation sit around and wait for their turn, seemingly unconcerned about what will or will not happen to them. When it is time for them to participate in the exercise, they do so with an impassive air, willing participants in a role-play. That something is slightly amiss readily becomes apparent as we realize that the people playing the refugees actually look the part. In their ethnic diversity and generational composition they seem too perfectly cast to be part of a regular law-enforcement exercise. This impression is further enhanced by the presence of a group of truck drivers taking a lunch break and watching the goings-on from a safe distance. Actual training would hardly unfold with such a realistic roster of actors or in a public arena, and we realize that what we are watching is a fictional enactment of a training session and not a real situation. <br/><br/>For the most part, the proceedings are recorded from multiple viewpoints within, provoking a sensation of physical immersion into the scene, which is reinforced by the work’s presentation. Installed at floor level, the two video screens mirror the position of the viewer, who by extension becomes part of this larger social body. About ten minutes into the loop, the perspective suddenly changes and we observe the action through the windshield of one of the trucks, the view partially obstructed by a phalanx of superhero figurines occupying the dashboard. Their intrepid poses and air of self-possession are mocked by a singular puppet head in their midst, sticking out its tongue at them and, in extension, at us. As the camera focuses on its ridiculing face, Mik introduces a different atmospheric element grounded more in notions of irony than of heroism. With this temporary change of viewpoint, things begin to unravel. Initially, the roles of police officers, refugees, and truck drivers are performed by the actors in keeping with conventions of embodiment and reflect established hierarchies of power. But this system abruptly breaks down: from a distance we see detainees escape or assuming control, truckers getting involved, and chaos breaking loose. By the time we find ourselves visually amid the actors again, the distinctions among police, refugees, and even truck drivers has become blurred, as their performance no longer corresponds to the behavioral patterns conventionally associated with their roles. Immigrants take over power, officers lose control and perform arrest techniques on one another, and truckers are captured or join arms with the immigrants, who now patrol the perimeter of the Training Ground with wooden replicas of shotguns. There is the occasional attempt to restore order, but any compliance with the status quo is temporary and additionally undermined by some characters entering a delirious stage from which only a few seem to recover. <br/><br/>If the unresolved and repetitious reversal of fortune among police, refugees, and the occasional truck driver introduces an element of the absurd, the trancelike state that some of the characters enter cements the sudden prevalence of an irrational force that seems to have taken hold of the situation. The delirious lose any control over their bodies; shaking and drooling, their civilian selves give way to spiritual possession. In fact, Mik—who usually gives minimal instructions to his actors, preferring them to feel their way through their performance based on the relational dynamics of the groups involved—here asked a few performers to act out states of delirium in direct citation of scenes from an ethnographic film made in 1954 by Jean Rouch and titled Les Maîtres Fous (Mad Masters). Rouch documented the ceremonial tradition of the Hauka, a sect active in parts of Ghana, who coped with its colonial past through a cathartic reenactment of the oppression during which its members entered a state of trance and possession by the spirit of their colonists. In Training Ground, Mik’s actors manifest the same physical ailments that befall the possessed in Rouch’s film. But here, the distinction between oppressor and oppressed becomes blurred to the point where we see police officers as well as refugees undergo spiritual entrancement. More importantly, though, the ritualistic aspects of Training Ground reveal the practice of exercise itself as representing a form of exorcism, albeit born out of fear and directed toward the future and not, as in Rouch’s example, necessitated by the trauma of a time past. <br/><br/>As Mik points out, there is an inherent risk in societies attempting to prepare for future emergencies such as the possible invasion by refugees and illegal immigrants alluded to in Training Ground: “We actively shape our present and future through imagining things to come through the prism of fear, anxiety and violence. . . . Complex as it is, it also seems that in the very idea of training, or preparation, a desire is embedded for things to happen in order to be able to employ the skills acquired. Does it not make things more likely to happen?”1 <br/><br/>With illegal immigration emerging as one of the main challenges to Western society, the concept of citizenry as a viable foundation for identity and political governance is increasingly thrown into question. Training Ground consciously destabilizes the supposedly heroic efforts involved in the protective mechanism of any nation. While raising questions about the imbalance of power relationships between those who have legal rights afforded to them by their nationality and those who don’t, Training Ground also warns of their potential for impermanence. Who is to say that in the course of the world’s ongoing ethnic, religious, and geographic reorganization, the national havens of today may not house the refugees of tomorrow? The reversal of roles is a simple but powerful demonstration of just such a possibility. Mik’s filmic theater of the absurd serves as a wake-up call against complacency and encourages reconsideration of the status quo. The creation of a demonstratively artificial scenario, here the enactment of a training exercise, allows “space for moral ambiguity”2 that, by instilling doubt about a situation, carries within it the possibility of change. This ambiguity becomes especially apparent when we realize that the actors have no knowledge of actual methods and procedures used in the enforcement of laws on illegal immigrants and how they affect apprehended refugees. Their simulation, with its overt emphasis on physicality, in terms of self-protection of the officials and aggression toward the immigrants, is based on collective projections or assumptions, oftentimes mitigated through media images. For Mik, the theatrical situation defines a space “where there is a possibility of hope and emancipation, or at least a space to test whether a creative obstruction of the existing pattern is a possibility or not.”3 <br/><br/>Training Ground implicitly bears a relation to current events in the Netherlands, where the hotly debated question of dual citizenship and resulting political loyalty is tied to ultranationalist concerns. But to interpret the work solely as a metaphor for this particular conflict and in view of Dutch immigration policy is falsely reductive. The Dutch situation is only one example of a broader development of nationalist impulses that seem to have taken the world hostage and are at the basis of the reigning atmosphere of heightened anxiety vis-à-vis the issue of immigration. In the context of the global war on terror, Training Ground’s message of hope and emancipation applies just as much to the situation in the United States as it does to that in Western Europe. It matters little if the potential threat comes from the east or the south. The fear of national invasion and economic erosion by an “other” is universal and the methods of prevention comparable. If we’re lucky, Mik’s message carries across national borders and into a collective consciousness where everybody is considered a citizen of the world. <br/><br/>1 Rosi Braidotti, Charles Esche, and Maria Hlavajova, eds., Citizens and Subjects: The Netherlands, for Example (Utrecht: BAK; Zürich: JRP Ringier, 2007), pp. 37–38. <br/><br/>2 Ibid., p. 36. <br/>3 Ibid., p. 38.<br/><br/>AERNOUT MIK was born in 1962 in Groningen, Netherlands, and now lives and works in Amsterdam. He’s had solo exhibitions at the Camden Arts Centre in London, Kunstverein Hannover in Germany, Fruitmarket Edinburgh, Scotland, UCLA Hammer Museum in Los Angeles, the New Museum in New York, MCA in Chicago, and Centre pour l’image contemporaine in Geneva, among many others. He recently represented the Dutch Pavillion at the Venice Biennale in Italy. <br><br> CLAUDIA SCHMUCKLI is the Curator of Contemporary Art at Blaffer Gallery, the Art Museum of the University of Houston. Exhibitions organized and publications written by her for Blaffer Gallery include Katrina Moorhead: A Thing Called Early Blur (2007), Amy Sillman: Suitors &amp; Strangers (2007), and Urs Fischer: Mary Poppins (2006).</br></br>","artist_bio":"One of the great European documentarians, Nicolas Philibert began his education by studying philosophy and later worked as an assistant director with such filmmakers as Rene Allio and Alain Tanner. Philibert's ability to approach man with tenderness, directness and sensitivity appears in his film In the Land of the Deaf, an exploration of the world through the eyes of those born without the sense of hearing. In 1995 Philibert revisited the subject of museums--also explored in Louvre City--finding humanity and humor within these stately institutions. Animals and More Animals examines the zoological wing of France's Museum of Natural History, which had been closed for years, and brings to light its unusual treasures. Minimalist and exceedingly moving, Philibert's films have received awards in festivals and various events, but have also achieved a rare feat in France: box office success. Along with Cahiers du Cinema editor Jean Michel Frodon, Philibert joins us to discuss his unique work in nonfiction film.","bio_dates":"b. 1962"},{"slug":"milgram_stanley_obedience_1962","ok":true,"partial":false,"title":"Obedience","artist":"Stanley Milgram","year":"1962","startOffset":0,"sourceSecs":2661.626,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":458159513,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/milgram_stanley_obedience_1962/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/milgram_stanley_obedience_1962/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/milgram_stanley_obedience_1962.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/milgram_stanley_obedience_1962/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/milgram_stanley_obedience_1962/main/master.m3u8?v=2","hasMainHls":true,"description":"Stanley Milgram, a psychologist at Yale University, conducted a study focusing on the conflict between obedience to authority and personal conscience. He examined justifications for acts of genocide offered by those accused at the World War II, Nuremberg War Crimes trials. Their defence often was based on \"obedience\" - - that they were just obeying orders whilst under the authority of their superiors.The experiment began in July 1961, a year after the trial of Adolf Eichmann in Jerusalem. Milgram devised the experiment to answer the question \"Could it be that Eichmann, and his million accomplices in the Holocaust were just following orders? Could we call them all accomplices?\" The results of the study were made known in Milgram's Obedience to Authority: An Experimental View (1974).\n\nSo-called \"teachers\" (who were actually the unknowing subjects of the experiment) were recruited by Milgram in response to a newspaper ad offering $4.50 for one hour's work. Individual subjects thus recruited turned up to take part in a Psychology experiment investigating memory and learning at Linsly-Chittenden Hall on Yale University's old campus. He or she was introduced to a stern looking experimenter in a white coat and to a rather pleasant and friendly co-subject who was also presumably recruited via the newspaper ad. The experimenter explained that one subject would be assigned the role of \"teacher\" and the other would be assigned the role of \"learner.\"\n\nTwo slips of paper marked \"teacher\" were handed to the subject and to the co-subject. The co-subject was actually an actor who, in posing as a subject to the experiment, subsequently claimed that his slip said \"learner\" such that the unknowing subject was inevitably led to believe that his role as \"teacher\" had been chosen randomly.\n\nBoth learner and teacher were then given a sample 45-volt electric shock from an apparatus attached to a chair into which the \"actor-learner\" was to be strapped. The fictitious story given to the \"teachers\" was that the experiment was intended to explore the effects of punishment for incorrect responses on learning behavior.\n\nA succession of unknowing subjects in their roles as teacher were given simple memory tasks in the form of reading lists of two word pairs and asking the \"learner\" to read them back and were instructed to administer a shock by pressing a button each time the learner made a mistake. It was understood that the electric shocks were to be of increased by 15 volts in intensity for each mistake the \"learner\" made during the experiment.\n\nThe shock generator that the \"teacher\" was told to operate had 30 switches in 15 volt increments, each switch was labeled with a voltage ranging from 15 up to 450 volts. Each switch also had a rating, ranging from \"slight shock\" to \"danger: severe shock\". The final two switches being labeled \"XXX\". The experiment was conducted in a scenario where the \"learner\" was in another room but the \"teacher\" was made aware of the \"actor-learner's\" discomfort by poundings on the wall.\n\nNo further shocks were actually delivered - the \"teacher\" was not aware that the \"learner\" in the study was actually an actor who was intended, by the requirements of the experiment, to use his talents to indicate increasing levels of discomfort as the \"teacher\" administered increasingly severe electric shocks in response to the mistakes made by the \"learner\".\n\nThe experimenter was present in the same room as the \"teacher\" and whenever \"teachers\" asked whether increased shocks should be given he or she was verbally encouraged by the experimenter to continue. In this scenario 65% of the \"teachers\" obeyed orders to punish the learner to the very end of the 450-volt scale! No subject stopped before reaching 300 volts!\n\nAt times, the worried \"teachers\" questioned the experimenter, asking who was responsible for any harmful effects resulting from shocking the learner at such a high level. Upon receiving the answer that the experimenter assumed full responsibility, teachers seemed to accept the response and continue shocking, even though some were obviously extremely uncomfortable in doing so.\n\n\"Before the experiments, I sought predictions about the outcome from various kinds of people -- psychiatrists, college sophomores, middle-class adults, graduate students and faculty in the behavioral sciences. With remarkable similarity, they predicted that virtually all the subjects would refuse to obey the experimenter. The psychiatrist, specifically, predicted that most subjects would not go beyond 150 volts, when the victim makes his first explicit demand to be freed. They expected that only 4 percent would reach 300 volts, and that only a pathological fringe of about one in a thousand would administer the highest shock on the board\".\n\nThe Obedience to Authority experiment was continued by Milgram over a number of other scenarios such as where the \"learner\" could indicate discomfort by way of voice feedback - at \"150 volts\", the \"actor-learner\" requested that the experiment end, and was consistently told by the experimenter that - \"The experiment requires that you continue. Please go on.\" or similar words. In this scenarion the percentage of subjects who were prepared to administer the maximum 450 volts dropped slightly to 62.5%\n\nWhere the experiment was conducted in a nondescript office building rather than within the walls of a prestigiously ornate hall on Yale's old campus the percentage of subjects who were prepared to administer the maximum voltage dropped to 47.5%.\n\nWhere the \"teacher\" had to physically place the \"learner's\" hand on a \"shock plate\" in order to give him shocks above 150 volts the percentage of subjects who were prepared to administer the maximum voltage dropped to 30.0% and where the \"experimenter\" was at end of a phone line rather than being in the same room the percentage of subjects who were prepared to administer 450 volts dropped to 20.5% and where the \"teacher\" could himself nominate the shock level the percentage of subjects who were prepared to continue to the end of the scale dropped to 2.5%\n\n\"The legal and philosophic aspects of obedience are of enormous import, but they say very little about how most people behave in concrete situations. I set up a simple experiment at Yale University to test how much pain an ordinary citizen would inflict on another person simply because he was ordered to by an experimental scientist. Stark authority was pitted against the subjects' strongest moral imperatives against hurting others, and, with the subjects' ears ringing with the screams of the victims, authority won more often than not. The extreme willingness of adults to go to almost any lengths on the command of an authority constitutes the chief finding of the study and the fact most urgently demanding explanation.\"\n\nThe experiment has been repeated by other psychologists around the world with similar results. Variations have been performed to test for variables in the experimental setup. For example, subjects are much more likely to be obedient when the experimenter is physically present than when the instructions are given over telephone."},{"slug":"miller_john_something_for_everyone_2004","ok":true,"partial":false,"title":"Something for Everyone","artist":"John Miller","year":"2001","startOffset":0,"sourceSecs":1801.707,"sourceHeight":472,"sourceWidth":620,"hasAudio":true,"hasAmbientMp4":true,"bytes":307283432,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/miller_john_something_for_everyone_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/miller_john_something_for_everyone_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/miller_john_something_for_everyone_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/miller_john_something_for_everyone_2004/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/miller_john_something_for_everyone_2004/main/master.m3u8?v=2","hasMainHls":true,"description":"John Miller and Richard Hoeck<br/><br/>This work builds on the theme of John Miller and Richard Hoeck's installation,  <i>Delivery in the Rear</i>, namely a mannequin dressed in a UPS uniform.  It extends the scenario into a 30-minute narrative. For this  Miller and  Hoeck chose conventional narrative cinematographiy instead of the Warholian conventions that dominate video art: real-time,  static camera, etc. Even so, their narrative schema is minimal, appropriated from both the soft-core,  \"window-washer\" porn genre and the travelogue. As if to compensate for his low-level, dead-end job, each delivery seems to hold out the promise (or threat) of sex for the protagonist. Where pornography typically attempts to arouse viewers,  Something for Everyone instead shows frustration at every turn, offering pleasure only in storytelling and Schadenfreude. Against this, the artifice of overdetermined gender roles begins to stand out. Set in Vienna, the video also offers a stylized homage to the city´s working-class districts and a series of cameos from the denizens of its art scene.","bio_dates":"1945-1980"},{"slug":"miller_larry_some_fluxus_1991_iphone","ok":true,"partial":false,"title":"Some Fluxus","artist":"Larry Miller","year":"1991","startOffset":0,"sourceSecs":3525.57,"sourceHeight":296,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":204146026,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/miller_larry_some_fluxus_1991_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/miller_larry_some_fluxus_1991_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/miller_larry_some_fluxus_1991_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/miller_larry_some_fluxus_1991_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/miller_larry_some_fluxus_1991_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1991, 59 min, b&w and color, sound <br/><br/> This video documentary explores the breadth and diversity of Fluxus. Some Fluxus features performances from Miller's extensive archive, including works by Ay-O, Eric Anderson, George Brecht, Philip Corner, Jean Dupuy, Ken Friedman, Al Hansen, Geoffrey Hendricks, Dick Higgins, Joe Jones, Milan Knizak, Alison Knowles, Larry Miller, Takako Saito, Mieko Shiomi, Yasunao Tone, Yoshi Wada, Ben Vautier, and Robert Watts. Excerpts from Miller's 1978 Interview with George Maciunas are intercut with the performances, providing historical contextualization for this highly influential movement. -- <a href=\"http://www.eai.org/title.htm?id=3335\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/miller.html\" rel=\"noopener\" target=\"_blank\">Larry Miller in UbuWeb Sound</a></br>","bio_dates":"b. 1944"},{"slug":"minh_ha_trinh_t_an_interview_2010","ok":true,"partial":false,"title":"An Interview","artist":"Trinh T. Minh-ha","year":"1989","startOffset":0,"sourceSecs":1817.303,"sourceHeight":486,"sourceWidth":648,"hasAudio":true,"hasAmbientMp4":true,"bytes":306203821,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minh_ha_trinh_t_an_interview_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minh_ha_trinh_t_an_interview_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/minh_ha_trinh_t_an_interview_2010.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minh_ha_trinh_t_an_interview_2010/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minh_ha_trinh_t_an_interview_2010/main/master.m3u8?v=2","hasMainHls":true,"description":"Originally trained as a musical composer, receiving her MFA and Ph.D. from the University of Illinois, Champaign-Urbana, Trinh T. Minh-ha (b. 1952) is a world-renowned documentary feminist filmmaker and expert on avant-garde and third world post-colonial film theory. In 1970, Minh-ha came to the United States from Vietnam at the age of seventeen. Since then she has been involved in film, musical composition, social theory, and critical writing. She is Professor of Women's Studies and Rhetoric at the University of California Berkeley, specializing in Film Theory and Production, Third World Film, and Feminist Theory. <br/><br/> This interview focuses on three films by Trinh T. Minh Ha; Reassemblage (1982), Naked Spaces: Living is Round (1985), and Surname Viet Given Name Nam (1989). As a feminist and post-colonial theorist, Minh Ha's interests lie with the power and politics of language, as well as the forces of ethnocentrism and colonialism that naturalize the telling of histories. In this interview, she discusses her decision to move to Dakar, Senegal, and the impetus for the production of her first film, Reassemblage. The film was created to oppose the institutional knowledge of \"Africa\" depicted by the colonial administration. Minh Ha also describes how her second film Naked Spaces similarly investigates the performance of identity through the work of translation. <br/><br/> In addition to providing insight into Minh Ha's films, this interview offers a commentary on the format of the \"interview\" itself as an object shaped by cultural and political positioning. Discussing her own use of interviews in filmmaking, Minh Ha invites viewers to take a more critical approach to the frameworks of information through which they receive cultural records. She interestingly exposes the \"politics of the interview\" while also suggesting that conversations are invaluable tools for the construction of identity, public memory, and cross-cultural communication.","artist_bio":"Trinh T. Minh-ha & Jean-Paul Bourdier - Night Passage (2004)\nTrinh T. Minh-ha (born 1952) is a filmmaker, writer, academic and composer. She is a world-renowned independent filmmaker and feminist, post-colonial theorist. She teaches courses that focuses on women's work as related to cultural politics, post-coloniality, contemporary critical theory and the arts. The seminars she offers focus on Third cinema, film theory and aesthetics, the voice in cinema, the autobiographical voice, critical theory and research, cultural politics and feminist theory. She has been making films for over twenty years and may be best known for her first film Reassemblage, made in 1982. She has received several awards and grants, including the American Film Institute's National Independent Filmmaker Maya Deren Award, and Fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts and the California Arts Council. Her films have been the subject of twenty retrospectives.\nBORN IN VIETNAM, Trinh T. Minh-ha is a writer, composer and filmmaker She has been making films for better than ten years and may be best known for her first film Reassemblage, made in 1982. However her most recent film Surname Viet, Given Name Nam (1989), which examines \"identity and culture through the struggle of Vietnamese women\" has received much attention, including winning the Blue Ribbon Award at the American Film and Video festival Trinh T. Minh-ha is a professor of Woman Studies and Film at the University of California, Berkely and was recently a Visiting Professor at Harvard University.\nLI: How do you feel that writing and film differently serve the needs of your message?\nTM-H: I rarely think in terms of message. I think more in terms of processes of transformation. Every film that I make, for example, is a transformative process for me. I mean by that that whenever I start a film, I may start with an idea, an image or an impression. By the time I finish the film, lam somewhere else altogether, even though 1 have not lost what I started out with. In the process of making the film your consciousness has changed considerably.\nIt's the same with writing. I am not writing just to give a message, even though in my writings and my films I am always concerned with something that is very specific. For example, the subject that you have deliberately decided to focus on would be the site around which your energy would deploy. But, on the other hand, the subject is not all that there is in writing, and in filmmaking. One should always offer the reader and the viewer something else than just the subject. And that something else has to do with writing itself and with the tools that define your activities as a writer or a filmmaker. By focusing on these, you also offer the reader or the viewer your social positioning-how you position yourself as a writer and a filmmaker in society. So these are the issues that I immediately face in writing and in filmmaking.\nBut your question also focuses on the difference between writing and film. Film really allows me to pull together the many interests that I have had in different media, in the visual arts-Chinese ink painting and oil painting, for example.\nOn the other hand, film is a very expensive medium so when you make films, economically you really put your existence at stake, because you really don't know how you will be doing next year or on what kind of money you'll be living, since your debts are never-ending. Filmmaking does involve a lot of economical risk.\nAlso film is a younger medium, so for example, when I finished my first 16 millimeter film Reassemblage in 1982, for a whole year I didn't know bow it was going to be picked up, who was going to accept it, where it was going to be circulated. It took a whole year with rejections from everywhere, before the film finally took off. But once the film got to be shown in different venues, it provoked impassioned responses from all fronts. This has been a very rewarding process, and actually Reassemblage is one of my most circulated films.\nWith a book it is much more difficult for me because the literary establishment is older and far more conservative. I'd say that the book that really took off for me was Woman, Native, Other, written in 1983. It took me eight years to find a publisher. So I would say that in comparison, the literary establishment is much more difficult to break into when it is a question of doing different kinds of work-works that are not readily classified. But, on the other hand, with a book you don't risk that much, you don't have to put your economic livelihood on the line. With a pen and some ink you can go on writing. Whereas with\nfilm, I really need to have a block of time available in order to work intensively on my own and with other people. It usually takes a whole year. So each medium has its own advantages and disadvantages.\nLI: Why was it important to print the scripts of your films and also the constructive processes of your films - the lighting and the setting-in your book, Framer Framed?\nTM-H: The publication of scripts is a very common practice. As for the lighting and setting instructions, it is important to show sonic of the processes of materializing a scene on film. Actually, you put your finger on a very important aspect of my scripts, which is that these scripts were not written before the film was made. They were mostly written during the shooting and during the editing. So the final form my scripts took at the time of publication is a form that was put together after the film was made. In that sense, they are tools that one works with rather than texts that one tries to conform to. It is important to keep in mind that the script is no more than a kind of skeleton. It is like a dead skin that the film leaves behind once it is completed.\nLI: You wrote in your book When The Moon Waxes Red that many independent women are rejecting the label of feminist. Are you bothered by being ca/led a feminist filmmaker, a feminist writer?\nTM-H: Depending on who's saying it. Every time that a label is put on someone, what is important is to see through the context in which such labels have been devised. I don't have any problem with being labeled a \"feminist\", it all depends on what is meant and connoted. It could be just a way of narrowing down the space in which you can work authoritatively \"as a feminist.\" This I find to he very problematic.\nHowever, labels circulate all the time in every sphere of our lives, and once more, it all depends on how one uses them. One can use it in an eye-opening way, so that the term \"feminist\" does not actually only concern women, for example. But it has to do with society in general. So you are not just talking about women, but also about a feminist consciousness that informs both men's and women s actions in daily life. Being a feminist is therefore being a critic of society in its oppressive workings.\nLI: I often find that there is a gap between film theory and criticism and actual production. Yet I see you as forming a bridge between the two. Do you see yourself in that way?\nTM-H: Oh yes. I have no problem with being more than one thing and carrying out several functions at the same time. It is only when I am reduced to being \"either/or\" that clear-cut boundaries become very questionable to me. For example, there is a certain tradition in viewing, and you can recognize it in many of the mainstream filmmakers or film industry discourse around cinema: if you are a filmmaker and you start making films that make people think, then you are said to be doomed because you ate no longer a popular entertainer. This is the form of established individualism linked to a context of capitalism as we have known it: here you can only he one thing at a time, a recognizable entity whose function is fixed in society. So if you are several things at the same time, people don't really know how to classify you. They don't know what kind of function you fulfill. And we are now in a period of history where all these fixed boundaries are being put to question. Boundaries keep on being modified. On the map of world politics, you see nations breaking down, identities being reclaimed. At the same time, you have a strong sense of separatism, you also have a very strong sense of independence. So while all these ate being played out in international politics, you also have a situation in society where people can no longer be just one thing.\nFor example, an artist cannot say \"I couldn't care less about the audience that I have, about how my work is going to circulate; I'm just going to make my art as people have done in the past: to be pure in my intent and in my activities.\" You simply can't do that because you are constantly faced with other aspects of life. You have to goon earning a living, putting to work your many selves. Filmmakers find that they have to he involved with all aspects of film production, distribution, circulation, exhibition. You constantly deal with the politics of culture. I have had to fight this reductive form of individualism so many times that it becomes almost like a natural background noise For me to be condemned for being several things at the same time. People say that if you are a scholar, if you are teaching in an academic institution, you can't he an artist. People will always condemn the other aspect of yourself or your other selves. And when you move into the film world, you can't say anything about your scholarly quest or your theoretical background. You better hide that part because all they are interested in is the visionary artist, not one who would fall into the impure realm of theory and ideology.\nLI: In When The Moon Waxes Red, you say \"There is a need to make films politically as opposed to making political films.\" What is the difference between the two? Do you think it is possible to make a film without political ramifications?\nTM-H: The answer has to do with how one sees the political. The filmmaker Jean-Luc Godard made a distinction between making films politically and making films that focus on a political subject or have a political content. Films classified as \"political\" usually center on authority figures. On institutions or on personalities from the body politic; or else, they focus, for example, on a strike of the workers, or a crisis that happened between suppliers and consumers or between the boss and the workers.\nSuch a reductive concept of the \"political\" has been challenged by the work carried out in the women's movement. The feminist struggle has contributed to breaking down the dichotomy between the private and the public or the personal and the societal. Is the political only something that focuses on the evident sources of authorities or institutions or of institutional values, or is the political also something that seeps in and invades every aspect of our lives?\nMany contemporary theorists, like Michel Foucault, have focused their studies on power relationships in the intimate realms of our lives. Power relationships are, therefore, not just to be located in these evident sources that I have mentioned. Even if you criticize these sources, even if you eradicate them, the question remains how is it that we continue in our daily life to be violent, to be racist, to be sexist, to be homophobic, xenophobic and so on? How is it that we continue to oppress while being oppressed? So it must be in something that is much more than these locatable evident sources of power.\nWe come to a situation in which to make a Elm politically would be to put to question your own position as filmmaker. Power relationships can be looked at from many angles. You can look at how technology and the toots that define your activities are never neutral, and how they are always interpellated by ideology. The film industry, for example, has technologies that serve its own ideology of expansion and consumption.\nWhen you work politically, you have to politicize all aspects of filmmaking. So it's not just when you focus on a political subject that your film is political. The film is not yet political enough, because you can focus on a political subject and yet reproduce all the language of the mainstream ideology reproducing thereby its oppressive mechanisms. In other words, to open up the field of your political activities you have to think politically about every aspect, not just the content of the film.\nThere are no apolitical works, hut some works politicize the daily realms of our lives and other works simply look at these daily realms without offering the viewer a critical space in which the tensions between the political and the personal are played out. So sometimes a filmmaker might think that their work does not have anything to do with\nthe political, but, as I said, there are no \"apolitical\" films. For someone to say \"I'm apolitical\" simply means \"I haven't yet politicized my life or my work.\"\nLI: I think many film students would he interested to know your filming process. For example, how do you get crews and finds together to make your films?\nTM-H: (I'm speaking here to film students about funding. If I were speaking to a wider audience I would speak very differently.) It is very useful to think of funding not as something that is outside of yourself. You don't wait until the budget comes to you before you start on a project, which is the kind of attitude molded after that found in the mainstream film industry. People always think that if you don't have the budget for a film, you can't work on it.\nI think that there are many kinds of filmmaking and one need not be bound to the model that dominates the media. If you have a lot of money, you can use that money, but if you don't have money, you are still going to make films, just a different kind of film. I didn't have money when I was making Reassemblage. That film can be said to be made by myself from A to Z. The cinematography, the writing, the editing, even the conforming of the negative of the film was all done by myself In other words, you fulfill all the functions, and like an artisan, you do the whole craft. You are not dependent on expertise and division of labor. That kind of film is, of course, something that experimental and avant-garde filmmakers always cherish because it allows them not to he dependent on any major sources of funding. They can incorporate the film process in their lives. So instead of going out to buy a package of cigarettes, you would go out and buy a can of film. And the cans of film you would get here-and-there would serve little-by-little to make a film. It is something that is incorporated into your daily expenses.\nFor me this is an important attitude that one can also adopt when writing for grants, for example, even if the world of grant donors is not always sympathetic to it. Because if they gave me $100,000 for a film, then I would make a certain kind of film. And if I only get $30,000 for a film, then I would make another kind of film. And neither film would be more important than the other. It is not a question of quality, it is a question of difference. So with these different approaches to filmmaking, you excel in the artistic realm, as well as in the so-called \"entertaining\" realm where you receive more money and can use a larger crew. One should keep in mind that kind of versatility, which allows one to go from one kind of filmmaking to another.\nAs for the question of crew, I usually prefer to work with a very small crew and with people who are really involved in many aspects of independent filmmaking. I work, for example, with cinematographer Kathleen Beeler who is independent filmmaker herself working both for the commercial film industry and for other independent filmmakers. She survives by charging the usual huge amount for work effected for the film industry while working for almost nothing for independent filmmakers. She and my other crew members are people highly committed to independent filmmaking and to different forms of filmmaking, so they are not just stuck in one realm of activities and remain receptive to innovations in film.","bio_dates":"b. 1952"},{"slug":"minh_ha_trinh_t_fourth_dimension_2001","ok":true,"partial":false,"title":"The Fourth Dimension","artist":"Trinh T. Minh-ha","year":"2001","startOffset":0,"sourceSecs":5225.12,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":299345422,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minh_ha_trinh_t_fourth_dimension_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minh_ha_trinh_t_fourth_dimension_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/minh_ha_trinh_t_fourth_dimension_2001.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minh_ha_trinh_t_fourth_dimension_2001/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minh_ha_trinh_t_fourth_dimension_2001/main/master.m3u8?v=2","hasMainHls":true,"description":"Today, when one goes on a journey, the travel is ritualized through the visual machine. The image, coming alive in time as it frames time, is there where the actual and virtual meet. In the process of ritualizing Japan's \"hundred flowers,\" it is the encounter between self and other, human and machine, viewer and image, fact and fancy that determines the field of relations in which new interactions between past and present are made possible. Shown in their widespread functions and manifestations, including more evident loci such as festival, religious rite and theatrical performance, \"rituals\" involve not only the regularity in the structure of everyday life, but also the dynamic agents in the ongoing process of creating digital images at the speed of light.","artist_bio":"Trinh T. Minh-ha & Jean-Paul Bourdier - Night Passage (2004)\nTrinh T. Minh-ha (born 1952) is a filmmaker, writer, academic and composer. She is a world-renowned independent filmmaker and feminist, post-colonial theorist. She teaches courses that focuses on women's work as related to cultural politics, post-coloniality, contemporary critical theory and the arts. The seminars she offers focus on Third cinema, film theory and aesthetics, the voice in cinema, the autobiographical voice, critical theory and research, cultural politics and feminist theory. She has been making films for over twenty years and may be best known for her first film Reassemblage, made in 1982. She has received several awards and grants, including the American Film Institute's National Independent Filmmaker Maya Deren Award, and Fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts and the California Arts Council. Her films have been the subject of twenty retrospectives.\nBORN IN VIETNAM, Trinh T. Minh-ha is a writer, composer and filmmaker She has been making films for better than ten years and may be best known for her first film Reassemblage, made in 1982. However her most recent film Surname Viet, Given Name Nam (1989), which examines \"identity and culture through the struggle of Vietnamese women\" has received much attention, including winning the Blue Ribbon Award at the American Film and Video festival Trinh T. Minh-ha is a professor of Woman Studies and Film at the University of California, Berkely and was recently a Visiting Professor at Harvard University.\nLI: How do you feel that writing and film differently serve the needs of your message?\nTM-H: I rarely think in terms of message. I think more in terms of processes of transformation. Every film that I make, for example, is a transformative process for me. I mean by that that whenever I start a film, I may start with an idea, an image or an impression. By the time I finish the film, lam somewhere else altogether, even though 1 have not lost what I started out with. In the process of making the film your consciousness has changed considerably.\nIt's the same with writing. I am not writing just to give a message, even though in my writings and my films I am always concerned with something that is very specific. For example, the subject that you have deliberately decided to focus on would be the site around which your energy would deploy. But, on the other hand, the subject is not all that there is in writing, and in filmmaking. One should always offer the reader and the viewer something else than just the subject. And that something else has to do with writing itself and with the tools that define your activities as a writer or a filmmaker. By focusing on these, you also offer the reader or the viewer your social positioning-how you position yourself as a writer and a filmmaker in society. So these are the issues that I immediately face in writing and in filmmaking.\nBut your question also focuses on the difference between writing and film. Film really allows me to pull together the many interests that I have had in different media, in the visual arts-Chinese ink painting and oil painting, for example.\nOn the other hand, film is a very expensive medium so when you make films, economically you really put your existence at stake, because you really don't know how you will be doing next year or on what kind of money you'll be living, since your debts are never-ending. Filmmaking does involve a lot of economical risk.\nAlso film is a younger medium, so for example, when I finished my first 16 millimeter film Reassemblage in 1982, for a whole year I didn't know bow it was going to be picked up, who was going to accept it, where it was going to be circulated. It took a whole year with rejections from everywhere, before the film finally took off. But once the film got to be shown in different venues, it provoked impassioned responses from all fronts. This has been a very rewarding process, and actually Reassemblage is one of my most circulated films.\nWith a book it is much more difficult for me because the literary establishment is older and far more conservative. I'd say that the book that really took off for me was Woman, Native, Other, written in 1983. It took me eight years to find a publisher. So I would say that in comparison, the literary establishment is much more difficult to break into when it is a question of doing different kinds of work-works that are not readily classified. But, on the other hand, with a book you don't risk that much, you don't have to put your economic livelihood on the line. With a pen and some ink you can go on writing. Whereas with\nfilm, I really need to have a block of time available in order to work intensively on my own and with other people. It usually takes a whole year. So each medium has its own advantages and disadvantages.\nLI: Why was it important to print the scripts of your films and also the constructive processes of your films - the lighting and the setting-in your book, Framer Framed?\nTM-H: The publication of scripts is a very common practice. As for the lighting and setting instructions, it is important to show sonic of the processes of materializing a scene on film. Actually, you put your finger on a very important aspect of my scripts, which is that these scripts were not written before the film was made. They were mostly written during the shooting and during the editing. So the final form my scripts took at the time of publication is a form that was put together after the film was made. In that sense, they are tools that one works with rather than texts that one tries to conform to. It is important to keep in mind that the script is no more than a kind of skeleton. It is like a dead skin that the film leaves behind once it is completed.\nLI: You wrote in your book When The Moon Waxes Red that many independent women are rejecting the label of feminist. Are you bothered by being ca/led a feminist filmmaker, a feminist writer?\nTM-H: Depending on who's saying it. Every time that a label is put on someone, what is important is to see through the context in which such labels have been devised. I don't have any problem with being labeled a \"feminist\", it all depends on what is meant and connoted. It could be just a way of narrowing down the space in which you can work authoritatively \"as a feminist.\" This I find to he very problematic.\nHowever, labels circulate all the time in every sphere of our lives, and once more, it all depends on how one uses them. One can use it in an eye-opening way, so that the term \"feminist\" does not actually only concern women, for example. But it has to do with society in general. So you are not just talking about women, but also about a feminist consciousness that informs both men's and women s actions in daily life. Being a feminist is therefore being a critic of society in its oppressive workings.\nLI: I often find that there is a gap between film theory and criticism and actual production. Yet I see you as forming a bridge between the two. Do you see yourself in that way?\nTM-H: Oh yes. I have no problem with being more than one thing and carrying out several functions at the same time. It is only when I am reduced to being \"either/or\" that clear-cut boundaries become very questionable to me. For example, there is a certain tradition in viewing, and you can recognize it in many of the mainstream filmmakers or film industry discourse around cinema: if you are a filmmaker and you start making films that make people think, then you are said to be doomed because you ate no longer a popular entertainer. This is the form of established individualism linked to a context of capitalism as we have known it: here you can only he one thing at a time, a recognizable entity whose function is fixed in society. So if you are several things at the same time, people don't really know how to classify you. They don't know what kind of function you fulfill. And we are now in a period of history where all these fixed boundaries are being put to question. Boundaries keep on being modified. On the map of world politics, you see nations breaking down, identities being reclaimed. At the same time, you have a strong sense of separatism, you also have a very strong sense of independence. So while all these ate being played out in international politics, you also have a situation in society where people can no longer be just one thing.\nFor example, an artist cannot say \"I couldn't care less about the audience that I have, about how my work is going to circulate; I'm just going to make my art as people have done in the past: to be pure in my intent and in my activities.\" You simply can't do that because you are constantly faced with other aspects of life. You have to goon earning a living, putting to work your many selves. Filmmakers find that they have to he involved with all aspects of film production, distribution, circulation, exhibition. You constantly deal with the politics of culture. I have had to fight this reductive form of individualism so many times that it becomes almost like a natural background noise For me to be condemned for being several things at the same time. People say that if you are a scholar, if you are teaching in an academic institution, you can't he an artist. People will always condemn the other aspect of yourself or your other selves. And when you move into the film world, you can't say anything about your scholarly quest or your theoretical background. You better hide that part because all they are interested in is the visionary artist, not one who would fall into the impure realm of theory and ideology.\nLI: In When The Moon Waxes Red, you say \"There is a need to make films politically as opposed to making political films.\" What is the difference between the two? Do you think it is possible to make a film without political ramifications?\nTM-H: The answer has to do with how one sees the political. The filmmaker Jean-Luc Godard made a distinction between making films politically and making films that focus on a political subject or have a political content. Films classified as \"political\" usually center on authority figures. On institutions or on personalities from the body politic; or else, they focus, for example, on a strike of the workers, or a crisis that happened between suppliers and consumers or between the boss and the workers.\nSuch a reductive concept of the \"political\" has been challenged by the work carried out in the women's movement. The feminist struggle has contributed to breaking down the dichotomy between the private and the public or the personal and the societal. Is the political only something that focuses on the evident sources of authorities or institutions or of institutional values, or is the political also something that seeps in and invades every aspect of our lives?\nMany contemporary theorists, like Michel Foucault, have focused their studies on power relationships in the intimate realms of our lives. Power relationships are, therefore, not just to be located in these evident sources that I have mentioned. Even if you criticize these sources, even if you eradicate them, the question remains how is it that we continue in our daily life to be violent, to be racist, to be sexist, to be homophobic, xenophobic and so on? How is it that we continue to oppress while being oppressed? So it must be in something that is much more than these locatable evident sources of power.\nWe come to a situation in which to make a Elm politically would be to put to question your own position as filmmaker. Power relationships can be looked at from many angles. You can look at how technology and the toots that define your activities are never neutral, and how they are always interpellated by ideology. The film industry, for example, has technologies that serve its own ideology of expansion and consumption.\nWhen you work politically, you have to politicize all aspects of filmmaking. So it's not just when you focus on a political subject that your film is political. The film is not yet political enough, because you can focus on a political subject and yet reproduce all the language of the mainstream ideology reproducing thereby its oppressive mechanisms. In other words, to open up the field of your political activities you have to think politically about every aspect, not just the content of the film.\nThere are no apolitical works, hut some works politicize the daily realms of our lives and other works simply look at these daily realms without offering the viewer a critical space in which the tensions between the political and the personal are played out. So sometimes a filmmaker might think that their work does not have anything to do with\nthe political, but, as I said, there are no \"apolitical\" films. For someone to say \"I'm apolitical\" simply means \"I haven't yet politicized my life or my work.\"\nLI: I think many film students would he interested to know your filming process. For example, how do you get crews and finds together to make your films?\nTM-H: (I'm speaking here to film students about funding. If I were speaking to a wider audience I would speak very differently.) It is very useful to think of funding not as something that is outside of yourself. You don't wait until the budget comes to you before you start on a project, which is the kind of attitude molded after that found in the mainstream film industry. People always think that if you don't have the budget for a film, you can't work on it.\nI think that there are many kinds of filmmaking and one need not be bound to the model that dominates the media. If you have a lot of money, you can use that money, but if you don't have money, you are still going to make films, just a different kind of film. I didn't have money when I was making Reassemblage. That film can be said to be made by myself from A to Z. The cinematography, the writing, the editing, even the conforming of the negative of the film was all done by myself In other words, you fulfill all the functions, and like an artisan, you do the whole craft. You are not dependent on expertise and division of labor. That kind of film is, of course, something that experimental and avant-garde filmmakers always cherish because it allows them not to he dependent on any major sources of funding. They can incorporate the film process in their lives. So instead of going out to buy a package of cigarettes, you would go out and buy a can of film. And the cans of film you would get here-and-there would serve little-by-little to make a film. It is something that is incorporated into your daily expenses.\nFor me this is an important attitude that one can also adopt when writing for grants, for example, even if the world of grant donors is not always sympathetic to it. Because if they gave me $100,000 for a film, then I would make a certain kind of film. And if I only get $30,000 for a film, then I would make another kind of film. And neither film would be more important than the other. It is not a question of quality, it is a question of difference. So with these different approaches to filmmaking, you excel in the artistic realm, as well as in the so-called \"entertaining\" realm where you receive more money and can use a larger crew. One should keep in mind that kind of versatility, which allows one to go from one kind of filmmaking to another.\nAs for the question of crew, I usually prefer to work with a very small crew and with people who are really involved in many aspects of independent filmmaking. I work, for example, with cinematographer Kathleen Beeler who is independent filmmaker herself working both for the commercial film industry and for other independent filmmakers. She survives by charging the usual huge amount for work effected for the film industry while working for almost nothing for independent filmmakers. She and my other crew members are people highly committed to independent filmmaking and to different forms of filmmaking, so they are not just stuck in one realm of activities and remain receptive to innovations in film.","bio_dates":"b. 1952"},{"slug":"minh_ha_trinh_t_naked_spaces_living_is_round_1985","ok":true,"partial":false,"title":"Naked Spaces: Living Is Round","artist":"Trinh T. Minh-ha","year":"1985","startOffset":0,"sourceSecs":8219.587,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":468030579,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minh_ha_trinh_t_naked_spaces_living_is_round_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minh_ha_trinh_t_naked_spaces_living_is_round_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/minh_ha_trinh_t_naked_spaces_living_is_round_1985.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minh_ha_trinh_t_naked_spaces_living_is_round_1985/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minh_ha_trinh_t_naked_spaces_living_is_round_1985/main/master.m3u8?v=2","hasMainHls":true,"description":"Shot with stunning elegance and clarity, NAKED SPACES explores the rhythm and ritual of life in the rural environments of six West African countries (Mauritania, Mali, Burkino Faso, Togo, Benin and Senegal). The nonlinear structure of NAKED SPACES challenges the traditions of ethnographic filmmaking, while sensuous sights and sounds lead the viewer on a poetic journey to the most inaccessible parts of the African continent: the private interaction of people in their living spaces.","artist_bio":"Trinh T. Minh-ha & Jean-Paul Bourdier - Night Passage (2004)\nTrinh T. Minh-ha (born 1952) is a filmmaker, writer, academic and composer. She is a world-renowned independent filmmaker and feminist, post-colonial theorist. She teaches courses that focuses on women's work as related to cultural politics, post-coloniality, contemporary critical theory and the arts. The seminars she offers focus on Third cinema, film theory and aesthetics, the voice in cinema, the autobiographical voice, critical theory and research, cultural politics and feminist theory. She has been making films for over twenty years and may be best known for her first film Reassemblage, made in 1982. She has received several awards and grants, including the American Film Institute's National Independent Filmmaker Maya Deren Award, and Fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts and the California Arts Council. Her films have been the subject of twenty retrospectives.\nBORN IN VIETNAM, Trinh T. Minh-ha is a writer, composer and filmmaker She has been making films for better than ten years and may be best known for her first film Reassemblage, made in 1982. However her most recent film Surname Viet, Given Name Nam (1989), which examines \"identity and culture through the struggle of Vietnamese women\" has received much attention, including winning the Blue Ribbon Award at the American Film and Video festival Trinh T. Minh-ha is a professor of Woman Studies and Film at the University of California, Berkely and was recently a Visiting Professor at Harvard University.\nLI: How do you feel that writing and film differently serve the needs of your message?\nTM-H: I rarely think in terms of message. I think more in terms of processes of transformation. Every film that I make, for example, is a transformative process for me. I mean by that that whenever I start a film, I may start with an idea, an image or an impression. By the time I finish the film, lam somewhere else altogether, even though 1 have not lost what I started out with. In the process of making the film your consciousness has changed considerably.\nIt's the same with writing. I am not writing just to give a message, even though in my writings and my films I am always concerned with something that is very specific. For example, the subject that you have deliberately decided to focus on would be the site around which your energy would deploy. But, on the other hand, the subject is not all that there is in writing, and in filmmaking. One should always offer the reader and the viewer something else than just the subject. And that something else has to do with writing itself and with the tools that define your activities as a writer or a filmmaker. By focusing on these, you also offer the reader or the viewer your social positioning-how you position yourself as a writer and a filmmaker in society. So these are the issues that I immediately face in writing and in filmmaking.\nBut your question also focuses on the difference between writing and film. Film really allows me to pull together the many interests that I have had in different media, in the visual arts-Chinese ink painting and oil painting, for example.\nOn the other hand, film is a very expensive medium so when you make films, economically you really put your existence at stake, because you really don't know how you will be doing next year or on what kind of money you'll be living, since your debts are never-ending. Filmmaking does involve a lot of economical risk.\nAlso film is a younger medium, so for example, when I finished my first 16 millimeter film Reassemblage in 1982, for a whole year I didn't know bow it was going to be picked up, who was going to accept it, where it was going to be circulated. It took a whole year with rejections from everywhere, before the film finally took off. But once the film got to be shown in different venues, it provoked impassioned responses from all fronts. This has been a very rewarding process, and actually Reassemblage is one of my most circulated films.\nWith a book it is much more difficult for me because the literary establishment is older and far more conservative. I'd say that the book that really took off for me was Woman, Native, Other, written in 1983. It took me eight years to find a publisher. So I would say that in comparison, the literary establishment is much more difficult to break into when it is a question of doing different kinds of work-works that are not readily classified. But, on the other hand, with a book you don't risk that much, you don't have to put your economic livelihood on the line. With a pen and some ink you can go on writing. Whereas with\nfilm, I really need to have a block of time available in order to work intensively on my own and with other people. It usually takes a whole year. So each medium has its own advantages and disadvantages.\nLI: Why was it important to print the scripts of your films and also the constructive processes of your films - the lighting and the setting-in your book, Framer Framed?\nTM-H: The publication of scripts is a very common practice. As for the lighting and setting instructions, it is important to show sonic of the processes of materializing a scene on film. Actually, you put your finger on a very important aspect of my scripts, which is that these scripts were not written before the film was made. They were mostly written during the shooting and during the editing. So the final form my scripts took at the time of publication is a form that was put together after the film was made. In that sense, they are tools that one works with rather than texts that one tries to conform to. It is important to keep in mind that the script is no more than a kind of skeleton. It is like a dead skin that the film leaves behind once it is completed.\nLI: You wrote in your book When The Moon Waxes Red that many independent women are rejecting the label of feminist. Are you bothered by being ca/led a feminist filmmaker, a feminist writer?\nTM-H: Depending on who's saying it. Every time that a label is put on someone, what is important is to see through the context in which such labels have been devised. I don't have any problem with being labeled a \"feminist\", it all depends on what is meant and connoted. It could be just a way of narrowing down the space in which you can work authoritatively \"as a feminist.\" This I find to he very problematic.\nHowever, labels circulate all the time in every sphere of our lives, and once more, it all depends on how one uses them. One can use it in an eye-opening way, so that the term \"feminist\" does not actually only concern women, for example. But it has to do with society in general. So you are not just talking about women, but also about a feminist consciousness that informs both men's and women s actions in daily life. Being a feminist is therefore being a critic of society in its oppressive workings.\nLI: I often find that there is a gap between film theory and criticism and actual production. Yet I see you as forming a bridge between the two. Do you see yourself in that way?\nTM-H: Oh yes. I have no problem with being more than one thing and carrying out several functions at the same time. It is only when I am reduced to being \"either/or\" that clear-cut boundaries become very questionable to me. For example, there is a certain tradition in viewing, and you can recognize it in many of the mainstream filmmakers or film industry discourse around cinema: if you are a filmmaker and you start making films that make people think, then you are said to be doomed because you ate no longer a popular entertainer. This is the form of established individualism linked to a context of capitalism as we have known it: here you can only he one thing at a time, a recognizable entity whose function is fixed in society. So if you are several things at the same time, people don't really know how to classify you. They don't know what kind of function you fulfill. And we are now in a period of history where all these fixed boundaries are being put to question. Boundaries keep on being modified. On the map of world politics, you see nations breaking down, identities being reclaimed. At the same time, you have a strong sense of separatism, you also have a very strong sense of independence. So while all these ate being played out in international politics, you also have a situation in society where people can no longer be just one thing.\nFor example, an artist cannot say \"I couldn't care less about the audience that I have, about how my work is going to circulate; I'm just going to make my art as people have done in the past: to be pure in my intent and in my activities.\" You simply can't do that because you are constantly faced with other aspects of life. You have to goon earning a living, putting to work your many selves. Filmmakers find that they have to he involved with all aspects of film production, distribution, circulation, exhibition. You constantly deal with the politics of culture. I have had to fight this reductive form of individualism so many times that it becomes almost like a natural background noise For me to be condemned for being several things at the same time. People say that if you are a scholar, if you are teaching in an academic institution, you can't he an artist. People will always condemn the other aspect of yourself or your other selves. And when you move into the film world, you can't say anything about your scholarly quest or your theoretical background. You better hide that part because all they are interested in is the visionary artist, not one who would fall into the impure realm of theory and ideology.\nLI: In When The Moon Waxes Red, you say \"There is a need to make films politically as opposed to making political films.\" What is the difference between the two? Do you think it is possible to make a film without political ramifications?\nTM-H: The answer has to do with how one sees the political. The filmmaker Jean-Luc Godard made a distinction between making films politically and making films that focus on a political subject or have a political content. Films classified as \"political\" usually center on authority figures. On institutions or on personalities from the body politic; or else, they focus, for example, on a strike of the workers, or a crisis that happened between suppliers and consumers or between the boss and the workers.\nSuch a reductive concept of the \"political\" has been challenged by the work carried out in the women's movement. The feminist struggle has contributed to breaking down the dichotomy between the private and the public or the personal and the societal. Is the political only something that focuses on the evident sources of authorities or institutions or of institutional values, or is the political also something that seeps in and invades every aspect of our lives?\nMany contemporary theorists, like Michel Foucault, have focused their studies on power relationships in the intimate realms of our lives. Power relationships are, therefore, not just to be located in these evident sources that I have mentioned. Even if you criticize these sources, even if you eradicate them, the question remains how is it that we continue in our daily life to be violent, to be racist, to be sexist, to be homophobic, xenophobic and so on? How is it that we continue to oppress while being oppressed? So it must be in something that is much more than these locatable evident sources of power.\nWe come to a situation in which to make a Elm politically would be to put to question your own position as filmmaker. Power relationships can be looked at from many angles. You can look at how technology and the toots that define your activities are never neutral, and how they are always interpellated by ideology. The film industry, for example, has technologies that serve its own ideology of expansion and consumption.\nWhen you work politically, you have to politicize all aspects of filmmaking. So it's not just when you focus on a political subject that your film is political. The film is not yet political enough, because you can focus on a political subject and yet reproduce all the language of the mainstream ideology reproducing thereby its oppressive mechanisms. In other words, to open up the field of your political activities you have to think politically about every aspect, not just the content of the film.\nThere are no apolitical works, hut some works politicize the daily realms of our lives and other works simply look at these daily realms without offering the viewer a critical space in which the tensions between the political and the personal are played out. So sometimes a filmmaker might think that their work does not have anything to do with\nthe political, but, as I said, there are no \"apolitical\" films. For someone to say \"I'm apolitical\" simply means \"I haven't yet politicized my life or my work.\"\nLI: I think many film students would he interested to know your filming process. For example, how do you get crews and finds together to make your films?\nTM-H: (I'm speaking here to film students about funding. If I were speaking to a wider audience I would speak very differently.) It is very useful to think of funding not as something that is outside of yourself. You don't wait until the budget comes to you before you start on a project, which is the kind of attitude molded after that found in the mainstream film industry. People always think that if you don't have the budget for a film, you can't work on it.\nI think that there are many kinds of filmmaking and one need not be bound to the model that dominates the media. If you have a lot of money, you can use that money, but if you don't have money, you are still going to make films, just a different kind of film. I didn't have money when I was making Reassemblage. That film can be said to be made by myself from A to Z. The cinematography, the writing, the editing, even the conforming of the negative of the film was all done by myself In other words, you fulfill all the functions, and like an artisan, you do the whole craft. You are not dependent on expertise and division of labor. That kind of film is, of course, something that experimental and avant-garde filmmakers always cherish because it allows them not to he dependent on any major sources of funding. They can incorporate the film process in their lives. So instead of going out to buy a package of cigarettes, you would go out and buy a can of film. And the cans of film you would get here-and-there would serve little-by-little to make a film. It is something that is incorporated into your daily expenses.\nFor me this is an important attitude that one can also adopt when writing for grants, for example, even if the world of grant donors is not always sympathetic to it. Because if they gave me $100,000 for a film, then I would make a certain kind of film. And if I only get $30,000 for a film, then I would make another kind of film. And neither film would be more important than the other. It is not a question of quality, it is a question of difference. So with these different approaches to filmmaking, you excel in the artistic realm, as well as in the so-called \"entertaining\" realm where you receive more money and can use a larger crew. One should keep in mind that kind of versatility, which allows one to go from one kind of filmmaking to another.\nAs for the question of crew, I usually prefer to work with a very small crew and with people who are really involved in many aspects of independent filmmaking. I work, for example, with cinematographer Kathleen Beeler who is independent filmmaker herself working both for the commercial film industry and for other independent filmmakers. She survives by charging the usual huge amount for work effected for the film industry while working for almost nothing for independent filmmakers. She and my other crew members are people highly committed to independent filmmaking and to different forms of filmmaking, so they are not just stuck in one realm of activities and remain receptive to innovations in film.","bio_dates":"b. 1952"},{"slug":"minh_ha_trinh_t_reassemblage_1983_iphone","ok":true,"partial":false,"title":"Reassemblage","artist":"Trinh T. Minh-ha","year":"1983","startOffset":0,"sourceSecs":2377.453,"sourceHeight":320,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":143203288,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minh_ha_trinh_t_reassemblage_1983_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minh_ha_trinh_t_reassemblage_1983_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/minh_ha_trinh_t_reassemblage_1983_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minh_ha_trinh_t_reassemblage_1983_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minh_ha_trinh_t_reassemblage_1983_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Filmmaker, writer, poet, literary theorist, educator, musical composer, and (un/non)ethnographer, Trinh T. Minh-ha builds much of her work around the theme of the \"other\" (the persona one considers him/herself to be in relation to), challenging cultural theorists' traditional notions of the subject or/subjected duality. She performed three year's worth of ethnographic field research in West Africa the Research Expedition Program of the University of California, Berkeley. This fieldwork led in part to her first film, Reassemblage, which was filmed in Senegal and released in 1982. <br/><br/> Trinh's views on traditional ethnographic documentaries are hinted at in one of her voice-overs that occurs early in the film. She states: \"I do not intend to speak about/Just speak near by.\" The film is a montage of fleeting images from Senegal and includes almost no narration, save for the occasional statements by Trinh, none of which attempt to assign meaning to the seconds-long scenes. Where one expects an omniscient, scientific voice to override the moving pictures in order to overlay a mapping schema of \"meaning,\" there is sometimes music, sometimes no sound, sometimes Trinh assigning a reality or sign to the culture it hopes to \"know\" by viewing a movie, she refuses to make the film be \"about\" something, refuses to speak about the images, and denies the hopeful observer the opportunity to record, categorize, and save an(\"other\") culture. The viewer is left with a sense of disorientation, in that no meaning was assigned to any of the images in the film, and yet the viewer's mind was constantly expecting such designations.","artist_bio":"Trinh T. Minh-ha & Jean-Paul Bourdier - Night Passage (2004)\nTrinh T. Minh-ha (born 1952) is a filmmaker, writer, academic and composer. She is a world-renowned independent filmmaker and feminist, post-colonial theorist. She teaches courses that focuses on women's work as related to cultural politics, post-coloniality, contemporary critical theory and the arts. The seminars she offers focus on Third cinema, film theory and aesthetics, the voice in cinema, the autobiographical voice, critical theory and research, cultural politics and feminist theory. She has been making films for over twenty years and may be best known for her first film Reassemblage, made in 1982. She has received several awards and grants, including the American Film Institute's National Independent Filmmaker Maya Deren Award, and Fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts and the California Arts Council. Her films have been the subject of twenty retrospectives.\nBORN IN VIETNAM, Trinh T. Minh-ha is a writer, composer and filmmaker She has been making films for better than ten years and may be best known for her first film Reassemblage, made in 1982. However her most recent film Surname Viet, Given Name Nam (1989), which examines \"identity and culture through the struggle of Vietnamese women\" has received much attention, including winning the Blue Ribbon Award at the American Film and Video festival Trinh T. Minh-ha is a professor of Woman Studies and Film at the University of California, Berkely and was recently a Visiting Professor at Harvard University.\nLI: How do you feel that writing and film differently serve the needs of your message?\nTM-H: I rarely think in terms of message. I think more in terms of processes of transformation. Every film that I make, for example, is a transformative process for me. I mean by that that whenever I start a film, I may start with an idea, an image or an impression. By the time I finish the film, lam somewhere else altogether, even though 1 have not lost what I started out with. In the process of making the film your consciousness has changed considerably.\nIt's the same with writing. I am not writing just to give a message, even though in my writings and my films I am always concerned with something that is very specific. For example, the subject that you have deliberately decided to focus on would be the site around which your energy would deploy. But, on the other hand, the subject is not all that there is in writing, and in filmmaking. One should always offer the reader and the viewer something else than just the subject. And that something else has to do with writing itself and with the tools that define your activities as a writer or a filmmaker. By focusing on these, you also offer the reader or the viewer your social positioning-how you position yourself as a writer and a filmmaker in society. So these are the issues that I immediately face in writing and in filmmaking.\nBut your question also focuses on the difference between writing and film. Film really allows me to pull together the many interests that I have had in different media, in the visual arts-Chinese ink painting and oil painting, for example.\nOn the other hand, film is a very expensive medium so when you make films, economically you really put your existence at stake, because you really don't know how you will be doing next year or on what kind of money you'll be living, since your debts are never-ending. Filmmaking does involve a lot of economical risk.\nAlso film is a younger medium, so for example, when I finished my first 16 millimeter film Reassemblage in 1982, for a whole year I didn't know bow it was going to be picked up, who was going to accept it, where it was going to be circulated. It took a whole year with rejections from everywhere, before the film finally took off. But once the film got to be shown in different venues, it provoked impassioned responses from all fronts. This has been a very rewarding process, and actually Reassemblage is one of my most circulated films.\nWith a book it is much more difficult for me because the literary establishment is older and far more conservative. I'd say that the book that really took off for me was Woman, Native, Other, written in 1983. It took me eight years to find a publisher. So I would say that in comparison, the literary establishment is much more difficult to break into when it is a question of doing different kinds of work-works that are not readily classified. But, on the other hand, with a book you don't risk that much, you don't have to put your economic livelihood on the line. With a pen and some ink you can go on writing. Whereas with\nfilm, I really need to have a block of time available in order to work intensively on my own and with other people. It usually takes a whole year. So each medium has its own advantages and disadvantages.\nLI: Why was it important to print the scripts of your films and also the constructive processes of your films - the lighting and the setting-in your book, Framer Framed?\nTM-H: The publication of scripts is a very common practice. As for the lighting and setting instructions, it is important to show sonic of the processes of materializing a scene on film. Actually, you put your finger on a very important aspect of my scripts, which is that these scripts were not written before the film was made. They were mostly written during the shooting and during the editing. So the final form my scripts took at the time of publication is a form that was put together after the film was made. In that sense, they are tools that one works with rather than texts that one tries to conform to. It is important to keep in mind that the script is no more than a kind of skeleton. It is like a dead skin that the film leaves behind once it is completed.\nLI: You wrote in your book When The Moon Waxes Red that many independent women are rejecting the label of feminist. Are you bothered by being ca/led a feminist filmmaker, a feminist writer?\nTM-H: Depending on who's saying it. Every time that a label is put on someone, what is important is to see through the context in which such labels have been devised. I don't have any problem with being labeled a \"feminist\", it all depends on what is meant and connoted. It could be just a way of narrowing down the space in which you can work authoritatively \"as a feminist.\" This I find to he very problematic.\nHowever, labels circulate all the time in every sphere of our lives, and once more, it all depends on how one uses them. One can use it in an eye-opening way, so that the term \"feminist\" does not actually only concern women, for example. But it has to do with society in general. So you are not just talking about women, but also about a feminist consciousness that informs both men's and women s actions in daily life. Being a feminist is therefore being a critic of society in its oppressive workings.\nLI: I often find that there is a gap between film theory and criticism and actual production. Yet I see you as forming a bridge between the two. Do you see yourself in that way?\nTM-H: Oh yes. I have no problem with being more than one thing and carrying out several functions at the same time. It is only when I am reduced to being \"either/or\" that clear-cut boundaries become very questionable to me. For example, there is a certain tradition in viewing, and you can recognize it in many of the mainstream filmmakers or film industry discourse around cinema: if you are a filmmaker and you start making films that make people think, then you are said to be doomed because you ate no longer a popular entertainer. This is the form of established individualism linked to a context of capitalism as we have known it: here you can only he one thing at a time, a recognizable entity whose function is fixed in society. So if you are several things at the same time, people don't really know how to classify you. They don't know what kind of function you fulfill. And we are now in a period of history where all these fixed boundaries are being put to question. Boundaries keep on being modified. On the map of world politics, you see nations breaking down, identities being reclaimed. At the same time, you have a strong sense of separatism, you also have a very strong sense of independence. So while all these ate being played out in international politics, you also have a situation in society where people can no longer be just one thing.\nFor example, an artist cannot say \"I couldn't care less about the audience that I have, about how my work is going to circulate; I'm just going to make my art as people have done in the past: to be pure in my intent and in my activities.\" You simply can't do that because you are constantly faced with other aspects of life. You have to goon earning a living, putting to work your many selves. Filmmakers find that they have to he involved with all aspects of film production, distribution, circulation, exhibition. You constantly deal with the politics of culture. I have had to fight this reductive form of individualism so many times that it becomes almost like a natural background noise For me to be condemned for being several things at the same time. People say that if you are a scholar, if you are teaching in an academic institution, you can't he an artist. People will always condemn the other aspect of yourself or your other selves. And when you move into the film world, you can't say anything about your scholarly quest or your theoretical background. You better hide that part because all they are interested in is the visionary artist, not one who would fall into the impure realm of theory and ideology.\nLI: In When The Moon Waxes Red, you say \"There is a need to make films politically as opposed to making political films.\" What is the difference between the two? Do you think it is possible to make a film without political ramifications?\nTM-H: The answer has to do with how one sees the political. The filmmaker Jean-Luc Godard made a distinction between making films politically and making films that focus on a political subject or have a political content. Films classified as \"political\" usually center on authority figures. On institutions or on personalities from the body politic; or else, they focus, for example, on a strike of the workers, or a crisis that happened between suppliers and consumers or between the boss and the workers.\nSuch a reductive concept of the \"political\" has been challenged by the work carried out in the women's movement. The feminist struggle has contributed to breaking down the dichotomy between the private and the public or the personal and the societal. Is the political only something that focuses on the evident sources of authorities or institutions or of institutional values, or is the political also something that seeps in and invades every aspect of our lives?\nMany contemporary theorists, like Michel Foucault, have focused their studies on power relationships in the intimate realms of our lives. Power relationships are, therefore, not just to be located in these evident sources that I have mentioned. Even if you criticize these sources, even if you eradicate them, the question remains how is it that we continue in our daily life to be violent, to be racist, to be sexist, to be homophobic, xenophobic and so on? How is it that we continue to oppress while being oppressed? So it must be in something that is much more than these locatable evident sources of power.\nWe come to a situation in which to make a Elm politically would be to put to question your own position as filmmaker. Power relationships can be looked at from many angles. You can look at how technology and the toots that define your activities are never neutral, and how they are always interpellated by ideology. The film industry, for example, has technologies that serve its own ideology of expansion and consumption.\nWhen you work politically, you have to politicize all aspects of filmmaking. So it's not just when you focus on a political subject that your film is political. The film is not yet political enough, because you can focus on a political subject and yet reproduce all the language of the mainstream ideology reproducing thereby its oppressive mechanisms. In other words, to open up the field of your political activities you have to think politically about every aspect, not just the content of the film.\nThere are no apolitical works, hut some works politicize the daily realms of our lives and other works simply look at these daily realms without offering the viewer a critical space in which the tensions between the political and the personal are played out. So sometimes a filmmaker might think that their work does not have anything to do with\nthe political, but, as I said, there are no \"apolitical\" films. For someone to say \"I'm apolitical\" simply means \"I haven't yet politicized my life or my work.\"\nLI: I think many film students would he interested to know your filming process. For example, how do you get crews and finds together to make your films?\nTM-H: (I'm speaking here to film students about funding. If I were speaking to a wider audience I would speak very differently.) It is very useful to think of funding not as something that is outside of yourself. You don't wait until the budget comes to you before you start on a project, which is the kind of attitude molded after that found in the mainstream film industry. People always think that if you don't have the budget for a film, you can't work on it.\nI think that there are many kinds of filmmaking and one need not be bound to the model that dominates the media. If you have a lot of money, you can use that money, but if you don't have money, you are still going to make films, just a different kind of film. I didn't have money when I was making Reassemblage. That film can be said to be made by myself from A to Z. The cinematography, the writing, the editing, even the conforming of the negative of the film was all done by myself In other words, you fulfill all the functions, and like an artisan, you do the whole craft. You are not dependent on expertise and division of labor. That kind of film is, of course, something that experimental and avant-garde filmmakers always cherish because it allows them not to he dependent on any major sources of funding. They can incorporate the film process in their lives. So instead of going out to buy a package of cigarettes, you would go out and buy a can of film. And the cans of film you would get here-and-there would serve little-by-little to make a film. It is something that is incorporated into your daily expenses.\nFor me this is an important attitude that one can also adopt when writing for grants, for example, even if the world of grant donors is not always sympathetic to it. Because if they gave me $100,000 for a film, then I would make a certain kind of film. And if I only get $30,000 for a film, then I would make another kind of film. And neither film would be more important than the other. It is not a question of quality, it is a question of difference. So with these different approaches to filmmaking, you excel in the artistic realm, as well as in the so-called \"entertaining\" realm where you receive more money and can use a larger crew. One should keep in mind that kind of versatility, which allows one to go from one kind of filmmaking to another.\nAs for the question of crew, I usually prefer to work with a very small crew and with people who are really involved in many aspects of independent filmmaking. I work, for example, with cinematographer Kathleen Beeler who is independent filmmaker herself working both for the commercial film industry and for other independent filmmakers. She survives by charging the usual huge amount for work effected for the film industry while working for almost nothing for independent filmmakers. She and my other crew members are people highly committed to independent filmmaking and to different forms of filmmaking, so they are not just stuck in one realm of activities and remain receptive to innovations in film.","bio_dates":"b. 1952"},{"slug":"minter_marilyn_100_food_porn","ok":true,"partial":false,"title":"100 Food Porn","artist":"Marilyn Minter","year":"1990","startOffset":0,"sourceSecs":224.858,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":38892699,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_100_food_porn/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_100_food_porn/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/minter_marilyn_100_food_porn.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minter_marilyn_100_food_porn/main.mp4?v=2","description":"100 Food Porn<br/> 1990, video<br/> <br/> In 1990, Marilyn Minter bought 30-second advertising spots during the David Letterman and Arsenio Hall shows as well as Nightline with Ted Koppel, to show her 100 Food Porn commercial. Rather than advertising in art magazines, she used her budget of $4500 to buy these commercial slots to advertise her exhibition at the Simon Watson Gallery in New York City (30 seconds of commercial airtime during David Letterman was $1,800 in 1990.)As she would do nearly twenty years later with her Creative Time billboard project, and now with her ‘Green Pink Caviar’ trailer, Minter used a public commercial medium both as an outlet for her art and as an original art form.","artist_bio":"Marilyn Minter (born 1948) is an American artist currently living and working in New York City. Marilyn Minter has been the subject of numerous solo exhibitions including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, Les Rencontres d'Arles festival in 2007, France, OH in 2009, La Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010 and the Deichtorhallen in Hamburg, Germany in 2011. Her video Green Pink Caviar was exhibited in the lobby of the MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York.\nShe has been included in numerous group exhibitions in museums all over the world. In 2006, Marilyn Minter was included in the Whitney Biennial, and in a collaboration with Creative Time she installed billboards all over Chelsea in New York city. In 2009, she had a solo exhibit at Regen Projects, Los Angeles, and Salon 94, New York. In the spring of 2011, Minter had a solo exhibition of her work from the 80's at Team Gallery, New York, and another solo exhibition with Salon 94, New York. She was featured in Commercial Break, at the Garage Center for Contemporary Culture and POST, for the 2011 Venice Biennale. Her work is featured in “Riotous Baroque”, a group exhibition that originated at the Kunsthaus Zurich which will travel to the Guggenheim Bilbao in June 2013. Currently, Minter is showing five new large scale paintings at her second solo exhibition at Regen Projects, Los Angeles. According to the press release, the new work \"deepens Minter’s investigation of how we communicate with the illusion of glamour via advertising in public spaces.\"","bio_dates":"b. 1948"},{"slug":"minter_marilyn_gpc","ok":true,"partial":false,"title":"100 Food Porn","artist":"Marilyn Minter","year":"1990","startOffset":0,"sourceSecs":60.187,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":4393105,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_gpc/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_gpc/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/minter_marilyn_gpc.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minter_marilyn_gpc/main.mp4?v=2","description":"100 Food Porn<br/> 1990, video<br/> <br/> In 1990, Marilyn Minter bought 30-second advertising spots during the David Letterman and Arsenio Hall shows as well as Nightline with Ted Koppel, to show her 100 Food Porn commercial. Rather than advertising in art magazines, she used her budget of $4500 to buy these commercial slots to advertise her exhibition at the Simon Watson Gallery in New York City (30 seconds of commercial airtime during David Letterman was $1,800 in 1990.)As she would do nearly twenty years later with her Creative Time billboard project, and now with her ‘Green Pink Caviar’ trailer, Minter used a public commercial medium both as an outlet for her art and as an original art form.","artist_bio":"Marilyn Minter (born 1948) is an American artist currently living and working in New York City. Marilyn Minter has been the subject of numerous solo exhibitions including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, Les Rencontres d'Arles festival in 2007, France, OH in 2009, La Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010 and the Deichtorhallen in Hamburg, Germany in 2011. Her video Green Pink Caviar was exhibited in the lobby of the MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York.\nShe has been included in numerous group exhibitions in museums all over the world. In 2006, Marilyn Minter was included in the Whitney Biennial, and in a collaboration with Creative Time she installed billboards all over Chelsea in New York city. In 2009, she had a solo exhibit at Regen Projects, Los Angeles, and Salon 94, New York. In the spring of 2011, Minter had a solo exhibition of her work from the 80's at Team Gallery, New York, and another solo exhibition with Salon 94, New York. She was featured in Commercial Break, at the Garage Center for Contemporary Culture and POST, for the 2011 Venice Biennale. Her work is featured in “Riotous Baroque”, a group exhibition that originated at the Kunsthaus Zurich which will travel to the Guggenheim Bilbao in June 2013. Currently, Minter is showing five new large scale paintings at her second solo exhibition at Regen Projects, Los Angeles. According to the press release, the new work \"deepens Minter’s investigation of how we communicate with the illusion of glamour via advertising in public spaces.\"","bio_dates":"b. 1948"},{"slug":"minter_marilyn_green_pink_caviar_2009","ok":true,"partial":false,"title":"Green Pink Caviar","artist":"Marilyn Minter","year":"2009","startOffset":0,"sourceSecs":466.211,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":73116009,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_green_pink_caviar_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_green_pink_caviar_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/minter_marilyn_green_pink_caviar_2009.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minter_marilyn_green_pink_caviar_2009/main.mp4?v=2","description":"Marilyn Minter continues her interest in blurring the boundaries between fine and commercial art. Co-opting advertising genres and related spaces, she mines a new platform to direct her first video. The eight minute high-definition video, Green Pink Caviar (2009) is a lush and sensual voyeuristic hallucination. Filmed with macro lenses, she captures the most minute movements of female mouths licking candy and cake decoration. Driven by her facination with the body, Minter’s film sets the stage for chance to happen.This 60 second trailer was played before the featured movie at The Sunshine Theater in New York City during the month of May 2009 to advertise Minter’s exhibition at Salon 94 Freemans.","artist_bio":"Marilyn Minter (born 1948) is an American artist currently living and working in New York City. Marilyn Minter has been the subject of numerous solo exhibitions including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, Les Rencontres d'Arles festival in 2007, France, OH in 2009, La Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010 and the Deichtorhallen in Hamburg, Germany in 2011. Her video Green Pink Caviar was exhibited in the lobby of the MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York.\nShe has been included in numerous group exhibitions in museums all over the world. In 2006, Marilyn Minter was included in the Whitney Biennial, and in a collaboration with Creative Time she installed billboards all over Chelsea in New York city. In 2009, she had a solo exhibit at Regen Projects, Los Angeles, and Salon 94, New York. In the spring of 2011, Minter had a solo exhibition of her work from the 80's at Team Gallery, New York, and another solo exhibition with Salon 94, New York. She was featured in Commercial Break, at the Garage Center for Contemporary Culture and POST, for the 2011 Venice Biennale. Her work is featured in “Riotous Baroque”, a group exhibition that originated at the Kunsthaus Zurich which will travel to the Guggenheim Bilbao in June 2013. Currently, Minter is showing five new large scale paintings at her second solo exhibition at Regen Projects, Los Angeles. According to the press release, the new work \"deepens Minter’s investigation of how we communicate with the illusion of glamour via advertising in public spaces.\"","bio_dates":"b. 1948"},{"slug":"minter_marilyn_im_not_much_but_im_all_i","ok":true,"partial":false,"title":"I'm Not Much But I'm All I Think About","artist":"Marilyn Minter","year":"2011","startOffset":0,"sourceSecs":231.062,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":15019566,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_im_not_much_but_im_all_i/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_im_not_much_but_im_all_i/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/minter_marilyn_im_not_much_but_im_all_i.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minter_marilyn_im_not_much_but_im_all_i/main.mp4?v=2","description":"“It gurgles. It oozes. And it can eat you for breakfast — especially if your name is Marilyn Minter. It’s “I’m Not Much But I’m All I Think About,” a slow-motion video by the artist, known for excessively close-up paintings where freckles, open pores and beads of sweat all look more like glorious costume jewels.In the self-mocking video, now playing 24/7 in the street window of Salon 94 Bowery, Minter stirs up a voluptuous brew of narcissistic pleasure that swallows her initials (in the form of M&M candies) and a silver charm spelling the word “ME” that keeps coming back for another plunge.If her beckoning matmos resembles the bubbling slime in “Barbarella,” it does not have evil on its mind. The ingredients of Minter’s omnivorous pool are vodka and silver cake frosting suspended in glycerin, a delectable goo that coats or splatters.”“Artifacts/ Marilyn Minter’s Oozing Desire”, Linda Yablonsky, www.nytimes.com, October 28, 2011","artist_bio":"Marilyn Minter (born 1948) is an American artist currently living and working in New York City. Marilyn Minter has been the subject of numerous solo exhibitions including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, Les Rencontres d'Arles festival in 2007, France, OH in 2009, La Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010 and the Deichtorhallen in Hamburg, Germany in 2011. Her video Green Pink Caviar was exhibited in the lobby of the MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York.\nShe has been included in numerous group exhibitions in museums all over the world. In 2006, Marilyn Minter was included in the Whitney Biennial, and in a collaboration with Creative Time she installed billboards all over Chelsea in New York city. In 2009, she had a solo exhibit at Regen Projects, Los Angeles, and Salon 94, New York. In the spring of 2011, Minter had a solo exhibition of her work from the 80's at Team Gallery, New York, and another solo exhibition with Salon 94, New York. She was featured in Commercial Break, at the Garage Center for Contemporary Culture and POST, for the 2011 Venice Biennale. Her work is featured in “Riotous Baroque”, a group exhibition that originated at the Kunsthaus Zurich which will travel to the Guggenheim Bilbao in June 2013. Currently, Minter is showing five new large scale paintings at her second solo exhibition at Regen Projects, Los Angeles. According to the press release, the new work \"deepens Minter’s investigation of how we communicate with the illusion of glamour via advertising in public spaces.\"","bio_dates":"b. 1948"},{"slug":"minter_marilyn_my_cuntry_tis_of_thee_2018","ok":true,"partial":false,"title":"My Cuntry, 'Tis of Thee","artist":"Marilyn Minter","year":"2018","startOffset":0,"sourceSecs":585.794,"sourceHeight":1440,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":265977267,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_my_cuntry_tis_of_thee_2018/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_my_cuntry_tis_of_thee_2018/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/minter_marilyn_my_cuntry_tis_of_thee_2018.mkv","hasFrames":true,"description":"For nearly four decades, Minter’s provocative practice has dismantled the hierarchies of glamour, power, desire, beauty and sexuality that dominate contemporary consumer culture. Feminism and sexual politics provide the context for a body of work that encompasses painting, photography and video, amongst other visual and political tactics, in the creation of alluring images that unpack strategies of seduction appropriated from the media. <br/><br/> Minter’s hyper- realist paintings of magnified body parts in high-gloss enamel on metal explore the fetishistic representation of women’s bodies throughout the history of art and in visual culture while opening up new dialogues surrounding eroticism and agency. In My Cuntry, ’Tis of Thee women write the word ‘cunt’ in various guises into condensation on a glass pane. Hidden by the semi-opacity of the steam, as the women articulate each letter their features are gradually revealed. Placing a word widely acknowledged as amongst the most offensive in the English language into the hands of each of the women in her video, Minter reclaims it from chauvinistic associations and rescues it from centuries of censorship and degradation. Although etymologically the word ‘cunt’ can be traced back to expressions relating to femininity, its meaning has been corrupted into a term of abuse that traces the misogyny inherent to Western culture’s attitude to female sexuality and the language with which it is described. <br/><br/> Source : Simon Lee Gallery","artist_bio":"Marilyn Minter (born 1948) is an American artist currently living and working in New York City. Marilyn Minter has been the subject of numerous solo exhibitions including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, Les Rencontres d'Arles festival in 2007, France, OH in 2009, La Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010 and the Deichtorhallen in Hamburg, Germany in 2011. Her video Green Pink Caviar was exhibited in the lobby of the MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York.\nShe has been included in numerous group exhibitions in museums all over the world. In 2006, Marilyn Minter was included in the Whitney Biennial, and in a collaboration with Creative Time she installed billboards all over Chelsea in New York city. In 2009, she had a solo exhibit at Regen Projects, Los Angeles, and Salon 94, New York. In the spring of 2011, Minter had a solo exhibition of her work from the 80's at Team Gallery, New York, and another solo exhibition with Salon 94, New York. She was featured in Commercial Break, at the Garage Center for Contemporary Culture and POST, for the 2011 Venice Biennale. Her work is featured in “Riotous Baroque”, a group exhibition that originated at the Kunsthaus Zurich which will travel to the Guggenheim Bilbao in June 2013. Currently, Minter is showing five new large scale paintings at her second solo exhibition at Regen Projects, Los Angeles. According to the press release, the new work \"deepens Minter’s investigation of how we communicate with the illusion of glamour via advertising in public spaces.\"","bio_dates":"b. 1948"},{"slug":"minter_marilyn_playpen_2011","ok":true,"partial":false,"title":"Playpen","artist":"Marilyn Minter","year":"2011","startOffset":0,"sourceSecs":228.46,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":15322367,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_playpen_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/minter_marilyn_playpen_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/minter_marilyn_playpen_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/minter_marilyn_playpen_2011/main.mp4?v=2","description":"The motif of the baby splashing paint behind the window, oblivious of the viewer and building up an abstract pattern on the glass plane is explored in Marilyn Minter’s new video, Play Pen. Shot with a Fantom slow motion camera, it features several babies bathing in silver paint. Smearing and splattering in the viscous liquid with contagious pleasure, the mighty toddlers splash silver across the entire frame, slowly saturating the screen with paint. The baby becomes a stand in for her fascination with our human search for pleasure. Playpen has been exhibited extensively including large scale projections at Salon 94, New York; Riotous Baroque, Kunsthaus, Zurich and The Cosmopolitan, Las Vegas.","artist_bio":"Marilyn Minter (born 1948) is an American artist currently living and working in New York City. Marilyn Minter has been the subject of numerous solo exhibitions including the San Francisco Museum of Modern Art in 2005, the Center for Contemporary Art, Cincinnati, Les Rencontres d'Arles festival in 2007, France, OH in 2009, La Conservera, Centro de Arte Contemporáneo, Ceutí/Murcia, Spain in 2009, the Museum of Contemporary Art, Cleveland, OH in 2010 and the Deichtorhallen in Hamburg, Germany in 2011. Her video Green Pink Caviar was exhibited in the lobby of the MoMA for over a year, and was also shown on digital billboards on Sunset Boulevard in LA, and the Creative Time MTV billboard in Times Square, New York.\nShe has been included in numerous group exhibitions in museums all over the world. In 2006, Marilyn Minter was included in the Whitney Biennial, and in a collaboration with Creative Time she installed billboards all over Chelsea in New York city. In 2009, she had a solo exhibit at Regen Projects, Los Angeles, and Salon 94, New York. In the spring of 2011, Minter had a solo exhibition of her work from the 80's at Team Gallery, New York, and another solo exhibition with Salon 94, New York. She was featured in Commercial Break, at the Garage Center for Contemporary Culture and POST, for the 2011 Venice Biennale. Her work is featured in “Riotous Baroque”, a group exhibition that originated at the Kunsthaus Zurich which will travel to the Guggenheim Bilbao in June 2013. Currently, Minter is showing five new large scale paintings at her second solo exhibition at Regen Projects, Los Angeles. According to the press release, the new work \"deepens Minter’s investigation of how we communicate with the illusion of glamour via advertising in public spaces.\"","bio_dates":"b. 1948"},{"slug":"mishima_yukio_yukoku_1966","ok":true,"partial":false,"title":"Yûkoku aka Patriotism aka Rite of Love & Death","artist":"Yukio Mishima","year":"1966","startOffset":0,"sourceSecs":1735.979,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":104593357,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mishima_yukio_yukoku_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mishima_yukio_yukoku_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mishima_yukio_yukoku_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mishima_yukio_yukoku_1966/main.mp4?v=2","description":"Playwright and novelist Yukio Mishima foreshadowed his own violent suicide with this ravishing short feature, his only foray into filmmaking, yet made with the expressiveness and confidence of a true cinema artist. All prints of Patriotism (Yžkoku), which depicts the seppuku of a army officer, were destroyed after Mishima's death in 1970, though the negative was saved, and the film resurfaced thirty-five years later. New viewers will be stunned at the depth and clarity of Mishima's vision, as well as his graphic depictions of sex and death.","artist_bio":"Yukio Mishima & Domoto Masaki - Yûkoku aka Patriotism aka Rite of Love & Death\n(1966)\nYukio Mishima is the pen name of Kimitake Hiraoka (January 14, 1925 – November 25, 1970), a Japanese author, poet, playwright, actor, and film director. Mishima is considered one of the most important Japanese authors of the 20th century; he was nominated three times for the Nobel Prize in Literature and was poised to win the prize in 1968 but lost the award to his fellow countryman Yasunari Kawabata, presumably because of his radical right-wing activities. His avant-garde work displayed a blending of modern and traditional aesthetics that broke cultural boundaries, with a focus on sexuality, death, and political change. He is remembered for his ritual suicide by seppuku after a failed coup d'état attempt, known as the \"Mishima Incident\".\nMishima was also known for his natural bodybuilding and modelling.","bio_dates":"1925-1970"},{"slug":"mitry_jean_pacific_231_1949","ok":true,"partial":false,"title":"Pacific 231","artist":"Jean Mitry","year":"1949","startOffset":0,"sourceSecs":593.557,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":104095250,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mitry_jean_pacific_231_1949/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mitry_jean_pacific_231_1949/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mitry_jean_pacific_231_1949.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mitry_jean_pacific_231_1949/main.mp4?v=2","description":"A powerful picture that would be an excellent companion for John Frankenheimer's The Train. The 'poetic documentary' presents a giant locomotive, which is coupled to a train and then sent out on a run to the city, chugging like a juggernaut. It's cut to a dramatic score by Arthur Honegger, with extremely dynamic angles (many unusual camera mounts) and editing that for a few seconds reminds us that Mitry was an associate of Abel Gance on Napoleon and other movies. Very much rooted in reality and industrial hardware, the film's steam locomotive soon appears to be a living thing. (by Glenn Erickson)<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/media/sound/dada_for_now/Dada_For_Now_03_Honneger.mp3\" rel=\"noopener\" target=\"_blank\"> Arthur Honegger's \"Pacific 231\" (1923) in UbuWeb Sound</a> from <a href=\"https://ubu.com/sound/dada.html\" rel=\"noopener\" target=\"_blank\">Dada For Now</a></br>","artist_bio":"Jean Mitry (7 November 1907 - 18 January 1988) was a French film theorist, critic and filmmaker, co-founder of France's first film society and later of the Cinémathèque Française in 1938.\nThe first lecturer of film aesthetics in France, Mitry was one of the first intellectuals responsible for, in the words of Dudley Andrews, \"taking film studies out of the era of the film club and into that of the university\". His definitive works are largely considered to be The Aesthetics and Psychology of the Cinema and Semiotics and the Analysis of Film.\nMitry was one of few major film theorists who actually worked with film production. He was editor of Alexandre Astruc's short film Le Rideau Cramoisi (1953) and director of two films of his own, Pacific 231 (1949) set to Arthur Honegger's music and Images pour Debussy (1952) set to the music of Claude Debussy.","bio_dates":"1907-1988"},{"slug":"moby_dick_2007","ok":true,"partial":false,"title":"Moby Dick","artist":"Guy Ben-Ner","year":"2007","startOffset":0,"sourceSecs":797.863,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":122547062,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moby_dick_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moby_dick_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moby_dick_2007.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moby_dick_2007/main.mp4?v=2"},{"slug":"moerman_ernst_monsieur_fantomas_1937_iphone","ok":true,"partial":false,"title":"Monsieur Fantômas","artist":"Ernst Moerman","year":"1937","startOffset":0,"sourceSecs":1047.88,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":67416397,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moerman_ernst_monsieur_fantomas_1937_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moerman_ernst_monsieur_fantomas_1937_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moerman_ernst_monsieur_fantomas_1937_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moerman_ernst_monsieur_fantomas_1937_iphone/main.mp4?v=2","description":"Ernst Moerman was an ardent fan of Souvestre and Allain's character Fantômas, whom he dubbed \"the demoralizing gentleman\", he made him the emblematic hero of his medium-length silent film, Monsieur Fantômas. Shot on a shoestring budget on a beach and in an old cloister, the style of this scathing surrealist satire is immediately recognizable as that of the Feuillade serials. In top hat and tails, the Master of Crime (played by the future father of French singer Johnny Hallyday) tours the world in pursuit of the beautiful Elvire, punctuating his travels with mischief and acts to offend proper decency. The film encompasses amour fou, the meanders of dreams, fanatical anti-clericalism and a plea for subversion and adventure in \"a world where nothing is impossible, where the miracle is the shortest route from our uncertainty to mystery\" (E. Moerman).","artist_bio":"Ernst Moerman (1897–1944) was a Belgian writer and film director.\nHe directed only one film—Monsieur Fantômas in 1937—but this work is very important in the history of the Belgian cinema.","bio_dates":"1897 - 1944"},{"slug":"moffatt_tracey_nice_coloured_girls_1987","ok":true,"partial":false,"title":"Nice Coloured Girls","artist":"Tracey Moffatt","year":"1987","startOffset":0,"sourceSecs":1042.645,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":52354730,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moffatt_tracey_nice_coloured_girls_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moffatt_tracey_nice_coloured_girls_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moffatt_tracey_nice_coloured_girls_1987.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moffatt_tracey_nice_coloured_girls_1987/main.mp4?v=2","artist_bio":"Australian photographer and filmmaker. After graduating from Queensland College of Art, Brisbane (1982), she moved to Sydney, later dividing her time between Sydney and New York. Moffat began her career as an experimental filmmaker and as a producer of music videos, and she continued making films after establishing herself as a photographer. Her concern with power relations is demonstrated in the series Scarred for Life (nine offset lithographs, 1994), which juxtapose photographs of children with text, mimicking the layout of Life magazine during the 1960s. Useless, 1974 (1994; priv. col., see B. Reinhardt, ed., p. 21), shows a young girl cleaning a car in a suburban setting; the text beneath reads ‘Her father's nickname for her was “useless”.' In the late 1990s she focused on the relationship between Australian Aborigines and white colonial settlers. The highly atmospheric series Laudanum (19 photo-engravings, 1998; Frankfurt, L. A. Gal.), shows the relationship between a woman and her aboriginal servant. Based on Pauline Reage's erotic novel Story of O (1954), it presents two actors posing in a variety of locations around a large house, suggesting sexual and power relations laced with narcotic hysteria. The use of photogravure and deliberately flawed prints heightens the ambience, informed by late 19th century photography as well as by Expressionist cinematic techniques of shadow and distortion. The typically dreamlike quality of these works creates a space in which actors can embody wider sexual and social conflicts.","bio_dates":"b. 1960"},{"slug":"moffatt_tracey_night_cries_a_rural_tragedy_1989","ok":true,"partial":false,"title":"Night Cries: A Rural Tragedy","artist":"Tracey Moffatt","year":"1989","startOffset":0,"sourceSecs":1009.728,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":168576977,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moffatt_tracey_night_cries_a_rural_tragedy_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moffatt_tracey_night_cries_a_rural_tragedy_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moffatt_tracey_night_cries_a_rural_tragedy_1989.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moffatt_tracey_night_cries_a_rural_tragedy_1989/main.mp4?v=2","description":"Length: 17 minutes 6 seconds<br><br><b>Synopsis</b> <br> A short experimental film shot totally in a studio, it is about the relationship between an Aboriginal daughter and her white mother. The daughter, now the sole carer of her dying mother, dreams of far away places.<br><br><b>Curator's notes</b> <br> A short film written and directed by Tracey Moffatt, Night Cries is promoted as a possible sequel to Chauvel's feature film Jedda. What would have happened had Jedda survived, and became the primary carer of her white mother? Moffatt, one of Australia's most famous visual artists whose work is internationally acclaimed, continues her use of constructed environments, with no outdoor scenes filmed in this work. Shot entirely indoors, the design work of Steven Curtis in Night Cries can also be seen in Moffatt's feature film BeDevil. The beautiful use of rich colours, reflections and sounds open up the indoor environment of the set, and suggests the grand expanse of physical landscapes. <br><br/> Moffatt's use of famous Aboriginal singer Jimmy Little, who sings 'Royal Telephone' in Night Cries, evokes the presence of Christianity, and its role in the assimilation of Aboriginal peoples. The haunting textures of the painted landscape can then perhaps be reflective of a gradual change in how Aboriginal people relate to the land as a consequence of assimilation. The haunted look in the eyes of the Aboriginal daughter (Marcia Langton), is loaded with a sense of what could have been. The final scene of Night Cries is reminiscent of a scene from Jedda, when the newborn infant is laid on the table next to the white mistress of the house, and both begin to cry. This scene in Night Cries revisits the pain and anguish of Jedda, as the now grown Aboriginal daughter lies in a foetal position next to her white mother, and once again cries. Assimilation, then, can be understood as a pain experienced by both the Aboriginal daughter, as well as the white mother. <br/><br/> Tracey Moffatt is an artist who continues to challenge the social construction of Aboriginality and how it is nationally and internationally viewed. <br/><br/> Romaine Moreton, curator</br></br></br></br>","artist_bio":"Australian photographer and filmmaker. After graduating from Queensland College of Art, Brisbane (1982), she moved to Sydney, later dividing her time between Sydney and New York. Moffat began her career as an experimental filmmaker and as a producer of music videos, and she continued making films after establishing herself as a photographer. Her concern with power relations is demonstrated in the series Scarred for Life (nine offset lithographs, 1994), which juxtapose photographs of children with text, mimicking the layout of Life magazine during the 1960s. Useless, 1974 (1994; priv. col., see B. Reinhardt, ed., p. 21), shows a young girl cleaning a car in a suburban setting; the text beneath reads ‘Her father's nickname for her was “useless”.' In the late 1990s she focused on the relationship between Australian Aborigines and white colonial settlers. The highly atmospheric series Laudanum (19 photo-engravings, 1998; Frankfurt, L. A. Gal.), shows the relationship between a woman and her aboriginal servant. Based on Pauline Reage's erotic novel Story of O (1954), it presents two actors posing in a variety of locations around a large house, suggesting sexual and power relations laced with narcotic hysteria. The use of photogravure and deliberately flawed prints heightens the ambience, informed by late 19th century photography as well as by Expressionist cinematic techniques of shadow and distortion. The typically dreamlike quality of these works creates a space in which actors can embody wider sexual and social conflicts.","bio_dates":"b. 1960"},{"slug":"mohaiemen_naeem_united_red_army_the_young_man_was_part_1_2011","ok":true,"partial":false,"title":"United Red Army (The Young Man Was, Part I)","artist":"Naeem Mohaiemen","year":"2011-2012","startOffset":0,"sourceSecs":4181.426,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":973018798,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mohaiemen_naeem_united_red_army_the_young_man_was_part_1_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mohaiemen_naeem_united_red_army_the_young_man_was_part_1_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mohaiemen_naeem_united_red_army_the_young_man_was_part_1_2011.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mohaiemen_naeem_united_red_army_the_young_man_was_part_1_2011/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mohaiemen_naeem_united_red_army_the_young_man_was_part_1_2011/main/master.m3u8?v=2","hasMainHls":true,"description":"United Red Army (The Young Man Was Part I) (70’, 2011) September 1977. The Japanese man speaks in halting English; the Bangladeshi negotiator with the clipped confidence of an army officer. A colour scheme suggests order in the exchange: green, red, and the occasional white. But underneath the schema of a dark screen—subtitle sans image—lies a waiting unravelling. The Japanese Red Army had attached to the Palestinian cause, and through that to an idea of global pan-Arabism. But the high-value hostage turned out to be an Armenian banker from California, and the Democratic Party Congressman on honeymoon negotiated a call to the White House only to be greeted by Jimmy Carter’s answering service. The hostage terrain was not an “Islamic Republic,” as the hijackers thought, but a turbulent new country ricocheting between polarities and imploding in the process.<br/><br/> Instead of being the willing platform for the Japanese Red Army’s ideas of “Third World revolution,” the actual Third World hit back in unexpected ways, turning the hijackers into helpless witnesses. The lead negotiator, codename “Dankesu,” says with baffled understatement and halting English: “I understand you have some internal problems.” An eight-year-old watches the television screen with growing confusion – the screen shows an unmoving control tower for hours on end, and he wants his favourite show to start again.<br/><br/> United Red Army premiered at the Sharjah Biennial in 2011. Sarinah Masukor described the film’s structure, specifically the archival images, as “ever on the verge of collapsing into abstraction, their materiality performs the indeterminacy of the event they record” ( West Space). The film is in the collection of the Tate Modern and the Kiran Nadar Museum.<br/><br/> The Young Man Was project examines the failures of radical, armed leftist movements of the 1970s. The protagonists often display misrecognition, ending up as an “accidental trojan horse” carrying tragic results to the countries in question (from Japanese hijackers commandeering Dhaka airport for “solidarity,” to migrant labor pipelines transformed into PLO “volunteers”). In spite of its failures, Mohaiemen’s reading of the potential of international left solidarity is still, always, one of hope. The first part (United Red Army, 2011) reconstructs the 1977 hijacking of Japan Airlines Flight 472 through a series of crisply polite negotiation tapes. The second film (Afsan’s Long Day, 2014) addresses the misrecognition of Marxist ideologies from the perspective of a young historian (Afsan Chowdhury, whose diary entry gives the series its name), slaloming between Bangladesh’s summer of tigers, and the German Autumn associated with the Rote Armee Fraktion. The third film (Last Man in Dhaka Central, 2015) traces, in reverse, the journey of Peter Custers, a Dutch journalist jailed in Bangladesh in 1975, accused of belonging to an underground armed Maoist group. A more recent short film, Abu Ammar is Coming (2016), digs into the illusions of a press photograph of “PLO fighters” taken by Chris Steele-Perkins for Magnum.<br/><br/> In the form of Peter Custers, who unfortunately passed away in 2015, many of the questions of The Young Man Was project take a personal form. What lies behind utopian hope, especially within the idea of socialism, against the weight of history and experience? What also of the men who survived those terrible times, unlike so many of their comrades, and now spend their waning days in solitary apartments, writing down memories? What was such a man then, and how does he remember himself today? Was he John Reed, recording the Russian Revolution, in the last free moment before the Thermidor? What does it mean to be a survivor and witness—the last man standing on the eve of another collapse, surveying the wreckage of the socialist dream in the middle of a horrific present that teeters on the cusp of the Anthropocene?","artist_bio":"Naeem Mohaiemen (born 1969) uses film, photography, installation, and essays to research South Asia's postcolonial markers (the Indo-Pakistani War of 1947–1948 and the Bangladesh Liberation War of 1971). His projects on the 1970s revolutionary left explores the role of misrecognition within global solidarity.","bio_dates":"b. 1969"},{"slug":"moholy_nagy_1930_lichtspiel_schwarz_weiss_grau","ok":true,"partial":false,"title":"Ein Lichtspiel schwarz weiss grau","artist":"László Moholy-Nagy","year":"1930","startOffset":0,"sourceSecs":394.2,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":68060110,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moholy_nagy_1930_lichtspiel_schwarz_weiss_grau/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moholy_nagy_1930_lichtspiel_schwarz_weiss_grau/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moholy_nagy_1930_lichtspiel_schwarz_weiss_grau.avi","hasFrames":true,"description":"1930 / b&w / silent / 1S / 5' 30 <br/><br/> Superpositions of metal objects and shadows. Shadows reappearing, suddenly the shadow of a balloon, with a halo of raw light, playing on the shadow of the anterior light. The light accessory revolves around itself, we can see it from the top, from the bottom, from the front and from behind. In slow motion, accelerated, reversed. A mass of details. A carved wooden ball rolls from left to right. From right to left. Non- stop. Positive and negative images, a glare, prisms which come apart constantly. Movements, strange grids which move. Filters « drunk », bars.Glance cast by little openings ; automatic diaphragms. Light flashes, moving, blinding. Whirling spirals, which always return. All solid shapes dissolve into light. <br/><br/> In 1927, four years after he joined the faculty of the Bauhaus school in Weimar Germany, Moholy-Nagy published Malerei, Fotografie, Film (Painting, Photography, Film). In this influential book—part of a series he coedited with Walter Gropius, director of the Bauhaus—he asserted that photography and cinema had heralded a \"culture of light\" that had overtaken the most innovative aspects of painting. Moholy-Nagy extolled photography—and film, by extension—as the quintessential medium of the future. His interest in the movement of objects and light through space led him to construct Light Prop for an Electric Stage (Light-Space Modulator). This object is the subject of Ein Lichtspiel: schwarz weiss grau (A Lightplay: Black White Gray), Moholy-Nagy's only abstract film, which synthesizes his attempts to visualize the act of seeing from multiple viewpoints.","artist_bio":"Impressionen vom alten Marseiller Hafen (Vieux Port)\n(1929)\nLaszlo Moholy-Nagy (July 20, 1895 – November 24, 1946) was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.","bio_dates":"1895-1946"},{"slug":"moholy_nagy_1933_architects","ok":true,"partial":false,"title":"Architects' Congress","artist":"László Moholy-Nagy","year":"1933","startOffset":0,"sourceSecs":1773.855,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":301423544,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moholy_nagy_1933_architects/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moholy_nagy_1933_architects/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moholy_nagy_1933_architects.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moholy_nagy_1933_architects/main.mp4?v=2","description":"At the request of Sigfried Giedion, László Moholy-Nagy agreed to film a documentary of the 1933 International Congress of Modern Architecture (CIAM) whose participants were traveling by ship from Marseilles to Athens and back, spending several days in Greece. Financed by the CIAM, the film Architects' Congress was intended to spread the word. It seems doubtful that the film, lasting just short of thirty minutes, was adequate to the task. The focus of the atmospheric images is less on the issue of modern city planning or architecture than on the relaxed, almost familiar mood (indeed, several CIAM activists were missing who had represented contrary positions at earlier meetings).<br/><br/> Architects' Congress ultimately proves to be more a film by Moholy-Nagy than a film about CIAM. The evident filmic aspects include the use of a handheld camera, repeatedly used for tilted perspectives, and the Greek light as an aesthetic factor, though that can also be read as a metaphor for the atmosphere of the congress.<br/><br/> Only indirectly does Moholy-Nagy's work become a document of the activity at the CIAM. The humanistic call for the inseparability of rationality and emotionality, which seemed to come to the foreground again after World War II, seems to be present in the relaxed atmosphere of Architects' Congress and captured in its images. [From: Hans Richter: New Living - Architecture, Film, Space] <br/><br/> Architects' Congress, 1933: Moholy-Nagy's cinematic journal, which recorded the meeting of the CIAM (International Congress of Architecture) in August of 1933. The meeting was held on a yacht that cruised the Mediterranean Sea between Marseille, the Aegean Islands, and Athens. Congress participants included such notables as Le Corbusier, Alvar Aalto, Cornelis van Eesteren, Charlotte Perriand, Ferdinand Léger, Seigfried Gideon, Le Corbusier, and José Luis Sert.","artist_bio":"Impressionen vom alten Marseiller Hafen (Vieux Port)\n(1929)\nLaszlo Moholy-Nagy (July 20, 1895 – November 24, 1946) was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.","bio_dates":"1895-1946"},{"slug":"moholy_nagy_impressionen_vom_alten_marseiller_hafen","ok":true,"partial":false,"title":"Impressionen vom alten Marseiller Hafen (Vieux Port)","artist":"László Moholy-Nagy","year":"1929","startOffset":0,"sourceSecs":633.515,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":109006949,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moholy_nagy_impressionen_vom_alten_marseiller_hafen/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moholy_nagy_impressionen_vom_alten_marseiller_hafen/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moholy_nagy_impressionen_vom_alten_marseiller_hafen.mp4","hasFrames":true,"description":"\"\"In this first film by Moholo-Nagy, the documentary description of everyday life in Marrseille leads to a study of the famous transporter bridge, which was a symbol of modernism for an entire generation of photographers and filmmakers.\" <br/><br/>\"\"The famous transporter bridge shines in the middle of the landscape. It comes and goes tirelessly from one bank to the other. Foreigners admire its beauty. This suspended bridge is really a technical miracle of exceptionnal precision and finesse. The elegant construction, with steel bars supporting the movable bridge, offers an attractive show every time we have the pleasure of seeing the platform filled with men leaving for the other side, above the water, balancing and swaying softly.\" (Laszlo Moholy-Nagy)\"","artist_bio":"Impressionen vom alten Marseiller Hafen (Vieux Port)\n(1929)\nLaszlo Moholy-Nagy (July 20, 1895 – November 24, 1946) was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.","bio_dates":"1895-1946"},{"slug":"moholy_nagy_new_architecture_london_zoo_1936","ok":true,"partial":false,"title":"The New Architecture and the London Zoo","artist":"László Moholy-Nagy","year":"1936","startOffset":0,"sourceSecs":989.205,"sourceHeight":404,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":49990856,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moholy_nagy_new_architecture_london_zoo_1936/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moholy_nagy_new_architecture_london_zoo_1936/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moholy_nagy_new_architecture_london_zoo_1936.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moholy_nagy_new_architecture_london_zoo_1936/main.mp4?v=2","description":"The New Architecture and the London Zoo, 1936: The film examines the redesign of various exhibits at the London Zoo. The film was produced for the Museum of Modern Art, New York, and the Zoological Society of London, England. <br/><br/> Directed by Laszlo Moholy-Nagy<br/> Assisted by Cyril Jerkins and Hazen Sise<br/> Soundtrack: Silent<br/> Film: Black & White","artist_bio":"Impressionen vom alten Marseiller Hafen (Vieux Port)\n(1929)\nLaszlo Moholy-Nagy (July 20, 1895 – November 24, 1946) was a Hungarian painter and photographer as well as professor in the Bauhaus school. He was highly influenced by constructivism and a strong advocate of the integration of technology and industry into the arts.","bio_dates":"1895-1946"},{"slug":"molska_anna_owow_11_2007","ok":true,"partial":false,"title":"Owow11","artist":"Anna Molska","year":"2007","startOffset":0,"sourceSecs":566.315,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":90575598,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/molska_anna_owow_11_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/molska_anna_owow_11_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/molska_anna_owow_11_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/molska_anna_owow_11_2007/main.mp4?v=2","description":"OWOW11 (2007), where Molksa edited registered sessions of the OWOW exercises and broke the prequisite rule of the non-verbal communication by having a fellow student singing out loud Kowalski's comments on his theory and methods. By avoiding direct confrontation she is essentially distancing herself from this reputable workshop, attempting to find a place outside the conditions of its process.","artist_bio":"One of the great European documentarians, Nicolas Philibert began his education by studying philosophy and later worked as an assistant director with such filmmakers as Rene Allio and Alain Tanner. Philibert's ability to approach man with tenderness, directness and sensitivity appears in his film In the Land of the Deaf, an exploration of the world through the eyes of those born without the sense of hearing. In 1995 Philibert revisited the subject of museums--also explored in Louvre City--finding humanity and humor within these stately institutions. Animals and More Animals examines the zoological wing of France's Museum of Natural History, which had been closed for years, and brings to light its unusual treasures. Minimalist and exceedingly moving, Philibert's films have received awards in festivals and various events, but have also achieved a rare feat in France: box office success. Along with Cahiers du Cinema editor Jean Michel Frodon, Philibert joins us to discuss his unique work in nonfiction film.","bio_dates":"b. 1983"},{"slug":"momus_manofletters","ok":true,"partial":false,"title":"Momus Manofletters","artist":"Momus","year":"1994","startOffset":0,"sourceSecs":3505.106,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":595417645,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/momus_manofletters/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/momus_manofletters/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/momus_manofletters.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/momus_manofletters/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/momus_manofletters/main/master.m3u8?v=2","hasMainHls":true,"description":"\"Man of Letters\" is a documentary about Momus directed by Hannu Puttonen for Finnish television in 1994.\n\nIt stars Momus, Sarah Cracknel, Jarvis Cocker, Ed Ball, Simon Fisher Turner, Alison Spritzler-Rose and Rozelle Bentheim.\n\nTechnically speaking, \"Man of Letters\" is not so much a documentary on Momus, but in the words of Gilles Deleuze —a rhizome of narratives: stream of consciousness, visualisations of songs, lyrics & moral discussions by Momus and his companions... of whom some have a high profile in British pop culture... and some who join Momus in his love for words, those great confusers...\n\nLike \"The Screwtape Letters\" by C.S. Lewis, \"Man Of Letters\" takes for its structure a conversation between two devils bargaining for the soul of Momus, a musician.\n\n\"'Tempt him with success', advises the old devil to his apprentice, eager for promotion. 'Tempt him with the promise of fame, power, and the love of women... Lead him astray with easy sex... Confuse him with many religions... Employ the Flatterer, a useful tool... Take him to the top of the mountain, show him the valley below... Use the most modern methods of communication to spread his message amongst the young and impressionable... Above all use words, for they are great confusers. Go forth, young devil, and tempt him. Make his soul ours.'\""},{"slug":"monnet_caroline_mobilize","ok":true,"partial":false,"title":"Mobilize","artist":"Carloline Monnet","year":"2014","startOffset":0,"sourceSecs":214.228,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":54954183,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/monnet_caroline_mobilize/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/monnet_caroline_mobilize/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/monnet_caroline_mobilize.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/monnet_caroline_mobilize/main.mp4?v=2","description":"This short film, crafted entirely out of NFB archival footage by First Nations filmmaker Caroline Monnet, takes us on an exhilarating journey from the Far North to the urban south, capturing the perpetual negotiation between the traditional and the modern by a people moving ever forward. <br/><br/> Part of the Souvenir series, it's one of four films by First Nations filmmakers that address Indigenous identity and representation, reframing Canadian history through a contemporary lens.","artist_bio":"Caroline \"Coco\" Monnet is an Algonquin-French contemporary artist and filmmaker known for her work in sculpture, installation and film. Monnet made her first debut in 2009 where she presented her film \"Ikwé\" at the Toronto International Film Festival.","bio_dates":"2014"},{"slug":"montano_linda_primal_scenes_1980","ok":true,"partial":false,"title":"Primal Scenes","artist":"Linda Montano","year":"1980","startOffset":0,"sourceSecs":596.596,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":105556421,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/montano_linda_primal_scenes_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/montano_linda_primal_scenes_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/montano_linda_primal_scenes_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/montano_linda_primal_scenes_1980/main.mp4?v=2","description":"1980 | 00:09:52 | United States | English | B&W | Mono | 4:3 | Video <br/><br/> Over grainy, black and white images of a woman giving birth, Montano reads the story of a nun’s sexual self-discovery—recounting Sister Joan’s growing awareness of her body’s sensuousness and sexuality. Primal Scenes is an excellent example of women’s erotica, focusing on a woman’s experience of her body as both sexually powerful and deeply mysterious. Montano uses stirring images of women acting in the rather traditional roles of nun and mother, yet she recasts these roles and demonstrates, from a woman’s point of view, the possibility of claiming a fully-realized sexual intensity for women.","artist_bio":"Linda Mary Montano is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging – she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London.","bio_dates":"b. 1942"},{"slug":"montano_linda_seven_years_of_living_art_maida_barbour_1994","ok":true,"partial":false,"title":"Seven Years of Living Art","artist":"Linda Montano","year":"1994","startOffset":0,"sourceSecs":752.285,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":134476512,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/montano_linda_seven_years_of_living_art_maida_barbour_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/montano_linda_seven_years_of_living_art_maida_barbour_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/montano_linda_seven_years_of_living_art_maida_barbour_1994.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/montano_linda_seven_years_of_living_art_maida_barbour_1994/main.mp4?v=2","description":"Maida Barbour, Linda Montano<br/> 1994 | 00:13:13 | United States | English | Color | Mono | 4:3 | Video <br/><br/> A video collage of a seven-year performance piece by performance artist, Linda Montano that chronicles the issues and events that arose in Montano’s life while she devoted a year to each of the seven chakras. Beginning as a piece devoted to themes of commitment and limitation, the work becomes a fascinating hybrid of art and life, as Montano experiences the onset of menopause, her mother’s death , her choice to enter and then leave a convent, the suffering of a stroke, and thoughts of her own death—all within the structural confines of an intense work of art. Contributors to the work include Ellen Fullman, Gisela Gamper, and Annie Sprinkle.","artist_bio":"Linda Mary Montano is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging – she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London.","bio_dates":"b. 1942"},{"slug":"moon_irene_auk_of_the_two_sisters_2006","ok":true,"partial":false,"title":"Auk of the Two Sisters","artist":"Irene Moon","year":"2006","startOffset":0,"sourceSecs":490.731,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":80200118,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_auk_of_the_two_sisters_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_auk_of_the_two_sisters_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_auk_of_the_two_sisters_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moon_irene_auk_of_the_two_sisters_2006/main.mp4?v=2","artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_bad_apple_auk_2006","ok":true,"partial":false,"title":"Bad Apple Au","artist":"Irene Moon","year":"2006","startOffset":0,"sourceSecs":225.408,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":28413768,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_bad_apple_auk_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_bad_apple_auk_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_bad_apple_auk_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moon_irene_bad_apple_auk_2006/main.mp4?v=2","artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_conjur_auk_2006","ok":true,"partial":false,"title":"Conjur Auk","artist":"Irene Moon","year":"2006","startOffset":0,"sourceSecs":434.048,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":63552630,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_conjur_auk_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_conjur_auk_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_conjur_auk_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moon_irene_conjur_auk_2006/main.mp4?v=2","artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_court_of_common_pleas","ok":true,"partial":false,"title":"Court of Common Pleas","artist":"Irene Moon","year":"2006","startOffset":0,"sourceSecs":758.101,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":135915684,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_court_of_common_pleas/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_court_of_common_pleas/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_court_of_common_pleas.mp4","hasFrames":true,"artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_dentist_auk_2006","ok":true,"partial":false,"title":"Dentist Auk","artist":"Irene Moon","year":"2006","startOffset":0,"sourceSecs":481.515,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":76943931,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_dentist_auk_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_dentist_auk_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_dentist_auk_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moon_irene_dentist_auk_2006/main.mp4?v=2","artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_insectavore_1997","ok":true,"partial":false,"title":"The Insectavore","artist":"Irene Moon","year":"1997","startOffset":0,"sourceSecs":389.461,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":71955935,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_insectavore_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_insectavore_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_insectavore_1997.mp4","hasFrames":true,"artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_monster_auk_2006","ok":true,"partial":false,"title":"Monster Auk","artist":"Irene Moon","year":"2006","startOffset":0,"sourceSecs":410.048,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":60253436,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_monster_auk_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_monster_auk_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_monster_auk_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moon_irene_monster_auk_2006/main.mp4?v=2","artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_p_dish_1999","ok":true,"partial":false,"title":"P Dish","artist":"Irene Moon","year":"1999","startOffset":0,"sourceSecs":206.379,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":35854134,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_p_dish_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_p_dish_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_p_dish_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moon_irene_p_dish_1999/main.mp4?v=2","artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_perfectly_pleasant_decomposistion_1998","ok":true,"partial":false,"title":"Perfectly Pleasant Decomposistion","artist":"Irene Moon","year":"1998","startOffset":0,"sourceSecs":158.635,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":28141610,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_perfectly_pleasant_decomposistion_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_perfectly_pleasant_decomposistion_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_perfectly_pleasant_decomposistion_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moon_irene_perfectly_pleasant_decomposistion_1998/main.mp4?v=2","artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_snowflake","ok":true,"partial":false,"title":"Snowflake","artist":"Irene Moon","year":"2005","startOffset":0,"sourceSecs":268.202,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":14450188,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_snowflake/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_snowflake/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_snowflake.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moon_irene_snowflake/main.mp4?v=2","artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_suprizez_2004","ok":true,"partial":false,"title":"Suprizez","artist":"Irene Moon","year":"2004","startOffset":0,"sourceSecs":253.269,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":43798308,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_suprizez_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_suprizez_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_suprizez_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moon_irene_suprizez_2004/main.mp4?v=2","artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moon_irene_terrorstic_entomology_1998","ok":true,"partial":false,"title":"Terroristic Entomology","artist":"Irene Moon","year":"1998","startOffset":0,"sourceSecs":169.984,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":19814974,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_terrorstic_entomology_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moon_irene_terrorstic_entomology_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moon_irene_terrorstic_entomology_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moon_irene_terrorstic_entomology_1998/main.mp4?v=2","artist_bio":"Camera by Thom, Jeramy Midkiff, John Will Fail, Robert Beatty, John Ferguson and Chad Patio. Except Beratal Auk which was shot by Ron Orovitz\nTalent/Actors: Matt Minter, Jeramy Midkiff, Sara O'keefe, Trevor Tremaine, and Irene Moon\nMusic by the Collection of the Late Howell Bend, and composed by Irene Moon\nEarly films from Moon with soundtracks created from field recordings of insects and equipment commonly found in a laboratory environment.\nBorn in Raleigh North Carolina and having lived near many southern state capitals in her career Irene began creating performances and films with the Melted Men, Deonna Mann and the Noisettes in Athens, Georgia during the late 90s. She moved to Lexington Kentucky in 2000 for her Masters degree in Entomology with a concentration in Insect Systematics and Evolution. In Lexington Auk Theatre evolved and the Collection of the Late Howell Bend (the creators of the soundtracks to the Auk Theatre) was established. Moon has a split career; working in the field of biodiversity informatics/entomology and musical performing. More information about can be found at\nwww.begoniasociety.org\nand\nwww.codex.begoniasociety.org\nPrimarily thee visuals are the cake decoration for the soundtracks; to explain or emphasize the emotion of a composition it is best to watch its film to tell the listener how to feel or what is to be imagining while listening. All of the films should be listened to at a loud volume, as the soundtracks and associated music are intended for listening intently. These films are highly synthesized and predominantly fantasy. They are memories not processed, distortions of important details, that are often missed or not remembered. We learn early to make connections between objects and events in our world by only creating simple associations or connections. Soon such associations become static and affect any future memories or perceptions. Much of this behavior is learned and entire populations can follow the same pathway, reinforcing each other's correctness and general worldview no matter how boring. If this pathway is interrupted or disturbed it can yield a deep significance to the viewer and a new light, humorous and disturbing, on an average occurrence.","bio_dates":"2006"},{"slug":"moorman_charlotte_tv_cello_1976","ok":true,"partial":false,"title":"Charlotte Moorman performs with Nam June Paik's 'TV cello'","artist":"Charlotte Moorman","year":"1976","startOffset":0,"sourceSecs":131.611,"sourceHeight":350,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":8765124,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moorman_charlotte_tv_cello_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moorman_charlotte_tv_cello_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moorman_charlotte_tv_cello_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moorman_charlotte_tv_cello_1976/main.mp4?v=2","description":"Paik collaborated extensively with cellist Charlotte Moorman (1933-1991), including in their 1976 Kaldor Public Art Project, in which they presented an exhibition of Paik's objects and more than 40 performances in Sydney and Adelaide. In one of these performances at the Art Gallery of NSW, pictured here, Moorman plays Paik's 'TV cello'<br><br><b>RESOURCES:</b> <br><a href=\"https://ubu.com/soud/moorman.html\" rel=\"noopener\" target=\"_blank\">Charlotte Moorman in UbuWeb Sound</a></br>","artist_bio":"Charlotte Moorman performs with Nam June Paik's 'TV cello' (1976)\nFamously described by composer Edgar Varese as \"the Jeanne d'Arc of new music,\" Charlotte Moorman was a central figure of the New York avant garde of the 1960s and '70s. Both as a performer of new music and an organizer of exhibitions, she became one of the iconic figures of the period. In 1963 Moorman established the annual New York Avant Garde Festival, which she ran until 1982. It was at the second of these, in 1964, that she met and first collaborated with Nam June Paik, and their partnership was to last until Moorman's death in 1991. Paik created some of his best-known pieces for her, including TV Bra for Living Sculpture (1969) and TV-Cello (1971), and she was featured in many of his classic performances and videotapes, including Global Groove (1973).\nMainstream notoriety came to Moorman in 1967, when she was convicted on a charge of indecent exposure during a performance of Paik's Opera Sextronique. Ironically, this controversy led to Moorman becoming a guest on TV talk shows, giving her a place in the public's consciousness as the \"Topless Cellist.\" Though her performances were marked by a playful delight in the absurd, this was framed at all times by a high seriousness in her approach to her music. No matter what the circumstances, she would play in the appropriate concert gown, even when hanging from a trapeze or suspended by balloons.\nCharlotte Moorman was born in 1933 in Little Rock, Arkansas, and died in 1991. She studied classical cello at Julliard and was for several years a member of American Symphony Orchestra under Leopold Stokowski. In addition to her work with Paik, during her career Moorman collaborated with or performed works for Joseph Beuys, Jim McWilliams, Otto Piene, John Cage, and Yoko Ono.","bio_dates":"1933-1991"},{"slug":"moreau_alain_un_siecle_d_ecrivains_louis_ferdinand_celine_1998","ok":true,"partial":false,"title":"Un Siecle D Ecrivains Louis Ferdinand Celine","artist":"Louis-Ferdinand Céline","year":"1998","startOffset":0,"sourceSecs":2783.573,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":476741487,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moreau_alain_un_siecle_d_ecrivains_louis_ferdinand_celine_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moreau_alain_un_siecle_d_ecrivains_louis_ferdinand_celine_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moreau_alain_un_siecle_d_ecrivains_louis_ferdinand_celine_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moreau_alain_un_siecle_d_ecrivains_louis_ferdinand_celine_1998/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moreau_alain_un_siecle_d_ecrivains_louis_ferdinand_celine_1998/main/master.m3u8?v=2","hasMainHls":true},{"slug":"mori_ikue_bhima_swarga_2007","ok":true,"partial":false,"title":"Bhima Swarga","artist":"Ikue Mori","year":"2007","startOffset":0,"sourceSecs":1254.827,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":218482758,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mori_ikue_bhima_swarga_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mori_ikue_bhima_swarga_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mori_ikue_bhima_swarga_2007.mp4","hasFrames":true,"description":"Director: Ikue Mori<br/> Year: 2007<br/> Time: 21 mins<br/> Music: Ikue Mori<br/><br/>Loosely based on a section of the great Indian Mahabharata epic, Mori's Bhima Swarga (The Heaven of Bhima) is a riveting audiovisual exercise that uses mural paintings from the 18th century Kertha Gosha court in Bali to create a beautiful jigsaw of colour, glitch, figurative exoticism and plastic abstraction. The \"original\" Bhima Swarga tells the story of Bhima's excursion into hell (naraka) to rescue the souls of his father and co-mother and escort them to the gods' heaven. After fighting hosts of ill- and good-natured demons, Bhima and the remaining Pandava brothers must face the violent opposition of ill- and good-natured gods, who, though respecting the hero's resolve to fulfil his promise, cannot tolerate such an inversion in the established order of things. Bhima eventually dies in heaven but is restored to life and glory and given the amrut, the elixir of immortality. Pregnant with philosophical and eschatological significance, the Mahabharata narrative is not Mori's primary focus and is understandably sacrificed in the name of her aesthetic concerns; though these narrative elements are vaguely recognisable, someone unacquainted with the story will hardly grasp these basic guidelines and will instead be overwhelmed by Mori's impressive computer-genrated visuals. Bhima Swarga focuses on the on the beautiful mural paintings of the Kertha Gosha court, which are animated in ways that recall some sections of Paley's brilliant Sita Sings the Blues. But unlike Sita, Mori's Bhima is interested in the uses of visual distortion and glitch for the creation of new aesthetic possibilities. Source materials and backgrounds are corrupted, degraded and pushed to the limits; their integrity is not to be respected and even their figurative nature is often lysergically distorted beyond recognition. The soundtrack features Mori's trademark laptop gimmicks, proving how much the author has matured since her early adventures in electro-foam. A rich sonic palette evolves over the 21 minutes of the piece, ranging from dizzy-ambient sections to her more characteristic crystalline-yet-hectic rhythmical panning. There are a few short takes on the Balinese gamelan and raga traditions, but these fortunately turn out to sound more like respectful tributes than any form of exotic pillage or, even worse, new age pseudo-reverentialism. In the end, Bhima Swarga could hardly stand as a companion to the original Mahabharata story, but would certainly feature among Mori's most rewarding works.","artist_bio":"Ikue Mori was born and raised in Japan. She says she had little interest in music before hearing punk rock. In 1977, she went to New York City, initially for a visit, but she fell into the music scene, and has remained in New York since.\nHer first musical experience was as the drummer for seminal no wave band DNA, which also featured East Village hero, Arto Lindsay. Though she had little prior musical experience (and had never played drums), Mori quickly developed a distinctive style: One critic describes her as \"a tight, tireless master of shifting asymmetrical rhythm\", while Lester Bangs wrote that she \"cuts Sunny Murray in my book.\" His comment is no small praise, as Murray is widely considered a major free jazz drummer.\nAfter DNA disbanded, Mori became active in the New York experimental music scene. She abandoned her drum set, and began playing drum machines, which she sometimes modified to play various samples. According to Mori, she was trying to make the drum machines \"sound broken.\" Critic Adam Strohm writes that she \"founded a new world for the instrument, taking it far beyond backing rhythms and robotic fills.\" In recent years she has used a laptop as her primary instrument, but is still sometimes credited with \"electronic percussion\".\nIn 1995, she began collaborating with Japanese bass guitarist Kato Hideki (from Ground Zero), and together with experimental guitarist Fred Frith (from Henry Cow), they formed Death Ambient. The trio released three albums, Death Ambient (1995), Synaesthesia (1999) and Drunken Forest (2007).\nBeyond her solo recordings, she has recorded or performed with Dave Douglas, Butch Morris, Kim Gordon, and many others, including as Hemophiliac, a trio with John Zorn and singer Mike Patton, as well as being a member of Zorn's Electric Masada. With Zeena Parkins, she records and tours as duo project Phantom Orchard. She often records on Tzadik, as well as designing the covers for many of their albums.\nMori has drawn inspiration from visual arts. Her 2000 release, One Hundred Aspects of the Moon was inspired by famed Japanese artist Yoshitoshi. Her 2005 recording, Myrninerest, is inspired by outsider artist Madge Gill.\nIn 2006, she was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award. -- Wiki","bio_dates":"1923-1991"},{"slug":"moritsugu_jon_hippy_porn_1991_iphone","ok":true,"partial":false,"title":"Hippy Porn","artist":"Jon Moritsugu","year":"1991","startOffset":0,"sourceSecs":5493.186,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":316180007,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moritsugu_jon_hippy_porn_1991_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moritsugu_jon_hippy_porn_1991_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moritsugu_jon_hippy_porn_1991_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moritsugu_jon_hippy_porn_1991_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/moritsugu_jon_hippy_porn_1991_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"HIPPY PORN is about as adventuresome as feature film-making gets... bleakly beautiful.<br/><br/> LOS ANGELES TIMES<br/> Kevin Thomas, 5/22/1991<br/><br/>Jon Moritsugu is Dennis Hopper (of the EASY RIDER and THE LAST MOVIE period) gone post punk. He cannibalizes Hopper's flash flame techniques and non-linear interventions to energize the dead weight of the narrative lull, thereby substituting a sixty's hippy sensibility with a punk abandon... HIPPY PORN is Godard's WEEKEND remade by Warhol's Factory, a road movie about the End of the Road. The pure Beauty of Decay.","artist_bio":"Writer/director JON MORITSUGU has been making films since 1985. In 1989, Village Voice critic J.Hoberman called Moritsugu's Brown University thesis short, DER ELVIS, one of the \"Top 50 films of the 80's.\" Since then his features MOD FUCK EXPLOSION, MY DEGENERATION, FAME WHORE, SCUMROCK, and HIPPY PORN have scorched eyeballs worldwide from Sundance to MOMA to Cannes to the Guggenheim to Berlin to Toronto to name a few. In 1993 James Schamus (Focus Features) produced Moritsugu's PBS television comedy, TERMINAL USA. Moritsugu has garnered critical acclaim and top awards at the New York Underground Film Festival (Best Feature 3 times in a row) as well as the Screenwriting Award at the Austin Film Fest and Oscar consideration for his feature FAME WHORE. He has worked with his wife/leading lady Amy Davis for 20 years. She was co-writer of his last feature, SCUMROCK, as well his newest magnum opus. Moritsugu is currently shopping around this brand new Punk Horror script.","bio_dates":"b. 1965"},{"slug":"morris_robert_exchange_1973","ok":true,"partial":false,"title":"Exchange","artist":"Robert Morris","year":"1973","startOffset":0,"sourceSecs":2147.584,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":362477691,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/morris_robert_exchange_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/morris_robert_exchange_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/morris_robert_exchange_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/morris_robert_exchange_1973/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/morris_robert_exchange_1973/main/master.m3u8?v=2","hasMainHls":true,"description":"In 1972, Robert Morris and <a href=\"https://ubu.com/film/benglis.html\" rel=\"noopener\" target=\"_blank\">Lynda Benglis</a> agreed to exchange videos in order to develop a dialogue between each other's work. Morris's tape, Exchange, is a part of that process - a response to Benglis's <a href=\"https://ubu.com/film/benglis_mumble.html\" rel=\"noopener\" target=\"_blank\">Mumble</a>. At the beginning of the tape, Morris comments on the nature of the collaboration, their interaction, and what they represent to each other. Morris's speculations about work, travel, and relationships are juxtaposed with frozen images of race cars, Benglis herself, images from Benglis's tape, and Manet's Olympia. An asymmetry of elements forms as the tape moves from the professional towards the personal- a shift that gives the work humanity and, concerning the development of early conceptual video, its unique historical importance. - Video Data Bank<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/benglis.html\" rel=\"noopener\" target=\"_blank\">Lynda Benglis in UbuWeb Film</a></br>","artist_bio":"Robert Morris (born February 9, 1931, Kansas City, Missouri) is an American sculptor, conceptual artist and writer. He is regarded as one of the most prominent theorists of Minimalism along with Donald Judd but he has also made important contributions to the development of performance art, minimalism, land art, the Process Art movement and installation art. Morris currently lives and works in New York.","bio_dates":"b. 1944"},{"slug":"morris_sarah_am_pm","ok":true,"partial":false,"title":"AM/PM","artist":"Sarah Morris","year":"1999","startOffset":0,"sourceSecs":584.685,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":96085651,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/morris_sarah_am_pm/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/morris_sarah_am_pm/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/morris_sarah_am_pm.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/morris_sarah_am_pm/main.mp4?v=2","description":"aking its title from an all-day/all-night convenience store, AM/PM examines the famous Las Vegas \"Strip,\" portraying the disorienting world of corporate hotels and casinos which utilize and redefine the spectacle in relation to architecture. AM/PM posits the concept of distraction itself as a strategy and the city as a conspiracy, which manipulates and directs the visitor.","bio_dates":"b. 1967"},{"slug":"morris_sarah_capital","ok":true,"partial":false,"title":"Capital","artist":"Sarah Morris","year":"2005","startOffset":0,"sourceSecs":1106.688,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":181753193,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/morris_sarah_capital/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/morris_sarah_capital/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/morris_sarah_capital.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/morris_sarah_capital/main.mp4?v=2","description":"Sarah Morris's film, Capital, was shot on location in Washington, D.C. on September 11 - 14, 2000. It shows fast-paced sequences of political icons: the Mall, the White House Press Office, the World Bank, uniformed members of the Secret Service, the Presidential motorcade, the Watergate Complex, the Kennedy Center, the Department of Energy, the J. Edgar Hoover Building, among many others. Capital continues Morris's investigation of the way we decode and therefore begin to understand the built world around us. She is interested in our intuitive relationship to architectural statements. In Capital, an intangible craving for power and money, mingled with a hint of widespread paranoia exemplified by the political process, becomes a metaphor for the architecture that structures our daily lives. <br/><br/> Capital is an ironic example of life mimicking art. Filmed exactly one year before the terrorist attacks on the World Trade Center and the Pentagon, the film has the quality of a premonition and warning of imminent danger. Today, heightened national security forbids outsiders access to many of the places and types of meetings recorded in Capital. As a result, the film is one of the last documents of a political structure that directly affected our lives forever, a realization that is more poignant in the wake of September 11, 2001 than Sarah Morris could have imagined when she filmed <i>Capital</i>.","bio_dates":"b. 1967"},{"slug":"morris_simon_aaleatory_moment","ok":true,"partial":false,"title":"Aaleatory Moment","artist":"Simon Morris","year":"2003","startOffset":0,"sourceSecs":13.2,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":2073381,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/morris_simon_aaleatory_moment/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/morris_simon_aaleatory_moment/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/morris_simon_aaleatory_moment.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/morris_simon_aaleatory_moment/main.mp4?v=2","description":"In January 2003, eighty-three students from York College cut out every word from Sigmund Freud's Interpretation of Dreams and as every word was cut from its sentence it was spoken.\n\nOn 1st June 2003, the artist Simon Morris threw the words out of the window of a Renault Clio on Redbridge Road, Dorset.\n\nThe action freed the words from the structural unity of Freud's text as it subjected them to an aleatory moment.Maurizio Cogliandro and Dallas Seitz documented the action as 333,960 words erupted from the window of the car. Dr Howard Britton, a psychoanalyst, directed them to any slippages or eruptions of the real that occurred in the reconfigured text."},{"slug":"mosset_olivier_un_film_porno_1968","ok":true,"partial":false,"title":"Un film porno","artist":"Olivier Mosset","year":"1968","startOffset":0,"sourceSecs":213.72,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":39071660,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mosset_olivier_un_film_porno_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mosset_olivier_un_film_porno_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mosset_olivier_un_film_porno_1968.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mosset_olivier_un_film_porno_1968/main.mp4?v=2","description":"With Pierre Clementi and Caroline de Bendern. <br/><br/>\"\"This film isn’t listed in the official corpus of Oliver Mosset’s pictorial works, doesn’t appear in the (now historicized) filmography of the Zanzibar group (created one night in May 1968), but is related to Mosset’s photographical oeuvre, a process of random production emancipated from the subject and from representation. Film Porno is only a sequence taken from history, an abstract moment dealing with reality and chance.\" <br/><br/>\"\"After having spent a year in Warhol's Factory, painter Olivier Mosset returned to Paris with an appetite for film and began hosting Super 8 nights in his apartment. UN FILM PORNO is a miniature sample.\"","artist_bio":"Olivier Mosset (b.1944) is one of the central figures in post-war abstract painting, and a pivotal reference for generations of European and American painters. Associated with Daniel Buren, Michel Parmentier, and Niele Toroni, he was a member of the ephemeral B.M.P.T. \"group.\" His extensive series of circle paintings, executed in the late 1960s and early 1970s, is among the most widely discussed works of that era.\nIn the heady climate of Paris pre-May ’68, the four painters organised “manifestations” rather than exhibitions and adopted a stance in opposition to the European tradition of “cultivated painting,” whether figurative or abstract. As critic Bob Nickas has observed, Olivier Mosset has always been closely engaged with abstraction and the history of abstraction: “his approach considers painting in terms of production and reception, while acknowledging its social and political dimensions.”\nMosset moved to the US in 1977 and was part of the vibrant New York art scene of the 1980s. His later paintings explore monochrome and geometric abstraction, with all the analytical rigor of his early works. With hindsight, Mosset emerges as one of very few European painters to place themselves within the American tradition of large-scale painting (the legacy of Frank Stella, Robert Ryman, or Barnet Newman), but he remains attentive to developments within the art scenes he traverses, too, and has supported artists whose practices differ from his own.","bio_dates":"b. 1944"},{"slug":"motoharu_jonouchi_pupu_1960","ok":true,"partial":false,"title":"Pû Pû","artist":"Motoharu Jônouchi","year":"1960","startOffset":0,"sourceSecs":1165.082,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":205398165,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/motoharu_jonouchi_pupu_1960/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/motoharu_jonouchi_pupu_1960/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/motoharu_jonouchi_pupu_1960.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/motoharu_jonouchi_pupu_1960/main.mp4?v=2","description":"One of the most renowned Japanese experimental films of the early 60s, comprising surrealistic sequences of a profane burial rite intercut with found images. Jonouchi was one of the founders of the VAN Institute for Cinematic Science, along with the likes of Masao Adachi; this progressive film group was heavily involved in anti-art and political movements, producing multi-media happenings as well as such films as Jonouchi’s Document LSD (1962) and Hi Red Center Shelter Plan (1964), a record of the Neo-Dadaists Akasegawa Genpei, Nakanishi Natsuyuki and Takamatsu Jiro. Jonouchi also continued to document the ongoing student unrest in Tokyo, producing the Gewaltopia series of riot and protest footage, including Hakusan Street: Nihon University (1968), Mass Collective Bargaining: Nihon University (1969), and Shinjuku Station (1974). These films would be screened in various edits, with differing soundtracks and live accompaniment, rejecting fixed form and remaining as works in revolutionary flux.","artist_bio":"Motoharu Jonouchi (b. 1935, Ibaraki Prefecture–1986, Tokyo) entered Nihon University Fine Art Department. He was actively involved in the establishment of Nihon University Film Study Club and directed The Record of N (1959), which documented the damage caused by the Isewan Typhoon (Typhoon Vera), and embodies qualities seen in the theoretic juncture of the avant-garde and documentary filmmaking, highly considered by experimental filmmakers at the time. Around this time Jonouchi and Kanbara established VAN Film Science Research Center, another forum for collaborative creation of films where he worked with figures of different genres including Hiroshi Teshigahara, Shusaku Arakawa, Sho Kazakura, Genpei Akasegawa, Takehisa Kosugi, and others.","bio_dates":"b. 1930"},{"slug":"moullet_luc_barres_1984","ok":true,"partial":false,"title":"Barres","artist":"Luc Moullet","year":"1984","startOffset":0,"sourceSecs":845.76,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":56701347,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moullet_luc_barres_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moullet_luc_barres_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moullet_luc_barres_1984.mp4","hasFrames":true,"description":"A thesis on the various ways to duck paying the fare on the Paris Subway. No known subs, but its all pretty self-explanatory even with rudimentary French reading abilities. Funny."},{"slug":"moulton_shana_the_mountain_where_everything_is_upside_down_2008","ok":true,"partial":false,"title":"The Mountain Where Everything is Upside Down","artist":"Shana Moulton","year":"2008","startOffset":0,"sourceSecs":289.6,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":51086472,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moulton_shana_the_mountain_where_everything_is_upside_down_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moulton_shana_the_mountain_where_everything_is_upside_down_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moulton_shana_the_mountain_where_everything_is_upside_down_2008.mp4","hasFrames":true,"description":"Video artist Shana Moulton's <i>The Mountain Where Everything Is Upside Down</i> is even better, immersing the viewer in a hallucinatory workout room where the artist's alter-ego\"a hypochondriac named Cynthia\"achieves ecstatic rapture after trepanning her skull with a magic crystal. As she often does, Moulton scrambles the lexicons of new age spirituality with fitness and beauty fads to comment on mankind's desperate need to put its faith in something. Of course, these shorts\"garishly colorful, freewheeling in their use of disparate cultural signifiers\"succeed on the level of spectacle. Much of the work here strives for more than flashy visuals, but, in this case, that flash feels very substantial.","artist_bio":"Shana Moulton works in video and performance. Moulton studied at the University of California, Berkeley and Carnegie Mellon University, Pittsburgh, where she received her MFA. Moulton has also recently attended the Skowhegan School of Painting and Sculpture in Skowhegan, Maine, and studied at De Ateliers in Amsterdam. Her video work has been screened and exhibited internationally, including at The Armory Show Art Fair, New York; Smack Mellon, Brooklyn; Loop '05 Video Festival, Barcelona; Rencontres internationales Paris/Berlin, Paris; Aurora, Edinburgh; Dark Light Festival, Dublin; Impakt Festival, Utrecht; Internationale Kurzfilmtage, Oberhausen; Canada Gallery, New York; and Bellwether, New York. Moulton currently lives and works in Brooklyn, New York.","bio_dates":"b. 1976"},{"slug":"moulton_shana_whispering_pines_2006","ok":true,"partial":false,"title":"Whispering Pines 6,7,8","artist":"Shana Moulton","year":"2006","startOffset":0,"sourceSecs":1083.691,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":189012519,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moulton_shana_whispering_pines_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/moulton_shana_whispering_pines_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/moulton_shana_whispering_pines_2006.mp4","hasFrames":true,"description":"Shana Moulton doesn't seem to be feeling well. Her wrists and neck ache from too much time on the computer. Her migraines are so painful she vomits on the floor. In fact she feels awful\"anxious and depressed\"spending days in bed or on her couch, obsessively kneading a fluorescent stress-pillow. In the video series <em>Whispering Pines</em>, Moulton chronicles her desperate quest for relief from physical pain and negative thoughts. Through six hysterical episodes, Moulton turns to the promise, and products, of new age spirituality\" trying <em>everything</em> to find a sense of peace and well-being. She buys a plug-in waterfall. She gets reflexology. She reads <em>The Feeling Good Handbook</em>, fantasizing about the book's creepy author, Dr. David Burns. Wearing a neck brace, she even stiffly follows the moves of \"Positive Moves,\" an exercise tape touting the physical benefits of a cheerful state of mind. Moulton does find a few brief, though unexpected moments of comfort. Her electric blanket springs to life and embraces her. She drinks a batch of Crystal Light, to a trippy, <em>Alice in Wonderland</em>-like effect. Each episode synthesizes performance art and animation, brilliantly achieved with low-fi video effects. Electric-blue tears zigzag down Moulton's face as she cries in frustration. Robotic voices and a mystical Pegasus come into, and then spin out of the frame. Hot pink and teal furniture dresses the set, mostly confined to her apartment. Appearing frumpier than her 30 years, Moulton mopes around her surreal sanctuary in a terrycloth housecoat, with no apparent plan to venture out. Yet, an Internet portal gives Moulton outside hope. A Google search directs her to \"Healing Hands,\" a new-age retreat in California run by Lady Nova, whom Moulton meets in a garden adorned with windsocks and dozens of plastic hands. The treatment Moulton receives is less alternative medicine and more make-believe, but she finally feels <em>great</em>. With her face painted like a butterfly\"and newfound gratification\"she tears off her clothing and runs into the woods, where her body joins with nature, dissolving into a hallucinatory kaleidoscope of spiraling rainbows. She stretches and spins her arms furiously, performing something like yoga but closer to \"Global Groove,\" and with exhausted, wide-eyed release, she collapses onto the grass. Between its streams of synthesized music and therapeutic products, Moulton's work could be seen simply as a send-up of spiritual salvation. Her videos are hilarious, largely due to her awkward, self-effacing and uninhibited performances, yet her candor lifts it above the merely comedic. Her crazy and embarrassing sashay through the woods is genuinely amazing\"she casts off composure, dignity and reason to risk real vulnerability. It's sweet and almost bewildering, notably different from the brash and impenetrable psychedelia of Pipilotti Rist. And it's refreshingly far from the current trend of coolly referencing hippie utopia, by making, for example, dream-catcher sculptures \"about\" transcendence. As goofy and pathetic as her spiritual quests are, and as far-out as they trip into the After Effects cosmos, Moulton is not so much trying for transcendence as for the less-fashionable path to sincerity and self-acceptance. Ultimately, the physical world proves too much for Moulton\"as electric stimuli repeatedly disturb any serenity, her grip on reality slips. Her constructions are so stimulating, however, that they skillfully and purposefully distract from her darker themes of isolation and uncertainty. But when therapy and spirituality unmistakably fail to bring lasting peace, Moulton is left to create for herself an elementary lesson in idealism. In a pivotal departure, through a beautiful animation drawn like an old educational film, the painted butterfly lifts off her face and floats into a watery field. The butterfly blinks and hovers, leaving behind Moulton's body and the clutter of the material world. It flutters over starfish, seashells and pine trees, searching for perfection, but settles on these natural forms of balance and stability. <br/> The Brooklyn Rail<br/> http://www.brooklynrail.org/2007/06/artseen/shana-moulton-whispering-pines","artist_bio":"Shana Moulton works in video and performance. Moulton studied at the University of California, Berkeley and Carnegie Mellon University, Pittsburgh, where she received her MFA. Moulton has also recently attended the Skowhegan School of Painting and Sculpture in Skowhegan, Maine, and studied at De Ateliers in Amsterdam. Her video work has been screened and exhibited internationally, including at The Armory Show Art Fair, New York; Smack Mellon, Brooklyn; Loop '05 Video Festival, Barcelona; Rencontres internationales Paris/Berlin, Paris; Aurora, Edinburgh; Dark Light Festival, Dublin; Impakt Festival, Utrecht; Internationale Kurzfilmtage, Oberhausen; Canada Gallery, New York; and Bellwether, New York. Moulton currently lives and works in Brooklyn, New York.","bio_dates":"b. 1976"},{"slug":"mourao_jorge_o_a_patria_1977","ok":true,"partial":false,"title":"A Pátria","artist":"Jorge O Mourão","year":"1977","startOffset":0,"sourceSecs":253.151,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":89500885,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mourao_jorge_o_a_patria_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mourao_jorge_o_a_patria_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mourao_jorge_o_a_patria_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mourao_jorge_o_a_patria_1977/main.mp4?v=2","description":"\"Tensões entre o espaço externo e o do encerramento interior, a experiência do medo e da paranóia em tempos de repressão.\" (Marginália70/Super-8)<br/><br/> \"O vômito da repressão, a escalada do medo e o banho em reverso.\" (MFL/2006)","artist_bio":"As the military dictatorship made its presence felt in Brazil in the late 60s, many of the country’s artists went into exile, such as Caetano Veloso, Gilberto Gil and Hélio Oiticica. The films of Jorge O Mourão, who followed a similar diasporic trajectory. Mourão’s films, a collection of autobiographical performance pieces, constitute visceral reactions to the authoritarian regime in Brazil and channel the paranoia and claustrophobia of his generation through the disjunction of sound and image. With Shave & Send presented with live incidental sound, here is an unprecedented chance to encounter the work of an intriguing exponent of experimental cinema.\nJorge O Mourão (Rio de Janeiro-RJ, 4 de outubro de 1945). Artista orgânico, cineasta, jornalista e escritor. Inicia os cursos de Administração Pública na EBAP, Escola Brasileira de Administração Pública, e de Direito na Universidade Cândido Mendes, mas não chega a concluir nenhum deles. Em 1965, logo após o golpe militar, passa uma temporada na Argentina, seu primeiro período fora do Brasil. Ao retornar, no mesmo ano, funda, no Rio de Janeiro, com Walmir Ayala e Álvaro Guimarães, o grupo Teatro de Câmara. Após encenação no Teatro Opinião de O Galo de Belém, peça infantil de Ayala, decide arrendar, em 1966, o Teatro de Arena da Guanabara, localizado no Largo da Carioca (e que, em 1974, seria demolido para dar espaço à estação de metrô). No fim do mesmo ano, vê o local ser invadido pela polícia, que reprime e dispersa uma reunião da UNE que ali acontecia. Antes que o regime o impedisse, decide sair do país.\nEm janeiro de 1967, após realizar um leilão de livros e roupas na praia de Ipanema, embarca no \"voo da amizade\" da TAP. Depois de 22 horas de viagem e duas escalas, chega à Lisboa salazarista, sendo logo impelido a partir - de carona - para a França.\nEm Paris, junta-se ao grupo de exilados que, vivendo de maneira precária na cidade, organiza o Comité révolutionnaire brésilien, seguindo uma rigorosa cartilha leninista. Viaja ao sul da França e participa da montagem de Le Saravá, restaurante franco-brasileiro em Saint-Tropez. De volta a Paris em 1968, organiza, com Michele Aguillera, o Carnaval brésilien em frente à Mairie du 5ème., cuja intenção era contribuir com fundos para o movimento revolucionário no Brasil. Pouco tempo depois, seria expulso do comitê por suposto comportamento anarquista.\nEstava em Paris em maio de 1968, onde ajudou a organizar o Comité luso-brésilien na Sorbonne ocupada. Detido em meio às manifestações de rua, sem passaporte e recusando-se a responder às perguntas das autoridades, acaba detido. Passa a noite em pé em uma cela superlotada, mas é logo solto, não existindo crime que lhe pudesse ser imputado.\nApós o esvaziamento do movimento na França, parte para uma viagem ao Oriente chegando até o Nepal. No pequeno país, consegue trocar a turquesa que havia adquirido no Irã pelo fragmento de um meteorito. Se abastece de haxixe e, depois de muitas fronteiras por terra, retorna à França.\nDe volta ao Brasil em 1969, em pleno AI-5, reencontra Teresa Brandão. Permanece no país apenas até conseguir lugar para embarcar num navio graneleiro com destino a Nova Orleans. No mar do Caribe, ouve falar do Festival de Woodstock e de um furacão que se aproxima, o que implica em um desvio de rota. Em Nova Orleans, pega carona para Nova York, onde consegue trabalho numa fábrica de salsichas. Ali permanece até juntar dinheiro suficiente para retornar à Europa.\nCom Teresa Brandão, passa a viver entre Paris, Londres e Nova York. Em 1970, viaja com Fernando Pereira a Israel onde realizam um documentário sobre refugiados numa favela construída com sucata de aviões abatidos. De volta a Paris, os dois chegam a filmar uma ficção no Bois de Fontainebleau. Em Londres, em 1971, atua nos filmes Crazy Love de Julio Bressane e Night Cats de Neville de Almeida.\nEm viagem pela Bolívia em 1972*, conhece e se apaixona pela cultura Aymara. Em dezembro deste mesmo ano, filma em Super-8 o nascimento de Koki Aymara em Nova York, seu primeiro filho e seu primeiro filme em Super-8. Koki inaugura aquilo que Mourão chama de \"linhagem Aymara\", que propõe agregar filhos da \"geração 68 on the road\". Liège Monteiro e Neville d’Almeida também aderiram à proposta ao também dar ao filho o nome Ayamara (Tamur Aymara nasceu em Londres).\nEm 1974, retorna ao Brasil. Em 1975, se estabelece no emblemático endereço da rua Rua Mem de Sá, 41, a jusante dos Arcos da Lapa, região central do Rio de Janeiro, ocupando um sobrado que, naquele momento, estava para ser demolido. O espaço será por dez anos a sede do espaço cultural L.O.F.T. - Galeria Alternativa, laboratório de criação e espaço multimídia dedicado à produção e lançamentos de trabalhos independentes e sede dos Archivos impossibles by Mourão, selo criado pelo artista para identificar sua produção. Sob ele nasceram também produções de outros cineastas: Walter Lima Jr. (Lira do delírio, 1978), Neville de Almeida (Rio Babilônia, 1982) e Fernando Silva (Amenic, 1983 ). O prédio do L.O.F.T. só viria a sucumbir de fato em 1985 devido a um incêndio, quando já estava sob a responsabilidade de Albino Pinheiro.\nAinda em 1975, Mourão organiza o Restaurante Natural, pioneiro de alimentação macrobiótica.\nEm 1977, antes de partir para uma nova temporada no exterior, filma A Pátria (Super-8, 3') e Brasil 1.872.000 Minutos/Noves fora? (Super-8, 21'), tendo como cenário o próprio L.O.F.T.. Já em Nova York, realiza Shave & Send (Super-8, 16', 1977), Costumes da Casa (Super-8, 9’,1977) e Washington Square Sunday (Super-8, 7’, 1978), entre outros e contando sempre com a participação especial de Teresa Brandão.\nAo retornar ao Brasil em 1978, continua com as atividades do L.O.F.T. e filma Gungala, o último travesti (Super-8, 3’, 1978), Mariza única (Super-8, 3’, 1978), entre outros. A partir de 1980, passa a se dividir entre Rio de Janeiro e Trancoso, na Bahia.\nNos Archivos impossibles, acumula todo material que possui filmado em Super-8 (são cerca de 50 rolos produzidos entre 1972 e 1979), além do registro de outras produções culturais às quais Mourão vem se dedicando desde os anos 1970.\nÉ autor dos livros Maconha em debate (Brasilense,1985), Brazilian Connection (Massao Ohno, 1990) e Tragédia na seita do daime (Imago,1995). Com Fausto Wolff, em 1982, após a vitória de Brizola, edita a Tribuna Socialista, publicação do Grupo de Comunicação do PDT. Desde 1990, edita A Folha de Trancoso.\nEm 2001, A Pátria, Brasil 1.872.000 Minutos/Noves fora?, Costumes da Casa e Shave & Send foram programados por Rubens Machado Jr. na mostra “Marginália 70: O experimentalismo no Super-8 brasileiro”, ocorrida no Itaú Cultural, em São Paulo. Foi a primeira vez que esses quatro filmes, os chamados \"fab four\", foram telecinados. Até hoje, são seus filmes mais referenciados. Em 2017, eles foram exibidos na Tate Gallery em Londres, dentro da mostra “Tropicália and Beyond: Dialogues in Brazilian Film History”, junto com filmes de Glauber Rocha, Arthur Omar, Ivan Cardoso e Carlos Adriano. Em 2018, foi homenageado pela 12ª Mostra do Filme Livre, que exibiu, além dos quatro curtas acima mencionados, o episódio dedicado a ele do programa \"Super 8 - Tamanho também é documento\", do Canal Brasil, produzido por Clóvis Molinari Jr. Em 2019, os “fab four” e Washington Square Sunday foram digitalizado e exibidos na 1ª Mostra Cine Brasil Experimental, ocorrida no Centro Cultural São Paulo.\nAtualmente, Mourão prepara o documentário L.O.F.T.doc sobre o funcionamento da galeria entre os anos de 1975 e 1985. Também escreve o livro Paris, Katmandu – das trincheiras de 68 ao hashish.","bio_dates":"b. 1945"},{"slug":"mourao_jorge_o_shave_send_1977","ok":true,"partial":false,"title":"Shave & Send","artist":"Jorge O Mourão","year":"1977","startOffset":0,"sourceSecs":946.734,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":392170113,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mourao_jorge_o_shave_send_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mourao_jorge_o_shave_send_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mourao_jorge_o_shave_send_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mourao_jorge_o_shave_send_1977/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mourao_jorge_o_shave_send_1977/main/master.m3u8?v=2","hasMainHls":true,"description":"The films of Jorge O Mourão, a collection of autobiographical performance pieces, constitute visceral reactions to the authoritarian regime in Brazil and channel the paranoia and claustrophobia of his generation through the disjunction of sound and image.","artist_bio":"As the military dictatorship made its presence felt in Brazil in the late 60s, many of the country’s artists went into exile, such as Caetano Veloso, Gilberto Gil and Hélio Oiticica. The films of Jorge O Mourão, who followed a similar diasporic trajectory. Mourão’s films, a collection of autobiographical performance pieces, constitute visceral reactions to the authoritarian regime in Brazil and channel the paranoia and claustrophobia of his generation through the disjunction of sound and image. With Shave & Send presented with live incidental sound, here is an unprecedented chance to encounter the work of an intriguing exponent of experimental cinema.\nJorge O Mourão (Rio de Janeiro-RJ, 4 de outubro de 1945). Artista orgânico, cineasta, jornalista e escritor. Inicia os cursos de Administração Pública na EBAP, Escola Brasileira de Administração Pública, e de Direito na Universidade Cândido Mendes, mas não chega a concluir nenhum deles. Em 1965, logo após o golpe militar, passa uma temporada na Argentina, seu primeiro período fora do Brasil. Ao retornar, no mesmo ano, funda, no Rio de Janeiro, com Walmir Ayala e Álvaro Guimarães, o grupo Teatro de Câmara. Após encenação no Teatro Opinião de O Galo de Belém, peça infantil de Ayala, decide arrendar, em 1966, o Teatro de Arena da Guanabara, localizado no Largo da Carioca (e que, em 1974, seria demolido para dar espaço à estação de metrô). No fim do mesmo ano, vê o local ser invadido pela polícia, que reprime e dispersa uma reunião da UNE que ali acontecia. Antes que o regime o impedisse, decide sair do país.\nEm janeiro de 1967, após realizar um leilão de livros e roupas na praia de Ipanema, embarca no \"voo da amizade\" da TAP. Depois de 22 horas de viagem e duas escalas, chega à Lisboa salazarista, sendo logo impelido a partir - de carona - para a França.\nEm Paris, junta-se ao grupo de exilados que, vivendo de maneira precária na cidade, organiza o Comité révolutionnaire brésilien, seguindo uma rigorosa cartilha leninista. Viaja ao sul da França e participa da montagem de Le Saravá, restaurante franco-brasileiro em Saint-Tropez. De volta a Paris em 1968, organiza, com Michele Aguillera, o Carnaval brésilien em frente à Mairie du 5ème., cuja intenção era contribuir com fundos para o movimento revolucionário no Brasil. Pouco tempo depois, seria expulso do comitê por suposto comportamento anarquista.\nEstava em Paris em maio de 1968, onde ajudou a organizar o Comité luso-brésilien na Sorbonne ocupada. Detido em meio às manifestações de rua, sem passaporte e recusando-se a responder às perguntas das autoridades, acaba detido. Passa a noite em pé em uma cela superlotada, mas é logo solto, não existindo crime que lhe pudesse ser imputado.\nApós o esvaziamento do movimento na França, parte para uma viagem ao Oriente chegando até o Nepal. No pequeno país, consegue trocar a turquesa que havia adquirido no Irã pelo fragmento de um meteorito. Se abastece de haxixe e, depois de muitas fronteiras por terra, retorna à França.\nDe volta ao Brasil em 1969, em pleno AI-5, reencontra Teresa Brandão. Permanece no país apenas até conseguir lugar para embarcar num navio graneleiro com destino a Nova Orleans. No mar do Caribe, ouve falar do Festival de Woodstock e de um furacão que se aproxima, o que implica em um desvio de rota. Em Nova Orleans, pega carona para Nova York, onde consegue trabalho numa fábrica de salsichas. Ali permanece até juntar dinheiro suficiente para retornar à Europa.\nCom Teresa Brandão, passa a viver entre Paris, Londres e Nova York. Em 1970, viaja com Fernando Pereira a Israel onde realizam um documentário sobre refugiados numa favela construída com sucata de aviões abatidos. De volta a Paris, os dois chegam a filmar uma ficção no Bois de Fontainebleau. Em Londres, em 1971, atua nos filmes Crazy Love de Julio Bressane e Night Cats de Neville de Almeida.\nEm viagem pela Bolívia em 1972*, conhece e se apaixona pela cultura Aymara. Em dezembro deste mesmo ano, filma em Super-8 o nascimento de Koki Aymara em Nova York, seu primeiro filho e seu primeiro filme em Super-8. Koki inaugura aquilo que Mourão chama de \"linhagem Aymara\", que propõe agregar filhos da \"geração 68 on the road\". Liège Monteiro e Neville d’Almeida também aderiram à proposta ao também dar ao filho o nome Ayamara (Tamur Aymara nasceu em Londres).\nEm 1974, retorna ao Brasil. Em 1975, se estabelece no emblemático endereço da rua Rua Mem de Sá, 41, a jusante dos Arcos da Lapa, região central do Rio de Janeiro, ocupando um sobrado que, naquele momento, estava para ser demolido. O espaço será por dez anos a sede do espaço cultural L.O.F.T. - Galeria Alternativa, laboratório de criação e espaço multimídia dedicado à produção e lançamentos de trabalhos independentes e sede dos Archivos impossibles by Mourão, selo criado pelo artista para identificar sua produção. Sob ele nasceram também produções de outros cineastas: Walter Lima Jr. (Lira do delírio, 1978), Neville de Almeida (Rio Babilônia, 1982) e Fernando Silva (Amenic, 1983 ). O prédio do L.O.F.T. só viria a sucumbir de fato em 1985 devido a um incêndio, quando já estava sob a responsabilidade de Albino Pinheiro.\nAinda em 1975, Mourão organiza o Restaurante Natural, pioneiro de alimentação macrobiótica.\nEm 1977, antes de partir para uma nova temporada no exterior, filma A Pátria (Super-8, 3') e Brasil 1.872.000 Minutos/Noves fora? (Super-8, 21'), tendo como cenário o próprio L.O.F.T.. Já em Nova York, realiza Shave & Send (Super-8, 16', 1977), Costumes da Casa (Super-8, 9’,1977) e Washington Square Sunday (Super-8, 7’, 1978), entre outros e contando sempre com a participação especial de Teresa Brandão.\nAo retornar ao Brasil em 1978, continua com as atividades do L.O.F.T. e filma Gungala, o último travesti (Super-8, 3’, 1978), Mariza única (Super-8, 3’, 1978), entre outros. A partir de 1980, passa a se dividir entre Rio de Janeiro e Trancoso, na Bahia.\nNos Archivos impossibles, acumula todo material que possui filmado em Super-8 (são cerca de 50 rolos produzidos entre 1972 e 1979), além do registro de outras produções culturais às quais Mourão vem se dedicando desde os anos 1970.\nÉ autor dos livros Maconha em debate (Brasilense,1985), Brazilian Connection (Massao Ohno, 1990) e Tragédia na seita do daime (Imago,1995). Com Fausto Wolff, em 1982, após a vitória de Brizola, edita a Tribuna Socialista, publicação do Grupo de Comunicação do PDT. Desde 1990, edita A Folha de Trancoso.\nEm 2001, A Pátria, Brasil 1.872.000 Minutos/Noves fora?, Costumes da Casa e Shave & Send foram programados por Rubens Machado Jr. na mostra “Marginália 70: O experimentalismo no Super-8 brasileiro”, ocorrida no Itaú Cultural, em São Paulo. Foi a primeira vez que esses quatro filmes, os chamados \"fab four\", foram telecinados. Até hoje, são seus filmes mais referenciados. Em 2017, eles foram exibidos na Tate Gallery em Londres, dentro da mostra “Tropicália and Beyond: Dialogues in Brazilian Film History”, junto com filmes de Glauber Rocha, Arthur Omar, Ivan Cardoso e Carlos Adriano. Em 2018, foi homenageado pela 12ª Mostra do Filme Livre, que exibiu, além dos quatro curtas acima mencionados, o episódio dedicado a ele do programa \"Super 8 - Tamanho também é documento\", do Canal Brasil, produzido por Clóvis Molinari Jr. Em 2019, os “fab four” e Washington Square Sunday foram digitalizado e exibidos na 1ª Mostra Cine Brasil Experimental, ocorrida no Centro Cultural São Paulo.\nAtualmente, Mourão prepara o documentário L.O.F.T.doc sobre o funcionamento da galeria entre os anos de 1975 e 1985. Também escreve o livro Paris, Katmandu – das trincheiras de 68 ao hashish.","bio_dates":"b. 1945"},{"slug":"mouris_frank_caroline_frank_film_1973","ok":true,"partial":false,"title":"Frank Film","artist":"Frank & Caroline Mouris","year":"1973","startOffset":0,"sourceSecs":531.115,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":97996388,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mouris_frank_caroline_frank_film_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mouris_frank_caroline_frank_film_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mouris_frank_caroline_frank_film_1973.mp4","hasFrames":true,"description":"Frank Film is a 1973 animated short film. Co-creator Frank Mouris reads a list of words starting with the letter \"f\". This sound track is interwoven with the sound of his reading his autobiography. The visual is an animated collage of photos collected from magazines. Frank made the film with Caroline Mouris. The sound track was created by Tony Schwartz. <br/><br/> The movie won an Academy Award for Best Short Subject, Animated Films and has been selected for preservation in the United States National Film Registry.","artist_bio":"Frank and Caroline Mouris are independent filmmakers who specialize in animation and collage. They have selected several examples of their work and the work of other independent makers to present a celebration of short films. They will provide film commentary and answer questions immediately following the screenings.\nThe couple's 1973 classic short, Frank Film, an animated autobiography of Frank Mouris, received an Academy Award and was selected in 1996 for inclusion in the National Film Registry, which preserves films deemed to be \"culturally, historically and esthetically important.\" Frank Film, because of its innovative and energetic use of collage, has exerted an influence on succeeding generations of animators.\nThe couple's 1999 short, Frankly Caroline, is a deliberately comic and self-conscious attempt to create a film about Caroline Mouris analogous to Frank Film. The film is as much about the couple's collaborative process, and the squabbles inevitable in a working relationship, as it is about Caroline herself.\nOther short films by the Mouris's to be shown include Coney (1975), a stop-motion documentary, Screentest (1975), an experimental documentary funded by an American Film Institute grant, and Impasse (1978), an example of abstract animation. The program will also include excepts from the Mouris's feature documentary, LA LA, Making it in L.A. (1979), which was funded by PBS, the Ford Foundation and the National endowment for the Arts. Notable shorts by other filmmakers will include Wheels by Stan Vanderbeek and Recreation by Robert Breer.\nFrank and Caroline Mouris are the creators of animated shorts for Sesame Street as well as for other television programs, including Nickelodeon, MTV, Disney, the Carton Network and the Comedy Channel. Frank Mouris received a Guggenheim Fellowship in 1975 and a Directing Fellowship at the American Film Institute in 1978. Caroline Ahlfors Mouris was born in Switzerland and received an MBA from Harvard Business School in 1972.","bio_dates":"1973"},{"slug":"movin_lars_the_misfits_30_years_of_fluxus_1993","ok":true,"partial":false,"title":"The Misfits - 30 Years of Fluxus","artist":"Lars Movin","year":"1993","startOffset":0,"sourceSecs":4799.552,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":807359017,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/movin_lars_the_misfits_30_years_of_fluxus_1993/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/movin_lars_the_misfits_30_years_of_fluxus_1993/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/movin_lars_the_misfits_30_years_of_fluxus_1993.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/movin_lars_the_misfits_30_years_of_fluxus_1993/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/movin_lars_the_misfits_30_years_of_fluxus_1993/main/master.m3u8?v=2","hasMainHls":true,"description":"Produced by Lars Movin for the National Film Board of Denmark. With: Eric Andersen, Philip Corner, Henry Flynt, Ken Friedman, Jon Hendricks, Dick Higgins, Alison Knowles, Jackson Mac Low, Jonas Mekas, Yoko Ono, Nam June Paik, Ben Patterson, Wilem De Ridder, Ben Vautier, Emmet Williams, La Monte Young. Also seen: Ay-O, Joseph Beuys, John Cage, Geoffrey Hendricks, George Maciunas, Larry Miller, Charlotte Moorman, A.O.","artist_bio":"William S. Burroughs On The Road - Words of Advice\n(2010, dir. Lars Movin and Steen Moller Rasmussen\n[Extras]\nLars Movin is a writer, filmmaker and editor based in Denmark. He has written Beat – på Sporet af den Amerikanske Beatgeneration, a general overview of the history of the Beat Generation, which includes research on William S. Burroughs’ visit in Denmark in 1957. In 2007 he co-edited and co-wrote William S. Burroughs i Danmark which documents Burroughs’ visit in Copenhagen on October 29th, 1983 (with more than 80 never before published photos from the event). His latest publications include a monograph on Captain Beefheart and a 688 page volume on the downtown scene in New York in the 1970s and 80’s.\nAs a filmmaker Lars directed the documentary Words of Advice – William S. Burroughs on the Road (with Steen Møller Rasmussen) (2007). The film was published on DVD by American distributor Microcinema in 2010. Lars also made two shorter films: Lowell Celebrates Kerouac (with Steen Møller Rasmussen) (1998), which is about Kerouac in Lowell; and Angkor Wat – a poem by Allen Ginsberg (2004), a poetic video notebook from Angkor Wat with fragments of Ginsberg’s poem (read by Lawrence Weiner) on the soundtrack.\nHe has also published for books (as editor/author) and made a portrait film about the most prominent Danish Beat writer Dan Turèll (1946-1993).","bio_dates":"b. 1959"},{"slug":"mroue_rabih_face_a_face_b_2002","ok":true,"partial":false,"title":"Face A / Face B","artist":"Rabih Mroué","year":"2002","startOffset":0,"sourceSecs":596.56,"sourceHeight":560,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":96900337,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mroue_rabih_face_a_face_b_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mroue_rabih_face_a_face_b_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mroue_rabih_face_a_face_b_2002.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mroue_rabih_face_a_face_b_2002/main.mp4?v=2","description":"Face A / Face B is an autobiographical journey spanning from the artist’s childhood to the present, in the context of the Lebanese civil war. The video includes photographs, voice, melodies and historical data, in a story that explores aspects such as the nature of memory, the human voice and identity. Through a cassette tape that he and his brother recorded to send to a third brother who was living in Russia, the work questions the meaning of the past and shows that collective and personal histories are inseparable and intertwined. The video (in Arab with English subtitles) includes a song recorded by the artist and his brother, and also the testimony of their mother and sister, in a family polyphony addressed to the absent brother. The recorded voices are accompanied by projected old photographs of the protagonists and of the effects of the war on the artist’s childhood home. Private and collective memories mingle in a collection of voices that bring together personal memory, political critique and philosophical reflection.","artist_bio":"Rabih Mroué (Arabic: ربيع مروة‎, born 1967) is a Lebanese stage and film actor, playwright, and visual artist. Rooted in theater, his work includes videos and installation art; the latter sometimes incorporates photography, text and sculpture.","bio_dates":"b. 1967"},{"slug":"muehl_kardinal","ok":true,"partial":false,"title":"Kardinal","artist":"Otto Muehl","year":"1967","startOffset":0,"sourceSecs":315.349,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":22379093,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_kardinal/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_kardinal/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/muehl_kardinal.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/muehl_kardinal/main.mp4?v=2"},{"slug":"muehl_kren_geilewotan_1970","ok":true,"partial":false,"title":"Geilewotan","artist":"Otto 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Muehl","year":"1970","startOffset":0,"sourceSecs":611.52,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":111536574,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_otto_manopsychotisches_ballett_1970_part_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_otto_manopsychotisches_ballett_1970_part_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/muehl_otto_manopsychotisches_ballett_1970_part_2.mp4","hasFrames":true},{"slug":"muehl_psycho_motorische","ok":true,"partial":false,"title":"Psycho-Motorische Geräuschaktion","artist":"Otto 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Muehl","year":"1968","startOffset":0,"sourceSecs":1076.587,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":69921268,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_schwartz_brus_satisfaction/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_schwartz_brus_satisfaction/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/muehl_schwartz_brus_satisfaction.mp4","hasFrames":true},{"slug":"muehl_sodoma","ok":true,"partial":false,"title":"Sodoma","artist":"Otto Muehl","year":"1969","startOffset":0,"sourceSecs":938.773,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":60589637,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_sodoma/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_sodoma/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/muehl_sodoma.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/muehl_sodoma/main.mp4?v=2"},{"slug":"muehl_stille_nacht","ok":true,"partial":false,"title":"Stille Nacht","artist":"Otto Muehl","year":"1969","startOffset":0,"sourceSecs":363.264,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":25976863,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_stille_nacht/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_stille_nacht/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/muehl_stille_nacht.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/muehl_stille_nacht/main.mp4?v=2"},{"slug":"muehl_title_unknown","ok":true,"partial":false,"title":"Unknown Title","artist":"Otto Muehl","year":"1925","startOffset":0,"sourceSecs":474.283,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":33870818,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_title_unknown/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_title_unknown/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/muehl_title_unknown.mp4","hasFrames":true},{"slug":"muehl_wehrertuchtigung","ok":true,"partial":false,"title":"Muehl Wehrertuchtigung","artist":"Otto Muehl","year":"1967","startOffset":0,"sourceSecs":211.413,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":15050777,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_wehrertuchtigung/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muehl_wehrertuchtigung/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/muehl_wehrertuchtigung.mp4","hasFrames":true},{"slug":"muhel_o_sensibility","ok":true,"partial":false,"title":"Sensibility","artist":"Otto Muehl","year":"1970","startOffset":0,"sourceSecs":900.587,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":59909226,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muhel_o_sensibility/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muhel_o_sensibility/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/muhel_o_sensibility.mp4","hasFrames":true},{"slug":"mullican_matt_live_under_hypnosis_2002","ok":true,"partial":false,"title":"Live Under Hypnosis","artist":"Matt Mullican","year":"2002","startOffset":0,"sourceSecs":4525.12,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":768705603,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mullican_matt_live_under_hypnosis_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mullican_matt_live_under_hypnosis_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mullican_matt_live_under_hypnosis_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mullican_matt_live_under_hypnosis_2002/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mullican_matt_live_under_hypnosis_2002/main/master.m3u8?v=2","hasMainHls":true,"description":"Matthew Mullican \"Live Under Hypnosis\" 2002<br/> Edit by Eugie Joo","artist_bio":"Matt Mullican (born September 18, 1951 in Santa Monica, California) is an American artist and son of artists Lee Mullican and Luchita Hurtado. Mullican received his BFA from CalArts in 1974, and rose to prominence as a member of the \"Pictures Generation\" along with such artists as Troy Brauntuch, Jack Goldstein, David Salle, James Welling, Sherrie Levine, Cindy Sherman, Louise Lawler, Richard Prince and Robert Longo. His work is concerned with systems of knowledge, meaning, language, and signification. Mullican also works with the relationship between perception and reality, between the ability to see something and the ability to represent it.\nMullican's work has been exhibited nationally and internationally since the early 1970s at venues including The Metropolitan Museum of Art, New York, Haus Der Kunst, Munich, Germany, the National Galerie, Berlin, Germany, the Stedelijk Museum, Schiedam, Netherlands, Museum of Contemporary Art, Los Angeles, CA, and The Museum of Modern Art, NY. Mullican's work has been reviewed in Artforum,[1] the Frankfurter Allgemeine Zeitung, The New York Times,[2] and Modern Painters, among others.\nMullican has taught and lectured at Columbia University, New York, The Rijksakademie, Amsterdam, The London Institute, Chelsea College of Art and Design, England, The School of Visual Arts, New York amongst several others.\nMullican is represented by Brooke Alexander Gallery, Peter Freeman, Inc. and Tracy Williams, LTD., Manhattan, Mai 36 Galerie, Zurich and Galerie Nelson, Paris.","bio_dates":"b. 1951"},{"slug":"multiplication_1994","ok":true,"partial":false,"title":"Multiplication","artist":"Milan Bukovac","year":"1994","startOffset":0,"sourceSecs":465.2,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":74395356,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/multiplication_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/multiplication_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/multiplication_1994.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/multiplication_1994/main.mp4?v=2"},{"slug":"mulvey_laura_peter_wollen_amy_1980_iphone","ok":true,"partial":false,"title":"Amy!","artist":"Laura Mulvey","year":"1980","startOffset":0,"sourceSecs":1926.258,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":117318182,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mulvey_laura_peter_wollen_amy_1980_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mulvey_laura_peter_wollen_amy_1980_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mulvey_laura_peter_wollen_amy_1980_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mulvey_laura_peter_wollen_amy_1980_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mulvey_laura_peter_wollen_amy_1980_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Laura Mulvey & Peter Wollen<br/><br/>AMY! is the 2nd film Mulvey and Wollen made seeking to put the ideas in Visual Pleasure into practice... the follow-up to the more well known Riddles of the Sphinx. To anyone who has seen Ridddles, AMY will seem a bit more user friendly. As you'd expect, the pace is slow, yet the ideas are rich and challenging. <br><br> Amy Johnson was the first woman to fly solo from Great Britain to Australia. Mulvey and Wollen’s experimental documentary combines newsreel footage of the aviator’s arrival, dramatic recreations of events from her life and contemporary discussions by feminist groups on the subject of heroism in this most unconventional biopic.</br></br>","artist_bio":"Penthesilea: Queen of the Amazons (1974)\nLaura Mulvey & Peter Wollen\nRiddles of the Sphinx (1977)\nLaura Mulvey & Peter Wollen (1980)\nFrida Kahlo & Tina Modotti (1983)\nLaura Mulvey & Peter Wolle\nLaura Mulvey (born August 15, 1941) is a British feminist film theorist. She was educated at St Hilda's College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. She worked at the British Film Institute for many years before taking up her current position.\nMulvey came to prominence in the early 1970s with her essay\nVisual Pleasure and Narrative Cinema\n. One of the most widely cited articles in the field of contemporary film theory, this groundbreaking work investigated questions of spectatorial identification and its relationship to the male gaze. With this essay and other articles, Mulvey helped establish feminist film theory as a legitimate field of study.","bio_dates":"b. 1941"},{"slug":"mulvey_laura_peter_wollen_riddles_of_the_sphinx_1977","ok":true,"partial":false,"title":"Riddles of the Sphinx","artist":"Laura Mulvey","year":"1977","startOffset":0,"sourceSecs":5441.302,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":923907369,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mulvey_laura_peter_wollen_riddles_of_the_sphinx_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mulvey_laura_peter_wollen_riddles_of_the_sphinx_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mulvey_laura_peter_wollen_riddles_of_the_sphinx_1977.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mulvey_laura_peter_wollen_riddles_of_the_sphinx_1977/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mulvey_laura_peter_wollen_riddles_of_the_sphinx_1977/main/master.m3u8?v=2","hasMainHls":true,"description":"Synopsis:<br/> A complex treatise exploring feminism, motherhood and sexual difference in seven numbered chapters. Headings are: Opening Pages; Laura Talking; Stones; Louise's Story Told in 13 Shots; Acrobats; Laura Listening; Puzzle ending. <br/><br/> Laura Mulvey and Peter Wollen's film (1977) addresses the position of women in patriarchy through the prism of psychoanalysis. Riddles of the Sphinx (1977) draws on the critical writings and investigations by both filmmakers into the codes of narrative cinema, and offers an alternative formal structure through which to consider the images and meanings of female representation in film. <br/><br/> The film is constructed in three sections, combining Mulvey's own to-camera readings around the myth of Oedipus's encounter with the Sphinx with a series of very slow 360 degree panning shots encompassing different environments, from the domestic to the professional. Louise, the narrative's female protagonist, is represented through a fragmented use of imagery and dialogue, in an attempt to break down the conventional narrative structures of framing and filming used to objectify and fetishise women in mainstream cinema. This could be seen as a formal development of the Lacanian analyses that Mulvey had applied to the female image in film in essays such as 1975's 'Visual Pleasure and Narrative Cinema' (in Screen). <br/><br/> Riddles of the Sphinx attempts to construct a new relationship between the viewer and the female subject, presenting her through multiple female voices and viewpoints. The dialogue, constructed from the different voices of Louise, her friends and fellow workers, brings a shifting and ambiguous range of meanings to the film, in contrast to the explanatory authority associated with a conventional voice-over. Other voices and images from outside the film's narrative world also question and disrupt pre-supposed meanings and symbols of the woman within and without the screen; from the mythical enigma of the Sphinx to the appearances of artist Mary Kelly and Mulvey herself. As Mulvey herself subsequently put it, \"What recurs overall is a constant return to woman, not indeed as a visual image, but as a subject of inquiry, a content which cannot be considered within the aesthetic lines laid down by traditional cinematic practice.\" <br/><br/> Cast:<br/> Dinah Stabb<br/> Merdelle Jordine<br/> Riannon Tise<br/> Clive Merrison<br/> Marie Green<br/> Paula Melbourne<br/> Crisse Trigger<br/> Mary Maddox<br/> Laura Mulvey<br/> Marion Dain<br/> Rosalind Delmer<br/> Mary Dickenson<br/> Rosamund Howe<br/> Carole James<br/> Claire Johnston","artist_bio":"Penthesilea: Queen of the Amazons (1974)\nLaura Mulvey & Peter Wollen\nRiddles of the Sphinx (1977)\nLaura Mulvey & Peter Wollen (1980)\nFrida Kahlo & Tina Modotti (1983)\nLaura Mulvey & Peter Wolle\nLaura Mulvey (born August 15, 1941) is a British feminist film theorist. She was educated at St Hilda's College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. She worked at the British Film Institute for many years before taking up her current position.\nMulvey came to prominence in the early 1970s with her essay\nVisual Pleasure and Narrative Cinema\n. One of the most widely cited articles in the field of contemporary film theory, this groundbreaking work investigated questions of spectatorial identification and its relationship to the male gaze. With this essay and other articles, Mulvey helped establish feminist film theory as a legitimate field of study.","bio_dates":"b. 1941"},{"slug":"mulvey_laura_wollen_peter_frida_and_tina_1983","ok":true,"partial":false,"title":"Frida Kahlo & Tina Modotti","artist":"Laura Mulvey","year":"1983","startOffset":0,"sourceSecs":1733.487,"sourceHeight":480,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":291060987,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mulvey_laura_wollen_peter_frida_and_tina_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mulvey_laura_wollen_peter_frida_and_tina_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mulvey_laura_wollen_peter_frida_and_tina_1983.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mulvey_laura_wollen_peter_frida_and_tina_1983/main.mp4?v=2","description":"Originally commissioned for an international art exhibition this short film is an unconventional portrait of painter Frida Kahlo and photographer Tina Modotti. Simple in style but complex in its analysis, Frida Kahlo and Tina Modotti explores the divergent themes and styles of two contemporary and radical women artists working in the upheaval of the aftermath of the Mexican Revolution.","artist_bio":"Penthesilea: Queen of the Amazons (1974)\nLaura Mulvey & Peter Wollen\nRiddles of the Sphinx (1977)\nLaura Mulvey & Peter Wollen (1980)\nFrida Kahlo & Tina Modotti (1983)\nLaura Mulvey & Peter Wolle\nLaura Mulvey (born August 15, 1941) is a British feminist film theorist. She was educated at St Hilda's College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. She worked at the British Film Institute for many years before taking up her current position.\nMulvey came to prominence in the early 1970s with her essay\nVisual Pleasure and Narrative Cinema\n. One of the most widely cited articles in the field of contemporary film theory, this groundbreaking work investigated questions of spectatorial identification and its relationship to the male gaze. With this essay and other articles, Mulvey helped establish feminist film theory as a legitimate field of study.","bio_dates":"b. 1941"},{"slug":"mulvey_laura_wollen_peter_penthesilea_1974","ok":true,"partial":false,"title":"Penthesilea: Queen of the Amazons","artist":"Laura Mulvey","year":"1974","startOffset":0,"sourceSecs":5886.976,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1001930606,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mulvey_laura_wollen_peter_penthesilea_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mulvey_laura_wollen_peter_penthesilea_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mulvey_laura_wollen_peter_penthesilea_1974.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mulvey_laura_wollen_peter_penthesilea_1974/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mulvey_laura_wollen_peter_penthesilea_1974/main/master.m3u8?v=2","hasMainHls":true,"description":"Penthesilea, the first of six films made by Laura Mulvey and Peter Wollen, traverses thousands of years to look at the image of the Amazonian woman in myth. It asks, among other questions, is the Amazonian woman a rare strong female image or is she a figure derived from male phantasy? The film explores the complexities of such questions, but does not seek any concrete answers.<br/> <br/> RELEASED: January 1, 1974<br/> RUNTIME: 99 mins<br/> DIRECTORS: Peter Wollen, Laura Mulvey<br/> WRITERS: Peter Wollen + 2 more<br/> COUNTRY: United Kingdom<br/> LANGUAGE: English<br/> STUDIO: Laura Mulvey-Peter Wollen<br/> GENRES: Documentary, History","artist_bio":"Penthesilea: Queen of the Amazons (1974)\nLaura Mulvey & Peter Wollen\nRiddles of the Sphinx (1977)\nLaura Mulvey & Peter Wollen (1980)\nFrida Kahlo & Tina Modotti (1983)\nLaura Mulvey & Peter Wolle\nLaura Mulvey (born August 15, 1941) is a British feminist film theorist. She was educated at St Hilda's College, Oxford. She is currently professor of film and media studies at Birkbeck, University of London. She worked at the British Film Institute for many years before taking up her current position.\nMulvey came to prominence in the early 1970s with her essay\nVisual Pleasure and Narrative Cinema\n. One of the most widely cited articles in the field of contemporary film theory, this groundbreaking work investigated questions of spectatorial identification and its relationship to the male gaze. With this essay and other articles, Mulvey helped establish feminist film theory as a legitimate field of study.","bio_dates":"b. 1941"},{"slug":"munoz_oscar_editor_solitario","ok":true,"partial":false,"title":"Editor Solitario","artist":"Oscar Muñoz","year":"2011","startOffset":0,"sourceSecs":1201.579,"sourceHeight":912,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":447667518,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/munoz_oscar_editor_solitario/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/munoz_oscar_editor_solitario/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/munoz_oscar_editor_solitario.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/munoz_oscar_editor_solitario/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/munoz_oscar_editor_solitario/main/master.m3u8?v=2","hasMainHls":true,"description":"For the piece, a continuously looping 20-minute video is projected down onto a table. The video shows a hand laying out pictures — there are mugshots; images of cuddling mothers and children; postmortem portraits with dead eyes staring out of maimed faces; smiling, seemingly anonymous faces; the autographed portraits of apparent celebrities; and occasional painted images, self-portraits by Gauguin, Rembrandt and Modigliani. There is the Jesus image from the Shroud of Turin; a face from a Fayum mummy portrait; images that look like the products of police sketch artists; formal portraits of people who look like politicians or authors; a photo that looks like Patrice Lumumba; and, cropped from the infamous Vietnam-era image, the tiny face of Kim Phúc, the little girl charred by napalm. <br/><br/> The images in the video are constantly changing, just like those on the front page of the newspaper. The layout remains the same, however, as the hand obscures one image with another, sometimes blocking them out entirely with a blank piece of paper. There is a mechanical clacking sound as each photo is placed. The surreality of the piece is heightened by the fact that the video is projected onto real rectangles of paper on the table, giving the sense of actual photos.","artist_bio":"Lives and works in Cali, Colombia. His work has been exhibited in numerous group shows including the Venice Biennale (2007), Prague Biennale (2005), and Cuenca Bienal (2004); in 2008 he had solo exhibitions at the Prefix Institute of Contemporary Art, Toronto, Canada, the Herzliya Museum, Israel, the Institute of International Visual Arts (INIVA), London, UK, and the Museo Extremeño e iberoamericano de Arte Contemporáneo, Badajoz, Spain.\nLives and works in Cali, Colombia. His work has been exhibited in numerous group shows including the Venice Biennale (2007), Prague Biennale (2005), and Cuenca Bienal (2004); in 2008 he had solo exhibitions at the Prefix Institute of Contemporary Art, Toronto, Canada, the Herzliya Museum, Israel, the Institute of International Visual Arts (INIVA), London, UK, and the Museo Extremeño e iberoamericano de Arte Contemporáneo, Badajoz, Spain.\nOver the past three decades, Óscar Muñoz has developed a remarkable body of work that explores the relationship between image and memory. His work defies characterization by medium, blurring the boundaries between photography, printmaking, drawing, installation, video and sculpture. Although he has abandoned traditional formats, he cleverly utilizes specific technical and conceptual aspects of printmaking-occasionally incorporating self-destructive elements to purposely challenge the consistency of reproduction that is synonymous with printing. The expressive power of his work is as grounded in the intrinsic qualities of the materials he employs as in the poetic associations they embody.\nThrough his innovative processes, such as printing charcoal pigment on water, or using human breath to reveal discretely printed portraits onto seemingly blank mirrors, Muñoz creates unstable images that oscillate between presence and absence. He uses images from newspaper obituaries that include victims of the drug trafficking and political conflicts in Colombia where he lives and works. He is fascinated by photographic images as the primary documentation of a person’s physical existence in a culture overwhelmed by the vulnerability of life: the person’s image, imprinted on film (or captured in digital code), leaves an indexical trace of their being. Muñoz manipulates the photographic images in order to question the meaning of identity and to reflect the process of recollection and fading memory, alluding to the transitory nature of human existence, memory and history. The viewer witnesses the dissolution of an image as a manifestation of the person’s disappearance or death. Highly regarded as one of the most important visual artists working in Colombia today, Muñoz has captivated audiences around the world with the universal subject that underlies all of his work-the commonality of loss and remembrance.","bio_dates":"b. 1951"},{"slug":"munoz_oscar_hombre_de_arena","ok":true,"partial":true,"title":"Hombre de Arena","artist":"Oscar Muñoz","year":"2006-2009","startOffset":0,"sourceSecs":173.273,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":12483044,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/munoz_oscar_hombre_de_arena/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/munoz_oscar_hombre_de_arena/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/munoz_oscar_hombre_de_arena.mov","hasFrames":true,"description":"Video projection on sand: 3:40 minutes <br/><br/> Hombre de arena (Sand Man) is an animation constructed by drawings / traces on a beach's dark sand. A solitary human figure drags himself about, like a castaway searching for the mainland. The image he creates--and its trace--disappears as a wave rolls in.","artist_bio":"Lives and works in Cali, Colombia. His work has been exhibited in numerous group shows including the Venice Biennale (2007), Prague Biennale (2005), and Cuenca Bienal (2004); in 2008 he had solo exhibitions at the Prefix Institute of Contemporary Art, Toronto, Canada, the Herzliya Museum, Israel, the Institute of International Visual Arts (INIVA), London, UK, and the Museo Extremeño e iberoamericano de Arte Contemporáneo, Badajoz, Spain.\nLives and works in Cali, Colombia. His work has been exhibited in numerous group shows including the Venice Biennale (2007), Prague Biennale (2005), and Cuenca Bienal (2004); in 2008 he had solo exhibitions at the Prefix Institute of Contemporary Art, Toronto, Canada, the Herzliya Museum, Israel, the Institute of International Visual Arts (INIVA), London, UK, and the Museo Extremeño e iberoamericano de Arte Contemporáneo, Badajoz, Spain.\nOver the past three decades, Óscar Muñoz has developed a remarkable body of work that explores the relationship between image and memory. His work defies characterization by medium, blurring the boundaries between photography, printmaking, drawing, installation, video and sculpture. Although he has abandoned traditional formats, he cleverly utilizes specific technical and conceptual aspects of printmaking-occasionally incorporating self-destructive elements to purposely challenge the consistency of reproduction that is synonymous with printing. The expressive power of his work is as grounded in the intrinsic qualities of the materials he employs as in the poetic associations they embody.\nThrough his innovative processes, such as printing charcoal pigment on water, or using human breath to reveal discretely printed portraits onto seemingly blank mirrors, Muñoz creates unstable images that oscillate between presence and absence. He uses images from newspaper obituaries that include victims of the drug trafficking and political conflicts in Colombia where he lives and works. He is fascinated by photographic images as the primary documentation of a person’s physical existence in a culture overwhelmed by the vulnerability of life: the person’s image, imprinted on film (or captured in digital code), leaves an indexical trace of their being. Muñoz manipulates the photographic images in order to question the meaning of identity and to reflect the process of recollection and fading memory, alluding to the transitory nature of human existence, memory and history. The viewer witnesses the dissolution of an image as a manifestation of the person’s disappearance or death. Highly regarded as one of the most important visual artists working in Colombia today, Muñoz has captivated audiences around the world with the universal subject that underlies all of his work-the commonality of loss and remembrance.","bio_dates":"b. 1951"},{"slug":"munoz_oscar_re_trato_2003","ok":true,"partial":false,"title":"Oscar Muñoz - Re/trato","artist":"Oscarñoz","year":"2003","startOffset":0,"sourceSecs":1726.658,"sourceHeight":472,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":271219032,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/munoz_oscar_re_trato_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/munoz_oscar_re_trato_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/munoz_oscar_re_trato_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/munoz_oscar_re_trato_2003/main.mp4?v=2","description":"In Spanish “retrato” means portrait and re-trato means to try again or re-try. This wonderful piece from Colombian artist Oscar Muñoz shows a powerful way of using drawing conceptually to poetically visualize the idea. We see this portrait disappear (or never appear) before he is able to completely finish it drawing with the water. The video allow us to be part of this ritual that progressively reveals some complex ideas of modern man and its inability to be completely defined.","artist_bio":"Lives and works in Cali, Colombia. His work has been exhibited in numerous group shows including the Venice Biennale (2007), Prague Biennale (2005), and Cuenca Bienal (2004); in 2008 he had solo exhibitions at the Prefix Institute of Contemporary Art, Toronto, Canada, the Herzliya Museum, Israel, the Institute of International Visual Arts (INIVA), London, UK, and the Museo Extremeño e iberoamericano de Arte Contemporáneo, Badajoz, Spain.\nLives and works in Cali, Colombia. His work has been exhibited in numerous group shows including the Venice Biennale (2007), Prague Biennale (2005), and Cuenca Bienal (2004); in 2008 he had solo exhibitions at the Prefix Institute of Contemporary Art, Toronto, Canada, the Herzliya Museum, Israel, the Institute of International Visual Arts (INIVA), London, UK, and the Museo Extremeño e iberoamericano de Arte Contemporáneo, Badajoz, Spain.\nOver the past three decades, Óscar Muñoz has developed a remarkable body of work that explores the relationship between image and memory. His work defies characterization by medium, blurring the boundaries between photography, printmaking, drawing, installation, video and sculpture. Although he has abandoned traditional formats, he cleverly utilizes specific technical and conceptual aspects of printmaking-occasionally incorporating self-destructive elements to purposely challenge the consistency of reproduction that is synonymous with printing. The expressive power of his work is as grounded in the intrinsic qualities of the materials he employs as in the poetic associations they embody.\nThrough his innovative processes, such as printing charcoal pigment on water, or using human breath to reveal discretely printed portraits onto seemingly blank mirrors, Muñoz creates unstable images that oscillate between presence and absence. He uses images from newspaper obituaries that include victims of the drug trafficking and political conflicts in Colombia where he lives and works. He is fascinated by photographic images as the primary documentation of a person’s physical existence in a culture overwhelmed by the vulnerability of life: the person’s image, imprinted on film (or captured in digital code), leaves an indexical trace of their being. Muñoz manipulates the photographic images in order to question the meaning of identity and to reflect the process of recollection and fading memory, alluding to the transitory nature of human existence, memory and history. The viewer witnesses the dissolution of an image as a manifestation of the person’s disappearance or death. Highly regarded as one of the most important visual artists working in Colombia today, Muñoz has captivated audiences around the world with the universal subject that underlies all of his work-the commonality of loss and remembrance.","bio_dates":"b. 1951"},{"slug":"munoz_oscar_sedmimentaciones","ok":true,"partial":false,"title":"Sedimentaciones","artist":"Oscar Muñoz","year":"2011","startOffset":0,"sourceSecs":1712.513,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":717652529,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/munoz_oscar_sedmimentaciones/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/munoz_oscar_sedmimentaciones/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/munoz_oscar_sedmimentaciones.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/munoz_oscar_sedmimentaciones/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/munoz_oscar_sedmimentaciones/main/master.m3u8?v=2","hasMainHls":true,"description":"In Sedimentaciones, the process of birth, life and death of the image becomes an allegory for the cycle of life shared by all humans. Three videos show darkroom tables on which we see arrangements of small photographic portraits in various stages of development as the artist manipulates them; he picks them up and moves them; he dissolves them into dregs, and creates them anew from those same sediments. The very instability of the portraits as they appear, reappear and are destroyed, speaks to the power of the photographic image to fix identity, and to alter and erase it. The artist’s hand acts in a seemingly random and indifferent manner, underlining the role of time and fate to fix the ultimate disappearance of both image and subject. <br/><br/> Sedimentaciones refers to the many manifestations of portraiture in the history of photography, from the personal and private, such as remembrance and memento mori, to the official and public, including identification for legal and political use. Colliding with the tender, almost corporeal presence of the images is the knowledge that their shuffling and disappearance is also a political act, wherein persons and lives are lost in the larger machinations and movements of war and cultural and societal shifts and disruptions. Muñoz refers specifically to the armed conflicts in Colombia since the 1980s, and their tremendous effects on the lives of Colombians, although he could be equally referring to any area of the world and any historical era.","artist_bio":"Lives and works in Cali, Colombia. His work has been exhibited in numerous group shows including the Venice Biennale (2007), Prague Biennale (2005), and Cuenca Bienal (2004); in 2008 he had solo exhibitions at the Prefix Institute of Contemporary Art, Toronto, Canada, the Herzliya Museum, Israel, the Institute of International Visual Arts (INIVA), London, UK, and the Museo Extremeño e iberoamericano de Arte Contemporáneo, Badajoz, Spain.\nLives and works in Cali, Colombia. His work has been exhibited in numerous group shows including the Venice Biennale (2007), Prague Biennale (2005), and Cuenca Bienal (2004); in 2008 he had solo exhibitions at the Prefix Institute of Contemporary Art, Toronto, Canada, the Herzliya Museum, Israel, the Institute of International Visual Arts (INIVA), London, UK, and the Museo Extremeño e iberoamericano de Arte Contemporáneo, Badajoz, Spain.\nOver the past three decades, Óscar Muñoz has developed a remarkable body of work that explores the relationship between image and memory. His work defies characterization by medium, blurring the boundaries between photography, printmaking, drawing, installation, video and sculpture. Although he has abandoned traditional formats, he cleverly utilizes specific technical and conceptual aspects of printmaking-occasionally incorporating self-destructive elements to purposely challenge the consistency of reproduction that is synonymous with printing. The expressive power of his work is as grounded in the intrinsic qualities of the materials he employs as in the poetic associations they embody.\nThrough his innovative processes, such as printing charcoal pigment on water, or using human breath to reveal discretely printed portraits onto seemingly blank mirrors, Muñoz creates unstable images that oscillate between presence and absence. He uses images from newspaper obituaries that include victims of the drug trafficking and political conflicts in Colombia where he lives and works. He is fascinated by photographic images as the primary documentation of a person’s physical existence in a culture overwhelmed by the vulnerability of life: the person’s image, imprinted on film (or captured in digital code), leaves an indexical trace of their being. Muñoz manipulates the photographic images in order to question the meaning of identity and to reflect the process of recollection and fading memory, alluding to the transitory nature of human existence, memory and history. The viewer witnesses the dissolution of an image as a manifestation of the person’s disappearance or death. Highly regarded as one of the most important visual artists working in Colombia today, Muñoz has captivated audiences around the world with the universal subject that underlies all of his work-the commonality of loss and remembrance.","bio_dates":"b. 1951"},{"slug":"murakami_takashi_hosoda_mamoru_superflat_monogram_for_louis_vuitton_2003","ok":true,"partial":false,"title":"Superflat Monogram (for Louis Vuitton)","artist":"Takashi Murakami","year":"2003","startOffset":0,"sourceSecs":310.293,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":44228973,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/murakami_takashi_hosoda_mamoru_superflat_monogram_for_louis_vuitton_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/murakami_takashi_hosoda_mamoru_superflat_monogram_for_louis_vuitton_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/murakami_takashi_hosoda_mamoru_superflat_monogram_for_louis_vuitton_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/murakami_takashi_hosoda_mamoru_superflat_monogram_for_louis_vuitton_2003/main.mp4?v=2","description":"An ad campaign for Louis Vuitton. An updated alice in wonderland, in which a girl, searching for her lost cell phone, floats in a dizzying world of the company's logos. While waiting to meet her friends outside of a Louis Vuitton store, Aya's cell phone is eaten by the LV Panda, who then promptly swallows Aya - but the inside of his stomach is gateway to a psychadelic wonderland. Created by famed superflat artist Takashi Murakami.","artist_bio":"Takashi Murakami is an internationally prolific contemporary Japanese artist. He works in fine arts media—such as painting and sculpture—as well as what is conventionally considered commercial media —fashion, merchandise, and animation— and is known for blurring the line between high and low arts. He coined the term superflat, which describes both the aesthetic characteristics of the Japanese artistic tradition and the nature of post-war Japanese culture and society. Superflat is also used as a moniker to describe Murakami's own artistic style and that of other Japanese artists he has influenced.","bio_dates":"b. 1963"},{"slug":"murata_takeshi_pink_dot_2007","ok":true,"partial":false,"title":"Untitled (Pink Dot)","artist":"Takeshi Murata","year":"2007","startOffset":0.4,"sourceSecs":312.981,"sourceHeight":368,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":21844089,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/murata_takeshi_pink_dot_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/murata_takeshi_pink_dot_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/murata_takeshi_pink_dot_2007.mp4","hasFrames":true,"description":"2007, 5 min, color, sound<br/><br/> In Untitled (Pink Dot), Murata transforms footage from the 1982 Sylvester Stallone film Rambo: First Blood into a morass of seething electronic abstraction. Subjected to Murata's meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.<br/><br/> Sound: Robert Beatty <br/> -- <a href=\"http://www.eai.org/title.htm?id=14351\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Takeshi Murata was born in 1974 in Chicago, IL. He graduated from the Rhode Island School of Design in 1997 with a B.F.A. in Film/Video/Animation. He has had previous solo exhibitions at the Hirshhorn Museum and Sculpture Garden, Washington DC (2007), gallery.sora, Tokyo (2007) and The Reliance, London (2007). His work has been included in exhibitions at the Museum of Modern Art, New York (2007), Museum of Fine Arts, Houston (2007) the Fondazione Sandretto Re Rebaudengo, Turin, Italy (2007), Deitch Projects, New York (2007), Foxy Productions, New York (2007) and Gladstone Gallery, New York (2006). Murata currently lives and works in Saugerties, New York.","bio_dates":"b. 1974"},{"slug":"murata_takeshi_silver_2006","ok":true,"partial":false,"title":"Silver","artist":"Takeshi Murata","year":"2006","startOffset":0,"sourceSecs":641.387,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":39592557,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/murata_takeshi_silver_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/murata_takeshi_silver_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/murata_takeshi_silver_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/murata_takeshi_silver_2006/main.mp4?v=2","description":"From Melissa Feldman's article in \"Art In America\"--- <br/><br/>\"\"In his new digital video, Untitled (Silver), Takeshi Murata twists and stretches a sequence from an old movie into a psychedelic odyssey--a fitting afterlife for a 1960s horror film by the Italian director Mario Bava. <br/><br/> The black-and-white footage takes on an abstract life of its own. Quivering, enlarged pixels become Op-art patterns that curl into waves or melt into puddles with dizzying three-dimensionality. At times the image momentarily congeals, revealing the protagonist: a lovely gowned woman seen in some grand interior, slipping furtively down hallways and gliding across drawing rooms. Her movement through these spaces is reminiscent of videogames played on devices like Xbox in which the background is sucked backwards while the figure seems to speed ahead. <br/><br/> In one part, an abstract image magically resolves into a close-up of a white hand extended across the screen. Elsewhere, a shot of the woman lifting her arms to adjust her coif becomes a symphony of rippling movement as her arms are transformed into fluttering wings. Frustrating the gaze, her beautiful face never stays still long enough to really be looked at. Instead, it keeps distorting to monstrous proportions or turning into liquid reflections. Accompanying these heady visuals is an ambient soundtrack by Robert Beatty and Ellen Molle of gurgling water, echoing voices and deep electric chords. The projection, at 42 by 75 inches, is surprisingly intimate. <br/><br/> A main part of Murata's technique involves digitally compressing the footage so that the movement of a series of frames is reduced to a single twitching image that records only the net difference in movement from one frame to the next. Ironically, this high-tech wizardry recalls old-fashioned animation and moving-picture precedents such as flipbooks, zoetropes and Eadweard Muybridge's motion studies. The video's visual effects also evoke the way Impressionist painters broke down images into brushwork and blurriness, which similarly gave way to abstraction. For his part, Murata likens the liquid look of his digital distortions to the physical deterioration of old film stock. <br/><br/> If you are searching for a narrative, there is none. Atmosphere and ambiguity prevail here. This comes as no surprise when one learns that Murata's piece is based on a selection of his favorite frames from Bava's film Black Sunday (1960), which he has reordered and altered in every imaginable way in pursuit of the visual effects he desires.\" <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Takeshi Murata was born in 1974 in Chicago, IL. He graduated from the Rhode Island School of Design in 1997 with a B.F.A. in Film/Video/Animation. He has had previous solo exhibitions at the Hirshhorn Museum and Sculpture Garden, Washington DC (2007), gallery.sora, Tokyo (2007) and The Reliance, London (2007). His work has been included in exhibitions at the Museum of Modern Art, New York (2007), Museum of Fine Arts, Houston (2007) the Fondazione Sandretto Re Rebaudengo, Turin, Italy (2007), Deitch Projects, New York (2007), Foxy Productions, New York (2007) and Gladstone Gallery, New York (2006). Murata currently lives and works in Saugerties, New York.","bio_dates":"b. 1974"},{"slug":"mutu_wangechi_amazing_grace","ok":true,"partial":false,"title":"Amazing Grace","artist":"Wangechi Mutu","year":"2005","startOffset":0,"sourceSecs":390.067,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":22896135,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mutu_wangechi_amazing_grace/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mutu_wangechi_amazing_grace/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mutu_wangechi_amazing_grace.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mutu_wangechi_amazing_grace/main.mp4?v=2","description":"Amazing Grace depicts Mutu walking slowly into the ocean while singing the Christian hymn “Amazing Grace” in her native Kenyan language Kikuyu. Referred to by Schoonmaker as a “meditation on the African slave trade and the travails of displaced populations,” the haunting sounds of Amazing Grace echo throughout the exhibition space (23). Presented to viewers on a flat-screen digital television hidden behind a felt blanket-lined wall, the 7:09 excerpt of the 59-minute Amazing Grace is a digital file that plays on an external hard drive connected directly to the television screen.","artist_bio":"Born and raised in Kenya, Wangechi Mutu moved to New York in the mid-1990s to study art and anthropology at the Cooper Union and sculpture at Yale. She is best known for collages based on images clipped from magazines (including fashion, pornography, and National Geographic) and from books about traditional African art. She joins these disparate body parts with hand-drawn passages and pooled ink washes on nonabsorbent Mylar. The resulting figures suggest hybrids of human and machine, disease and power, seduction and violence. These works invert Western pictorial stereotypes of Africa as a \"dark continent\" and of women as helpless sexual objects. Recently, she has incorporated her collages into large-scale installations executed directly on the gallery walls.","bio_dates":"b. 1972"},{"slug":"mutu_wangechi_cutting","ok":true,"partial":false,"title":"Cutting","artist":"Wangechi Mutu","year":"2004","startOffset":0,"sourceSecs":343.467,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":20229812,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mutu_wangechi_cutting/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mutu_wangechi_cutting/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mutu_wangechi_cutting.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mutu_wangechi_cutting/main.mp4?v=2","description":"Cutting (2004) really came out of an intense frustration; I was in a moment when I found myself geographically out of my comfort zone. I had left Kenya and had moved from New York to San Antonio, Texas, for an artist residency at Artpace. It was the middle of the Bush era, and I remember looking at Texas and thinking, “This is the source of a lot of these issues that are coming out of this leadership.” After a few weeks of research and thinking, “Why am I here, how do I inspire myself in a place that gives me nightmares?” I decided that this issue was universal. The lack of humanity, this refusal to address issues through diplomacy, through regarding the problem, rather than just jumping into war without thinking or pausing. I thought: What is it about me that could possibly be like this issue? Instead of pointing the finger, how about I decide to be the perpetrator? When I enacted this cutting piece I was thinking about Rwanda, about women’s work and the connection and confusion between the weapon and the farmer’s tool, especially in Africa and Rwanda, where there were hardly any guns used — mainly machetes, knives, pangas and clubs. It was such a personal massacre and was so close to home, and I wondered what would turn people to do this kind of thing? It said to me: First, this kind of thing could happen anywhere. Secondly, it is easy for you to want to be in the position of the killer, of the persecutor. Cutting came easy for me. I was trying to cut a pile of wood and the sun was setting and so we were tackling this issue of time and light and sound. I was getting very tired and exhausted, and the image I captured for cutting, which was a six-minute piece, was the very end, where the pure exhaustion had gotten me and my knife got caught in a piece of wood. What happens for me in collage is I am able to separate myself and sort of mediate through the process of thinking about these issues that are important to me — issues of beauty, violence, politics, spirituality, etc.","artist_bio":"Born and raised in Kenya, Wangechi Mutu moved to New York in the mid-1990s to study art and anthropology at the Cooper Union and sculpture at Yale. She is best known for collages based on images clipped from magazines (including fashion, pornography, and National Geographic) and from books about traditional African art. She joins these disparate body parts with hand-drawn passages and pooled ink washes on nonabsorbent Mylar. The resulting figures suggest hybrids of human and machine, disease and power, seduction and violence. These works invert Western pictorial stereotypes of Africa as a \"dark continent\" and of women as helpless sexual objects. Recently, she has incorporated her collages into large-scale installations executed directly on the gallery walls.","bio_dates":"b. 1972"},{"slug":"muybridge_eadweard_160_animal_locomotions","ok":true,"partial":false,"title":"Eadweard Muybridge's 160 animal locomotion \"moving\" images","artist":"Eadweard Muybridge","year":"1872-1887","startOffset":0,"sourceSecs":1906.559,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":424617236,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muybridge_eadweard_160_animal_locomotions/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/muybridge_eadweard_160_animal_locomotions/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/muybridge_eadweard_160_animal_locomotions.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/muybridge_eadweard_160_animal_locomotions/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/muybridge_eadweard_160_animal_locomotions/main/master.m3u8?v=2","hasMainHls":true,"description":"Eadweard Muybridge’s 160 animal locomotion \"moving\" images was made from 1872-1887, primarily at the University of Pennsylvania, and published in 1887. Many of these tests contain nudity for artistic and educational purposes to view natural movement of humans. There were only countless still photos by Muybridge, and the \"moving\" process was made by Bob Boddingham from 2017 to 2019. He used the photos to create stop motion animations.","artist_bio":"Eadweard Muybridge's 160 animal locomotion \"moving\" images (1872-1887)\nIn his early twenties, Eadweard Muybridge moved to the United States, where he was drawn to the primarily uncharted Western landscape. After a stagecoach accident, he convalesced back home in England and learned photography. Upon returning to the States in 1867, he soon earned his reputation photographing the landscape.\nApparently a hot-tempered man, Muybridge shot and killed his much younger wife's lover but was acquitted after a sensational trial, in part perhaps because he was friends with Leland Stanford, railroad magnate and governor of California. They became acquainted in 1872, when Stanford made a bet regarding a horse's gallop, contending that when a horse gallops, at some point all four of its feet are off the ground simultaneously. Stanford hired Muybridge to prove it photographically; Muybridge, using a system of trip-shutter, high-speed photography and twenty-four cameras, did just that. Never one for false modesty, Muybridge declared:\nThe circumstances must have been exceptionally felicitous that made co-laborateurs [sic] of the man that no practical impediment could halt and of the artist who, to keep pace with the demands of the railroad builders, hurried his art to a marvel of perfection that it is fair to believe it would not else have reached in another century.\nMuybridge is best known for this work and his \"Animal Locomotion\" series of stopped-action motion studies completed in 1887.","bio_dates":"1830-1904"},{"slug":"mv_blowingriccardo_747","ok":true,"partial":false,"title":"747","artist":"MarieVic","year":"2015","startOffset":0,"sourceSecs":153.695,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":66836113,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mv_blowingriccardo_747/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/mv_blowingriccardo_747/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/mv_blowingriccardo_747.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/mv_blowingriccardo_747/main.mp4?v=2","description":"The scene takes place in the Mojave Desert, in an aircraft boneyard. A handful of Givenchy garments designed by Riccardo Tisci are lingering in the wasteland, where old planes go to die. The wind blows softly, brushing the sky clean, clashing on the fabric. The clothes seem to be dancing among carcasses. Blowing Riccardo spans over nine films. Each one focuses on a garment, presented as a distinct subject, but the series is meant to be looked at as a whole, with all the different videos playing simultaneously. Together, they create a sort of community, a community of loners where you can heavily feel the lightness of a dancing dress."},{"slug":"my_barbarian_lara_schnitger_the_butterflys_evil_spell_2012","ok":true,"partial":false,"title":"The Butterfly’s Evil Spell by Lara Schnitger & My Barbarian","artist":"My Barbarian","year":"2012","startOffset":0,"sourceSecs":854.272,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":386853113,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/my_barbarian_lara_schnitger_the_butterflys_evil_spell_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/my_barbarian_lara_schnitger_the_butterflys_evil_spell_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/my_barbarian_lara_schnitger_the_butterflys_evil_spell_2012.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/my_barbarian_lara_schnitger_the_butterflys_evil_spell_2012/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/my_barbarian_lara_schnitger_the_butterflys_evil_spell_2012/main/master.m3u8?v=2","hasMainHls":true,"description":"The Butterfly's Evil Spell is a collaboration among the three members of LA based collective My Barbarian (Malik Gaines, Jade Gordon and Alexandro Segade) and sculptor Lara Schnitger. Playing between the dramatic spaces of fantasy and realism, the piece uses a fragmentary Symbolist theater text from 1920 by Spanish playwright Federico Garcia Lorca, entitled El Maleficio de La Mariposa, as a starting point. The artists responded with a performance video and installation that re-stages scenes from the play in elaborate sculptural costumes. The group also generated original material drawn from the circumstances in their own interconnected lives, shot on location in their shared LA studio, extending a relationship between imagination and social reality. El Maleficio de La Mariposa, with a cast of talking insects, tells the story of a mother beetle whose son is \"going to be a poet\" against her wishes. The son, in another scene, abandons his girlfriend Sylvia because he is \"in love with the butterflies,\" a wistful declaration that carries notes of both poetry and prohibited sexual desire, linking the two. The artists perform these scenes in the video, wearing masks and costumes that become sculptures in the installation. In complementary scenes, the artists act out episodes that reflect their own lives: Gordon, who is pregnant, talks to Schnitger, who has a five year old, about her anxieties; Gaines and Segade, a gay married couple, re-negotiate the complexities of their long-term relationship. The Butterfly's Evil Spell draws parallels between feminist and queer political identities while locating the space for making these connections in the ludic realm of play. Emphasizing the theatrical conditions of this play-space, the video begins with a sung adaptation of Golden Age Spanish playwright Calderon de La Barca's famous Life is A Dream soliloquy, and ends with the dance of the butterflies, in which the four artists become a chorus line of fabric-clad dancers whose wings are decorated with slogans from the women's and gay right's movements of the 70s (when most of the members of the group were born), finally leading them to strip off their costumes and reconnect with the imminence of their bodies.","artist_bio":"The Butterfly’s Evil Spell by Lara Schnitger & My Barbarian (2012)\nMy Barbarian is an art collective made up of Malik Gaines, Jade Gordon, and Alexandro Segade. Our work uses performance to play with social difficulties, theatricalize historic problems, and imagine ways of being together. We make plays, masks, videos, drawings, music, installations, texts, events, puppets, and paintings. We have presented work in many museums including MoMA, MoCA LA, and SFMoMA, and in festivals, galleries and public spaces. We have had solo exhibitions at Participant Inc., New York; the Hammer Museum and Human Resources, LA; Museo El Eco, Mexico City; Gallery 400, Chicago; Yaffo 23, Jerusalem; and Susanne Vielmetter Los Angeles Projects, which represents us, along with projects at the New Museum and Studio Museum in Harlem, New York. We were included in two Performa Biennials, two California Biennials, the Biennale de Montréal, and the Whitney Biennial. We have received awards from the Foundation for Contemporary Art, Creative Capital, Art Matters, and the City of LA. My Barbarian originated in Los Angeles in 2000 and today its members are based in LA and New York.\nSegade’s MFA is in Interdisciplinary Studio Art from UCLA. He is co-chair of Film/Video at Bard College’s MFA program. Gordon earned an MA in Applied Theater from USC, has taught at CalArts and the Stella Adler Academy, and is co-owner of Wombleton Records. Gaines has a PhD in Performance Studies from UCLA and an MFA in Writing from CalArts and is assistant professor of Performance Studies at NYU. All three were born and raised in California.","bio_dates":"2009"},{"slug":"my_barbarian_night","ok":true,"partial":false,"title":"Night Epi$ode","artist":"My Barbarian","year":"2009","startOffset":0,"sourceSecs":982.067,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":61229205,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/my_barbarian_night/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/my_barbarian_night/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/my_barbarian_night.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/my_barbarian_night/main.mp4?v=2","description":"In the pilot episode of the group of videos that make up My Barbarian’s The Night Epi$ode, the three protagonists—curators who are locked in a room reviewing slides of artworks in order to select works for an exhibition—interrupt their discussion of what constitutes the most interesting and original art to ask: “Are you frightened by an unexpected knock at the door?” “Does your heart pound when you get mail from the government?” “Are you hiding something?” Tense, anxious, and weary, these three characters embody the current national, if not global, malaise that has resulted largely from the recent economic collapse and lingering recession and the innumerable repercussions of this state of intense instability. The news lately has been full of strange stories linked to the recession: A nurse in Wisconsin was laid off while assisting during a surgery. An employee of a restaurant in Florida was ridiculed and then dismissed from his job after placing a slice of tomato on top of the meat rather than directly on the bread. Airlines have started charging for pillows and blankets, and some have even considered a fee to use the restroom. Condom sales are up as couples forsake nights on the town in favor of intimate dates at home while nonetheless trying to avoid expanding their families. Simultaneously, and ironically, rates of domestic violence are on the rise. City morgues are grappling with an increase in unclaimed bodies, as families cannot afford to bury their dead. While the general trends are the predictable outcome of a slowed economy, many of the related anecdotes sprinkled throughout the daily news are borderline surreal—like fantastical horror stories or the petty banalities of a soap opera. This confluence of real life and dreamlike parody informs The Night Epi$ode, which plays with the genre of science fiction television series by linking narratives related to the economic collapse with bizarre occurrences. <br/><br/> Through their work, My Barbarian earnestly and consistently ask what role art can play in a democratic society. In The Night Epi$ode, the economy reigns supreme as both a shared unifying experience—everyone seems to be suffering, unable to sleep, and desperate for a break—and a site of conflict and competition in which people are solely out for themselves. The pilot episode, with its jury of curators, humorously satirizes both the extreme measures that artists will take to get noticed and the casting of judgment and sense of importance that accompany curatorial decisions. But this meeting of curatorial minds extends beyond the perceived insularity of the contemporary art world by calling attention to the economic and political aspects of culture. The arts become a stand-in for the equalizing force of a bad economy. Everyone is struggling, has been violated, or has sacrificed. One woman covers herself in marijuana and lights herself on fire as an artistic protest; an artist takes people into his home only to be robbed of his most important work; a woman from the museum’s education department is dying and cannot be saved; artists have vanished, imprisoned themselves, become vampires. \n\nIn this play on art-world practices, the paralysis and fear that economic hardships instill are equated with the anxieties of being an artist. And yet My Barbarian’s work is decidedly optimistic. Despite the curators’ proclamation in the pilot episode that everything is now about the individual and that collectivity has failed (one curator hilariously pronounces that “half a person would be more interesting”), My Barbarian embraces and truly believes in the power of collaboration. Performance can be a model for the acting out of dissent, a continuous process of political participation, a space where, as they claim in a song about the mandate to participate principle, “our lives will get respect.”\n\n Notes\n1. See Art Lies, no. 60. -- Anne Ellegood <br/><br/> Originally published in the UCLA Hammer Museum catalog for My Barbarian: The Night Epi$ode, 2010-11","artist_bio":"The Butterfly’s Evil Spell by Lara Schnitger & My Barbarian (2012)\nMy Barbarian is an art collective made up of Malik Gaines, Jade Gordon, and Alexandro Segade. Our work uses performance to play with social difficulties, theatricalize historic problems, and imagine ways of being together. We make plays, masks, videos, drawings, music, installations, texts, events, puppets, and paintings. We have presented work in many museums including MoMA, MoCA LA, and SFMoMA, and in festivals, galleries and public spaces. We have had solo exhibitions at Participant Inc., New York; the Hammer Museum and Human Resources, LA; Museo El Eco, Mexico City; Gallery 400, Chicago; Yaffo 23, Jerusalem; and Susanne Vielmetter Los Angeles Projects, which represents us, along with projects at the New Museum and Studio Museum in Harlem, New York. We were included in two Performa Biennials, two California Biennials, the Biennale de Montréal, and the Whitney Biennial. We have received awards from the Foundation for Contemporary Art, Creative Capital, Art Matters, and the City of LA. My Barbarian originated in Los Angeles in 2000 and today its members are based in LA and New York.\nSegade’s MFA is in Interdisciplinary Studio Art from UCLA. He is co-chair of Film/Video at Bard College’s MFA program. Gordon earned an MA in Applied Theater from USC, has taught at CalArts and the Stella Adler Academy, and is co-owner of Wombleton Records. Gaines has a PhD in Performance Studies from UCLA and an MFA in Writing from CalArts and is assistant professor of Performance Studies at NYU. All three were born and raised in California.","bio_dates":"2009"},{"slug":"my_barbarian_shakuntala_dubois","ok":true,"partial":false,"title":"Shakuntala DuBois","artist":"My Barbarian","year":"2012","startOffset":0,"sourceSecs":1813.64,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":772988439,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/my_barbarian_shakuntala_dubois/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/my_barbarian_shakuntala_dubois/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/my_barbarian_shakuntala_dubois.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/my_barbarian_shakuntala_dubois/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/my_barbarian_shakuntala_dubois/main/master.m3u8?v=2","hasMainHls":true,"description":"The Broke People's Baroque Peoples' Theater engages questions of economic inequity, artistic patronage, and a culture of excess (or excess of culture). It is: obsessed with classical allusion, doomed to camp, adorned in costume, engaged in masquerade and surrounded by sculpture. With a queer attitude toward cheap materials, the Broke People's Baroque People's Theater decorates itself in a hyper-feminine aestheticism to undermine class(y) distinctions of taste. A wealth of poverty, the chintzy is rich.","artist_bio":"The Butterfly’s Evil Spell by Lara Schnitger & My Barbarian (2012)\nMy Barbarian is an art collective made up of Malik Gaines, Jade Gordon, and Alexandro Segade. Our work uses performance to play with social difficulties, theatricalize historic problems, and imagine ways of being together. We make plays, masks, videos, drawings, music, installations, texts, events, puppets, and paintings. We have presented work in many museums including MoMA, MoCA LA, and SFMoMA, and in festivals, galleries and public spaces. We have had solo exhibitions at Participant Inc., New York; the Hammer Museum and Human Resources, LA; Museo El Eco, Mexico City; Gallery 400, Chicago; Yaffo 23, Jerusalem; and Susanne Vielmetter Los Angeles Projects, which represents us, along with projects at the New Museum and Studio Museum in Harlem, New York. We were included in two Performa Biennials, two California Biennials, the Biennale de Montréal, and the Whitney Biennial. We have received awards from the Foundation for Contemporary Art, Creative Capital, Art Matters, and the City of LA. My Barbarian originated in Los Angeles in 2000 and today its members are based in LA and New York.\nSegade’s MFA is in Interdisciplinary Studio Art from UCLA. He is co-chair of Film/Video at Bard College’s MFA program. Gordon earned an MA in Applied Theater from USC, has taught at CalArts and the Stella Adler Academy, and is co-owner of Wombleton Records. Gaines has a PhD in Performance Studies from UCLA and an MFA in Writing from CalArts and is assistant professor of Performance Studies at NYU. All three were born and raised in California.","bio_dates":"2009"},{"slug":"myers_richard_first_time_here_1964","ok":true,"partial":false,"title":"First Time Here","artist":"Richard Myers","year":"1964","startOffset":0.417,"sourceSecs":1320.704,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":232947119,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/myers_richard_first_time_here_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/myers_richard_first_time_here_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/myers_richard_first_time_here_1964.mp4","hasFrames":true,"description":"B&W, SOUND, 22 MIN. <br/><br/> FIRST TIME HERE is not realistic; neither is it purely illusory. <br/><br/> It is a fantasy which alienates itself from the \"real\" world and takes us on a journey through the glitter-cardboard prop world of a carnival exhibit which shows \"effects\" of an atomic bomb on a mock city. Through particular details we see an organic and continuous chain of events which lead to an actual atomic blast. Through many generalized images the main theme of renewal is stated, FIRST TIME HERE is a celebration of the \"mess\" we have gotten ourselves into. <br/><br/>\"\"Major discovery of the Ann Arbor Film Festival ....\" - Pauline Kael <br/><br/>\"\"Richard Myers shows extraordinary talent as a creative filmmaker. CORONATION is brilliantly executed; a psychological fantasy worthy of the highest praise. FIRST TIME HERE is both fascinating and deeply disturbing.\" - W.S. Doan, Director, Film Center, Hull House, Chicago","artist_bio":"Richard Myers (or Richard L. Myers) is an American experimental filmmaker based in northeast Ohio.\nMyers taught at Kent State University in Kent, Ohio and is particularly known for his 1970 film Confrontation at Kent State, which he filmed in Kent during the week following the Kent State shootings of May 4, 1970; it is an important document of the period.\nMyers began to produce independent films in the early 1960s. Many of his films are highly personal, with non-narrative or loose narrative structures derived from his dreams. Although some films (as, for example, his 1993 film Tarp) feature no actors at all, instead focusing entirely on inanimate objects, most films feature nonprofessional actors and are produced on very small budgets. -- Wikipedia","bio_dates":"1960"},{"slug":"myers_richard_the_coronation_1965","ok":true,"partial":false,"title":"The Coronation","artist":"Richard Myers","year":"1965","startOffset":0,"sourceSecs":1165.867,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":205549815,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/myers_richard_the_coronation_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/myers_richard_the_coronation_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/myers_richard_the_coronation_1965.mp4","hasFrames":true,"description":"B&W, SOUND, 22 MIN. <br/><br/> Music by Fred Coulter. Costumes by James M. Someroski. <br/><br/>\"\"Richard Myers is one of the most talented and one of the most unknown filmmakers in the country. Personally and geographically isolated from the hysterical film propaganda machine, we seldom hear his name; aside from the Ann Arbor Film Festival and its related tour, we never see his films. In the same sense that Bruce Baillie's MASS is generally regarded to be the film masterpiece of 1964, Myers' CORONATION ranks with the two or three very best experimental films of 1965. No experimental film that I know of can compare with it from the standpoint of sheer spectacle. In this respect it ranks with HOLLYWOOD, and in this respect I can pay CORONATION no greater compliment. Its rapid-fire narrative moves with the variety of news items found in a big city newspaper when on Monday morning it recounts the carnage of the weekend.\" - George Manupelli, director and filmmaker, Ann Arbor Film Festival","artist_bio":"Richard Myers (or Richard L. Myers) is an American experimental filmmaker based in northeast Ohio.\nMyers taught at Kent State University in Kent, Ohio and is particularly known for his 1970 film Confrontation at Kent State, which he filmed in Kent during the week following the Kent State shootings of May 4, 1970; it is an important document of the period.\nMyers began to produce independent films in the early 1960s. Many of his films are highly personal, with non-narrative or loose narrative structures derived from his dreams. Although some films (as, for example, his 1993 film Tarp) feature no actors at all, instead focusing entirely on inanimate objects, most films feature nonprofessional actors and are produced on very small budgets. -- Wikipedia","bio_dates":"1960"},{"slug":"myers_richard_the_path_1960","ok":true,"partial":false,"title":"The Path","artist":"Richard Myers","year":"1960","startOffset":0,"sourceSecs":1056.384,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":185985857,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/myers_richard_the_path_1960/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/myers_richard_the_path_1960/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/myers_richard_the_path_1960.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/myers_richard_the_path_1960/main.mp4?v=2","description":"B&W, SILENT, 17min. <br/><br/>\"\"Light as the symbol of the ineffable. The 'plot' of this subjective recreation of a dream seems to concern a mysterious journey; the spectator, however, is visually directed toward forms and substances rather than to the protagonists by a filmmaker who is a master of visionary cinema.\" - Amos Vogel, Film as a Subversive Art <br/><br/>\"\"Richard Myers has, thru his films, given us the ONLY consistently creative variable to dream-thinking in our time. All else, in film, slides toward surrealism and/or props itself with misplaced Freudian symbols, at best, or else gets lost in the Jung-le, at the verses. Myers' work is rooted in what he doesn't know about, just exactly what he knows - his own home grounds mid-America, and like D.W. Griffith he takes the great risk of being native to his art, attending it on its home-grown grounds/his-UNowned-dreams.\" - Stan Brakhage","artist_bio":"Richard Myers (or Richard L. Myers) is an American experimental filmmaker based in northeast Ohio.\nMyers taught at Kent State University in Kent, Ohio and is particularly known for his 1970 film Confrontation at Kent State, which he filmed in Kent during the week following the Kent State shootings of May 4, 1970; it is an important document of the period.\nMyers began to produce independent films in the early 1960s. Many of his films are highly personal, with non-narrative or loose narrative structures derived from his dreams. Although some films (as, for example, his 1993 film Tarp) feature no actors at all, instead focusing entirely on inanimate objects, most films feature nonprofessional actors and are produced on very small budgets. -- Wikipedia","bio_dates":"1960"},{"slug":"nakadate_laurel_the_wolf_knife_2010","ok":true,"partial":false,"title":"The Wolf Knife","artist":"Laurel Nakadate","year":"2010","startOffset":0,"sourceSecs":5256.819,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":866841005,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nakadate_laurel_the_wolf_knife_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nakadate_laurel_the_wolf_knife_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nakadate_laurel_the_wolf_knife_2010.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nakadate_laurel_the_wolf_knife_2010/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nakadate_laurel_the_wolf_knife_2010/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"Fleeing her mom’s creepy fiancé and the suffocating boredom of Florida in the summer, teenaged Chrissy enlists best friend June to help find her estranged father. The Wolf Knife follows the girls on a digressive road trip to Nashville, encountering dirty old men and kitschy tourist attractions along the way.\"","artist_bio":"Laurel Nakadate is a photographer, filmmaker, video and performance artist. She was born in Austin, TX and raised in Ames, IA. She earned a BFA from Tufts University and The School of The Museum of Fine Arts, Boston and an MFA in photography from Yale University. Her first feature film, Stay the Same Never Change, premiered at the Sundance Film Festival and went on to be featured in New Directors/New Films at The Museum of Modern Art and Lincoln Center. Her second feature film, The Wolf Knife, premiered at the Los Angeles Film Festival and was nominated for a Gotham Independent Film Award and an Independent Spirit Award. Her 10-year survey show, Only the Lonely, was on view at MoMA PS1 in 2011, and her photo series Strangers and Relations opened the 2015–16 season at The Des Moines Art Center.\nNakadate’s most recent projects include the photo series The Kingdom and the critically acclaimed group show Mother, which opened in fall 2018 and was co-curated with Leslie Tonkonow Artworks + Projects in NYC. Her work is in the collections of the Museum of Modern Art, the Whitney Museum of American Art, the Yale University Art Gallery, the Hessel Museum of Art, Bard College, Princeton University Art Museum, Smith College Museum of Art, LACMA, the Guggenheim Museum, the Saatchi Collection and other private collections in the US and abroad.","bio_dates":"b. 1975"},{"slug":"namuth_hans_jackson_pollock_1951","ok":true,"partial":false,"title":"Pollock Painting","artist":"Hans Namuth","year":"1951","startOffset":0,"sourceSecs":613.845,"sourceHeight":304,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":42491069,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/namuth_hans_jackson_pollock_1951/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/namuth_hans_jackson_pollock_1951/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/namuth_hans_jackson_pollock_1951.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/namuth_hans_jackson_pollock_1951/main.mp4?v=2","description":"Music, Morton Feldman <br/><br/> Hans Namuth was not initially interested in the work of Jackson Pollock , but was convinced by his teacher Alexey Brodovitch that Pollock was an important painter. In July 1950, Namuth approached Pollock and asked to photograph the artist working in his studio. Pollock agreed, encouraged by his wife, Lee Krasner , who was aware of the importance of media coverage. The resulting images helped to demystify Pollock's famous \"drip\" technique of painting, revealing it to be a deliberative process rather than a random splashing of paint. They \"helped transform Pollock from a talented, cranky loner into the first media-driven superstar of American contemporary art, the jeans-clad, chain-smoking poster boy of abstract expressionism ,\" according to culture critic Ferdinand Protzman. Not satisfied with black and white stills, Namuth wanted to create a color film that managed to focus on Pollock and his painting at the same time, partially because he found more interest in Pollock's image than in his art. His solution was to have Pollock paint on a large sheet of glass as Namuth filmed from underneath the work. As Namuth could not afford professional lighting, the film was shot outside Pollock's Long Island home.<br><br><b>RELATED RESOURCES</b>: <br> <a href=\"https://ubu.com/sound/feldman.html\" rel=\"noopener\" target=\"_blank\">Morton Feldman in UbuWeb Sound</a></br>","artist_bio":"Hans Namuth (March 17, 1915 – October 13, 1990) was a German-born photographer. Namuth specialized in portraiture, photographing many artists, including abstract expressionist Jackson Pollock. His photos of Pollock at work in his studio increased Pollock's fame and recognition and led to a greater understanding of his work and techniques. Namuth used his outgoing personality and persistence to photograph many important artistic figures at work in their studios.\nNamuth photographed many other painters such as Willem de Kooning, Robert Rauschenberg, and Mark Rothko and architects such as Frank Lloyd Wright, Philip Johnson, and Louis Kahn. Namuth focused on his rapport with his subjects, getting many reclusive figures such as Clyfford Still to agree to be photographed. Namuth's work not only captured his subjects in their studios with their works, but also captured the relationship between photographer and subject as well as the subjects' levels of self-consciousness. Besides famous art figures, Namuth photographed the Mam people of Todos Santos, whose native lifestyles were being overrun by Western influences. Namuth died in a Long Island car crash in 1990.","bio_dates":"1915-1990"},{"slug":"nancy_holt_and_robert_smithson_swamp_1971","ok":true,"partial":false,"title":"Swamp","artist":"Robert Smithson","year":"1971","startOffset":0,"sourceSecs":365.163,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":61413545,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nancy_holt_and_robert_smithson_swamp_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nancy_holt_and_robert_smithson_swamp_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nancy_holt_and_robert_smithson_swamp_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nancy_holt_and_robert_smithson_swamp_1971/main.mp4?v=2","description":"Nancy Holt and Robert Smithson<br/> 1971, 6 min, color, sound, 16 mm film on video <br/><br/> Nancy Holt and Robert Smithson collaborated on this seminal film, which viscerally confronts issues of perception and process. The action of the film is direct: Holt walks through the tall grasses of a swamp while filming with her Bolex camera, guided only by what she can see through the camera lens and by Smithson's verbal instructions. The viewer experiences the walk from Holt's point of view, seeing through her camera lens and hearing Smithson's spoken directions. Vision is obstructed and perception distorted as they stumble through the swamp grasses.","artist_bio":"Hotel Palenque (1969)\n(Bootleg film / documentation / artwork by Alex Hubbard)\nRobert Smithson, (born Jan. 2, 1938, Passaic, N.J., U.S.—died July 20, 1973, Amarillo, Texas), American sculptor and writer associated with the Land Art movement. His large-scale sculptures, called Earthworks, engaged directly with nature and were created by moving and constructing with vast amounts of soil and rocks.\nSmithson preferred to work with ruined or exhausted sites in nature. Using the earth as his palette, he created archetypal forms: spirals, circles, and mounds. Although, like other land artists of the late 1960s and early '70s—including Walter De Maria, Nancy Holt, Michael Heizer, and Carl Andre—Smithson chose to make his major work outside what he and his colleagues considered a compromised gallery system, he nevertheless also created smaller objects, which he called \"nonsites,\" for museum and gallery settings. These nonsite pieces employed topographic maps of an area juxtaposed with minimalist displays of materials taken from the actual sites as a form of pseudoarchaeological evidence that made reference to the \"real\" outdoor work. He also documented his work extensively with photographs and film.\nSmithson was largely self-taught. He earned a two-year scholarship to the Art Students League in New York City, and he studied briefly at the Brooklyn Museum School in 1956. His initial artwork was in the form of painting in the manner of the Abstract Expressionists. After a trip to Rome in 1961, he brought mythological and religious subjects into this work. After marrying the American sculptor Nancy Holt in 1963, he started making painted metal sculptures. As he did so, he began to question the role of the autonomous object in the museum context. He proceeded to make a number of minimalist sculptures, using industrial materials such as glass and mirrors. As he became increasingly preoccupied with the context for works of art, he began to work outside in natural sites ruined by industrial waste or mining. In 1971, for one of a growing number of outdoor projects, he took a 20-year lease on 10 acres (4 hectares) of lakefront land at the Great Salt Lake in Utah, and, using hired contractors, he made a huge spiral extending 1,500 feet (460 metres) into the lake. This work, titled Spiral Jetty, can still be seen periodically, depending on the water level.\nIn this and all of his other Earthworks, Smithson was interested in evoking geologic time through scale and the use of ancient rocks and dirt. He investigated many prehistoric sites, such as Stonehenge in England, and felt that his work was directly associated with such locations. Smithson was also interested in concepts of entropy—how energy gets dispersed in nature from the orderly to the disorderly over time—and he saw that as a metaphor for a philosophical orientation to life. He was a highly romantic artist whose most sublime and spiritual thoughts appear in his numerous writings, collected in Robert Smithson: The Collected Writings (1996), edited by Jack Flam. Smithson died in a plane crash at age 35 while inspecting a site in West Texas for an Earthwork to be titled Amarillo Ramp. This piece was finished posthumously (1973) by Holt, Tony Shafrazi, and Richard Serra.","bio_dates":"1938-1973"},{"slug":"nares_james_no_japs_at_my_funeral_1980","ok":true,"partial":false,"title":"No Japs at my Funeral","artist":"James Nares","year":"1980","startOffset":0,"sourceSecs":3671.201,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":623978776,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nares_james_no_japs_at_my_funeral_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nares_james_no_japs_at_my_funeral_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nares_james_no_japs_at_my_funeral_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nares_james_no_japs_at_my_funeral_1980/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nares_james_no_japs_at_my_funeral_1980/main/master.m3u8?v=2","hasMainHls":true,"description":"No Japs at My Funeral. 1980. USA/United Kingdom. Directed by James Nares. With Jackie, Lindzee Smith, Michael McClard. Cinematography by Nares and McClard. Video. 60 min.\n\nNamed after a provision in Lord Louis Mountbatten’s will made public after his assassination by the IRA in 1979, this video work by No Wave artist James Nares is a portrait of Northern Ireland’s liberation struggle through the stories of one IRA operative. Close-up shots of the man are intercut with British television reports on the Troubles, recasting the conflict as one over control of information. IRA man Jackie coolly chronicles accounts of imprisonment and brutality at the hands of the English, along with haunting details like the IRA’s habit of adding petrol to bombs to create bright colors in media photographs of their attacks. As described by Gary Indiana in a 1980 East Village Eye interview, No Japs is “a deconstructive propaganda piece that demolishes the British version of events in Northern Ireland. [It has] the same formal properties as a typical TV documentary, but is aimed to show the bias of what is known on TV as ‘truth’”.","artist_bio":"James Nares (born 1953 in London, England) is a British artist living and working in New York City since 1974. Nares makes paintings and films (most notable being the No Wave Cinema Rome 78) and played guitar in the no wave group James Chance and the Contortions and with Jim Jarmusch in the Del-Byzanteens and was a founding member of Colab.","bio_dates":"b. 1953"},{"slug":"nares_james_tv_faces_1977","ok":true,"partial":false,"title":"TV Faces","artist":"James Nares","year":"1977","startOffset":0,"sourceSecs":359.232,"sourceHeight":480,"sourceWidth":708,"hasAudio":true,"hasAmbientMp4":true,"bytes":64077355,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nares_james_tv_faces_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nares_james_tv_faces_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nares_james_tv_faces_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nares_james_tv_faces_1977/main.mp4?v=2","artist_bio":"James Nares (born 1953 in London, England) is a British artist living and working in New York City since 1974. Nares makes paintings and films (most notable being the No Wave Cinema Rome 78) and played guitar in the no wave group James Chance and the Contortions and with Jim Jarmusch in the Del-Byzanteens and was a founding member of Colab.","bio_dates":"b. 1953"},{"slug":"narkevicius_deimantas_europa_5454_2519_1997","ok":true,"partial":false,"title":"Europa 54° 54' - 25° 19''","artist":"Deimantas Narkevicius","year":"1997","startOffset":0,"sourceSecs":497.728,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":86542606,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_deimantas_europa_5454_2519_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_deimantas_europa_5454_2519_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/narkevicius_deimantas_europa_5454_2519_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/narkevicius_deimantas_europa_5454_2519_1997/main.mp4?v=2","artist_bio":"Deimantas Narkevicius (b. 1964) is an artist and filmmaker born in 1964 in Utena, currently based in Vilnius. He graduated sculpture at Vilnius Academy of Fine Arts and spent a year in London in 1992/93, which affected his later interest in site-specific art and concern with the concept of place in a broader discursive sense. Since the late Nineties he mostly works in film and video, experimenting with the film structure and thematizing the weight of subjective memories and personal revisions of the History. As the artist has himself stated a number of times, his films in a certain way are extended sculptures, not only closely adjusted to the physical sites of their installation, but also thematically departing from very specific personal circumstances or experiences. Nevertheless, working in different film formats, often inserting fragments of other media – drawing, found photograph and footage into his films, Narkevicius expands temporal and spatial boundaries of his narratives. With these insertions from another time, another place and another story, he thus thickens the web of suggested meanings, and the told stories acquire an almost inexhaustible wealth of links, connections and connotations.\nThe artist described his themes of interest in the following way:\n\"\"Although my works deal with contemporary themes, the underlying problems usually go back a long time. I started my work as an artist in a period of dynamic change for my society. The stress and neurosis caused by all the dynamism diverted this society from both historical reflection and future concerns. The ideological 'orientation' that dominated for decades was - among other things - an attempt at creating a society above and beyond history. The new political situation re-inserted us into the rotating circuit of history, which inevitably requires a vision. But as we started working on such a vision for ourselves, things re-emerged from the past; phenomena that had been hidden under the surfaces of ideology. They lead us into uncharted, unwanted, unpleasant territory, muddling our vision of the future\". Deimantas Narkevicius has gained wide recognition within the international art scene and represented Lithuania at the 49th Venice Biennale in 2003. He took part in Manifesta, Busan and Gwangju biennials of Contemporary Art, Münster Skulptur 2007, the International Film Festival in Rotterdam.","bio_dates":"b. 1964"},{"slug":"narkevicius_deimantas_his_story_1998","ok":true,"partial":false,"title":"His-story","artist":"Deimantas Narkevicius","year":"1998","startOffset":0,"sourceSecs":415.723,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":74646857,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_deimantas_his_story_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_deimantas_his_story_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/narkevicius_deimantas_his_story_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/narkevicius_deimantas_his_story_1998/main.mp4?v=2","artist_bio":"Deimantas Narkevicius (b. 1964) is an artist and filmmaker born in 1964 in Utena, currently based in Vilnius. He graduated sculpture at Vilnius Academy of Fine Arts and spent a year in London in 1992/93, which affected his later interest in site-specific art and concern with the concept of place in a broader discursive sense. Since the late Nineties he mostly works in film and video, experimenting with the film structure and thematizing the weight of subjective memories and personal revisions of the History. As the artist has himself stated a number of times, his films in a certain way are extended sculptures, not only closely adjusted to the physical sites of their installation, but also thematically departing from very specific personal circumstances or experiences. Nevertheless, working in different film formats, often inserting fragments of other media – drawing, found photograph and footage into his films, Narkevicius expands temporal and spatial boundaries of his narratives. With these insertions from another time, another place and another story, he thus thickens the web of suggested meanings, and the told stories acquire an almost inexhaustible wealth of links, connections and connotations.\nThe artist described his themes of interest in the following way:\n\"\"Although my works deal with contemporary themes, the underlying problems usually go back a long time. I started my work as an artist in a period of dynamic change for my society. The stress and neurosis caused by all the dynamism diverted this society from both historical reflection and future concerns. The ideological 'orientation' that dominated for decades was - among other things - an attempt at creating a society above and beyond history. The new political situation re-inserted us into the rotating circuit of history, which inevitably requires a vision. But as we started working on such a vision for ourselves, things re-emerged from the past; phenomena that had been hidden under the surfaces of ideology. They lead us into uncharted, unwanted, unpleasant territory, muddling our vision of the future\". Deimantas Narkevicius has gained wide recognition within the international art scene and represented Lithuania at the 49th Venice Biennale in 2003. He took part in Manifesta, Busan and Gwangju biennials of Contemporary Art, Münster Skulptur 2007, the International Film Festival in Rotterdam.","bio_dates":"b. 1964"},{"slug":"narkevicius_deimantas_kaimetisakacountryman_2002","ok":true,"partial":false,"title":"Kaimietis (Countryman)","artist":"Deimantas Narkevicius","year":"2002","startOffset":0,"sourceSecs":1123.243,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":198848812,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_deimantas_kaimetisakacountryman_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_deimantas_kaimetisakacountryman_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/narkevicius_deimantas_kaimetisakacountryman_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/narkevicius_deimantas_kaimetisakacountryman_2002/main.mp4?v=2","artist_bio":"Deimantas Narkevicius (b. 1964) is an artist and filmmaker born in 1964 in Utena, currently based in Vilnius. He graduated sculpture at Vilnius Academy of Fine Arts and spent a year in London in 1992/93, which affected his later interest in site-specific art and concern with the concept of place in a broader discursive sense. Since the late Nineties he mostly works in film and video, experimenting with the film structure and thematizing the weight of subjective memories and personal revisions of the History. As the artist has himself stated a number of times, his films in a certain way are extended sculptures, not only closely adjusted to the physical sites of their installation, but also thematically departing from very specific personal circumstances or experiences. Nevertheless, working in different film formats, often inserting fragments of other media – drawing, found photograph and footage into his films, Narkevicius expands temporal and spatial boundaries of his narratives. With these insertions from another time, another place and another story, he thus thickens the web of suggested meanings, and the told stories acquire an almost inexhaustible wealth of links, connections and connotations.\nThe artist described his themes of interest in the following way:\n\"\"Although my works deal with contemporary themes, the underlying problems usually go back a long time. I started my work as an artist in a period of dynamic change for my society. The stress and neurosis caused by all the dynamism diverted this society from both historical reflection and future concerns. The ideological 'orientation' that dominated for decades was - among other things - an attempt at creating a society above and beyond history. The new political situation re-inserted us into the rotating circuit of history, which inevitably requires a vision. But as we started working on such a vision for ourselves, things re-emerged from the past; phenomena that had been hidden under the surfaces of ideology. They lead us into uncharted, unwanted, unpleasant territory, muddling our vision of the future\". Deimantas Narkevicius has gained wide recognition within the international art scene and represented Lithuania at the 49th Venice Biennale in 2003. He took part in Manifesta, Busan and Gwangju biennials of Contemporary Art, Münster Skulptur 2007, the International Film Festival in Rotterdam.","bio_dates":"b. 1964"},{"slug":"narkevicius_deimantas_matrioskos_2005","ok":true,"partial":false,"title":"Matrioskos","artist":"Deimantas Narkevicius","year":"2005","startOffset":0,"sourceSecs":1418.24,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":248434175,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_deimantas_matrioskos_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_deimantas_matrioskos_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/narkevicius_deimantas_matrioskos_2005.mp4","hasFrames":true,"artist_bio":"Deimantas Narkevicius (b. 1964) is an artist and filmmaker born in 1964 in Utena, currently based in Vilnius. He graduated sculpture at Vilnius Academy of Fine Arts and spent a year in London in 1992/93, which affected his later interest in site-specific art and concern with the concept of place in a broader discursive sense. Since the late Nineties he mostly works in film and video, experimenting with the film structure and thematizing the weight of subjective memories and personal revisions of the History. As the artist has himself stated a number of times, his films in a certain way are extended sculptures, not only closely adjusted to the physical sites of their installation, but also thematically departing from very specific personal circumstances or experiences. Nevertheless, working in different film formats, often inserting fragments of other media – drawing, found photograph and footage into his films, Narkevicius expands temporal and spatial boundaries of his narratives. With these insertions from another time, another place and another story, he thus thickens the web of suggested meanings, and the told stories acquire an almost inexhaustible wealth of links, connections and connotations.\nThe artist described his themes of interest in the following way:\n\"\"Although my works deal with contemporary themes, the underlying problems usually go back a long time. I started my work as an artist in a period of dynamic change for my society. The stress and neurosis caused by all the dynamism diverted this society from both historical reflection and future concerns. The ideological 'orientation' that dominated for decades was - among other things - an attempt at creating a society above and beyond history. The new political situation re-inserted us into the rotating circuit of history, which inevitably requires a vision. But as we started working on such a vision for ourselves, things re-emerged from the past; phenomena that had been hidden under the surfaces of ideology. They lead us into uncharted, unwanted, unpleasant territory, muddling our vision of the future\". Deimantas Narkevicius has gained wide recognition within the international art scene and represented Lithuania at the 49th Venice Biennale in 2003. He took part in Manifesta, Busan and Gwangju biennials of Contemporary Art, Münster Skulptur 2007, the International Film Festival in Rotterdam.","bio_dates":"b. 1964"},{"slug":"narkevicius_deimantas_theroleofalifetime_2003","ok":true,"partial":false,"title":"The Head","artist":"Deimantas Narkevicius","year":"2007","startOffset":0,"sourceSecs":1010.091,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":175921555,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_deimantas_theroleofalifetime_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_deimantas_theroleofalifetime_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/narkevicius_deimantas_theroleofalifetime_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/narkevicius_deimantas_theroleofalifetime_2003/main.mp4?v=2","artist_bio":"Deimantas Narkevicius (b. 1964) is an artist and filmmaker born in 1964 in Utena, currently based in Vilnius. He graduated sculpture at Vilnius Academy of Fine Arts and spent a year in London in 1992/93, which affected his later interest in site-specific art and concern with the concept of place in a broader discursive sense. Since the late Nineties he mostly works in film and video, experimenting with the film structure and thematizing the weight of subjective memories and personal revisions of the History. As the artist has himself stated a number of times, his films in a certain way are extended sculptures, not only closely adjusted to the physical sites of their installation, but also thematically departing from very specific personal circumstances or experiences. Nevertheless, working in different film formats, often inserting fragments of other media – drawing, found photograph and footage into his films, Narkevicius expands temporal and spatial boundaries of his narratives. With these insertions from another time, another place and another story, he thus thickens the web of suggested meanings, and the told stories acquire an almost inexhaustible wealth of links, connections and connotations.\nThe artist described his themes of interest in the following way:\n\"\"Although my works deal with contemporary themes, the underlying problems usually go back a long time. I started my work as an artist in a period of dynamic change for my society. The stress and neurosis caused by all the dynamism diverted this society from both historical reflection and future concerns. The ideological 'orientation' that dominated for decades was - among other things - an attempt at creating a society above and beyond history. The new political situation re-inserted us into the rotating circuit of history, which inevitably requires a vision. But as we started working on such a vision for ourselves, things re-emerged from the past; phenomena that had been hidden under the surfaces of ideology. They lead us into uncharted, unwanted, unpleasant territory, muddling our vision of the future\". Deimantas Narkevicius has gained wide recognition within the international art scene and represented Lithuania at the 49th Venice Biennale in 2003. He took part in Manifesta, Busan and Gwangju biennials of Contemporary Art, Münster Skulptur 2007, the International Film Festival in Rotterdam.","bio_dates":"b. 1964"},{"slug":"narkevicius_the_head_2007","ok":true,"partial":false,"title":"The Head","artist":"Deimantas Narkevicius","year":"2007","startOffset":0,"sourceSecs":734.549,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":124558074,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_the_head_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/narkevicius_the_head_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/narkevicius_the_head_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/narkevicius_the_head_2007/main.mp4?v=2","artist_bio":"Deimantas Narkevicius (b. 1964) is an artist and filmmaker born in 1964 in Utena, currently based in Vilnius. He graduated sculpture at Vilnius Academy of Fine Arts and spent a year in London in 1992/93, which affected his later interest in site-specific art and concern with the concept of place in a broader discursive sense. Since the late Nineties he mostly works in film and video, experimenting with the film structure and thematizing the weight of subjective memories and personal revisions of the History. As the artist has himself stated a number of times, his films in a certain way are extended sculptures, not only closely adjusted to the physical sites of their installation, but also thematically departing from very specific personal circumstances or experiences. Nevertheless, working in different film formats, often inserting fragments of other media – drawing, found photograph and footage into his films, Narkevicius expands temporal and spatial boundaries of his narratives. With these insertions from another time, another place and another story, he thus thickens the web of suggested meanings, and the told stories acquire an almost inexhaustible wealth of links, connections and connotations.\nThe artist described his themes of interest in the following way:\n\"\"Although my works deal with contemporary themes, the underlying problems usually go back a long time. I started my work as an artist in a period of dynamic change for my society. The stress and neurosis caused by all the dynamism diverted this society from both historical reflection and future concerns. The ideological 'orientation' that dominated for decades was - among other things - an attempt at creating a society above and beyond history. The new political situation re-inserted us into the rotating circuit of history, which inevitably requires a vision. But as we started working on such a vision for ourselves, things re-emerged from the past; phenomena that had been hidden under the surfaces of ideology. They lead us into uncharted, unwanted, unpleasant territory, muddling our vision of the future\". Deimantas Narkevicius has gained wide recognition within the international art scene and represented Lithuania at the 49th Venice Biennale in 2003. He took part in Manifesta, Busan and Gwangju biennials of Contemporary Art, Münster Skulptur 2007, the International Film Festival in Rotterdam.","bio_dates":"b. 1964"},{"slug":"nashashibi_rosalind_blood_and_fire","ok":true,"partial":false,"title":"Blood and Fire","artist":"Rosalind Nashashibi","year":"2004","startOffset":0,"sourceSecs":384.56,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":69069333,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_blood_and_fire/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_blood_and_fire/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashashibi_rosalind_blood_and_fire.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nashashibi_rosalind_blood_and_fire/main.mp4?v=2","description":"Several old ladies and one man share a meal with bright, plastic beakers and much laughter at the Salvation Army in Portobello, a seaside town by Edinburgh, Scotland.","artist_bio":"Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).\nRosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.\nIn works such as Electrical Gaza 2015, Nashashibi combines her observations of domestic life in Gaza with animated sequences to reflect on issues of community. Images of families and friends engaged in everyday activities are punctuated with stark reminders of the local political conditions, while physical and imagined borders amplify the sense of geographical isolation.\nVivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the colonial relations of their household, but also presents the mothering care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.\nNashashibi often presents her films alongside objects and paintings, such as her recent exhibition Two Tribes at Murray Guy in New York, in which the artist exhibited a series of abstract paintings that expanded on themes in her film work.","bio_dates":"b. 1973"},{"slug":"nashashibi_rosalind_dahiet_el_bareed_district_of_the_post_office_2002","ok":true,"partial":false,"title":"Dahiet El Bareed, District of the Post Office 2002","artist":"Rosalind Nashashibi","year":"2002","startOffset":0,"sourceSecs":414.2,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":70648005,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_dahiet_el_bareed_district_of_the_post_office_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_dahiet_el_bareed_district_of_the_post_office_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashashibi_rosalind_dahiet_el_bareed_district_of_the_post_office_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nashashibi_rosalind_dahiet_el_bareed_district_of_the_post_office_2002/main.mp4?v=2","description":"One slow, hot afternoon in a neighbourhood built to be a utopian suburb for employees of the Palestinian Post Office; now becomes a lawless no-man’s-land between occupied East Jerusalem and Ramallah.","artist_bio":"Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).\nRosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.\nIn works such as Electrical Gaza 2015, Nashashibi combines her observations of domestic life in Gaza with animated sequences to reflect on issues of community. Images of families and friends engaged in everyday activities are punctuated with stark reminders of the local political conditions, while physical and imagined borders amplify the sense of geographical isolation.\nVivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the colonial relations of their household, but also presents the mothering care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.\nNashashibi often presents her films alongside objects and paintings, such as her recent exhibition Two Tribes at Murray Guy in New York, in which the artist exhibited a series of abstract paintings that expanded on themes in her film work.","bio_dates":"b. 1973"},{"slug":"nashashibi_rosalind_eyeballing_2005","ok":true,"partial":false,"title":"Eyeballing","artist":"Rosalind Nashashibi","year":"2005","startOffset":0,"sourceSecs":599.667,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":37710387,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_eyeballing_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_eyeballing_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashashibi_rosalind_eyeballing_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nashashibi_rosalind_eyeballing_2005/main.mp4?v=2","description":"The anthropomorphic city. A series of faces found in architectural facades or in objects around an apartment are juxtaposed with shots of policemen in uniform loitering around their precinct.","artist_bio":"Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).\nRosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.\nIn works such as Electrical Gaza 2015, Nashashibi combines her observations of domestic life in Gaza with animated sequences to reflect on issues of community. Images of families and friends engaged in everyday activities are punctuated with stark reminders of the local political conditions, while physical and imagined borders amplify the sense of geographical isolation.\nVivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the colonial relations of their household, but also presents the mothering care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.\nNashashibi often presents her films alongside objects and paintings, such as her recent exhibition Two Tribes at Murray Guy in New York, in which the artist exhibited a series of abstract paintings that expanded on themes in her film work.","bio_dates":"b. 1973"},{"slug":"nashashibi_rosalind_midwest_2002","ok":true,"partial":false,"title":"Midwest 2002","artist":"Rosalind Nashashibi","year":"2002","startOffset":0,"sourceSecs":660.32,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":117847335,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_midwest_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_midwest_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashashibi_rosalind_midwest_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nashashibi_rosalind_midwest_2002/main.mp4?v=2","description":"In Midwest, the camera is on the street, watching people going about their business through the day – hanging around, walking, going in and out of a Mexican café and waiting outside a rehab centre. We see the forced leisure of a week day, and how people use their public spaces and neighbourhood streets. Midwest was made together with Midwest: Field which explores what goes on in the superflat landscape outside the city.","artist_bio":"Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).\nRosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.\nIn works such as Electrical Gaza 2015, Nashashibi combines her observations of domestic life in Gaza with animated sequences to reflect on issues of community. Images of families and friends engaged in everyday activities are punctuated with stark reminders of the local political conditions, while physical and imagined borders amplify the sense of geographical isolation.\nVivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the colonial relations of their household, but also presents the mothering care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.\nNashashibi often presents her films alongside objects and paintings, such as her recent exhibition Two Tribes at Murray Guy in New York, in which the artist exhibited a series of abstract paintings that expanded on themes in her film work.","bio_dates":"b. 1973"},{"slug":"nashashibi_rosalind_midwest_field2002","ok":true,"partial":false,"title":"Midwest 2002","artist":"Rosalind Nashashibi","year":"2002","startOffset":0,"sourceSecs":227.08,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":38487977,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_midwest_field2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_midwest_field2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashashibi_rosalind_midwest_field2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nashashibi_rosalind_midwest_field2002/main.mp4?v=2","description":"A group of middle-aged men fly remote-control glider planes and spend a lazy afternoon in the wide, flat fields outside Omaha. Midwest: Field is counterpoint to Midwest, which explores the inside of Omaha’s neighbourhoods.","artist_bio":"Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).\nRosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.\nIn works such as Electrical Gaza 2015, Nashashibi combines her observations of domestic life in Gaza with animated sequences to reflect on issues of community. Images of families and friends engaged in everyday activities are punctuated with stark reminders of the local political conditions, while physical and imagined borders amplify the sense of geographical isolation.\nVivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the colonial relations of their household, but also presents the mothering care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.\nNashashibi often presents her films alongside objects and paintings, such as her recent exhibition Two Tribes at Murray Guy in New York, in which the artist exhibited a series of abstract paintings that expanded on themes in her film work.","bio_dates":"b. 1973"},{"slug":"nashashibi_rosalind_open_day_2001","ok":true,"partial":false,"title":"Open Day 2001","artist":"Rosalind Nashashibi","year":"2001","startOffset":0,"sourceSecs":702.68,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":117408587,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_open_day_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_open_day_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashashibi_rosalind_open_day_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nashashibi_rosalind_open_day_2001/main.mp4?v=2","description":"Six scenes in London set to different pieces of music that add a fictional screen or act as counterpoint to the action.","artist_bio":"Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).\nRosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.\nIn works such as Electrical Gaza 2015, Nashashibi combines her observations of domestic life in Gaza with animated sequences to reflect on issues of community. Images of families and friends engaged in everyday activities are punctuated with stark reminders of the local political conditions, while physical and imagined borders amplify the sense of geographical isolation.\nVivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the colonial relations of their household, but also presents the mothering care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.\nNashashibi often presents her films alongside objects and paintings, such as her recent exhibition Two Tribes at Murray Guy in New York, in which the artist exhibited a series of abstract paintings that expanded on themes in her film work.","bio_dates":"b. 1973"},{"slug":"nashashibi_rosalind_park_ambassador_2004","ok":true,"partial":false,"title":"Park Ambassador 2004","artist":"Rosalind Nashashibi","year":"2004","startOffset":0,"sourceSecs":238.4,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":30202217,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_park_ambassador_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_park_ambassador_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashashibi_rosalind_park_ambassador_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nashashibi_rosalind_park_ambassador_2004/main.mp4?v=2","artist_bio":"Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).\nRosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.\nIn works such as Electrical Gaza 2015, Nashashibi combines her observations of domestic life in Gaza with animated sequences to reflect on issues of community. Images of families and friends engaged in everyday activities are punctuated with stark reminders of the local political conditions, while physical and imagined borders amplify the sense of geographical isolation.\nVivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the colonial relations of their household, but also presents the mothering care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.\nNashashibi often presents her films alongside objects and paintings, such as her recent exhibition Two Tribes at Murray Guy in New York, in which the artist exhibited a series of abstract paintings that expanded on themes in her film work.","bio_dates":"b. 1973"},{"slug":"nashashibi_rosalind_stone_and_table_1994_2004","ok":true,"partial":false,"title":"Stone and Table 1994/2004","artist":"Rosalind Nashashibi","year":"2004","startOffset":0,"sourceSecs":337.24,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":47077015,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_stone_and_table_1994_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_stone_and_table_1994_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashashibi_rosalind_stone_and_table_1994_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nashashibi_rosalind_stone_and_table_1994_2004/main.mp4?v=2","description":"The shadow of a human being, passes over timeless and indifferent objects at three frames per second.","artist_bio":"Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).\nRosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.\nIn works such as Electrical Gaza 2015, Nashashibi combines her observations of domestic life in Gaza with animated sequences to reflect on issues of community. Images of families and friends engaged in everyday activities are punctuated with stark reminders of the local political conditions, while physical and imagined borders amplify the sense of geographical isolation.\nVivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the colonial relations of their household, but also presents the mothering care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.\nNashashibi often presents her films alongside objects and paintings, such as her recent exhibition Two Tribes at Murray Guy in New York, in which the artist exhibited a series of abstract paintings that expanded on themes in her film work.","bio_dates":"b. 1973"},{"slug":"nashashibi_rosalind_the_states_of_things_2000","ok":true,"partial":false,"title":"The States of things 2000","artist":"Rosalind Nashashibi","year":"2000","startOffset":0,"sourceSecs":190.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":32291589,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_the_states_of_things_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_the_states_of_things_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashashibi_rosalind_the_states_of_things_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nashashibi_rosalind_the_states_of_things_2000/main.mp4?v=2","description":"A Glasgow jumble sale set to an Egyptian classic love song from the 1920’s. Watching the film the audience is unsure where and when the action takes place, questioning the simplistic, unspecific and convenient conceptions of East and West.","artist_bio":"Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).\nRosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.\nIn works such as Electrical Gaza 2015, Nashashibi combines her observations of domestic life in Gaza with animated sequences to reflect on issues of community. Images of families and friends engaged in everyday activities are punctuated with stark reminders of the local political conditions, while physical and imagined borders amplify the sense of geographical isolation.\nVivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the colonial relations of their household, but also presents the mothering care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.\nNashashibi often presents her films alongside objects and paintings, such as her recent exhibition Two Tribes at Murray Guy in New York, in which the artist exhibited a series of abstract paintings that expanded on themes in her film work.","bio_dates":"b. 1973"},{"slug":"nashashibi_rosalind_university_library_2004","ok":true,"partial":false,"title":"University Library 2004","artist":"Rosalind Nashashibi","year":"2004","startOffset":0,"sourceSecs":441.76,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":73146198,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_university_library_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashashibi_rosalind_university_library_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashashibi_rosalind_university_library_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nashashibi_rosalind_university_library_2004/main.mp4?v=2","description":"Books, dust and young people. New students negotiate shelves, lifts and dusty pot plants, keeping silent and occasionally sneaking looks at one another.","artist_bio":"Rosalind Nashashibi was born in 1973 in Croydon, London. She studied at Sheffield Hallam University and Glasgow School of Art. Solo exhibitions include: Two Tribes, Murray Guy, New York, USA (2016); Electrical Gaza, Imperial War Museum, London, UK (2015); and The Painter and the Deliveryman, Objectif Exhibitions, Antwerp, Netherlands (2013). Selected group exhibitions include: Documenta 14 (2017); I Call This Progress to a Halt, Los Angeles Contemporary Exhibitions, LA, USA (2017); Ghost of Other Stories, British Council Collection at The Model, Sligo, Ireland (2016); Corps Simples, Centre Pompidou, Malaga, Spain; Sudoku, Kunstverein München, Munich, Germany; A Million Lines, Baltic Triennial, Bunkier Sztuki, Krakow, Poland (all 2015); and Ten Thousand Wiles and a Hundred Thousand Tricks, Contemporary Image Collective, Cairo, Egypt (2014).\nRosalind Nashashibi works primarily in film and also makes paintings and prints. Her films use the camera as an eye to convey moments and events, merging everyday observations with fantastical and mythological elements. The films are often meditative and sensuous and utilise an array of filmic conventions.\nIn works such as Electrical Gaza 2015, Nashashibi combines her observations of domestic life in Gaza with animated sequences to reflect on issues of community. Images of families and friends engaged in everyday activities are punctuated with stark reminders of the local political conditions, while physical and imagined borders amplify the sense of geographical isolation.\nVivian’s Garden 2017, recently presented at Documenta 14, depicts the relationship between two artists who are mother and daughter – Elisabeth Wild and Vivian Suter – in the connected houses they share in a jungle garden in Panajachel, Guatemala. Elisabeth and Vivian live with the constant company of two or more Mayan villagers as guardians and maids. This tender and emotive filmic portrait does not shy away from the colonial relations of their household, but also presents the mothering care that passes between all characters. Their home is a place of both refuge and fear. The film brings together a number of themes that are common throughout Nashashibi’s work including the tension between private self and public performance, specifically within communities that are closed off or isolated in some way.\nNashashibi often presents her films alongside objects and paintings, such as her recent exhibition Two Tribes at Murray Guy in New York, in which the artist exhibited a series of abstract paintings that expanded on themes in her film work.","bio_dates":"b. 1973"},{"slug":"nashat_shahryar_factor_green_2011","ok":true,"partial":false,"title":"Factor Green","artist":"Shahryar Nashat","year":"2011","startOffset":0,"sourceSecs":327.96,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":52439982,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashat_shahryar_factor_green_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashat_shahryar_factor_green_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashat_shahryar_factor_green_2011.mp4","hasFrames":true,"description":"At the centre of his video work Factor Green (2011) stands a box-like object painted a garish green; this object is shown being used for various purposes, including as a seat and a base, at the Accademia in Venice, before ‘attaching’ itself like a sticky sponge to a painting by Tintoretto. When Nashat presented the work at the Venice Biennale, he placed in front of the projection a series of sculptures resembling museum benches: seating made of travertine or a flashy patterned imitation marble and bases for small sculptures that were themselves nothing other than pedestal-like shapes cast in faux marble. Like the garish green object of Factor Green, these bench and pedestal sculptures defy clear classification by appropriating the form and function of useful objects while seeking to charm the beholder as objects of aesthetic contemplation. <br/><br/> Manuela Ammer in The Pedestal Problem<br/> Frieze, Autumn 2011","artist_bio":"In his sculptures, photographs and films, Shahryar Nashat often addresses the representation of the body in art history and the conventions of mediation and presentation.\nHe exploits the agency of the artist to present a subjective sequence of past objects and images that disassembles linear chronology, and seeks to transform and re-inscribe pre-existing artifacts with sensual (and thus urgent or present) significance. Nashat finds great pleasure in details, and his works—with their near-obsessive methods of framing and cropping — draw the viewer into a world of clandestine forms, artful gestures and posturing.\nThe ekphrastic impulse of his practice – the sympathetic relationship where one mode, form, or medium is used as a surrogate for another, therefore invoking similitude and difference with the original object – often employs a queer theatricality. An empty plinth is a stand-in for the absent figure, where the otherwise marginal apparatus of display is presented as a highly aestheticised and sultry substitute; or else a feminised dancer’s body is made ornamental, and the photographic subject apes classical sculpture. Yet despite the expressive potential of Nashat’s subjects, the images deny sentimentality and nostalgia. As the artist notes, ‘I can’t help but chop its top off, at thigh, calf or foot-height.’\nShahryar Nashat grew up in Switzerland. Before moving to Berlin, he spent two years at the Rijksakademie, Amsterdam (2001-2002). Since then, his work has been included in many solo and group exhibitions including Silberkuppe, Berlin (2012), CCA Wattis (2012), Detroit Museum of Art (2012), Rodeo, Istanbul (2011), Venice Biennale (2005 and 2011), Museum für Gegenwartskunst Basel (2011), Kunsthaus Zurich (2011), Studio Voltaire (2011), Frieze Projects (2010), Kunstverein Nürnberg (2010), Kunsthal Bergen (2010), Kunst Halle Sankt Gallen (2009), Art Unlimited (2009), Elisabeth Kaufmann, Zurich (2009), Attitudes, Geneva (2009). Since 2011, he often collaborates with choreographer and rapper Adam Linder.","bio_dates":"b. 1975"},{"slug":"nashat_shahryar_modern_body_comedy_2006","ok":true,"partial":false,"title":"Modern Body Comedy","artist":"Shahryar Nashat","year":"2006","startOffset":0,"sourceSecs":166.4,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":30119375,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashat_shahryar_modern_body_comedy_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashat_shahryar_modern_body_comedy_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashat_shahryar_modern_body_comedy_2006.m4v","hasFrames":true,"description":"Modern Body Comedy is shot on a bare theatre stage in Super 8mm film and later converted to digital format. The work combines miscellaneous forms of theatre genres such as drama and comedy and also reveals the act of creating artistic situations. Two men act out these questions in a choreographed performance in which a pair of shoes and socks, a false moustache and a broken chair are the props for their games. A latent homo-erotic tension and a subtle power struggle provide the narrative base. Nashat, always interested in the dynamics of the body, builds up an outrageous tension, which is unpredictably dissolved by a physical incident reminding of a very popular slapstick element.","artist_bio":"In his sculptures, photographs and films, Shahryar Nashat often addresses the representation of the body in art history and the conventions of mediation and presentation.\nHe exploits the agency of the artist to present a subjective sequence of past objects and images that disassembles linear chronology, and seeks to transform and re-inscribe pre-existing artifacts with sensual (and thus urgent or present) significance. Nashat finds great pleasure in details, and his works—with their near-obsessive methods of framing and cropping — draw the viewer into a world of clandestine forms, artful gestures and posturing.\nThe ekphrastic impulse of his practice – the sympathetic relationship where one mode, form, or medium is used as a surrogate for another, therefore invoking similitude and difference with the original object – often employs a queer theatricality. An empty plinth is a stand-in for the absent figure, where the otherwise marginal apparatus of display is presented as a highly aestheticised and sultry substitute; or else a feminised dancer’s body is made ornamental, and the photographic subject apes classical sculpture. Yet despite the expressive potential of Nashat’s subjects, the images deny sentimentality and nostalgia. As the artist notes, ‘I can’t help but chop its top off, at thigh, calf or foot-height.’\nShahryar Nashat grew up in Switzerland. Before moving to Berlin, he spent two years at the Rijksakademie, Amsterdam (2001-2002). Since then, his work has been included in many solo and group exhibitions including Silberkuppe, Berlin (2012), CCA Wattis (2012), Detroit Museum of Art (2012), Rodeo, Istanbul (2011), Venice Biennale (2005 and 2011), Museum für Gegenwartskunst Basel (2011), Kunsthaus Zurich (2011), Studio Voltaire (2011), Frieze Projects (2010), Kunstverein Nürnberg (2010), Kunsthal Bergen (2010), Kunst Halle Sankt Gallen (2009), Art Unlimited (2009), Elisabeth Kaufmann, Zurich (2009), Attitudes, Geneva (2009). Since 2011, he often collaborates with choreographer and rapper Adam Linder.","bio_dates":"b. 1975"},{"slug":"nashat_shahryar_plaque","ok":true,"partial":false,"title":"Plaque (Slab)","artist":"Shahryar Nashat","year":"2007","startOffset":0,"sourceSecs":401.76,"sourceHeight":576,"sourceWidth":767,"hasAudio":true,"hasAmbientMp4":true,"bytes":72063666,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashat_shahryar_plaque/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nashat_shahryar_plaque/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nashat_shahryar_plaque.mp4","hasFrames":true,"description":"Notions of monumentality are revisited in numerous works by Nashat, including the video Plaque (Slab) (2007), which takes as its point of departure archival footage of the celebrated Canadian classical musician Glenn Gould. In it, Gould is playing the piano on a television soundstage. Behind Gould and his piano are three monolithic slabs seemingly made out of marble. Much of Nashat's !lm documents the production of a large concrete slab, highly reminiscent of the ones in Gould's television performance, in a factory out in the Berlin suburbs. \"is footage is interspersed with the archival footage of Gould, which has been modi!ed to resemble more of a stop-motion animation. \"is locational \"split\" in the focus of the film creates a kind of game for the viewer, both in determining the actual subject of the video and in reading what exactly is happening in the imagined fissure between these two settings, which almost mirror one another in their virtuosity—skilled manual work and creative endeavor converging, both politely encouraged to echo the performance of the other.<br/> <br/> Nav Haq in Highlights: Shahryar Nashat - Almost Mirroring<br/> Kaleidoscope, Fall 2010","artist_bio":"In his sculptures, photographs and films, Shahryar Nashat often addresses the representation of the body in art history and the conventions of mediation and presentation.\nHe exploits the agency of the artist to present a subjective sequence of past objects and images that disassembles linear chronology, and seeks to transform and re-inscribe pre-existing artifacts with sensual (and thus urgent or present) significance. Nashat finds great pleasure in details, and his works—with their near-obsessive methods of framing and cropping — draw the viewer into a world of clandestine forms, artful gestures and posturing.\nThe ekphrastic impulse of his practice – the sympathetic relationship where one mode, form, or medium is used as a surrogate for another, therefore invoking similitude and difference with the original object – often employs a queer theatricality. An empty plinth is a stand-in for the absent figure, where the otherwise marginal apparatus of display is presented as a highly aestheticised and sultry substitute; or else a feminised dancer’s body is made ornamental, and the photographic subject apes classical sculpture. Yet despite the expressive potential of Nashat’s subjects, the images deny sentimentality and nostalgia. As the artist notes, ‘I can’t help but chop its top off, at thigh, calf or foot-height.’\nShahryar Nashat grew up in Switzerland. Before moving to Berlin, he spent two years at the Rijksakademie, Amsterdam (2001-2002). Since then, his work has been included in many solo and group exhibitions including Silberkuppe, Berlin (2012), CCA Wattis (2012), Detroit Museum of Art (2012), Rodeo, Istanbul (2011), Venice Biennale (2005 and 2011), Museum für Gegenwartskunst Basel (2011), Kunsthaus Zurich (2011), Studio Voltaire (2011), Frieze Projects (2010), Kunstverein Nürnberg (2010), Kunsthal Bergen (2010), Kunst Halle Sankt Gallen (2009), Art Unlimited (2009), Elisabeth Kaufmann, Zurich (2009), Attitudes, Geneva (2009). Since 2011, he often collaborates with choreographer and rapper Adam Linder.","bio_dates":"b. 1975"},{"slug":"nath_pandith_pran_inbetweenthenotes_1986","ok":true,"partial":false,"title":"In Between The Notes - A Portrait of Pandit Pran Nath","artist":"Pandit Pran Nath","year":"1986","startOffset":0,"sourceSecs":1676.523,"sourceHeight":478,"sourceWidth":616,"hasAudio":true,"hasAmbientMp4":true,"bytes":281346853,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nath_pandith_pran_inbetweenthenotes_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nath_pandith_pran_inbetweenthenotes_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nath_pandith_pran_inbetweenthenotes_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nath_pandith_pran_inbetweenthenotes_1986/main.mp4?v=2"},{"slug":"nauman_bruce_beckett","ok":true,"partial":false,"title":"Slow Angle Walk (Beckett Walk)","artist":"Bruce Nauman","year":"1968","startOffset":0,"sourceSecs":3760.681,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":217753091,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_beckett/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_beckett/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_beckett.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_beckett/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_beckett/main/master.m3u8?v=2","hasMainHls":true,"description":"1968, 60 min, b&w, sound <br/><br/> A fixed camera turned on its side records Nauman repeating for nearly an hour a laborious sequence of body movements inspired by passages in works by Samuel Beckett that describe similarly repetitive and meaningless activities. Hands clasped behind his back, he kicks one leg up at a right angle to his body, pivots forty-five degrees, falls forward hard with a thumping noise, extends the rear leg again at a right angle behind, and begins the sequence again. As in many of his fixed-camera film and video works, parts of Nauman's body disappear from the frame as he moves close to the camera; occasionally, he walks off-screen completely while the sound of his footsteps continues on the sound tracks. -- <a href=\"http://eai.org/title.htm?id=3005\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_black_balls","ok":true,"partial":false,"title":"Black Balls","artist":"Bruce Nauman","year":"1969","startOffset":0,"sourceSecs":578.409,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":37730684,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_black_balls/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_black_balls/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_black_balls.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_black_balls/main.mp4?v=2","description":"1969, 8 min, b&w, silent, 16 mm film on video <br/><br/> In this film, Nauman applies black makeup to his testicles. The action was recorded with an industrial high-speed camera capable of shooting between one thousand and four thousand frames per second. -- <a href=\"http://eai.org/title.htm?id=3759\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_bouncing1","ok":true,"partial":false,"title":"Bouncing Balls","artist":"Bruce Nauman","year":"1969","startOffset":0,"sourceSecs":3581.237,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":207524033,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_bouncing1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_bouncing1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_bouncing1.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_bouncing1/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_bouncing1/main/master.m3u8?v=2","hasMainHls":true,"description":"1969, 9 min, b&w, silent, 16 mm film on video <br/><br/> In this film, Nauman bounces his testicles with one hand. Shot in extreme close-up, the work is perhaps an ironic reference to an earlier film Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, in which he bounced rubber balls. Along with Black Balls, Gauze, and Pulling Mouth, Bouncing Balls is one of Nauman's \"Slo-Mo\" films which are shot with an industrial high speed camera. -- <a href=\"http://eai.org/title.htm?id=1835\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_bouncing2","ok":true,"partial":false,"title":"Bouncing Balls","artist":"Bruce Nauman","year":"1969","startOffset":0,"sourceSecs":3604.434,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":208812711,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_bouncing2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_bouncing2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_bouncing2.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_bouncing2/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_bouncing2/main/master.m3u8?v=2","hasMainHls":true,"description":"1969, 9 min, b&w, silent, 16 mm film on video <br/><br/> In this film, Nauman bounces his testicles with one hand. Shot in extreme close-up, the work is perhaps an ironic reference to an earlier film Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, in which he bounced rubber balls. Along with Black Balls, Gauze, and Pulling Mouth, Bouncing Balls is one of Nauman's \"Slo-Mo\" films which are shot with an industrial high speed camera. -- <a href=\"http://eai.org/title.htm?id=1835\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_bouncing_balls","ok":true,"partial":false,"title":"Bouncing Balls","artist":"Bruce Nauman","year":"1969","startOffset":0,"sourceSecs":659.586,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":43754221,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_bouncing_balls/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_bouncing_balls/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_bouncing_balls.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_bouncing_balls/main.mp4?v=2","description":"1969, 9 min, b&w, silent, 16 mm film on video <br/><br/> In this film, Nauman bounces his testicles with one hand. Shot in extreme close-up, the work is perhaps an ironic reference to an earlier film Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, in which he bounced rubber balls. Along with Black Balls, Gauze, and Pulling Mouth, Bouncing Balls is one of Nauman's \"Slo-Mo\" films which are shot with an industrial high speed camera. -- <a href=\"http://eai.org/title.htm?id=1835\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_dance_or_exercise_on_the_perimeter_of_a_square_1968","ok":true,"partial":false,"title":"Dance or Walk on the Perimeter of a Square","artist":"Bruce Nauman","year":"1967","startOffset":0,"sourceSecs":515.928,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":91340279,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_dance_or_exercise_on_the_perimeter_of_a_square_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_dance_or_exercise_on_the_perimeter_of_a_square_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_dance_or_exercise_on_the_perimeter_of_a_square_1968.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_dance_or_exercise_on_the_perimeter_of_a_square_1968/main.mp4?v=2","description":"1967-68, 8:24 min, b&w, sound, 16 mm film on video <br/><br/> For this film, Nauman made a square of masking tape on the studio floor, with each side marked at its halfway point. To the sound of a metronome and beginning at one corner, he methodically moves around the perimeter of the square, sometimes facing into its interior, sometimes out. Each pace is the equivalent of half the length of a side of the taped square. He uses the hip-swaying walk in Walk with Contrapposto. - <a href=\"http://eai.org/title.htm?id=3793\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_elke","ok":true,"partial":false,"title":"Elke Allowing the Floor to Rise Up Over Her, Face Up (1973)","artist":"Bruce Nauman","year":"1973","startOffset":0,"sourceSecs":2331.029,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":403568730,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_elke/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_elke/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_elke.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_elke/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_elke/main/master.m3u8?v=2","hasMainHls":true,"description":"1973, 39 min, color, sound <br/><br/> In 1969 Nauman had devised a set of mental exercises in which a live performer was to concentrate on sinking into the floor or allowing the floor to rise up over him or her. This videotape was based on these exercises and were the first videotapes Nauman made in a professional studio. They also were the first to use performers other than himself and to utilize an optical effect. (His earlier videos all employ a fixed camera and a single long take.) \"We used two cameras and changed locations from time to time,\" recalled Nauman in a 1979 interview. \"What I was investigating at that time was how to examine a purely mental activity as opposed to a purely physical situation which might incur some mental activity.\" -- <a href=\"https://www.eai.org/titles/elke-allowing-the-floor-to-rise-up-over-her-face-up\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_gauze","ok":true,"partial":false,"title":"Gauze","artist":"Bruce Nauman","year":"1969","startOffset":0,"sourceSecs":569.539,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":36820639,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_gauze/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_gauze/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_gauze.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_gauze/main.mp4?v=2","description":"1969, 8 min, b&w, sound, 16 mm film on video <br/><br/> In this film, Nauman, bit by bit, pulls five or six yards of gauze from his mouth. Along with Black Balls and Pulling Mouth, it is one of the \"Slo-Mo\" films that he shot with an industrial high speed camera. -- <a href=\"http://eai.org/title.htm?id=713\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_good_boy_bad_boy_a_1985","ok":true,"partial":false,"title":"Good Boy Bad Boy A","artist":"Bruce Nauman","year":"1985","startOffset":0,"sourceSecs":1031.352,"sourceHeight":512,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":183901985,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_good_boy_bad_boy_a_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_good_boy_bad_boy_a_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_good_boy_bad_boy_a_1985.m4v","hasFrames":true,"description":"Video, 2 monitors, colour and audio (mono)<br/><br/><a href=\"https://ubu.com/film/nauman_goodb.html\" rel=\"noopener\" target=\"_blank\">Good Boy Bad Boy B (1985)</a> <br><br> Good Boy Bad Boy marks Nauman's return to working with video after a break of twelve years. At the end of the 1960s he had been investigating the visual language of the body, using his own body in video tapes and slow motion 16mm films. He then began to make sculptural installations, creating situations in which the viewer would physically experience what the artist had been exploring alone in his video performances. In his corridor pieces of the early 1970s, such as Corridor with Mirror and White Lights 1971 (Tate T01753), Nauman turned a mirror and then a video camera directly on the viewer, forcing him into a confrontation with 'the connection between public and private experiences' (Nauman quoted in Bruce Nauman 1998, p.100). Using professional actors in Good Boy Bad Boy Nauman expands this confrontation.<br/><br/> In the work two monitors are displayed at head height on pedestals. The head and shoulders of a young black man appear on one; on the other is an older white woman. They both speak the same one hundred phrases, which are the repeated conjugation of the verb 'to be' linked with the term 'good boy': 'I am a good boy. You are a good boy. We are good boys…' and so on. They each go through the sequence five times, beginning in a flat neutral tone, and becoming increasingly animated and intense until by the fifth recitation they appear very angry. Their techniques of delivery are quite different, and result in a slippage of time, so that played on a continuous loop, the two tapes become out of sequence. 'Because they are actors, it's not autobiographical, it's not real anger, but pretending to be angry and they are pretty good at it, but maybe not really convincing.' (Nauman quoted in Bruce Nauman 1998, p.104.) Nauman exploits the different levels of reading experienced by the viewer who, coming in part way through the piece, will be confronted by a barrage of contradictory accusations. Despite the straightforward recitation of basic grammar, the actors' direct eye contact to the camera (and therefore the viewer) and the mounting emotional intensity of their delivery together suggest aggression and attack rather than education. As in much of Nauman's work, attraction and repulsion operate equally to disturb and disorientate the viewer.<br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br></br>","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_good_boy_bad_boy_b_1985","ok":true,"partial":false,"title":"Good Boy Bad Boy B","artist":"Bruce Nauman","year":"1985","startOffset":0,"sourceSecs":915.384,"sourceHeight":512,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":163998894,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_good_boy_bad_boy_b_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_good_boy_bad_boy_b_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_good_boy_bad_boy_b_1985.m4v","hasFrames":true,"description":"Video, 2 monitors, colour and audio (mono)<br/><br/><a href=\"https://ubu.com/film/nauman_gooda.html\" rel=\"noopener\" target=\"_blank\">Good Boy Bad Boy A</a> (1985) <br><br> Good Boy Bad Boy marks Nauman's return to working with video after a break of twelve years. At the end of the 1960s he had been investigating the visual language of the body, using his own body in video tapes and slow motion 16mm films. He then began to make sculptural installations, creating situations in which the viewer would physically experience what the artist had been exploring alone in his video performances. In his corridor pieces of the early 1970s, such as Corridor with Mirror and White Lights 1971 (Tate T01753), Nauman turned a mirror and then a video camera directly on the viewer, forcing him into a confrontation with 'the connection between public and private experiences' (Nauman quoted in Bruce Nauman 1998, p.100). Using professional actors in Good Boy Bad Boy Nauman expands this confrontation.<br/><br/> In the work two monitors are displayed at head height on pedestals. The head and shoulders of a young black man appear on one; on the other is an older white woman. They both speak the same one hundred phrases, which are the repeated conjugation of the verb 'to be' linked with the term 'good boy': 'I am a good boy. You are a good boy. We are good boys…' and so on. They each go through the sequence five times, beginning in a flat neutral tone, and becoming increasingly animated and intense until by the fifth recitation they appear very angry. Their techniques of delivery are quite different, and result in a slippage of time, so that played on a continuous loop, the two tapes become out of sequence. 'Because they are actors, it's not autobiographical, it's not real anger, but pretending to be angry and they are pretty good at it, but maybe not really convincing.' (Nauman quoted in Bruce Nauman 1998, p.104.) Nauman exploits the different levels of reading experienced by the viewer who, coming in part way through the piece, will be confronted by a barrage of contradictory accusations. Despite the straightforward recitation of basic grammar, the actors' direct eye contact to the camera (and therefore the viewer) and the mounting emotional intensity of their delivery together suggest aggression and attack rather than education. As in much of Nauman's work, attraction and repulsion operate equally to disturb and disorientate the viewer.<br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br></br>","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_manipulating_the_t_bar_1966","ok":true,"partial":false,"title":"Manipulating the T-Bar","artist":"Bruce Nauman","year":"1966","startOffset":0,"sourceSecs":626.496,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":112252782,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_manipulating_the_t_bar_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_manipulating_the_t_bar_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_manipulating_the_t_bar_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_manipulating_the_t_bar_1966/main.mp4?v=2","description":"Nauman shot two films in 1965, and despite their rudimentary execution they make a compelling diptych. Manipulating the T-Bar (1965) shows the artist delineating what would become his basic studio practice, arranging and rearranging a sculptural form within the constrained architectural parameters of the studio. Film of an actor pretending to be myself making a tape of the sound effects for the film \"Manipulating the T-Bar,\" on the other hand, introduces what would become Nauman's consistent artistic persona: the absent presence. <br/><br/> Nauman had his first gallery show with Nicholas Wilder in Los Angeles shortly before graduating in 1966. \"Mold,\" \"device,\" \"shelf,\" and \"platform\" are the first words of several of the artwork titles, reinforcing Nauman's minimalist-inflected preoccupation with cast or constructed form. The LA show was a marginal success. Living off a part-time teaching job, Nauman set up shop in a cheap San Francisco storefront. There he continued the artistic relationship (equal parts mentorship and collaboration) he had established with his former teacher William T. Wiley, and spent a lot of time in his studio working with whatever was at hand - mostly, his own body.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_revolving","ok":true,"partial":false,"title":"Revolving Upside Down","artist":"Bruce Nauman","year":"1969","startOffset":0,"sourceSecs":3594.426,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":208376946,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_revolving/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_revolving/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_revolving.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_revolving/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_revolving/main/master.m3u8?v=2","hasMainHls":true,"description":"1969, 61 min, b&w, sound <br/><br/> A stationary camera set upside down and framing a long shot of the studio records Nauman, with his hands clasped behind his back, repeating a series of steps similar to those of <a href=\"https://ubu.com/film/nauman_beckett.html\" rel=\"noopener\" target=\"_blank\">Slow Angle Walk (Beckett Walk)</a>. The curious exercise combines pirouettes, goose steps, and crabbed, angled arabesques. The inverted image further disorients our sense of the maneuvers, which appear to be taking place on the ceiling. -- <a href=\"http://eai.org/title.htm?id=2689\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_tony","ok":true,"partial":false,"title":"Tony Sinking into the Floor, Face Up, and Face Down","artist":"Bruce Nauman","year":"1973","startOffset":0,"sourceSecs":3261.824,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":192065779,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_tony/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_tony/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_tony.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_tony/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_tony/main/master.m3u8?v=2","hasMainHls":true,"description":"973, 60 min, color, sound <br/><br/> In this videotape, a companion to Elke..., the actor's task was to imagine himself sinking into the floor. The resulting images portray him stretched out on the floor, sometimes face up, sometimes face down, in a series of dissolves. Although the mental component of the exercise is not captured, Nauman has recounted the highly charged atmosphere of the shooting session: \"He was lying on his back and after about fifteen minutes he started choking and coughing. He sat up and said, 'I did it too fast and scared myself.' He didn't want to do it again, but did it anyway. At another time we were watching his hand through the camera and it was behaving very strangely. We asked him about it later and he said that he was afraid to move his hand because he thought he might lose his molecules.\" -- <a href=\"http://eai.org/title.htm?id=1055\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_violin_film_no_1_playing_the_violin_as_fast_as_i","ok":true,"partial":false,"title":"Violin Film # 1 (Playing The Violin As Fast As I Can)","artist":"Bruce Nauman","year":"1967-1968","startOffset":0,"sourceSecs":656.591,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":42683553,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_violin_film_no_1_playing_the_violin_as_fast_as_i/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_violin_film_no_1_playing_the_violin_as_fast_as_i/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_violin_film_no_1_playing_the_violin_as_fast_as_i.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_violin_film_no_1_playing_the_violin_as_fast_as_i/main.mp4?v=2","description":"1967-68, 10:54 min, b&w, sound, 16 mm film on video <br/><br/> Violin Film #1 (Playing the Violin as Fast as I Can), is one of several 1967-68 films featuring Nauman's violin-playing, in which the production of sound is subjected to procedural strategies that problematize its status as music and performance. In what could be considered a further displacement, the soundtrack to this film was included in Nauman's Record (1969), a limited-edition <a href=\"https://ubu.com/sound/nauman.html\" rel=\"noopener\" target=\"_blank\">vinyl-LP</a>. -- <a href=\"http://eai.org/title.htm?id=1397\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_walk_with_contrapposto_1968","ok":true,"partial":false,"title":"Walk with Contrapposto","artist":"Bruce Nauman","year":"1968","startOffset":0,"sourceSecs":3264.303,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":189556067,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_walk_with_contrapposto_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_walk_with_contrapposto_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_walk_with_contrapposto_1968.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_walk_with_contrapposto_1968/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_walk_with_contrapposto_1968/main/master.m3u8?v=2","hasMainHls":true,"description":"1968, 60 min, b&w, sound <br/><br/> Nauman focuses his video camera down the length of a long, twenty-inch corridor, which he built in his Southampton studio expressly as a prop for the videotape. With his hands clasped behind his neck and swinging his hips, he animates a classic contrapposto pose as he walks up and down the length of the corridor. \"The camera was placed so that the walls came in at either side of the screen,\" he explained. \"You couldn't see the rest of the studio, and my head was cut off most of the time. ... In most of the pieces I made [in 1969] you could see only the back of my head, pictures from the back or from the top.\" - <a href=\"http://eai.org/title.htm?id=517\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"nauman_bruce_wall_floor_positions_iphone","ok":true,"partial":false,"title":"Wall-Floor Positions","artist":"Bruce Nauman","year":"1968","startOffset":0,"sourceSecs":3522.421,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":204368853,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_wall_floor_positions_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nauman_bruce_wall_floor_positions_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nauman_bruce_wall_floor_positions_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_wall_floor_positions_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nauman_bruce_wall_floor_positions_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1968, 60 min, b&w, sound <br/><br/> In this videotape Nauman assumes a set of positions in relation to a wall and floor similar to those he had executed for an untitled 1965 performance, which he described as \"standing with my back to the wall for about forty-five seconds or a minute, leaning out from the wall, then bending at the waist, squatting, sitting, and finally lying down. There were seven different positions in relation to the wall and floor. Then I did the whole sequence again standing away from the wall, facing the wall, then facing left and right. There were twenty-eight positions and the whole presentation lasted an hour.\" -- <a href=\"http://eai.org/title.htm?id=4287\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Violin Film # 1 (Playing The Violin As Fast As I Can)\n1967-8\nBorn in 1941 in Fort Wayne, Indiana, Bruce Nauman studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: \"With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it.\" Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of\nMerce Cunningham\n, Meredith Monk,\nLa Monte Young\n,\nSteve Reich\n, and\nPhillip Glass\n.","bio_dates":"b. 1941"},{"slug":"navigations_1995","ok":true,"partial":false,"title":"Navigations","artist":"Dan Oki","year":"1995","startOffset":0,"sourceSecs":562.08,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":89610331,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/navigations_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/navigations_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/navigations_1995.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/navigations_1995/main.mp4?v=2"},{"slug":"negativland_no_other_possibility_1989_iphone","ok":true,"partial":false,"title":"No Other Possibility","artist":"Negativland","year":"1989","startOffset":0,"sourceSecs":3517.506,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":206232332,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/negativland_no_other_possibility_1989_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/negativland_no_other_possibility_1989_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/negativland_no_other_possibility_1989_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/negativland_no_other_possibility_1989_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/negativland_no_other_possibility_1989_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"t's probably easy today to dismiss Negativland's activities as trifle, banal or plain stupid. They probably wouldn't be too uncomfortable with that, as they rarely claimed to go beyond the softest platitudes of the entertainment biz. But despite some recognition in some circles and some notoriety due to the famous copyright battle with U2 and Pepsi, the band is perhaps still to be acknowledged as one of the most relevant and prophetic projects in the 80s. In fact, from their first surrealist works on alienated concrète to their later sample-based beat palimpsests, Negativland paved the way for much of today's collage-centered pop culture as seen, for instance, in the increasingly common televised montages of political events and commercial samples for critical or humorous purposes. No Other Possibility, their first video work, showcases the band at a career threshold, before their U2ploitation move and just after their Christianity hoax. It typically explores the debris of American pop culture, dealing with automobile fetishism, televised preaching, halloween traditions, Marlboro masculinity, soft drinks and MTV. Featuring such iconic culture-jam figures as Reverend Dick, The Weatherman, Dick Vaughn or Crosley Bendix, it expands on the visionary concept of Universal Media Netweb and seamlessly jams live footage, TV excerpts, street interviews and home-recorded theatrical performances in a zapping collage that could well have inspired EBN's ZooTV show. From the brilliant Christianity is Stupid murders hoax to the magical significance of numbers, from lime soda to green slime and lung cancer, No Other Possibility stands as an entertaining essay on pop culture, tele-kinetics and media-noise. And there's also a small boy who, like most people, would prefer bands to have girls playing drums.","artist_bio":"Over the last three decades Negativland (Mark Hosler, Don Joyce, Chris Grigg, David Willis, Richard Lyons) has developed a variety of collaborative and listener interactive ways of presenting their noise/rock/found sound/sound animation compositions, including Radio Teletours \"from our house to yours - phone charges only.\" Joyce and Negativland have produced two works for NEW AMERICAN RADIO: GUNS! (1989), and Advertising Secrets (1991).","bio_dates":"1989"},{"slug":"negativland_our_favorite_things_2007","ok":true,"partial":false,"title":"Our Favorite Things","artist":"Negativland","year":"2007","startOffset":0,"sourceSecs":4691.275,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":268587341,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/negativland_our_favorite_things_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/negativland_our_favorite_things_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/negativland_our_favorite_things_2007.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/negativland_our_favorite_things_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/negativland_our_favorite_things_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"OUR FAVORITE THINGS is a new DVD/CD release from reigning Kulture Kut-up Kings Negativland. Twenty-seven years of the group's \"greatest hits\" have become all-new moving pictures in this amazing, years-in-the-making package. Created with 18 other filmmakers from all over the USA (and one a capella group from Detroit), OUR FAVORITE THINGS is a collaborative project that takes Negativland's sound explorations into the world of film and video. What emerges is a darkly cracked look at 21st century America, juxtaposing paranoia, torture, control, power, weapons, fear, suicide, cola wars, mental illness, and intellectual property issues with the lighter side of dopey advertising, cartoon characters, cleaning products and Jesus. <br/><br/> The OUR FAVORITE THINGS DVD includes over 60 minutes of never-before-seen bonus material, and, for those who would rather shut their eyes tight and just listen, it also comes with a full-length CD which isn't by Negativland at all: \"180 D’Gs TO THE FUTURE!\" by the Gospel R & B Doo-Wop group, The 180-Gs. You'll be all ears as this talented posse from inner Detroit sings out heavenly cover versions of Negativland's best (and least) known cut-up collage work from throughout their career, making for one of the strangest recordings you have ever heard. <br/><br/>\"\"Declared heroic by their peers for refashioning culture into what the group considers to be more honest statements, Negativland suggests that refusing to be original, in the traditional sense, is the only way to make art that has any depth within commodity capitalism...\" - The New York Times <br/><br/> Negativland, longtime advocates of fair use allowances for pop media collage, are perhaps America's most skilled plunderers from the detritus of 20th century commercial culture...\" - Wired Magazine <br/><br/>\"\"Twisted genius...compelling.....parody and satire as a grass roots weapon of consumer resistance.\" - Rolling Stone <br/><br/> Featuring<br/> <br/> • Time Zones<br/> • Christianity Is Stupid<br/> • I Still Haven’t Found What I’m Looking For<br/> • Gimme The Mermaid<br/> • Greatest Taste Around<br/> • Over The Hiccups<br/> • Guns<br/> • Yellow, Black And Rectangular<br/> • Aluminum or Glass<br/> • Favorite Things<br/> • Taste In Mind<br/> • Truth In Advertising<br/> • Humanitarian Effort<br/> • Drink It Up<br/> • Freedom's Waiting<br/> • Why Is This Commercial?<br/> • Learning To Communicate<br/> • The Bottom Line","artist_bio":"Over the last three decades Negativland (Mark Hosler, Don Joyce, Chris Grigg, David Willis, Richard Lyons) has developed a variety of collaborative and listener interactive ways of presenting their noise/rock/found sound/sound animation compositions, including Radio Teletours \"from our house to yours - phone charges only.\" Joyce and Negativland have produced two works for NEW AMERICAN RADIO: GUNS! (1989), and Advertising Secrets (1991).","bio_dates":"1989"},{"slug":"negativland_presents_the_mashin_of_the_christ","ok":true,"partial":false,"title":"The Mashin' of the Christ","artist":"Negativland","year":"2004","startOffset":0,"sourceSecs":314.923,"sourceHeight":480,"sourceWidth":650,"hasAudio":true,"hasAmbientMp4":true,"bytes":50017308,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/negativland_presents_the_mashin_of_the_christ/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/negativland_presents_the_mashin_of_the_christ/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/negativland_presents_the_mashin_of_the_christ.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/negativland_presents_the_mashin_of_the_christ/main.mp4?v=2","description":"\"The Mashin' of the Christ\" was/is Negativland's top-secret-not-for-viewing video response to the number one film in America. Negativland decrypted, downloaded and mashed up the most violent religious film ever made along with over 27 other Hollywood portrayals of Jesus to create their own vision of the last moments of Christ's life... all in four minutes and 14 seconds. Is Christianity still stupid? Is Communism still good? Negativland hoped that no one would ever find out for sure. - from Negativland's website <br/><br/> For the most part the film is made up from Crucifixion scenes and historical footage from these sources: <br/><br/> VISUAL AND AUDIO SOURCES USED TO MAKE \"THE MASHIN' OF THE CHRIST\":<br/> From the Manger to the Cross (1912, Sidney Olcott)<br/> Ben-Hur: A Tale of Christ (1925, J.J. Cohn, Fred Niblo, Charles Brabin, Rex Ingram)<br/> The King of Kings (1927, Cecil B. DeMille)<br/> The Robe (1953, Henry Koster)<br/> Ben-Hur: A Tale of Christ (1959, William Wyler)<br/> King of Kings (1961, Nicholas Ray)<br/> Barabbas (1962, Richard Fleischer)<br/> Shake Up In The Kremlin (1963, King Features)<br/> The Gospel According to St. Matthew (1964, Pier Paolo Pasolini)<br/> Greatest Story Ever Told (1965, George Stevens)<br/> Home Front 1917-1919: War Transforms American Life (1966, Encylopaedia Britannica Educational Corp.)<br/> A Clockwork Orange (1971, Stanley Kubrick)<br/> If Footmen Tire You, What Will Horses Do? (1971, Rev. Estus W. Pirkle)<br/> The Ruling Class (1972, Peter Medak)<br/> The Holy Mountain (1973, Alejandro Jodorowsky)<br/> Jesus Christ Superstar (1973, Norman Jewison)<br/> Jesus of Nazareth (1977, Franco Zeffirelli)<br/> Leonid Brezhnev: The Rise to the Top (1977, Hearst Metrotone News)<br/> Jesus (1979, John Krish and Peter Sykes)<br/> La Vida de Nuestro Senor Jesucristo (1986, Rafael Gil)<br/> Christianity Is Stupid (1987, Negativland)<br/> Jesus and His Times (1987, Kaari Ward and Readers Digest)<br/> Children's Bible Story: The Story of Jesus - The Resurrection (1988, director unknown)<br/> The Last Temptation of Christ (1988, Martin Scorsese)<br/> The Easter Story (1989, Don Lusk)<br/> Jesus (1999, Roger Young)<br/> The Life of Jesus the Revolutionary (1999, Robert Marcarelli)<br/> Mary, Mother of Jesus (1999, Kevin Connor)<br/> Jesus Christ Superstar 2000 (2000, Gale Edwards and Nick Morris)<br/> The Miracle Maker (2000, Derek W. Hayes and Stanislav Sokolov)<br/> Live Out Loud (2001, Steven Curtis Chapman)<br/> The Story of Jesus for Children (2002, director unknown)<br/> The Passion of the Christ (2004, Mel Gibson)","artist_bio":"Over the last three decades Negativland (Mark Hosler, Don Joyce, Chris Grigg, David Willis, Richard Lyons) has developed a variety of collaborative and listener interactive ways of presenting their noise/rock/found sound/sound animation compositions, including Radio Teletours \"from our house to yours - phone charges only.\" Joyce and Negativland have produced two works for NEW AMERICAN RADIO: GUNS! (1989), and Advertising Secrets (1991).","bio_dates":"1989"},{"slug":"nekes_beuys","ok":true,"partial":false,"title":"Beuys","artist":"Werner Nekes","year":"1980","startOffset":0,"sourceSecs":631.84,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":105433732,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nekes_beuys/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nekes_beuys/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nekes_beuys.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nekes_beuys/main.mp4?v=2","description":"The German artist Joseph Beuys is reflecting his art theory, being filmed as a kinetic sculpture.<br/><br/>\"\"\"The term 'visual arts' that is prevailing in modernity is really a symptom for the reduction of perceptional categories within the human creativity as a whole.<br/><br/> An anthropological conception of art - and I have proved for instance in sculptural theory, that you hear a sculpture before you see it, consequently the auditive element is not just an equal part, but a constituent of the perception of plastic art - confronts you with the task of exploring the conception of creativity in all directions, of spreading it out and substantiating it anthropologically.<br/><br/> So for instance, the human creativity potential as a whole doesn't only comprise the recognition criteria in thought, but it also comprises the sensational categories in the middle of the soul, that is, the moving element, and it positively comprises the will potential in human will.<br/><br/> It is an interpretation of human creativity potential, beginning with the triple position, the connections of will, sense, and thought categories, which will get you to the more differentiated position of considering the perception, too, and thus the connection of human senses, discovering that for example seeing, the visual sense, the auditory sense, the static sense, the architectonic sense, the haptic sense, can be thought forward into the sense of will, the sense of thinking, and many other still to be developed senses.\" -Joseph Beuys<br/><br/> Exerpt of the film - text<br/><br/> The film has won the award for the best short- film of the German film - critics in 1981.<br/><br/> The artist Joseph Beuys talks about his concept of art – with his face turned to the wall and his back to the camera. A tribute to the artist at 60, radical in its simplicity and totally adequate to its subject.","artist_bio":"Ich versuche Dich freizulassen (machen) (I Am Trying to Set [Make] You Free)\n(1969)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast\n(1977)\nJoseph Beuys remains one of the major, influential figures in postwar German and European Art. As an artist, teacher, curator and activist Beuys holds a central position in the acceptance and appreciation of performance and conceptual art. His theories on the social utility of art influenced a generation of artists.\nBeuys' work took the form of sculptural objects, drawings, installations, performance \"actions\" and lectures. In 1963 he began to make performances and concerts as part of Fluxus. In 1972 Beuys was dramatically dismissed from his post at the Kunstacademie in Dusseldorf for accepting students who had been officially refused admission. By the time of his first visit to the United States in 1974, Beuys had already been recognized internationally for the protests following his dismissal. Beuys used his first American tour to promote his plans for a new model of art institution, which found form later that year with the operation for one hundred days of the International Free University in Dusseldorf.\nThis unique collection of video material charts Beuys' developing relationship with an American audience, from the time of his long-awaited first tour of 1974 through to the 1980s.\nJoseph Beuys was born in 1921, in Krefeld, Germany, and died in 1986. After military service and time as a prisoner of war, Beuys studied sculpture at the Kunstacademie in Dusseldorf. He served as Professor there from 1961 until 1972. Beuys' numerous international one-person shows include a major retrospective at the Solomon R. Guggenheim Museum, New York; Tate Gallery, London; Rene Block Gallery, New York. His work was featured in Documentas III-VII, Kassel, Germany, and at the 1976 and 1978 Venice Biennales. Major holdings of Beuys' work are in the collections of The Hessiches Landesmuseum, Darmstadt, Germany; the Städtisches Museum Abteiberg Mönchengladbach, and the Stedelijk Van Abbemuseum, Eindhoven, The Netherlands. --\nEAI","bio_dates":"b. 1944"},{"slug":"nekes_werner_abbandono_1966_70","ok":true,"partial":false,"title":"Abbandono","artist":"Werner Nekes","year":"1966-1970","startOffset":0,"sourceSecs":1939.819,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":115040183,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nekes_werner_abbandono_1966_70/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nekes_werner_abbandono_1966_70/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nekes_werner_abbandono_1966_70.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nekes_werner_abbandono_1966_70/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nekes_werner_abbandono_1966_70/main/master.m3u8?v=2","hasMainHls":true,"description":"\"Abbandono (1966 – 1970) is composed of material from for years' work. Maybe this is the reason why the film is one of Werner Nekes' most expressive and most replete with imagery. 'For and with Dore O.' – the quality of the pictures is more lyrical and more vivid than usual. Their composition however typically corresponds to his other films in the manner in which they recur. We see Dore running in a snowscape, dissolving into white, a view of red shingled roofs, falling snow; a corridor of passage, filmed in green monochrome and in such a way that the objects defining it are visible only in parts. Dore walks down the corridor and Werner sometimes too. The sound is among the best that Anthony Moore has created; a sequence of gently undulating, poignant tones that rise to a sharply sounding crescendo and then die away\". (Tony Reif, Vancouver Cinémateque, Canada 1972)","artist_bio":"Werner NEKES was born in 1944 in Erfurt and studied linguistics and psychology in Freiburg. He then went to Bonn in 1964 where he was a head of the University Film Club and later chairman of the FIAG. He developed friendships with film directors, sculptors and painters. These included Dore 0., his companion and collaborator since 1967.\nHe began painting in 1965 with diverse materials and objects.\nHe started his practice of film with 8mm and went on with 16mm. He decided to free the film from narration and psychology and organized his films according to temporal units and structural systems.\nIn spring 1967, his films were rejected by the Kurzfilmtage of Oberhausen. Thus, Nekes organized a counter-event.\nThe same year in November, he comes to Hamburg with Dore 0., whom he marries the following month. He was a co-founder of the Hamburg cooperative of filmmakers and was a co-organizer of the « Hamburger Filmschau » in 1967. From 1973, he travelled all over the world to make seminaries about film theory and retrospectives. He moved to Mülheim an der Ruhr in summer 1978.\nHe co-founded the Filmbüro NW in 1980 and the ICNC (International Center for New Cinema) in Riga in 1988.\nHis work was shown at major international museums and festivals, including The Museum of Modern Art New York, or the Kassel Dokumenta.\nHe was also a professor: from 1969 to 1972 and 2004 to 2006 at the Academy of Fine Arts (Hochschule für Bildende Künste) in Hamburg, from 1981 to 1982 at Wuppertal University, from 1982 to 1984 at the Kunsthochschule Offenbach, and, from 1990-96 at the Academy of Media Arts in Cologne.\nFurthermore, Nekes has compiled one of the most important private collections of artefacts documenting 500 years of pre-cinematographic experiments as well as developments in the early history of film, focusing on spatial and temporal principles of representation.","bio_dates":"b. 1944"},{"slug":"nekes_werner_hynningen_1973","ok":true,"partial":false,"title":"Hynningen","artist":"Werner Nekes","year":"1975","startOffset":0,"sourceSecs":1202.645,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":73448586,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nekes_werner_hynningen_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nekes_werner_hynningen_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nekes_werner_hynningen_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nekes_werner_hynningen_1973/main.mp4?v=2","description":"Directed, Produced and Written by Werner Nekes<br/> Original Music by Anthony Moore<br/> Cinematography by Werner Nekes<br><br><b>Werner Nekes</b> lives in Mülheim/Ruhr and teaches free art at the Academy of Fine Arts in Hamburg. Since 1965 he has made around 100 films and held professorships of film and media art in Hamburg, Wuppertal, Bochum, Offenbach, and Cologne; there have been numerous retrospectives of his experimental and documentary body of work worldwide; he has received awards for his films put-putt, jüm-jüm, Abbandono, Hynningen, Geflecht, T-WO-MEN, Beuys, Uliisses, Johnny Flash, and Was geschah wirklich zwischen den Bildern. Since 1983 his private collection on the early history of the visual media has been exhibited all over the world, including Frankfurt, Tokyo, Budapest, Bremen, Los Angeles, Colgne, Graz, London, Salzburg, and Hamburg. The collection is documented in the the six-part film series Media Magica and elsewhere, including the catalogues Ich sehe was, was Du nicht siehst —; Bilderwelten und Sehmaschinen, Die Wunderkammer des Sehens, and Eyes, Lies and Illusions.<br><br><b>Anthony Moore</b> is composer and Professor at the Academy of Arts and the Media Cologne working on the theory and history of sound. Since 1969 he has composed a number of soundtracks for European experimental movies. In 1970 he moved to Hamburg where Polygram released several recordings of his work. In 1972 he formed the band Slapp Happy. From 1973 he worked in different European locations as a freelance composer, writing songs, film scores, and experimenting with sound. He has worked together with Pink Floyd and other musicians. From 2000 to 2004 he was elected Principal of the Academy in Cologne. Besides teaching, he continues making music and sonic installations. Recent Publications: Hommage to Pink Floyd, in: Zwischen Rauschen und Offenbarung, ed. F. Kittler, T. Macho, and S. Weigel (Berlin: Akademie, 2002). Electricity that shines into the light, in: FAKtisch. Festschrift für Friedrich Kittler, ed. P. Berz, A. Bitsch, and B. Siegert (Munich: Fink, 2003).","artist_bio":"Werner NEKES was born in 1944 in Erfurt and studied linguistics and psychology in Freiburg. He then went to Bonn in 1964 where he was a head of the University Film Club and later chairman of the FIAG. He developed friendships with film directors, sculptors and painters. These included Dore 0., his companion and collaborator since 1967.\nHe began painting in 1965 with diverse materials and objects.\nHe started his practice of film with 8mm and went on with 16mm. He decided to free the film from narration and psychology and organized his films according to temporal units and structural systems.\nIn spring 1967, his films were rejected by the Kurzfilmtage of Oberhausen. Thus, Nekes organized a counter-event.\nThe same year in November, he comes to Hamburg with Dore 0., whom he marries the following month. He was a co-founder of the Hamburg cooperative of filmmakers and was a co-organizer of the « Hamburger Filmschau » in 1967. From 1973, he travelled all over the world to make seminaries about film theory and retrospectives. He moved to Mülheim an der Ruhr in summer 1978.\nHe co-founded the Filmbüro NW in 1980 and the ICNC (International Center for New Cinema) in Riga in 1988.\nHis work was shown at major international museums and festivals, including The Museum of Modern Art New York, or the Kassel Dokumenta.\nHe was also a professor: from 1969 to 1972 and 2004 to 2006 at the Academy of Fine Arts (Hochschule für Bildende Künste) in Hamburg, from 1981 to 1982 at Wuppertal University, from 1982 to 1984 at the Kunsthochschule Offenbach, and, from 1990-96 at the Academy of Media Arts in Cologne.\nFurthermore, Nekes has compiled one of the most important private collections of artefacts documenting 500 years of pre-cinematographic experiments as well as developments in the early history of film, focusing on spatial and temporal principles of representation.","bio_dates":"b. 1944"},{"slug":"nekes_werner_makimono_1974","ok":true,"partial":false,"title":"Abbandono","artist":"Werner Nekes","year":"1974","startOffset":0,"sourceSecs":2233.877,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":134947218,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nekes_werner_makimono_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nekes_werner_makimono_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nekes_werner_makimono_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nekes_werner_makimono_1974/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nekes_werner_makimono_1974/main/master.m3u8?v=2","hasMainHls":true,"description":"Werner Nekes filmed a Finnish landscape from a fixed point of view and just panned steady and slow around. What becomes of these experimental shots is a wonderful, universal, gigantic wall of pictures.","artist_bio":"Werner NEKES was born in 1944 in Erfurt and studied linguistics and psychology in Freiburg. He then went to Bonn in 1964 where he was a head of the University Film Club and later chairman of the FIAG. He developed friendships with film directors, sculptors and painters. These included Dore 0., his companion and collaborator since 1967.\nHe began painting in 1965 with diverse materials and objects.\nHe started his practice of film with 8mm and went on with 16mm. He decided to free the film from narration and psychology and organized his films according to temporal units and structural systems.\nIn spring 1967, his films were rejected by the Kurzfilmtage of Oberhausen. Thus, Nekes organized a counter-event.\nThe same year in November, he comes to Hamburg with Dore 0., whom he marries the following month. He was a co-founder of the Hamburg cooperative of filmmakers and was a co-organizer of the « Hamburger Filmschau » in 1967. From 1973, he travelled all over the world to make seminaries about film theory and retrospectives. He moved to Mülheim an der Ruhr in summer 1978.\nHe co-founded the Filmbüro NW in 1980 and the ICNC (International Center for New Cinema) in Riga in 1988.\nHis work was shown at major international museums and festivals, including The Museum of Modern Art New York, or the Kassel Dokumenta.\nHe was also a professor: from 1969 to 1972 and 2004 to 2006 at the Academy of Fine Arts (Hochschule für Bildende Künste) in Hamburg, from 1981 to 1982 at Wuppertal University, from 1982 to 1984 at the Kunsthochschule Offenbach, and, from 1990-96 at the Academy of Media Arts in Cologne.\nFurthermore, Nekes has compiled one of the most important private collections of artefacts documenting 500 years of pre-cinematographic experiments as well as developments in the early history of film, focusing on spatial and temporal principles of representation.","bio_dates":"b. 1944"},{"slug":"nelson_robert_blue_shut","ok":true,"partial":false,"title":"Bleu Shut","artist":"Robert Nelson","year":"1971","startOffset":0,"sourceSecs":1984.811,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":341939784,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nelson_robert_blue_shut/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nelson_robert_blue_shut/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nelson_robert_blue_shut.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nelson_robert_blue_shut/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nelson_robert_blue_shut/main/master.m3u8?v=2","hasMainHls":true,"description":"30 min., 16mm <br/><br/> Hailed as a true masterpiece by connoisseurs, Bleu Shut is broken down minute by minute, with a clock ticking away its duration to save the audience the trouble of craning their necks to see how much film is left on the projector. Comprising “a boat game and entertainments”, this landmark film is ingeniously artful and extremely entertaining as it brilliantly toys with audience expectation and participation.","artist_bio":"Robert Nelson & William T. Wiley - The Great Blondino (1967)\nRobert Nelson & William T. Wiley - The Off-Handed Jape... & How to Pull It Off (1967)\nKnown for prankster experimentalism and on-the-spot invention, the films of San Francisco native Robert Nelson are among the defining landmarks of the post-Beat American underground of the 1960s and ’70s. His free-spirited approach, sharp wit, and artistic rigor marked inspired collaborations with William T. Wiley, William Allan, Steve Reich, and the Grateful Dead, and helped shape a language and style for the burgeoning psychedelic culture.\nBorn 1930 in San Francisco in a family of Swedish immigrants, Robert Nelson studied painting at San Francisco State University and the California School of Fine Arts – where he was introduced to a circle of Bay Area artists that converged into the California Funk Art movement of the 1960s. “This influence, together with the Beat sensibility of the poetry and jazz scenes, and the improvisatory theatre of the San Francisco Mime Troupe (directly involved in his first few films), formed the touchstones of Nelson’s developing aesthetic.” (Mark Webber). His second wife is the legendary Swedish experimental filmmaker Gunvor Nelson, and Nelson started working with film by collaborating with her on two home movies: Building Muir Beach House (1961) and Last Week at Oona’s Bath (1962). Nelson taught at various institutions, including the San Francisco Art Institute, Sacramento State and CalArts, before landing a teaching job at UW Milwaukee in 1979 till his retirement in the mid-1990s. He then retreated in self-imposed isolation to a remote house in the mountains of Northern California – where he began to reassess his filmography. Nelson has influenced a number of major filmmakers, such as Peter Hutton and Curt McDowell. He was the main force in co-founding the independent distribution company Canyon Cinema in 1966, hiring his former student Edith Kramer (later the head of the Pacific Film Archive) as its first director. “After years away from the public arena, Nelson has recently begun to show his work again… This willingness to offer the films to new audiences is unquestionably a result of the care and attention they have received in the preservation activities of Pacific Film Archive (Berkeley) and Academy Film Archive (Los Angeles). Now in his seventies, Nelson speaks of “leaving a neat pile” for after his death, and as part of this project, he is attempting to establish definitive versions of his films.” – Mark Webber Selected Filmography: The Mystery of Amelia Air-Heart Solved! (1962) Plastic Haircut (1963) Oh Dem Watermelons (1965) Sixty Lazy Dogs (1965) Confessions of a Black Mother-Succuba (1965) Thick Pucker (1965) Penny Bright and Jimmy Witherspoon (1967) The Great Blondino (1967) Grateful Dead (1967) War is Hell (1968) Special Warning (1974/99) Suite California: Stops and Passes (Parts 1 & 2) (1976/78) Hamlet Act (1982)","bio_dates":"1930-2012"},{"slug":"nelson_robert_grateful_dead_1968","ok":true,"partial":false,"title":"Grateful Dead","artist":"Robert Nelson","year":"1967","startOffset":0,"sourceSecs":446.821,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":80869333,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nelson_robert_grateful_dead_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nelson_robert_grateful_dead_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nelson_robert_grateful_dead_1968.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nelson_robert_grateful_dead_1968/main.mp4?v=2","description":"The Grateful Dead has played more than 2,500 live shows and are followed by a subsequent subculture that, to this day, come out in droves to listen to the live craftsmanship of any act associated with the band. Perhaps this is why you are here? Robert Nelson collaborated with The Dead; this is why he is here.<br/><br/> Robert Nelson is an accomplished Bay Area creative. Born in San Francisco in 1930, Nelson attended and graduated from San Francisco State College in 1957 and continued his education at the California School of Fine Art up until his marriage in 1958. After a brief stint selling encyclopaedias, he moved to Spain with wife Gunvor where he continued to paint. After a short hiatus from the Bay Area, Nelson returned to pursue a career in experimental filmmaking, during which he taught art at both the San Francisco Art Institute and San Quentin State Penitentiary. He contributed to 19 short films before shooting The Grateful Dead in 1967.<br/><br/> During their early years, 1962-1965, The Grateful Dead were known as The Wildwood Boys and Mother McCree’s Uptown Jug Champions. They played many San Francisco coffee houses and bars rehashing old Leadbelly and Jimmie Rodgers favourites. They cut their first album in 1965 as The Warlocks, putting aside banjos and pedal steel guitars for pianos and the electric bass. However, it was outside the studio, playing numerous live performances – the ambient backdrop to the San Francisco Acid Wave of 1965-66 – where the band began to gain prominence as a cultural icon.<br/><br/> Nelson met The Grateful Dead through their manager, Bill Graham. Graham had moved to San Francisco from New York to manage The San Francisco Mime Troop, a local improvisation group that encouraged Nelson to screen his experimental short films during intermission. Soon thereafter, Graham bought the Fillmore Auditorium in the infamous Fillmore district of San Francisco. Graham staged a local, up-and-coming guitar band named The Grateful Dead as the house band. The Fillmore was to play host to numerous concerts and Acid Tests as part of its inauguration. Nelson was given the opportunity to film one of these early performances. Incidentally, Nelson had shot Building Muir Beach House in 1961 at the locale for what would later become one of the legendary Acid Tests, held in December 1965.<br/><br/> The Grateful Dead was shot with 262 feet (79m) of available film and was transferred on a homemade optical printer, fashioned by Nelson’s colleague Lauren Sears. The band was interested in having a montage projected onto the wall of the Fillmore Auditorium as a precursor to their shows. It was hoped to have the audio-track represent what was being captured in the studio while the visuals were intended to embody, and subsequently document, the ambiance associated with the scene.<br/><br/> This “scene” has grown into a fraternity of live show collectors and historians eager to attain and document rare performances. The authenticity of many show dates, venues and set lists are under constant scrutiny amongst the Deadhead in-group. Nelson’s The Grateful Dead is no exception due to its lack of availability in North America. There appears to be a rift in consensus, a “grate” debate as to whether the totality of this film is actually authentic concert footage or an inauthentic pastiche of numerous performances.<br/><br/> For instance, the Kramer Family Library at the University of Colorado at Colorado Springs suggests that there was a definite set list captured by Nelson. They list his audio-track as containing the songs “Sitting on Top of the World” (Jacobs/Carter), “Cold Rain and Snow” and “Golden Road to Unlimited Devotion”(both written by McGannahan and Skjellyfetti) (1). This would mean, however, that the audio-track is inauthentic as The Grateful Dead only performed “Golden Road” live five times, despite its release on the band’s greatest hits album Skeletons from the Closet, 1974. In fact, “Golden Road” was never played in concert with either of these other songs. Claims about the “inauthenticity” of the audio-track might not be that off-base however due to the fact that Nelson had a propensity for splicing and augmenting his reels. He is known to have six different versions of his 1965 short film Oh Dem Watermelons.<br/><br/> As you will see, however, Nelson filmed an authentic “jam” (and subsequent frenzied response from the crowd) at one of the numerous Acid Tests The Dead played at during the period. The kind of ambient, unpolished guitar rock heard here was a major staple of The Dead’s performances from the Acid Test period of 1965-1967 to the more polished, harmonious, bluegrass influenced incarnation of 1970, when the band released Workingman’s Dead, their fourth album.<br/><br/> The 16mm copy of Nelson’s The Grateful Dead held in Melbourne and screening at the Cinémathèque is one of the only existing copies available, and as such, you are able to experience what the Deadhead longs for – insight into the ambiance of the ambient: early and rare footage of The Dead performing during the Acid Tests. “Let there be songs to fill the air”. Enjoy.","artist_bio":"Robert Nelson & William T. Wiley - The Great Blondino (1967)\nRobert Nelson & William T. Wiley - The Off-Handed Jape... & How to Pull It Off (1967)\nKnown for prankster experimentalism and on-the-spot invention, the films of San Francisco native Robert Nelson are among the defining landmarks of the post-Beat American underground of the 1960s and ’70s. His free-spirited approach, sharp wit, and artistic rigor marked inspired collaborations with William T. Wiley, William Allan, Steve Reich, and the Grateful Dead, and helped shape a language and style for the burgeoning psychedelic culture.\nBorn 1930 in San Francisco in a family of Swedish immigrants, Robert Nelson studied painting at San Francisco State University and the California School of Fine Arts – where he was introduced to a circle of Bay Area artists that converged into the California Funk Art movement of the 1960s. “This influence, together with the Beat sensibility of the poetry and jazz scenes, and the improvisatory theatre of the San Francisco Mime Troupe (directly involved in his first few films), formed the touchstones of Nelson’s developing aesthetic.” (Mark Webber). His second wife is the legendary Swedish experimental filmmaker Gunvor Nelson, and Nelson started working with film by collaborating with her on two home movies: Building Muir Beach House (1961) and Last Week at Oona’s Bath (1962). Nelson taught at various institutions, including the San Francisco Art Institute, Sacramento State and CalArts, before landing a teaching job at UW Milwaukee in 1979 till his retirement in the mid-1990s. He then retreated in self-imposed isolation to a remote house in the mountains of Northern California – where he began to reassess his filmography. Nelson has influenced a number of major filmmakers, such as Peter Hutton and Curt McDowell. He was the main force in co-founding the independent distribution company Canyon Cinema in 1966, hiring his former student Edith Kramer (later the head of the Pacific Film Archive) as its first director. “After years away from the public arena, Nelson has recently begun to show his work again… This willingness to offer the films to new audiences is unquestionably a result of the care and attention they have received in the preservation activities of Pacific Film Archive (Berkeley) and Academy Film Archive (Los Angeles). Now in his seventies, Nelson speaks of “leaving a neat pile” for after his death, and as part of this project, he is attempting to establish definitive versions of his films.” – Mark Webber Selected Filmography: The Mystery of Amelia Air-Heart Solved! (1962) Plastic Haircut (1963) Oh Dem Watermelons (1965) Sixty Lazy Dogs (1965) Confessions of a Black Mother-Succuba (1965) Thick Pucker (1965) Penny Bright and Jimmy Witherspoon (1967) The Great Blondino (1967) Grateful Dead (1967) War is Hell (1968) Special Warning (1974/99) Suite California: Stops and Passes (Parts 1 & 2) (1976/78) Hamlet Act (1982)","bio_dates":"1930-2012"},{"slug":"nelson_robert_oh_dem_watermelons_1965","ok":true,"partial":false,"title":"Oh Dem Watermelons","artist":"Robert Nelson","year":"1965","startOffset":0,"sourceSecs":645.205,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":44886277,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nelson_robert_oh_dem_watermelons_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nelson_robert_oh_dem_watermelons_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nelson_robert_oh_dem_watermelons_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nelson_robert_oh_dem_watermelons_1965/main.mp4?v=2","description":"Watermelons was commissioned by the San Francisco Mime Troupe as a short entertainment to be screened during intermission for its rather infamous 1965 Minstrel Show (Civil Rights from the Cracker Barrel), which assaulted racial stereotypes by wildly exaggerating them -- as performed by (mostly white) performers in blackface, yet. A relative latecomer to filmmaking, the 35-year-old Nelson had just begun fooling around with the medium, mostly in collaboration with then-wife Gunvor Nelson. To make Watermelons he drafted talent from the Mime Troupe and alma mater Mills College, where he'd also found a young composer named <a href=\"https://ubu.com/sound/reich.html\" rel=\"noopener\" target=\"_blank\">Steve Reich</a>, later known (to his occasional annoyance) as the father of minimalism, and thus the person to be blessed or blamed for subsequent fellow travelers Philip Glass and John Adams. <br/><br/> Reich's raucously repetitive choral arrangement of a Stephen Foster oldie (in which a slave mourns his deceased master) adds another satirical dimension to the color visuals, which direct the campus era's mood of anarchy and impudence toward the watermelon. Aiming to explode stereotypes and their symbols, the film finds melons used as bombs, footballs, baseballs, shooting targets, even as sensuous love objects. Watermelons are cut-and-pasted onto existing images (from Superman to a NASA missle) and sometimes animated there, à la Terry Gilliam's Monty Python 'toons. Fruits are chased by white male hordes, then turn around (via the magic of reverse projection) to chase them in return.\"","artist_bio":"Robert Nelson & William T. Wiley - The Great Blondino (1967)\nRobert Nelson & William T. Wiley - The Off-Handed Jape... & How to Pull It Off (1967)\nKnown for prankster experimentalism and on-the-spot invention, the films of San Francisco native Robert Nelson are among the defining landmarks of the post-Beat American underground of the 1960s and ’70s. His free-spirited approach, sharp wit, and artistic rigor marked inspired collaborations with William T. Wiley, William Allan, Steve Reich, and the Grateful Dead, and helped shape a language and style for the burgeoning psychedelic culture.\nBorn 1930 in San Francisco in a family of Swedish immigrants, Robert Nelson studied painting at San Francisco State University and the California School of Fine Arts – where he was introduced to a circle of Bay Area artists that converged into the California Funk Art movement of the 1960s. “This influence, together with the Beat sensibility of the poetry and jazz scenes, and the improvisatory theatre of the San Francisco Mime Troupe (directly involved in his first few films), formed the touchstones of Nelson’s developing aesthetic.” (Mark Webber). His second wife is the legendary Swedish experimental filmmaker Gunvor Nelson, and Nelson started working with film by collaborating with her on two home movies: Building Muir Beach House (1961) and Last Week at Oona’s Bath (1962). Nelson taught at various institutions, including the San Francisco Art Institute, Sacramento State and CalArts, before landing a teaching job at UW Milwaukee in 1979 till his retirement in the mid-1990s. He then retreated in self-imposed isolation to a remote house in the mountains of Northern California – where he began to reassess his filmography. Nelson has influenced a number of major filmmakers, such as Peter Hutton and Curt McDowell. He was the main force in co-founding the independent distribution company Canyon Cinema in 1966, hiring his former student Edith Kramer (later the head of the Pacific Film Archive) as its first director. “After years away from the public arena, Nelson has recently begun to show his work again… This willingness to offer the films to new audiences is unquestionably a result of the care and attention they have received in the preservation activities of Pacific Film Archive (Berkeley) and Academy Film Archive (Los Angeles). Now in his seventies, Nelson speaks of “leaving a neat pile” for after his death, and as part of this project, he is attempting to establish definitive versions of his films.” – Mark Webber Selected Filmography: The Mystery of Amelia Air-Heart Solved! (1962) Plastic Haircut (1963) Oh Dem Watermelons (1965) Sixty Lazy Dogs (1965) Confessions of a Black Mother-Succuba (1965) Thick Pucker (1965) Penny Bright and Jimmy Witherspoon (1967) The Great Blondino (1967) Grateful Dead (1967) War is Hell (1968) Special Warning (1974/99) Suite California: Stops and Passes (Parts 1 & 2) (1976/78) Hamlet Act (1982)","bio_dates":"b. 1951"},{"slug":"nelson_robert_the_great_blondino","ok":true,"partial":false,"title":"Robert Nelson & William T. Wiley - The Great Blondino","artist":"Robert Nelson","year":"1967","startOffset":0,"sourceSecs":2462.32,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":423816620,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nelson_robert_the_great_blondino/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nelson_robert_the_great_blondino/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nelson_robert_the_great_blondino.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nelson_robert_the_great_blondino/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nelson_robert_the_great_blondino/main/master.m3u8?v=2","hasMainHls":true,"description":"The Great Blondino is a 1967 American experimental film directed by Robert Nelson and William T. Wiley.<br/><br/> Blondino is a naïve young man who wanders the streets dressed in medieval attire and pushing a wheelbarrow. He has series of adventures, all the while being pursued by a cop. These stories are mixed with sequences showing Blondino's dreams. Blondino eventually dies after falling from a tightrope but is revived in the film's conclusion.<br/><br/> The Great Blondino stars William's brother Chuck Wiley as Blondino, with Beat poet Lew Welch as the cop. The film was shot in San Francisco over the course of 6–8 sessions in 1966. The protagonist and his climactic tightrope scene were inspired by tightrope walker Charles Blondin, who performed stunts while crossing the Niagara Gorge. The total production budget was roughly $20,000, a large cost for an underground film at the time.<br/><br/> The film premiered April 13, 1967 at the Cedar Alley Cinema in San Francisco. Later that year, it screened at the Brussels Experimental Film Festival.[4] When The Great Blondino was sent to Australia, it was censored by the customs department. A scene of Blondino stroking a rhinoceros horn required review by the chief censor, who took issue with a separate scene in which a girl uses profane language.<br/><br/> According to Lenny Lipton, The Great Blondino \"went over…like a lead balloon.\" Nevertheless, Lipton championed the film following its release and said that it was \"decidedly worth seeing\", commenting that its \"variations on the theme of the interesting and different in a super technological society are interesting, and often beautiful.\" Film theorist Gene Youngblood called The Great Blondino his favorite piece by Nelson. In his review for The New York Times, Roger Greenspun remarked, \"Blondino is a kind of cosmic clown, and…I feel guilty about not liking him better than I do.\"[9] Critic J. Hoberman wrote for The Village Voice that Nelson \"tosses off more good visual ideas in 45 minutes than many filmmakers do in a lifetime\".","artist_bio":"Robert Nelson & William T. Wiley - The Great Blondino (1967)\nRobert Nelson & William T. Wiley - The Off-Handed Jape... & How to Pull It Off (1967)\nKnown for prankster experimentalism and on-the-spot invention, the films of San Francisco native Robert Nelson are among the defining landmarks of the post-Beat American underground of the 1960s and ’70s. His free-spirited approach, sharp wit, and artistic rigor marked inspired collaborations with William T. Wiley, William Allan, Steve Reich, and the Grateful Dead, and helped shape a language and style for the burgeoning psychedelic culture.\nBorn 1930 in San Francisco in a family of Swedish immigrants, Robert Nelson studied painting at San Francisco State University and the California School of Fine Arts – where he was introduced to a circle of Bay Area artists that converged into the California Funk Art movement of the 1960s. “This influence, together with the Beat sensibility of the poetry and jazz scenes, and the improvisatory theatre of the San Francisco Mime Troupe (directly involved in his first few films), formed the touchstones of Nelson’s developing aesthetic.” (Mark Webber). His second wife is the legendary Swedish experimental filmmaker Gunvor Nelson, and Nelson started working with film by collaborating with her on two home movies: Building Muir Beach House (1961) and Last Week at Oona’s Bath (1962). Nelson taught at various institutions, including the San Francisco Art Institute, Sacramento State and CalArts, before landing a teaching job at UW Milwaukee in 1979 till his retirement in the mid-1990s. He then retreated in self-imposed isolation to a remote house in the mountains of Northern California – where he began to reassess his filmography. Nelson has influenced a number of major filmmakers, such as Peter Hutton and Curt McDowell. He was the main force in co-founding the independent distribution company Canyon Cinema in 1966, hiring his former student Edith Kramer (later the head of the Pacific Film Archive) as its first director. “After years away from the public arena, Nelson has recently begun to show his work again… This willingness to offer the films to new audiences is unquestionably a result of the care and attention they have received in the preservation activities of Pacific Film Archive (Berkeley) and Academy Film Archive (Los Angeles). Now in his seventies, Nelson speaks of “leaving a neat pile” for after his death, and as part of this project, he is attempting to establish definitive versions of his films.” – Mark Webber Selected Filmography: The Mystery of Amelia Air-Heart Solved! (1962) Plastic Haircut (1963) Oh Dem Watermelons (1965) Sixty Lazy Dogs (1965) Confessions of a Black Mother-Succuba (1965) Thick Pucker (1965) Penny Bright and Jimmy Witherspoon (1967) The Great Blondino (1967) Grateful Dead (1967) War is Hell (1968) Special Warning (1974/99) Suite California: Stops and Passes (Parts 1 & 2) (1976/78) Hamlet Act (1982)","bio_dates":"1930-2012"},{"slug":"nelson_robert_wiley_william_the_off_handed_jape_1967","ok":true,"partial":false,"title":"The Off-Handed Jape... & How to Pull It Off","artist":"Robert Nelson","year":"1967","startOffset":0,"sourceSecs":488.64,"sourceHeight":480,"sourceWidth":714,"hasAudio":true,"hasAmbientMp4":true,"bytes":88344451,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nelson_robert_wiley_william_the_off_handed_jape_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nelson_robert_wiley_william_the_off_handed_jape_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nelson_robert_wiley_william_the_off_handed_jape_1967.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nelson_robert_wiley_william_the_off_handed_jape_1967/main.mp4?v=2","description":"The Off-Handed Jape is an afternoon’s lark made by Nelson and his artist friend William Wiley. The two men perform whimsical actions and poses for the camera, then recontextualize this imagery by improvising their own commentary on the action at a later time.\n\nA humorous lesson in gestural acting from Dr. Otis Bird and Butch Babad, demonstrating such useful phrases as ‘the verge of remembering’ and ‘letting your friend know he’s forgotten to zip up his pants.’ (MW) ‘This film can be of immeasurable aid to would-be actors who are weak in the jape.’ (William T. Wiley)\n\nOne of Nelson's collaborations with painter and good friend of about 50 years, William T. Wiley. Dr. Otis Bird and Butch Babad are challenged to act out amusing and creative pantomimes while two voices are evaluating their success."},{"slug":"neshat_shirin_rapture_1999","ok":true,"partial":false,"title":"Rapture","artist":"Shirin Neshat","year":"1999","startOffset":0,"sourceSecs":752.839,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":300406314,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neshat_shirin_rapture_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neshat_shirin_rapture_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/neshat_shirin_rapture_1999.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/neshat_shirin_rapture_1999/main.mp4?v=2","description":"Rapture is an installation of two synchronized black-and-white video sequences that are projected on opposite walls; large in scale, they evoke cinema screens. Working with hours of footage and a team of editors, the artist constructed two parallel narratives: on one side of the room, men populate an architectural environment; in the other sequence, women move within a natural one. The piece begins with images of a stone fortress and a hostile desert, respectively. The fortress dissolves into a shot of over one hundred men—uniformly dressed in plain white shirts and black pants—walking quickly through the cobblestone streets of an old city and entering the gates of the fortress. Simultaneously, the desert scene dissolves into a shot of an apparently equal number of women, wearing flowing, full-length veils, or chadors, emerging from different points in the barren landscape.<br/><br/> As the video progresses, the men busy themselves with a variety of mundane, sometimes absurd activities that contradict the intended function of the space. On the other side of the installation, the women chant, pray, and later, having made their way across the desert, launch a boat into the sea with six of their own aboard. In Rapture, Neshat self-consciously exploits entrenched clichés about gender and space: namely, the equation of woman with irrational, wild nature and man with rational, ordered culture. The video installation is itself a study of gendered group dynamics, with the viewer literally positioned between two opposing worlds. The players in Neshat’s surreal, segregated narratives are deployed in a syncopated rhythm of action and nonaction, mutual recognition and nonrecognition, advance and retreat.<br/><br/> Rapture exists as a poignant reflection on the rootless, unsettled psychology of exile. As an Iranian expatriate living in the United States, Neshat maintains a critical distance that has allowed her to locate both the poetics and the power of the veil. At the same time she celebrates the strength and beauty of Islamic women, she remains keenly aware of the horrors of repression.","artist_bio":"Neshat left Iran to study art in Los Angeles in 1974, just prior to the Iran Islamic Revolution; she did not return until 1990. At that time, Neshat began to photograph herself wearing the chador, or veil. In 1983, Islamic law dictated the wearing of chador for women. Much of Neshat’s work examines the physical, emotional, and cultural implications of veiled women in Iran.\nHer work, which has never been shown in Iran, essentially declares the female presence in a male dominated culture. In her films and photographs, the female gaze becomes a powerful and dangerous instrument for communication.\nHer first series of photographs, Woman of Allah, 1993–97, combines images of women with written words taken from religious texts. Neshat further explored cultural taboos through video and video installations.\nIn 1999, she won the 48th Venice Biennial prize for her film Turbulent, which contrasts a man singing in front of an all-male audience, with a woman singing to an empty concert hall. Her work has been shown throughout Europe and the United States. She currently lives in New York and the majority of her work is filmed in Morocco, Turkey, and the United States.","bio_dates":"b. 1957"},{"slug":"neshat_shirin_tooba_2002","ok":true,"partial":false,"title":"Tooba","artist":"Shirin Neshat","year":"2002","startOffset":0,"sourceSecs":770.794,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":284477553,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neshat_shirin_tooba_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neshat_shirin_tooba_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/neshat_shirin_tooba_2002.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/neshat_shirin_tooba_2002/main.mp4?v=2","description":"Her poetic two-channel video installation Tooba is based on the Koran, in which Tooba, the sacred tree of paradise, offers shelter and sustenance to those in need. Neshat’s video places a woman within a groove in the trunk of a large fig tree, symbolising its soul. They stand, alone, in a stone-walled garden set in a mountainous landscape. Men and women draw near and enter the enclosure, seeking refuge, as the Tooba-woman disappears into the Tooba-tree. The piece is ambiguous. Who has agency? Is it the crowd, who ‘invade’ the garden or the tree-woman who draws them towards her like a magnet? Tooba is dedicated to Iranian writer Shahrnush Parsipour, whose novel Women without Men concerns five women sojourning in a garden, one of whom is transformed into a tree.","artist_bio":"Neshat left Iran to study art in Los Angeles in 1974, just prior to the Iran Islamic Revolution; she did not return until 1990. At that time, Neshat began to photograph herself wearing the chador, or veil. In 1983, Islamic law dictated the wearing of chador for women. Much of Neshat’s work examines the physical, emotional, and cultural implications of veiled women in Iran.\nHer work, which has never been shown in Iran, essentially declares the female presence in a male dominated culture. In her films and photographs, the female gaze becomes a powerful and dangerous instrument for communication.\nHer first series of photographs, Woman of Allah, 1993–97, combines images of women with written words taken from religious texts. Neshat further explored cultural taboos through video and video installations.\nIn 1999, she won the 48th Venice Biennial prize for her film Turbulent, which contrasts a man singing in front of an all-male audience, with a woman singing to an empty concert hall. Her work has been shown throughout Europe and the United States. She currently lives in New York and the majority of her work is filmed in Morocco, Turkey, and the United States.","bio_dates":"b. 1957"},{"slug":"neuenschwander_rivane_pangaeasdiaries","ok":true,"partial":false,"title":"Sunday","artist":"Rivane Neuenschwander","year":"2010","startOffset":0,"sourceSecs":240.194,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":10754298,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neuenschwander_rivane_pangaeasdiaries/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neuenschwander_rivane_pangaeasdiaries/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/neuenschwander_rivane_pangaeasdiaries.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/neuenschwander_rivane_pangaeasdiaries/main.mp4?v=2","description":"Pangaea's Diaries (2008) show continents made of honey and beef carpaccio. Hundreds of ants can be seen busily consuming the world. These works can be seen as a criticism of consumerism and modern man. We are consuming the earth at a rapid pace, completely exhausting its natural resources. The choice of ant was intentional: the ant inhabited the earth long before humans arrived, and will presumably outlive us too.","artist_bio":"Rivane Neuenschwander was born in Belo Horizonte, Brazil, in 1967. She earned a BA in fine arts from the Universidade Federal de Minas Gerais, Belo Horizonte, in 1993 and an MA from the Royal College of Art in London in 1998, where she was artist-in-residence from 1996–98. In her installations, film, and photography, Neuenschwander employs fragile, unassuming materials to create mesmerizing aesthetic experiences, a process she describes as “ethereal materialism.”","bio_dates":"b. 1967"},{"slug":"neuenschwander_rivane_sunday","ok":true,"partial":false,"title":"Sunday","artist":"Rivane Neuenschwander","year":"2010","startOffset":0,"sourceSecs":317.351,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":18305812,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neuenschwander_rivane_sunday/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neuenschwander_rivane_sunday/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/neuenschwander_rivane_sunday.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/neuenschwander_rivane_sunday/main.mp4?v=2","artist_bio":"Rivane Neuenschwander was born in Belo Horizonte, Brazil, in 1967. She earned a BA in fine arts from the Universidade Federal de Minas Gerais, Belo Horizonte, in 1993 and an MA from the Royal College of Art in London in 1998, where she was artist-in-residence from 1996–98. In her installations, film, and photography, Neuenschwander employs fragile, unassuming materials to create mesmerizing aesthetic experiences, a process she describes as “ethereal materialism.”","bio_dates":"b. 1967"},{"slug":"neuenschwander_rivane_the_tenant_withcaoguimaraes","ok":true,"partial":false,"title":"The Tenant (2010), with Cao Guimarães","artist":"Rivane Neuenschwander","year":"2010","startOffset":0,"sourceSecs":605.985,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":278525309,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neuenschwander_rivane_the_tenant_withcaoguimaraes/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neuenschwander_rivane_the_tenant_withcaoguimaraes/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/neuenschwander_rivane_the_tenant_withcaoguimaraes.mp4","hasFrames":true,"description":"The film follows the trajectory of a soap bubble as it floats through the empty rooms of a house under renovation. The bubble never bursts as it drifts from one room to the next in a permanent state of suspension. The soundtrack by Brazilian duo O Grivo consists of the sounds of an empty house, a human presence, and synthesizers.","artist_bio":"Rivane Neuenschwander was born in Belo Horizonte, Brazil, in 1967. She earned a BA in fine arts from the Universidade Federal de Minas Gerais, Belo Horizonte, in 1993 and an MA from the Royal College of Art in London in 1998, where she was artist-in-residence from 1996–98. In her installations, film, and photography, Neuenschwander employs fragile, unassuming materials to create mesmerizing aesthetic experiences, a process she describes as “ethereal materialism.”","bio_dates":"b. 1967"},{"slug":"neuenschwander_rivane_thefall","ok":true,"partial":false,"title":"A queda (The Fall)","artist":"Rivane Neuenschwander","year":"2009","startOffset":0,"sourceSecs":880.432,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":57774336,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neuenschwander_rivane_thefall/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/neuenschwander_rivane_thefall/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/neuenschwander_rivane_thefall.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/neuenschwander_rivane_thefall/main.mp4?v=2","description":"The Fall (2009) offered a compelling example of how art works comprised of simple processes can yield sophisticated results. This looped 15-minute video depicts an egg in a spoon being carried through an out-of-focus forest. The sound of footsteps slowly moving through the forest blends with the sound of the egg tapping against the metal spoon – both sounds filling the space with an hypnotic rhythm and placing the viewer in the tentative position of the unseen protagonist carrying the egg. The work neatly condenses the underlying themes of the exhibition by foregrounding not only a fascination for the material presence of art objects but also an interest in the potential performativity of the viewer’s engagement. Balancing formal meditations with theatricality, the exhibition evinced Neuenschwander’s and Yang’s shared concern for a stylistic harmony, transcending their ostensible cultural differences.","artist_bio":"Rivane Neuenschwander was born in Belo Horizonte, Brazil, in 1967. She earned a BA in fine arts from the Universidade Federal de Minas Gerais, Belo Horizonte, in 1993 and an MA from the Royal College of Art in London in 1998, where she was artist-in-residence from 1996–98. In her installations, film, and photography, Neuenschwander employs fragile, unassuming materials to create mesmerizing aesthetic experiences, a process she describes as “ethereal materialism.”","bio_dates":"b. 1967"},{"slug":"news_from_the_near_future_2003","ok":true,"partial":false,"title":"News from the Near Future","artist":"Fiona Tan","year":"2003","startOffset":0,"sourceSecs":555.84,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":89115777,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/news_from_the_near_future_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/news_from_the_near_future_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/news_from_the_near_future_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/news_from_the_near_future_2003/main.mp4?v=2"},{"slug":"nguyen_trinh_thi_eleven_men_2016","ok":true,"partial":false,"title":"Eleven Men","artist":"Trinh Thi Nguyen","year":"2016","startOffset":0,"sourceSecs":1727.12,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":102412361,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nguyen_trinh_thi_eleven_men_2016/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nguyen_trinh_thi_eleven_men_2016/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nguyen_trinh_thi_eleven_men_2016.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nguyen_trinh_thi_eleven_men_2016/main.mp4?v=2","description":"Eleven Men combines footage from a range of Vietnamese classic feature films produced by the state-owned Vietnam Feature Film Studio with Franz Kafka’s short story Eleven Sons. Focusing on a single actress, Nhu Quynh, and spanning three decades of her career, Eleven Men transposes Kafka’s male family imaginary to the analysis of a woman’s relation to her lovers.","artist_bio":"Nguyen Trinh Thi is a Hanoi-based independent filmmaker and video/media artist. Her diverse practice has consistently investigated the role of memory in the necessary unveiling of hidden, displaced or misinterpreted histories; and examined the position of artists in the Vietnamese society.\nNguyen studied journalism, photography, international relations and ethnographic film in the United States. Her films and video art works have been shown at festivals and art exhibitions including Jeu de Paume, Paris; CAPC musée d’art contemporain de Bordeaux; the Lyon Biennale 2015; Asian Art Biennial 2015, Taiwan; Fukuoka Asian Art Triennial 2014; Singapore Biennale 2013; Jakarta Biennale 2013; Oberhausen International Film Festival; Bangkok Experimental Film Festival; Artist Films International; DEN FRIE Centre of Contemporary Art, Copenhagen; and Kuandu Biennale, Taipei.\nNguyen is founder and director of Hanoi DOCLAB, an independent center for documentary film and the moving image art in Hanoi since 2009.","bio_dates":"b. 1973"},{"slug":"niblock_geary_max_neuhaus_1967","ok":true,"partial":false,"title":"Max Neuhaus","artist":"Max Neuhaus","year":"1967","startOffset":0,"sourceSecs":450.56,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":77176748,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_geary_max_neuhaus_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_geary_max_neuhaus_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/niblock_geary_max_neuhaus_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/niblock_geary_max_neuhaus_1967/main.mp4?v=2","description":"Many of Niblock's early films are \"portraits\" of fellow artists from different fields of expression. In his 1967 Max, Niblock films performances of Max Neuhaus, uncelebrated pioneer of live electronics, percussionist, installation artist, etc. Niblock's shots are juxtaposed and craftily edited by Dave Geary so as to create a strange sense of constant change within repetition. The soundtrack is provided by Neuhaus himself, who mixes five simultaneous recordings of Stockhausen's Zyklus (which the percussionist recorded in a more conventional fashion recently) and a feedback device called Max-Feed. The result is a noise assault in which the percussion is hardly audible under the shifting layers of distortion."},{"slug":"niblock_phil_magic_sun_1966","ok":true,"partial":false,"title":"The Magic Sun","artist":"Phill Niblock","year":"1966","startOffset":0,"sourceSecs":1004.117,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":170164020,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_phil_magic_sun_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_phil_magic_sun_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/niblock_phil_magic_sun_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/niblock_phil_magic_sun_1966/main.mp4?v=2","description":"Director: Phill Niblock<br/> Year: 1966<br/> Time: 14 mins<br/> Music: Sun Ra & His Solar Arkestra<br/> <br/> Eye of Sound: Multi-faceted artist Phill Niblock captures a brief moment of an interstellar communication by the Arkestra in their prime. Black turns white in a so-called negative post-process, while Niblock's camera focuses on microscopic details of hands, bodies and instruments. A brilliant tribute to the Sun King by another brilliant supra-planetary sovereign.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/ra.html\" rel=\"noopener\" target=\"_blank\">Sun Ra on UbuWeb Sound</a> <br> <a href=\"https://ubu.com/film/ra.html\" rel=\"noopener\" target=\"_blank\">Sun Ra on UbuWeb Film</a></br></br>","artist_bio":"Some Imaginary Far Away Type Things/AKA Lost in the Meshes\n(1985)\nPhill Niblock (born 2 October 1933, in Anderson, Indiana) is a composer, filmmaker, videographer, and director of Experimental Intermedia, a foundation for avant-garde music based in New York with a parallel branch in Ghent, Belgium.\nAfter an early period studying economics (BA, Indiana University, 1956) Niblock came to New York in 1958. Initially he worked as a photographer and filmmaker. Much of this activity centered around photographing and filming jazz musicians; his film The Magic Sun, an abstract, avant-garde film featuring the music of Sun Ra and members of the Sun Ra Arkestra, is available on DVD from Atavistic Records. Thereafter he made a number of films in a series titled The Movement of People Working. Filmed in primarily rural environments in many countries (China, Brazil, Portugal, Lesotho, Puerto Rico, Hong Kong, the Arctic, Mexico, Hungary, the Adirondacks, Peru), the films look at everyday work, frequently agrarian or marine labor. These films are remarkable for their realistic quality and absence of artifice, their use of long takes in high resolution and their supposedly artless juxtaposition of compelling images in vivid colors. These scenes of the movement of human manual labor are treated abstractly without explicit anthropological or sociological meaning. As in the music, a surface slowness is countered by an active, varied texture of rhythm and form of body motion within the frame; this is what Niblock himself considers the ultimate subject matter of his films.\nNiblock's first musical compositions date from 1968. Unusually, even among the avant-garde composers of his generation, he has no formal musical training. He cites the musical activities of New York in the 1960s as a stimulus (and occasional memorable performances, such as the premiere of Morton Feldman's Durations pieces). All his compositions are worked out intuitively rather than systematically. His early works were all done with tape, overdubbing unprocessed recordings of precisely tuned long tones played on traditional instruments in four, eight, or sixteen tracks. Since the late 1990s his music has been created with computer technology, notably with Pro Tools on a Macintosh computer. His later works are correspondingly more dense in texture, sometimes involving as many as forty tracks.\nNiblock's music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations. The layering of long tones only very slightly distinct in pitch creates a multitude of beats and generates complex overtone patterns and other fascinating psychoacoustic effects. The combination of apparently static surface textures and extremely active harmonic movement generates a highly original music that, while having things in common with early drone-based Minimalism, is utterly distinct in sound and technique. Niblock's work continues to influence a generation of musicians, especially younger players from a variety of musical genres.\nNiblock's compositional process often begins with recordings of single, absolute tones played by a specific musician with the breathing and attack edited out. Such collaborations have been crucial to his composing life, and the range of musicians with whom he has worked include David Gibson, in the cello works of the 1970s); Petr Kotik, Susan Stenger, and Eberhard Blum, on Four Full Flutes; Rafael Toral, David First, Lee Ranaldo, Thurston Moore, Susan Stenger, and Robert Poss on Guitar Too, for Four (G2,44+1x2); Ulrich Krieger, Carol Robinson, Kaspar T. Toeplitz, and Reinhold Friedl, on Touch Food; and many others. Since 2003, Niblock has frequently toured and collaborated with electro-acoustic improviser Thomas Ankersmit. In the past decade he has produced several works for orchestra: Disseminate, Three Orchids (for three orchestras), Tow for Tom (for two orchestras), and 4 Chorch +1, the latter a commission for the Ostrava Music Days 2007 for chorus and orchestra with solo baritone (Thomas Buckner). The premieres of all these works have been conducted by Petr Kotik.\nIn performance, live musicians may play, wandering through the audience changing the sound texture through reinforcement of or interference with the existing tunings. Simultaneously, Niblock generally accompanies performances by presenting his films and videos (often those from the Movement of People Working series, or computer-driven, black-and-white abstract images floating through time). These performances fall into two types: (1) an installation of several hours' duration, with the music pieces played consecutively, with a long loop of several hours of work before repetition, and with multiple images that are shown simultaneously; or (2) a performance, with several simultaneous works of music and film, usually lasting between one and three hours. In these performances Niblock generally projects three (or more) film images simultaneously, on large screens three to four meters wide. The films are 16mm and color. The music is produced from stereo or quad tapes, with four or more speakers in the corners of the space. His more recent video pieces are played individually or with several simultaneously, using large video monitors.\nSince 1985, Niblock has been the director of the Experimental Intermedia Foundation in New York where he has been an artist-member since 1968. In 1994, he was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award. He is the producer of music and Intermedia presentations at EI since 1973 (about 1,000 performances) and the curator of EI's XI Records label. In 1993, he opened a house with window gallery at Sassekaai 45 in Ghent, Belgium, and, in 1997, the coordinating committee-Phill Niblock, Maria Blondeel, Zjuul Devens, Lieve D'hondt, and Ludo Engels-founded a Belgian organization, the Experimental Intermedia v.z.w., Ghent. He taught at the College of Staten Island, a CUNY school, from 1971 to 1998.\nPhill Niblock's music is available on the XI, Moikai, Mode Records, and Touch Music labels. A double-sided DVD of films and music, lasting nearly four hours, is available on the Extreme label.","bio_dates":"b. 1933"},{"slug":"niblock_phil_movement_of_people_working_part1_1973_1983_iphone","ok":true,"partial":false,"title":"The Movement of People Working","artist":"Phill Niblock","year":"1973-1974","startOffset":0,"sourceSecs":5820.077,"sourceHeight":320,"sourceWidth":436,"hasAudio":true,"hasAmbientMp4":true,"bytes":336263678,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_phil_movement_of_people_working_part1_1973_1983_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_phil_movement_of_people_working_part1_1973_1983_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/niblock_phil_movement_of_people_working_part1_1973_1983_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/niblock_phil_movement_of_people_working_part1_1973_1983_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/niblock_phil_movement_of_people_working_part1_1973_1983_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Phill Niblock<br/> Year: 1973-74<br/> Time: 96 mins<br/> Music: Phill Niblock, with Daniel Goode (Clarinet), David Gibson (Cello), Arthur Stidfole (Bassoon) <br/><br/> Shot in the mid-70s, The Movement of People Working has been frequently used as a visual accompaniment to Niblock's live music performances, and it is arguably both the least obvious and the best possible screen expression of his musical vision. The first part of the collection comprises four different 16 mm films (Trabajando and Sur, both divided in two parts) and, except for Sur Dos, recorded in Peru, all were shot in Mexico. The films focus on the almost tactile details of non- or semi-industrialized labor methods in these countries and are almost entirely composed of tight close-ups of hands (Sur) and bodies (Trabajando). Threshing, seeding, weaving, painting, carving or fishing, bodies and hands are set in a relentless and often impersonalized motion that creates a hypnotic tapestry of repeated gestures and diversified techniques of immense choreographic beauty. Niblock's soundtrack, recorded between 1975 and 1980, features the author's characteristic multi-layered \"drone\" immersions in which one radiant, glowing sound-object is sent into a dynamic but imperceptible chain of simultaneously minuscule and overarching transformations that constantly challenge distinctions between motion and quietude. Despite the apparent contrast between the two dimensions of labor, there is a deep but unfathomable correspondence between the succession of these bright fragmented images and the illusory continuity of Niblock's aural radiance: as if the slow, minute gestures of the hands and torsos that weave and thresh find an unexpected double in the tactile and intricate movement of the musician's workings.","artist_bio":"Some Imaginary Far Away Type Things/AKA Lost in the Meshes\n(1985)\nPhill Niblock (born 2 October 1933, in Anderson, Indiana) is a composer, filmmaker, videographer, and director of Experimental Intermedia, a foundation for avant-garde music based in New York with a parallel branch in Ghent, Belgium.\nAfter an early period studying economics (BA, Indiana University, 1956) Niblock came to New York in 1958. Initially he worked as a photographer and filmmaker. Much of this activity centered around photographing and filming jazz musicians; his film The Magic Sun, an abstract, avant-garde film featuring the music of Sun Ra and members of the Sun Ra Arkestra, is available on DVD from Atavistic Records. Thereafter he made a number of films in a series titled The Movement of People Working. Filmed in primarily rural environments in many countries (China, Brazil, Portugal, Lesotho, Puerto Rico, Hong Kong, the Arctic, Mexico, Hungary, the Adirondacks, Peru), the films look at everyday work, frequently agrarian or marine labor. These films are remarkable for their realistic quality and absence of artifice, their use of long takes in high resolution and their supposedly artless juxtaposition of compelling images in vivid colors. These scenes of the movement of human manual labor are treated abstractly without explicit anthropological or sociological meaning. As in the music, a surface slowness is countered by an active, varied texture of rhythm and form of body motion within the frame; this is what Niblock himself considers the ultimate subject matter of his films.\nNiblock's first musical compositions date from 1968. Unusually, even among the avant-garde composers of his generation, he has no formal musical training. He cites the musical activities of New York in the 1960s as a stimulus (and occasional memorable performances, such as the premiere of Morton Feldman's Durations pieces). All his compositions are worked out intuitively rather than systematically. His early works were all done with tape, overdubbing unprocessed recordings of precisely tuned long tones played on traditional instruments in four, eight, or sixteen tracks. Since the late 1990s his music has been created with computer technology, notably with Pro Tools on a Macintosh computer. His later works are correspondingly more dense in texture, sometimes involving as many as forty tracks.\nNiblock's music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations. The layering of long tones only very slightly distinct in pitch creates a multitude of beats and generates complex overtone patterns and other fascinating psychoacoustic effects. The combination of apparently static surface textures and extremely active harmonic movement generates a highly original music that, while having things in common with early drone-based Minimalism, is utterly distinct in sound and technique. Niblock's work continues to influence a generation of musicians, especially younger players from a variety of musical genres.\nNiblock's compositional process often begins with recordings of single, absolute tones played by a specific musician with the breathing and attack edited out. Such collaborations have been crucial to his composing life, and the range of musicians with whom he has worked include David Gibson, in the cello works of the 1970s); Petr Kotik, Susan Stenger, and Eberhard Blum, on Four Full Flutes; Rafael Toral, David First, Lee Ranaldo, Thurston Moore, Susan Stenger, and Robert Poss on Guitar Too, for Four (G2,44+1x2); Ulrich Krieger, Carol Robinson, Kaspar T. Toeplitz, and Reinhold Friedl, on Touch Food; and many others. Since 2003, Niblock has frequently toured and collaborated with electro-acoustic improviser Thomas Ankersmit. In the past decade he has produced several works for orchestra: Disseminate, Three Orchids (for three orchestras), Tow for Tom (for two orchestras), and 4 Chorch +1, the latter a commission for the Ostrava Music Days 2007 for chorus and orchestra with solo baritone (Thomas Buckner). The premieres of all these works have been conducted by Petr Kotik.\nIn performance, live musicians may play, wandering through the audience changing the sound texture through reinforcement of or interference with the existing tunings. Simultaneously, Niblock generally accompanies performances by presenting his films and videos (often those from the Movement of People Working series, or computer-driven, black-and-white abstract images floating through time). These performances fall into two types: (1) an installation of several hours' duration, with the music pieces played consecutively, with a long loop of several hours of work before repetition, and with multiple images that are shown simultaneously; or (2) a performance, with several simultaneous works of music and film, usually lasting between one and three hours. In these performances Niblock generally projects three (or more) film images simultaneously, on large screens three to four meters wide. The films are 16mm and color. The music is produced from stereo or quad tapes, with four or more speakers in the corners of the space. His more recent video pieces are played individually or with several simultaneously, using large video monitors.\nSince 1985, Niblock has been the director of the Experimental Intermedia Foundation in New York where he has been an artist-member since 1968. In 1994, he was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award. He is the producer of music and Intermedia presentations at EI since 1973 (about 1,000 performances) and the curator of EI's XI Records label. In 1993, he opened a house with window gallery at Sassekaai 45 in Ghent, Belgium, and, in 1997, the coordinating committee-Phill Niblock, Maria Blondeel, Zjuul Devens, Lieve D'hondt, and Ludo Engels-founded a Belgian organization, the Experimental Intermedia v.z.w., Ghent. He taught at the College of Staten Island, a CUNY school, from 1971 to 1998.\nPhill Niblock's music is available on the XI, Moikai, Mode Records, and Touch Music labels. A double-sided DVD of films and music, lasting nearly four hours, is available on the Extreme label.","bio_dates":"b. 1933"},{"slug":"niblock_phil_russell_arthur_some_imaginary_far_away_type_things","ok":true,"partial":false,"title":"Phill Niblock - Arthur Russell: Some Imaginary Far Away Type Things/AKA Lost in the Meshes","artist":"Arthur Russell","year":"1985","startOffset":0,"sourceSecs":2041.011,"sourceHeight":480,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":346415470,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_phil_russell_arthur_some_imaginary_far_away_type_things/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_phil_russell_arthur_some_imaginary_far_away_type_things/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/niblock_phil_russell_arthur_some_imaginary_far_away_type_things.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/niblock_phil_russell_arthur_some_imaginary_far_away_type_things/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/niblock_phil_russell_arthur_some_imaginary_far_away_type_things/main/master.m3u8?v=2","hasMainHls":true,"description":"This film is described as \"unedited video rushes\" by Niblock from the same taping session, is about 35 minutes long and contains different songs. It's completely hypnotic and is a perfect visual match for Arthur Russell's minimalistic, soulful music. <br/><br/> Here is a short review from DustedMagazine.com: <br/><br/> Anything said about the various meanings to be gleaned from Russell's performances on this record is pure conjecture. The man gave few interviews throughout his life, thus leaving in his death a figure as shrouded in enigma as he is in beauty. The DVD component of Audika's reissue does little to address that, but rather provides what seem to be analogous visual counterparts to the type of material contained on the album itself. Both \"Terrace of Unintelligibility\" and \"Some Imaginary Far Away Type Things/AKA Lost in the Meshes\" are Phill Niblock films set in very much the same style. The shots are all tightly focused on Russell as he plays, traipsing through various bits and pieces of the ideas contained on World of Echo. Niblock shifts gradually, from his face, to his hands, to his mouth as he forms those evocatively unintelligible syllables – showcasing Arthur Russell in part and parcel indeed, but nevertheless illuminating the fact that there was always far more to this soul than the eye could ever meet.","artist_bio":"Some Imaginary Far Away Type Things/AKA Lost in the Meshes\n(1985)\nPhill Niblock (born 2 October 1933, in Anderson, Indiana) is a composer, filmmaker, videographer, and director of Experimental Intermedia, a foundation for avant-garde music based in New York with a parallel branch in Ghent, Belgium.\nAfter an early period studying economics (BA, Indiana University, 1956) Niblock came to New York in 1958. Initially he worked as a photographer and filmmaker. Much of this activity centered around photographing and filming jazz musicians; his film The Magic Sun, an abstract, avant-garde film featuring the music of Sun Ra and members of the Sun Ra Arkestra, is available on DVD from Atavistic Records. Thereafter he made a number of films in a series titled The Movement of People Working. Filmed in primarily rural environments in many countries (China, Brazil, Portugal, Lesotho, Puerto Rico, Hong Kong, the Arctic, Mexico, Hungary, the Adirondacks, Peru), the films look at everyday work, frequently agrarian or marine labor. These films are remarkable for their realistic quality and absence of artifice, their use of long takes in high resolution and their supposedly artless juxtaposition of compelling images in vivid colors. These scenes of the movement of human manual labor are treated abstractly without explicit anthropological or sociological meaning. As in the music, a surface slowness is countered by an active, varied texture of rhythm and form of body motion within the frame; this is what Niblock himself considers the ultimate subject matter of his films.\nNiblock's first musical compositions date from 1968. Unusually, even among the avant-garde composers of his generation, he has no formal musical training. He cites the musical activities of New York in the 1960s as a stimulus (and occasional memorable performances, such as the premiere of Morton Feldman's Durations pieces). All his compositions are worked out intuitively rather than systematically. His early works were all done with tape, overdubbing unprocessed recordings of precisely tuned long tones played on traditional instruments in four, eight, or sixteen tracks. Since the late 1990s his music has been created with computer technology, notably with Pro Tools on a Macintosh computer. His later works are correspondingly more dense in texture, sometimes involving as many as forty tracks.\nNiblock's music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations. The layering of long tones only very slightly distinct in pitch creates a multitude of beats and generates complex overtone patterns and other fascinating psychoacoustic effects. The combination of apparently static surface textures and extremely active harmonic movement generates a highly original music that, while having things in common with early drone-based Minimalism, is utterly distinct in sound and technique. Niblock's work continues to influence a generation of musicians, especially younger players from a variety of musical genres.\nNiblock's compositional process often begins with recordings of single, absolute tones played by a specific musician with the breathing and attack edited out. Such collaborations have been crucial to his composing life, and the range of musicians with whom he has worked include David Gibson, in the cello works of the 1970s); Petr Kotik, Susan Stenger, and Eberhard Blum, on Four Full Flutes; Rafael Toral, David First, Lee Ranaldo, Thurston Moore, Susan Stenger, and Robert Poss on Guitar Too, for Four (G2,44+1x2); Ulrich Krieger, Carol Robinson, Kaspar T. Toeplitz, and Reinhold Friedl, on Touch Food; and many others. Since 2003, Niblock has frequently toured and collaborated with electro-acoustic improviser Thomas Ankersmit. In the past decade he has produced several works for orchestra: Disseminate, Three Orchids (for three orchestras), Tow for Tom (for two orchestras), and 4 Chorch +1, the latter a commission for the Ostrava Music Days 2007 for chorus and orchestra with solo baritone (Thomas Buckner). The premieres of all these works have been conducted by Petr Kotik.\nIn performance, live musicians may play, wandering through the audience changing the sound texture through reinforcement of or interference with the existing tunings. Simultaneously, Niblock generally accompanies performances by presenting his films and videos (often those from the Movement of People Working series, or computer-driven, black-and-white abstract images floating through time). These performances fall into two types: (1) an installation of several hours' duration, with the music pieces played consecutively, with a long loop of several hours of work before repetition, and with multiple images that are shown simultaneously; or (2) a performance, with several simultaneous works of music and film, usually lasting between one and three hours. In these performances Niblock generally projects three (or more) film images simultaneously, on large screens three to four meters wide. The films are 16mm and color. The music is produced from stereo or quad tapes, with four or more speakers in the corners of the space. His more recent video pieces are played individually or with several simultaneously, using large video monitors.\nSince 1985, Niblock has been the director of the Experimental Intermedia Foundation in New York where he has been an artist-member since 1968. In 1994, he was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award. He is the producer of music and Intermedia presentations at EI since 1973 (about 1,000 performances) and the curator of EI's XI Records label. In 1993, he opened a house with window gallery at Sassekaai 45 in Ghent, Belgium, and, in 1997, the coordinating committee-Phill Niblock, Maria Blondeel, Zjuul Devens, Lieve D'hondt, and Ludo Engels-founded a Belgian organization, the Experimental Intermedia v.z.w., Ghent. He taught at the College of Staten Island, a CUNY school, from 1971 to 1998.\nPhill Niblock's music is available on the XI, Moikai, Mode Records, and Touch Music labels. A double-sided DVD of films and music, lasting nearly four hours, is available on the Extreme label.","bio_dates":"1951-1992"},{"slug":"niblock_phil_russell_arthur_terrace_of_unintelligibility_1985","ok":true,"partial":false,"title":"Phill Niblock - Terrace of Unintelligibility","artist":"Arthur Russell","year":"1985","startOffset":0,"sourceSecs":1216.597,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":195168425,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_phil_russell_arthur_terrace_of_unintelligibility_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_phil_russell_arthur_terrace_of_unintelligibility_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/niblock_phil_russell_arthur_terrace_of_unintelligibility_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/niblock_phil_russell_arthur_terrace_of_unintelligibility_1985/main.mp4?v=2","description":"The first film, called \"Terrace of Unintelligibility,\" is a completely finished and edited video shot by Phill Niblock. It is about 20 minutes long, and features Arthur Russell and his cello performing a few songs from the World of Echo era, including \"Answers Me\" and \"Tower of Meaning.\" This film is completely hypnotic and is a perfect visual match for Arthur Russell's minimalistic, soulful music. <br/><br/> Here is a short review from DustedMagazine.com: <br/><br/> Anything said about the various meanings to be gleaned from Russell's performances on this record is pure conjecture. The man gave few interviews throughout his life, thus leaving in his death a figure as shrouded in enigma as he is in beauty. The DVD component of Audika's reissue does little to address that, but rather provides what seem to be analogous visual counterparts to the type of material contained on the album itself. Both \"Terrace of Unintelligibility\" and \"Some Imaginary Far Away Type Things/AKA Lost in the Meshes\" are Phill Niblock films set in very much the same style. The shots are all tightly focused on Russell as he plays, traipsing through various bits and pieces of the ideas contained on World of Echo. Niblock shifts gradually, from his face, to his hands, to his mouth as he forms those evocatively unintelligible syllables – showcasing Arthur Russell in part and parcel indeed, but nevertheless illuminating the fact that there was always far more to this soul than the eye could ever meet.","artist_bio":"Some Imaginary Far Away Type Things/AKA Lost in the Meshes\n(1985)\nPhill Niblock (born 2 October 1933, in Anderson, Indiana) is a composer, filmmaker, videographer, and director of Experimental Intermedia, a foundation for avant-garde music based in New York with a parallel branch in Ghent, Belgium.\nAfter an early period studying economics (BA, Indiana University, 1956) Niblock came to New York in 1958. Initially he worked as a photographer and filmmaker. Much of this activity centered around photographing and filming jazz musicians; his film The Magic Sun, an abstract, avant-garde film featuring the music of Sun Ra and members of the Sun Ra Arkestra, is available on DVD from Atavistic Records. Thereafter he made a number of films in a series titled The Movement of People Working. Filmed in primarily rural environments in many countries (China, Brazil, Portugal, Lesotho, Puerto Rico, Hong Kong, the Arctic, Mexico, Hungary, the Adirondacks, Peru), the films look at everyday work, frequently agrarian or marine labor. These films are remarkable for their realistic quality and absence of artifice, their use of long takes in high resolution and their supposedly artless juxtaposition of compelling images in vivid colors. These scenes of the movement of human manual labor are treated abstractly without explicit anthropological or sociological meaning. As in the music, a surface slowness is countered by an active, varied texture of rhythm and form of body motion within the frame; this is what Niblock himself considers the ultimate subject matter of his films.\nNiblock's first musical compositions date from 1968. Unusually, even among the avant-garde composers of his generation, he has no formal musical training. He cites the musical activities of New York in the 1960s as a stimulus (and occasional memorable performances, such as the premiere of Morton Feldman's Durations pieces). All his compositions are worked out intuitively rather than systematically. His early works were all done with tape, overdubbing unprocessed recordings of precisely tuned long tones played on traditional instruments in four, eight, or sixteen tracks. Since the late 1990s his music has been created with computer technology, notably with Pro Tools on a Macintosh computer. His later works are correspondingly more dense in texture, sometimes involving as many as forty tracks.\nNiblock's music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations. The layering of long tones only very slightly distinct in pitch creates a multitude of beats and generates complex overtone patterns and other fascinating psychoacoustic effects. The combination of apparently static surface textures and extremely active harmonic movement generates a highly original music that, while having things in common with early drone-based Minimalism, is utterly distinct in sound and technique. Niblock's work continues to influence a generation of musicians, especially younger players from a variety of musical genres.\nNiblock's compositional process often begins with recordings of single, absolute tones played by a specific musician with the breathing and attack edited out. Such collaborations have been crucial to his composing life, and the range of musicians with whom he has worked include David Gibson, in the cello works of the 1970s); Petr Kotik, Susan Stenger, and Eberhard Blum, on Four Full Flutes; Rafael Toral, David First, Lee Ranaldo, Thurston Moore, Susan Stenger, and Robert Poss on Guitar Too, for Four (G2,44+1x2); Ulrich Krieger, Carol Robinson, Kaspar T. Toeplitz, and Reinhold Friedl, on Touch Food; and many others. Since 2003, Niblock has frequently toured and collaborated with electro-acoustic improviser Thomas Ankersmit. In the past decade he has produced several works for orchestra: Disseminate, Three Orchids (for three orchestras), Tow for Tom (for two orchestras), and 4 Chorch +1, the latter a commission for the Ostrava Music Days 2007 for chorus and orchestra with solo baritone (Thomas Buckner). The premieres of all these works have been conducted by Petr Kotik.\nIn performance, live musicians may play, wandering through the audience changing the sound texture through reinforcement of or interference with the existing tunings. Simultaneously, Niblock generally accompanies performances by presenting his films and videos (often those from the Movement of People Working series, or computer-driven, black-and-white abstract images floating through time). These performances fall into two types: (1) an installation of several hours' duration, with the music pieces played consecutively, with a long loop of several hours of work before repetition, and with multiple images that are shown simultaneously; or (2) a performance, with several simultaneous works of music and film, usually lasting between one and three hours. In these performances Niblock generally projects three (or more) film images simultaneously, on large screens three to four meters wide. The films are 16mm and color. The music is produced from stereo or quad tapes, with four or more speakers in the corners of the space. His more recent video pieces are played individually or with several simultaneously, using large video monitors.\nSince 1985, Niblock has been the director of the Experimental Intermedia Foundation in New York where he has been an artist-member since 1968. In 1994, he was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award. He is the producer of music and Intermedia presentations at EI since 1973 (about 1,000 performances) and the curator of EI's XI Records label. In 1993, he opened a house with window gallery at Sassekaai 45 in Ghent, Belgium, and, in 1997, the coordinating committee-Phill Niblock, Maria Blondeel, Zjuul Devens, Lieve D'hondt, and Ludo Engels-founded a Belgian organization, the Experimental Intermedia v.z.w., Ghent. He taught at the College of Staten Island, a CUNY school, from 1971 to 1998.\nPhill Niblock's music is available on the XI, Moikai, Mode Records, and Touch Music labels. A double-sided DVD of films and music, lasting nearly four hours, is available on the Extreme label.","bio_dates":"1951-1992"},{"slug":"niblock_phill_annie_1969","ok":true,"partial":false,"title":"Annie","artist":"Phill Niblock","year":"1968","startOffset":0,"sourceSecs":493.27,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":80868560,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_phill_annie_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niblock_phill_annie_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/niblock_phill_annie_1969.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/niblock_phill_annie_1969/main.mp4?v=2","description":"A portrait of the dancer Ann Danoff, with a sound collage soundtrack. Color 16mm film, 8 minutes.","artist_bio":"Some Imaginary Far Away Type Things/AKA Lost in the Meshes\n(1985)\nPhill Niblock (born 2 October 1933, in Anderson, Indiana) is a composer, filmmaker, videographer, and director of Experimental Intermedia, a foundation for avant-garde music based in New York with a parallel branch in Ghent, Belgium.\nAfter an early period studying economics (BA, Indiana University, 1956) Niblock came to New York in 1958. Initially he worked as a photographer and filmmaker. Much of this activity centered around photographing and filming jazz musicians; his film The Magic Sun, an abstract, avant-garde film featuring the music of Sun Ra and members of the Sun Ra Arkestra, is available on DVD from Atavistic Records. Thereafter he made a number of films in a series titled The Movement of People Working. Filmed in primarily rural environments in many countries (China, Brazil, Portugal, Lesotho, Puerto Rico, Hong Kong, the Arctic, Mexico, Hungary, the Adirondacks, Peru), the films look at everyday work, frequently agrarian or marine labor. These films are remarkable for their realistic quality and absence of artifice, their use of long takes in high resolution and their supposedly artless juxtaposition of compelling images in vivid colors. These scenes of the movement of human manual labor are treated abstractly without explicit anthropological or sociological meaning. As in the music, a surface slowness is countered by an active, varied texture of rhythm and form of body motion within the frame; this is what Niblock himself considers the ultimate subject matter of his films.\nNiblock's first musical compositions date from 1968. Unusually, even among the avant-garde composers of his generation, he has no formal musical training. He cites the musical activities of New York in the 1960s as a stimulus (and occasional memorable performances, such as the premiere of Morton Feldman's Durations pieces). All his compositions are worked out intuitively rather than systematically. His early works were all done with tape, overdubbing unprocessed recordings of precisely tuned long tones played on traditional instruments in four, eight, or sixteen tracks. Since the late 1990s his music has been created with computer technology, notably with Pro Tools on a Macintosh computer. His later works are correspondingly more dense in texture, sometimes involving as many as forty tracks.\nNiblock's music is an exploration of sound textures created by multiple tones in very dense, often atonal tunings (generally microtonal in conception) performed in long durations. The layering of long tones only very slightly distinct in pitch creates a multitude of beats and generates complex overtone patterns and other fascinating psychoacoustic effects. The combination of apparently static surface textures and extremely active harmonic movement generates a highly original music that, while having things in common with early drone-based Minimalism, is utterly distinct in sound and technique. Niblock's work continues to influence a generation of musicians, especially younger players from a variety of musical genres.\nNiblock's compositional process often begins with recordings of single, absolute tones played by a specific musician with the breathing and attack edited out. Such collaborations have been crucial to his composing life, and the range of musicians with whom he has worked include David Gibson, in the cello works of the 1970s); Petr Kotik, Susan Stenger, and Eberhard Blum, on Four Full Flutes; Rafael Toral, David First, Lee Ranaldo, Thurston Moore, Susan Stenger, and Robert Poss on Guitar Too, for Four (G2,44+1x2); Ulrich Krieger, Carol Robinson, Kaspar T. Toeplitz, and Reinhold Friedl, on Touch Food; and many others. Since 2003, Niblock has frequently toured and collaborated with electro-acoustic improviser Thomas Ankersmit. In the past decade he has produced several works for orchestra: Disseminate, Three Orchids (for three orchestras), Tow for Tom (for two orchestras), and 4 Chorch +1, the latter a commission for the Ostrava Music Days 2007 for chorus and orchestra with solo baritone (Thomas Buckner). The premieres of all these works have been conducted by Petr Kotik.\nIn performance, live musicians may play, wandering through the audience changing the sound texture through reinforcement of or interference with the existing tunings. Simultaneously, Niblock generally accompanies performances by presenting his films and videos (often those from the Movement of People Working series, or computer-driven, black-and-white abstract images floating through time). These performances fall into two types: (1) an installation of several hours' duration, with the music pieces played consecutively, with a long loop of several hours of work before repetition, and with multiple images that are shown simultaneously; or (2) a performance, with several simultaneous works of music and film, usually lasting between one and three hours. In these performances Niblock generally projects three (or more) film images simultaneously, on large screens three to four meters wide. The films are 16mm and color. The music is produced from stereo or quad tapes, with four or more speakers in the corners of the space. His more recent video pieces are played individually or with several simultaneously, using large video monitors.\nSince 1985, Niblock has been the director of the Experimental Intermedia Foundation in New York where he has been an artist-member since 1968. In 1994, he was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award. He is the producer of music and Intermedia presentations at EI since 1973 (about 1,000 performances) and the curator of EI's XI Records label. In 1993, he opened a house with window gallery at Sassekaai 45 in Ghent, Belgium, and, in 1997, the coordinating committee-Phill Niblock, Maria Blondeel, Zjuul Devens, Lieve D'hondt, and Ludo Engels-founded a Belgian organization, the Experimental Intermedia v.z.w., Ghent. He taught at the College of Staten Island, a CUNY school, from 1971 to 1998.\nPhill Niblock's music is available on the XI, Moikai, Mode Records, and Touch Music labels. A double-sided DVD of films and music, lasting nearly four hours, is available on the Extreme label.","bio_dates":"b. 1933"},{"slug":"nichol_bp_first_screening_computer_poems_1984","ok":true,"partial":false,"title":"First Screening: Computer Poems","artist":"bpNichol","year":"1984","startOffset":0,"sourceSecs":559.099,"sourceHeight":384,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":10046673,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nichol_bp_first_screening_computer_poems_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nichol_bp_first_screening_computer_poems_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nichol_bp_first_screening_computer_poems_1984.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nichol_bp_first_screening_computer_poems_1984/main.mp4?v=2","description":"In 1983 and 1984, bpNichol used an Apple IIe computer and the Apple BASIC programming language to create First Screening, a suite of a dozen programmed, kinetic poems. He distributed First Screening through Underwhich, an imprint he started in 1979 with a small group of poets. The Underwhich edition of First Screening consisted of 100 numbered and signed copies distributed on 5.25\" floppies along with printed matter. <br/><br/> First Screening is some of the earliest programmed, kinetic poetry.","artist_bio":"Sound & Syntax International Festival of Sound Poetry (1978), CCA Glasgow, bpNichol, Part 1\nSound & Syntax International Festival of Sound Poetry (1978), CCA Glasgow, bpNichol, Part 2\nSons of Captain Poetry (1970)\n, directed by\nMichael Ondaatje\nBarrie Phillip Nichol (30 September 1944 – 25 September 1988), known as bpNichol, was a Canadian poet, writer, sound poet, editor and grOnk/Ganglia Press publisher. His body of work encompasses poetry, children's books, television scripts,[1] novels, short fiction, computer texts, and sound poetry. His love of language and writing, evident in his many accomplishments, continues to be carried forward by many.","bio_dates":"1944-1988"},{"slug":"nicolson_annabel_slides_annabel_nicolson","ok":true,"partial":false,"title":"Slides","artist":"Annabel Nicolson","year":"1971","startOffset":0,"sourceSecs":645.76,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":116788992,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nicolson_annabel_slides_annabel_nicolson/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nicolson_annabel_slides_annabel_nicolson/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nicolson_annabel_slides_annabel_nicolson.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nicolson_annabel_slides_annabel_nicolson/main.mp4?v=2","description":"Part of <a href=\"https://ubu.com/film/shoot.html\" rel=\"noopener\" target=\"_blank\">Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s (1966 - 1976)</a> <br/><br/> A chance to see/create by movement, a kind of dance between the printer and myself.' <br/><br/> 'Slides' came about through some fascination with the phenomena of matter, its frailty and transcience, the oddness of tiny filmed images from my earlier work lying around. Working with these parts, 35 mm slides cut into strips, thread, sewn film, light leaked footage, 8mm and 16mm fragments, I hand held this material in the contact printer. Images were created by movement and handling, literally keeping in touch with the elements.' <br/><br/> AN. 1978 A Perspective on English Avant-Garde Film catalogue, Hayward Gallery.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Taylor Mead in UbuWeb Sound</a>","artist_bio":"Born 1946. Studied at Hornsey College of Art, 1964-65; Edinburgh School of Art, Drawing and Painting 1965-69 and St Martins School of Art post graduate film-making 1970-1. From 1969-70 she ran the gallery at the New Arts Lab, London and was cinema programmer at the London Film Maker's Co-op in 1974, 1976-77 and 1992/3. Nicolson is a founder member of Circles - Women's Film in Distribution, 1979, Editorial contributor for Musics magazine 1976-79, co-editor and publisher, Readings magazine 1977. She was awarded the John Brinkley Fellowship at Norwich School of Art, 1980-81. She has been a part-time and visiting lecturer at art colleges including; Cheltenham, Chelsea, Falmouth, Ravensbourne, Glasgow, Wolverhampton and St Martins, London.","bio_dates":"b. 1946"},{"slug":"niermann_ingo_karolinski_alexa_army_of_love_2016","ok":true,"partial":false,"title":"Army of Love","artist":"Alexa Karolinski & Ingo Niermann","year":"2016","startOffset":0,"sourceSecs":2406.847,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":1065359793,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niermann_ingo_karolinski_alexa_army_of_love_2016/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/niermann_ingo_karolinski_alexa_army_of_love_2016/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/niermann_ingo_karolinski_alexa_army_of_love_2016.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/niermann_ingo_karolinski_alexa_army_of_love_2016/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/niermann_ingo_karolinski_alexa_army_of_love_2016/main/master.m3u8?v=2","hasMainHls":true,"description":"Romantic love is saturated with commoditization. The socialistic premise behind “free love” crumbles when desiring competition gets in the way, and in the age of hook-up apps, the possibility of free sex represents the liberalization, not the liberation, of love. 'Army of Love' (2016) introduces a propositional regiment of soldiers diverse in age and appearance and tasked with solving the persistent social malaise of dire loneliness. <br/><br/> Detailed credits:<br/><br/> Alexa Karolinski & Ingo Niermann, Army of Love<br/> HD film, 40 min., 2016<br/> Cinematography Gernot Bayer<br/> Music Alvin Aronson<br/> Sound mix Jon Eckhaus<br/> Styling Viviane Hausstein<br/> Costumes Hood by Air<br/><br/>Cast: Anna Barbara, Ashiq Khondker, Cynthia Scholten, Hans Rosenfeldt, Ingo Niermann, Johanna Eck, Julieta Aranda, Leon Aranda, Marc Elsner, Marie Golüke, Matthias Vernaldi, Moritz Wulf, Stefan Weise, Stephanie Klee, Tarren Johnson, ZomaCrum-Tesfa <br><br> Commissioned and co-produced by the 9th Berlin Biennale for Contemporary Art With additional support by Wiesbaden Biennale and Centre de Cultura Contemporània de Barcelona <br/><br/> For more info check <a href=\"http://www.thearmyoflove.net\" rel=\"noopener\" target=\"_blank\">www.thearmyoflove.net</a></br></br>","artist_bio":"Alexa Karolinski is a German-Canadian filmmaker living in Los Angeles. Her first feature documentary\nOma & Bella\npremiered at the Berlin film festival in 2012.","bio_dates":"2016"},{"slug":"nihilist_spasm_band_what_about_me_iphone","ok":true,"partial":false,"title":"Zev Asher, \"What About Me: The Rise of the Nihilist Spasm Band\"","artist":"Nihilist Spasm Band","year":"2000","startOffset":0,"sourceSecs":6120.984,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":354150721,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nihilist_spasm_band_what_about_me_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nihilist_spasm_band_what_about_me_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nihilist_spasm_band_what_about_me_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nihilist_spasm_band_what_about_me_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nihilist_spasm_band_what_about_me_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"In 1965, Greg Curnoe, an artist and experimental filmmaker living in London, Ontario, needed a musical score for his latest project, a film entitled No Movie. Curnoe gathered together a group of like-minded artists and close friends, and formed an ensemble called the Nihlist Spasm Band to perform the film's soundtrack; none of the members were proficient on a musical instrument, and several had constructed their own noise-making apparatus rather than use conventional instruments. While the few that witnessed the group's willfully dissonant initial performance condemned them as talentless noisemakers, the group stuck to their guns, performing once a week at the same Ontario art gallery, where bassist Hugh McIntyre described their philosophy by asking, \"When you eliminate the scale, the key, the repertoire, the category, the traditional rules, and even breaking the rules, what is left?\" After years of laboring in obscurity, The Nihlist Spasm Band began to develop a modest cult following in the 1980s; in 2000 they had a loyal fan base in Japan and continued to perform regularly in their native London between periodic international tours, and have won the admiration of such pillars of the noise rock avant-garde musical community as Thurston Moore of Sonic Youth and Jojo Hiroshige of Hijokaidan. What About Me: The Rise of the Nihilist Spasm Band is a documentary that traces the first 35 years of the group's inarguably remarkable career; the film received an enthusiastic reception at the 2000 Toronto Film Festival","artist_bio":"Zev Asher, \"What About Me: The Rise of the Nihilist Spasm Band\" (2000)\nThe Nihilist Spasm Band (NSB) is a Canadian noise band formed in 1965 in London, Ontario. The band was founded by Hugh McIntyre, John Clement, John Boyle, Bill Exley, Murray Favro, Archie Leitch, Art Pratten, and Greg Curnoe. Leitch has since retired, Curnoe was killed in a bicycle accident in 1992, and McIntyre died of heart failure in 2004. The band members are mostly local artists. They were one of the artists named on the Nurse with Wound lists.\nThe term \"spasm band\" refers to a band that uses homemade instruments. Most of the NSB's instruments are modifications of other instruments, or wholly invented by the members. In addition to the homemade instruments, members are encouraged to improvise. The range of the improvisation is such that instruments are not tuned to each other, tempos and time signatures are not imposed, and the members push the ranges of their instrumentation by engaging in constant innovation and ever-increasing volume over the course of a performance.\nZev Asher's documentary film What About Me: The Rise of The Nihilist Spasm Band premiered at the Toronto International Film Festival in 2000. Drawing from the inspiration of finding a copy of the Nihilist Spasm Band's first L.P. No Canada in the pile of 1970's ephemera in his family's basement; the documentary explores the legacy of the NSB as Canadian noise music pioneers.","bio_dates":"2000"},{"slug":"nitsch_hermann_anthology_film_archives_1994","ok":true,"partial":false,"title":"Anthology Film Archives","artist":"Hermann Nitsch","year":"1994","startOffset":0,"sourceSecs":3122.556,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":527261257,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nitsch_hermann_anthology_film_archives_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nitsch_hermann_anthology_film_archives_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nitsch_hermann_anthology_film_archives_1994.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nitsch_hermann_anthology_film_archives_1994/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nitsch_hermann_anthology_film_archives_1994/main/master.m3u8?v=2","hasMainHls":true,"description":"Recorded at Anthology Film Archives, as part of SeOUL-NYmAX: A Celebration of Arts without Borders.\n\nFrom October 8 to November 6, 1994, Anthology Film Archives will present SeOUL-NYmAX: A Celebration of Arts Without Borders, which will bring together over seventy artists and critics working with dance, music, performance, electronic arts, film, and video. On the first afternoon the celebration will be at the Judson Memorial Church and Washington Square Park; thereafter all programs will be at Anthology Film Archives on the Lower East Side. During SeOUL-NYmAX there will be sixty in-person performances, forty filrn screenings, twenty electronic arts installations, four receptions, and panel discussions dealing with arts that bridge different disciplines and cultures - arts that are not concerned with aesthetic or national borders. The artworks on view in this Celebration are often multimedia, and in many cases embody the aspiration for freedom of expression. Broadly, these artworks can be grouped as\n\nAll three floors of Anthology will be used to house this extraordinary gathering with guests from Lithuania (Vytautas Landsbergis, a Fluxus artist who was his country's first president), Austria (Hermann Nitsch), Korea, Japan, and the United States (including Susan Sontag and Nam June Paik). This project is sponsored by the Korean Cultural Service and the Korea Society, with support from Nam June Paik, Film/Video Arts, and the New York State Council on the Arts."},{"slug":"noe_gaspar_we_fuck_alone_2006","ok":true,"partial":false,"title":"We Fuck Alone","artist":"Gaspar Noé","year":"2006","startOffset":0,"sourceSecs":1411.84,"sourceHeight":384,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":87861886,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/noe_gaspar_we_fuck_alone_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/noe_gaspar_we_fuck_alone_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/noe_gaspar_we_fuck_alone_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/noe_gaspar_we_fuck_alone_2006/main.mp4?v=2","description":"Riffing off the title of his first feature ('I Stand Alone') - an eloquent cinematic narrative about despair, loneliness and one man’s abandonment to pathologies of societal decay - ‘We Fuck Alone’ is a dark odyssey into violent masturbatory fantasy.<br/><br/> The film opens with the image of a beautiful young woman being rimmed on TV. As we pull back we encounter a young teenager being eaten by a large teddy bear before the narrative settles on a young man masturbating as he watches porn on the TV.<br/><br/> The strobe lighting and deep pulsing soundtrack suggests as it creates something dark and hallucinatory, a strange cinematic space in which desire to continue watching is tapped directly into the brain. As the man grasps for fulfillment, he reaches for a gun and begins to use it on his inflatable sex toy to fuck her in the mouth before both he and the film come to a brutal climax. <br/><br/> Like most of Noé’s film, ‘We Fuck Alone’ suggests an altered state. Provoking a perceptual and visceral reaction to both what is seen and the way it is shown, we are drawn into a solitary self-referential world of simultaneous seduction and repulsion. Here, sex, beauty and violence combine to create a mesmeric and unforgettable landscae entirely on its own.","artist_bio":"Franco-Argentine filmmaker Gaspar Noé has won several critical awards and received festival acclaim for each of his works. Films include CARNE, SODOMITES and SEUL CONTRE TOUS.\nIn 2002 he received major public notice and outrage with the film IRREVERSIBLE mostly due to the much-publicised eight-minute rape scene. Starring real-life married couple Monica Bellucci and Vincent Cassel, the film is a brutal look at male violence shown in reverse chronological order.\nGaspar recently completed the short film SIDA (2006), a story set in Central Africa about three men infected by AIDS who call God to help them. SIDA has been selected for Cannes 2006 Out of Competition.\nHe is currently in pre-production with the feature film ENTER THE VOID.","bio_dates":"b. 1963"},{"slug":"nordine_ken_the_eye_is_never_filled_2005_iphone","ok":true,"partial":false,"title":"The Eye Is Never Filled","artist":"Ken Nordine","year":"2005","startOffset":0,"sourceSecs":5614.911,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":323425855,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nordine_ken_the_eye_is_never_filled_2005_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/nordine_ken_the_eye_is_never_filled_2005_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/nordine_ken_the_eye_is_never_filled_2005_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nordine_ken_the_eye_is_never_filled_2005_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nordine_ken_the_eye_is_never_filled_2005_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"I got me this island<br/> that I'm calling me<br/> whenever I go there<br/> you know who I see<br/> you can see me in me<br/> more often than not<br/> and that's pretty often<br/> my favorite spot<br/><br/>there are plenty of spots<br> called other than me<br> but they're someone else's<br/> one look and you'll see<br/> you can try like a fool<br/> to be what you're not<br/> the island you get<br/> is the island you've got<br/><br/>How did you come to it?<br/><br/>Good question. Hmm ... guess I had to. Why do we do anything? Why do we wake up? Or go to sleep? Why did I spend all those many hours bending over a computer in the small room where I put together the morphing images you see melting one into the other on this, my first and only DVD? Looks like it was done under the influence of LSD. It wasn't, but that's the way it looks. <br><br> Millions of iterations of warping in-betweens going from one key frame to another. Busy busy gigabytes of strange and to me wonderfully moving morphing pictures to accompany my invention \"word jazz,\" a somewhat new medium that I originated for myself a long time ago. Fifty years ago. (1956 it was.) How did that happen, how did my ever DVD get done? How could 90 minutes of word jazz in lovely moving morphing pictures be done without having a drowd of Hollywood helpers? 90 minutes is about as long as a feature film. What hutzpah! What made me think I could get away with it? The answer is very simple. \"Because I could.\" Someone once said that. I forget who. <br><br> Yep, ... 'cuz I could. Just a few years ago it would have been impossible. the technology wasn't up to it. But now almost anything can be done. Look with your mind's eye. You can see molecules moving in a still picture. <br/><br/> What's with the name? <br/><br/> The naming came to me from my long gone mother who loved Ecclesiastes. Truth is ... she loved anything from the Bible, it was her favorite book. I can still see her there in her sunshine kitchen, as if it were minutes ago, reciting to me from memory so I would never forget ... <br/><br/>\"\"The eye is not satisfied with seeing, nor the ear filled with hearing.\" <br/><br/> Difficult to face the truths in that recitation. they have stayed with me all my life, encrypted somewhere in my brain. She died without knowing there would be a something called a DVD and that I would make one that I would call 'The Eye is Never Filled.\" Maybe now she knows, maybe now she would smile a little, knowing where it came from. Who knows? Heaven is pretty far out to keep in touch. What I'd like to do while I'm still around would be DVDs for all the word jazz albums and all the word jazz radio shows I've done. quie an agglomeration. That would keep me off the street. What lovely happy concentrations it would require. I would have to wind up my will power. And stay healthy. <br/><br/> As for how to watch on a DVD player near you: get comfortable and pretend you're watching a 90 minute movie that didn't cost millions to make and that you never saw an ad for on TV. Sit down and have yourself a nice big bowl of buttered popcorn. Or maybe a box of Dots. And escape into yourself. I hope you like what you see and tell a friend. <br/><br/> How's it done? <br/><br/> Begin with a love for the spken word, a love for the serious sad silly glad language of our lives. And a belief that what you think and feel about what's going on is important and should be heard, which may well be a stumbling block for some. The innately humble. Along with the spoken words, you'll need what's called \"head music\" to back you up, done without any charts ... the free and easy empathy of a small group of jazz musicians who listen carefully to where you're coming from ... to aid and abet the meaning on the fly. There's a list on the DVD of the great players who did their best to back me up. You need \"head music\" for where your head is. Also you need a dedicated engineer with caring ears who can record and mix whatever mood you and the music may happen to be in. Mixing is very important. Good sound tracks should be as transparent as you'd like your soul to be. you also need a fast computer (for me, Apple is the most intuitive) with plenty of gigabytes for storage for all the images. Rendering hi-res images takes a lot of time and plenty of space. You'll also need imaging manipulating software: Photoshop along with ArtMatic and Vtrack and Voyager. uisoftware.com is an artistic Godsend that requires deep study and long patience. Fun to wrestle with. <br/><br/> So now you know. Old blabby me has spilled the how-to-do-it beans. Now you know all my secrets. go and do likewise. Do your own DVD. When it's finished, if you're anyting like me ... you will want to do another and another and another etc. vanitas, vanitatum et umnia vanitas. <br/><br/> That eye ain't never gonna be ever filled. <br/><br/> Ken Nordine</br></br></br></br></br></br>","artist_bio":"Ken Nordine (born April 13, 1920) is an American voiceover and recording artist best known for his series of Word Jazz albums. His deep, resonant voice has also been featured in many commercial advertisements and movie trailers. One critic wrote that \"you may not know Ken Nordine by name or face, but you'll almost certainly recognize his voice.\"\nThe son of an architect, Ken Nordine was born in Cherokee, Iowa. In Chicago he attended Lane Technical College Prep High School and the University of Chicago. He has three sons with his wife Beryl whom he married in 1945. He initially attracted attention when he recorded the aural vignettes on Word Jazz on Dot in 1957. Word Jazz, Son of Word Jazz (Dot, 1958) and his other albums in this vein feature Nordine's narration over a cool jazz background. He began performing and recording such albums at the peak of the beat movement and was associated with the poetry-and-jazz movement. However, some of Nordine's \"writings are more akin to Franz Kafka or Edgar Allan Poe\" than to the beats. Many of his word jazz tracks feature critiques of societal norms. Some are lightweight and humorous, while others reveal dark, paranoid undercurrents and bizarre, dream-like scenarios.\nNordine was Linda Blair's vocal coach for her role in The Exorcist,and Word Jazz inspired Tom Waits' spooky, spoken word-type pieces, such as \"9th and Hennepin,\" \"Frank's Wild Years\" and \"What's He Building?\"\nOn television, Nordine did a series of readings on a show titled Faces in the Window, and Fred Astaire danced to Nordine's \"My Baby\" on a TV special. Nordine's past radio series were Now Nordine and Word Jazz. He currently hosts a weekly radio program and maintains residences in Chicago, Illinois, and Spread Eagle, Wisconsin.","bio_dates":"1922-2008"},{"slug":"obayashi_nobuhiko_1960_dandanko","ok":true,"partial":false,"title":"Dandanko","artist":"Nobuhiko Obayashi","year":"1960","startOffset":0,"sourceSecs":667.413,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":45947061,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1960_dandanko/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1960_dandanko/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obayashi_nobuhiko_1960_dandanko.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/obayashi_nobuhiko_1960_dandanko/main.mp4?v=2","description":"1960, 11'', 8mm, n&b<br/> A woman and boy play games on an ominous staircase.","artist_bio":"Nobuhiko Obayashi is a Japanese director, screenwriter and editor of films and television advertisements who is well known for his surreal visual style. He began his career as a pioneering figure in Japanese experimental film during the 1960s before transitioning to directing more mainstream works such as television and feature films. Though he remains mostly unknown outside of Japan, he has made many films in his 50 years of working with the medium.\nObayashi was born on 9 January 1938 in the city of Onomichi, Japan. He was the eldest son of a father who was one in a long paternal line of medical doctors. As his father was called to the battlefront during World War II, he was raised in his early infancy by his maternal grandparents. Through his childhood and adolescence Obayashi followed many artistic pursuits including drawing, writing, playing the piano, and a growing interest in animation and film.\nIn 1955 Obayashi, at the urging of his father, began procedures to enter medical school and become a doctor. However, he shortly thereafter abandoned this initiative partway through an entrance examination in order to follow his artistic interests. In 1956 he was accepted to the liberal arts department of Seijo University where he began to work with 8 and 16mm film. Toward the end of his stay at the university Obayashi began working on a series of experimental films. Along with works by other filmmakers such as Shuji Terayama and Donald Richie, Obayshi's films would develop the tone of Japanese experimental cinema through the 1960s. In these early experimental films Obayashi employed a number of avant-garde techniques that he would carry into his later mainstream work. Though these films tended to be of a personal nature, they received public viewership due to distribution by the Art Theatre Guild.\nFollowing his departure from university, Obayashi continued to work on his experimental films while earning a living as a director in the new field of television advertisements. Obayashi's TV commercials had a visual appeal similar to that of his experimental works. In the 1970s he began a series of Japanese ads featuring well-known American stars such as Kirk Douglas and Charles Bronson. Obayashi began directing feature films starting in 1977 with the horror comedy House. The film employed a mixture of trick photography and avant-garde techniques to achieve its distinctive, surreal visuals. Through the 1980s and onwards he continued to make feature films and broadened his mainstream appeal. He has become particularly well known for his coming-of-age movies: films such as Exchange Students (1982) and Chizuko's Younger Sister (1991) have prominent coming-of-age themes while still maintaining surreal fantasy elements and Obayashi's distinct visual flair.\nHis 1988 film The Discarnates was entered into the 16th Moscow International Film Festival.[1] His 1998 film Sada was entered into the 48th Berlin International Film Festival","bio_dates":"b. 1938"},{"slug":"obayashi_nobuhiko_1960_e_no_naka_no_shoujo","ok":true,"partial":false,"title":"E no Naka no Shouja","artist":"Nobuhiko Obayashi","year":"1960","startOffset":0,"sourceSecs":1902.976,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":115900627,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1960_e_no_naka_no_shoujo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1960_e_no_naka_no_shoujo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obayashi_nobuhiko_1960_e_no_naka_no_shoujo.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/obayashi_nobuhiko_1960_e_no_naka_no_shoujo/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/obayashi_nobuhiko_1960_e_no_naka_no_shoujo/main/master.m3u8?v=2","hasMainHls":true,"description":"Perhaps the most conventional narrative on Obayashi's experimental works, about a man who reminisces about a girl in his past (played by Obayashi's soon-to-be wife Kyoko). Although it's a silent film, it relies a bit too much on title cards to tell the story and would benefit from subtitles.","artist_bio":"Nobuhiko Obayashi is a Japanese director, screenwriter and editor of films and television advertisements who is well known for his surreal visual style. He began his career as a pioneering figure in Japanese experimental film during the 1960s before transitioning to directing more mainstream works such as television and feature films. Though he remains mostly unknown outside of Japan, he has made many films in his 50 years of working with the medium.\nObayashi was born on 9 January 1938 in the city of Onomichi, Japan. He was the eldest son of a father who was one in a long paternal line of medical doctors. As his father was called to the battlefront during World War II, he was raised in his early infancy by his maternal grandparents. Through his childhood and adolescence Obayashi followed many artistic pursuits including drawing, writing, playing the piano, and a growing interest in animation and film.\nIn 1955 Obayashi, at the urging of his father, began procedures to enter medical school and become a doctor. However, he shortly thereafter abandoned this initiative partway through an entrance examination in order to follow his artistic interests. In 1956 he was accepted to the liberal arts department of Seijo University where he began to work with 8 and 16mm film. Toward the end of his stay at the university Obayashi began working on a series of experimental films. Along with works by other filmmakers such as Shuji Terayama and Donald Richie, Obayshi's films would develop the tone of Japanese experimental cinema through the 1960s. In these early experimental films Obayashi employed a number of avant-garde techniques that he would carry into his later mainstream work. Though these films tended to be of a personal nature, they received public viewership due to distribution by the Art Theatre Guild.\nFollowing his departure from university, Obayashi continued to work on his experimental films while earning a living as a director in the new field of television advertisements. Obayashi's TV commercials had a visual appeal similar to that of his experimental works. In the 1970s he began a series of Japanese ads featuring well-known American stars such as Kirk Douglas and Charles Bronson. Obayashi began directing feature films starting in 1977 with the horror comedy House. The film employed a mixture of trick photography and avant-garde techniques to achieve its distinctive, surreal visuals. Through the 1980s and onwards he continued to make feature films and broadened his mainstream appeal. He has become particularly well known for his coming-of-age movies: films such as Exchange Students (1982) and Chizuko's Younger Sister (1991) have prominent coming-of-age themes while still maintaining surreal fantasy elements and Obayashi's distinct visual flair.\nHis 1988 film The Discarnates was entered into the 16th Moscow International Film Festival.[1] His 1998 film Sada was entered into the 48th Berlin International Film Festival","bio_dates":"b. 1938"},{"slug":"obayashi_nobuhiko_1961_mokuyoubi","ok":true,"partial":false,"title":"Mokuyoubi","artist":"Nobuhiko Obayashi","year":"1961","startOffset":0,"sourceSecs":1123.861,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":71544569,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1961_mokuyoubi/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1961_mokuyoubi/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obayashi_nobuhiko_1961_mokuyoubi.mp4","hasFrames":true,"description":"1961, 19'', 8mm, n&b<br/> A young couple go on a picnic in the forest, where the woman reveals that she is pregnant.","artist_bio":"Nobuhiko Obayashi is a Japanese director, screenwriter and editor of films and television advertisements who is well known for his surreal visual style. He began his career as a pioneering figure in Japanese experimental film during the 1960s before transitioning to directing more mainstream works such as television and feature films. Though he remains mostly unknown outside of Japan, he has made many films in his 50 years of working with the medium.\nObayashi was born on 9 January 1938 in the city of Onomichi, Japan. He was the eldest son of a father who was one in a long paternal line of medical doctors. As his father was called to the battlefront during World War II, he was raised in his early infancy by his maternal grandparents. Through his childhood and adolescence Obayashi followed many artistic pursuits including drawing, writing, playing the piano, and a growing interest in animation and film.\nIn 1955 Obayashi, at the urging of his father, began procedures to enter medical school and become a doctor. However, he shortly thereafter abandoned this initiative partway through an entrance examination in order to follow his artistic interests. In 1956 he was accepted to the liberal arts department of Seijo University where he began to work with 8 and 16mm film. Toward the end of his stay at the university Obayashi began working on a series of experimental films. Along with works by other filmmakers such as Shuji Terayama and Donald Richie, Obayshi's films would develop the tone of Japanese experimental cinema through the 1960s. In these early experimental films Obayashi employed a number of avant-garde techniques that he would carry into his later mainstream work. Though these films tended to be of a personal nature, they received public viewership due to distribution by the Art Theatre Guild.\nFollowing his departure from university, Obayashi continued to work on his experimental films while earning a living as a director in the new field of television advertisements. Obayashi's TV commercials had a visual appeal similar to that of his experimental works. In the 1970s he began a series of Japanese ads featuring well-known American stars such as Kirk Douglas and Charles Bronson. Obayashi began directing feature films starting in 1977 with the horror comedy House. The film employed a mixture of trick photography and avant-garde techniques to achieve its distinctive, surreal visuals. Through the 1980s and onwards he continued to make feature films and broadened his mainstream appeal. He has become particularly well known for his coming-of-age movies: films such as Exchange Students (1982) and Chizuko's Younger Sister (1991) have prominent coming-of-age themes while still maintaining surreal fantasy elements and Obayashi's distinct visual flair.\nHis 1988 film The Discarnates was entered into the 16th Moscow International Film Festival.[1] His 1998 film Sada was entered into the 48th Berlin International Film Festival","bio_dates":"b. 1938"},{"slug":"obayashi_nobuhiko_1963_katami","ok":true,"partial":false,"title":"Katami","artist":"Nobuhiko Obayashi","year":"1963","startOffset":0,"sourceSecs":1030.101,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":66892906,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1963_katami/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1963_katami/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obayashi_nobuhiko_1963_katami.mp4","hasFrames":true,"description":"Katami (Remembrance)<br/> 1963, 17', 8mm, coul<br/> A woman and boy visit an ominous graveyard.","artist_bio":"Nobuhiko Obayashi is a Japanese director, screenwriter and editor of films and television advertisements who is well known for his surreal visual style. He began his career as a pioneering figure in Japanese experimental film during the 1960s before transitioning to directing more mainstream works such as television and feature films. Though he remains mostly unknown outside of Japan, he has made many films in his 50 years of working with the medium.\nObayashi was born on 9 January 1938 in the city of Onomichi, Japan. He was the eldest son of a father who was one in a long paternal line of medical doctors. As his father was called to the battlefront during World War II, he was raised in his early infancy by his maternal grandparents. Through his childhood and adolescence Obayashi followed many artistic pursuits including drawing, writing, playing the piano, and a growing interest in animation and film.\nIn 1955 Obayashi, at the urging of his father, began procedures to enter medical school and become a doctor. However, he shortly thereafter abandoned this initiative partway through an entrance examination in order to follow his artistic interests. In 1956 he was accepted to the liberal arts department of Seijo University where he began to work with 8 and 16mm film. Toward the end of his stay at the university Obayashi began working on a series of experimental films. Along with works by other filmmakers such as Shuji Terayama and Donald Richie, Obayshi's films would develop the tone of Japanese experimental cinema through the 1960s. In these early experimental films Obayashi employed a number of avant-garde techniques that he would carry into his later mainstream work. Though these films tended to be of a personal nature, they received public viewership due to distribution by the Art Theatre Guild.\nFollowing his departure from university, Obayashi continued to work on his experimental films while earning a living as a director in the new field of television advertisements. Obayashi's TV commercials had a visual appeal similar to that of his experimental works. In the 1970s he began a series of Japanese ads featuring well-known American stars such as Kirk Douglas and Charles Bronson. Obayashi began directing feature films starting in 1977 with the horror comedy House. The film employed a mixture of trick photography and avant-garde techniques to achieve its distinctive, surreal visuals. Through the 1980s and onwards he continued to make feature films and broadened his mainstream appeal. He has become particularly well known for his coming-of-age movies: films such as Exchange Students (1982) and Chizuko's Younger Sister (1991) have prominent coming-of-age themes while still maintaining surreal fantasy elements and Obayashi's distinct visual flair.\nHis 1988 film The Discarnates was entered into the 16th Moscow International Film Festival.[1] His 1998 film Sada was entered into the 48th Berlin International Film Festival","bio_dates":"b. 1938"},{"slug":"obayashi_nobuhiko_1963_nakasendo","ok":true,"partial":false,"title":"Nakasendo","artist":"Nobuhiko Obayashi","year":"1963","startOffset":0,"sourceSecs":995.883,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":61544090,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1963_nakasendo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1963_nakasendo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obayashi_nobuhiko_1963_nakasendo.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/obayashi_nobuhiko_1963_nakasendo/main.mp4?v=2","description":"963, 17'', 8mm, coul<br/> An experimental film edited from footage of the Japanese countryside.","artist_bio":"Nobuhiko Obayashi is a Japanese director, screenwriter and editor of films and television advertisements who is well known for his surreal visual style. He began his career as a pioneering figure in Japanese experimental film during the 1960s before transitioning to directing more mainstream works such as television and feature films. Though he remains mostly unknown outside of Japan, he has made many films in his 50 years of working with the medium.\nObayashi was born on 9 January 1938 in the city of Onomichi, Japan. He was the eldest son of a father who was one in a long paternal line of medical doctors. As his father was called to the battlefront during World War II, he was raised in his early infancy by his maternal grandparents. Through his childhood and adolescence Obayashi followed many artistic pursuits including drawing, writing, playing the piano, and a growing interest in animation and film.\nIn 1955 Obayashi, at the urging of his father, began procedures to enter medical school and become a doctor. However, he shortly thereafter abandoned this initiative partway through an entrance examination in order to follow his artistic interests. In 1956 he was accepted to the liberal arts department of Seijo University where he began to work with 8 and 16mm film. Toward the end of his stay at the university Obayashi began working on a series of experimental films. Along with works by other filmmakers such as Shuji Terayama and Donald Richie, Obayshi's films would develop the tone of Japanese experimental cinema through the 1960s. In these early experimental films Obayashi employed a number of avant-garde techniques that he would carry into his later mainstream work. Though these films tended to be of a personal nature, they received public viewership due to distribution by the Art Theatre Guild.\nFollowing his departure from university, Obayashi continued to work on his experimental films while earning a living as a director in the new field of television advertisements. Obayashi's TV commercials had a visual appeal similar to that of his experimental works. In the 1970s he began a series of Japanese ads featuring well-known American stars such as Kirk Douglas and Charles Bronson. Obayashi began directing feature films starting in 1977 with the horror comedy House. The film employed a mixture of trick photography and avant-garde techniques to achieve its distinctive, surreal visuals. Through the 1980s and onwards he continued to make feature films and broadened his mainstream appeal. He has become particularly well known for his coming-of-age movies: films such as Exchange Students (1982) and Chizuko's Younger Sister (1991) have prominent coming-of-age themes while still maintaining surreal fantasy elements and Obayashi's distinct visual flair.\nHis 1988 film The Discarnates was entered into the 16th Moscow International Film Festival.[1] His 1998 film Sada was entered into the 48th Berlin International Film Festival","bio_dates":"b. 1938"},{"slug":"obayashi_nobuhiko_1963_onomichi","ok":true,"partial":false,"title":"Onomichi","artist":"Nobuhiko Obayashi","year":"1963","startOffset":0,"sourceSecs":1195.797,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":76073339,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1963_onomichi/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1963_onomichi/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obayashi_nobuhiko_1963_onomichi.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/obayashi_nobuhiko_1963_onomichi/main.mp4?v=2","description":"1963, 20'', 8mm, coul A non-narrative tribute to the seaside town of Onomichi, where Obayashi grew up and where most of these films were made.","artist_bio":"Nobuhiko Obayashi is a Japanese director, screenwriter and editor of films and television advertisements who is well known for his surreal visual style. He began his career as a pioneering figure in Japanese experimental film during the 1960s before transitioning to directing more mainstream works such as television and feature films. Though he remains mostly unknown outside of Japan, he has made many films in his 50 years of working with the medium.\nObayashi was born on 9 January 1938 in the city of Onomichi, Japan. He was the eldest son of a father who was one in a long paternal line of medical doctors. As his father was called to the battlefront during World War II, he was raised in his early infancy by his maternal grandparents. Through his childhood and adolescence Obayashi followed many artistic pursuits including drawing, writing, playing the piano, and a growing interest in animation and film.\nIn 1955 Obayashi, at the urging of his father, began procedures to enter medical school and become a doctor. However, he shortly thereafter abandoned this initiative partway through an entrance examination in order to follow his artistic interests. In 1956 he was accepted to the liberal arts department of Seijo University where he began to work with 8 and 16mm film. Toward the end of his stay at the university Obayashi began working on a series of experimental films. Along with works by other filmmakers such as Shuji Terayama and Donald Richie, Obayshi's films would develop the tone of Japanese experimental cinema through the 1960s. In these early experimental films Obayashi employed a number of avant-garde techniques that he would carry into his later mainstream work. Though these films tended to be of a personal nature, they received public viewership due to distribution by the Art Theatre Guild.\nFollowing his departure from university, Obayashi continued to work on his experimental films while earning a living as a director in the new field of television advertisements. Obayashi's TV commercials had a visual appeal similar to that of his experimental works. In the 1970s he began a series of Japanese ads featuring well-known American stars such as Kirk Douglas and Charles Bronson. Obayashi began directing feature films starting in 1977 with the horror comedy House. The film employed a mixture of trick photography and avant-garde techniques to achieve its distinctive, surreal visuals. Through the 1980s and onwards he continued to make feature films and broadened his mainstream appeal. He has become particularly well known for his coming-of-age movies: films such as Exchange Students (1982) and Chizuko's Younger Sister (1991) have prominent coming-of-age themes while still maintaining surreal fantasy elements and Obayashi's distinct visual flair.\nHis 1988 film The Discarnates was entered into the 16th Moscow International Film Festival.[1] His 1998 film Sada was entered into the 48th Berlin International Film Festival","bio_dates":"b. 1938"},{"slug":"obayashi_nobuhiko_1963_tabeta_hito","ok":true,"partial":false,"title":"Tabeta Hito","artist":"Nobuhiko Obayashi","year":"1963","startOffset":0,"sourceSecs":1417.728,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":88315374,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1963_tabeta_hito/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1963_tabeta_hito/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obayashi_nobuhiko_1963_tabeta_hito.mp4","hasFrames":true,"description":"A meditation on eating people and quiet waitresses.","artist_bio":"Nobuhiko Obayashi is a Japanese director, screenwriter and editor of films and television advertisements who is well known for his surreal visual style. He began his career as a pioneering figure in Japanese experimental film during the 1960s before transitioning to directing more mainstream works such as television and feature films. Though he remains mostly unknown outside of Japan, he has made many films in his 50 years of working with the medium.\nObayashi was born on 9 January 1938 in the city of Onomichi, Japan. He was the eldest son of a father who was one in a long paternal line of medical doctors. As his father was called to the battlefront during World War II, he was raised in his early infancy by his maternal grandparents. Through his childhood and adolescence Obayashi followed many artistic pursuits including drawing, writing, playing the piano, and a growing interest in animation and film.\nIn 1955 Obayashi, at the urging of his father, began procedures to enter medical school and become a doctor. However, he shortly thereafter abandoned this initiative partway through an entrance examination in order to follow his artistic interests. In 1956 he was accepted to the liberal arts department of Seijo University where he began to work with 8 and 16mm film. Toward the end of his stay at the university Obayashi began working on a series of experimental films. Along with works by other filmmakers such as Shuji Terayama and Donald Richie, Obayshi's films would develop the tone of Japanese experimental cinema through the 1960s. In these early experimental films Obayashi employed a number of avant-garde techniques that he would carry into his later mainstream work. Though these films tended to be of a personal nature, they received public viewership due to distribution by the Art Theatre Guild.\nFollowing his departure from university, Obayashi continued to work on his experimental films while earning a living as a director in the new field of television advertisements. Obayashi's TV commercials had a visual appeal similar to that of his experimental works. In the 1970s he began a series of Japanese ads featuring well-known American stars such as Kirk Douglas and Charles Bronson. Obayashi began directing feature films starting in 1977 with the horror comedy House. The film employed a mixture of trick photography and avant-garde techniques to achieve its distinctive, surreal visuals. Through the 1980s and onwards he continued to make feature films and broadened his mainstream appeal. He has become particularly well known for his coming-of-age movies: films such as Exchange Students (1982) and Chizuko's Younger Sister (1991) have prominent coming-of-age themes while still maintaining surreal fantasy elements and Obayashi's distinct visual flair.\nHis 1988 film The Discarnates was entered into the 16th Moscow International Film Festival.[1] His 1998 film Sada was entered into the 48th Berlin International Film Festival","bio_dates":"b. 1938"},{"slug":"obayashi_nobuhiko_1964_complexe","ok":true,"partial":false,"title":"Complexe Hito","artist":"Nobuhiko Obayashi","year":"1964","startOffset":0,"sourceSecs":854.101,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":56995934,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1964_complexe/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1964_complexe/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obayashi_nobuhiko_1964_complexe.mp4","hasFrames":true,"description":"1964, 14'', 16mm, coul.<br/> An experimental arthouse short that manages to be thoroughly entertaining while simultaneously poking fun at the pretentiousness of the stereotypical experimental arthouse short.","artist_bio":"Nobuhiko Obayashi is a Japanese director, screenwriter and editor of films and television advertisements who is well known for his surreal visual style. He began his career as a pioneering figure in Japanese experimental film during the 1960s before transitioning to directing more mainstream works such as television and feature films. Though he remains mostly unknown outside of Japan, he has made many films in his 50 years of working with the medium.\nObayashi was born on 9 January 1938 in the city of Onomichi, Japan. He was the eldest son of a father who was one in a long paternal line of medical doctors. As his father was called to the battlefront during World War II, he was raised in his early infancy by his maternal grandparents. Through his childhood and adolescence Obayashi followed many artistic pursuits including drawing, writing, playing the piano, and a growing interest in animation and film.\nIn 1955 Obayashi, at the urging of his father, began procedures to enter medical school and become a doctor. However, he shortly thereafter abandoned this initiative partway through an entrance examination in order to follow his artistic interests. In 1956 he was accepted to the liberal arts department of Seijo University where he began to work with 8 and 16mm film. Toward the end of his stay at the university Obayashi began working on a series of experimental films. Along with works by other filmmakers such as Shuji Terayama and Donald Richie, Obayshi's films would develop the tone of Japanese experimental cinema through the 1960s. In these early experimental films Obayashi employed a number of avant-garde techniques that he would carry into his later mainstream work. Though these films tended to be of a personal nature, they received public viewership due to distribution by the Art Theatre Guild.\nFollowing his departure from university, Obayashi continued to work on his experimental films while earning a living as a director in the new field of television advertisements. Obayashi's TV commercials had a visual appeal similar to that of his experimental works. In the 1970s he began a series of Japanese ads featuring well-known American stars such as Kirk Douglas and Charles Bronson. Obayashi began directing feature films starting in 1977 with the horror comedy House. The film employed a mixture of trick photography and avant-garde techniques to achieve its distinctive, surreal visuals. Through the 1980s and onwards he continued to make feature films and broadened his mainstream appeal. He has become particularly well known for his coming-of-age movies: films such as Exchange Students (1982) and Chizuko's Younger Sister (1991) have prominent coming-of-age themes while still maintaining surreal fantasy elements and Obayashi's distinct visual flair.\nHis 1988 film The Discarnates was entered into the 16th Moscow International Film Festival.[1] His 1998 film Sada was entered into the 48th Berlin International Film Festival","bio_dates":"b. 1938"},{"slug":"obayashi_nobuhiko_1966_emotion","ok":true,"partial":false,"title":"Emotion","artist":"Nobuhiko Obayashi","year":"1966","startOffset":0,"sourceSecs":2352.896,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":141073542,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1966_emotion/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1966_emotion/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obayashi_nobuhiko_1966_emotion.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/obayashi_nobuhiko_1966_emotion/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/obayashi_nobuhiko_1966_emotion/main/master.m3u8?v=2","hasMainHls":true,"description":"Emotion (1966) es quizás su trabajo más extremo y el que condensa los recursos que estuvo usando en estos primeros cinco años: stop motion, montaje fragmentado, música pop, de clara inspiración del fotograma parpadeo aquí muy a lo Godard. El filme abre con un aviso, una fotografía de Roger Vadim y un fotograma de Et mourir de plaisir (1960), señalando el homenaje a este film de vampirismo y de lesbianismo softcore. Dos adolescentes acaban de conocerse y atraerse pero la intromisión de un tercero, que se vuelve amante de una de ellas, abre la vía para la presencia de un vampiro que lleva todo a la disolución. Basada inevitablemente en la película de Vadim, a la que rinde homenaje ,y en Carmilla de Joseph Sheridan LeFanu, Emtion es una cinta de juventud, de jóvenes en su libre albedrío y en ejercicio de su libertad pasional. Pero Obayashi, quien en ningún caso filma con solemnidad, aprovecha este triángulo amoroso para ejercer todo un imaginario del deseo a través de artilugios completos de humor e ironía: un vampiro que absorbe sangre de sus víctimas con la ayuda de un diente sorbete, sombrillas de color rojo que simbolizan lo virginal, un duelo de rivales como si se tratara de un western.","artist_bio":"Nobuhiko Obayashi is a Japanese director, screenwriter and editor of films and television advertisements who is well known for his surreal visual style. He began his career as a pioneering figure in Japanese experimental film during the 1960s before transitioning to directing more mainstream works such as television and feature films. Though he remains mostly unknown outside of Japan, he has made many films in his 50 years of working with the medium.\nObayashi was born on 9 January 1938 in the city of Onomichi, Japan. He was the eldest son of a father who was one in a long paternal line of medical doctors. As his father was called to the battlefront during World War II, he was raised in his early infancy by his maternal grandparents. Through his childhood and adolescence Obayashi followed many artistic pursuits including drawing, writing, playing the piano, and a growing interest in animation and film.\nIn 1955 Obayashi, at the urging of his father, began procedures to enter medical school and become a doctor. However, he shortly thereafter abandoned this initiative partway through an entrance examination in order to follow his artistic interests. In 1956 he was accepted to the liberal arts department of Seijo University where he began to work with 8 and 16mm film. Toward the end of his stay at the university Obayashi began working on a series of experimental films. Along with works by other filmmakers such as Shuji Terayama and Donald Richie, Obayshi's films would develop the tone of Japanese experimental cinema through the 1960s. In these early experimental films Obayashi employed a number of avant-garde techniques that he would carry into his later mainstream work. Though these films tended to be of a personal nature, they received public viewership due to distribution by the Art Theatre Guild.\nFollowing his departure from university, Obayashi continued to work on his experimental films while earning a living as a director in the new field of television advertisements. Obayashi's TV commercials had a visual appeal similar to that of his experimental works. In the 1970s he began a series of Japanese ads featuring well-known American stars such as Kirk Douglas and Charles Bronson. Obayashi began directing feature films starting in 1977 with the horror comedy House. The film employed a mixture of trick photography and avant-garde techniques to achieve its distinctive, surreal visuals. Through the 1980s and onwards he continued to make feature films and broadened his mainstream appeal. He has become particularly well known for his coming-of-age movies: films such as Exchange Students (1982) and Chizuko's Younger Sister (1991) have prominent coming-of-age themes while still maintaining surreal fantasy elements and Obayashi's distinct visual flair.\nHis 1988 film The Discarnates was entered into the 16th Moscow International Film Festival.[1] His 1998 film Sada was entered into the 48th Berlin International Film Festival","bio_dates":"b. 1938"},{"slug":"obayashi_nobuhiko_1968_confession_iphone","ok":true,"partial":false,"title":"Confession","artist":"Nobuhiko Obayashi","year":"1968","startOffset":0,"sourceSecs":4262.082,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":248359985,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1968_confession_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obayashi_nobuhiko_1968_confession_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obayashi_nobuhiko_1968_confession_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/obayashi_nobuhiko_1968_confession_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/obayashi_nobuhiko_1968_confession_iphone/main/master.m3u8?v=2","hasMainHls":true,"artist_bio":"Nobuhiko Obayashi is a Japanese director, screenwriter and editor of films and television advertisements who is well known for his surreal visual style. He began his career as a pioneering figure in Japanese experimental film during the 1960s before transitioning to directing more mainstream works such as television and feature films. Though he remains mostly unknown outside of Japan, he has made many films in his 50 years of working with the medium.\nObayashi was born on 9 January 1938 in the city of Onomichi, Japan. He was the eldest son of a father who was one in a long paternal line of medical doctors. As his father was called to the battlefront during World War II, he was raised in his early infancy by his maternal grandparents. Through his childhood and adolescence Obayashi followed many artistic pursuits including drawing, writing, playing the piano, and a growing interest in animation and film.\nIn 1955 Obayashi, at the urging of his father, began procedures to enter medical school and become a doctor. However, he shortly thereafter abandoned this initiative partway through an entrance examination in order to follow his artistic interests. In 1956 he was accepted to the liberal arts department of Seijo University where he began to work with 8 and 16mm film. Toward the end of his stay at the university Obayashi began working on a series of experimental films. Along with works by other filmmakers such as Shuji Terayama and Donald Richie, Obayshi's films would develop the tone of Japanese experimental cinema through the 1960s. In these early experimental films Obayashi employed a number of avant-garde techniques that he would carry into his later mainstream work. Though these films tended to be of a personal nature, they received public viewership due to distribution by the Art Theatre Guild.\nFollowing his departure from university, Obayashi continued to work on his experimental films while earning a living as a director in the new field of television advertisements. Obayashi's TV commercials had a visual appeal similar to that of his experimental works. In the 1970s he began a series of Japanese ads featuring well-known American stars such as Kirk Douglas and Charles Bronson. Obayashi began directing feature films starting in 1977 with the horror comedy House. The film employed a mixture of trick photography and avant-garde techniques to achieve its distinctive, surreal visuals. Through the 1980s and onwards he continued to make feature films and broadened his mainstream appeal. He has become particularly well known for his coming-of-age movies: films such as Exchange Students (1982) and Chizuko's Younger Sister (1991) have prominent coming-of-age themes while still maintaining surreal fantasy elements and Obayashi's distinct visual flair.\nHis 1988 film The Discarnates was entered into the 16th Moscow International Film Festival.[1] His 1998 film Sada was entered into the 48th Berlin International Film Festival","bio_dates":"b. 1938"},{"slug":"obrist_hans_ulrich_arkipelagtv","ok":true,"partial":false,"title":"Arkipelag TV","artist":"Hans Ulrich Obrist","year":"2000","startOffset":0,"sourceSecs":970.24,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":59234732,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obrist_hans_ulrich_arkipelagtv/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/obrist_hans_ulrich_arkipelagtv/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/obrist_hans_ulrich_arkipelagtv.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/obrist_hans_ulrich_arkipelagtv/main.mp4?v=2","description":"<b>ARKIPELAG TV</b> <br/><br/> A Project by Hans Ulrich Obrist <br/><br/> Arkipelag was the first largest project focusing on contemporary art within the framework of Stockholm cultural capital of Europe 1998. Approximately 40 Arkipelag exhibitions were presented at seven museums over the course of one year. Every month for one year ARKIPELAG TV showed the work of one artist especially commissioned to create a one-minute video piece. The works were broadcasted daily on SVT, Swedish national televisions’ channels 1 and 2, randomly and with no prior introduction. <br/><br/> Contents. <br/><br/> * Alexander Kluge, Eisenstein, 1998<br/> * Douglas Gordon, A Moment's Silence (For Someone Close to You), 1998<br/> * Rosemarie Trockel, Remix '98, 1998<br/> * Fabrice Hybert, Vous < * Bjarne Melgaard, Penguin, 1998<br/> * Christoph Schlingensief, Chance 2000, 1998<br/> * Dan Graham, Star of David, Buchberg Castle, Austria, 1996<br/> * Christian Boltanski, Sans titre, 1998<br/> * Fabio Mauri, Il televisore che piange, 1972<br/> * CM von Hausswolff & Aris Fioretos, For Miss Clock (A Declaration of Love), 1998<br/> * Pipilotti Rist, Regen Spot Sverige<br/> * Pierre Huyghe, Le Naufragé, 1998<br/> * Marijke van Warmerdam, Another Planet, 1998","artist_bio":"Hans-Ulrich Obrist (born 1968) is an art curator, critic and historian of art. He is Co-director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, London. Obrist is the author of The Interview Project, an extensive ongoing project of interviews. He is also co-editor of the Cahiers d'art revue.\nHans Ulrich Obrist & Rirkrit Tiravanija\nHurricane\n7pp (2009) [PDF, 212k]","bio_dates":"b. 1968"},{"slug":"odenbach_marcel_as_if_memories_could_deceive_me_1986","ok":true,"partial":false,"title":"As If Memories Could Deceive Me","artist":"Marcel Odenbach","year":"1986","startOffset":0,"sourceSecs":1055.68,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":176444685,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/odenbach_marcel_as_if_memories_could_deceive_me_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/odenbach_marcel_as_if_memories_could_deceive_me_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/odenbach_marcel_as_if_memories_could_deceive_me_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/odenbach_marcel_as_if_memories_could_deceive_me_1986/main.mp4?v=2","description":"1986, 17:29 min, b&w and color, sound <br/><br/> In <i>As if Memories Could Deceive Me,</i> a piano keyboard, symbol of German bourgeois tradition, is the metaphorical ground upon which Odenbach devises a dynamic associative discourse on the construction of personal and cultural identity. A haunted theater of collective and subjective memory is constructed from archival film and mass media representations. Signifiers of German history and cultural heritage — Wagnerian opera, Hitler's rallies, the Nuremberg trials, Bavarian folk dancers — are orchestrated and conjoined on the screen with male fashion iconography and autobiographical references. From ornate, 19th-century Baroque architecture to a contemporary menswear emporium, the artist traces an historical trajectory of cultural excess. Confronting his bourgeois German past, Odenbach achieves a personal history that questions the construction of identity within this cultural context. <i>Conceived/Directed/Edited: Marcel Odenbach. Featuring: The New England Conservatory Symphony Orchestra. Conductor: Piero Bellugi. Pianist: Andrew Newberg. Music: Robert Schumann, F. Marshall &amp; U. Timmermann. Coordinating Producer: Kathy Rae Huffman. Camera: James Griebsch. Sound: Sam Negri. On- line Editor: Daniel McCabe. A Co-Production of the Goethe Institute, Boston and The Contemporary Art Television (CAT) Fund.</i> <a href=\"http://www.eai.org/title.htm?id=3639\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1953"},{"slug":"odenbach_marcel_dans_la_vision_peripherique_du_temoin_1986","ok":true,"partial":false,"title":"Dans la vision peripherique du temoin","artist":"Marcel Odenbach","year":"1986","startOffset":0.4,"sourceSecs":825.045,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":147469591,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/odenbach_marcel_dans_la_vision_peripherique_du_temoin_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/odenbach_marcel_dans_la_vision_peripherique_du_temoin_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/odenbach_marcel_dans_la_vision_peripherique_du_temoin_1986.mp4","hasFrames":true,"description":"1986, 13:33 min, b&w and color, sound <br/><br/> Shot on location at Versailles and in Paris, Dans la vision peripherique du temoin unfolds as a provocative inquiry into the psychological and cultural apparatus of vision — seeing and being seen, voyeurism and narcissism, the gaze and the self. The screen is divided into three vertical panels, creating a formal composition of simultaneous imagery. Collapsing public and private vision, Odenbach presents a costume drama in the palace at Versailles, views of everyday Parisian life, a philosophical dialogue between a young and an old man, urban architecture, Hollywood film scenes. Within the triptych, the artist himself is seen running through lanes of traffic. This work was originally produced as a three-channel, multi-media installation for the Centre Georges Pompidou in Paris. <br/><br/> With: Jean-Pierre Daroussin, Claude-Antoine Leroy. Camera: Marcel Odenbach. Script: Michele Perbet. Music: Bach, Gershwin, Liszt, Simply Red, Bob Moses. Sound: Nicolas Joly. A production of Centre Georges Pompidou, Musee National d'Art Moderne. -- <a href=\"http://www.eai.org/titleOrderingFees.htm?id=3863\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Der Widerspruch der Erinnerung [The Contradiction of Memories] (1982)\nSince the mid-1970s, Marcel Odenbach has produced an extensive body of tapes, performances, drawings and installations, and has gained recognition as one of Germany's most important artists working in video. His works engage in a provocative discourse on the construction of self in relation to historical and cultural representation.\nFor Odenbach, identity is defined in the elusive realm of vision Ñ seeing and being seen. Positioning himself, and thus the spectator, in the role of observer, witness, or voyeur, he undertakes a highly charged inquiry into subjectivity within the context of personal and cultural memory, individual and collective history, past and present.\nProbing the construction of the self in relation to the psychological and the cultural, from male identity and sexuality to the trauma of German history, Odenbach creates a symbolic theater of memory that includes autobiographical references and appropriated cinematic, archival and mass media images. In many of his tapes, he employs a signature formal strategy as a metaphorical construct, masking or dividing the screen into horizontal or vertical panels, a distancing device that at once limits and expands the field of vision, reveals and conceals. Enigmatic, fragmentary images, glimpsed through censoring black bands or rhythmically juxtaposed in panelled triptychs, create systems of meaning that suggest subconscious associative chains.\nEmploying a succinct economy of means, works such as\nThe Distance Between Myself and My Losses\n(1983) articulate rich metaphors for the elusiveness of vision and self-knowledge, positioning identity and desire in a tense relation to history and culture. Odenbach typically juxtaposes emblems of German \"high\" cultural and historical mythologies Ñ classical and Romantic music and opera, Western literature, art history and architecture, archival films Ñ with subjective references, non-Western music and objects, and images from Hollywood cinema and popular media culture. In\nAs if Memories Could Deceive Me\n(1986), a piano keyboard, symbol of German bourgeois traditions, is the metaphorical ground upon which he constructs a dynamic discourse of personal and cultural identity, through representations from the Nazi era to contemporary fashion photography. Throughout these works, the always discernible if fragmented physical presence of the artist himself informs his intense and intimate gaze into the self.\nMarcel Odenbach was born in 1953 in Germany. He studied art history, architecture and semiotics in Aachen, Germany. From 1992-98, he was Professor at the Staatliche Hochschule fŸr Gestaltung in Karlsruhe. Recipient of the prestigious First Marler Video Art Award in 1984, Odenbach won the Grand Prize at the Locarno Video Festival in the same year. In 1987 he was commissioned by the Centre Georges Pompidou in Paris to produce an installation. Odenbach's videotapes and installations have been exhibited widely at festivals and institutions throughout the world, including group exhibitions at Stedelijk Museum, Amsterdam; The Museum of Modern Art, New York; Documentas 6 and 8, Kassel, Germany; Kunsthaus, Zurich; Neuer Berliner Kunstverein, Berlin; and DuMont Kunsthalle, Cologne. His one-person exhibitions include the New Museum of Contemporary Art, New York; IVAM, Centro Julio Gonzales, Valencia, Spain; Kšlnishcher Kunstverein, Cologne, Germany; Galerie fŸr Zeitgenšssische Kunst, Leipzig, Germany; Walter Phillips Gallery, Banff, Canada; Museum Folkwang, Essen, Germany; The Institute of Contemporary Art, Boston; Centre Georges Pompidou, Paris; Badischer Kunstverein, Karlsruhe, Germany; Musee d'Art Contemporain, Montreal; and Reina Sofia, Madrid. Odenbach currently lives in Cologne. [\nText written and researched by Electronic Arts Intermix.\n]","bio_dates":"b. 1953"},{"slug":"odenbach_marcel_der_widerspruch_der_erinnerungen_1982","ok":true,"partial":false,"title":"Der Widerspruch der Erinnerung [The Contradiction of Memories]","artist":"Marcel Odenbach","year":"1982","startOffset":0,"sourceSecs":784.448,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":140473965,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/odenbach_marcel_der_widerspruch_der_erinnerungen_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/odenbach_marcel_der_widerspruch_der_erinnerungen_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/odenbach_marcel_der_widerspruch_der_erinnerungen_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/odenbach_marcel_der_widerspruch_der_erinnerungen_1982/main.mp4?v=2","description":"Runtime: 13 minutes<br/> <br/> Chains of associations along a drive, set to the rhythm of a Steve Reich composition. Reality and imagination alternate with one another; caesuras mark looses of information and simultaneously allow new memories to emerge. Or, also: the story of a friendship (with Rudolf), the interchangeable, or double identity of both friends, the interchangeability of their actions.","artist_bio":"Der Widerspruch der Erinnerung [The Contradiction of Memories] (1982)\nSince the mid-1970s, Marcel Odenbach has produced an extensive body of tapes, performances, drawings and installations, and has gained recognition as one of Germany's most important artists working in video. His works engage in a provocative discourse on the construction of self in relation to historical and cultural representation.\nFor Odenbach, identity is defined in the elusive realm of vision Ñ seeing and being seen. Positioning himself, and thus the spectator, in the role of observer, witness, or voyeur, he undertakes a highly charged inquiry into subjectivity within the context of personal and cultural memory, individual and collective history, past and present.\nProbing the construction of the self in relation to the psychological and the cultural, from male identity and sexuality to the trauma of German history, Odenbach creates a symbolic theater of memory that includes autobiographical references and appropriated cinematic, archival and mass media images. In many of his tapes, he employs a signature formal strategy as a metaphorical construct, masking or dividing the screen into horizontal or vertical panels, a distancing device that at once limits and expands the field of vision, reveals and conceals. Enigmatic, fragmentary images, glimpsed through censoring black bands or rhythmically juxtaposed in panelled triptychs, create systems of meaning that suggest subconscious associative chains.\nEmploying a succinct economy of means, works such as\nThe Distance Between Myself and My Losses\n(1983) articulate rich metaphors for the elusiveness of vision and self-knowledge, positioning identity and desire in a tense relation to history and culture. Odenbach typically juxtaposes emblems of German \"high\" cultural and historical mythologies Ñ classical and Romantic music and opera, Western literature, art history and architecture, archival films Ñ with subjective references, non-Western music and objects, and images from Hollywood cinema and popular media culture. In\nAs if Memories Could Deceive Me\n(1986), a piano keyboard, symbol of German bourgeois traditions, is the metaphorical ground upon which he constructs a dynamic discourse of personal and cultural identity, through representations from the Nazi era to contemporary fashion photography. Throughout these works, the always discernible if fragmented physical presence of the artist himself informs his intense and intimate gaze into the self.\nMarcel Odenbach was born in 1953 in Germany. He studied art history, architecture and semiotics in Aachen, Germany. From 1992-98, he was Professor at the Staatliche Hochschule fŸr Gestaltung in Karlsruhe. Recipient of the prestigious First Marler Video Art Award in 1984, Odenbach won the Grand Prize at the Locarno Video Festival in the same year. In 1987 he was commissioned by the Centre Georges Pompidou in Paris to produce an installation. Odenbach's videotapes and installations have been exhibited widely at festivals and institutions throughout the world, including group exhibitions at Stedelijk Museum, Amsterdam; The Museum of Modern Art, New York; Documentas 6 and 8, Kassel, Germany; Kunsthaus, Zurich; Neuer Berliner Kunstverein, Berlin; and DuMont Kunsthalle, Cologne. His one-person exhibitions include the New Museum of Contemporary Art, New York; IVAM, Centro Julio Gonzales, Valencia, Spain; Kšlnishcher Kunstverein, Cologne, Germany; Galerie fŸr Zeitgenšssische Kunst, Leipzig, Germany; Walter Phillips Gallery, Banff, Canada; Museum Folkwang, Essen, Germany; The Institute of Contemporary Art, Boston; Centre Georges Pompidou, Paris; Badischer Kunstverein, Karlsruhe, Germany; Musee d'Art Contemporain, Montreal; and Reina Sofia, Madrid. Odenbach currently lives in Cologne. [\nText written and researched by Electronic Arts Intermix.\n]","bio_dates":"b. 1953"},{"slug":"odenbach_marcel_die_distanz_zwischen_mir_und_meinen_verlusten_1983","ok":true,"partial":false,"title":"Die Distanz zwischen mir und meinen Verlusten","artist":"Marcel Odenbach","year":"1983","startOffset":0,"sourceSecs":619.285,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":112394460,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/odenbach_marcel_die_distanz_zwischen_mir_und_meinen_verlusten_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/odenbach_marcel_die_distanz_zwischen_mir_und_meinen_verlusten_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/odenbach_marcel_die_distanz_zwischen_mir_und_meinen_verlusten_1983.mp4","hasFrames":true,"description":"1983, 10:11 min, color, sound <br/> In this startlingly original and highly charged work, Odenbach locates the construction of self and identity in the realm of vision, creating an enigmatic memory theater of popular and historical representation. The Romantic opera of Schubert's <i>Erl King</i> alternates with Burundi funeral songs as the dark musical accompaniment to this inquiry into personal and cultural loss and desire. Using a formal distancing device, Odenbach masks the screen with horizontal and vertical bands of black, allowing the viewer the partially blocked vision of a voyeur. The fragmented slivers of visible images — archival footage that suggests a Leni Riefenstahl film, pornographic film, playing cards, ambiguous objects manipulated by Odenbach — are rendered even more provocative by the censoring force of the black bands. While the concealing panels frustrate vision, the elusive images that are revealed suggest the existence of another reality \"beneath\" the surface — memory? the subconscious? Odenbach positions identity in a tense relation to history, culture and sexuality, where the self is only partially visible and partially knowable. <i>Scenario/Sound/Editor: Marcel Odenbach. Music: \"Der Erl Koenig,\" Schubert; \"Chant Avec Cithare,\" Burundi.</i> -- <a href=\"http://www.eai.org/titleOrderingFees.htm?id=3809\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational material","artist_bio":"Der Widerspruch der Erinnerung [The Contradiction of Memories] (1982)\nSince the mid-1970s, Marcel Odenbach has produced an extensive body of tapes, performances, drawings and installations, and has gained recognition as one of Germany's most important artists working in video. His works engage in a provocative discourse on the construction of self in relation to historical and cultural representation.\nFor Odenbach, identity is defined in the elusive realm of vision Ñ seeing and being seen. Positioning himself, and thus the spectator, in the role of observer, witness, or voyeur, he undertakes a highly charged inquiry into subjectivity within the context of personal and cultural memory, individual and collective history, past and present.\nProbing the construction of the self in relation to the psychological and the cultural, from male identity and sexuality to the trauma of German history, Odenbach creates a symbolic theater of memory that includes autobiographical references and appropriated cinematic, archival and mass media images. In many of his tapes, he employs a signature formal strategy as a metaphorical construct, masking or dividing the screen into horizontal or vertical panels, a distancing device that at once limits and expands the field of vision, reveals and conceals. Enigmatic, fragmentary images, glimpsed through censoring black bands or rhythmically juxtaposed in panelled triptychs, create systems of meaning that suggest subconscious associative chains.\nEmploying a succinct economy of means, works such as\nThe Distance Between Myself and My Losses\n(1983) articulate rich metaphors for the elusiveness of vision and self-knowledge, positioning identity and desire in a tense relation to history and culture. Odenbach typically juxtaposes emblems of German \"high\" cultural and historical mythologies Ñ classical and Romantic music and opera, Western literature, art history and architecture, archival films Ñ with subjective references, non-Western music and objects, and images from Hollywood cinema and popular media culture. In\nAs if Memories Could Deceive Me\n(1986), a piano keyboard, symbol of German bourgeois traditions, is the metaphorical ground upon which he constructs a dynamic discourse of personal and cultural identity, through representations from the Nazi era to contemporary fashion photography. Throughout these works, the always discernible if fragmented physical presence of the artist himself informs his intense and intimate gaze into the self.\nMarcel Odenbach was born in 1953 in Germany. He studied art history, architecture and semiotics in Aachen, Germany. From 1992-98, he was Professor at the Staatliche Hochschule fŸr Gestaltung in Karlsruhe. Recipient of the prestigious First Marler Video Art Award in 1984, Odenbach won the Grand Prize at the Locarno Video Festival in the same year. In 1987 he was commissioned by the Centre Georges Pompidou in Paris to produce an installation. Odenbach's videotapes and installations have been exhibited widely at festivals and institutions throughout the world, including group exhibitions at Stedelijk Museum, Amsterdam; The Museum of Modern Art, New York; Documentas 6 and 8, Kassel, Germany; Kunsthaus, Zurich; Neuer Berliner Kunstverein, Berlin; and DuMont Kunsthalle, Cologne. His one-person exhibitions include the New Museum of Contemporary Art, New York; IVAM, Centro Julio Gonzales, Valencia, Spain; Kšlnishcher Kunstverein, Cologne, Germany; Galerie fŸr Zeitgenšssische Kunst, Leipzig, Germany; Walter Phillips Gallery, Banff, Canada; Museum Folkwang, Essen, Germany; The Institute of Contemporary Art, Boston; Centre Georges Pompidou, Paris; Badischer Kunstverein, Karlsruhe, Germany; Musee d'Art Contemporain, Montreal; and Reina Sofia, Madrid. Odenbach currently lives in Cologne. [\nText written and researched by Electronic Arts Intermix.\n]","bio_dates":"b. 1953"},{"slug":"odenbach_marcel_in_still_waters_crocodiles_lurk","ok":true,"partial":false,"title":"In Still Waters Crocodiles Lurk","artist":"Marcel Odenbach","year":"2011","startOffset":0,"sourceSecs":33.066,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":5898263,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/odenbach_marcel_in_still_waters_crocodiles_lurk/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/odenbach_marcel_in_still_waters_crocodiles_lurk/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/odenbach_marcel_in_still_waters_crocodiles_lurk.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Der Widerspruch der Erinnerung [The Contradiction of Memories] (1982)\nSince the mid-1970s, Marcel Odenbach has produced an extensive body of tapes, performances, drawings and installations, and has gained recognition as one of Germany's most important artists working in video. His works engage in a provocative discourse on the construction of self in relation to historical and cultural representation.\nFor Odenbach, identity is defined in the elusive realm of vision Ñ seeing and being seen. Positioning himself, and thus the spectator, in the role of observer, witness, or voyeur, he undertakes a highly charged inquiry into subjectivity within the context of personal and cultural memory, individual and collective history, past and present.\nProbing the construction of the self in relation to the psychological and the cultural, from male identity and sexuality to the trauma of German history, Odenbach creates a symbolic theater of memory that includes autobiographical references and appropriated cinematic, archival and mass media images. In many of his tapes, he employs a signature formal strategy as a metaphorical construct, masking or dividing the screen into horizontal or vertical panels, a distancing device that at once limits and expands the field of vision, reveals and conceals. Enigmatic, fragmentary images, glimpsed through censoring black bands or rhythmically juxtaposed in panelled triptychs, create systems of meaning that suggest subconscious associative chains.\nEmploying a succinct economy of means, works such as\nThe Distance Between Myself and My Losses\n(1983) articulate rich metaphors for the elusiveness of vision and self-knowledge, positioning identity and desire in a tense relation to history and culture. Odenbach typically juxtaposes emblems of German \"high\" cultural and historical mythologies Ñ classical and Romantic music and opera, Western literature, art history and architecture, archival films Ñ with subjective references, non-Western music and objects, and images from Hollywood cinema and popular media culture. In\nAs if Memories Could Deceive Me\n(1986), a piano keyboard, symbol of German bourgeois traditions, is the metaphorical ground upon which he constructs a dynamic discourse of personal and cultural identity, through representations from the Nazi era to contemporary fashion photography. Throughout these works, the always discernible if fragmented physical presence of the artist himself informs his intense and intimate gaze into the self.\nMarcel Odenbach was born in 1953 in Germany. He studied art history, architecture and semiotics in Aachen, Germany. From 1992-98, he was Professor at the Staatliche Hochschule fŸr Gestaltung in Karlsruhe. Recipient of the prestigious First Marler Video Art Award in 1984, Odenbach won the Grand Prize at the Locarno Video Festival in the same year. In 1987 he was commissioned by the Centre Georges Pompidou in Paris to produce an installation. Odenbach's videotapes and installations have been exhibited widely at festivals and institutions throughout the world, including group exhibitions at Stedelijk Museum, Amsterdam; The Museum of Modern Art, New York; Documentas 6 and 8, Kassel, Germany; Kunsthaus, Zurich; Neuer Berliner Kunstverein, Berlin; and DuMont Kunsthalle, Cologne. His one-person exhibitions include the New Museum of Contemporary Art, New York; IVAM, Centro Julio Gonzales, Valencia, Spain; Kšlnishcher Kunstverein, Cologne, Germany; Galerie fŸr Zeitgenšssische Kunst, Leipzig, Germany; Walter Phillips Gallery, Banff, Canada; Museum Folkwang, Essen, Germany; The Institute of Contemporary Art, Boston; Centre Georges Pompidou, Paris; Badischer Kunstverein, Karlsruhe, Germany; Musee d'Art Contemporain, Montreal; and Reina Sofia, Madrid. Odenbach currently lives in Cologne. [\nText written and researched by Electronic Arts Intermix.\n]","bio_dates":"b. 1953"},{"slug":"ok_hee_han_color_of_korea_1976","ok":true,"partial":false,"title":"Color of Korea","artist":"Han Ok-hee","year":"1976","startOffset":0,"sourceSecs":450.099,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":200364058,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ok_hee_han_color_of_korea_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ok_hee_han_color_of_korea_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ok_hee_han_color_of_korea_1976.mkv","hasFrames":true,"description":"It shows Korea's traditional colors and culture through the use of superimposing. It is an experimental film, which not only tries to show Korean traditional culture through the use of color, but also shows the modern history of Korea.","artist_bio":"Experimental film director. Born in 1948, Seoul. She started a career with Moving Image Research Group. She is the leader of the female experimental film group, Kaidu Club founded with Kim Jeom-sun, Lee Jeong-hee, and Han Soon-ae. She directed The Hole (1973), The Middle Dogs Day (1973), and Colour Of Korea (1976).","bio_dates":"b. 1948"},{"slug":"ok_hee_han_the_middle_dogs_day_1974","ok":true,"partial":false,"title":"The Middle Dogs Day","artist":"Han Ok-hee","year":"1974","startOffset":0,"sourceSecs":396.079,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":176193076,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ok_hee_han_the_middle_dogs_day_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ok_hee_han_the_middle_dogs_day_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ok_hee_han_the_middle_dogs_day_1974.mkv","hasFrames":true,"description":"Motivated from a rope, explores the various meanings implicit in the image of the rope visually and metaphorically.","artist_bio":"Experimental film director. Born in 1948, Seoul. She started a career with Moving Image Research Group. She is the leader of the female experimental film group, Kaidu Club founded with Kim Jeom-sun, Lee Jeong-hee, and Han Soon-ae. She directed The Hole (1973), The Middle Dogs Day (1973), and Colour Of Korea (1976).","bio_dates":"b. 1948"},{"slug":"ok_hee_han_untitled_77_a_1977","ok":true,"partial":false,"title":"Untitled 77-A","artist":"Han Ok-hee","year":"1977","startOffset":0,"sourceSecs":385.172,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":148146537,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ok_hee_han_untitled_77_a_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ok_hee_han_untitled_77_a_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ok_hee_han_untitled_77_a_1977.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ok_hee_han_untitled_77_a_1977/main.mp4?v=2","description":"무제 77-A The film contains the despair of an artist’s desire for creation on ruthless censorship, rebel, and anxiety in the mid-70s when it was politically and socially depressed. <br/><br/> A dynamic mosaic with monumental orchestra accompaniment shows the South Korea of the 1970s as one of the strongest economies of the region. Images of progress of the civilization and modern lifestyle interspersed with strong cultural and religious tradition make an appeal to the divided nation to unite. <br/><br/> This film reflects the gloomy social reality of the mid-1970s through the self-portrait of an artist creating a work. It addresses the artist’s inner reality and feelings including the desire for newness, inner conflict, fear of conception, and the process of painful creation.","artist_bio":"Experimental film director. Born in 1948, Seoul. She started a career with Moving Image Research Group. She is the leader of the female experimental film group, Kaidu Club founded with Kim Jeom-sun, Lee Jeong-hee, and Han Soon-ae. She directed The Hole (1973), The Middle Dogs Day (1973), and Colour Of Korea (1976).","bio_dates":"b. 1948"},{"slug":"okiishi_ken_deathandthecollegestudent","ok":true,"partial":false,"title":"Death and the College Student (1999)","artist":"Ken Okiishi","year":"1999","startOffset":0,"sourceSecs":1933.4,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":330378130,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/okiishi_ken_deathandthecollegestudent/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/okiishi_ken_deathandthecollegestudent/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/okiishi_ken_deathandthecollegestudent.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/okiishi_ken_deathandthecollegestudent/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/okiishi_ken_deathandthecollegestudent/main/master.m3u8?v=2","hasMainHls":true,"description":"In what appears to be a college dorm room, Okiishi delivers a freewheeling presentation on the martyrdoms of James Dean and especially of River Phoenix, tortured film stars who became queer icons in their untimely deaths. Readings are interspersed with half-reenacted scenes from My Own Private Idaho (1991), Gus Van Sant’s classic of New Queer Cinema; and from The Matrix (1999), the blockbuster fantasy starring Keanu Reeves -- object of gay desire in Van Sant’s film, now in the role of action star and messianic hero."},{"slug":"okiishi_ken_goodbye_to_manhattan_2010","ok":true,"partial":false,"title":"(Goodbye to) Manhattan","artist":"Ken Okiishi","year":"2010","startOffset":0,"sourceSecs":4361.065,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":253166231,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/okiishi_ken_goodbye_to_manhattan_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/okiishi_ken_goodbye_to_manhattan_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/okiishi_ken_goodbye_to_manhattan_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/okiishi_ken_goodbye_to_manhattan_2010/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/okiishi_ken_goodbye_to_manhattan_2010/main/master.m3u8?v=2","hasMainHls":true,"description":"\"Chapter One. He adored New York City,\" begins Woody Allen's 1979 <i>Manhattan</i>. \"To him it was a metaphor for the decay of contemporary culture. The same lack of individual integrity to cause so many people to take the easy way out . . .\" Allen's line may be an allusion to suicide, but one less radical departure for New York creatives has been, traditionally, to move away. With seemingly exponential increase over the past decade, asylum seekers have turned not to Brooklyn but to Berlin, inaugurating in their wake a love-hate fantasy wherein the German capital is cast as a utopian center of artistic production, and New York as a place to sell, not to make––a sexy but commercial hell. The success of Ken Okiishi's film work <i>(Goodbye to) Manhattan</i>, 2010, is its dismantling of that bipolar fantasy, of which its protagonists are ostensibly a part.Okiishi has been living between New York and Berlin since 2001, and <i>(Goodbye to) Manhattan</i> combines materials from that experience (filmed between 2006 and 2009) into a seventy-two-minute, semiautobiographical transposition of Allen's classic. Okiishi's cast of characters is pared down to <i>Manhattan</i>'s three female protagonists, interpreted by key players in the artist's actual New York/Berlin life; its script is the Google translation, into English, of the German version of Allen's original. The resultant semantic layering is mirrored in the video's sometimes vertiginous, pixelated editing; still, if there is anything neurotic here, it is only in both films' intuitive, historicized preoccupation with Germanness. Okiishi's work indulges the hysterical potential of that transatlantic transaction; its Technicolor destabilizes a black-and-white cliché. One sees a zany shopping and dining experience in West Berlin's KaDeWe department store; Manhattan meanwhile languishes under a sound track of slightly decelerated Gershwin tunes that have the metallic quality of a recording made, perhaps, in the hull of a Berlin-bound Boeing 757.<i>(Goodbye to) Manhattan</i>'s presentation in Berlin this summer, after its debut at New York's Alex Zachary Gallery earlier this year, provides an opportunity to view the work in the space in which it was partly conceived and filmed: Galerie Neu's apartment annex, where Okiishi once briefly resided. Viewers, too, thus find themselves green-screened into the film's Berlin/Manhattan hallucination––the work, after all, is about <i>you</i>. <br/><br/> -- Victoria Camblin, <i>Artforu </i>","artist_bio":"Ken Okiishi’s work reveals a fascination with the translation and migration of meaning and material in a world gone digital. His recent series of hybrid works—neither strictly paintings nor exclusively videos—derive from his experience of viewing a large abstract painting by Joan Mitchell (1925–1992) at the Museum of Modern Art, New York. Taking a picture of the work with his cell phone, he was intrigued by the immediate impact that making the photograph had on the painting as it lost its scale and materiality to a small, portable field of glowing pixels and code. The resulting series on view in the Biennial, gesture/data, connects the surfaces, screens, and gestures that paradoxically link the techniques of gestural painting with the swipes, taps, pinches, and drags that characterize the way we interact with contemporary technology. Okiishi has created this series of paintings directly on the surfaces of flatscreen televisions playing mash-ups of old analog home VHS recordings of TV shows partially recorded over with sequences from new, digitally broadcast television. Binding together the painterly trace of a brushstroke with multiple generations of electronically recorded media-derived image flows, Okiishi produces unstable, glitchy image-objects that, with a degree of humor, highlight the fragility and absurdity of our attempts to document human presence—while at the same time affirming that presence.","bio_dates":"b. 1978"},{"slug":"okiishi_ken_tellyandcasper","ok":true,"partial":false,"title":"Telly and Casper (2000)","artist":"Ken Okiishi","year":"2000","startOffset":0,"sourceSecs":1614.081,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":277590178,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/okiishi_ken_tellyandcasper/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/okiishi_ken_tellyandcasper/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/okiishi_ken_tellyandcasper.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/okiishi_ken_tellyandcasper/main.mp4?v=2","description":"(1995), Larry Clark’s melodrama about teenagers terrorizing New York City and each other. The two male protagonists of Okiishi’s film seem to be stuck negotiating the territory demarcated by Clark’s film, and rehearsing its erotic fantasies about adolescents and urban decay."},{"slug":"oldenburg_claes_fotodeath_1961","ok":true,"partial":false,"title":"Fotodeath","artist":"Claes Oldenburg","year":"1961","startOffset":0,"sourceSecs":877.995,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":146230086,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oldenburg_claes_fotodeath_1961/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oldenburg_claes_fotodeath_1961/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oldenburg_claes_fotodeath_1961.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oldenburg_claes_fotodeath_1961/main.mp4?v=2","description":"Silent 16mm film of Claes Oldenburg's 1961 Happening \"Fotodeath\".<br><br><b>DOCUMENTATION</b> <br> <a href=\"https://ubu.com/film/oldenburg/Oldenburg_Fotodeath.pdf\" rel=\"noopener\" target=\"_blank\">Oldenburg, Claes: Fotodeath</a><br/><br/><b>[PDF]</b> in: Schechner, Richard - Michael Kirby (eds.): TDR (Tulane Drama Review), Vol. 10, No. 2 (special issue), 1965 Winter, 85-93 <br><br> This UbuWeb resource was edited by Stephen McLaughlin<br><br><b>RESOURCES:</b> <br><br> <a href=\"https://ubu.com/historical/oldenburg/index.html\" rel=\"noopener\" target=\"_blank\">Claes Oldenburg in UbuWeb Historical</a><br> <a href=\"https://ubu.com/sound/oldenburg.html\" rel=\"noopener\" target=\"_blank\">Claes Oldenburg's audio in UbuWeb Sound</a><br> <a href=\"https://ubu.com/sound/art_by_telephone.html\" rel=\"noopener\" target=\"_blank\">Art by Telephone in UbuWeb Sound</a><br> <a href=\"https://ubu.com/aspen/aspen3/index.html\" rel=\"noopener\" target=\"_blank\">Aspen no. 3: The Pop Art issue</a></br></br></br></br></br></br></br></br>","artist_bio":"Claes Oldenburg's \"Ray Gun Theater\" (1962)\ndir. Raymond Saroff\nAmerican sculptor, draughtsman, printmaker, performance artist and writer of Swedish birth. He was brought from Sweden to the USA as an infant and moved with his family to Chicago in 1936 following his father’s appointment to the consulship there. Except for four years of study (1946–50) at Yale University in New Haven, CT, during which time he decided to pursue a career in art, Chicago remained his home until his move to New York in 1956. Within two years of this move, Oldenburg had become part of a group of artists who challenged Abstract Expressionism by modifying its thickly impastoed bravura paint with figurative images and found objects. Oldenburg’s first one-man show in 1959, at the Judson Gallery in New York, included figurative drawings and papier mâché sculptures. For his second show, also at the Judson Gallery, in 1960, shared with Jim Dine, Oldenburg transformed his expressionist, figurative paintings into a found-object environment, The Street; this consisted of urban debris and flat silhouetted figures, signs and objects, the ragged, blackened contours and monochrome black-brown tones of which recalled the colours and textures of the decaying urban slums.\nWithin the setting of The Street, Oldenburg staged Snapshots from the City, the first of his Happenings. These early examples of Performance Art were theatrical events that dispensed with plot, character portrayals and logical sequence in order to produce non-narrative, dream-like vignettes conceived as pictures in movement. The appropriation in these Happenings of objects and images from daily life paved the way for Oldenburg’s next group of objects, which replaced urban detritus with painted plaster versions of everyday commodities, such as White Shirt and Blue Tie and Danish Pastry (both 1961; Cologne, Mus. Ludwig). The Store, an environment first presented in a group show at the Martha Jackson Gallery in New York in 1961, took the form of brightly painted plaster reliefs and sculptures of commercial and manufactured objects.\nOldenburg’s embrace of the commodities of materialist culture as subject-matter placed him in the forefront of what became known as Pop Art; his published writings on his work are among the most vivid texts produced within the movement. The ability of materialist values to subsume everything within a commodity context became even more explicit in Oldenburg’s next version of The Store: a shopfront on New York’s East Side from which he sold plaster re-creations of foodstuffs and merchandise for two months, beginning in December 1961. With The Store, Oldenburg transferred his figurative impulses from people to objects, treating wrinkled, bumptious objects such as those displayed in Pastry Case, I (1961–2; New York, MOMA) as surrogates for the human body. As with The Street, The Store was used as the setting for a series of theatrical events from February to May 1962, including Store Days I and II.\nThe soft canvas props that Oldenburg sewed for these Happenings led to the large-scale soft sculptures unveiled in his third incarnation of The Store at the Green Gallery in New York in September 1962. Sagging and rearrangeable, sculptures such as Floor Cone (1962; New York, MOMA) were like the human body in that they were prey to gravity; this conception of sculpture as malleable presaged the development known as Soft art. By grossly enlarging the scale of this and other familiar objects, such as Floor-burger (Giant Hamburger) (1962; Toronto, A.G. Ont.), and by reversing their characteristics of hard and soft, rigid or yielding, Oldenburg created an art of parody and humour. This same displacement of characteristics persisted in his next group of works from 1964, centred on the theme of The Home. Bedroom Ensemble (5.2×6.4 m, 1963; Ottawa, N.G.; for illustration see Installation), the largest and most complex of the series, precipitated Oldenburg’s involvement with commercial fabrication. It also signalled his exploitation of geometrical volumes with hard surfaces and clean contours. Sometimes the same subject was executed in ‘hard’, ‘soft’ and ‘ghost’ versions, the latter being both soft and colourless, as a way of emphasizing its formal qualities.\nIn 1965 Oldenburg turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as Lipsticks in Piccadilly Circus, London (1966; London, Tate) or of poetic drawings in which he placed a familiar object in a landscape, making it appear colossal in relation to its setting, or by the adoption of an exaggeratedly low viewpoint, as in Proposed Chapel in the Form of a Swedish Extension Plug (crayon and watercolour, 1967; Champaign, U. IL, Krannert A. Mus.). As Oldenburg became more involved in the projects, he moved from a simple placement of gargantuan objects on to a landscape to a more studied relationship between object and site. His first colossal monument to be realized in three dimensions was Lipstick Ascending, on Caterpillar Tracks (painted Cor-Ten steel, h. 7.3 m; New Haven, CT, Yale U. A.G.), which was installed in front of the Beinecke Rare Book Library at Yale University in 1969. Although it was subsequently removed, the experience propelled Oldenburg to a more exclusive focus on the production of large-scale commissioned monuments conceived for permanent installation on public sites. One of the first of these, Giant Three-way Plug, Scale A, 1/3 (Cor-Ten steel and bronze, h. 2.97 m, 1970), sited next to the Allen Memorial Art Museum in Oberlin, OH, showed the object in fragmentary form and at an angle so as to suggest that it was half-buried under the ground; it was a development of an idea for which he had already produced various versions, including a soft version in leather and wood and a hard version in cherrywood, Giant Three-way Plug, Scale B, 3/3 (h. 1.49 m, 1970; Philadelphia, PA, Mus. A.).\nOldenburg’s commitment to a democratic art available to all led him in the late 1960s to experiments with printmaking and with the production of sculptural multiples; some of these, such as Profile Airflow (moulded polyurethane relief over lithograph, 1969; New York, MOMA), were highly innovative in their application of industrial processes to fine art techniques. From the early 1970s he concentrated almost exclusively on public commissions, in part to escape what he considered the commercial manipulation of his work by the art market but also because it seemed to him the most appropriate way of giving form to his ideas about the ‘poetry of scale’. Among his most important later monumental works, on which he collaborated from 1976 with the writer Coosje van Bruggen (b 1942), whom he married in 1977, were Giant Trowel (painted steel, h. 12 m, 1976; Otterlo, Kröller-Müller), Crusoe Umbrella (painted steel, h. 10 m, 1979; Des Moines, IA, Civ. Cent.), Screwarch (painted aluminium, h. 3.8 m, 1983; Rotterdam, Mus. Boymans–van Beuningen) and Stake Hitch (painted aluminium and plastic materials consisting of a 7.6 m stake and a rope and knot c. 12.2 m long, 1984; Dallas, TX, Mus. A.). His propensity in such works for presenting familiar objects in the form of huge truncated fragments lends them a more conceptual and increasingly abstract quality.","bio_dates":"b. 1929"},{"slug":"oldenburg_claes_ray_gun_theater","ok":true,"partial":false,"title":"Claes Oldenburg's \"Ray Gun Theater\"","artist":"Claes Oldenburg","year":"1962","startOffset":0,"sourceSecs":5117.279,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":294612914,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oldenburg_claes_ray_gun_theater/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oldenburg_claes_ray_gun_theater/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oldenburg_claes_ray_gun_theater.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oldenburg_claes_ray_gun_theater/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oldenburg_claes_ray_gun_theater/main/master.m3u8?v=2","hasMainHls":true,"description":"1 hour 25 minutes, silent, dir. Raymond Saroff <br/><br/> Early in 1962 Claes Oldenburg offered a remarkable series of ten 'Happenings' in a store on East Second Street in New York City. The audiences were kept small to heighten the intimacy of the experience. What is a 'Happening'? It would seem impossible to describe afterwards. Yet Raymond Saroff compressed the rich and sprawling imagery of each evening-length work to the essential matter in hand, reassembling a visual realization of what was seemingly consigned to the memories of its audience. All the characterizations, the unprepared transitions, the very personal rhythms with something of Saroff's own: the 'Happenings' impact on a sensitive eye, its reduction to a single and coherent point of view. -- Howard Rose (1962) <br/><br/> Featuring Claes Oldenburg, Pat Oldenburg, Lucas Samaras, Carolee Schneemann, Jackie Ferrara, Billy Kluver, Lette Eisenhauer, Johanna Lawrenson, Jean-Jacques Lebel, Oyvind Fahlstrom, Irene Fornes, John Weber, etc. in ten different performances: \"Store Days I & II\", \"Nekropolis I & II\", \"Injun I & II\", \"Voyages I & II\", and \"World's Fair I & II.\"<br><br><b>RESOURCES:</b> <br><br> <a href=\"https://ubu.com/historical/oldenburg/index.html\" rel=\"noopener\" target=\"_blank\">Claes Oldenburg in UbuWeb Historical</a><br> <a href=\"https://ubu.com/sound/oldenburg.html\" rel=\"noopener\" target=\"_blank\">Claes Oldenburg's audio in UbuWeb Sound</a><br> <a href=\"https://ubu.com/sound/art_by_telephone.html\" rel=\"noopener\" target=\"_blank\">Art by Telephone in UbuWeb Sound</a><br/> <a href=\"https://ubu.com/aspen/aspen3/index.html\" rel=\"noopener\" target=\"_blank\">Aspen no. 3: The Pop Art issue</a></br></br></br></br>","artist_bio":"Claes Oldenburg's \"Ray Gun Theater\" (1962)\ndir. Raymond Saroff\nAmerican sculptor, draughtsman, printmaker, performance artist and writer of Swedish birth. He was brought from Sweden to the USA as an infant and moved with his family to Chicago in 1936 following his father’s appointment to the consulship there. Except for four years of study (1946–50) at Yale University in New Haven, CT, during which time he decided to pursue a career in art, Chicago remained his home until his move to New York in 1956. Within two years of this move, Oldenburg had become part of a group of artists who challenged Abstract Expressionism by modifying its thickly impastoed bravura paint with figurative images and found objects. Oldenburg’s first one-man show in 1959, at the Judson Gallery in New York, included figurative drawings and papier mâché sculptures. For his second show, also at the Judson Gallery, in 1960, shared with Jim Dine, Oldenburg transformed his expressionist, figurative paintings into a found-object environment, The Street; this consisted of urban debris and flat silhouetted figures, signs and objects, the ragged, blackened contours and monochrome black-brown tones of which recalled the colours and textures of the decaying urban slums.\nWithin the setting of The Street, Oldenburg staged Snapshots from the City, the first of his Happenings. These early examples of Performance Art were theatrical events that dispensed with plot, character portrayals and logical sequence in order to produce non-narrative, dream-like vignettes conceived as pictures in movement. The appropriation in these Happenings of objects and images from daily life paved the way for Oldenburg’s next group of objects, which replaced urban detritus with painted plaster versions of everyday commodities, such as White Shirt and Blue Tie and Danish Pastry (both 1961; Cologne, Mus. Ludwig). The Store, an environment first presented in a group show at the Martha Jackson Gallery in New York in 1961, took the form of brightly painted plaster reliefs and sculptures of commercial and manufactured objects.\nOldenburg’s embrace of the commodities of materialist culture as subject-matter placed him in the forefront of what became known as Pop Art; his published writings on his work are among the most vivid texts produced within the movement. The ability of materialist values to subsume everything within a commodity context became even more explicit in Oldenburg’s next version of The Store: a shopfront on New York’s East Side from which he sold plaster re-creations of foodstuffs and merchandise for two months, beginning in December 1961. With The Store, Oldenburg transferred his figurative impulses from people to objects, treating wrinkled, bumptious objects such as those displayed in Pastry Case, I (1961–2; New York, MOMA) as surrogates for the human body. As with The Street, The Store was used as the setting for a series of theatrical events from February to May 1962, including Store Days I and II.\nThe soft canvas props that Oldenburg sewed for these Happenings led to the large-scale soft sculptures unveiled in his third incarnation of The Store at the Green Gallery in New York in September 1962. Sagging and rearrangeable, sculptures such as Floor Cone (1962; New York, MOMA) were like the human body in that they were prey to gravity; this conception of sculpture as malleable presaged the development known as Soft art. By grossly enlarging the scale of this and other familiar objects, such as Floor-burger (Giant Hamburger) (1962; Toronto, A.G. Ont.), and by reversing their characteristics of hard and soft, rigid or yielding, Oldenburg created an art of parody and humour. This same displacement of characteristics persisted in his next group of works from 1964, centred on the theme of The Home. Bedroom Ensemble (5.2×6.4 m, 1963; Ottawa, N.G.; for illustration see Installation), the largest and most complex of the series, precipitated Oldenburg’s involvement with commercial fabrication. It also signalled his exploitation of geometrical volumes with hard surfaces and clean contours. Sometimes the same subject was executed in ‘hard’, ‘soft’ and ‘ghost’ versions, the latter being both soft and colourless, as a way of emphasizing its formal qualities.\nIn 1965 Oldenburg turned his attention to drawings and projects for imaginary outdoor monuments. Initially these monuments took the form of small collages such as Lipsticks in Piccadilly Circus, London (1966; London, Tate) or of poetic drawings in which he placed a familiar object in a landscape, making it appear colossal in relation to its setting, or by the adoption of an exaggeratedly low viewpoint, as in Proposed Chapel in the Form of a Swedish Extension Plug (crayon and watercolour, 1967; Champaign, U. IL, Krannert A. Mus.). As Oldenburg became more involved in the projects, he moved from a simple placement of gargantuan objects on to a landscape to a more studied relationship between object and site. His first colossal monument to be realized in three dimensions was Lipstick Ascending, on Caterpillar Tracks (painted Cor-Ten steel, h. 7.3 m; New Haven, CT, Yale U. A.G.), which was installed in front of the Beinecke Rare Book Library at Yale University in 1969. Although it was subsequently removed, the experience propelled Oldenburg to a more exclusive focus on the production of large-scale commissioned monuments conceived for permanent installation on public sites. One of the first of these, Giant Three-way Plug, Scale A, 1/3 (Cor-Ten steel and bronze, h. 2.97 m, 1970), sited next to the Allen Memorial Art Museum in Oberlin, OH, showed the object in fragmentary form and at an angle so as to suggest that it was half-buried under the ground; it was a development of an idea for which he had already produced various versions, including a soft version in leather and wood and a hard version in cherrywood, Giant Three-way Plug, Scale B, 3/3 (h. 1.49 m, 1970; Philadelphia, PA, Mus. A.).\nOldenburg’s commitment to a democratic art available to all led him in the late 1960s to experiments with printmaking and with the production of sculptural multiples; some of these, such as Profile Airflow (moulded polyurethane relief over lithograph, 1969; New York, MOMA), were highly innovative in their application of industrial processes to fine art techniques. From the early 1970s he concentrated almost exclusively on public commissions, in part to escape what he considered the commercial manipulation of his work by the art market but also because it seemed to him the most appropriate way of giving form to his ideas about the ‘poetry of scale’. Among his most important later monumental works, on which he collaborated from 1976 with the writer Coosje van Bruggen (b 1942), whom he married in 1977, were Giant Trowel (painted steel, h. 12 m, 1976; Otterlo, Kröller-Müller), Crusoe Umbrella (painted steel, h. 10 m, 1979; Des Moines, IA, Civ. Cent.), Screwarch (painted aluminium, h. 3.8 m, 1983; Rotterdam, Mus. Boymans–van Beuningen) and Stake Hitch (painted aluminium and plastic materials consisting of a 7.6 m stake and a rope and knot c. 12.2 m long, 1984; Dallas, TX, Mus. A.). His propensity in such works for presenting familiar objects in the form of huge truncated fragments lends them a more conceptual and increasingly abstract quality.","bio_dates":"b. 1929"},{"slug":"oliveira_andre_luiz_a_fonte_aka_the_fountain_a_sculpture_a_monument_1970","ok":true,"partial":false,"title":"A Fonte aka The Fountain A Sculpture - A monument","artist":"André Luiz Oliveira","year":"1970","startOffset":0,"sourceSecs":719.253,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":130398470,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oliveira_andre_luiz_a_fonte_aka_the_fountain_a_sculpture_a_monument_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oliveira_andre_luiz_a_fonte_aka_the_fountain_a_sculpture_a_monument_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oliveira_andre_luiz_a_fonte_aka_the_fountain_a_sculpture_a_monument_1970.mp4","hasFrames":true,"description":"Here is another short by André Luiz Oliveira, this time it's a charming documentary on brazilian sculptor Mario Cravo Jr. and his fountain project. What makes the documentary interesting beyond its topic is Oliveira's unusal approach, he tells the story of the sculpture project only through sometimes psychedelic pictures and music/noise without conventional narration. about the sculpture: Quote: The site of the old Mercado Modelo is now occupied by a statue by Mario Cravo, the statue officially entitled \"Fonte da Rampa do Mercado\" (\"Fountain of the Market Ramp\") but more commonly referred to by locals as \"A Bunda\" (\"The Butt\").","artist_bio":"André Luiz Oliveira was born on February 4, 1948 in Salvador, Bahia, Brazil as André Luiz da Silveira Oliveira. He is a director and writer, known for Louco Por Cinema (1994), The Legend of Ubirajara (1975) and Meteorango Kid, Héroi Intergaláctico (1969).","bio_dates":"Brazil"},{"slug":"oliveira_andre_luiz_doce_amargo_aka_sweet_bitterness_1968","ok":true,"partial":false,"title":"Doce Amargo aka Sweet Bitterness","artist":"André Luiz Oliveira","year":"1968","startOffset":0,"sourceSecs":1033.667,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":182541298,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oliveira_andre_luiz_doce_amargo_aka_sweet_bitterness_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oliveira_andre_luiz_doce_amargo_aka_sweet_bitterness_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oliveira_andre_luiz_doce_amargo_aka_sweet_bitterness_1968.m4v","hasFrames":true,"description":"Here is a cinema marginal short by the director of Meteorango Kid André Luiz Oliveira that tells the tragic story of a street seller of sweets. The only existing print of this film is in a pretty bad shape, therfore the picture and sound are pretty rough, but it's not really a bad thing because it fits the atmosphere of the movie.","artist_bio":"André Luiz Oliveira was born on February 4, 1948 in Salvador, Bahia, Brazil as André Luiz da Silveira Oliveira. He is a director and writer, known for Louco Por Cinema (1994), The Legend of Ubirajara (1975) and Meteorango Kid, Héroi Intergaláctico (1969).","bio_dates":"b. 1948"},{"slug":"omar_arthur_congo_1972_iphone","ok":true,"partial":false,"title":"Congo","artist":"Arthur Omar","year":"1972","startOffset":0,"sourceSecs":746.865,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":51097072,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/omar_arthur_congo_1972_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/omar_arthur_congo_1972_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/omar_arthur_congo_1972_iphone.m4v","hasFrames":true,"description":"An early work of the most successful brazilian video artist.","artist_bio":"Arthur Omar (born 1948) is a Brazilian contemporary artist. Omar is a video artist, photographer, filmmaker, and installation artist.\nOmar works with cinema, video, photographic installations, music, poetry, and drawing. He also writes essays and theoretical reflections on the process of creation and the nature of images. Themes such as aesthetic ecstasy, sensory and social violence, and the creation of visual metaphors characterize his work.\nIn 1999, Omar was the subject of a complete retrospective of films and videos at the Museum of Modern Art in New York City. In 2001, additional retrospectives took place in Rio de Janeiro and São Paulo at the Centro Cultural Banco do Brasil.\nIn the 1997 edition of the São Paulo Bienal, Omar presented Anthropology of the Glorious Face, a panel consisting of 99 large-format black-and-white photographs. Some of these images are the origin of the current color series The Mechanical Skin.\nIn 2001, Omar received awards given by the Associação Paulista de Críticos de Arte for two exhibitions: The Splendor of Opposites, a series of landscape photographs of the Amazon.\nHe published the photo albums Antropologia da face gloriosa (Anthropology of the glorious face) Zen and the Glorious Art of Photography, and The Splendor of Opposites.","bio_dates":"b. 1948"},{"slug":"ondaatje_michael_clinton_special_1974","ok":true,"partial":false,"title":"The Clinton Special: A Film About the","artist":"Michael Ondaatje","year":"1974","startOffset":0,"sourceSecs":4224.467,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":243055719,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ondaatje_michael_clinton_special_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ondaatje_michael_clinton_special_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ondaatje_michael_clinton_special_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ondaatje_michael_clinton_special_1974/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ondaatje_michael_clinton_special_1974/main/master.m3u8?v=2","hasMainHls":true,"description":"Chronicles a group of actors who in 1972 went into an Ontario farming community to build a play of what they saw and learned. This famous experimental collaborative `grassroots` play by Paul Thompson and Theatre Passe Muraille brought to that community a sense of awe, delight and reflection of their own language and culture.<br/><br/> In 1972, a group of theatre folk from the Big Smoke of Toronto got it into their heads to head out into farm country of Southern Ontario to create a play about what they found there. Michael Ondaatje, Can-Lit god and Booker-Prize-Winning author of The English Patient, documented the play and made this film, “The Clinton Special,” which is, like the play itself, both a documentary and a performance. Amazingly, I can’t find any coverage or reviews of this recent release on the web; that’s too bad, because it’s really worth checking out. 70’s activist theatre is where it’s at.<br/><br/> It’s not hard to tell at any moment whether you’re seeing actors in performance, farmers in interview, or plain documentary footage. The farmers’ faces are weathered, their manner subdued, voices quiet, speech confident. The players are quite the opposite: loud, projective, exaggerated, they shout lines to the back of the hall. Armed with the confidence that we, the viewers, are capable of distinguishing these two, Ondaatje plunges in and combines live footage from the stage production of the Farm Show, re-enactments of scenes from the play, reactions of the Farm Folk themselves to the show and its production, and interviews with the actors about their experiences. Though politics as such never comes up, the slow accumulation of anecdotes about hard work, accidents, and eked subsistence add up to a powerful and useful map of southern Ontario’s socio-political situation.<br/><br/> ...<br/><br/> The Farm Show started from this vague liberal feeling, a benevolent charity in which the actors would “go to the people” and “tell their stories,” and the “The Clinton Special” is more an extension of the premise than a separate doc about it. The farmers, it appears, gave it their full cooperation, and later, the film shows us, gave standing ovations and happy feedback. But, more significantly, the process didn’t seem to include any kind of farmer’s choice in the matter. Sure, a documentary about an important subject cannot be created only with permission of the players involved. And as each individual was approached and interviewed, they no doubt had full knowledge that they could refuse to participate, thus being left out of the final production. This one-way creator-spectator and creator-subject process leaves a little something to be desired in terms of participation.<br/><br/> ...<br/><br/> The top-down control of the actors, coupled with their cozy relationship with the farmers, does distort reality in a tangible way. But in the doc, one of the actors raises another issue: he worries that their parachuting into the community for only six weeks isn’t enough time to really get below the surface. Ondaatje could have investigated this further, done his own research and compared the play with his own information, if he really was interested in interrogating the Farm Show; instead, this actor’s statement is the only hint that the process might be flawed, and Ondaatje is essentially a creative collaborator in the Farm Show’s national celebration. Ondaatje’s interviews with the farmers hardly scratch a surface. Again, it would be unlikely for anyone but a supporter to jump the hurdles of making a doc about the Farm Show, so this isn’t all that surprising. But a critical approach could have set the stage for others to build on the Farm Show and improve on the idea, instead of simply producing a propaganda piece. That would have been truer to the play’s stated objectives: examining the reality of farm life itself, rather than celebrating a bunch of city kids for being so noble as to bother about farmers. I am reminded of the 19th century Russian nihilists, who condescendingly went about in shabby garb to mix with the rural peasants, often being chased out of town by suspicious locals.<br/><br/> That being said, the emotion I felt after watching “The Clinton Special” was amazement. As much as I can critique the film and the play, the Farm Show is certainly more innovative and progressive than almost anything gracing the mainstream stage or screen today, and as a snapshot of a historical moment when theatre was breaking its conventions and reaching out for ways to be socially relevant and politically useful, this doc should be required viewing in theatre and film classes everywhere.<br><br><b>RELATED RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/goldstein.html\" rel=\"noopener\" target=\"_blank\">Michael Ondaatje in UbuWeb Sound</a>","artist_bio":"Philip Michael Ondaatje is a Sri Lankan-born Canadian novelist and poet. He won the Booker Prize for his novel The English Patient, which was adapted into an Academy Award-winning film.","bio_dates":"1943"},{"slug":"ondaatje_michael_conversations_farm_show","ok":true,"partial":false,"title":"Conversations about The Farm Show","artist":"Michael Ondaatje","year":"1943","startOffset":0,"sourceSecs":2197.2,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":129604581,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ondaatje_michael_conversations_farm_show/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ondaatje_michael_conversations_farm_show/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ondaatje_michael_conversations_farm_show.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ondaatje_michael_conversations_farm_show/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ondaatje_michael_conversations_farm_show/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>RELATED RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nichol.html\" rel=\"noopener\" target=\"_blank\">bpNichol in UbuWeb Sound</a>","artist_bio":"Philip Michael Ondaatje is a Sri Lankan-born Canadian novelist and poet. He won the Booker Prize for his novel The English Patient, which was adapted into an Academy Award-winning film.","bio_dates":"1943"},{"slug":"ondaatje_michael_interview_2003","ok":true,"partial":false,"title":"Michael Ondaatje interview by David Young","artist":"Michael Ondaatje","year":"2003","startOffset":0,"sourceSecs":1254.7,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":76695204,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ondaatje_michael_interview_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ondaatje_michael_interview_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ondaatje_michael_interview_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ondaatje_michael_interview_2003/main.mp4?v=2","description":"<b>RELATED RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/nichol.html\" rel=\"noopener\" target=\"_blank\">bpNichol in UbuWeb Sound</a>","artist_bio":"Philip Michael Ondaatje is a Sri Lankan-born Canadian novelist and poet. He won the Booker Prize for his novel The English Patient, which was adapted into an Academy Award-winning film.","bio_dates":"1943"},{"slug":"ondaatje_michael_sons_of_captain_poetry_1970","ok":true,"partial":false,"title":"The Sons of Captain Poetry","artist":"Michael Ondaatje","year":"1970","startOffset":0,"sourceSecs":1738.933,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":101995256,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ondaatje_michael_sons_of_captain_poetry_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ondaatje_michael_sons_of_captain_poetry_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ondaatje_michael_sons_of_captain_poetry_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ondaatje_michael_sons_of_captain_poetry_1970/main.mp4?v=2","description":"I've always found bpNichol so terribly loveable. His writing hums with excitement over language and living. No other poet has given me such pleasure from their playfullness with the written and spoken word. bpNichol poems and recordings can make me giggle at his silliness, and come to tears from the sincerity of his wonder at the world.<br/><br/> Sons of Captain Poetry is short portrait of the artist as a young man. bp, who died far too early at age 44, was only 26 when this film was made on him. His sense of certainty and purpose fills the frame in the course of interviews, and his daring showmanship is exhibited by his songs and poems.<br/><br/> This film gives us a small introduction to the man, and it is certainly not surprising to see that he went on to have such an intense career. What I walked away with most from this documentary was the desire to write a biography on him so that I could get the chance to know him better. -- CanCon<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/nichol.html\" rel=\"noopener\" target=\"_blank\">bpNichol in UbuWeb Sound</a></br>","artist_bio":"Philip Michael Ondaatje is a Sri Lankan-born Canadian novelist and poet. He won the Booker Prize for his novel The English Patient, which was adapted into an Academy Award-winning film.","bio_dates":"1943"},{"slug":"oneill_pat_foregrounds_1978","ok":true,"partial":false,"title":"Foregrounds","artist":"Pat O'Neill","year":"1978","startOffset":0,"sourceSecs":801,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":142819729,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oneill_pat_foregrounds_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oneill_pat_foregrounds_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oneill_pat_foregrounds_1978.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oneill_pat_foregrounds_1978/main.mp4?v=2","description":"1978, 16mm, color/so, 14m<br/> <br/>\"\"FOREGROUNDS, like SAUGUS SERIES, is devoted almost entirely to carefully constructed spatial ambiguities. The most visceral of these prints a rotating boulder, occupying half of the screen, over a slow lateral pan across the desert (painted by Neon Park). A faint superimposition of leaves on top of the landscape has the effect of pushing its vista farther back in space. Correspondingly, the boulder bulges out of the picture-plane like a Cezanne apple. The effect is so strong that even when O'Neill begins to animate 'scratches' over the image, one's eye refuses to surrender the illusion of volume.\" - J. Hoberman, The Village Voice<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","artist_bio":"Patrick O'Neill (born 1939 in Los Angeles, California) is an American independent experimental filmmaker and artist who has also worked in the special effects industry. Although his work embraces an extremely wide technical and aesthetic scope, he is perhaps best known for his startling, surrealistic, and humorous film compositions achieved through a mastery of the optical printer. His films and other artworks often reveal a complex and mysterious interest in the connections and clashes between the natural world and human civilization. O'Neill has also produced a prodigious body of work in drawing, collage, sculpture, installation, and many other media.\nHis early 16mm films include Runs Good (1970), Easyout (1971), and Down Wind (1973). His later 35mm films include Water and Power (1989), Trouble in the Image (1996), and The Decay of Fiction (2002). On December 30, 2008, Water and Power was added to the National Film Registry. Prints of O'Neill's films are held in numerous archives and museums around the world, and his complete collection resides at the Academy of Motion Picture Arts and Sciences Film Archive, where several of his short works have been preserved.[2] In 2009, Water and Power was preserved by the Academy in collaboration with O'Neill.\nHe has also taught at the California Institute of the Arts. He influenced a generation of CalArts students, who include Adam Beckett, Robert Blalack, Chris Casady, and Larry Cuba, who all later went on to work on the special effects of the original Star Wars.","bio_dates":"b. 1939"},{"slug":"oneill_pat_runsgood_1971","ok":true,"partial":false,"title":"Runs Good","artist":"Pat O'Neill","year":"1971","startOffset":0,"sourceSecs":914.614,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":160925511,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oneill_pat_runsgood_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oneill_pat_runsgood_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oneill_pat_runsgood_1971.avi","hasFrames":true,"description":"Sound: Cisko Curtis <br/><br/> A darkish journey down memory lane, to visit some news events, folkways and thought patterns associated with the late forties and early fifties. The film is also concerned with such perceptual phenomena as color-space, \"false tones\" caused by varying black-white alternations of simultaneously seen rhythms set up by multiple repetitive actions, and the use of image outlines as \"containers\" for other imagery. Sort of a working notebook, which is continued in EASYOUT and DOWN WIND. <br/><br/> Award: First Prize, Ann Arbor Film Festival, 1971 <br/><br/> 1971, 16mm, color/so, 15m<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","artist_bio":"Patrick O'Neill (born 1939 in Los Angeles, California) is an American independent experimental filmmaker and artist who has also worked in the special effects industry. Although his work embraces an extremely wide technical and aesthetic scope, he is perhaps best known for his startling, surrealistic, and humorous film compositions achieved through a mastery of the optical printer. His films and other artworks often reveal a complex and mysterious interest in the connections and clashes between the natural world and human civilization. O'Neill has also produced a prodigious body of work in drawing, collage, sculpture, installation, and many other media.\nHis early 16mm films include Runs Good (1970), Easyout (1971), and Down Wind (1973). His later 35mm films include Water and Power (1989), Trouble in the Image (1996), and The Decay of Fiction (2002). On December 30, 2008, Water and Power was added to the National Film Registry. Prints of O'Neill's films are held in numerous archives and museums around the world, and his complete collection resides at the Academy of Motion Picture Arts and Sciences Film Archive, where several of his short works have been preserved.[2] In 2009, Water and Power was preserved by the Academy in collaboration with O'Neill.\nHe has also taught at the California Institute of the Arts. He influenced a generation of CalArts students, who include Adam Beckett, Robert Blalack, Chris Casady, and Larry Cuba, who all later went on to work on the special effects of the original Star Wars.","bio_dates":"b. 1939"},{"slug":"oneill_pat_saugus_series_1974","ok":true,"partial":false,"title":"Saugus Series","artist":"Pat O'Neill","year":"1974","startOffset":0,"sourceSecs":1116.048,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":194478279,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oneill_pat_saugus_series_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oneill_pat_saugus_series_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oneill_pat_saugus_series_1974.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oneill_pat_saugus_series_1974/main.mp4?v=2","description":"Saw: Chris Casady; Key: Mort Subotnick; Blue Paint: 7-K Color Co; Mix: Don Worthen. Actually, seven short films, one-and-a-half to six minutes long, united by a common soundtrack. Each is an evolving \"still life,\" made up of meticulously assembled but spatially contradictory elements. For example, in one part the sun can be seen, by its shadows, to be traveling in one direction in the upper half of the screen, and in the opposite in the lower half.\n\nP: And so the artist must always temper his repetition of movements of forms with what might be called a certain amount of variety.\n\nB: Suppose I enlarged some of them, changed their direction, make some smaller, add dark values and lighter values ....\n\nB: There is sharp contrast, at this point, between the fan and the surrounding objects in a Great Triangle someplace perhaps a mile or a mile and a half above the surface of the Earth.\n\nP: And here we see order; order which includes omission and alternation from nature.","artist_bio":"Patrick O'Neill (born 1939 in Los Angeles, California) is an American independent experimental filmmaker and artist who has also worked in the special effects industry. Although his work embraces an extremely wide technical and aesthetic scope, he is perhaps best known for his startling, surrealistic, and humorous film compositions achieved through a mastery of the optical printer. His films and other artworks often reveal a complex and mysterious interest in the connections and clashes between the natural world and human civilization. O'Neill has also produced a prodigious body of work in drawing, collage, sculpture, installation, and many other media.\nHis early 16mm films include Runs Good (1970), Easyout (1971), and Down Wind (1973). His later 35mm films include Water and Power (1989), Trouble in the Image (1996), and The Decay of Fiction (2002). On December 30, 2008, Water and Power was added to the National Film Registry. Prints of O'Neill's films are held in numerous archives and museums around the world, and his complete collection resides at the Academy of Motion Picture Arts and Sciences Film Archive, where several of his short works have been preserved.[2] In 2009, Water and Power was preserved by the Academy in collaboration with O'Neill.\nHe has also taught at the California Institute of the Arts. He influenced a generation of CalArts students, who include Adam Beckett, Robert Blalack, Chris Casady, and Larry Cuba, who all later went on to work on the special effects of the original Star Wars.","bio_dates":"b. 1939"},{"slug":"oneill_pat_sidewinders_delta_1976","ok":true,"partial":false,"title":"Sidewinder's Delta","artist":"Pat O'Neill","year":"1976","startOffset":0,"sourceSecs":1282.014,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":221283617,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oneill_pat_sidewinders_delta_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oneill_pat_sidewinders_delta_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oneill_pat_sidewinders_delta_1976.avi","hasFrames":true,"description":"\"When a giant trowel is plunged into the floor of Monument Valley, it's as though John Ford had hired Claes Oldenburg to dress his set. The film, O'Neill's most ambitious to date, with a dreamy, narrative subtext underlying its sensuous surface, is framed by abstract animations which denote scratches or scraped-off emulsion in much the same way that Roy Lichtenstein offered a benday-dot brushstroke as a painterly gesture.\" - J. Hoberman, The Village Voice\n\n\"\"Almost every sequence in SIDEWINDER'S DELTA concludes with a rough end - punches, flares, white flashes, etc. But unlike the academy leaders of RUNS GOOD with their rhythmic, emblematic and referential functions, as well as their purely reflexive alienation effect, these glimpses of film technology in SIDEWINDER'S DELTA serve primarily to delineate and verify the conceptual unit of O'Neill's filmmaking, for we can see directly at what stage his idea was completely formulated, and in the case of some early scenes with sync-punch mattes, exactly what elements were compounded in what way to compose this particular idea structure of ideograph.\" - William Moritz","artist_bio":"Patrick O'Neill (born 1939 in Los Angeles, California) is an American independent experimental filmmaker and artist who has also worked in the special effects industry. Although his work embraces an extremely wide technical and aesthetic scope, he is perhaps best known for his startling, surrealistic, and humorous film compositions achieved through a mastery of the optical printer. His films and other artworks often reveal a complex and mysterious interest in the connections and clashes between the natural world and human civilization. O'Neill has also produced a prodigious body of work in drawing, collage, sculpture, installation, and many other media.\nHis early 16mm films include Runs Good (1970), Easyout (1971), and Down Wind (1973). His later 35mm films include Water and Power (1989), Trouble in the Image (1996), and The Decay of Fiction (2002). On December 30, 2008, Water and Power was added to the National Film Registry. Prints of O'Neill's films are held in numerous archives and museums around the world, and his complete collection resides at the Academy of Motion Picture Arts and Sciences Film Archive, where several of his short works have been preserved.[2] In 2009, Water and Power was preserved by the Academy in collaboration with O'Neill.\nHe has also taught at the California Institute of the Arts. He influenced a generation of CalArts students, who include Adam Beckett, Robert Blalack, Chris Casady, and Larry Cuba, who all later went on to work on the special effects of the original Star Wars.","bio_dates":"b. 1939"},{"slug":"oneill_pat_trouble_in_the_image_1996","ok":true,"partial":false,"title":"Trouble in the Image","artist":"Pat O'Neill","year":"1996","startOffset":0,"sourceSecs":2259.224,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":387544910,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oneill_pat_trouble_in_the_image_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oneill_pat_trouble_in_the_image_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oneill_pat_trouble_in_the_image_1996.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oneill_pat_trouble_in_the_image_1996/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oneill_pat_trouble_in_the_image_1996/main/master.m3u8?v=2","hasMainHls":true,"description":"Its title comes from the Los Angeles water district. Much of the film was shot in the Owens Valley and in an old office building in downtown LA and is metaphorically about the exchange of energy between two places. It is also about water, in all of its states, and about cyclical motion: the planets, the tides, the implied rotation of the camera on its axis, and the repetitive actions of the performers. There are also quotations from older movies and their soundtracks: at times their landscapes become continuous with those of the present. Human habitation in this wilderness is tenuous and risky.\n\n\"\"... reveals a modern city as layer over layer of experience, and makes no pretense of reducing Los Angeles to anything like a single, coherent understanding. In WATER AND POWER, LA is not merely an elaborate reality; it is a nearly overwhelming surreality.\" - Scott McDonald, Wide Angle\n\n\"\"The 'reality' animated by the film is LA; its topography and social ambiance, its myths of creation and embedding of a dream. It is surely the greatest of contemporary 'city symphonies.'\" - Paul Arthur, Moving Picture\n\n\"\"The continuous shifts and surprises that lie at the heart of the film's form make a kind of grand metaphor for the never-ending change that underlies nature, civilization and the multiply symbiotic interchanges between them.\" - Fred Camper, Chicago Reader\n\nExhibition: NY Film Festival; Berlin Film Festival; Image Forum, Tokyo; Telluride Film Festival; Sundance Film Festival; Helsinki Film Festival; Bombay Film Festival and others.","artist_bio":"Patrick O'Neill (born 1939 in Los Angeles, California) is an American independent experimental filmmaker and artist who has also worked in the special effects industry. Although his work embraces an extremely wide technical and aesthetic scope, he is perhaps best known for his startling, surrealistic, and humorous film compositions achieved through a mastery of the optical printer. His films and other artworks often reveal a complex and mysterious interest in the connections and clashes between the natural world and human civilization. O'Neill has also produced a prodigious body of work in drawing, collage, sculpture, installation, and many other media.\nHis early 16mm films include Runs Good (1970), Easyout (1971), and Down Wind (1973). His later 35mm films include Water and Power (1989), Trouble in the Image (1996), and The Decay of Fiction (2002). On December 30, 2008, Water and Power was added to the National Film Registry. Prints of O'Neill's films are held in numerous archives and museums around the world, and his complete collection resides at the Academy of Motion Picture Arts and Sciences Film Archive, where several of his short works have been preserved.[2] In 2009, Water and Power was preserved by the Academy in collaboration with O'Neill.\nHe has also taught at the California Institute of the Arts. He influenced a generation of CalArts students, who include Adam Beckett, Robert Blalack, Chris Casady, and Larry Cuba, who all later went on to work on the special effects of the original Star Wars.","bio_dates":"b. 1939"},{"slug":"oppenheim_dennis_air_pressure_hand_1971","ok":true,"partial":false,"title":"Air Pressure Hand","artist":"Dennis Oppenheim","year":"1971","startOffset":0,"sourceSecs":2232.264,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":385683231,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oppenheim_dennis_air_pressure_hand_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oppenheim_dennis_air_pressure_hand_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oppenheim_dennis_air_pressure_hand_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oppenheim_dennis_air_pressure_hand_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oppenheim_dennis_air_pressure_hand_1971/main/master.m3u8?v=2","hasMainHls":true},{"slug":"oppenheim_dennis_forming_sounds_1972","ok":true,"partial":false,"title":"Forming Sounds","artist":"Dennis Oppenheim","year":"1972","startOffset":0,"sourceSecs":1668.701,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":291126569,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oppenheim_dennis_forming_sounds_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oppenheim_dennis_forming_sounds_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oppenheim_dennis_forming_sounds_1972.mp4","hasFrames":true,"description":"<b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/oppenheim_d.html\" rel=\"noopener\" target=\"_blank\">Dennis Oppenheim in UbuWeb Sound</a>","artist_bio":"Vibration No. 1 (1971); 2 Stage Tranfer Drawing (Returning to a Past State) (Dennis and Erik Oppenheim) (1971)\nOver forty years ago, in 1969, documentation for the land art project Annual Rings was shown at John Gibson Gallery, New York. In addition to gallery shows at Galerie Yvon Lambert, Paris, and Galerie Francoise Lambert, Milan, works were included in \"When Attitude Becomes Form\" in Berne and \"Earth Art\" at Cornell University, Ithaca-two of nineteen group shows the artist participated in that year. Since the 1960s Oppenheim's works have been included regularly in international group exhibitions, at such venues as the Museum of Modern Art, Centre George Pompidou, the Metropolitan Museum of Art, the Venice Biennale (1976, 1980 and 2001) and Documenta in Kassel (1972, 1977). Solo exhibitions have included the Tate Gallery, London (1972); the Musée d'Art Moderne de la Ville de Paris (1979); and the Whitney Museum of American Art (1983, 2003). Major retrospectives were presented at the Stedelijk Museum in Amsterdam (1974); Museum Boijmans Van Beuningen in Rotterdam (1976); Musée d'Art Contemporain in Montreal (1978); and P.S.1 in New York (1991).\nDuring these four decades Dennis Oppenheim's practice has employed all available methods: writing, action, performance, video, film, photography, and installation (with and without sound or monologue). He has used mechanical and industrial elements, fireworks, common objects and traditional materials, materials of the earth, his own or another's body. He has created works for interior, exterior and public spaces.\nRather than acting on an object, however, the artist stated his objective in a recent conversation with Bill Beckley: \"You are operating on the operation, not the thing. When you are operating on the operation you have found a way to separate yourself from the things and you operate in a more intangible way.\"\nSeminal works include Annual Rings, 1968, almost the definition of site-specific work in which the schemata of annual trees cut in snow is severed by the river forming the boundary between the US and Canada; Reading Position for Second Degree Burn, 1970, in which the artist's body becomes a surface registering the color red over two hours of exposure; Attempt to Raise Hell, 1974, in which a seated figure, a surrogate of the artist, repeatedly lunges forward striking a cast-iron bell; Scan, 1979, a room installation proposed as a model for an underground site in which two skeet machines positioned at opposite corners of a room propel clay disks through a central viewing ring; Digestion. Gypsum Gypsies, 1989, in which deer with flame-emitting antlers seem to pass through a wall and deposit digested wall materials nearby; Device to Root Out Evil, 1997, in which the form of a country church is cantilevered on it's steeple; and Bus Home, 2003, a public transit shelter in which a bus metamorphosizes into a generic home, paralleling the desire of all commuters for a smooth and swift journey.\nOther public projects completed in 2010 are Journey Home for Grand Rapids; Garden of Evidence for Scottsdale, Arizona; Arriving Home for Chicago; Still Dancing for Toronto; Pathways to Everywhere for Calgary; Radiant Fountain for Houston; and Paintbrush Gateway for Las Vegas.\nCurators who have appreciated the merits of the work are Willoughby Sharp, Alan Parent, Jean-Christophe Ammann, Alanna Heiss, Germano Celant, Richard Townsend, Robert Storr. and Lorand Hegyi. Writers who have contributed to the comprehension of the work include Stuart Morgan, Tobey Crockett, Tom McEvilley, Germano Celant, Eleanor Heartney and Lisa Le Feurve, Alberto Fiz\nDennis Oppenheim lived and worked in New York City from 1968 and also in Springs, East Hampton, since 1985. Amy Plumb began as his assistant in 1977 and became his wife in 1998. He is good friends with his third wife, the sculptor Alice Aycock, and the artists Roger Welch, Bill Beckley and Vito Acconci. His first two children Erik and Kristin-and granddaughter Erin-live in Brooklyn, New York. His third child, Chandra, lives in Maine with her daughter Issa\nDennis Oppenheim received a B.F.A. from the School of Arts and Crafts, Oakland, California, in 1965, and an M.F.A. from Stanford University, Palo Alto, California, in 1966. He received a Guggenheim Foundation Fellowship in 1969, National Endowment for the Arts Fellowships in 1974 and 1982, an Excellence in Transportation award from the State of California in 2003, and a Lifetime Achievement Award at the Vancouver Sculpture Biennale","bio_dates":"1938-2011"},{"slug":"oppenheim_dennis_vibration_no_1_1971","ok":true,"partial":false,"title":"Vibration No. 1 (1971); 2 Stage Tranfer Drawing (Returning to a Past State) (Dennis and Erik Oppenheim)","artist":"Dennis Oppenheim","year":"1971","startOffset":0,"sourceSecs":2699.697,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":455730914,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oppenheim_dennis_vibration_no_1_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oppenheim_dennis_vibration_no_1_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oppenheim_dennis_vibration_no_1_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oppenheim_dennis_vibration_no_1_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oppenheim_dennis_vibration_no_1_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/sound/oppenheim_d.html\" rel=\"noopener\" target=\"_blank\">Dennis Oppenheim in UbuWeb Sound</a>","artist_bio":"Vibration No. 1 (1971); 2 Stage Tranfer Drawing (Returning to a Past State) (Dennis and Erik Oppenheim) (1971)\nOver forty years ago, in 1969, documentation for the land art project Annual Rings was shown at John Gibson Gallery, New York. In addition to gallery shows at Galerie Yvon Lambert, Paris, and Galerie Francoise Lambert, Milan, works were included in \"When Attitude Becomes Form\" in Berne and \"Earth Art\" at Cornell University, Ithaca-two of nineteen group shows the artist participated in that year. Since the 1960s Oppenheim's works have been included regularly in international group exhibitions, at such venues as the Museum of Modern Art, Centre George Pompidou, the Metropolitan Museum of Art, the Venice Biennale (1976, 1980 and 2001) and Documenta in Kassel (1972, 1977). Solo exhibitions have included the Tate Gallery, London (1972); the Musée d'Art Moderne de la Ville de Paris (1979); and the Whitney Museum of American Art (1983, 2003). Major retrospectives were presented at the Stedelijk Museum in Amsterdam (1974); Museum Boijmans Van Beuningen in Rotterdam (1976); Musée d'Art Contemporain in Montreal (1978); and P.S.1 in New York (1991).\nDuring these four decades Dennis Oppenheim's practice has employed all available methods: writing, action, performance, video, film, photography, and installation (with and without sound or monologue). He has used mechanical and industrial elements, fireworks, common objects and traditional materials, materials of the earth, his own or another's body. He has created works for interior, exterior and public spaces.\nRather than acting on an object, however, the artist stated his objective in a recent conversation with Bill Beckley: \"You are operating on the operation, not the thing. When you are operating on the operation you have found a way to separate yourself from the things and you operate in a more intangible way.\"\nSeminal works include Annual Rings, 1968, almost the definition of site-specific work in which the schemata of annual trees cut in snow is severed by the river forming the boundary between the US and Canada; Reading Position for Second Degree Burn, 1970, in which the artist's body becomes a surface registering the color red over two hours of exposure; Attempt to Raise Hell, 1974, in which a seated figure, a surrogate of the artist, repeatedly lunges forward striking a cast-iron bell; Scan, 1979, a room installation proposed as a model for an underground site in which two skeet machines positioned at opposite corners of a room propel clay disks through a central viewing ring; Digestion. Gypsum Gypsies, 1989, in which deer with flame-emitting antlers seem to pass through a wall and deposit digested wall materials nearby; Device to Root Out Evil, 1997, in which the form of a country church is cantilevered on it's steeple; and Bus Home, 2003, a public transit shelter in which a bus metamorphosizes into a generic home, paralleling the desire of all commuters for a smooth and swift journey.\nOther public projects completed in 2010 are Journey Home for Grand Rapids; Garden of Evidence for Scottsdale, Arizona; Arriving Home for Chicago; Still Dancing for Toronto; Pathways to Everywhere for Calgary; Radiant Fountain for Houston; and Paintbrush Gateway for Las Vegas.\nCurators who have appreciated the merits of the work are Willoughby Sharp, Alan Parent, Jean-Christophe Ammann, Alanna Heiss, Germano Celant, Richard Townsend, Robert Storr. and Lorand Hegyi. Writers who have contributed to the comprehension of the work include Stuart Morgan, Tobey Crockett, Tom McEvilley, Germano Celant, Eleanor Heartney and Lisa Le Feurve, Alberto Fiz\nDennis Oppenheim lived and worked in New York City from 1968 and also in Springs, East Hampton, since 1985. Amy Plumb began as his assistant in 1977 and became his wife in 1998. He is good friends with his third wife, the sculptor Alice Aycock, and the artists Roger Welch, Bill Beckley and Vito Acconci. His first two children Erik and Kristin-and granddaughter Erin-live in Brooklyn, New York. His third child, Chandra, lives in Maine with her daughter Issa\nDennis Oppenheim received a B.F.A. from the School of Arts and Crafts, Oakland, California, in 1965, and an M.F.A. from Stanford University, Palo Alto, California, in 1966. He received a Guggenheim Foundation Fellowship in 1969, National Endowment for the Arts Fellowships in 1974 and 1982, an Excellence in Transportation award from the State of California in 2003, and a Lifetime Achievement Award at the Vancouver Sculpture Biennale","bio_dates":"1938-2011"},{"slug":"ortiz_raphael_montanez_beach_umbrella_1985","ok":true,"partial":false,"title":"Montanez Beach Umbrella","artist":"Raphael Montañez Ortíz","year":"1985","startOffset":0,"sourceSecs":70.272,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":11198510,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ortiz_raphael_montanez_beach_umbrella_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ortiz_raphael_montanez_beach_umbrella_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ortiz_raphael_montanez_beach_umbrella_1985.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ortiz_raphael_montanez_beach_umbrella_1985/main.mp4?v=2"},{"slug":"ortiz_raphael_montanez_dance_number_1_1985","ok":true,"partial":false,"title":"Dance No. 1","artist":"Raphael Montañez Ortíz","year":"1985","startOffset":0,"sourceSecs":236.032,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":43830643,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ortiz_raphael_montanez_dance_number_1_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ortiz_raphael_montanez_dance_number_1_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ortiz_raphael_montanez_dance_number_1_1985.m4v","hasFrames":true,"description":"Video 3/4 pulgada, blanco y negro con sonido | 3/4 inch black and white video w/sound. 2’ 30’’","artist_bio":"Raphael Montañez Ortíz (born in Brooklyn, New York in 1934) is an American artist, educator, and founder of El Museo del Barrio. He is a graduate of Art and Design High School of New York City, and studied at Pratt Institute, where he began as a student of architecture, decided instead to become a fine artist, and received his BFA and MFA at Pratt Institute in 1964. He continued honing both his artistic skills and his formal education, finishing a doctorate in Fine Arts and Fine Arts in Higher Education at the Teachers College of Columbia University. Ortiz's works are in the collection of the Pompidou Centre in Paris and the Ludwig Museum in Cologne, Germany, the Museum of Modern Art and the Whitney Museum of American Art, the Everson Museum in Syracuse, New York, the Chrysler Museum in Virginia and the De Menil Collection in Houston, Texas.\nRitual, coincidence, duality, transcendence, humanism, performance, gesture, religion and history are only a few of the subjects that the artist has addressed through his works. From the beginning of his career, perhaps his most important concern was avant-garde practice. He worked on the margins of cultural production, creating art from non-art objects, such as domestic items, which he would unmake in a process of (de)struction. While he was interested in avant-garde movements like Dada and Fluxus, readings in psychology and anthropology influenced him most and acted as the link between his early Archaeological Finds series and his interest in the perceptions of the unconscious mind.\nOrtiz incorporated indigenous elements to the process of deconstruction, underscoring his awareness of indigenous cultural practice and its possibilities as a model for contemporary aesthetics. In the creation of his earliest film works from the late 1950s, he hacks a film into pieces while chanting. Placing the pieces into a medicine bag, he then arbitrarily removed each piece and spliced them together in a completely random fashion. In his film work from the early 1980s, the artist used an Apple computer hooked up to a laser disc player. He scratched the laser disc, creating a stammering image, and a disconnection between time and space. -- Wiki","bio_dates":"b. 1934"},{"slug":"ortiz_raphael_montanez_raphael_ring_ring_rag_time_1996","ok":true,"partial":false,"title":"Ring Ring Rag Time","artist":"Raphael Montañez Ortíz","year":"1996","startOffset":0,"sourceSecs":381.291,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":70533588,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ortiz_raphael_montanez_raphael_ring_ring_rag_time_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ortiz_raphael_montanez_raphael_ring_ring_rag_time_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ortiz_raphael_montanez_raphael_ring_ring_rag_time_1996.m4v","hasFrames":true,"artist_bio":"Raphael Montañez Ortíz (born in Brooklyn, New York in 1934) is an American artist, educator, and founder of El Museo del Barrio. He is a graduate of Art and Design High School of New York City, and studied at Pratt Institute, where he began as a student of architecture, decided instead to become a fine artist, and received his BFA and MFA at Pratt Institute in 1964. He continued honing both his artistic skills and his formal education, finishing a doctorate in Fine Arts and Fine Arts in Higher Education at the Teachers College of Columbia University. Ortiz's works are in the collection of the Pompidou Centre in Paris and the Ludwig Museum in Cologne, Germany, the Museum of Modern Art and the Whitney Museum of American Art, the Everson Museum in Syracuse, New York, the Chrysler Museum in Virginia and the De Menil Collection in Houston, Texas.\nRitual, coincidence, duality, transcendence, humanism, performance, gesture, religion and history are only a few of the subjects that the artist has addressed through his works. From the beginning of his career, perhaps his most important concern was avant-garde practice. He worked on the margins of cultural production, creating art from non-art objects, such as domestic items, which he would unmake in a process of (de)struction. While he was interested in avant-garde movements like Dada and Fluxus, readings in psychology and anthropology influenced him most and acted as the link between his early Archaeological Finds series and his interest in the perceptions of the unconscious mind.\nOrtiz incorporated indigenous elements to the process of deconstruction, underscoring his awareness of indigenous cultural practice and its possibilities as a model for contemporary aesthetics. In the creation of his earliest film works from the late 1950s, he hacks a film into pieces while chanting. Placing the pieces into a medicine bag, he then arbitrarily removed each piece and spliced them together in a completely random fashion. In his film work from the early 1980s, the artist used an Apple computer hooked up to a laser disc player. He scratched the laser disc, creating a stammering image, and a disconnection between time and space. -- Wiki","bio_dates":"b. 1934"},{"slug":"ortiz_raphael_montanez_the_kiss_1985","ok":true,"partial":false,"title":"The Kiss","artist":"Raphael Montañez Ortíz","year":"1985","startOffset":0,"sourceSecs":360.448,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":65302669,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ortiz_raphael_montanez_the_kiss_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ortiz_raphael_montanez_the_kiss_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ortiz_raphael_montanez_the_kiss_1985.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ortiz_raphael_montanez_the_kiss_1985/main.mp4?v=2","description":"Video de 3/4 plg, b/n, sonido | 3/4 inch video, b/n, sound 5’ 29’’","artist_bio":"Raphael Montañez Ortíz (born in Brooklyn, New York in 1934) is an American artist, educator, and founder of El Museo del Barrio. He is a graduate of Art and Design High School of New York City, and studied at Pratt Institute, where he began as a student of architecture, decided instead to become a fine artist, and received his BFA and MFA at Pratt Institute in 1964. He continued honing both his artistic skills and his formal education, finishing a doctorate in Fine Arts and Fine Arts in Higher Education at the Teachers College of Columbia University. Ortiz's works are in the collection of the Pompidou Centre in Paris and the Ludwig Museum in Cologne, Germany, the Museum of Modern Art and the Whitney Museum of American Art, the Everson Museum in Syracuse, New York, the Chrysler Museum in Virginia and the De Menil Collection in Houston, Texas.\nRitual, coincidence, duality, transcendence, humanism, performance, gesture, religion and history are only a few of the subjects that the artist has addressed through his works. From the beginning of his career, perhaps his most important concern was avant-garde practice. He worked on the margins of cultural production, creating art from non-art objects, such as domestic items, which he would unmake in a process of (de)struction. While he was interested in avant-garde movements like Dada and Fluxus, readings in psychology and anthropology influenced him most and acted as the link between his early Archaeological Finds series and his interest in the perceptions of the unconscious mind.\nOrtiz incorporated indigenous elements to the process of deconstruction, underscoring his awareness of indigenous cultural practice and its possibilities as a model for contemporary aesthetics. In the creation of his earliest film works from the late 1950s, he hacks a film into pieces while chanting. Placing the pieces into a medicine bag, he then arbitrarily removed each piece and spliced them together in a completely random fashion. In his film work from the early 1980s, the artist used an Apple computer hooked up to a laser disc player. He scratched the laser disc, creating a stammering image, and a disconnection between time and space. -- Wiki","bio_dates":"b. 1934"},{"slug":"ortiz_raphael_montanez_what_is_this_1985","ok":true,"partial":false,"title":"What is this?","artist":"Raphael Montañez Ortíz","year":"1985","startOffset":0,"sourceSecs":445.782,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":81381633,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ortiz_raphael_montanez_what_is_this_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ortiz_raphael_montanez_what_is_this_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ortiz_raphael_montanez_what_is_this_1985.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ortiz_raphael_montanez_what_is_this_1985/main.mp4?v=2","artist_bio":"Raphael Montañez Ortíz (born in Brooklyn, New York in 1934) is an American artist, educator, and founder of El Museo del Barrio. He is a graduate of Art and Design High School of New York City, and studied at Pratt Institute, where he began as a student of architecture, decided instead to become a fine artist, and received his BFA and MFA at Pratt Institute in 1964. He continued honing both his artistic skills and his formal education, finishing a doctorate in Fine Arts and Fine Arts in Higher Education at the Teachers College of Columbia University. Ortiz's works are in the collection of the Pompidou Centre in Paris and the Ludwig Museum in Cologne, Germany, the Museum of Modern Art and the Whitney Museum of American Art, the Everson Museum in Syracuse, New York, the Chrysler Museum in Virginia and the De Menil Collection in Houston, Texas.\nRitual, coincidence, duality, transcendence, humanism, performance, gesture, religion and history are only a few of the subjects that the artist has addressed through his works. From the beginning of his career, perhaps his most important concern was avant-garde practice. He worked on the margins of cultural production, creating art from non-art objects, such as domestic items, which he would unmake in a process of (de)struction. While he was interested in avant-garde movements like Dada and Fluxus, readings in psychology and anthropology influenced him most and acted as the link between his early Archaeological Finds series and his interest in the perceptions of the unconscious mind.\nOrtiz incorporated indigenous elements to the process of deconstruction, underscoring his awareness of indigenous cultural practice and its possibilities as a model for contemporary aesthetics. In the creation of his earliest film works from the late 1950s, he hacks a film into pieces while chanting. Placing the pieces into a medicine bag, he then arbitrarily removed each piece and spliced them together in a completely random fashion. In his film work from the early 1980s, the artist used an Apple computer hooked up to a laser disc player. He scratched the laser disc, creating a stammering image, and a disconnection between time and space. -- Wiki","bio_dates":"b. 1934"},{"slug":"ottinger_ulrike_freak_orlando_1981_iphone","ok":true,"partial":false,"title":"Freak Orlando","artist":"Ulrike Ottinger","year":"1981","startOffset":0,"sourceSecs":6778.834,"sourceHeight":272,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":389307799,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ottinger_ulrike_freak_orlando_1981_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ottinger_ulrike_freak_orlando_1981_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ottinger_ulrike_freak_orlando_1981_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ottinger_ulrike_freak_orlando_1981_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ottinger_ulrike_freak_orlando_1981_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Ulrike Ottinger.<br/> With Delphine Seyrig, Magdalena Montezuma, Albert Heins<br/> West Germany 1981, 35mm, color, 126 min. <br/><br/> Ottinger’s talent for staging extravagant tableaux and celebrating the subversively grotesque animates her celebrated fusion of Virginia Woolf’s transgender novel Orlando and Freaks, Tod Browning’s classic 1932 horror film. Following its hero(ine)’s magical voyage across distinct historical eras, Freak Orlando’s episodic structure describes a world populated by outcasts inhabiting a thinly disguising Berlin. Described by Ottinger as “a history of the world from its beginnings to our day, including the errors, the incompetence, the thirst for power, the fear, the madness, the cruelty and the commonplace,” Freak Orlando explores the various ways in which socio-cultural and sexual “norms” have been demarcated, policed and transgressed.","artist_bio":"From 1959 Ulrike Ottinger was a visiting student at the Academy of Arts in Munich and worked as a painter. She is the daughter of the artist-painter Ulrich Ottinger.\nFrom 1962 to 1968, she worked as a freelance artist in Paris and studied etching with Johnny Friedlaender among other studies. They participated in several exhibitions.\nIn 1966 she wrote her first screenplay, entitled Die Mongolische Doppelschublade.\nOttinger returned to West Germany in 1969 and, in cooperation with the Film Seminar at the University of Konstanz, founded the film club \"Visuell\", which she directed until 1972. She also headed a gallery and the associated \"galeriepress\", where they edited works by contemporary artists.\nDuring this time she met Tabea Blumenschein and Magdalena Montezuma, both of whom have been cast as lead actresses in her films since 1972. Ottinger developed her own bizarre surrealist film-style, which among other things, was marked by widespread abandonment of a linear plot and instead linger long in individual scenes, which in turn make überstarke and extravagant costumes of the imagination mostly female cast artfully to own collages were designed.\nOn the occasion of the 2009 New York premiere of The Korean Wedding Chest, with Ottinger to be in attendance, The New York Times characterized the director as, \"[d]uring the 1980s heyday of the New German Cinema, having constituted a one-woman avant-garde opposition to the sulky male melodramas of Wenders, Fassbinder and Herzog, her films being long, discursive and wildly inventive.\"\nShe directed and did stage design for Elfriede Jelinek's Clara S. at the Württembergisches Staatstheater in Stuttgart in 1983, and did the same for Jelinek's Begierde und Fahrerlaubnis in Graz in 1986.\nOttinger's films, with their preference for the Far Eastern formal language is visible, turned in the following decades, some unconventional documentaries about life in various Asian regions. Ottinger directed the upcoming Horror-Drama film Die Blutgräfin, which based on the life of Elisabeth Bathory.\nShe has resided in Berlin since 1973. Ottinger also works as a photographer.","bio_dates":"b. 1942"},{"slug":"oursler_janson_jason_flow","ok":true,"partial":false,"title":"b0t / flOw - ch@rt (Jason)","artist":"Tony Oursler","year":"2017","startOffset":0,"sourceSecs":1085.588,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":454204912,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_janson_jason_flow/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_janson_jason_flow/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oursler_janson_jason_flow.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_janson_jason_flow/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_janson_jason_flow/main/master.m3u8?v=2","hasMainHls":true,"description":"In the exhibition b0t / flOw - ch@rt, robotic glass sculptures with artificial intelligence, miniature flat screens, exposed computer circuitry and a variety of materials figuratively arranged, are shown next to two dimensional screens based on flow charts. The chimerical bots relate to Oursler's ongoing interest in human interaction with technology and questions the intelligence of the AI-systems. <br/><br/> This exhibition depicts an inevitable world in which self-help, new age and motivational programs are fused or transferred to AI systems, forming a low-fi singularity, with unforeseen humorous and disturbing results. <br/><br/> These self-illuminating forms relate as much to the history of robotics as they do to camouflaged cellphone towers, video games and scarecrows. They play with the notion of how artificial intelligence may help us achieve our goals or not. They also question how these intelligences may choose to form physical identity through vestigial artifacts of humanity. <br/><br/> The freestanding bots are juxtaposed with wall mounted flow charts, which combine digitally moving images, painting, and sound. These works are based on schematics depicting motivational and inspirational systems, cognitive behavioral therapy, programing, networking to form a nexus of human desire, folly, and machine logic. <br/><br/> Artificial intelligence, or A.I., brings to light many questions regarding our coevolution with such systems. Most notably, will our creations replace us and become our final undoing? Or will we enter a utopian world of limitless knowledge and achievements? It is the artist’s perspective that in between these two questions, A.I has begun to enter our world in many fascinating and banal ways which are open to speculation. <br/><br/> Produced by Tony Oursler. Questions: Tony Oursler, Mike Kelley, David West, Linda Post. Camera: Linda Post, Tony Oursler. Editing: Tony Oursler, Elizabeth Kading. ~~ <a href=\"http://eai.org/title.htm?id=8767\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Tony Oursler's brand of low-tech, expressionistic video theater is singular in contemporary art. Willfully primitive, often grotesque, and crafted with an ingenious visual shorthand, his psychodramatic landscapes of image and text are fabricated within the ironic vernacular of pop culture.\nOursler has worked in installation, painting, sculpture, and video since the mid-1970s. His recent mixed media installations, in which theatrical objects such as puppets and dolls are layered with video projections and spoken text, are prefigured in the wildly inventive body of videotapes that he has produced over the past twenty years.\nIn his videotapes, Oursler's idiosyncratic fictions take the form of bizarre narrative odysseys, horror-comedies that evoke Caligari by way of Eraserhead. Subjective visions of cultural and psychosexual delirium are pursued with outrageous black humor and a surreal theatricality.\nThe miniaturized, hand-constructed and painted mixed-media sets that are Oursler's signature suggest post-punk spectacles via German Expressionism; his somnambulant voiceovers and disorienting sound collages evoke stream-of-consciousness dreamstates. To enter one of his insular universes is to embark on a twisted journey that assumes the form and content of a hallucination of the contemporary collective unconscious. Strewn with the objects and idioms of adolescent fantasies, the detritus of mass cultural artifacts, and the macabre inversions of nightmares, Oursler's elaborate theatrical microcosms are populated by jerry-rigged props, hand-made puppets, found objects, body parts and, at times, human actors.\nFusing media-saturated artifice with primal obsessions, the iconography of his visual tableaux ranges from the biblical to the perverse; the language of his narrated texts is hilarious, irreverent and unexpectedly poetic. Utilizing low-tech gadgets to simulate and satirize video effects, his disjunctive fictions are haunted by themes of sexual alienation and hysteria, political and cultural violence, and the dichotomies of good and evil, life and death.\nEarly works, such as\nThe Weak Bullet\n(1980) and\nGrand Mal\n(1981), have been described as \"half Jackson Pollack, half David Cronenberg, and as funny as [they are] paranoid.\" The faux-naivete of his visual and spoken tales belies the textual sophistication of his meta-language of pop culture and subversion of narrative modes.\nIn the late 1980s Oursler increasingly used his narrative and visual strategies to construct social critiques. His more recent installation works continue to explore a kind of macabre psychodramatic theater with pop cultural elements.\nFantastic Prayers,\na 1999 CD-ROM project that translates many of these themes into an interactive format, is a collaboration of Oursler, writer Constance DeJong and composer/musician Stephen Vitiello.\nOursler was born in 1957. He studied at Rockland Community College, Suffern, New York, and received a B.F.A. from the California Institute for the Arts, Valencia, where he studied under John Baldessari.\nIn 1999, a mid-career retrospective of Oursler's work was exhibited at Williams College, Williamstown, Massachusetts, and toured to The Contemporary Arts Museum, Houston and Los Angeles Museum of Contemporary Art. Oursler's videotapes and installations have been widely exhibited internationally, including one-person shows at capc Musee, Musee d'art Contemporain de Bordeaux, France; Kunstverein, Hannover, Germany; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; Los Angeles Contemporary Exhibitions (LACE); Metro Pictures, New York; Museum Fur Gegenwartskunst, Basel; and the Museum Folkwang, Essen, West Germany. His work has also been seen in group shows at the Stedelijk Museum, Amsterdam; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Palais des Beaux-Arts, Brussels; Documentas IIX and X, Kassel, Germany; The Institute of Contemporary Art, Boston; Whitney Museum of American Art Biennial, New York; the Tate Gallery, London; and DuMont Kunsthalle, Cologne. In addition, he has received commissions from Centre Georges Pompidou, Paris and the 1989 Serious Fun Festival at Lincoln Center, New York.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1957"},{"slug":"oursler_tony_evol_1984","ok":true,"partial":false,"title":"Evol","artist":"Tony Oursler","year":"1984","startOffset":0,"sourceSecs":1741.333,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":292991669,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_evol_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_evol_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oursler_tony_evol_1984.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_tony_evol_1984/main.mp4?v=2","description":"1984, 29 min. <br/><br/>\"\"In this black comedy of disillusioned romance, love, sex and loneliness, which features Mike Kelley, Oursler entangles the viewer in the delirious dreamstate of a young man. In an expressionistic theater of wildly constructed props and dramatically painted sets, where humans interact with dolls and clay figures, Oursler holds a mirror to love's inversions, diversions and perversions. In this fantastical critique of cultural myths of sexuality, Oursler strews the text with outrageous sexual metaphors and symbols. EVOL is a psychodrama of compulsion, romance and tragedy, describing what Oursler terms \"a charming narrative which becomes self-sustaining, a deadly black hole that attracts and mirrors our deepest fears.\" <br/><br/> With: Mike Kelley. Sound: Scott Ryser, Mark Daniels. Music: Tony Oursler, Rachel Weber, Scott Ryser. Camera: Jack Walworth, Tony Oursler. Produced by Tony Oursler and the Contemporary Art Television (CAT) Fund -- <a href=\"http://eai.org/title.htm?id=3251\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Tony Oursler's brand of low-tech, expressionistic video theater is singular in contemporary art. Willfully primitive, often grotesque, and crafted with an ingenious visual shorthand, his psychodramatic landscapes of image and text are fabricated within the ironic vernacular of pop culture.\nOursler has worked in installation, painting, sculpture, and video since the mid-1970s. His recent mixed media installations, in which theatrical objects such as puppets and dolls are layered with video projections and spoken text, are prefigured in the wildly inventive body of videotapes that he has produced over the past twenty years.\nIn his videotapes, Oursler's idiosyncratic fictions take the form of bizarre narrative odysseys, horror-comedies that evoke Caligari by way of Eraserhead. Subjective visions of cultural and psychosexual delirium are pursued with outrageous black humor and a surreal theatricality.\nThe miniaturized, hand-constructed and painted mixed-media sets that are Oursler's signature suggest post-punk spectacles via German Expressionism; his somnambulant voiceovers and disorienting sound collages evoke stream-of-consciousness dreamstates. To enter one of his insular universes is to embark on a twisted journey that assumes the form and content of a hallucination of the contemporary collective unconscious. Strewn with the objects and idioms of adolescent fantasies, the detritus of mass cultural artifacts, and the macabre inversions of nightmares, Oursler's elaborate theatrical microcosms are populated by jerry-rigged props, hand-made puppets, found objects, body parts and, at times, human actors.\nFusing media-saturated artifice with primal obsessions, the iconography of his visual tableaux ranges from the biblical to the perverse; the language of his narrated texts is hilarious, irreverent and unexpectedly poetic. Utilizing low-tech gadgets to simulate and satirize video effects, his disjunctive fictions are haunted by themes of sexual alienation and hysteria, political and cultural violence, and the dichotomies of good and evil, life and death.\nEarly works, such as\nThe Weak Bullet\n(1980) and\nGrand Mal\n(1981), have been described as \"half Jackson Pollack, half David Cronenberg, and as funny as [they are] paranoid.\" The faux-naivete of his visual and spoken tales belies the textual sophistication of his meta-language of pop culture and subversion of narrative modes.\nIn the late 1980s Oursler increasingly used his narrative and visual strategies to construct social critiques. His more recent installation works continue to explore a kind of macabre psychodramatic theater with pop cultural elements.\nFantastic Prayers,\na 1999 CD-ROM project that translates many of these themes into an interactive format, is a collaboration of Oursler, writer Constance DeJong and composer/musician Stephen Vitiello.\nOursler was born in 1957. He studied at Rockland Community College, Suffern, New York, and received a B.F.A. from the California Institute for the Arts, Valencia, where he studied under John Baldessari.\nIn 1999, a mid-career retrospective of Oursler's work was exhibited at Williams College, Williamstown, Massachusetts, and toured to The Contemporary Arts Museum, Houston and Los Angeles Museum of Contemporary Art. Oursler's videotapes and installations have been widely exhibited internationally, including one-person shows at capc Musee, Musee d'art Contemporain de Bordeaux, France; Kunstverein, Hannover, Germany; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; Los Angeles Contemporary Exhibitions (LACE); Metro Pictures, New York; Museum Fur Gegenwartskunst, Basel; and the Museum Folkwang, Essen, West Germany. His work has also been seen in group shows at the Stedelijk Museum, Amsterdam; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Palais des Beaux-Arts, Brussels; Documentas IIX and X, Kassel, Germany; The Institute of Contemporary Art, Boston; Whitney Museum of American Art Biennial, New York; the Tate Gallery, London; and DuMont Kunsthalle, Cologne. In addition, he has received commissions from Centre Georges Pompidou, Paris and the 1989 Serious Fun Festival at Lincoln Center, New York.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1957"},{"slug":"oursler_tony_nine_eleven_iphone","ok":true,"partial":false,"title":"Nine Eleven","artist":"Tony Oursler","year":"1980","startOffset":0,"sourceSecs":4414.81,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":253890968,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_nine_eleven_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_nine_eleven_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oursler_tony_nine_eleven_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_tony_nine_eleven_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_tony_nine_eleven_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"The Loner is a psychosexual journey through the dark landscapes of Oursler's insular narrative universe. The tape's paranoid, tormented protagonist — who is represented by such objects as a spoon and a water-filled sack — wanders through a hostile dreamspace of macabre obsessions and sexual alienation. Incredibly, Oursler renders this unlikely anti-hero as a sympathetic, totally believable \"character.\" The artist's somnambulant, pun-laden narration and astonishing visual inventiveness add black humor to the surreal proceedings; for example, a bar scene is populated by an outrageous \"cast\" of found-object grotesques. Oursler's classic happy ending, in which The Loner \"would live a wonderful life,\" rings with an ironic desperation.--\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"oursler_tony_pac_milano_19","ok":true,"partial":false,"title":"PAC Milano 19","artist":"Tony Oursler","year":"2011","startOffset":0,"sourceSecs":66.061,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":3704541,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_pac_milano_19/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_pac_milano_19/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oursler_tony_pac_milano_19.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_tony_pac_milano_19/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Tony Oursler's brand of low-tech, expressionistic video theater is singular in contemporary art. Willfully primitive, often grotesque, and crafted with an ingenious visual shorthand, his psychodramatic landscapes of image and text are fabricated within the ironic vernacular of pop culture.\nOursler has worked in installation, painting, sculpture, and video since the mid-1970s. His recent mixed media installations, in which theatrical objects such as puppets and dolls are layered with video projections and spoken text, are prefigured in the wildly inventive body of videotapes that he has produced over the past twenty years.\nIn his videotapes, Oursler's idiosyncratic fictions take the form of bizarre narrative odysseys, horror-comedies that evoke Caligari by way of Eraserhead. Subjective visions of cultural and psychosexual delirium are pursued with outrageous black humor and a surreal theatricality.\nThe miniaturized, hand-constructed and painted mixed-media sets that are Oursler's signature suggest post-punk spectacles via German Expressionism; his somnambulant voiceovers and disorienting sound collages evoke stream-of-consciousness dreamstates. To enter one of his insular universes is to embark on a twisted journey that assumes the form and content of a hallucination of the contemporary collective unconscious. Strewn with the objects and idioms of adolescent fantasies, the detritus of mass cultural artifacts, and the macabre inversions of nightmares, Oursler's elaborate theatrical microcosms are populated by jerry-rigged props, hand-made puppets, found objects, body parts and, at times, human actors.\nFusing media-saturated artifice with primal obsessions, the iconography of his visual tableaux ranges from the biblical to the perverse; the language of his narrated texts is hilarious, irreverent and unexpectedly poetic. Utilizing low-tech gadgets to simulate and satirize video effects, his disjunctive fictions are haunted by themes of sexual alienation and hysteria, political and cultural violence, and the dichotomies of good and evil, life and death.\nEarly works, such as\nThe Weak Bullet\n(1980) and\nGrand Mal\n(1981), have been described as \"half Jackson Pollack, half David Cronenberg, and as funny as [they are] paranoid.\" The faux-naivete of his visual and spoken tales belies the textual sophistication of his meta-language of pop culture and subversion of narrative modes.\nIn the late 1980s Oursler increasingly used his narrative and visual strategies to construct social critiques. His more recent installation works continue to explore a kind of macabre psychodramatic theater with pop cultural elements.\nFantastic Prayers,\na 1999 CD-ROM project that translates many of these themes into an interactive format, is a collaboration of Oursler, writer Constance DeJong and composer/musician Stephen Vitiello.\nOursler was born in 1957. He studied at Rockland Community College, Suffern, New York, and received a B.F.A. from the California Institute for the Arts, Valencia, where he studied under John Baldessari.\nIn 1999, a mid-career retrospective of Oursler's work was exhibited at Williams College, Williamstown, Massachusetts, and toured to The Contemporary Arts Museum, Houston and Los Angeles Museum of Contemporary Art. Oursler's videotapes and installations have been widely exhibited internationally, including one-person shows at capc Musee, Musee d'art Contemporain de Bordeaux, France; Kunstverein, Hannover, Germany; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; Los Angeles Contemporary Exhibitions (LACE); Metro Pictures, New York; Museum Fur Gegenwartskunst, Basel; and the Museum Folkwang, Essen, West Germany. His work has also been seen in group shows at the Stedelijk Museum, Amsterdam; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Palais des Beaux-Arts, Brussels; Documentas IIX and X, Kassel, Germany; The Institute of Contemporary Art, Boston; Whitney Museum of American Art Biennial, New York; the Tate Gallery, London; and DuMont Kunsthalle, Cologne. In addition, he has received commissions from Centre Georges Pompidou, Paris and the 1989 Serious Fun Festival at Lincoln Center, New York.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1976"},{"slug":"oursler_tony_spinout","ok":true,"partial":false,"title":"Tony Ourlser - Spinout","artist":"Tony Oursler","year":"1983","startOffset":0,"sourceSecs":981.888,"sourceHeight":480,"sourceWidth":630,"hasAudio":true,"hasAmbientMp4":true,"bytes":173576523,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_spinout/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_spinout/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oursler_tony_spinout.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_tony_spinout/main.mp4?v=2","description":"1983, 16:02 min, color, sound <br/><br/> Spinout is an apocalyptic tale of a world spinning out of control to nowhere. Space travel, astrology, spirals, the universe, catastrophe and madness are recurring visual and narrative themes in this expressionistic theater. \"Of course we're all a little scared of the dark,\" says Oursler in his dreamlike narration. Rendered with his signature hand-painted sets and wildly constructed props, Spinout features a voiceover text by Oursler that is metaphorical as well as psychological, universal as well as personal. -- <a href=\"http://eai.org/title.htm?id=3337\" rel=\"noopener\" target=\"_blank\">EAI</a>","artist_bio":"Tony Oursler's brand of low-tech, expressionistic video theater is singular in contemporary art. Willfully primitive, often grotesque, and crafted with an ingenious visual shorthand, his psychodramatic landscapes of image and text are fabricated within the ironic vernacular of pop culture.\nOursler has worked in installation, painting, sculpture, and video since the mid-1970s. His recent mixed media installations, in which theatrical objects such as puppets and dolls are layered with video projections and spoken text, are prefigured in the wildly inventive body of videotapes that he has produced over the past twenty years.\nIn his videotapes, Oursler's idiosyncratic fictions take the form of bizarre narrative odysseys, horror-comedies that evoke Caligari by way of Eraserhead. Subjective visions of cultural and psychosexual delirium are pursued with outrageous black humor and a surreal theatricality.\nThe miniaturized, hand-constructed and painted mixed-media sets that are Oursler's signature suggest post-punk spectacles via German Expressionism; his somnambulant voiceovers and disorienting sound collages evoke stream-of-consciousness dreamstates. To enter one of his insular universes is to embark on a twisted journey that assumes the form and content of a hallucination of the contemporary collective unconscious. Strewn with the objects and idioms of adolescent fantasies, the detritus of mass cultural artifacts, and the macabre inversions of nightmares, Oursler's elaborate theatrical microcosms are populated by jerry-rigged props, hand-made puppets, found objects, body parts and, at times, human actors.\nFusing media-saturated artifice with primal obsessions, the iconography of his visual tableaux ranges from the biblical to the perverse; the language of his narrated texts is hilarious, irreverent and unexpectedly poetic. Utilizing low-tech gadgets to simulate and satirize video effects, his disjunctive fictions are haunted by themes of sexual alienation and hysteria, political and cultural violence, and the dichotomies of good and evil, life and death.\nEarly works, such as\nThe Weak Bullet\n(1980) and\nGrand Mal\n(1981), have been described as \"half Jackson Pollack, half David Cronenberg, and as funny as [they are] paranoid.\" The faux-naivete of his visual and spoken tales belies the textual sophistication of his meta-language of pop culture and subversion of narrative modes.\nIn the late 1980s Oursler increasingly used his narrative and visual strategies to construct social critiques. His more recent installation works continue to explore a kind of macabre psychodramatic theater with pop cultural elements.\nFantastic Prayers,\na 1999 CD-ROM project that translates many of these themes into an interactive format, is a collaboration of Oursler, writer Constance DeJong and composer/musician Stephen Vitiello.\nOursler was born in 1957. He studied at Rockland Community College, Suffern, New York, and received a B.F.A. from the California Institute for the Arts, Valencia, where he studied under John Baldessari.\nIn 1999, a mid-career retrospective of Oursler's work was exhibited at Williams College, Williamstown, Massachusetts, and toured to The Contemporary Arts Museum, Houston and Los Angeles Museum of Contemporary Art. Oursler's videotapes and installations have been widely exhibited internationally, including one-person shows at capc Musee, Musee d'art Contemporain de Bordeaux, France; Kunstverein, Hannover, Germany; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; Los Angeles Contemporary Exhibitions (LACE); Metro Pictures, New York; Museum Fur Gegenwartskunst, Basel; and the Museum Folkwang, Essen, West Germany. His work has also been seen in group shows at the Stedelijk Museum, Amsterdam; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Palais des Beaux-Arts, Brussels; Documentas IIX and X, Kassel, Germany; The Institute of Contemporary Art, Boston; Whitney Museum of American Art Biennial, New York; the Tate Gallery, London; and DuMont Kunsthalle, Cologne. In addition, he has received commissions from Centre Georges Pompidou, Paris and the 1989 Serious Fun Festival at Lincoln Center, New York.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1957"},{"slug":"oursler_tony_sucker_1987","ok":true,"partial":false,"title":"Sucker","artist":"Tony Oursler","year":"1987","startOffset":0,"sourceSecs":333.717,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":59595263,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_sucker_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_sucker_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oursler_tony_sucker_1987.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_tony_sucker_1987/main.mp4?v=2","description":"1987, 5:33 min, color <br/><br/> Blood and transcendence are themes that permeate Sucker, with its incarnations of religious iconography and sexuality. Life and death, good and evil are evoked as the incantatory voiceovers and sordid images make reference to communion, transfusions, bloodbaths, bloodlust, vampires and the specter of a virus loose in contemporary culture. Steeped in paranoia and dread, this work describes a subconscious search that is, in Oursler's words, \"based on a movie, based on a book, based on a poem, based on a myth, which is based on the quest for human immortality.\" <br/><br/> Producer: Stefaan Decostere for BRT. With: James Oursler, Mark Wilson. Voices: Larry Miller, Constance DeJong, Tony Oursler. -- <a href=\"http://eai.org/title.htm?id=2935\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Tony Oursler's brand of low-tech, expressionistic video theater is singular in contemporary art. Willfully primitive, often grotesque, and crafted with an ingenious visual shorthand, his psychodramatic landscapes of image and text are fabricated within the ironic vernacular of pop culture.\nOursler has worked in installation, painting, sculpture, and video since the mid-1970s. His recent mixed media installations, in which theatrical objects such as puppets and dolls are layered with video projections and spoken text, are prefigured in the wildly inventive body of videotapes that he has produced over the past twenty years.\nIn his videotapes, Oursler's idiosyncratic fictions take the form of bizarre narrative odysseys, horror-comedies that evoke Caligari by way of Eraserhead. Subjective visions of cultural and psychosexual delirium are pursued with outrageous black humor and a surreal theatricality.\nThe miniaturized, hand-constructed and painted mixed-media sets that are Oursler's signature suggest post-punk spectacles via German Expressionism; his somnambulant voiceovers and disorienting sound collages evoke stream-of-consciousness dreamstates. To enter one of his insular universes is to embark on a twisted journey that assumes the form and content of a hallucination of the contemporary collective unconscious. Strewn with the objects and idioms of adolescent fantasies, the detritus of mass cultural artifacts, and the macabre inversions of nightmares, Oursler's elaborate theatrical microcosms are populated by jerry-rigged props, hand-made puppets, found objects, body parts and, at times, human actors.\nFusing media-saturated artifice with primal obsessions, the iconography of his visual tableaux ranges from the biblical to the perverse; the language of his narrated texts is hilarious, irreverent and unexpectedly poetic. Utilizing low-tech gadgets to simulate and satirize video effects, his disjunctive fictions are haunted by themes of sexual alienation and hysteria, political and cultural violence, and the dichotomies of good and evil, life and death.\nEarly works, such as\nThe Weak Bullet\n(1980) and\nGrand Mal\n(1981), have been described as \"half Jackson Pollack, half David Cronenberg, and as funny as [they are] paranoid.\" The faux-naivete of his visual and spoken tales belies the textual sophistication of his meta-language of pop culture and subversion of narrative modes.\nIn the late 1980s Oursler increasingly used his narrative and visual strategies to construct social critiques. His more recent installation works continue to explore a kind of macabre psychodramatic theater with pop cultural elements.\nFantastic Prayers,\na 1999 CD-ROM project that translates many of these themes into an interactive format, is a collaboration of Oursler, writer Constance DeJong and composer/musician Stephen Vitiello.\nOursler was born in 1957. He studied at Rockland Community College, Suffern, New York, and received a B.F.A. from the California Institute for the Arts, Valencia, where he studied under John Baldessari.\nIn 1999, a mid-career retrospective of Oursler's work was exhibited at Williams College, Williamstown, Massachusetts, and toured to The Contemporary Arts Museum, Houston and Los Angeles Museum of Contemporary Art. Oursler's videotapes and installations have been widely exhibited internationally, including one-person shows at capc Musee, Musee d'art Contemporain de Bordeaux, France; Kunstverein, Hannover, Germany; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; Los Angeles Contemporary Exhibitions (LACE); Metro Pictures, New York; Museum Fur Gegenwartskunst, Basel; and the Museum Folkwang, Essen, West Germany. His work has also been seen in group shows at the Stedelijk Museum, Amsterdam; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Palais des Beaux-Arts, Brussels; Documentas IIX and X, Kassel, Germany; The Institute of Contemporary Art, Boston; Whitney Museum of American Art Biennial, New York; the Tate Gallery, London; and DuMont Kunsthalle, Cologne. In addition, he has received commissions from Centre Georges Pompidou, Paris and the 1989 Serious Fun Festival at Lincoln Center, New York.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1980"},{"slug":"oursler_tony_synesthesia_alan_vega_1997_2001_iphone","ok":true,"partial":false,"title":"Synesthesia: Alan Vega","artist":"Tony Oursler","year":"1997-2001","startOffset":0,"sourceSecs":3351.522,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":197097633,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_synesthesia_alan_vega_1997_2001_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_synesthesia_alan_vega_1997_2001_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oursler_tony_synesthesia_alan_vega_1997_2001_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_tony_synesthesia_alan_vega_1997_2001_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_tony_synesthesia_alan_vega_1997_2001_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1984, 29 min. <br/><br/> Tony Oursler's Synesthesia project features interviews with twelve legendary figures in the downtown music, performance and art scenes: John Cale, Thurston Moore, Dan Graham, Genesis P-Orridge, Kim Gordon, Glenn Branca, Laurie Anderson, Tony Conrad, David Byrne, Lydia Lunch, Alan Vega, and Arto Lindsay. These works were originally included as one element of Oursler and Mike Kelley's multimedia installation The Poetics Project. These conversations reveal fascinating insights and anecdotes from some of the most influential figures in the experimental rock and art underground of the 1970s and '80s, from pre-punk innovators to post-punk icons, from industrial and avant-garde music to noise bands and No Wave. <br/><br/> Alan Vega, one half of the influential pre-punk synthesizer/drum machine duo Suicide (with Martin Rev), helped pioneer electronic music in the early 1970s. Vega, who began his career in New York as an artist known for light sculptures, also ran an art space that was a meeting ground for some of the most important artists in the underground New York art and music scenes. <br/><br/> Produced by Tony Oursler. Questions: Tony Oursler, Mike Kelley, David West, Linda Post. Camera: Linda Post, Tony Oursler. Editing: Tony Oursler, Elizabeth Kading. -- <a href=\"http://eai.org/title.htm?id=8767\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Tony Oursler's brand of low-tech, expressionistic video theater is singular in contemporary art. Willfully primitive, often grotesque, and crafted with an ingenious visual shorthand, his psychodramatic landscapes of image and text are fabricated within the ironic vernacular of pop culture.\nOursler has worked in installation, painting, sculpture, and video since the mid-1970s. His recent mixed media installations, in which theatrical objects such as puppets and dolls are layered with video projections and spoken text, are prefigured in the wildly inventive body of videotapes that he has produced over the past twenty years.\nIn his videotapes, Oursler's idiosyncratic fictions take the form of bizarre narrative odysseys, horror-comedies that evoke Caligari by way of Eraserhead. Subjective visions of cultural and psychosexual delirium are pursued with outrageous black humor and a surreal theatricality.\nThe miniaturized, hand-constructed and painted mixed-media sets that are Oursler's signature suggest post-punk spectacles via German Expressionism; his somnambulant voiceovers and disorienting sound collages evoke stream-of-consciousness dreamstates. To enter one of his insular universes is to embark on a twisted journey that assumes the form and content of a hallucination of the contemporary collective unconscious. Strewn with the objects and idioms of adolescent fantasies, the detritus of mass cultural artifacts, and the macabre inversions of nightmares, Oursler's elaborate theatrical microcosms are populated by jerry-rigged props, hand-made puppets, found objects, body parts and, at times, human actors.\nFusing media-saturated artifice with primal obsessions, the iconography of his visual tableaux ranges from the biblical to the perverse; the language of his narrated texts is hilarious, irreverent and unexpectedly poetic. Utilizing low-tech gadgets to simulate and satirize video effects, his disjunctive fictions are haunted by themes of sexual alienation and hysteria, political and cultural violence, and the dichotomies of good and evil, life and death.\nEarly works, such as\nThe Weak Bullet\n(1980) and\nGrand Mal\n(1981), have been described as \"half Jackson Pollack, half David Cronenberg, and as funny as [they are] paranoid.\" The faux-naivete of his visual and spoken tales belies the textual sophistication of his meta-language of pop culture and subversion of narrative modes.\nIn the late 1980s Oursler increasingly used his narrative and visual strategies to construct social critiques. His more recent installation works continue to explore a kind of macabre psychodramatic theater with pop cultural elements.\nFantastic Prayers,\na 1999 CD-ROM project that translates many of these themes into an interactive format, is a collaboration of Oursler, writer Constance DeJong and composer/musician Stephen Vitiello.\nOursler was born in 1957. He studied at Rockland Community College, Suffern, New York, and received a B.F.A. from the California Institute for the Arts, Valencia, where he studied under John Baldessari.\nIn 1999, a mid-career retrospective of Oursler's work was exhibited at Williams College, Williamstown, Massachusetts, and toured to The Contemporary Arts Museum, Houston and Los Angeles Museum of Contemporary Art. Oursler's videotapes and installations have been widely exhibited internationally, including one-person shows at capc Musee, Musee d'art Contemporain de Bordeaux, France; Kunstverein, Hannover, Germany; The Museum of Modern Art, New York; Walker Art Center, Minneapolis; Los Angeles Contemporary Exhibitions (LACE); Metro Pictures, New York; Museum Fur Gegenwartskunst, Basel; and the Museum Folkwang, Essen, West Germany. His work has also been seen in group shows at the Stedelijk Museum, Amsterdam; Hirshhorn Museum and Sculpture Garden, Washington, D.C.; Palais des Beaux-Arts, Brussels; Documentas IIX and X, Kassel, Germany; The Institute of Contemporary Art, Boston; Whitney Museum of American Art Biennial, New York; the Tate Gallery, London; and DuMont Kunsthalle, Cologne. In addition, he has received commissions from Centre Georges Pompidou, Paris and the 1989 Serious Fun Festival at Lincoln Center, New York.\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1957"},{"slug":"oursler_tony_synesthesia_genesis_p_orridge_1997_2001_iphone","ok":true,"partial":false,"title":"Synesthesia: Genesis P-Orridge","artist":"Tony Oursler","year":"1997-2001","startOffset":0,"sourceSecs":5444.824,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":312153860,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_synesthesia_genesis_p_orridge_1997_2001_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/oursler_tony_synesthesia_genesis_p_orridge_1997_2001_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/oursler_tony_synesthesia_genesis_p_orridge_1997_2001_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_tony_synesthesia_genesis_p_orridge_1997_2001_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/oursler_tony_synesthesia_genesis_p_orridge_1997_2001_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Synesthesia: Genesis P-Orridge<br/> Tony Oursler<br/> 1997-2001, 90:29 min, color, sound <br/><br/> Tony Oursler's Synesthesia project features interviews with twelve legendary figures in the downtown music, performance and art scenes: John Cale, Thurston Moore, Dan Graham, Genesis P-Orridge, Kim Gordon, Glenn Branca, Laurie Anderson, Tony Conrad, David Byrne, Lydia Lunch, Alan Vega, and Arto Lindsay. These works were originally included as one element of Oursler and Mike Kelley's multimedia installation The Poetics Project. These conversations reveal fascinating insights and anecdotes from some of the most influential figures in the experimental rock and art underground of the 1970s and '80s, from pre-punk innovators to post-punk icons, from industrial and avant-garde music to noise bands and No Wave. <br/><br/> Genesis P-Orridge, performance artist and vocalist for the iconoclastic English industrial band Throbbing Gristle in the late 1970s, pioneered industrial music. P-Orridge, who went on to form the experimental band Psychic TV, continues to work in music, art, and performance in New York, and is undertaking a long-term \"Pandrogeny\" project involving a radical identity transformation. <br/><br/> Produced by Tony Oursler. Questions: Tony Oursler, Mike Kelley, David West, Linda Post. Camera: Linda Post, Tony Oursler. Editing: Tony Oursler, Elizabeth Kading -- <a href=\"http://eai.org/title.htm?id=8753\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/film/p-orridge.html\" rel=\"noopener\" target=\"_blank\">Genesis P-Orridge in UbuWeb Film </a> <br> <a href=\"https://ubu.com/film/throbbing.html\" rel=\"noopener\" target=\"_blank\">Throbbing Gristle in UbuWeb Film </a></br></br>","artist_bio":"The Ballad of Genesis and Lady Jaye (2011), dir. Marie Losier\nSynesthesia: Genesis P-Orridge\n(1997-2001), directed by\nTony Oursler\nAnti-hero, artist, and Pandrogenist Genesis P-Orridge was known as the founding member of Throbbing Gristle, Psychic TV / PTV3, and Thee Majesty, as well a creator of the occult artist collective Thee Temple ov Psychick Youth. H/er name is credited on over 200 releases, and s/he remains one of the most influential musicians in experimental, noise, industrial, and psychedelic music. P-orridge was likewise seen as an iconic figure who was one of the first artists to question, bend, and ultimately rupture normative gender structure. A true revolutionary, P-Orridge spent h/er artistic career as a champion for identity that transcends all biological constructs, values that fly in the face of traditional Western philosophy, and above all, pure, primal creativity.","bio_dates":"b. 1957"},{"slug":"ozkaya_serkan_an_attempt_at_exhausting_a_place_in_new_york_postmasters_gallery_2016","ok":true,"partial":false,"title":"An Attempt at Exhausting a Place in New York, 2016","artist":"Serkan Ozkaya","year":"2016","startOffset":0,"sourceSecs":48.512,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":8294976,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ozkaya_serkan_an_attempt_at_exhausting_a_place_in_new_york_postmasters_gallery_2016/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ozkaya_serkan_an_attempt_at_exhausting_a_place_in_new_york_postmasters_gallery_2016/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ozkaya_serkan_an_attempt_at_exhausting_a_place_in_new_york_postmasters_gallery_2016.mp4","hasFrames":true,"description":"An Attempt at Exhausting A Place is a series of works in which the artist “dissolves the white cube” and the usual constraints of a traditional art space. Four projectors are used to display a live feed of the scene beyond the wall on which they are projected. The work was exhibited as part of Ozkaya’s solo exhibition at the Postmasters Gallery in New York, running from May 14 to June 18, 2016. In a similar installation at İstanbul Modern, a projection on one its interior walls treated the view to a scene of the Bosphorus Strait, making the wall seem transparent. A version of the work is also presented in a permanent exhibition at the lobby of the 21c Museum Hotel in Nashville, Tennessee.<br><br><b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Often working outside traditional art spaces, Serkan Ozkaya engages in a wide-ranging practice that includes performative displays, public sculpture, and conceptual gestures referring to art history and literature. His work frequently questions the nature of artistic reproduction; his work David (2012) re-created Michelangelo’s sculpture at two times the size. His ongoing Dear Sir or Madam series documents his correspondence to galleries and curators. With strange requests such as “Can I hang the Mona Lisa upside down?” the letters evidence the humor at the heart of Ozkaya’s work.","bio_dates":"b. 1973"},{"slug":"ozkaya_serkan_crazy_tourist","ok":true,"partial":false,"title":"Crazy Tourist, 2006","artist":"Serkan Ozkaya","year":"2006","startOffset":0,"sourceSecs":10.2,"sourceHeight":640,"sourceWidth":480,"hasAudio":false,"hasAmbientMp4":true,"bytes":1672273,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ozkaya_serkan_crazy_tourist/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ozkaya_serkan_crazy_tourist/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ozkaya_serkan_crazy_tourist.mp4","hasFrames":true,"description":"Ozkaya turned the Eiffel Tower tipsy turvy with the help of a spoon he borrowed from the hotel he stayed in Paris in 2006.<br><br><b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Often working outside traditional art spaces, Serkan Ozkaya engages in a wide-ranging practice that includes performative displays, public sculpture, and conceptual gestures referring to art history and literature. His work frequently questions the nature of artistic reproduction; his work David (2012) re-created Michelangelo’s sculpture at two times the size. His ongoing Dear Sir or Madam series documents his correspondence to galleries and curators. With strange requests such as “Can I hang the Mona Lisa upside down?” the letters evidence the humor at the heart of Ozkaya’s work.","bio_dates":"b. 1973"},{"slug":"ozkaya_serkan_double","ok":true,"partial":false,"title":"Double, 2017","artist":"Serkan Ozkaya","year":"2017","startOffset":0,"sourceSecs":436.436,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":166061151,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ozkaya_serkan_double/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ozkaya_serkan_double/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ozkaya_serkan_double.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ozkaya_serkan_double/main.mp4?v=2","description":"Director of Rise and Fall and Rise of David, Deniz Tortum took long footages, documenting Ozkaya’s work including 360 degree videos, interviews with the New York Times writer Marc Mewshaw and the transportation of the piece from Ozkaya’s studio in Lower East Side to Duchamp’s studio in Union Square. He edited the outcome into this four minute double video with the artist.<br><br><b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Often working outside traditional art spaces, Serkan Ozkaya engages in a wide-ranging practice that includes performative displays, public sculpture, and conceptual gestures referring to art history and literature. His work frequently questions the nature of artistic reproduction; his work David (2012) re-created Michelangelo’s sculpture at two times the size. His ongoing Dear Sir or Madam series documents his correspondence to galleries and curators. With strange requests such as “Can I hang the Mona Lisa upside down?” the letters evidence the humor at the heart of Ozkaya’s work.","bio_dates":"b. 1973"},{"slug":"ozkaya_serkan_picasso","ok":true,"partial":false,"title":"Pablo Picasso at Museum of Modern Art, 1998","artist":"Serkan Ozkaya","year":"1998","startOffset":0,"sourceSecs":297.173,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":54023872,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ozkaya_serkan_picasso/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ozkaya_serkan_picasso/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ozkaya_serkan_picasso.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ozkaya_serkan_picasso/main.mp4?v=2","description":"Pablo Picasso at Museum of Modern Art, 1998 [Performance] <br/><br/> Wearing a make shift Picasso mask Ozkaya was strolled in a wheelchair through the corridors of MoMA, New York to the room of Les Demoiselles d'Avignon by his friend Christopher Willingham in 1998. He sat there motionless for a few minutes and only after exiting the museum he would stand up and remove his mask.<br><br><b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Often working outside traditional art spaces, Serkan Ozkaya engages in a wide-ranging practice that includes performative displays, public sculpture, and conceptual gestures referring to art history and literature. His work frequently questions the nature of artistic reproduction; his work David (2012) re-created Michelangelo’s sculpture at two times the size. His ongoing Dear Sir or Madam series documents his correspondence to galleries and curators. With strange requests such as “Can I hang the Mona Lisa upside down?” the letters evidence the humor at the heart of Ozkaya’s work.","bio_dates":"b. 1973"},{"slug":"ozkaya_serkan_the_making_of_serkan_ozkayas_a_sudden_gust_2009","ok":true,"partial":false,"title":"A Sudden Gust of Wind, 2007–2013","artist":"Serkan Ozkaya","year":"2009","startOffset":0,"sourceSecs":90.603,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":12110225,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ozkaya_serkan_the_making_of_serkan_ozkayas_a_sudden_gust_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ozkaya_serkan_the_making_of_serkan_ozkayas_a_sudden_gust_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ozkaya_serkan_the_making_of_serkan_ozkayas_a_sudden_gust_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ozkaya_serkan_the_making_of_serkan_ozkayas_a_sudden_gust_2009/main.mp4?v=2","description":"In A Sudden Gust of Wind (2007 –2013), Özkaya depicted the journey of a stack of papers blown away by the wind. The original work was made with basic materials: standard A4 paper, thread, and glue. The piece was inspired by Ejiri in Suruga Province (A Sudden Gust of Wind), a 19th-century Japanese woodcut by Hokusai, and A Sudden Gust of Wind (after Hokusai) (1993) by Jeff Wall. One version of the installation was first exhibited at the Boots Contemporary Art Space in St. Louis, Missouri. Another version of the work was acquired by 21c Museum Hotel and installed at their third location in Bentonville, Arkansas. This version utilizes about 400 metal sheets scattered in a large gallery space.<br><br><b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"Often working outside traditional art spaces, Serkan Ozkaya engages in a wide-ranging practice that includes performative displays, public sculpture, and conceptual gestures referring to art history and literature. His work frequently questions the nature of artistic reproduction; his work David (2012) re-created Michelangelo’s sculpture at two times the size. His ongoing Dear Sir or Madam series documents his correspondence to galleries and curators. With strange requests such as “Can I hang the Mona Lisa upside down?” the letters evidence the humor at the heart of Ozkaya’s work.","bio_dates":"b. 1973"},{"slug":"p_m_ntul_1976_rom_nia_1976","ok":true,"partial":false,"title":"\"Pământul\"","artist":"Ion Grigorescu","year":"1976","startOffset":0,"sourceSecs":903.32,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":159846625,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/p_m_ntul_1976_rom_nia_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/p_m_ntul_1976_rom_nia_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/p_m_ntul_1976_rom_nia_1976.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/p_m_ntul_1976_rom_nia_1976/main.mp4?v=2"},{"slug":"padros_antoni_ice_cream_1970","ok":true,"partial":false,"title":"Ice cream","artist":"Antoni Padrós","year":"1970","startOffset":0,"sourceSecs":493.077,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":88173341,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/padros_antoni_ice_cream_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/padros_antoni_ice_cream_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/padros_antoni_ice_cream_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/padros_antoni_ice_cream_1970/main.mp4?v=2","description":"Last October 7th 2009 was released the long-awaited compilation Del éxtasis al arrebato (From ecstasy to rapture), a 2-DVD set published by Cameo comprising 31 experimental short films made in Spain in the last fifty years, with nearly four hours of footage. This edition functions as a kind of catalogue for the touring exhibition Del éxtasis al arrebato. 50 años del otro cine español, a joint production by the Centre de Cultura Contemporània de Barcelona (CCCB, Contemporary Culture Centre of Barcelona) and the Sociedad Estatal para la Acción Cultural Exterior (SEACEX, State Society for Spanish Cultural Action Abroad) and that will tour several countries during the next three years. Both retrospective and DVD set are a unique chance to access that fringe cinema, almost unknown, a cinema 'in perpetual embryonic state), according to Eugeni Bonet and Manuel Palacio. <br/><br/> Director: Antoni Padrós<br/> Writer: Antoni Padrós<br/> <br/> Cast:<br/> Hiriam Abid<br/> Rosa Morata<br/> <br/> Genre: Short/Essay<br/> Country: Spain<br/> Language: Catalan","artist_bio":"Antoni Padrós was born in 1937 in Terrassa, Barcelona, Catalonia, Spain as Antoni Padrós Solanes. He is a director and writer, known for Ice Cream (1970), Swedenborg (1971) and Pim pam pum revolución (1970).","bio_dates":"b. 1937"},{"slug":"paik_electronic_super_highway","ok":true,"partial":false,"title":"The Electronic Super Highway: Nam June Paik in the Nineties","artist":"Nam June Paik","year":"1995","startOffset":0,"sourceSecs":2403.935,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":413358597,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_electronic_super_highway/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_electronic_super_highway/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_electronic_super_highway.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_electronic_super_highway/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_electronic_super_highway/main/master.m3u8?v=2","hasMainHls":true,"description":"The Electronic Super Highway: Nam June Paik in the Nineties<br/> Jud Yalkut<br/> 1995, 40 min, color, sound <br/><br/> This portrait of Nam June Paik was produced as a \"video catalogue\" for the national touring exhibition The Electronic Super Highway, which premiered at The Museum of Art in Fort Lauderdale, Florida. This work features recent installations, historical background and interviews with the artist. The title refers to a 1974 report that Paik prepared for the Rockefeller Foundation, entitled \"Media Planning for the Post Industrial Society.\" In it he predicted much of the technological transformation we have experienced in the past twenty years, and urged the creation of what he termed the Electronic Super Highway. For this exhibition, Paik has created his own version of the \"Cybertown,\" or smalltown America in the electronic age, a new community founded on moving images. <br/><br/> Director: Jud Yalkut. Producer: Barbara Hecht. Production Facilities: Light Bourne, Cincinnati, Ohio. Historic Footage: Electronic Arts Intermix, Jud Yalkut. Videography: Beth Fowler. Postproduction: Matt Davis. Writer: Marcella Allison. Software Video: Paul Garrin. Produced by: Exhibition Management, Cleveland, Ohio, in conjunction with Carl Solway Gallery, Cincinnati, Ohio.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/paik.html\" rel=\"noopener\" target=\"_blank\">Nam June Paik on UbuWeb Sound</a></br>","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I), Cunningham, Paik, Cage (1978)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast (1977)\nMerce by Merce by Paik [Charles Atlas, Shigeko Kobuta & Nam June Paik] (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nThirty Second Spots: TV Commercials for Arists - Nam June Paik (1982-83)\nNam June Paik is a major contemporary artist and a seminal figure in video art. His video sculptures, installations, performances and single-channel videos encompass one of the most influential and significant bodies of work in the medium.\nFrom his Fluxus-based performances and altered television sets of the early 1960s, to his ground-breaking videotapes and multi-media installations of the 1970s, '80s and '90s, Paik has made an enormous contribution to the history and development of video as an art form. Exercising radical art-making strategies with irreverent humor, he deconstructs and demystifies the language, content and technology of television. Merging global communications theories with an antic Pop sensibility, his iconoclastic works explore the juncture of art and popular culture.\nIn the 1970s, Paik began a series of tapes, including Global Groove (1973), that were extraordinarily influential and innovative. Applying surreal conceptual wit and \"neo-Dada\" irony, he established a radical syntax of video based on the visual and aural grammar of television, appropriating and then derailing its very language. Densely layered with witty intertextual references and transcultural content, his exuberant, disjunctive collages function as a stream-of-consciousness flow of images, music and electronic effects.\nPaik engages in kinetic cultural explorations as a form of global communications, as if he were switching television channels around the world. In vibrantly textured audio and visual pastiches, his emblematic motifs of Pop iconography, international avant-garde figures, multicultural performances and media appropriations are subjected to a disruptive barrage of exquisite electronic techniques — hyperbolic fragmentations, alterations and juxtapositions.\nPaik's early works display the signature image manipulations and colorizations of the Paik/Abe Synthesizer, a device he developed in 1969 with electronics engineer Shuya Abe. Paik's experiments with the Paik/Abe Synthesizer helped to revolutionize the technological grammar of the medium. The richly layered and textured alterations of his later works exhibit the tour-de-force imaging techniques of longtime collaborator Paul Garrin. Images multiply and divide within the frame; temporal and spatial shifts proliferate, visuals and sound are juxtaposed in ironic contexts. Paik's tapes often take the form of collaborations with or tributes to the avant-garde artists who were his friends and colleagues, including John Cage (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Paik, 1978), Allen Ginsberg and Allan Kaprow (Allan 'n' Allen's Complaint, 1982), Julien Beck and Judith Malina (Living with the Living Theatre, 1989) and (MAJORCA-fantasia, 1989).\nPaik began working in music and performance while a student in Germany, where he participated in the international Fluxus movement. His European Fluxus performances, actions and events included \"prepared\" pianos and musical instruments, and later, altered television sets. In Germany, Paik collaborated with such artists as Wolf Vostell and Joseph Beuys, and met avant-garde composer John Cage, whose ideas and art had a tremendous influence on his work. In 1964, Paik came to New York, where his \"discovery\" of the Sony Portapak and video art has become one of video's most enduring, if apocryphal, legends. (According to this tale, Paik bought one of the first Sony Portapaks to be manufactured for the consumer market. He made his first tape the same day, recording Pope Paul VI's visit to New York from a cab window; the tape was then exhibited at the Cafe a Go Go.)\nIn New York, Paik began a longtime collaboration with avant-garde cellist Charlotte Moorman, with whom he produced a series of important performance-based works. Among their most notorious pieces are the Opera Sextronique (1967), the TV Bra for Living Sculpture (1969), and TV Cello (1971). Paik is perhaps most widely recognized for his prodigious body of video installations and sculptures, from the landmark works of the 1970s, including TV Buddha (1974), TV Garden (1974-78), and Fish Flies on Sky (1975), to the 1986 Family of Robot and the 1995 Megatron.\nPaik's experiments with satellite technology began in 1977 at Documenta 6 in Kassel, Germany, where he collaborated on a live telecast with Joseph Beuys and Douglas Davis. His \"live\" international satellite broadcasts of the 1980s, including Good Morning Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the the World (1988), are global video installations that conjoin disparate spatial, contextual and temporal elements.\nLinking the artworld and the media, pop culture and the avant-garde, technology and philosophy, Paik's works resonate with an irreverent humor and subversive brilliance that have influenced contemporary art, video and television.\nPaik was born in Seoul, Korea in 1932, and died in 2006. He studied music and art history at the University of Tokyo, producing a thesis on Arnold Schoenberg, and graduated in 1956 with a degree in aesthetics. Paik's studies continued in Germany at the Universities of Munich and Cologne, and the Conservatory of Music in Freiburg. From 1958-63, Paik worked with Karlheinz Stockhausen at the WDR Studio fur elektronsiche Musik in Cologne. After meeting Fluxus founder George Maciunas in 1961, he participated in numerous European Fluxus performances, actions and events.\nPaik's first one-man exhibition was the 1963 Exposition of Electronic Music — Electronic Television at the Galerie Parnass in Wuppertal, Germany. Paik came to New York in 1964; his first one-person exhibition in New York was at the Bonino Gallery in 1966. In 1969, Paik participated in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in New York. Also in 1969, Paik and electronics engineer Shuya Abe created the Paik/Abe Synthesizer at the New Television Workshop at WGBH in Boston. Many of his tapes were produced in the 1970s while he was artist-in-residence at the Television Laboratory at WNET/Thirteen in New York. Since 1979, he has taught at Staatlichen Kunstakademie in Dusseldorf, Germany.\nPaik is the recipient of numerous awards, including a Rockefeller Foundation grant, the American Film Institute's Maya Deren Award for Independent Film and Video, The New York State Governor's Art Award, and The New York City Mayor's Award to Distinguished Immigrants. He won 1st Prize/Best Pavilion at the 1993 Venice Biennale for Artist as Nomad in the German Pavilion. In 1998 he was honored with the prestigious Kyoto Award in Japan, and in 1999 he was named among \"The Century's 25 Most Influential Artists\" by ARTnews. He was given the National Arts Club Artists Award in 2000.\nPaik's works have been the subject of numerous exhibitions, including his first United States retrospective at the Everson Museum, Syracuse, in 1974, and a 1976 retrospective at the Kolnischer Kunstverein, Cologne. In 1982, the Whitney Museum of American Art in New York honored him with a comprehensive retrospective of videotapes, video sculptures, installations and performances, which traveled to the Museum of Contemporary Art in Chicago.\nIn recent years, his installations have been widely exhibited internationally, including one-man shows at institutions including Tokyo Metropolitan Art Museum; Centre Georges Pompidou, Paris; and Holly Solomon Gallery, New York, among many others. His work has also been seen in group shows at festivals and institutions including the Whitney Museum of American Art Biennial, New York; Documentas 6 and 8, Kassel, Germany; Japan Society, New York; San Francisco Museum of Modern Art; and Video Sculpture, DuMont Kunsthalle, Cologne. In 1988 he was the subject of a retrospective at the Hayward Gallery in London. His live, international satellite extravaganzas have been broadcast around the world.\nThe Worlds of Nam June Paik, a major retrospective exhibition at the Solomon R. Guggenheim Museum in New York, opened in 2000, and traveled to Bilbao, Spain and Seoul, South Korea. In 2013 the retrospective exhibition Nam June Paik: Global Visionary was organized by the Smithsonian American Art Museum in Washington, D.C. --\nEAI","bio_dates":"1932-2006"},{"slug":"paik_guadalcanal_requiem","ok":true,"partial":false,"title":"Guadalcanal Requiem","artist":"Nam June Paik","year":"1977","startOffset":0,"sourceSecs":1764.233,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":104673553,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_guadalcanal_requiem/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_guadalcanal_requiem/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_guadalcanal_requiem.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_guadalcanal_requiem/main.mp4?v=2","description":"Nam June Paik with Charlotte Moorman <br/><br/> 1977, re-edited 1979, 28:33 min, color, sound<br/><br/> One of Paik's most overtly political and poignant statements, Guadalcanal Requiem is a performance/documentary collage that confronts history, time, cultural memory and mythology on the site of one of World War II's most devastating battles. Guadalcanal in the Solomon Islands is the iconic setting upon which Paik inscribes symbolic gestures and performances. Scenes of Charlotte Moorman performing with her cello, interviews with American and Japanese veterans and Solomon Islanders, and archival footage of the battle are juxtaposed, synthesized, layered, colorized and otherwise electronically manipulated. The imagery is haunting and often surreal: Charlotte Moorman crawls along the beach in a G.I. uniform with a cello strapped to her back, plays a Beuys felt cello, and performs while concealed in a body bag. The subtext of this extraordinary collage is Paik's assertion that global conflict arises as a result of cultural miscommunication.<br/><br/> Guest: Bob Edwards. Cinematographer: Steve Mason. Narrator: Russell Connor. Location Director: Frank Pilleggi. Sound Effects: Laurie Spiegel. Camera: Bill Viola, Michael Pursche, Peter Hardy, Richard Maude, Graham Hellett. Produced by the TV Lab at WNET/ Thirteen. -- <a href=\"http://www.eai.org/title.htm?id=4229\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I), Cunningham, Paik, Cage (1978)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast (1977)\nMerce by Merce by Paik [Charles Atlas, Shigeko Kobuta & Nam June Paik] (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nThirty Second Spots: TV Commercials for Arists - Nam June Paik (1982-83)\nNam June Paik is a major contemporary artist and a seminal figure in video art. His video sculptures, installations, performances and single-channel videos encompass one of the most influential and significant bodies of work in the medium.\nFrom his Fluxus-based performances and altered television sets of the early 1960s, to his ground-breaking videotapes and multi-media installations of the 1970s, '80s and '90s, Paik has made an enormous contribution to the history and development of video as an art form. Exercising radical art-making strategies with irreverent humor, he deconstructs and demystifies the language, content and technology of television. Merging global communications theories with an antic Pop sensibility, his iconoclastic works explore the juncture of art and popular culture.\nIn the 1970s, Paik began a series of tapes, including Global Groove (1973), that were extraordinarily influential and innovative. Applying surreal conceptual wit and \"neo-Dada\" irony, he established a radical syntax of video based on the visual and aural grammar of television, appropriating and then derailing its very language. Densely layered with witty intertextual references and transcultural content, his exuberant, disjunctive collages function as a stream-of-consciousness flow of images, music and electronic effects.\nPaik engages in kinetic cultural explorations as a form of global communications, as if he were switching television channels around the world. In vibrantly textured audio and visual pastiches, his emblematic motifs of Pop iconography, international avant-garde figures, multicultural performances and media appropriations are subjected to a disruptive barrage of exquisite electronic techniques — hyperbolic fragmentations, alterations and juxtapositions.\nPaik's early works display the signature image manipulations and colorizations of the Paik/Abe Synthesizer, a device he developed in 1969 with electronics engineer Shuya Abe. Paik's experiments with the Paik/Abe Synthesizer helped to revolutionize the technological grammar of the medium. The richly layered and textured alterations of his later works exhibit the tour-de-force imaging techniques of longtime collaborator Paul Garrin. Images multiply and divide within the frame; temporal and spatial shifts proliferate, visuals and sound are juxtaposed in ironic contexts. Paik's tapes often take the form of collaborations with or tributes to the avant-garde artists who were his friends and colleagues, including John Cage (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Paik, 1978), Allen Ginsberg and Allan Kaprow (Allan 'n' Allen's Complaint, 1982), Julien Beck and Judith Malina (Living with the Living Theatre, 1989) and (MAJORCA-fantasia, 1989).\nPaik began working in music and performance while a student in Germany, where he participated in the international Fluxus movement. His European Fluxus performances, actions and events included \"prepared\" pianos and musical instruments, and later, altered television sets. In Germany, Paik collaborated with such artists as Wolf Vostell and Joseph Beuys, and met avant-garde composer John Cage, whose ideas and art had a tremendous influence on his work. In 1964, Paik came to New York, where his \"discovery\" of the Sony Portapak and video art has become one of video's most enduring, if apocryphal, legends. (According to this tale, Paik bought one of the first Sony Portapaks to be manufactured for the consumer market. He made his first tape the same day, recording Pope Paul VI's visit to New York from a cab window; the tape was then exhibited at the Cafe a Go Go.)\nIn New York, Paik began a longtime collaboration with avant-garde cellist Charlotte Moorman, with whom he produced a series of important performance-based works. Among their most notorious pieces are the Opera Sextronique (1967), the TV Bra for Living Sculpture (1969), and TV Cello (1971). Paik is perhaps most widely recognized for his prodigious body of video installations and sculptures, from the landmark works of the 1970s, including TV Buddha (1974), TV Garden (1974-78), and Fish Flies on Sky (1975), to the 1986 Family of Robot and the 1995 Megatron.\nPaik's experiments with satellite technology began in 1977 at Documenta 6 in Kassel, Germany, where he collaborated on a live telecast with Joseph Beuys and Douglas Davis. His \"live\" international satellite broadcasts of the 1980s, including Good Morning Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the the World (1988), are global video installations that conjoin disparate spatial, contextual and temporal elements.\nLinking the artworld and the media, pop culture and the avant-garde, technology and philosophy, Paik's works resonate with an irreverent humor and subversive brilliance that have influenced contemporary art, video and television.\nPaik was born in Seoul, Korea in 1932, and died in 2006. He studied music and art history at the University of Tokyo, producing a thesis on Arnold Schoenberg, and graduated in 1956 with a degree in aesthetics. Paik's studies continued in Germany at the Universities of Munich and Cologne, and the Conservatory of Music in Freiburg. From 1958-63, Paik worked with Karlheinz Stockhausen at the WDR Studio fur elektronsiche Musik in Cologne. After meeting Fluxus founder George Maciunas in 1961, he participated in numerous European Fluxus performances, actions and events.\nPaik's first one-man exhibition was the 1963 Exposition of Electronic Music — Electronic Television at the Galerie Parnass in Wuppertal, Germany. Paik came to New York in 1964; his first one-person exhibition in New York was at the Bonino Gallery in 1966. In 1969, Paik participated in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in New York. Also in 1969, Paik and electronics engineer Shuya Abe created the Paik/Abe Synthesizer at the New Television Workshop at WGBH in Boston. Many of his tapes were produced in the 1970s while he was artist-in-residence at the Television Laboratory at WNET/Thirteen in New York. Since 1979, he has taught at Staatlichen Kunstakademie in Dusseldorf, Germany.\nPaik is the recipient of numerous awards, including a Rockefeller Foundation grant, the American Film Institute's Maya Deren Award for Independent Film and Video, The New York State Governor's Art Award, and The New York City Mayor's Award to Distinguished Immigrants. He won 1st Prize/Best Pavilion at the 1993 Venice Biennale for Artist as Nomad in the German Pavilion. In 1998 he was honored with the prestigious Kyoto Award in Japan, and in 1999 he was named among \"The Century's 25 Most Influential Artists\" by ARTnews. He was given the National Arts Club Artists Award in 2000.\nPaik's works have been the subject of numerous exhibitions, including his first United States retrospective at the Everson Museum, Syracuse, in 1974, and a 1976 retrospective at the Kolnischer Kunstverein, Cologne. In 1982, the Whitney Museum of American Art in New York honored him with a comprehensive retrospective of videotapes, video sculptures, installations and performances, which traveled to the Museum of Contemporary Art in Chicago.\nIn recent years, his installations have been widely exhibited internationally, including one-man shows at institutions including Tokyo Metropolitan Art Museum; Centre Georges Pompidou, Paris; and Holly Solomon Gallery, New York, among many others. His work has also been seen in group shows at festivals and institutions including the Whitney Museum of American Art Biennial, New York; Documentas 6 and 8, Kassel, Germany; Japan Society, New York; San Francisco Museum of Modern Art; and Video Sculpture, DuMont Kunsthalle, Cologne. In 1988 he was the subject of a retrospective at the Hayward Gallery in London. His live, international satellite extravaganzas have been broadcast around the world.\nThe Worlds of Nam June Paik, a major retrospective exhibition at the Solomon R. Guggenheim Museum in New York, opened in 2000, and traveled to Bilbao, Spain and Seoul, South Korea. In 2013 the retrospective exhibition Nam June Paik: Global Visionary was organized by the Smithsonian American Art Museum in Washington, D.C. --\nEAI","bio_dates":"1932-2006"},{"slug":"paik_nam_june_all_star_video_1984","ok":true,"partial":false,"title":"All Star Video (1984) - Nam June Paik with Ryuichi Sakamoto","artist":"Nam June Paik","year":"1984","startOffset":0,"sourceSecs":1896.048,"sourceHeight":720,"sourceWidth":1164,"hasAudio":true,"hasAmbientMp4":true,"bytes":812169109,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_all_star_video_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_all_star_video_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_nam_june_all_star_video_1984.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_all_star_video_1984/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_all_star_video_1984/main/master.m3u8?v=2","hasMainHls":true,"description":"In this videotape, Nam June Paik pays tribute to a number of pop stars in his pan-cultural pantheon. He re-enacts certain Fluxus musical performances of the 1960s and 70s including those with the destruction of a piano and the concert with Charlotte Moorman on the cello.<br/><br/> A synthesised Sakamoto portrait, an interview with Charlotte Moorman, interviews with John Cage, Julien Back and Judith Malina for the Living Theatre by Sakamoto, a Korean musical piece by Sun Ock Lee, several piano performances by Joseph Beuys, a Laurie Anderson video, a song from Merce By Merce, a poem sung by Allen Ginsberg, John Cage's performance in Random Composition in Manhattan By Yi-King – all of this forms the musical world of this artist who studied music, wrote a doctoral thesis on Arnold Schoenberg and worked at the Studio Für Electronic Music in Cologne where Karlheinz Stockhausen conducted workshops.<br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I), Cunningham, Paik, Cage (1978)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast (1977)\nMerce by Merce by Paik [Charles Atlas, Shigeko Kobuta & Nam June Paik] (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nThirty Second Spots: TV Commercials for Arists - Nam June Paik (1982-83)\nNam June Paik is a major contemporary artist and a seminal figure in video art. His video sculptures, installations, performances and single-channel videos encompass one of the most influential and significant bodies of work in the medium.\nFrom his Fluxus-based performances and altered television sets of the early 1960s, to his ground-breaking videotapes and multi-media installations of the 1970s, '80s and '90s, Paik has made an enormous contribution to the history and development of video as an art form. Exercising radical art-making strategies with irreverent humor, he deconstructs and demystifies the language, content and technology of television. Merging global communications theories with an antic Pop sensibility, his iconoclastic works explore the juncture of art and popular culture.\nIn the 1970s, Paik began a series of tapes, including Global Groove (1973), that were extraordinarily influential and innovative. Applying surreal conceptual wit and \"neo-Dada\" irony, he established a radical syntax of video based on the visual and aural grammar of television, appropriating and then derailing its very language. Densely layered with witty intertextual references and transcultural content, his exuberant, disjunctive collages function as a stream-of-consciousness flow of images, music and electronic effects.\nPaik engages in kinetic cultural explorations as a form of global communications, as if he were switching television channels around the world. In vibrantly textured audio and visual pastiches, his emblematic motifs of Pop iconography, international avant-garde figures, multicultural performances and media appropriations are subjected to a disruptive barrage of exquisite electronic techniques — hyperbolic fragmentations, alterations and juxtapositions.\nPaik's early works display the signature image manipulations and colorizations of the Paik/Abe Synthesizer, a device he developed in 1969 with electronics engineer Shuya Abe. Paik's experiments with the Paik/Abe Synthesizer helped to revolutionize the technological grammar of the medium. The richly layered and textured alterations of his later works exhibit the tour-de-force imaging techniques of longtime collaborator Paul Garrin. Images multiply and divide within the frame; temporal and spatial shifts proliferate, visuals and sound are juxtaposed in ironic contexts. Paik's tapes often take the form of collaborations with or tributes to the avant-garde artists who were his friends and colleagues, including John Cage (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Paik, 1978), Allen Ginsberg and Allan Kaprow (Allan 'n' Allen's Complaint, 1982), Julien Beck and Judith Malina (Living with the Living Theatre, 1989) and (MAJORCA-fantasia, 1989).\nPaik began working in music and performance while a student in Germany, where he participated in the international Fluxus movement. His European Fluxus performances, actions and events included \"prepared\" pianos and musical instruments, and later, altered television sets. In Germany, Paik collaborated with such artists as Wolf Vostell and Joseph Beuys, and met avant-garde composer John Cage, whose ideas and art had a tremendous influence on his work. In 1964, Paik came to New York, where his \"discovery\" of the Sony Portapak and video art has become one of video's most enduring, if apocryphal, legends. (According to this tale, Paik bought one of the first Sony Portapaks to be manufactured for the consumer market. He made his first tape the same day, recording Pope Paul VI's visit to New York from a cab window; the tape was then exhibited at the Cafe a Go Go.)\nIn New York, Paik began a longtime collaboration with avant-garde cellist Charlotte Moorman, with whom he produced a series of important performance-based works. Among their most notorious pieces are the Opera Sextronique (1967), the TV Bra for Living Sculpture (1969), and TV Cello (1971). Paik is perhaps most widely recognized for his prodigious body of video installations and sculptures, from the landmark works of the 1970s, including TV Buddha (1974), TV Garden (1974-78), and Fish Flies on Sky (1975), to the 1986 Family of Robot and the 1995 Megatron.\nPaik's experiments with satellite technology began in 1977 at Documenta 6 in Kassel, Germany, where he collaborated on a live telecast with Joseph Beuys and Douglas Davis. His \"live\" international satellite broadcasts of the 1980s, including Good Morning Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the the World (1988), are global video installations that conjoin disparate spatial, contextual and temporal elements.\nLinking the artworld and the media, pop culture and the avant-garde, technology and philosophy, Paik's works resonate with an irreverent humor and subversive brilliance that have influenced contemporary art, video and television.\nPaik was born in Seoul, Korea in 1932, and died in 2006. He studied music and art history at the University of Tokyo, producing a thesis on Arnold Schoenberg, and graduated in 1956 with a degree in aesthetics. Paik's studies continued in Germany at the Universities of Munich and Cologne, and the Conservatory of Music in Freiburg. From 1958-63, Paik worked with Karlheinz Stockhausen at the WDR Studio fur elektronsiche Musik in Cologne. After meeting Fluxus founder George Maciunas in 1961, he participated in numerous European Fluxus performances, actions and events.\nPaik's first one-man exhibition was the 1963 Exposition of Electronic Music — Electronic Television at the Galerie Parnass in Wuppertal, Germany. Paik came to New York in 1964; his first one-person exhibition in New York was at the Bonino Gallery in 1966. In 1969, Paik participated in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in New York. Also in 1969, Paik and electronics engineer Shuya Abe created the Paik/Abe Synthesizer at the New Television Workshop at WGBH in Boston. Many of his tapes were produced in the 1970s while he was artist-in-residence at the Television Laboratory at WNET/Thirteen in New York. Since 1979, he has taught at Staatlichen Kunstakademie in Dusseldorf, Germany.\nPaik is the recipient of numerous awards, including a Rockefeller Foundation grant, the American Film Institute's Maya Deren Award for Independent Film and Video, The New York State Governor's Art Award, and The New York City Mayor's Award to Distinguished Immigrants. He won 1st Prize/Best Pavilion at the 1993 Venice Biennale for Artist as Nomad in the German Pavilion. In 1998 he was honored with the prestigious Kyoto Award in Japan, and in 1999 he was named among \"The Century's 25 Most Influential Artists\" by ARTnews. He was given the National Arts Club Artists Award in 2000.\nPaik's works have been the subject of numerous exhibitions, including his first United States retrospective at the Everson Museum, Syracuse, in 1974, and a 1976 retrospective at the Kolnischer Kunstverein, Cologne. In 1982, the Whitney Museum of American Art in New York honored him with a comprehensive retrospective of videotapes, video sculptures, installations and performances, which traveled to the Museum of Contemporary Art in Chicago.\nIn recent years, his installations have been widely exhibited internationally, including one-man shows at institutions including Tokyo Metropolitan Art Museum; Centre Georges Pompidou, Paris; and Holly Solomon Gallery, New York, among many others. His work has also been seen in group shows at festivals and institutions including the Whitney Museum of American Art Biennial, New York; Documentas 6 and 8, Kassel, Germany; Japan Society, New York; San Francisco Museum of Modern Art; and Video Sculpture, DuMont Kunsthalle, Cologne. In 1988 he was the subject of a retrospective at the Hayward Gallery in London. His live, international satellite extravaganzas have been broadcast around the world.\nThe Worlds of Nam June Paik, a major retrospective exhibition at the Solomon R. Guggenheim Museum in New York, opened in 2000, and traveled to Bilbao, Spain and Seoul, South Korea. In 2013 the retrospective exhibition Nam June Paik: Global Visionary was organized by the Smithsonian American Art Museum in Washington, D.C. --\nEAI","bio_dates":"1932-2006"},{"slug":"paik_nam_june_butterfly_1986","ok":true,"partial":false,"title":"Butterfly","artist":"Nam June Paik","year":"1986","startOffset":0,"sourceSecs":149.516,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":24066524,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_butterfly_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_butterfly_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_nam_june_butterfly_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_butterfly_1986/main.mp4?v=2","description":"1986, 2:03 min, color, sound <br/><br/> The exuberant irreverence and wit of Butterfly characterizes Paik's stream-of-consciousness visual and conceptual techniques. In a vibrant image/music collage, he ironically juxtaposes high-cultural artifacts (the aria from Madame Butterfly), contemporary avant-garde icons (Laurie Anderson) and Eastern symbols (the butterfly), within a rapid-paced proliferation of vividly computerized visual effects. This abbreviated work is classic Paik.-- <a href=\"https://www.eai.org/titles/butterfly\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/paik.html\" rel=\"noopener\" target=\"_blank\">Nam June Paik on UbuWeb Sound</a></br></br></br>","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I), Cunningham, Paik, Cage (1978)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast (1977)\nMerce by Merce by Paik [Charles Atlas, Shigeko Kobuta & Nam June Paik] (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nThirty Second Spots: TV Commercials for Arists - Nam June Paik (1982-83)\nNam June Paik is a major contemporary artist and a seminal figure in video art. His video sculptures, installations, performances and single-channel videos encompass one of the most influential and significant bodies of work in the medium.\nFrom his Fluxus-based performances and altered television sets of the early 1960s, to his ground-breaking videotapes and multi-media installations of the 1970s, '80s and '90s, Paik has made an enormous contribution to the history and development of video as an art form. Exercising radical art-making strategies with irreverent humor, he deconstructs and demystifies the language, content and technology of television. Merging global communications theories with an antic Pop sensibility, his iconoclastic works explore the juncture of art and popular culture.\nIn the 1970s, Paik began a series of tapes, including Global Groove (1973), that were extraordinarily influential and innovative. Applying surreal conceptual wit and \"neo-Dada\" irony, he established a radical syntax of video based on the visual and aural grammar of television, appropriating and then derailing its very language. Densely layered with witty intertextual references and transcultural content, his exuberant, disjunctive collages function as a stream-of-consciousness flow of images, music and electronic effects.\nPaik engages in kinetic cultural explorations as a form of global communications, as if he were switching television channels around the world. In vibrantly textured audio and visual pastiches, his emblematic motifs of Pop iconography, international avant-garde figures, multicultural performances and media appropriations are subjected to a disruptive barrage of exquisite electronic techniques — hyperbolic fragmentations, alterations and juxtapositions.\nPaik's early works display the signature image manipulations and colorizations of the Paik/Abe Synthesizer, a device he developed in 1969 with electronics engineer Shuya Abe. Paik's experiments with the Paik/Abe Synthesizer helped to revolutionize the technological grammar of the medium. The richly layered and textured alterations of his later works exhibit the tour-de-force imaging techniques of longtime collaborator Paul Garrin. Images multiply and divide within the frame; temporal and spatial shifts proliferate, visuals and sound are juxtaposed in ironic contexts. Paik's tapes often take the form of collaborations with or tributes to the avant-garde artists who were his friends and colleagues, including John Cage (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Paik, 1978), Allen Ginsberg and Allan Kaprow (Allan 'n' Allen's Complaint, 1982), Julien Beck and Judith Malina (Living with the Living Theatre, 1989) and (MAJORCA-fantasia, 1989).\nPaik began working in music and performance while a student in Germany, where he participated in the international Fluxus movement. His European Fluxus performances, actions and events included \"prepared\" pianos and musical instruments, and later, altered television sets. In Germany, Paik collaborated with such artists as Wolf Vostell and Joseph Beuys, and met avant-garde composer John Cage, whose ideas and art had a tremendous influence on his work. In 1964, Paik came to New York, where his \"discovery\" of the Sony Portapak and video art has become one of video's most enduring, if apocryphal, legends. (According to this tale, Paik bought one of the first Sony Portapaks to be manufactured for the consumer market. He made his first tape the same day, recording Pope Paul VI's visit to New York from a cab window; the tape was then exhibited at the Cafe a Go Go.)\nIn New York, Paik began a longtime collaboration with avant-garde cellist Charlotte Moorman, with whom he produced a series of important performance-based works. Among their most notorious pieces are the Opera Sextronique (1967), the TV Bra for Living Sculpture (1969), and TV Cello (1971). Paik is perhaps most widely recognized for his prodigious body of video installations and sculptures, from the landmark works of the 1970s, including TV Buddha (1974), TV Garden (1974-78), and Fish Flies on Sky (1975), to the 1986 Family of Robot and the 1995 Megatron.\nPaik's experiments with satellite technology began in 1977 at Documenta 6 in Kassel, Germany, where he collaborated on a live telecast with Joseph Beuys and Douglas Davis. His \"live\" international satellite broadcasts of the 1980s, including Good Morning Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the the World (1988), are global video installations that conjoin disparate spatial, contextual and temporal elements.\nLinking the artworld and the media, pop culture and the avant-garde, technology and philosophy, Paik's works resonate with an irreverent humor and subversive brilliance that have influenced contemporary art, video and television.\nPaik was born in Seoul, Korea in 1932, and died in 2006. He studied music and art history at the University of Tokyo, producing a thesis on Arnold Schoenberg, and graduated in 1956 with a degree in aesthetics. Paik's studies continued in Germany at the Universities of Munich and Cologne, and the Conservatory of Music in Freiburg. From 1958-63, Paik worked with Karlheinz Stockhausen at the WDR Studio fur elektronsiche Musik in Cologne. After meeting Fluxus founder George Maciunas in 1961, he participated in numerous European Fluxus performances, actions and events.\nPaik's first one-man exhibition was the 1963 Exposition of Electronic Music — Electronic Television at the Galerie Parnass in Wuppertal, Germany. Paik came to New York in 1964; his first one-person exhibition in New York was at the Bonino Gallery in 1966. In 1969, Paik participated in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in New York. Also in 1969, Paik and electronics engineer Shuya Abe created the Paik/Abe Synthesizer at the New Television Workshop at WGBH in Boston. Many of his tapes were produced in the 1970s while he was artist-in-residence at the Television Laboratory at WNET/Thirteen in New York. Since 1979, he has taught at Staatlichen Kunstakademie in Dusseldorf, Germany.\nPaik is the recipient of numerous awards, including a Rockefeller Foundation grant, the American Film Institute's Maya Deren Award for Independent Film and Video, The New York State Governor's Art Award, and The New York City Mayor's Award to Distinguished Immigrants. He won 1st Prize/Best Pavilion at the 1993 Venice Biennale for Artist as Nomad in the German Pavilion. In 1998 he was honored with the prestigious Kyoto Award in Japan, and in 1999 he was named among \"The Century's 25 Most Influential Artists\" by ARTnews. He was given the National Arts Club Artists Award in 2000.\nPaik's works have been the subject of numerous exhibitions, including his first United States retrospective at the Everson Museum, Syracuse, in 1974, and a 1976 retrospective at the Kolnischer Kunstverein, Cologne. In 1982, the Whitney Museum of American Art in New York honored him with a comprehensive retrospective of videotapes, video sculptures, installations and performances, which traveled to the Museum of Contemporary Art in Chicago.\nIn recent years, his installations have been widely exhibited internationally, including one-man shows at institutions including Tokyo Metropolitan Art Museum; Centre Georges Pompidou, Paris; and Holly Solomon Gallery, New York, among many others. His work has also been seen in group shows at festivals and institutions including the Whitney Museum of American Art Biennial, New York; Documentas 6 and 8, Kassel, Germany; Japan Society, New York; San Francisco Museum of Modern Art; and Video Sculpture, DuMont Kunsthalle, Cologne. In 1988 he was the subject of a retrospective at the Hayward Gallery in London. His live, international satellite extravaganzas have been broadcast around the world.\nThe Worlds of Nam June Paik, a major retrospective exhibition at the Solomon R. Guggenheim Museum in New York, opened in 2000, and traveled to Bilbao, Spain and Seoul, South Korea. In 2013 the retrospective exhibition Nam June Paik: Global Visionary was organized by the Smithsonian American Art Museum in Washington, D.C. --\nEAI","bio_dates":"1932-2006"},{"slug":"paik_nam_june_edited_for_television_1975","ok":true,"partial":false,"title":"Edited for Television","artist":"Nam June Paik","year":"1975","startOffset":0,"sourceSecs":1713.216,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":103875791,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_edited_for_television_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_edited_for_television_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_nam_june_edited_for_television_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_edited_for_television_1975/main.mp4?v=2","description":"1975, 28:14 min, b&w and color, sound<br/> <br/> Produced for public television station WNET/Thirteen in New York, Nam June Paik: Edited for Television is a provocative portrait of the artist, his work and philosophies. This fascinating document features an interview of Paik by art critic Calvin Tompkins (who wrote a New Yorker profile of the artist in 1975) and ironic commentary by host Russell Connor. Taped in his Soho loft, with the multi-monitor piece Fish Flies on Sky suspended from the ceiling, Paik elliptically addresses his art and philosophies in the context of Dada, Fluxus, the Zen Koan, John Cage, Minimal art, information overload and technology. \"I am a poor man from a poor country, so I have to entertain people every second,\" states Paik. Excerpts from his works include Suite 212 and Electronic Opera Nos. 1 and 2; Charlotte Moorman performing TV Bra for Living Sculpture, and Moorman and Paik performing excerpts from Cage's 26'1.1499\" for String Player in 1965. On a guided tour of his loft, Paik discusses the prototype of the Paik-Abe Synthesizer and demonstrates his early altered television sets and video sculptures. <br/><br/> Interview: Calvin Tompkins, Russell Connor. Camera /Supervising Engineer: John J. Godfrey. Produced by the TV Lab at WNET/Thirteen (VTR series).","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I), Cunningham, Paik, Cage (1978)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast (1977)\nMerce by Merce by Paik [Charles Atlas, Shigeko Kobuta & Nam June Paik] (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nThirty Second Spots: TV Commercials for Arists - Nam June Paik (1982-83)\nNam June Paik is a major contemporary artist and a seminal figure in video art. His video sculptures, installations, performances and single-channel videos encompass one of the most influential and significant bodies of work in the medium.\nFrom his Fluxus-based performances and altered television sets of the early 1960s, to his ground-breaking videotapes and multi-media installations of the 1970s, '80s and '90s, Paik has made an enormous contribution to the history and development of video as an art form. Exercising radical art-making strategies with irreverent humor, he deconstructs and demystifies the language, content and technology of television. Merging global communications theories with an antic Pop sensibility, his iconoclastic works explore the juncture of art and popular culture.\nIn the 1970s, Paik began a series of tapes, including Global Groove (1973), that were extraordinarily influential and innovative. Applying surreal conceptual wit and \"neo-Dada\" irony, he established a radical syntax of video based on the visual and aural grammar of television, appropriating and then derailing its very language. Densely layered with witty intertextual references and transcultural content, his exuberant, disjunctive collages function as a stream-of-consciousness flow of images, music and electronic effects.\nPaik engages in kinetic cultural explorations as a form of global communications, as if he were switching television channels around the world. In vibrantly textured audio and visual pastiches, his emblematic motifs of Pop iconography, international avant-garde figures, multicultural performances and media appropriations are subjected to a disruptive barrage of exquisite electronic techniques — hyperbolic fragmentations, alterations and juxtapositions.\nPaik's early works display the signature image manipulations and colorizations of the Paik/Abe Synthesizer, a device he developed in 1969 with electronics engineer Shuya Abe. Paik's experiments with the Paik/Abe Synthesizer helped to revolutionize the technological grammar of the medium. The richly layered and textured alterations of his later works exhibit the tour-de-force imaging techniques of longtime collaborator Paul Garrin. Images multiply and divide within the frame; temporal and spatial shifts proliferate, visuals and sound are juxtaposed in ironic contexts. Paik's tapes often take the form of collaborations with or tributes to the avant-garde artists who were his friends and colleagues, including John Cage (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Paik, 1978), Allen Ginsberg and Allan Kaprow (Allan 'n' Allen's Complaint, 1982), Julien Beck and Judith Malina (Living with the Living Theatre, 1989) and (MAJORCA-fantasia, 1989).\nPaik began working in music and performance while a student in Germany, where he participated in the international Fluxus movement. His European Fluxus performances, actions and events included \"prepared\" pianos and musical instruments, and later, altered television sets. In Germany, Paik collaborated with such artists as Wolf Vostell and Joseph Beuys, and met avant-garde composer John Cage, whose ideas and art had a tremendous influence on his work. In 1964, Paik came to New York, where his \"discovery\" of the Sony Portapak and video art has become one of video's most enduring, if apocryphal, legends. (According to this tale, Paik bought one of the first Sony Portapaks to be manufactured for the consumer market. He made his first tape the same day, recording Pope Paul VI's visit to New York from a cab window; the tape was then exhibited at the Cafe a Go Go.)\nIn New York, Paik began a longtime collaboration with avant-garde cellist Charlotte Moorman, with whom he produced a series of important performance-based works. Among their most notorious pieces are the Opera Sextronique (1967), the TV Bra for Living Sculpture (1969), and TV Cello (1971). Paik is perhaps most widely recognized for his prodigious body of video installations and sculptures, from the landmark works of the 1970s, including TV Buddha (1974), TV Garden (1974-78), and Fish Flies on Sky (1975), to the 1986 Family of Robot and the 1995 Megatron.\nPaik's experiments with satellite technology began in 1977 at Documenta 6 in Kassel, Germany, where he collaborated on a live telecast with Joseph Beuys and Douglas Davis. His \"live\" international satellite broadcasts of the 1980s, including Good Morning Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the the World (1988), are global video installations that conjoin disparate spatial, contextual and temporal elements.\nLinking the artworld and the media, pop culture and the avant-garde, technology and philosophy, Paik's works resonate with an irreverent humor and subversive brilliance that have influenced contemporary art, video and television.\nPaik was born in Seoul, Korea in 1932, and died in 2006. He studied music and art history at the University of Tokyo, producing a thesis on Arnold Schoenberg, and graduated in 1956 with a degree in aesthetics. Paik's studies continued in Germany at the Universities of Munich and Cologne, and the Conservatory of Music in Freiburg. From 1958-63, Paik worked with Karlheinz Stockhausen at the WDR Studio fur elektronsiche Musik in Cologne. After meeting Fluxus founder George Maciunas in 1961, he participated in numerous European Fluxus performances, actions and events.\nPaik's first one-man exhibition was the 1963 Exposition of Electronic Music — Electronic Television at the Galerie Parnass in Wuppertal, Germany. Paik came to New York in 1964; his first one-person exhibition in New York was at the Bonino Gallery in 1966. In 1969, Paik participated in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in New York. Also in 1969, Paik and electronics engineer Shuya Abe created the Paik/Abe Synthesizer at the New Television Workshop at WGBH in Boston. Many of his tapes were produced in the 1970s while he was artist-in-residence at the Television Laboratory at WNET/Thirteen in New York. Since 1979, he has taught at Staatlichen Kunstakademie in Dusseldorf, Germany.\nPaik is the recipient of numerous awards, including a Rockefeller Foundation grant, the American Film Institute's Maya Deren Award for Independent Film and Video, The New York State Governor's Art Award, and The New York City Mayor's Award to Distinguished Immigrants. He won 1st Prize/Best Pavilion at the 1993 Venice Biennale for Artist as Nomad in the German Pavilion. In 1998 he was honored with the prestigious Kyoto Award in Japan, and in 1999 he was named among \"The Century's 25 Most Influential Artists\" by ARTnews. He was given the National Arts Club Artists Award in 2000.\nPaik's works have been the subject of numerous exhibitions, including his first United States retrospective at the Everson Museum, Syracuse, in 1974, and a 1976 retrospective at the Kolnischer Kunstverein, Cologne. In 1982, the Whitney Museum of American Art in New York honored him with a comprehensive retrospective of videotapes, video sculptures, installations and performances, which traveled to the Museum of Contemporary Art in Chicago.\nIn recent years, his installations have been widely exhibited internationally, including one-man shows at institutions including Tokyo Metropolitan Art Museum; Centre Georges Pompidou, Paris; and Holly Solomon Gallery, New York, among many others. His work has also been seen in group shows at festivals and institutions including the Whitney Museum of American Art Biennial, New York; Documentas 6 and 8, Kassel, Germany; Japan Society, New York; San Francisco Museum of Modern Art; and Video Sculpture, DuMont Kunsthalle, Cologne. In 1988 he was the subject of a retrospective at the Hayward Gallery in London. His live, international satellite extravaganzas have been broadcast around the world.\nThe Worlds of Nam June Paik, a major retrospective exhibition at the Solomon R. Guggenheim Museum in New York, opened in 2000, and traveled to Bilbao, Spain and Seoul, South Korea. In 2013 the retrospective exhibition Nam June Paik: Global Visionary was organized by the Smithsonian American Art Museum in Washington, D.C. --\nEAI","bio_dates":"b. 1951"},{"slug":"paik_nam_june_funeral_in_korea_iphone","ok":true,"partial":false,"title":"June Funeral In Korea","artist":"Nam June Paik","year":"2006","startOffset":0,"sourceSecs":208.09,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":13524271,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_funeral_in_korea_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_funeral_in_korea_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_nam_june_funeral_in_korea_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_funeral_in_korea_iphone/main.mp4?v=2","description":"With video installations regularly appearing on the shortlists for the major art prizes, many of us today take for granted the use of video as an artistic medium. The Korean-born artist Nam June Paik (1932–2006) was instrumental in the development of this revolutionary and controversial art form, devoting himself as early as the 1960s, as a member of the radical Fluxus movement, to exploring its interdisciplinary potential and, in so doing, reshaping our understanding of the moving image in contemporary art. This compelling collection of essays and video material explores Paik’s remarkable life and work, with contributions from friends, students and fellow artists. The result is an affectionate and lively tribute to the ‘father of video art’, including previously unpublished material and more than 4 hours of footage on the accompanying DVD.\n\nWulf Herzogenrath is Director of the Kunsthalle Bremen, Germany, and has published widely on many aspects of twentieth-century and contemporary art. Andreas Kreul is Curator of the Kunsthalle Bremen and the author of several books, including (as co-editor) Sounds of the Inner Eye (2002)."},{"slug":"paik_nam_june_good_morning_mr_orwell_1984_iphone","ok":true,"partial":false,"title":"Good Morning Mr. Orwell","artist":"Nam June Paik","year":"1984","startOffset":0,"sourceSecs":3476.589,"sourceHeight":320,"sourceWidth":412,"hasAudio":true,"hasAmbientMp4":true,"bytes":201572404,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_good_morning_mr_orwell_1984_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_good_morning_mr_orwell_1984_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_nam_june_good_morning_mr_orwell_1984_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_good_morning_mr_orwell_1984_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_good_morning_mr_orwell_1984_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1984, 38 min, color, sound <br/> <br/> <i>Good Morning Mr.Orwell</i> is an edited version of Paik's first international satellite \"installation,\" which was held on New Year's Day 1984. Paik's transcultural satellite extravaganzas link different countries, spaces, and times in often chaotic but entertaining collages of art and pop culture, the avant-garde and television. <i>Good Morning Mr.Orwell</i>, which Paik saw as a rebuttal to Orwell's dystopian vision of 1984, linked France, Germany and the U.S. The event featured vibrant performances by Laurie Anderson, Merce Cunningham, Peter Gabriel and Allen Ginsberg, among many others. Paik coordinated the event and designed the TV graphics that connected the various live and pre-recorded segments. This project can be seen as a development of Paik's thinking on the potential of satellite communication, as proposed in A Conversation, and realized with his typical pastiche of art, entertainment, and crosscultural juxtapositions. <br/><br/> Conceived and coordinated by Nam June Paik. Executive Producer: Carol Brandenburg. Partial Post-Production: Nam June Paik, Paul Garrin. Post-Production: Broadway Video, Post Perfect. WNET, New York; FR3, Centre Georges Pompidou, Paris; WDR Westdeutsche Fernsehen. Editor of single-channel version: Skip Blumberg. <br/><br/> Conceived and coordinated by Nam June Paik. Executive Producer: Carol Brandenburg. Partial Post-Production: Nam June Paik, Paul Garrin. Post-Production: Broadway Video, Post Perfect. WNET, New York; FR3, Centre Georges Pompidou, Paris; WDR Westdeutsche Fernsehen. Editor of single-channel version: Skip Blumberg.","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"1932-2006"},{"slug":"paik_nam_june_lake_placid","ok":true,"partial":false,"title":"Lake Placid '80","artist":"Nam June Paik","year":"1980","startOffset":0,"sourceSecs":245.033,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":13100299,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_lake_placid/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_lake_placid/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_nam_june_lake_placid.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_lake_placid/main.mp4?v=2","description":"1980, 3:49 min, color, sound<br/><br/> Paik produced this exuberant, high-speed collage as a commission for the National Fine Arts Committee of the 1980 Olympic Winter Games. In a fractured explosion of densely layered movement and action, images of Olympic sports events are mixed with Paik's recurring visual and audio motifs: the dancers from Global Groove, Allen Ginsberg, the song Devil With a Blue Dress On. Ski jumpers, skaters and hockey players are re-edited, fragmented, colorized, accelerated and transformed, colliding on the screen in a frenzy of synthesized energy. Movements, time-frames and images shift in seemingly random, often ironic juxtapositions. The hyperbolic pace and rhythm of this energetic \"music video\" ends with Paik's computer-graphic version of the Olympic logo superimposed over a chanting Allen Ginsberg.<br/><br/> Computer Graphics: Judson Rosebush, Dan Sandin, Phil Morton, Tom DeFanti. Commissioned by the National Fine Arts Committee of the 1980 Olympic Winter Games. -- <a href=\"http://www.eai.org/title.htm?id=3645\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I), Cunningham, Paik, Cage (1978)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast (1977)\nMerce by Merce by Paik [Charles Atlas, Shigeko Kobuta & Nam June Paik] (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nThirty Second Spots: TV Commercials for Arists - Nam June Paik (1982-83)\nNam June Paik is a major contemporary artist and a seminal figure in video art. His video sculptures, installations, performances and single-channel videos encompass one of the most influential and significant bodies of work in the medium.\nFrom his Fluxus-based performances and altered television sets of the early 1960s, to his ground-breaking videotapes and multi-media installations of the 1970s, '80s and '90s, Paik has made an enormous contribution to the history and development of video as an art form. Exercising radical art-making strategies with irreverent humor, he deconstructs and demystifies the language, content and technology of television. Merging global communications theories with an antic Pop sensibility, his iconoclastic works explore the juncture of art and popular culture.\nIn the 1970s, Paik began a series of tapes, including Global Groove (1973), that were extraordinarily influential and innovative. Applying surreal conceptual wit and \"neo-Dada\" irony, he established a radical syntax of video based on the visual and aural grammar of television, appropriating and then derailing its very language. Densely layered with witty intertextual references and transcultural content, his exuberant, disjunctive collages function as a stream-of-consciousness flow of images, music and electronic effects.\nPaik engages in kinetic cultural explorations as a form of global communications, as if he were switching television channels around the world. In vibrantly textured audio and visual pastiches, his emblematic motifs of Pop iconography, international avant-garde figures, multicultural performances and media appropriations are subjected to a disruptive barrage of exquisite electronic techniques — hyperbolic fragmentations, alterations and juxtapositions.\nPaik's early works display the signature image manipulations and colorizations of the Paik/Abe Synthesizer, a device he developed in 1969 with electronics engineer Shuya Abe. Paik's experiments with the Paik/Abe Synthesizer helped to revolutionize the technological grammar of the medium. The richly layered and textured alterations of his later works exhibit the tour-de-force imaging techniques of longtime collaborator Paul Garrin. Images multiply and divide within the frame; temporal and spatial shifts proliferate, visuals and sound are juxtaposed in ironic contexts. Paik's tapes often take the form of collaborations with or tributes to the avant-garde artists who were his friends and colleagues, including John Cage (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Paik, 1978), Allen Ginsberg and Allan Kaprow (Allan 'n' Allen's Complaint, 1982), Julien Beck and Judith Malina (Living with the Living Theatre, 1989) and (MAJORCA-fantasia, 1989).\nPaik began working in music and performance while a student in Germany, where he participated in the international Fluxus movement. His European Fluxus performances, actions and events included \"prepared\" pianos and musical instruments, and later, altered television sets. In Germany, Paik collaborated with such artists as Wolf Vostell and Joseph Beuys, and met avant-garde composer John Cage, whose ideas and art had a tremendous influence on his work. In 1964, Paik came to New York, where his \"discovery\" of the Sony Portapak and video art has become one of video's most enduring, if apocryphal, legends. (According to this tale, Paik bought one of the first Sony Portapaks to be manufactured for the consumer market. He made his first tape the same day, recording Pope Paul VI's visit to New York from a cab window; the tape was then exhibited at the Cafe a Go Go.)\nIn New York, Paik began a longtime collaboration with avant-garde cellist Charlotte Moorman, with whom he produced a series of important performance-based works. Among their most notorious pieces are the Opera Sextronique (1967), the TV Bra for Living Sculpture (1969), and TV Cello (1971). Paik is perhaps most widely recognized for his prodigious body of video installations and sculptures, from the landmark works of the 1970s, including TV Buddha (1974), TV Garden (1974-78), and Fish Flies on Sky (1975), to the 1986 Family of Robot and the 1995 Megatron.\nPaik's experiments with satellite technology began in 1977 at Documenta 6 in Kassel, Germany, where he collaborated on a live telecast with Joseph Beuys and Douglas Davis. His \"live\" international satellite broadcasts of the 1980s, including Good Morning Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the the World (1988), are global video installations that conjoin disparate spatial, contextual and temporal elements.\nLinking the artworld and the media, pop culture and the avant-garde, technology and philosophy, Paik's works resonate with an irreverent humor and subversive brilliance that have influenced contemporary art, video and television.\nPaik was born in Seoul, Korea in 1932, and died in 2006. He studied music and art history at the University of Tokyo, producing a thesis on Arnold Schoenberg, and graduated in 1956 with a degree in aesthetics. Paik's studies continued in Germany at the Universities of Munich and Cologne, and the Conservatory of Music in Freiburg. From 1958-63, Paik worked with Karlheinz Stockhausen at the WDR Studio fur elektronsiche Musik in Cologne. After meeting Fluxus founder George Maciunas in 1961, he participated in numerous European Fluxus performances, actions and events.\nPaik's first one-man exhibition was the 1963 Exposition of Electronic Music — Electronic Television at the Galerie Parnass in Wuppertal, Germany. Paik came to New York in 1964; his first one-person exhibition in New York was at the Bonino Gallery in 1966. In 1969, Paik participated in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in New York. Also in 1969, Paik and electronics engineer Shuya Abe created the Paik/Abe Synthesizer at the New Television Workshop at WGBH in Boston. Many of his tapes were produced in the 1970s while he was artist-in-residence at the Television Laboratory at WNET/Thirteen in New York. Since 1979, he has taught at Staatlichen Kunstakademie in Dusseldorf, Germany.\nPaik is the recipient of numerous awards, including a Rockefeller Foundation grant, the American Film Institute's Maya Deren Award for Independent Film and Video, The New York State Governor's Art Award, and The New York City Mayor's Award to Distinguished Immigrants. He won 1st Prize/Best Pavilion at the 1993 Venice Biennale for Artist as Nomad in the German Pavilion. In 1998 he was honored with the prestigious Kyoto Award in Japan, and in 1999 he was named among \"The Century's 25 Most Influential Artists\" by ARTnews. He was given the National Arts Club Artists Award in 2000.\nPaik's works have been the subject of numerous exhibitions, including his first United States retrospective at the Everson Museum, Syracuse, in 1974, and a 1976 retrospective at the Kolnischer Kunstverein, Cologne. In 1982, the Whitney Museum of American Art in New York honored him with a comprehensive retrospective of videotapes, video sculptures, installations and performances, which traveled to the Museum of Contemporary Art in Chicago.\nIn recent years, his installations have been widely exhibited internationally, including one-man shows at institutions including Tokyo Metropolitan Art Museum; Centre Georges Pompidou, Paris; and Holly Solomon Gallery, New York, among many others. His work has also been seen in group shows at festivals and institutions including the Whitney Museum of American Art Biennial, New York; Documentas 6 and 8, Kassel, Germany; Japan Society, New York; San Francisco Museum of Modern Art; and Video Sculpture, DuMont Kunsthalle, Cologne. In 1988 he was the subject of a retrospective at the Hayward Gallery in London. His live, international satellite extravaganzas have been broadcast around the world.\nThe Worlds of Nam June Paik, a major retrospective exhibition at the Solomon R. Guggenheim Museum in New York, opened in 2000, and traveled to Bilbao, Spain and Seoul, South Korea. In 2013 the retrospective exhibition Nam June Paik: Global Visionary was organized by the Smithsonian American Art Museum in Washington, D.C. --\nEAI","bio_dates":"1932-2006"},{"slug":"paik_nam_june_merce_by_merce_by_paik","ok":true,"partial":false,"title":"Charles Atlas, Shigeko Kubota & Nam June Paik - Merce by Merce by Paik","artist":"Nam June Paik","year":"1978","startOffset":0,"sourceSecs":1771.032,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":306653040,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_merce_by_merce_by_paik/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_merce_by_merce_by_paik/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_nam_june_merce_by_merce_by_paik.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_merce_by_merce_by_paik/main.mp4?v=2","description":"Merce by Merce by Paik is a two-part tribute to groundbreaking postmodern choreographer Merce Cunningham and avant-garde master Marcel Duchamp. Blue Studio: Five Segments is a stunning work of videodance by Merce Cunningham and his then filmmaker-in-residence, Charles Atlas. In Merce and Marcel, Nam June Paik and Shigeko Kubota create a densely textured video collage that links the two visionary artists.<br/> <br/> Directors: Shigeko Kubota, Nam June Paik<br/> Stars: Russell Connor, Merce Cunningham, Marcel Duchamp<br/> <br/> Performance Venue<br/> WNET-TV, Boston, MA<br/> Performer<br/> Merce Cunningham, 1919-2009<br/> Publisher<br/> Merce Cunningham Trust<br/> Date Recorded<br/> 1973<br/> Release Date<br/> 1978<br/> Score Composer<br/> David Held; Earl Howard, 1959-; John Cage, Jr., 1912-1992<br/> Soundtrack Ensemble<br/> Merce Cunningham Dance Company","artist_bio":"Charles Atlas, Shigeko Kobuta & Nam June Paik - Merce by Merce by Paik (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nAfter receiving a bachelor's degree in sculpture from Tokyo University, Shigeko Kubota moved to the United States where she studied at New York University and the New School for Social Research in the mid 60s. Kubota encountered video through her involvement with the New York-based Fluxus Movement, which included Nam June Paik, Allison Knowles, Allan Kaprow, and George Maciunas. In 1972, she produced the first of her video diaries (Europe on 1/2 Inch a Day), while also exploring the image processing equipment at WNET's TV Lab (Video Girls and Video Songs for Navajo Skies, 1973). The fusion of spontaneous autobiography and electronic processing characterized her subsequent work which ranged in focus from everyday events to meditations on the work of Marcel Duchamp. Kubota's work was included in the Women's Video Festival in 1972 and 1976.\n\"\"I want to create a fusion of art and life, Asia and America, Duchampiana and Levi-Straussian savagism, cool form and hot video, dealing with all of those complex problems, spanning the tribal memory of the nomadic Asians who crossed over the Bering Strait over 10,000 years ago. Then, I came, flying in a Boeing 707, on July 4th in 1964, drawn to the glittering Pop Art world of New York.\"","bio_dates":"1932-2006"},{"slug":"paik_nam_june_my_mix_81","ok":true,"partial":false,"title":"My Mix '81","artist":"Nam June Paik","year":"1981","startOffset":0,"sourceSecs":1556.5,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":270719833,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_my_mix_81/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_my_mix_81/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_nam_june_my_mix_81.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_my_mix_81/main.mp4?v=2","description":"My Mix '81<br/> Nam June Paik<br/> 1981, 24:50 min, color, sound <br/> <br/> My Mix '81 merges excerpts from earlier Paik works, including Lake Placid '80, Suite 212, and Electronic Opera No. 2, with an interview of the artist by Esther Schwartz Harriot. Taped in his New York loft, Paik brings his characteristically elliptical and humorous approach to a discussion of the aesthetic context and artistic motivations that lie behind his work. <br/><br/> Compiled by Eric Trigg. Interviewer: Esther Schwartz Harriot.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/paik.html\" rel=\"noopener\" target=\"_blank\">Nam June Paik on UbuWeb Sound</a></br>","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I), Cunningham, Paik, Cage (1978)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast (1977)\nMerce by Merce by Paik [Charles Atlas, Shigeko Kobuta & Nam June Paik] (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nThirty Second Spots: TV Commercials for Arists - Nam June Paik (1982-83)\nNam June Paik is a major contemporary artist and a seminal figure in video art. His video sculptures, installations, performances and single-channel videos encompass one of the most influential and significant bodies of work in the medium.\nFrom his Fluxus-based performances and altered television sets of the early 1960s, to his ground-breaking videotapes and multi-media installations of the 1970s, '80s and '90s, Paik has made an enormous contribution to the history and development of video as an art form. Exercising radical art-making strategies with irreverent humor, he deconstructs and demystifies the language, content and technology of television. Merging global communications theories with an antic Pop sensibility, his iconoclastic works explore the juncture of art and popular culture.\nIn the 1970s, Paik began a series of tapes, including Global Groove (1973), that were extraordinarily influential and innovative. Applying surreal conceptual wit and \"neo-Dada\" irony, he established a radical syntax of video based on the visual and aural grammar of television, appropriating and then derailing its very language. Densely layered with witty intertextual references and transcultural content, his exuberant, disjunctive collages function as a stream-of-consciousness flow of images, music and electronic effects.\nPaik engages in kinetic cultural explorations as a form of global communications, as if he were switching television channels around the world. In vibrantly textured audio and visual pastiches, his emblematic motifs of Pop iconography, international avant-garde figures, multicultural performances and media appropriations are subjected to a disruptive barrage of exquisite electronic techniques — hyperbolic fragmentations, alterations and juxtapositions.\nPaik's early works display the signature image manipulations and colorizations of the Paik/Abe Synthesizer, a device he developed in 1969 with electronics engineer Shuya Abe. Paik's experiments with the Paik/Abe Synthesizer helped to revolutionize the technological grammar of the medium. The richly layered and textured alterations of his later works exhibit the tour-de-force imaging techniques of longtime collaborator Paul Garrin. Images multiply and divide within the frame; temporal and spatial shifts proliferate, visuals and sound are juxtaposed in ironic contexts. Paik's tapes often take the form of collaborations with or tributes to the avant-garde artists who were his friends and colleagues, including John Cage (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Paik, 1978), Allen Ginsberg and Allan Kaprow (Allan 'n' Allen's Complaint, 1982), Julien Beck and Judith Malina (Living with the Living Theatre, 1989) and (MAJORCA-fantasia, 1989).\nPaik began working in music and performance while a student in Germany, where he participated in the international Fluxus movement. His European Fluxus performances, actions and events included \"prepared\" pianos and musical instruments, and later, altered television sets. In Germany, Paik collaborated with such artists as Wolf Vostell and Joseph Beuys, and met avant-garde composer John Cage, whose ideas and art had a tremendous influence on his work. In 1964, Paik came to New York, where his \"discovery\" of the Sony Portapak and video art has become one of video's most enduring, if apocryphal, legends. (According to this tale, Paik bought one of the first Sony Portapaks to be manufactured for the consumer market. He made his first tape the same day, recording Pope Paul VI's visit to New York from a cab window; the tape was then exhibited at the Cafe a Go Go.)\nIn New York, Paik began a longtime collaboration with avant-garde cellist Charlotte Moorman, with whom he produced a series of important performance-based works. Among their most notorious pieces are the Opera Sextronique (1967), the TV Bra for Living Sculpture (1969), and TV Cello (1971). Paik is perhaps most widely recognized for his prodigious body of video installations and sculptures, from the landmark works of the 1970s, including TV Buddha (1974), TV Garden (1974-78), and Fish Flies on Sky (1975), to the 1986 Family of Robot and the 1995 Megatron.\nPaik's experiments with satellite technology began in 1977 at Documenta 6 in Kassel, Germany, where he collaborated on a live telecast with Joseph Beuys and Douglas Davis. His \"live\" international satellite broadcasts of the 1980s, including Good Morning Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the the World (1988), are global video installations that conjoin disparate spatial, contextual and temporal elements.\nLinking the artworld and the media, pop culture and the avant-garde, technology and philosophy, Paik's works resonate with an irreverent humor and subversive brilliance that have influenced contemporary art, video and television.\nPaik was born in Seoul, Korea in 1932, and died in 2006. He studied music and art history at the University of Tokyo, producing a thesis on Arnold Schoenberg, and graduated in 1956 with a degree in aesthetics. Paik's studies continued in Germany at the Universities of Munich and Cologne, and the Conservatory of Music in Freiburg. From 1958-63, Paik worked with Karlheinz Stockhausen at the WDR Studio fur elektronsiche Musik in Cologne. After meeting Fluxus founder George Maciunas in 1961, he participated in numerous European Fluxus performances, actions and events.\nPaik's first one-man exhibition was the 1963 Exposition of Electronic Music — Electronic Television at the Galerie Parnass in Wuppertal, Germany. Paik came to New York in 1964; his first one-person exhibition in New York was at the Bonino Gallery in 1966. In 1969, Paik participated in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in New York. Also in 1969, Paik and electronics engineer Shuya Abe created the Paik/Abe Synthesizer at the New Television Workshop at WGBH in Boston. Many of his tapes were produced in the 1970s while he was artist-in-residence at the Television Laboratory at WNET/Thirteen in New York. Since 1979, he has taught at Staatlichen Kunstakademie in Dusseldorf, Germany.\nPaik is the recipient of numerous awards, including a Rockefeller Foundation grant, the American Film Institute's Maya Deren Award for Independent Film and Video, The New York State Governor's Art Award, and The New York City Mayor's Award to Distinguished Immigrants. He won 1st Prize/Best Pavilion at the 1993 Venice Biennale for Artist as Nomad in the German Pavilion. In 1998 he was honored with the prestigious Kyoto Award in Japan, and in 1999 he was named among \"The Century's 25 Most Influential Artists\" by ARTnews. He was given the National Arts Club Artists Award in 2000.\nPaik's works have been the subject of numerous exhibitions, including his first United States retrospective at the Everson Museum, Syracuse, in 1974, and a 1976 retrospective at the Kolnischer Kunstverein, Cologne. In 1982, the Whitney Museum of American Art in New York honored him with a comprehensive retrospective of videotapes, video sculptures, installations and performances, which traveled to the Museum of Contemporary Art in Chicago.\nIn recent years, his installations have been widely exhibited internationally, including one-man shows at institutions including Tokyo Metropolitan Art Museum; Centre Georges Pompidou, Paris; and Holly Solomon Gallery, New York, among many others. His work has also been seen in group shows at festivals and institutions including the Whitney Museum of American Art Biennial, New York; Documentas 6 and 8, Kassel, Germany; Japan Society, New York; San Francisco Museum of Modern Art; and Video Sculpture, DuMont Kunsthalle, Cologne. In 1988 he was the subject of a retrospective at the Hayward Gallery in London. His live, international satellite extravaganzas have been broadcast around the world.\nThe Worlds of Nam June Paik, a major retrospective exhibition at the Solomon R. Guggenheim Museum in New York, opened in 2000, and traveled to Bilbao, Spain and Seoul, South Korea. In 2013 the retrospective exhibition Nam June Paik: Global Visionary was organized by the Smithsonian American Art Museum in Washington, D.C. --\nEAI","bio_dates":"1932-2006"},{"slug":"paik_nam_june_yalkut_jud_electronic_moon_no_2_1969","ok":true,"partial":false,"title":"Electronic Moon No. 2","artist":"Nam June Paik","year":"1966-1972","startOffset":0,"sourceSecs":290.283,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":41409138,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_yalkut_jud_electronic_moon_no_2_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paik_nam_june_yalkut_jud_electronic_moon_no_2_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paik_nam_june_yalkut_jud_electronic_moon_no_2_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paik_nam_june_yalkut_jud_electronic_moon_no_2_1969/main.mp4?v=2","description":"1966-72, 1992, 4:52 min, color, sound","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I), Cunningham, Paik, Cage (1978)\nJoseph Beuys, Douglas Davis, and Nam June Paik - Documenta 6 Satellite Telecast (1977)\nMerce by Merce by Paik [Charles Atlas, Shigeko Kobuta & Nam June Paik] (1978)\nAllan 'n' Allen's Complaint (1982)\nNam June Paik and Shigeko Kubota\nThirty Second Spots: TV Commercials for Arists - Nam June Paik (1982-83)\nNam June Paik is a major contemporary artist and a seminal figure in video art. His video sculptures, installations, performances and single-channel videos encompass one of the most influential and significant bodies of work in the medium.\nFrom his Fluxus-based performances and altered television sets of the early 1960s, to his ground-breaking videotapes and multi-media installations of the 1970s, '80s and '90s, Paik has made an enormous contribution to the history and development of video as an art form. Exercising radical art-making strategies with irreverent humor, he deconstructs and demystifies the language, content and technology of television. Merging global communications theories with an antic Pop sensibility, his iconoclastic works explore the juncture of art and popular culture.\nIn the 1970s, Paik began a series of tapes, including Global Groove (1973), that were extraordinarily influential and innovative. Applying surreal conceptual wit and \"neo-Dada\" irony, he established a radical syntax of video based on the visual and aural grammar of television, appropriating and then derailing its very language. Densely layered with witty intertextual references and transcultural content, his exuberant, disjunctive collages function as a stream-of-consciousness flow of images, music and electronic effects.\nPaik engages in kinetic cultural explorations as a form of global communications, as if he were switching television channels around the world. In vibrantly textured audio and visual pastiches, his emblematic motifs of Pop iconography, international avant-garde figures, multicultural performances and media appropriations are subjected to a disruptive barrage of exquisite electronic techniques — hyperbolic fragmentations, alterations and juxtapositions.\nPaik's early works display the signature image manipulations and colorizations of the Paik/Abe Synthesizer, a device he developed in 1969 with electronics engineer Shuya Abe. Paik's experiments with the Paik/Abe Synthesizer helped to revolutionize the technological grammar of the medium. The richly layered and textured alterations of his later works exhibit the tour-de-force imaging techniques of longtime collaborator Paul Garrin. Images multiply and divide within the frame; temporal and spatial shifts proliferate, visuals and sound are juxtaposed in ironic contexts. Paik's tapes often take the form of collaborations with or tributes to the avant-garde artists who were his friends and colleagues, including John Cage (A Tribute to John Cage, 1973), Merce Cunningham (Merce by Merce by Paik, 1978), Allen Ginsberg and Allan Kaprow (Allan 'n' Allen's Complaint, 1982), Julien Beck and Judith Malina (Living with the Living Theatre, 1989) and (MAJORCA-fantasia, 1989).\nPaik began working in music and performance while a student in Germany, where he participated in the international Fluxus movement. His European Fluxus performances, actions and events included \"prepared\" pianos and musical instruments, and later, altered television sets. In Germany, Paik collaborated with such artists as Wolf Vostell and Joseph Beuys, and met avant-garde composer John Cage, whose ideas and art had a tremendous influence on his work. In 1964, Paik came to New York, where his \"discovery\" of the Sony Portapak and video art has become one of video's most enduring, if apocryphal, legends. (According to this tale, Paik bought one of the first Sony Portapaks to be manufactured for the consumer market. He made his first tape the same day, recording Pope Paul VI's visit to New York from a cab window; the tape was then exhibited at the Cafe a Go Go.)\nIn New York, Paik began a longtime collaboration with avant-garde cellist Charlotte Moorman, with whom he produced a series of important performance-based works. Among their most notorious pieces are the Opera Sextronique (1967), the TV Bra for Living Sculpture (1969), and TV Cello (1971). Paik is perhaps most widely recognized for his prodigious body of video installations and sculptures, from the landmark works of the 1970s, including TV Buddha (1974), TV Garden (1974-78), and Fish Flies on Sky (1975), to the 1986 Family of Robot and the 1995 Megatron.\nPaik's experiments with satellite technology began in 1977 at Documenta 6 in Kassel, Germany, where he collaborated on a live telecast with Joseph Beuys and Douglas Davis. His \"live\" international satellite broadcasts of the 1980s, including Good Morning Mr. Orwell (1984), Bye Bye Kipling (1986), and Wrap Around the the World (1988), are global video installations that conjoin disparate spatial, contextual and temporal elements.\nLinking the artworld and the media, pop culture and the avant-garde, technology and philosophy, Paik's works resonate with an irreverent humor and subversive brilliance that have influenced contemporary art, video and television.\nPaik was born in Seoul, Korea in 1932, and died in 2006. He studied music and art history at the University of Tokyo, producing a thesis on Arnold Schoenberg, and graduated in 1956 with a degree in aesthetics. Paik's studies continued in Germany at the Universities of Munich and Cologne, and the Conservatory of Music in Freiburg. From 1958-63, Paik worked with Karlheinz Stockhausen at the WDR Studio fur elektronsiche Musik in Cologne. After meeting Fluxus founder George Maciunas in 1961, he participated in numerous European Fluxus performances, actions and events.\nPaik's first one-man exhibition was the 1963 Exposition of Electronic Music — Electronic Television at the Galerie Parnass in Wuppertal, Germany. Paik came to New York in 1964; his first one-person exhibition in New York was at the Bonino Gallery in 1966. In 1969, Paik participated in the landmark exhibition TV as a Creative Medium at the Howard Wise Gallery in New York. Also in 1969, Paik and electronics engineer Shuya Abe created the Paik/Abe Synthesizer at the New Television Workshop at WGBH in Boston. Many of his tapes were produced in the 1970s while he was artist-in-residence at the Television Laboratory at WNET/Thirteen in New York. Since 1979, he has taught at Staatlichen Kunstakademie in Dusseldorf, Germany.\nPaik is the recipient of numerous awards, including a Rockefeller Foundation grant, the American Film Institute's Maya Deren Award for Independent Film and Video, The New York State Governor's Art Award, and The New York City Mayor's Award to Distinguished Immigrants. He won 1st Prize/Best Pavilion at the 1993 Venice Biennale for Artist as Nomad in the German Pavilion. In 1998 he was honored with the prestigious Kyoto Award in Japan, and in 1999 he was named among \"The Century's 25 Most Influential Artists\" by ARTnews. He was given the National Arts Club Artists Award in 2000.\nPaik's works have been the subject of numerous exhibitions, including his first United States retrospective at the Everson Museum, Syracuse, in 1974, and a 1976 retrospective at the Kolnischer Kunstverein, Cologne. In 1982, the Whitney Museum of American Art in New York honored him with a comprehensive retrospective of videotapes, video sculptures, installations and performances, which traveled to the Museum of Contemporary Art in Chicago.\nIn recent years, his installations have been widely exhibited internationally, including one-man shows at institutions including Tokyo Metropolitan Art Museum; Centre Georges Pompidou, Paris; and Holly Solomon Gallery, New York, among many others. His work has also been seen in group shows at festivals and institutions including the Whitney Museum of American Art Biennial, New York; Documentas 6 and 8, Kassel, Germany; Japan Society, New York; San Francisco Museum of Modern Art; and Video Sculpture, DuMont Kunsthalle, Cologne. In 1988 he was the subject of a retrospective at the Hayward Gallery in London. His live, international satellite extravaganzas have been broadcast around the world.\nThe Worlds of Nam June Paik, a major retrospective exhibition at the Solomon R. Guggenheim Museum in New York, opened in 2000, and traveled to Bilbao, Spain and Seoul, South Korea. In 2013 the retrospective exhibition Nam June Paik: Global Visionary was organized by the Smithsonian American Art Museum in Washington, D.C. --\nEAI","bio_dates":"1932-2006"},{"slug":"painleve_jean_histoires_de_crevettes","ok":true,"partial":false,"title":"Histoires de crevettes","artist":"Jean Painleve","year":"1964","startOffset":0,"sourceSecs":597.013,"sourceHeight":448,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":41474478,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_histoires_de_crevettes/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_histoires_de_crevettes/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/painleve_jean_histoires_de_crevettes.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/painleve_jean_histoires_de_crevettes/main.mp4?v=2","description":"After a comic introduction, we look closely at a shrimp. Eyes on stilts, color patterns, pinchered walking feet, a rostrum. We watch shrimp eat using a strong claw and a fine one; we watch digestion. After eating, shrimp clean themselves. The female lays eggs that cling to her feet. After three weeks, the eggs hatch explosively. Few larvae live to adulthood. We watch an adult shed its carapace with a final leap, leaving it vulnerable; other shrimp attack.","artist_bio":"Jean Painlevé (20 November 1902 – 2 July 1989) was a film director and biologist specialized in the underwater fauna. He was the son of mathematician and twice prime-minister of France, Paul Painlevé.","bio_dates":"1907-2004"},{"slug":"painleve_jean_hyas_et_stenorinques","ok":true,"partial":false,"title":"Hyas et stenorinques","artist":"Jean Painleve","year":"1927","startOffset":0,"sourceSecs":573.077,"sourceHeight":432,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":40310840,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_hyas_et_stenorinques/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_hyas_et_stenorinques/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/painleve_jean_hyas_et_stenorinques.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/painleve_jean_hyas_et_stenorinques/main.mp4?v=2","description":"Two rather different species of crab filmed by Jean Painlevé, in an early 'talkie' short documentary.","artist_bio":"Jean Painlevé (20 November 1902 – 2 July 1989) was a film director and biologist specialized in the underwater fauna. He was the son of mathematician and twice prime-minister of France, Paul Painlevé.","bio_dates":"1907-2004"},{"slug":"painleve_jean_jeux_denfants","ok":true,"partial":false,"title":"Jeux d'enfants","artist":"Jean Painleve","year":"1946","startOffset":0,"sourceSecs":497.963,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":31638910,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_jeux_denfants/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_jeux_denfants/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/painleve_jean_jeux_denfants.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/painleve_jean_jeux_denfants/main.mp4?v=2","description":"Sur une musique de Bizet, quatre tableaux chorégraphiés par Pierre Conté et dansés par Jacqueline Clédon et Michèle Nadal : Tambour et trompette, La Poupée, La Toupie, Petit mari et Petite femme, Le Bal","artist_bio":"Jean Painlevé (20 November 1902 – 2 July 1989) was a film director and biologist specialized in the underwater fauna. He was the son of mathematician and twice prime-minister of France, Paul Painlevé.","bio_dates":"1907-2004"},{"slug":"painleve_jean_le_hippocampe","ok":true,"partial":false,"title":"L'Hippocampe","artist":"Jean Painleve","year":"1934","startOffset":0,"sourceSecs":825.28,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":53871281,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_le_hippocampe/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_le_hippocampe/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/painleve_jean_le_hippocampe.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/painleve_jean_le_hippocampe/main.mp4?v=2","description":"L'Hippocampe (1934) is about the mating process between the male and female seahorse: The viewer sees a female laying eggs into the abdomen of a male, where he fertilizes them. To Painlevé, this represented the perfect relationship between the sexes.","artist_bio":"Jean Painlevé (20 November 1902 – 2 July 1989) was a film director and biologist specialized in the underwater fauna. He was the son of mathematician and twice prime-minister of France, Paul Painlevé.","bio_dates":"1907-2004"},{"slug":"painleve_jean_le_vampire_1939_45","ok":true,"partial":false,"title":"Le vampire","artist":"Jean Painleve","year":"1939-1945","startOffset":0,"sourceSecs":532.085,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":36558056,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_le_vampire_1939_45/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_le_vampire_1939_45/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/painleve_jean_le_vampire_1939_45.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/painleve_jean_le_vampire_1939_45/main.mp4?v=2","artist_bio":"Jean Painlevé (20 November 1902 – 2 July 1989) was a film director and biologist specialized in the underwater fauna. He was the son of mathematician and twice prime-minister of France, Paul Painlevé.","bio_dates":"1907-2004"},{"slug":"painleve_jean_les_amours_de_la_pieuvre","ok":true,"partial":false,"title":"Amours de la pieuvre","artist":"Jean Painleve","year":"1965","startOffset":0,"sourceSecs":792.126,"sourceHeight":432,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":52646069,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_les_amours_de_la_pieuvre/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_les_amours_de_la_pieuvre/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/painleve_jean_les_amours_de_la_pieuvre.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/painleve_jean_les_amours_de_la_pieuvre/main.mp4?v=2","description":"Amours de la pieuvre (Love life of the Octopus, 1965) is among the most curious of Painlevé’s films; not the least for the soundtrack, composed by the French pioneer of electronic music. <a href=\"https://ubu.com/sound/henry.html\" rel=\"noopener\" target=\"_blank\">Pierre Henry</a>.","artist_bio":"Jean Painlevé (20 November 1902 – 2 July 1989) was a film director and biologist specialized in the underwater fauna. He was the son of mathematician and twice prime-minister of France, Paul Painlevé.","bio_dates":"1907-2004"},{"slug":"painleve_jean_transition_de_phase_dans_les_cristaux_liquides","ok":true,"partial":false,"title":"Transition de phase dans les cristaux liquides","artist":"Jean Painleve","year":"1978","startOffset":0,"sourceSecs":352.04,"sourceHeight":448,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":22557892,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_transition_de_phase_dans_les_cristaux_liquides/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/painleve_jean_transition_de_phase_dans_les_cristaux_liquides/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/painleve_jean_transition_de_phase_dans_les_cristaux_liquides.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/painleve_jean_transition_de_phase_dans_les_cristaux_liquides/main.mp4?v=2","description":"Certains liquides obéissent aux lois de la cristallisation et montrent au microscope polarisant des différences de structures, de formes, de couleurs lorsqu'on modifie la température, la pression et d'autres facteurs physiques. <br/><br/> Sur une musique de François de Roubaix, une succession de couleurs et de formes qui pourraient rappeler des hallucinations sous acides assez répandues dans les années 70 ! Ces formes rappellent également ce qu’on a obtenu depuis avec les images fractales.","artist_bio":"Jean Painlevé (20 November 1902 – 2 July 1989) was a film director and biologist specialized in the underwater fauna. He was the son of mathematician and twice prime-minister of France, Paul Painlevé.","bio_dates":"1907-2004"},{"slug":"palestine_charlemagne_four_motion_studies_1974","ok":true,"partial":false,"title":"Four Motion Studies","artist":"Charlemange Palestine","year":"1974","startOffset":0,"sourceSecs":1148.447,"sourceHeight":480,"sourceWidth":716,"hasAudio":true,"hasAmbientMp4":true,"bytes":200924638,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/palestine_charlemagne_four_motion_studies_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/palestine_charlemagne_four_motion_studies_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/palestine_charlemagne_four_motion_studies_1974.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/palestine_charlemagne_four_motion_studies_1974/main.mp4?v=2","description":"1974, 13:24 min, b&w, sound <br/><br/> These formal yet visceral exercises explore subjective point of view and motion as psychological metaphors. Shot with a hand-held camera at Coney Island, these studies are experienced by the viewer through Palestine's eyes and with his movement. He writes, \"The perceiver is in as much danger, as much in the drama of the sequence as I am.\" He takes the viewer on three amusement park rides, each experienced with an increasing frenzy, as the camera rises and falls and spins. Each study becomes more abstract, conveying a vertiginous sense of hurtling, uncontrolled, into space. In the fourth and last study, Palestine transforms the moving landscape into a pure, abstract study of motion. -- <a href=\"http://eai.org/title.htm?id=3207\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Charlemange Palestine was born in New York, and studied at New York University, Columbia University, Mannes College of Music, and the California Institute of the Arts.\nA contemporary of Philip Glass, Terry Riley, Phill Niblock, and Steve Reich, Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against Western audiences’ expectations of what is beautiful and meaningful in music. A composer-performer originally trained to be a cantor, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is known for his intense piano performances. He also performs as a vocalist. In Karenina he sings in the countertenor register and in other works he sings long tones with gradually shifting vowels and overtones while moving through the performance space or performing repeated actions such as throwing himself onto his hands.\nPalestine's Strumming Music (1974) remains his best known work. It features over 45 minutes of Palestine forcefully playing two notes in rapid alternation that slowly expand into clusters. He performed this on a nine-foot Bösendorfer grand piano with the sustain pedal depressed for the entire length of the work. As the music swells (and the piano gradually detunes), the overtones build and the listener can hear a variety of timbres rarely produced by the piano. A recording of Strumming Music was also Palestine's second vinyl album in the 1970s, reissued on CD in 1991. Since then, several additional recordings from the 1970s (featuring Palestine on piano, organ, harmonium, and spoken word), including new recordings of more recent works such as Schlingen-Blängen, have become available.\nPalestine's performance style is ritualistic: he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes), and drinks cognac.","bio_dates":"b. 1947"},{"slug":"palestine_charlemagne_mother_of_us_all_2009","ok":true,"partial":false,"title":"Mother of Us All","artist":"Charlemange Palestine","year":"2009","startOffset":0,"sourceSecs":2679.147,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":156980083,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/palestine_charlemagne_mother_of_us_all_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/palestine_charlemagne_mother_of_us_all_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/palestine_charlemagne_mother_of_us_all_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/palestine_charlemagne_mother_of_us_all_2009/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/palestine_charlemagne_mother_of_us_all_2009/main/master.m3u8?v=2","hasMainHls":true,"description":"Concert de Charlemagne Palestine, donné le samedi 27 juin 2009, à l'occasion du \"Sous Préfet aux Champ N°4, SPAC 2009\", version \"Mother of Us All\". <br/><br/> Fête de l'École Nationale Supérieure d'Art de Nancy.","artist_bio":"Charlemange Palestine was born in New York, and studied at New York University, Columbia University, Mannes College of Music, and the California Institute of the Arts.\nA contemporary of Philip Glass, Terry Riley, Phill Niblock, and Steve Reich, Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against Western audiences’ expectations of what is beautiful and meaningful in music. A composer-performer originally trained to be a cantor, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is known for his intense piano performances. He also performs as a vocalist. In Karenina he sings in the countertenor register and in other works he sings long tones with gradually shifting vowels and overtones while moving through the performance space or performing repeated actions such as throwing himself onto his hands.\nPalestine's Strumming Music (1974) remains his best known work. It features over 45 minutes of Palestine forcefully playing two notes in rapid alternation that slowly expand into clusters. He performed this on a nine-foot Bösendorfer grand piano with the sustain pedal depressed for the entire length of the work. As the music swells (and the piano gradually detunes), the overtones build and the listener can hear a variety of timbres rarely produced by the piano. A recording of Strumming Music was also Palestine's second vinyl album in the 1970s, reissued on CD in 1991. Since then, several additional recordings from the 1970s (featuring Palestine on piano, organ, harmonium, and spoken word), including new recordings of more recent works such as Schlingen-Blängen, have become available.\nPalestine's performance style is ritualistic: he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes), and drinks cognac.","bio_dates":"b. 1947"},{"slug":"palestine_charlemange_andros","ok":true,"partial":false,"title":"Andros: Escapist Primer","artist":"Charlemange Palestine","year":"1975-1976","startOffset":0,"sourceSecs":3409.273,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":575662285,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/palestine_charlemange_andros/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/palestine_charlemange_andros/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/palestine_charlemange_andros.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/palestine_charlemange_andros/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/palestine_charlemange_andros/main/master.m3u8?v=2","hasMainHls":true,"description":"1975-76, 57:13 min, b&w, sound <br/><br/> Subtitled An Escapist Primer, Andros is the journey of a man who is desperately trying to escape from his internal world, his pain and ultimately himself. Shot entirely from a subjective point of view, this confrontational video journey begins with the man watching television in a dark room, as he talks about his lethargy, frustration and anguish. We then follow him out onto the street, through the streets and subways, and finally into the landscape of a fog-shrouded island. He runs, talking to himself and the viewer of his need to get away from the pain and the demons in his mind. Using the camera as an extension of his body and placing the viewer behind it, Palestine's journey becomes emblematic of a primal desire for escape. -- <a href=\"https://www.eai.org/titles/andros/ordering-fees\" rel=\"noopener\" target=\"_blank\">EAI</a>","artist_bio":"Charlemange Palestine was born in New York, and studied at New York University, Columbia University, Mannes College of Music, and the California Institute of the Arts.\nA contemporary of Philip Glass, Terry Riley, Phill Niblock, and Steve Reich, Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against Western audiences’ expectations of what is beautiful and meaningful in music. A composer-performer originally trained to be a cantor, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is known for his intense piano performances. He also performs as a vocalist. In Karenina he sings in the countertenor register and in other works he sings long tones with gradually shifting vowels and overtones while moving through the performance space or performing repeated actions such as throwing himself onto his hands.\nPalestine's Strumming Music (1974) remains his best known work. It features over 45 minutes of Palestine forcefully playing two notes in rapid alternation that slowly expand into clusters. He performed this on a nine-foot Bösendorfer grand piano with the sustain pedal depressed for the entire length of the work. As the music swells (and the piano gradually detunes), the overtones build and the listener can hear a variety of timbres rarely produced by the piano. A recording of Strumming Music was also Palestine's second vinyl album in the 1970s, reissued on CD in 1991. Since then, several additional recordings from the 1970s (featuring Palestine on piano, organ, harmonium, and spoken word), including new recordings of more recent works such as Schlingen-Blängen, have become available.\nPalestine's performance style is ritualistic: he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes), and drinks cognac.","bio_dates":"b. 1947"},{"slug":"palestine_charlemange_island_song_1976","ok":true,"partial":false,"title":"Island Song","artist":"Charlemange Palestine","year":"1976","startOffset":0,"sourceSecs":965.803,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":170586184,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/palestine_charlemange_island_song_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/palestine_charlemange_island_song_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/palestine_charlemange_island_song_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/palestine_charlemange_island_song_1976/main.mp4?v=2","description":"Strapping a video camera to himself as he drives a motorcycle around an island, Palestine harmonizes with the engine, maniacally repeating the phrase, \"Gotta get outta here...gotta get outta here...\" His chanting voice merges with hte vibrations of the motor, forming an incessant soundtrack that echoes the jarring motion of the camera. Palestine creates a kind of composite instrument in motion as well as an \"articulated personal drama\" (1976). His stated desire for escape is contained by the boundaries of the island. Palestine was a trained cantor, and he often used his moving body and sustained vocalizing to generate a physical and aural intensity in his musical/video performances of this period.","artist_bio":"Charlemange Palestine was born in New York, and studied at New York University, Columbia University, Mannes College of Music, and the California Institute of the Arts.\nA contemporary of Philip Glass, Terry Riley, Phill Niblock, and Steve Reich, Palestine wrote intense, ritualistic music in the 1970s, intended by the composer to rub against Western audiences’ expectations of what is beautiful and meaningful in music. A composer-performer originally trained to be a cantor, he always performed his own works as soloist. His earliest works were compositions for carillon and electronic drones, and he is known for his intense piano performances. He also performs as a vocalist. In Karenina he sings in the countertenor register and in other works he sings long tones with gradually shifting vowels and overtones while moving through the performance space or performing repeated actions such as throwing himself onto his hands.\nPalestine's Strumming Music (1974) remains his best known work. It features over 45 minutes of Palestine forcefully playing two notes in rapid alternation that slowly expand into clusters. He performed this on a nine-foot Bösendorfer grand piano with the sustain pedal depressed for the entire length of the work. As the music swells (and the piano gradually detunes), the overtones build and the listener can hear a variety of timbres rarely produced by the piano. A recording of Strumming Music was also Palestine's second vinyl album in the 1970s, reissued on CD in 1991. Since then, several additional recordings from the 1970s (featuring Palestine on piano, organ, harmonium, and spoken word), including new recordings of more recent works such as Schlingen-Blängen, have become available.\nPalestine's performance style is ritualistic: he generally surrounds himself (and his piano) with stuffed animals, smokes large numbers of kretek (Indonesian clove cigarettes), and drinks cognac.","bio_dates":"b. 1947"},{"slug":"paper_rad_dr_doo_in_fucland_2006","ok":true,"partial":false,"title":"Dr. Doo in Fucland","artist":"Paper Rad","year":"2006","startOffset":0,"sourceSecs":2534.336,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":429075079,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paper_rad_dr_doo_in_fucland_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paper_rad_dr_doo_in_fucland_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paper_rad_dr_doo_in_fucland_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paper_rad_dr_doo_in_fucland_2006/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paper_rad_dr_doo_in_fucland_2006/main/master.m3u8?v=2","hasMainHls":true,"description":"\"I recently attended a swell evening of entertainment in Toronto when Paper Rad, came to town. My highlight of the evening was (again...saw him once before in NYC) Dr. Doo. This long-haired, trucker-hat wearing dude (so Canadian yet not) plays live drum-kit to recorded tunes and wacked out animation. Sounds dumb. It is. It's also a rush and a lot of fun. For one thing Dr. Doo is a damn good drummer. For another, the mix of an intense physical live act with boldly dumb computer graphics is a cyborg brain teaser. The iconography is psychedelic and spins into states of consciousness trippiness (pyramids and corridors and flying carpets) while staying close to simple themes (big faces, dogs and cats).\"","artist_bio":"The label PAPER RAD, founded in 2000 by JESSICA CIOCCI (born 1976 in Lexington, Kentucky),\nJACOB CIOCCI\n(born 1976 in Lexington, Kentucky) and BEN JONES (born 1977 in Pittsburgh, Pennsylvania), uses the most varied media, including video, drawings and wall painting, and also combines with art sectors such as fashion and photography. Paper Rad is not active only in the art world; it also infiltrates cyberspace. In the videos – many of which are made by Jacob Ciocci – TV film outtakes and self-drawn comic and animation pieces are assembled into rapidly cut, hallucinatory flights that can be read as commentaries on the contemporary media world. The Mandala-like, rainbow-coloured neo-geo drawings by Jessica Ciocci directly reflect, in their mixture of excess and monotony, today’s consumption and youth culture.”","bio_dates":"2004"},{"slug":"paper_rad_p_unit_mixtape_2005","ok":true,"partial":false,"title":"P-Unit Mixtape 2005","artist":"Paper Rad","year":"2005","startOffset":0,"sourceSecs":1273.877,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":215905409,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paper_rad_p_unit_mixtape_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paper_rad_p_unit_mixtape_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paper_rad_p_unit_mixtape_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paper_rad_p_unit_mixtape_2005/main.mp4?v=2","description":"This delirious montage of appropriated and computer-generated elements merges perennial Paper Rad themes such as Gumby and the 8-bit computer aesthetic with a keen, critical take on contemporary culture. This self-described \"mix tape\" - a term that refers here both to the group's montage strategy and to popular compilations of bootlegged hit music - takes on the war in Iraq, the art market, and the images of ostentatious wealth and glamour flaunted by pop stars today. <br/><br/> Paper Rad is Jessica Ciocci, her brother Jacob, and their friend Ben Jones. Synthesizing and reprogramming popular material from television, video games, and advertising, Paper Rad works in an exuberant, neo-primitivist idiom of their own invention.","artist_bio":"The label PAPER RAD, founded in 2000 by JESSICA CIOCCI (born 1976 in Lexington, Kentucky),\nJACOB CIOCCI\n(born 1976 in Lexington, Kentucky) and BEN JONES (born 1977 in Pittsburgh, Pennsylvania), uses the most varied media, including video, drawings and wall painting, and also combines with art sectors such as fashion and photography. Paper Rad is not active only in the art world; it also infiltrates cyberspace. In the videos – many of which are made by Jacob Ciocci – TV film outtakes and self-drawn comic and animation pieces are assembled into rapidly cut, hallucinatory flights that can be read as commentaries on the contemporary media world. The Mandala-like, rainbow-coloured neo-geo drawings by Jessica Ciocci directly reflect, in their mixture of excess and monotony, today’s consumption and youth culture.”","bio_dates":"b. 1981"},{"slug":"paper_rad_smells_like_burnt_speaker_2004_iphone","ok":true,"partial":false,"title":"Smells Like Burnt Speaker","artist":"Paper Rad","year":"2004","startOffset":0,"sourceSecs":3586.114,"sourceHeight":320,"sourceWidth":432,"hasAudio":true,"hasAmbientMp4":true,"bytes":210768213,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paper_rad_smells_like_burnt_speaker_2004_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paper_rad_smells_like_burnt_speaker_2004_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paper_rad_smells_like_burnt_speaker_2004_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paper_rad_smells_like_burnt_speaker_2004_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paper_rad_smells_like_burnt_speaker_2004_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"From The Year of the Troll Tour (2004)","artist_bio":"The label PAPER RAD, founded in 2000 by JESSICA CIOCCI (born 1976 in Lexington, Kentucky),\nJACOB CIOCCI\n(born 1976 in Lexington, Kentucky) and BEN JONES (born 1977 in Pittsburgh, Pennsylvania), uses the most varied media, including video, drawings and wall painting, and also combines with art sectors such as fashion and photography. Paper Rad is not active only in the art world; it also infiltrates cyberspace. In the videos – many of which are made by Jacob Ciocci – TV film outtakes and self-drawn comic and animation pieces are assembled into rapidly cut, hallucinatory flights that can be read as commentaries on the contemporary media world. The Mandala-like, rainbow-coloured neo-geo drawings by Jessica Ciocci directly reflect, in their mixture of excess and monotony, today’s consumption and youth culture.”","bio_dates":"2004"},{"slug":"paper_rad_trash_talking_2006_iphone","ok":true,"partial":false,"title":"Trash Talking","artist":"Paper Rad","year":"2006","startOffset":0,"sourceSecs":3612.333,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":197358886,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paper_rad_trash_talking_2006_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paper_rad_trash_talking_2006_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paper_rad_trash_talking_2006_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paper_rad_trash_talking_2006_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paper_rad_trash_talking_2006_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This DVD includes lots of ephemera filling every color on the PANTONE wheel, but also including the recurring Alfe character in a brand new (never aired) TV Pilot. Also included will be the ultimate PAPER RAD \"Guide to CD-ROMS\" - essential knowledge for jammers everywhere. Also word comes from PAPER RAD HQ that this shiny video capsule will have \"multi multi media, box eyes, and Future Genies out-takes\" When all the footage is bonus, seated TV viewers come out ahead. This is for fans young and old looking for strange new voices! <br/><br/> Put this on the next time you turn on, or the next time you turn on a small community through introduction of smiley faces into public water supply areas! Seriously buy a box lot of 30, the future is cheap if you buy in the present. Stock up for the Kulture Warz!","artist_bio":"The label PAPER RAD, founded in 2000 by JESSICA CIOCCI (born 1976 in Lexington, Kentucky),\nJACOB CIOCCI\n(born 1976 in Lexington, Kentucky) and BEN JONES (born 1977 in Pittsburgh, Pennsylvania), uses the most varied media, including video, drawings and wall painting, and also combines with art sectors such as fashion and photography. Paper Rad is not active only in the art world; it also infiltrates cyberspace. In the videos – many of which are made by Jacob Ciocci – TV film outtakes and self-drawn comic and animation pieces are assembled into rapidly cut, hallucinatory flights that can be read as commentaries on the contemporary media world. The Mandala-like, rainbow-coloured neo-geo drawings by Jessica Ciocci directly reflect, in their mixture of excess and monotony, today’s consumption and youth culture.”","bio_dates":"2004"},{"slug":"paper_tiger_tv_brian_winston_reads_the_tv_news_1983","ok":true,"partial":false,"title":"Paper Tiger TV - Brian Winston Reads the TV News","artist":"Paper Tiger","year":"1983","startOffset":0,"sourceSecs":814.974,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":137387495,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paper_tiger_tv_brian_winston_reads_the_tv_news_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/paper_tiger_tv_brian_winston_reads_the_tv_news_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/paper_tiger_tv_brian_winston_reads_the_tv_news_1983.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/paper_tiger_tv_brian_winston_reads_the_tv_news_1983/main.mp4?v=2","description":"This live show features the energetic analysis of television network news by Brian Winston. Winston looks at the news as a unique institution, governed by its own conventions and constraints. How does the news use pictures, body language, narrative, and dream logic? What is its role in setting the social agenda of the nation? Tune in to find out. As a film-maker and journalist, Winston's appraisal of the U.S. evening news illustrates how corporate visual media is used to format a predetermined depiction of reality which is then edited and disseminated for our consumption. The idea that the nightly news is \"holding the nation together\" is explored as well as other themes such as \"journalistic intervention\" and state sponsored propaganda. A must see for all media activists. Brian Winston is the first Lincoln Chair of Communications at the University of Lincoln, United Kingdom. He is a former dean of the College of Communications at Penn State University and former chair of cinema studies at New York University. He was also the director of the Center for Journalism Studies at the University of Wales College of Cardiff. He has worked on television current affairs and features and as a print journalist. He is a communications scholar, journalist, Emmy award-winning documentary scriptwriter and author of \"Lies, Damn Lies and Documentaries\" and is known for being one of the first to write on the subject of documentary and ethics."},{"slug":"parajanov_sergei_arabesques_on_the_pirosmani_theme_1985","ok":true,"partial":false,"title":"Arabeskebi Pirosmanis temaze (Arabesques on the Pirosmani Theme)","artist":"Sergei Parajanov","year":"1985","startOffset":0,"sourceSecs":1177.92,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":71836653,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parajanov_sergei_arabesques_on_the_pirosmani_theme_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parajanov_sergei_arabesques_on_the_pirosmani_theme_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/parajanov_sergei_arabesques_on_the_pirosmani_theme_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/parajanov_sergei_arabesques_on_the_pirosmani_theme_1985/main.mp4?v=2","description":"A short mediation on the work of Georgian painter Niko Pirosmaniszvili (1862-1918).<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Arabeskebi Pirosmanis temaze (Arabesques on the Pirosmani Theme)\n(1985)\nSergei Paradjanov was born in Tblisi, Georgia (former Soviet Union) in 1924. In 1964 he was able to direct 'Shadows of our Forgotten Ancestors'; a boldly conceived and astonishingly photographed blend of enchanting mythology, hypnotic religious iconography, and pagan magic introducing the world to a new idiosyncratic cinema talent.\nIn 1968 he created one of many masterpieces; \"Sayat Nova\" which was promptly banned by Soviet authorities. It was renamed (and re-edited without his approval) and entitled \"The Color of Pomegranates\". For religious sympathies and lack of conformity to the strict socialist realism of the former Soviet union Paradjanov was arrested in December of 1973 and sentenced to five years imprisonment - residing in various hard-labor camps.\nAn important group of world-famous filmmakers, artists and activists (including notables such as Federico Fellini, Tonino Guerra, Francesco Rosi, Poet Louis Aragon, Mikhail Vartanov, Giulietta Masina, Marcello Mastroianni and Bernardo Bertolucci) persistently protested Paradjanov was eventually released after 4 years. His activity remained monitored and he was limited by the Soviet authorities but 15 years after \"Sayat Nova\" he created \"The Legend of the Suram Fortress\"; a folk tale and adapted from the novella by Daniel Chongadze. Once again the cinema world was peering inside viewing vividly poetic and poignant imagery.\nIn 1986 Parajanov made yet another multi-award winning film, Ashug-Karibi (1988), based on a tale by Mikhail Lermontov, and he dedicated the film to his friend Andrei Tarkovsky. His stay in prison had crushed his health, and he passed away in July of 1990 of cancer, leaving the world a rich and unforgettable blend of unique and meaningful cinema but his legendary films live on and his picture adorns a postage stamp in Armenia.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1924-1990"},{"slug":"parajanov_sergei_hakob_hovnatanyan_1967","ok":true,"partial":false,"title":"Hakob Hovnatanyan","artist":"Sergei Parajanov","year":"1967","startOffset":0,"sourceSecs":619.691,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":100381673,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parajanov_sergei_hakob_hovnatanyan_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parajanov_sergei_hakob_hovnatanyan_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/parajanov_sergei_hakob_hovnatanyan_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/parajanov_sergei_hakob_hovnatanyan_1967/main.mp4?v=2","description":"A meditation on the art of 19th century Armenian-Georgian portraitist Hakob Hovnatanyan.<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Arabeskebi Pirosmanis temaze (Arabesques on the Pirosmani Theme)\n(1985)\nSergei Paradjanov was born in Tblisi, Georgia (former Soviet Union) in 1924. In 1964 he was able to direct 'Shadows of our Forgotten Ancestors'; a boldly conceived and astonishingly photographed blend of enchanting mythology, hypnotic religious iconography, and pagan magic introducing the world to a new idiosyncratic cinema talent.\nIn 1968 he created one of many masterpieces; \"Sayat Nova\" which was promptly banned by Soviet authorities. It was renamed (and re-edited without his approval) and entitled \"The Color of Pomegranates\". For religious sympathies and lack of conformity to the strict socialist realism of the former Soviet union Paradjanov was arrested in December of 1973 and sentenced to five years imprisonment - residing in various hard-labor camps.\nAn important group of world-famous filmmakers, artists and activists (including notables such as Federico Fellini, Tonino Guerra, Francesco Rosi, Poet Louis Aragon, Mikhail Vartanov, Giulietta Masina, Marcello Mastroianni and Bernardo Bertolucci) persistently protested Paradjanov was eventually released after 4 years. His activity remained monitored and he was limited by the Soviet authorities but 15 years after \"Sayat Nova\" he created \"The Legend of the Suram Fortress\"; a folk tale and adapted from the novella by Daniel Chongadze. Once again the cinema world was peering inside viewing vividly poetic and poignant imagery.\nIn 1986 Parajanov made yet another multi-award winning film, Ashug-Karibi (1988), based on a tale by Mikhail Lermontov, and he dedicated the film to his friend Andrei Tarkovsky. His stay in prison had crushed his health, and he passed away in July of 1990 of cancer, leaving the world a rich and unforgettable blend of unique and meaningful cinema but his legendary films live on and his picture adorns a postage stamp in Armenia.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1924-1990"},{"slug":"parajanov_sergei_kievskiy_freskiy_1966","ok":true,"partial":false,"title":"Kievskiy Freskiy (Kiev Frescos)","artist":"Sergei Parajanov","year":"1966","startOffset":0,"sourceSecs":902.281,"sourceHeight":352,"sourceWidth":474,"hasAudio":true,"hasAmbientMp4":true,"bytes":57455677,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parajanov_sergei_kievskiy_freskiy_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parajanov_sergei_kievskiy_freskiy_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/parajanov_sergei_kievskiy_freskiy_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/parajanov_sergei_kievskiy_freskiy_1966/main.mp4?v=2","description":"Kievskiy Freskiy (Kiev Frescos)<br/> Sergei Parajanov<br/> Starring: Tengis Aruvadse, Antonina Leftiy <br/> 1966<br/> 15mins<br/> <br/> Parajanov's ninth film in Kiev, \"Shadows of Our Forgotten Ancestors\" (1964), caused an uproar by challenging the principles of Socialist Realism in Soviet cinema. Although awarded at several international film festivals, it was given only limited release in the Soviet Union. Parajanov, already in trouble with the authorities for also protesting the arrest of Ukrainian poets and intellectuals, accepted an offer from Yerevan to make a <a href=\"https://ubu.com/film/parajanov_hakob.html\" rel=\"noopener\" target=\"_blank\">documentary on Hakob Hovnatanyan</a>, an Armenian portrait painter who had lived and worked in Tbilisi. Portraits by Hovnatanyan were later incorporated into scenes in \"Kiev Frescoes\" (1966), a production interrupted at the Dovzhenko Studios after only a few weeks of shooting. This is is the only audition footage that survived. Taken from a TV transmission of Rai Tre, Italy.","artist_bio":"Arabeskebi Pirosmanis temaze (Arabesques on the Pirosmani Theme)\n(1985)\nSergei Paradjanov was born in Tblisi, Georgia (former Soviet Union) in 1924. In 1964 he was able to direct 'Shadows of our Forgotten Ancestors'; a boldly conceived and astonishingly photographed blend of enchanting mythology, hypnotic religious iconography, and pagan magic introducing the world to a new idiosyncratic cinema talent.\nIn 1968 he created one of many masterpieces; \"Sayat Nova\" which was promptly banned by Soviet authorities. It was renamed (and re-edited without his approval) and entitled \"The Color of Pomegranates\". For religious sympathies and lack of conformity to the strict socialist realism of the former Soviet union Paradjanov was arrested in December of 1973 and sentenced to five years imprisonment - residing in various hard-labor camps.\nAn important group of world-famous filmmakers, artists and activists (including notables such as Federico Fellini, Tonino Guerra, Francesco Rosi, Poet Louis Aragon, Mikhail Vartanov, Giulietta Masina, Marcello Mastroianni and Bernardo Bertolucci) persistently protested Paradjanov was eventually released after 4 years. His activity remained monitored and he was limited by the Soviet authorities but 15 years after \"Sayat Nova\" he created \"The Legend of the Suram Fortress\"; a folk tale and adapted from the novella by Daniel Chongadze. Once again the cinema world was peering inside viewing vividly poetic and poignant imagery.\nIn 1986 Parajanov made yet another multi-award winning film, Ashug-Karibi (1988), based on a tale by Mikhail Lermontov, and he dedicated the film to his friend Andrei Tarkovsky. His stay in prison had crushed his health, and he passed away in July of 1990 of cancer, leaving the world a rich and unforgettable blend of unique and meaningful cinema but his legendary films live on and his picture adorns a postage stamp in Armenia.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1924-1990"},{"slug":"parreno_meaux_le_pont_du_trieur_2000_iphone","ok":true,"partial":false,"title":"Le pont du trieur","artist":"Philippe Parreno","year":"2000","startOffset":0,"sourceSecs":4172.267,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":241169760,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parreno_meaux_le_pont_du_trieur_2000_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parreno_meaux_le_pont_du_trieur_2000_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/parreno_meaux_le_pont_du_trieur_2000_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/parreno_meaux_le_pont_du_trieur_2000_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/parreno_meaux_le_pont_du_trieur_2000_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"35mm, 74 minutes, 2000 <br/><br/> A film by Charles de Meaux and Philippe Parreno <br/><br/> Langue / Original language : Français - French Réalisation / Director : Charles de Meaux Scénario / Script : Charles de Meaux , Philippe Parreno Avec / Cast : Thibault de Montalembert , Camille Japy, Ogonozar Aknazarov Production : Charles de Meaux Production déléguée / Executive production : Xavier Douroux Franck Gautherot Pamir — Image and Sound / Image et Son : Charles de Meaux Paris — Image : Charles de Meaux, Muriel Coulin, Philippe Parreno Montage / Editing : Charles de Meaux Assistant montage / Assistant editing : Guillaume Ledu, Catherine Stragand Mixage son / Sound mix : Thierry Sabatier Musique orignale composée et interprétée par / Orinal soundtrack composed and interpreted by : Dave Stewart Avec le support de / With the support of : Fondation de France (programme initiative d'artiste), Délégation aux arts plastiques Ministère de la culture et de la communication, Studio national des arts contemporains Le Fresnoy<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/warhol.html\" rel=\"noopener\" target=\"_blank\">Andy Warhol in UbuWeb Film</a></br>","artist_bio":"Philippe Parreno (born 1964) is a French artist and filmmaker, of Algerian heritage.\nHe was born in Oran, Algeria and is based in Paris, France. Parreno's work primarily revolves around the interrogation of the nature of an image, as well as the modes of its exhibition. He frequently draws on pre-existing material and then enriches it with his own, mostly narrative, ideas. He has recently had major shows at the Musée d'Art Moderne de la Ville de Paris, the Museum of Modern Art in San Francisco and the Kunstverein Münich. He writes for many art magazines and is a regular contributor to Domus magazine. His work is included in the major collections of the Museum of Modern Art New York (MOMA), the Walker Art Center (USA), the Centre Georges Pompidou (France), the Paris Museum of Modern Art (France), the Guggenheim Museum New York (USA), the Museum of Modern Art in San Francisco and the Museum of the 21st Century (Japan).\nIn June 2006 Universal Film released a feature length documentary directed by Parreno and Scottish artist-filmmaker Douglas Gordon entitled \"Zidane, A 21st Century Portrait\". The film premiered out of competition at the 2006 Cannes Film Festival. The idea to this film was inspired by Hellmuth Costard's film (\"soccer as never seen before\") on Manchester United legend George Best in the year 1970. Costard used eight 16mm film cameras to follow Best, in real time, for the course of an entire game against Coventry City,the film was screened by German broadcast ARD in the year 1971.\nHe recently contributed a chapter to Sound Unbound: Sampling Digital Music and Culture (The MIT Press, 2008) edited by Paul D. Miller a.k.a. DJ Spooky. He wrote an article for the Summer 2009 (first) issue of Above magazine.","bio_dates":"b. 1964"},{"slug":"parreno_philippe_anywhereoutoftheworld_2000","ok":true,"partial":false,"title":"Anywhere, Anywhere Out of the World","artist":"Philippe Parreno","year":"2013","startOffset":0,"sourceSecs":204.288,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":26374375,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parreno_philippe_anywhereoutoftheworld_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parreno_philippe_anywhereoutoftheworld_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/parreno_philippe_anywhereoutoftheworld_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/parreno_philippe_anywhereoutoftheworld_2000/main.mp4?v=2","description":"From objectless exhibition to exhibition as object, Philippe Parreno approaches his exhibition at the Palais de Tokyo as an artwork in its own right. Within this framework, he transforms the venue into a poetic space, straddling both the real and the virtual.<br/><br/> The artist reinvents the Palais de Tokyo into a veritable theatre of memory, whose structure reveals the different strata of its history. He turns to different architectural and scenographic techniques that suggest new possibilities for the building - walls, ceilings, floors, lighting, and sound; the entire structure is reinterpreted and reconceived. Parreno creates a perceptual dramaturgy that opens new ways of occupying the building’s spaces, gives new functions to its rooms, and initiates novel encounters between the artworks and the architecture.<br/><br/> This recasting of the building, an operation expertly orchestrated by the artist, in collaboration with set designer Randall Peacock and sound designer Nicolas Becker, guides the visitor through the space using visual and sonic effects. Movements from Stravinsky’s Petrushka act as the soundtrack to the path he proposes to visitors, who can encounter the ghost of Marilyn Monroe, see live images of a black garden in Portugal (C.H.Z.), hear the ghostly footsteps of dancers from the Merce Cunningham Dance Company, meet the character Annlee incarnated as a real little girl (a work in collaboration with Tino Sehgal), walk along a street lit by flashing marquees, watch Zinedine Zidane from seventeen different vantage points on seventeen different screens,and discover a secret passageway in Dominique Gonzalez-Foerster’s bookshelf.<br/><br/> With these scenes, Parreno places the exhibition itinerary within both a momentary performance and the duration of a larger story, creating a sense of timelessness, where different temporalities overlap and intermingle.<br/><br/> This temporal dynamic takes shape in a sonic and musical exploration. Parreno makes poetic use of Stravinsky’s famous Petrushka to cut his exhibition into different movements, into different scenes. Each of the movements that constitute Stravinsky’s extraordinary work, performed here by Mikhail Rudy, announces an event in the exhibition. The entire exhibition is thus orchestrated and punctuated by the ghost, the spirit of Petrushka, a puppet who, through this partitioning, turns the exhibition into an automaton. This orchestration, based on thematic and temporal correspondences with Stravinsky’s composition, highlights the mysterious, secret architecture of the exhibition. It invites the spectator to plunge into a floating world between presence and absence, between forgetting and persistence, transforming the visit into a melancholyinflected tale.","artist_bio":"Philippe Parreno (born 1964) is a French artist and filmmaker, of Algerian heritage.\nHe was born in Oran, Algeria and is based in Paris, France. Parreno's work primarily revolves around the interrogation of the nature of an image, as well as the modes of its exhibition. He frequently draws on pre-existing material and then enriches it with his own, mostly narrative, ideas. He has recently had major shows at the Musée d'Art Moderne de la Ville de Paris, the Museum of Modern Art in San Francisco and the Kunstverein Münich. He writes for many art magazines and is a regular contributor to Domus magazine. His work is included in the major collections of the Museum of Modern Art New York (MOMA), the Walker Art Center (USA), the Centre Georges Pompidou (France), the Paris Museum of Modern Art (France), the Guggenheim Museum New York (USA), the Museum of Modern Art in San Francisco and the Museum of the 21st Century (Japan).\nIn June 2006 Universal Film released a feature length documentary directed by Parreno and Scottish artist-filmmaker Douglas Gordon entitled \"Zidane, A 21st Century Portrait\". The film premiered out of competition at the 2006 Cannes Film Festival. The idea to this film was inspired by Hellmuth Costard's film (\"soccer as never seen before\") on Manchester United legend George Best in the year 1970. Costard used eight 16mm film cameras to follow Best, in real time, for the course of an entire game against Coventry City,the film was screened by German broadcast ARD in the year 1971.\nHe recently contributed a chapter to Sound Unbound: Sampling Digital Music and Culture (The MIT Press, 2008) edited by Paul D. Miller a.k.a. DJ Spooky. He wrote an article for the Summer 2009 (first) issue of Above magazine.","bio_dates":"b. 1964"},{"slug":"parreno_philippe_theboyfrommars_2005","ok":true,"partial":false,"title":"The Boy from Mars","artist":"Philippe Parreno","year":"2005","startOffset":0,"sourceSecs":687.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":103013379,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parreno_philippe_theboyfrommars_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parreno_philippe_theboyfrommars_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/parreno_philippe_theboyfrommars_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/parreno_philippe_theboyfrommars_2005/main.mp4?v=2","description":"<b>The Boy From Paris </b> <br/>By Bruce Sterling <br/><br/> Philippe Parreno's <i>The Boy From Mars</i> is \"science fiction.\" Better yet, it's \"architecture fiction.\" There is no Martian boy in this film. It does feature a rather weird building, however. In some solemn, rural, Southeast Asian retreat, the dark, marshy earth is infiltrated by unearthly lights. A constellation of UFOs wanders the zenith, a pack of gentle flame-beings from beyond. The wind-tattered storm clouds are some how frozen stiff against the sky. <br/><br/> We see no human beings, but some intelligent entity has an agenda in this place. A strange orange glow infests an alien structure. This ragged, rambling creation looks comfortably at home in an Asian rice paddy, but, after a closer look, it makes no sense. Could it be a broken greenhouse? A geodesic aircraft hangar? It is multi-legged like a caterpillar, it has flapping, tattered plastic walls, and rigid stalks for rafters. Plus, it radiates a thick, warm light. This place is clearly unfit for any merely human habitation. Inside this place, some entity has harnessed a patient water buffalo to an electrical generator. It's a bizarrely ingenious device of weights, light bulbs and pulleys straight off the set of Spielberg's E.T. the Extraterrestrial. The gentle soundtrack cannot distinguish between the sighing of the wind and the calm grinding of this alien machinery. Exotic plants dance on the windy slopes of the hills. A healing rain comes, eventually. The foggy sky resumes its motion, the sun peeps in, glares at the invaded Earth, and quietly retreats. Everything seems in good order. The placid water buffalo our hero, if this piece has one calmly endures a close encounter with a swaying alien light beam. <br/><br/> Friends from far away show up: a set of blurry, two-legged tourists, invading the spidery building. They move slowly and meditatively behind their steamy walls of glowing film. Although they're not human, one gets the impression that they've earned the right to visit. Maybe they'll settle down. <br/><br/> <i>The Boy From Mars</i> is about the joys of being alien. Philippe Parreno (playing the intriguing role of \"The Boy from Paris\") was able to vent his customary ingenuity on the Thai artist's retreat of his friend and collaborator, Rirkrit Tiravanija. This locale was anonymous, off the electrical grid, basically a fertile patch of mud in the middle of nowhere. Anything and nothing was possible there. So, Parreno and architect Francois Roche invaded this timeless Asian farm and boldly created an architectural freak. It's the hybrid of a science fiction film-set, a green design showpiece, an assembly hall, and an international artists' squat. Plus, it's literally powered by a water buffalo. It must be well nigh perfect if Martians happen to drop by. <br/><br/> Furthermore, this construction, whose artsy French origin couldn't be any more alien to Thai rurality, suits its locale remarkably well. Perched in a Chiang Mai rice field, it looks as imperturbable as a pig in mud. This work is especially apt for a period in which machines from Earth are invading Mars. As I write this, Spirit and Opportunity, those twin American hot-rods, are vigorously filming the unresisting Martian landscape. As video performances go, that scientific stream of images from that alien planet: those dull, eroded Martian hills, smears of ancient salt, spinning mechanical drills, ferocious close-ups of Martian pebbles and sand...that is hard for artists to match, but The Boy From Mars makes an attempt <br/><br/> In our epoch, Mars finally became banal. Now we humans are importing all its strangeness. Thanks to this Parreno piece, I can appreciate that simple truth.","artist_bio":"Philippe Parreno (born 1964) is a French artist and filmmaker, of Algerian heritage.\nHe was born in Oran, Algeria and is based in Paris, France. Parreno's work primarily revolves around the interrogation of the nature of an image, as well as the modes of its exhibition. He frequently draws on pre-existing material and then enriches it with his own, mostly narrative, ideas. He has recently had major shows at the Musée d'Art Moderne de la Ville de Paris, the Museum of Modern Art in San Francisco and the Kunstverein Münich. He writes for many art magazines and is a regular contributor to Domus magazine. His work is included in the major collections of the Museum of Modern Art New York (MOMA), the Walker Art Center (USA), the Centre Georges Pompidou (France), the Paris Museum of Modern Art (France), the Guggenheim Museum New York (USA), the Museum of Modern Art in San Francisco and the Museum of the 21st Century (Japan).\nIn June 2006 Universal Film released a feature length documentary directed by Parreno and Scottish artist-filmmaker Douglas Gordon entitled \"Zidane, A 21st Century Portrait\". The film premiered out of competition at the 2006 Cannes Film Festival. The idea to this film was inspired by Hellmuth Costard's film (\"soccer as never seen before\") on Manchester United legend George Best in the year 1970. Costard used eight 16mm film cameras to follow Best, in real time, for the course of an entire game against Coventry City,the film was screened by German broadcast ARD in the year 1971.\nHe recently contributed a chapter to Sound Unbound: Sampling Digital Music and Culture (The MIT Press, 2008) edited by Paul D. Miller a.k.a. DJ Spooky. He wrote an article for the Summer 2009 (first) issue of Above magazine.","bio_dates":"b. 1964"},{"slug":"parreno_philippe_two_minutes_out_of_time","ok":true,"partial":false,"title":"Two Minutes Out of Time","artist":"Philippe Parreno","year":"2000","startOffset":0,"sourceSecs":204.288,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":26374437,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parreno_philippe_two_minutes_out_of_time/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/parreno_philippe_two_minutes_out_of_time/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/parreno_philippe_two_minutes_out_of_time.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/parreno_philippe_two_minutes_out_of_time/main.mp4?v=2","description":"Two minutes of our attention is even more than AnnLee dared to hope for when she was first drawn in Japan. She was created as a minor character for a comic strip or an animated cartoon. She has now become the main character. She sees us the way we see her: as an image.","artist_bio":"Philippe Parreno (born 1964) is a French artist and filmmaker, of Algerian heritage.\nHe was born in Oran, Algeria and is based in Paris, France. Parreno's work primarily revolves around the interrogation of the nature of an image, as well as the modes of its exhibition. He frequently draws on pre-existing material and then enriches it with his own, mostly narrative, ideas. He has recently had major shows at the Musée d'Art Moderne de la Ville de Paris, the Museum of Modern Art in San Francisco and the Kunstverein Münich. He writes for many art magazines and is a regular contributor to Domus magazine. His work is included in the major collections of the Museum of Modern Art New York (MOMA), the Walker Art Center (USA), the Centre Georges Pompidou (France), the Paris Museum of Modern Art (France), the Guggenheim Museum New York (USA), the Museum of Modern Art in San Francisco and the Museum of the 21st Century (Japan).\nIn June 2006 Universal Film released a feature length documentary directed by Parreno and Scottish artist-filmmaker Douglas Gordon entitled \"Zidane, A 21st Century Portrait\". The film premiered out of competition at the 2006 Cannes Film Festival. The idea to this film was inspired by Hellmuth Costard's film (\"soccer as never seen before\") on Manchester United legend George Best in the year 1970. Costard used eight 16mm film cameras to follow Best, in real time, for the course of an entire game against Coventry City,the film was screened by German broadcast ARD in the year 1971.\nHe recently contributed a chapter to Sound Unbound: Sampling Digital Music and Culture (The MIT Press, 2008) edited by Paul D. Miller a.k.a. DJ Spooky. He wrote an article for the Summer 2009 (first) issue of Above magazine.","bio_dates":"b. 1964"},{"slug":"partch_harry_barstow","ok":true,"partial":false,"title":"Barstow","artist":"Harry Partch","year":"1981","startOffset":0,"sourceSecs":647.981,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":41820731,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_barstow/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_barstow/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/partch_harry_barstow.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/partch_harry_barstow/main.mp4?v=2","description":"San Diego Parch Ensemble directed by Danlee Mitchell 10:49 min <br/><br/> The best part of Enclosure 8, though, is the material that had previously constituted Enclosure 1, four films by Madeline Tourtelot, the first of which, \"Music Studio,\" is about Partch and the many instruments he invented for the performance of his music. This is, without a doubt, the best way to begin the process of getting to know Partch, his theory of dividing the octave into 43 parts, the sounds of the instruments (and the pitches of his tuning system), and all the physical issues intimately connected with performing on those instruments. Tourtelot's films are also not particularly polished, which may be one reason that I no longer have a taste for the Columbia approach to Partch's music. Nevertheless, they provide an expository account of Partch the composer and the inventor that treats the subject with a sympathetic respect that has become rare in more recent expository film. Much of the music that Partch uses to demonstrate his instruments comes from the soundtrack he composed for another Tourtelot film, \"Windsong,\" which, conveniently enough, is the next selection on the DVD. Thus, in these two juxtaposed films, we learn about Partch in both theory and practice. The music was also turned into a suite independent of the film, which is performed as part of the KEBS-TV documentary, \"The Music of Harry Partch;\" so the DVD actually provides three perspectives on this one piece of music.<br/><br/> The real fun begins, however, with \"U. S. Highball,\" which, along with \"Barstow,\" is a \"hobo\" composition. The film alternates between the ensemble performing the composition and footage of the sorts of freight trains and railroad yards around which hobo life and transportation were based. I have now seen this film several times and have no qualms about saying how exhilarating I find each viewing.<br/><br/> It takes some listening to get used to Partch's tuning. He developed his system in search of a better sound for the interval of a major third, which, in its purest form is a 5:4 ratio. The approximation of twelve equal steps to the octave is not a particularly good one; but that system has an excellent perfect fifth, the 3:2 ratio. The problem is that just about every effort to improve the third make the fifth sound worse, and Partch's solution is no exception. Indeed, I had one colleague who could not stand listening to the old Columbia recording, because she could only hear it as \"out of tune;\" but, of course, the whole reason that Partch built his instruments the way he did was to be able to play those \"out of tune\" pitches!<br/><br/> The one problem that this creates is that Partch's music can seldom be played on instruments other than those of his own making. Perhaps the most notable exception is that Ben Johnston (who has also been interested in composing with pitches other than those of the octave divided into twelve equal parts) composed an arrangement of \"Barstow\" for string quartet, which was recorded by the Kronos Quartet. This is nice as far as it goes, but fidelity to Partch's pitches is still a far cry from fidelity to his sounds. The 1981 performance on the DVD is far more satisfying for the quality of those sounds.","artist_bio":"The Outsider: The Story of Harry Partch (2002) dir. Darren Chesworth\nMichael Blackood - Musical Outsiders, An American Legacy (Harry Partch, Lou Harrison, and Terry Riley) (1995)\nHarry Partch, (born June 24, 1901, Oakland, Calif., U.S.—died Sept. 3, 1974, San Diego, Calif.), visionary and eclectic composer and instrument builder, largely self-taught, whose compositions are remarkable for the complexity of their scores (each instrument has its own characteristic notation, often involving 43 tones to each octave) and their employment of unique instruments of his invention. Partch’s early works are mainly vocal, based on texts collected during his travels as a hobo during the Depression (The Letter, a Depression Message from a Hobo Friend, 1943; 8 Hitchhiker Inscriptions from a California Highway Railing).\nLater his interest in mythology and the occult led him to the magical sounds of common materials such as light bulbs and bowls. Instruments such as the boo (bamboo marimba, 1955–56), marimba eroica (1951–55, the largest plank 8 feet [2.4 metres] long), cloud-chamber bowls, mazda marimba, and many others resulted; some of these were exhibited at the San Francisco Museum of Art (1966) and at the Whitney Museum of American Art in New York.\nTypical of his works of the 1950s are Oedipus (1951; Partch’s first large dramatic work), the theatre pieces Plectra and Percussion Dances (1952), the dance satire The Bewitched (1955), and the soundtrack of the film Windsong (1958). The enormous suite And on the Seventh Day Petals Fell on Petaluma (1963–64, revised 1966) comprises 23 one-minute duets and trios among 20 instruments, followed (by means of electronic dubbing) by 10 quartets and quintets and a final septet. The traditional process of development is ignored; musical ideas are simply stated, then abandoned.\nLater Partch was involved with “tactile” theatre pieces, which have the nature of rituals. In 1949 he summarized his esoteric theories in a book, The Genesis of a Music. In 1953 he began issuing his own recordings, and in 1966 he won an award from the National Institute of Arts and Letters.","bio_dates":"1901-1973"},{"slug":"partch_harry_castor_and_pullox","ok":true,"partial":false,"title":"Castor and Pollux","artist":"Harry Partch","year":"1952/2006","startOffset":0,"sourceSecs":1036.903,"sourceHeight":416,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":62682287,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_castor_and_pullox/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_castor_and_pullox/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/partch_harry_castor_and_pullox.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/partch_harry_castor_and_pullox/main.mp4?v=2","description":"Ensemble Partch! Directed by John Schneider, Choreography by Liz Hoefner in 2006, 17:18 min <br/><br/> 1968 San Diego KEBS-TV documentary called The Music of Harry Partch. Partch shows off his instruments and gives a performance of Daphne of the Dunes.<br/><br/>The best part of Enclosure 8, though, is the material that had previously constituted Enclosure 1, four films by Madeline Tourtelot, the first of which, \"Music Studio,\" is about Partch and the many instruments he invented for the performance of his music. This is, without a doubt, the best way to begin the process of getting to know Partch, his theory of dividing the octave into 43 parts, the sounds of the instruments (and the pitches of his tuning system), and all the physical issues intimately connected with performing on those instruments. Tourtelot's films are also not particularly polished, which may be one reason that I no longer have a taste for the Columbia approach to Partch's music. Nevertheless, they provide an expository account of Partch the composer and the inventor that treats the subject with a sympathetic respect that has become rare in more recent expository film. Much of the music that Partch uses to demonstrate his instruments comes from the soundtrack he composed for another Tourtelot film, \"Windsong,\" which, conveniently enough, is the next selection on the DVD. Thus, in these two juxtaposed films, we learn about Partch in both theory and practice. The music was also turned into a suite independent of the film, which is performed as part of the KEBS-TV documentary, \"The Music of Harry Partch;\" so the DVD actually provides three perspectives on this one piece of music.<br><br> The real fun begins, however, with \"U. S. Highball,\" which, along with \"Barstow,\" is a \"hobo\" composition. The film alternates between the ensemble performing the composition and footage of the sorts of freight trains and railroad yards around which hobo life and transportation were based. I have now seen this film several times and have no qualms about saying how exhilarating I find each viewing.<br/><br/> It takes some listening to get used to Partch's tuning. He developed his system in search of a better sound for the interval of a major third, which, in its purest form is a 5:4 ratio. The approximation of twelve equal steps to the octave is not a particularly good one; but that system has an excellent perfect fifth, the 3:2 ratio. The problem is that just about every effort to improve the third make the fifth sound worse, and Partch's solution is no exception. Indeed, I had one colleague who could not stand listening to the old Columbia recording, because she could only hear it as \"out of tune;\" but, of course, the whole reason that Partch built his instruments the way he did was to be able to play those \"out of tune\" pitches!<br/><br/> The one problem that this creates is that Partch's music can seldom be played on instruments other than those of his own making. Perhaps the most notable exception is that Ben Johnston (who has also been interested in composing with pitches other than those of the octave divided into twelve equal parts) composed an arrangement of \"Barstow\" for string quartet, which was recorded by the Kronos Quartet. This is nice as far as it goes, but fidelity to Partch's pitches is still a far cry from fidelity to his sounds. The 1981 performance on the DVD is far more satisfying for the quality of those sounds.</br></br>","artist_bio":"The Outsider: The Story of Harry Partch (2002) dir. Darren Chesworth\nMichael Blackood - Musical Outsiders, An American Legacy (Harry Partch, Lou Harrison, and Terry Riley) (1995)\nHarry Partch, (born June 24, 1901, Oakland, Calif., U.S.—died Sept. 3, 1974, San Diego, Calif.), visionary and eclectic composer and instrument builder, largely self-taught, whose compositions are remarkable for the complexity of their scores (each instrument has its own characteristic notation, often involving 43 tones to each octave) and their employment of unique instruments of his invention. Partch’s early works are mainly vocal, based on texts collected during his travels as a hobo during the Depression (The Letter, a Depression Message from a Hobo Friend, 1943; 8 Hitchhiker Inscriptions from a California Highway Railing).\nLater his interest in mythology and the occult led him to the magical sounds of common materials such as light bulbs and bowls. Instruments such as the boo (bamboo marimba, 1955–56), marimba eroica (1951–55, the largest plank 8 feet [2.4 metres] long), cloud-chamber bowls, mazda marimba, and many others resulted; some of these were exhibited at the San Francisco Museum of Art (1966) and at the Whitney Museum of American Art in New York.\nTypical of his works of the 1950s are Oedipus (1951; Partch’s first large dramatic work), the theatre pieces Plectra and Percussion Dances (1952), the dance satire The Bewitched (1955), and the soundtrack of the film Windsong (1958). The enormous suite And on the Seventh Day Petals Fell on Petaluma (1963–64, revised 1966) comprises 23 one-minute duets and trios among 20 instruments, followed (by means of electronic dubbing) by 10 quartets and quintets and a final septet. The traditional process of development is ignored; musical ideas are simply stated, then abandoned.\nLater Partch was involved with “tactile” theatre pieces, which have the nature of rituals. In 1949 he summarized his esoteric theories in a book, The Genesis of a Music. In 1953 he began issuing his own recordings, and in 1966 he won an award from the National Institute of Arts and Letters.","bio_dates":"1901-1973"},{"slug":"partch_harry_delusion_of_the_fury","ok":true,"partial":false,"title":"Delusion of the Fury","artist":"Harry Partch","year":"1964","startOffset":0,"sourceSecs":4332.161,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":729183280,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_delusion_of_the_fury/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_delusion_of_the_fury/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/partch_harry_delusion_of_the_fury.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/partch_harry_delusion_of_the_fury/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/partch_harry_delusion_of_the_fury/main/master.m3u8?v=2","hasMainHls":true,"description":"Perhaps the most astonishing, seductive and compelling of Partch's works, Delusion stands as the Choral Symphony or Ring Cycle do to other composers: a culminating testament to a lifetime of \"doing your own thing.\" <br/><br/> Like composer Conlon Nancarrow, Partch had to wait until late in life for his radical contributions to the arts to receive wide attention. With the 1969 production of Delusion he was \"discovered\", idolized, and gurufied, as a 43-tone-to-the-octave, ex-hobo, eccentric, maverick, iconoclastic instrument-builder, and a \"philosophic music-man seduced into carpentry.\" Hippy hyperbole notwithstanding, Partch was a genuine far-out radical whose time has come. Again. \"Sounds like this have rarely been heard before, at least not on this planet.\" Delusion of the Fury is a 72' totally-integrated, corporeal, microtonal, elemental work of ritual theater, incorporating almost all of Partch's hand-built orchestra of sculptural instruments. Using mime, dance, music, vocalizations, lighting, and costume, Partch presents two tales concerning reconciliation of life and death, one after a Japanese Noh drama, the other after an Ethiopian folk tale.","artist_bio":"The Outsider: The Story of Harry Partch (2002) dir. Darren Chesworth\nMichael Blackood - Musical Outsiders, An American Legacy (Harry Partch, Lou Harrison, and Terry Riley) (1995)\nHarry Partch, (born June 24, 1901, Oakland, Calif., U.S.—died Sept. 3, 1974, San Diego, Calif.), visionary and eclectic composer and instrument builder, largely self-taught, whose compositions are remarkable for the complexity of their scores (each instrument has its own characteristic notation, often involving 43 tones to each octave) and their employment of unique instruments of his invention. Partch’s early works are mainly vocal, based on texts collected during his travels as a hobo during the Depression (The Letter, a Depression Message from a Hobo Friend, 1943; 8 Hitchhiker Inscriptions from a California Highway Railing).\nLater his interest in mythology and the occult led him to the magical sounds of common materials such as light bulbs and bowls. Instruments such as the boo (bamboo marimba, 1955–56), marimba eroica (1951–55, the largest plank 8 feet [2.4 metres] long), cloud-chamber bowls, mazda marimba, and many others resulted; some of these were exhibited at the San Francisco Museum of Art (1966) and at the Whitney Museum of American Art in New York.\nTypical of his works of the 1950s are Oedipus (1951; Partch’s first large dramatic work), the theatre pieces Plectra and Percussion Dances (1952), the dance satire The Bewitched (1955), and the soundtrack of the film Windsong (1958). The enormous suite And on the Seventh Day Petals Fell on Petaluma (1963–64, revised 1966) comprises 23 one-minute duets and trios among 20 instruments, followed (by means of electronic dubbing) by 10 quartets and quintets and a final septet. The traditional process of development is ignored; musical ideas are simply stated, then abandoned.\nLater Partch was involved with “tactile” theatre pieces, which have the nature of rituals. In 1949 he summarized his esoteric theories in a book, The Genesis of a Music. In 1953 he began issuing his own recordings, and in 1966 he won an award from the National Institute of Arts and Letters.","bio_dates":"1901-1973"},{"slug":"partch_harry_music_of_harry_partch","ok":true,"partial":false,"title":"The Music of Harry Partch","artist":"Harry Partch","year":"1968","startOffset":0,"sourceSecs":1784.116,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":310942571,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_music_of_harry_partch/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_music_of_harry_partch/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/partch_harry_music_of_harry_partch.avi","hasFrames":true,"description":"KEBS/KPBS-TV, San Diego, 1968.29:59 <br/><br/> 1968 San Diego KEBS-TV documentary called The Music of Harry Partch. Partch shows off his instruments and gives a performance of Daphne of the Dunes.<br/><br/>The best part of Enclosure 8, though, is the material that had previously constituted Enclosure 1, four films by Madeline Tourtelot, the first of which, \"Music Studio,\" is about Partch and the many instruments he invented for the performance of his music. This is, without a doubt, the best way to begin the process of getting to know Partch, his theory of dividing the octave into 43 parts, the sounds of the instruments (and the pitches of his tuning system), and all the physical issues intimately connected with performing on those instruments. Tourtelot's films are also not particularly polished, which may be one reason that I no longer have a taste for the Columbia approach to Partch's music. Nevertheless, they provide an expository account of Partch the composer and the inventor that treats the subject with a sympathetic respect that has become rare in more recent expository film. Much of the music that Partch uses to demonstrate his instruments comes from the soundtrack he composed for another Tourtelot film, \"Windsong,\" which, conveniently enough, is the next selection on the DVD. Thus, in these two juxtaposed films, we learn about Partch in both theory and practice. The music was also turned into a suite independent of the film, which is performed as part of the KEBS-TV documentary, \"The Music of Harry Partch;\" so the DVD actually provides three perspectives on this one piece of music.<br><br> The real fun begins, however, with \"U. S. Highball,\" which, along with \"Barstow,\" is a \"hobo\" composition. The film alternates between the ensemble performing the composition and footage of the sorts of freight trains and railroad yards around which hobo life and transportation were based. I have now seen this film several times and have no qualms about saying how exhilarating I find each viewing.<br/><br/> It takes some listening to get used to Partch's tuning. He developed his system in search of a better sound for the interval of a major third, which, in its purest form is a 5:4 ratio. The approximation of twelve equal steps to the octave is not a particularly good one; but that system has an excellent perfect fifth, the 3:2 ratio. The problem is that just about every effort to improve the third make the fifth sound worse, and Partch's solution is no exception. Indeed, I had one colleague who could not stand listening to the old Columbia recording, because she could only hear it as \"out of tune;\" but, of course, the whole reason that Partch built his instruments the way he did was to be able to play those \"out of tune\" pitches!<br/><br/> The one problem that this creates is that Partch's music can seldom be played on instruments other than those of his own making. Perhaps the most notable exception is that Ben Johnston (who has also been interested in composing with pitches other than those of the octave divided into twelve equal parts) composed an arrangement of \"Barstow\" for string quartet, which was recorded by the Kronos Quartet. This is nice as far as it goes, but fidelity to Partch's pitches is still a far cry from fidelity to his sounds. The 1981 performance on the DVD is far more satisfying for the quality of those sounds.</br></br>","artist_bio":"The Outsider: The Story of Harry Partch (2002) dir. Darren Chesworth\nMichael Blackood - Musical Outsiders, An American Legacy (Harry Partch, Lou Harrison, and Terry Riley) (1995)\nHarry Partch, (born June 24, 1901, Oakland, Calif., U.S.—died Sept. 3, 1974, San Diego, Calif.), visionary and eclectic composer and instrument builder, largely self-taught, whose compositions are remarkable for the complexity of their scores (each instrument has its own characteristic notation, often involving 43 tones to each octave) and their employment of unique instruments of his invention. Partch’s early works are mainly vocal, based on texts collected during his travels as a hobo during the Depression (The Letter, a Depression Message from a Hobo Friend, 1943; 8 Hitchhiker Inscriptions from a California Highway Railing).\nLater his interest in mythology and the occult led him to the magical sounds of common materials such as light bulbs and bowls. Instruments such as the boo (bamboo marimba, 1955–56), marimba eroica (1951–55, the largest plank 8 feet [2.4 metres] long), cloud-chamber bowls, mazda marimba, and many others resulted; some of these were exhibited at the San Francisco Museum of Art (1966) and at the Whitney Museum of American Art in New York.\nTypical of his works of the 1950s are Oedipus (1951; Partch’s first large dramatic work), the theatre pieces Plectra and Percussion Dances (1952), the dance satire The Bewitched (1955), and the soundtrack of the film Windsong (1958). The enormous suite And on the Seventh Day Petals Fell on Petaluma (1963–64, revised 1966) comprises 23 one-minute duets and trios among 20 instruments, followed (by means of electronic dubbing) by 10 quartets and quintets and a final septet. The traditional process of development is ignored; musical ideas are simply stated, then abandoned.\nLater Partch was involved with “tactile” theatre pieces, which have the nature of rituals. In 1949 he summarized his esoteric theories in a book, The Genesis of a Music. In 1953 he began issuing his own recordings, and in 1966 he won an award from the National Institute of Arts and Letters.","bio_dates":"1901-1973"},{"slug":"partch_harry_rotate_the_body","ok":true,"partial":false,"title":"Rotate the Body in All Its Planes","artist":"Harry Partch","year":"1961","startOffset":0,"sourceSecs":538.955,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":87610729,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_rotate_the_body/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_rotate_the_body/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/partch_harry_rotate_the_body.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/partch_harry_rotate_the_body/main.mp4?v=2","description":"Harry's favorite: a ballet for gymnasts. 9:00 min <br/><br/> The best part of Enclosure 8, though, is the material that had previously constituted Enclosure 1, four films by Madeline Tourtelot, the first of which, \"Music Studio,\" is about Partch and the many instruments he invented for the performance of his music. This is, without a doubt, the best way to begin the process of getting to know Partch, his theory of dividing the octave into 43 parts, the sounds of the instruments (and the pitches of his tuning system), and all the physical issues intimately connected with performing on those instruments. Tourtelot's films are also not particularly polished, which may be one reason that I no longer have a taste for the Columbia approach to Partch's music. Nevertheless, they provide an expository account of Partch the composer and the inventor that treats the subject with a sympathetic respect that has become rare in more recent expository film. Much of the music that Partch uses to demonstrate his instruments comes from the soundtrack he composed for another Tourtelot film, \"Windsong,\" which, conveniently enough, is the next selection on the DVD. Thus, in these two juxtaposed films, we learn about Partch in both theory and practice. The music was also turned into a suite independent of the film, which is performed as part of the KEBS-TV documentary, \"The Music of Harry Partch;\" so the DVD actually provides three perspectives on this one piece of music.<br/><br/> The real fun begins, however, with \"U. S. Highball,\" which, along with \"Barstow,\" is a \"hobo\" composition. The film alternates between the ensemble performing the composition and footage of the sorts of freight trains and railroad yards around which hobo life and transportation were based. I have now seen this film several times and have no qualms about saying how exhilarating I find each viewing.<br/><br/> It takes some listening to get used to Partch's tuning. He developed his system in search of a better sound for the interval of a major third, which, in its purest form is a 5:4 ratio. The approximation of twelve equal steps to the octave is not a particularly good one; but that system has an excellent perfect fifth, the 3:2 ratio. The problem is that just about every effort to improve the third make the fifth sound worse, and Partch's solution is no exception. Indeed, I had one colleague who could not stand listening to the old Columbia recording, because she could only hear it as \"out of tune;\" but, of course, the whole reason that Partch built his instruments the way he did was to be able to play those \"out of tune\" pitches!<br/><br/> The one problem that this creates is that Partch's music can seldom be played on instruments other than those of his own making. Perhaps the most notable exception is that Ben Johnston (who has also been interested in composing with pitches other than those of the octave divided into twelve equal parts) composed an arrangement of \"Barstow\" for string quartet, which was recorded by the Kronos Quartet. This is nice as far as it goes, but fidelity to Partch's pitches is still a far cry from fidelity to his sounds. The 1981 performance on the DVD is far more satisfying for the quality of those sounds.","artist_bio":"The Outsider: The Story of Harry Partch (2002) dir. Darren Chesworth\nMichael Blackood - Musical Outsiders, An American Legacy (Harry Partch, Lou Harrison, and Terry Riley) (1995)\nHarry Partch, (born June 24, 1901, Oakland, Calif., U.S.—died Sept. 3, 1974, San Diego, Calif.), visionary and eclectic composer and instrument builder, largely self-taught, whose compositions are remarkable for the complexity of their scores (each instrument has its own characteristic notation, often involving 43 tones to each octave) and their employment of unique instruments of his invention. Partch’s early works are mainly vocal, based on texts collected during his travels as a hobo during the Depression (The Letter, a Depression Message from a Hobo Friend, 1943; 8 Hitchhiker Inscriptions from a California Highway Railing).\nLater his interest in mythology and the occult led him to the magical sounds of common materials such as light bulbs and bowls. Instruments such as the boo (bamboo marimba, 1955–56), marimba eroica (1951–55, the largest plank 8 feet [2.4 metres] long), cloud-chamber bowls, mazda marimba, and many others resulted; some of these were exhibited at the San Francisco Museum of Art (1966) and at the Whitney Museum of American Art in New York.\nTypical of his works of the 1950s are Oedipus (1951; Partch’s first large dramatic work), the theatre pieces Plectra and Percussion Dances (1952), the dance satire The Bewitched (1955), and the soundtrack of the film Windsong (1958). The enormous suite And on the Seventh Day Petals Fell on Petaluma (1963–64, revised 1966) comprises 23 one-minute duets and trios among 20 instruments, followed (by means of electronic dubbing) by 10 quartets and quintets and a final septet. The traditional process of development is ignored; musical ideas are simply stated, then abandoned.\nLater Partch was involved with “tactile” theatre pieces, which have the nature of rituals. In 1949 he summarized his esoteric theories in a book, The Genesis of a Music. In 1953 he began issuing his own recordings, and in 1966 he won an award from the National Institute of Arts and Letters.","bio_dates":"1901-1973"},{"slug":"partch_harry_the_dreamer_that_remains","ok":true,"partial":false,"title":"The Dreamer That Remains","artist":"Harry Partch","year":"1972","startOffset":0,"sourceSecs":1691.757,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":290151035,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_the_dreamer_that_remains/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_the_dreamer_that_remains/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/partch_harry_the_dreamer_that_remains.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/partch_harry_the_dreamer_that_remains/main.mp4?v=2","description":"The fantastic 1972 film \"Harry Partch – The Dreamer That Remains.\" The composer making rose petal jam. Then again – it’s more. As I watched, a smile spread across my face and a tear formed in my eye. Not only was I witness the wild voice and gesticulations of a figure who had first drawn me toward the avant-garde, but the freedom, singularity, and otherness which had folded me in its arms. Partch was an eccentric, a radical, a free thinker of unparalleled bounds, and a misfit whose principles left him poverty stricken at margins. His tattered tee shirt, and wild eyes speak all too well. In two minutes, without a note to be heard, this document manages to sum up so much of what drew me in. The avant-garde is a social proximity, with a remarkably brave willingness to pursue creative ambition above all else, and embrace the wildest and most diverse spirits. This music isn’t just made of tones, structures, and musical ideas. It proposes a way to be. The Partch featured here, is not just the man, but embodiment of a spirit which once made this world great. Years ago, it seemed like people like Partch – the wild unpredictable ones, were the people I knew. I’m not sure where they’ve gone. Until I find them again, this film will have to do. In anticipation of my series Impressions of the American Avant-Garde, the first installment of which should be up in the coming week, I’m also including Harry Partch – The Dreamer That Remains, the film from which Rose Petal Jam was cut. It’s equally fantastic in its own way – highly recommended viewing. <br/><br/> -Bradford Bailey","artist_bio":"The Outsider: The Story of Harry Partch (2002) dir. Darren Chesworth\nMichael Blackood - Musical Outsiders, An American Legacy (Harry Partch, Lou Harrison, and Terry Riley) (1995)\nHarry Partch, (born June 24, 1901, Oakland, Calif., U.S.—died Sept. 3, 1974, San Diego, Calif.), visionary and eclectic composer and instrument builder, largely self-taught, whose compositions are remarkable for the complexity of their scores (each instrument has its own characteristic notation, often involving 43 tones to each octave) and their employment of unique instruments of his invention. Partch’s early works are mainly vocal, based on texts collected during his travels as a hobo during the Depression (The Letter, a Depression Message from a Hobo Friend, 1943; 8 Hitchhiker Inscriptions from a California Highway Railing).\nLater his interest in mythology and the occult led him to the magical sounds of common materials such as light bulbs and bowls. Instruments such as the boo (bamboo marimba, 1955–56), marimba eroica (1951–55, the largest plank 8 feet [2.4 metres] long), cloud-chamber bowls, mazda marimba, and many others resulted; some of these were exhibited at the San Francisco Museum of Art (1966) and at the Whitney Museum of American Art in New York.\nTypical of his works of the 1950s are Oedipus (1951; Partch’s first large dramatic work), the theatre pieces Plectra and Percussion Dances (1952), the dance satire The Bewitched (1955), and the soundtrack of the film Windsong (1958). The enormous suite And on the Seventh Day Petals Fell on Petaluma (1963–64, revised 1966) comprises 23 one-minute duets and trios among 20 instruments, followed (by means of electronic dubbing) by 10 quartets and quintets and a final septet. The traditional process of development is ignored; musical ideas are simply stated, then abandoned.\nLater Partch was involved with “tactile” theatre pieces, which have the nature of rituals. In 1949 he summarized his esoteric theories in a book, The Genesis of a Music. In 1953 he began issuing his own recordings, and in 1966 he won an award from the National Institute of Arts and Letters.","bio_dates":"1901-1973"},{"slug":"partch_harry_the_outsider_iphone","ok":true,"partial":false,"title":"The Outsider: The Story of Harry Partch","artist":"Harry Partch","year":"2002","startOffset":0,"sourceSecs":3556.312,"sourceHeight":290,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":209479494,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_the_outsider_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_the_outsider_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/partch_harry_the_outsider_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/partch_harry_the_outsider_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/partch_harry_the_outsider_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Darren Chesworth<br/> Year: 2002<br/> Time: 59 mins<br/> Music: Harry Partch<br/> <br/> His obsession with the subjective human voice and the musicality of speech; his partly relativistic deconstruction of the twelve-note scale as an arbitrary straitjacket; his ethnographic sensibility towards different modes of conceiving language, tuning and existence; his need to create channels suited for his new microtonal chromatic universe; his expansion into convergent fields of expression such as film, theatre and dance; and his desire to capture the vernacular as a locus for the textures of being - all these probably make Partch's the most encompassing of modern creative utopias. Such an overarching project of existence and creation, obviously, could hardly be comprised in an one-hour documentary, and it would take a considerable amount of creativity and an unflinching focus to cast a shadow of justice over Partch's vision in such a short time. One aspect that could have been jettisoned is, as usual, the biographic mode, the linear movement from A to Z that suggests apparently logic explanations and connections for processes and objects that are far from logical and linear, supported by an invisible voice-over narration that simulates contextualization and sequence. Narrative becomes a form of containment and disambiguation: Partch's struggle with devitalized modes of composition and the 12-tone octave is all of a sudden brought into light by the reading of one single book, On the Sensation of Tone by H. Helmholtz, and his \"discovery\" of the arbitrary nature of the Western scale smoothly harmonised with his several inner and outer \"deviances\", sexuality included; inversely, Partch's long-celebrated and romanticised decision to follow a hobo trail for almost a decade is simply glossed as a reaction to the Great Depression and left strangely disconnected from the surrounding acts. There are the usual statements by friends, patrons and composers, such as Lou Harrison, Gavin Bryars, John Schneider, Phillip Blackburn, and Phillip Glass, adding very little to our understanding of Partch's universe, and it is from biographers and archivists that the most illuminating comments stem from. While the focus on the apparent eccentricity of the man seems to be a fruitless compromise with the conventions of current personality cults - including a minor polemic with Cage to boot -, it is not surprising that the most rewarding sections focus on the technical aspects of his work, microtonality being efficiently summarised bur perhaps not fully explored in its symbolic reach. The eclipse of \"the truth of just intonation\" was seen by Partch as a conspiracy in which \"pure\" musical structures had been corrupted and dilluted by a powerful but stifling hierarchical model, one that curtailed freedom and fostered forms of conformism. This supposedly pure tuning of ancient Greek tradition, which Partch tried to build into his microtonal edifice, and its promises of a wider access to the the truth that is supposed to inhere in the human voice, holds some of the keys for the composer's universe: a romantic search for a temps perdu, thought to be found both in ancient traditions and non-Western contemporary societies, guided, as ever, by a subversive desire to implode homeland strictures. -- Eye of Sound","artist_bio":"The Outsider: The Story of Harry Partch (2002) dir. Darren Chesworth\nMichael Blackood - Musical Outsiders, An American Legacy (Harry Partch, Lou Harrison, and Terry Riley) (1995)\nHarry Partch, (born June 24, 1901, Oakland, Calif., U.S.—died Sept. 3, 1974, San Diego, Calif.), visionary and eclectic composer and instrument builder, largely self-taught, whose compositions are remarkable for the complexity of their scores (each instrument has its own characteristic notation, often involving 43 tones to each octave) and their employment of unique instruments of his invention. Partch’s early works are mainly vocal, based on texts collected during his travels as a hobo during the Depression (The Letter, a Depression Message from a Hobo Friend, 1943; 8 Hitchhiker Inscriptions from a California Highway Railing).\nLater his interest in mythology and the occult led him to the magical sounds of common materials such as light bulbs and bowls. Instruments such as the boo (bamboo marimba, 1955–56), marimba eroica (1951–55, the largest plank 8 feet [2.4 metres] long), cloud-chamber bowls, mazda marimba, and many others resulted; some of these were exhibited at the San Francisco Museum of Art (1966) and at the Whitney Museum of American Art in New York.\nTypical of his works of the 1950s are Oedipus (1951; Partch’s first large dramatic work), the theatre pieces Plectra and Percussion Dances (1952), the dance satire The Bewitched (1955), and the soundtrack of the film Windsong (1958). The enormous suite And on the Seventh Day Petals Fell on Petaluma (1963–64, revised 1966) comprises 23 one-minute duets and trios among 20 instruments, followed (by means of electronic dubbing) by 10 quartets and quintets and a final septet. The traditional process of development is ignored; musical ideas are simply stated, then abandoned.\nLater Partch was involved with “tactile” theatre pieces, which have the nature of rituals. In 1949 he summarized his esoteric theories in a book, The Genesis of a Music. In 1953 he began issuing his own recordings, and in 1966 he won an award from the National Institute of Arts and Letters.","bio_dates":"1901-1973"},{"slug":"partch_harry_us_highball","ok":true,"partial":false,"title":"U.S. Highball","artist":"Harry Partch","year":"1958","startOffset":0,"sourceSecs":1461.835,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":253657983,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_us_highball/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_us_highball/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/partch_harry_us_highball.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/partch_harry_us_highball/main.mp4?v=2","description":"U.S. Highball (1958; completed 1968): Partch and his ensemble perform a dramatized account of riding the rails during the Depression on a transcontinental hobo trip from California to Chicago. 24:26 min<br/><br/>The best part of Enclosure 8, though, is the material that had previously constituted Enclosure 1, four films by Madeline Tourtelot, the first of which, \"Music Studio,\" is about Partch and the many instruments he invented for the performance of his music. This is, without a doubt, the best way to begin the process of getting to know Partch, his theory of dividing the octave into 43 parts, the sounds of the instruments (and the pitches of his tuning system), and all the physical issues intimately connected with performing on those instruments. Tourtelot's films are also not particularly polished, which may be one reason that I no longer have a taste for the Columbia approach to Partch's music. Nevertheless, they provide an expository account of Partch the composer and the inventor that treats the subject with a sympathetic respect that has become rare in more recent expository film. Much of the music that Partch uses to demonstrate his instruments comes from the soundtrack he composed for another Tourtelot film, \"Windsong,\" which, conveniently enough, is the next selection on the DVD. Thus, in these two juxtaposed films, we learn about Partch in both theory and practice. The music was also turned into a suite independent of the film, which is performed as part of the KEBS-TV documentary, \"The Music of Harry Partch;\" so the DVD actually provides three perspectives on this one piece of music.<br><br> The real fun begins, however, with \"U. S. Highball,\" which, along with \"Barstow,\" is a \"hobo\" composition. The film alternates between the ensemble performing the composition and footage of the sorts of freight trains and railroad yards around which hobo life and transportation were based. I have now seen this film several times and have no qualms about saying how exhilarating I find each viewing.<br/><br/> It takes some listening to get used to Partch's tuning. He developed his system in search of a better sound for the interval of a major third, which, in its purest form is a 5:4 ratio. The approximation of twelve equal steps to the octave is not a particularly good one; but that system has an excellent perfect fifth, the 3:2 ratio. The problem is that just about every effort to improve the third make the fifth sound worse, and Partch's solution is no exception. Indeed, I had one colleague who could not stand listening to the old Columbia recording, because she could only hear it as \"out of tune;\" but, of course, the whole reason that Partch built his instruments the way he did was to be able to play those \"out of tune\" pitches!<br/><br/> The one problem that this creates is that Partch's music can seldom be played on instruments other than those of his own making. Perhaps the most notable exception is that Ben Johnston (who has also been interested in composing with pitches other than those of the octave divided into twelve equal parts) composed an arrangement of \"Barstow\" for string quartet, which was recorded by the Kronos Quartet. This is nice as far as it goes, but fidelity to Partch's pitches is still a far cry from fidelity to his sounds. The 1981 performance on the DVD is far more satisfying for the quality of those sounds.</br></br>","artist_bio":"The Outsider: The Story of Harry Partch (2002) dir. Darren Chesworth\nMichael Blackood - Musical Outsiders, An American Legacy (Harry Partch, Lou Harrison, and Terry Riley) (1995)\nHarry Partch, (born June 24, 1901, Oakland, Calif., U.S.—died Sept. 3, 1974, San Diego, Calif.), visionary and eclectic composer and instrument builder, largely self-taught, whose compositions are remarkable for the complexity of their scores (each instrument has its own characteristic notation, often involving 43 tones to each octave) and their employment of unique instruments of his invention. Partch’s early works are mainly vocal, based on texts collected during his travels as a hobo during the Depression (The Letter, a Depression Message from a Hobo Friend, 1943; 8 Hitchhiker Inscriptions from a California Highway Railing).\nLater his interest in mythology and the occult led him to the magical sounds of common materials such as light bulbs and bowls. Instruments such as the boo (bamboo marimba, 1955–56), marimba eroica (1951–55, the largest plank 8 feet [2.4 metres] long), cloud-chamber bowls, mazda marimba, and many others resulted; some of these were exhibited at the San Francisco Museum of Art (1966) and at the Whitney Museum of American Art in New York.\nTypical of his works of the 1950s are Oedipus (1951; Partch’s first large dramatic work), the theatre pieces Plectra and Percussion Dances (1952), the dance satire The Bewitched (1955), and the soundtrack of the film Windsong (1958). The enormous suite And on the Seventh Day Petals Fell on Petaluma (1963–64, revised 1966) comprises 23 one-minute duets and trios among 20 instruments, followed (by means of electronic dubbing) by 10 quartets and quintets and a final septet. The traditional process of development is ignored; musical ideas are simply stated, then abandoned.\nLater Partch was involved with “tactile” theatre pieces, which have the nature of rituals. In 1949 he summarized his esoteric theories in a book, The Genesis of a Music. In 1953 he began issuing his own recordings, and in 1966 he won an award from the National Institute of Arts and Letters.","bio_dates":"1901-1973"},{"slug":"partch_harry_windsong","ok":true,"partial":false,"title":"Windsong","artist":"Harry Partch","year":"1958","startOffset":0,"sourceSecs":1072.446,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":190021202,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_windsong/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/partch_harry_windsong/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/partch_harry_windsong.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/partch_harry_windsong/main.mp4?v=2","description":"The ancient Greek legend of Daphne and Apollo, transported to Lake Michigan. 17:47 min\n\nThe best part of Enclosure 8, though, is the material that had previously constituted Enclosure 1, four films by Madeline Tourtelot, the first of which, \"Music Studio,\" is about Partch and the many instruments he invented for the performance of his music. This is, without a doubt, the best way to begin the process of getting to know Partch, his theory of dividing the octave into 43 parts, the sounds of the instruments (and the pitches of his tuning system), and all the physical issues intimately connected with performing on those instruments. Tourtelot's films are also not particularly polished, which may be one reason that I no longer have a taste for the Columbia approach to Partch's music. Nevertheless, they provide an expository account of Partch the composer and the inventor that treats the subject with a sympathetic respect that has become rare in more recent expository film. Much of the music that Partch uses to demonstrate his instruments comes from the soundtrack he composed for another Tourtelot film, \"Windsong,\" which, conveniently enough, is the next selection on the DVD. Thus, in these two juxtaposed films, we learn about Partch in both theory and practice. The music was also turned into a suite independent of the film, which is performed as part of the KEBS-TV documentary, \"The Music of Harry Partch;\" so the DVD actually provides three perspectives on this one piece of music.\n\nThe real fun begins, however, with \"U. S. Highball,\" which, along with \"Barstow,\" is a \"hobo\" composition. The film alternates between the ensemble performing the composition and footage of the sorts of freight trains and railroad yards around which hobo life and transportation were based. I have now seen this film several times and have no qualms about saying how exhilarating I find each viewing.\n\nIt takes some listening to get used to Partch's tuning. He developed his system in search of a better sound for the interval of a major third, which, in its purest form is a 5:4 ratio. The approximation of twelve equal steps to the octave is not a particularly good one; but that system has an excellent perfect fifth, the 3:2 ratio. The problem is that just about every effort to improve the third make the fifth sound worse, and Partch's solution is no exception. Indeed, I had one colleague who could not stand listening to the old Columbia recording, because she could only hear it as \"out of tune;\" but, of course, the whole reason that Partch built his instruments the way he did was to be able to play those \"out of tune\" pitches!\n\nThe one problem that this creates is that Partch's music can seldom be played on instruments other than those of his own making. Perhaps the most notable exception is that Ben Johnston (who has also been interested in composing with pitches other than those of the octave divided into twelve equal parts) composed an arrangement of \"Barstow\" for string quartet, which was recorded by the Kronos Quartet. This is nice as far as it goes, but fidelity to Partch's pitches is still a far cry from fidelity to his sounds. The 1981 performance on the DVD is far more satisfying for the quality of those sounds."},{"slug":"pasolini_piero_seeking_locations_in_palestine_1965","ok":true,"partial":false,"title":"Seeking Locations in Palestine for the Film \"The Gospel According to Matthew\" (Sopralluoghi in Palestina per il film \"Il Vangelo secondo Matteo\")","artist":"Pier Paolo Pasolini","year":"1965","startOffset":0,"sourceSecs":3121.28,"sourceHeight":320,"sourceWidth":432,"hasAudio":true,"hasAmbientMp4":true,"bytes":184344039,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pasolini_piero_seeking_locations_in_palestine_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pasolini_piero_seeking_locations_in_palestine_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pasolini_piero_seeking_locations_in_palestine_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pasolini_piero_seeking_locations_in_palestine_1965/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pasolini_piero_seeking_locations_in_palestine_1965/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Pier Paolo Pasolini.<br/> Italy 1965, 35mm, b/w, 52 min.<br/> <br/> In 1963, accompanied by a newsreel photographer and a Catholic priest, Piero Paolo Pasolini traveled to Palestine to investigate the possibility of filming his biblical epic The Gospel According to Matthew in its approximate historical locations. Edited by The Gospel‘s producer for potential funders and distributors, Seeking Locations in Palestine features semi-improvised commentary from Pasolini as its only soundtrack. As we travel from village to village, we listen to Pasolini’s idiosyncratic musings on the teachings of Christ and witness his increasing disappointment with the people and landscapes he sees before him. Israel, he laments, is much too modern. The Palestinians, much too wretched; it would be impossible to believe the teachings of Jesus had reached these faces. The Gospel According to Matthew was ultimately filmed in Southern Italy. Mel Gibson would use some of the same locations forty years later for The Passion of the Christ.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Seeking Locations in Palestine for the Film \"The Gospel According to Matthew\" (Sopralluoghi in Palestina per il film \"Il Vangelo secondo Matteo\") (1965)\nPasolini’s cinematic works roughly correspond to four periods in the socially and politically committed artist’s life.\nThe National Popular Cinema\ncommenced with his debut,\nAccattone\n(1961), which immediately made a name for him as a filmmaker of prodigious talent and fury. This was followed by\nMamma Roma\nand a number of episodic comic films containing warm, honest portraits of people living on the fringes of society, culminating in the masterful\nThe Gospel According to Matthew.\nMarking him as a provocative thinker and audacious artist with an uncompromising vision, Pasolini’s middle period, often termed\nThe Unpopular Cinema,\nfeatures excoriating depictions of the bourgeoisie that lend a passionate immediacy to films like\nTeorema, Porcile,\nand a modern interpretation of\nMedea.\nThe Trilogy of Life\n—\nThe Decameron, The Canterbury Tales,\nand\nArabian Nights\n—produced between 1971 and 1974, is a triumphant reinterpretation of classic tales and fables that retain their universality despite being interpreted by thoroughly modern means. As Pasolini himself noted, he focused on the past precisely because it reflects the present most profoundly. Sometimes referred to as\nThe Abjuration of the Trilogy of Life,\nthe director’s utterly despairing final film,\nSalò or the 120 Days of Sodom,\nwas held up for years due to censorship issues, and it remains a shockingly raw and profoundly disconcerting experience.\nSalò\nwas completed in 1975, the year of Pasolini’s mysterious murder.","bio_dates":"1922-1975"},{"slug":"pau_ellen_diversion_1990","ok":true,"partial":false,"title":"Diversion","artist":"Ellen Pau","year":"1990","startOffset":0,"sourceSecs":339.52,"sourceHeight":528,"sourceWidth":700,"hasAudio":true,"hasAmbientMp4":true,"bytes":60576629,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pau_ellen_diversion_1990/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pau_ellen_diversion_1990/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pau_ellen_diversion_1990.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pau_ellen_diversion_1990/main.mp4?v=2","description":"Produced one year after the Tiananmen Square protests, Diversion focuses on the emigration flush out of Hong Kong. Footage produced by the Hong Kong Government of Victoria Harbor swimming contest scenes in the 1960s are appropriated by the artist as absurd metaphors and black humor. The artist used no special editing equipment. The overlaying of images is not done electronically, but instead by recapturing the reflected image from the television screen. By combining footage from various sources – government newsreels of the swimming contests, educational videos on swimming, performance video of the sequence of a burning newspaper goat-head floating down a stairwell – the video creates a personal reflection of a collective memory. <br/><br/> Juxtaposes footage of people diving into water with a person repeatedly throwing themselves onto the ground. At points seems to capture both archival footage being played on a television and the reflection on the screen of the room it's being played in.","artist_bio":"A key figure in Hong Kong’s art scene, Ellen Pau (b. 1961, Hong Kong) raises our awareness of our own physical presence and ignites a contemplation of what it means to be, to exist, here, now, and beyond that, the space each of us occupies. Born in Hong Kong and a graduate from Hong Kong Polytechnic University with a diploma in Diagnostic Radiography in 1982, Pau has worked as a radiographer in Queen Mary Hospital ever since. Pau was plunged into the Hong Kong art scene by her intense interest in video art, new media art, as well as other art forms such as music, poems and performances. Beyond artistic creation, Pau has also been a leader in the promotion, curation and education of art and culture in Hong Kong through founding several important initiatives such as Videotage and the Microwave International New Media Arts Festival.\nAs one of the earliest pioneering video artists in Hong Kong, Pau produced her first super-8 film Glove in 1984. Her early works first appeared in local screening clubs and then resurfaced on the international arena starting in 1987. After creating a series of single channel video works, Pau then traversed to incorporate sculptural elements and ambient sounds into her video installations during the early 1990s. Pau’s body of work has been a journey into the exploration of possibilities in visual art languages by always sticking closely to the current technological developments at the time. In tandem, a running theme and important motif throughout Pau’s thirty years of practice is her concern with Hong Kong’s political climate, social livelihood and the changes of urban lives.\nBesides her profession and artistic practice, Pau has been a key character in the promotion, curation and education of art and culture in Hong Kong. In 1986, she co-founded Videotage, Hong Kong’s oldest video artist collective and earliest archive for media art, with Wong Chi-fai, May Fung and Comyn Mo. In 1996, she founded Microwave International New Media Arts Festival, an annual event that consists of exhibitions, conferences, seminars, and workshops, bringing art experiences to thousands of Hong Kong audiences. In 2014, Pau was appointed by the Hong Kong Arts Development Council as a representative of the Art Form Group in Film and Media Arts, and in the same year, she also served on the interim acquisition committee of M+ in West Kowloon Cultural District.\nUltimately, Pau is a seminal figure in the Hong Kong art scene, weaving a practice that engages as well as pushes the boundaries of technology, while reflecting on society. Moreover, Pau has been a key contributor to society, through her medical activity as well as initiation and leading of cultural activities. As such, through multiple avenues and outlets, Pau prompts an exploration of the self and the times we are living in, ever shifting and evolving.","bio_dates":"b. 1961"},{"slug":"payne_oliver_nick_relph_driftwood","ok":true,"partial":false,"title":"Driftwood","artist":"Oliver Payne","year":"1999","startOffset":0,"sourceSecs":1420.863,"sourceHeight":424,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":88454289,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/payne_oliver_nick_relph_driftwood/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/payne_oliver_nick_relph_driftwood/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/payne_oliver_nick_relph_driftwood.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/payne_oliver_nick_relph_driftwood/main.mp4?v=2","description":"Driftwood (1998), a psycho-geographical tour of London and one of three short films marking the duo's American début in Gavin Brown's back room. Payne failed his degree at Kingston University last year. Relph went one better and got expelled. They both got lucky. Driftwood embraces Le Corbusier's vision of London as a 'pack dog' city, unplanned and chaotic, imperfectly Modern. It opens with a description of London's South Bank Centre as the scene of an ongoing battle between skateboarders and the forces of authority. The Centre's efforts at deterrence - strategically placed fences and spikes - recall devices intended to deter homeless people from sleeping in certain important doorways. The parallel illuminates precisely the territory that Payne and Relph inhabit: the intersection of play and social conscience, romantic escapism and the cruelty of the real. Driftwood embodies their approach in its subjective take on the documentary form. It is defiantly opinionated, unabashedly poetic, and it wears its sources (in this case filmmaker Patrick Keiller and writer Iain Sinclair) proudly on its sleeve. While not all of Payne and Relph's observations in Driftwood are original - roving hands-free phone users have been compared to the mentally ill before - there are enough flashes of brilliance to make the journey worthwhile. London Transport's flat fare policy on night buses earns it the designation of 'the last true Socialist movement', and 'Eat Money, Spend Food!' sounds like fine non-sensible advice. Graffiti kids are dubbed 'lycanthropic youth', and their efforts at toppling the established order of things are compared favourably with those of 'real' Anarchists, drinking contentedly in local pubs after a Stop the City demonstration.","artist_bio":"Oliver Payne and Nick Relph are British artist-filmmakers who have collaborated since 1999. Oliver Payne was born in 1977, Nick Relph in 1979. Both studied at Kingston University, London. Payne failed his undergraduate Intermedia course in 2000, and Relph was \"booted out\" the same year. Curator and critic Matthew Higgs promoted their work and included them in group exhibitions at the Serpentine Gallery (2000) and the Institute of Contemporary Arts (2001) in London. Since then, they have had solo exhibitions in national museums including the National Museum of Contemporary Art, Oslo (2004) and the Serpentine Gallery (2005). According to Artforum, they are \"the unanimously hailed first new kids of the post-YBA moment.\"","bio_dates":"b. 1977"},{"slug":"payne_oliver_wandering_about_falling_down","ok":true,"partial":false,"title":"Wandering About Falling Down","artist":"Oliver Payne","year":"2019","startOffset":0,"sourceSecs":1669.738,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":721234637,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/payne_oliver_wandering_about_falling_down/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/payne_oliver_wandering_about_falling_down/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/payne_oliver_wandering_about_falling_down.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/payne_oliver_wandering_about_falling_down/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/payne_oliver_wandering_about_falling_down/main/master.m3u8?v=2","hasMainHls":true,"description":"Steve Kado on Oliver Payne’s Wandering About Falling Down<br/><br/>BEING A PEDESTRIAN IN LA has long put a person outside the bounds of normality: At best, they’ve made a mistake, gotten a DUI, failed to maintain their car, or crashed it; at worst, they’re already an offender, a trespasser, a prowler, or merely too poor to be considered at all.<br><br> Oliver Payne’s recent travelogue-lecture-performance-video Wandering About Falling Down, 2019, is a meditation on this unique combination of being both overexposed and totally invisible. This past February 26, viewers could catch up with Payne on Instagram Live as he crossed the city. Where was he at lunch? Where was he after work? As the morning and afternoon gave way to dusk, the audience experienced the same changing of light as Payne did in the video, all bounded within the decidedly noncinematic portrait orientation and UI screen furniture of Instagram (comment area, heart icon for liking, and so on). The choice of Instagram feels important here for a work that considers the use and abuse of public and private space, but it’s hard to forget that, despite the app’s ubiquity and accessibility, Instagram is, of course, a private company owned by Facebook. It provides the social space for us to enjoy this work but only insofar as it can monetize the data it gathers from our friends and us. In other words, you can use Instagram freely, but only at the cost of your soul.<br/><br/> In the work, Payne retraces the steps taken by the protagonist in Falling Down, a nasty 1993 film that proves you can’t send Joel Schumacher to do Paul Verhoeven’s job. The movie seemed to aspire to satire but could never pull itself free of the sinkhole of politically incorrect entertainment barfed out of Hollywood writing rooms in the 1990s. (Think Married . . . with Children or Family Guy.) Falling Down stars Michael Douglas as a laid-off defense-industry worker (his vanity plate reads “D-FENS”) who snaps and begins a bloody rampage through LA, from “The Stack” freeway interchange near downtown to Venice Beach; all the while, he vents his frustration about the way he, a professional white male who has always played by the rules, should be treated by “his” society, which, he believes, should match his expectations of it, regardless of what that means for others. After abandoning his car on the road, he beats and taunts a Korean shopkeeper, telling him to speak better English and that what D-FENS wants is for the prices to be taken back to what they were in 1965—that he doesn’t want to pay eighty-five cents for a Coke. His violent, regressive, and entitled perspective seems all too painfully familiar.<br/><br/> Wandering About Falling Down functions as a time machine, moving between the early ’90s and now, while also encompassing the arc of a day—specifically, the twenty-sixth anniversary of the film’s release. Payne visits the film’s locations: the sites where D-FENS beats up gang members with a baseball bat, stabs and ultimately kills a neo-Nazi, and fires a bazooka at a freeway under construction before continuing to rage through the pools and country-club golf courses of Beverly Hills. Through it all, Payne comes off as an itinerant Adam Curtis, spiraling in and out of different tangents, sometimes reading from prepared notes on a clipboard while at other moments seemingly improvising—he even holds the occasional prop in front of the camera—but he’s strongest when he focuses on the experience of walking in LA itself. In perhaps the best riff, he describes what it’s like to walk in a world designed to be seen while going at least thirty mph, moving slowly toward a Best Buy sign over thirty minutes as if he’s heading toward a “shit mirage.” As a fellow non-driving Angeleno, I felt seen and was thrilled by the simplicity of Payne’s metaphor for the experience of many American consumers struggling under stagnant wages in an apparently booming economy.<br/><br/> Frustratingly, Payne seems reluctant to probe these fundamental economic questions much further, as if the heart of America’s fascination with violence remains a mystery, when it absolutely is not. As he scrambles along the side of a golf course in Beverly Hills, he shows us a sidewalk simply ending—since he’s on foot, Payne could either trespass across the golf course (as D-FENS does in the film) or try his luck walking on a busy road, but at this point he simply turns back. Reading Payne’s tone here is difficult. Is he surprised the rich don’t care about pedestrians? Is he indignant? In the 2019 version of Los Angeles that Payne’s broadcasting from, the pedestrian classes will have to batten down the hatches and try to survive the city’s impending transformation into an Olympic host—with its attendant handouts to developers, brutality to the homeless, rent increases, and displacements that are already being added to a toxic climate of gentrification and property speculation. When the recreation of the rich is considered above basic public respect, you don’t have to look too far to find the reason why some lives are so cheap. Maybe Payne just feels like it’s too obvious to say?<br/><br/> Payne’s walk concludes on the Venice pier at dusk, where he reads a quote from Octave Mirbeau’s Torture Garden (1899): “You’re obliged to pretend respect for people and institutions you think absurd. You live attached in a cowardly fashion to moral and social conventions you despise, condemn, and know lack all foundation. It is that permanent contradiction between your ideas and desires and all the dead formalities and vain pretenses of your civilization which makes you sad, troubled, and unbalanced.” We arrive here after we’ve been taken back to the climate of tension that initially surrounded Falling Down. The litany is daunting and depressing: Waco, school shootings, the violent police beating of Rodney King and the ’92 LA riots, and the killing of Latasha Harlins and the lenient sentence given to her killer. It’s almost like Payne brought us all to the pier to witness him throw himself into the ocean. But he also seems to be suspended between the past and the present—in a state that won’t let Payne go. With the ocean wind pummeling the mic of his cell phone and tossing the script on his clipboard, Payne dwells in the frank contradictions of a world built of violence, wherein he’s given a chance to live.</br></br>","artist_bio":"Oliver Payne and Nick Relph are British artist-filmmakers who have collaborated since 1999. Oliver Payne was born in 1977, Nick Relph in 1979. Both studied at Kingston University, London. Payne failed his undergraduate Intermedia course in 2000, and Relph was \"booted out\" the same year. Curator and critic Matthew Higgs promoted their work and included them in group exhibitions at the Serpentine Gallery (2000) and the Institute of Contemporary Arts (2001) in London. Since then, they have had solo exhibitions in national museums including the National Museum of Contemporary Art, Oslo (2004) and the Serpentine Gallery (2005). According to Artforum, they are \"the unanimously hailed first new kids of the post-YBA moment.\"","bio_dates":"b. 1977"},{"slug":"payne_relph_comma_2004","ok":true,"partial":true,"title":"Comma, Pregnant Pause","artist":"Oliver Payne","year":"2004","startOffset":0,"sourceSecs":1552.427,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":268980528,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/payne_relph_comma_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/payne_relph_comma_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/payne_relph_comma_2004.mp4","hasFrames":true,"description":"A comma indicates a pause or break between parts of a sentence; in<br/> spoken communication, a pregnant pause is one that is full of meaning<br/> - significant - suggestive. This video features mobile phones, in whose<br/> text messages commas are seldom used. There are often, however,<br/> pregnant pauses during the wait for a reply. This work starts with the<br/> commentary:<br/> <br/> 'I want to be the best there ever was, to beat all the best that's my<br/> cause.'<br/> <br/> The video is dominated by two seated people dressed as mobile phones.<br/> Their costumes are based on 'Mowbli', the ubiquitous mobile phone logo<br/> from Carphone Warehouse, and their faces are covered by scary-looking<br/> masks, taken from the popular series of films Scream, 1996, 1997, 2000,<br/> and Scary Movie, 2000, 2001, 2003, but originating in Edward Munch's<br/> painting, The Scream, 1893. Their conversation is indicated by two<br/> different text alerts - '1,2,3,4' and a musical sound, like a guitar or harp<br/> - whilst each text message appears as a series of subtitles. The<br/> conversations are fractured, featuring messages such as, 'the newest<br/> thing is now wearing the word'. Young people are part of a texting culture in<br/> which messages sometimes go astray, so spoken conversation would often<br/> be more efficient.<br/> <br/> The background imagery varies throughout:<br/> <br/> • a CD spinning round and multiplying to form numerous CDs<br/> • a rotating white plastic pizza divider from the centre of a take-away box<br/> • sunsets appropriated from the Internet<br/> • various digitised patterns<br/> • text in dots zooming illegibly across the screen<br/> • a JJB Sports shop<br/> • a black-and-white William Morris print, which becomes more and more smudged.<br/> <br/> At times, the phones disappear, to be replaced by the legs and bicycle<br/> wheels of passers-by, repeated as split-screen mirror images so the legs<br/> move in a comic way. Using the same split-screen effect, American football<br/> players are also featured.<br/> <br/> Later on, a third person enters dressed in a black suit, white shirt and holey<br/> socks, wearing a Jar Jar Binks mask from Star Wars: Episode I, 1999. He<br/> sits on a tin and starts a rap-like monologue with:<br/> <br/> 'I'm knackered, I'm knackered<br/> I'm fucking back-packered<br/> smack-thwackered at the end of the shelf of the rack<br/> of the aisle at the store where you don't go back<br/> but all the while I could see, I could see<br/> the crack at the back of the blister pack.'<br/> <br/> On the whole, *Payne* and Relph reject the authoritative voice-overs<br/> apparent in many documentary films in favour of texts that take the form<br/> of email dialogues between them. These narratives are not conventional,<br/> and the narrators are always male.","artist_bio":"Oliver Payne and Nick Relph are British artist-filmmakers who have collaborated since 1999. Oliver Payne was born in 1977, Nick Relph in 1979. Both studied at Kingston University, London. Payne failed his undergraduate Intermedia course in 2000, and Relph was \"booted out\" the same year. Curator and critic Matthew Higgs promoted their work and included them in group exhibitions at the Serpentine Gallery (2000) and the Institute of Contemporary Arts (2001) in London. Since then, they have had solo exhibitions in national museums including the National Museum of Contemporary Art, Oslo (2004) and the Serpentine Gallery (2005). According to Artforum, they are \"the unanimously hailed first new kids of the post-YBA moment.\"","bio_dates":"b. 1977"},{"slug":"payne_relph_mixtape_2002","ok":true,"partial":false,"title":"Mixtape","artist":"Oliver Payne","year":"2002","startOffset":0,"sourceSecs":1129.376,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":200876739,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/payne_relph_mixtape_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/payne_relph_mixtape_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/payne_relph_mixtape_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/payne_relph_mixtape_2002/main.mp4?v=2","description":"We went to Kingston University because we thought of it as a place without a reputation--something interesting to fuck with. We thought that at least there'd be some cool kids there who'd been rejected from Central St. Martin's, but in fact it was a deeply conservative institution, suburban in the worst sense of the word. Nevertheless, it was something to react against, and although we hated art school, we'd thoroughly recommend it. We started working together soon after we arrived. Our first show was of every Polaroid we'd ever taken, about 1,700 in all. That consolidated our shared outlooks and beliefs. Then Oliver had an idea for a film (Driftwood), so we teamed up to work on that. We come from the same area, listen to the same music, so we don't need to spend much time explaining things to each other.<br/> <br/> In Mixtape we wanted to exhaust people--hurt their eyes and make them feel a little sick--but make the experience enjoyable. We used certain images from earlier works, like the line dancers from House & Garage, to have fun with our aesthetic. Mixtape is a celebration of young people, but it also touches on the idea of what one critic called \"youth under siege by youth culture.\" So Starbucks is \"cool\" because they'll employ you even if you have piercings, but they'll make you wear ludicrous hygienic blue bandages over them. Scooters are \"cool\" because they're aimed at \"youngcles,\" twenty-somethings stuck in adolescence, but if you stick two kids on a scooter on a treadmill, they still ain't going nowhere. Our images are a \"fuck you\" to corporate intervention in youth culture, whether it's hardcore, punk rock, skateboarding, graffiti, whatever. We wanted to celebrate the other to that: the pure, raw cane sugar.<br/> <br/> After listening a lot to the Terry Riley song, we constructed a series of images and sequences that connected with these ideas and had a place within the music. Absurd or funny, poignant or romantic, we wrote them all down and assembled the best of them around the track. It's about fifty-fifty sound and vision. We tried to be aware of the music while we were editing. The strobe lights and the hunting scenes, for instance, begin just as the track goes mental. It would have been a drag to edit everything right on the beat. It's like a Krautrock record, a Neu! or Can track, in which a single phrase is repeated until it begins to generate new rhythms. The economy of the cuts in Mixtape is critical. The editing is crass at points, but we were mindful of a disjunction between sound and vision as well as a connection. Mixtape was shot on film, so it looks different from our previous work. We wanted it to look like a cross between an insurance ad and Schindler's List: heavy and ugly and stupid. But at times it also h as a brash, colorful Carry On appearance to it. We didn't want to make another shaky handheld film. The more we see films shot through plastic bags, the more we want to make refined, \"straight\" classics.<br/> <br/> There's a lot of dancing in Mixtape, for the simple reason that we love to see dancing on film. Dance is a primal celebration of life. In House & Garage we made the point that two kids playing bedroom DJs--what's called having a little rinse-out--are participating in the same tradition as a suburban divorcee going line dancing. Watching a good skateboarding video is like watching ballet--we're interested in that kind of grace in movement and in different uses of space, whether it's dancing with a partner at a community center or making backside boardslides on a park bench.<br/> <br/> There's an explicit reference See explicit link. to Huysmans's Against Nature in Mixtape that surprisingly few people picked up on: a young flaneur looking amazing outside a chip shop with his jewel-encrusted tortoise on a leash. Most of the other images are less academic. The old guy with the hammer is an homage to reggae legend Lee Perry, who crawled across Kingston, Jamaica, on his hands and knees trying to chase Satan from the earth by banging the ground with a hammer. We just transported his character to Chiswick. As for the kids riding scooters on a rolling treadmill, there's a shop in London called Lillywhites that had an offer: If you bought a treadmill, they'd throw in a free scooter. They had it displayed in the window, a treadmill with a scooter sitting on top of it. It looked so amazingly stupid--we sat outside the shop just crying with laughter.<br/> <br/> Even if you hate it, you have to admit that Mixtape is full to the fucking brim.<br/> <br/> Short-listed for this year's Beck's Futures award, British filmmaking duo Oliver Payne and Nick Relph put their prize money straight to work. The result is Mixtape, 2002, twenty minutes of \"wild, trance-inducing loops\" designed to infect viewers with humor and headaches alike. Structured around Terry Riley's mesmerizing Motown cutup \"You're No Good,\" the film weaves a set of tangentially related vignettes into footage of a teenage hardcore band's spasmodic writhing. As the title suggests, it is an idiosyncratic compilation of perfect moments or, as Relph offers with a chuckle, \"a really good party film.\"<br/> <br/> Payne and Relph made their US debut last year at Gavin Brown's enterprise, screening their three major works to date: Driftwood, 1999, House & Garage, 2000, and Jungle, 2001. The first is a portrait of London as a chaos of cultural contradictions, a series of ongoing battles between skateboarders and architects, Stop the City demonstrators and Mayfair suits, ghosts of the old Soho and parasites of the new. Jungle shifts the focus to the Great British countryside, pulling apart its anachronistic ideals. House & Garage is a gentler affair, a hodgepodge of found footage and suburban tall tales that is at once wistfully melancholic and in rapturous love with life.<br/> <br/> Payne failed his undergraduate program in Intermedia (\"a bullshit word\") at Kingston University in 2000; Relph was booted out the same year. Launched onto the London circuit with a helping hand from curator Matthew Higgs, who showcased their work in \"Protest & Survive\" at Whitechapel Gallery (2000), fig-1's \"50 Projects in 50 Weeks\" series (2000), and \"Sound and Vision\" at the Institute of Contemporary Art (2001), as well as in these pages (First Take, January 2001), they have tended to polarize the critics, receiving a flurry of damning reviews from a cynical British press. Acutely aware of the upstart myth that surrounds them, the pair is keen to transcend preconceptions about their attitude and intent. \"I think it's a shame when we are portrayed as simply 'bad boys,'\" shrugs Payne. \"How very boring. We make films with heart.\"","artist_bio":"Oliver Payne and Nick Relph are British artist-filmmakers who have collaborated since 1999. Oliver Payne was born in 1977, Nick Relph in 1979. Both studied at Kingston University, London. Payne failed his undergraduate Intermedia course in 2000, and Relph was \"booted out\" the same year. Curator and critic Matthew Higgs promoted their work and included them in group exhibitions at the Serpentine Gallery (2000) and the Institute of Contemporary Arts (2001) in London. Since then, they have had solo exhibitions in national museums including the National Museum of Contemporary Art, Oslo (2004) and the Serpentine Gallery (2005). According to Artforum, they are \"the unanimously hailed first new kids of the post-YBA moment.\"","bio_dates":"b. 1977"},{"slug":"pearlstein_alix_all_day_and_a_night_2005","ok":true,"partial":false,"title":"All Day and a Night","artist":"Alix Pearlstein","year":"2005","startOffset":0,"sourceSecs":725.077,"sourceHeight":208,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":48006488,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pearlstein_alix_all_day_and_a_night_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pearlstein_alix_all_day_and_a_night_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pearlstein_alix_all_day_and_a_night_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pearlstein_alix_all_day_and_a_night_2005/main.mp4?v=2","description":"All Day and a Night, a term from the Prisoner's Dictionary, means life without parole. The set, an installation by Simon Foreman, physically activates this allusion. An interior white cube bathed in intense bright light is viewed through a square window from an adjacent area. A 70's kitsch picture ambiguously depicting Christ hangs discretely on the back wall of the ancillary space. As such, Foreman's piece suggests a consideration of the relationship between Christianity and modernism. All Day and a Night takes that into account and more broadly considers the relationship between psychology and the search for alternative consciousness, ritual and religion. A group of four people are seen in the interior of the site. Through the window, one acts as a guide while the others appear to be engaged in a therapeutic or psychological experiment. When an additional character enters, the situation segues into what seems like a spiritual initiation rite or ceremony. His departure instigates yet another shift, calling into question the nature of the preceding activities. <br/><br/> Actors: Christen Clifford, Rosi Hayes, Clifford Owens, Steven Rattazzi, Michael Stumm, James Urbaniak<br/> Director, Editor: Alix Pearlstein <br/> Camera: Jay King, Alix Pearlstein<br/> Installation by Simon Foreman: \"Cross Town Gaze\" Installation of two ultra-clean sheetrock rooms, window, lights and a portrait of Christ. 121\" X 96\" X 172\". 2005.<br><br><b>RESOURCES:</b> <br> Alix Pearlstein's videos can be purchased or rented from <a href=\"http://eai.org/eai/artistTitles.htm?id=306\" rel=\"noopener\" target=\"_blank\">EAI</a> <br> <a href=\"http://www.alixpearlstein.com\" rel=\"noopener\" target=\"_blank\">www.alixpearlstein.com</a></br></br>","artist_bio":"Alix Pearlstein's performance based videos subject highly charged narratives to minimalist structures - at once pressuring emotionality and artifice. Characterized by deadpan humor and a streamlined aesthetic, her approach is direct and intimate. Pearlstein's earliest videos, in which she appears most often as performer, exhibit a deliberately low-tech, grunge sensibility that is countered by the cool, stylized elegance of her later works.\nPearlstein's recent works, featuring ensemble groups of actors, function as abstract dramas, which operate in a realm between the theatrical and the cinematic. They examine character, behavior, motivation, relationships and group dynamics. Their circular schemes focus on power plays, hierarchies, competitions and interventions into the status quo. The exploration of performative approaches, often shifting within one piece from task based action, to stagy theatricality, or method-like naturalism, is conceived to conspire with the affective space between camera and subject - exposing the contingency of the performance. Often set in an indeterminate void, an article of clothing, the inflection of a single word or a gesture, the incidents on the edge of the central action deliver crucial clues to time, place and feeling, distilling the scene to it's psychological core.\nPearlstein's work has been widely exhibited internationally. Selected one person exhibitions include The Kitchen NYC, The MIT List Visual Arts Center, Cambridge MA; Salon 94 NYC; Lugar Commum, Lisbon; Greenberg Van Doren Gallery NYC; The Museum School of Fine Arts, Boston, MA, Postmasters Gallery and The Museum of Contemporary Art, Chicago. Selected group exhibitions & screenings include EV+A: Annual Exhibition of Visual Art, Limerick, Ireland; PFA, Berkeley; The Center for Contemporary Art, Tel Aviv; SMAK Ghent; Solomon R. Guggenheim Museum, NYC; ICA Philadelphia; Whitney Museum of American Art, NYC; Hirshhorn Museum and Sculpture Garden, D.C; Stedjelijk Museum, Amsterdam and The Museum of Modern Art, NYC. She lives and works in New York City. www.alixpearlstein.com\nAlix Pearlstein's videos can be purchased or rented from\nEAI","bio_dates":"b. 1962"},{"slug":"pearlstein_alix_crash_2004","ok":true,"partial":false,"title":"Crash","artist":"Alix Pearlstein","year":"2004","startOffset":0,"sourceSecs":477.077,"sourceHeight":208,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":31273047,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pearlstein_alix_crash_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pearlstein_alix_crash_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pearlstein_alix_crash_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pearlstein_alix_crash_2004/main.mp4?v=2","description":"A group of four people are seen working together on a structure made of blocks. An interloper joins their group, but can't conform to their procedures. She disrupts their activity, eventually damaging their work. A variety of tactics are employed in an effort to reform her into a productive member of their society. It seems to work and she becomes a team player. But, her seeming conformity triggers a reversal as the others see their own behavior reflected in hers. They act out destroying their own work, they lose their will and ability to function - they crash. Their shut down reveals her to be an agent of change, her actions a subterfuge. <br/><br/> Actors: Christen Clifford, Sarah Kay, David Mazzeo, Nancy O'Connor, James Urbaniak <br/> Director, Editor: Alix Pearlstein <br/> Camera: Jay King, David Zuckerman <br/> Production Assistants: Briony Barr. Sujin Lee<br/> Technical Assistance:Tim Goodwin / Final Frame <br/> Filmed at George Brown Cyc Studio NYC<br><br><b>RESOURCES:</b> <br> Alix Pearlstein's videos can be purchased or rented from <a href=\"http://eai.org/eai/artistTitles.htm?id=306\" rel=\"noopener\" target=\"_blank\">EAI</a> <br> <a href=\"http://www.alixpearlstein.com\" rel=\"noopener\" target=\"_blank\">www.alixpearlstein.com</a></br></br>","artist_bio":"Alix Pearlstein's performance based videos subject highly charged narratives to minimalist structures - at once pressuring emotionality and artifice. Characterized by deadpan humor and a streamlined aesthetic, her approach is direct and intimate. Pearlstein's earliest videos, in which she appears most often as performer, exhibit a deliberately low-tech, grunge sensibility that is countered by the cool, stylized elegance of her later works.\nPearlstein's recent works, featuring ensemble groups of actors, function as abstract dramas, which operate in a realm between the theatrical and the cinematic. They examine character, behavior, motivation, relationships and group dynamics. Their circular schemes focus on power plays, hierarchies, competitions and interventions into the status quo. The exploration of performative approaches, often shifting within one piece from task based action, to stagy theatricality, or method-like naturalism, is conceived to conspire with the affective space between camera and subject - exposing the contingency of the performance. Often set in an indeterminate void, an article of clothing, the inflection of a single word or a gesture, the incidents on the edge of the central action deliver crucial clues to time, place and feeling, distilling the scene to it's psychological core.\nPearlstein's work has been widely exhibited internationally. Selected one person exhibitions include The Kitchen NYC, The MIT List Visual Arts Center, Cambridge MA; Salon 94 NYC; Lugar Commum, Lisbon; Greenberg Van Doren Gallery NYC; The Museum School of Fine Arts, Boston, MA, Postmasters Gallery and The Museum of Contemporary Art, Chicago. Selected group exhibitions & screenings include EV+A: Annual Exhibition of Visual Art, Limerick, Ireland; PFA, Berkeley; The Center for Contemporary Art, Tel Aviv; SMAK Ghent; Solomon R. Guggenheim Museum, NYC; ICA Philadelphia; Whitney Museum of American Art, NYC; Hirshhorn Museum and Sculpture Garden, D.C; Stedjelijk Museum, Amsterdam and The Museum of Modern Art, NYC. She lives and works in New York City. www.alixpearlstein.com\nAlix Pearlstein's videos can be purchased or rented from\nEAI","bio_dates":"b. 1962"},{"slug":"pearlstein_alix_foresaken_2003","ok":true,"partial":false,"title":"Forsaken","artist":"Alix Pearlstein","year":"2003","startOffset":0,"sourceSecs":650.795,"sourceHeight":208,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":43695974,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pearlstein_alix_foresaken_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pearlstein_alix_foresaken_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pearlstein_alix_foresaken_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pearlstein_alix_foresaken_2003/main.mp4?v=2","description":"In <i>Forsaken</i>, 15 minutes of fame is condensed to a mere 10, as a fatuous hierarchy undergoes a radical shift. One character holds the power, which the others, his entourage, appear to support. His position alludes to that of a celebrity, politician, teacher, director or boss. The first three scenes establish the hierarchy and pecking order, while exposing the tensions that lead to the cathartic undoing of this codependent power structure. The false idol falls as the group forsakes, humiliates and discards him. He is left literally picking up the pieces of his own shredded image. Their abandonment serves as a respite rather than a renewal, as the status quo is reinstated and the cycle begins again. <br/><br/> Actors: Chuck Montgomery, Charles Parnell, Steven Ratazzi, Suzanne Shepherd, Margot White, James Urbaniak <br/> Director Editor: Alix Pearlstein <br/> Camera: Alix Pearlstein, Jay King <br/> Production Assistant: Laura Harmon <br/> Technical Assistance: Will Cox / Final Frame <br/> Filmed at George Brown Cyc Studio NYC<br><br><b>RESOURCES:</b> <br> Alix Pearlstein's videos can be purchased or rented from <a href=\"http://eai.org/eai/artistTitles.htm?id=306\" rel=\"noopener\" target=\"_blank\">EAI</a> <br> <a href=\"http://www.alixpearlstein.com\" rel=\"noopener\" target=\"_blank\">www.alixpearlstein.com</a></br></br>","artist_bio":"Alix Pearlstein's performance based videos subject highly charged narratives to minimalist structures - at once pressuring emotionality and artifice. Characterized by deadpan humor and a streamlined aesthetic, her approach is direct and intimate. Pearlstein's earliest videos, in which she appears most often as performer, exhibit a deliberately low-tech, grunge sensibility that is countered by the cool, stylized elegance of her later works.\nPearlstein's recent works, featuring ensemble groups of actors, function as abstract dramas, which operate in a realm between the theatrical and the cinematic. They examine character, behavior, motivation, relationships and group dynamics. Their circular schemes focus on power plays, hierarchies, competitions and interventions into the status quo. The exploration of performative approaches, often shifting within one piece from task based action, to stagy theatricality, or method-like naturalism, is conceived to conspire with the affective space between camera and subject - exposing the contingency of the performance. Often set in an indeterminate void, an article of clothing, the inflection of a single word or a gesture, the incidents on the edge of the central action deliver crucial clues to time, place and feeling, distilling the scene to it's psychological core.\nPearlstein's work has been widely exhibited internationally. Selected one person exhibitions include The Kitchen NYC, The MIT List Visual Arts Center, Cambridge MA; Salon 94 NYC; Lugar Commum, Lisbon; Greenberg Van Doren Gallery NYC; The Museum School of Fine Arts, Boston, MA, Postmasters Gallery and The Museum of Contemporary Art, Chicago. Selected group exhibitions & screenings include EV+A: Annual Exhibition of Visual Art, Limerick, Ireland; PFA, Berkeley; The Center for Contemporary Art, Tel Aviv; SMAK Ghent; Solomon R. Guggenheim Museum, NYC; ICA Philadelphia; Whitney Museum of American Art, NYC; Hirshhorn Museum and Sculpture Garden, D.C; Stedjelijk Museum, Amsterdam and The Museum of Modern Art, NYC. She lives and works in New York City. www.alixpearlstein.com\nAlix Pearlstein's videos can be purchased or rented from\nEAI","bio_dates":"b. 1962"},{"slug":"pearlstein_alix_two_women_2000","ok":true,"partial":false,"title":"Two Women","artist":"Alix Pearlstein","year":"2000","startOffset":0,"sourceSecs":148.224,"sourceHeight":208,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":8578734,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pearlstein_alix_two_women_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pearlstein_alix_two_women_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pearlstein_alix_two_women_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pearlstein_alix_two_women_2000/main.mp4?v=2","description":"Two Women combines intimacy and distance to foreground the problematic of desire and mass media by juxtaposing a live performer with a photograph of a nude woman cut out from a magazine. The picture hangs from a piece of monofilament in the foreground, creating an illusion through depth of field, which continuously shifts the scale relationship as the camera sways back and forth. Tension is generated by the interaction between the static photo, and the man who paces restlessly in the background as he attempts to connect with the cutout. The soundtrack contrasts Pearlstein's voiceover of coaxing directions, with responsive moans and sighs simulated by sound effects. Her suggestions or commands at once address the live performer and the viewer, imploring their complicity in this suspension of disbelief and seduction. <br/><br/> Actor: Leo Marks<br/> Camera, Editor, Director: Alix Pearlstein<br><br><b>RESOURCES:</b> <br> Alix Pearlstein's videos can be purchased or rented from <a href=\"http://eai.org/eai/artistTitles.htm?id=306\" rel=\"noopener\" target=\"_blank\">EAI</a> <br> <a href=\"http://www.alixpearlstein.com\" rel=\"noopener\" target=\"_blank\">www.alixpearlstein.com</a></br></br>","artist_bio":"Alix Pearlstein's performance based videos subject highly charged narratives to minimalist structures - at once pressuring emotionality and artifice. Characterized by deadpan humor and a streamlined aesthetic, her approach is direct and intimate. Pearlstein's earliest videos, in which she appears most often as performer, exhibit a deliberately low-tech, grunge sensibility that is countered by the cool, stylized elegance of her later works.\nPearlstein's recent works, featuring ensemble groups of actors, function as abstract dramas, which operate in a realm between the theatrical and the cinematic. They examine character, behavior, motivation, relationships and group dynamics. Their circular schemes focus on power plays, hierarchies, competitions and interventions into the status quo. The exploration of performative approaches, often shifting within one piece from task based action, to stagy theatricality, or method-like naturalism, is conceived to conspire with the affective space between camera and subject - exposing the contingency of the performance. Often set in an indeterminate void, an article of clothing, the inflection of a single word or a gesture, the incidents on the edge of the central action deliver crucial clues to time, place and feeling, distilling the scene to it's psychological core.\nPearlstein's work has been widely exhibited internationally. Selected one person exhibitions include The Kitchen NYC, The MIT List Visual Arts Center, Cambridge MA; Salon 94 NYC; Lugar Commum, Lisbon; Greenberg Van Doren Gallery NYC; The Museum School of Fine Arts, Boston, MA, Postmasters Gallery and The Museum of Contemporary Art, Chicago. Selected group exhibitions & screenings include EV+A: Annual Exhibition of Visual Art, Limerick, Ireland; PFA, Berkeley; The Center for Contemporary Art, Tel Aviv; SMAK Ghent; Solomon R. Guggenheim Museum, NYC; ICA Philadelphia; Whitney Museum of American Art, NYC; Hirshhorn Museum and Sculpture Garden, D.C; Stedjelijk Museum, Amsterdam and The Museum of Modern Art, NYC. She lives and works in New York City. www.alixpearlstein.com\nAlix Pearlstein's videos can be purchased or rented from\nEAI","bio_dates":"b. 1962"},{"slug":"peixoto_mario_limite_1931","ok":true,"partial":false,"title":"Limite","artist":"Mário Peixoto","year":"1930","startOffset":0,"sourceSecs":7069.058,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":397251558,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peixoto_mario_limite_1931/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peixoto_mario_limite_1931/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/peixoto_mario_limite_1931.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/peixoto_mario_limite_1931/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/peixoto_mario_limite_1931/main/master.m3u8?v=2","hasMainHls":true,"description":"An astonishing creation, Limite is the only feature by the Brazilian director and author Mário Peixoto, made when he was just twenty-two years old. Inspired by a haunting André Kertész photograph on the cover of a French magazine, this avant-garde silent master­piece centers on a man and two women lost at sea, their pasts unfolding through flashbacks propelled by the music of Erik Satie, Claude Debussy, Igor Stravinsky, and others. An early work of independent Latin American filmmaking, Limite was famously difficult to see for most of the twentieth century. It is a pioneering achievement that continues to captivate with its timeless visual poetry.","artist_bio":"Mário Peixoto was a Brazilian film director, mainly known for his only film Limite, a silent experimental film filmed in 1930 and premiered in Rio de Janeiro on 17 May 1931. Peixoto wrote, directed and took up a minor role in the film. Its musical score includes Eric Satie, Claude Debussy, Alexander Borodin, Igor Stravinsky, Sergei Prokofiev and César Franck.\nThe single-handed achievement of a member of the well-to-do élite of 1920s Brazil, Limite became over the years almost a myth — its only copy being almost lost during the 1950s, were it not restored thanks to the personal efforts of two 1970s critics — and the object of various legends, many of them put into circulation by Peixoto himself. One such legend referred to a bogus complimentary article about the film (\"A film from South America\"), that had supposedly been written by Sergei Eisenstein and published, in English translation, in the trendy London magazine Tatler. Only after Peixoto admitted, shortly before his death, that he had himself written the supposed \"Portuguese translation\" of \"Eisenstein's\" article, was the general credence given to this legend in Brazil withdrawn.\nNevertheless, the restoration of the surviving copy and renewed viewing in the 1970s and 1980s aroused interest in the actual movie. In 1988, the Cinemateca Brasileira named it the best Brazilian film of all time. In 1995 Limite was once again declared as such, according to a national inquiry held by the newspaper Folha de S.Paulo.\nIn 1996, director and producer Walter Salles found the hoard of documents and props that was to become the Mário Peixoto Archive in a stash at his firm VideoFilmes in Rio, where currently Saulo Pereira de Mello takes care of the original manuscripts and objects . Pereira de Mello also edits publications by and on Peixoto. Onde a terra acaba (\"At the edge of the earth\"), the title of one of Peixoto’s unfinished projects; is also the name of a 2001 documentary film on Peixoto, directed by Salles' former aide Sérgio Machado.\nAround the same period in which Limite was being planned and filmed, Mário Peixoto also began to write and publish. In 1931, he released a collection of poems called Mundéu (republished in 1996) which is characterized by a strong modernist accent and has a foreword by Mário de Andrade. In the same year Peixoto published, in a magazine called Bazar, three short stories and a play, that are part of a collection published by Saulo Pereira de Mello in 2004: Seis contos e duas peças curtas which also includes undated and up till then unpublished material written by Mário. In 2002, another collection of poems written between 1930 and 1960, Poemas de permeio com o mar was published. In 1933 Mário published, as a private edition, his first and only novel, O inútil de cada um (republished in 1996). From 1968 on Mário reworked his 1933 original, using it as a basis for an intended extended version that was to be divided in six volumes. So far only the first volume, O inútil de cada um – Itamar has been published, in 1984, through the personal intervention of Jorge Amado, with whom Mário had worked on one of his film projects.\nThere are few publications in English on Mario Peixoto or Limite, described by French film historian Georges Sadoul as an \"unknown masterpiece\". In 2006, Michael Korfmann edited a volume that offers ten contemporary views regarding the genesis, aesthetic and reception of the film, gathering contributions by filmmakers and writers from Brazil, Great Britain and the United States including Walter Salles, Saulo Pereira de Mello, Carlos Augusto Calil, William M. Drew, Alexander Graf, Paulo Venancio Filho, Constança Hertz, Aparecida do Carmo Frigeri Berchior, Marco Lucchesi and Marcelo Noah as well as a rare article written by Mário Peixoto himself.","bio_dates":"1908-1992"},{"slug":"peleshian_artavazd_beginning_1967","ok":true,"partial":false,"title":"Beginning","artist":"Artavazd Peleshian","year":"1967","startOffset":0,"sourceSecs":553.088,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":39162223,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peleshian_artavazd_beginning_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peleshian_artavazd_beginning_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/peleshian_artavazd_beginning_1967.mp4","hasFrames":true,"description":"Although Peleshian's style already shows maturity in Earth of People, his official filmography begins with, well, <i>Beginning</i> (Skizbe, 1967). Chronicling the historical events that changed the course of the century following the monumental October Revolution of 1917, Beginning is a powerhouse trip that would definitely rank among the best political films ever made. Running for a mere 10 minute span, Beginning exemplifies Peleshian's preoccupation with mass movement like no other film. Employing an eclectic mixture of photographs, studio shots and documentary footage, manipulating their speed, repeating them regularly and eventually attaining a musical rhythm like the Soviet pioneers', Peleshian emphatically registers our recent history that has been marked by an extraordinary number of uprisings and bloodsheds. Peleshian's soundtrack is remarkable here. Using a combination of highway chase music, gunshots, screams and silence, Beginning shifts gears from a documentary, to an agitprop, to an essay and to an epic in no time. But the true revelation is the ending of <i>Beginning</i> where, after a brief visual and aural pause, Peleshian delivers a moment of epiphany, once again reminiscent of 2001 – an extended close up of a young child staring determinedly into the camera as the soundtrack plays a majestic, <i>Thus Spake Zarathustra</i>-like score. Forget the Star Child, what is the human child going to see in the future?","artist_bio":"Artavazd Ashoti Peleshyan (born November 22, 1938, Leninakan) is an Armenian director of film-essays, a documentarian in the history of film art and a film theorist. However his work unlike Maya Deren's is not avant-garde nor tries to explore the absurd, is not really art for the art's sake like Stan Brakhage's but should be rather acknowledged as a poetic view on life embedded on film. In the words of the filmmaker Sergei Parajanov, his is \"one of the few authentic geniuses in the world of cinema\". Renowned Master of the Armenian SSR arts title (1979).\nHe is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Characteristic to him is also the use of archive footage alongside with his own shots and, especially, fast intercutting between these two. Telephoto lens are often used to get \"candid camera\" shots of people engaging in mundane tasks.\nHis films are on the border between documentary and feature, rather reminding of the work of such avant-garde filmmakers as Bruce Connor than of any kind of conventional documentaries. Most of his films are short, the longest being 60 minutes and the shortest 6 minutes long. His films feature no dialogue; however, music and sound effects play nearly as important a role in his films as the visual images in contributing towards the artistic whole. Nearly all of his films were shot in black and white.\nAlready his student films he made while he was studying at VGIK were awarded several prizes. As for now, 12 films by Peleshyan are known to exist. The Beginning (Skizbe) (1967) is a cinematographical essay about the October Revolution of 1917. One of the unique visual effects used in this film is achieved by holding snippets of film still on one frame, then advancing only for a second or two until again pausing on another, resulting in a stuttering visual effect. Other important films by him are We (Menq) (1967, a poetically told history of Armenia and its people and Inhabitant (Obitateli) (1970), a reflection on the relationship between wildlife and humans. Artavazd Peleshian's most brilliant film is \"The Seasons\" (1975), exquisitely cinematographed by another great Armenian documentarian Mikhail Vartanov (Vardanov) - it is an outstanding look at the contradiction and harmony between the humans and nature. http://www.parajanov.com/seasons.html\nPeleshyan is also the author of a range of theoretical works, such as his 1988 book Moyo kino (My Cinema).\nBeing from a country far away from internationally significant cinema circles, Peleshyan's efforts were never been properly recognized by world cinema until very recently. After the fall of Soviet Union, he has been able to make two more short films, Life (1993) and The End (1994). He is now living in Moscow. His most recent film was edited at the ZKM | Karlsruhe Film Institute in 2005-2006 and has not yet been released.\n\"\"It's about what I'm striving for, what we're all striving for - every person, humanity...the wishes and desires of the people to ascend, to transcend...\" (Peleshian on his film \"Our Age\" - from an interview with MacDonald in \"A Critical Cinema 3\").\n\"\"...I was thinking of everything. It's not specifically the seasons of the year or of people: it's everything.\" (ibid)\n\"\"Eisenstein's montage was linear, like a chain. Distance montage creates a magnetic field around the film... Sometimes I don't call my method \"montage\". I'm involved in a process of creating unity. In a sense I've eliminated montage: by creating the film through montage, I have destroyed montage. In the totality, in the wholeness of one of my films, there is no montage, no collision, so as a result montage has been destroyed. In Eisenstein every element means something. For me the individual fragments don't mean anything anymore. Only the whole film has the meaning.\" (Peleshian - ibid)\n\"\"For me, distance montage opens up the mysteries of the movement of the universe. I can feel how everything is made and put together; I can sense its rhythmic movement.\" (Peleshian - ibid)\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1938"},{"slug":"peleshian_artavazd_earth_of_people_1966","ok":true,"partial":false,"title":"Earth of People","artist":"Artavazd Peleshian","year":"1966","startOffset":0,"sourceSecs":580.373,"sourceHeight":294,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":36817377,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peleshian_artavazd_earth_of_people_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peleshian_artavazd_earth_of_people_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/peleshian_artavazd_earth_of_people_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/peleshian_artavazd_earth_of_people_1966/main.mp4?v=2","description":"Earth of People (Mardkants Yerkire, 1966) is the second student film that Peleshian made while studying at the prestigious VGIK institute and already, it shows the author’s stamp. Early on we are shown images of massive man made structures - bridges, railroads and skyscrapers. As the twisted title starts to make meaning, Peleshian starts showing us human hands, humans at work and the world being constructed by humans. We see people from every profession – doctors, engineers, workers and scientists – carrying on with their routine robotically as the soundtrack suddenly stops giving us conventional score and starts gathering the most bizarre of mechanical sounds. But soon, the optimistic tone of the film gives way to distrust and we realize that we aren’t exactly masters of this world. We see these people are, in fact, trapped within their own creations (which strangely reminds us of 2001: A Space Odyssey (1968)), which gradually takes us back to the title: Whose world is this? No wonder the film opens and closes with the image of a thinker’s statue. Peleshian’s film is symmetrical, as would be his later works, with both the soundtrack and imagery getting reflected along the centre of the film.<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Artavazd Ashoti Peleshyan (born November 22, 1938, Leninakan) is an Armenian director of film-essays, a documentarian in the history of film art and a film theorist. However his work unlike Maya Deren's is not avant-garde nor tries to explore the absurd, is not really art for the art's sake like Stan Brakhage's but should be rather acknowledged as a poetic view on life embedded on film. In the words of the filmmaker Sergei Parajanov, his is \"one of the few authentic geniuses in the world of cinema\". Renowned Master of the Armenian SSR arts title (1979).\nHe is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Characteristic to him is also the use of archive footage alongside with his own shots and, especially, fast intercutting between these two. Telephoto lens are often used to get \"candid camera\" shots of people engaging in mundane tasks.\nHis films are on the border between documentary and feature, rather reminding of the work of such avant-garde filmmakers as Bruce Connor than of any kind of conventional documentaries. Most of his films are short, the longest being 60 minutes and the shortest 6 minutes long. His films feature no dialogue; however, music and sound effects play nearly as important a role in his films as the visual images in contributing towards the artistic whole. Nearly all of his films were shot in black and white.\nAlready his student films he made while he was studying at VGIK were awarded several prizes. As for now, 12 films by Peleshyan are known to exist. The Beginning (Skizbe) (1967) is a cinematographical essay about the October Revolution of 1917. One of the unique visual effects used in this film is achieved by holding snippets of film still on one frame, then advancing only for a second or two until again pausing on another, resulting in a stuttering visual effect. Other important films by him are We (Menq) (1967, a poetically told history of Armenia and its people and Inhabitant (Obitateli) (1970), a reflection on the relationship between wildlife and humans. Artavazd Peleshian's most brilliant film is \"The Seasons\" (1975), exquisitely cinematographed by another great Armenian documentarian Mikhail Vartanov (Vardanov) - it is an outstanding look at the contradiction and harmony between the humans and nature. http://www.parajanov.com/seasons.html\nPeleshyan is also the author of a range of theoretical works, such as his 1988 book Moyo kino (My Cinema).\nBeing from a country far away from internationally significant cinema circles, Peleshyan's efforts were never been properly recognized by world cinema until very recently. After the fall of Soviet Union, he has been able to make two more short films, Life (1993) and The End (1994). He is now living in Moscow. His most recent film was edited at the ZKM | Karlsruhe Film Institute in 2005-2006 and has not yet been released.\n\"\"It's about what I'm striving for, what we're all striving for - every person, humanity...the wishes and desires of the people to ascend, to transcend...\" (Peleshian on his film \"Our Age\" - from an interview with MacDonald in \"A Critical Cinema 3\").\n\"\"...I was thinking of everything. It's not specifically the seasons of the year or of people: it's everything.\" (ibid)\n\"\"Eisenstein's montage was linear, like a chain. Distance montage creates a magnetic field around the film... Sometimes I don't call my method \"montage\". I'm involved in a process of creating unity. In a sense I've eliminated montage: by creating the film through montage, I have destroyed montage. In the totality, in the wholeness of one of my films, there is no montage, no collision, so as a result montage has been destroyed. In Eisenstein every element means something. For me the individual fragments don't mean anything anymore. Only the whole film has the meaning.\" (Peleshian - ibid)\n\"\"For me, distance montage opens up the mysteries of the movement of the universe. I can feel how everything is made and put together; I can sense its rhythmic movement.\" (Peleshian - ibid)\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1938"},{"slug":"peleshian_artavazd_inhabitants_1970","ok":true,"partial":false,"title":"Inhabitants","artist":"Artavazd Peleshian","year":"1970","startOffset":0,"sourceSecs":373.013,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":57742851,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peleshian_artavazd_inhabitants_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peleshian_artavazd_inhabitants_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/peleshian_artavazd_inhabitants_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/peleshian_artavazd_inhabitants_1970/main.mp4?v=2","description":"In contrast to the unusually large number of people in the <a href=\"https://ubu.com/film/peleshian_beginning.html\" rel=\"noopener\" target=\"_blank\">Beginning</a> and <a href=\"https://ubu.com/film/peleshian_we.html\" rel=\"noopener\" target=\"_blank\">We</a>, <i>Inhabitants</i> (Obitateli, 1970) is almost completely devoid of humans. Peleshian attributes this peculiar absence, quite strangely, to his audience being critical of him for We. Filled with shots of large-scale migrations and stampedes (with, surprisingly, even helicopter shots being present in the film), <i>Inhabitants</i> merely alludes to the presence of the human beings, in the form of a few silhouettes, who seem to be the central cause of panic. Shot in widescreen, Inhabitants, for most part, depicts wildlife, in panic. At first glance, with the anti-mankind tone of the movie, Inhabitants seems to take Peleshian back to the arguably cynical mode of Beginning. But once you begin to see that the humans in the film aren't exactly humans but far from it, Peleshian's faith in humanity comes to surface. Surely, the animals are just a normalized form of the people of <i>We</i>, of <i>Beginning</i> and of <a href=\"https://ubu.com/film/peleshian_earth.html\" rel=\"noopener\" target=\"_blank\">Earth of People</a>. But the relevant question is whether Inhabitants is connected to the Armenian history directly or not. With the visuals showing us exoduses and captive animals and the soundtrack including gunshots and screams, it is not unfair for one to be reminded once more of the nation's plight. Whatever the case, the film resonates with quintessentially Peleshian themes - of change, of resilience and of survival.","artist_bio":"Artavazd Ashoti Peleshyan (born November 22, 1938, Leninakan) is an Armenian director of film-essays, a documentarian in the history of film art and a film theorist. However his work unlike Maya Deren's is not avant-garde nor tries to explore the absurd, is not really art for the art's sake like Stan Brakhage's but should be rather acknowledged as a poetic view on life embedded on film. In the words of the filmmaker Sergei Parajanov, his is \"one of the few authentic geniuses in the world of cinema\". Renowned Master of the Armenian SSR arts title (1979).\nHe is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Characteristic to him is also the use of archive footage alongside with his own shots and, especially, fast intercutting between these two. Telephoto lens are often used to get \"candid camera\" shots of people engaging in mundane tasks.\nHis films are on the border between documentary and feature, rather reminding of the work of such avant-garde filmmakers as Bruce Connor than of any kind of conventional documentaries. Most of his films are short, the longest being 60 minutes and the shortest 6 minutes long. His films feature no dialogue; however, music and sound effects play nearly as important a role in his films as the visual images in contributing towards the artistic whole. Nearly all of his films were shot in black and white.\nAlready his student films he made while he was studying at VGIK were awarded several prizes. As for now, 12 films by Peleshyan are known to exist. The Beginning (Skizbe) (1967) is a cinematographical essay about the October Revolution of 1917. One of the unique visual effects used in this film is achieved by holding snippets of film still on one frame, then advancing only for a second or two until again pausing on another, resulting in a stuttering visual effect. Other important films by him are We (Menq) (1967, a poetically told history of Armenia and its people and Inhabitant (Obitateli) (1970), a reflection on the relationship between wildlife and humans. Artavazd Peleshian's most brilliant film is \"The Seasons\" (1975), exquisitely cinematographed by another great Armenian documentarian Mikhail Vartanov (Vardanov) - it is an outstanding look at the contradiction and harmony between the humans and nature. http://www.parajanov.com/seasons.html\nPeleshyan is also the author of a range of theoretical works, such as his 1988 book Moyo kino (My Cinema).\nBeing from a country far away from internationally significant cinema circles, Peleshyan's efforts were never been properly recognized by world cinema until very recently. After the fall of Soviet Union, he has been able to make two more short films, Life (1993) and The End (1994). He is now living in Moscow. His most recent film was edited at the ZKM | Karlsruhe Film Institute in 2005-2006 and has not yet been released.\n\"\"It's about what I'm striving for, what we're all striving for - every person, humanity...the wishes and desires of the people to ascend, to transcend...\" (Peleshian on his film \"Our Age\" - from an interview with MacDonald in \"A Critical Cinema 3\").\n\"\"...I was thinking of everything. It's not specifically the seasons of the year or of people: it's everything.\" (ibid)\n\"\"Eisenstein's montage was linear, like a chain. Distance montage creates a magnetic field around the film... Sometimes I don't call my method \"montage\". I'm involved in a process of creating unity. In a sense I've eliminated montage: by creating the film through montage, I have destroyed montage. In the totality, in the wholeness of one of my films, there is no montage, no collision, so as a result montage has been destroyed. In Eisenstein every element means something. For me the individual fragments don't mean anything anymore. Only the whole film has the meaning.\" (Peleshian - ibid)\n\"\"For me, distance montage opens up the mysteries of the movement of the universe. I can feel how everything is made and put together; I can sense its rhythmic movement.\" (Peleshian - ibid)\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1938"},{"slug":"peleshian_artavazd_our_century_1983_iphone","ok":true,"partial":false,"title":"Our Century","artist":"Artavazd Peleshian","year":"1983","startOffset":0,"sourceSecs":2987.138,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":176855962,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peleshian_artavazd_our_century_1983_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peleshian_artavazd_our_century_1983_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/peleshian_artavazd_our_century_1983_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/peleshian_artavazd_our_century_1983_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/peleshian_artavazd_our_century_1983_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"What followed remains Peleshian's longest film to date, the 50-minute feature <i>Our Century</i> (Mer Dare, 1983). Our Century concerns itself with some cosmonauts (and astronauts) preparing themselves for a space flight. Peleshian constructs the film around this event, quite predictably, exploring his themes through a complex editing system coupled with an equally complex soundtrack. Initially, Peleshian crosscuts between the footage of the activities at a space station, minutes before the launch of a shuttle, and a celebratory procession where the space-heroes are cheered and applauded by the mass. Peleshian frequently presents clips that show the immense stress that the cosmonauts are put under, during the test phase and in space, It is a period of sheer loneliness, physical and mental fatigue and, yet, of excitement and ambitiousness. He then goes on to depict man's obsession with flight and, in general, his desire to conquer the various elements of nature, where he shows a number of bizarre experiments in aviation, most of which end unsuccessfully. As ever, individual turmoil gives way to and unifies with national tragedies to the point beyond which there is no difference between a nuclear explosion, a rocket launch and the human heartbeat. Our Century arguably presents Peleshian at the top of his game, converting both the form and content of the film into a highly personal mode of expression. In no other Peleshian film has the ecstasy over human achievement mingled with the agony of existence in such an intricate fashion. The point is not the establishment of a simple irony, but of an exploration of what makes humanity go on, against all odds.<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Artavazd Ashoti Peleshyan (born November 22, 1938, Leninakan) is an Armenian director of film-essays, a documentarian in the history of film art and a film theorist. However his work unlike Maya Deren's is not avant-garde nor tries to explore the absurd, is not really art for the art's sake like Stan Brakhage's but should be rather acknowledged as a poetic view on life embedded on film. In the words of the filmmaker Sergei Parajanov, his is \"one of the few authentic geniuses in the world of cinema\". Renowned Master of the Armenian SSR arts title (1979).\nHe is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Characteristic to him is also the use of archive footage alongside with his own shots and, especially, fast intercutting between these two. Telephoto lens are often used to get \"candid camera\" shots of people engaging in mundane tasks.\nHis films are on the border between documentary and feature, rather reminding of the work of such avant-garde filmmakers as Bruce Connor than of any kind of conventional documentaries. Most of his films are short, the longest being 60 minutes and the shortest 6 minutes long. His films feature no dialogue; however, music and sound effects play nearly as important a role in his films as the visual images in contributing towards the artistic whole. Nearly all of his films were shot in black and white.\nAlready his student films he made while he was studying at VGIK were awarded several prizes. As for now, 12 films by Peleshyan are known to exist. The Beginning (Skizbe) (1967) is a cinematographical essay about the October Revolution of 1917. One of the unique visual effects used in this film is achieved by holding snippets of film still on one frame, then advancing only for a second or two until again pausing on another, resulting in a stuttering visual effect. Other important films by him are We (Menq) (1967, a poetically told history of Armenia and its people and Inhabitant (Obitateli) (1970), a reflection on the relationship between wildlife and humans. Artavazd Peleshian's most brilliant film is \"The Seasons\" (1975), exquisitely cinematographed by another great Armenian documentarian Mikhail Vartanov (Vardanov) - it is an outstanding look at the contradiction and harmony between the humans and nature. http://www.parajanov.com/seasons.html\nPeleshyan is also the author of a range of theoretical works, such as his 1988 book Moyo kino (My Cinema).\nBeing from a country far away from internationally significant cinema circles, Peleshyan's efforts were never been properly recognized by world cinema until very recently. After the fall of Soviet Union, he has been able to make two more short films, Life (1993) and The End (1994). He is now living in Moscow. His most recent film was edited at the ZKM | Karlsruhe Film Institute in 2005-2006 and has not yet been released.\n\"\"It's about what I'm striving for, what we're all striving for - every person, humanity...the wishes and desires of the people to ascend, to transcend...\" (Peleshian on his film \"Our Age\" - from an interview with MacDonald in \"A Critical Cinema 3\").\n\"\"...I was thinking of everything. It's not specifically the seasons of the year or of people: it's everything.\" (ibid)\n\"\"Eisenstein's montage was linear, like a chain. Distance montage creates a magnetic field around the film... Sometimes I don't call my method \"montage\". I'm involved in a process of creating unity. In a sense I've eliminated montage: by creating the film through montage, I have destroyed montage. In the totality, in the wholeness of one of my films, there is no montage, no collision, so as a result montage has been destroyed. In Eisenstein every element means something. For me the individual fragments don't mean anything anymore. Only the whole film has the meaning.\" (Peleshian - ibid)\n\"\"For me, distance montage opens up the mysteries of the movement of the universe. I can feel how everything is made and put together; I can sense its rhythmic movement.\" (Peleshian - ibid)\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1938"},{"slug":"peleshian_artavazd_we_1969","ok":true,"partial":false,"title":"We","artist":"Artavazd Peleshian","year":"1969","startOffset":0,"sourceSecs":1403.051,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":84021299,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peleshian_artavazd_we_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peleshian_artavazd_we_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/peleshian_artavazd_we_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/peleshian_artavazd_we_1969/main.mp4?v=2","description":"Sheep and mountains have almost become Armenian identities of sorts, thanks to the films of <a href=\"https://ubu.com/film/paradjanov.html\" rel=\"noopener\" target=\"_blank\">Sergei Paradjanov</a>. <i>We</i> (Menq, 1969), which begins and ends with the image of a gargantuan mountain, is perhaps the most \"Armenian\" of all Peleshian movies. We are shown images of mountains falling apart before being cut to a large funeral procession. This is followed by visuals of common people carrying on with their everyday work, - some utterly mundane, some shockingly risky - as if proving the adage \"Life must go on\". For the first time, religion, which was a major reason for the Armenian Genocide, makes its presence felt in a Peleshian film. It isn't just personal disappointments that these people seem to putting behind them, but shattering national tragedies, despite (and perhaps because of) which their faith stands affirmed - in religion, in life. The last third of the film acts as a meeting point and the resolution for these two types of calamities as we are presented visuals of reunions of families (and of people who seem to be returning from an exile). More than anything <i>We</i> feels like an ode to the resilience of, in particular, the Armenian people (although Peleshian himself denies this!), who have had to put up with a lot through the centuries and, in general, the spirit of everyday heroes. If at all anything can be made of Peleshian's attitude here, it must be his unassailable faith on the ability of humanity to survive no matter how difficult it makes it for itself.","artist_bio":"Artavazd Ashoti Peleshyan (born November 22, 1938, Leninakan) is an Armenian director of film-essays, a documentarian in the history of film art and a film theorist. However his work unlike Maya Deren's is not avant-garde nor tries to explore the absurd, is not really art for the art's sake like Stan Brakhage's but should be rather acknowledged as a poetic view on life embedded on film. In the words of the filmmaker Sergei Parajanov, his is \"one of the few authentic geniuses in the world of cinema\". Renowned Master of the Armenian SSR arts title (1979).\nHe is renowned for developing a style of cinematographic perspective known as distance montage, combining perception of depth with oncoming entities, such as running packs of antelope or hordes of humans. Characteristic to him is also the use of archive footage alongside with his own shots and, especially, fast intercutting between these two. Telephoto lens are often used to get \"candid camera\" shots of people engaging in mundane tasks.\nHis films are on the border between documentary and feature, rather reminding of the work of such avant-garde filmmakers as Bruce Connor than of any kind of conventional documentaries. Most of his films are short, the longest being 60 minutes and the shortest 6 minutes long. His films feature no dialogue; however, music and sound effects play nearly as important a role in his films as the visual images in contributing towards the artistic whole. Nearly all of his films were shot in black and white.\nAlready his student films he made while he was studying at VGIK were awarded several prizes. As for now, 12 films by Peleshyan are known to exist. The Beginning (Skizbe) (1967) is a cinematographical essay about the October Revolution of 1917. One of the unique visual effects used in this film is achieved by holding snippets of film still on one frame, then advancing only for a second or two until again pausing on another, resulting in a stuttering visual effect. Other important films by him are We (Menq) (1967, a poetically told history of Armenia and its people and Inhabitant (Obitateli) (1970), a reflection on the relationship between wildlife and humans. Artavazd Peleshian's most brilliant film is \"The Seasons\" (1975), exquisitely cinematographed by another great Armenian documentarian Mikhail Vartanov (Vardanov) - it is an outstanding look at the contradiction and harmony between the humans and nature. http://www.parajanov.com/seasons.html\nPeleshyan is also the author of a range of theoretical works, such as his 1988 book Moyo kino (My Cinema).\nBeing from a country far away from internationally significant cinema circles, Peleshyan's efforts were never been properly recognized by world cinema until very recently. After the fall of Soviet Union, he has been able to make two more short films, Life (1993) and The End (1994). He is now living in Moscow. His most recent film was edited at the ZKM | Karlsruhe Film Institute in 2005-2006 and has not yet been released.\n\"\"It's about what I'm striving for, what we're all striving for - every person, humanity...the wishes and desires of the people to ascend, to transcend...\" (Peleshian on his film \"Our Age\" - from an interview with MacDonald in \"A Critical Cinema 3\").\n\"\"...I was thinking of everything. It's not specifically the seasons of the year or of people: it's everything.\" (ibid)\n\"\"Eisenstein's montage was linear, like a chain. Distance montage creates a magnetic field around the film... Sometimes I don't call my method \"montage\". I'm involved in a process of creating unity. In a sense I've eliminated montage: by creating the film through montage, I have destroyed montage. In the totality, in the wholeness of one of my films, there is no montage, no collision, so as a result montage has been destroyed. In Eisenstein every element means something. For me the individual fragments don't mean anything anymore. Only the whole film has the meaning.\" (Peleshian - ibid)\n\"\"For me, distance montage opens up the mysteries of the movement of the universe. I can feel how everything is made and put together; I can sense its rhythmic movement.\" (Peleshian - ibid)\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1938"},{"slug":"pendelton_adam_band","ok":true,"partial":false,"title":"Band","artist":"Adam Pendelton","year":"2009","startOffset":0,"sourceSecs":753.952,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":45768630,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pendelton_adam_band/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pendelton_adam_band/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pendelton_adam_band.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pendelton_adam_band/main.mp4?v=2","description":"The video installation BAND tracks the process of the band Deerhoof as they develop and record a new song, I Did Crimes for You. The video is loosely based on Godard’s film Sympathy for the Devil, which features the The Rolling Stones recording their song of the same name. In BAND, footage of Deerhoof rehearsing is edited to include fragments from a 1971 documentary, Teddy, about a young member of the Black Panther Party in Los Angeles. The song’s lyrics consist of confrontational rhetoric characteristic of the late 1960s, while the voiceover from the documentary speaks of the prospects of change and the efficacy of such violence. Speaking of the video’s relationship to Godard’s film, Pendleton said “ it is not something that exists in its shadow, but rather in contrast to it.”<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Adam Pendelton in UbuWeb Sound</a>","artist_bio":"Adam Pendleton (born 1984, Richmond, Virginia) is an American conceptual artist known for his multi-disciplinary practice, involving painting, silkscreen, collage, video and performance. His work often involves the investigation of language and the recontextualization of history through appropriated imagery.[1] His art has been shown at the Museum of Modern Art, the Whitney, the New Museum, and other shows internationally, including La Triennale at the Palais de Tokyo in Paris.","bio_dates":"b. 1984"},{"slug":"people_like_us_and_ergo_phizmiz_2008_in_the_waking","ok":true,"partial":false,"title":"People Like Us & Ergo Phizmiz - In The Waking","artist":"People Like Us (Vicki Bennett)","year":"2008","startOffset":0,"sourceSecs":377.643,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":64016429,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_and_ergo_phizmiz_2008_in_the_waking/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_and_ergo_phizmiz_2008_in_the_waking/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_and_ergo_phizmiz_2008_in_the_waking.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_and_ergo_phizmiz_2008_in_the_waking/main.mp4?v=2","description":"Duration 6'17\" minutes <br/> <br/> \"In The Waking\" began with Ergo replaying with multitracked guitars the main melodic motifs Vicki collaged in the composition \"Carmic Waltz\", with Vicki then ornamenting the guitars with splashes of colour like a real painter of sound, all blended into a pot of carnival steam with Ergo's wordplay. It is a fantasy for the dream the fairground has when the world is sleeping, but only takes place five minutes before the carousel wakes up. <br/><br/> From <a href=\"https://ubu.com/sound/plu_rhapsody.html\" rel=\"noopener\" target=\"_blank\">Rhapsody in Glue</a> in UbuWeb Sound<br/><br/><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/sound/phizmiz.html\" rel=\"noopener\" target=\"_blank\">Ergo Phizmiz in UbuWeb Sound</a></br></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_and_ergo_phizmiz_blue_moon_2010","ok":true,"partial":false,"title":"People Like Us & Ergo Phizmiz - Moon","artist":"People Like Us (Vicki Bennett)","year":"2010","startOffset":0,"sourceSecs":448.363,"sourceHeight":512,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":66456594,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_and_ergo_phizmiz_blue_moon_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_and_ergo_phizmiz_blue_moon_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_and_ergo_phizmiz_blue_moon_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_and_ergo_phizmiz_blue_moon_2010/main.mp4?v=2","description":"Duration 7'28\" minutes <br/> <br/> INSERT DESCRIPTION PARAGRAPHS HERE From <a href=\"http://peoplelikeus.org/2010/the-keystone-cut-ups/\" rel=\"noopener\" target=\"_blank\">The Keystone Cut Ups</a> (2010) The Keystone Cut Ups was commissioned by Berwick Film & Media Arts Festival in July 2010, created in 9 weeks, and premiered at The Maltings Theatre, Berwick-Upon-Tweed, UK, at the festival Opening Gala. Using the influence of slapstick comedy on the Surrealists as a starting point, the piece takes us on a madcap journey, combining the techniques and popular imagery of the two genres. <br/><br/> The Surrealists took to cinema easily, using it as a device to show their disdain for established artistic tradition. In their quest to liberate the imagination, they believed that the process of juxtaposing unrelated elements would create images of great emotional and poetic power. Thomas Pynchon wrote, \"one could combine inside the same frame, elements not normally found together to produce illogical and startling effects\".<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/sound/phizmiz.html\" rel=\"noopener\" target=\"_blank\">Ergo Phizmiz in UbuWeb Sound</a></br></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_and_ergo_phizmiz_magic_2010","ok":true,"partial":false,"title":"People Like Us & Ergo Phizmiz - Magic","artist":"People Like Us (Vicki Bennett)","year":"2010","startOffset":0,"sourceSecs":325.079,"sourceHeight":576,"sourceWidth":1440,"hasAudio":true,"hasAmbientMp4":true,"bytes":47764634,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_and_ergo_phizmiz_magic_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_and_ergo_phizmiz_magic_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_and_ergo_phizmiz_magic_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_and_ergo_phizmiz_magic_2010/main.mp4?v=2","description":"Duration 5'25\" minutes <br/><br/> From <a href=\"http://peoplelikeus.org/keystone.html\" rel=\"noopener\" target=\"_blank\">The Keystone Cut Ups</a> (2010) <br/><br/> The Keystone Cut Ups is a live performance that combines video-collage with an original musical score, created using sampling and live instrumentation, to explore the aesthetic, contextual and stylistic relationships between early silent-comedy and early avant-garde cinema. <br/><br/> Using the influence of slapstick comedy on the Surrealists as a starting point, the piece takes us on a madcap journey, combining the techniques and popular imagery of the two genres. <br/><br/> The Keystone Cut Ups is also available as an album-length DVD on <a href=\"http://illegal-art.net/shop#release131\" rel=\"noopener\" target=\"_blank\">Illegal Art</a>.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/sound/phizmiz.html\" rel=\"noopener\" target=\"_blank\">Ergo Phizmiz in UbuWeb Sound</a></br></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_and_ergo_phizmiz_mull_of_kintyre_2010","ok":true,"partial":false,"title":"People Like Us & Ergo Phizmiz - Mull of Kintyre","artist":"People Like Us (Vicki Bennett)","year":"2010","startOffset":0,"sourceSecs":326.84,"sourceHeight":512,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":59390273,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_and_ergo_phizmiz_mull_of_kintyre_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_and_ergo_phizmiz_mull_of_kintyre_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_and_ergo_phizmiz_mull_of_kintyre_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_and_ergo_phizmiz_mull_of_kintyre_2010/main.mp4?v=2","description":"Duration 5'26\" minutes <br/><br/> A sensitive cover version of a lovely song.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/sound/phizmiz.html\" rel=\"noopener\" target=\"_blank\">Ergo Phizmiz in UbuWeb Sound</a></br></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_and_ergo_phizmiz_soundtrack_to_hans_richters_ghosts_before_breakfast_1928_and_2007","ok":true,"partial":false,"title":"People Like Us & Ergo Phizmiz - Soundtrack to Hans Richter's Ghosts Before Breakfast","artist":"People Like Us (Vicki Bennett)","year":"1928","startOffset":0,"sourceSecs":383.593,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":58937424,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_and_ergo_phizmiz_soundtrack_to_hans_richters_ghosts_before_breakfast_1928_and_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_and_ergo_phizmiz_soundtrack_to_hans_richters_ghosts_before_breakfast_1928_and_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_and_ergo_phizmiz_soundtrack_to_hans_richters_ghosts_before_breakfast_1928_and_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_and_ergo_phizmiz_soundtrack_to_hans_richters_ghosts_before_breakfast_1928_and_2007/main.mp4?v=2","description":"Duration 6'23\" minutes <br/><br/> Hans Richter made the film \"Ghosts Before Breakfast\" in 1928. His original soundtrack was unfortunately destroyed. With the greatest respect intended for the original film, People Like Us & Ergo Phizmiz composed a new soundtrack for this film in 2007. The audio from this film can be found on the album <a href=\"https://ubu.com/sound/plu_perpetuum-mobile.html\" rel=\"noopener\" target=\"_blank\">Perpetuum Mobile</a>, also on UbuWeb.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/sound/phizmiz.html\" rel=\"noopener\" target=\"_blank\">Ergo Phizmiz in UbuWeb Sound</a><br> <a href=\"https://ubu.com/film/richter.html\" rel=\"noopener\" target=\"_blank\">Hans Richter in UbuWeb Film</a></br></br></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_at_the_movies_2005","ok":true,"partial":false,"title":"People Like Us At The Movies","artist":"People Like Us (Vicki Bennett)","year":"2005","startOffset":0,"sourceSecs":52.715,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":1499327,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_at_the_movies_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_at_the_movies_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_at_the_movies_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_at_the_movies_2005/main.mp4?v=2","description":"Duration 0'52\" minutes <br/><br/> This is was included often in People Like Us live audiovisual live sets around the time of creation, inspired by a sinister revolving doll head and the fact that PLU generally play their concerts in cinemas.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_citation_city_2015_smaller_iphone","ok":true,"partial":false,"title":"Citation City","artist":"People Like Us (Vicki Bennett)","year":"2015","startOffset":0,"sourceSecs":2419.8,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":144002421,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_citation_city_2015_smaller_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_citation_city_2015_smaller_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_citation_city_2015_smaller_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_citation_city_2015_smaller_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_citation_city_2015_smaller_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Citation City (2015)<br/><br/> Citation City is a 42 minute audiovisual performance work which sources, collages and edits 300 major feature films where content is either filmed or set in London – creating a story within a story, of the film world, living its life, through extraordinary times of change, to see what happens when these multiple narratives are combined… what will the story tell us that one story alone could never tell?<br/><br/> “The result is a sweeping panorama of London, a London as represented through cinema – not the real city at all, but one that exists in the collective imagination of moviegoers throughout the decades.” Filmmaker Magazine<br/><br/> A time-travelling voyage through one city, assembled from hundreds of movie clips and inspired by the wanderings of Walter Benjamin. A patchwork of over 300 features either filmed or set in London, Citation City combines multiple narratives to create the story of one city in a period of enormous change. Pieced together by audiovisual artist Vicki Bennett (aka People Like Us), this beguiling, labyrinthine work takes its cue from Benjamin’s Arcades Project, an ambitious attempt to map out Paris in fragments which was cut short by the author’s death in 1940. Flatpack Film Festival<br/><br/> Interview with Kenneth Goldsmith in Found Footage Magazine about Citation City (2015) http://foundfootagemagazine.com/en/interview-with-vicki-bennett/<br/><br/> Interview with Peter Jaeger in filling Station Issue 63 about Citation City (2015) http://peoplelikeus.org/wp-content/uploads/2017/01/bennett-jaeger-filling-station-issue-63-2015.pdf<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_clean_your_room_2011","ok":true,"partial":false,"title":"Clean Your Room","artist":"People Like Us (Vicki Bennett)","year":"2011","startOffset":0,"sourceSecs":187.008,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":21719332,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_clean_your_room_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_clean_your_room_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_clean_your_room_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_clean_your_room_2011/main.mp4?v=2","description":"Duration 3'06\" minutes <br/><br/> This is an outtake from <a href=\"https://ubu.com/film/plu_misery.html\" rel=\"noopener\" target=\"_blank\">The Magical Misery Tour</a>, an audiovisual performance by People Like Us.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_early_films_burning_1999","ok":true,"partial":false,"title":"Burning","artist":"People Like Us (Vicki Bennett)","year":"1999","startOffset":0,"sourceSecs":102.037,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":11688234,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_early_films_burning_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_early_films_burning_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_early_films_burning_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_early_films_burning_1999/main.mp4?v=2","description":"Duration 1'42\" minutes <br/> This is one of Vicki Bennett's first computer-made avi films - primarily using relatively primitive techniques of scratch video then Adobe Premiere editing, resulting in a particular lo-fi look which isn't particularly intentional, but reflective of the process. Other films from this period originally existed as audio-only pieces on the \"<a href=\"https://ubu.com/sound/plu_thermos_explorer.html\" rel=\"noopener\" target=\"_blank\">Thermos Explorer</a>\" album (2000), and since the audio was originally sourced from film it was later possible to recreate the stories in visual form.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_early_films_discovering_electronic_music_1999","ok":true,"partial":false,"title":"Discovering Electronic Music","artist":"People Like Us (Vicki Bennett)","year":"1999","startOffset":0,"sourceSecs":378.837,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":59687446,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_early_films_discovering_electronic_music_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_early_films_discovering_electronic_music_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_early_films_discovering_electronic_music_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_early_films_discovering_electronic_music_1999/main.mp4?v=2","description":"Duration 6'18\" minutes <br/> This is from a collection of rarely seen early pc-created avi films - primarily using relatively primitive techniques of scratch video then Adobe Premiere editing, resulting in a particular lo-fi look which isn't particularly intentional, but reflective of the process. \"Music Of Your Own\" and \"Burning\" originally existed as audio-only pieces on the \"Thermos Explorer\" album (2000), and since the audio was originally sourced from film it was later possible to recreate the stories in visual form. The original industrial/educational film Discovering Electronic Music from 1983 can be found on the <a href=\"https://archive.org/details/DiscoveringElectronicMusic\" rel=\"noopener\" target=\"_blank\">Internet Archive</a>.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_early_films_music_of_your_own_1999","ok":true,"partial":false,"title":"Music Of Your Own","artist":"People Like Us (Vicki Bennett)","year":"1999","startOffset":0,"sourceSecs":120.491,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":14597419,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_early_films_music_of_your_own_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_early_films_music_of_your_own_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_early_films_music_of_your_own_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_early_films_music_of_your_own_1999/main.mp4?v=2","description":"Duration 2'00\" minutes <br/> <br/> This is from a collection of rarely seen early pc-created avi films - primarily using relatively primitive techniques of scratch video then Adobe Premiere editing, resulting in a particular lo-fi look which isn't particularly intentional, but reflective of the process. \"Music Of Your Own\" and \"Burning\" originally existed as audio-only pieces on the \"<a href=\"https://ubu.com/sound/plu_thermos_explorer.html\" rel=\"noopener\" target=\"_blank\">Thermos Explorer</a>\" album (2000), and since the audio was originally sourced from film it was later possible to recreate the stories in visual form.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_early_films_new_knowledge_2000","ok":true,"partial":false,"title":"New Knowledge","artist":"People Like Us (Vicki Bennett)","year":"2000","startOffset":0,"sourceSecs":396.715,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":59315437,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_early_films_new_knowledge_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_early_films_new_knowledge_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_early_films_new_knowledge_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_early_films_new_knowledge_2000/main.mp4?v=2","description":"Duration 6'36\" minutes <br/><br/> From a collection of rarely seen early pc-made avi films - primarily using relatively primitive techniques of scratch video then Adobe Premiere editing, resulting in a particular lo-fi look which isn't particularly intentional, but reflective of the process.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_early_films_well_if_youd_like_to_see_1999","ok":true,"partial":false,"title":"If You'd Like To See","artist":"People Like Us (Vicki Bennett)","year":"1999","startOffset":0,"sourceSecs":84.885,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":2868757,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_early_films_well_if_youd_like_to_see_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_early_films_well_if_youd_like_to_see_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_early_films_well_if_youd_like_to_see_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_early_films_well_if_youd_like_to_see_1999/main.mp4?v=2","description":"Duration 1'24\" minutes <br/><br/> People Like Us Early Films - 1999-2000 This is a collection of rarely seen early pc-made avi films - primarily using relatively primitive techniques of scratch video then Adobe Premiere editing, resulting in a particular lo-fi look which isn't particularly intentional, but reflective of the process. \"Music Of Your Own\" and \"Burning\" originally existed as audio-only pieces on the \"Thermos Explorer\" album (2000), and since the audio was originally sourced from film it was later possible to recreate the stories in visual form. This particular film has recently been returned to (14 years later!) and re-re-purposed in Notations - a film for live improvisers (2013).<br/><br/><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_free_as_a_chapel_in_the_moonlight_2011","ok":true,"partial":false,"title":"Free (As A Chapel In The Moonlight)","artist":"People Like Us (Vicki Bennett)","year":"2011","startOffset":0,"sourceSecs":205.72,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":23113738,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_free_as_a_chapel_in_the_moonlight_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_free_as_a_chapel_in_the_moonlight_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_free_as_a_chapel_in_the_moonlight_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_free_as_a_chapel_in_the_moonlight_2011/main.mp4?v=2","description":"Duration 3'22\" minutes <br/><br/> An excerpt from the People Like Us live set \"The Magical Misery Tour\". The full 45 minute concert was created between June and September 2011 and premiered at \"The Sound of Fear\" at London's Southbank Centre on 3rd September 2011, under the working title of \"Horror Collage\". Now that the full length live set has been completed we have changed the name to something more fitting with the content. The source material is 95% from horror movies, with the content portraying not so much a scary nightmare but a journey through the underworld of everyday human experiences. It is not true to say you do not relate to this kind of horror movie. Truth is stranger than fiction. Having said this, People Like Us, as ever, see the positive and sometimes humorous side of the most ghastly scenerios, and by accompanying the edited found feature film footage with new sample collage pop songs, elevate you from the swamp. <a href=\"http://peoplelikeus.org/2011/the-magical-misery-tour/\" rel=\"noopener\" target=\"_blank\">More about The Magical Misery Tour</a><br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_genre_collage_drivingflyingrisingfalling","ok":true,"partial":false,"title":"DrivingFlyingRisingFalling (2009)","artist":"People Like Us (Vicki Bennett)","year":"2009","startOffset":0,"sourceSecs":343.915,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":51207814,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_genre_collage_drivingflyingrisingfalling/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_genre_collage_drivingflyingrisingfalling/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_genre_collage_drivingflyingrisingfalling.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_genre_collage_drivingflyingrisingfalling/main.mp4?v=2","description":"Duration 5'43\" minutes <br/><br/> from \"GENRE COLLAGE\", an A/V performance by PEOPLE LIKE US. By combining compositing techniques, audio/music collage, and animation, People Like Us (in collaboration with Tim Maloney) examine the concept of \"genre\". By manipulating patterns, syntax, moods, narrative elements, recurring icons, characters and film stars held within selected movie genres/sub-genres (i.e. action, adventure, comedy, crime/gangster, drama, epics/historical, horror, musicals, science fiction, war and westerns), we create a humorous, surrealistic take on the content. The sound is partially taken from the films and partly from music holding corresponding messages, mood and lyrical content. The moving parts are cut around and collaged into each scene, complete with the source's accompanying audio and added contextual musical collage.<br/><br/>This project, complete with trailers and stills can be viewed <a href=\"http://peoplelikeus.org/2009/genre-collage/\" rel=\"noopener\" target=\"_blank\">here</a>.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_genre_collage_the_look","ok":true,"partial":false,"title":"The Look","artist":"People Like Us (Vicki Bennett)","year":"2009","startOffset":0,"sourceSecs":464.213,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":73511052,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_genre_collage_the_look/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_genre_collage_the_look/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_genre_collage_the_look.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_genre_collage_the_look/main.mp4?v=2","description":"Duration 7'44\" minutes <br/><br/> By combining compositing techniques, audio/music collage, and animation, People Like Us (in collaboration with Tim Maloney) examine the concept of \"genre\". By manipulating patterns, syntax, moods, narrative elements, recurring icons, characters and film stars held within selected movie genres/sub-genres (i.e. action, adventure, comedy, crime/gangster, drama, epics/historical, horror, musicals, science fiction, war and westerns), we create a humorous, surrealistic take on the content within. The sound is partially taken from the films and partly from music holding corresponding messages, mood and lyrical content. The moving parts are cut around and collaged into each scene, complete with the source's accompanying audio and added contextual musical collage.<br/> <br/> This project, complete with trailers and stills can be viewed <a href=\"http://peoplelikeus.org/2009/genre-collage/\" rel=\"noopener\" target=\"_blank\">here</a>.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_live_excerpts_2002_2007","ok":true,"partial":false,"title":"Live Excerpts","artist":"People Like Us (Vicki Bennett)","year":"2002-2007","startOffset":0,"sourceSecs":987.093,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":167192607,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_live_excerpts_2002_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_live_excerpts_2002_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_live_excerpts_2002_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_live_excerpts_2002_2007/main.mp4?v=2","description":"Duration 16'27\" minutes <br/><br/> People Like Us have been performing live audio-visual sets since 1996. This started as a fairly crude set up with minidiscs and scratch-video cut up vhs tape sampling blockbuster movies and TV showss, and swiftly moved on to computer animated and composited collages, very parallel, at least in the mind of People Like Us, to the accompanying music. <br/> <br/> Here are five live excerpts, made between 2002 and 2007. <br/><br/> 1. Abridged Too Far<br/> 2. Dreaming<br/> 3. Nothing<br/> 4. Ja Ich<br/> 5. Ne Me<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_magical_2011","ok":true,"partial":false,"title":"The Atlantic Conveyor from The Magical Misery Tour","artist":"People Like Us (Vicki Bennett)","year":"2011","startOffset":0,"sourceSecs":1816.08,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":300815050,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_magical_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_magical_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_magical_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_magical_2011/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_magical_2011/main/master.m3u8?v=2","hasMainHls":true,"description":"Duration 4'29\" minutes<br/><br/>INSERT DESCRIPTION PARAGRAPHS HERE This is from <a href=\"http://peoplelikeus.org/2011/the-magical-misery-tour/\" rel=\"noopener\" target=\"_blank\">The Magical Misery Tour</a>, an audiovisual performance by People Like Us.<br><br><b>RESOURCES:</b> <br><a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_mckmoon_2013","ok":true,"partial":false,"title":"Free Rod MckMoon from Consequences (One Thing Leads To Another)","artist":"People Like Us (Vicki Bennett)","year":"2013","startOffset":0,"sourceSecs":497.12,"sourceHeight":576,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":81002365,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_mckmoon_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_mckmoon_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_mckmoon_2013.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_mckmoon_2013/main.mp4?v=2","description":"Duration 8'17\" minutes<br/><br/>INSERT DESCRIPTION PARAGRAPHS HERE Consequences (One Thing Leads To Another) - an audiovisual performance by People Like Us - places similar but emerging subject matter side by side to construct the narrative, where a story emerges as a sum of the parts that came before it yet digresses on a tangent.  All actions have consequences, and here we see them played out, to wondrous and catastrophic effect! There is no original. Much like speed, dimensions, size, the terms are reliant upon the conditions of the person experiencing it, where they are and when, there is NO absolute.  This is reflected when very similar creative works and inventions occur at the same period by people who have no knowledge of each other's works existence.  In Consequences we reflect that no man is an island, but the island has lots of mirror mazes; in fact some mirrors can be walked through.<br> <a href=\"http://peoplelikeus.org/2012/consequences/\" rel=\"noopener\" target=\"_blank\">More info</a><br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_notations_documentary_2013_iphone","ok":true,"partial":false,"title":"Notations Documentary Travelogue","artist":"People Like Us (Vicki Bennett)","year":"2013","startOffset":0,"sourceSecs":3894.52,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":225342131,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_notations_documentary_2013_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_notations_documentary_2013_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_notations_documentary_2013_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_notations_documentary_2013_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_notations_documentary_2013_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Duration 64'55\" minutes <br/><br/> Vicki Bennett’s film-collage-as-visual-score Notations is created from hundreds of different film clips, where the content conceptually or literally portrays different kinds of instructions to be read by the improvising artists on stage as a visual score. The film/performance toured the UK in November 2013. This marks a return to working with improvised audio and video, both on radio and in front of an audience. Between 1996-2003 Vicki performed both solo and in collaboration with. amongst others, Jon Leidecker (Wobbly), Matt Wand (Stock, Hausen & Walkman), Matmos, members of Negativland and Kenneth Goldsmith. To soundtrack Notations, each show featured a different combination of artists: Bill Orcutt, Rhodri Davies, M.C. Schmidt (Matmos), Philip Jeck, Jaap Blonk, Steve Noble, Wobbly, Mark Sanders, Tomomi Adachi and Jennifer Walshe. NEWCASTLE Star & Shadow - BILL ORCUTT / RHODRI DAVIES / MARK SANDERS<br/> MANCHESTER Kraak - M.C. SCHMIDT / WOBBLY / JENNIFER WALSHE<br/> LEEDS Hyde Park Cinema (Leeds International Film Festival) - M.C. SCHMIDT / WOBBLY / TOMOMI ADACHI<br/> LONDON Cafe Oto - JAAP BLONK / PHILIP JECK<br/> BRISTOL Arnolfini - JAAP BLONK / PHILIP JECK / STEVE NOBLE Each event begun with an a/v performance by People Like Us of \"Consequences (One Thing Leads To Another)\", which places similar subject matter side by side to construct the narrative, a story emerging as a sum of the preceding parts yet digressing on a tangent.<br/> Notations UK Tour was produced by Tusk and commissioned by Sound and Music as part of their Touring Programme for 2013. Many thanks to Ilan Volkov for encouraging (and premiering) this project at Tectonics, Reykjavik.<br/> <a href=\"http://peoplelikeus.org/2013/notations-tour/\" rel=\"noopener\" target=\"_blank\">More info</a><br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_nothing_can_turn_into_a_void","ok":true,"partial":false,"title":"Nothing Can Turn Into A Void","artist":"People Like Us (Vicki Bennett)","year":"2015","startOffset":0,"sourceSecs":3487.428,"sourceHeight":576,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":576172128,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_nothing_can_turn_into_a_void/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_nothing_can_turn_into_a_void/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_nothing_can_turn_into_a_void.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_nothing_can_turn_into_a_void/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_nothing_can_turn_into_a_void/main/master.m3u8?v=2","hasMainHls":true,"description":"A film by Carl Abrahamsson, Sweden, 2015. 58 min. Produced by <a href=\"http://trapartfilm.com\" rel=\"noopener\" target=\"_blank\">trapartfilm.com </a> <br/><br/> British artist Vicki Bennett takes you on a roller coaster-ride with her art project People Like Us. In performances, videos, collages and music, her amazing editing techniques and sense of humor leave you flabbergasted and enthusiastic at the same time. People Like Us is like free-zone where appropriation meets alchemy, humor meets social critique and the boundless imagination meets so-called reality. <br/><br/> Screening: Contact jakob AT trapartfilm.com or carl AT trapartfilm.com<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_optimized_documentary_2016_smaller_iphone","ok":true,"partial":false,"title":"Us Optimized Documentary Smaller","artist":"People Like","year":"2016","startOffset":0,"sourceSecs":2438.436,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":142627838,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_optimized_documentary_2016_smaller_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_optimized_documentary_2016_smaller_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_optimized_documentary_2016_smaller_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_optimized_documentary_2016_smaller_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_optimized_documentary_2016_smaller_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"From 6-10 June 2016 Vicki Bennett and John Kilduff were Artists in Residence at freeform radio station WFMU in Jersey City, NJ, USA. This residency consisted of “Optimized!” – a week-long online a/v radio station which experimented with ideas of what radio might be in the world of high speed internet broadcasting. The content included 26 new a/v artist commissions selected and programmed by Vicki Bennett, where people were invited to respond to the word “optimized”, John Kilduff’s live “Let’s Paint TV” daily video show which combines, painting, cooking and exercise, and an evening at the station with an in-house studio audience. This documentary aims to capture the best of that week’s residency.\n\nPlaylists & archives: http://wfmu.org/playlists/UP Documentation: http://peoplelikeus.org/2016/optimized-wfmu/\n\nOPTIMIZED! features specially created audio, radio shows, animated gifs and video from: Andrew Sharpley, Bodega Pop Live with Gary Sullivan, Brian J Davis, Busy Doing Nothing with Charlie, Buttress O’Kneel, Carlo Patrão, Dan Deacon, Daniel Menche, DIFM (Do It For Me) with Pseu Braun, Dina Kelberman, DO or DIY with People Like Us, Drew Daniel, DW Robertson (formerly Ergo Phizmiz), Gwilly Edmondez, Heather Phillipson, Irene Moon, Jason Willett & MC Schmidt, Jem Finer, Jim Price, John Kilduff / Let’s Paint TV, Ken Freedman, Miracle Nutrition with Hearty White, Nick the Bard, Osymyso, People Like Us, Peter Knight, Porest, Steinski, The Dusty Show with Clay Pigeon, Tim Maloney, Wreck This Mess with Bart Plantenga. http://wfmu.org/playlists/UP"},{"slug":"people_like_us_skew_gardens_2008","ok":true,"partial":false,"title":"Skew Gardens","artist":"People Like Us (Vicki Bennett)","year":"2008","startOffset":0,"sourceSecs":505.6,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":84903743,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_skew_gardens_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_skew_gardens_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_skew_gardens_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_skew_gardens_2008/main.mp4?v=2","description":"Duration 8'25\" minutes <br/><br/> The 'garden' was a first attempt to sanitise and control nature. Once there was the wilderness, now there is the urban jungle.<br/><br/><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_the_big_sleep_2014","ok":true,"partial":false,"title":"The Big Sleep","artist":"People Like Us (Vicki Bennett)","year":"2014","startOffset":0,"sourceSecs":1154.278,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":190194296,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_the_big_sleep_2014/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_the_big_sleep_2014/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_the_big_sleep_2014.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_the_big_sleep_2014/main.mp4?v=2","description":"Duration 19'14\" minutes <br/><br/> Sleep deficient actors drift in and out of consciousness. From the solo exhibition <a href=\"http://peoplelikeus.org/2014/shutter-a-new-solo-exhibition-by-vicki-bennett/\" rel=\"noopener\" target=\"_blank\">\"Shutter\" at Leeds College of Art, Spring 2014</a>. Peer into a parallel cinematic world that exists between the edits, when we are not looking at the screen. Actors aren’t seen to rest a lot in films, considering people on average sleep 8 hours a day.  More often than not, feature films contain a stream of attention-grabbing imagery and noise, and if the mood does slow down there is still dialogue, music and other distractions. In feature films we don’t see the real-time flow of everyday life, we don’t see the actors queuing, watching TV, reading a book, sleeping.  Nor do we witness the mundane – we see the James Bond car chase but no stopping off to eat a panini.  Reality can be brought back into film by revealing actors in their normal, uneventful moments.  Actors need to sleep as well.  Where do they go after a film has ended?  What do we miss when we blink while watching a movie?  What is it really like on the other side of the screen?  This exhibition addresses these subjects and attempts to take us to these places.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_the_magical_misery_tour_magic_2011","ok":true,"partial":false,"title":"The Atlantic Conveyor from The Magical Misery Tour","artist":"People Like Us (Vicki Bennett)","year":"2011","startOffset":0,"sourceSecs":142.44,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":24445875,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_the_magical_misery_tour_magic_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_the_magical_misery_tour_magic_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_the_magical_misery_tour_magic_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_the_magical_misery_tour_magic_2011/main.mp4?v=2","description":"Duration 4'29\" minutes<br/><br/>INSERT DESCRIPTION PARAGRAPHS HERE This is from <a href=\"http://peoplelikeus.org/2011/the-magical-misery-tour/\" rel=\"noopener\" target=\"_blank\">The Magical Misery Tour</a>, an audiovisual performance by People Like Us.<br><br><b>RESOURCES:</b> <br><a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_the_magical_misery_tour_the_atlantic_conveyor_2011","ok":true,"partial":false,"title":"The Atlantic Conveyor from The Magical Misery Tour","artist":"People Like Us (Vicki Bennett)","year":"2011","startOffset":0,"sourceSecs":269.68,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":35510657,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_the_magical_misery_tour_the_atlantic_conveyor_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_the_magical_misery_tour_the_atlantic_conveyor_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_the_magical_misery_tour_the_atlantic_conveyor_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_the_magical_misery_tour_the_atlantic_conveyor_2011/main.mp4?v=2","description":"Duration 4'29\" minutes<br/><br/>INSERT DESCRIPTION PARAGRAPHS HERE This is from <a href=\"http://peoplelikeus.org/2011/the-magical-misery-tour/\" rel=\"noopener\" target=\"_blank\">The Magical Misery Tour</a>, an audiovisual performance by People Like Us.<br><br><b>RESOURCES:</b> <br><a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_the_mirror_2018_excerpt_iphone","ok":true,"partial":false,"title":"The Mirror (excerpt)","artist":"People Like Us (Vicki Bennett)","year":"2018","startOffset":0,"sourceSecs":434.601,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":26164633,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_the_mirror_2018_excerpt_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_the_mirror_2018_excerpt_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_the_mirror_2018_excerpt_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_the_mirror_2018_excerpt_iphone/main.mp4?v=2","description":"The Mirror (2018)<br/><br/> Here is an excerpt from The Mirror by People Like Us, the full version will be exclusively available on UbuWeb at the end of 2020.<br/><br/> The Mirror is a live a/v performance which splices together movie snippets with unique sample-based music exploring the masks that we wear represented through the lens, using parallel narratives across the screen to depict an ever-changing stream, rather than a singular, fixed being, narrative or moment in time.\n\n“A feat of research and craft, this new work is a spellbinding inquiry into editing and juxtaposition; a collage one can unthread allowing the viewer to discover hidden stories through familiar images. The soundtrack is performed live, made up from hundreds of preexisting songs, as well as particular sounds from the original film clips.” — Flatpack Film Festival<br/><br/> ”With The Mirror Bennett has proven herself an alchemist of popular music, able to push her source material into fresh and engaging places.” — The Wire\n\n”Because of the use of familiar pop sounds, “The Mirror” is often grandiose. Like an epic film only with highs, never letting the listener down or letting him doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe. Although that may sound naïve, it’s just a lost thought of reaction to the beautiful collages of People Like Us in “The Mirror”. This mirror doesn’t reflect an image of ourselves or an image of pop. But an image on the way memories drift and are being constant rebuilt. An unfinished collage.” — Boomkat\n\n“Bennett celebrates the song stylists, the crooners, the sirens and interpreters of melody, and all the psychedelic in-between. The songs she pulls from seem to stem between 30’s ballroom and 70’s soft disco, here presented like being in a deep REM-state, dreaming of being at the drive-in, in warped Panavision. Essential.” toneshift.net<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_the_sound_of_the_end_of_music_2010","ok":true,"partial":false,"title":"The Sound Of The End Of Music","artist":"People Like Us (Vicki Bennett)","year":"2010","startOffset":0,"sourceSecs":215.275,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":26529021,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_the_sound_of_the_end_of_music_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_the_sound_of_the_end_of_music_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_the_sound_of_the_end_of_music_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_the_sound_of_the_end_of_music_2010/main.mp4?v=2","description":"Duration 3'35\" minutes <br/> <br/> A collage of two films resulting in more than a sum of the parts. <br/><br/> From <a href=\"http://peoplelikeus.org/2009/genre_collage.html\" rel=\"noopener\" target=\"_blank\">Genre Collage</a>, a 45 minute live a/v set by People Like Us, sourced entirely from well-known feature films. Screening enquiries should go through a href=\"http://lux.org.uk/\" target=\"_blank\" rel=\"noopener\"Lux/a.<br/><br/><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"people_like_us_trying_things_out_2007","ok":true,"partial":false,"title":"Trying Things Out","artist":"People Like Us (Vicki Bennett)","year":"2007","startOffset":0,"sourceSecs":245.995,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":33854367,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_trying_things_out_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/people_like_us_trying_things_out_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/people_like_us_trying_things_out_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/people_like_us_trying_things_out_2007/main.mp4?v=2","description":"Duration 4'05\" minutes <br/><br/> During 2006-7 Vicki Bennett was one of the two artists awarded an Interact Artist Residency with BBC New Media, supported by Arts Council England and the Creative Archive Licence Group. Vicki spent 4 months with \"access all areas\" to the BBC's million strong archive. The result was a short film using imagery collaged from a number of documentaries made between 1951 and 1980 - featuring footage shot at The Festival Of Britain, also other footage portraying optimistic outlooks on post-war Britain. She tells the story, through layers of A/V collage, of how the artist can bring about positive change in culture. By juggling layers of imagery and context, much like a puppeteer, the film portrays the playfulness of the artist/director, moving images and scenery around with surprising results - \"Trying Things Out\". It is partly autobiographical in that it reflects, by use of footage of people playing with machines and effecting imagery, that access to film archives can inspire new work, creating new dialogues where otherwise there may have been none.<br/><br/><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"perec_georges_cine_regards_1979","ok":true,"partial":false,"title":"Ciné Regards","artist":"Georges Perec","year":"1979","startOffset":0,"sourceSecs":715,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":129994291,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/perec_georges_cine_regards_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/perec_georges_cine_regards_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/perec_georges_cine_regards_1979.mp4","hasFrames":true,"description":"In 1979, Alain Corneau asked Georges Perec to write a script for Série Noire, a feature film starring Patrick Dewaere and Marie Trintignant. In this fragment of the program Ciné Regards, Anne Andreu interviews Georges Perec on his relation to cinema and what does it mean for him \"to write for images.\"<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Georges Perec in UbuWeb Sound</a></br>","artist_bio":"Récits d'Ellis Island (1978-1980, Robert Bober and Georges Perec)\nGeorges Perec was born in Paris (March 7, 1936), and died in Ivry (March 3, 1982). He lived in Paris nearly all his life.\nHis father fought in World War II and was killed in 1940. While the Germans gradually took France over, Perec was taken to the country by relatives. His mother disappeared in Paris, near the end of 1942. Later, she died in Auschwitz. Perec, an orphan at six, was raised by his uncle and aunt.\nHe studied, served in the Army, married, contributed to a number of magazines, and in 1965 he was awarded the Prix Renaudot for his first book, the short novel Les Choses (The Things). From then on, he published more than twenty books, and no two of them were alike.\nPerec was a member of OuLiPo (Ouvroir de Littérature Potentielle, or \"Workshop of Potential Literature\"), a Paris-based group of writers founded in 1960 by Raymond Queneau and François LeLionnais. Other well-known members were the Italian writer Italo Calvino and the American Harry Matthews. OuLiPo tries to expand literature by borrowing formal patterns from such other domains as mathematics, Logic or chess. Perec's own books range from novels to collections of crossword puzzles, from essays to parodies, from poetry to wordgames.\nPerec was fascinated by palindromes, which are words or entire sentences that, when spelled backwards, still read the same: Live Devil or See, slave, I demonstrate yet arts no medieval sees. Perec created what is possibly the longest palindrome ever written, \"ça ne va pas san dire,\" made up from more than five thousand words. (Which is online -- follow the link at the bottom of this page)\nPalindromes, anagrams, wordplays and word games are ever-present in most of what Perec wrote. Another tour-de-force of his was a 466-word text where the only vowel allowed was A. He wrote that short-short story in French, although its title is in English: \"What a Man!\" It is the story of two characters: Andras MacAdam, e Armand d'Artagnan. Perec's fascination with vowels made him a master of the lipogram. Lipograms are texts in which one of more letters are not allowed to appear; thus, \"a lipogram in Z\" is any text in which that letter is absent. The text of the present paragraph, for example, may be considered a lipogram in the letter that stays between \"J\" and \"L\" (all other letters are featured in it). Raymond Queneau mentions lipograms composed by classical poets such as Pindar and Lope de Vega.\nIn 1969, Perec wrote the lipogrammatic novel La Disparition. The more obvious translation for that title would be The Disappearance, were it nor for the small detail that the novel is a lipogram in E. The US translation, by Gilbert Adair, was titled A Void. It is the story of the disappearance of a man; and in the world from where that man disappeared, the letter \"E\" disappeared as well, but nobody (except for the reader) notices the Kabbalah of substitutions, similes, distortions, variants and the endless tricks that such a Universe builds to fill that void. In that world where \"Anton Voyl\" in French, \"Anton Vowl\" in English, is searched in vain by his friends, the well-known soliloquy penned by one William Shakspar runs:\nA superficial description like this one may convey the impression that Perec was just a wonderful word-juggler, all \"fireworks\" and little substance. This is not the case. Although never overtly explored his Jewish origin or the loss of his parents in the War, those elements are ever-present under the surface of his works. The first impression conveyed by his texts is that of an \"entomological eye\", detachedly observing the behavior of strange, eccentric people.\nPerec was always reticent as regards to his private life, but in 1973 he published a book where he recounts 124 dreams he had between May 1968 and August 1972. The book is La Boutique Obscure, loosely translated as \"The Dark Chamber\" or \"The Obscure Box\". His reports on dreams are tantalizing chunks of scribblings, without much intention to \"retell a story.\" In 1975, he published an oddball volume of memories, W, ou Le Souvenir d'Enfance (W, or the Remembrance of Childhood). In it, he writes about his childhood years but, typically for him, that narrative is interspersed with chapters about a wholly different subject: the description of a Dystopian island, named \"W\", where life is dedicated to sport competitions.\nPerec's single most important work is, arguably, the huge La Vie Mode d'Emploi -- Romans (Life A User's Manual -- Novels), published in 1978 and the winner of the Prix Médici. In it, Perec describes an apartment building in Paris, and tells stories about the people who live there. This is done within a complex structure through which Perec determined the number of chapters to be used, their length, their order of appearance, and a random series of elements which should appear in each one. Behind this intricate pattern, Perec proceeds to tell stories upon stories, employing a wide variety of techniques, and describing peoples, places and events with an incredibly richness of detail. The subtitle \"Novels\" defines the nature of the book, which consists in short stories embedded inside larger stories, and stories linked in parallel with others.","bio_dates":"1936-1982"},{"slug":"perec_georges_je_me_souviens_sami_frey_1978_iphone","ok":true,"partial":false,"title":"Sami Frey - Je me souviens","artist":"Georges Perec","year":"1978","startOffset":0,"sourceSecs":4175.981,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":241098508,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/perec_georges_je_me_souviens_sami_frey_1978_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/perec_georges_je_me_souviens_sami_frey_1978_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/perec_georges_je_me_souviens_sami_frey_1978_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/perec_georges_je_me_souviens_sami_frey_1978_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/perec_georges_je_me_souviens_sami_frey_1978_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This film is completely theatrical in its approach, which is perhaps the only reliable way to deal with a Perec text on film. Another better known adaptation by Bernard Queysanne 'Un Homme qui Dort', for example, uses striking imagery to 'aid' the reading of the text, but a viewer's attention is often caught between the imagery inherent in Perec's style and those put in the film by the filmmaker, where the latter seems to have little relevence to the text itself. In this adaptation, the entire text is delivered by Sami Frey in a monologue while paddling on a standing bicycle with varying degrees of speed. <br/><br/> Synopsis of Je me souviens by Georges Perec: A short introductory note to Je me souviens explains that the title, form, and, to a certain extent, spirit of these texts were inspired by Joe Brainard's I remember. Each of the 480 pieces collected here -- most just a single sentence -- is written: \"Je me souviens ...\" (\"I remember ...\"), and they consist of short \"souvenirs\" -- personal and shared memories, the small (and large) things that are incidental in life, momentarily significant and then often practically (but not entirely) lost. <br/><br/> They range from the utterly banal and everyday (\"Je me souviens des trous dans les tickets de méro\" (\"I remember the holes in the Métro tickets\")) to any number of people (from musicians to Yury Gagarin to \"Christine Keeler et de l'affaire Profumo\") to movies, periodicals, and books (\"Je me souviens de How to be an alien et de How to scrape skies, de Georges Mikes\"). <br/><br/> In a brief afterword Perec explains that most of the memories come from when he was between the ages of ten and twenty-five (though there are a few more recent ones scattered in). Not everything, he admits, is correctly recalled -- but then that's the way memory works, distorting over time. <br/><br/> The 480 entries don't add up to a complete picture of either Perec or an era, but, put together, they do reveal a good deal about what Perec was exposed to, interested in, and particularly aware of. These memories seem almost neutral -- snapshots, without commentary -- and yet there are enough of them for the reader to begin to flesh out the man behind them. <br/><br/> Je me souviens is only a small piece of Perec-autobiography, but it is an appealing one, suggestive and whimsical. While of greatest interest to Perec-fans, it holds some interest for others too, sketching out French intellectual and artistic life in the two decades after World War II. (www. complete-review.com)<br/><br/>Essay on Je me souviens: <br><br> If the impossibility of dealing with loss comprehensively has led to a sense of a ‘task’ to be achieved, then it is perhaps no surprise to find the term ‘memory work’ increasingly used in contemporary cultural theory. And if one method of going about this work is to employ a ritualistic, or repetitive, process for ‘listing’ loss, then it is worthwhile considering an example of just such memory work, from what I call the ‘I remember’ school of writers inspired by Joe Brainard’s book of the same title. I Remember was first published in 1975 and consisted of a series of entries, all beginning with the words ‘I remember’, in which Brainard recollected moments from his past, some of them highly individual and others doubtless shared by an enormous number of his contemporaries. To take a typical trio of consecutive entries: <br/><br/> I remember the first time I saw television. Lucille Ball was taking ballet lessons. <br/><br/> I remember the day John Kennedy was shot. <br/><br/> I remember that for my fifth birthday all I wanted was an off-one-shoulder black satin evening gown. I got it. And I wore it to my birthday party. <br/><br/> (Joe Brainard, I Remember (New York: Granary Books, 2001 [1975]), p. 9.) <br/><br/> The originality in Brainard’s technique lies in the intermingling of personal and collective memories and in the recognition that the catalogue of human life as compiled by memory is made up equally of intense personal experiences, public events, fads, fashions and myths. Brainard’s work shows how each person simultaneously carries within them official and unofficial histories, the contents of which are always at varying stages of being recalled or forgotten. The Kennedy assassination, for example, is an event unlikely to be forgotten in either official history or the unofficial history of a certain group of people alive at a particular time and in at least some level of connection via mass media with the rest of the world (Brainard’s generation, in other words). Indeed, for such a group, whose hegemony over these matters is only recently beginning to wane, this event has become the classic example of such individualized-yet-shared memory, with people being said to know exactly where they were when they heard the news of the president’s murder. In the new millennium this event has been succeeded for many by the events of September 11 2001. Yet if these events are subject to both official and unofficial memory, highly personal recollections such as those collated by Brainard still have within them a quality that is transferable to others who have experienced something comparable or who can connect to them simply through the fact that they too have remembered (things). Indeed it might well be said that it is in the highly personal, idiosyncratic details (Brainard’s evening gown) that the possibility for a universal recognition resides. <br/><br/> That is not to say, however, that such memory work is necessarily translatable to other cultural contexts. Although Brainard’s book was translated into French by Marie Chaix, the French ‘version’ of I Remember which found most success and which has itself come to be regarded as a classic of the genre, is Georges Perec’s Je me souviens (1978). Perec reduces the autobiographical elements of Brainard’s work to a certain extent, although these are still a prominent feature of his version alongside a higher proportion of memories likely to be shared with others. In producing a more pronounced cultural bias to the book, Perec is forced away from literal translation and towards the creation of a new work steeped in the resonance of the French imaginary. Perec’s intention was to seek out, via his own recollection, moments of memory that could be ‘deconsecrated’ and returned to their ‘collectivity’; speaking about the book he claimed, ‘what came out most clearly for me was that I wasn’t the only one to be remembering. It’s a book I might call “sympathetic”, I mean that it’s in sympathy with its readers, that readers are perfectly at home in it.’ <br/><br/> The fact that Perec’s work increased the ratio of culturally shared to personal memories from Brainard’s original was recognized in 1986 by the British writer Gilbert Adair when he decided to publish his own version of the ‘I remember’ template in his book Myths &amp; Memories. The book was devised partly as a homage to two French writers he admired, Roland Barthes and Georges Perec, and partly as an attempt to apply the techniques of Barthes’s Mythologies and Perec’s Je me souviens to a British context. In Adair’s opinion, Perec’s version of Brainard’s work was distinct enough to warrant its own ‘translation’ but a literal rendering of the French words would be pointless: ‘the fact of its being anchored in a French experience has rendered [Je me souviens] definitively untranslatable; or, rather, translatable only by way of the metamorphosis, the kind of total Anglicizing, which it undergoes here.’ (This observation has an obvious correlation with my earlier discussion of saudade. As for a Portuguese language version of I Remember, the closest parallel would appear to be a Brazilian text entitled Memorando, by Geraldo Mayrink and Fernando Moreira Salles (Sao Paulo: Companhia das Letras, 1993). I have not been able to consult this text to see how it compares with the three versions mentioned here.)<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Georges Perec in UbuWeb Sound</a></br></br></br>","artist_bio":"Récits d'Ellis Island (1978-1980, Robert Bober and Georges Perec)\nGeorges Perec was born in Paris (March 7, 1936), and died in Ivry (March 3, 1982). He lived in Paris nearly all his life.\nHis father fought in World War II and was killed in 1940. While the Germans gradually took France over, Perec was taken to the country by relatives. His mother disappeared in Paris, near the end of 1942. Later, she died in Auschwitz. Perec, an orphan at six, was raised by his uncle and aunt.\nHe studied, served in the Army, married, contributed to a number of magazines, and in 1965 he was awarded the Prix Renaudot for his first book, the short novel Les Choses (The Things). From then on, he published more than twenty books, and no two of them were alike.\nPerec was a member of OuLiPo (Ouvroir de Littérature Potentielle, or \"Workshop of Potential Literature\"), a Paris-based group of writers founded in 1960 by Raymond Queneau and François LeLionnais. Other well-known members were the Italian writer Italo Calvino and the American Harry Matthews. OuLiPo tries to expand literature by borrowing formal patterns from such other domains as mathematics, Logic or chess. Perec's own books range from novels to collections of crossword puzzles, from essays to parodies, from poetry to wordgames.\nPerec was fascinated by palindromes, which are words or entire sentences that, when spelled backwards, still read the same: Live Devil or See, slave, I demonstrate yet arts no medieval sees. Perec created what is possibly the longest palindrome ever written, \"ça ne va pas san dire,\" made up from more than five thousand words. (Which is online -- follow the link at the bottom of this page)\nPalindromes, anagrams, wordplays and word games are ever-present in most of what Perec wrote. Another tour-de-force of his was a 466-word text where the only vowel allowed was A. He wrote that short-short story in French, although its title is in English: \"What a Man!\" It is the story of two characters: Andras MacAdam, e Armand d'Artagnan. Perec's fascination with vowels made him a master of the lipogram. Lipograms are texts in which one of more letters are not allowed to appear; thus, \"a lipogram in Z\" is any text in which that letter is absent. The text of the present paragraph, for example, may be considered a lipogram in the letter that stays between \"J\" and \"L\" (all other letters are featured in it). Raymond Queneau mentions lipograms composed by classical poets such as Pindar and Lope de Vega.\nIn 1969, Perec wrote the lipogrammatic novel La Disparition. The more obvious translation for that title would be The Disappearance, were it nor for the small detail that the novel is a lipogram in E. The US translation, by Gilbert Adair, was titled A Void. It is the story of the disappearance of a man; and in the world from where that man disappeared, the letter \"E\" disappeared as well, but nobody (except for the reader) notices the Kabbalah of substitutions, similes, distortions, variants and the endless tricks that such a Universe builds to fill that void. In that world where \"Anton Voyl\" in French, \"Anton Vowl\" in English, is searched in vain by his friends, the well-known soliloquy penned by one William Shakspar runs:\nA superficial description like this one may convey the impression that Perec was just a wonderful word-juggler, all \"fireworks\" and little substance. This is not the case. Although never overtly explored his Jewish origin or the loss of his parents in the War, those elements are ever-present under the surface of his works. The first impression conveyed by his texts is that of an \"entomological eye\", detachedly observing the behavior of strange, eccentric people.\nPerec was always reticent as regards to his private life, but in 1973 he published a book where he recounts 124 dreams he had between May 1968 and August 1972. The book is La Boutique Obscure, loosely translated as \"The Dark Chamber\" or \"The Obscure Box\". His reports on dreams are tantalizing chunks of scribblings, without much intention to \"retell a story.\" In 1975, he published an oddball volume of memories, W, ou Le Souvenir d'Enfance (W, or the Remembrance of Childhood). In it, he writes about his childhood years but, typically for him, that narrative is interspersed with chapters about a wholly different subject: the description of a Dystopian island, named \"W\", where life is dedicated to sport competitions.\nPerec's single most important work is, arguably, the huge La Vie Mode d'Emploi -- Romans (Life A User's Manual -- Novels), published in 1978 and the winner of the Prix Médici. In it, Perec describes an apartment building in Paris, and tells stories about the people who live there. This is done within a complex structure through which Perec determined the number of chapters to be used, their length, their order of appearance, and a random series of elements which should appear in each one. Behind this intricate pattern, Perec proceeds to tell stories upon stories, employing a wide variety of techniques, and describing peoples, places and events with an incredibly richness of detail. The subtitle \"Novels\" defines the nature of the book, which consists in short stories embedded inside larger stories, and stories linked in parallel with others.","bio_dates":"1936-1982"},{"slug":"perec_georges_lectures_pour_tous_1965","ok":true,"partial":false,"title":"Lectures pour tous 1965","artist":"Georges Perec","year":"1965","startOffset":0,"sourceSecs":728.12,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":132288741,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/perec_georges_lectures_pour_tous_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/perec_georges_lectures_pour_tous_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/perec_georges_lectures_pour_tous_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/perec_georges_lectures_pour_tous_1965/main.mp4?v=2","description":"A literary TV program produced by Pierres Desgraupes and Pierre Dumayet between 1953 and 1967. Georges Perec was twice featured as a guest on the show: on the occasion of the publication of his Choses, in 1965, and of Un Homme qui dort in 1967.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Georges Perec in UbuWeb Sound</a></br>","artist_bio":"Récits d'Ellis Island (1978-1980, Robert Bober and Georges Perec)\nGeorges Perec was born in Paris (March 7, 1936), and died in Ivry (March 3, 1982). He lived in Paris nearly all his life.\nHis father fought in World War II and was killed in 1940. While the Germans gradually took France over, Perec was taken to the country by relatives. His mother disappeared in Paris, near the end of 1942. Later, she died in Auschwitz. Perec, an orphan at six, was raised by his uncle and aunt.\nHe studied, served in the Army, married, contributed to a number of magazines, and in 1965 he was awarded the Prix Renaudot for his first book, the short novel Les Choses (The Things). From then on, he published more than twenty books, and no two of them were alike.\nPerec was a member of OuLiPo (Ouvroir de Littérature Potentielle, or \"Workshop of Potential Literature\"), a Paris-based group of writers founded in 1960 by Raymond Queneau and François LeLionnais. Other well-known members were the Italian writer Italo Calvino and the American Harry Matthews. OuLiPo tries to expand literature by borrowing formal patterns from such other domains as mathematics, Logic or chess. Perec's own books range from novels to collections of crossword puzzles, from essays to parodies, from poetry to wordgames.\nPerec was fascinated by palindromes, which are words or entire sentences that, when spelled backwards, still read the same: Live Devil or See, slave, I demonstrate yet arts no medieval sees. Perec created what is possibly the longest palindrome ever written, \"ça ne va pas san dire,\" made up from more than five thousand words. (Which is online -- follow the link at the bottom of this page)\nPalindromes, anagrams, wordplays and word games are ever-present in most of what Perec wrote. Another tour-de-force of his was a 466-word text where the only vowel allowed was A. He wrote that short-short story in French, although its title is in English: \"What a Man!\" It is the story of two characters: Andras MacAdam, e Armand d'Artagnan. Perec's fascination with vowels made him a master of the lipogram. Lipograms are texts in which one of more letters are not allowed to appear; thus, \"a lipogram in Z\" is any text in which that letter is absent. The text of the present paragraph, for example, may be considered a lipogram in the letter that stays between \"J\" and \"L\" (all other letters are featured in it). Raymond Queneau mentions lipograms composed by classical poets such as Pindar and Lope de Vega.\nIn 1969, Perec wrote the lipogrammatic novel La Disparition. The more obvious translation for that title would be The Disappearance, were it nor for the small detail that the novel is a lipogram in E. The US translation, by Gilbert Adair, was titled A Void. It is the story of the disappearance of a man; and in the world from where that man disappeared, the letter \"E\" disappeared as well, but nobody (except for the reader) notices the Kabbalah of substitutions, similes, distortions, variants and the endless tricks that such a Universe builds to fill that void. In that world where \"Anton Voyl\" in French, \"Anton Vowl\" in English, is searched in vain by his friends, the well-known soliloquy penned by one William Shakspar runs:\nA superficial description like this one may convey the impression that Perec was just a wonderful word-juggler, all \"fireworks\" and little substance. This is not the case. Although never overtly explored his Jewish origin or the loss of his parents in the War, those elements are ever-present under the surface of his works. The first impression conveyed by his texts is that of an \"entomological eye\", detachedly observing the behavior of strange, eccentric people.\nPerec was always reticent as regards to his private life, but in 1973 he published a book where he recounts 124 dreams he had between May 1968 and August 1972. The book is La Boutique Obscure, loosely translated as \"The Dark Chamber\" or \"The Obscure Box\". His reports on dreams are tantalizing chunks of scribblings, without much intention to \"retell a story.\" In 1975, he published an oddball volume of memories, W, ou Le Souvenir d'Enfance (W, or the Remembrance of Childhood). In it, he writes about his childhood years but, typically for him, that narrative is interspersed with chapters about a wholly different subject: the description of a Dystopian island, named \"W\", where life is dedicated to sport competitions.\nPerec's single most important work is, arguably, the huge La Vie Mode d'Emploi -- Romans (Life A User's Manual -- Novels), published in 1978 and the winner of the Prix Médici. In it, Perec describes an apartment building in Paris, and tells stories about the people who live there. This is done within a complex structure through which Perec determined the number of chapters to be used, their length, their order of appearance, and a random series of elements which should appear in each one. Behind this intricate pattern, Perec proceeds to tell stories upon stories, employing a wide variety of techniques, and describing peoples, places and events with an incredibly richness of detail. The subtitle \"Novels\" defines the nature of the book, which consists in short stories embedded inside larger stories, and stories linked in parallel with others.","bio_dates":"1936-1982"},{"slug":"perec_georges_lectures_pour_tous_1967","ok":true,"partial":false,"title":"Lectures pour tous 1967","artist":"Georges Perec","year":"1967","startOffset":0,"sourceSecs":609.6,"sourceHeight":496,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":110906341,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/perec_georges_lectures_pour_tous_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/perec_georges_lectures_pour_tous_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/perec_georges_lectures_pour_tous_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/perec_georges_lectures_pour_tous_1967/main.mp4?v=2","description":"A literary TV program produced by Pierres Desgraupes and Pierre Dumayet between 1953 and 1967. Georges Perec was twice featured as a guest on the show: on the occasion of the publication of his Choses, in 1965, and of Un Homme qui dort in 1967.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/perec.html\" rel=\"noopener\" target=\"_blank\">Georges Perec in UbuWeb Sound</a></br>","artist_bio":"Récits d'Ellis Island (1978-1980, Robert Bober and Georges Perec)\nGeorges Perec was born in Paris (March 7, 1936), and died in Ivry (March 3, 1982). He lived in Paris nearly all his life.\nHis father fought in World War II and was killed in 1940. While the Germans gradually took France over, Perec was taken to the country by relatives. His mother disappeared in Paris, near the end of 1942. Later, she died in Auschwitz. Perec, an orphan at six, was raised by his uncle and aunt.\nHe studied, served in the Army, married, contributed to a number of magazines, and in 1965 he was awarded the Prix Renaudot for his first book, the short novel Les Choses (The Things). From then on, he published more than twenty books, and no two of them were alike.\nPerec was a member of OuLiPo (Ouvroir de Littérature Potentielle, or \"Workshop of Potential Literature\"), a Paris-based group of writers founded in 1960 by Raymond Queneau and François LeLionnais. Other well-known members were the Italian writer Italo Calvino and the American Harry Matthews. OuLiPo tries to expand literature by borrowing formal patterns from such other domains as mathematics, Logic or chess. Perec's own books range from novels to collections of crossword puzzles, from essays to parodies, from poetry to wordgames.\nPerec was fascinated by palindromes, which are words or entire sentences that, when spelled backwards, still read the same: Live Devil or See, slave, I demonstrate yet arts no medieval sees. Perec created what is possibly the longest palindrome ever written, \"ça ne va pas san dire,\" made up from more than five thousand words. (Which is online -- follow the link at the bottom of this page)\nPalindromes, anagrams, wordplays and word games are ever-present in most of what Perec wrote. Another tour-de-force of his was a 466-word text where the only vowel allowed was A. He wrote that short-short story in French, although its title is in English: \"What a Man!\" It is the story of two characters: Andras MacAdam, e Armand d'Artagnan. Perec's fascination with vowels made him a master of the lipogram. Lipograms are texts in which one of more letters are not allowed to appear; thus, \"a lipogram in Z\" is any text in which that letter is absent. The text of the present paragraph, for example, may be considered a lipogram in the letter that stays between \"J\" and \"L\" (all other letters are featured in it). Raymond Queneau mentions lipograms composed by classical poets such as Pindar and Lope de Vega.\nIn 1969, Perec wrote the lipogrammatic novel La Disparition. The more obvious translation for that title would be The Disappearance, were it nor for the small detail that the novel is a lipogram in E. The US translation, by Gilbert Adair, was titled A Void. It is the story of the disappearance of a man; and in the world from where that man disappeared, the letter \"E\" disappeared as well, but nobody (except for the reader) notices the Kabbalah of substitutions, similes, distortions, variants and the endless tricks that such a Universe builds to fill that void. In that world where \"Anton Voyl\" in French, \"Anton Vowl\" in English, is searched in vain by his friends, the well-known soliloquy penned by one William Shakspar runs:\nA superficial description like this one may convey the impression that Perec was just a wonderful word-juggler, all \"fireworks\" and little substance. This is not the case. Although never overtly explored his Jewish origin or the loss of his parents in the War, those elements are ever-present under the surface of his works. The first impression conveyed by his texts is that of an \"entomological eye\", detachedly observing the behavior of strange, eccentric people.\nPerec was always reticent as regards to his private life, but in 1973 he published a book where he recounts 124 dreams he had between May 1968 and August 1972. The book is La Boutique Obscure, loosely translated as \"The Dark Chamber\" or \"The Obscure Box\". His reports on dreams are tantalizing chunks of scribblings, without much intention to \"retell a story.\" In 1975, he published an oddball volume of memories, W, ou Le Souvenir d'Enfance (W, or the Remembrance of Childhood). In it, he writes about his childhood years but, typically for him, that narrative is interspersed with chapters about a wholly different subject: the description of a Dystopian island, named \"W\", where life is dedicated to sport competitions.\nPerec's single most important work is, arguably, the huge La Vie Mode d'Emploi -- Romans (Life A User's Manual -- Novels), published in 1978 and the winner of the Prix Médici. In it, Perec describes an apartment building in Paris, and tells stories about the people who live there. This is done within a complex structure through which Perec determined the number of chapters to be used, their length, their order of appearance, and a random series of elements which should appear in each one. Behind this intricate pattern, Perec proceeds to tell stories upon stories, employing a wide variety of techniques, and describing peoples, places and events with an incredibly richness of detail. The subtitle \"Novels\" defines the nature of the book, which consists in short stories embedded inside larger stories, and stories linked in parallel with others.","bio_dates":"1936-1982"},{"slug":"performance_sept_19_1996","ok":true,"partial":false,"title":"Performance Sept 19, 1996","artist":"Angus Fairhurst","year":"1996","startOffset":0,"sourceSecs":2107.472,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":338484587,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/performance_sept_19_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/performance_sept_19_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/performance_sept_19_1996.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/performance_sept_19_1996/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/performance_sept_19_1996/main/master.m3u8?v=2","hasMainHls":true},{"slug":"peterson_sidney_the_lead_shoes_1949","ok":true,"partial":false,"title":"The Lead Shoes","artist":"Sidney Peterson","year":"1949","startOffset":0,"sourceSecs":925.483,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":58024461,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peterson_sidney_the_lead_shoes_1949/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peterson_sidney_the_lead_shoes_1949/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/peterson_sidney_the_lead_shoes_1949.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/peterson_sidney_the_lead_shoes_1949/main.mp4?v=2","description":"Like many other experimental film directors Sidney Peterson is interested in reevaluating our perception of the world. In our daily lives, we think of the world around us with a definite space and a definite flow of time. The Lead Shoes prove that it is not so hard to throw us off-balance both in space and in time. The most important trick Peterson uses to fool our eyes is the distorted lens through which we see almost everything in the film. This device, used also in <em>The</em> <em>Cage</em>, distorts both the three-dimensionality of the space and the light balance. We are unable to experience the depth of field, as everything is flattened, especially on the sides. Neither can we trust the light to situate the characters and ourselves as it does not get reflected in a way we would expect. Moreover, the lights reflected for different objects get mixed and sometimes the light flashes unexpectedly from a dark object. Any shot in the film would reflect the characteristics I described above but in some of them, Peterson emphasizes the effect. In one shot, the frame is divided to two by a vertical object. On the left we see the woman running towards us. On the right, we can see the stairways and all the things between it and a city. If Peterson shot it with “normal” lens we would experience “the time” she spends to run and the depth of the field until the city. However, we can see no difference between the right or the left. We “know” that the city is far but our eyes and what they perceive makes everything confusing. The distorted lens also changes the way we perceive time. When there is no depth of field, no straight trustworthy lines, how are we to know how fast things happen? The obvious changes in the recording speed makes it even more complicated for us. We cannot say whether there is any scene shot in “real time” in the film. As in the scene I described in the last paragraph, the shots of the girl who is playing on the street gives us no clue how fast the girl is approaching us. Her fast moving legs prove that it is shown faster but visually she doesn’t move at all in the depth of field. A special case of change in the recording speed is the shots moving backwards in time. In one of them, the main character wears her shoes in reversed time but she walks straight to the door. Obviously, the way we experience the shot is against all the basic scientific principles we know. The soundtrack is composed of people singing playing jazz songs or simply talking. What they say or do has nothing to do with what happens in the film. However, they have a very important function in the film in that they push our disorientation even further. In most films, music is very well synchronized with the movements in the film so that our illusion of moving time is enhanced. However, Peterson uses it for the exact opposite purpose. Although the soundtrack is actually continuously flowing, the changes in its tempo and rhythm give us no help in experiencing time like we do usually. A perfect example is a shot that recurs many times in the film. The camera follows the walking shoes of a person. The music is totally asynchronous to it (it usually is faster). In the Lead Shoes, we can neither thrust in our eyes nor our ears to help us understand how time flows or how space is. Therefore, Peterson forces us to take both space and time as relative experiences. The consistent disorientation in the film and our consistent inability to perceive them in absolute terms become the main subject of the film. Peterson makes us aware that space and time are more complicated than we think they are and they should be experienced in a more open-minded way.","artist_bio":"Sidney Peterson (November 15, 1905, Oakland, California - April 24, 2000, New York City) was an American author, artist, and noted avant-garde filmmaker. He attended UC Berkeley, worked as a newspaper reporter in Monterey, and spent time as a practicing painter and sculptor in France in the 1920s and 1930s. After World War II, Peterson founded Workshop 20 at the California School of Fine Arts (now the San Francisco Art Institute), thus initiating the first filmmaking courses in the history of the school.\nBetween 1947 and 1950 the Workshop produced five films under Peterson's guidance that were extremely influential on the burgeoning American avant-garde cinema, and have since become regarded as classics of experimental film and significant artifacts of the San Francisco Renaissance. In the years that followed, Peterson worked as a consultant for the Museum of Modern Art, made a series of documentary films, penned a novel (A Fly in the Pigment, 1961) and a memoir (The Dark of the Screen, 1980), and worked at Walt Disney Productions as a scriptwriter and storyboard artist on the never completed sequel to Fantasia.\nHe died in New York City at the age of 94. Peterson's films are distributed by Canyon Cinema in San Francisco and The Film Makers Cooperative in New York City.\nA 2007 comic strip by Dave Kiersh in Syncopated Volume 3 (Syncopated Comics, 2007) tells of his relationship with Peterson, who was a friend of Kiersh's grandmother.\nOn December 30, 2009, the Library of Congress named Peterson's The Lead Shoes (1949) to the National Film Registry.","bio_dates":"1905-2004"},{"slug":"peterson_sidney_the_petrified_dog_1948","ok":true,"partial":false,"title":"The Petrified Dog","artist":"Sidney Peterson","year":"1948","startOffset":0,"sourceSecs":1094.144,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":189438223,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peterson_sidney_the_petrified_dog_1948/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/peterson_sidney_the_petrified_dog_1948/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/peterson_sidney_the_petrified_dog_1948.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/peterson_sidney_the_petrified_dog_1948/main.mp4?v=2","description":"1948, 16mm, b&w/so, 18m <br/> Scrambled Alice in Wonderland with brutiste track. Pierre Schaeffer (musique concrete) threatened to sue. <br/><br/>\"\"Chases within chases. A mother runs after a child. A man ... seems to be pursuing himself. A woman who has been nibbling her lipstick through half of the film is pursued by a man. The pursuit of art is represented by a painter daubing at a landscape in an empty frame.\" - TDOTS","artist_bio":"Sidney Peterson (November 15, 1905, Oakland, California - April 24, 2000, New York City) was an American author, artist, and noted avant-garde filmmaker. He attended UC Berkeley, worked as a newspaper reporter in Monterey, and spent time as a practicing painter and sculptor in France in the 1920s and 1930s. After World War II, Peterson founded Workshop 20 at the California School of Fine Arts (now the San Francisco Art Institute), thus initiating the first filmmaking courses in the history of the school.\nBetween 1947 and 1950 the Workshop produced five films under Peterson's guidance that were extremely influential on the burgeoning American avant-garde cinema, and have since become regarded as classics of experimental film and significant artifacts of the San Francisco Renaissance. In the years that followed, Peterson worked as a consultant for the Museum of Modern Art, made a series of documentary films, penned a novel (A Fly in the Pigment, 1961) and a memoir (The Dark of the Screen, 1980), and worked at Walt Disney Productions as a scriptwriter and storyboard artist on the never completed sequel to Fantasia.\nHe died in New York City at the age of 94. Peterson's films are distributed by Canyon Cinema in San Francisco and The Film Makers Cooperative in New York City.\nA 2007 comic strip by Dave Kiersh in Syncopated Volume 3 (Syncopated Comics, 2007) tells of his relationship with Peterson, who was a friend of Kiersh's grandmother.\nOn December 30, 2009, the Library of Congress named Peterson's The Lead Shoes (1949) to the National Film Registry.","bio_dates":"1905-2004"},{"slug":"pfeiffer_paul_live_evil_auckland_2002","ok":true,"partial":false,"title":"Live Evil (Auckland)","artist":"Paul Pfeiffer","year":"2002","startOffset":0,"sourceSecs":441.211,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":9282652,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_live_evil_auckland_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_live_evil_auckland_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pfeiffer_paul_live_evil_auckland_2002.mp4","hasFrames":true,"description":"Pfeiffer is slightly obsessed with Michael Jackson. The artist’s 2002 video “Live Evil” turned the pop star into a flailing sort of insect; his latest piece uses footage from a 1993 press conference in which Jacko addressed molestation charges. In the two-screen installation, the singer’s words are echoed by a modern-day Greek chorus. Pfeiffer, with his sly digital edits, breathes new life into the old story of a pop star’s fall from grace. — Karen Rosenberg<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Paul Pfeiffer was born in Honolulu in 1966 and grew up in the Philippines. He received a BFA from the San Francisco Art Institute in 1987 and an MFA from Hunter College in New York in 1994. He then participated in the Whitney Museum of American Art’s Independent Study Program (1997–98). In his photographs and video installations, which often have religious titles, Pfeiffer utilizes new technology to destabilize the experience of viewing, whether through the erasure of the central athlete in sports spectacles or by splicing scenes so as to trap figures in endless repetition. For example, in The Pure Products Go Crazy (1998), Tom Cruise is stuck perpetually wiggling about in his underwear in the iconic scene from Risky Business. In Fragment of a Crucifixion (after Francis Bacon) (1999), basketball player Larry Johnson’s repeated triumphant roars become ambiguous cries of either torment or exhilaration. Basketball heroes are erased from their courts in the digital films John 3:16 (2000) and Three Studies of Figures at the Base of a Crucifixion (2001). Similarly, in the film trilogy The Long Count (2000–01), Pfeiffer removes Muhammad Ali and his opponents from the footage of the boxer’s three career-defining fights, leaving behind only specters cast hazily across the packed stands and an empty boxing ring. Such momentous events are rendered unmonumental through the eradication of central figures and the tiny scale in which the films are shown, often no larger than a postcard. In the series Four Horsemen of the Apocalypse (2001), bodies remain but identities disappear in large-scale photographs of the backs of basketballs players in plain white uniforms devoid of the team colors and the last name of the player.\nPfeiffer referenced climactic scenes from classic horror movies such as The Exorcist in Quod Nomen Mihi Est? (1998), Psycho in Self-Portrait as a Fountain (2000), and The Amityville Horror in Dutch Interior (2001), employing sculpture and video to suggestively position the viewer amid the nightmare. In other films, Pfeiffer inventively scrutinized such diverse subjects as the artistic trope of the sunrise/sunset in Morning after the Deluge (2001), the life cycle of wasps in Empire (2004), and Michael Jackson’s confession to bringing children into his bed in Live from Neverland (2006). His recent work explicitly confronts the exploitation of the subject before the camera, for example revealing a gorilla forced to perform in Koko (2007).\nSolo exhibitions of Pfeiffer’s work have been shown at the UCLA Hammer Museum in Los Angeles (2001), Whitney Museum of American Art in New York (2002), Museum of Contemporary Art in Honolulu (2003), Museum of Contemporary Art in Chicago (2003), Museum of Art at Middlebury College, Vermont (2005), and Thyssen Bornemisza Art Contemporary at Kunstzone Karlsplatz Technische Universitat in Vienna (2008). His work has also been included in major exhibitions such as Whitney Biennial (2000), Venice Biennale (2001), SITE Santa Fe (2003), The Shapes of Space at the Solomon R. Guggenheim Museum (2007), and the Sydney Biennial (2008). Pfeiffer lives and work in New York City.","bio_dates":"b. 1966"},{"slug":"pfeiffer_paul_live_evil_copenhagen_2003","ok":true,"partial":false,"title":"Live Evil (Copenhagen)","artist":"Paul Pfeiffer","year":"2002","startOffset":0,"sourceSecs":45.746,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":7405088,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_live_evil_copenhagen_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_live_evil_copenhagen_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pfeiffer_paul_live_evil_copenhagen_2003.mp4","hasFrames":true,"description":"Pfeiffer is slightly obsessed with Michael Jackson. The artist’s 2002 video “Live Evil” turned the pop star into a flailing sort of insect; his latest piece uses footage from a 1993 press conference in which Jacko addressed molestation charges. In the two-screen installation, the singer’s words are echoed by a modern-day Greek chorus. Pfeiffer, with his sly digital edits, breathes new life into the old story of a pop star’s fall from grace. — Karen Rosenberg<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Paul Pfeiffer was born in Honolulu in 1966 and grew up in the Philippines. He received a BFA from the San Francisco Art Institute in 1987 and an MFA from Hunter College in New York in 1994. He then participated in the Whitney Museum of American Art’s Independent Study Program (1997–98). In his photographs and video installations, which often have religious titles, Pfeiffer utilizes new technology to destabilize the experience of viewing, whether through the erasure of the central athlete in sports spectacles or by splicing scenes so as to trap figures in endless repetition. For example, in The Pure Products Go Crazy (1998), Tom Cruise is stuck perpetually wiggling about in his underwear in the iconic scene from Risky Business. In Fragment of a Crucifixion (after Francis Bacon) (1999), basketball player Larry Johnson’s repeated triumphant roars become ambiguous cries of either torment or exhilaration. Basketball heroes are erased from their courts in the digital films John 3:16 (2000) and Three Studies of Figures at the Base of a Crucifixion (2001). Similarly, in the film trilogy The Long Count (2000–01), Pfeiffer removes Muhammad Ali and his opponents from the footage of the boxer’s three career-defining fights, leaving behind only specters cast hazily across the packed stands and an empty boxing ring. Such momentous events are rendered unmonumental through the eradication of central figures and the tiny scale in which the films are shown, often no larger than a postcard. In the series Four Horsemen of the Apocalypse (2001), bodies remain but identities disappear in large-scale photographs of the backs of basketballs players in plain white uniforms devoid of the team colors and the last name of the player.\nPfeiffer referenced climactic scenes from classic horror movies such as The Exorcist in Quod Nomen Mihi Est? (1998), Psycho in Self-Portrait as a Fountain (2000), and The Amityville Horror in Dutch Interior (2001), employing sculpture and video to suggestively position the viewer amid the nightmare. In other films, Pfeiffer inventively scrutinized such diverse subjects as the artistic trope of the sunrise/sunset in Morning after the Deluge (2001), the life cycle of wasps in Empire (2004), and Michael Jackson’s confession to bringing children into his bed in Live from Neverland (2006). His recent work explicitly confronts the exploitation of the subject before the camera, for example revealing a gorilla forced to perform in Koko (2007).\nSolo exhibitions of Pfeiffer’s work have been shown at the UCLA Hammer Museum in Los Angeles (2001), Whitney Museum of American Art in New York (2002), Museum of Contemporary Art in Honolulu (2003), Museum of Contemporary Art in Chicago (2003), Museum of Art at Middlebury College, Vermont (2005), and Thyssen Bornemisza Art Contemporary at Kunstzone Karlsplatz Technische Universitat in Vienna (2008). His work has also been included in major exhibitions such as Whitney Biennial (2000), Venice Biennale (2001), SITE Santa Fe (2003), The Shapes of Space at the Solomon R. Guggenheim Museum (2007), and the Sydney Biennial (2008). Pfeiffer lives and work in New York City.","bio_dates":"b. 1966"},{"slug":"pfeiffer_paul_live_evil_kuala_lumpur_2003","ok":true,"partial":false,"title":"Live Evil (Kuala Lumpur)","artist":"Paul Pfeiffer","year":"2002","startOffset":0,"sourceSecs":44.344,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":7191511,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_live_evil_kuala_lumpur_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_live_evil_kuala_lumpur_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pfeiffer_paul_live_evil_kuala_lumpur_2003.mp4","hasFrames":true,"description":"Pfeiffer is slightly obsessed with Michael Jackson. The artist’s 2002 video “Live Evil” turned the pop star into a flailing sort of insect; his latest piece uses footage from a 1993 press conference in which Jacko addressed molestation charges. In the two-screen installation, the singer’s words are echoed by a modern-day Greek chorus. Pfeiffer, with his sly digital edits, breathes new life into the old story of a pop star’s fall from grace. — Karen Rosenberg<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Paul Pfeiffer was born in Honolulu in 1966 and grew up in the Philippines. He received a BFA from the San Francisco Art Institute in 1987 and an MFA from Hunter College in New York in 1994. He then participated in the Whitney Museum of American Art’s Independent Study Program (1997–98). In his photographs and video installations, which often have religious titles, Pfeiffer utilizes new technology to destabilize the experience of viewing, whether through the erasure of the central athlete in sports spectacles or by splicing scenes so as to trap figures in endless repetition. For example, in The Pure Products Go Crazy (1998), Tom Cruise is stuck perpetually wiggling about in his underwear in the iconic scene from Risky Business. In Fragment of a Crucifixion (after Francis Bacon) (1999), basketball player Larry Johnson’s repeated triumphant roars become ambiguous cries of either torment or exhilaration. Basketball heroes are erased from their courts in the digital films John 3:16 (2000) and Three Studies of Figures at the Base of a Crucifixion (2001). Similarly, in the film trilogy The Long Count (2000–01), Pfeiffer removes Muhammad Ali and his opponents from the footage of the boxer’s three career-defining fights, leaving behind only specters cast hazily across the packed stands and an empty boxing ring. Such momentous events are rendered unmonumental through the eradication of central figures and the tiny scale in which the films are shown, often no larger than a postcard. In the series Four Horsemen of the Apocalypse (2001), bodies remain but identities disappear in large-scale photographs of the backs of basketballs players in plain white uniforms devoid of the team colors and the last name of the player.\nPfeiffer referenced climactic scenes from classic horror movies such as The Exorcist in Quod Nomen Mihi Est? (1998), Psycho in Self-Portrait as a Fountain (2000), and The Amityville Horror in Dutch Interior (2001), employing sculpture and video to suggestively position the viewer amid the nightmare. In other films, Pfeiffer inventively scrutinized such diverse subjects as the artistic trope of the sunrise/sunset in Morning after the Deluge (2001), the life cycle of wasps in Empire (2004), and Michael Jackson’s confession to bringing children into his bed in Live from Neverland (2006). His recent work explicitly confronts the exploitation of the subject before the camera, for example revealing a gorilla forced to perform in Koko (2007).\nSolo exhibitions of Pfeiffer’s work have been shown at the UCLA Hammer Museum in Los Angeles (2001), Whitney Museum of American Art in New York (2002), Museum of Contemporary Art in Honolulu (2003), Museum of Contemporary Art in Chicago (2003), Museum of Art at Middlebury College, Vermont (2005), and Thyssen Bornemisza Art Contemporary at Kunstzone Karlsplatz Technische Universitat in Vienna (2008). His work has also been included in major exhibitions such as Whitney Biennial (2000), Venice Biennale (2001), SITE Santa Fe (2003), The Shapes of Space at the Solomon R. Guggenheim Museum (2007), and the Sydney Biennial (2008). Pfeiffer lives and work in New York City.","bio_dates":"b. 1966"},{"slug":"pfeiffer_paul_morning_after_the_deluge_2003","ok":true,"partial":false,"title":"Morning After the Deluge","artist":"Paul Pfeiffer","year":"2001","startOffset":0,"sourceSecs":117.818,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":18299563,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_morning_after_the_deluge_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_morning_after_the_deluge_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pfeiffer_paul_morning_after_the_deluge_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pfeiffer_paul_morning_after_the_deluge_2003/main.mp4?v=2","description":"In the middle, there’s the sun. Behind the sun, there’s the sky, a golden orange. Wisps of cloud are tinged brown. Sometimes there’s the flapping silhouette of a passing bird. And near the top, there’s some kind of black band that runs across the width of the projection. As it scrolls slowly, ever so slowly, downward, moving in front of the sun, reaching the very bottom of the image, then reappearing at the top, it ripples. It’s water. It’s rather a neat trick. Two films of the sky over Cape Cod – one of a sunrise, the other of a sunset – have been combined. The midpoint of the video projection – when the ribbon of sea is halfway down the screen, passing right through the middle of the blazing red sun – is actually made up of an image of a half-risen sun, and upside-down, that of a half-set sun. In one sense, then, The Morning After the Deluge (2003) could be seen within the tradition of formalist experimentation in film. Digital technology is used to create a seamless illusion, but one that simultaneously alerts the viewer to the very mechanics of that illusion. <br/><br/> And, like the best tricks, it’s unsettling. The constant scrolling of the black band of water, the passage of Earth’s horizon around the unmoving sun, seems to confound human experience, while at the same time confirming what we scientifically hold to be true. And though at first the image seems almost serene, the perpetual repetition of day followed by day starts to convey an awful, chilling sense of timelessness. -- Gabriel Coxhead<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Paul Pfeiffer was born in Honolulu in 1966 and grew up in the Philippines. He received a BFA from the San Francisco Art Institute in 1987 and an MFA from Hunter College in New York in 1994. He then participated in the Whitney Museum of American Art’s Independent Study Program (1997–98). In his photographs and video installations, which often have religious titles, Pfeiffer utilizes new technology to destabilize the experience of viewing, whether through the erasure of the central athlete in sports spectacles or by splicing scenes so as to trap figures in endless repetition. For example, in The Pure Products Go Crazy (1998), Tom Cruise is stuck perpetually wiggling about in his underwear in the iconic scene from Risky Business. In Fragment of a Crucifixion (after Francis Bacon) (1999), basketball player Larry Johnson’s repeated triumphant roars become ambiguous cries of either torment or exhilaration. Basketball heroes are erased from their courts in the digital films John 3:16 (2000) and Three Studies of Figures at the Base of a Crucifixion (2001). Similarly, in the film trilogy The Long Count (2000–01), Pfeiffer removes Muhammad Ali and his opponents from the footage of the boxer’s three career-defining fights, leaving behind only specters cast hazily across the packed stands and an empty boxing ring. Such momentous events are rendered unmonumental through the eradication of central figures and the tiny scale in which the films are shown, often no larger than a postcard. In the series Four Horsemen of the Apocalypse (2001), bodies remain but identities disappear in large-scale photographs of the backs of basketballs players in plain white uniforms devoid of the team colors and the last name of the player.\nPfeiffer referenced climactic scenes from classic horror movies such as The Exorcist in Quod Nomen Mihi Est? (1998), Psycho in Self-Portrait as a Fountain (2000), and The Amityville Horror in Dutch Interior (2001), employing sculpture and video to suggestively position the viewer amid the nightmare. In other films, Pfeiffer inventively scrutinized such diverse subjects as the artistic trope of the sunrise/sunset in Morning after the Deluge (2001), the life cycle of wasps in Empire (2004), and Michael Jackson’s confession to bringing children into his bed in Live from Neverland (2006). His recent work explicitly confronts the exploitation of the subject before the camera, for example revealing a gorilla forced to perform in Koko (2007).\nSolo exhibitions of Pfeiffer’s work have been shown at the UCLA Hammer Museum in Los Angeles (2001), Whitney Museum of American Art in New York (2002), Museum of Contemporary Art in Honolulu (2003), Museum of Contemporary Art in Chicago (2003), Museum of Art at Middlebury College, Vermont (2005), and Thyssen Bornemisza Art Contemporary at Kunstzone Karlsplatz Technische Universitat in Vienna (2008). His work has also been included in major exhibitions such as Whitney Biennial (2000), Venice Biennale (2001), SITE Santa Fe (2003), The Shapes of Space at the Solomon R. Guggenheim Museum (2007), and the Sydney Biennial (2008). Pfeiffer lives and work in New York City.","bio_dates":"b. 1966"},{"slug":"pfeiffer_paul_orpheus_descending_2001","ok":true,"partial":false,"title":"Orpheus Descending","artist":"Paul Pfeiffer","year":"2001","startOffset":0,"sourceSecs":121.788,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":21170450,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_orpheus_descending_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_orpheus_descending_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pfeiffer_paul_orpheus_descending_2001.mp4","hasFrames":true,"description":"On video monitors installed above the steady flow of pedestrian traffic, Orpheus Descending by Paul Pfeiffer (b.1966, Honolulu, Hawaii) displays the ten-week life cycle of a flock of chickens as they hatch from their eggs and develop from day-old chicks to full-grown adults. The video is displayed in real time, twenty-four hours a day, seven days a week, for the full duration of the birds' seventy-five day life cycle. Installed in two of New York’s most definitive urban thoroughfares, the World Trade Center and the World Financial Center, Orpheus Descending opens a window onto nature, revealing the cycles of life amid the green lushness of a farmyard setting. Commuters are afforded a daily glimpse of an unfolding pastoral drama during their brief journey to and from work. The video does not require conscious engagement from its viewers, yet it is intended to be seen day after day in passing as a subliminal image.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Paul Pfeiffer was born in Honolulu in 1966 and grew up in the Philippines. He received a BFA from the San Francisco Art Institute in 1987 and an MFA from Hunter College in New York in 1994. He then participated in the Whitney Museum of American Art’s Independent Study Program (1997–98). In his photographs and video installations, which often have religious titles, Pfeiffer utilizes new technology to destabilize the experience of viewing, whether through the erasure of the central athlete in sports spectacles or by splicing scenes so as to trap figures in endless repetition. For example, in The Pure Products Go Crazy (1998), Tom Cruise is stuck perpetually wiggling about in his underwear in the iconic scene from Risky Business. In Fragment of a Crucifixion (after Francis Bacon) (1999), basketball player Larry Johnson’s repeated triumphant roars become ambiguous cries of either torment or exhilaration. Basketball heroes are erased from their courts in the digital films John 3:16 (2000) and Three Studies of Figures at the Base of a Crucifixion (2001). Similarly, in the film trilogy The Long Count (2000–01), Pfeiffer removes Muhammad Ali and his opponents from the footage of the boxer’s three career-defining fights, leaving behind only specters cast hazily across the packed stands and an empty boxing ring. Such momentous events are rendered unmonumental through the eradication of central figures and the tiny scale in which the films are shown, often no larger than a postcard. In the series Four Horsemen of the Apocalypse (2001), bodies remain but identities disappear in large-scale photographs of the backs of basketballs players in plain white uniforms devoid of the team colors and the last name of the player.\nPfeiffer referenced climactic scenes from classic horror movies such as The Exorcist in Quod Nomen Mihi Est? (1998), Psycho in Self-Portrait as a Fountain (2000), and The Amityville Horror in Dutch Interior (2001), employing sculpture and video to suggestively position the viewer amid the nightmare. In other films, Pfeiffer inventively scrutinized such diverse subjects as the artistic trope of the sunrise/sunset in Morning after the Deluge (2001), the life cycle of wasps in Empire (2004), and Michael Jackson’s confession to bringing children into his bed in Live from Neverland (2006). His recent work explicitly confronts the exploitation of the subject before the camera, for example revealing a gorilla forced to perform in Koko (2007).\nSolo exhibitions of Pfeiffer’s work have been shown at the UCLA Hammer Museum in Los Angeles (2001), Whitney Museum of American Art in New York (2002), Museum of Contemporary Art in Honolulu (2003), Museum of Contemporary Art in Chicago (2003), Museum of Art at Middlebury College, Vermont (2005), and Thyssen Bornemisza Art Contemporary at Kunstzone Karlsplatz Technische Universitat in Vienna (2008). His work has also been included in major exhibitions such as Whitney Biennial (2000), Venice Biennale (2001), SITE Santa Fe (2003), The Shapes of Space at the Solomon R. Guggenheim Museum (2007), and the Sydney Biennial (2008). Pfeiffer lives and work in New York City.","bio_dates":"b. 1966"},{"slug":"pfeiffer_paul_race_riot_2001","ok":true,"partial":false,"title":"Race Riot","artist":"Paul Pfeiffer","year":"2001","startOffset":0,"sourceSecs":1284.056,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":3275253,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_race_riot_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_race_riot_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pfeiffer_paul_race_riot_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pfeiffer_paul_race_riot_2001/main.mp4?v=2","description":"\"\"Race Riot,\" Pfeiffer's startling new video, is only as large as the tiny pop-out screen on a digital camera. The peepholelike presentation of the piece, which is mounted on a pedestal in a tall glass vitrine, might seem more appropriate for a display of insect specimens than a work of contemporary art. But there is a reason behind it. \"It forces concentration,\" Mr. Pfeiffer explains, \"and a very intimate distance with the viewer.\" <br/><br/> Yet \"Race Riot,\" which Mr. Pfeiffer calls a video sculpture, could hardly be more contemporary or have more to do with the viewing of art. It pictures not an insurrection, but a pileup on a basketball court as several players skirmish for the ball. Only after adjusting to the reduced scale and bleached tone of the image does one see what is there: frantic, dark hands stroking white-uniformed bodies in a clinical undressing of desire.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Paul Pfeiffer was born in Honolulu in 1966 and grew up in the Philippines. He received a BFA from the San Francisco Art Institute in 1987 and an MFA from Hunter College in New York in 1994. He then participated in the Whitney Museum of American Art’s Independent Study Program (1997–98). In his photographs and video installations, which often have religious titles, Pfeiffer utilizes new technology to destabilize the experience of viewing, whether through the erasure of the central athlete in sports spectacles or by splicing scenes so as to trap figures in endless repetition. For example, in The Pure Products Go Crazy (1998), Tom Cruise is stuck perpetually wiggling about in his underwear in the iconic scene from Risky Business. In Fragment of a Crucifixion (after Francis Bacon) (1999), basketball player Larry Johnson’s repeated triumphant roars become ambiguous cries of either torment or exhilaration. Basketball heroes are erased from their courts in the digital films John 3:16 (2000) and Three Studies of Figures at the Base of a Crucifixion (2001). Similarly, in the film trilogy The Long Count (2000–01), Pfeiffer removes Muhammad Ali and his opponents from the footage of the boxer’s three career-defining fights, leaving behind only specters cast hazily across the packed stands and an empty boxing ring. Such momentous events are rendered unmonumental through the eradication of central figures and the tiny scale in which the films are shown, often no larger than a postcard. In the series Four Horsemen of the Apocalypse (2001), bodies remain but identities disappear in large-scale photographs of the backs of basketballs players in plain white uniforms devoid of the team colors and the last name of the player.\nPfeiffer referenced climactic scenes from classic horror movies such as The Exorcist in Quod Nomen Mihi Est? (1998), Psycho in Self-Portrait as a Fountain (2000), and The Amityville Horror in Dutch Interior (2001), employing sculpture and video to suggestively position the viewer amid the nightmare. In other films, Pfeiffer inventively scrutinized such diverse subjects as the artistic trope of the sunrise/sunset in Morning after the Deluge (2001), the life cycle of wasps in Empire (2004), and Michael Jackson’s confession to bringing children into his bed in Live from Neverland (2006). His recent work explicitly confronts the exploitation of the subject before the camera, for example revealing a gorilla forced to perform in Koko (2007).\nSolo exhibitions of Pfeiffer’s work have been shown at the UCLA Hammer Museum in Los Angeles (2001), Whitney Museum of American Art in New York (2002), Museum of Contemporary Art in Honolulu (2003), Museum of Contemporary Art in Chicago (2003), Museum of Art at Middlebury College, Vermont (2005), and Thyssen Bornemisza Art Contemporary at Kunstzone Karlsplatz Technische Universitat in Vienna (2008). His work has also been included in major exhibitions such as Whitney Biennial (2000), Venice Biennale (2001), SITE Santa Fe (2003), The Shapes of Space at the Solomon R. Guggenheim Museum (2007), and the Sydney Biennial (2008). Pfeiffer lives and work in New York City.","bio_dates":"b. 1966"},{"slug":"pfeiffer_paul_the_long_count_rumble_in_the_jungle_2001","ok":true,"partial":false,"title":"The Long Count (Rumble In The Jungle)","artist":"Paul Pfeiffer","year":"2001","startOffset":0,"sourceSecs":47.464,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":7896,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_the_long_count_rumble_in_the_jungle_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_the_long_count_rumble_in_the_jungle_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pfeiffer_paul_the_long_count_rumble_in_the_jungle_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pfeiffer_paul_the_long_count_rumble_in_the_jungle_2001/main.mp4?v=2","description":"<b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Paul Pfeiffer was born in Honolulu in 1966 and grew up in the Philippines. He received a BFA from the San Francisco Art Institute in 1987 and an MFA from Hunter College in New York in 1994. He then participated in the Whitney Museum of American Art’s Independent Study Program (1997–98). In his photographs and video installations, which often have religious titles, Pfeiffer utilizes new technology to destabilize the experience of viewing, whether through the erasure of the central athlete in sports spectacles or by splicing scenes so as to trap figures in endless repetition. For example, in The Pure Products Go Crazy (1998), Tom Cruise is stuck perpetually wiggling about in his underwear in the iconic scene from Risky Business. In Fragment of a Crucifixion (after Francis Bacon) (1999), basketball player Larry Johnson’s repeated triumphant roars become ambiguous cries of either torment or exhilaration. Basketball heroes are erased from their courts in the digital films John 3:16 (2000) and Three Studies of Figures at the Base of a Crucifixion (2001). Similarly, in the film trilogy The Long Count (2000–01), Pfeiffer removes Muhammad Ali and his opponents from the footage of the boxer’s three career-defining fights, leaving behind only specters cast hazily across the packed stands and an empty boxing ring. Such momentous events are rendered unmonumental through the eradication of central figures and the tiny scale in which the films are shown, often no larger than a postcard. In the series Four Horsemen of the Apocalypse (2001), bodies remain but identities disappear in large-scale photographs of the backs of basketballs players in plain white uniforms devoid of the team colors and the last name of the player.\nPfeiffer referenced climactic scenes from classic horror movies such as The Exorcist in Quod Nomen Mihi Est? (1998), Psycho in Self-Portrait as a Fountain (2000), and The Amityville Horror in Dutch Interior (2001), employing sculpture and video to suggestively position the viewer amid the nightmare. In other films, Pfeiffer inventively scrutinized such diverse subjects as the artistic trope of the sunrise/sunset in Morning after the Deluge (2001), the life cycle of wasps in Empire (2004), and Michael Jackson’s confession to bringing children into his bed in Live from Neverland (2006). His recent work explicitly confronts the exploitation of the subject before the camera, for example revealing a gorilla forced to perform in Koko (2007).\nSolo exhibitions of Pfeiffer’s work have been shown at the UCLA Hammer Museum in Los Angeles (2001), Whitney Museum of American Art in New York (2002), Museum of Contemporary Art in Honolulu (2003), Museum of Contemporary Art in Chicago (2003), Museum of Art at Middlebury College, Vermont (2005), and Thyssen Bornemisza Art Contemporary at Kunstzone Karlsplatz Technische Universitat in Vienna (2008). His work has also been included in major exhibitions such as Whitney Biennial (2000), Venice Biennale (2001), SITE Santa Fe (2003), The Shapes of Space at the Solomon R. Guggenheim Museum (2007), and the Sydney Biennial (2008). Pfeiffer lives and work in New York City.","bio_dates":"b. 1966"},{"slug":"pfeiffer_paul_the_long_count_thrilla_in_manila_2001","ok":true,"partial":false,"title":"Long Count III (Thrilla in Manila)","artist":"Paul Pfeiffer","year":"2001","startOffset":0,"sourceSecs":42.175,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":8602,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_the_long_count_thrilla_in_manila_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_the_long_count_thrilla_in_manila_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pfeiffer_paul_the_long_count_thrilla_in_manila_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pfeiffer_paul_the_long_count_thrilla_in_manila_2001/main.mp4?v=2","description":"Long Count III (Thrilla in Manila) (2001), which shows the fight in 1975 between heavyweight champions Muhammad Ali and Joe Frazier. Pfeiffer digitally erases the boxers from the film so that the viewers’ attention shifts from watching the missing fighters, to the roaring crowd cheering back at them.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Paul Pfeiffer was born in Honolulu in 1966 and grew up in the Philippines. He received a BFA from the San Francisco Art Institute in 1987 and an MFA from Hunter College in New York in 1994. He then participated in the Whitney Museum of American Art’s Independent Study Program (1997–98). In his photographs and video installations, which often have religious titles, Pfeiffer utilizes new technology to destabilize the experience of viewing, whether through the erasure of the central athlete in sports spectacles or by splicing scenes so as to trap figures in endless repetition. For example, in The Pure Products Go Crazy (1998), Tom Cruise is stuck perpetually wiggling about in his underwear in the iconic scene from Risky Business. In Fragment of a Crucifixion (after Francis Bacon) (1999), basketball player Larry Johnson’s repeated triumphant roars become ambiguous cries of either torment or exhilaration. Basketball heroes are erased from their courts in the digital films John 3:16 (2000) and Three Studies of Figures at the Base of a Crucifixion (2001). Similarly, in the film trilogy The Long Count (2000–01), Pfeiffer removes Muhammad Ali and his opponents from the footage of the boxer’s three career-defining fights, leaving behind only specters cast hazily across the packed stands and an empty boxing ring. Such momentous events are rendered unmonumental through the eradication of central figures and the tiny scale in which the films are shown, often no larger than a postcard. In the series Four Horsemen of the Apocalypse (2001), bodies remain but identities disappear in large-scale photographs of the backs of basketballs players in plain white uniforms devoid of the team colors and the last name of the player.\nPfeiffer referenced climactic scenes from classic horror movies such as The Exorcist in Quod Nomen Mihi Est? (1998), Psycho in Self-Portrait as a Fountain (2000), and The Amityville Horror in Dutch Interior (2001), employing sculpture and video to suggestively position the viewer amid the nightmare. In other films, Pfeiffer inventively scrutinized such diverse subjects as the artistic trope of the sunrise/sunset in Morning after the Deluge (2001), the life cycle of wasps in Empire (2004), and Michael Jackson’s confession to bringing children into his bed in Live from Neverland (2006). His recent work explicitly confronts the exploitation of the subject before the camera, for example revealing a gorilla forced to perform in Koko (2007).\nSolo exhibitions of Pfeiffer’s work have been shown at the UCLA Hammer Museum in Los Angeles (2001), Whitney Museum of American Art in New York (2002), Museum of Contemporary Art in Honolulu (2003), Museum of Contemporary Art in Chicago (2003), Museum of Art at Middlebury College, Vermont (2005), and Thyssen Bornemisza Art Contemporary at Kunstzone Karlsplatz Technische Universitat in Vienna (2008). His work has also been included in major exhibitions such as Whitney Biennial (2000), Venice Biennale (2001), SITE Santa Fe (2003), The Shapes of Space at the Solomon R. Guggenheim Museum (2007), and the Sydney Biennial (2008). Pfeiffer lives and work in New York City.","bio_dates":"b. 1966"},{"slug":"pfeiffer_paul_the_pure_products_go_crazy_1998","ok":true,"partial":false,"title":"The Pure Products Go Crazy","artist":"Paul Pfeiffer","year":"1998","startOffset":0,"sourceSecs":843.649,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":2158737,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_the_pure_products_go_crazy_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_paul_the_pure_products_go_crazy_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pfeiffer_paul_the_pure_products_go_crazy_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pfeiffer_paul_the_pure_products_go_crazy_1998/main.mp4?v=2","description":"Tom Cruise is stuck perpetually wiggling about in his underwear in the iconic scene from Risky Business.<br><br><b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Paul Pfeiffer was born in Honolulu in 1966 and grew up in the Philippines. He received a BFA from the San Francisco Art Institute in 1987 and an MFA from Hunter College in New York in 1994. He then participated in the Whitney Museum of American Art’s Independent Study Program (1997–98). In his photographs and video installations, which often have religious titles, Pfeiffer utilizes new technology to destabilize the experience of viewing, whether through the erasure of the central athlete in sports spectacles or by splicing scenes so as to trap figures in endless repetition. For example, in The Pure Products Go Crazy (1998), Tom Cruise is stuck perpetually wiggling about in his underwear in the iconic scene from Risky Business. In Fragment of a Crucifixion (after Francis Bacon) (1999), basketball player Larry Johnson’s repeated triumphant roars become ambiguous cries of either torment or exhilaration. Basketball heroes are erased from their courts in the digital films John 3:16 (2000) and Three Studies of Figures at the Base of a Crucifixion (2001). Similarly, in the film trilogy The Long Count (2000–01), Pfeiffer removes Muhammad Ali and his opponents from the footage of the boxer’s three career-defining fights, leaving behind only specters cast hazily across the packed stands and an empty boxing ring. Such momentous events are rendered unmonumental through the eradication of central figures and the tiny scale in which the films are shown, often no larger than a postcard. In the series Four Horsemen of the Apocalypse (2001), bodies remain but identities disappear in large-scale photographs of the backs of basketballs players in plain white uniforms devoid of the team colors and the last name of the player.\nPfeiffer referenced climactic scenes from classic horror movies such as The Exorcist in Quod Nomen Mihi Est? (1998), Psycho in Self-Portrait as a Fountain (2000), and The Amityville Horror in Dutch Interior (2001), employing sculpture and video to suggestively position the viewer amid the nightmare. In other films, Pfeiffer inventively scrutinized such diverse subjects as the artistic trope of the sunrise/sunset in Morning after the Deluge (2001), the life cycle of wasps in Empire (2004), and Michael Jackson’s confession to bringing children into his bed in Live from Neverland (2006). His recent work explicitly confronts the exploitation of the subject before the camera, for example revealing a gorilla forced to perform in Koko (2007).\nSolo exhibitions of Pfeiffer’s work have been shown at the UCLA Hammer Museum in Los Angeles (2001), Whitney Museum of American Art in New York (2002), Museum of Contemporary Art in Honolulu (2003), Museum of Contemporary Art in Chicago (2003), Museum of Art at Middlebury College, Vermont (2005), and Thyssen Bornemisza Art Contemporary at Kunstzone Karlsplatz Technische Universitat in Vienna (2008). His work has also been included in major exhibitions such as Whitney Biennial (2000), Venice Biennale (2001), SITE Santa Fe (2003), The Shapes of Space at the Solomon R. Guggenheim Museum (2007), and the Sydney Biennial (2008). Pfeiffer lives and work in New York City.","bio_dates":"b. 1966"},{"slug":"pfeiffer_walter_works_1977_2001","ok":true,"partial":false,"title":"Films: Music for Millions (1977) Kawasaki Cut (1985) and The Plaza","artist":"Walter Pfeiffer","year":"1985-2001","startOffset":0,"sourceSecs":1497.083,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":261807843,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_walter_works_1977_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pfeiffer_walter_works_1977_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pfeiffer_walter_works_1977_2001.mp4","hasFrames":true,"description":"Walter Pfeiffer began practicing photography in the 1970s with no technical ambition, but with the will to provide a new visual vocabulary for beauty, eroticism and freedom of spirit. His work gained its initial recognition through an underground network of admirers, and today it has achieved cult status. (In a 2003 Artforum review, Bob Nickas wrote: 'Imagine an optical device designed to project--and then to trace--a virtual image of desire onto the plane surface of everyday life. That would be Walter Pfeiffer's libidinal camera lucida. Since the late 6os÷Pfeiffer has sought (and caught) images of youth and beauty as if on an endless quest, the avocation of entwined hedonism and reportage its own reward. And ours.')Over the time that Pfeiffer spent exploring the sexualization of the everyday in that work, he also directed several videos showing his friends hanging out in his Zurich studio. For the very first time, these rare and funny scenes, Music for Millions (1977) Kawasaki Cut (1985) and The Plaza (1985-2001) have here been compiled on DVD. Their release provides the occasion to reassess Pfeiffer's pioneering positions both in contemporary art and in the culture at large.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Ira Cohen in UbuWeb Sound</a>","bio_dates":"b. 1946"},{"slug":"pflumm_daniel_logos_auf_schwarz_1997","ok":true,"partial":false,"title":"Logos auf Schwarz","artist":"Daniel Pflumm","year":"1997","startOffset":0,"sourceSecs":2009.16,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":338494019,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pflumm_daniel_logos_auf_schwarz_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pflumm_daniel_logos_auf_schwarz_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pflumm_daniel_logos_auf_schwarz_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pflumm_daniel_logos_auf_schwarz_1997/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pflumm_daniel_logos_auf_schwarz_1997/main/master.m3u8?v=2","hasMainHls":true,"description":"Daniel Pflumm operates with the glossy veneer of smooth surfaces: garish logos, corporate symbols and brand-names frenetically alternate (backed by Arj Snoek's music). Pflumm detaches the labels from their context (TV or Internet), re-models them on the computer, breaks them down into their structural elements, and sets these constituents spinning in an endless loop. In «logo on black» (for the black box, the cinema, the club) from 1997, lettering of any kind has been manually eliminated (censored) or electronically screened until illegible. Pflumm also combines found material with the labels adorning his own projects (and these labels, in turn, are sometimes appropriated from companies): in his videos, the boundaries are fluid between Elektro (Club, 1992–1994), AT&T, Panasonic (Club, 1995–1997), Esso, PAN AM, WMF (Club) and Microsoft.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1968"},{"slug":"phalle_niiki_sainte_peter_whitehead_daddy_1973","ok":true,"partial":false,"title":"Sainte Peter Whitehead Daddy","artist":"Niki de Saint Phalle","year":"1973","startOffset":0,"sourceSecs":5017.8,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":856654891,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/phalle_niiki_sainte_peter_whitehead_daddy_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/phalle_niiki_sainte_peter_whitehead_daddy_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/phalle_niiki_sainte_peter_whitehead_daddy_1973.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/phalle_niiki_sainte_peter_whitehead_daddy_1973/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/phalle_niiki_sainte_peter_whitehead_daddy_1973/main/master.m3u8?v=2","hasMainHls":true,"description":"The DVD came from Peter Whitehead himself and is probably the best quality copy of this film available.\n\n\"What began as a documentary on sculptress Niki de St. Phalle finished up as a fantasy about a woman's attempts to exorcise the influence of her sexually domineering father. It provides an excuse for a whole ragbag of Freudian neuroses, six-foot phalluses in coffins, nubile girls in nun's habits stripping in front of altars, masturbation, some obvious jokes, pretty photography, abysmal acting, and a commentary that reads and sounds like a Home Service children's story for adults\" (Chris Petit, Time Out)\n\n\"A psycho-therapeutic collaboration with sculptress Niki de St. Phalle and the closest Whitehead ever got to making a fictional movie. Daddy is a garish, uninhibitedly relentless assault on the Law of the Father, in which a daughter (de St. Phalle), returning to the French chateau of her childhood, re-lives and re-imagines a series of erotic taboos and transgressions visited on the hapless daddy (Rainer von Dietz) featuring herself, her mother and a pubescent convent girl (Mia Martin) ... Deliberately vulgar and tasteless, with a level of non-acting that achieves a certain kind of awful brilliance. Watch out for a few glimpses of Whitehead uncredited as Daddy's falconer\" (Entropy)"},{"slug":"phalle_niki_de_saint_the_travelling_companion_1977","ok":true,"partial":false,"title":"The Travelling Companion","artist":"Niki de Saint Phalle","year":"1977","startOffset":0,"sourceSecs":463.98,"sourceHeight":538,"sourceWidth":724,"hasAudio":true,"hasAmbientMp4":true,"bytes":84319337,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/phalle_niki_de_saint_the_travelling_companion_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/phalle_niki_de_saint_the_travelling_companion_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/phalle_niki_de_saint_the_travelling_companion_1977.mkv","hasFrames":true,"description":"This week, we celebrate the visionary French-American artist Niki de Saint Phalle by presenting her video piece, The Travelling Companion. Originally thought to be lost, the film was recently rediscovered in The Centre Pompidou archives. Our screening coincides with a trio of Saint Phalle showcases: Anthology Film Archives’ series “Niki de Saint Phalle On Screen,” streaming online through September 7; “Niki de Saint Phalle: Structures for Life”—which features the sculptures used in The Travelling Companion’s set—open at MoMA PS1 through September 6; and “Niki de Saint Phalle in the 1960s,” opening September 10 at the Menil Collection in Houston, TX.<br/><br/> Described by the New York Times as “at once avant-garde and populist,” Saint Phalle was self-taught and fiercely experimental across paintings, sculptures, public works, and more. Her playful shapes and lively color palettes were influenced by Dada and Antoni Gaudí, but she blended her inspirations into a singular style, politically engaged but not esoteric. This is perhaps best exemplified by her ongoing series of “Nanas,” boldly scaled tributes to everyday women as joyful as Matisse figures. Saint Phalle’s talents translate seamlessly into the psychedelic sets of The Travelling Companion, a Hans Christian Andersen adaptation she scripted with Constantin Mulgrave.<br/><br/> “I used to think there was a need to provoke, to attack religion and the generals. And then I understood that there is nothing more shocking than joy.”—NIKI DE SAINT PHALLE<br/><br/> As a fairy tale, The Travelling Companion instills a sense of fun and wonder. Characters fly using early chroma-key effects, the rainbow-colored castles are otherworldly, and Saint Phalle plays with genre tropes (particularly the character of a surly, bewitched princess). Although technically unfinished—a tongue-in-cheek title card requests financing for the “next thrilling installment”—the film’s design is nothing short of complete. “I like the fact that I am able to say something on a very immediate level,” Saint Phalle once reflected. “So much art has become tied up with ideas, with philosophy, with the abstract, and a lot of people feel excluded from it. Nobody is excluded from my work.”<br/><br/> Saint Phalle was born in Paris in 1930 and grew up in New York. She began painting in the early ’50s, and collaborated on her earliest ironworks with kinetic sculptor Jean Tinguely, whom she later married. Notable projects include the “shootings” she staged in the ’60s—in which spectators were given a rifle to splatter paint on canvas—and the Tarot Garden, a sprawling sculpture park she built in Tuscany. In her art and writing, Saint Phalle made a point of emphasizing urgent causes like climate change, HIV/AIDS awareness, and gun control. After illnesses likely caused by fumes from her art materials, she passed away in California in 2002.","artist_bio":"Niki de Saint Phalle paired bold, jubilant, and cartoonish feminine forms with dark and disturbing material in her multifaceted artistic career. Throughout, she continually disrupted long-held conventions in art, and her iconoclastic approach to her identity and society at large made her an early and important voice to both the Feminist movement and the development of early Conceptual Art. Unlike many of her contemporaries who prioritized the idea behind the work of art rather than the aesthetic demonstration of the idea, Saint Phalle's pieces were highly expressive, visually bold, and often playful - a style that celebrated aesthetics instead of interrogating its structures and conventions. She realized some of the most ambitious, immersive sculptural environments of the 20th century, and also made intensely personal, inward-looking work that reflected on her inner life and relationships. Saint Phalle's broad influence is marked by the variety of contemporary cultural identities and communities that now 'claim' her as their own, including feminist, queer, and racial empowerment movements.","bio_dates":"1930-2002"},{"slug":"philibert_nicolas_every_little_thing_1996_iphone","ok":true,"partial":false,"title":"Every Little Thing","artist":"Nicolas Philibert","year":"1996","startOffset":0,"sourceSecs":5987.309,"sourceHeight":288,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":340799399,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/philibert_nicolas_every_little_thing_1996_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/philibert_nicolas_every_little_thing_1996_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/philibert_nicolas_every_little_thing_1996_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/philibert_nicolas_every_little_thing_1996_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/philibert_nicolas_every_little_thing_1996_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"La Moindre des choses<br/> <br/> Director: Nicolas Philibert<br/> Year: 1996<br/> Country: France<br/> France<br/> <br/> Production co.: Les Films d’Ici/La Sept Cinéma <br/> Producer: Serge Lalou<br/> Screenplay/Editor: Nicolas Philibert<br/> Photography: Katell Djian, Nicolas Philibert <br/> Sound: Julien Cloquet<br/> Music: André Giroud <br/> In French with English subtitles<br/> <br/> Festivals: Rotterdam, Melbourne 1997<br/> <br/> Every summer the residents and nurses of La Borde psychiatric hospital put on a play. Over the summer of 1995, thanks to Nicolas Philibert, director of the wonderful In the Land of the Deaf, they also made a film. Every Little Thing depicts their everyday goings-on and the rehearsals leading up to a performance of a work by Polish-Argentine writer Witold Grombrowitz. <br/><br/> There is no narration explaining away disabilities or interpreting unusual behaviour; no music to tug at our heartstrings; no dissertation on the wonders of theatrical therapy. Instead Philibert, with gentle lyrical sensitivity, lets people usually hidden from society speak for themselves in their own peculiar ways – be it through silent movement, stream-of-consciousness speech, or the camera tracking the dance of the leaves on the trees. <br/><br/> We may begin as observers of people walking aimlessly around the grounds lost in their own disjointed thoughts, but Philibert draws us out of our preconceptions and into their world. It’s a world that finds joy and tenderness in articulating every emotion, good and bad: from the pleasure of pressing the keys on an accordian for the first time, to the sadness of a man shuffling slowly up to the camera only to remark, ‘I can’t take any more’, and then shuffle off again. <br/><br/> Then there is expression explored through drama and music. Grombowitz’s Opérette is modernist absurd theatre, the lines, ironically, more nonsensical than those of this production’s actors. When one actor is asked why he particularly likes the third act, he replies: ‘The castle is ruined, the wind blows, the lines are totally illogical... that comforts me.’ <br/><br/> Finally we witness the afternoon performance. Set in the tranquil sun-dappled gardens, with fantastical costumes, outrageous dramatics and an added psychiatric edge, voilà! there’s magnificent and jubilant theatrical chaos. — Mark Amery","artist_bio":"One of the great European documentarians, Nicolas Philibert began his education by studying philosophy and later worked as an assistant director with such filmmakers as Rene Allio and Alain Tanner. Philibert's ability to approach man with tenderness, directness and sensitivity appears in his film In the Land of the Deaf, an exploration of the world through the eyes of those born without the sense of hearing. In 1995 Philibert revisited the subject of museums--also explored in Louvre City--finding humanity and humor within these stately institutions. Animals and More Animals examines the zoological wing of France's Museum of Natural History, which had been closed for years, and brings to light its unusual treasures. Minimalist and exceedingly moving, Philibert's films have received awards in festivals and various events, but have also achieved a rare feat in France: box office success. Along with Cahiers du Cinema editor Jean Michel Frodon, Philibert joins us to discuss his unique work in nonfiction film.","bio_dates":"b. 1951"},{"slug":"philips_tom_20_sites_n_years_jake_auerbach_2015","ok":true,"partial":false,"title":"20 Sites N Years Jake Auerbach","artist":"Tom Phillips","year":"2015","startOffset":0,"sourceSecs":2633.585,"sourceHeight":536,"sourceWidth":954,"hasAudio":true,"hasAmbientMp4":true,"bytes":434346587,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/philips_tom_20_sites_n_years_jake_auerbach_2015/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/philips_tom_20_sites_n_years_jake_auerbach_2015/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/philips_tom_20_sites_n_years_jake_auerbach_2015.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/philips_tom_20_sites_n_years_jake_auerbach_2015/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/philips_tom_20_sites_n_years_jake_auerbach_2015/main/master.m3u8?v=2","hasMainHls":true,"description":"Each spring artist Tom Phillips walks a nine mile circle taking photographs in 20 specific places. These photographs are, as far as is possible, taken from the same spot in the same direction with the same framing. The project was begun in 1973 and over the years some views have changed dramatically while others seem virtually untouched by time. The photographs when seen together reveal the quirky and sometimes inexplicable effect of human beings on their surroundings. The result is an eternal, evolving portrait of Phillips’ neighbourhood in South London."},{"slug":"phillips_richard_lindsay_lohan","ok":true,"partial":false,"title":"Lindsay Lohan","artist":"Richard Phillips","year":"2011","startOffset":0,"sourceSecs":97.139,"sourceHeight":1062,"sourceWidth":1888,"hasAudio":true,"hasAmbientMp4":true,"bytes":42190088,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/phillips_richard_lindsay_lohan/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/phillips_richard_lindsay_lohan/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/phillips_richard_lindsay_lohan.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/phillips_richard_lindsay_lohan/main.mp4?v=2","description":"In his 90-second motion portrait of Lindsay Lohan, Phillips draws on the conventions of his painting that explore the legacies of classical portraiture in relation to the mediated representations of contemporary popular culture. <br/><br/> The film depicts Lohan in a number of classical poses, with references to iconic moments in film, such as Brigitte Bardot smoldering in Jean-Luc Godard's Contempt, or the searing psychosexual interplay of Bibi Andersson and Liv Ullman in Ingmar Bergman's Persona. To create a timeless and psychologically charged Hollywood setting, Phillips repurposed a remote Malibu mansion, but freighted it with the speculative desire of contemporary cinematic performance. <br/><br/> Through Phillips's lens, the defiant openness that makes Lohan so compelling on film becomes the ignition key of each image; the pause before action that allows for the identities of actor and director to meld, where expectation and projection contrast with the construction of multilayered identity. <br/><br/> In these full-frame motion portraits of Lohan, Phillips repudiates the cynical expediency associated with the artistic and commercial convention of the screen test by examining and exposing its manipulative and coercive undertones. He thus works to subvert this carefully constructed form, presenting Lohan as released from acutely mediated narrative representation. <br/><br/> Lindsay has an incredible emotional and physical presence on screen that holds an existential vulnerability, while harnessing the power of the transcendental—the moment in transition. She is able to connect with us past all of our memory and projection, expressing our own inner eminence. -Richard Phillips","bio_dates":"b. 1962"},{"slug":"phillips_richard_sasha_grey","ok":true,"partial":false,"title":"Sasha Grey","artist":"Richard Phillips","year":"2011","startOffset":0,"sourceSecs":92.134,"sourceHeight":1062,"sourceWidth":1888,"hasAudio":true,"hasAmbientMp4":true,"bytes":40293889,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/phillips_richard_sasha_grey/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/phillips_richard_sasha_grey/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/phillips_richard_sasha_grey.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/phillips_richard_sasha_grey/main.mp4?v=2","description":"\"\"For my film portrait of Sasha Grey, I wanted to focus on her expressive and psychological transformation into a cinematic actor, separate from the cues that have associated Sasha with her previous career as a performance artist working within the adult film world.” –Richard Phillips <br/><br/> Shot on location at the John Lautner Chemosphere House off Mulholland Drive, the film showcases Sasha as a perpetually evolving figure. Costume designer Ellen Mirojnick (“Basic Instinct,” “Fatal Attraction,” “Wall Street,” “Wall Street: Money Never Sleeps”) dressed Sasha for the part in an array of lingerie and military inspired garments to highlight the dual nature of her masculine / feminine persona. Looking over the roadside from the vantage point of one the most legendary residences in modern and cinematic history, Sasha reflects on her relationship to the San Fernando Valley landscape- the location of some of her most noted adult performances. Back inside the circular vortex of the Chemosphere, Sasha’s inner dialogue projects an equally diaristic and imaginary self-portrait that pushes beyond the extremes of her past filmography and into her new future.","bio_dates":"b. 1962"},{"slug":"picasso_a_visiti_to_1949","ok":true,"partial":false,"title":"Visite à Picasso","artist":"Pablo Picasso","year":"1950","startOffset":0,"sourceSecs":1217.003,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":214785350,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/picasso_a_visiti_to_1949/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/picasso_a_visiti_to_1949/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/picasso_a_visiti_to_1949.m4v","hasFrames":true,"description":"Director: Paul Haesaert<br/> <br/> ‘Visite à Picasso’ is a classic documentary by dir. Paul Haesaerts which features the frequently used footage of Picasso painting on glass while a camera films him from the other side. The trick of filming thru glass allows the viewer to witness Picasso's true genius as he paints his famous Torros with just a few well-placed brushstrokes. Shot in beautiful black and white in Picasso's home in Vallauris, the film is a poetic treatment of the master-painter. This captivating film is a must see for anyone interested in art.<br/><br/> Like Picasso, this film follows its own rules; Not so much a documentary, \"Visit to Picasso is more of a rough portrait of Pablo and tons of great footage of his studio in vallauris accompanied by moody organ music. The absence of a story line is compensated by Frank Silvera factual narration (dubbed English narration by William Patrick), putting Picasso's art in historical perspective.","artist_bio":"The Mystery of Picasso (Le mystère Picasso)\n(dir. Henri-Georges Clouzot, 1956)\nPablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso known as Pablo Ruiz Picasso, 25 October 1881 – 8 April 1973) was a Spanish painter, draughtsman, and sculptor who lived most of his adult life in France. He is best known for co-founding the Cubist movement, and for the wide variety of styles that he helped develop and worked in. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907) and Guernica (1937), a portrayal of the German bombing of Guernica during the Spanish Civil War.\nPicasso demonstrated uncanny artistic talent in his early years, painting in a realistic manner through his childhood and adolescence; during the first decade of the 20th century his style changed as he experimented with different theories, techniques, and ideas. His revolutionary artistic accomplishments brought him universal renown and immense fortune throughout his life, making him one of the best-known figures in 20th century art.-- Wikipedia","bio_dates":"1881-1973"},{"slug":"picasso_pablo_the_mystery_of_picasso_1956","ok":true,"partial":false,"title":"The Mystery of Picasso (Le mystère Picasso)","artist":"Pablo Picasso","year":"1956","startOffset":0,"sourceSecs":4485.063,"sourceHeight":368,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":257528043,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/picasso_pablo_the_mystery_of_picasso_1956/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/picasso_pablo_the_mystery_of_picasso_1956/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/picasso_pablo_the_mystery_of_picasso_1956.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/picasso_pablo_the_mystery_of_picasso_1956/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/picasso_pablo_the_mystery_of_picasso_1956/main/master.m3u8?v=2","hasMainHls":true,"description":"The Mystery of Picasso (French: Le mystère Picasso) is a 1956 French documentary film about the painter Pablo Picasso, directed by Henri-Georges Clouzot, and showing Picasso in the act of creating paintings for the camera. Most of the paintings were subsequently destroyed so that they would only exist on film, though some may have survived. <br/><br/> The film begins with Picasso creating simple marker drawings in black and white, gradually progressing to full scale collages and oil paintings.<br/><br/> It won the Special Jury Prize at the 1956 Cannes Film Festival and was shown out of competition at the 1982 Festival.<br/><br/> This famous art movie wasn't the first documentary showing Picasso painting images on glass plates from the viewpoint of the camera. The Belgian documentary film <a href=\"https://ubu.com/film/picasso_mystery.html\" rel=\"noopener\" target=\"_blank\">Visit to Picasso</a> (1949) did it almost seven years earlier.","artist_bio":"The Mystery of Picasso (Le mystère Picasso)\n(dir. Henri-Georges Clouzot, 1956)\nPablo Diego José Francisco de Paula Juan Nepomuceno María de los Remedios Cipriano de la Santísima Trinidad Ruiz y Picasso known as Pablo Ruiz Picasso, 25 October 1881 – 8 April 1973) was a Spanish painter, draughtsman, and sculptor who lived most of his adult life in France. He is best known for co-founding the Cubist movement, and for the wide variety of styles that he helped develop and worked in. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907) and Guernica (1937), a portrayal of the German bombing of Guernica during the Spanish Civil War.\nPicasso demonstrated uncanny artistic talent in his early years, painting in a realistic manner through his childhood and adolescence; during the first decade of the 20th century his style changed as he experimented with different theories, techniques, and ideas. His revolutionary artistic accomplishments brought him universal renown and immense fortune throughout his life, making him one of the best-known figures in 20th century art.-- Wikipedia","bio_dates":"1881-1973"},{"slug":"pietroiusti_cesare_eating_money_2007_iphone","ok":true,"partial":false,"title":"Cesare Pietroiusti & Paul Griffiths - Eating Money - An Auction","artist":"Cesare Pietroiusti","year":"2007","startOffset":0,"sourceSecs":284.28,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":15826616,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pietroiusti_cesare_eating_money_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pietroiusti_cesare_eating_money_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pietroiusti_cesare_eating_money_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pietroiusti_cesare_eating_money_2007_iphone/main.mp4?v=2","description":"Paul Griffiths and Cesare Pietroiusti<br/> Eating Money - An Auction<br/> <br/> video: 4:45 min.<br/> <br/> performance: Ikon Gallery, Birmingham, May 22, 2007<br/> <br/> A public auction is held. Participants make offers in an amount of money corresponding to the sum of two bank-notes in different currencies (GBP, Euro etc.). <br/><br/> The successful bidder with the highest offer gives the two bank-notes to the artists who eat them publicly and promise that, once evacuated, they will be returned to the bidder. <br/><br/> Eating Money - An Auction took place for the first time in Italy in 2005.","artist_bio":"Eating Money - An Auction (2007)\n(Paul Griffiths & Cesare Pietroiusti)\nCesare Pietroiusti's art practice focuses on problematic and paradoxical situations that are hidden in common relationships and in ordinary acts - thoughts that come to mind without a reason, small worries, quasi-obsessions that are usually considered too insignificant to become a matter of discussion or of self-representation. In 1997 he published Non-functional thoughts (ed. Morra, Naples), a small book containing approximately one hundred useless, parasite or incongruous ideas to be realised as art projects by anyone. Some of these ideas have been executed by artists and curators, such as for the exhibition \"Democracy!\" (Royal College of Art, London, 2000) and \"One hundred things that are certainly not art\" (Platform, Vaasa, 2001).\nCesare works with the \"Oreste project\" a variable group of people (mainly visual artists, but also curators etc.) who try to create free and operative spaces for developing ideas and projects, artworks and exhibitions, through meetings, communitary experiences and any other possibility of relations between persons.","bio_dates":"b. 1955"},{"slug":"pietroiusti_cesare_money_watching_2007_iphone","ok":true,"partial":false,"title":"Money-Watching","artist":"Cesare Pietroiusti","year":"2007","startOffset":0,"sourceSecs":258.48,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":17453731,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pietroiusti_cesare_money_watching_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pietroiusti_cesare_money_watching_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pietroiusti_cesare_money_watching_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pietroiusti_cesare_money_watching_2007_iphone/main.mp4?v=2","description":"Money-Watching <br/><br/> video: 4:18 min. <br/><br/> performance: 50/a, New Street, Birmingham, May 24, 2007 <br/><br/> An ordinary shop, located in a commercial area of Birmingham, sells a certain number of 10 and 20 GBP bank-notes. <br/><br/> In order to purchase such an item, the customer has to look at it for a certain amount of time, without interruption: 15 minutes (7'30\" each side) for the £ 10 note; 25 minutes (12'30\" each side) for the £ 20 note. The shop is open from 10 am to 6 pm.","artist_bio":"Eating Money - An Auction (2007)\n(Paul Griffiths & Cesare Pietroiusti)\nCesare Pietroiusti's art practice focuses on problematic and paradoxical situations that are hidden in common relationships and in ordinary acts - thoughts that come to mind without a reason, small worries, quasi-obsessions that are usually considered too insignificant to become a matter of discussion or of self-representation. In 1997 he published Non-functional thoughts (ed. Morra, Naples), a small book containing approximately one hundred useless, parasite or incongruous ideas to be realised as art projects by anyone. Some of these ideas have been executed by artists and curators, such as for the exhibition \"Democracy!\" (Royal College of Art, London, 2000) and \"One hundred things that are certainly not art\" (Platform, Vaasa, 2001).\nCesare works with the \"Oreste project\" a variable group of people (mainly visual artists, but also curators etc.) who try to create free and operative spaces for developing ideas and projects, artworks and exhibitions, through meetings, communitary experiences and any other possibility of relations between persons.","bio_dates":"b. 1955"},{"slug":"pietroiusti_cesare_pensiero_unico_2003_iphone","ok":true,"partial":false,"title":"Pensiero unico","artist":"Cesare Pietroiusti","year":"2003","startOffset":0,"sourceSecs":341.16,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":23727981,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pietroiusti_cesare_pensiero_unico_2003_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pietroiusti_cesare_pensiero_unico_2003_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pietroiusti_cesare_pensiero_unico_2003_iphone.m4v","hasFrames":true,"description":"Pensiero unico (2003) <br/><br/> video: 5:40 min <br/><br/> performance: Saletta Comunale per l'Arte Contemporanea, Castel San Pietro (Bologna), March 22, 2003 <br/><br/> Starting at 6 pm, the artist repeatedly and continuously sings the first few words of the two Italian fascist songs, Giovinezza (\"Giovinezza, giovinezza, primavera di bellezza\" - \"Youth, youth, spring of beauty\") and Vincere (\"Vincere, vincere, vincere, e vinceremo in cielo, in terra e in mare. E' la parola d'ordine, una suprema volontˆ\" - \"To win, to win, to win, and we will win, in the sky, on land and on sea. It's our word of honour, our supreme will.\" ) His intention is to stop only when he has completely lost his voice. The action ends at 11.45 pm.","artist_bio":"Eating Money - An Auction (2007)\n(Paul Griffiths & Cesare Pietroiusti)\nCesare Pietroiusti's art practice focuses on problematic and paradoxical situations that are hidden in common relationships and in ordinary acts - thoughts that come to mind without a reason, small worries, quasi-obsessions that are usually considered too insignificant to become a matter of discussion or of self-representation. In 1997 he published Non-functional thoughts (ed. Morra, Naples), a small book containing approximately one hundred useless, parasite or incongruous ideas to be realised as art projects by anyone. Some of these ideas have been executed by artists and curators, such as for the exhibition \"Democracy!\" (Royal College of Art, London, 2000) and \"One hundred things that are certainly not art\" (Platform, Vaasa, 2001).\nCesare works with the \"Oreste project\" a variable group of people (mainly visual artists, but also curators etc.) who try to create free and operative spaces for developing ideas and projects, artworks and exhibitions, through meetings, communitary experiences and any other possibility of relations between persons.","bio_dates":"b. 1955"},{"slug":"pietroiusti_cesare_untitlled_2006_iphone","ok":true,"partial":false,"title":"Untitled","artist":"Cesare Pietroiusti","year":"2006","startOffset":0,"sourceSecs":332.28,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":20872076,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pietroiusti_cesare_untitlled_2006_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pietroiusti_cesare_untitlled_2006_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pietroiusti_cesare_untitlled_2006_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pietroiusti_cesare_untitlled_2006_iphone/main.mp4?v=2","description":"Untitled, 2006 <br/><br/> video: 5:32 min. <br/><br/> performance: Centro Sociale \"Angelo Mai\", Roma, April 30, 2006 <br/><br/> On April 30, 2006, at midnight, the artist begins to demolish a wall located at the end of an underground tunnel in the centro sociale \"Angelo Mai\" in Rome, a former convent that had been squatted in 2004. April 30 is the eviction deadline given by the city council of Rome to the occupants. The action ends around 1.45 a.m.","artist_bio":"Eating Money - An Auction (2007)\n(Paul Griffiths & Cesare Pietroiusti)\nCesare Pietroiusti's art practice focuses on problematic and paradoxical situations that are hidden in common relationships and in ordinary acts - thoughts that come to mind without a reason, small worries, quasi-obsessions that are usually considered too insignificant to become a matter of discussion or of self-representation. In 1997 he published Non-functional thoughts (ed. Morra, Naples), a small book containing approximately one hundred useless, parasite or incongruous ideas to be realised as art projects by anyone. Some of these ideas have been executed by artists and curators, such as for the exhibition \"Democracy!\" (Royal College of Art, London, 2000) and \"One hundred things that are certainly not art\" (Platform, Vaasa, 2001).\nCesare works with the \"Oreste project\" a variable group of people (mainly visual artists, but also curators etc.) who try to create free and operative spaces for developing ideas and projects, artworks and exhibitions, through meetings, communitary experiences and any other possibility of relations between persons.","bio_dates":"b. 1955"},{"slug":"pilson_john_a_la_claire_fontaine_2001","ok":true,"partial":false,"title":"A la Claire Fontaine","artist":"John Pilson","year":"2001","startOffset":0,"sourceSecs":254.571,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":44201362,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_a_la_claire_fontaine_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_a_la_claire_fontaine_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_a_la_claire_fontaine_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_a_la_claire_fontaine_2001/main.mp4?v=2","description":"Duration 4'14\" <br/><br/>\"\"A la claire fontaine\" (2001), a video based on a restless child who has been brought to her father's office and amuses herself by drawing her breath on the window while singing a French song.","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pilson_john_a_trial_2005","ok":true,"partial":false,"title":"A Trial","artist":"John Pilson","year":"2005","startOffset":0,"sourceSecs":228.715,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":40539550,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_a_trial_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_a_trial_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_a_trial_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_a_trial_2005/main.mp4?v=2","description":"Duration 4'48\" minutes","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pilson_john_above_the_grid_2001","ok":true,"partial":false,"title":"Above the Grid","artist":"John Pilson","year":"2001","startOffset":0,"sourceSecs":512.445,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":83323624,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_above_the_grid_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_above_the_grid_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_above_the_grid_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_above_the_grid_2001/main.mp4?v=2","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pilson_john_alternate_ending_2003","ok":true,"partial":false,"title":"Alternate Ending","artist":"John Pilson","year":"2003","startOffset":0,"sourceSecs":94.528,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":5641693,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_alternate_ending_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_alternate_ending_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_alternate_ending_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_alternate_ending_2003/main.mp4?v=2","description":"Duration 1'34\" <br/><br/> In the exquisite looped short Alternate Ending (all works 2003), a lantern is raised smoothly through the dark, narrow stairwell of a `3os-era office building, the intricate fretwork of banisters casting streaming, lacy shadows. As the lantern passes a frosted-glass door lit from behind, the camera zooms in on the nameplate, which, black against the light, is impossible to read. An eerie sense that the building`s brain lies behind that door is enhanced by the lantern, which moves like a laparoscope withdrawing from an esophagus-though the mysterious scene is less clinical than evocative of a certain subconscious vulnerability.","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pilson_john_dark_empire_2003","ok":true,"partial":false,"title":"Dark Empire","artist":"John Pilson","year":"2003","startOffset":0,"sourceSecs":1479.125,"sourceHeight":352,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":89104262,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_dark_empire_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_dark_empire_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_dark_empire_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_dark_empire_2003/main.mp4?v=2","description":"Duration 24 minutes <br/><br/> Dark Empire, a twenty-five-minute shot of the Empire State Building at sunset during the August blackout, crystallizes the earnestness of Pilson`s position: Unlike the glittering tower that Warhol captured in Empire, which its maker described as \"Flash Gordon riding into space,\" Pilson`s lonely, dark silhouette expresses only existential isolation and New York`s vulnerability to the grid. With his sensitivity to the intimacy that exists between New York and its inhabitants, Pilson is a model witness to the city`s fluctuations and rebirth.","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pilson_john_mr_pickup_2001","ok":true,"partial":false,"title":"Mr. Pickup","artist":"John Pilson","year":"2001","startOffset":0,"sourceSecs":440.917,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":79154277,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_mr_pickup_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_mr_pickup_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_mr_pickup_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_mr_pickup_2001/main.mp4?v=2","description":"Duration 7'20\" <br/><br/> Mr. Pickup (2001) features behavior inconsistent with its surroundings and viewer assumptions, and, like Pilson’s earlier works, it visualizes human moments within the walls of corporate spaces. The video, for which Pilson was awarded the Young Artists Special Prize at the 2001 Venice Biennale, begins in the well-appointed office of a lawyer played by Pilson’s father. As the man begins to gather his things and head to an important meeting, he enters an absurd downward spiral of epic proportions. For seventeen minutes, he is continuously unable to pick up the materials he needs. While his calls for help go unanswered, he remains determined through repeated attempts to gather his files and binders–objects ironically made to facilitate efficiency and organization. Finally, after his boss returns to chastise him and report that they have lost the deal, he gives up and walks out. <br/><br/> Pilson’s video is at once a comedic farce and a humanistic tragedy. Using slapstick gestures, it reveals the helplessness of a man unable to cope with the demands of the corporate world. His inability to meet the expectations of his firm counters stereotypes of the confident businessman and speaks to larger themes, especially after the 2008 financial meltdown. While the video appears empathetic to the subject’s vulnerability and ineptitude, it also suggests that his bungling is one of many cover-ups in the corporate world. In light of the ongoing revelations of illicit activities behind the closed doors of bankers, lawyers, and politicians, Mr. Pick-Up not only reminds us that humans are universally flawed, but also underlines how appearances can be devastatingly deceiving.","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pilson_john_pigs_2005","ok":true,"partial":false,"title":"Pigs","artist":"John Pilson","year":"2005","startOffset":0,"sourceSecs":247.781,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":41533142,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_pigs_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_pigs_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_pigs_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_pigs_2005/main.mp4?v=2","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pilson_john_portraits_manhattan_2010","ok":true,"partial":false,"title":"Portraits: Manhattan","artist":"John Pilson","year":"2010","startOffset":0,"sourceSecs":654.521,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":109076934,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_portraits_manhattan_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_portraits_manhattan_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_portraits_manhattan_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_portraits_manhattan_2010/main.mp4?v=2","description":"Duration 10'54\" minutes","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pilson_john_sidewalk_single_channel_2003","ok":true,"partial":false,"title":"Sidewalk (single channel)","artist":"John Pilson","year":"2003","startOffset":0,"sourceSecs":235.502,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":40460671,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_sidewalk_single_channel_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_sidewalk_single_channel_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_sidewalk_single_channel_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_sidewalk_single_channel_2003/main.mp4?v=2","description":"Duration 3'35\" <br/><br/> Sidewalk (‘03) is a three-channel installation where the camera slowly glides, hovering above New York’s sidewalks, to reveal a quasi hypnotic glimmer. Through the ordinary movements of urban daily life, such as the walking of city-dwellers, in the transit place the sidewalk represents, John Pilson reveals a world that oscillates between dream and reality. Urban space is dematerialized while the shadows of passers-by impress the contrasting, frenetic rythm of urban crowds’ activity.","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pilson_john_st_denis_2003","ok":true,"partial":false,"title":"St. Denis","artist":"John Pilson","year":"2003","startOffset":0,"sourceSecs":815.552,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":143361523,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_st_denis_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_st_denis_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_st_denis_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_st_denis_2003/main.mp4?v=2","description":"Duration 13'35\" <br/><br/> Pilson`s camera follows a woman into the ladies` room, where she shakes out her hair, lights a cigarette, and plays a mournful song on a pink and white accordion that matches the room`s tile. A cutaway shot of a print on the wall of geese in flight over a mountain identifies her desire as peculiarly urban. Later, in a hallway, another woman paces as she describes the conditions under which she is able to fall asleep (it must be absolutely silent; she must be wearing pajamas . . .). Her topic presages the final scenes of the video, in which a man, presumably the superintendent, taps on office doors to ensure that everyone has left for the day-he`s putting the building to bed. The video ends as he turns out the lights, proceeds to a poster-plastered basement lair, changes into a colorful shirt and white cap, and leaves-a sort of embodiment of the building`s soul. In a vaguely unsettling surveillance-like shot of stairs (a Pilson staple), two men and a woman join upraised palms and quietly chant, sharing a New Age moment that feels like an exorcism-or an effort to wake the building (perhaps a dreamed extension of themselves) out of its dead sleep.","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pilson_john_the_london_cast_2005","ok":true,"partial":false,"title":"The London Cast","artist":"John Pilson","year":"2005","startOffset":0,"sourceSecs":343.915,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":61365584,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_the_london_cast_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pilson_john_the_london_cast_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pilson_john_the_london_cast_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_the_london_cast_2005/main.mp4?v=2","description":"Duration 5'43\" minutes <br/><br/> In London Cast (2005), a bombastic dramatic monologue unfolds within a mundane domestic interior.","artist_bio":"John Pilson received a B.A. in 1991 from Sarah Lawrence College, where he studied photography and philosophy, and an M.F.A. in photography in 1993 from Yale University. He has exhibited his work at P.S.1 Contemporary Art Center and at the Museum of Modern Art and recently mounted a solo exhibition at the Hamburger Kunsthalle in Germany. Mr. Pilson has been an artist-in-residence at the Harvestworks Digital Media Arts Center and the LMCC World Views Program. At the Venice Biennale in 2002 he was awarded one of four prizes given to artists in the International Exhibition. A grant from the Penny McCall Foundation made possible several of his latest projects, including St. Denis, which was shown in October 2003 at Nicole Klagsbrun (NYC). A monograph of his photographs, titled Interregna, was published in 2007 by Hatje Cantz. Recent exhibitions include: “The Shapes of Space”, Guggenheim Museum, New York. “Skyscraper Souls: New Video & Photography by John Pilson”, Center for Contemporary Art, Cincinnati, OH 2007, “To: Night: Contemporary Representations of the Night”, The Hunter College 2008, a video installation Frolic and Detour, Museum of Modern Art, NY 2010 and “September 11” PS1/MoMA, NY 2011. Mr. Pilson was appointed to the Yale faculty in 2001 and is currently a critic.","bio_dates":"b. 1968"},{"slug":"pindell_howardena_free_white_21_1980_iphone","ok":true,"partial":false,"title":"Free, White and 21","artist":"Howardena Pindell","year":"1980","startOffset":0,"sourceSecs":735.1,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":50586754,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pindell_howardena_free_white_21_1980_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pindell_howardena_free_white_21_1980_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pindell_howardena_free_white_21_1980_iphone.m4v","hasFrames":true,"description":"In <i>Free, White And 21</i>, Howardena Pindell recounts bias incidents she has experienced as an African American woman in educational institutions, employment offices, and in various social settings.<br/><br/> As a student, Pindell was prevented from overstepping black/ white boundaries. For example, she was discouraged from being \"accelerated\" at the expense of a white student and her name was taken off a student body officer ballot because officials considered it inappropriate. Out of school, as a potential employee, she was turned away from jobs that were then offered to white candidates. As a member of a wedding party in Kennebunkport, Maine, Pindell experienced a different type of racism as guests selectively shook hands with everyone but her and later stared at her as she ate her food, thus turning basic human functions into spectacle.<br/><br/> As Pindell tells these stories she wraps her head in white gauze bandages, an image that serves as a metaphor for being \"white-faced\" and white, out in society. Pindell also portrays a white woman with blonde wig, a stocking over her head, and dark glasses who appears between story segments to reprimand black Howardena for being paranoid and ungrateful. \"But then,\" says white Howardena, \"you're not free, white and twenty one.\"","artist_bio":"Howardena Pindell, born in Philadelphia, Pennsylvania, on April 14, 1943, to Howard and Mildred (Lewis) Douglas, is an American abstract artist. Her work explores texture, color, structures, and the process of making art; it is often political, addressing the issues of racism, feminism, violence, slavery, and exploitation. She is known for her use of unconventional materials in her paintings including string, perfume, glitter, and postcards.\nHowardena Pindell is a graduate of the Philadelphia High School for Girls. She received her BFA from Boston University in 1965 and her MFA from Yale University in 1967. After graduating from Yale, she began working at the Museum of Modern Art (MoMA) in New York City, where she was employed for 12 years while establishing herself as an artist. Pindell was initially a curatorial assistant, but in 1977 became associate curator of the department of Prints and Illustrated Books.\nPindell is a professor of art at Stony Brook University, where she has taught since 1979. From 1995-1999, she worked as a visiting professor in the art department at Yale University.\nPindell holds honorary doctorates from the Massachusetts College of Art and Design and Parsons The New School for Design.\nPindell's 1989 painting Queens, Festival, in the lobby of the Joseph P. Addabbo Federal Building, Queens, New York. The work is acrylic, paper, and gouache on canvas.\nPindell had known she wanted to be an artist since age 12, but it wasn't until the late sixties that, working at MoMA, she was able to produce her first accepted works. He earliest paintings had been mostly urban scenes, but in the 1970s undergoing a radical transformation as an artist, she began developing a unique style rooted in minimalism and pointillism. As she experimented with the process of creating her paintings, Pindell began making use of the scrap circles that resulted from the production of her pointillist works. As David Bourdon writes, \"By 1974, Pindell developed a more three-dimensional and more personal form of pointillism, wielding a paper punch to cut out multitudes of confetti-like disks, which she dispersed with varying degrees of premeditation and randomness over the surfaces of her pictures.\"\nPindell's first important exhibition was at Spelman College in Atlanta in 1972, and she has exhibited in almost every following year for over 30 years, either as a solo artist, or in a group exhibition. In the 1970s and 1980s she was often aware that she had been selected for exhibition as a token black among a group of other artists, and she spent a great deal of time researching and analyzing the status of black painters in the mainstream art world.\nIn 1980 she made a video called Free, White, and 21, in which she appears in a blonde wig, dark glasses, and with a pale stocking over her head as a caricature of a white woman. In the 1990s she painted a series of \"word\" paintings, in which her body in silhouette is overlaid with words such as \"slave trade,\" while an earlier work about South Africa features a slashed canvas roughly stitched back together and the word \"INTERROGATION\" laid on top.\nPindell has received numerous awards, including the Most Distinguished Body of Work or Performance Award, awarded by the College Art Association in 1990, the Studio Museum of Harlem Artist Award, and two National Endowment for the Arts Fellowships. Collections of her work are worldwide including Metropolitan Museum of Art in New York, The Detroit Institute of New York, Chase-Manhattan Bank in New York, Brooklyn Museum in Brooklyn, New York, and The Louisiana Museum, Copenhagen, Denmark.","bio_dates":"b. 1943"},{"slug":"pinter_harold_a_wake_for_sam_bbc_1990","ok":true,"partial":false,"title":"A Wake for Sam: Harold Pinter on Samuel Beckett","artist":"Samuel Beckett","year":"1990","startOffset":0,"sourceSecs":772.28,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":138891375,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pinter_harold_a_wake_for_sam_bbc_1990/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pinter_harold_a_wake_for_sam_bbc_1990/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pinter_harold_a_wake_for_sam_bbc_1990.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pinter_harold_a_wake_for_sam_bbc_1990/main.mp4?v=2","description":"As part of a BBC tribute to Samuel Beckett, <i>A Wake for Sam</i> broadcast a series of personal reflections on the Nobel laureate, alongside television productions of his work. Here is playwright and poet Harold Pinter's contribution to the programme: 'Less than two months after Samuel Beckett’s death on 22 December 1989, Harold Pinter recorded the below memoir of the dramatist under the title “A Wake for Sam.” Pinter shares his memories of his first meeting with Beckett, reads a short appreciation, and finally recites the conclusion of <i>The Unnamable</i>.'<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/beckett.html\" rel=\"noopener\" target=\"_blank\">Samuel Beckett in UbuWeb Sound</a></br>","artist_bio":"Shades - Three Plays by Samuel Beckett (Samuel Beckett, Donald McWhinnie, Anthony Page) [The Lively Arts]\n(1977)\nRockaby, First performance; Billie Whitelaw, dir: Alan Schneider\n(1981)\nChris Hegedus & D.A. Pennebaker - Samuel Beckett's Rockaby\n(1981)\nPeephole Art: Beckett for Television -- Not I, 1988-1989 (1992)\nSamuel Barclay Beckett (/ˈbɛkɪt/; 13 April 1906 – 22 December 1989) was an Irish avant-garde novelist, playwright, theatre director, and poet, who lived in Paris for most of his adult life and wrote in both English and French. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy and gallows humour.\nBeckett is widely regarded as among the most influential writers of the 20th century. He is considered one of the last modernists. As an inspiration to many later writers, he is also sometimes considered one of the first postmodernists. He is one of the key writers in what Martin Esslin called the \"Theatre of the Absurd\". His work became increasingly minimalist in his later career.\nBeckett was awarded the 1969 Nobel Prize in Literature \"for his writing, which—in new forms for the novel and drama—in the destitution of modern man acquires its elevation\". He was elected Saoi of Aosdána in 1984.\nSamuel Beckett in the UbuWeb Anthology of Conceptual Writing\nAlan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers","bio_dates":"1906-1989"},{"slug":"plu_resemblage_2004","ok":true,"partial":false,"title":"Resemblage","artist":"People Like Us (Vicki Bennett)","year":"2004","startOffset":0,"sourceSecs":253.76,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":42314270,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_resemblage_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_resemblage_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/plu_resemblage_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/plu_resemblage_2004/main.mp4?v=2","description":"Duration 4'13\" minutes <br/><br/> This work was created using film from the LUX archive by artists Alan Berliner, Lawrence Jordan, People Like Us, Semiconductor and the Estate of Stan Vanderbeek. The aim of the commission was to further promote work in the LUX archive. Permission was sought from the artists and their work was then collaged, rearranged and altered to create a new work Resemblage. Commissioned by <a href=\"http://www.lux.org.uk\" rel=\"noopener\" target=\"_blank\">LUX.</a><br/><br/><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"plu_story_without_end_2005","ok":true,"partial":false,"title":"Story Without End","artist":"People Like Us (Vicki Bennett)","year":"2005","startOffset":0,"sourceSecs":363.52,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":55518190,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_story_without_end_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_story_without_end_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/plu_story_without_end_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/plu_story_without_end_2005/main.mp4?v=2","description":"Duration 6'03\" minutes <br/><br/> Made using footage from the Prelinger Archives and A/V Geeks, this film explores how technology enables us to communicate faster. Despite advances in communication technology the film shows that the story of progress will never end; and that it leads to both connection and disconnection. The narrative is from a public domain film of the same name made in 1950 about the development of microwave radio transmission and the transistor. <br/><br/> Commissioned by Sonic Arts Network (R.I.P)<br/><br/><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","bio_dates":"b. 1967"},{"slug":"plu_the_remote_controller_2003","ok":true,"partial":false,"title":"The Remote Controller","artist":"People Like Us (Vicki Bennett)","year":"2003","startOffset":0,"sourceSecs":539.76,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":94595159,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_the_remote_controller_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_the_remote_controller_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/plu_the_remote_controller_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/plu_the_remote_controller_2003/main.mp4?v=2","description":"Duration 8'59\" minutes <br/> <br/> Using found footage sourced from educational films in the Prelinger Archives this work explores the subject of experimentation in human body and machine interfaces in the 20th century. The film edits together the different ways we have controlled our environment - through technology, magic and theatrical devices. As the world of communications brings people together, power still exists by pushing a button and pulling the puppet strings.<br/><br/><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"plu_we_edit_life_2002","ok":true,"partial":false,"title":"We Edit Life","artist":"People Like Us (Vicki Bennett)","year":"2002","startOffset":0,"sourceSecs":603.08,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":107697537,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_we_edit_life_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_we_edit_life_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/plu_we_edit_life_2002.mp4","hasFrames":true,"description":"Duration 10'03\" minutes <br/><br/> This is the first in a series of films using documentary, industrial and educational film footage from the Prelinger Archives and The Internet Archive. The film explores the theme of technology, showing how the future can be edited and manipulated through advances in computer science. As the narrative in the film says \"The art of computer graphics is only in its infancy yet it is already stimulating creative thought in far out areas where research is likely to get complex and unwieldy\". Commissioned by <a href=\"http://www.lovebytes.org.uk\" rel=\"noopener\" target=\"_blank\">Lovebytes</a> and an eternal thank you to Rick Prelinger.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"plu_wfmu_record_fair_2003_iphone","ok":true,"partial":false,"title":"WFMU Record Fair","artist":"People Like Us (Vicki Bennett)","year":"2003","startOffset":0,"sourceSecs":2329.13,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":139166506,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_wfmu_record_fair_2003_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_wfmu_record_fair_2003_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/plu_wfmu_record_fair_2003_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/plu_wfmu_record_fair_2003_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/plu_wfmu_record_fair_2003_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Duration 38'49\" minutes <br/><br/> People Like Us have been performing A/V collage concerts internationally since 2006. Here is an example of one encarnation of Vicki Bennett's live set, performed in an intimate setting at the radio station WFMU's record fair in Manhattan in 2003. Thanks to Corey Smith who made the film, and WFMU. <br/><br/> <a href=\"http://www.wfmu.org/\" rel=\"noopener\" target=\"_blank\">WFMU</a><br/> <a href=\"http://www.coreysmithfilms.com\" rel=\"noopener\" target=\"_blank\">Corey Smith</a><br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"plu_work_rest_play_2007","ok":true,"partial":false,"title":"Work, Rest & Play","artist":"People Like Us (Vicki Bennett)","year":"2007","startOffset":0,"sourceSecs":818.24,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":133830901,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_work_rest_play_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/plu_work_rest_play_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/plu_work_rest_play_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/plu_work_rest_play_2007/main.mp4?v=2","description":"Work, Rest & Play is a video triptych exploring the themes of labour, leisure and industriousness. Work, Rest & Play has been carefully constructed using industrial and documentary film footage from 1940-1975 to follow the endless chug of the conveyer belt of life. Material from the Prelinger Archives and AV Geeks, two of the biggest ephemeral footage libraries in the world, has been pieced together in a symphony of movement and metamorphosis. Images of production lines, factories, and educational and creative industries, are sandwiched by those of the winding up and down processes of the day, the hours of leisure and relaxation, to illustrate the endless whirr of activity in our pursuit of meaning and happiness."},{"slug":"poe_amos_alphabet_city_1984","ok":true,"partial":false,"title":"Alphabet City","artist":"Amos Poe","year":"1984","startOffset":0,"sourceSecs":5126.221,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":296001542,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/poe_amos_alphabet_city_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/poe_amos_alphabet_city_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/poe_amos_alphabet_city_1984.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/poe_amos_alphabet_city_1984/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/poe_amos_alphabet_city_1984/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>Runtime:</b> 85 min<br><br><b>Director:</b> Amos Poe<br><br><b>Cast:</b><br> Vincent Spano ... Johnny<br> Michael Winslow ... Lippy<br> Kate Vernon ... Angela<br/> Jami Gertz ... Sophia<br/> Zohra Lampert ... Mama<br/> Raymond Serra ... Gino (as Ray Serra)<br/> Kenny Marino ... Tony<br/> Daniel Jordano ... Juani<br/> Tom Mardirosian ... Benny<br/> Christina Marie Denihan ... Baby Renee<br/> Tom Wright ... Chauffeur<br/> Bruno Damon ... Mama's Friend<br/> Clifton Powell ... Ramon<br/> Richard Bassett ... Preppie<br/> John McCurry ... Junkie / Guard #1<br><br><b>Description:</b> This stylishly photographed drama is set in the Lower East Side area known as \"Alphabet City.\" There 19-year-oldJohnny has become a drug lord in charge of the neighborhood gangs and pushers. Unfortunately, he too has a boss and when he asks Johnny to burn down the tenement building that houses his mother and sister, the boy refuses and decides to go straight for the sake of his wife and child. This doesn't set well with his boss who sends gangsters out to kill him. Of course, the gangsters have to catch Johnny first.</br></br></br></br>","artist_bio":"Amos Poe is one of the first punk filmmakers and his film The Blank Generation (1976)—co-directed with Ivan Kral— is one of the earliest punk films. The film featured performances by Richard Hell, Talking Heads, Television, Patti Smith and Wayne County.\nHe is also associated with the birth of No Wave Cinema due to films such as The Foreigner (1978), featuring Debbie Harry and Anya Phillips, and Subway Riders (1981), starring Susan Tyrrell and Robbie Coltrane. During this time he was also the director of the Public-access television cable TV show TV Party hosted by Glenn O'Brien and Chris Stein.\nHe is part of the Remodernist film movement, which he described as the next development of Postmodernist and the transformation of existing cultural features, but \"using the technology and the sensibility of contemporary rather than nostalgia\". \"My idea of my work’s importance is to see how it moves the culture to where I’d like to see it,\" Poe said in a 1981 interview. -- Wikipedia","bio_dates":"1976"},{"slug":"poe_amos_the_blank_generation_1976","ok":true,"partial":false,"title":"The Blank Generation","artist":"Amos Poe","year":"1976","startOffset":0,"sourceSecs":3226.306,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":189293681,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/poe_amos_the_blank_generation_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/poe_amos_the_blank_generation_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/poe_amos_the_blank_generation_1976.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/poe_amos_the_blank_generation_1976/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/poe_amos_the_blank_generation_1976/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>Runtime:</b> 54 min<br><br><b>Language:</b> English<br><br><b>Country:</b> USA<br><br><b>Color:</b> Black and White<br><br><b>Director:</b> Ivan Kral &amp; a href=\"http://www.surrealmoviez.info/forum/viewthread.php?forum_id=25&amp;thread_id=5528\" target=\"_blank\" rel=\"noopener\"Amos Poe/a<br><br><b>Cast:</b><br> Blondie ... Themselves<br> David Byrne ... HImself (lead singer, Talking Heads)<br> Wayne County ... Himself<br> Jay Dee Daugherty ... Himself<br> Chris Frantz ... Himself (member, Talking Heads)<br/> Jerry Harrison ... Himself (member, Talking Heads)<br/> a href=\"http://www.surrealmoviez.info/forum/viewthread.php?forum_id=28&amp;thread_id=8328\" target=\"_blank\" rel=\"noopener\"Deborah Harry/a ... Herself (lead singer, Blondie)<br/> Richard Hell ... Himself<br/> Lenny Kaye ... Himself<br/> Ivan Kral ... Himself<br/> Patti Smith ... Herself<br/> Richard Sohl ... Himself<br/> Chris Stein ... Himself<br/> Talking Heads ... Themselves<br/> Johnny Thunders ... Himself<br/> Tom Verlaine ... Himself<br><br><b>Description:</b> An invaluable document of a long-lost era, The Blank Generation \"sets the style for the Punk Documentary—raw, sloppily spliced, unsynched footage of bands, with sound recorded by cassette. The effect is total disorientation and CBGBs performances by Talking Heads (\"Psycho Killer\"), Blondie (\"He left Me\"), Ramones (\"Shock Treatment\", \"1-2-3-4, Let's Go\") Tuff Darts and many of the other New York bands fill up this frantic, crowd-pleasing film. <br> <br> CBGB, the small Bowery Avenue club that spawned and nurtured American punk and New Wave music in the mid-70s, closed earlier this fall after a three-decade run. Fortunately, New York filmmaker Amos Poe was hanging out at CBGB in its early days and began filming performances by many of the musicians who would become the stars of the late 70s/early 80s as the rest of America embraced punk and New Wave music and style. Taking his silent 16mm footage and separate audio cassette recordings, Poe and co-director Ivan Kral (guitarist for Patti Smith) put together a documentary, \"Blank Generation\" (1976), that exemplified a punkish attitude toward film structure with handheld zooms, angled compositions, floodlight lighting, extreme close-ups, elliptical editing, flash pans, and a general in-your-face and “up-yours” stance. Sound and image purposely do not synch. In many cases music and image were recorded on separate nights more economical because of the high cost of raw film stock with sound, but also an aesthetic nod to Jean-Luc Godard who had slashed the umbilical cord uniting sound and image. Out of the French New Wave came the New York No Wave. Neither a collection of music videos nor a straightforward documentary, \"Blank Generation\" captures in embryonic form vital appearances of the Talking Heads, Blondie, the Ramones, Television, and, most belligerently of all, Patti Smith.<br/> <br/> In the film the Patti Smith Group performs a rousing version of “Gloria” that makes you want to jump, scream, and run around the room/block/world. With her androgynous looks, thriftshop clothing, snarling voice, biting lyrics, and middle-finger attitude, Patti Smith is obviously well on her way to becoming the intellectual godmother of punk. Television (with Tom Verlaine) performs “Little Johnny Jewel,” complete with an insert of a portable TV being tossed off a building (a forerunner of music videos incorporating performance and dramatic recreations). The Ramones come on with “Shock Treatment” and “1,2,3,4, Let’s Go,” providing a sad moment while realizing 1,2,3 are already gone. Their leather jackets, sunglasses, pageboy haircuts, and plenty of proto-punk attitude helped establish one style for male punks. Looking very art-school, almost preppie, David Byrne and The Talking Heads perform “Psycho Killer” and bring their soul-stirring rhythms into the mix. The outrageous Wayne County with his big hair wig, high heels, and shapely legs in fishnet stockings (obviously influenced by Charles Ludlum’s Theater of the Ridiculous, John Waters’ films with Divine, and the New York Dolls in their gender-bender period of 1973) sings the lovely “Rock ‘n’ Roll Enema” while brandishing a toilet plunger. Not a pretty sight but not meant to be. And then there is Blondie, with the deadly gorgeous Deborah Harry and her perfect cheekbones, artful makeup, and blonde superstar hair. A complete antithesis of Patti Smith, Harry harkens back to the era of the chanteuse and the Hollywood siren of the 30s.<br/> <br/> The presence of both artists at CBGB shows that it was a very flexible musical era. Even the title of the film, inspired by the Television song, indicates open possibilities in the mid-70s \"The Blank Generation\" suggests that in 1975-1976 it was still a [fill in the blank] generation with no definition, self-imposed or media-determined. That was a post-Watergate, post-hippie, post-activist time of new possibilities, all clearly championed and captured in Amos Poe’s film.<br/> <br/> —Chale Nafus, Director of Programming, Austin Film Society<br/> 12/06</br></br></br></br></br></br></br></br></br></br></br></br>","artist_bio":"Amos Poe is one of the first punk filmmakers and his film The Blank Generation (1976)—co-directed with Ivan Kral— is one of the earliest punk films. The film featured performances by Richard Hell, Talking Heads, Television, Patti Smith and Wayne County.\nHe is also associated with the birth of No Wave Cinema due to films such as The Foreigner (1978), featuring Debbie Harry and Anya Phillips, and Subway Riders (1981), starring Susan Tyrrell and Robbie Coltrane. During this time he was also the director of the Public-access television cable TV show TV Party hosted by Glenn O'Brien and Chris Stein.\nHe is part of the Remodernist film movement, which he described as the next development of Postmodernist and the transformation of existing cultural features, but \"using the technology and the sensibility of contemporary rather than nostalgia\". \"My idea of my work’s importance is to see how it moves the culture to where I’d like to see it,\" Poe said in a 1981 interview. -- Wikipedia","bio_dates":"1976"},{"slug":"poe_amos_the_foreigner","ok":true,"partial":false,"title":"The Foreigner","artist":"Amos Poe","year":"1978","startOffset":0,"sourceSecs":5483.311,"sourceHeight":368,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":317295082,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/poe_amos_the_foreigner/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/poe_amos_the_foreigner/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/poe_amos_the_foreigner.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/poe_amos_the_foreigner/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/poe_amos_the_foreigner/main/master.m3u8?v=2","hasMainHls":true,"description":"Runtime: 113 min<br/> <br/> Director: Amos Poe<br/> <br/> Cast:<br/> Eric Mitchell ... Max Menace<br/> Anya Phillips ... Doll<br/> Patti Astor ... Fili Harlow<br/> Deborah Harry ... Dee Trik<br/> Séverine ... Zazu Weather (as Terens Séverine)<br/> Robin Crutchfield ... Fido Hex<br/> Kitty Sondern ... Kit Bag<br/> Duncan Hannah ... King Bag / Shake<br/> Steven Kramer ... Mouse<br/> Susan Morris ... Mo Bag<br/> Amos Poe ... Amos Nitrate<br/> David Forshtay ... For Bag<br/> Pusante Byzantium ... Skratch / Rumanian<br/> Ana Marton ... Fullee / Rumanian<br/> Chirine El Khadem ... Mr. Kool<br/> <br/> Description: \"I DON'T deserve this,\" the title character of \"The Foreigner\" is heard to say as he reclines in numb despair on his bed at the Chelsea Hotel. It is a thought likely to be shared by whatever audiences are attracted to the film, which is being shown through Sunday as part of the New American Filmmakers Series at the Whitney Museum. <br/><br/>\"\"The Foreigner\" deals with the \"punk\" sensibility as manifested at CBGB, the rock nightclub on the Bowery; the streets and lofts of SoHo and the leather bars of the West Village. <br/><br/> The subject is not without interest, although punk seems to have lost some of its spark in the six months or so since the film was made. The trouble is that no one in the cast, which includes a couple of comely young women, has the least idea of how to act, the story is infantile and the photography, sound and editing are primitive in a way that stopped being amusing 10 years ago. <br/><br/>\"\"The Foreigner\" was written, produced and directed by Amos Poe, with the assistance, as a screen credit coyly notes, of a $5,000 personal loan from the Merchants Bank of New York. It seems Incredible that a museum that is exhibiting Saul Steinberg on the third floor should be showing the cinematic equivalent of kindergarten scribbles on the second.","artist_bio":"Amos Poe is one of the first punk filmmakers and his film The Blank Generation (1976)—co-directed with Ivan Kral— is one of the earliest punk films. The film featured performances by Richard Hell, Talking Heads, Television, Patti Smith and Wayne County.\nHe is also associated with the birth of No Wave Cinema due to films such as The Foreigner (1978), featuring Debbie Harry and Anya Phillips, and Subway Riders (1981), starring Susan Tyrrell and Robbie Coltrane. During this time he was also the director of the Public-access television cable TV show TV Party hosted by Glenn O'Brien and Chris Stein.\nHe is part of the Remodernist film movement, which he described as the next development of Postmodernist and the transformation of existing cultural features, but \"using the technology and the sensibility of contemporary rather than nostalgia\". \"My idea of my work’s importance is to see how it moves the culture to where I’d like to see it,\" Poe said in a 1981 interview. -- Wikipedia","bio_dates":"1976"},{"slug":"poe_amos_unmade_beds","ok":true,"partial":false,"title":"Unmade Beds","artist":"Amos Poe","year":"1976","startOffset":0,"sourceSecs":4208.448,"sourceHeight":400,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":244888151,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/poe_amos_unmade_beds/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/poe_amos_unmade_beds/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/poe_amos_unmade_beds.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/poe_amos_unmade_beds/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/poe_amos_unmade_beds/main/master.m3u8?v=2","hasMainHls":true,"description":"<b>Cast:</b><br/> Baby Adams ... Lady in cab <br/> Patti Astor ... Jeanne Moreau <br> Lynnette Bean ... Pocahontas <br> Diane Cohen ... Stephane Audran <br/> David Forshtay ... Taxi driver <br/> Marissa Gallagher ... Amos Poe <br/> Duncan Hannah ... Rico <br/> <!--a href=\"http://www.surrealmoviez.info/forum/viewthread.php?forum_id=28&amp;thread_id=8328\" target=\"_blank\" rel=\"noopener\"-->Deborah Harry<!--/a--> ... Blondie <br/> Sara Johnson ... Lady in cab <br/> Charli Kalina ... J. Seberg <br/> Gail Michaelson ... Girl on bike <br/> Eric Mitchell ... Paul Orsalino <br/> Fernando Natalici ... Michel <br/> Kitty Sondern ... Kitty Rohmer <br/><br/>\"\"The three films—Unmade Beds, The Foreigner and Subway Riders—represent a kind of trilogy. The first is a European film made in New York City, a reinvention of the nouvelle vague in the context of New York. I wanted to start where Godard started, to go back to basics: innocence, romanticism, bohemianism, all the things that made up New York City for me at that time. It is the story of an artist: a medium, an ego, and a changed society. He thinks his camera is a gun, he thinks he is Belmondo, and he thinks New York is Paris. His fate is therefore doomed. So when Godard and his pals at the Cinemateque saw Sirk, Hawks, et cetera, they tried to make films like that—but they failed. Instead they created the New Wave. My attempt created a kind of New Wave in New York.\" Amos Poe, 1982<br/><br/>While the punk-new wave musical revolution was brewing on the Bowery and in downtown New York in 1976 and 1977, a new breed of underground filmmakers were beginning to emerge, whose work reflected the same rough textures and emotional immediacy as punk rock. One of the leading filmmakers of New York's New Wave was Amos Poe, and his feature Unmade Beds was one of the first features from this movement to receive any significant attention outside the underground music and art scene. To the rest of the world, Rico (Eric Mitchell) appears to be a photographer living in New York City in the mid-'70s. But in his mind, Rico is a character in a French New Wave film directed by Jean-Luc Godard, living a bohemian life of danger and flinty glamour, and he's both a photographer and a hired gun, living a life straight out of one of the film noir classics he loves. Rico's fragile hold on reality and his mingled feelings about his art begin to collide when he falls in love with a beautiful woman. Unmade Beds also features Duncan Hannah and Patti Astor; musicians Deborah Harry and Robert Gordon highlight the supporting cast. -- Mark De </br></br>","artist_bio":"Amos Poe is one of the first punk filmmakers and his film The Blank Generation (1976)—co-directed with Ivan Kral— is one of the earliest punk films. The film featured performances by Richard Hell, Talking Heads, Television, Patti Smith and Wayne County.\nHe is also associated with the birth of No Wave Cinema due to films such as The Foreigner (1978), featuring Debbie Harry and Anya Phillips, and Subway Riders (1981), starring Susan Tyrrell and Robbie Coltrane. During this time he was also the director of the Public-access television cable TV show TV Party hosted by Glenn O'Brien and Chris Stein.\nHe is part of the Remodernist film movement, which he described as the next development of Postmodernist and the transformation of existing cultural features, but \"using the technology and the sensibility of contemporary rather than nostalgia\". \"My idea of my work’s importance is to see how it moves the culture to where I’d like to see it,\" Poe said in a 1981 interview. -- Wikipedia","bio_dates":"1976"},{"slug":"polke_papua_wabag","ok":true,"partial":false,"title":"Papua","artist":"Sigmar Polke","year":"1980-1981","startOffset":0,"sourceSecs":1833.3,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":211283403,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/polke_papua_wabag/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/polke_papua_wabag/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/polke_papua_wabag.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/polke_papua_wabag/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/polke_papua_wabag/main/master.m3u8?v=2","hasMainHls":true,"description":"Papua. 1980–81. Directed by Sigmar Polke. 16mm film transferred to video (color, silent). 29 min.","artist_bio":"Sigmar Polke (13 February 1941 – 10 June 2010) was a German painter and photographer. Polke experimented with a wide range of styles, subject matters and materials. In the 1970s, he concentrated on photography, returning to paint in the 1980s, when he produced abstract works created by chance through chemical reactions between paint and other products. In the last 20 years of his life, he produced paintings focused on historical events and perceptions of them.","bio_dates":"1941-2010"},{"slug":"polke_uluru","ok":true,"partial":false,"title":"Uluru, Olgas","artist":"Sigmar Polke","year":"1980-1981","startOffset":0,"sourceSecs":906.58,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":644070,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/polke_uluru/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/polke_uluru/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/polke_uluru.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/polke_uluru/main.mp4?v=2","description":"Uluru, Olgas, 1980-1981<br/> 16mm film (digital copy), color, no sound","artist_bio":"Sigmar Polke (13 February 1941 – 10 June 2010) was a German painter and photographer. Polke experimented with a wide range of styles, subject matters and materials. In the 1970s, he concentrated on photography, returning to paint in the 1980s, when he produced abstract works created by chance through chemical reactions between paint and other products. In the last 20 years of his life, he produced paintings focused on historical events and perceptions of them.","bio_dates":"1941-2010"},{"slug":"pope_l_william_thebuddyperformance_20_minute_excerpt","ok":true,"partial":false,"title":"The Buddy Performance","artist":"Pope","year":"1994","startOffset":0,"sourceSecs":1200.747,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":516004440,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pope_l_william_thebuddyperformance_20_minute_excerpt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pope_l_william_thebuddyperformance_20_minute_excerpt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pope_l_william_thebuddyperformance_20_minute_excerpt.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pope_l_william_thebuddyperformance_20_minute_excerpt/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pope_l_william_thebuddyperformance_20_minute_excerpt/main/master.m3u8?v=2","hasMainHls":true,"description":"THE BUDDY PERFORMANCE, a work in progress tells the tale of two cowboy gynecologists in search of the male grail; the cup of male purity which eases difference and confirms the love of football. The performance piece explores the conventions of contemporary \"Buddy\" movies, the myth of Percival and male dominated professional milieu of gynecology to create a comic-tragic fantasy journey to the center of the American male psyche. The Buds are William Pope L., African American performer/writer/director and Jim Calder, Caucasian, performer/director. In the Buddy Performance, they conduct their experiments in nothing but lab coats and duct tape. To the Buds, a woman's body is the dark continent. In the beginning, they worked to live, now they work to forget. They have systematically alienated everyone around them; family, friends, clients, even their pets, and set out on a fantasy journey, which takes place entirely in their office, in search of the elusive male \"minstrel\" cycle."},{"slug":"porridge_genesis_wierd_woman_2003_2010","ok":true,"partial":false,"title":"Weird Woman (State 1)","artist":"Genesis P-Orridge","year":"2003-2010","startOffset":0,"sourceSecs":261.803,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":45918079,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/porridge_genesis_wierd_woman_2003_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/porridge_genesis_wierd_woman_2003_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/porridge_genesis_wierd_woman_2003_2010.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/porridge_genesis_wierd_woman_2003_2010/main.mp4?v=2","description":"It’s a swastika with um–what’s those plants in Switzerland? Alpine Lillies. So Weird Woman grew out of that. We used to just improvise at night, making up stories to each other. And so at some point we began making videos but when that one was done we don’t remember. It was completely made up on the spot. We were doing something else and then Jay just said, ‘Why don’t you do one of those weird women?’ ‘Okay.’ And made the story up out of nowhere."},{"slug":"pound_ezra_reading_canto_lxxxi","ok":true,"partial":false,"title":"Ezra Pound Reading Canto LXXXI","artist":"Ezra Pound","year":"1967","startOffset":0,"sourceSecs":150.302,"sourceHeight":360,"sourceWidth":482,"hasAudio":true,"hasAmbientMp4":true,"bytes":10857101,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pound_ezra_reading_canto_lxxxi/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pound_ezra_reading_canto_lxxxi/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pound_ezra_reading_canto_lxxxi.mp4","hasFrames":true,"description":"It’s not clear when this film footage was shot, but the reading was recorded in Spoleto, Italy during the summer of 1967.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/pound.html\" rel=\"noopener\" target=\"_blank\">Ezra Pound in UbuWeb Sound</a></br>","artist_bio":"Poet Ezra Pound was born on October 30, 1885, in Hailey, Idaho. He studied literature and languages in college and in 1908 left for Europe, where he published several successful books of poetry. Pound advanced a \"modern\" movement in English and American literature. His pro-Fascist broadcasts in Italy during World War II led to his arrest and confinement until 1958.","bio_dates":"1885-1972"},{"slug":"pound_ezra_se_promenant_dans_paris","ok":true,"partial":false,"title":"Ezra Pound se promenant dans Paris","artist":"Ezra Pound","year":"1965","startOffset":0,"sourceSecs":148.538,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":10682051,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pound_ezra_se_promenant_dans_paris/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pound_ezra_se_promenant_dans_paris/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pound_ezra_se_promenant_dans_paris.mp4","hasFrames":true,"description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/pound.html\" rel=\"noopener\" target=\"_blank\">Ezra Pound in UbuWeb Sound</a>","artist_bio":"Poet Ezra Pound was born on October 30, 1885, in Hailey, Idaho. He studied literature and languages in college and in 1908 left for Europe, where he published several successful books of poetry. Pound advanced a \"modern\" movement in English and American literature. His pro-Fascist broadcasts in Italy during World War II led to his arrest and confinement until 1958.","bio_dates":"1885-1972"},{"slug":"pranks_tv_1988","ok":true,"partial":false,"title":"Pranks TV!","artist":"Leslie Asako Gladsjø","year":"1988","startOffset":0,"sourceSecs":1851.722,"sourceHeight":350,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":112900987,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pranks_tv_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pranks_tv_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pranks_tv_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pranks_tv_1988/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pranks_tv_1988/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Leslie Asako Gladsjø<br><br><b>Cast:</b><br> Joe Coleman ... Himself<br> Frank Discussion<br/> Karen Finley ... Herself<br/> Andrea Juno ... Herself / Interviewer<br/> Boyd Rice ... Himself<br/> V. Vale ... Himself (interviewer)<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/finley.html\" rel=\"noopener\" target=\"_blank\">Karen Finley on UbuWeb Sound</a><br> <a href=\"https://ubu.com/film/coleman.html\" rel=\"noopener\" target=\"_blank\">Joe Coleman in UbuWeb Film</a></br></br></br></br>","artist_bio":"Leslie Asako Gladsjo earned her degree at Harvard University in Visual and Environmental Studies in 1984. She has worked in film and television for over a decade in the U.S., Europe, and Asia. Her independently produced documentaries include Pranks (1988), Stigmata: The Transfigured Body (1992), and a series of collaborations with the controversial machine performance group Survival Research Laboratories. These films have won awards at national and international festivals. In 1994 she co-produced and directed Truth Under Siege, an award-winning feature-length documentary about dissident media in former Yugoslavia, for European, Canadian and Australian television. In 1995 she co-produced and directed Pandemonium, an hour-long BBC documentary on the co-evolution of humans and machines. Based in Paris since 1996, Gladsjo has directed several documentaries for the French/German station ARTE, including Une Enfance Gaie (A Happy Childhood), which portrays lesbian and gay parents and their children, and Prier Dans La Cite Des Anges (Pray in the City of Angels), which explores the diversity of religious practice in the Los Angeles area.","bio_dates":"1988"},{"slug":"praunehim_rosa_von_neurosia_50_jahre_pervers_iphone","ok":true,"partial":false,"title":"Von Neurosia 50 Jahre Pervers","artist":"Rosa Von Praunheim","year":"1992","startOffset":0,"sourceSecs":5606.04,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":324472671,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/praunehim_rosa_von_neurosia_50_jahre_pervers_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/praunehim_rosa_von_neurosia_50_jahre_pervers_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/praunehim_rosa_von_neurosia_50_jahre_pervers_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/praunehim_rosa_von_neurosia_50_jahre_pervers_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/praunehim_rosa_von_neurosia_50_jahre_pervers_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Neurosia: 50 Years of Perversity (German: Neurosia - 50 Jahre pervers ) is a 1992 German film directed by Rosa von Praunheim. The film is a mockumentary, an autobiography of Rosa von Praunheim, framed as murder mystery in which the director is the victim.\n\nRosa von Praunheim, a controversial German film director, Introduces the premiere of his new film before a live audience. A moviegoer leaps to his feet and shoots him. Gesine Ganzman-Seipel, a disdainful TV reporter, is assigned to do a mockumentary series on the victim's debauched existence and his career as a dilettante artist. The mystery surrounding von Praunheim's death is fueled by the disappearance of the corpse.\n\nGesine begins to investigate upon the dirt of von Praunheim notoriously hedonistic life. She insinuates herself into von Praunheim's private life, duping his mother into providing access to his personal belongings. The mother flips through a photo album commenting: \"I've survived two world wars; living with him is the third\". The reporter retraces the earliest efforts of an oeuvre encompassing nearly 50 films and recalls the part Rosa von Praunheim played in the birth of the German gay movement in the 1970s. She also interviews von Praunheim's acquaintances and shows short clips from Rosas old movies. Her main aim is to provide sensational and shocking details from Rosa's life. Initially disgusted at the depravity she unearths, the reporter reads his love letters and hate mail, traces clues and anonymous tip-offs, prowls public toilets and other seedy hangouts, talking to the deceased's neighbors, ex-lovers, stars of his films and bizarre family members. Some of the eccentric menagerie refuse to talk. Others are only too willing to divulge personal information, like Evelyn Kunneke, who claims von Praunheim's homosexuality was an attention-seeking device and that he really loved her.\n\nGesine follows von Praunheim's tracks to New York and meets a former flame; he recalls Rosa's horrifying eating habits and his appalling practice of playing Bavarian folk tunes on his foreskin. Gesine becomes increasingly dedicated to her assignment and possibly even more sympathetic to her subject's cause. However soon after she promises viewers details of von Praunheim's affairs with prominent businessmen and high-ranking government, church and military officials. von Praunheim's diaries containing the evidence vanish and the series is axed due to dismal ratings. Gesine perseveres regardless, eventually discovering the truth. It turns out that nearly everybody had some reason to kill Rosa. Finally Gesine discovers Rosa at a boat where he is kept prisoner by some of his old enemies. She frees him, and the movie ends."},{"slug":"praunheim_rosa_von_city_of_lost_souls_1983_iphone","ok":true,"partial":false,"title":"Stadt der verlorenen Seelen AKA City of Lost Souls","artist":"Rosa Von Praunheim","year":"1983","startOffset":0,"sourceSecs":5317.186,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":307284231,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/praunheim_rosa_von_city_of_lost_souls_1983_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/praunheim_rosa_von_city_of_lost_souls_1983_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/praunheim_rosa_von_city_of_lost_souls_1983_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/praunheim_rosa_von_city_of_lost_souls_1983_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/praunheim_rosa_von_city_of_lost_souls_1983_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Imagine Hedwig and the Angry in reverse. Yes, Lila (Jayne County), a daughter of American anti-Communists eventually winds up in East Berlin as rock'n'roll TV star. Her hit song: \"I Fell in Love with a Russian Soldier.\" The lyrics leave out that he got her pregnant. <br/><br/> Now Miss County who plays Lila is either in real life a transvestite or a transsexual, but whatever she is, like Holly Woodlawn in Trash, she's quite wondrous and wonderful. So be prepared when she moans, \"Just because I get fucked by Russians doesn't mean I want their babies.\" You'll find yourself helplessly sympathizing with her plight. Of course, if you are a slut, too, you'll find yourself helplessly empathizing. <br/><br/> Anyway, this is an early film by the great, internationally obscure German director Rosa von Praunheim. Within his realm, Andy Warhol meets John Waters meets Clifford Odets. <br/><br/> Most of the action here takes place in West Berlin in a slimy eatery called Hamburger Königen (Hamburger Queen). Run by pre-op transsexual and diva (Angie Stardust), the place is such a disaster the Board of Health is afraid to enter its premises. Customers are sliding across slimy floors, throwing up on tables, or protesting with verve. One 80-year-old hippie, in fact, is so furious he's wound up celebrating his birthday in this dump, it might turn out to be his very last meal. <br/><br/> But if the food is bad, wait to you meet the help, a collection of sex-obsessed singers, actors, strippers plus nearly-always-naked Gary (Gary Miller), a group therapist and purveyor of Black Magic. This gaggle all lives in the hotel also run by Angie called the Pension Stardust, a one-star affair complete with bedbugs and a constant lack of toilet paper. Oh, have I forgotten to mention the visiting erotic trapeze artists who become part of the family? This duo constantly spends its days hanging upside down. <br/><br/> Sounds deliciously absurd. It is. But this being a von Praunheim epic, it has deep political underpinnings. City of Lost Souls explores anti-Semitism and racism in post-War Germany with an in-your-face approach. Watch the Jewish trapeze artist making out with the woman-battering motorcyclist whose father and grandfather were both Nazis. See the little German boy proudly singing on a street corner a nursery rhyme about \"******s.\" <br/><br/> Besides a disgust with the way the modern world is, there's also a liberating sense of absolute sexuality. (Remember AIDS wasn't a factor in Germany when this wsa filmed.) Amongst all the group sex, a gay transsexual has a butch lesbian as his girlfriend. Old people are smooching with young ones. Any straight boys on the set wind up bending their libidos a lot. In fact, the characters here are more likely to be trisexual than bisexual. <br/><br/> Warning: Be careful. Very careful. All this lack of restraint might be catching. <br/><br/> City of Lost Souls is the latest work by cult director Rosa von Praunheim, known for his radical, controversial films that usually challenge both nongay and gay audiences. A group of Americans live in the midst of the lively artists' set in Berlin. Angie Stardust, a black dancer from Harlem who once worked in drag clubs has gone into business for herself, opening a restaurant, \"The Hamburger Queen,\" where a mixed bunch of unusual characters hang out. Gary is a dancer who is in love with magic. Tara O'Hara, a former male nurse, is proud of his androgynous charms--charms he shows off in an enticing striptease. Joaquin La Habana performs as both a man and a woman at the same time. And then there is Judith and Tron performing a wild, erotic trapeze act and Lia, from the south, who meets an East German agent who succeeds in making her East Germany's most famous rock star. Essentially a form of cabaret, the film moves from the sentimental through the witty and erotic. The players know their job, the camera work is inventive, and the music is great.","artist_bio":"Rosa von Praunheim (born November 25, 1942), in Riga, Latvia. His given name is Holger Mischwitzky. He is a German film director, author, painter and gay rights activist. Openly gay, he is one of the initiators of the gay rights movement in Germany.\nA prolific filmmaker, he has made over fifty feature films. A senior member of the Berlin school of underground filmmaking, he began his career associated to the New German Cinema. He took the artistic female name Rosa Von Praunheim to remind people of the pink triangle that homosexuals had to wear in Nazi concentration camps. A pioneer of Queer Cinema, von Praunheim has been an activist in the gay rights movement. An early advocate of AIDS awareness and safer sex, he has been a controversial figure even within the gay community. His films center on gay related themes and strong female characters. His works are characterized by excess and employ a campy style. His films have featured such personalities as Jayne County, Vaginal Davis, Divine, and Jeff Stryker.\n-- Wikipedia","bio_dates":"b. 1942"},{"slug":"praunheim_rosa_von_positive_1990_iphone","ok":true,"partial":false,"title":"Aids-Trilogie: Positiv - Die Antwort schwuler Männer in New York auf AIDS AKA Positive","artist":"Rosa Von Praunheim","year":"1942","startOffset":0,"sourceSecs":4984.045,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":290038271,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/praunheim_rosa_von_positive_1990_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/praunheim_rosa_von_positive_1990_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/praunheim_rosa_von_positive_1990_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/praunheim_rosa_von_positive_1990_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/praunheim_rosa_von_positive_1990_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Provocative documentary from von Praunheim on AIDS epidemic in New York.. Contains images of strong +sexual+ violence against Ronald Reagan and a brief knife-pulling by Diamanda Galas :) <br/><br/>\"\"This is our holocaust, New York City is our Auschwitz, Ronald Reagan is our Hitler.\" <br/><br/> First film in von Praunheim's series of AIDS documentaries focuses on artists' responses to the epidemic. Features Keith Haring, Diamanda Galas, others. Powerful viewing for fans of offbeat, quasi-experimental documentaries. <br/><br/> New York City's Gay Community's response to the AIDS crisis is powerfully documented in Positive. Rosa von Praunheim has captured the spirit of activism generated by playwright Larry Kramer, musician and co-founder of People with AIDS Coalition (PWAC) Michael Callen, and New York filmmaker and journalist Phil Zwickler. They have chosen to act and speak out, refusing to be \"AIDS Victims.\" Having neither the time nor the patience to mince words, groups like ACT-UP, Queer Nation, and Gay Men's Health Crisis demand a response to the epidemic that has threatened to annihilate them, by a society that would rather ignore them. There is a sense of strength and determination in this film that makes it an immensely important historical document. <br/><br/>\"\"\"Uncompromising, political graphic looks from the inside... it's easy to get caught up in the passion of the subject.\" - New York Newsday <br/><br/>\"\"Scorching... an inside history of the AIDS movement.\" - New York Times <br/><br/>\"\"A call to arms... raw, involving eloquence... seething with rage and disbelief.\" - Village Voice","artist_bio":"Rosa von Praunheim (born November 25, 1942), in Riga, Latvia. His given name is Holger Mischwitzky. He is a German film director, author, painter and gay rights activist. Openly gay, he is one of the initiators of the gay rights movement in Germany.\nA prolific filmmaker, he has made over fifty feature films. A senior member of the Berlin school of underground filmmaking, he began his career associated to the New German Cinema. He took the artistic female name Rosa Von Praunheim to remind people of the pink triangle that homosexuals had to wear in Nazi concentration camps. A pioneer of Queer Cinema, von Praunheim has been an activist in the gay rights movement. An early advocate of AIDS awareness and safer sex, he has been a controversial figure even within the gay community. His films center on gay related themes and strong female characters. His works are characterized by excess and employ a campy style. His films have featured such personalities as Jayne County, Vaginal Davis, Divine, and Jeff Stryker.\n-- Wikipedia","bio_dates":"b. 1942"},{"slug":"price_elizaabeth_a_restoration_2016","ok":true,"partial":false,"title":"A Restoration","artist":"Elizabeth Price","year":"2016","startOffset":0,"sourceSecs":1116.16,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":255266244,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_elizaabeth_a_restoration_2016/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_elizaabeth_a_restoration_2016/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/price_elizaabeth_a_restoration_2016.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/price_elizaabeth_a_restoration_2016/main.mp4?v=2","description":"A Restoration is a newly commissioned work in response to the collections and archives of the Ashmolean and Pitt Rivers museums. <br/><br/> The fifteen-minute, two-screen digital video installation employs the museums’ photographic and graphic archives. It is a fiction, set to melody and percussion, which is narrated by a ‘chorus’ of museum administrators who are organising the records of Arthur Evans’s excavation of the Cretan city of Knossos. The administrators use Evans’s extraordinary documents and photographs to figuratively reconstruct the Knossos Labyrinth within the museum’s computer server. They then imagine its involuted space as a virtual chamber through which museum objects digitally flow, clatter and cascade.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/maderna.html\" rel=\"noopener\" target=\"_blank\">Elizabeth Price in UbuWeb Sound</a>","bio_dates":"b. 1966"},{"slug":"price_elizabeth_k_2015","ok":true,"partial":false,"title":"K","artist":"Elizabeth Price","year":"2015","startOffset":0,"sourceSecs":434.88,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":169483058,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_elizabeth_k_2015/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_elizabeth_k_2015/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/price_elizabeth_k_2015.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/price_elizabeth_k_2015/main.mp4?v=2","description":"K (2015), a two-screen video installation brings together disparate elements - text, image, synthetic voice and a stark, percussive soundtrack - in a witty and emotional exploration of lamentation, commerce and labour. <br/><br/> A ghostly stop-frame animation of the sun–created from thousands of glass plate slides taken between 1870 and 1948 – plays continuously on one of the two screens. On the other, a hypnotic CGI animation follows the production - the weaving, folding and packaging - of nylon stockings. Images of dancers and singers migrate between the two screens, seemingly responding to both the light of the sun, and the motion of the machinery. Binding these visual elements together is a narrative composed by Price and attributed to the Krystals, a fictional group of ‘professional mourners’. The synthetic voice, created using text-to-voice technology, describes the group’s highly ritualised practice, and its cultural provenance. <br/><br/> This work extends Price’s interest in digital moving image as a medium for polyphoniccomposition. In K as in all of her recent moving image works, the narration is ostensibly provided by a group. She draws on formal devices of multiple voice in music, theatre and literature, to convey the principle of over lapping, rather than unified subjectivities.The narratives are stranded rather than linear, and in K particularly, story telling is used as an agile intermediary, binding the dissonant, apparently estranged elements of the visual composition into unlikely synchronicity.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/maderna.html\" rel=\"noopener\" target=\"_blank\">Elizabeth Price in UbuWeb Sound</a>","bio_dates":"b. 1966"},{"slug":"price_elizabeth_sunlight_2013","ok":true,"partial":false,"title":"Sunlight","artist":"Elizabeth Price","year":"2013","startOffset":0,"sourceSecs":498.41,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":151841125,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_elizabeth_sunlight_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_elizabeth_sunlight_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/price_elizabeth_sunlight_2013.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/price_elizabeth_sunlight_2013/main.mp4?v=2","description":"The two-screen video work, titled Sunlight, has been constructed using thousands of glass-plate slides picturing the sun. Created between 1875 and 1945, and taken on a daily basis during substantial parts of the period, these are some of the earliest scientific solar images and were discovered by the artist on a residency with Dr. Hugh Mortimer at the Rutherford Appleton Laboratory. The slides were photographed in K-light, using so called Ca-K filters that isolate light of high temperature. The process allows us to see the effervescent surface of the sun that is otherwise too bright for human eyes. This method of early photography was used to explore the phenomenon of sunspots and their impact on magnetic technology until the mid-20th century. <br/><br/> During the video’s duration more than fifty years of sunlight are streamed as a continuous, evolving image of the sun. This rhythmic animation, which is shown on one of the screens, illuminates a narrative setting, which unfolds across the two projections with further images incorporating depictions of the sun. An animated ship travels across the screen, and a box of Ship-branded safety matches is presented. Matches appear both as burnt out, and occasionally in the process of burning. Hands, black and white, with strikingly yellow nail varnish clap triggering a rhythmical edit. A disembodied voice offers a more or less concise comment. The most prominent characters in this drama are images of women, in highly expressive poses that Price has taken from hosiery packaging. These women are shielding their eyes from the camera and the lights, which in the context of the film appear to be a response to the sun’s relentless glare.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/maderna.html\" rel=\"noopener\" target=\"_blank\">Elizabeth Price in UbuWeb Sound</a>","bio_dates":"b. 1966"},{"slug":"price_elizabeth_the_tent2010","ok":true,"partial":false,"title":"The Tent","artist":"Elizabeth Price","year":"2010","startOffset":0,"sourceSecs":780.72,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":229125681,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_elizabeth_the_tent2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_elizabeth_the_tent2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/price_elizabeth_the_tent2010.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/price_elizabeth_the_tent2010/main.mp4?v=2","description":"The Tent extrapolates an eventful fictional narrative from a black-&-white printed booklet and the body of art that it features in its pages. Presenting artworks with reduced economies, the book, a 1972 Arts Council publication entitled Systems, includes drawings, documentation of works, and photographs of the artists in the ‘British Systems group’, along with extended texts written by each of them. <br/><br/> The video’s imagery is derived from recording both the object of the book and the images it contains. The videography employs experimental, high contrast exposures that will cause white pages to bleach away almost entirely, and black pages to intensify so that they become suggestive of spaces rather than surfaces; so that the diagrams/images on those pages seem to float in voids. <br/><br/> The narration was formulated from the text of the book and delivered as motion graphics. Fragments of text have been excerpted and reorganised , to compose a fractured story that reveals the ideological and imaginative world articulated within the book. The narrative exploits the publication’s recurring themes: apocalyptic anxiety and futurological urgency; the idealized relations between social and aesthetic economies; and ambitions for art’s social agency. The soundtrack is also drawn from the material of the book. Sounds (of flicking pages for example) are amplified and manipulated to form the basis of the soundtrack.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/maderna.html\" rel=\"noopener\" target=\"_blank\">Elizabeth Price in UbuWeb Sound</a>","bio_dates":"b. 1966"},{"slug":"price_luther_green_1988","ok":true,"partial":false,"title":"Green","artist":"Luther Price","year":"1988","startOffset":0,"sourceSecs":2202.2,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":381225814,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_luther_green_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_luther_green_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/price_luther_green_1988.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/price_luther_green_1988/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/price_luther_green_1988/main/master.m3u8?v=2","hasMainHls":true,"description":"Green is a world where ghosts live.<br/> Emerging from silent memory, they<br/> enter an image of reality, cool, crisp and static.<br/> Tromping forward, time unravels<br/> tracing to points of the past,<br/> conjuring the familiar, reliving<br/> events unresolved, revealing<br/> very little.<br/> <br/> Beauty is continually redefined,<br/> celebrating life and death in a<br/> plastic world haunted.<br/> It is a romantic suicide.","bio_dates":"1962-2020"},{"slug":"price_luther_run_1994","ok":true,"partial":false,"title":"Run","artist":"Luther Price","year":"1994","startOffset":0,"sourceSecs":874.4,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":156515860,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_luther_run_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_luther_run_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/price_luther_run_1994.avi","hasFrames":true,"description":"Woke up walking alone from a dream toward a translucent sky<br/> a run day ... The edge electric against infinity revealed everything<br/> it was the moment before I was born<br/> the moment before I died<br/> I was pressed between glass<br/> I could see myself walking past<br/> I could see my eye looking at my eye<br/> I was standing someplace far away<br/> looking at myself<br/> pressed between glass<br/> I looked like I was moving but it was more like the way a worm<br/> pushes into itself to get to wherever it goes<br/> I could slip through those spaces and rest for awhile<br/> then distribute everything I am and all that I was<br/> but I panicked<br/> I continued to push<br/> my body into itself<br/> I woke pressed between<br/> glass<br/> I thought I was walking<br/> I saw myself walking<br/> I could see my eye<br/> looking at my eye<br/> and the place where I died<br/> when I was born","bio_dates":"1962-2020"},{"slug":"price_luther_sodom","ok":true,"partial":false,"title":"Sodom","artist":"Luther Price","year":"1989","startOffset":0,"sourceSecs":768.635,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":127228013,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_luther_sodom/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_luther_sodom/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/price_luther_sodom.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/price_luther_sodom/main.mp4?v=2","description":"SODOM is viscerally graphic and disturbing through its hypnotic mirage of human fragment absorbed in mutilation. Based on the biblical story, SODOM recreates this destruction through an editing style that lends itself to a kind of organic image breakdown, creating a collage of moving image.<br/> <br/> 1989, S8mm, color/so, 21m (18fps)<br/> <br/> This is a so-so quality telecine to VHS rip. Obviously this is not the best way to watch this, but the odds of getting to see it on film are pretty slim, so ENJOY!","bio_dates":"1962-2020"},{"slug":"price_luther_warm_broth_1988","ok":true,"partial":false,"title":"Warm Broth","artist":"Luther Price","year":"1988","startOffset":0,"sourceSecs":2056.16,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":355766135,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_luther_warm_broth_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_luther_warm_broth_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/price_luther_warm_broth_1988.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/price_luther_warm_broth_1988/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/price_luther_warm_broth_1988/main/master.m3u8?v=2","hasMainHls":true,"description":"Everything will be ok, just close<br/> your eyes little thing<br/> go to sleep little fuck<br/> feel my hand on your warm<br/> forehead<br/> It's cold isn't it? Ice cold.<br/> <br/> Dream of something real sweet<br/> for mommy<br/> Mommy likes sweet things<br/> Dream of a merry-go-round and<br/> cotton candy<br/> <br/> Mommy's hand got all warm<br/> resting on your tiny head<br/> See, look at mommy's hand<br/> It got all warm now<br/> <br/> You're running a slight fever<br/> Mommy will get you some<br/> water<br/> And you're running a slight<br/> fever<br/> <br/> Little fuck don't have to go to<br/> school tomorrow<br/> but no playing in the yard<br/> Someone could see you<br/> And I'll be an unfit mommy<br/> <br/> You'll have to stay in all day<br/> <br/> but now, dream of the prettiest<br/> flower for mommy<br/> I'll make you oatmeal first thing<br/> And you could tell me the color<br/> of the -<br/> prettiest flower.","bio_dates":"1962-2020"},{"slug":"price_seth_ny_sorrow_2001","ok":true,"partial":false,"title":"N.Y. Sorrow","artist":"Seth Price","year":"2001","startOffset":0,"sourceSecs":228.544,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":41155677,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_seth_ny_sorrow_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_seth_ny_sorrow_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/price_seth_ny_sorrow_2001.mp4","hasFrames":true,"description":"Seth Price: 'N.Y. Sorrow,' 2001<br/> Track recorded in 2001. From the LP 'Army Jacket'.<br/> I used part of this footage in the 2001 video lecture 'New York Woman.'","artist_bio":"Through paintings, sculpture, video, and media work, Seth Price underlines the production strategies, dissemination modes, and valuation patterns that art most typically occupies or assumes. His appropriative work, which often comprises what he terms the “redistribution” of pirated materials such as music and published texts and the circulation of archival footage and data culled from the internet, disrupts the operations of commodity culture and the information systems on which its ingratiating fluidity depends. While his practice evades rhetorical summation and aesthetic synthesis alike—effectively becoming mimetic of its profligate situation—the artist’s interest in the mobility of form suggests a common denominator. The music compilations that make up the series Title Variable (2001– ), for instance, reference episodes in recent music history, including video-game soundtracks and hip-hop. Released in various formats, Price’s mixes have been delivered online and through bookstores and museums, accompanied by the artist’s essays on each music form.\nRanging from vacuum-formed bomber jackets to 16-millimeter projections of rolling waves, Price’s employ of interchangeable and nonspecific supports focuses on seeking out operations, allowing his work to avoid ossification as fixed images. One tactic involves collaborative performances with the art and publishing collective Continuous Project, formed in 2003 with Bettina Funcke, Wade Guyton, and Joseph Logan. That year they made and distributed photocopied facsimiles of the first issues of the art magazines Avalanche (Fall 1970), for Continuous Project #1, and Eau de Cologne (1985), for Continuous Project #4. The collective also stages multihour readings of interviews and panel discussions—sometimes institutionally repressed— between artists, curators, critics, and dealers, inviting the audience’s participation. As much historical reenactment as instantiation of presentist social space, Continuous Project’s lectures draw attention to ways in which the content of such events are inextricable from their design.\nFormat likewise proves a crux in Price’s recent two-dimensional, wall-bound works including Gold Keys (2007): disembodied hands passing keys to each other float on golden-metallic grounds, generic icons culled from real estate and other advertisements as well as other media sources, yet given a treatment more typical of archival photographs. Untitled (2007) recycles digital images illustrating various human interactions. In this portrayal of one person feeding another, Price has excised the figures themselves, leaving only the negative interval between them; other works in the series depict a couple kissing and a man with his hand on a boy’s shoulder. Perhaps plucked from a commercial or shareholder prospectus, each vignette denies specificity even as it is fetishized through its transmutation into luxurious materials at a grand scale, leaving the narrative ambiguously open—and ready to be consumed, repurposed, and discarded anew. SUZANNE HUDSON","bio_dates":"b. 1973"},{"slug":"price_seth_tale_of_the_skull_2000","ok":true,"partial":false,"title":"Tale of the Skull","artist":"Seth Price","year":"2000","startOffset":0,"sourceSecs":229.845,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":41936121,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_seth_tale_of_the_skull_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/price_seth_tale_of_the_skull_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/price_seth_tale_of_the_skull_2000.mp4","hasFrames":true,"artist_bio":"Through paintings, sculpture, video, and media work, Seth Price underlines the production strategies, dissemination modes, and valuation patterns that art most typically occupies or assumes. His appropriative work, which often comprises what he terms the “redistribution” of pirated materials such as music and published texts and the circulation of archival footage and data culled from the internet, disrupts the operations of commodity culture and the information systems on which its ingratiating fluidity depends. While his practice evades rhetorical summation and aesthetic synthesis alike—effectively becoming mimetic of its profligate situation—the artist’s interest in the mobility of form suggests a common denominator. The music compilations that make up the series Title Variable (2001– ), for instance, reference episodes in recent music history, including video-game soundtracks and hip-hop. Released in various formats, Price’s mixes have been delivered online and through bookstores and museums, accompanied by the artist’s essays on each music form.\nRanging from vacuum-formed bomber jackets to 16-millimeter projections of rolling waves, Price’s employ of interchangeable and nonspecific supports focuses on seeking out operations, allowing his work to avoid ossification as fixed images. One tactic involves collaborative performances with the art and publishing collective Continuous Project, formed in 2003 with Bettina Funcke, Wade Guyton, and Joseph Logan. That year they made and distributed photocopied facsimiles of the first issues of the art magazines Avalanche (Fall 1970), for Continuous Project #1, and Eau de Cologne (1985), for Continuous Project #4. The collective also stages multihour readings of interviews and panel discussions—sometimes institutionally repressed— between artists, curators, critics, and dealers, inviting the audience’s participation. As much historical reenactment as instantiation of presentist social space, Continuous Project’s lectures draw attention to ways in which the content of such events are inextricable from their design.\nFormat likewise proves a crux in Price’s recent two-dimensional, wall-bound works including Gold Keys (2007): disembodied hands passing keys to each other float on golden-metallic grounds, generic icons culled from real estate and other advertisements as well as other media sources, yet given a treatment more typical of archival photographs. Untitled (2007) recycles digital images illustrating various human interactions. In this portrayal of one person feeding another, Price has excised the figures themselves, leaving only the negative interval between them; other works in the series depict a couple kissing and a man with his hand on a boy’s shoulder. Perhaps plucked from a commercial or shareholder prospectus, each vignette denies specificity even as it is fetishized through its transmutation into luxurious materials at a grand scale, leaving the narrative ambiguously open—and ready to be consumed, repurposed, and discarded anew. SUZANNE HUDSON","bio_dates":"b. 1973"},{"slug":"prince_richard_house_call_2006","ok":true,"partial":false,"title":"House Call","artist":"Richard Prince","year":"2006","startOffset":0.48,"sourceSecs":749.44,"sourceHeight":384,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":51345598,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/prince_richard_house_call_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/prince_richard_house_call_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/prince_richard_house_call_2006.mp4","hasFrames":true,"description":"‘House Call’ is a re-recording of a twelve minute mis-en-scene culled from the golden age of video porn. It harks back to an era before pornography had entered the mainstream, when pornographic pleasure was still encased in taboo, an era distinctly at odds with that described by in Larry Clark’s film <a href=\"https://ubu.com/film/clark_impaled.html\" rel=\"noopener\" target=\"_blank\">Impaled</a>. <br/><br/> By recording and re-recording the clip, Prince adjusts the sensory bias, further disintegrating the video and its claim to sexual reality. The narrative shares an obsession that first appeared in the nurse paintings, describing as it does an illicit encounter between strangers whose professional intimacy is based on knowledge of bodily function and fluid.","artist_bio":"Richard Prince is the pre-eminent inventor-archeologist of American iconography. Since the early 80’s when he chose to show a re-photographed single image of the pre-pubescent Brooke Shields oiled, naked, and titled ‘Spiritual America’, Prince has led the way in the quest to expose the latent violence and sexuality that underwrites the American way.\nAppropriating images from the cultural fringes - bikers, surfers, potheads, cowboys, outlaws, pornographers, etc - and blowing them up to large scale, he has described this type of photography as ‘practising without a license’. Out of these unauthorised images, Prince has created his own type of pulp-fiction.\nHis recent series of nurse paintings slathered in drippy paint and sunset magenta hues have been exhibited worldwide. His interest in the deeply engrained stereotypes that surround the naughty doctor / nurse / patient relationship have led him to photograph Kate Moss for W magazine and most recently to 'House Call'.\nBest known for his sophisticated critiques of the insidious myths of American consumer culture. Prince’s ironic appropriations are both deconstruction of regressive stereotype and celebration of forbidden pleasure.","bio_dates":"b. 1949"},{"slug":"protazanov_yakov_aelita_1924_iphone","ok":true,"partial":false,"title":"Aelita","artist":"Yakov Protazanov","year":"1924","startOffset":0,"sourceSecs":6700.397,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":385424636,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/protazanov_yakov_aelita_1924_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/protazanov_yakov_aelita_1924_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/protazanov_yakov_aelita_1924_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/protazanov_yakov_aelita_1924_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/protazanov_yakov_aelita_1924_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Aelita (Russian: Аэлита), also known as Aelita: Queen of Mars, is a silent film directed by Soviet filmmaker Yakov Protazanov made at the Mezhrabpom-Rus film studio and released in 1924. It was based on Alexei Tolstoy's novel of the same name. Mikhail Zharov and Igor Ilyinsky were cast in leading roles. <br/><br/> Though the main focus of the story is the daily lives of a small group of people during the post-war Soviet Union, the enduring importance of the film comes from its early science fiction elements. It primarily tells of a young man, Los (Russian: Лось, literally Elk), traveling to Mars in a rocket ship, where he leads a popular uprising against the ruling group of Elders, with the support of Queen Aelita who has fallen in love with him after watching him through a telescope. <br/><br/> One of the earliest full-length films about space travel, the most notable part of the film remains its remarkable constructivist Martian sets and costumes designed by Aleksandra Ekster. Their influence can be seen in a number of later films, including the Flash Gordon serials and probably Fritz Lang's Metropolis and Woman in the Moon. <br/><br/> Parts of the plot were loosely adapted for the 1951 film Flight to Mars. <br/><br/> While very popular at first, the film later fell out of favor with the Soviet government and was thus very difficult to see until after the Cold War.","artist_bio":"Yakov Alexandrovich Protazanov (Russian: Я́ков Алекса́ндрович Протаза́нов; January 23 (O.S. February 4), 1881 – August 8, 1945) was a Russian and Soviet film director and screenwriter, and one of the founding fathers of cinema of Russia.\nIn the period from 1911 to 1918 he directed some 80 features, including The Queen of Spades (1916) and Father Sergius (1917), which have been acclaimed as his masterpieces. Ivan Mozhukhin starred in many of his early films.\nAfter the Russian Revolution Protazanov resolved to stay in Europe but returned to USSR in 1923. The following year, he produced Aelita, arguably the first Soviet science fiction movie.\nIn 1928, he directed the White Eagle, with Vsevolod Meyerhold and Vasili Kachalov. The Three Million Trial (1926) and St. Jorgen's Day (1930) launched the film careers of two outstanding Soviet actors, Igor Ilyinsky and Mikhail Zharov.\nHis last acclaimed feature was a screen version of Alexander Ostrovsky's play Without Dowry in 1937. Its cast featured many celebrated actors from the Maly Theatre.","bio_dates":"1881-1945"},{"slug":"proust_marcel_proust_seul_extrait_filme_1904","ok":true,"partial":false,"title":"Proust Seul Extrait Filme","artist":"Marcel Proust","year":"1904","startOffset":0,"sourceSecs":78.878,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1355486,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/proust_marcel_proust_seul_extrait_filme_1904/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/proust_marcel_proust_seul_extrait_filme_1904/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/proust_marcel_proust_seul_extrait_filme_1904.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/proust_marcel_proust_seul_extrait_filme_1904/main.mp4?v=2"},{"slug":"pruitt_early_tina_lyons_express_yourself","ok":true,"partial":false,"title":"Tina Lyons Express Yourself","artist":"Pruitt-Early (Rob Pruitt and Jack Early)","year":"1990","startOffset":0,"sourceSecs":353.618,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":24612249,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pruitt_early_tina_lyons_express_yourself/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/pruitt_early_tina_lyons_express_yourself/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/pruitt_early_tina_lyons_express_yourself.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pruitt_early_tina_lyons_express_yourself/main.mp4?v=2","description":"Art video by Pruitt-Early (Rob Pruitt, Jack Early) circa 1990 starring underground superstar Tina Lyons. Set to the hit song by Madonner and filmed entirely at Macy's New York City.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/barry.html\" rel=\"noopener\" target=\"_blank\">Bob Beck in UbuWeb Sound</a>","artist_bio":"Rivane Neuenschwander was born in Belo Horizonte, Brazil, in 1967. She earned a BA in fine arts from the Universidade Federal de Minas Gerais, Belo Horizonte, in 1993 and an MA from the Royal College of Art in London in 1998, where she was artist-in-residence from 1996–98. In her installations, film, and photography, Neuenschwander employs fragile, unassuming materials to create mesmerizing aesthetic experiences, a process she describes as “ethereal materialism.”","bio_dates":"2010"},{"slug":"raaijmakers_volta","ok":true,"partial":false,"title":"Volta","artist":"Dick Raaijmakers","year":"1995","startOffset":0,"sourceSecs":1099.163,"sourceHeight":528,"sourceWidth":770,"hasAudio":true,"hasAmbientMp4":true,"bytes":190095540,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raaijmakers_volta/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raaijmakers_volta/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raaijmakers_volta.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raaijmakers_volta/main.mp4?v=2","description":"Performance, 9-16-1995, 17 min.<br/> Haags Gemeentemuseum, The Hague NL<br/> <br/> From the notes accompanying the VHS tape:<br/> In 1880, Alessandro Volta tried, for the first time in history, to construct an electric battery, later to be called the 'voltaic pile'. Raaijmakers's performance 'Volta' aims to repeat this invention on a gigantic scale. In the presence of an audience, Raaijmakers will, with the help of four assistents, construct a giant pile of zinc and copper plates, alternated with clothes drenched in acid. After placing the last plate, this colossal battery will produce the energy for one light bulb, suspended from the ceiling. Thus, the audience can experience the relation between the invested labor and the resulting electric energy. And also, how and why the original visual quality of this 'proto-element' has been lost in favor of the efficiency of the modern battery. 'Volta' intends to recreate this lost plasticity, if only for a single moment. <br/><br/> Performers: Dick Raaijmakers, Martin Burr, Daniël Graber, Ludger Hurts, Jillis Molenaar, Alex Schaub, Bart Visser. <br/><br/> Directed by Kasper van der Horst (Interfaculty ArtScience, The Hague NL)<br/> Produced by Haags Gemeentemuseum & Stroom hcbk, The Hague NL<br/> Ripped from a DVD copy of a VHS tape","artist_bio":"Dick Raaijmakers - Volta\n(1995), directed by Kasper van der Horst\nDick Raaijmakers (Maastricht, 1 September 1930) is a Dutch composer, theater maker and theorist. He is known as a pioneer in the field of electronic music and tape music but he has also realized numerous music theater pieces and has published many theoretical essays.\nRaaijmakers studied the piano at the Royal Conservatoire (The Hague). From 1954 to 1960 he worked in the field of electro-acoustic research at Royal Philips Electronics Ltd. in Eindhoven. There, using the alias Kid Baltan, he and Tom Dissevelt, under the name Electrosoniks produced works of popular music by electronic means (which turned out to be the first attempts of their kind in the world).From 1960 to 1962 he then worked at the University of Utrecht as a scientific staff member. From 1963 to 1966, together with Jan Boerman, he worked in his own studio for electronic music in the Hague. Then, from 1966 until his retirement in 1995, he worked as a teacher of Electronic and Contemporary Music at the Royal Conservatoire (The Hague) and since 1991 also as a teacher of Music Theatre at the Image and Sound Interfaculty, at the same conservatory. -- Wikipedia","bio_dates":"1930-2013"},{"slug":"raban_william_broadwalk_william_raban","ok":true,"partial":false,"title":"Broadwalk","artist":"William Raban","year":"1972","startOffset":0,"sourceSecs":710.6,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":128199099,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raban_william_broadwalk_william_raban/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raban_william_broadwalk_william_raban/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raban_william_broadwalk_william_raban.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raban_william_broadwalk_william_raban/main.mp4?v=2","description":"Part of <a href=\"https://ubu.com/film/shoot.html\" rel=\"noopener\" target=\"_blank\">Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s (1966 - 1976)</a> <br/><br/> Taking a re-found image of a patchwork of black and white confusion and working on it using the Debrie Pinter neutral densities and aperture band the resultant image is re-related into the environment of the cinema. –M. L. \"... concerned with post-camera structuring. Again the range is wide, including systematic procedure in printing as in SHEPHERD'S BUSH... the system is not a 'content' to be 'discovered'... a loop of film shot from a fast moving camera, presumably close to the ground, is repeatedly printed, each time with a change in exposure, so that its visual quality alters in imperceptible stages from totally black to totally white, while the sound track, also a continously repeated pattern, gets lower and lower in pitch. The systematic or structural aspect of this film is again partly directed towards the appreciation of duration through attention to minimal developments in the image.\" –Malcolm LeGrice, Abstract Film and Beyond<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Taylor Mead in UbuWeb Sound</a>","artist_bio":"William Raban is an artist filmmaker who has exhibited worldwide in both art and film contexts. Initially known for his landscape and expanded cinema films of the 1970s, Raban's landscape interests, were framed in the 80s towards a more historical and socio-political context: the history of London and the Thames. Reminiscent of Humphrey Jennings' wartime films, Raban's films from the 90s onwards look at the island of Britain and its people, in the context of the global economy and the effects of urban change.","bio_dates":"b. 1948"},{"slug":"rafman_erysichthon_2013","ok":true,"partial":false,"title":"Erysichthon, 2013","artist":"Jon Rafman","year":"2013","startOffset":0,"sourceSecs":483.583,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":208460055,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rafman_erysichthon_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rafman_erysichthon_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rafman_erysichthon_2013.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rafman_erysichthon_2013/main.mp4?v=2","description":"An obvious circularity is at the center of Jon Rafman’s Erysichthon (2015), presented at the 13th Biennale de Lyon, the final element in a trilogy of videos including Still Life (Betamale) (2013) and Mainsqueeze (2014). <br/><br/> Each takes as its base an exploration of subcultures through internet-user-created content and a literally mediated eye. Whereas Still Life (Betamale) begins exploring the erotica of the deeper internet and Mainsqueeze is anchored by the seeming aggression within this, Erysichthon cuts a broader path. The “Scream” films taught us that “true trilogies are all about going back to the beginning and discovering something that wasn’t true from the get go,” and here this happens as well. <br/><br/> Named for the mythological Greek king cursed with insatiable hunger, the video approaches subjects with both critique and reverence. The snake eating its own tail, appearing early and often in the film, is as mesmerizing as it is banal, referencing the film’s namesake’s demise and Rafman’s view of cultural intake. This symbolism is repeated with the likes of a drone circling its creator and someone on a swing set making a continuous loop. Different voices, once again, tie it together. A video of a child upset with other fans of the videogame character Sonic the Hedgehog becomes a universal indictment when pulled from its original source: “Your fantasies can never be quenched,” and “When will you learn that your actions have consequences.” Other times it sounds identical to Rosamund Pike’s slow voiceover in the film Gone Girl. <br/><br/> Rafman’s skill is taking the bizarre and normalizing it, meanwhile forcing the mundane to become mystical. In the finale of his trilogy he levels subcultures and forces the viewer to reassess the difference between the general and the specific. On the internet, any culture we mass consume becomes our own. -- Mitchell Anderson, Flash Art","artist_bio":"Jon Rafman (born 1981) is an artist, filmmaker, and essayist. His work centers around the concept of the impact of technology on contemporary consciousness. His artwork has gained international attention and was exhibited in 2015 at Musée d'art contemporain de Montréal (Montreal). He is widely known for exhibiting found images from Google Street View in his online artwork 9-Eyes (2009-ongoing).","bio_dates":"b. 1981"},{"slug":"rafman_jon_a_man_digging","ok":true,"partial":false,"title":"A Man Digging, 2013","artist":"Jon Rafman","year":"2013","startOffset":0,"sourceSecs":500.458,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":221627339,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rafman_jon_a_man_digging/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rafman_jon_a_man_digging/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rafman_jon_a_man_digging.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rafman_jon_a_man_digging/main.mp4?v=2","description":"In Jon Rafman’s newest film, A Man Digging, a virtual flaneur undertakes an evocative journey through the uncanny spaces of video game massacres. In a re-visioning of the game Max Payne 3, Rafman radically transforms the role of the player. He now encounters the digital landscapes not as a numb fighter, but as a human who is touched by death and gore, even when it is rendered banal in its ubiquity. Divorced from their original context, the slaughtered bodies take on a dull, inarticulate violence that is disquieting. Through a film that becomes a de-sensationalized spectacle, Rafman confronts both the danger of passively aestheticizing the wreckage of the past, and the romantic fixation on death as a placeholder for meaning. <br/><br/> This video is Rafman’s latest contribution to his ongoing series that interrogates the nature of memory. As the narrator drifts through nostalgic recollections of his fragmented past, Rafman takes us through the gleaming surfaces of memory to the far edge of the real.","artist_bio":"Jon Rafman (born 1981) is an artist, filmmaker, and essayist. His work centers around the concept of the impact of technology on contemporary consciousness. His artwork has gained international attention and was exhibited in 2015 at Musée d'art contemporain de Montréal (Montreal). He is widely known for exhibiting found images from Google Street View in his online artwork 9-Eyes (2009-ongoing).","bio_dates":"b. 1981"},{"slug":"rafman_jon_du3l","ok":true,"partial":false,"title":"DU3L, 2009","artist":"Jon Rafman","year":"2009","startOffset":0,"sourceSecs":150.217,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":16430266,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rafman_jon_du3l/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rafman_jon_du3l/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rafman_jon_du3l.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rafman_jon_du3l/main.mp4?v=2","artist_bio":"Jon Rafman (born 1981) is an artist, filmmaker, and essayist. His work centers around the concept of the impact of technology on contemporary consciousness. His artwork has gained international attention and was exhibited in 2015 at Musée d'art contemporain de Montréal (Montreal). He is widely known for exhibiting found images from Google Street View in his online artwork 9-Eyes (2009-ongoing).","bio_dates":"b. 1981"},{"slug":"rafman_jon_kool_aid_man_in_second_life_com_avatar_4d","ok":true,"partial":false,"title":"Kool-Aid Man in Second Life, 2008-2011","artist":"Jon Rafman","year":"2008","startOffset":0,"sourceSecs":1301.385,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":582803711,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rafman_jon_kool_aid_man_in_second_life_com_avatar_4d/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rafman_jon_kool_aid_man_in_second_life_com_avatar_4d/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rafman_jon_kool_aid_man_in_second_life_com_avatar_4d.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rafman_jon_kool_aid_man_in_second_life_com_avatar_4d/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rafman_jon_kool_aid_man_in_second_life_com_avatar_4d/main/master.m3u8?v=2","hasMainHls":true,"description":"Wherever Rafman’s Kool-Aid Man avatar goes in Second Life, he finds environments and other avatars apparently created for the sole purpose of having weird sex – or at least some facsimile thereof. Watch as Kool-Aid Man encounters a male figure in baggy jeans and a bucket hat masturbating a recumbent unicorn, or as he observes a hermaphroditic centaur mounting a fox-humanoid from behind, or as he approaches a fire-breathing, three-headed dragon in a torch-lit castle (a moment’s hesitation, a hint of relief – has Kool-Aid Man finally encountered a legitimately majestic creature?) only to see the dragon get up on Rafman’s avatar and start humping it. One has to wonder what kind of satisfaction Second Life users were really deriving from these crudely-animated sex acts. Not to belabor the obvious, but CGI models don’t experience pleasure, and making it look like they do takes a lot of effort – a fact that becomes more clear when Kool-Aid Man visits the “Pompeiian Delights Sex House,” where the walls are plastered with pixelated ads for 3D-rendered body parts, animations, and sound effects to make one’s virtual sex experience more lifelike.<br/><br/> It’s not all quite so sordid, though. As with Rafman’s Google Street View images, Kool-Aid Man’s journey through Second Life is punctuated by as many moments of surprising beauty and meditative reverie as absurd or pathetic spectacle. Half of what makes the project so intriguing is how often those two poles co-exist – parody, nostalgia, and celebration are virtually indistinguishable in this, as in many of Rafman’s works. Consider, for example, Kool-Aid’s Man happening upon a synchronized dance routine, performed by furries, goth-raver avatars, and a blue-skinned Na’vi, all the while set to Darude’s 1999 trance hit “Sandstorm.” The patent absurdity of the scene crosses over into touching pathos: a lot of work went into crafting this moment of strange togetherness. The figure of Kool-Aid Man himself (itself?) condenses these contradictory aspects as a commercial mascot from Rafman’s childhood (and my own, I should add, since we’re more or less the same age), noted for peddling a cheap, sugary drink with outrageous party attitude. Contrasted with the more adult situations through which Rafman pilots his protagonist, however, Kool-Aid Man’s blankly euphoric grin and goofy dancing animation take on a beatific innocence, uncorrupted and eternally enthused.<br/><br/> [...]<br/><br/> In Kool-Aid Man in Second Life there is another layer of nostalgia that has to do with the datedness of the platform itself. Launched in 2003, Second Life was already a bit passé by the time Rafman began exploring it in 2008. Though its user base peaked around 2009, its graphics have remained at a fairly clunky 2003 standard. More importantly, its free-for-all ethos is closer to the cyberpunk future imagined in the 1990s than to the mundane, contemporary reality of social networks exemplified by Facebook’s “real-name” policy. Despite the sensationalism of much of Kool-Aid Man’s content, the project is pervaded by a sense of loss and melancholy provoked both by the relegation of the utopian dream of a virtual world to the fringes of internet culture, and by the thoroughly abject ends to which this technology (and the imaginative resources of its users) has been employed. <br/><br/> -- SAELAN TWERDY in <i>Momus</i>, \"This Is Where It Ends: The Denouement of Post-Internet Art in Jon Rafman’s Deep Web,\" July 2015","artist_bio":"Jon Rafman (born 1981) is an artist, filmmaker, and essayist. His work centers around the concept of the impact of technology on contemporary consciousness. His artwork has gained international attention and was exhibited in 2015 at Musée d'art contemporain de Montréal (Montreal). He is widely known for exhibiting found images from Google Street View in his online artwork 9-Eyes (2009-ongoing).","bio_dates":"b. 1981"},{"slug":"rafman_jon_woodsofarcady","ok":true,"partial":false,"title":"Woodsofarcady","artist":"Jon Rafman","year":"2010","startOffset":0,"sourceSecs":237.167,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":100439707,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rafman_jon_woodsofarcady/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rafman_jon_woodsofarcady/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rafman_jon_woodsofarcady.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rafman_jon_woodsofarcady/main.mp4?v=2","description":"\"\"The woods of Arcady are dead, And over is their antique joy;\" – with this line begins Rafman's Woods of Arcady. The work juxtaposes a computer generated recitation of Yeat's poem The Song of the Happy Shepherd, along side video of scenes captured from the artist's explorations of the virtual environment of Second Life. The simultaneously fantastic and vapid virtual landscapes documented by the artist are at home with Yeat's imagery \"Where are now the warring kings? An idle word is now their glory.\""},{"slug":"rahnema_fereydoun_persepolis_1960","ok":true,"partial":false,"title":"Persepolis \"Siyavosh dar Takht-e Jamshid\"","artist":"Fereydoun Rahnema","year":"1960","startOffset":0,"sourceSecs":1169.28,"sourceHeight":544,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":204285276,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rahnema_fereydoun_persepolis_1960/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rahnema_fereydoun_persepolis_1960/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rahnema_fereydoun_persepolis_1960.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rahnema_fereydoun_persepolis_1960/main.mp4?v=2","description":"<b>RESOURCES</b>: <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br/> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a>","artist_bio":"Fereydoun Rahnema (1939–1975) was an Iranian film director and poet. He is most known for his short film on Persepolis \"Siyavosh dar Takht-e Jamshid\". Although none of his films saw a theatrical release, they were highly influential within the Iranian New Wave movement. He also served as the director of Iran Zamin from 1966 to 1975.\nRahnema studied film in Paris, France. He began work on \"Siyavosh dar Takht-e Jamshid\" with funding from the Telefilm Company of National Iranian Radio & Television. Shot on location in the ruins of Persepolis, the film is based on Ferdowsi's poetic epic Shahnameh. It tells the story of Crown Prince Siyâvash who leaves his homeland in order to avoid dishonoring his father Shah Kay Kāvus. He marries the daughter of the local king Afrasiab, but is betrayed and murdered. The film is notable for its then-uncommon temporal experimentation with footage of tourists trekking through the ruins of Persepolis interspersed with the older setting.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"1939-1975"},{"slug":"rain_nyesha_1978","ok":true,"partial":false,"title":"Rain/(Nyesha)","artist":"Melvonna Ballenger","year":"1978","startOffset":0,"sourceSecs":942.575,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":169190336,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rain_nyesha_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rain_nyesha_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rain_nyesha_1978.mkv","hasFrames":true},{"slug":"raindance_media_primers_1971","ok":true,"partial":false,"title":"Media Primers","artist":"Raindance","year":"1970","startOffset":0,"sourceSecs":3324.388,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":566599147,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raindance_media_primers_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raindance_media_primers_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raindance_media_primers_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raindance_media_primers_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raindance_media_primers_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"Raindance's Media Primers reflect the group's theories of alternative television and video, and their engagement with mass media, pop culture and the counter-culture. The themes addressed — media manipulation, the camera's role in modifying individual behavior — illustrate their experimentation with the technological and conceptual underpinnings of 1/2-inch portable video. Merging alternative video and mass media, Ira Schneider's Media Primer juxtaposes cultural indicators — television commercials, news footage, and Portapak documentation of countercultural events such as the Altamount rock concert. In Shamberg's Media Primer, rhetoric and gestures are skewered as he examines the political structure of alternative media. Paul Ryan's Proto Media Primer includes scenes of Abbie Hoffman awaiting the verdict from the Chicago 7 trial and ironic man-on-the-street interviews. -- <a href=\"https://www.eai.org/titles/raindance-media-primers\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Founded in 1969 by Frank Gillette, Paul Ryan, Michael Shamberg and Ira Schneider, Raindance was an influential media collective that proposed radical theories and philosophies of video as an alternative form of cultural communication. The name \"Raindance\" alluded to what members termed \"cultural R & D\" (research and development). Influenced by the communications theories of Marshall McLuhan and Buckminster Fuller, the collective produced tapes and writings that explored the relation of cybernetics, media and ecology.\nFrom 1970 to 1974, Raindance published the seminal video journal, Radical Software, which provided a network of communications for the fledgling alternative video movement. In 1971, Shamberg published Guerilla Television, a summary of the group's principles and a blueprint for a de-centralization of television through access to public and cable programming. The original Raindance collective dispersed in the mid-1970s; the nonprofit Raindance Foundation continued into the 1990s.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1970"},{"slug":"raindance_the_rays_1970","ok":true,"partial":false,"title":"The Rays","artist":"Raindance","year":"1970","startOffset":0,"sourceSecs":1400.833,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":240814251,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raindance_the_rays_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raindance_the_rays_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raindance_the_rays_1970.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raindance_the_rays_1970/main.mp4?v=2","description":"The Rays <br/><br/> Raindance (Frank Gillette, Paul Ryan and Michael Shamberg) with Allen Rucker and John French. <br/><br/> 1970, 23:08 min, b&w, sound <br/><br/> Spontaneous and free-form, The Rays documents the philosophical musings of Raindance members Michael Shamberg, Paul Ryan and Frank Gillette on the beach at Point Reyes, California. Passing the camera around \"like a joint,\" they theorize on the nature of television and alternative communications systems. The title refers both to Point Reyes and to the broadcast TV signals of a nearby transmitter that caused \"rays\" to distort the picture. -- <a href=\"https://www.eai.org/titles/the-rays\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Founded in 1969 by Frank Gillette, Paul Ryan, Michael Shamberg and Ira Schneider, Raindance was an influential media collective that proposed radical theories and philosophies of video as an alternative form of cultural communication. The name \"Raindance\" alluded to what members termed \"cultural R & D\" (research and development). Influenced by the communications theories of Marshall McLuhan and Buckminster Fuller, the collective produced tapes and writings that explored the relation of cybernetics, media and ecology.\nFrom 1970 to 1974, Raindance published the seminal video journal, Radical Software, which provided a network of communications for the fledgling alternative video movement. In 1971, Shamberg published Guerilla Television, a summary of the group's principles and a blueprint for a de-centralization of television through access to public and cable programming. The original Raindance collective dispersed in the mid-1970s; the nonprofit Raindance Foundation continued into the 1990s.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1970"},{"slug":"rainer_yvonna_filmaboutawhomanwho_1974_iphone","ok":true,"partial":false,"title":"A Film About A Woman Who...","artist":"Yvonne Rainer","year":"1974","startOffset":0,"sourceSecs":6440.237,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":367647455,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonna_filmaboutawhomanwho_1974_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonna_filmaboutawhomanwho_1974_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rainer_yvonna_filmaboutawhomanwho_1974_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonna_filmaboutawhomanwho_1974_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonna_filmaboutawhomanwho_1974_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Dancer, choreographer, performer, filmmaker and writer Yvonne Rainer, who began choreographing in 1961 and made her first film in 1967, is a key figure in the story of the New York avant-garde in terms of both her writing and practice. (2) Rainer provided a commentary on the influences that preceded her own aesthetic objectives and articulated her own project through practice and explicatory discourse, establishing her position as a key player within the New York avant-garde from the early 1960s through to the mid-1990s. During this period she produced twelve films, including silent short works for multimedia performances (which she calls “filmed choreographic exercises”) (3) as well as features. According to Rainer, her fascination with dance and film emerged simultaneously when she moved on from acting at 25 (p. 51). She is certainly a choreographer who had as many film reference points as choreographic, evidenced in the use of projection in her stage work and her erudite use of cinematic quotation in her film work. (4) What links Rainer's dance and film work is an intense critique of disciplinary conventions and a profound interrogation of the role of performance. Performance is central to all aspects of Rainer's work; she herself refers to performance as the subject matter in her films (p. 8) and Peggy Phelan describes her writings as “rhetorical performances”. (5)\n\nRainer's work of this period also problematized the conception of the relationship between viewer and artwork that was at the core of the minimalist aesthetic. Once again, this arose from the fact that the material of dance was the person. A minimalist painting or sculpture was thought to frankly address the viewer and the space of the gallery, to rely upon the viewer for its completion. To seek such a relationship between a live performer and an audience, however, was to risk opening up the dance to all of those things that Rainer had rallied against in her “NO manifesto,” since in dance, the performer/spectator relationship is a human one, in which emotion, empathy, and relations of power are present. Again, one of the basic tenets of minimalism posed a unique problem for live performance. In a way, Rainer can be said to have inverted a key principle of minimalist art by attempting to cut off any kind of human connection between her performers and the audience. For instance, Rainer often instructed her dancers to refuse eye contact with the audience, either by keeping their heads cocked away from the spectators or by looking over and beyond their heads. Ironically, then, Rainer's performances seem to have initially aspired to the condition Michael Fried called “absorption,” a condition characterized by the work's refusal to address the viewer, an almost metaphysical detachment of the work from the viewer's time and space. Fried criticized the minimalist sculptors for their refusal to do this – for the ways their work acknowledged the viewer and depended on him or her for their completion. (Fried, 125-27) Rainer, concerned about the “seduction of spectator by the wiles of the performer,” and troubled by the ramifications of the display of the dancers' bodies for crowds of onlookers, resisted this dimension of minimalist art. In her analysis of her dance Trio A, she wrote;\n\n…the “problem” of performance was dealt with by never permitting the performers to confront the audience. Either the gaze was averted or the head was engaged in movement. The desired effect was a worklike rather than exhibitionlike presentation. (Rainer, 1995b, 271)\n\n“Tasklike” (or, in the above quote, “worklike”) activity was Rainer's version of minimalism's “literalness” (the condition of objecthood). The difference, however, was that while literalness in minimalist painting or sculpture was what allowed for a new, more direct relationship between art work and viewer, for Rainer it was a means to keep the work from addressing the viewer—to prevent the heightened sense of co-presence that Fried and others found in minimalist art. This was a key decision, and it reveals that Rainer was concerned about the political consequences of the spectatorial gaze in art well before that gaze became one of the central concerns of psychoanalytic feminist film theory."},{"slug":"rainer_yvonne_hand_movie_1966","ok":true,"partial":false,"title":"Hand Movie","artist":"Yvonne Rainer","year":"1966","startOffset":0,"sourceSecs":377.088,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":66980174,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_hand_movie_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_hand_movie_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rainer_yvonne_hand_movie_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_hand_movie_1966/main.mp4?v=2"},{"slug":"rainer_yvonne_line_1969","ok":true,"partial":false,"title":"Line","artist":"Yvonne Rainer","year":"1969","startOffset":0,"sourceSecs":673.664,"sourceHeight":576,"sourceWidth":712,"hasAudio":true,"hasAmbientMp4":true,"bytes":120402352,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_line_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_line_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rainer_yvonne_line_1969.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_line_1969/main.mp4?v=2","description":"A blond woman (Susan Marshall) in white pants and shirt interacts with a moving round object and the camera. Camerawork by <a href=\"https://ubu.com/film/niblock.html\" rel=\"noopener\" target=\"_blank\">Phill Niblock.</a>","artist_bio":"Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nScreenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nA Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nYvonne Rainer - Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nYvonne Rainer - Screenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nYvonne Rainer - A Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nDancer, choreographer, filmmaker, and writer Yvonne Rainer (American, b. 1934) is one of the most influential artistic figures of the last 50 years. Her work has been foundational across multiple disciplines and movements: dance, cinema, feminism, minimalism, conceptual art, and postmodernism.\nRainer first came to prominence as a leading figure in the Judson Dance Theater movement, a loose collection of dancers and artists whose performances (often held at the Judson Memorial Church in New York City) crossed fluidly between the fields of dance and visual art, creating a striking and intellectualized form of performance that denied the theatricality and emotionalism of modern dance in favor of movements that seemed casual, spare, and cool.\nOver time, Rainer's works became increasingly personal and political, and by the early 1970s she had begun to focus on producing experimental feature films. Over the next 25 years, Rainer produced an extraordinary series of films that engaged with the most advanced theoretical thinking of the time while also grappling with issues of power, privilege, and inequality. In 2000, Rainer returned to choreography and has continued to produce provocative and surprising new works to the present day.","bio_dates":"b. 1940"},{"slug":"rainer_yvonne_lives_of_performers_1972_iphone","ok":true,"partial":false,"title":"Lives of Performers","artist":"Yvonne Rainer","year":"1972","startOffset":0,"sourceSecs":5406.668,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":312182135,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_lives_of_performers_1972_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_lives_of_performers_1972_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rainer_yvonne_lives_of_performers_1972_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_lives_of_performers_1972_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_lives_of_performers_1972_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"A stark and revealing examination of romantic alliances, LIVES OF PERFORMERS examines the dilemma of a man who can't choose between two women and makes them both suffer. Originally part of a dance performance choreographed by Rainer.","artist_bio":"Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nScreenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nA Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nYvonne Rainer - Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nYvonne Rainer - Screenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nYvonne Rainer - A Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nDancer, choreographer, filmmaker, and writer Yvonne Rainer (American, b. 1934) is one of the most influential artistic figures of the last 50 years. Her work has been foundational across multiple disciplines and movements: dance, cinema, feminism, minimalism, conceptual art, and postmodernism.\nRainer first came to prominence as a leading figure in the Judson Dance Theater movement, a loose collection of dancers and artists whose performances (often held at the Judson Memorial Church in New York City) crossed fluidly between the fields of dance and visual art, creating a striking and intellectualized form of performance that denied the theatricality and emotionalism of modern dance in favor of movements that seemed casual, spare, and cool.\nOver time, Rainer's works became increasingly personal and political, and by the early 1970s she had begun to focus on producing experimental feature films. Over the next 25 years, Rainer produced an extraordinary series of films that engaged with the most advanced theoretical thinking of the time while also grappling with issues of power, privilege, and inequality. In 2000, Rainer returned to choreography and has continued to produce provocative and surprising new works to the present day.","bio_dates":"b. 1934"},{"slug":"rainer_yvonne_rhode_island_red_1968","ok":true,"partial":false,"title":"Rhode Island Red","artist":"Yvonne Rainer","year":"1968","startOffset":0,"sourceSecs":669.344,"sourceHeight":576,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":120647172,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_rhode_island_red_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_rhode_island_red_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rainer_yvonne_rhode_island_red_1968.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_rhode_island_red_1968/main.mp4?v=2","description":"Ten minutes in an enormous chicken coop. Camerawork by Roy Levin.","artist_bio":"Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nScreenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nA Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nYvonne Rainer - Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nYvonne Rainer - Screenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nYvonne Rainer - A Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nDancer, choreographer, filmmaker, and writer Yvonne Rainer (American, b. 1934) is one of the most influential artistic figures of the last 50 years. Her work has been foundational across multiple disciplines and movements: dance, cinema, feminism, minimalism, conceptual art, and postmodernism.\nRainer first came to prominence as a leading figure in the Judson Dance Theater movement, a loose collection of dancers and artists whose performances (often held at the Judson Memorial Church in New York City) crossed fluidly between the fields of dance and visual art, creating a striking and intellectualized form of performance that denied the theatricality and emotionalism of modern dance in favor of movements that seemed casual, spare, and cool.\nOver time, Rainer's works became increasingly personal and political, and by the early 1970s she had begun to focus on producing experimental feature films. Over the next 25 years, Rainer produced an extraordinary series of films that engaged with the most advanced theoretical thinking of the time while also grappling with issues of power, privilege, and inequality. In 2000, Rainer returned to choreography and has continued to produce provocative and surprising new works to the present day.","bio_dates":"b. 1940"},{"slug":"rainer_yvonne_screening_rom_1977_iphone","ok":true,"partial":false,"title":"Screening Room","artist":"Yvonne Rainer","year":"1977","startOffset":0,"sourceSecs":4409.214,"sourceHeight":320,"sourceWidth":434,"hasAudio":true,"hasAmbientMp4":true,"bytes":255077363,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_screening_rom_1977_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_screening_rom_1977_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rainer_yvonne_screening_rom_1977_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_screening_rom_1977_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_screening_rom_1977_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Relentless exploration of the nature of performance, the construction of meaning, and the relations of the sexes has guided Yvonne Rainer's long career, first in avant–garde choreography and dance and then in filmmaking. Her honors include Guggenheim and MacArthur Fellowships along with numerous exhibitions of her work, including recent retrospectives at the Museum of Modern Art in San Francisco and at the Film Society of Lincoln Center in New York. In March 1977, Yvonne Rainer appeared on Screening Room with film scholar and author Deac Rossell, to screen and discuss excerpts from her film Kristina Talking Pictures (5:04/8:51/8:54/2:10/8:33/5:36).","artist_bio":"Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nScreenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nA Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nYvonne Rainer - Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nYvonne Rainer - Screenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nYvonne Rainer - A Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nDancer, choreographer, filmmaker, and writer Yvonne Rainer (American, b. 1934) is one of the most influential artistic figures of the last 50 years. Her work has been foundational across multiple disciplines and movements: dance, cinema, feminism, minimalism, conceptual art, and postmodernism.\nRainer first came to prominence as a leading figure in the Judson Dance Theater movement, a loose collection of dancers and artists whose performances (often held at the Judson Memorial Church in New York City) crossed fluidly between the fields of dance and visual art, creating a striking and intellectualized form of performance that denied the theatricality and emotionalism of modern dance in favor of movements that seemed casual, spare, and cool.\nOver time, Rainer's works became increasingly personal and political, and by the early 1970s she had begun to focus on producing experimental feature films. Over the next 25 years, Rainer produced an extraordinary series of films that engaged with the most advanced theoretical thinking of the time while also grappling with issues of power, privilege, and inequality. In 2000, Rainer returned to choreography and has continued to produce provocative and surprising new works to the present day.","bio_dates":"b. 1935"},{"slug":"rainer_yvonne_trio_film_1968","ok":true,"partial":false,"title":"Trio Film","artist":"Yvonne Rainer","year":"1968","startOffset":0,"sourceSecs":839.744,"sourceHeight":576,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":149855405,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_trio_film_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_trio_film_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rainer_yvonne_trio_film_1968.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_trio_film_1968/main.mp4?v=2","description":"Two nudes, a man and a woman, interact with each other and a large balloon in a white living room. Performed by Steve Paxton and Becky Arnold. Camerawork by Phill Niblock.","artist_bio":"Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nScreenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nA Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nYvonne Rainer - Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nYvonne Rainer - Screenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nYvonne Rainer - A Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nDancer, choreographer, filmmaker, and writer Yvonne Rainer (American, b. 1934) is one of the most influential artistic figures of the last 50 years. Her work has been foundational across multiple disciplines and movements: dance, cinema, feminism, minimalism, conceptual art, and postmodernism.\nRainer first came to prominence as a leading figure in the Judson Dance Theater movement, a loose collection of dancers and artists whose performances (often held at the Judson Memorial Church in New York City) crossed fluidly between the fields of dance and visual art, creating a striking and intellectualized form of performance that denied the theatricality and emotionalism of modern dance in favor of movements that seemed casual, spare, and cool.\nOver time, Rainer's works became increasingly personal and political, and by the early 1970s she had begun to focus on producing experimental feature films. Over the next 25 years, Rainer produced an extraordinary series of films that engaged with the most advanced theoretical thinking of the time while also grappling with issues of power, privilege, and inequality. In 2000, Rainer returned to choreography and has continued to produce provocative and surprising new works to the present day.","bio_dates":"b. 1940"},{"slug":"rainer_yvonne_volleyball_1967","ok":true,"partial":false,"title":"Volleyball","artist":"Yvonne Rainer","year":"1967","startOffset":0,"sourceSecs":614.624,"sourceHeight":576,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":110977551,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_volleyball_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rainer_yvonne_volleyball_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rainer_yvonne_volleyball_1967.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_volleyball_1967/main.mp4?v=2","description":"Volleyball (Foot Film) 1967, 10:00 b&w, silent, 16mm <br/><br/> A volleyball is rolled into the frame and comes to rest. Two legs in sneakers, seen from the knees down, enter the frame and stand beside it. Cut to new angle, same characters and actions. Camerawork by Bud Wirtschafter.","artist_bio":"Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nScreenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nA Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nYvonne Rainer - Screenplay for \"Film About A Woman Who...\"\nOctober\n, Vol. 2 (Summer 1976) [PDF, 3mb)\nYvonne Rainer - Screenplay for \"Journeys from Berlin/1971\"\nOctober\n, Vol. 9 (Summer 1979) [PDF, 1mb)\nYvonne Rainer - A Letter from Yvonne Rainer\nOctober\n, Vol. 10 (Autumn 1979) [PDF, 2mb)\nCarrie Lambert - \"Moving Still: Mediating Yvonne Rainer's 'Trio A'\"\nOctober\n, Vol. 89 (Summer 1999) [PDF, 1mb)\nDancer, choreographer, filmmaker, and writer Yvonne Rainer (American, b. 1934) is one of the most influential artistic figures of the last 50 years. Her work has been foundational across multiple disciplines and movements: dance, cinema, feminism, minimalism, conceptual art, and postmodernism.\nRainer first came to prominence as a leading figure in the Judson Dance Theater movement, a loose collection of dancers and artists whose performances (often held at the Judson Memorial Church in New York City) crossed fluidly between the fields of dance and visual art, creating a striking and intellectualized form of performance that denied the theatricality and emotionalism of modern dance in favor of movements that seemed casual, spare, and cool.\nOver time, Rainer's works became increasingly personal and political, and by the early 1970s she had begun to focus on producing experimental feature films. Over the next 25 years, Rainer produced an extraordinary series of films that engaged with the most advanced theoretical thinking of the time while also grappling with issues of power, privilege, and inequality. In 2000, Rainer returned to choreography and has continued to produce provocative and surprising new works to the present day.","bio_dates":"b. 1940"},{"slug":"raqs_media_collective_strikes_at_time_2011","ok":true,"partial":false,"title":"Strikes at Time","artist":"Raqs Media Collective","year":"2011","startOffset":0,"sourceSecs":1111.573,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":469458056,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raqs_media_collective_strikes_at_time_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raqs_media_collective_strikes_at_time_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raqs_media_collective_strikes_at_time_2011.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raqs_media_collective_strikes_at_time_2011/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raqs_media_collective_strikes_at_time_2011/main/master.m3u8?v=2","hasMainHls":true,"description":"A conversation takes place between a girl and a woman about iron and how it connects our bodies to the earth and the cosmos. This essay film suggests that the formation of the universe exists in our very blood and investigates the various notions of iron from the Iron Age to mining and warfare.","artist_bio":"Raqs Media Collective Strikes at Time (2011); The Blood of Stars (2017)\nRaqs Media Collective comprises independent media-practitioners Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta. The group has been described as artists, curators, researchers, editors, and catalysts. During their residency in 2010, Raqs explored the Museum’s engagement with time. They wandered frequently in the galleries, where they came across two Chinese Han Dynasty mat-weights in the shape of bears. These objects served to weigh down floor mats on which, many centuries ago, debaters would sit and argue philosophical points or play games. Another work that captured their attention was a seventeenth century screen, Three Vinegar Tasters. As the artists’ work often unpacks questions of identity, location, myths, and histories, it was not a surprise that these objects resonated with them.","bio_dates":"2011"},{"slug":"raqs_media_collective_the_blood_of_stars_2017","ok":true,"partial":false,"title":"The Blood of Stars","artist":"Raqs Media Collective","year":"2017","startOffset":0,"sourceSecs":774.016,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":285138125,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raqs_media_collective_the_blood_of_stars_2017/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raqs_media_collective_the_blood_of_stars_2017/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raqs_media_collective_the_blood_of_stars_2017.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raqs_media_collective_the_blood_of_stars_2017/main.mp4?v=2","description":"A conversation takes place between a girl and a woman about iron and how it connects our bodies to the earth and the cosmos. This essay film suggests that the formation of the universe exists in our very blood and investigates the various notions of iron from the Iron Age to mining and warfare.","artist_bio":"Raqs Media Collective Strikes at Time (2011); The Blood of Stars (2017)\nRaqs Media Collective comprises independent media-practitioners Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta. The group has been described as artists, curators, researchers, editors, and catalysts. During their residency in 2010, Raqs explored the Museum’s engagement with time. They wandered frequently in the galleries, where they came across two Chinese Han Dynasty mat-weights in the shape of bears. These objects served to weigh down floor mats on which, many centuries ago, debaters would sit and argue philosophical points or play games. Another work that captured their attention was a seventeenth century screen, Three Vinegar Tasters. As the artists’ work often unpacks questions of identity, location, myths, and histories, it was not a surprise that these objects resonated with them.","bio_dates":"2011"},{"slug":"ratte_sabrina_mirages_2010","ok":true,"partial":false,"title":"Mirages","artist":"Sabrina Ratté","year":"2010","startOffset":0,"sourceSecs":1092.309,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":181382630,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ratte_sabrina_mirages_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ratte_sabrina_mirages_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ratte_sabrina_mirages_2010.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ratte_sabrina_mirages_2010/main.mp4?v=2","description":"Director: Sabrina Ratté<br/> Year: 2010<br/> Time: 18 mins<br/> Music: Le Révélateur<br/> <br/> Eye of Sound: One of the most promising names in Canadian experimental film today, Sabrina Ratté has been exploring the mysteries of colour, contour and shape in moving images for nearly a decade. Not afraid to frame filmic experiments as such, her films usually convey a sense of discovery and risk but also of conceptual focus and matured observation of materials, often betraying an acute awareness of video-art history and sources. Mirages was born of an ongoing collaboration with Montréal-based musician Le Révélateur: having been projected at several of his live performances, it evolved and metamorphosed in a concert immersion context which is, I believe, hinted at throughout the film. Working, as in other films, with relatively simple materials and a contemplative stance, Ratté begins by exploring the flickering movement of light and its distortion as it is translated into the digital realm, using chromatic excess as a means to corrupt her sources' integrity. These somewhat inform images of natural events slowly morph into geometric grids with which moving human silhouettes are later juxtaposed before we are finally sent back to the abstract shapes that opened the film, now harmonised with these colour-looms and figurative forms. Perhaps intended as a veiled tribute to the video-art tradition of the 70s (a connection which could be said to be reinforced by Révélateur's \"library\"-reminiscent soundtrack), Mirages is an aptly chosen title for this work, as its optical explosions seem to be built like an inquiry into some of our perception habits and a test to their limits.","artist_bio":"Sabrina Ratté (Canada, 1982) is a Montreal based visual artist, mainly working in the field of video. She completed a a BFA and a MFA in the Film Production Department of Concordia University in Montreal.\nHer work proposes different visits inside architectural environments and landscapes generated by electronic signals. Her practice is also inspired by the relationship between electronic music and the video image, and she often collaborates with musicians for single-channel pieces as well as in live settings. Parallel to her solo work, Ratté is the visual part of Le Révélateur, with the electronic music composer Roger Tellier-Craig.","bio_dates":"b. 1982"},{"slug":"rauschenberg_pop_art_pioneer_bbc_documentary_2016","ok":true,"partial":false,"title":"Pop Art Pioneer (BBC documentary)","artist":"Robert Rauschenberg","year":"2016","startOffset":0,"sourceSecs":3548.056,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":208328437,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rauschenberg_pop_art_pioneer_bbc_documentary_2016/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rauschenberg_pop_art_pioneer_bbc_documentary_2016/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rauschenberg_pop_art_pioneer_bbc_documentary_2016.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rauschenberg_pop_art_pioneer_bbc_documentary_2016/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rauschenberg_pop_art_pioneer_bbc_documentary_2016/main/master.m3u8?v=2","hasMainHls":true,"description":"Alastair Sooke celebrates the protean genius of one of America's most prolific and original artists, Robert Rauschenberg. Fearless and influential, he blazed a trail for artists in the second half of the 20th century, and yet his work is rarely seen here in the UK.<br/><br/> Rauschenberg was the first artist to win the Golden Lion at the Venice Biennale in 1964, creating a crucial bridge between the abstract expressionists of the 50s and the pop artists who emerged in the 60s.<br/><br/> Famous for his 'combines' that elevated the rich junk of life to the status of high art, he continued to work right up to his death in 2008, collaborating with dancers, scientists and social activists on a startlingly broad array of projects.<br/><br/> Alastair travels to the east coast of the USA to talk to those closest to Rauschenberg to reveal the boundless curiosity and restless experimentation that kept him engaged till the very end of his six-decade career.","artist_bio":"Robert Rauschenberg - Pop Art Pioneer (BBC documentary) (2016)\nRobert Rauschenberg (October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his \"Combines\" of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance. He was awarded the National Medal of Arts in 1993. He became the recipient of the Leonardo da Vinci World Award of Arts in 1995 in recognition of his more than 40 years of fruitful artmaking.\nRauschenberg lived and worked in New York City as well as on Captiva Island, Florida until his death from heart failure on May 12, 2008.","bio_dates":"1925-2008"},{"slug":"rauschenberg_robert_linoleum_1967_iphone","ok":true,"partial":false,"title":"Linoleum (excerpt)","artist":"Robert Rauschenberg","year":"1967","startOffset":0,"sourceSecs":246.52,"sourceHeight":240,"sourceWidth":320,"hasAudio":false,"hasAmbientMp4":true,"bytes":14373682,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rauschenberg_robert_linoleum_1967_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rauschenberg_robert_linoleum_1967_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rauschenberg_robert_linoleum_1967_iphone.m4v","hasFrames":true,"description":"Throughout his career, and particularly during the 1960s, Rauschenberg became involved in several collaborative ventures that moved him outside the confines of his studio. Rauschenberg's approach to art as an inclusive form engaging all the senses led naturally to his work in performance. Between 1954 and 1964, he designed sets, costumes, and lighting for both the <a href=\"https://ubu.com/film/cunningham.html\" rel=\"noopener\" target=\"_blank\">Merce Cunningham</a> Company and the Paul Taylor Company. <br/><br/> His early stage designs included free-standing Combines such as Minutiae (1954) and The Tower (1957), as well as what he called \"live decor,\" in which human action became \"scenery.\" In the early 1960s Rauschenberg worked closely with the Judson Dance Theater, a collective comprising such dancers and visual artists as Trisha Brown, Robert Morris, Steve Paxton, Yvonne Rainer, and <a href=\"https://ubu.com/film/schneeman.html\" rel=\"noopener\" target=\"_blank\">Carolee Schneemann</a>. Its primary objective was to liberate movement from all formal conventions. <br/><br/> Between 1963 and 1967, Rauschenberg choreographed and performed in at least eleven documented performance pieces. Eliminating the customary division between performer and scenic element in these works, which ranged from Pelican (1963) to Urban Round (1967), he emphasized the interaction with specially designed costumes and stage props. In his ensemble pieces, such as Spring Training (1965), Map Room II (1965), and Linoleum (1966), disparate actions - some intentionally dancerly, others entirely pedestrian - were performed simultaneously. The pieces were often accompanied by audio collages made from electronically amplified noises, compilations of prerecorded music, and found sounds.","artist_bio":"Robert Rauschenberg - Pop Art Pioneer (BBC documentary) (2016)\nRobert Rauschenberg (October 22, 1925 – May 12, 2008) was an American painter and graphic artist whose early works anticipated the pop art movement. Rauschenberg is well known for his \"Combines\" of the 1950s, in which non-traditional materials and objects were employed in innovative combinations. Rauschenberg was both a painter and a sculptor and the Combines are a combination of both, but he also worked with photography, printmaking, papermaking, and performance. He was awarded the National Medal of Arts in 1993. He became the recipient of the Leonardo da Vinci World Award of Arts in 1995 in recognition of his more than 40 years of fruitful artmaking.\nRauschenberg lived and worked in New York City as well as on Captiva Island, Florida until his death from heart failure on May 12, 2008.","bio_dates":"1925-2008"},{"slug":"raven_lucy_4_to_3","ok":true,"partial":false,"title":"4:3","artist":"Lucy Raven","year":"2008","startOffset":0,"sourceSecs":640.39,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":96393858,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raven_lucy_4_to_3/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raven_lucy_4_to_3/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raven_lucy_4_to_3.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raven_lucy_4_to_3/main.mp4?v=2","description":"This is television to fall asleep to: slowly scrolling text about the twilight of public access television and the shift from analog to digital TV.\n\nOriginally made for the overnight slot at Panda 23 public access station in Tivoli, New York."},{"slug":"raven_lucy_china_town_qt","ok":true,"partial":false,"title":"China Town","artist":"Lucy Raven","year":"2009","startOffset":0,"sourceSecs":3098.137,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":501462724,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raven_lucy_china_town_qt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raven_lucy_china_town_qt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raven_lucy_china_town_qt.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raven_lucy_china_town_qt/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raven_lucy_china_town_qt/main/master.m3u8?v=2","hasMainHls":true,"description":"China Town traces copper mining and production from an open pit mine in Nevada to a smelter in China, where the semi-processed ore is sent to be smelted and refined.\n\nConsidering what it actually means to “be wired” and in turn, to be connected, in today’s global economic system, the video follows the detailed production process that transforms raw ore into copper wire—in this case, the literal digging of a hole to China—and the generation of waste and of power that grows in both countries as byproduct."},{"slug":"raven_lucy_or_was_it_the_other_way_around","ok":true,"partial":false,"title":"Or Was It the Other Way Around?","artist":"Lucy Raven","year":"2007","startOffset":0,"sourceSecs":21.788,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":2870229,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raven_lucy_or_was_it_the_other_way_around/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raven_lucy_or_was_it_the_other_way_around/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raven_lucy_or_was_it_the_other_way_around.mp4","hasFrames":true,"description":"Or Was It the Other Way Around?<br/> Hand-drawn animation, run time 13 seconds. <br/><br/> The moment in Alfred Hitchcock's Vertigo when Scottie realizes Judy is Madeline.","artist_bio":"Lucy Raven was born in Tucson, Arizona, in 1977. Her work has been exhibited in solo exhibitions including the Hammer Museum (2012); Portikus, Frankfurt (2014); Yerba Buena Center for the Arts, San Francisco (2014); VOX centre de l’image contemporaine, Montreal (2015); Columbus Museum of Art (2016); Serpentine Gallery, London (2016–17), and Dia Chelsea (2021-2022). Select group shows include those at Mass MoCA, North Adams, Massachusetts (2008–09); Wexner Center for the Arts, Ohio State University, Columbus (2010); the Whitney Museum of American Art, New York (2013); and the Los Angeles County Museum of Art (2018–19). Additionally, Raven’s work was included in the 2012 Whitney Biennial in New York City, the 2016 Montreal Biennial, and the 2018 Dhaka Art Summit in Bangladesh. With Vic Brooks and Evan Calder Williams, she is a founding member of 13BC, a moving-image research and production collective. Raven teaches at the Cooper Union School of Art in New York.","bio_dates":"b. 1977"},{"slug":"raven_lucy_shape_notes","ok":true,"partial":false,"title":"Shape Notes","artist":"Lucy Raven","year":"2016","startOffset":0,"sourceSecs":202.161,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":58010018,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raven_lucy_shape_notes/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raven_lucy_shape_notes/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raven_lucy_shape_notes.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raven_lucy_shape_notes/main.mp4?v=2","description":"Shape Notes<br/> 2016, Photographic animation, color, sound, 3:09min<br/><br/> A portrait of Alexander Calder’s work Chef d’orchestra (1966), which was made in collaboration with New York composer Earle Brown. When it was made in 1964, the work was intended to be both an instrument (“played” at intervals in an open score by four percussionists) and a conductor (after it was hit and spun in motion, the musicians returned to their percussion stands and imagined the petals of the mobile superimposed over their written score, playing only those notes.) For Shape Notes, two performances of Chef d'orchestre were staged and recorded. The audio recordings of those performances were then edited and used as a new score from which the visual rhythm of this work was composed. <br/><br/> Alexander Calder, Chef d'orchestre, 1966 © 2016 Calder Foundation, New York, all rights reserved<br/><br/> Earle Brown, Calder Piece, 1963–66 © 2016 Earle Brown Music Foundation<br/><br/> Performed by Talujon Percussion Quartet on 9 January 2016 at Friends Seminary, New York","artist_bio":"Lucy Raven was born in Tucson, Arizona, in 1977. Her work has been exhibited in solo exhibitions including the Hammer Museum (2012); Portikus, Frankfurt (2014); Yerba Buena Center for the Arts, San Francisco (2014); VOX centre de l’image contemporaine, Montreal (2015); Columbus Museum of Art (2016); Serpentine Gallery, London (2016–17), and Dia Chelsea (2021-2022). Select group shows include those at Mass MoCA, North Adams, Massachusetts (2008–09); Wexner Center for the Arts, Ohio State University, Columbus (2010); the Whitney Museum of American Art, New York (2013); and the Los Angeles County Museum of Art (2018–19). Additionally, Raven’s work was included in the 2012 Whitney Biennial in New York City, the 2016 Montreal Biennial, and the 2018 Dhaka Art Summit in Bangladesh. With Vic Brooks and Evan Calder Williams, she is a founding member of 13BC, a moving-image research and production collective. Raven teaches at the Cooper Union School of Art in New York.","bio_dates":"b. 1977"},{"slug":"raven_lucy_the_deccan_trap","ok":true,"partial":false,"title":"The Deccan Trap","artist":"Lucy Raven","year":"2015","startOffset":0,"sourceSecs":259.371,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":68254005,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raven_lucy_the_deccan_trap/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/raven_lucy_the_deccan_trap/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/raven_lucy_the_deccan_trap.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/raven_lucy_the_deccan_trap/main.mp4?v=2","description":"The Deccan Trap is a sci-fi fable that goes back in space and time, from some of the newest 3D images being produced in India—at post-production studios in converting outsourced Hollywood films from 2D to 3D—to some of the oldest—bas-relief carvings in Ellora's rock cut temples in Madhya Pradesh."},{"slug":"ray_man_letoile_de_mer_1928","ok":true,"partial":false,"title":"L'Étoile de mer","artist":"Man Ray","year":"1928","startOffset":0,"sourceSecs":1052.501,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":68605539,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ray_man_letoile_de_mer_1928/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ray_man_letoile_de_mer_1928/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ray_man_letoile_de_mer_1928.mp4","hasFrames":true,"description":"L'Étoile de mer (English: The Sea Star) is a 1928 film directed by Man Ray. The film is based on a script by Robert Desnos and depicts a couple (Alice Prin and André de la Rivière) acting through scenes that are shot out of focus.\n\nOriginally a silent film, recent copies have been dubbed using music taken from Man Ray's personal record collection of the time. The musical reconstruction was by Jacques Guillot."},{"slug":"ray_man_prophet_of_the_avant_garde","ok":true,"partial":false,"title":"Prophet of the Avant-Garde","artist":"Man Ray","year":"1999","startOffset":0,"sourceSecs":3378.979,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":578582908,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ray_man_prophet_of_the_avant_garde/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ray_man_prophet_of_the_avant_garde/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ray_man_prophet_of_the_avant_garde.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ray_man_prophet_of_the_avant_garde/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ray_man_prophet_of_the_avant_garde/main/master.m3u8?v=2","hasMainHls":true,"description":"As part of the PBS American Masters series, Man Ray: Prophet of the Avant-Garde covers the life and artwork of this innovative modern artist with both clips of interviews and archival footage of the times he lived in. Born in Brooklyn as Emanuel Radnitsky, he grew discouraged by the New York art world of the early 1900s, changed his name to Man Ray, and moved to Paris. He was embraced by the Dadaists, many of whom later became Surrealists. Although painting was his main love, he took up photography, making portraits of famous people such as Ernest Hemingway, James Joyce, and Henri Matisse. He developed a new technique, the rayograph, in which he placed objects directly onto paper and exposed them to light. He even made an avant-garde film with this technique. Whether creating Dada sculptures, such as his famous iron with a row of tacks enigmatically entitled Le Cadeau, The Gift, innovative photographs, films, or sculptures, Man Ray always managed to surprise. In order to earn a living, he turned fashion photography into art. After living in California and New York during World War II, he returned to live and work in Paris after the war. Included in this program are wonderful shots of his Paris studio and home. Just under an hour long, this program presents a good look at a remarkable artist. The DVD format also includes an essay by Neil Baldwin, his biographer and author of the script, which underlines the influence of the women in his life. The crispness of the images and the intelligent insights into the ideas of the avant-garde make viewing a great pleasure."},{"slug":"rebet_chrisinte_the_soul_hunter_2003","ok":true,"partial":true,"title":"The Soul Hunter","artist":"Christine Rebet","year":"2003","startOffset":0,"sourceSecs":153.833,"sourceHeight":778,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":69337047,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rebet_chrisinte_the_soul_hunter_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rebet_chrisinte_the_soul_hunter_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rebet_chrisinte_the_soul_hunter_2003.mp4","hasFrames":true,"description":"35 mm Transferred to HD, 2min34, colour, sound\n\nII AP\n\nCamera: Moser Rosie, Berlin\n\nMusic and vocal :Frederic Rebet\n\nSound Design :Arno PJ Kraehahn\n\nThe film was awarded support by Nipkow programm Berlin\n\n\"The Soul Hunter is a short animated film (2 min 30) created from over 1,000 of Christine Rebet's drawings on watercolour paper and filmed in 35mm frame by frame. In her first work of film, the young French artist depicts a disturbing soul hunter battling against a kamikaze 'waterworks' boy.\n\nThis bizarre and tremendously poetic tale epitomizes Christine Rebet's world: often absurd and enigmatic, dark and unsettling, filled with crazy, cruel, pathetic and touching characters.Rebet's drawings - much like automatic writing and dripping techniques, but also a child's imagination - are spangled with smears, black streaks and coloured water stains. Put to film, they create a visual symphony that is rather nonsensical, anchored in surrealist illogicality and dreams.\n\nCharacters with blurred contours constantly wriggle about with a kind of uncontrollable tremble - an unsteadiness that disturbs the spectator's vision and heightens the unbalanced and violent feel to the narration. The rhythm is jerky and disjointed - like in an Oskar Fischinger film - and explodes the animation's narrative schema, plunging us into a non- Cartesian and visually brilliant space-time.\n\nMidori Matsui, Independent curator, Tokyo"},{"slug":"rebet_christine_inthesoldiershead_2015","ok":true,"partial":true,"title":"In The Soldier's Head","artist":"Christine Rebet","year":"2015","startOffset":0,"sourceSecs":264.375,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":116815083,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rebet_christine_inthesoldiershead_2015/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rebet_christine_inthesoldiershead_2015/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rebet_christine_inthesoldiershead_2015.mov","hasFrames":true,"description":"In the Soldier's Head, 2015\n\n16mm transferred to HD\n\n4:25\n\nEdition of 5 plus II AP\n\nCamera: John Donnely\n\nSoundtrack: Matteo Nasini, Algis Kisys\n\nEditing: Kevin Messman\n\nFilm transfer: John Rizzo\n\nAnimation assistants: Louise Pignier-leroul, Julie de Halleux, Aude David\n\nAnimation Intern: Michelle Kramer\n\nThanks to: Greg Ford, Birgit Rathsmann, Dorothee Charles, Fanny Rolland, Francois Darasse,\nJoel Schlemowitz, Christopher Gorski\n\n\"Beyond these erotics, it was clear to me that I wanted to talk about mental disruption as a figure for the collective experience of colonization, and that I wanted to carry this out through the disruption of the animation itself.\" - Christine Rebet as told to Joanna Fiduccia for Artforum, 2015\n\nA powerful animism and energy is evident in Rebet's five-minute, hand-drawn animation, \"In the Soldier'™s Head,\" which flows like the delusions conjured by a young soldier within an empty desert landscape. In the animation Rebet gives her viewer an intensely personal perspective on historical traumas, reinterpreted through the lands, bodies and minds that are subject to them. The film depicts the delusions flowing from a mind ravaged by violence: a vision grown from the inside out. Like a mirage amidst a blank, desert expanse, specters are conjured as the inanimate comes to life. Whirring machines sputter, gears turn and levers crank as ceaselessly firing synapses of a hyperactive psyche pour out. The helmet, like the soldier's head itself, becomes a crucible for burning delusions fed by the violated land: no more than a vessel for wildly-flowing cerebrospinal fluid impulses. Rebet's charged, inky depictions of landscapes express the potency of the inanimate amidst the hills and roads of a post-colonized land."},{"slug":"rebet_christine_thunderbird_2019","ok":true,"partial":false,"title":"Thunderbird","artist":"Christine Rebet","year":"2019","startOffset":0,"sourceSecs":335.125,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":135759532,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rebet_christine_thunderbird_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rebet_christine_thunderbird_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rebet_christine_thunderbird_2019.mp4","hasFrames":true,"description":"Thunderbird, 2018\n\n16mm transferred to HD\n\n5:40\n\nEdition of 5 plus II AP\n\nDirection: Christine Rebet\n\nProduced by Christine Rebet and Gabrielle Giattino\n\nAnimation Assistants: Romane Granger, Julie de Halleux ,Shi-Yen Huang, Nikolai Meltchakov, Louise Pignier Leroul, Lise Remon\n\nCamera: Gustavo Jahn (Shot on 16 mm in Berlin)\n\nEditing: Fabrice Gerardi\n\nEditing Assistant: Joseph Elbaz\n\nScanning processing and color grading: Silverway Paris\n\nSoundtrack: Mirwais\n\nMusique: Nasser Naama 'Al 'Amiriyya'\" Le Luth de Bagdad\" Institut du Monde Arabe\n\nVoice over: Lisa Denem, Grayson Millwood, Simon Will\n\nRecorded by Patrick Petzold at Studio 206 Berlin\n\nFootage organized by Sebastien Rey shot on site at Tello, ancient Girsu, Iraq Scheme The British Museum, London\n\nSpecial thanks to: Francois Darrasse, Lillian Davies, Vincent Dupuis, Fatima Yassir Husain, LaborBerlin, Jean-Marie Leau, Francois Prodromides, Federic Rebet, Lucie Regent, Sebastien Rey\n\nIn ancient Sumer and Mesopotamia, it was believed that the gods sent divine visions to the rulers to inspire the commission of their city temples. The statue of the king Gudea, ruler of Lagash (Southern Iraq), around 2200-2100 BCE was found throughout the excavation at Tello (ancient Girsu) in 1881 with an imprint of the future Temple carved on the figure lap. The God Ningirsu ordered Gudea the construction of his Temple through a dream apparition. The five minutes animation \"Thunderbird\" re-imagines the dialogue between Gudea and Nanshe, goddess of prophecy, to whom the ruler seeks assistance in the translation of the vision he experienced.\n\n\"Thunderbird\" is a response to the recent destruction and pillage of the Middle East's last major archaeological sites. It pays tribute to ancient Near East architectural rituals to preserve public monuments within the past, present and future towards eternity. The film began through a long dialogue and numerous exchanges with Sebastian Rey, the lead Archaeologist of the British Museum's Iraq Scheme, an organization training Iraqi archaeologists and international specialists with the latest technologies.The curriculum alternates between the British Museum for technical and academic training and the site at Tello (where the statue of Gudea was found) for exploration and excavation. In 2015, with co-director Fatima Yassir Husain, Rey had the honor of reopening excavations at Tello after 82 years of interrupted fieldwork."},{"slug":"recchion_tom_two_films","ok":true,"partial":false,"title":"Two Films","artist":"Tom Recchion","year":"1976","startOffset":0,"sourceSecs":1087.687,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":185583040,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/recchion_tom_two_films/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/recchion_tom_two_films/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/recchion_tom_two_films.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/recchion_tom_two_films/main.mp4?v=2","description":"1. Drums By Magic (Tom Recchion April 20, 1978, 5:22, Pasadena, California, b/w video, sound)\n\n2. Drum Moves (Tom Recchion September 27, 1976, 12:04, Pasadena, California, b/w video, sound)\n\n\"\"The unearthing of the LAFMS recordings is experimental rock history at it's most historical and hysterical - a completely bizarro and further-out counterpart to the L.A. punk scene.\" (Thurston Moore)\n\nThis historical collection of shortfilms shows the experimental scene in L.A. in the seventies. This scene, with Smegma as most notorious outcome, was heavily influenced by the Mothers of Invention, Beefheart, the Residents and Sun Ra, but also by the radical foundations of Fluxus and the Aktionists. They paved the road for the New Weird Americans as No-Neck Blues Band and Jackie-O-Motherfucker who nowadays are pivotal of the American expermentalists."},{"slug":"red_krayola_with_art_and_language_gross_and_conspicuous_error_no_8","ok":true,"partial":false,"title":"Art & Language with Red Krayola - Nine Gross and Conspicuous Errors","artist":"Art & Language","year":"1976","startOffset":0,"sourceSecs":1447.36,"sourceHeight":480,"sourceWidth":638,"hasAudio":true,"hasAmbientMp4":true,"bytes":251870095,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/red_krayola_with_art_and_language_gross_and_conspicuous_error_no_8/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/red_krayola_with_art_and_language_gross_and_conspicuous_error_no_8/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/red_krayola_with_art_and_language_gross_and_conspicuous_error_no_8.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/red_krayola_with_art_and_language_gross_and_conspicuous_error_no_8/main.mp4?v=2","description":"Corrected Slogans was the first LP to be produced and was worked on by Art & Language and Red Crayola founder member Mayo Thompson between 1973 and its release date in 1976. The album’s artwork, musical scores and other ephemera were shown in the room next door to the two videos And Now for Something Completely Different and Nine Gross and Conspicuous Errors (both 1976), which have a similar lyrical content to the album and which both contain ironic posturing that thinly masks an awkward energy brought about by the mixture of political anthems and rock and roll. Of the two videos, Nine Gross and Conspicuous Errors best represents this experimental vitality. Unrehearsed songs are performed by groups of unsuspecting participants as well as the knowing core collaborators Art & Language’s Michael Baldwin and Mel Ramsden, with Thompson on guitar and Jesse Chamberlain on drums. Activist slogans, such as ‘we must ferociously attack so called institutionalized egalitarianism – it is a smokescreen, which attempts to replace activist content with liberal structures’, are chanted en masse and played out as theoretical quotations and self-mocking mantras. At one point Ramsden sings the line ‘Marx’s old chestnut “the philosophers know how to interpret the world, the point is to change it” is embedded in the nexus of dialectics’ and Thompson makes a dedication ‘to Ludwig Wittgenstein, who said “you cannot be a philosopher and a Communist at the same time”’. <br/><br/> Through visible misunderstandings of each text or acts of insincerity on the performers’ behalf, there’s an inevitable displacement of belief in these videos, where each deliberately inauthentic voice strives for a form of validity. Although the musical backing by The Red Crayola is vital and exciting, the aim, through the unfeasibility of the verbal performances and the lyrics – or the ‘conspicuous errors’ – appears to be to keep the gap between the performer and the text open. This is enforced by philosophical ramblings about the ‘commodification of social relations’ and remarks about language serving a strong managerial role, and interspersed by some expertly amateur routines, with Ramsden, in particular, fluctuating between self-conscious embarrassment – indicating the confusion of the situation – and an overconfidence about his own workmanlike timekeeping. At one point he looks extremely proud of a fellow player who’s so lost she has no idea what line she’s meant to be singing. Baldwin also appears ridiculous in his Travis Bickle sunglasses, growling comedically into the microphone and whistling pointlessly along with Ramsden. <br/><br/> The karaoke event took place between 5pm and 6pm each day, and tracks from the album Kangaroo? (1981), such as ‘A Portrait of V. I. Lenin in the Style of Jackson Pollock’ were available to sing along to. Another ‘gross and conspicuous error’ started to operate here, but this time the question appeared to be, what kind of historical displacement occurs when we the spectators, as blind performers, sing these 24-year-old lyrics? As before, we are complicit in our own bad performance and misreading of these essay-like texts and through a historical distance provide a necessary misinterpretation of Art & Language’s work. This is an essential component of the group’s practice, and if they represent a resistance to the category of Conceptual art, where a Duchampian model is ‘emptied of its transgressive potential and rendered congenial to the managers of interdisciplinarity’, then maybe this combination of music and politics is something to strive for. If the original intention of these irreconcilable forces was to ‘stress the grammar and the sense of the text to the point of oblivion’, then through the lens of history this partnership at least still appears alien and strange, but for different reasons. When current bands are mimicking the urgency of outfits from the late 1970s, minus the political awareness, and younger artists and curators are fixated on radical models but lacking any real substance, there’s another, unwitting form of historical karaoke operating. Perhaps what we need right now are more deliberately irresponsible yet ‘real’ collaborations of this sort.","artist_bio":"Art & Language with Red Krayola - Nine Gross and Conspicuous Errors\n(1976)\nArt & Language is a shifting collaboration among conceptual artists that has undergone many changes since its inception in the late 1960s. Their early work, as well as their journal Art-Language, first published in 1969, is regarded as an important influence on much conceptual art both in the United Kingdom and in the United States.","bio_dates":"1976"},{"slug":"reed_lou_berlin_julian_schnabel_2007","ok":true,"partial":false,"title":"Berlin","artist":"Lou Reed","year":"2007","startOffset":0,"sourceSecs":4867.088,"sourceHeight":360,"sourceWidth":638,"hasAudio":true,"hasAmbientMp4":true,"bytes":280359928,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reed_lou_berlin_julian_schnabel_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reed_lou_berlin_julian_schnabel_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/reed_lou_berlin_julian_schnabel_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reed_lou_berlin_julian_schnabel_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reed_lou_berlin_julian_schnabel_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"Berlin: Live at St. Ann's Warehouse is a concert film and live album by Lou Reed released in 2008. The concert film was directed by Julian Schnabel, live at St. Ann's Warehouse in Brooklyn during five nights in December 2006. Background shots of the characters Jim and Caroline were done by Lola Schnabel.\n\nThe Berlin tour was the first time Lou Reed had played the full album live in over 30 years, after the original album was a critical and commercial disappointment (in spite of it being a top 10 album hitting #7 in the UK and going Silver). Individual songs had been played, but not the entire album.\n\nThe concert film and album both feature three non-Berlin songs as an encore, \"Candy Says\", \"Rock Minuet\" and \"Sweet Jane\"."},{"slug":"reed_mary_beth_garden_path_2001","ok":true,"partial":false,"title":"Beth Garden Path","artist":"Stan Brakhage","year":"2001","startOffset":0,"sourceSecs":456.448,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":77949548,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reed_mary_beth_garden_path_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reed_mary_beth_garden_path_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/reed_mary_beth_garden_path_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reed_mary_beth_garden_path_2001/main.mp4?v=2"},{"slug":"reeves_jennifer_chronic_iphone","ok":true,"partial":false,"title":"Chronic","artist":"Jennifer Reeves","year":"1996","startOffset":0,"sourceSecs":2249.645,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":134513229,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reeves_jennifer_chronic_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reeves_jennifer_chronic_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/reeves_jennifer_chronic_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reeves_jennifer_chronic_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reeves_jennifer_chronic_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Chronic is an experimental narrative about a young woman who began mutilating herself as a girl to cope with her bitter mid-western life. The lush optically-printed scenes take Gretchen's point of view from her punk youth, a stay in a mental hospital, and her release into the big city. Scripted scenes are composited with documentary and found footage, illustrating the culture Gretchen lives in, her inner world and relationships from her birth to her final day.\n\nJerome Foundation Production Grant; Charlotte Film Festival: First Prize Experimental Film; Oberhausen International Short Film Festival: Main Prize of the International Competition and First Prize from the Jury of International Film Critics (FIPRESCI); Ann Arbor Film Festival: The Screening Committee's Choice Award For Narrative Integrity, and The Tom Berman Most Promising Filmmaker Award; Images Festival of Independent Film and Video, Toronto: Marion McMahon Memorial Award; Shorts International Film Festival, N.Y.: Best Experimental Film; Black Maria Film Festival: Juror#s Choice; Christopher Wetzel Memorial Award, Honorable Mention: Art Institute of Chicago.\n\nCast:Jennifer Reeves, Noelle Kalom, Barbara Lee , Bill Bronson, Jeanne Liotta, Richard Harrington, Chelsea Penneabaker, Robbin Shahani, Mary Brezovich, Joe Gibbons."},{"slug":"reeves_jennifer_monsters_in_the_closet","ok":true,"partial":false,"title":"Monsters in the Closet","artist":"Jennifer Reeves","year":"1993","startOffset":0,"sourceSecs":843.819,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":149952570,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reeves_jennifer_monsters_in_the_closet/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reeves_jennifer_monsters_in_the_closet/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/reeves_jennifer_monsters_in_the_closet.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reeves_jennifer_monsters_in_the_closet/main.mp4?v=2","description":"Dirty little girl stories, girl gangs, and other tales from the closets of adolescence."},{"slug":"reich_steve_ensemble_modern_in_tokyo_iphone","ok":true,"partial":false,"title":"Ensemble Modern Plays Steve Reich in Tokyo","artist":"Steve Reich","year":"1965","startOffset":0,"sourceSecs":7010.072,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":400320558,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reich_steve_ensemble_modern_in_tokyo_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reich_steve_ensemble_modern_in_tokyo_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/reich_steve_ensemble_modern_in_tokyo_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reich_steve_ensemble_modern_in_tokyo_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reich_steve_ensemble_modern_in_tokyo_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Reich explains: Daniel Variations is in four movements using texts from the Biblical book of Daniel for the first and third movements and from the words of Daniel Pearl, the American Jewish reporter, kidnapped and murdered by Islamist extremists in Pakistan in 2002, for the second and fourth movements. The texts/movements are:\n\n1. I saw a dream. Images upon my bed & visions in my head frightened me (Daniel 4:2, or 4:5 in Christian translations)\n\n3. Let the dream fall back on the dreaded (Daniel 4:16, or 4:19 in Christian translations)\n\nThe piece is scored for two sopranos and two tenors with two B-flat clarinets, four vibes, bass and kick drums, tam-tam, four pianos, and string quartet. It was co-commissioned by the Barbican Centre in London, Carnegie Hall in New York, CitÈ de la Musique in Paris, Casa de Musica in Porto, Portugal, and in memory of Daniel Pearl by an anonymous donor in association with Meet The Composer and the Daniel Pearl Foundation, which is dedicated to cross-cultural understanding and music. Daniel Variations was premiered at the Barbican in London in 2006 as part of Steve Reich's 70th birthday celebration.\n\nMusic for 18 Musicians is approximately 55 minutes long. The first sketches were made for it in May 1974 and it was completed in March 1976. Although its steady pulse and rhythmic energy relate to many of my earlier works, its instrumentation, structure and harmony are new.\n\nAs to instrumentation, Music for 18 Musicians is new in the number and distribution of instruments: violin, cello, 2 clarinets doubling bass clarinet, 4 women's voices, 4 pianos, 3 marimbas, 2 xylophones and metallophone (vibraphone with no motor). All instruments are acoustical. The use of electronics is limited to microphones for voices and some of the instruments.\n\nThere is more harmonic movement in the first 5 minutes of Music for 18 Musicians than in any other complete work of mine to date. Though the movement from chord to chord is often just a re-voicing, inversion or relative minor or major of a previous chord, usually staying within the key signature of three shapes at all times, nevertheless, within these limits harmonic movement plays a more important role in this piece than in any other I have written.\n\nRhythmically, there are two basically different kinds of time occurring simultaneously in Music for 18 Musicians. The first is that of a regular rhythmic pulse in the pianos and mallet instruments that continues throughout the piece. The second is the rhythm of the human breath in the voices and wind instruments. The entire opening and closing sections plus part of all sections in between contain pulses by the voice and winds. They take a full breath and sing or play pulses of particular notes for as long as their breath will comfortably sustain them. The breath is the measure of the duration of their pulsing. This combination of one breath after another gradually washing up like waves against the constant rhythm of the pianos and mallet instruments is something I have not heard before and would like to investigate further.\n\nThe structure of Music for 18 Musicians is based on a cycle of eleven chords played at the very beginning of the piece and repeated at the end. All the instruments and voices play or sing the pulsating notes with each chord. Instruments like the strings which to not have to breath nevertheless follow the rise and fall of the breath by following the breathing patterns of the bass clarinet. Each chord is held for the duration of two breaths, and the next chord is gradually introduced, and so on, until all eleven are played and the ensemble returns to the first chord. The first pulsing chord is then maintained by two pianos and two marimbas. While this pulsing chord is held for about five minutes a small piece is constructed on it. When this piece is completed there is a sudden change to the second chord, and a second small piece or section is constructed. This means that each chord that might have taken fifteen or twenty seconds to play in the opening section is then stretched out as the basic pulsing melody for a five minute piece very much as a single note in a cantus firmus, or chant melody of a 12th century Organum by Perotin might be stretched out for several minutes as the harmonic centre for a section of the Organum. The opening eleven chord cycle of Music for 18 Musicians is a kind of pulsing cantus for the entire piece.\n\nOn each pulsing chord one or, on the third chord, two small pieces are built. These pieces or sections are basically either in form of an arch (ABCDCBA), or in the form of a musical process, like that of substituting beats for rests, working itself out from beginning to end. Elements appearing in one section will appear in another but surrounded by different harmony and instrumentation. For instance the pulse in pianos and marimbas in sections 1 and 2 changes to marimbas and xylophones in section 3A, and to xylophones and maracas in sections 6 and 7. The low piano pulsing harmonies of section 3A reappear in section 6 supporting a different melody played by different instruments. The process of building up a canon, or phase relation, between two xylophones and two pianos which first occurs in section 2, occurs again in section 9 but building up to another overall pattern in a different harmonic context. The relationship between the different sections is thus best understood in terms of resemblances between members of a family. Certain characteristics will be shared, but others will be unique.\n\nChanges from one section to the next, as well as changes within each section are cued by the metallophone (vibraphone with no motor) whose patterns are played once only to call for movements to the next bar, much as in Balinese Gamelan a drummer will audibly call for changes of pattern in West African Music. This is in contrast to the visual nods of the head used in earlier pieces of mine to call for changes and in contrast also to the general Western practice of having a non-performing conductor for large ensembles. Audible cures become part of the music and allow the musicians to keep listening. -- Steve Reich\n\nDifferent Trains, for String Quartet and pre-recorded performance tape, begins a new way of composing that has its roots in my early tape pieces It's Gonna Rain (1965) and Come Out (1966). The basic idea is that carefully chosen speech recordings generate the musical materials for musical instruments.\n\nThe idea for the piece form my childhood. When I was one year old my parents separated. My mother moved to Los Angeles and my father stayed in New York. Since they arranged divided custody, I travelled back and forth by train frequently between New York and Los Angeles from 1939 to 1942 accompanied by my governess. While the trips were exciting and romantic at the time I now look back and think that, if I had been in Europe during this period, as a Jew I would have had to ride very different trains. With this in mind I wanted to make a piece that would accurately reflect the whole situation. In order to prepare the tape I did the following:\n\nRecord my governess Virginia, then in her seventies, reminiscing about our train trips together.\n\nRecord a retired Pullman porter, Lawrence Davis, then in his eighties, who used to ride lines between New York and Los Angeles, reminiscing about his life.\n\nCollect recordings of Holocaust survivors Rachella, Paul and Rachel, all about my age and then living in America ñ speaking of their experiences.\n\nIn order to combine the taped speech with the string instruments I selected small speech samples that are more or less clearly pitched and then notated them as accurately as possible in musical notation.\n\nThe strings then literally imitate that speech melody. The speech samples as well as the train sounds were transferred to tape with the use of sampling keyboards and a computer. Three separate string quartets are also added to the pre-recorded tape and the final live quartet part is added in performance.\n\nDifferent Trains is in three movements (played without pause), although that term is stretched here since tempos change frequently in each movement. They are:\n\nThe piece thus presents both a documentary and a musical reality and begins a new musical direction. It is a direction that I expect will lead to a new kind of documentary music video theatre in the not too distant future. -- Steve Reich"},{"slug":"reich_steve_new_musical_language_1987_iphone","ok":true,"partial":false,"title":"A New Musical Language","artist":"Steve Reich","year":"1987","startOffset":0,"sourceSecs":3417,"sourceHeight":320,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":200083096,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reich_steve_new_musical_language_1987_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reich_steve_new_musical_language_1987_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/reich_steve_new_musical_language_1987_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reich_steve_new_musical_language_1987_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reich_steve_new_musical_language_1987_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Steve Reich: A New Musical Language <br/> TV Special Alternate Title: Great Performances (04/10/87)<br/> <br/> Program Overview<br/> Executive Producer: Jac Venza<br/> Genres: Documentary, Music<br/> <br/> Pogram Synopsis<br/> A profile of composer Steve Reich, a leading creator of stripped-down, \"minimal\" music. The program explores how Reich's music eventually became accessible to the musical audience at large. Included are interviews with the composer himself, and contemporaries, and also performances of some of his works. <br/><br/> Thanks to Chris Yewell.","artist_bio":"Robert Nelson - Oh Dem Watermelons\n(1965, Soundtrack by Steve Reich)\nAnne Teresa De Keersmaeker - Fase (Four Movements to the Music of Steve Reich)\n(1982)\nThirty Second Spots: TV Commercials for Arists - Steve Reich (1982-83)\nStephen Michael \"Steve\" Reich (born October 3, 1936) is an American composer who pioneered the style of minimalist music. His innovations include using tape loops to create phasing patterns (examples are his early compositions, \"It's Gonna Rain\" and \"Come Out\"), and the use of simple, audible processes to explore musical concepts (for instance, \"Pendulum Music\" and \"Four Organs\"). These compositions, marked by their use of repetitive figures, slow harmonic rhythm and canons, have significantly influenced contemporary music, especially in the US. Reich's work took on a darker character in the 1980s with the introduction of historical themes as well as themes from his Jewish heritage, notably the Grammy Award-winning Different Trains.\nReich's style of composition influenced many other composers and musical groups. Reich has been described by The Guardian as one of \"a handful of living composers who can legitimately claim to have altered the direction of musical history\", and the critic Kyle Gann has said Reich \"may...be considered, by general acclamation, America's greatest living composer.\" On January 25, 2007, Reich was named the 2007 recipient of the Polar Music Prize, together with jazz saxophonist Sonny Rollins. On April 20, 2009, Reich was awarded the 2009 Pulitzer Prize for Music for his Double Sextet.-- Wikipedia","bio_dates":"b. 1938"},{"slug":"reijseger_ernst_do_you_still_2008","ok":true,"partial":false,"title":"Do You Still?","artist":"Ernst Reijseger","year":"2008","startOffset":0,"sourceSecs":2527.403,"sourceHeight":384,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":148229428,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reijseger_ernst_do_you_still_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reijseger_ernst_do_you_still_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/reijseger_ernst_do_you_still_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reijseger_ernst_do_you_still_2008/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reijseger_ernst_do_you_still_2008/main/master.m3u8?v=2","hasMainHls":true,"description":"Some artists choose, or are forced, not to jettison whole portions of their selves in the course of their work, embracing seemingly contradictory strands and sometimes succeeding in integrating them and diluting their apparent contrasts in a continuous spectrum of beauty. Dutch cellist Ernst Reijseger stands out as a musician who manages to go down this road the hard way: without resorting to collage, counterpoint or wasted irony. The fact that he's worked with such opposite visions as Derek Bailey's and Yo-Yo Ma's, not to mention his regular excursions into musical fields lazily stringed together as \"world\" music, is perhaps the best possible description of his music: lyrical but fractured, his work disrespectfully transgresses the borders of jazz, improv, avant-garde, contemporary composition and popular music - all in a single note, with a single stroke. Jacques Goldstein's Do you Still? is a beautiful homage both to Reijseger's music and genre ambiguity. Though based on a trio live performance that focuses mostly on the lyrical side of the musician's soul (from his homonymous 2008 Winter & Winter release), it tries, and mostly manages, to balance the picture by capturing private solo improv sessions, both indoors and outdoors, that display Reijseger's mastery over different colours and tones - with the same astounding technique and soulful commitment. Interspersed with beautiful country- and city-side footage that evokes his ever contemplative music, Do You Still? also features intimate and sometimes bitter-sweet statements by Reijseger on his early years, \"career\" choices, mannerisms, anxieties and shortcomings. These different approaches, however, are seamlessly integrated into a serene, contemplative whole: neither a live-film nor a bio-doc or a visual essay, but all that and more."},{"slug":"renechar","ok":true,"partial":false,"title":"Renechar","artist":"René Char","year":"1967","startOffset":0,"sourceSecs":1367.531,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":238278574,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/renechar/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/renechar/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/renechar.mp4","hasFrames":true,"description":"Description: Documentary TV film about René Char, one of the great 20th century French poets, in his house of Le Thor and in the city of L'Isle-sur-la-Sorgue, South France.\n\nRené Char is known for his hermetic poetry works and his engagement in the the French Resistance in 1940 where he commanded the Durance parachute drop zone. Char was a friend and close associate of Albert Camus, Georges Bataille and Maurice Blanchot among writers, Pablo Picasso, Joan Miró and Victor Brauner among painters. The composer Pierre Boulez wrote three settings of Char's poetry, \"Le Soleil des eaux\", \"Le visage nuptial\", and \"Le Marteau sans maître\". A late friendship developed also between Char and Martin Heidegger, who described Char's poetry as \"a tour de force into the ineffable\" and was repeatedly his guest."},{"slug":"residents_classic_films","ok":true,"partial":false,"title":"Classic Films","artist":"The Residents","year":"1977-1980","startOffset":0,"sourceSecs":747.989,"sourceHeight":1080,"sourceWidth":1572,"hasAudio":true,"hasAmbientMp4":true,"bytes":329757816,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/residents_classic_films/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/residents_classic_films/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/residents_classic_films.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/residents_classic_films/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/residents_classic_films/main/master.m3u8?v=2","hasMainHls":true},{"slug":"residents_commercial_album","ok":true,"partial":false,"title":"The Commercial DVD (2004)","artist":"The Residents","year":"2004","startOffset":0,"sourceSecs":1736.8,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":276672369,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/residents_commercial_album/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/residents_commercial_album/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/residents_commercial_album.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/residents_commercial_album/main.mp4?v=2","description":"The Residents' Commercial Album 25th Anniversary Special Edition DVD along with a re-release of the landmark 1980 album on Compact Disc. In 1980 The Residents created four short films based on Commercial Album songs. Long considered as ground breaking music videos, these films are now part of the permanent collection of the Museum of Modern Art in New York. To celebrate the 25th anniversary of the Commercial Album, the DVD will both compliment and complete the project with an amazing collection of 56 one-minute films based on the original 40 Commercial Album songs. In order to produce this large number of films, in addition to themselves, The Residents have assembled an outstanding group of 42 visual artists from around the world. Working in various forms ranging from animation, live action, and puppetry to drawing, photography and sculpture, the disc is a virtual film festival in miniature. In addition The DVD has an innovative game-like interface that allows viewers to explore a maze in the process of viewing the videos. This complex of rooms contains a unpredictable series of interactive features as it reveals the 56 videos created by The Residents and their all star cast of visual collaborators.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/residents.html\" rel=\"noopener\" target=\"_blank\">The Residents in UbuWeb Sound</a></br>","artist_bio":"The Residents are an American art collective best known for avant-garde music and multimedia works. The first official release under the name of The Residents was in 1974, and the group has since released over sixty albums, numerous music videos and short films, three CD-ROM projects and ten DVDs. They have undertaken seven major world tours and scored multiple films. Pioneers in exploring the potential of CD-ROM and similar technologies, The Residents have won several awards for their multimedia projects. Ralph Records, a record label focusing on avant-garde music, was started by the band.\nThroughout the group's existence, the individual members have ostensibly attempted to operate under anonymity preferring, instead, to have attention focused on their art output. Much outside speculation and rumour has focused on this aspect of the group. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tuxedos — a long-lasting costume now recognized as its signature iconography.\nIts albums generally fall into two categories: deconstructions of Western popular music, or complex conceptual pieces, composed around a theme, theory or plot. The group is noted for surrealistic lyrics and sound, disregard for conventional music composition, and the over the top, theatrical spectacle of their live performances.","bio_dates":"1977-1980"},{"slug":"residents_whatever_happened_to_vileness_fats","ok":true,"partial":false,"title":"Whatever Happened To Vileness Fats?","artist":"The Residents","year":"1984","startOffset":0,"sourceSecs":1935.243,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":114320074,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/residents_whatever_happened_to_vileness_fats/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/residents_whatever_happened_to_vileness_fats/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/residents_whatever_happened_to_vileness_fats.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/residents_whatever_happened_to_vileness_fats/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/residents_whatever_happened_to_vileness_fats/main/master.m3u8?v=2","hasMainHls":true,"description":"Vileness Fats is an unfinished musical film project by avant-garde art collective The Residents, filmed primarily between 1972 and 1976. The Residents shot over fourteen hours of film and videotape for the project, but were not even two-thirds of the way through their incomplete script before they cancelled the production.<br/><br/> Sections of the film have been released on home video as the 30 minute Whatever Happened to Vileness Fats? featurette in 1984, and on the Icky Flix DVD in 2001 as a remastered 17 minute \"concentrate\", excising numerous plot points. Additional clips and outtakes from the production were seen in the 2015 documentary, Theory of Obscurity: A Film About The Residents.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/residents.html\" rel=\"noopener\" target=\"_blank\">The Residents in UbuWeb Sound</a></br>","artist_bio":"The Residents are an American art collective best known for avant-garde music and multimedia works. The first official release under the name of The Residents was in 1974, and the group has since released over sixty albums, numerous music videos and short films, three CD-ROM projects and ten DVDs. They have undertaken seven major world tours and scored multiple films. Pioneers in exploring the potential of CD-ROM and similar technologies, The Residents have won several awards for their multimedia projects. Ralph Records, a record label focusing on avant-garde music, was started by the band.\nThroughout the group's existence, the individual members have ostensibly attempted to operate under anonymity preferring, instead, to have attention focused on their art output. Much outside speculation and rumour has focused on this aspect of the group. In public, the group appears silent and costumed, often wearing eyeball helmets, top hats and tuxedos — a long-lasting costume now recognized as its signature iconography.\nIts albums generally fall into two categories: deconstructions of Western popular music, or complex conceptual pieces, composed around a theme, theory or plot. The group is noted for surrealistic lyrics and sound, disregard for conventional music composition, and the over the top, theatrical spectacle of their live performances.","bio_dates":"1977-1980"},{"slug":"reyes_pedro_baby_marx_episode_1_on_surplus_value","ok":true,"partial":false,"title":"Baby Marx Episode 1 On Surplus Value","artist":"Pedro Reyes","year":"2011","startOffset":0,"sourceSecs":202.202,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":82549319,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reyes_pedro_baby_marx_episode_1_on_surplus_value/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reyes_pedro_baby_marx_episode_1_on_surplus_value/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/reyes_pedro_baby_marx_episode_1_on_surplus_value.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reyes_pedro_baby_marx_episode_1_on_surplus_value/main.mp4?v=2","artist_bio":"Pedro Reyes has won international attention for large-scale projects that take existing social problems and imagine solutions for a happier world. His political stance, use of found materials and disavowal of the corporate mentality sets him in the wake of Arte Povera, most keenly so in his tackling of gun culture in Mexico. In Palas por Pistolas (2008), Reyes worked with local authorities in Culiacán, Mexico, to melt down guns into shovels, intended to plant trees in cities elsewhere in the world. ‘I am on a crusade to come up with creative initiatives to disarm all these cities’, Reyes says (2013). Similarly for Disarm (2013) the Mexican government passed over 6,700 confiscated firearms for Reyes to turn into mechanical musical instruments, which are automated to play a delightful, if surreal loop, retaining the raw emotion of their origination. Other works tackle first world problems through participatory techniques. Sanatorium (2011) invites visitors to sign up for a ‘temporary clinic’, with the mission of treating various kinds of urban malaise. Therapies such as trust-building games and hypnosis are offered to combat common problems such as loneliness and stress. The conclusion to the Sanatorium manifesto inflects Reyes’s big ambition with a healthy sense of the absurd.","bio_dates":"b. 1972"},{"slug":"reyes_pedro_on_alienation_karl_marx_and_adam_smith","ok":true,"partial":false,"title":"On Alienation. Karl Marx and Adam Smith","artist":"Pedro Reyes","year":"2011","startOffset":0,"sourceSecs":423.549,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":161330345,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reyes_pedro_on_alienation_karl_marx_and_adam_smith/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/reyes_pedro_on_alienation_karl_marx_and_adam_smith/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/reyes_pedro_on_alienation_karl_marx_and_adam_smith.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/reyes_pedro_on_alienation_karl_marx_and_adam_smith/main.mp4?v=2"},{"slug":"rhodes_lis_a_cold_draft_1988","ok":true,"partial":false,"title":"A Cold Draft","artist":"Lis Rhodes","year":"1988","startOffset":0,"sourceSecs":1720.405,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":102236961,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rhodes_lis_a_cold_draft_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rhodes_lis_a_cold_draft_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rhodes_lis_a_cold_draft_1988.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rhodes_lis_a_cold_draft_1988/main.mp4?v=2","description":"UK, 1988<br/> 30 minutes, B&W / Colour, Stereo, 4:3<br/> Original format: 16mm film<br/> <br/> ‘What is most provocative about this film is that it proposes multiple credible points of view even as the woman is being certified insane by the ‘Censors’. We voyage into the skull of a woman and peer out to a monumentally static cold waste wit planetary slow motion. It is a bunker-eye view.’ –Sandra Lahire ‘Undercut’ Autumn 1990‘A Cold Draft takes the acceptance of repression and the danger of resistance as its central themes. Using metaphors Rhodes illustrates our coherence to a sociological ‘one-way’ system in which the majority work to fuel the profits of an obliquely sinister ruling body, or face exclusion. Drawn images and urban landscapes dissolve into each other to form a shifting, disorientating visual reference.’ –BFI ‘British Film’ Catalogue publ. the British Film Institute and the British Council 1991‘A Cold Draft (1988) is drawn from (a drawing of) the conditions produced by ‘liberal’ economics in the UK in the 1980’s. Truth is reckless, certainty a sham, but such is faith in repetition that line by line certainty is drawn. The account may be fictitious, a representation, but the events are the result of the imposition of private ownership.’ –Lis Rhodes, 54.Internationale Kurzfilmtage Catalogue, Oberhausen","artist_bio":"Lis Rhodes (born 1942) is a British artist and feminist filmmaker, known for her density, concentration, and articulate sense of poetry in her visual works. She has been active in the UK since the early 1970s.\nSince the early 1970s, Rhodes has created radical and controversial art that challenges her viewers to question perspective of film through her work. She wanted her audience to \"reconsider film as a medium of communication and presentation of image, language and sound.\"\nShe was cinema curator at the London Film-Makers' Co-op from 1975–76. In 1979, Rhodes co-founded the feminist film distribution network, Circles. She was a member of the exhibition committee for the 1979 Arts Council Film on Film event, and international retrospective of Avante-Garde cinema. Rhodes was Arts Advisor to the Greater London Council from 1982 to 1985, and since 1978 has lectured part-time at the Slade School of Fine Art, University College London.\nOne key innovative piece Rhodes created is Light Music (1975), which was exhibited at the Tate Modern from July 2012 – January 2013. Tate deemed it, \"An iconic work of expanded cinema that created a more central and participatory role for the viewer within a dynamic, immersive environment\". Her work was also included in the 2007 exhibition WACK! Art and the Feminist Revolution.\nIn 2012, Rhodes' solo exhibition, Dissonance and Disturbance was held at the Institute of Contemporary Arts, London. The ICA noted that Rhodes \"examines the relationships in her work - from film, composition and writing - to the notation of sound and image, and the language of political dissent.\"\nAccording to Rhodes, \"The view through the lens may be blurred or defined – focused or unfocusfocused or unfocused – depending on what you think you know; what you imagine you see; what you learn to look for: what you are told is visible\". Rhodes does not view her art as an isolated practice, but rather as a social function. She lives and works in London.","bio_dates":"b. 1956"},{"slug":"rhodes_lis_dresden_dynamo_1971","ok":true,"partial":false,"title":"Dresden Dynamo","artist":"Lis Rhodes","year":"1971","startOffset":0,"sourceSecs":305.771,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":52945193,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rhodes_lis_dresden_dynamo_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rhodes_lis_dresden_dynamo_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rhodes_lis_dresden_dynamo_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rhodes_lis_dresden_dynamo_1971/main.mp4?v=2","description":"Part of <a href=\"https://ubu.com/film/shoot.html\" rel=\"noopener\" target=\"_blank\">Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s (1966 - 1976)</a> <br/><br/> A classic in the art of optical sound, Dresden Dynamo apparently resulted of an accidental discovery. When applying Letratone to a blank 16mm film soundtrack, Rhodes noticed that it produced a C note; she then composed several images with Letraset, of which she developed positive and negative copies, and later applied color filters in order to develop two-color contrasts. By allowing these compositions to encroach into the soundtrack, Rhodes creates relatively stable sound drawings that are an aural translation of the printed screen, thus expanding on earlier experiments by McLaren, among others. The result is a mind-bending experiment in which the interaction between simple geometrical, aural and chromatic patterns generates infinite illusory events and in which colour and shape subtly pervert one another, forcing foreground and background to constantly change positions in order to conjure depth and movement. -- <a href=\"http://lux.org.uk/collection/works/dresden-dynamo\" rel=\"noopener\" target=\"_blank\">Lux</a>","artist_bio":"Lis Rhodes (born 1942) is a British artist and feminist filmmaker, known for her density, concentration, and articulate sense of poetry in her visual works. She has been active in the UK since the early 1970s.\nSince the early 1970s, Rhodes has created radical and controversial art that challenges her viewers to question perspective of film through her work. She wanted her audience to \"reconsider film as a medium of communication and presentation of image, language and sound.\"\nShe was cinema curator at the London Film-Makers' Co-op from 1975–76. In 1979, Rhodes co-founded the feminist film distribution network, Circles. She was a member of the exhibition committee for the 1979 Arts Council Film on Film event, and international retrospective of Avante-Garde cinema. Rhodes was Arts Advisor to the Greater London Council from 1982 to 1985, and since 1978 has lectured part-time at the Slade School of Fine Art, University College London.\nOne key innovative piece Rhodes created is Light Music (1975), which was exhibited at the Tate Modern from July 2012 – January 2013. Tate deemed it, \"An iconic work of expanded cinema that created a more central and participatory role for the viewer within a dynamic, immersive environment\". Her work was also included in the 2007 exhibition WACK! Art and the Feminist Revolution.\nIn 2012, Rhodes' solo exhibition, Dissonance and Disturbance was held at the Institute of Contemporary Arts, London. The ICA noted that Rhodes \"examines the relationships in her work - from film, composition and writing - to the notation of sound and image, and the language of political dissent.\"\nAccording to Rhodes, \"The view through the lens may be blurred or defined – focused or unfocusfocused or unfocused – depending on what you think you know; what you imagine you see; what you learn to look for: what you are told is visible\". Rhodes does not view her art as an isolated practice, but rather as a social function. She lives and works in London.","bio_dates":"b. 1956"},{"slug":"rhodes_lis_light_reading_1978","ok":true,"partial":false,"title":"Light Reading","artist":"Lis Rhodes","year":"1978","startOffset":0,"sourceSecs":1192.56,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":200000841,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rhodes_lis_light_reading_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rhodes_lis_light_reading_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rhodes_lis_light_reading_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rhodes_lis_light_reading_1978/main.mp4?v=2","description":"Light Reading (Lis Rhodes, 1978) Lis Rhodes uses often mysterious, dangerous and highly personal images. –Amy Taubin, ‘Village Voice’ New York, 1978‘The film begins in darkness as a woman’s voice is heard over a black screen. The voice is questioning, searching. She will act. But how? Act against what? The bloodstained bed suggests a crime. . . could it be his blood? Could it be her blood? The voice searches for clues. . . . The clues suggest it is language that has trapped her, meanings that have excluded her and a past constructed to control her. Light Reading ends with no single solution. But there is a beginning. Of that she is positive. She will not be looked at but listened to…’ –Felicity Sparrow, ‘Her Image Fades as Her Voice Rises’, publ. The Arts Council 1982, reprinted in ‘Films for Women’, Charlotte Brunsden, Ed., publ. British Film Institute, 1986‘Light Reading is the possibility of a new direction in film, not to be co-opted by an overriding definition.’ –Peter Gidal ‘Materialist Film’ 1989\n\n‘Rhodes manipulation of, and dexterity with, cinematic techniques is a constant throughout her work. Light Reading is a technical and aesthetic tour de force of rapid fire editing, myriad techniques, and a compelling text which both manipulates and questions language. The constant themes of repression and the price of rebellion are all anchored around the hypnotic elliptical voice.’ –Gill Henderson, A Directory of British Film & Video Artists, 1996‘Ominous riddle: Light Reading (1978) sedately paced but radical in approach is a constantly shifting filmic collage of photographs, film strip and text. Rhodes’s almost riddlish narration splices together descriptions of the film making process with traces of an ungraspable narrative, hinted at in a photograph of a bloodstained bed to which the film returns, and ominously.’ –Ben Luke London Evening Standard 26 January 2012"},{"slug":"ribot_la_laughing_hole_2007_iphone","ok":true,"partial":false,"title":"Laughing Hole","artist":"La Ribot","year":"2006","startOffset":0,"sourceSecs":2186.69,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":128381645,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ribot_la_laughing_hole_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ribot_la_laughing_hole_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ribot_la_laughing_hole_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ribot_la_laughing_hole_2007_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ribot_la_laughing_hole_2007_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"s Premiere June 12th 2006 at Art Unlimited – Art Basel 37 (Switzerland), produced by Galeria Soledad Lorenzo, Madrid, Spain. <br/><br/> Written and directed by La Ribot<br/> Interpretation Marie-Caroline Hominal, La Ribot, Delphine Rosay<br/> Sound design and performance Clive Jenkins <br/> English translation with Catherine Phelps<br/> La Ribot is supported by La Ville de Genève, La République et Canton de Genève, Pro Helvetia Swiss Arts Council, and La Loterie Romande<br/><br/>The floor of the empty room is covered with countless cardboards panels lying in what seem to be indiscriminate piles one on top of the others. Some 900 cardboard signs featuring bizarre handwritten words are affixed to the walls with adhesive tape, one after the other. <br><br> Shaken by eccentric laughter often indistinguishable with crying, the three performers continually throw themselves to the floor to then get up again. In between time they raise their arms holding one of the written signs.<br/><br/> Obviously, they carry the burden of the weight of the words and the invasion of associations they bring. “Guantanamo beach”, “over 40’s mum”, “clean up” – declarations, orders, headlines, banal, personal or political words overlap and involve us in a game of meanings in all their different forms. In this way rows form: “Brutal fun, brutally lost, lost occupation, still here…” Line up one after another in no apparent order the words occupy the space allowing it to become a room of image and speech. The bodies leave the field to the anonymous pile of exhibited words and allow them to act. At some stage or other the room resembles a battlefield.<br/><br/> La Ribot’s work demonstrates how the terms “performance” and “exhibition” once marking the difference between dance and fine art have now in fact merged in performative art. The audience can come and go at any point over the eight hours of her latest project – and they can be part of an image in the making. <br/><br/> With her performance La Ribot confuses both the meanings fixed in images and words and the position of the spectator. Between laughter and action she breaks the image space down into its physical dimension – bringing it down to a human size and making it possible to while one’s time in this mysterious hole shaking with eerie laughter.</br></br>","artist_bio":"La Ribot, performer, dancer, choreographer and visual artist, develops her first choreographic Works in Madrid in the 80’s. Together with Blanca Calvo she founds in 1986 « Bocanada Danza », one of the first independent contemporary dance companies in Spain. Her work is internationally acclaimed since the early 90’s, when La Ribot starts to produce the Distinguished Pieces – short solos presented in series. Solitary and long, this project brings her since 1993 to work on several media and to question the place of dance and of the dancer in the cultural and economic context of the arts. Put on sale and purchased by art collectors, the Distinguished Pieces, ephemeral Works of art, will be presented in 2003 under the title of Panoramix – a meta-performance which combines the 34 solos produced until than – at the Tate Modern in London, at the Museo Reina Sofia in Madrid and at the Centre Pompidou in Paris among others.\nEstablished in London between 1997 and 2004, La Ribot consolidates her relationship with the visual arts and becomes a figurehead of Live Art. From England she organizes in Madrid “Desviaciones” (1997-2001), a festival which brings together most of the personalities that will influence the contemporary dance over the following years. She creates her first video Works like pa amb tomaquet (2000), Travelling (2003) or Despliegue (2001) which today is part of public collections (ARTIUM – Vitoria, MUSAC – Léon, Spain and FRAC Lorraine – Metz, France).\nIn 2004 La Ribot settles in Switzerland where she is invited to teach at the HEAD – Haute Ecole d’Art et de Design in Geneva. In collaboration with her colleagues she founds a new Department for the live arts – Art/Action – to which she dedicates until 2008. In parallel La Ribot continues her choreographic work and multiplies the projects and collaborations within her company. Several productions emerge of which 40 espontaneos (2004) a piece for 40 extras, Laughing Hole (2006) a 6 hours performance for 3 performers and one musician, Gustavia (2008) a duet signed and performed with Mathilde Monnier or llamame mariachi (2009).\nShe makes a series of single sequence shot videos and develops the idea of the body as camera operator – corps opératuer. In these Works the choreographer develops a system of points of view and deconstructs the perception of space and time going beyond the documentary relationship that film usually maintains with dance. Treintaycuatropiècesdistinguées&onestriptease (2007) and Mariachi 17 (2009) are the most recent examples of these series started at the beginning of 2000.\nIn the recent years, La Ribot diversifies her Work and creates Walk the Chair (2010), installation of 50 pyrographed chairs presented at the “Move: Choreographing you. Art and Dance since 1960’s” exhibition at the Hayward Gallery in London. In 2011 she makes a new series of distinguished pieces, PARAdistinguidas, and breaks the initial protocol by multiplying the solos in a choral piece for 5 performers and 20 extras. In 2012 she produces a piece for the Ballet de Lorraine in Nancy: EEEXEEECUUUUTIOOOOONS!!!\nLa Ribot presented her work in various theatres and numerous museums, passing from Théâtre de la Ville and Festival d’Automne in Paris, from Queen Elizabeth Hall in London and from Festival Montpellier Danse to Art Unlimited / Art Basel in Switzerland, Museo Serralves in Porto, S.M.A.K. in Gent, Nam Jun Paik Art Centre in Seoul, Aichi Triennale in Japan, Galeria Soledad Lorenzo in Madrid or to the Haus der Kunst in Munich. In 2012 MUAC – Museum of Contemporary Art in Mexico inaugurated a new exhibition space dedicated to Live Art by presenting a significant exhibition on La Ribot.","bio_dates":"b. 1963"},{"slug":"rice_ron_chumlum_1964","ok":true,"partial":false,"title":"Chumlum","artist":"Ron Rice","year":"1964","startOffset":0,"sourceSecs":1456.256,"sourceHeight":416,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":90591935,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rice_ron_chumlum_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rice_ron_chumlum_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rice_ron_chumlum_1964.mp4","hasFrames":true,"description":"Ron Rice was born in New York, NY in 1935. Rice was a drifter who dropped out of high school and by nature was very restless. This restlessness is how he initially made his way into film. Rice got his start by buying an 8mm Camera to record bicycle races in San Francisco. It was in San Francisco that he met Taylor Mead, which in turn led him to the production of his first film <i>The Flower Thief</i> (Arthouse Inc). <i> The Flower Thief</i> was finished in 1960 with the help of Taylor mead the offbeat hero the San Francisco and New York Beats (Sitney, 300). After the Success of <i>The Flower Thief</i>, Rice toyed with the idea of making some films right after the Flower Thief. Rice Started a film called <i>The Dancing Master</i> and another untitled film with his friend Jerry Joften, but lost interest in the films during their production (Sitney, 301). Rice made <i>Senseless</i> and that came out later that same year of 1962. <i>Senseless</i> came out of a film that he planned to make at Eric Nord's island. Rice knew Nord from <i>The Flower Thief </i>and He knew that Nord purchased an island from the Mexican government with the intent of making that island a Utopia. Unfortunately Nord forgot to find out if there was water on the island so when Rice arrived on the island to shoot his film, Nord and his crew realized the mistake they had made and had already cleared off the island (Sitney, 301). The only thing Ron Rice had left from his trip was some footage that he took on his way to the island to meet Nord (Sitney, 301). When Rice got back from the trip and arrived in NewYork, he pooled together his research and the various episodes he had recorded. He divised a potpourri from what he recorded in Mexico and what he had on file and realized that the film would have no plot nor a continuity of a single mediator. Despite the incredible irony, the creation <i>Senseless</i> was completed in 1962. Rice gave credit to Jonas Mekas for the creation of <i>Senseless</i>, but ironically <i>Senseless</i> is thought of as Rice's most carefully organized formal film (Sitney, 301). After Rice finished <i>Senseless</i> he bought together Taylor Mead and Winifred Bryan, to make a new film called<i> The Queen of Sheba Meets the Atom Man</i> (Sitney, 302). Rice made rough-cuts of the idea to try to raise money for the film. The two scenes that were made were on <i>Hamlet</i> and Greg Markopoulos' <i>Twice a Man</i>. Rice got the funding that he was looking for and the intercutting and combination of characters brought by the <i>Queen of Sheba Meets the Atom Man</i> was a step closer to the synthetic process of the mythic film. Rice never finished the film; Mead finished it in 1982 (Sitney, 302). Rice went on to another project called <i>Chumlum</i>. <i>Chumlum</i> was developed from the inspiration that Rice found on the occasions when he would assist Jack Smith with his productions. One production that specifically aided the inspiration that Rice would feel was Smith's film <i>Normal Love</i>. While they were filming each production Rice would go back to Smith's apartment, with the cast and crew and observe what everyone would do. He used these ideas to create <i>Chumlum</i> with the fragmenting of events and use of superimposition. The film was completed in 1964. Sadly at the end of that year he died of pneumonia while he was in Mexico. Rice's resume comes to six films and shows a great mind for film. He was truly an artistic genius who died too young. --Cary Collins, 2003<br/><br/>There are many artists that are responsible for the wonder that is avant-garde film. Many artists should be remembered as great filmmakers. One man that is definitely on that list is Ron Rice. Ron Rice in his career completed six films. He unfortunately died of pneumonia at the extremely early age of twenty-nine. Despite his short life he had the opportunity to put out six films in his short but celebrated career. Rice was a high school dropout who was considered as a genius of avant-garde film. Of all of his films one film that he has become well known for is <i>The Queen of Sheba Meets the Atom Man</i>. <i>The Queen of Sheba Meets the Atom Man</i> is a film about protesting the industrial world and having fun doing it. Taylor Mead plays the hapless, possibly chaplinesque Atom Man, and Winifred Bryan plays the Queen. The film itself is a protest to the industrial society because its two main characters who come from different backgrounds act foolish and stupid enjoying the simple pleasures of life and doing what they want to do, not what others want them to do. The film starts out with Mead(c)ös character (the Atom Man) playing around with things around the house and then cuts to The Queen lying around doing her thing and being pampered by her servant. Mead(c)ös character, theAtom Man is called that because he is like an insignificant speck in an industrial world. You can tell just by how the Atom Man acts that he doesn(c)öt get the world around him. The Atom Man does things like rub a box of cereal against himself and does the weirdest thing with any number of objects because those objects come from the industrial world that he doesn(c)öt get or want. The Atom Man acting stupid was a great Rice idea as well as the cuts from character to character. The film cuts from one character to another quite often and the cuts from each look clean. You could start with the Atom Man at one location and then cut and the Queen of Sheba is in another location. I like the part near the beginning where the Atom Man and the Queen are together and they start doing drugs. I think that part of the movie is definitely a sixties type of thing going on with the drugs and the rebellious behavior. I especially liked the look on his face when he was injecting not only himself but also when he was injecting the Queen with what looked to be the insanely long needle. The Queen fought him at first but eventually stuck her with it and then you saw complete insanity from both of them breaks out at this point. It definitely reminded me of a Charlie Chaplin like romp of insanity. There is a lot of give and take in this film; much of that give and take comes from the Atom Man and the Queen. I believe that the give and take that come from the Atom Man and the Queen comes from the fact that the Queen herself comes from riches of the industrial society and the Atom Man is a poor guy fighting the industrial world. In the beginning of the film you see a shot of the Queen naked being given a drink by her servant, that alone gives you an idea that she comes from wealth. You can tell just by looking at her that she was Rice(c)ös way of mythically defining what the industrial well off upper class person should look like. The Queen was enormously fat, and very arrogant. Rice obviously believed in the myth that being rich and having lots of money she should have servants and therefore is very big and lazy. Throughout the film Ron Rice has put in symbolism in right in front of our eyes and I have noticed a few things. Obviously the part of the film that shows the word \"heroin\" on the barrel that Mead(c)ös character is playing around with is very obvious, when you see the word \"heroin\" you know what he is getting into. It isn(c)öt the heroin as much as it is how he acts all the time while doing the heroin and not doing the heroin. I believe that the character himself is mocking industrialism in everything he does. There are a few times in the film that the Atom Man puts an antenna on his head and looks around goofily, and I believe his is mocking the way people are looking at the industrialization of the world as a good thing. I like the part where you see a little sculpted head of something edible I am not quite sure what it was made out of but you see him with his antenna on and he is eating the little sculpted head with the antenna on and rolling his eyes stupidly. The scene didn(c)öt make sense to me until you see a statue of a head later in the film that reads Edwin B. Wolfsan and says right under it, Builder and Originator. It then occurred to me that Rice was symbolizing how society and people were eating up industrialism and sitting there with a smile on their face looking very stupid for it. I thought that was a brilliant piece of symbolism used in the film. I also kind of liked some of the music that was picked to go with the action that was going on in the film. All of the film was silent so the music was a very important element of the film. The film was smooth although you had to pay attention in order to know what was going on. I have to believe that, that was Ron Rice(c)ös plan from the beginning so that we would have to pay attention to all the details in order to avoid getting lost during the movie and not know what was going on. Overall Ron Rice did a fantastic job with this film and no one can take that away from Rice. It is very unfortunate that the world wouldn(c)öt get the chance to see more works created and produced by Ron Rice. I would have loved to have met the man so I could have asked him about his work. <i>The Queen of Sheba</i> was a great piece of work even though the story wasn(c)öt to my taste. Despite my personal feelings towards it I would recommend it just to enlighten some people on Rice and the type of works that he did. --Cary Collins, 2003","artist_bio":"Mario Montez, whose glamour and poise as a drag performer elevated him to the heights of avant-garde theater and cinema in the 1960s and made him a fixture in films by Andy Warhol, died on Sept. 26 in Key West, Fla.\nThe cause was complications of a stroke, said Claire K. Henry, senior curatorial assistant of the Andy Warhol Film Project at the Whitney Museum of American Art. He was 78.\nMr. Montez has been the subject of seminars and screenings at Columbia University, the Museum of Modern Art and the Museum of the Moving Image in New York.\nThe filmmaker John Waters, who has drawn heavily from the cinematic experimentation of the 1960s, once said that Mr. Montez “forever holds the highest position of royalty in the world of underground cinema.”\nIn 2012, the Berlin International Film Festival presented him with a lifetime achievement award in “queer film,” calling him “the great drag superstar.”\n“Whether he is playing The Wife, The Mother, The Whore or The Virgin, Montez captures the ineffable essence of femininity,” Charles Ludlam, founder of the Ridiculous Theatrical Company, wrote in the book “Ridiculous Theater: Scourge of Human Folly.” Mr. Montez, he wrote, “has dignity.”\nMr. Montez was a regular with the Ridiculous troupe, which strove to shock with surreal settings, cross-gender casting and wild improvisation. Mr. Montez managed to stand out, even in this exuberant theatrical world. Sometimes the troupe rehearsed in Mr. Montez’s SoHo loft.\n“I never thought I would see a show in which Montez is the best actor — but here it is,” Mel Gussow wrote in The New York Times in 1971 in his review of “Vain Victory: The Vicissitudes of the Damned c. 1971.” He added, “He is, at least, the most convincing woman on stage.”\nMr. Montez was considered Warhol’s first drag “superstar.” In a famous scene in “Harlot” (1965), Warhol’s first film with sound, Mr. Montez slowly, silently and seductively devoured banana after banana. In another Warhol role, playing Hedy Lamarr, the MGM “golden age” starlet celebrated for her darkly exotic beauty, he would burst into songs like “I Feel Pretty.”\nStill another performance was in Warhol’s “Screen Test #2” (1965) in which a director played by Ronald Tavel, a proud absurdist, gives the Montez character humiliating instructions, to recite the word “diarrhea” 20 times, for example, and to play a chicken-eating freak in a circus sideshow. With only slight hesitation, Mr. Montez does it all in the hope of being a star.\nMr. Montez also appeared in Warhol’s “Camp” (1965); “More Milk, Yvette” (1965); and “The Chelsea Girls” (1966).\nIn his book “Popism: The Warhol Sixties,” written with Pat Hackett and published in 1980, Warhol said: “Mario had that classic comedy combination of seeming dumb but being able to say the right things with perfect timing; just when you thought you were laughing at him, he’d turn it all around.”\nMr. Montez was sought out by other avant-garde directors as well, including Avery Willard and Jack Smith.\nMr. Montez was discovered by Mr. Smith — the circumstances are unclear — who had decided that a transvestite could best fulfill his dream of finding a “new” Maria Montez, according to “Ridiculous: The Theatrical Life and Times of Charles Ludlam,” a 2005 biography by David Kaufman.\nMr. Smith and Mr. Montez found they shared a devotion to Hollywood glitz. Mr. Smith adored in particular the actress Maria Montez, who played the temptress in films like “Cobra Woman ” (1944) and was known as the “Queen of Technicolor.” Indeed, it was Mr. Smith who persuaded Mr. Montez to change his name from Rene Rivera in honor of the actress.\nMr. Montez soon appeared in Mr. Smith’s “Flaming Creatures” (1963), a thrashing orgy of a movie that was widely banned, playing a seemingly female Spanish dancer with a rose between his teeth. That year, he also acted in Mr. Smith’s unfinished “Normal Love” as a mermaid paying homage to Maria Montez at a candlelit shrine.\nRene Rivera was born in Ponce, Puerto Rico, on July 20, 1935. When he was 8 or 9 his family moved to New York and settled in East Harlem. He said he learned about acting by watching movies on television.\nMr. Montez said that during film production he often designed and made costumes for himself and other cast members, typically refashioning clothing he found in trash piles and at thrift shops. When not acting he supported himself with office jobs.\nMr. Montez was uncomfortable with his family knowing that he performed in drag, which he called “going into costume.” He otherwise dressed conventionally. He was also a churchgoing Roman Catholic.\nWarhol wrote, “The only spiritual comfort he allowed himself was the logic that even though God surely didn’t like him for going into drag, that still, if he really hated him, he would have struck him dead.”\nIn January 1977, while recovering from a bad cold, Mr. Montez moved to Florida, then largely lost touch with his old artistic crowd. He resurfaced in 2006, appearing in a documentary, “Jack Smith and the Destruction of Atlantis” by Mary Jordan. Soon he was making public appearances in New York and European cities.\nIn later years Conrad Ventur, a filmmaker, went on to work with Mr. Montez in recreating performances from some of his Warhol movies.\n“What Mario teaches is that you can build a creative life on a nothing budget from what inspires you,” Mr. Ventur wrote in an e-mail. “You can build a persona from what the larger culture has discarded, misrepresented or ignored.”","bio_dates":"1935-1965"},{"slug":"rice_ron_the_queen_of_sheba_meets_the_atom_man_1963_82_iphone","ok":true,"partial":false,"title":"Queen of Sheba Meets the Atom Man","artist":"Ron Rice","year":"1963","startOffset":0,"sourceSecs":6503.938,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":373749185,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rice_ron_the_queen_of_sheba_meets_the_atom_man_1963_82_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rice_ron_the_queen_of_sheba_meets_the_atom_man_1963_82_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rice_ron_the_queen_of_sheba_meets_the_atom_man_1963_82_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rice_ron_the_queen_of_sheba_meets_the_atom_man_1963_82_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rice_ron_the_queen_of_sheba_meets_the_atom_man_1963_82_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Ron Rice was born in New York, NY in 1935. Rice was a drifter who dropped out of high school and by nature was very restless. This restlessness is how he initially made his way into film. Rice got his start by buying an 8mm Camera to record bicycle races in San Francisco. It was in San Francisco that he met Taylor Mead, which in turn led him to the production of his first film\n\nwas finished in 1960 with the help of Taylor mead the offbeat hero the San Francisco and New York Beats (Sitney, 300). After the Success of\n\n, Rice toyed with the idea of making some films right after the Flower Thief. Rice Started a film called\n\nand another untitled film with his friend Jerry Joften, but lost interest in the films during their production (Sitney, 301). Rice made\n\ncame out of a film that he planned to make at Eric Nord's island. Rice knew Nord from\n\nand He knew that Nord purchased an island from the Mexican government with the intent of making that island a Utopia. Unfortunately Nord forgot to find out if there was water on the island so when Rice arrived on the island to shoot his film, Nord and his crew realized the mistake they had made and had already cleared off the island (Sitney, 301). The only thing Ron Rice had left from his trip was some footage that he took on his way to the island to meet Nord (Sitney, 301).\n\nWhen Rice got back from the trip and arrived in NewYork, he pooled together his research and the various episodes he had recorded. He divised a potpourri from what he recorded in Mexico and what he had on file and realized that the film would have no plot nor a continuity of a single mediator. Despite the incredible irony, the creation\n\n(Sitney, 302). Rice made rough-cuts of the idea to try to raise money for the film. The two scenes that were made were on\n\n. Rice got the funding that he was looking for and the intercutting and combination of characters brought by the\n\nwas a step closer to the synthetic process of the mythic film. Rice never finished the film; Mead finished it in 1982 (Sitney, 302).\n\nwas developed from the inspiration that Rice found on the occasions when he would assist Jack Smith with his productions. One production that specifically aided the inspiration that Rice would feel was Smith's film\n\n. While they were filming each production Rice would go back to Smith's apartment, with the cast and crew and observe what everyone would do. He used these ideas to create\n\nwith the fragmenting of events and use of superimposition. The film was completed in 1964. Sadly at the end of that year he died of pneumonia while he was in Mexico. Rice's resume comes to six films and shows a great mind for film. He was truly an artistic genius who died too young.\n\nThere are many artists that are responsible for the wonder that is avant-garde film. Many artists should be remembered as great filmmakers. One man that is definitely on that list is Ron Rice. Ron Rice in his career completed six films. He unfortunately died of pneumonia at the extremely early age of twenty-nine. Despite his short life he had the opportunity to put out six films in his short but celebrated career. Rice was a high school dropout who was considered as a genius of avant-garde film. Of all of his films one film that he has become well known for is\n\nis a film about protesting the industrial world and having fun doing it. Taylor Mead plays the hapless, possibly chaplinesque Atom Man, and Winifred Bryan plays the Queen. The film itself is a protest to the industrial society because its two main characters who come from different backgrounds act foolish and stupid enjoying the simple pleasures of life and doing what they want to do, not what others want them to do.\n\nThe film starts out with Mead's character (the Atom Man) playing around with things around the house and then cuts to The Queen lying around doing her thing and being pampered by her servant. Mead(c)ös character, theAtom Man is called that because he is like an insignificant speck in an industrial world. You can tell just by how the Atom Man acts that he doesn(c)öt get the world around him. The Atom Man does things like rub a box of cereal against himself and does the weirdest thing with any number of objects because those objects come from the industrial world that he doesn(c)öt get or want. The Atom Man acting stupid was a great Rice idea as well as the cuts from character to character. The film cuts from one character to another quite often and the cuts from each look clean. You could start with the Atom Man at one location and then cut and the Queen of Sheba is in another location. I like the part near the beginning where the Atom Man and the Queen are together and they start doing drugs. I think that part of the movie is definitely a sixties type of thing going on with the drugs and the rebellious behavior. I especially liked the look on his face when he was injecting not only himself but also when he was injecting the Queen with what looked to be the insanely long needle. The Queen fought him at first but eventually stuck her with it and then you saw complete insanity from both of them breaks out at this point. It definitely reminded me of a Charlie Chaplin like romp of insanity. There is a lot of give and take in this film; much of that give and take comes from the Atom Man and the Queen.\n\nI believe that the give and take that come from the Atom Man and the Queen comes from the fact that the Queen herself comes from riches of the industrial society and the Atom Man is a poor guy fighting the industrial world. In the beginning of the film you see a shot of the Queen naked being given a drink by her servant, that alone gives you an idea that she comes from wealth. You can tell just by looking at her that she was Rice(c)ös way of mythically defining what the industrial well off upper class person should look like. The Queen was enormously fat, and very arrogant. Rice obviously believed in the myth that being rich and having lots of money she should have servants and therefore is very big and lazy.\n\nThroughout the film Ron Rice has put in symbolism in right in front of our eyes and I have noticed a few things. Obviously the part of the film that shows the word \"heroin\" on the barrel that Mead(c)ös character is playing around with is very obvious, when you see the word \"heroin\" you know what he is getting into. It isn(c)öt the heroin as much as it is how he acts all the time while doing the heroin and not doing the heroin. I believe that the character himself is mocking industrialism in everything he does. There are a few times in the film that the Atom Man puts an antenna on his head and looks around goofily, and I believe his is mocking the way people are looking at the industrialization of the world as a good thing. I like the part where you see a little sculpted head of something edible I am not quite sure what it was made out of but you see him with his antenna on and he is eating the little sculpted head with the antenna on and rolling his eyes stupidly. The scene didn(c)öt make sense to me until you see a statue of a head later in the film that reads Edwin B. Wolfsan and says right under it, Builder and Originator. It then occurred to me that Rice was symbolizing how society and people were eating up industrialism and sitting there with a smile on their face looking very stupid for it. I thought that was a brilliant piece of symbolism used in the film. I also kind of liked some of the music that was picked to go with the action that was going on in the film. All of the film was silent so the music was a very important element of the film. The film was smooth although you had to pay attention in order to know what was going on. I have to believe that, that was Ron Rice(c)ös plan from the beginning so that we would have to pay attention to all the details in order to avoid getting lost during the movie and not know what was going on. Overall Ron Rice did a fantastic job with this film and no one can take that away from Rice. It is very unfortunate that the world wouldn(c)öt get the chance to see more works created and produced by Ron Rice. I would have loved to have met the man so I could have asked him about his work.\n\nwas a great piece of work even though the story wasn(c)öt to my taste. Despite my personal feelings towards it I would recommend it just to enlighten some people on Rice and the type of works that he did."},{"slug":"rich_1982","ok":true,"partial":false,"title":"Rich","artist":"S. Torriano Berry","year":"1982","startOffset":0,"sourceSecs":1278.076,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":221212327,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rich_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rich_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rich_1982.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rich_1982/main.mp4?v=2"},{"slug":"rich_1982_faae98","ok":true,"partial":false,"title":"Faae98","artist":"Rich 1982","year":"1982","startOffset":0,"sourceSecs":1278.076,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":221220870,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rich_1982_faae98/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rich_1982_faae98/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rich_1982_faae98.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rich_1982_faae98/main.mp4?v=2"},{"slug":"richter_gerhard_volker_bradke_1966","ok":true,"partial":false,"title":"Volker Bradke, 1966","artist":"Gerhard Richter","year":"1966","startOffset":0,"sourceSecs":928.404,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":57903941,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/richter_gerhard_volker_bradke_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/richter_gerhard_volker_bradke_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/richter_gerhard_volker_bradke_1966.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/richter_gerhard_volker_bradke_1966/main.mp4?v=2","description":"Volker Bradke, 1966, 16 mm, s/w, 14:32 min <br/><br/> As the only work in this medium by Richter, the film was created for the exhibition Volker Bradke that took place on 13th December 1966 at Galerie Schmela in Düsseldorf.<br/><br/> For the purpose of this exhibition Gerhard Richter addressed the person Volker Bradke in different mediums. In addition to photographs, a banner and a large-scale painting Volker Bradke [CR: 133], the film had been screened. Richter transferred one of the stylistic features of his paintings of that time into film: the blurring.<br/><br/> An essay by Hubertus Butin examines the film in the context of this exhibition. He analyses the meaning of blurring in the film, comparing it especially with the blurring in Gerhard Richter's graphic art.","bio_dates":"b. 1932"},{"slug":"richter_hans_dadascope_1961_iphone","ok":true,"partial":false,"title":"Dadascope","artist":"Hans Richter","year":"1961","startOffset":0,"sourceSecs":2369.346,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":141961952,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/richter_hans_dadascope_1961_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/richter_hans_dadascope_1961_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/richter_hans_dadascope_1961_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/richter_hans_dadascope_1961_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/richter_hans_dadascope_1961_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Hans Richter’s “Dadascope” is a comprehensive portrait of the Dada movement featuring original poems and prose spoken by their creators: Hans Arp, Marcel Duchamp, Raoul Hausmann, Richard Huelsenbeck, and Kurt Schwitters. Filmed and completed in 1957."},{"slug":"riggs_marlon_ethnic_notions_1986","ok":true,"partial":false,"title":"Ethnic Notions","artist":"Marlon Riggs","year":"1986","startOffset":0,"sourceSecs":3465.128,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":204628349,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/riggs_marlon_ethnic_notions_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/riggs_marlon_ethnic_notions_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/riggs_marlon_ethnic_notions_1986.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/riggs_marlon_ethnic_notions_1986/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/riggs_marlon_ethnic_notions_1986/main/master.m3u8?v=2","hasMainHls":true,"description":"Ethnic Notions is Marlon Riggs' Emmy-winning documentary that takes viewers on a disturbing voyage through American history, tracing for the first time the deep-rooted stereotypes which have fueled anti-black prejudice. Through these images we can begin to understand the evolution of racial consciousness in America.\n\nLoyal Toms, carefree Sambos, faithful Mammies, grinning Coons, savage Brutes, and wide-eyed Pickaninnies roll across the screen in cartoons, feature films, popular songs, minstrel shows, advertisements, folklore, household artifacts, even children's rhymes. These dehumanizing caricatures permeated popular culture from the 1820s to the Civil Rights period and implanted themselves deep in the American psyche.\n\nNarration by Esther Rolle and commentary by respected scholars shed light on the origins and devastating consequences of this 150 yearlong parade of bigotry. Ethnic Notions situates each stereotype historically in white society's shifting needs to justify racist oppression from slavery to the present day. The insidious images exacted a devastating toll on black Americans and continue to undermine race relations.\n\nBack in 1932, T.D.Rice brought the caricature of Jim Crow, a white man portraying a black man, happily singing and dancing, to Ohio and Louisiana territory, places where they had never seen a black person before. The minstrel movement took off at the same time as the abolitionist movement. In order to deceive those who had little actual contact with blacks, they were presented as \"happy sambo\" to allay fears that slavery was bad or uncomfortable. Later Jim Crow's partner, Zip Coon, was added to the show, as a \"maladjusted dandy\" giving the idea that even if blacks were freed, they'd never be able to fit into \"regular\" society. To round out the cast, the \"happy mammy\" defended slavery by being docile, loyal, and protective of \"the big house\". The first cartoon image the video covers is from 1941, with the Mammy cartoons, reinforcing the ideas in the minds of young children. Once the slaves were freed, images were produced suggesting that the blacks were, \"reverting to savagery\" in movies such as, \"Birth of a Nation\"; and later, the \"noble savage\", \"The Emperor Jones\" in 1935; and more recently, the license-to-be-violent, \"Black Rambo.\" The video expresses the view that, \"the happy images are o.k. except when they are to the exclusion of other images.\" The video was excellent in organizing myriad, random images from the past and presenting analyses strongly supporting the intention and purpose behind those images.\n\nNARRATOR: The mammy … the pickaninny … the coon … the sambo … the uncle: Well into the middle of the twentieth century , these were some of the most popular depictions of black Americans."},{"slug":"rimmer_david_migration_1969","ok":true,"partial":false,"title":"Migration","artist":"David Rimmer","year":"1969","startOffset":0,"sourceSecs":648.149,"sourceHeight":480,"sourceWidth":628,"hasAudio":true,"hasAmbientMp4":true,"bytes":116239921,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rimmer_david_migration_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rimmer_david_migration_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rimmer_david_migration_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rimmer_david_migration_1969/main.mp4?v=2","description":"Director: David Rimmer<br/> Time: 10 mins<br/> Sound: Phil Werren <br/><br/>\"\"Whereas SQUARE INCH FIELD was composed largely in the camera, Rimmer's next film, MIGRATION, made full use of rear-projection rephotography, stop-framing, and slow motion. The migration of the title is interpreted as the flight of a ghost bird through aeons of space/time, through the micro-macro universe, through a myriad of complex realities. A seagull is seen flying gracefully in slow motion against a grainy green sky; suddenly the frame stops, warps and burns, as though caught in the gate of the projector. Now begins an alternation of fast and slow sequences in which the bird flies through time-lapse clouds and fog and, in a stroboscopic crescendo, hurtles into the sun's corona. Successive movements of the film develop rhythmic, organic counterpoints in which cosmic transformations send jelly fish into the sky and ocean waves into the sun. It concludes with stop-frame slow-motion of the bird, transformed once again into flesh.\" - Gene Youngblood, <i>ArtsCanada</i> magazine <br/><br/> Awards: Best Editing, Best British Columbia Film, Vancouver Int'l Film Festival.","artist_bio":"David Rimmer is recognised as one of the most important experimental filmmakers working in Canada today. Twice nominated for the Canadian Govenor General’s Award in media arts, Rimmer has produced over 40 films from experimental to documentary, to dance, to music, to portraits of artists . His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.\n“Surfacing on the Thames is the ultimate metaphysical movie, the ultimate post-minimal movies, one of the really great constructivist films since Wavelength. It confronts empirically the illusions of space and time in the cinema and is, in my estimation, at least as important as Wavelength as a statement on the illusionistic nature of cinematic motion.” Gene Youngblood, Arts Canada.\n“Variations of a Cellophane Wrapper is the most exciting non-narrative film I have ever seen....The film resembles a painting floating through time, its subject disappearing and re-emerging in various degrees of abstraction.” Kristina Nordstrom,\nThe Village Voice\n.\n“Local Knowledge shatters the comforting dualities of nature/culture, public/private, home/away, time/space. Yet in place of easy reference to apocalypse, the film suggests a simultaneously wondrous and dangerous world in flux. This is a mature work pulling all of history through a moment linking one’s own sacred ground with distant fields of blood and joy.” Colin Brown.\n“Al Neil/A Portrait is more than a documentary profile of a man engaged in a life and death struggle with his genius and his obsessions. While the narrative thread is centred around pathos, the film represents a coming to terms with what these generalizations really mean....The many personas of Al Neil: the private, intoxicated and poetic man, the public performer and musician, and the family outcast. Rimmer’s integration of these levels is masterful.”\n“For more than thirty years, David Rimmer has been making some of the most exquisite work in the fringe microverse. He has the uncanny ability to take small moments - the view from a window, the tiniest scrap of discarded footage - and rework them into panoramas of attention. From the very small he is able to extract the very large. He is led in his choices not by calculation but by intuition; given his luminous body of work, he may be regarded as either the luckiest filmer alive or else someone who has become a student of chance, working at it, cultivating it the way others reshape their bodies through exercise or tend small gardens.” Mike Hoolboom. “Inside the Pleasure Dome”.\nFringe Film in Canada\n.","bio_dates":"b. 1942"},{"slug":"rimmer_david_realitalianpizza_1972","ok":true,"partial":false,"title":"Real Italian Pizza","artist":"David Rimmer","year":"1971","startOffset":0,"sourceSecs":763.093,"sourceHeight":512,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":119438218,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rimmer_david_realitalianpizza_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rimmer_david_realitalianpizza_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rimmer_david_realitalianpizza_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rimmer_david_realitalianpizza_1972/main.mp4?v=2","description":"Selected moments from eight months of street life outside a Manhattan pizza parlour, as seen from a fourth-floor loft. \"People coming and going, changes in weather, light. My first dramatic film.\" (D.R.) \"A cheerful, slightly crazy jauntiness prevails that may be as close as film form can come to really capturing a mood of the city.\" (Roger Greenspun) <br/><br/> Beware! This has been ripped from a vhs filmed from a screen. Don't expect high quality...","artist_bio":"David Rimmer is recognised as one of the most important experimental filmmakers working in Canada today. Twice nominated for the Canadian Govenor General’s Award in media arts, Rimmer has produced over 40 films from experimental to documentary, to dance, to music, to portraits of artists . His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.\n“Surfacing on the Thames is the ultimate metaphysical movie, the ultimate post-minimal movies, one of the really great constructivist films since Wavelength. It confronts empirically the illusions of space and time in the cinema and is, in my estimation, at least as important as Wavelength as a statement on the illusionistic nature of cinematic motion.” Gene Youngblood, Arts Canada.\n“Variations of a Cellophane Wrapper is the most exciting non-narrative film I have ever seen....The film resembles a painting floating through time, its subject disappearing and re-emerging in various degrees of abstraction.” Kristina Nordstrom,\nThe Village Voice\n.\n“Local Knowledge shatters the comforting dualities of nature/culture, public/private, home/away, time/space. Yet in place of easy reference to apocalypse, the film suggests a simultaneously wondrous and dangerous world in flux. This is a mature work pulling all of history through a moment linking one’s own sacred ground with distant fields of blood and joy.” Colin Brown.\n“Al Neil/A Portrait is more than a documentary profile of a man engaged in a life and death struggle with his genius and his obsessions. While the narrative thread is centred around pathos, the film represents a coming to terms with what these generalizations really mean....The many personas of Al Neil: the private, intoxicated and poetic man, the public performer and musician, and the family outcast. Rimmer’s integration of these levels is masterful.”\n“For more than thirty years, David Rimmer has been making some of the most exquisite work in the fringe microverse. He has the uncanny ability to take small moments - the view from a window, the tiniest scrap of discarded footage - and rework them into panoramas of attention. From the very small he is able to extract the very large. He is led in his choices not by calculation but by intuition; given his luminous body of work, he may be regarded as either the luckiest filmer alive or else someone who has become a student of chance, working at it, cultivating it the way others reshape their bodies through exercise or tend small gardens.” Mike Hoolboom. “Inside the Pleasure Dome”.\nFringe Film in Canada\n.","bio_dates":"b. 1942"},{"slug":"rimmer_david_surfacing_the_thames_1970","ok":true,"partial":false,"title":"Surfacing the Thames","artist":"David Rimmer","year":"1970","startOffset":0,"sourceSecs":487.701,"sourceHeight":272,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":34527219,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rimmer_david_surfacing_the_thames_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rimmer_david_surfacing_the_thames_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rimmer_david_surfacing_the_thames_1970.mp4","hasFrames":true,"description":"Director: David Rimmer<br/> Time: 8 mins<br/> ‘A beautiful, mysterious yet satisfying optical illusion…celebrates the early passing of a steam on the Thames. Using freeze-frame techniques, elaborate dissolves, and most of the resources on the optical table, this picture is, amongst other things, a Turner come to life. Rimmer’s concern with the surface nature of the film is most evident in this work which, in spite of its filmic complexity, is incredibly simple.’ — Donald Richie, (Museum of Modern Art) “SURFACING is a brilliant film which, in its way, belongs in the same class as Snow’s WAVELENGTH. I’ve never seen anything like it. Rimmer rear-projected a ten-second sequence of old World War II footage showing two ships passing on the Thames. He rear-projected each frame, filmed it for several seconds, then lap-dissolved to the next frame, filmed it for several seconds, etc. The result is a mind-blowing film of invisible motion. The ships pass one another like the hands of a clock, without apparent motion. “SURFACING ON THE THAMES is the ultimate metaphysical movie, the ultimate post-minimal movie, one of the really great constructivist films since WAVELENGTH. It confronts empirically the illusions of space and time in the Cinema and, in my estimation, is at least as important as WAVELENGTH as a statement on the illusionistic nature of cinematic motion.” —Gene Youngblood, ArtsCanada magazine Collection: Museum of Modern Art, NY","artist_bio":"David Rimmer is recognised as one of the most important experimental filmmakers working in Canada today. Twice nominated for the Canadian Govenor General’s Award in media arts, Rimmer has produced over 40 films from experimental to documentary, to dance, to music, to portraits of artists . His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.\n“Surfacing on the Thames is the ultimate metaphysical movie, the ultimate post-minimal movies, one of the really great constructivist films since Wavelength. It confronts empirically the illusions of space and time in the cinema and is, in my estimation, at least as important as Wavelength as a statement on the illusionistic nature of cinematic motion.” Gene Youngblood, Arts Canada.\n“Variations of a Cellophane Wrapper is the most exciting non-narrative film I have ever seen....The film resembles a painting floating through time, its subject disappearing and re-emerging in various degrees of abstraction.” Kristina Nordstrom,\nThe Village Voice\n.\n“Local Knowledge shatters the comforting dualities of nature/culture, public/private, home/away, time/space. Yet in place of easy reference to apocalypse, the film suggests a simultaneously wondrous and dangerous world in flux. This is a mature work pulling all of history through a moment linking one’s own sacred ground with distant fields of blood and joy.” Colin Brown.\n“Al Neil/A Portrait is more than a documentary profile of a man engaged in a life and death struggle with his genius and his obsessions. While the narrative thread is centred around pathos, the film represents a coming to terms with what these generalizations really mean....The many personas of Al Neil: the private, intoxicated and poetic man, the public performer and musician, and the family outcast. Rimmer’s integration of these levels is masterful.”\n“For more than thirty years, David Rimmer has been making some of the most exquisite work in the fringe microverse. He has the uncanny ability to take small moments - the view from a window, the tiniest scrap of discarded footage - and rework them into panoramas of attention. From the very small he is able to extract the very large. He is led in his choices not by calculation but by intuition; given his luminous body of work, he may be regarded as either the luckiest filmer alive or else someone who has become a student of chance, working at it, cultivating it the way others reshape their bodies through exercise or tend small gardens.” Mike Hoolboom. “Inside the Pleasure Dome”.\nFringe Film in Canada\n.","bio_dates":"b. 1942"},{"slug":"rimmer_david_variations_on_a_cellophane_wrapper_1970","ok":true,"partial":false,"title":"Variations on a Cellophane Wrapper","artist":"David Rimmer","year":"1970","startOffset":0,"sourceSecs":520.064,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":35675480,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rimmer_david_variations_on_a_cellophane_wrapper_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rimmer_david_variations_on_a_cellophane_wrapper_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rimmer_david_variations_on_a_cellophane_wrapper_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rimmer_david_variations_on_a_cellophane_wrapper_1970/main.mp4?v=2","description":"Director: David Rimmer<br/> Time: 8 mins<br/> Sound: Don Druick<br/> <br/>\"\"The most exciting non-narrative film I've ever seen. The basic image is a female factory worker unrolling a large sheet of cellophane. The woman waves it out in front of her a few times. The cellophane grows darker each time it is shaken, and as it passes between her face and the camera, it veils her features momentarily. Rimmer begins the film by introducing the eight-second shot as he originally found it; then he starts his variations. First he increases the contrast, reducing the three-dimensional forms to simpler black and white patterns. Then he introduces negative images, a further abstraction away from the original design. As the sound intensifies, he introduces a flicker to heighten the visual excitement. Then he gradually adds color - blue and green at first, building up to a climax with bright flashes of yellow and red. Gongs ring to announce the final sequence in which the images become polarized into grainy outlines, like drawings in white or colored chalk which gradually disintegrate and disappear. The film resembles a painting floating through time, its subject disappearing and re-emerging in various degrees of abstraction.\" - Kristina Nordstrom, The Village Voice","artist_bio":"David Rimmer is recognised as one of the most important experimental filmmakers working in Canada today. Twice nominated for the Canadian Govenor General’s Award in media arts, Rimmer has produced over 40 films from experimental to documentary, to dance, to music, to portraits of artists . His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.\n“Surfacing on the Thames is the ultimate metaphysical movie, the ultimate post-minimal movies, one of the really great constructivist films since Wavelength. It confronts empirically the illusions of space and time in the cinema and is, in my estimation, at least as important as Wavelength as a statement on the illusionistic nature of cinematic motion.” Gene Youngblood, Arts Canada.\n“Variations of a Cellophane Wrapper is the most exciting non-narrative film I have ever seen....The film resembles a painting floating through time, its subject disappearing and re-emerging in various degrees of abstraction.” Kristina Nordstrom,\nThe Village Voice\n.\n“Local Knowledge shatters the comforting dualities of nature/culture, public/private, home/away, time/space. Yet in place of easy reference to apocalypse, the film suggests a simultaneously wondrous and dangerous world in flux. This is a mature work pulling all of history through a moment linking one’s own sacred ground with distant fields of blood and joy.” Colin Brown.\n“Al Neil/A Portrait is more than a documentary profile of a man engaged in a life and death struggle with his genius and his obsessions. While the narrative thread is centred around pathos, the film represents a coming to terms with what these generalizations really mean....The many personas of Al Neil: the private, intoxicated and poetic man, the public performer and musician, and the family outcast. Rimmer’s integration of these levels is masterful.”\n“For more than thirty years, David Rimmer has been making some of the most exquisite work in the fringe microverse. He has the uncanny ability to take small moments - the view from a window, the tiniest scrap of discarded footage - and rework them into panoramas of attention. From the very small he is able to extract the very large. He is led in his choices not by calculation but by intuition; given his luminous body of work, he may be regarded as either the luckiest filmer alive or else someone who has become a student of chance, working at it, cultivating it the way others reshape their bodies through exercise or tend small gardens.” Mike Hoolboom. “Inside the Pleasure Dome”.\nFringe Film in Canada\n.","bio_dates":"b. 1942"},{"slug":"rimmer_david_watching_for_the_queen_1973","ok":true,"partial":false,"title":"Watching for the Queen","artist":"David Rimmer","year":"1973","startOffset":0,"sourceSecs":701.739,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":119276857,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rimmer_david_watching_for_the_queen_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rimmer_david_watching_for_the_queen_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rimmer_david_watching_for_the_queen_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rimmer_david_watching_for_the_queen_1973/main.mp4?v=2","description":"Watching for the Queen continued Rimmer's investigations of minimal narrative and the anonymous/autonomous shot. The results are quite interesting and innovative, and can be approached best from three main considerations.<br/><br/> The first is the original shot, a crowd of expectant, smiling faces, which features little camera motion. As in <a href=\"https://ubu.com/film/rimmer_thames.html\" rel=\"noopener\" target=\"_blank\">Surfacing</a>, each frame is subject to time expansion. There is little indication at the onset as to what will constitute movement, and in what capacity. What is initiated (along with the familiar trademark of edge fogging announcing the \"beginning of the roll\") is a curious form of visual analysis, proceeding along the lines of segmentation and collage. Each change in perceptible movement, which corresponds to a change in original parent frame number, appears as a spatial rearrangement, segmented by a cut. In Surfacing, each frame is joined via a dissolve. In Watching for the Queen, each frame features a displacement. It appears as if the cinematic cut has found its graphic correlation.<br/><br/> Secondly, this \"collage\" changes in the process of projection according to defined time constructs which are based on arithmetic progressions. For example, the first frame of the original shot is frozen for 1200 frames (approximately one minute), the next two for 600 frames, the next four for 300 frames, etc. The result is a slowly accelerating montage and a concretization of the \"real\" event through time. It is as if a re-invention of the motion- picture domain of \"reality\" was being undertaken. The transformation of a \"sea of anonymous faces\" into a \"narrative of personalities\" becomes a distinct possibility as movement and reflexive action are consolidated. In a psychological sense, as we become more familiar with the details of the scene, our attention shifts to identifying reflex actions and changes in the crowd.<br/><br/> Thirdly, Rimmer creates a parallel narrative between specific people in the crowd. For example, the first stage of the narrative concerns identifying individuals in the crowd. This is accomplished by noting, or having our attention drawn to, the person who exhibits the greatest motion. As the freeze-frames lessen in duration, other degrees of more subtle movement engage our interest. The narrative elements that each character represents are parallel, because they are only connected by the theme of \"watching for the queen\" (as we, in turn, are \"watching for the characters\"). Over several viewings, I arrived at the following ordering of the narrative \"story\": the crowd is composed of... a bald man smoking a cigarette... a man with a cap looking up... a man holding a pair of binoculars over his head.., a man stretching to see over the crowd, etc. It is curious, indeed, that I saw these characters in the present tense, rather than the past. I would attribute this last point to the fact that Rimmer requires the viewer to discover the narrative and participate in it through this discovery.<br/><br/> Pattern recognition, saccadic eye movement and feature rings are well known phenomena in the behavioral sciences. However, in Watching for the Queen, Rimmer has succeeded in employing these mechanisms in the telling of a story, by employing mathematical ordering in an aesthetic manner.<br/><br/> In contrast to Watching for the Queen, the short sketch entitled The Dance displays expansion of time by the use of an invisible cut. The parent footage featured a pair of dancers, seen from a fixed camera point of view, rapidly pirouetting across the foreground. Rimmer's use of the invisible cut proliferated this motion to the point of humourous exaggeration. The dancers become both spinning tops and an Astaire-Rogers duo performing feats beyond human endurance. The frenetic rhythm of the dancers, and its proliferation, becomes a distinct foreground effect in contrast to the background musicians. Although the use of the invisible cut historically belongs to the domain of \"deoupage classique\" or \"Hollywood\" action cutting to condense the scene, Rimmer uses it for the purpose of montage or the \"building of an idea\". Once again, as in earlier films, the anonymous event is the cause for analysis and celebration; once again, the dance motif figures prominently. The presence of this film also supports the notion that Rimmer's filmmaking exhibits links to both sculptural and painterly concerns. Typically also, this film features formal opening and closing movements; in this case, curtains which open and close as an auteurist gesture. -- Al Razutis","artist_bio":"David Rimmer is recognised as one of the most important experimental filmmakers working in Canada today. Twice nominated for the Canadian Govenor General’s Award in media arts, Rimmer has produced over 40 films from experimental to documentary, to dance, to music, to portraits of artists . His work has been screened at many prestigious festivals around the world, and is held in the permanent collections of the Museum of Modern Art in New York, the Centre George Pompidou in Paris, the National Gallery of Canada and many more.\n“Surfacing on the Thames is the ultimate metaphysical movie, the ultimate post-minimal movies, one of the really great constructivist films since Wavelength. It confronts empirically the illusions of space and time in the cinema and is, in my estimation, at least as important as Wavelength as a statement on the illusionistic nature of cinematic motion.” Gene Youngblood, Arts Canada.\n“Variations of a Cellophane Wrapper is the most exciting non-narrative film I have ever seen....The film resembles a painting floating through time, its subject disappearing and re-emerging in various degrees of abstraction.” Kristina Nordstrom,\nThe Village Voice\n.\n“Local Knowledge shatters the comforting dualities of nature/culture, public/private, home/away, time/space. Yet in place of easy reference to apocalypse, the film suggests a simultaneously wondrous and dangerous world in flux. This is a mature work pulling all of history through a moment linking one’s own sacred ground with distant fields of blood and joy.” Colin Brown.\n“Al Neil/A Portrait is more than a documentary profile of a man engaged in a life and death struggle with his genius and his obsessions. While the narrative thread is centred around pathos, the film represents a coming to terms with what these generalizations really mean....The many personas of Al Neil: the private, intoxicated and poetic man, the public performer and musician, and the family outcast. Rimmer’s integration of these levels is masterful.”\n“For more than thirty years, David Rimmer has been making some of the most exquisite work in the fringe microverse. He has the uncanny ability to take small moments - the view from a window, the tiniest scrap of discarded footage - and rework them into panoramas of attention. From the very small he is able to extract the very large. He is led in his choices not by calculation but by intuition; given his luminous body of work, he may be regarded as either the luckiest filmer alive or else someone who has become a student of chance, working at it, cultivating it the way others reshape their bodies through exercise or tend small gardens.” Mike Hoolboom. “Inside the Pleasure Dome”.\nFringe Film in Canada\n.","bio_dates":"b. 1942"},{"slug":"rist_pipilotti_entslastlungen_pipilolottti_fehler_1988","ok":true,"partial":false,"title":"Entslastlungen AKA Pipilolottis Fehler","artist":"Pipilotti Rist","year":"1988","startOffset":0,"sourceSecs":701.206,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":118603567,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rist_pipilotti_entslastlungen_pipilolottti_fehler_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rist_pipilotti_entslastlungen_pipilolottti_fehler_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rist_pipilotti_entslastlungen_pipilolottti_fehler_1988.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rist_pipilotti_entslastlungen_pipilolottti_fehler_1988/main.mp4?v=2","description":"A nursery rhyme or a poem? displayed over a royal blue background the words \"I see. You see. I see you seeing. You see me seeing. I want to show what I see. You want to show what you see. Nirvana in the rose garden\". <br/><br/> Then the sound starts, a powerful woman's voice repeats the words after they are written on the screen, singing them in German. The enunciation of each phase is marked by a drum roll. Images also appear very abruptly -- the face of Pipilotti, dirty, hatched with white lines and saturation blotches. Then the same nursery rhyme appears again displayed on a blue background, this time in English. And the same voice repeats the line in German in almost exactly the same way as before. We gradually distinguish the images of a concert (the titles tell us that this group is the Reines Prochaines, the musical performance group that Pipilotti established, and which she had belonged to for many years. The tone changes and a new text appears in English \"Are you good, are you bad. Are you big, are you small\" and a ritonello on the electric organ plays at the same time. The image makes a central superimposed rectangle appear, in which we see Pipilotti outside in the middle of garden amidst huge flowers. Suddenly she falls, collapsing as if fainting. Further away on the side-walk in the middle of a square she falls again. The film closes with a firework, accompanied by the thunderous music provided by the Reines. Translated the title of the film means Pipilotti's faults (appeasement). The texts point us towards a critical perception of visual elements, the underline the absolute subjectivity of the view, and ironies about a paradise of shared visions. Moreover the musical performance of the Reines Prochaines is based (as with all their concerts) on the subversive usage of the most common visual form, la television. With the stereotype of the muscular rocker and the sexy singer, the Reines oppose provocative female groups, inasmuch as they can barely sing or play at all and produce songs with politically radical lyrics (or totally na•ve lyrics). The faults of Pipilotti -- the faults of all little girls (remember here that Charlotte Rist was called Pipilotti by analogy with the heroin of her childhood, Pippi Longstocking) are absolutions at the famous downfalls, from which a new woman might be born. This video which is also a bit cryptic reflects in mirror like fashion the key elements of Pipilloti's work -- music, visual art, individual and collective production without defining any clear boundaries. (LLH)","artist_bio":"Pipilotti Rist burst onto the international art scene with visually lush video works and multimedia installations that explore female sexuality and media culture through playful and provocative remixes of fantasy and the everyday.\nAfter working as a graphic designer in her native Switzerland, Rist gained a following in the mid-1980s as a member of the experimental post-punk pop group Les Reines Prochaines, for which she made some of her earliest video works. Rist created a series of music-based single-channel tapes that subvert the form of the music video to explore the female voice and body in pop cultural representations, merging rock music and performance with electronic manipulation.\nRist's burgeoning interests in all forms of electronic media production made her well suited for the wave of video installation that emerged in the art world of the early 1990s. Over the next ten years, she developed a video aesthetic that takes its cues from television and advertising, as well as from a rich history of feminist video work. Rist's achievement has been to join themes from this tradition with the influence of Nam June Paik and the hyper-kinetic aesthetic that he pioneered. The results have been successful and influential; Rist has become one of the most recognizable names in contemporary video art.\nRist's critical engagement is marked by a pointed exploitation of pop culture's investment in desire. Fantasy is at the heart of her work: her dream-like scenes often seem so loaded with suggestive images and scenarios that they threaten to collapse under their own meaning, saved, in the end, by her light touch and ironic humor. The willful performance of femininity — perhaps one of mass culture's foundational fantasies — functions, within the context of the pop video, as a tool or weapon. Rist gives the audience what it wants, and it is the resulting oscillation between voyeuristic pleasure and discomfited alarm that gives her work its ambiguity and impact.\n\"\"I have the greatest respect for some MTV clips,\" she has said, \"since they have a power of innovation and a spirit of discovery that really surpasses video art.\" From her earliest tapes through her recent multi-media installations, Rist has crafted a body of work in which she appropriates this spirit for her own ends, exploring the intersection of sexuality, technology, and pop culture.\nPipilotti Rist was born in 1962 in Grabs, Switzerland. She studied graphic design, illustration and photography at the Institute of Applied Arts in Vienna, as well as audiovisual communications and video at the School of Design in Basel. She has had solo exhibitions at the Fundació Juan Miró, Barcelona, Spain; Museum of Modern Art, New York; AROS - Aarhus Kunstmuseum, Aarhus, Denmark; San Francisco Museum of Modern Art; Kiasma Museum for Contemporary Art, Helsinki; Museo Nacinal de Arte Reina Sofia, Madrid; Musee des Beaux Arts, Montreal; Luhring Augustine Gallery, New York; Museum Ludwig, Cologne, Germany; Centre d'Art Contemporain, Geneva, Switzerland, and Museum of Contemporary Art, Chicago, among many others. She has been in numerous international group exhibitions, at venues including the Serpentine Gallery, London; Hamburger Bahnhof, Berlin; New Museum, New York, Centre Pompidou, Paris; Stedelijk Museum, Amsterdam; Guggenheim Museum SoHo, New York; P.S.1 Center for Contemporary Art, New York; Kunsthaus Zurich, Switzerland; Biennale di Venezia, Venice, Italy; The Museum of Modern Art, New York; and Guggenheim Museum, Bilbao, Spain; among many others. She teaches at the University of California/Los Angeles (UCLA).\nIn 2008-2009 Rist's immersive, multimedia installation Pour Your Body Out, which was commissioned by The Museum of Modern Art, New York, filled the museum's atrium with twenty-five-foot-high moving images and sculptural seating.\nRist lives in Los Angeles, CA, and Zurich, Switzerland. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1960"},{"slug":"rist_pipilotti_im_a_victim_of_this_song_1995","ok":true,"partial":false,"title":"I'm a Victim of this Song","artist":"Pipilotti Rist","year":"1995","startOffset":0,"sourceSecs":319.637,"sourceHeight":480,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":54478636,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rist_pipilotti_im_a_victim_of_this_song_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rist_pipilotti_im_a_victim_of_this_song_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rist_pipilotti_im_a_victim_of_this_song_1995.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rist_pipilotti_im_a_victim_of_this_song_1995/main.mp4?v=2","description":"1995, 5:06 min, color, sound<br/><br/> With I'm a Victim of this Song, Rist takes up the concept of the \"cover\" version, in which one performer does a version of another's song, and gives it her own twist. Starting with music from Chris Isaak's hit single Wicked Game, she adds her own sung and screamed versions of the lyrics, accompanied by effects-manipulated, diaristic video images. The result is an art-world \"cover\" of a popular artifact, with a woman's voice reinterpreting the male original, and a vivid illustration of the consumer's claim to own and interpret media images. -- <a href=\"http://www.eai.org/title.htm?id=8819\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> Music: \"Wicked Game,\" written by Chris Isaak, interpreted and performed by Anders Guggisberg & Pipilotti Rist.<br><br><b>RESOURCES:</b><br> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br>","artist_bio":"Pipilotti Rist burst onto the international art scene with visually lush video works and multimedia installations that explore female sexuality and media culture through playful and provocative remixes of fantasy and the everyday.\nAfter working as a graphic designer in her native Switzerland, Rist gained a following in the mid-1980s as a member of the experimental post-punk pop group Les Reines Prochaines, for which she made some of her earliest video works. Rist created a series of music-based single-channel tapes that subvert the form of the music video to explore the female voice and body in pop cultural representations, merging rock music and performance with electronic manipulation.\nRist's burgeoning interests in all forms of electronic media production made her well suited for the wave of video installation that emerged in the art world of the early 1990s. Over the next ten years, she developed a video aesthetic that takes its cues from television and advertising, as well as from a rich history of feminist video work. Rist's achievement has been to join themes from this tradition with the influence of Nam June Paik and the hyper-kinetic aesthetic that he pioneered. The results have been successful and influential; Rist has become one of the most recognizable names in contemporary video art.\nRist's critical engagement is marked by a pointed exploitation of pop culture's investment in desire. Fantasy is at the heart of her work: her dream-like scenes often seem so loaded with suggestive images and scenarios that they threaten to collapse under their own meaning, saved, in the end, by her light touch and ironic humor. The willful performance of femininity — perhaps one of mass culture's foundational fantasies — functions, within the context of the pop video, as a tool or weapon. Rist gives the audience what it wants, and it is the resulting oscillation between voyeuristic pleasure and discomfited alarm that gives her work its ambiguity and impact.\n\"\"I have the greatest respect for some MTV clips,\" she has said, \"since they have a power of innovation and a spirit of discovery that really surpasses video art.\" From her earliest tapes through her recent multi-media installations, Rist has crafted a body of work in which she appropriates this spirit for her own ends, exploring the intersection of sexuality, technology, and pop culture.\nPipilotti Rist was born in 1962 in Grabs, Switzerland. She studied graphic design, illustration and photography at the Institute of Applied Arts in Vienna, as well as audiovisual communications and video at the School of Design in Basel. She has had solo exhibitions at the Fundació Juan Miró, Barcelona, Spain; Museum of Modern Art, New York; AROS - Aarhus Kunstmuseum, Aarhus, Denmark; San Francisco Museum of Modern Art; Kiasma Museum for Contemporary Art, Helsinki; Museo Nacinal de Arte Reina Sofia, Madrid; Musee des Beaux Arts, Montreal; Luhring Augustine Gallery, New York; Museum Ludwig, Cologne, Germany; Centre d'Art Contemporain, Geneva, Switzerland, and Museum of Contemporary Art, Chicago, among many others. She has been in numerous international group exhibitions, at venues including the Serpentine Gallery, London; Hamburger Bahnhof, Berlin; New Museum, New York, Centre Pompidou, Paris; Stedelijk Museum, Amsterdam; Guggenheim Museum SoHo, New York; P.S.1 Center for Contemporary Art, New York; Kunsthaus Zurich, Switzerland; Biennale di Venezia, Venice, Italy; The Museum of Modern Art, New York; and Guggenheim Museum, Bilbao, Spain; among many others. She teaches at the University of California/Los Angeles (UCLA).\nIn 2008-2009 Rist's immersive, multimedia installation Pour Your Body Out, which was commissioned by The Museum of Modern Art, New York, filled the museum's atrium with twenty-five-foot-high moving images and sculptural seating.\nRist lives in Los Angeles, CA, and Zurich, Switzerland. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1965"},{"slug":"rist_pipilotti_video_works_iphone","ok":true,"partial":false,"title":"Video Works","artist":"Pipilotti Rist","year":"1986-2003","startOffset":0,"sourceSecs":4392.813,"sourceHeight":320,"sourceWidth":440,"hasAudio":true,"hasAmbientMp4":true,"bytes":252841755,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rist_pipilotti_video_works_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rist_pipilotti_video_works_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rist_pipilotti_video_works_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rist_pipilotti_video_works_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rist_pipilotti_video_works_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"* 1992 - Als der Bruder meiner Mutter geboren wurde, duftete es nach wilden Birnenbluten vor dem braungebrannten Sims - 4 Min."},{"slug":"rivers_ben_things","ok":true,"partial":false,"title":"Things","artist":"Ben Rivers","year":"2014","startOffset":0,"sourceSecs":1273.002,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":542423564,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rivers_ben_things/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rivers_ben_things/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rivers_ben_things.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rivers_ben_things/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rivers_ben_things/main/master.m3u8?v=2","hasMainHls":true,"description":"Things is a travelogue in which the filmmaker leads himself and the viewer through a tour of the four seasons, without ever once setting foot across his doorstep - focusing on unexplored things inside his own four walls. A year-long journey through domestic surroundings that at the same time is a trip into imagination and collective memory - revealed in the collected fragments of images, film, objects and sounds, a bed, books and, observed through a window pane, a squirrel in the garden.\n\nAs the seasons change, parallels and associations are made with things previously seen; an intricate web of clues to a life, there for the viewer to unpick."},{"slug":"robbe_grillet_alain_n_a_pris_les_des_1971_iphone","ok":true,"partial":false,"title":"N. a pris les dés ... aka N. took the dice","artist":"Alain Robbe-Grillet","year":"1971","startOffset":0,"sourceSecs":5190.829,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":291621979,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/robbe_grillet_alain_n_a_pris_les_des_1971_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/robbe_grillet_alain_n_a_pris_les_des_1971_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/robbe_grillet_alain_n_a_pris_les_des_1971_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/robbe_grillet_alain_n_a_pris_les_des_1971_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/robbe_grillet_alain_n_a_pris_les_des_1971_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This film is evidently a reworking of Robbe-Grillet's previous film L' Éden et après, using alternate takes and re-editing that has the order of scenes to be governed by 'a throw of the dice' (shown in new footage)."},{"slug":"robbins_david_lift_2007","ok":true,"partial":false,"title":"Lift","artist":"David Robbins","year":"2007","startOffset":0,"sourceSecs":1744.643,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":296937231,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/robbins_david_lift_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/robbins_david_lift_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/robbins_david_lift_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/robbins_david_lift_2007/main.mp4?v=2","description":"Really good and rare video from the famous artist David Robbins, (born 1957 in Whitefish Bay, Wisconsin), artist and writer who was one of the first to investigate the art world's entrance into the culture industry.)\n\nThis video is about a personal trainer discovering that he is an artist. Really interesting video about the way of being an artist today.\n\nSome who may have an artist inside them aren't exposed to the education or the tools that might have made them into the kind of artist we recognize. But that doesn't mean the artist inside them goes away. And sometimes the artist inside finds another way out. In these, rare cases, the materials, tools, techniques, and goals of art will be transposed into another key. Art will conform to the grammar of an unfamiliar context.\n\nJoshua Van Schaick, Personal Trainer,\n\nConsidered As an Artist\n\nAthletics is your foundation. To a life spent playing games you prefer helping people (\"It just feels better than scoring a touchdown.\"), so you leave behind competitive sports, study kinesiology, and become a personal trainer. In that role you learn to apply an athlete's skills to improving a client's physical conditioning. Your ability shines and your clientele swears by you yet you're frustrated: barbells and jump ropes don't offer much in the way of self-expression. Confident that you have more to give--your laid-back demeanor disguises intensity and drive--you search for some way to add dimension to the trainer's role.\n\nFitness, to you, encompasses mental and spiritual fitness. Shouldn't \"training\" similarly transcend mere mechanics, and engage the inner life? To the receptive client a trainer might offer not just improved muscle definition but improved self-definition—\"the whole ball of wax,\" as you like to say. Having now identified the conceptual component of the personal trainer's role—his presence in the client's life—you proceed to explore its nuances with self-consciousness, sensitivity and care. In place of the stereotypical trainer's artificial, gung-ho \"motivating\" you offer another template of values: a holistic vision of how to achieve and maintain a balanced, satisfying life, derived from your close observation of and insights into the natural world. Now provided an outlet, your poetic side (it \"comes in waves\") progressively gains clarity and signal strength. The plain-spoken poeticism with which you invest the trainer's role further distinguishes you from other, equally skilled and dedicated trainers.\n\nThe typical contemporary artist would make art about personal training. Joshua Van Schaick, a raw, intuitive yet self-assured take on beauty tempering his brawn, embodies a more profound integration: the personal trainer as artist. There is arguably \"an art to\" any well-executed work but Van Schaick performs at another level. Activating and consciously exploring training's potent subtext— the trainer's multi-dimensional role—he establishes coordinates that satisfy, however naively, some of the core criteria of conceptual art. Does it matter whether he, who lacks art education, has any inkling of conceptual art's tradition (in the early days of our friendship he wasn't sure about the definition of the term \"medium\")? Does it matter that he never addresses art per se? No. Van Schaick asks \"what is 'personal training'?\" then formulates a self-reflexive, open-ended model that incorporates a highly personal vision of life. Whether or not he views himself as an artist the effect of his achievement, which is to transfer the artist's ancient search for beauty and knowledge to a fresh theater, is the same. Eschewing the virtual, Van Schaick's work is emphatically people-based—derived from interactions with people and delivered back to people. Consistent with his expanded notion of \"training,\" his athletic aesthetic employs a complex interface.\n\nThe body is the clay. Van Schaick's work is rooted in comfort with and trust in the body. As an athlete his fit body has dependably delivered elemental, animal truths, insights, pleasures—his body has been a good friend. His art thus naturally reflects a conviction, essentially erotic, that an ability to use the body to gather pleasurable experiences is key to a happy life. The body never lies; staying attuned to its animal truths can clear away the debris—the intellectualized, the neurotic—that clutters the overly-civilized mind. Van Schaick's art isn't mannerist, it's classical; simplicity is always sought and always preferred.1 As he shapes his clients' physiques the personal- trainer-as-artist encourages an integration of body and mind. In so doing he helps advance them toward the harmony of a balanced self. Discipline. Maintaining physical health through exercise requires self-discipline. To his clients the trainer thus symbolizes discipline. Van Schaick's understanding of this function goes deep. Abstracting from exercise what it takes to reach goals at the gym—performing all those push-ups and pull-downs gives the will a workout too— he identifies willpower's wider application. Discipline now is reward in itself. Self-control sufficiently developed will yield self-mastery. Self-mastery gets you the life you want—or at least improves your chances. The personal-trainer-as-artist's vision is, then, about far more than looking good and feeling fit. It's a vision with scale. Energy. Van Schaick endeavors to channel the energy of the natural world. He strives to make himself a lens that focuses the client's natural energy. The personal-traineras- artist uses his presence in his clients' lives to help connect each of them to the unique energy attending their own identities—what makes them them. Motivating from within. There are only so many exercises, to be combined in just so many ways, but the inner dimension is without limit. With an athlete's selfconfidence the personal-trainer-as-artist encourages spiritual growth; helps to guide how his clients perceive and feel about themselves; builds the strength that's needed to explore life fully; listens closely to them so as to determine how to best help them gain control over their lives—all with an eye to helping them identify and focus their own unique beauty. At all times, he reinforces in them the beauty of life. Van Schaick's one-to-one art is manifested not just in the changed shape of his clients' bodies but existentially. In this way the personal-traineras- artist adds to the world's beauty. This is emphatically human stuff. Does the term \"training\" accurately describe the medium of lives, interacting? I suggest not. Just because we may lack a name for Van Schaick's medium, however, doesn't mean he hasn't one. Let's not overstate anyone's selflessness. An artist's selfabsorption and an artist's ego (or is it an athlete's?) are alive in this man. (Decreeing yourself \"spiritually and mentally fit,\" enough to lead others toward that condition, is hardly humility.) Driven by a vision of beautiful form as demanding as a sculptor's, Van Schaick continually searches for the way that he does things. As can be said of every good artist, his own response to life is his chief text. However dedicated he may be to his clients' growth, his interactions with them also offer a way to explore himself.\n\nHere as well, his method is personal. Van Schaick keeps his exploration unusually organic and pure. \"To know life you've got to immerse yourself in life,\" he insists, and knowledge of life, here, is best acquired through contact with people, not from books.2 Led by a comfort with and enthusiasm for human beings (perhaps expected in someone raised in a large family; Van Schaick has five siblings), the personal-trainer-as-artist listens and learns. His over-arching goal, for himself as for his clients, is to mirror nature's condition of continuous growth. Might the artist be sometimes, like contemporary art itself, in the eye of the beholder? Is Joshua Van Schaick, personal trainer, truly a kind of artist? His won't be the artist's typical story of galleries, museums, and collectors, certainly. The conceptual frontier treaded by the personal-trainer-as-artist won't be acknowledged by any institution—indeed by anyone other than those lucky enough to be his clients. But no matter: some people are artists at life. Van Schaick's vision is his own, hard-won, the real thing, and it's leading him forward into an original life, one whose beauty will be, in the end, unique. In the process of pursuing it he'll have carried out the artist's true work, which is, today as ever, to expand the set of human possibilities and to embody that expansion in life-loving actions.\n\nDavid Robbins\n\n1 Such continual emphasis on simplicity might be considered too reductive, given that complexity is sometimes the overriding truth of human experience. But an aesthetic is an aesthetic. 2 His heart may be in the right place here but Van Schaick's purity is problematic since it supposes that the student is drawing his teachers from a broad-minded sector of humanity. It's an idealization—and a dangerous one: the student who is taught by primitives risks adopting primitives' views himself. Books are valuable precisely because they bring us into contact with ideas and agents that transcend the limitations of our personal circumstances. Books offer an alternative to insufficiently evolved environments.\n\nAll quotes from JVS in conversation with DR.\nPublished to accompany The Lift Project: Part 2, an exhibition\nby David Robbins at The Green Gallery East, Milwaukee, Wisconsin\nJanuary 31, 2009-March 7, 2009"},{"slug":"rooks_conrad_chappaqua_1966","ok":true,"partial":false,"title":"Chappaqua (1967)","artist":"Conrad Rooks","year":"1966","startOffset":0,"sourceSecs":4710.038,"sourceHeight":568,"sourceWidth":696,"hasAudio":true,"hasAmbientMp4":true,"bytes":792325273,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rooks_conrad_chappaqua_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rooks_conrad_chappaqua_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rooks_conrad_chappaqua_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rooks_conrad_chappaqua_1966/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rooks_conrad_chappaqua_1966/main/master.m3u8?v=2","hasMainHls":true,"description":"Chappaqua is a 1967 American drama film, written and directed by Conrad Rooks. The film is based on Rooks' experiences with drug addiction and includes cameo appearances by William S. Burroughs, Swami Satchidananda, Allen Ginsberg, Moondog, Ornette Coleman, The Fugs, and Ravi Shankar. Rooks had commissioned Coleman to compose music for the film, but his score, which has become known as the Chappaqua Suite, was not used. Ravi Shankar then composed a score.\n\nThe film briefly depicts Chappaqua, New York, a hamlet in Westchester County, in a few minutes of wintry panoramas. In the film, the hamlet is an overt symbol of drug-free suburban childhood innocence. It also serves as one of the film's many nods to Native American culture. The word \"chappaqua\" derives from the Wappinger (a nation of the Algonquian peoples) word for \"laurel swamp\"."},{"slug":"rose_john_great_fences_2002_iphone","ok":true,"partial":false,"title":"Jon Rose | Great Fences of Australia","artist":"Jon Rose","year":"2002","startOffset":0,"sourceSecs":4672.749,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":271143878,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_john_great_fences_2002_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_john_great_fences_2002_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rose_john_great_fences_2002_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rose_john_great_fences_2002_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rose_john_great_fences_2002_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"\"They coax celestial tones from Rabbit-Proof Fence No 2; the Dog Fence, built to stem the migration of dingoes, rattles and hums; at the close, a fence throbs and drones for nine disorientating minutes, before an aeolian splutter of the Dog Fence's last grid echoes the vastness of the delineated continent.\" -- London Times --\n\nSince 1983, in addition to his work on and about the violin, Jon Rose has been bowing and recording the music of Fences worldwide. A wide range of atmospheric music can be coaxed from these ubiquitous landmarks.\n\nOther fence projects such as FENCES OF ISRAEL, THE SYDNEY FENCE, THE FINLAND FENCE, THE MEXICO-USA BORDER FENCE, and not forgetting THE FENCE, have also been documented.\n\nThe project GREAT FENCES OF AUSTRALIA maps the vast spaces of Australia. Since 2002, violinists Jon Rose and Hollis Taylor have travelled 35,000 kilometres playing and recording the unique sounds of hundreds of fences in every state and territory of the fifth continent, including the well-known 'Dog Fence' and 'Rabbit-Proof Fences'. Along with this video and audio material, the lives and histories of the people who build, look after or use the fences has also been documented.\n\nThe first manifestation of Great Fences was hosted by The Melbourne Festival 2002 under the title BOWING FENCES; over nine thousand people heard sixty performances on the specially constructed fence. Since then, the project has featured in festivals at Mercat des Flores, Barcelona; Museo de Belles Artes, Madrid; Serralves Museum of Contemporary Art, Porto; the ghost town of Malparinka in Sturt National Park; and over twenty-five thousand people witnessed the Fence installation and performances for The Sydney Festival 2004 at The Art Gallery of New South Wales. It 2004, the project was showcased at The Adelaide Festival and also that year, invited to the Aboriginal Community of Nauiyu on the Daly River in the Northern Territory for their Merrepen Arts Festival. After further extensive exploration and documentation of fences in Central Australia, the project was featured in the Darwin Festival. 2005 saw Great Fences installed and performed for a month at The Brussels Museum of Musical Instruments, and by its omnipresence there, radically extending the definition of 'musical instrument'.\n\nThe Great Fences Project was invited to Berlin's principal new music festival, Maerzmusik, for 2008.\n\nIn planning is a specially designed Fence based on the principles of Just Intonation and the Fibonacci series. With financial support, its construction should take place in Western Australia in 2009/10. It is designed to remain in situ after the initial performances and be powered (Aeolian-style) by the strong winds of the outback. A radiophonic version of the project entitled 'Voices from the Fence' has been commissioned by the ABC, and a CD complete with specimen of rusty barbed wire, has been produced by Dynamo House (Melbourne).\n\nMany people look at fences and see not much; Jon Rose and Hollis Taylor look and see giant musical string instruments covering a continent. The strings are so long that they become the resonators as well as the triggers for the sound. On straight stretches of a simple five-wire fence, the sound travels down the wires for hundreds of meters. The music is ethereal and elemental, incorporating an extended harmonic series (the structure of all sound); the longer the wire, the more harmonics become available. The rhythms of violin bows and drum sticks uncover a fundamental sonic world. The fence music encapsulates the vastness of the place. Music of distance, boundaries and borders. This, however, is not the songlines, or even the white fella's ironic version of it, but the unexpected and elegiac music of the Australian landscape 'sounding' its recent history. Fence construction has inadvertently given us a means of expressing musically, with a direct physical connection, the whole range of intense emotion tied up with the ownership of the land, from the outback to the backyard.Ó"},{"slug":"rose_peter_digital_speech","ok":true,"partial":false,"title":"Digital Speech","artist":"Peter Rose","year":"1984","startOffset":0,"sourceSecs":779.328,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":48722806,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_digital_speech/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_digital_speech/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rose_peter_digital_speech.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rose_peter_digital_speech/main.mp4?v=2","description":"<i>Digital Speech</i> uses a traveler's anecdote, a perverse variant of a classic Zen parable, as a vehicle for an exploration of language, thought, and gesture. The tape plays with the nature of narrative, with ways of telling, performing, and illustrating, and uses nonsense language, scat singing, and video rescan for comic comment. Gesticulation is by percussionist Jim Meneses. <br/><br/>\"\"Rose has here taken on one of the classic semiotic propositions and plays several simultaneous riffs on it, using meta-cinematic tactics in the service of a wry sense of humor. That he manages to invest the whole business with a cartooned irony only underscores the reflexive nature of his gambit.\"<br/> - Rick Perlman, Rotomontage","artist_bio":"Taken in the aggregate, Vox 13 offers a grand circumnavigation of the subject of language. By turns it is a reflexive riff on reading, a hyperdimensional performance piece about gesture, a horror story told by a computer, an opera about the voice, a documentary on the transience of language, a metanarrative about the elements of story, an Edenic parable, a kinetic koan, an arch ideological satire, a joke about semiotics, a materialist metaphor, and a performance piece about communication. The opus considers what it means to read, what it means to listen, when it is that we speak, how words acquire meaning, what it means to write, who we listen to, how we listen, what speaks, other ways we can speak, what the voice is, where language can be found, what words do to time, what holds stories together, and how light shapes language. There are reflections on time and language and there are explorations of the places where speech and power seem to intersect. I offer a nod to Tom Phillips' \"A Humument,\", the Firesign Theatre, the Four Horseman, Sid Caesar, early Woody Allen, Julian Jaynes, the Sackners, W. H. Hudson, sehtraB dnaloR, and Ludwig Wittgenstein who, in one of his more jovial moments, announced that \"Whereof one cannot speak, thereof one must be silent.\" Much of this work is a voluble illustration of that dictum.\nComplementing these labial sentinas is another suite of films and videos that concern themselves with dimensional explorations of time and space, with occulting the usual visual modalities and constructing other kinds of vision using the tools of cinema. These other works explore multi-temporalities of movement, the raptures of vision, the American landscape, the machineries of the sky, the corridors of the underground, and the powers of darkness. In no particular order. In contrast to \"VOX\", they lack almost all traces of language and appeal to the formal, the specular, and the kinetic.\nGlimpses of all of these may be seen at:\nwww.peterrosepicture.com\nSince 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose's background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video installations have involved a return to an examination of landscape, time, and vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person.\nAs he has written: Some of us work in a proximate relation with our intended audiences, speaking familiar languages so that the archetypes of our culture may be recognized; and some work out a self-creating interiority from which, if we are lucky, we bring back the shape of a newly imagined alphabet of feeling. I find myself oscillating between these two agendas and find the dialectic a productive one, a reflection of the complex, contradictory nature of our times.","bio_dates":"2009"},{"slug":"rose_peter_foit_yet_cleem_triavith","ok":true,"partial":false,"title":"Foit Yet Cleem Triavith","artist":"Peter Rose","year":"1987","startOffset":0,"sourceSecs":111.616,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":3462684,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_foit_yet_cleem_triavith/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_foit_yet_cleem_triavith/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rose_peter_foit_yet_cleem_triavith.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rose_peter_foit_yet_cleem_triavith/main.mp4?v=2","description":"<i>Foit Yet Cleem Triavith</i> (an anagram for \"The Verticality of Time\") uses a text about the nature of time, perverse visual quotations from art history, and vocal improvisation by David Moss and Peter Rose to generate a kind of rap video. Presented at the Pennsylvania Academy of Fine Arts as part of the Art Now exhibition; at School 33 in Baltimore; and at the Obscure Gallery in Quebec. <br/><br/>\"\" Provocative juxtapositions of text to image, image to image, and text to text..evoke something of time's elusive nature...a poetic and multilayered investigation... \"<br/> - Paula Marincola, Artforum","artist_bio":"Taken in the aggregate, Vox 13 offers a grand circumnavigation of the subject of language. By turns it is a reflexive riff on reading, a hyperdimensional performance piece about gesture, a horror story told by a computer, an opera about the voice, a documentary on the transience of language, a metanarrative about the elements of story, an Edenic parable, a kinetic koan, an arch ideological satire, a joke about semiotics, a materialist metaphor, and a performance piece about communication. The opus considers what it means to read, what it means to listen, when it is that we speak, how words acquire meaning, what it means to write, who we listen to, how we listen, what speaks, other ways we can speak, what the voice is, where language can be found, what words do to time, what holds stories together, and how light shapes language. There are reflections on time and language and there are explorations of the places where speech and power seem to intersect. I offer a nod to Tom Phillips' \"A Humument,\", the Firesign Theatre, the Four Horseman, Sid Caesar, early Woody Allen, Julian Jaynes, the Sackners, W. H. Hudson, sehtraB dnaloR, and Ludwig Wittgenstein who, in one of his more jovial moments, announced that \"Whereof one cannot speak, thereof one must be silent.\" Much of this work is a voluble illustration of that dictum.\nComplementing these labial sentinas is another suite of films and videos that concern themselves with dimensional explorations of time and space, with occulting the usual visual modalities and constructing other kinds of vision using the tools of cinema. These other works explore multi-temporalities of movement, the raptures of vision, the American landscape, the machineries of the sky, the corridors of the underground, and the powers of darkness. In no particular order. In contrast to \"VOX\", they lack almost all traces of language and appeal to the formal, the specular, and the kinetic.\nGlimpses of all of these may be seen at:\nwww.peterrosepicture.com\nSince 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose's background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video installations have involved a return to an examination of landscape, time, and vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person.\nAs he has written: Some of us work in a proximate relation with our intended audiences, speaking familiar languages so that the archetypes of our culture may be recognized; and some work out a self-creating interiority from which, if we are lucky, we bring back the shape of a newly imagined alphabet of feeling. I find myself oscillating between these two agendas and find the dialectic a productive one, a reflection of the complex, contradictory nature of our times.","bio_dates":"2009"},{"slug":"rose_peter_genesis","ok":true,"partial":false,"title":"Genesis","artist":"Peter Rose","year":"1988","startOffset":0,"sourceSecs":230.933,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":13469422,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_genesis/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_genesis/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rose_peter_genesis.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rose_peter_genesis/main.mp4?v=2","description":"<i>Genesis</i> recounts a story about embodiment \"told\" using voice synthesis and animation display on a MacIntosh computer. It was installed at the Institute of Contemporary Art in Philadelphia in 1991. A computer is swaddled in blankets in a small baby carriage. A text appears on the screen that tells the (true) story of a woman who miscarries and keeps the fetus in her refrigerator. The narration is artificial, generated by a speech synthesis program. This voice becomes more human as the story evolves and as our understanding of the power of naming sharpens. <br/><br/>\"\"..... is a very unsettling work that raises difficult questions about technology, virtual communication, ethics, and psychology. In its understated way, it is a horror film that manages to play cognitive games with the viewer while interrogating the construct of presence itself .\"<br/> - Dr. Joyce Beamer, Protuberon - Paula Marincola, Artforum","artist_bio":"Taken in the aggregate, Vox 13 offers a grand circumnavigation of the subject of language. By turns it is a reflexive riff on reading, a hyperdimensional performance piece about gesture, a horror story told by a computer, an opera about the voice, a documentary on the transience of language, a metanarrative about the elements of story, an Edenic parable, a kinetic koan, an arch ideological satire, a joke about semiotics, a materialist metaphor, and a performance piece about communication. The opus considers what it means to read, what it means to listen, when it is that we speak, how words acquire meaning, what it means to write, who we listen to, how we listen, what speaks, other ways we can speak, what the voice is, where language can be found, what words do to time, what holds stories together, and how light shapes language. There are reflections on time and language and there are explorations of the places where speech and power seem to intersect. I offer a nod to Tom Phillips' \"A Humument,\", the Firesign Theatre, the Four Horseman, Sid Caesar, early Woody Allen, Julian Jaynes, the Sackners, W. H. Hudson, sehtraB dnaloR, and Ludwig Wittgenstein who, in one of his more jovial moments, announced that \"Whereof one cannot speak, thereof one must be silent.\" Much of this work is a voluble illustration of that dictum.\nComplementing these labial sentinas is another suite of films and videos that concern themselves with dimensional explorations of time and space, with occulting the usual visual modalities and constructing other kinds of vision using the tools of cinema. These other works explore multi-temporalities of movement, the raptures of vision, the American landscape, the machineries of the sky, the corridors of the underground, and the powers of darkness. In no particular order. In contrast to \"VOX\", they lack almost all traces of language and appeal to the formal, the specular, and the kinetic.\nGlimpses of all of these may be seen at:\nwww.peterrosepicture.com\nSince 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose's background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video installations have involved a return to an examination of landscape, time, and vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person.\nAs he has written: Some of us work in a proximate relation with our intended audiences, speaking familiar languages so that the archetypes of our culture may be recognized; and some work out a self-creating interiority from which, if we are lucky, we bring back the shape of a newly imagined alphabet of feeling. I find myself oscillating between these two agendas and find the dialectic a productive one, a reflection of the complex, contradictory nature of our times.","bio_dates":"2009"},{"slug":"rose_peter_sleeping_woman","ok":true,"partial":false,"title":"Sleeping Woman","artist":"Peter Rose","year":"1992","startOffset":0,"sourceSecs":274.923,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":16777535,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_sleeping_woman/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_sleeping_woman/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rose_peter_sleeping_woman.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rose_peter_sleeping_woman/main.mp4?v=2","description":"<i>Sleeping Woman</i> (1992, 4 min.) is a poetic documentary about a mysterious poem that appeared on the bank of the Schuylkill River in Philadelphia in 1991. The text was written by nationally known poet Stephen Berg and painted on the stone retaining wall beside the river by artist Tom Chimes. A meditation on death, nature, and language, the piece stretches for over 1100 feet along the river. The video is a linked series of visual essays that consider the genesis of the work, the physical splendor of the piece, and the personal and cultural contexts of the project.","artist_bio":"Taken in the aggregate, Vox 13 offers a grand circumnavigation of the subject of language. By turns it is a reflexive riff on reading, a hyperdimensional performance piece about gesture, a horror story told by a computer, an opera about the voice, a documentary on the transience of language, a metanarrative about the elements of story, an Edenic parable, a kinetic koan, an arch ideological satire, a joke about semiotics, a materialist metaphor, and a performance piece about communication. The opus considers what it means to read, what it means to listen, when it is that we speak, how words acquire meaning, what it means to write, who we listen to, how we listen, what speaks, other ways we can speak, what the voice is, where language can be found, what words do to time, what holds stories together, and how light shapes language. There are reflections on time and language and there are explorations of the places where speech and power seem to intersect. I offer a nod to Tom Phillips' \"A Humument,\", the Firesign Theatre, the Four Horseman, Sid Caesar, early Woody Allen, Julian Jaynes, the Sackners, W. H. Hudson, sehtraB dnaloR, and Ludwig Wittgenstein who, in one of his more jovial moments, announced that \"Whereof one cannot speak, thereof one must be silent.\" Much of this work is a voluble illustration of that dictum.\nComplementing these labial sentinas is another suite of films and videos that concern themselves with dimensional explorations of time and space, with occulting the usual visual modalities and constructing other kinds of vision using the tools of cinema. These other works explore multi-temporalities of movement, the raptures of vision, the American landscape, the machineries of the sky, the corridors of the underground, and the powers of darkness. In no particular order. In contrast to \"VOX\", they lack almost all traces of language and appeal to the formal, the specular, and the kinetic.\nGlimpses of all of these may be seen at:\nwww.peterrosepicture.com\nSince 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose's background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video installations have involved a return to an examination of landscape, time, and vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person.\nAs he has written: Some of us work in a proximate relation with our intended audiences, speaking familiar languages so that the archetypes of our culture may be recognized; and some work out a self-creating interiority from which, if we are lucky, we bring back the shape of a newly imagined alphabet of feeling. I find myself oscillating between these two agendas and find the dialectic a productive one, a reflection of the complex, contradictory nature of our times.","bio_dates":"2009"},{"slug":"rose_peter_the_gift","ok":true,"partial":false,"title":"Peter Rose \"The Gift\"","artist":"Peter Rose","year":"1993","startOffset":0,"sourceSecs":371.328,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":4742452,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_the_gift/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_the_gift/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rose_peter_the_gift.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rose_peter_the_gift/main.mp4?v=2","description":"Audio drama<br/> <br/> <i>The Gift</i> was commissioned by New American Radio and Performing Arts and was adapted from a serial bedtime story Rose told his daughter over a period of six years. It is a parable that explores the conflict between language and innocence, and between sounds and ideas, and that offers an insight into the connections between time, language, and self. <br/><br/>\"\"Old radio drama....fanciful, parabolic.....wonderful sound metaphors in the service of a ontological fable ripped from the Bible...\"<br/> - Milton Reskin, private correspondance","artist_bio":"Taken in the aggregate, Vox 13 offers a grand circumnavigation of the subject of language. By turns it is a reflexive riff on reading, a hyperdimensional performance piece about gesture, a horror story told by a computer, an opera about the voice, a documentary on the transience of language, a metanarrative about the elements of story, an Edenic parable, a kinetic koan, an arch ideological satire, a joke about semiotics, a materialist metaphor, and a performance piece about communication. The opus considers what it means to read, what it means to listen, when it is that we speak, how words acquire meaning, what it means to write, who we listen to, how we listen, what speaks, other ways we can speak, what the voice is, where language can be found, what words do to time, what holds stories together, and how light shapes language. There are reflections on time and language and there are explorations of the places where speech and power seem to intersect. I offer a nod to Tom Phillips' \"A Humument,\", the Firesign Theatre, the Four Horseman, Sid Caesar, early Woody Allen, Julian Jaynes, the Sackners, W. H. Hudson, sehtraB dnaloR, and Ludwig Wittgenstein who, in one of his more jovial moments, announced that \"Whereof one cannot speak, thereof one must be silent.\" Much of this work is a voluble illustration of that dictum.\nComplementing these labial sentinas is another suite of films and videos that concern themselves with dimensional explorations of time and space, with occulting the usual visual modalities and constructing other kinds of vision using the tools of cinema. These other works explore multi-temporalities of movement, the raptures of vision, the American landscape, the machineries of the sky, the corridors of the underground, and the powers of darkness. In no particular order. In contrast to \"VOX\", they lack almost all traces of language and appeal to the formal, the specular, and the kinetic.\nGlimpses of all of these may be seen at:\nwww.peterrosepicture.com\nSince 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose's background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video installations have involved a return to an examination of landscape, time, and vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person.\nAs he has written: Some of us work in a proximate relation with our intended audiences, speaking familiar languages so that the archetypes of our culture may be recognized; and some work out a self-creating interiority from which, if we are lucky, we bring back the shape of a newly imagined alphabet of feeling. I find myself oscillating between these two agendas and find the dialectic a productive one, a reflection of the complex, contradictory nature of our times.","bio_dates":"2009"},{"slug":"rose_peter_the_indeserian_tablets","ok":true,"partial":false,"title":"The Indeserian Tablets","artist":"Peter Rose","year":"2009","startOffset":0,"sourceSecs":793.707,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":121636859,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_the_indeserian_tablets/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_peter_the_indeserian_tablets/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rose_peter_the_indeserian_tablets.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rose_peter_the_indeserian_tablets/main.mp4?v=2","description":"An annotated nocturnal portrait of the Indeserians- their language, technology, religious practice, art and poetry as told in stories, diagrams, notes, jokes, salutations, performances, and riddles reconstructed from fragments found in the archive at Kiens. Ultimately intended as a 32 part video installation.","artist_bio":"Taken in the aggregate, Vox 13 offers a grand circumnavigation of the subject of language. By turns it is a reflexive riff on reading, a hyperdimensional performance piece about gesture, a horror story told by a computer, an opera about the voice, a documentary on the transience of language, a metanarrative about the elements of story, an Edenic parable, a kinetic koan, an arch ideological satire, a joke about semiotics, a materialist metaphor, and a performance piece about communication. The opus considers what it means to read, what it means to listen, when it is that we speak, how words acquire meaning, what it means to write, who we listen to, how we listen, what speaks, other ways we can speak, what the voice is, where language can be found, what words do to time, what holds stories together, and how light shapes language. There are reflections on time and language and there are explorations of the places where speech and power seem to intersect. I offer a nod to Tom Phillips' \"A Humument,\", the Firesign Theatre, the Four Horseman, Sid Caesar, early Woody Allen, Julian Jaynes, the Sackners, W. H. Hudson, sehtraB dnaloR, and Ludwig Wittgenstein who, in one of his more jovial moments, announced that \"Whereof one cannot speak, thereof one must be silent.\" Much of this work is a voluble illustration of that dictum.\nComplementing these labial sentinas is another suite of films and videos that concern themselves with dimensional explorations of time and space, with occulting the usual visual modalities and constructing other kinds of vision using the tools of cinema. These other works explore multi-temporalities of movement, the raptures of vision, the American landscape, the machineries of the sky, the corridors of the underground, and the powers of darkness. In no particular order. In contrast to \"VOX\", they lack almost all traces of language and appeal to the formal, the specular, and the kinetic.\nGlimpses of all of these may be seen at:\nwww.peterrosepicture.com\nSince 1968 Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose's background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video installations have involved a return to an examination of landscape, time, and vision. Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts, and is fond of writing descriptions in the third person.\nAs he has written: Some of us work in a proximate relation with our intended audiences, speaking familiar languages so that the archetypes of our culture may be recognized; and some work out a self-creating interiority from which, if we are lucky, we bring back the shape of a newly imagined alphabet of feeling. I find myself oscillating between these two agendas and find the dialectic a productive one, a reflection of the complex, contradictory nature of our times.","bio_dates":"2009"},{"slug":"rose_rachel_everything_and_more","ok":true,"partial":false,"title":"Everything and More","artist":"Rachel Rose","year":"2015","startOffset":0,"sourceSecs":699.048,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":276369416,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_rachel_everything_and_more/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_rachel_everything_and_more/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rose_rachel_everything_and_more.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rose_rachel_everything_and_more/main.mp4?v=2","description":"NASA astronaut David Wolf spent 128 days aboard the Mir Space Station. That’s just the start of this swirling short film."},{"slug":"rose_rachel_sitting_feeding_sleeping_2013","ok":true,"partial":false,"title":"Sitting Feeding Sleeping","artist":"Rachel Rose","year":"2013","startOffset":0,"sourceSecs":620.458,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":280769980,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_rachel_sitting_feeding_sleeping_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rose_rachel_sitting_feeding_sleeping_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rose_rachel_sitting_feeding_sleeping_2013.mkv","hasFrames":true,"description":"Synopsis: I shot Sitting Feeding Sleeping in a cryogenics lab, where nitrogen-pumped bodies circulate their own blood. In a robotics perception lab, where machines read human emotion. And in zoos, where animals live extended lives emptied of sexual, social, survival cues. I used these three spaces as prosthetics for understanding deathfullness­­ — being alive, feeling dead.\n\nRuba Katrib: Sitting, Feeding, Sleeping takes us on a very particular journey through contemporary constructions created around different life forms, from medical breakthroughs to basic scientific facts to animal care within zoos. What was your research process for this work, and how did you decide on the connections between the information and images? The video remains fairly abstract, although still full of content.\n\nRachel Rose: When the project began, I was doing two things at once and it wasn’t clear to me why I was doing either. I was researching the way different cultures determine when a body is dead, and I was taking aimless, wandering visits to zoos. Looking back, I can see this as my way of not being alone with what I was feeling — which was a kind of numbness.\n\nThe research went unexpectedly, and I ended up following the sources of the papers I was reading. It was this that led me to interview people at the robotics perception lab at UC San Diego, and the cryogenics lab in Arizona. But I didn’t end up using these interviews. I felt the places themselves could express what was said.\n\nWhen I started editing, I didn’t want to label each space, but create one visceral feeling. The video was a place where I could be more conscious, sensitive to what I had experienced. I could see this feeling of deadness latch with the slowness of the animals’ movements. Or see the fluorescent, vague light of the cryogenics lab link with that of the zoo. The video was a tool: take these experiences, edit them (literally) and return them as more transparent expressions of this numbness than they could be alone, or before.\n\nRK: Can you talk more about the idea of “deathfullness” that you use? I find it interesting how you weave a subjective anxiety about death into a more expanded framework, articulating the range of different stages of death and life, also as states that might be more indeterminate than we can imagine. This also gets us into a conversation about “quality of life,” which I think is dealt with in a compelling way within in the video. How can we gauge or even understand this concept of quality, as our relationship to life forms through science and technology becomes even more complex?\n\nRR: Death is the most abstract, vacant state I can think of. So deathfullness, is when something is full of it's own vacant abstraction.\n\nOne example might be the polar bear in the video. Last winter, I shot him on a rare snow-filled day. The climate finally resembled his natural glacial life. But after years in containment, he had so adapted to a version of life populated with fake rocks and plastic toys, in temperate New York, that he seemed to have lost sensitivity for snow. He didn't react at all. He had absorbed the zoo's flatness into himself, adapted himself as that abstraction.\n\nIn emotion, it’s more obvious. Its expressions are depression, numbness, and boredom.\n\nI think when things get far enough away from the particular, they become too abstract go back. And when those abstractions are close enough to us to be re-absorbed, deathfullness becomes a quality of our lives.\n\nRK: How do you articulate that condition, of deathfullness, with the state of dreaming? The video takes on a stream of consciousness and dreamlike mood, underscoring the sometimes-blurry line between being awake and sleeping. It's as if the different states of death can also be tied to different states of consciousness, which we all experience.\n\nRR: This question reminds me of when I was young, maybe 7 or 8. I would sit in my room repeating one word over and over again, like ‘rice.’ When I’d first say it, it felt as though it legitimately referred to that white thing you eat. But as I repeated it, the word and the meaning would drift apart. The feeling of saying ‘rice’ would entirely separate from that concrete white thing. Everything would feel uneasy, and movable.\n\nWhen you repeat a word over and over again, you can literally feel the distance between the concrete sound and its meaning grow farther and farther apart, the emptiness expanding in the gap.\n\nThe shots in the video range from being hyper close to distant. Distance is often tied to the gradation from aliveness to deadness. The closer up, the more concrete and the more alive. The more distant, the more abstract and the less alive. What I was trying to express was that all this is flexible. That this feeling of distance can be in things you think are close, and so on. Like bringing the yellow from the plastic bottle next to the polar bear forward, so that it fills the screen. Or by making the crackling of the panda's bamboo come in a few seconds too late, and loudly. This re-editing of distance comprises what I think of as dreaming, but also, as perceiving."},{"slug":"rosefeldt_julian_asylum","ok":true,"partial":false,"title":"Asylum","artist":"Julian Rosefeldt","year":"2004","startOffset":0,"sourceSecs":856.032,"sourceHeight":384,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":55160410,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosefeldt_julian_asylum/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosefeldt_julian_asylum/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosefeldt_julian_asylum.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosefeldt_julian_asylum/main.mp4?v=2","description":"Indian flower-sellers, Turkish trash-collectors, Chinese cooks, and Thai prostitutes - Julian Rosefeldt (born in 1965 in Munich) confronts viewers of his video project asylum with stereotypical European views of foreigners and ethnic minorities. In his seductively opulent tableaux vivants, he exaggerates and parodies popular conceptions about roles and professions, while embedding his protagonists in strangely surreal scenes and ritual contexts. As the book's title suggests, the video sequences oscillate between security and insanity and ultimately between xenophilia and xenophobia, compelling the viewer to reflect upon the reality of migration and its presentation in the media.<br/><br/> The publication features photographs taken during shooting, film still from Rosefeldt's nine asylum films, probing essays, and an interview with the artist.","artist_bio":"Julian Rosefeldt studied architecture in Munich and Barcelona. After receiving his diploma in 1994, he began working in collaboration with fellow Munich graduate Piero Steinle. Since 1999 he has worked independently.\nRosefeldt’s work consists primarily of elaborate, visually opulent film and video installations. In most cases, these installations are shown as panoramic multi-channel projections. They range in style from documentary to theatrical narrative.[1] In Lonely Planet (2006), for example, the artist portrays a hippie-ish Western backpacker on a trip through India; as he moves through a series of clichéd sequences, including a frenetic Bollywood-inspired dance number, the camera periodically pulls back to reveal spotlights, dressing rooms and other filmmaking necessities.[2] Rosefeldt primarily uses 16-mm and 35-mm film and has often worked in close cooperation with the cinematographer Christoph Krauss. He also works in the medium of photography.\nRosefeldt has lived and worked in Berlin since 1999, when he relocated as Artist in Residence at the Sammlung Hoffmann. In addition to his art production, Rosefeldt also works with the Schaubühne am Lehniner Platz, often collaborating with its head and creative director Thomas Ostermeier. In 2009, Rosefeldt was invited as a guest professor by the Media Art and Media Design faculty at the Bauhaus-Universität Weimar. Since 2010, Rosefeldt has been a member of the Bayerischen Akademie der Schönen Künste in the division of Film and Media Art. Since 2011 he has been professor at the Akademie der Bildenden Künste in Munich.","bio_dates":"b. 1965"},{"slug":"rosen_kay_qanda_2007mp4","ok":true,"partial":false,"title":"Qanda 2007mp4","artist":"Kay Rosen","year":"2007","startOffset":0,"sourceSecs":4370.88,"sourceHeight":120,"sourceWidth":160,"hasAudio":true,"hasAmbientMp4":true,"bytes":252018482,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosen_kay_qanda_2007mp4/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosen_kay_qanda_2007mp4/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosen_kay_qanda_2007mp4.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosen_kay_qanda_2007mp4/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosen_kay_qanda_2007mp4/main/master.m3u8?v=2","hasMainHls":true},{"slug":"rosen_kay_sisyphus_1991","ok":true,"partial":false,"title":"Sisyphus","artist":"Kay Rosen","year":"1991","startOffset":0,"sourceSecs":120.171,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":21861582,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosen_kay_sisyphus_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosen_kay_sisyphus_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosen_kay_sisyphus_1991.mp4","hasFrames":true,"artist_bio":"Drawing on her academic background in linguistics, Kay Rosen uses language as her primary material and subject, creating text-based works that explore the ways that language can be represented visually. Playing with different approaches to typography and layout, Rosen's work often employs puns, anagrams, and textual puzzles, forcing the viewer to consider new ways of reading and approaching language.\nRosen's work has been exhibited internationally, including solo exhibitions and projects at the Witte de With Center for Contemporary Art in Rotterdam, the Museum of Contemporary Art Chicago, the MIT List Visual Art Center, the Museum of Contemporary Art Los Angeles, the Museum of Fine Arts Boston, the Aspen Art Museum, and the Dunedin Public Art Gallery in New Zealand. She has also been included in notable group exhibitions such as Ecstatic Alphabets/Heaps of Language at the Museum of Modern Art (2012), Prospect 1 New Orleans curated by Dan Cameron, and the 2000 Whitney Biennial. Her work is the collections of the Museum of Modern Art, the Museum of Contemporary Art Los Angeles, the Whitney Museum of American Art, the Museum of Contemporary Art Chicago, the Art Institute of Chicago, and the Norton Family Collection.\nQ&A with SAIC Students, Februray 13, 2007, textual transcription","bio_dates":"b. 1943"},{"slug":"rosenfeld_marina_teenage_lontano","ok":true,"partial":false,"title":"Teenage Lontano","artist":"Marina Rosenfeld","year":"2008","startOffset":0,"sourceSecs":1374.507,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":226047662,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosenfeld_marina_teenage_lontano/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosenfeld_marina_teenage_lontano/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosenfeld_marina_teenage_lontano.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosenfeld_marina_teenage_lontano/main.mp4?v=2","description":"<b>Screw Hannah Montana-real teen music hits the Park Avenue Armory at the Biennial</b> <br/> Time Out New York<br/> By Shakthi Jothianandan<br/> February 20, 2008<br/> <br/>\"\"\"It's somewhere between a cover and an interpretation,\" says Marina Rosenfeld of Teenage Lontano, her adaptation of György Ligeti's ethereal 1967 classic Lontano. Rosenfeld, a New York–based turntablist and sound artist, recorded 20 different parts (whose pitch sets are derived from the original Ligeti score) and had her choir—local teenagers—download them to their personal music players. The performance will consist of 30 or so teens in a row listening to iPods and other MP3 players, either alone or in pairs, each singing to his or her respective downloaded cues, while a bank of speakers overhead play Rosenfeld's prerecorded score. As the artist describes it, there's \"a speaker installation overhead, a choir down below and the piece is happening in the air in between.\" The work makes its debut at the Park Avenue Armory as part of the Whitney Biennial, along with a satellite 16-channel sound installation in an adjacent room. Mar 6–Jun 1 <br/><br/> Instead of sheet music, the choir will be \"reading\" sound. Rosenfeld tells the students that what they are listening to is a kind of \"secret text,\" inaccessible to the audience. \"After a while,\" she tells them, \"the audience will want to know what you're listening to that they can't hear.\" <br/><br/> Why Lontano? \"One way to read Ligeti's work is as an attempt to break down certain structures and create something freer and more open-ended. To listen to it is to experience an opening up of structure,\" says Rosenfeld. \"This formal experiment is my method of reconfiguring that openness.\" <br/><br/> Rosenfeld recruited students from all over the city. She says she sees teenagers as a kind of \"material\" to investigate the culture of headphones: \"They can directly engage with technology in a way that only people born into this moment can,\" she says. <br/><br/> The installation above the choir features 11 speakers: ten fixed and a large one that rotates, which will \"sweep the sound across the architecture of the room,\" says Rosenfeld. \"I want people to feel like they're inside it.\"","artist_bio":"Marina Rosenfeld is an artist and composer based in New York. Her installation, sound and performance works\nhave been widely commissioned by institutions in Europe and North America, including solo projects for the 2010 Liverpool Biennial; the\n2009 Performa Biennial of Performance; the 2009 Holland Festival (Amsterdam); Whitney Biennials 2002 and 2008; the Tate Modern (London);\nand the Kitchen (NY). Festivals programming her work include Ultima Festival (Oslo); Äänen Lumo Festival (Helsinki); Donaueschingen\nMusiktage (Donaueschingen, Germany), Ars Electronica (Linz), Faster Than Sound\n(Aldeburgh, UK); Wien Modern (Vienna), Musikprotokoll (Graz), Pro Musica Nova (Bremen), Maerz Musik (Berlin), Mutek (Montreal), Vancouver\nNew Music Festival, and Los Angeles' Center for Experiments in Art, Information and Technology, among many others.\nWhile still a student at CalArts (Los Angeles) in 1993, Rosenfeld first created the Sheer Frost Orchestra, a graphically scored musical performance\nrealized by 17 women on floor-bound electric guitars, deploying nail-polish bottles as sensitive sound-producing implements. This performance, always created\nin situ with the collaboration of local performers, has been widely produced since then, most recently at the\nCleveland Museum of Art in 2009. Other large-scale works include the performances\nEmotional\nOrchestra\n(Deitch Projects/NY, Tate Modern/London),\nWHITE LINES\n(Wien Modern,\nBritish School at Rome, Taktlos Bern, Weld/Stockholm and many others),\nand 2008’s\nTeenage Lontano\n, Rosenfeld’s “cover version” of Gyorgy Ligeti's 1967 orchestral work\nLontano\n,for 34-voice teenaged choir and\nsuspended speaker installation.\nTeenage Lontano\nwas premiered in the vast Drill Hall space of the Park Avenue Armory in New York as part\nof the Whitney Biennial 2008. The work had its European premiere in Amsterdam in June 2009 as a co-production of the Holland Festival and Stedelijk\nMuseum and its third production in September 2010 in Oslo as part of Ultima Festival. Other recent works include\nCannons\nfor live musicians and a suite of massive steel “bass cannons”; the multichannel work\nP.A.\n, created in residence\nat the Park Avenue Armory during 2009; and\nPublic Address no. 2\n, a 2-channel installation currently mounted in a public car park in Liverpool (through November 28).\nRosenfeld also performs frequently in the US and Europe as a turntablist, mostly using original dub plates (acetate records), and has been privleged to collaborate with\nmany extraordinary contemporary artists, including Ikue Mori, Christian Marclay, George Lewis, Christof Kurzmann, Kaffe Matthews,\nNels Cline, Zeena Parkins, Lee Ranaldo, Anthony Coleman, Martin TÈtreault, Philip Jeck, Kim Gordon, Alan Licht, Dieb 13, Raz Mesinai,\nand many others. Performers in Rosenfeld’s\nSheer Frost\nand\nEmotional\norchestras\nhave been too numerous to list, but include Laurie Anderson, Kembra\nPfahler/aka (Voluptuous Horror of) Karen Black, Barbara Ess,\nOkkyung Lee, Chiara Giovando, Honeychild, Jutta Koether,\nJosephine Meckseper, Jacqueline Humphries, Jennifer Baron, and many illustrious\nothers.  Between 2004 and 2009 Rosenfeld also performed with the Merce Cunningham Dance Company; the art-band “Text of Light”;\nSonic Youth’s “Good-bye Twentieth Century” tour; the London Musicians Collective’s “Turntable Hell” touring project; and “The International\nTurntable Orchestra” in Berlin.\nSour Mash\n(2010, Innova), a collaboration with George Lewis\nThe Sheer Frost Orchestra: Hop, Drop, Drone, Slide, Scratch and\nA for Anything\n(2001, Charhizma/Vienna)\ntheforestthegardenthesea: music from Fragment Opera\n(1999, Charhizma\n/ Vienna)\nteaching:\nRosenfeld is a member of the faculty of Bard College's MFA program, the Milton Avery School of the Arts, and became\nco-chair of its department of Music/Sound in 2007.\nRosenfeld’s writing has appeared in Artforum, Leonardo, the\nLA Weekly and in John Zorns “Arcana\nII: Musicians on Music.” Her work is the subject of a chapter of a new book by art historian\nSeth Kim-Cohen, “In the Blink of an Ear: Toward a Non-Cochlear Sonic Art” (Continuum, 2009) and is included in Theresa Sauer’s “Notations 21” (Mark Batty, 2009).","bio_dates":"b. 1968"},{"slug":"rosler_martha_a_simple_case_for_torture_1983_iphone","ok":true,"partial":false,"title":"A Simple Case For Torture, or How To Sleep at Night","artist":"Martha Rosler","year":"1983","startOffset":0,"sourceSecs":3837.933,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":222995236,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_a_simple_case_for_torture_1983_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_a_simple_case_for_torture_1983_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosler_martha_a_simple_case_for_torture_1983_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_a_simple_case_for_torture_1983_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_a_simple_case_for_torture_1983_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Rosler identifies the totalitarian implications of an argument for torture, under certain circumstances, as it appears in the editorial pages of Newsweek magazine. Her critique is presented as voiceover and an assemblage of print media -- articles on subjects ranging from human rights to unemployment and global economics. Implicating the U.S. government and American businesses for supporting regimes that systematically use torture, she indicts the American press for its role as an agent of disinformation through selective coverage, its use of language, and for implicitly legitimizing points of view that support torture. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent"},{"slug":"rosler_martha_borntobesold","ok":true,"partial":false,"title":"Borntobesold","artist":"Martha Rosler","year":"1988","startOffset":0,"sourceSecs":1679.848,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":286558099,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_borntobesold/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_borntobesold/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosler_martha_borntobesold.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_borntobesold/main.mp4?v=2","description":"Flower Fields Watch eagle-eye video and performance artist Martha Rosler tackle the case of surrogate mother Mary Beth Whitehead as represented by the main-stream media. This tape uncovers the class and gender bias of the media coverage and the courts. X-tra inventive graphics and kooky dress-up illustrate Rosler's insightful analysis of the court battle, waged within the tricky issue of contemporary reproductive control in America. Fun for the whole family!!!"},{"slug":"rosler_martha_domination_and_the_everyday_1978_iphone","ok":true,"partial":false,"title":"Domination and the Everyday","artist":"Martha Rosler","year":"1978","startOffset":0,"sourceSecs":1935.017,"sourceHeight":320,"sourceWidth":404,"hasAudio":true,"hasAmbientMp4":true,"bytes":114765817,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_domination_and_the_everyday_1978_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_domination_and_the_everyday_1978_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosler_martha_domination_and_the_everyday_1978_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_domination_and_the_everyday_1978_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_domination_and_the_everyday_1978_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1978, 32:07 min, color, sound <br/><br/> In an inquiry into the relation between the corporation, the state and the family, Domination and the Everyday presents a fractured barrage of simultaneous sound tracks, film stills and a crawling text. Questioning the privatized existence of a woman and child, and the role of media information in daily life, this non-narrative tape is structured around the sounds of a woman feeding her small son and readying him for bed, while a radio interview with an art dealer plays in the background. Photographs of family life and corporate ads are juxtaposed with a written text that crawls across the screen, comparing life in Chile with life in the United States. Rosler refers to this layered juxtaposition of fragmented sound, images and text as an \"artist-mother's This Is Your Life.\" <br/><br/> Technical Assistance: Allan Sekula, Bill Jennings, Sarah Culotta, Jim Knox. -- <a href=\"http://eai.org/title.htm?id=2933\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"If It's Too Bad to Be True, It Could Be DISINFORMATION (1985)\nPaper Tiger Television & Martha Rosler - Born to Be Sold: Martha Rosler Reads the Strange Case of Baby S/M (1988)\nIn her work in video, photo-text, performance, critical writing and installation, Martha Rosler constructs incisive social and political analyses of the myths and realities of contemporary culture. Articulated with deadpan wit, Rosler's video works investigate how socioeconomic realities and political ideologies dominate ordinary life. Presenting astute critical analyses in accessible forms, Rosler's inquiries range from questions of public space to issues of war, women's experiences, and media information.\nQuestioning the relation of the corporation, the state and the family, media information and the individual, and public and private, she exposes the internalized oppression that underlies such cultural phenomena as the objectification of women (\nVital Statistics of a Citizen, Simply Obtained,\n1977); anorexia and starvation (\nLosing: A Conversation With The Parents,\n1977); and surrogate motherhood (\nBorn to be Sold,\n1988).\nDensely layered, her tapes merge performance-based narrative dramatizations, documentary elements, mass-media images and factual texts, and often employ litanies of statistics, systems of classification, and enumeration to disrupt the signs of the everyday. For example, of the classic\nSemiotics of the Kitchen\n(1975), Rosler writes that an \"anti-Julia Child replaces the domesticated 'meaning' of kitchen tools with a lexicon of rage and frustration.\"\nWriting about her work, Rosler has stated: \"I want to make art about the commonplace, art that illumines social life. I want to enlist video to question the mythical explanations of everyday life that take shape as an optimistic rationalism and to explore the relationships between individual consciousness, family life, and the culture of monopoly capitalism. Video itself isn't 'innocent': it is a cultural commodity often celebrating the self and its inventiveness. Yet video lets me construct, using a variety of fictional narrative forms, 'decoys' engaged in a dialectic with commercial TV.\"\nMartha Rosler was born in Brooklyn, New York, where she lives and works. She received a B.A. from Brooklyn College and an M.F.A. from the University of California, San Diego. She has taught at the Städelschule in Frankfurt and at Rutgers University in New Jersey. Her works in several media are in the permanent collections of numerous museums, including the Metropolitan Museum of Art, Whitney Museum of American Art, and Guggenheim Museum in New York; Art Institute of Chicago; San Francisco Museum of Modern Art and Long Beach Museum of Art in California; Contemporary Arts Museum, Houston; Stedelijk Museum, Amsterdam; Moderna Museet, Stockholm; Tate and V&A in London; Museu d'Art Contemporani de Barcelona, Barcelona; Museo Centro de Arte Reina Sofía, Madrid; and Australian National Gallery, Canberra; and hundreds of colleges, universities, and independent centers around the world. Her work has been exhibited at the 50th Venice Biennale; 2004 Taipei Biennial; documentas 7 and 12, Kassel; several Whitney Biennials, New York; SkulpturProjekte Münster 07; and many other group exhibitions. The Martha Rosler Library toured from 2005 to 2009. A career retrospective,\nPositions in the Life World\n, was exhibited at 5 European cities and at the New Museum of Contemporary Art, New York, and Institute of Contemporary Photography, New York, from 1998 to 2000.\nRosler was awarded the Spectrum International Prize in Photography for 2005 and the Oskar Kokoschka Prize in 2006. She received an Anonymous Was A Woman Award in 2007 and in 2008 was the United States Artists Nimoy Fellow. In 2009 she held a residency at Civitella Ranieri in Umbertide, Italy. She received a Guggenheim Museum Lifetime Achievement Award in 2010. In 2011 she was a DAAD Artist in Residence in Berlin. In 2012, Rosler will present\nMeta-Monumental Garage Sale\n, her first solo exhibition at The Museum of Modern Art, New York.","bio_dates":"b. 1957"},{"slug":"rosler_martha_it_could_be_disinformation_1985","ok":true,"partial":false,"title":"If It's Too Bad to Be True, It Could Be DISINFORMATION","artist":"Martha Rosler","year":"1985","startOffset":0,"sourceSecs":1002.688,"sourceHeight":480,"sourceWidth":628,"hasAudio":true,"hasAmbientMp4":true,"bytes":171675785,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_it_could_be_disinformation_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_it_could_be_disinformation_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosler_martha_it_could_be_disinformation_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_it_could_be_disinformation_1985/main.mp4?v=2","description":"In a fusion of text and image, Rosler re-presents the NBC Nightly News and other broadcast reports to analyze their deceptive syntax and capture the confusion intentionally inserted into the news script. The artist addresses the fallibility of electronic transmission by emphasizing the distortion and absurdities that occur as a result of technical interference. Stressing the fact that there's never a straight story, Rosler asserts her presence in a character-genererated text that irolls over the manipulated images, isolating excerpts from her sources. In Rosler's barrage of media information, the formal structure is inseparable from her political analysis.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"rosler_martha_martha_rosler_reads_vogue_1982","ok":true,"partial":false,"title":"Martha Rosler Reads Vogue","artist":"Martha Rosler","year":"1983","startOffset":0,"sourceSecs":1565.205,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":96469834,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_martha_rosler_reads_vogue_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_martha_rosler_reads_vogue_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosler_martha_martha_rosler_reads_vogue_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_martha_rosler_reads_vogue_1982/main.mp4?v=2","description":"In this live performance for Paper Tiger Television's public-access cable program in New York, Rosler deconstructs the messages in Vogue and its advertising. Rosler looks at the institutional slants of the magazine industry and the fashion industry's reliance on sweatshops. --"},{"slug":"rosler_martha_secrets_from_the_street_1980","ok":true,"partial":false,"title":"A Secrets from the Street: No Disclosure","artist":"Martha Rosler","year":"1980","startOffset":0,"sourceSecs":660.693,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":112539079,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_secrets_from_the_street_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_secrets_from_the_street_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosler_martha_secrets_from_the_street_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_secrets_from_the_street_1980/main.mp4?v=2","description":"Reading the billboards, the trash, the cars, the people, and the graffitti of the street as cultural signs, Rosler extracts the network of social power and domination that determines whose culture gets represented where, asking, \"Whose culture gets in the magazines and whose culture is required to exist in the street?\" A collage of super-8 footage shot while cruising the streets of a predominantly Latino neighborhood with a voiceover of Rosler's commentary, the tape successfully combines social analysis with everyday observation, drawing attention to the structure of society's fabric and reevaluating what the dominant culture calls \"trash.\" --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"If It's Too Bad to Be True, It Could Be DISINFORMATION (1985)\nPaper Tiger Television & Martha Rosler - Born to Be Sold: Martha Rosler Reads the Strange Case of Baby S/M (1988)\nIn her work in video, photo-text, performance, critical writing and installation, Martha Rosler constructs incisive social and political analyses of the myths and realities of contemporary culture. Articulated with deadpan wit, Rosler's video works investigate how socioeconomic realities and political ideologies dominate ordinary life. Presenting astute critical analyses in accessible forms, Rosler's inquiries range from questions of public space to issues of war, women's experiences, and media information.\nQuestioning the relation of the corporation, the state and the family, media information and the individual, and public and private, she exposes the internalized oppression that underlies such cultural phenomena as the objectification of women (\nVital Statistics of a Citizen, Simply Obtained,\n1977); anorexia and starvation (\nLosing: A Conversation With The Parents,\n1977); and surrogate motherhood (\nBorn to be Sold,\n1988).\nDensely layered, her tapes merge performance-based narrative dramatizations, documentary elements, mass-media images and factual texts, and often employ litanies of statistics, systems of classification, and enumeration to disrupt the signs of the everyday. For example, of the classic\nSemiotics of the Kitchen\n(1975), Rosler writes that an \"anti-Julia Child replaces the domesticated 'meaning' of kitchen tools with a lexicon of rage and frustration.\"\nWriting about her work, Rosler has stated: \"I want to make art about the commonplace, art that illumines social life. I want to enlist video to question the mythical explanations of everyday life that take shape as an optimistic rationalism and to explore the relationships between individual consciousness, family life, and the culture of monopoly capitalism. Video itself isn't 'innocent': it is a cultural commodity often celebrating the self and its inventiveness. Yet video lets me construct, using a variety of fictional narrative forms, 'decoys' engaged in a dialectic with commercial TV.\"\nMartha Rosler was born in Brooklyn, New York, where she lives and works. She received a B.A. from Brooklyn College and an M.F.A. from the University of California, San Diego. She has taught at the Städelschule in Frankfurt and at Rutgers University in New Jersey. Her works in several media are in the permanent collections of numerous museums, including the Metropolitan Museum of Art, Whitney Museum of American Art, and Guggenheim Museum in New York; Art Institute of Chicago; San Francisco Museum of Modern Art and Long Beach Museum of Art in California; Contemporary Arts Museum, Houston; Stedelijk Museum, Amsterdam; Moderna Museet, Stockholm; Tate and V&A in London; Museu d'Art Contemporani de Barcelona, Barcelona; Museo Centro de Arte Reina Sofía, Madrid; and Australian National Gallery, Canberra; and hundreds of colleges, universities, and independent centers around the world. Her work has been exhibited at the 50th Venice Biennale; 2004 Taipei Biennial; documentas 7 and 12, Kassel; several Whitney Biennials, New York; SkulpturProjekte Münster 07; and many other group exhibitions. The Martha Rosler Library toured from 2005 to 2009. A career retrospective,\nPositions in the Life World\n, was exhibited at 5 European cities and at the New Museum of Contemporary Art, New York, and Institute of Contemporary Photography, New York, from 1998 to 2000.\nRosler was awarded the Spectrum International Prize in Photography for 2005 and the Oskar Kokoschka Prize in 2006. She received an Anonymous Was A Woman Award in 2007 and in 2008 was the United States Artists Nimoy Fellow. In 2009 she held a residency at Civitella Ranieri in Umbertide, Italy. She received a Guggenheim Museum Lifetime Achievement Award in 2010. In 2011 she was a DAAD Artist in Residence in Berlin. In 2012, Rosler will present\nMeta-Monumental Garage Sale\n, her first solo exhibition at The Museum of Modern Art, New York.","bio_dates":"b. 1943"},{"slug":"rosler_martha_semiotics_of_the_kitchen","ok":true,"partial":false,"title":"Semiotics Of The Kitchen","artist":"Martha Rosler","year":"1975","startOffset":0,"sourceSecs":389.269,"sourceHeight":464,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":69836442,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_semiotics_of_the_kitchen/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_semiotics_of_the_kitchen/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosler_martha_semiotics_of_the_kitchen.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_semiotics_of_the_kitchen/main.mp4?v=2","description":"Semiotics of the Kitchen adopts the form of a parodic cooking demonstration in which, Rosler states, \"An anti-Julia Child replaces the domesticated 'meaning' of tools with a lexicon of rage and frustration.\" In this performance-based work, a static camera is focused on a woman in a kitchen. On a counter before her are a variety of utensils, each of which she picks up, names and proceeds to demonstrate, but with gestures that depart from the normal uses of the tool. In an ironic grammatology of sound and gesture, the woman and her implements enter and transgress the familiar system of everyday kitchen meanings — the securely understood signs of domestic industry and food production erupt into anger and violence. In this alphabet of kitchen implements, states Rosler, \"when the woman speaks, she names her own oppression.\" --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"rosler_martha_super_8_shorts_backyard_economy_ii","ok":true,"partial":false,"title":"Backyard Economy II (Diane Germain Mowing)","artist":"Martha Rosler","year":"1974","startOffset":0,"sourceSecs":392.889,"sourceHeight":480,"sourceWidth":710,"hasAudio":false,"hasAmbientMp4":true,"bytes":66523806,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_super_8_shorts_backyard_economy_ii/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_super_8_shorts_backyard_economy_ii/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosler_martha_super_8_shorts_backyard_economy_ii.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_super_8_shorts_backyard_economy_ii/main.mp4?v=2","description":"Backyard Economy II (Diane Germain Mowing)<br/> 1974, 6:32 min, color, silent <br/><br/> In these three short, early Super-8 films, Rosler reflects on the relationship between labor and leisure. Set in the arch-American \"home movie\" context of a sunny suburban yard, Backyard Economy I and II document the mundane activities of a woman going about her domestic chores. Quietly depicting this figure in the tasks of mowing and watering the grass, hanging laundry to dry, and keeping her son company, Rosler points up the labor that allows leisure, and interrogates the \"economy\" that creates her role. In the film Flower Fields, Rosler creates a color field painting from the vivid flower-growing fields along Highway 5 in California, which provide a living for the many, most undocumented, workers in the area.<br/><br/> Quote:<br/><br/> Set in the arch-American \"home movie\" context of a sunny suburban yard, Rosler's early Super-8 film Backyard Economy I documents the products of mundane domestic chores. Silently depicting scenes of laundry hanging out to dry in a suburban backyard, Rosler points up the labor that allows leisure and interrogates its underlying \"economy.\"<br/><br/> Quote:<br/><br/> \"This short film was intended to create a colour field painting based on the flower fields that provided the living for so many, mostly undocumented, workers in the area. When the camera closes in on the beautiful colour-striped hillside, the laborers in the field can be seen. Later, in a run up Highway 5, we see the immigration police at their mobile roadblock.\"","artist_bio":"If It's Too Bad to Be True, It Could Be DISINFORMATION (1985)\nPaper Tiger Television & Martha Rosler - Born to Be Sold: Martha Rosler Reads the Strange Case of Baby S/M (1988)\nIn her work in video, photo-text, performance, critical writing and installation, Martha Rosler constructs incisive social and political analyses of the myths and realities of contemporary culture. Articulated with deadpan wit, Rosler's video works investigate how socioeconomic realities and political ideologies dominate ordinary life. Presenting astute critical analyses in accessible forms, Rosler's inquiries range from questions of public space to issues of war, women's experiences, and media information.\nQuestioning the relation of the corporation, the state and the family, media information and the individual, and public and private, she exposes the internalized oppression that underlies such cultural phenomena as the objectification of women (\nVital Statistics of a Citizen, Simply Obtained,\n1977); anorexia and starvation (\nLosing: A Conversation With The Parents,\n1977); and surrogate motherhood (\nBorn to be Sold,\n1988).\nDensely layered, her tapes merge performance-based narrative dramatizations, documentary elements, mass-media images and factual texts, and often employ litanies of statistics, systems of classification, and enumeration to disrupt the signs of the everyday. For example, of the classic\nSemiotics of the Kitchen\n(1975), Rosler writes that an \"anti-Julia Child replaces the domesticated 'meaning' of kitchen tools with a lexicon of rage and frustration.\"\nWriting about her work, Rosler has stated: \"I want to make art about the commonplace, art that illumines social life. I want to enlist video to question the mythical explanations of everyday life that take shape as an optimistic rationalism and to explore the relationships between individual consciousness, family life, and the culture of monopoly capitalism. Video itself isn't 'innocent': it is a cultural commodity often celebrating the self and its inventiveness. Yet video lets me construct, using a variety of fictional narrative forms, 'decoys' engaged in a dialectic with commercial TV.\"\nMartha Rosler was born in Brooklyn, New York, where she lives and works. She received a B.A. from Brooklyn College and an M.F.A. from the University of California, San Diego. She has taught at the Städelschule in Frankfurt and at Rutgers University in New Jersey. Her works in several media are in the permanent collections of numerous museums, including the Metropolitan Museum of Art, Whitney Museum of American Art, and Guggenheim Museum in New York; Art Institute of Chicago; San Francisco Museum of Modern Art and Long Beach Museum of Art in California; Contemporary Arts Museum, Houston; Stedelijk Museum, Amsterdam; Moderna Museet, Stockholm; Tate and V&A in London; Museu d'Art Contemporani de Barcelona, Barcelona; Museo Centro de Arte Reina Sofía, Madrid; and Australian National Gallery, Canberra; and hundreds of colleges, universities, and independent centers around the world. Her work has been exhibited at the 50th Venice Biennale; 2004 Taipei Biennial; documentas 7 and 12, Kassel; several Whitney Biennials, New York; SkulpturProjekte Münster 07; and many other group exhibitions. The Martha Rosler Library toured from 2005 to 2009. A career retrospective,\nPositions in the Life World\n, was exhibited at 5 European cities and at the New Museum of Contemporary Art, New York, and Institute of Contemporary Photography, New York, from 1998 to 2000.\nRosler was awarded the Spectrum International Prize in Photography for 2005 and the Oskar Kokoschka Prize in 2006. She received an Anonymous Was A Woman Award in 2007 and in 2008 was the United States Artists Nimoy Fellow. In 2009 she held a residency at Civitella Ranieri in Umbertide, Italy. She received a Guggenheim Museum Lifetime Achievement Award in 2010. In 2011 she was a DAAD Artist in Residence in Berlin. In 2012, Rosler will present\nMeta-Monumental Garage Sale\n, her first solo exhibition at The Museum of Modern Art, New York.","bio_dates":"b. 1943"},{"slug":"rosler_martha_super_8_shorts_flower_fields","ok":true,"partial":false,"title":"Flower Fields","artist":"Martha Rosler","year":"1974","startOffset":0,"sourceSecs":221.5,"sourceHeight":480,"sourceWidth":708,"hasAudio":false,"hasAmbientMp4":true,"bytes":36246336,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_super_8_shorts_flower_fields/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_super_8_shorts_flower_fields/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosler_martha_super_8_shorts_flower_fields.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_super_8_shorts_flower_fields/main.mp4?v=2","description":"Flower Fields 1974, 3:40 min, color, silent <br/><br/> In these three short, early Super-8 films, Rosler reflects on the relationship between labor and leisure. Set in the arch-American \"home movie\" context of a sunny suburban yard, Backyard Economy I and II document the mundane activities of a woman going about her domestic chores. Quietly depicting this figure in the tasks of mowing and watering the grass, hanging laundry to dry, and keeping her son company, Rosler points up the labor that allows leisure, and interrogates the \"economy\" that creates her role. In the film Flower Fields, Rosler creates a color field painting from the vivid flower-growing fields along Highway 5 in California, which provide a living for the many, most undocumented, workers in the area.<br/><br/> Quote:<br/><br/> Set in the arch-American \"home movie\" context of a sunny suburban yard, Rosler's early Super-8 film Backyard Economy I documents the products of mundane domestic chores. Silently depicting scenes of laundry hanging out to dry in a suburban backyard, Rosler points up the labor that allows leisure and interrogates its underlying \"economy.\"<br/><br/> Quote:<br/><br/> \"This short film was intended to create a colour field painting based on the flower fields that provided the living for so many, mostly undocumented, workers in the area. When the camera closes in on the beautiful colour-striped hillside, the laborers in the field can be seen. Later, in a run up Highway 5, we see the immigration police at their mobile roadblock.\"","artist_bio":"If It's Too Bad to Be True, It Could Be DISINFORMATION (1985)\nPaper Tiger Television & Martha Rosler - Born to Be Sold: Martha Rosler Reads the Strange Case of Baby S/M (1988)\nIn her work in video, photo-text, performance, critical writing and installation, Martha Rosler constructs incisive social and political analyses of the myths and realities of contemporary culture. Articulated with deadpan wit, Rosler's video works investigate how socioeconomic realities and political ideologies dominate ordinary life. Presenting astute critical analyses in accessible forms, Rosler's inquiries range from questions of public space to issues of war, women's experiences, and media information.\nQuestioning the relation of the corporation, the state and the family, media information and the individual, and public and private, she exposes the internalized oppression that underlies such cultural phenomena as the objectification of women (\nVital Statistics of a Citizen, Simply Obtained,\n1977); anorexia and starvation (\nLosing: A Conversation With The Parents,\n1977); and surrogate motherhood (\nBorn to be Sold,\n1988).\nDensely layered, her tapes merge performance-based narrative dramatizations, documentary elements, mass-media images and factual texts, and often employ litanies of statistics, systems of classification, and enumeration to disrupt the signs of the everyday. For example, of the classic\nSemiotics of the Kitchen\n(1975), Rosler writes that an \"anti-Julia Child replaces the domesticated 'meaning' of kitchen tools with a lexicon of rage and frustration.\"\nWriting about her work, Rosler has stated: \"I want to make art about the commonplace, art that illumines social life. I want to enlist video to question the mythical explanations of everyday life that take shape as an optimistic rationalism and to explore the relationships between individual consciousness, family life, and the culture of monopoly capitalism. Video itself isn't 'innocent': it is a cultural commodity often celebrating the self and its inventiveness. Yet video lets me construct, using a variety of fictional narrative forms, 'decoys' engaged in a dialectic with commercial TV.\"\nMartha Rosler was born in Brooklyn, New York, where she lives and works. She received a B.A. from Brooklyn College and an M.F.A. from the University of California, San Diego. She has taught at the Städelschule in Frankfurt and at Rutgers University in New Jersey. Her works in several media are in the permanent collections of numerous museums, including the Metropolitan Museum of Art, Whitney Museum of American Art, and Guggenheim Museum in New York; Art Institute of Chicago; San Francisco Museum of Modern Art and Long Beach Museum of Art in California; Contemporary Arts Museum, Houston; Stedelijk Museum, Amsterdam; Moderna Museet, Stockholm; Tate and V&A in London; Museu d'Art Contemporani de Barcelona, Barcelona; Museo Centro de Arte Reina Sofía, Madrid; and Australian National Gallery, Canberra; and hundreds of colleges, universities, and independent centers around the world. Her work has been exhibited at the 50th Venice Biennale; 2004 Taipei Biennial; documentas 7 and 12, Kassel; several Whitney Biennials, New York; SkulpturProjekte Münster 07; and many other group exhibitions. The Martha Rosler Library toured from 2005 to 2009. A career retrospective,\nPositions in the Life World\n, was exhibited at 5 European cities and at the New Museum of Contemporary Art, New York, and Institute of Contemporary Photography, New York, from 1998 to 2000.\nRosler was awarded the Spectrum International Prize in Photography for 2005 and the Oskar Kokoschka Prize in 2006. She received an Anonymous Was A Woman Award in 2007 and in 2008 was the United States Artists Nimoy Fellow. In 2009 she held a residency at Civitella Ranieri in Umbertide, Italy. She received a Guggenheim Museum Lifetime Achievement Award in 2010. In 2011 she was a DAAD Artist in Residence in Berlin. In 2012, Rosler will present\nMeta-Monumental Garage Sale\n, her first solo exhibition at The Museum of Modern Art, New York.","bio_dates":"b. 1943"},{"slug":"rosler_martha_vitalstatisticsofacitizensimplyobtainedandlosingaconversationwiththeparents_1977","ok":true,"partial":false,"title":"Vital Statistics of a Citizen, Simply Obtained  (1977)","artist":"Martha Rosler","year":"1977","startOffset":0,"sourceSecs":3508.416,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":570713375,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_vitalstatisticsofacitizensimplyobtainedandlosingaconversationwiththeparents_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rosler_martha_vitalstatisticsofacitizensimplyobtainedandlosingaconversationwiththeparents_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rosler_martha_vitalstatisticsofacitizensimplyobtainedandlosingaconversationwiththeparents_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_vitalstatisticsofacitizensimplyobtainedandlosingaconversationwiththeparents_1977/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rosler_martha_vitalstatisticsofacitizensimplyobtainedandlosingaconversationwiththeparents_1977/main/master.m3u8?v=2","hasMainHls":true,"description":"This chilling tape, \"operatically\" conceived Ñ but neither a musical nor a documentary Ñ probes the objectification of women and others in a technological/bureaucratic society. At its core is a long, continuous shot that reveals the part-by-part measurement and evaluation of a woman by a white-coated male examiner and a chorus of three women assistants. How do we come to see ourselves as objects? How do fragmentation and comparison assist in social control? This ordeal of scrutiny thinly alludes to a monumentally protracted episode of Truth or Consequences. The final sequence presents re-framed government photos of women being measured, accompanied by a voiceover litany of \"crimes against women.\" Rosler's distanced depiction of the systematic, institutionalized \"science\" of measurement and classification is meant to recall the oppressive tactics of the armed forces or concentration camps, and to underscore the internalization of standards that determine the meaning of women's being.\n\nVideo: Brian Connell. Post Production: John Baker. With: Phil Steinmetz, Darrell Westlake, Adele Shaules, Pam Wilson, Dana White, Martha Rosler --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"rossif_frederic_langlois_henri_chagall_dans_son_jardin_a_saint_paul_de_vence_1952_1970","ok":true,"partial":false,"title":"Chagall dans son jardin a Saint-Paul-de-Vence","artist":"Marc Chagall","year":"1952-1970","startOffset":0,"sourceSecs":463.765,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":176871128,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rossif_frederic_langlois_henri_chagall_dans_son_jardin_a_saint_paul_de_vence_1952_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rossif_frederic_langlois_henri_chagall_dans_son_jardin_a_saint_paul_de_vence_1952_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rossif_frederic_langlois_henri_chagall_dans_son_jardin_a_saint_paul_de_vence_1952_1970.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rossif_frederic_langlois_henri_chagall_dans_son_jardin_a_saint_paul_de_vence_1952_1970/main.mp4?v=2","description":"dir. Frédéric Rossif, Henri Langlois <br/><br/> En 1951, Langlois se lance dans la production d'un film sur Chagall, le peintre qu'il admirait le plus. C'est aussi le projet le plus ambitieux de la série. Le tournage-fleuve est prolongé jusque dans les années 1960. Proche de Langlois, Chagall signe plusieurs affiches d'expositions (Charleroi, par exemple), mais aussi l'affiche du congrès FIAF de 1953 à Saint-Paul-de-Vence. Un contrat est signé en juillet 1952 : en cas d'exploitation, Chagall accorde 20% des bénéfices à la Cinémathèque, Langlois espère ainsi récupérer 400 000 francs de recettes. En 1954, les opérateurs parcourent le monde avec l'autorisation de Chagall pour filmer les peintures (personne n'avait réussi à filmer les peintures à Saint-Pétersbourg). Ainsi, plus de 200 toiles sont filmées dans le monde entier, 4 000 mètres de pellicule dont il ne reste aujourd'hui que de courts fragments. Le geste est relativement brutal pour exprimer la progression narrative des peintures (loin des magnifiques et longs panoramiques de Luciano Emmer et Enrico Gras le long des fresques de Giotto). Frédéric Rossif, Renée Lichtig, David Perlov, Tinto Brass et Joris Ivens sont associés au travail préparatoire de montage. Chagall s'installe dans le sud à partir de 1950. Il réside à Vence, en voisin de Matisse et Picasso. Il apprend la céramique chez Madoura comme Picasso, à Vallauris. Les images, plus tardives (circa 1960-70 ?) et intimes, en extérieur, montre l'artiste à un moment auprès d'une chèvre, tendre symbole de son amour pour les animaux dits faibles, inoffensifs, nourriciers, promis au sacrifice. Le film reste un projet inachevé : commencé en 1951, toujours inachevé en 1955, premier bout-à-bout en 1956, nouveaux voyages en 1957... Langlois reçoit l'incompréhension de Chagall, qui reste déçu par la qualité des images. L'expérience Chagall marque aussi la fin de collaboration entre Langlois et Rossif. Des éléments de tournage subsistent dans les archives : trois fragments film, peintures (280 mètres, hélas totalement virés : où sont passés les 4000 mètres?), cours avec ses élèves et son assistant en Kodachrome, extérieurs et roseraie à Saint-Paul-de-Vence en noir et blanc ; du côté du non-film, des carnets de « desseins-dessins » (archives David Perlov), mais également un découpage et un scénario de Langlois très détaillés (vie du peintre mais aussi analyse de sa peinture).<br/><br/> Émilie Cauquy<br/><br/> Henri Langlois, producteur de films d'art<br/><br/> Printemps 1950, note d'intention de Langlois : « Nous avons eu l'idée de demander à des poètes, à des peintres, à des savants, à des écrivains et même à des cinéastes refoulés comme Erich von Stroheim, de faire des films en 16 mm, avec les moyens du bord, sans tenir compte d'aucun souci commercial ou de censure. Films, qui, quelle qu'en soit leur technique, parlant ou non, ne manqueront pas de renouveler l'esprit cinématographique. Fernand Léger, Blaise Cendrars, Jacques Prévert, le prince de Broglie, le docteur Mabille, Joris Ivens, d'autres encore, et même Picasso ont, en principe, accepté et tournent déjà. » En fait la liste est encore plus longue d'après les archives : George Bernard Shaw, Paul Delvaux, Balanchine, Brassaï, Éluard, Pablo Neruda, Diego Rivera, Giacometti, Elsa Triolet, Jean-Paul Sartre, Irène Joliot-Curie, Musidora, Cocteau (projet d'un film de 600 mètres de montage des fragments non montrés du Sang d'un poète, des Parents terribles, des Enfants terribles et d'Orphée : « Cela fera un joli micmac. »)<br/><br/> Entre 1950 et 1955, donc, Henri Langlois tente de produire au nom de la Cinémathèque française plusieurs films consacrés à de grands artistes, avec leur coopération, en leur confiant de la pellicule. Il s'agit de Picasso, Matisse, Chagall, Léger et Calder. Malheureusement, nous disposons aujourd'hui de peu d'informations, de peu d'archives, sur le déroulé des faits, très chaotique, suite d'imbroglios juridiques interminables et abandons successifs des projets. Mais on sait que : le MoMA, grâce à Iris Barry, envoie deux lots de pellicule Kodachrome (la facture est lourde : 196 000 francs) ; de la pellicule vierge Kodachrome est offerte en 1950 à Picasso, Léger et Matisse ; la correspondance retrouvée dans les archives témoignent d'une épopée angoissante et malheureuse. Ce qu'il nous reste à voir aujourd'hui :<br/><br/> 8 minutes de rushes pour Matisse, période gouaches découpées.<br/><br/> 25 minutes pour Chagall, en trois fragments filmés entre 1952 et 1960.<br/><br/> Les images de Picasso et Léger restent invisibles (si ce n'est un documentaire photo en 6×6 de Georges Sadoul pour Picasso, conservé à la Cinémathèque)<br/><br/> Les images de Calder réalisées par Jean Painlevé (Le Grand cirque de Calder de 1927, sorti en 1961 et édité par le Centre Pompidou, images également reprises par Carlos Vilardebó).<br/><br/> Malheureusement aucune trace sonore... Mais est-ce qu'un commentaire était prévu ? « Ces tableaux qui bougent », nous dit Apollinaire.<br/><br/> Qu'est-ce que Langlois avait en tête ?<br/><br/> Réaliser un film ou, plus ambitieusement, créer un nouveau genre documentaire expérimental, un film sur et avec l'art, sur l'artiste au travail et qui se filme, comme pour éviter que le regard du cinéaste l'emporte sur la chose regardée. Continuer à affirmer en quelque sorte que le film est un outil de connaissance, mais que c'est aussi un support et moyen de création (influence de Pierre Francastel). Produire une œuvre oui mais surtout la montrer en fanfare, dans un nouveau rendez-vous, le Festival du film de demain à Antibes.<br/><br/> Acquérir une œuvre d'art pour le coût d'un lot de pellicule Kodachrome tout en continuant à démontrer que le cinéma peut entrer au musée ou au temple idéal de l'art moderne.<br/><br/> S'imposer dans un milieu mondain de mécènes et de politiques en tant que connaisseur d'art.<br/><br/> Enregistrer en couleur (tout en profitant de l'imprévisible du Kodachrome mais aussi de sa légèreté, sa maniabilité) l'image d'artistes en situation de testament.<br/><br/> L'homme de la situation est Frédéric Rossif, qui assure les prises de vue (à noter qu'il est également à la caméra pour le film de Cocteau La Villa Santo Sospir), jusqu'en 1951. Jean-Michel Arnold dresse le portrait de la rencontre improbable : « Pour les soirs de cohue (pour L'Âge d'or ou Les Rapaces), Langlois avait demandé à son ami Nico, créateur du cabaret La Rose rouge, de lui prêter son meilleur videur : Frédéric Rossif, un ancien légionnaire monténégrin. L'année suivante, toujours pour Langlois, Frédéric animait le Festival d'avant-garde à Antibes (parmi les invités : Tristan Tzara, André Gide, Paul Éluard) et apportait de la pellicule à Picasso. Reconnaissant, le maître décora sa calvitie naissante. »<br/><br/> C'est un déluge de célébrités, et surtout l'émergence idée nouvelle, signée Langlois : volonté affichée de montrer ce que peut être le cinéma libéré de toute contingence. Libéré de toute contingence, au sens que les aléas financiers d'une production sont mis de côté : il est question de filmer librement, sans contrainte morale, matérielle, économique, technique. Langlois a assurément en tête une idée ambitieuse de renouvellement cinématographique. Il souhaite, comme il l'écrit dans une lettre, « réagir contre la tendance régressive de l'académisme qui entrave actuellement le développement du cinéma, mais d'une manière positive, en montrant que le cinéma est toujours vivant ». Le cinéma sans contingence de Langlois peut être rapproché à cette définition de l'art brut rédigée par Dubuffet en 1945 : « Dessins, peintures, ouvrages d'art de toutes sortes émanant de personnalités obscures, de maniaques, relevant d'impulsions spontanées, animées de fantaisie, voire de délire, et étrangers aux chemins battus de l'art catalogué. » Un cinéma sans la contingence, ce serait une sorte de cinéma absolu, libéré de la contingence au sens où il serait détaché des circonstances, du contexte, des chemins battus de l'art catalogué. Ce serait une position très essentialiste, qui postule une idée du cinéma indépendante du temps, de l'espace et donc de l'histoire. La revendication serait alors : ce film est comme il est et n'aurait pas pu être autrement. Voilà ce qu'est le cinéma, et il n'en sera pas autrement.<br/><br/> Émilie Cauquy","artist_bio":"Chagall dans son jardin a Saint-Paul-de-Vence (1952-1970)\ndir. Frédéric Rossif, Henri Langlois\nMarc Chagall (born Moïche Zakharovitch Chagalov; 6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramic tapestries and fine art prints. Art critic Robert Hughes referred to Chagall as \"the quintessential Jewish artist of the twentieth century\" (though Chagall saw his work as \"not the dream of one people but of all humanity\"). According to art historian Michael J. Lewis, Chagall was considered to be \"the last survivor of the first generation of European modernists\". For decades, he \"had also been respected as the world's pre-eminent Jewish artist\". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra. Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923. He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's \"golden age\" in Paris, where \"he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism\". Yet throughout these phases of his style \"he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk.\" \"When Matisse dies,\" Pablo Picasso remarked in the 1950s, \"Chagall will be the only painter left who understands what colour really is\".","bio_dates":"1887-1985"},{"slug":"rottenberg_mika_5_second_party","ok":true,"partial":false,"title":">5 Second Party","artist":"Mika Rottenberg","year":"2011","startOffset":0,"sourceSecs":26.796,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":4364287,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_5_second_party/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_5_second_party/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rottenberg_mika_5_second_party.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Video installation artist Mika Rottenberg envisions the female body as a microcosm of larger societal issues such as labor and class inequities. In her short films, women cast for their notable physical features and talents perform perfunctory factory-line duties, manufacturing inane items worth less than the labor required to make them. Her homemade machinery and decor are functional but crudely constructed. These contraptions, operating by pedal, conveyor belt, paddle, rubber band, or string, are reminiscent of Peter Fischli and David Weiss's kinetic props, though the human interaction in her works adds a carnivalesque element to Rottenberg's environments, the physical comedy implicit in her narratives recalling Eleanor Antin's filmed performances. The bright colors of Rottenberg's self-contained sets don't disguise the close quarters in which her characters work or mitigate the sense of claustrophobia induced by a dead-end job. A blue-collar work ethic is conjured through the women's uniforms, ranging from diner-waitress dresses to jogging suits. Her cast often use several body parts at once, reminding the viewer of the feminine capacity for multitasking while it suggests an ironic futility in her sweatshop-like situations.","bio_dates":"b. 1976"},{"slug":"rottenberg_mika_cheese","ok":true,"partial":false,"title":"Cheese","artist":"Mika Rottenberg","year":"2008","startOffset":0,"sourceSecs":966.6,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":171787447,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_cheese/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_cheese/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rottenberg_mika_cheese.m4v","hasFrames":true,"description":"The work Cheese is loosely based on the true story of the seven Sutherland sisters, who, in New York in the late nineteenth century, manufactured and sold their own hair product, The Lucky Number 7 – Seven Sutherland Sisters’ Hair Grower. The sisters were known for their extremely long hair, which they claimed was a result of their own secret discovery. An article in Leisure Magazine of 1968, however, reveals that “the ladies presented a combined hair growth of 35 feet, 10 inches (almost 11 meters), attributed wholly to the ingredients of their miracle discovery, a secret later analyzed as alcohol, rainwater and food coloring”.\n\nTaking the story of the business minded Sutherland sisters as her starting point; Mika Rottenberg has created an installation that consists of six projections housed within a wooden structure. In the fiction of the film, six longhaired sisters live together in a ramshackle barn where they make cheese, not just from the milk of the goats they keep, but also through various mysterious rituals involving their hair. The film shows the meticulous washing, grooming and styling of hair, a process so laborious that the sisters have to assist one another. In the strange, fairytale-like scenarios played out in this film, the women’s entire existence seems to revolve around the task of conjuring up supernatural powers to manufacture a single and unremarkable object for consumption – a perfectly ordinary block of cheese."},{"slug":"rottenberg_mika_fried_sweat","ok":true,"partial":false,"title":"Fried Sweat","artist":"Mika Rottenberg","year":"2008","startOffset":0,"sourceSecs":147.19,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":15648820,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_fried_sweat/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_fried_sweat/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rottenberg_mika_fried_sweat.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rottenberg_mika_fried_sweat/main.mp4?v=2","description":"Fried Sweat, 2008<br/> Single channel video installation<br/> Duration 2 min.<br/> Dimensions variable<br/> Courtesy Nicole Klagsbrun Gallery, New York; Andrea Rosen Gallery, New York Installation views, Nottingham Contemporary, 2012 Photo: Andy Keate<br/> <br/> As the sound of Indian music – sarangi, drums and human groans – draws us towards a peephole in the gallery wall, the film Fried Sweat is glimpsed like a surreal, kaleidoscopic scenario unfolding in semi-secrecy. In a small, carpeted space reminiscent of an oriental parlor, a dreamlike assembly of odd characters is gathered to perform various seemingly significant acts: a bodybuilder flexes his muscles to produce sweat that drips into a frying pan and quickly evaporates; a body-contortionist bends into an impossible shape only to implode in a cloud of white dust; and a kneeling man simultaneously chops two planks of wood in half with his bare hands. <br/><br/> The performances that we witness through this peephole may seem like the stuff of “freak-shows” and fairground attractions, where audiences were drawn by the sensational abilities and physical attributes of the objectified other. But here, despite the bizarre setup, the power dynamic between watcher and “watched” is not so straightforward. As the scenario unfolds, it resembles a ritual in which the characters begin to generate an ephemeral energy that exudes directly from their bodies, to be harvested for some unknown yet significant purpose beyond our comprehension. The characters seem to share a significant secret from which we as onlookers are excluded.","artist_bio":"Video installation artist Mika Rottenberg envisions the female body as a microcosm of larger societal issues such as labor and class inequities. In her short films, women cast for their notable physical features and talents perform perfunctory factory-line duties, manufacturing inane items worth less than the labor required to make them. Her homemade machinery and decor are functional but crudely constructed. These contraptions, operating by pedal, conveyor belt, paddle, rubber band, or string, are reminiscent of Peter Fischli and David Weiss's kinetic props, though the human interaction in her works adds a carnivalesque element to Rottenberg's environments, the physical comedy implicit in her narratives recalling Eleanor Antin's filmed performances. The bright colors of Rottenberg's self-contained sets don't disguise the close quarters in which her characters work or mitigate the sense of claustrophobia induced by a dead-end job. A blue-collar work ethic is conjured through the women's uniforms, ranging from diner-waitress dresses to jogging suits. Her cast often use several body parts at once, reminding the viewer of the feminine capacity for multitasking while it suggests an ironic futility in her sweatshop-like situations.","bio_dates":"b. 1976"},{"slug":"rottenberg_mika_marys_cherries","ok":true,"partial":false,"title":"Mary's Cherries","artist":"Mika Rottenberg","year":"2004","startOffset":0,"sourceSecs":350.783,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":53421381,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_marys_cherries/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_marys_cherries/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rottenberg_mika_marys_cherries.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rottenberg_mika_marys_cherries/main.mp4?v=2","description":"In Mary's Cherries (2004), several women within surreal pastel chambers collectively fabricate maraschino cherries from red fingernails."},{"slug":"rottenberg_mika_seven","ok":true,"partial":false,"title":"Seven with Jon Kessler","artist":"Mika Rottenberg","year":"2011","startOffset":0,"sourceSecs":2167.457,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":361737268,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_seven/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_seven/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rottenberg_mika_seven.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rottenberg_mika_seven/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rottenberg_mika_seven/main/master.m3u8?v=2","hasMainHls":true,"description":"Mika Rottenberg makes videos that involve women performing mysterious, product-oriented rituals in close quarters, usually with hilarious feminist overtones and not a little body heat. Jon Kessler specializes in kinetic sculptures that clank and gyrate in a mad-scientist sort of way, often with political implications. Apparently they had enough in common to garner a commission to collaborate on a live performance (the first for both) from Performa 11, the visual art performance biennial whose fourth iteration began its three-week run on Nov. 1 in New York.\n\nThe result is “Seven,” a 37-minute piece involving seven live performers in an installation that includes video. The action centers on the transcontinental production of “chakra juice,” a magic elixir, one assumes, distilled from human sweat. It comes in the seven colors ascribed in Indian medicine to the body’s seven force centers, located at intervals from the bottom of the spine to the crown of the head. Performed continuously in a 37-minute cycle Wednesday through Saturday from 2 through 8 p.m., “Seven” combines the artists’ interests to entertaining, if not completely seamless effect.\n\nAt one end of the assembly line is a New York-based laboratory (the gallery) where sweat is harvested after some typically Rottenbergian exertions by several performers, and reserved in vessels made of a special clay; the clay arrives from the African savannah through the kind of pneumatic tubes once common to department stores. The African side of the operation, conducted by the residents of a tiny, isolated village, appears on television monitors.\n\nWith colored lights flashing, things zipping back and forth across the Atlantic, and liquids and solids changing state and hue — all under the watchful eye of a lab technician who conducts herself with the aplomb of a skilled illusionist — there is quite a bit of firsthand action to follow, most of it in line with Ms. Rottenberg’s aesthetic. But gradually the on-screen drama takes over; the savannah is not only mesmerizingly beautiful, it is also the juice’s destination. The closing scene, a kind of performance within the performance, seems to be mostly Mr. Kessler’s. It is unexpectedly dazzling, as, in a different way, is the realization that all this human effort we’ve just witnessed is for nature’s benefit. -- New York Times"},{"slug":"rottenberg_mika_squeeze","ok":true,"partial":false,"title":"Squeeze","artist":"Mika Rottenberg","year":"2010","startOffset":0,"sourceSecs":1176.308,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":197343151,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_squeeze/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_squeeze/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rottenberg_mika_squeeze.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rottenberg_mika_squeeze/main.mp4?v=2","description":"“Squeeze,” Mika Rottenberg’s latest video foray into the lives of women as objects of desire, exploitation and elaborate hygiene rituals, is, as usual, hilarious and sinister but maybe more mysterious than it needs to be. It is viewed in a small, dark, boxlike space within the larger lighted one that is the Mary Boone Gallery. A life-size photograph adjacent to the entrance shows Ms. Boone holding what appears to be a very large chunk of pad Thai but is really a messy aggregate of iceberg lettuce, latex and little metal tins of rouge. A piece of paper taped to the opposite wall indicates that this aggregate is a sculpture that has been shipped to the Cayman Islands.\n\nLittle of this makes much sense until you view the dizzying 20-minute video. In it, women of different ethnic backgrounds, skin tones and classes labor in far-flung locations, harvesting and processing the materials for the sculpture. Dark-skinned field hands work in actual lettuce fields in Arizona and a natural latex forest in India. Periodically they pause for hand massages, administered by Asian women who labor beneath the gaze of a Teutonic overseer at a central, undisclosed and apparently underground location. Globalism seems to have collapsed geographic distance.\n\nIn the elaborate underground hive, shifting walls, floors and containers of the aforementioned materials contribute further spatial dislocation. An obese dark-skinned woman sits in idle majesty, like a queen bee who is the pinnacle of the art-making hierarchy. One of the hive’s moving walls is punctuated with four bare, Caucasian female fannies, an arrangement that suggests a new idea in hunting trophies, or maybe sconces. The fannies belong to infrequently glimpsed women who pound away at the latex, lettuce and rouge.\n\n“Squeeze” ultimately lacks the coherence and clarity of Ms. Rottenberg’s previous videos, but that may be the price she pays — at least temporarily — for burrowing outward, to more directly connect her wry, deeply disturbing vision to the world’s intractable irrationalities. -- New York Times"},{"slug":"rottenberg_mika_tropical_breeze","ok":true,"partial":false,"title":"Tropical Breeze","artist":"Mika Rottenberg","year":"2004","startOffset":0,"sourceSecs":225.047,"sourceHeight":448,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":16136499,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_tropical_breeze/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rottenberg_mika_tropical_breeze/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rottenberg_mika_tropical_breeze.mp4","hasFrames":true,"description":"About Tropical Breeze Rottenberg says, \"Every product contains part of the lives of the people who were involved in its production. It is very basic, but I find it beautiful because I like the idea of measuring the value of something not by its 'use value' but by the processes that were in its making -- the amount of 'life' that was put into it.\"","artist_bio":"Video installation artist Mika Rottenberg envisions the female body as a microcosm of larger societal issues such as labor and class inequities. In her short films, women cast for their notable physical features and talents perform perfunctory factory-line duties, manufacturing inane items worth less than the labor required to make them. Her homemade machinery and decor are functional but crudely constructed. These contraptions, operating by pedal, conveyor belt, paddle, rubber band, or string, are reminiscent of Peter Fischli and David Weiss's kinetic props, though the human interaction in her works adds a carnivalesque element to Rottenberg's environments, the physical comedy implicit in her narratives recalling Eleanor Antin's filmed performances. The bright colors of Rottenberg's self-contained sets don't disguise the close quarters in which her characters work or mitigate the sense of claustrophobia induced by a dead-end job. A blue-collar work ethic is conjured through the women's uniforms, ranging from diner-waitress dresses to jogging suits. Her cast often use several body parts at once, reminding the viewer of the feminine capacity for multitasking while it suggests an ironic futility in her sweatshop-like situations.","bio_dates":"b. 1976"},{"slug":"roubaud_jacques_latelier_deecriture_1995","ok":true,"partial":false,"title":"L'Atelier d'écriture: Jacques Roubaud","artist":"Jacques Roubaud","year":"1995","startOffset":0,"sourceSecs":1562.56,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":264311156,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/roubaud_jacques_latelier_deecriture_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/roubaud_jacques_latelier_deecriture_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/roubaud_jacques_latelier_deecriture_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/roubaud_jacques_latelier_deecriture_1995/main.mp4?v=2","description":"Un entretien avec Jacques Roubaud, par Pascale Bouhénic, réalisé par Centre Georges Pompidou.\n\nL'écrivain parle de sa poésie, de sa collaboration avec OULIPO, des façons de composer et de lire la poésie."},{"slug":"rouch_jean_cimetieres_dans_la_falaise_1951","ok":true,"partial":false,"title":"Cimetieres dans la falaise","artist":"Jean Rouch","year":"1951","startOffset":0,"sourceSecs":1087.829,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":185361268,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rouch_jean_cimetieres_dans_la_falaise_1951/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rouch_jean_cimetieres_dans_la_falaise_1951/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rouch_jean_cimetieres_dans_la_falaise_1951.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rouch_jean_cimetieres_dans_la_falaise_1951/main.mp4?v=2","description":"Pendant la saison des pluies, un jeune Dogon s'est noyé dans un torrent. Deux prêtres vont au bord de la rivière demander à l'esprit de l'eau de rendre le corps. Lorsque celui-ci réapparaît, une longue cérémonie commence, pendant laquelle le défunt est porté dans tout le village et hissé jusqu'en haut de la falaise, se dernière demeure.","artist_bio":"Obituary: Jean Rouch\nJames Kirkup\nTHE CREATOR of at least 120 documentary films, all remarkable, the great French cineaste Jean Rouch and his works are known and appreciated by a select few among all the \"fans\" swarming to wallow in the latest trilogies of this and that. Though since my film-club youth I had always been enthusiastic about documentaries, it was not until June 1996 that I experienced the revelation of Rouch's incomparable cinematographic art at the Galerie du Jeu de Paume in Paris.\nHe was then in his 80th year, just one year older than myself, and this encounter with an unknown fellow spirit was one of the great events of my old age. The prospect of soon becoming an octogenarian filled me with excitement when I saw Jean Rouch's tall, upright figure and handsome face. It was the first of several sightings, mainly in the streets of Montparnasse and at the cafe known as Le Bal Bullier.\nAt the age of six, Jean was taken by his father, director of the Musee Oceanographique in Monaco, to a cinema in Brest showing Nanook of the North, Robert Flaherty's 1922 film about life in an Eskimo family. The next week, his mother took him to see Douglas Fairbanks as Robin Hood. The future film-maker was born under the twin stars of discovery and adventure.\nIn his youthful student days, back in Paris, he haunted cinemas and joined the circle of devotees organised by the future director of the Cinematheque Henri Langlois. However, in 1937 he entered L'Ecole des Ponts et Chaussees to train as a civil engineer. One year after the defeat of France in 1940, he managed to make his way to the West African state of Niger to construct roads and bridges.\nIt was there that he first succumbed to the fascination of traditional native rites. An elderly Sorko woman set out to purify the souls of 10 workmen struck by lightning - \"a truly marvellous but horrifying ceremony\", Rouch was later to recall -\nand from that day on I realised that such an event could not be conveyed in writing or in photographs; it could only be captured on film, in colour and with sound.\nIn that great retrospective at the Jeu de Paume, I was entranced by the early works of what he called his \"visual anthropology\" from his first visionary masterpiece, paid for out of his own pocket, Au pays des mages noirs (\"In the Land of the Black Seers\", 1947), in which with a few friends he descends the Niger from its source to its magnificent espousals with the ocean.\nBy a miraculous concatenation of circumstances - through his fellow writer/ ethnologist Michel Leiris (whose L'Afrique fantome, 1934, had been an inspiration) and a joyous troupe of jazz fiends fired by black African rhythms - the film was brought to the bemused attention of the newsreel director of Actualites Francaises, who decided to schedule it, conditional upon the addition of commentary, music and the insertion of a few supernumerary indigenous animals, which gave what he considered was a suitably \"colonialist\" stamp of authority. The commentary was enthusiastically declaimed by the regular racing-cyclist authority on the Tour de France. Rouch rejected the result, though he accepted it as \"a lesson in how not to approach the montage of a film\".\nHis real entry upon the cinematic scene came one year later when Henri Langlois organised \"A Festival of Forbidden Films\" with the help of Jean Cocteau at Biarritz, where in 1949 the film that was awarded the Grand Prix du Documentaire was Rouch's ultra-realistic La Circoncision (\"The Circumcision\"), along with his Initiation a la Danse des Possedes (\"Initiation to the Dance of the Possessed\"). Rouch then composed a thesis on rituals of possession to accompany his film Les Maitres fous (\"Masters of Madness\", 1955), which was severely criticised for its \"lack of objectivity\" by certain academic ethnographers.\nHe was just as disrespectful of the current views of what \"quality French cinema\" should be with his preceding masterpieces Yenendi: les hommes qui font la pluie (Rainmakers, 1951), Cimetiere dans la falaise (\"Cliff Cemetery\", 1951), and Batailles sur le grand fleuve (\"Battles on the Big River\", 1950) - all three of which were later combined into a full-length feature entitled Les Fils de l'eau (The Sons of Water, 1958).\nJean Rouch's fame was spreading among film fanatics after he received the Venice Festival Grand Prix in 1957 for Les Maitres fous. In 1958, inspired partly by Jean Genet's 1958 play Les Negres, he made Moi, un noir (I, a Negro, 1958), which won the Louis Delluc Prize. His work had already attracted the young intellectuals and influenced the first films of the nouvelle vague including some who were to achieve fame and fortune - Claude Chabrol, Jean-Luc Godard, who was the first to welcome him to the select band of the New Wave film-makers, and the philosopher Gilles Deleuze.\n\"Cinema verite\" was one of the terms used to express the realism of \"cinema truth\", a term invented by Rouch himself. It reached its full expression in a film he made in collaboration with the young sociologist Edgar Morin in 1960, Chronique d'un ete (Chronicle of a Summer, 1961), a work of radical originality set in the period of Algerian decolonisation and created entirely in the streets of Paris by means of a hand-held camera with synchronised sound. New technology had made cinema verite more than ever true to the truth.\nJean Rouch at 86 had lost some of his youthful energy but none of his wit and enthusiasm. With another great film-maker still not subdued by the constraints of old age, the veteran Portuguese master Manoel de Oliveira (a Firbankian nonagenarian), he made a film in Oporto centred on that city's Pont Eiffel, based on a poem d'Oliveira had written as a script.\nEn une poignee de mains amies (\"In a Fistful of Friendly Hands\", 1997) was a symbolic return to his first employment as a builder of bridges - he who built bridges of the creative spirit between blacks and whites all over the world. And whose final bridge was crossed in a car crash in the night in his preferred province, Niger.\nJean Pierre Rouch, ethnologist and film-maker: born Paris 31 May 1917; Director of Research, Centre National de la Recherche Scientifique 1966- 86; General Secretary, Cinematheque Francaise 1985- 86, President 1987- 91; married 1952 Jane George (deceased), 2002 Jocelyne Lamothe; died Konni, Niger 18 February 2004.","bio_dates":"1917-2004"},{"slug":"rouch_jean_les_maitres_fous_1955","ok":true,"partial":false,"title":"Les Maitres fous","artist":"Jean Rouch","year":"1955","startOffset":0,"sourceSecs":1672.341,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":282403009,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rouch_jean_les_maitres_fous_1955/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rouch_jean_les_maitres_fous_1955/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rouch_jean_les_maitres_fous_1955.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rouch_jean_les_maitres_fous_1955/main.mp4?v=2","description":"Les maîtres fous (The Mad Masters – 1955) is a short film directed by Jean Rouch, a well-known French film director and ethnologist. It is a docufiction, his first ethnofiction, a genre he is considered to have created.\n\nThe subject of the film was the Hauka movement. The Hauka movement consisted of mimicry and dancing to become possessed by British Colonial administrators. The participants performed the same elaborate military ceremonies of their colonial occupiers, but in more of a trance than true recreation. The Hauka movement, according to some anthropologists was a form of resistance that began in Niger, but spread to other parts of Africa. According to some anthropologists, this pageant, though historic, was largely done to mock their authority by stealing their powers. Hauka members were not trying to emulate Europeans, but were trying to extract their life force – something \"entirely African\".\n\nThis stance has been heavily criticized by anthropologist James G. Ferguson who finds this imitation not about importing colonialism into indigenous culture, but more a way to gain rights and status in the colonial society. The adoption of European customs was not so much a form of resistance, but to be \"respected by the Europeans.\"\n\nLes maîtres fous offended both colonial authorities and African students alike. Indeed, the film was so controversial that it was banned first in Niger, and then in British territories including Ghana. The film was considered offensive to colonial authorities because of the Africans' blatant attempts to mimic and mock the \"white oppressors\". On the other hand, African students, teachers, and directors found the film to perpetrate an \"exotic racism\" of the African people."},{"slug":"rubin_barbara_christmas_on_earth_1963_65_iphone","ok":true,"partial":false,"title":"Christmas on Earth","artist":"Barbara Rubin","year":"1963","startOffset":0,"sourceSecs":1767.128,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":108039981,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rubin_barbara_christmas_on_earth_1963_65_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/rubin_barbara_christmas_on_earth_1963_65_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/rubin_barbara_christmas_on_earth_1963_65_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rubin_barbara_christmas_on_earth_1963_65_iphone/main.mp4?v=2","description":"Barbara Rubin’s 29-minute <em>Christmas on Earth</em> is the filmic record of an orgy staged in a New York City apartment in 1963. This double projection of overlapping images of nude men and women clowning around and making love is one of the first sexually explicit works in the American postwar avant-garde. Today <em>Christmas on Earth</em> generates a small but passionate discourse in avant-garde film circles. Many consider it to be an essential document of queer and feminist cinema, though others dismiss it as the worthless effort of a naive amateur. It is still largely unknown to art history. <em>Christmas on Earth</em> in fact deserves to be located within a larger esthetic discourse on contemporary art forms such as Happenings, expanded cinema, and installation. Rubin “was one of the first people to get multimedia interest going around New York,” Andy Warhol said. Further, Rubin’s filmmaking practices were a type of performance and sexual agitprop that foreshadowed the emergence of critical body art at the end of the 1960s. An investigation into the little-known history of Barbara Rubin and her singular work <em>Christmas on Earth</em> deepens our understanding of a period when artists pushed self-determined and guiltless sexuality into the public sphere to catalyze social revolution. -- from <a href=\"http://magazine.art-signal.com/en/barbara-rubin-the-vanished-prodigy/\" rel=\"noopener\" target=\"_blank\">Barbara Rubin: The Vanished Prodigy by Daniel Belasco</a>","artist_bio":"Barbara Rubin came into the film world in 1963, working with Jonas Mekas at the Film-makers Coop. She made a groundbreaking, sexually explicit film, Christmas on Earth, in 1964. She was a major networking in the 1960s linking such disparate figures as Warhol, Bob Dylan, Jack Smith, and Allen Ginsberg, who said of her: \"Her genius was sympathizing with everybody's desire to get together in work with their fellow geniuses.\"","bio_dates":"1945-1980"},{"slug":"ruby_sterling_4_video_reel","ok":true,"partial":false,"title":"4 Video Reel","artist":"Sterling Ruby","year":"2003","startOffset":0,"sourceSecs":2423.567,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":140023664,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruby_sterling_4_video_reel/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruby_sterling_4_video_reel/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruby_sterling_4_video_reel.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruby_sterling_4_video_reel/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruby_sterling_4_video_reel/main/master.m3u8?v=2","hasMainHls":true,"description":"The camera follows behind a woman on a mountain hike. An alpine peak can be seen in the distance. This piece uses the trope of the horror soundtrack to build a tension that is never released.\n\nAgoraphobic is a portrayal of a specific case of New-Age impotence. The agoraphobic's pathology manifests itself as a need to drink his victim's blood in order to move from place to place. Set in an office interior, Agoraphobic becomes a play on the patient / therapist relationship, suggesting an imbalance in the transfer of baggage."},{"slug":"ruby_sterling_dihedral_2006","ok":true,"partial":false,"title":"Dihedral","artist":"Sterling Ruby","year":"2006","startOffset":0,"sourceSecs":482.71,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":88817468,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruby_sterling_dihedral_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruby_sterling_dihedral_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruby_sterling_dihedral_2006.m4v","hasFrames":true,"description":"Figurations of this solitary, ‘fucked’ subject appear most clearly in Ruby’s video works; he ‘invents spaces of which he is “the convulsive possession.”’ Indeed this line is quoted in Dihedral (2006), which combines a voice-over reading a Caillois quote (again from the same essay) to a film of different dye-colors falling into a clear medium, a live-action Morris Louis painting. The ‘dihedral of representation’, for Caillois, stands for that context of perception wherein ‘the living creature, the organism, is no longer the origin of coordinates, but one point among others; it is dispossessed of its privilege and literally no longer knows where to place itself.’7 This demotion is presented, in the videos, alternately as terrifying – space becomes a ‘devouring force’, the subject merely a ‘dark space where things cannot be put’ – and perversely comforting: no longer forced by abstract form to identify himself, this subject can be one amorphous shape among others in a dedifferentiated universe.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/papers/beckett_schneider.html\" rel=\"noopener\" target=\"_blank\">Alan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers</a>","artist_bio":"Four Videos: Hiker (2003), Agoraphobic (2001), Landscape Annihilates Consciousness (2002), Found Cushion Act (2005)\nSterling Ruby is quite versatile in regards to his aesthetic strategies and works in a variety of media—glossy and color-saturated poured polyurethane sculptures, drawings, collages, richly glazed ceramics, graffiti-inspired spray paintings, and video—maintaining a constant tension within a multitude of elements. His work engages with issues related to the violence and pressures within society, autobiography, and art history. Throughout, he vacillates between fluid and static, minimalist and expressionist, pristine and dirty. Of the diverse forms that constitute his oeuvre, the paintings are the most formally abstract. Ruby has long been influenced by the sociological implications of urban demarcation, vandalism, and the power struggles of gang graffiti. In his paintings, acts of defacement are transformed into a painterly sublime.\nSterling Ruby was born in 1972 on Bitburg Air Base in Bitburg, Germany. He graduated in 1996 from the Pennsylvania School of Art and Design, Lancaster. Ruby received his B.F.A. in 2002 from the School of the Art Institute of Chicago, Illinois, and his M.F.A. in 2005 from the Art Center College of Design, Pasadena.\nOften drawing upon autobiographical, art historical or sociological sources, Ruby’s work is frequently referred to as ‘post-humanist’ – a term that broadly describes a society which, thanks in part to technological advancement, has evolved beyond fixed categories of being (e.g. time/place), or predetermining classifications (e.g. animal/human). The seemingly ‘incomprehensible’ visual range of Ruby’s practice thus embodies a schizophrenic, ‘post-everything’ state of perpetual fragmentation and synthesis. A world in which, according to Ruby, ‘there is just too much information for anything to be coherent or whole.’ His practice involves a combination of philosophical enquiry and material investigation, the latter involving the seemingly endless repurposing, combining and recombining of different techniques and media. This too mirrors a shifting condition of constant deconstruction and reconfiguration, and the idea of a non-hierarchical, boundary-less universe.","bio_dates":"b. 1972"},{"slug":"ruby_sterling_tamper_tantrum_inanimate_death_magician_2005","ok":true,"partial":false,"title":"Ruby in Temper Tantrum / Intimate Death Magician","artist":"Sterling Ruby","year":"2003","startOffset":0,"sourceSecs":705.366,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":126330144,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruby_sterling_tamper_tantrum_inanimate_death_magician_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruby_sterling_tamper_tantrum_inanimate_death_magician_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruby_sterling_tamper_tantrum_inanimate_death_magician_2005.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruby_sterling_tamper_tantrum_inanimate_death_magician_2005/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/papers/beckett_schneider.html\" rel=\"noopener\" target=\"_blank\">Alan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers</a>","artist_bio":"Four Videos: Hiker (2003), Agoraphobic (2001), Landscape Annihilates Consciousness (2002), Found Cushion Act (2005)\nSterling Ruby is quite versatile in regards to his aesthetic strategies and works in a variety of media—glossy and color-saturated poured polyurethane sculptures, drawings, collages, richly glazed ceramics, graffiti-inspired spray paintings, and video—maintaining a constant tension within a multitude of elements. His work engages with issues related to the violence and pressures within society, autobiography, and art history. Throughout, he vacillates between fluid and static, minimalist and expressionist, pristine and dirty. Of the diverse forms that constitute his oeuvre, the paintings are the most formally abstract. Ruby has long been influenced by the sociological implications of urban demarcation, vandalism, and the power struggles of gang graffiti. In his paintings, acts of defacement are transformed into a painterly sublime.\nSterling Ruby was born in 1972 on Bitburg Air Base in Bitburg, Germany. He graduated in 1996 from the Pennsylvania School of Art and Design, Lancaster. Ruby received his B.F.A. in 2002 from the School of the Art Institute of Chicago, Illinois, and his M.F.A. in 2005 from the Art Center College of Design, Pasadena.\nOften drawing upon autobiographical, art historical or sociological sources, Ruby’s work is frequently referred to as ‘post-humanist’ – a term that broadly describes a society which, thanks in part to technological advancement, has evolved beyond fixed categories of being (e.g. time/place), or predetermining classifications (e.g. animal/human). The seemingly ‘incomprehensible’ visual range of Ruby’s practice thus embodies a schizophrenic, ‘post-everything’ state of perpetual fragmentation and synthesis. A world in which, according to Ruby, ‘there is just too much information for anything to be coherent or whole.’ His practice involves a combination of philosophical enquiry and material investigation, the latter involving the seemingly endless repurposing, combining and recombining of different techniques and media. This too mirrors a shifting condition of constant deconstruction and reconfiguration, and the idea of a non-hierarchical, boundary-less universe.","bio_dates":"b. 1972"},{"slug":"ruby_sterling_transient","ok":true,"partial":false,"title":"Transient Trilogy","artist":"Sterling Ruby","year":"2009","startOffset":0,"sourceSecs":2468,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":141507199,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruby_sterling_transient/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruby_sterling_transient/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruby_sterling_transient.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruby_sterling_transient/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruby_sterling_transient/main/master.m3u8?v=2","hasMainHls":true,"description":"Transient Trilogy comes close to \"being a real film, with an actor, a setting and something of a narrative scheme. Ruby himself plays a bum, who transits a marginal landscape, neither nature nor manmade, where he occupies himself crafting what can only be called artworks from string, cast-offs and other bits of trash.\" --Walter Robinson, Editor, Artnet Magazine"},{"slug":"ruilova_aida_7_things_of_mollino_2","ok":true,"partial":false,"title":"7 Things of Mollino, 2","artist":"Aïda Ruilova","year":"2006","startOffset":0,"sourceSecs":38.187,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1623869,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruilova_aida_7_things_of_mollino_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruilova_aida_7_things_of_mollino_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruilova_aida_7_things_of_mollino_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruilova_aida_7_things_of_mollino_2/main.mp4?v=2","description":"Shot at the architect and designer Carlo Mollino's home in Turin.","artist_bio":"Female video artist (and musician), Aïda Ruilova, creates short, spastic, repetitive, and chaotic videos. Her videos contain the element of confusion as do many disturbing surrealist artists and their work—the images are just recognizable, yet completely unfamiliar and unsettling. As a fast-paced American artist, Ruilova uses the brevity of her videos to comment on the oddities of what it means to “keep time.” The “erotic and frenetic” nature of her films contains a unique abstraction, with the camera angles and colors formulated together in odd ways (Elena Filipovic 208). Having received her MFA from the School of Visual Arts New York, Ruilova’s spheres of influence are great having been reviewed in Artforum, Artmonthly and Flash Art. Though Ruilova does not directly claim to respond to the art historical past, her new media work cannot escape the connections it makes. Her obsession with the unconscious, the nightmarish state and the unknown are represented in her “frenetic” videos, which are definite characteristics to surrealism and fantasy.","bio_dates":"b. 1974"},{"slug":"ruilova_aida_comp_iphone","ok":true,"partial":false,"title":"Compilation","artist":"Aïda Ruilova","year":"2004","startOffset":0,"sourceSecs":2213.977,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":129256674,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruilova_aida_comp_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruilova_aida_comp_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruilova_aida_comp_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruilova_aida_comp_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruilova_aida_comp_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Dreams and nightmares often leave a vivid impression in our memory, but describing them can be very difficult. Although we know exactly what the feeling was, the plot is fuzzy, and the details fade into one another. Imagination supplements their daylight reconstruction. Such is the nature of Aïda Ruilova’s short films and videos.\n\nMost of Ruilova’s earlier videos are less than a minute long. Like haiku, they aren’t narrative, but they concisely illuminate a situation. Shots of lone young women or men gesturing obsessively or keening idiosyncratic sounds or words in corridors, basements, stairs, or cellars are broken down into short sequences of a second or less. The editing—cognizant of the teachings of structuralist cinema and earlier experimental filmmakers such as Sergei Eisenstein— employs jump cuts, repetition, and loops. As a result, the characters seem trapped in an evil spell. Although infused with irony, they are in distress, possessed by paranoia, tics, and erratic behavior. For their condition there is no epiphany. In the videos Let’s Go (2004), Uh Oh (2004), Um (2004), Ok (2005), and Alright (2005), each character mutters the work’s titular syllables. The shots are taken from extreme angles, and the camera swings obliquely, abruptly zooming in on details like a chin or a hand or using a simple architectural element to mask part of a subject’s body and obtain an almost abstract composition. Sound is treated as image: short segments—for example, the ringing of a bell or overheard voices—are intercut in syncopated rhythms. So fast is the editing that memory is reduced to single frames and fragments.\n\nFor Ruilova—a former member of a noise punk band—music, and especially punk rock and noise metal, is also an iconographic source. You’re pretty (1999) takes place in a cavelike basement in which a frantic young man alternately scratches a vinyl record on the floor and emphatically embraces an amplifier while repeating the title phrase. The détournement of punk-rock icons to objects of sexual desire is humorous, but the scene is nightmarish and conveys a palpable sense of torture and aggression. Black metal music evokes associations with horror stories, secret rituals, zombiism, and esoteric Blakean visions. In It had no feelings (2003), two diaphanous girls recite an enigmatic litany standing in the dark water of a pool in the moonlight. (The dark, impenetrable surface of water is a recurring motif in Ruilova’s work, implying the unseen and the unknown. In Two-Timers (2008), a woman recites poetry to a rat she holds in her hands while immersed in a moonlit pond.) The themes in Ruilova’s lexicon—esotericism, suspense, the macabre, eroticism—are also paradigmatic of gore, vampire, X-rated, and B movies. French filmmaker Jean Rollin, master of soft-core horror, is literally the artist’s mentor. An homage to his persona, life like (2006) combines footage from his movies and shots of an actress (impersonating the artist) either cuddling the supine body of Rollin (who plays himself, dead) or forcing him to perform an endless series of autographs. Parts of the video were shot in Rollin’s Paris apartment, a setting that in some sense represents Ruilova’s cultural origins."},{"slug":"ruilova_aida_goner","ok":true,"partial":false,"title":"Goner","artist":"Aïda Ruilova","year":"2010","startOffset":0,"sourceSecs":695.787,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":298099655,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruilova_aida_goner/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruilova_aida_goner/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruilova_aida_goner.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruilova_aida_goner/main.mp4?v=2","description":"The short film 'Goner' made in 2010. Featuring the actress Sonja Kinski.\n\nDirected by Aida Ruilova\n\nWritten by Aida Ruilova and Alissa Bennett\n\nDirector of Photography: Jason McCormick\n\nProduced by Commonwealth Projects\n\nCommissioned by La Conservera a center for contemporary art in Spain."},{"slug":"ruilova_aida_prop_house_trailer_2011","ok":true,"partial":false,"title":"Prop House (trailer)","artist":"Aïda Ruilova","year":"2011","startOffset":0,"sourceSecs":121.742,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":28194194,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruilova_aida_prop_house_trailer_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruilova_aida_prop_house_trailer_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruilova_aida_prop_house_trailer_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruilova_aida_prop_house_trailer_2011/main.mp4?v=2","description":"Salon 94 Bowery exhibition, Sept 7-October 23, 2011","artist_bio":"Female video artist (and musician), Aïda Ruilova, creates short, spastic, repetitive, and chaotic videos. Her videos contain the element of confusion as do many disturbing surrealist artists and their work—the images are just recognizable, yet completely unfamiliar and unsettling. As a fast-paced American artist, Ruilova uses the brevity of her videos to comment on the oddities of what it means to “keep time.” The “erotic and frenetic” nature of her films contains a unique abstraction, with the camera angles and colors formulated together in odd ways (Elena Filipovic 208). Having received her MFA from the School of Visual Arts New York, Ruilova’s spheres of influence are great having been reviewed in Artforum, Artmonthly and Flash Art. Though Ruilova does not directly claim to respond to the art historical past, her new media work cannot escape the connections it makes. Her obsession with the unconscious, the nightmarish state and the unknown are represented in her “frenetic” videos, which are definite characteristics to surrealism and fantasy.","bio_dates":"b. 1974"},{"slug":"ruitenbeek_stefan_ancient_amateurs_may2012_iphone","ok":true,"partial":false,"title":"Ancient Amateurs","artist":"Stefan Ruitenbeek","year":"2012","startOffset":0,"sourceSecs":1295.256,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":80652604,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruitenbeek_stefan_ancient_amateurs_may2012_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruitenbeek_stefan_ancient_amateurs_may2012_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruitenbeek_stefan_ancient_amateurs_may2012_iphone.m4v","hasFrames":true,"description":"CREDITS: A film, written and directed, by: <br/> Stefan Ruitenbeek<br/> <br/> Cast:<br/> Mandy Slim<br/> Diego<br/> Marcus<br/> Lizzy<br/> Mario<br/> Kim Holland<br/> <br/> Other Appearances:<br/> Aynouk Tan<br/> Ruud Slakhorst<br/> and others<br/> <br/> Screenplay and Creative session with:<br/> Ronald van Vessem<br/> Dimitry de Graaf<br/> Olivier Garcia<br/> Janneke van der Hagen<br/> Wouter Kroeze<br/> Marius Bogaard<br/> Kim Holland<br/> Ruud Slakhorst<br/> Marta Gnyp<br/> <br/> Production<br/> Stefan Ruitenbeek<br/> Kim Holland<br/> Blue Donkey Media<br/> <br/> Camera:<br/> Janneke van de Hagen<br/> Wouter Kroeze<br/> <br/> Behind the scenes camera:<br/> Olivier Garcia<br/> Dimitry de Graaf<br/> Ronald van Vessem<br/> Marius Bogaard<br/> Ernst Lissauer<br/> <br/> Sound:<br/> Frank Rietveld<br/> <br/> Editing:<br/> Olivier Garcia<br/> Ronald van Vessem<br/> Stefan Ruitenbeek<br/> <br/> Casting:<br/> Stefan Ruitenbeek<br/> Kim Holland<br/> <br/> Styling:<br/> Lara Verheijden<br/> <br/> Make-up and Hair:<br/> Ed Tijssen<br/> <br/> Make-up and Hair Assistant:<br/> Iris hoeben<br/> <br/> Assistant Director:<br/> Marius Bogaard<br/> <br/> Script Supervisor:<br/> Simon Wald-Lawoski<br/> <br/> Set Hostess:<br/> Sabine Ruitenbeek<br/> <br/> Assistent: <br/> Hans Hoekstra<br/> <br/> Made Possible With The Support Of:<br/> Fonds BKVB<br/> Blue Donkey Media<br/> Marta Gnyp<br/> <br/> Special Thanks To:<br/> Kim Holland<br/> Stedelijk Museum Bureau Amsterdam<br/> Jelle Bouwhuis<br/> Dennis Diem<br/> Het Licht Lighting Equipment<br/> Ernstige Zaken Studio's<br/> <br/> Copyright Stefan Ruitenbeek 2012<br/><br/>INTERVIEW WITH MARTA GNYP ABOUT ANCIENT AMATEURS<br><br> Marta Gnyp: Why did you choose to go into porn with your movie?<br/><br/> Stefan Ruitenbeek: There are several causes that have brought this work into existence. As an artist I am interested in the morality of aesthetics. Our judgement of beauty lies deeply embedded in our morality and what we deem to be good. There is a world, however, the world of pornography, on which the aesthetic morality, and everything else we consider politically correct or hold in high esteem within any other given context, doesn’t seem to get a grip. But, if you ask me, there is the higher universe of art, which is this big theatre of aesthetic and moral values.<br/><br/> MG: The film constantly displays the opposition between things: the pureness of primordial sexuality versus the commodification of sex in the porn industry; the confrontation between the quick satisfaction of desire sought after in porn and the sublimation of desire in art, the dreams and the reality. What do porn and art have in common?<br/><br/> SR: Both harbour the possibility for certain kinds of behaviour, but they also provoke certain behaviour, they are monsters that create their own rules.<br/><br/> MG: What was it like to actually make the movie?<br/><br/> SR: The high energy that I felt on the porn sets that I visited in the preliminary phase of making the movie, reminded me of the atmosphere I know from art school. Young people that hope to find something within that environment, who seem to find some hope or faith there, or who want to benefit from it.<br/><br/> MG: Art and porn as the promised land.<br/><br/> SR: Yes. Both art and porno are worlds made of illusions, in which promises and hope are magnified. The faith in these promises is what I work with; it is a subtle form of hypnosis that causes the transformation of my actors into the embodied figments of intersubjective imagination.<br/><br/> MG. Is that why the museum, as a place where the movie is in display, is so important, in order to play with these shifting patterns of expectation even more?<br/><br/> SR: Of course I’m interested in presenting pornography in the setting of a museum, because of the resulting transformation of meaning of these pornographic images. Everybody with the even the slightest interest for art must surely enjoy the way in which things seem to become enchanted in the light of our artistic expectations. It also really pleased me when I found out that the porn actors were willing to believe and invest in my story about the merits of art, origin, pureness and primitive man, that I told them long before the movie was even made.<br/><br/> MG: The great public interest in this movie proves that the setting of a museum for a semi porn movie isn’t the most obvious choice. Is it the showing of porn in a public that is a taboo, or is the showing of porn in a museum?<br/><br/> SR: Porn in the museum is mainly a taboo because of the predominant aesthetic morality, within the discourse of contemporary art as well as generally. If I’d chosen to film on porn set in a more documentary-style detached way, I would have maintained certain objectivity. If I had tried to present a polished image of the actors, it would mean I’d be worshipping them. I’m not trying to make fancy porn; the production quality is just as blunt as gonzo porn. The faith and conviction of the actors themselves is what enhances the make-believe of the story.<br/><br/> MG: How did the porn actors deal with the notion of primitive man?<br/><br/> SR: These are people who fuck each other professionally and relentlessly, only to see themselves in the most compromising and revealing documentation, their private parts more explicitly in the picture than their faces, are completely willing to leave their shame behind them. But in a childlike manner they accepted my fairy tale of birth and death, set in a utopian prehistory, where people are born from eggs and men cry after having inseminated the eggs.<br/><br/> MG: How did you come up with this idea of prehistoric life?<br/><br/> SR: The idea of making up a childish little tale about procreation, a myth about the evolutionary origins of sex, seemed to me innocent as well as ironic in the perspective of porn actors, who rather than making babies, spray their seed all over someone’s face, turning the body into a fetish of lust. I wanted to relieve my actors of their perverse role, to see them as naive and innocent beings; as primitive people in a simple world that doesn’t cultivate perversions. It’s a movie about innocence in a hypocritical, yet sacred, perverted, preconditioned world.<br/><br/> MG: Why did you choose Ancient Amateurs as a title for this movie? It is slightly paradoxical to refer to amateurism in a time that there was no distinction between sex amateurs and professionals.<br/><br/> SR: ‘Amateur’ in a porn movie indicates an inexperienced young girl or boy, who has not been in a porn movie yet and is therefore more ‘real’. Amateur porn is highly demanded. The people that watch this kind of porn also experience this defilement, as something that corrupts the girl and makes her less attractive. Like virginity or never-been-touched-before perhaps, but perhaps also because the behaviour of a girl like that is more authentic. Girls that have already been in porn movies are often still being advertised as amateur, because it brings in more money. My title suggests that everybody is an amateur when it comes to imitating the pure, utopian prehistoric lifestyle, because we don’t really know what it was like, and we never will.<br/><br/> MG: To the viewer, the mix of porno, making-of and art film can be confusing, making you feel like you don’t know where you are, or what you’re looking at. What effect do you want this movie to have on the audience?<br/><br/> SR: I want to bring the viewer along into the different perspectives that the film has to offer, as well showing them the thoughts that this film can generated. The movie is very real and extremely physical, whilst looking you’re being confronted with the physical exhaustion that men and women are subjected to, the pain and the pleasure, and at the same time we’re inside a hypothetical fairy tale full of magic. It has to be possible to feel involved with the fate of a young porn actress in the exploiting porn industry the one moment, and to then be surprised by the childlike innocent and brave way in which she takes part in the movie. The brutality of the way in which the men seize the women, the machismo, the men prepared to be vulnerable and to cry.<br/><br/> MG: This movie is about personal dreams and longing, also outside the sexual field, about the creating of your own identity. In between sex scenes a porn actor tells us that he thinks Armani and Hugo Boss are ‘good’, in short a statement on identity and quality.<br/><br/> SR: To get that kind of footage I invited a fashion journalist (Aynouk Tan) to interview the actors about how the beards and hair that we gave them to make them look like primitive people made them feel, but also to interview them about the clothes they wear in everyday life. Because of the beards there was this conviction with which they acted as primitives, and I wanted to make an analogy to the confidence in self-image, which is derived from wearing certain brands.<br/><br/> MG: I think your movie is interesting because it isn’t ironic or nihilistic. There is still hope for mankind.<br/><br/> SR: I think the movie is both ironic and nihilistic, but at the same time hopeful, loving, idealistic and naive. Apparently these things all go together.<br/><br/> MG: The supposed harmony of contradictions seems to be typical of our age. Do we live in a dull, decent age?<br/><br/> SR: People in the sixties knew what they wanted to break free from, these days it’s a lot less clear. Decency is the new wild, exploitation and consumerism is being advertised as freedom and conservative as hopeful, etc, it’s difficult to determine what dullness is exactly.<br/><br/> MG: Which do you consider the best moments of the movie?<br/><br/> SR: I think it’s great when actor Marcus tries to break one of the eggs open, and starts to roar and pound his chest in this helpless way when he doesn’t succeed. I also like the moment that the first actress seems to be a little touched by the eggs she just bore, because they are her children.<br/><br/> MG: How far do you go in copying the real porn movie rules?<br/><br/> SR: My porno is packed in a little fictional story. In this story you see a girl being smacked and begging the guy who’s doing it to stop. This wasn’t in the script, it just happened on set. I documented all these moments and presented them as part of the narrative. Although of course none of the actors were injured, I can’t claim that ‘no humans were harmed for this movie’. If the porn world is really that condemnable, so is this movie.<br/><br/> MG: Are you forcing the viewer to make moral judgements?<br/><br/> SR: In art you can’t get away with easy moral judgements. Art should challenge moral judgement.<br/><br/> MG: Why did you choose to work with clichés? Black men seizing white women?<br/><br/> SR: Indeed I have no problems whatsoever with the fact that my movie is full of porno clichés. Perhaps it makes sense that with my budget the only possibility was to cast black actors and white actresses, a natural course of events. I considered each actor suitable for this movie in his or her own way. There is the naive, childish bodybuilder; the friendly gentle one, and the vain gigolo. There is the tall skinny girl with fashion model aspirations, and the alternative girl that considers porn to be an interesting sub culture.<br/><br/> MG: Is this movie an attempt to reflect upon yourself? Your personal quest for origin and identity?<br/><br/> SR: It’s rather a consequence of my quest, than a quest on itself. Questions or problems don’t lead to answers or salvation, they lead to art.<br/><br/> MG: Does the setting of movie at the time of the dawn of mankind make the artist the creator of all creators?<br/><br/> SR: Creation is good; the creation of creation is even better, because that’s the beginning, the cause of everything ever after. I’m just as interested in the absolute, the infinite, the pure, the intact, primeval image, as I am interested in what is corrupted, defiled and deformed. I like being at the cradle of it all, just as much as working with what is already there, finished and complete, rejected or influenced, in other words at the end. My interest is philosophical as well as sociological.<br/><br/> MG: This film clearly shows how arbitrary the distinction between high and low culture is.<br/><br/> SR: This film is not about people that are highly educated or cultivated. You could say that their behaviour is very conditioned. You have to look for them in their own conditioned state. They are the imprints of what came before them, like the flowing pattern in the sand, left by the waves of the sea and the wind. I am interested in public entertainment and pornography.</br></br>","artist_bio":"Graduated from fine-arts at the Gerrit Rietveld Academy in Amsterdam in 2005\nResident at the post-graduate De Ateliers in Amsterdam Between 2009-2011","bio_dates":"2012"},{"slug":"ruiz_raoul_le_film_a_venir_1997_iphone","ok":true,"partial":false,"title":"Le film à venir","artist":"Raúl Ruiz","year":"1997","startOffset":0,"sourceSecs":527.232,"sourceHeight":302,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":37294515,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruiz_raoul_le_film_a_venir_1997_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruiz_raoul_le_film_a_venir_1997_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruiz_raoul_le_film_a_venir_1997_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruiz_raoul_le_film_a_venir_1997_iphone/main.mp4?v=2","description":"Auteur : Marie-Hélène Mello<br/> Thème : Le film à venir, Poétique du cinéma<br/> Editeur : Intermédialités mai 2005","artist_bio":"Ruiz spent some years at the Catholic University of Santa Fe, Argentina's cinema school. Back in Chile, he directed his first feature film Tres tristes tigres in the late 1960s, winning the Golden Leopard at the Locarno Film Festival. He was something of an outsider among the politically oriented filmmakers of his generation, such as Miguel Littín and Helvio Soto, his work being far more ironic, surrealistic, and experimental. In 1973, after the coup d'état led by the dictator Augusto Pinochet, he left Chile and settled in France. After several years producing and directing low-budget telefilms, he began working with larger budgets and \"name\" stars in 1996 with Three Lives and Only One Death. The following year he directed Genealogies of a Crime, starring Catherine Deneuve. John Malkovich starred in Le temps retrouvé, Les Âmes fortes and Klimt.","bio_dates":"b. 1941"},{"slug":"ruppersberg_mpeg4_640x480","ok":true,"partial":false,"title":"640x480","artist":"Peter Kirby","year":"1986","startOffset":0,"sourceSecs":1671.509,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":292580043,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruppersberg_mpeg4_640x480/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruppersberg_mpeg4_640x480/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruppersberg_mpeg4_640x480.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruppersberg_mpeg4_640x480/main.mp4?v=2"},{"slug":"russell_ken_henri_rousseau_always_on_sunday_1965","ok":true,"partial":false,"title":"Always on Sunday","artist":"Ken Russell","year":"1965","startOffset":0,"sourceSecs":2710.274,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":461378171,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/russell_ken_henri_rousseau_always_on_sunday_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/russell_ken_henri_rousseau_always_on_sunday_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/russell_ken_henri_rousseau_always_on_sunday_1965.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/russell_ken_henri_rousseau_always_on_sunday_1965/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/russell_ken_henri_rousseau_always_on_sunday_1965/main/master.m3u8?v=2","hasMainHls":true,"description":"After his New Wave-influenced The Debussy Film, in which he presented the composer Claude Debussy's life as an intricate Chinese box of time, character, point of view, and narrative mode, Ken Russell next turned to the life of the French painter Henri Rousseau (1844-1910). In his film on Rousseau, Always on Sunday, Russell returns to the more conventional approach of his 1962 biography of the composer Edward Elgar. He uses a combination of impersonal voice-over narration (by Oliver Reed), first-person narration by Rousseau (the voice and accent of the actor playing Rousseau, James Lloyd, sound exactly like those of the English actor Jim Broadbent), passages from contemporary critics' reviews of Rousseau's work, music, and dramatized scenes—some factual, some imagined—to tell Rousseau's story.\n\nRather than covering all of Rousseau's life, Russell begins with Rousseau's retirement, at the age of fifty-one, after twenty years as a French government civil servant, to devote his life to painting. The very first scene shows Rousseau packing his civil servant's uniform and the French flag (he was a customs inspector) in a trunk and pouring mothballs over them. On the soundtrack we hear a chauvinistic passage from the valedictory letter of Rousseau's supervisor expressing the hope that in his retirement he will produce art which will raise the opinion of France in the estimation of \"foreigners.\" If the title of the film, with its word play on the title of the movie Never on Sunday, doesn't make us suspect that something not quite straightforward is up, Russell gives us a clear indication within the first minute that this is a film whose tone—both visual and verbal—will combine seriousness with satire. That is the innovation of Always on Sunday—its combination of a conventional stylistic approach and a wildly unconventional and constantly shifting tone in which scenes of restrained visual beauty alternate with scenes of outlandish comic exaggeration.\n\nRousseau retired the same year the avant-garde painters of Paris founded the Salon des Indépendants. This was an annual exhibition in which painters like Manet, Monet, Cézanne, and Seurat could display work that had been rejected for the annual exhibition of the conservative Academy of Painting and Sculpture. In fact, anyone could enter work in the new exhibition, and this is exactly what Rousseau did that first year and nearly every year for the rest of his life. But Rousseau, a self-taught painter and ordinary middle-class retiree, was not part of the Impressionists or any other artistic movement or group and was ignored by other artists and scorned for his primitive style even by critics and those members of the public sympathetic to the new style of painting. This gives rise to a jaw-dropping scene early in the film in which Russell gives full rein to his mordant sense of humor and his extreme sense of dramatic hyperbole.\n\nAt the first exhibition of the Salon, a group of onlookers gathers around Rousseau, who is standing beside one of his paintings, and ridicule him. At the front of the group are a rakish gentleman and a woman in tawdry dress. As she gorges on a huge box of chocolates she is holding, the two trade repartee in working-class British accents for the benefit of amused bystanders. The painting, of Rousseau's Army unit, is titled 51st Artillery: A Portrait of the Artist and His Brothers at Arms (it's pictured above), and the couple are making fun of the fact that all of the soldiers look pretty much alike. (They do.) \"Which one's he then?\" the man asks. \"That's him,\" she says, pointing to one of the soldiers. \"No, uh, that's him,\" he replies, pointing to a different soldier. The pair continue trading those two lines—\"That's him!\" \"That's him!\"—faster and more shrilly as the whole group breaks up with laughter and the abashed Rousseau looks on in humiliation. Finally the woman silences the man by shoving a chocolate in his mouth. The entire absurd routine wouldn't seem out of place in an episode of Monty Python's Flying Circus.\n\nThings get even more peculiar when Rousseau is adopted as a protégé by the proto-surrealist dramatist and poet Alfred Jarry, who promotes Rousseau's original painting style as \"unconscious\" genius. \"Why should strangeness provoke mockery?\" he asks. Their scenes together are filmed in a frenetic physical style which recalls that of silent comedy, not the balletic comedy of Chaplin or the acrobatic comedy of Keaton, but the hyperactive knockabout farce of the Keystone Kops. Rousseau and Jarry, who is played by the five-foot tall actress Annette Robertson from The Debussy Film, become a weird comedy team of physical opposites in the style of Laurel and Hardy.\n\nIf the film later settles into a comparatively more sedate style, it never loses its satirical edge. Yet even though it pokes fun at just about everything in sight, it never makes fun of Rousseau, portraying him as a naïf (he actually considered himself a \"realist\" painter) and as a perennial outsider, too odd to be fully accepted by the straight world, too unfashionable to be embraced by the avant-garde art movement. Russell treats the neglect of Rousseau's talent during his lifetime—he was consistently dismissed by the public, critics, and other artists—seriously as well. Despite being championed by Jarry, the poet Guillaume Apollinaire, and very late in his life by Pablo Picasso, who discovered Rousseau after buying one of his paintings for a few dollars in a junk shop, Rousseau was only truly recognized as an innovative genius by the Cubists and Surrealists, who claimed him as a forerunner of their styles, years after his death.\n\nRussell takes the satirical exaggeration of Always on Sunday even further in the fourth film in the set, his biography of Isadora Duncan (1877-1927), Isadora: The Biggest Dancer in the World, and this time extends it to the subject of the film herself. The film begins with a narrator reading from newspaper articles describing events in Isadora's life: being banned from Boston after a nude performance, the death of her two children when their car rolls into the Seine, the suicide of the mad Russian poet she married, Isadora's suicide attempt on the French Riviera, finally her bizarre death and her funeral. Accompanying this Citizen Kane-like opening, however, are images played strictly for farce, filmed in fast motion and edited like a manic two-reel silent comedy. The rest of Isadora continues in this vein, as lyrical passages lead to outrageously comic ones. But mostly the tone is comic, covering just about every variety of comedy—farce, satire, irony, parody, visual and verbal humor. -- The Movie Projector"},{"slug":"ruttmann_walter_berlin_die_sinfonie_der_groststadt_1927","ok":true,"partial":false,"title":"Berlin: Die Sinfonie der Grosstadt","artist":"Walter Ruttmann","year":"1927","startOffset":0,"sourceSecs":3129.36,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":527982676,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruttmann_walter_berlin_die_sinfonie_der_groststadt_1927/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruttmann_walter_berlin_die_sinfonie_der_groststadt_1927/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruttmann_walter_berlin_die_sinfonie_der_groststadt_1927.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruttmann_walter_berlin_die_sinfonie_der_groststadt_1927/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruttmann_walter_berlin_die_sinfonie_der_groststadt_1927/main/master.m3u8?v=2","hasMainHls":true,"description":"First conceived by Carl Mayer (thus the lack of title cards, aside from AKT. I thru V cards) , who envisioned an image assembly that would register in the viewer's conciousness like music, capturing the rhythms of the daily life of the metropolis. The concept then passed into the hands of Karl Freund (and his ace operator Robert Babaerske), who deployed a team of cameramen to capture, sometimes through camouflaged setups (hidden cameras on little handtrucks, stationary setups with a box over them, etc), the contrasting urban scenes on display over the course of a 24 hour period. This footage was then handed over to Walter Ruttmann, who applied a lovely editing sensibility, drawing out the poignancy, the beauty, the roughness, and the inevitibility of the city life and architecture of Berlin.\n\nWhat shines through no matter how many times I view the film--and despite the conflicting viewpoints of the film's makers (apparently Mayer signed off of the film after seeing where his scenario was heading... as Roger Manvell says, \"Mayer, still in Berlin, and preoccupied now with new concepts of realism, began to work on a documentary study of life in Berlin. This was to become Walter Ruttmann's city-symphony film Berlin , which Mayer disowned because his basic idea—the rhythm of human life in a great city—was sacrificed in order to feature the purely plastic visual rhythms of movement observed by the camera and developed through the fluidity of skilled editing,\")-- is the great love for the metropolis posessed by all involved. The little out-of-the-way shops, the deserted tubes of the underground sewer, the showgirls applying makeup, the stale beer dives packed with drunken semi-corpses singing joyfully to the greasy rafters, the streetwalkers, the high-end jewelry shops just up the block from 75 year old women panhandling for change, the floor shows, hockey games, neon lights, wide eyed souls wandering the streets trying to remember what Home was once upon a time... all of it is captured with great affection and edited with a great sense of urban interplay... rich and poor, the hustling and the languid, the hungry and the satiated, man and animal.\n\nI once swore that whatever resided in the, then yet-unheard (prior to the release of this disc) Edmund Meisel score could not ever top in my affections the score composed by Timothy Brock (and played by the Olympia Chamber Orch) and recorded for the Image Entertainment DVD. Then this Edition Filmmuseum dvd, with the film restored and with the original 1927 score attached to the film, came out... and I was utterly floored. The Meisel score is a Total Revelation-- it's not just one score, but dozens of scores: the man probably watched this film more carefully than any other composer watched any other, writing a score at absolute ground level (while nevertheless maintaining a total overhead view of unity and theme), in total correspondence with each moment of onscreen imagery. Every shot has its own individual score-- a shot will play out, and the mood created by the scene unfolding therein will be perfectly punctuated by Meisels score... then -- blink-- an edit, and we click into a shot of a new street, a new scene... as Meisel's score changes accordingly. In a certain sense this is the most carefully observed original score I've yet heard from the silent era. Brilliant-- and despite this scene-by-scene close observation, never once does Meisel's score lose its sense of cohesive thematic unity or compositional sense of topical through-line, never reading as disconnected mosaic. Brilliant!"},{"slug":"ruttmann_walter_melodie_der_welt_1_iphone","ok":true,"partial":false,"title":"Melodie der Welt aka Melody of the World","artist":"Walter Ruttmann","year":"1929","startOffset":0,"sourceSecs":2901.464,"sourceHeight":320,"sourceWidth":420,"hasAudio":true,"hasAmbientMp4":true,"bytes":171560870,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruttmann_walter_melodie_der_welt_1_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ruttmann_walter_melodie_der_welt_1_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ruttmann_walter_melodie_der_welt_1_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruttmann_walter_melodie_der_welt_1_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ruttmann_walter_melodie_der_welt_1_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"An impression of the state of the world in 1929, contrasting similarities and differences in religion, customs, art and entertainment from all over the world. The film is constructed like a symphony. Melodie der Welt - the first German sound feature. Ruttmann's innovative experimentations in movement, color and sound confirm his status as a pioneer of modern media art."},{"slug":"sabahi_shirin_swede_home_1966_1973_1975_2009","ok":true,"partial":false,"title":"Swede Home","artist":"Shirin Sabahi","year":"1966/1973","startOffset":0,"sourceSecs":823.287,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":147190441,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sabahi_shirin_swede_home_1966_1973_1975_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sabahi_shirin_swede_home_1966_1973_1975_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sabahi_shirin_swede_home_1966_1973_1975_2009.mp4","hasFrames":true,"description":"Shirin Sabahi's work evolves from 8-mm found footage taken by Jan Edman (1928), a retired Swedish engineer who traveled to Iran nearly 15 times between 1966 and 1979 when master plans for modernization of the country were at the forefront. On behalf of a Swedish consulting and engineering company and commissioned by various Iranian state-owned and private industries, he visited different Iranian cities for the purpose of realizing industrial projects. In Swede Home, Sabahi incorporates three reels of Edman's films from Iran of the '60s and the '70s. In the video installation, the audience can choose between the two narrators: one is Edman himself giving a commentary on his films from Iran more than thirty years later; the other is the artist's alter ego; a photographer whom upon visiting the site of the former Tehran slaughterhouse Ð which Edman's company was involved in its construction Ð unfolds the history of the piece of land that the slaughterhouse was once located in. Edman's narration is linear and often corresponds to the image whereas the other narration is more detached. It follows the transformation of the slaughterhouse to a culture house after the 1979 revolution and a target of the systemized land grab in the Tehran of the millennium. While the cameraman's narration addresses the longing for past and the arbitrariness of memory, the photographer's narration employs the location of the slaughterhouse as the space of the transference of this non-lived past. Accompanied by a slide show of the site's current condition, past and present, real and fictive come together and make us wonder about the future changes in the district and in a broader sense in urban areas as manifestations of social and economical transformations that occur to nation states."},{"slug":"sachs_lynne_atalanta_32_years_later_by_lynne_sachs_2006_compressed","ok":true,"partial":false,"title":"Atalanta: 32 Years Later","artist":"Lynne Sachs","year":"2006","startOffset":0,"sourceSecs":346.752,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":58515969,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_atalanta_32_years_later_by_lynne_sachs_2006_compressed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_atalanta_32_years_later_by_lynne_sachs_2006_compressed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sachs_lynne_atalanta_32_years_later_by_lynne_sachs_2006_compressed.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_atalanta_32_years_later_by_lynne_sachs_2006_compressed/main.mp4?v=2","description":"5 min. 16mm 2006 <br/><br/> A retelling of the age-old fairy tale of the beautiful princess in search of the perfect prince. In 1974, Marlo Thomas’ hip, liberal celebrity gang created a feminist version of the children’s parable for mainstream TV’s “Free to Be You and Me”. Now in 2006, Sachs dreamed up this new experimental film reworking, a homage to girl/girl romance. Ocularis, Williamsburg, Pacific Film Archive, 2006. <br/><br/> “Very gentle and evocative of foreign feelings.” George Kuchar","bio_dates":"b. 1961"},{"slug":"sachs_lynne_cuadro_por_cuadro_frame_by_frame_by_lsachs_mstreet_2009_compressed","ok":true,"partial":false,"title":"Cuadro por Cuadro/ Frame by Frame","artist":"Lynne Sachs","year":"2009","startOffset":0,"sourceSecs":525.504,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":91796210,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_cuadro_por_cuadro_frame_by_frame_by_lsachs_mstreet_2009_compressed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_cuadro_por_cuadro_frame_by_frame_by_lsachs_mstreet_2009_compressed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sachs_lynne_cuadro_por_cuadro_frame_by_frame_by_lsachs_mstreet_2009_compressed.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_cuadro_por_cuadro_frame_by_frame_by_lsachs_mstreet_2009_compressed/main.mp4?v=2","description":"In “Cuadro por caudro”, Mark Street and Lynne Sachs put on a workshop (taller in Spanish) with a group of Uruguan media artists to create hand-painted experimental films in the spirit of Stan Brakhage. Sachs and Street collaborate with the students at the Fundacion de Arte Contemporaneo by painting on 16 and 35 mm film, then bleaching it and hanging it to dry on the roof of the artists’ collective in Montevideo in July, 2009."},{"slug":"sachs_lynne_drift_and_bough_by_lynne_sachs_2014_compressed","ok":true,"partial":false,"title":"Drift and Bough","artist":"Lynne Sachs","year":"2014","startOffset":0,"sourceSecs":400.619,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":146734249,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_drift_and_bough_by_lynne_sachs_2014_compressed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_drift_and_bough_by_lynne_sachs_2014_compressed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sachs_lynne_drift_and_bough_by_lynne_sachs_2014_compressed.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_drift_and_bough_by_lynne_sachs_2014_compressed/main.mp4?v=2","description":"Super 8mm, black and white, 6 min. 2014<br/> Music by Stephen Vitiello + Molly Berg<br/> “Back Again” from the album “Between You and the Shapes you Take”<br/> Courtesy 12k<br/><br/> Filmmaker Lynne Sachs spends a winter morning in Central Park shooting film in the snow. Holding her Super 8mm camera, she takes note of graphic explosions of dark and light and an occasional skyscraper. The stark black lines of the trees against the whiteness create the sensation of a painter’s chiaroscuro. Woven into this cinematic landscape, we hear sound artist Stephen Vitiello’s delicate yet soaring musical track, which seems to wind its way across the frozen ground, up the tree trunks to the sky.","bio_dates":"b. 1961"},{"slug":"sachs_lynne_lasthappyday_vimeo_compressed","ok":true,"partial":false,"title":"Lasthappyday Vimeo Compressed","artist":"Lynne Sachs","year":"2009","startOffset":0,"sourceSecs":2388.373,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":995295463,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_lasthappyday_vimeo_compressed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_lasthappyday_vimeo_compressed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sachs_lynne_lasthappyday_vimeo_compressed.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_lasthappyday_vimeo_compressed/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_lasthappyday_vimeo_compressed/main/master.m3u8?v=2","hasMainHls":true,"description":"The Last Happy Day is a half-hour experimental documentary portrait of Sandor Lenard, a distant cousin of filmmaker Lynne Sachs and a Hungarian medical doctor. Lenard was a writer with a Jewish background who fled the Nazis. During the war, the US Army Graves Registration Service hired Lenard to reconstruct the bones — small and large — of dead American soldiers. Eventually Sandor found himself in remotest Brazil where he embarked on the translation of “Winnie the Pooh” into Latin, an eccentric task which catapulted him to brief world-wide fame. Perhaps it is our culture’s emphasis on genealogy that pushes Sachs to pursue a narrative nurtured by the “ties of blood”, a portrait of a cousin. Ever since she discovered as a teenager that this branch of her family had stayed in Europe throughout WWII, she has been unable to stop wondering about Sandor’s life as an artist and an exile. Sachs’ essay film, which resonates as an anti-war meditation, is composed of excerpts of her cousin’s letters to the family, abstracted war imagery, home movies of children at a birthday party, and interviews.\n\n“A fascinating, unconventional approach to a Holocaust-related story … a frequently charming work that makes no effort to disguise an underlying melancholy.” - The Jewish Week\n\n“Exquisite…Sachs reclaims (Lenard’s) dignity and purpose using letters, newsreel footage, and recreations of his environment as if to channel him back from the past.” - Chicago Filmmakers"},{"slug":"sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part1_compressed","ok":true,"partial":false,"title":"Mybodylynne Sachs Yourbody Videolecture 2020 Part1 Compressed","artist":"Lynne Sachs","year":"2020","startOffset":0,"sourceSecs":2610.816,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":1159479173,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part1_compressed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part1_compressed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part1_compressed.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part1_compressed/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part1_compressed/main/master.m3u8?v=2","hasMainHls":true,"description":"How do we negotiate the photographing of images that contain the body? What experiential, political or aesthetic contingencies do we bring to both the making and viewing of a cinema that contains the human form? If a body is different from our own—in terms of gender, skin color, or age—do we frame it differently? As a juror at the 58th Ann Arbor Film Festival, New York filmmaker Lynne Sachs will guide her audience through her own evolution as a filmmaker by sharing excerpts from her films, from 1987 to the present. She will explore the fraught and bewildering challenge of looking at the human form from behind the lens."},{"slug":"sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part2_compressed","ok":true,"partial":false,"title":"Mybodylynne Sachs Yourbody Videolecture 2020 Part2 Compressed","artist":"Lynne Sachs","year":"2020","startOffset":0,"sourceSecs":2381.888,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":1054875609,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part2_compressed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part2_compressed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part2_compressed.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part2_compressed/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_mybodylynne_sachs_yourbody_videolecture_2020_part2_compressed/main/master.m3u8?v=2","hasMainHls":true,"description":"How do we negotiate the photographing of images that contain the body? What experiential, political or aesthetic contingencies do we bring to both the making and viewing of a cinema that contains the human form? If a body is different from our own—in terms of gender, skin color, or age—do we frame it differently? As a juror at the 58th Ann Arbor Film Festival, New York filmmaker Lynne Sachs will guide her audience through her own evolution as a filmmaker by sharing excerpts from her films, from 1987 to the present. She will explore the fraught and bewildering challenge of looking at the human form from behind the lens."},{"slug":"sachs_lynne_still_life_with_women_and_four_objects_by_lynne_sachs_1987_compressed","ok":true,"partial":false,"title":"Still Life with Woman and Four Objects","artist":"Lynne Sachs","year":"1986","startOffset":0,"sourceSecs":244.125,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":80871375,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_still_life_with_women_and_four_objects_by_lynne_sachs_1987_compressed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_still_life_with_women_and_four_objects_by_lynne_sachs_1987_compressed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sachs_lynne_still_life_with_women_and_four_objects_by_lynne_sachs_1987_compressed.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_still_life_with_women_and_four_objects_by_lynne_sachs_1987_compressed/main.mp4?v=2","description":"A film portrait that falls somewhere between a painting and a prose poem, a look at a woman’s daily routines and thoughts via an exploration of her as a “character”. By interweaving threads of history and fiction, the film is also a tribute to a real woman - Emma Goldman."},{"slug":"sachs_lynne_the_small_ones_by_lynne_sachs_2006_compressed","ok":true,"partial":false,"title":"The Small Ones","artist":"Lynne Sachs","year":"2006","startOffset":0,"sourceSecs":211.563,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":27069243,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_the_small_ones_by_lynne_sachs_2006_compressed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_lynne_the_small_ones_by_lynne_sachs_2006_compressed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sachs_lynne_the_small_ones_by_lynne_sachs_2006_compressed.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_lynne_the_small_ones_by_lynne_sachs_2006_compressed/main.mp4?v=2","description":"Directed by Lynne Sachs<br/> 3 min. 16mm and video 2006<br/> <br/> During World War II, the United States Army hired Lynne Sachs’ cousin, Sandor Lenard, to reconstruct the bones – small and large – of dead American soldiers. This short anti-war cine-poem is composed of highly abstracted battle imagery and children at a birthday party.<br/> <br/> Black Maria Film Festival Director’s Choice Award; Ann Arbor Film Festival; Tribeca Film Festival.<br/> <br/> “Profound. The soundtrack is amazing. The image at the end of the girl with the avocado seed so hopeful. Good work.” Barbara Hammer","bio_dates":"b. 1961"},{"slug":"sachs_tom_space_program_2_mars_2001","ok":true,"partial":false,"title":"Space Program 2 Mars","artist":"Tom Sachs","year":"2011","startOffset":0,"sourceSecs":60.396,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":8033198,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_tom_space_program_2_mars_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sachs_tom_space_program_2_mars_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sachs_tom_space_program_2_mars_2001.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sachs_tom_space_program_2_mars_2001/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Tom Sachs, born in 1966, lives and works in New York, his native city. Sachs re-envisions modern iconography, masterpieces of engineering, and popular and industrial inventions of the 20th century. He revisits, in model form, both history-making space shuttles and the MacDonald’s workplace. From the module of Apollo 11 to Hello Kitty, Sachs plays with genres and “brand image”. In fact, he doesn’t refrain from taking major luxury brands and ripping them out of their contexts. The themes central to his universe focus on American culture and society, which he treats with a heavy dose of humor and sarcasm. Attentive to detail and the finished result, he executes his work using both high and low materials. Most often, his models are created out of foamboard, and some of his sculptures are cast in bronze. Sachs is a sculptor in the classical sense of the term. Like a Carl Zeiss lense, his unique designs break down the history of our production techniques even as they underline the meaning behind them, from their excellence to their alienation.","bio_dates":"b. 1966"},{"slug":"sackner_sara_concrete_iphone","ok":true,"partial":false,"title":"Concrete!","artist":"Sara Sackner","year":"2006","startOffset":0,"sourceSecs":4300.29,"sourceHeight":292,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":248351642,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sackner_sara_concrete_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sackner_sara_concrete_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sackner_sara_concrete_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sackner_sara_concrete_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sackner_sara_concrete_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Ruth and Marvin Sackner share their love of words and images with an intimate tour of their Miami Beach home/museum -- the worlds largest private collection of concrete/visual poetry from such twentieth century art movements as Italian Futurism, Russian and Eastern European Avant Garde, Dada, Surrealism, Bauhaus, De Stijl, Ultra, Tabu-Dada, Lettrisme, and Ultra-Lettrisme. Over sixty-thousand objects from around the word speak volumes about a compulsive and joyful life of collecting art, poetry, and artist books.\n\nGuillaume Apollinaire, Allen Ginsberg, Roy Lichtenstein, Matta, Bob Cobbing, Tom Phillips, Katharina Eckhart, Gertrude Stein, Ben Vautier and many, many more...\n\nRuth and Marvin Sackner founded the Archive in Miami Beach, Florida in 1979. Its initial mission was to establish a collection of books, critical texts, periodicals, ephemera, prints, drawings, collages, paintings, sculptures, objects, manuscripts, and correspondence dealing with precedent and contemporary, internationally produced, concrete and visual poetry. The antecedent material had at its starting point, Stephane Mallarme 's poem, \"Un Coup de Des\" (Cosmopolis, 1897).\n\nThe historic examples included works with concrete/visual poetic sensibilities from such twentieth century art movements as Italian Futurism, Russian and Eastern European Avant Garde, Dada, Surrealism, Bauhaus, De Stijl, Ultra, Tabu-Dada, Lettrisme, and Ultra-Lettrisme. The initiators of the contemporary, international, concrete poetic movement included Oyvind Fahlstrom (1953), Eugen Gomringer (1953) and the Noigandres Group, i.e., Augusto De Campos, Haroldo De Campos, and Decio Pignatari (1955).\n\nThe Sackners collected their works as well as those of subsequent poets and over the years expanded the scope of the Archive to include unique or small edition artist's books that integrated text and image or consisted of experimental typography. They added examples of typewriter art and poetry, experimental calligraphy, correspondence art, stamp art, sound poetry, performance poetry, micrography, assembling periodicals, 'zines,' and graphic design as well as conventional poetry and prose written by concrete/visual poets and artists in the collection.\n\nFurther, they collected experimental typographic, text and image works from such contemporary art movements as Fluxus, Transfuturism, and Inism. They included experimental fictional and non-fictional books with uniquely designed layouts such as Raymond Federman's \"Double or Nothing,\" Alasdair Gray's \"1982 Janine,\" B.E. Johnson's \"House Mother Normal: A Geriatric Comedy,\" Avital Ronell's \"The Telephone Book,\" and Mark Z. Danielewski's \"House of Leaves.\"\n\nPre-twentieth century examples of pattern poetry were added to the Archive such as Rabanus Maurus' \"Liber de Laudibus Sanctae Crucis\" (1503) and Publili Optatiani Porfyrii's \" Panegyricus Dictus Constantino Augusto \" (1595).\n\nThe Sackners collected manuscripts, sketchbooks and letters written by poets and artists including Ian Hamilton Finlay, Bob Cobbing, Dom Sylvester Houedard Tom Phillips, William Jay Smith, Jean-Francois Bory, Jake Berry, and F.A. Nettelbeck among others. The Archive evolved into a word/image poetic and artistic resource rather than a restricted collection of concrete and visual poetry."},{"slug":"sadeghi_ali_akbar_coalition_2004","ok":true,"partial":false,"title":"Coalition","artist":"Ali Akbar Sadeghi","year":"2004","startOffset":0,"sourceSecs":663.595,"sourceHeight":528,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":120429245,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sadeghi_ali_akbar_coalition_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sadeghi_ali_akbar_coalition_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sadeghi_ali_akbar_coalition_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sadeghi_ali_akbar_coalition_2004/main.mp4?v=2","description":"<b>RELATED RESOURCES</b>: <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br/> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a>","artist_bio":"Before there was an Iranian New Wave, there was Kanoon. Founded in 1965 with the blessing of then-queen Farah Diba, the Institute for the Intellectual Development of Children and Young Adults--mostly referred to as Kanoon, an abbreviation of the Farsi name--produced books, audiotapes, and films, both animated and live action, for Iranian children from Tehran to Bushehr, Sistan, and Baluchistan. Stories such as Baba Barfi (Father Snow), Amoo Norooz (Uncle New Year), The Journey of Sinbad, or Khorshid Khanoom Aftab Kan (Shine on, Lady Sun) were tales that all Iranian children would come to know and cherish. Prior to Kanoon's founding, most children's books in the country were translations of Western classics. There was Pinocchio, The Little Prince, and Tin Tin--all in slightly clumsy Farsi.\nThe history of Kanoon is equally entwined with many of Iran's most epic late-twentieth century stories, from Empress Farah's cultural initiatives to the heyday of the Iranian left to the revolution. Kanoon would become a sort of incubator for some of the country's most celebrated artists--including Ebrahim Forouzesh, Noureddin Zarrinkelk, and many of the protagonists of Iranian cinema, Sohrab Shahid-Sales, Abbas Kiarostami, and Amir Naderi among them. The following is the first in a series of conversations in Bidoun about Kanoon. Here, Arash Sadeghi engages his father, the painter Ali Akbar Sadeghi, who is best known for pioneering a style that mixed traditional Persian coffeehouse painting and the surreal, and Farshid Mesghali, one of Kanoon's most important graphic designers and animators. Among the elder Sadeghi's most iconic projects during his time at Kanoon was Malek ol-Khorshid (King of the Sun, 1975), a magical animation inspired by the tenth-century Persian epic The Shahnameh (The Book of Kings). Mesghali is probably most beloved for his illustration work on the book Mahee Siya Koochooloo (The Little Black Fish, 1968). Here, the three discuss the founding of Kanoon and its activities up until the time of the revolution of 1979. One way to gauge a nation's history, after all, is to look at what its children have been reading.\nArash Sadeghi: Can you tell me a little about how you entered Kanoon?\nAli Akbar Sadeghi: After all these years and at this old age, I can't remember too many details. But I can say that two great people, Lili Amir-Arjomand and Firooz Shirvanloo, created a factory called Kanoon whose goal was to support creativity among the next generation of Iranians. Now, how did I become a Kanooni? One day, Abbas [Kiarostami] told me that Kanoon was to publish a book and needed someone who could illustrate the text in classical Persian style. He asked me to come to their offices and, like that, with the book Pahlavan-e Pahlavanan (The Champion of Champions), my relationship with the institute began. I have the best memories of my life from my time there.\nArash Sadeghi: Mr Mesghali, can you tell me about the birth of Kanoon?\nFarshid Mesghali: I'm really excited. After all these years, someone is asking me to recount the story of the birth of a revolution. Let's start. Farah Diba, the last Iranian queen, had a close friend named Lili Amir-Arjomand. They had been roommates while they were students in France. When Farah became the queen, Lili, who had studied to be a librarian, was appointed head of the national oil company library.\nAfter a short while, in 1965, Lili, with Farah's support, proposed that a library be built in Laleh Park--it was called Farah Park back then--for children and young adults. This was to be the first specialized library for children in Iran, and they also planned to publish children's books. Their first book was The Princess and the Pea by Hans Christian Andersen, complete with Farah's own illustrations. Many people do not know this and this first book and the establishment of the library were the starting points of Kanoon. In fact, in the beginning, Kanoon's activities were limited to translating and importing books from abroad.\nIn 1965, Lili officially launched Kanoon with Farah's support. She would be the first director, along with a man named Firooz Shirvanloo.\nI knew Firooz from many years ago, when I was working at Franklin Publications with Arapik Baghdasarian. Firooz is the most important person in the history of Kanoon, in part because of his political background. Firooz had studied philosophy in England and had come back with leftist tendencies. He was also a member of the Iran-Britain Student Confederation. They were known for their extreme revolutionary ideas. After returning to Iran from Britain, he was the art d irector of Payk magazine for young adults, which was published by Franklin Publications. These days you can find the magazine in news kiosks under the name Roshd.\nAfter the confederation became embroiled in a failed attempt to kill the Shah in 1965, Firooz was arrested by one of the Shah's insiders in the Iran-Britain Student Confederation and sentenced to death. After his arrest, they feared me, too, and I was fired. Europeans objected to the court sentence, and eventually the Shah forgave them, and the death penalty was reduced to a few years in prison. After winning their freedom, some of them were offered important positions so that they might \"rethink\" their leftist ideas.\nBecause of his experience in publishing magazines for children, the palace offered Firooz a position in the newly formed Kanoon. At the same time, Firooz had just founded an advertisement group called Negareh and hired a group of arts and literature students from Tehran University to work with him, including Abbas Kiarostami, Ahmadreza Ahmadi, Nikzad Nojoumi, Farideh Farjam, Arapik Baghdasarian, and myself. Eventually they would all migrate to Kanoon itself. But even after prison, Firooz held on to his leftist ideas, and many of the people he brought into Kanoon with him were leftist writers and researchers.\nIn 1968, Firooz commissioned me to work on one of Kanoon's first independent books. With the publication of The Little Black Fish written by Samad Behrangi, we gained a lot of attention. I drew the illustrations for that book, and we won the top award at the Bratislava Children's Book Fair because of it.\n[The Little Black Fish is the story of a black fish who dreams of seeing the big blue sea. He faces many dangers, including a heron, which he kills with a dagger. The narrator of the story, a grandmother to many little fish, explains that the little black fish has disappeared by the end--a little like the martyrs who have died trying to find a better world. It was hard not to find political symbolism in this, along with other stories. Incidentally, its author, Samad Behrangi was an active socialist agitator who translated some of Iran's most avant-garde poets, like Ahmad Shamlou, Forough Farrokhzad, and Mehdi Akhavan-Sales, into his native Azeri language. He drowned in the Aras River in 1967, and his death is generally blamed on the Pahlavi regime. Also published around that time was Gol-e Boloo Va Khorshid (The Crystal Flower and the Sun, 1967), by Farideh Farjam, illustrated by Nikzad Nodjoumi. This is the story of a flower that miraculously shoots up amid the ice of the North Pole. For a period of six months, the little flower develops a close relationship to the sun. The sun tells the flower about the world and its people. At the end of six months, when the sun has to migrate, the flower asks to move with him. He gets so close to him that the flower wilts and joins the sun forever. Along with The Little Black Fish, The Crystal Flower was honored at the Bologna Children's Book Fair.]\nFarshid Mesghali: In 1969, Firooz moved to Kanoon completely and took his colleagues with him, launching a research department, a publishing department, and, upon Kiarostami's suggestion, a film and animation department. Firooz directed all three, and in 1970, Kanoon's first short motion picture Nan-o-Kooche (Bread and Alley), directed by Kiarostami, was produced.\n[Shot in black and white, the film tells the story of a little boy walking home with a loaf of bread, who is confronted by a hungry dog. In the end, the two get over their mutual suspicions and become fast friends.]\nFarshid Mesghali: In that same period, the first animations were born, including Agha-ye Hayoola (Mr Monster), created by myself, and Vorood Mamnoo' (No Entrance) by Arapik Baghdasarian.\nWith the arrival of Ali Akbar Sadeghi in 1970 and the illustration of Pahlavan-e Pahlavanan by Nader Ebrahimi, and a host of international awards that this book brought for Kanoon, the institution gained more currency and, because of that, more support from the queen.\n[Pahlevan-e Pahlevanan is the story of a grand champion named Pooriya-ye-Vali who hears of a younger champion who hopes to triumph over him. The young pahlevan (champion) comes from Sistan to Kharazm to wrestle with Pooriya-ye Vali. His mother accompanies him and prays for him every day prior to the fight. Pooriya hears her, but nevertheless, decides to fight his best fight. He loses to the young champion and leaves his hometown forever.]\nFarshid Mesghali: Kanoon eventually launched the Tehran Children and Young Adults Film Festival. They were especially interested in Eastern Europe films, like those of Raoul Servais and Jan Oonk. Kanoon hardly let any commercial or empty American films enter the collection.\nLater, that very collection would be the fuel for the post-revolutionary media to broadcast un-American films with educational and cultural values far removed from ostensibly Western or capitalist ideas.\nWith the establishment of the film department and the launch of the Tehran festival, Kanoon started to grow rapidly. Many young artists and writers flooded there to make films. Among them were Dariush Mehrjui, Bahram Bezaie, Amir Naderi, Nasser Taghvai, Ali Akbar Sadeghi, Nafiseh Riyahi, Ebrahim Forouzesh, Nader Ebrahimi, Ahmadreza Ahmadi, Cyrus Tahbaz, and even musicians like Majid Entezami, Esmaiel Monfaredzadeh, Hossein Alizadeh, and Sheyda Gharachedaghi. Production increased dramatically.\nFarshid Mesghali: I'm not sure of the year exactly, but I think it was around 1970, 1971. Firooz was finally fired from Kanoon at the end of 1972. He had brought one too many leftists to the organization, like Mehdi Samakar and Dr Rasoul Nafisi, to work as writers and researchers. SAVAK (the Shah's intelligence services) had always had problems with the leftists, but for the most part Lili had been able to handle them because of her close relations with the palace. But slowly things changed. When Firooz had to leave Kanoon, the so-called dissident products inspired by leftists were removed. He went on to direct the Niavaran Cultural Centre. But we owe him a great debt for giving us all a start.\nAli Akbar Sadeghi: That was our golden age. We won many prizes from all over the world.\n[Firooz Shirvanloo would go on to work for Empress Farah Diba's office, and played a large role in amassing the state's modern art collection under the patronage of the empress herself. That collection continues to be known as one of the best modern art collections outside of the West, with its Warhols, Hockneys, Pollocks, and beyond. To this day, it inspires a conspiracy theory or two in reference to what became of the works after the revolution of 1979, and that revolution's insistence on eliminating all traces of Western culture.]\nArash Sadeghi: Can you tell me about the libraries Kanoon founded and ran?\nFarshid Mesghali: Over the course of ten years, Kanoon built one hundred fifty libraries in cities and villages throughout Iran. We created mobile libraries to roam to distant villages and distribute books to the country's nomads. If there were places the buses couldn't reach, books were sent to children on the back of donkeys and horses. One can say that Kanoon was playing the role of an independent Ministry of Culture.\nFarshid Mesghali: From the beginning, a board of trustees was formed and the queen was in charge of it. Its members were from the Ministry of Art and Culture, the Ministry of Education, the national airline (Iran Air), the Interior Ministry, the Oil Ministry, the Pahlavi Foundation, National Radio and Television, as well as nine major national and cultural figures.\nBoard members supported Kanoon through their affiliated organizations. For instance, Iran Air was obliged to give children Kanoon products as in-flight souvenirs, or the Oil Ministry would give Kanoon products to the children of the employees. Iranian painters painted for children, Iranian sculptors designed toys, the musicians played at events, and filmmakers were dedicated to making children's works. Back then, Kanoon's libraries were the best in the Middle East, and maybe even the world.\nThe libraries were quickly turned into cultural centers and started to attract children with free books, films, and theater. Children were crazy for Kanoon. There were weekly classes of painting, filmmaking, writing, music, theater, languages, and ceramics held weekly at Kanoon's various centers and libraries. Around three hundred libraries were active. The mobile libraries were also mobile cinemas and showed films for nomad children or children living in distant villages. By 1979, one million children were members of Kanoon. At least eight million children were touched by Kanoon products, and the books they published numbered over fifteen thousand.\nWe published all kinds of books, from religious tales about Shia imams to stories about ancient Persian heroes to fantasy and modern stories. Kanoon's productions took account of all the people of Iran, from north to south, east to west, as well as the capital. There really was nothing else like it.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1937"},{"slug":"sadeghi_ali_akbar_malek_khorshid_1975","ok":true,"partial":false,"title":"Malek Khorshid [1975] (avi)","artist":"Ali Akbar Sadeghi","year":"1975","startOffset":0,"sourceSecs":954.24,"sourceHeight":478,"sourceWidth":628,"hasAudio":true,"hasAmbientMp4":true,"bytes":170089099,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sadeghi_ali_akbar_malek_khorshid_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sadeghi_ali_akbar_malek_khorshid_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sadeghi_ali_akbar_malek_khorshid_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sadeghi_ali_akbar_malek_khorshid_1975/main.mp4?v=2","description":"Magical Shahnameh inspired animation produced for Kanoon. <br/><br/> <strong>Animator/Director: </strong>Ali Akbar Sadeghi <strong>Story: </strong>Parviz Davai <strong>Writers: </strong>Parviz Davai, Ahmad Reza Ahmadi, Ali Akbar Sadeghi <strong>Camera: </strong>Mohammad Feyjani, Mehdi Samakar <strong>Sound: </strong>Harayer, Changiz Sayyad, Ahmad Asgari <strong>Music: </strong>Daryoush Dowlatshahi <strong>Editor: </strong>Harayer <strong>Production: </strong>The Iranian Institue For the Intellectual Development of Children and Young Adults Iran, 16 min., Color, 1975 <strong>Synopsis:</strong> This animated short film is based on a story from Iranian folklore. A prince falls in love with a beautiful girl the moment he sees her picture. He travels to seven cities in order to find her, encountering various characters along the way.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Before there was an Iranian New Wave, there was Kanoon. Founded in 1965 with the blessing of then-queen Farah Diba, the Institute for the Intellectual Development of Children and Young Adults--mostly referred to as Kanoon, an abbreviation of the Farsi name--produced books, audiotapes, and films, both animated and live action, for Iranian children from Tehran to Bushehr, Sistan, and Baluchistan. Stories such as Baba Barfi (Father Snow), Amoo Norooz (Uncle New Year), The Journey of Sinbad, or Khorshid Khanoom Aftab Kan (Shine on, Lady Sun) were tales that all Iranian children would come to know and cherish. Prior to Kanoon's founding, most children's books in the country were translations of Western classics. There was Pinocchio, The Little Prince, and Tin Tin--all in slightly clumsy Farsi.\nThe history of Kanoon is equally entwined with many of Iran's most epic late-twentieth century stories, from Empress Farah's cultural initiatives to the heyday of the Iranian left to the revolution. Kanoon would become a sort of incubator for some of the country's most celebrated artists--including Ebrahim Forouzesh, Noureddin Zarrinkelk, and many of the protagonists of Iranian cinema, Sohrab Shahid-Sales, Abbas Kiarostami, and Amir Naderi among them. The following is the first in a series of conversations in Bidoun about Kanoon. Here, Arash Sadeghi engages his father, the painter Ali Akbar Sadeghi, who is best known for pioneering a style that mixed traditional Persian coffeehouse painting and the surreal, and Farshid Mesghali, one of Kanoon's most important graphic designers and animators. Among the elder Sadeghi's most iconic projects during his time at Kanoon was Malek ol-Khorshid (King of the Sun, 1975), a magical animation inspired by the tenth-century Persian epic The Shahnameh (The Book of Kings). Mesghali is probably most beloved for his illustration work on the book Mahee Siya Koochooloo (The Little Black Fish, 1968). Here, the three discuss the founding of Kanoon and its activities up until the time of the revolution of 1979. One way to gauge a nation's history, after all, is to look at what its children have been reading.\nArash Sadeghi: Can you tell me a little about how you entered Kanoon?\nAli Akbar Sadeghi: After all these years and at this old age, I can't remember too many details. But I can say that two great people, Lili Amir-Arjomand and Firooz Shirvanloo, created a factory called Kanoon whose goal was to support creativity among the next generation of Iranians. Now, how did I become a Kanooni? One day, Abbas [Kiarostami] told me that Kanoon was to publish a book and needed someone who could illustrate the text in classical Persian style. He asked me to come to their offices and, like that, with the book Pahlavan-e Pahlavanan (The Champion of Champions), my relationship with the institute began. I have the best memories of my life from my time there.\nArash Sadeghi: Mr Mesghali, can you tell me about the birth of Kanoon?\nFarshid Mesghali: I'm really excited. After all these years, someone is asking me to recount the story of the birth of a revolution. Let's start. Farah Diba, the last Iranian queen, had a close friend named Lili Amir-Arjomand. They had been roommates while they were students in France. When Farah became the queen, Lili, who had studied to be a librarian, was appointed head of the national oil company library.\nAfter a short while, in 1965, Lili, with Farah's support, proposed that a library be built in Laleh Park--it was called Farah Park back then--for children and young adults. This was to be the first specialized library for children in Iran, and they also planned to publish children's books. Their first book was The Princess and the Pea by Hans Christian Andersen, complete with Farah's own illustrations. Many people do not know this and this first book and the establishment of the library were the starting points of Kanoon. In fact, in the beginning, Kanoon's activities were limited to translating and importing books from abroad.\nIn 1965, Lili officially launched Kanoon with Farah's support. She would be the first director, along with a man named Firooz Shirvanloo.\nI knew Firooz from many years ago, when I was working at Franklin Publications with Arapik Baghdasarian. Firooz is the most important person in the history of Kanoon, in part because of his political background. Firooz had studied philosophy in England and had come back with leftist tendencies. He was also a member of the Iran-Britain Student Confederation. They were known for their extreme revolutionary ideas. After returning to Iran from Britain, he was the art d irector of Payk magazine for young adults, which was published by Franklin Publications. These days you can find the magazine in news kiosks under the name Roshd.\nAfter the confederation became embroiled in a failed attempt to kill the Shah in 1965, Firooz was arrested by one of the Shah's insiders in the Iran-Britain Student Confederation and sentenced to death. After his arrest, they feared me, too, and I was fired. Europeans objected to the court sentence, and eventually the Shah forgave them, and the death penalty was reduced to a few years in prison. After winning their freedom, some of them were offered important positions so that they might \"rethink\" their leftist ideas.\nBecause of his experience in publishing magazines for children, the palace offered Firooz a position in the newly formed Kanoon. At the same time, Firooz had just founded an advertisement group called Negareh and hired a group of arts and literature students from Tehran University to work with him, including Abbas Kiarostami, Ahmadreza Ahmadi, Nikzad Nojoumi, Farideh Farjam, Arapik Baghdasarian, and myself. Eventually they would all migrate to Kanoon itself. But even after prison, Firooz held on to his leftist ideas, and many of the people he brought into Kanoon with him were leftist writers and researchers.\nIn 1968, Firooz commissioned me to work on one of Kanoon's first independent books. With the publication of The Little Black Fish written by Samad Behrangi, we gained a lot of attention. I drew the illustrations for that book, and we won the top award at the Bratislava Children's Book Fair because of it.\n[The Little Black Fish is the story of a black fish who dreams of seeing the big blue sea. He faces many dangers, including a heron, which he kills with a dagger. The narrator of the story, a grandmother to many little fish, explains that the little black fish has disappeared by the end--a little like the martyrs who have died trying to find a better world. It was hard not to find political symbolism in this, along with other stories. Incidentally, its author, Samad Behrangi was an active socialist agitator who translated some of Iran's most avant-garde poets, like Ahmad Shamlou, Forough Farrokhzad, and Mehdi Akhavan-Sales, into his native Azeri language. He drowned in the Aras River in 1967, and his death is generally blamed on the Pahlavi regime. Also published around that time was Gol-e Boloo Va Khorshid (The Crystal Flower and the Sun, 1967), by Farideh Farjam, illustrated by Nikzad Nodjoumi. This is the story of a flower that miraculously shoots up amid the ice of the North Pole. For a period of six months, the little flower develops a close relationship to the sun. The sun tells the flower about the world and its people. At the end of six months, when the sun has to migrate, the flower asks to move with him. He gets so close to him that the flower wilts and joins the sun forever. Along with The Little Black Fish, The Crystal Flower was honored at the Bologna Children's Book Fair.]\nFarshid Mesghali: In 1969, Firooz moved to Kanoon completely and took his colleagues with him, launching a research department, a publishing department, and, upon Kiarostami's suggestion, a film and animation department. Firooz directed all three, and in 1970, Kanoon's first short motion picture Nan-o-Kooche (Bread and Alley), directed by Kiarostami, was produced.\n[Shot in black and white, the film tells the story of a little boy walking home with a loaf of bread, who is confronted by a hungry dog. In the end, the two get over their mutual suspicions and become fast friends.]\nFarshid Mesghali: In that same period, the first animations were born, including Agha-ye Hayoola (Mr Monster), created by myself, and Vorood Mamnoo' (No Entrance) by Arapik Baghdasarian.\nWith the arrival of Ali Akbar Sadeghi in 1970 and the illustration of Pahlavan-e Pahlavanan by Nader Ebrahimi, and a host of international awards that this book brought for Kanoon, the institution gained more currency and, because of that, more support from the queen.\n[Pahlevan-e Pahlevanan is the story of a grand champion named Pooriya-ye-Vali who hears of a younger champion who hopes to triumph over him. The young pahlevan (champion) comes from Sistan to Kharazm to wrestle with Pooriya-ye Vali. His mother accompanies him and prays for him every day prior to the fight. Pooriya hears her, but nevertheless, decides to fight his best fight. He loses to the young champion and leaves his hometown forever.]\nFarshid Mesghali: Kanoon eventually launched the Tehran Children and Young Adults Film Festival. They were especially interested in Eastern Europe films, like those of Raoul Servais and Jan Oonk. Kanoon hardly let any commercial or empty American films enter the collection.\nLater, that very collection would be the fuel for the post-revolutionary media to broadcast un-American films with educational and cultural values far removed from ostensibly Western or capitalist ideas.\nWith the establishment of the film department and the launch of the Tehran festival, Kanoon started to grow rapidly. Many young artists and writers flooded there to make films. Among them were Dariush Mehrjui, Bahram Bezaie, Amir Naderi, Nasser Taghvai, Ali Akbar Sadeghi, Nafiseh Riyahi, Ebrahim Forouzesh, Nader Ebrahimi, Ahmadreza Ahmadi, Cyrus Tahbaz, and even musicians like Majid Entezami, Esmaiel Monfaredzadeh, Hossein Alizadeh, and Sheyda Gharachedaghi. Production increased dramatically.\nFarshid Mesghali: I'm not sure of the year exactly, but I think it was around 1970, 1971. Firooz was finally fired from Kanoon at the end of 1972. He had brought one too many leftists to the organization, like Mehdi Samakar and Dr Rasoul Nafisi, to work as writers and researchers. SAVAK (the Shah's intelligence services) had always had problems with the leftists, but for the most part Lili had been able to handle them because of her close relations with the palace. But slowly things changed. When Firooz had to leave Kanoon, the so-called dissident products inspired by leftists were removed. He went on to direct the Niavaran Cultural Centre. But we owe him a great debt for giving us all a start.\nAli Akbar Sadeghi: That was our golden age. We won many prizes from all over the world.\n[Firooz Shirvanloo would go on to work for Empress Farah Diba's office, and played a large role in amassing the state's modern art collection under the patronage of the empress herself. That collection continues to be known as one of the best modern art collections outside of the West, with its Warhols, Hockneys, Pollocks, and beyond. To this day, it inspires a conspiracy theory or two in reference to what became of the works after the revolution of 1979, and that revolution's insistence on eliminating all traces of Western culture.]\nArash Sadeghi: Can you tell me about the libraries Kanoon founded and ran?\nFarshid Mesghali: Over the course of ten years, Kanoon built one hundred fifty libraries in cities and villages throughout Iran. We created mobile libraries to roam to distant villages and distribute books to the country's nomads. If there were places the buses couldn't reach, books were sent to children on the back of donkeys and horses. One can say that Kanoon was playing the role of an independent Ministry of Culture.\nFarshid Mesghali: From the beginning, a board of trustees was formed and the queen was in charge of it. Its members were from the Ministry of Art and Culture, the Ministry of Education, the national airline (Iran Air), the Interior Ministry, the Oil Ministry, the Pahlavi Foundation, National Radio and Television, as well as nine major national and cultural figures.\nBoard members supported Kanoon through their affiliated organizations. For instance, Iran Air was obliged to give children Kanoon products as in-flight souvenirs, or the Oil Ministry would give Kanoon products to the children of the employees. Iranian painters painted for children, Iranian sculptors designed toys, the musicians played at events, and filmmakers were dedicated to making children's works. Back then, Kanoon's libraries were the best in the Middle East, and maybe even the world.\nThe libraries were quickly turned into cultural centers and started to attract children with free books, films, and theater. Children were crazy for Kanoon. There were weekly classes of painting, filmmaking, writing, music, theater, languages, and ceramics held weekly at Kanoon's various centers and libraries. Around three hundred libraries were active. The mobile libraries were also mobile cinemas and showed films for nomad children or children living in distant villages. By 1979, one million children were members of Kanoon. At least eight million children were touched by Kanoon products, and the books they published numbered over fifteen thousand.\nWe published all kinds of books, from religious tales about Shia imams to stories about ancient Persian heroes to fantasy and modern stories. Kanoon's productions took account of all the people of Iran, from north to south, east to west, as well as the capital. There really was nothing else like it.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1937"},{"slug":"sadeghi_ali_akbar_rook_1974","ok":true,"partial":false,"title":"The Rook","artist":"Ali Akbar Sadeghi","year":"1974","startOffset":0,"sourceSecs":607.317,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":111116766,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sadeghi_ali_akbar_rook_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sadeghi_ali_akbar_rook_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sadeghi_ali_akbar_rook_1974.mp4","hasFrames":true,"description":"<b>RELATED RESOURCES</b>: <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br/> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a>","artist_bio":"Before there was an Iranian New Wave, there was Kanoon. Founded in 1965 with the blessing of then-queen Farah Diba, the Institute for the Intellectual Development of Children and Young Adults--mostly referred to as Kanoon, an abbreviation of the Farsi name--produced books, audiotapes, and films, both animated and live action, for Iranian children from Tehran to Bushehr, Sistan, and Baluchistan. Stories such as Baba Barfi (Father Snow), Amoo Norooz (Uncle New Year), The Journey of Sinbad, or Khorshid Khanoom Aftab Kan (Shine on, Lady Sun) were tales that all Iranian children would come to know and cherish. Prior to Kanoon's founding, most children's books in the country were translations of Western classics. There was Pinocchio, The Little Prince, and Tin Tin--all in slightly clumsy Farsi.\nThe history of Kanoon is equally entwined with many of Iran's most epic late-twentieth century stories, from Empress Farah's cultural initiatives to the heyday of the Iranian left to the revolution. Kanoon would become a sort of incubator for some of the country's most celebrated artists--including Ebrahim Forouzesh, Noureddin Zarrinkelk, and many of the protagonists of Iranian cinema, Sohrab Shahid-Sales, Abbas Kiarostami, and Amir Naderi among them. The following is the first in a series of conversations in Bidoun about Kanoon. Here, Arash Sadeghi engages his father, the painter Ali Akbar Sadeghi, who is best known for pioneering a style that mixed traditional Persian coffeehouse painting and the surreal, and Farshid Mesghali, one of Kanoon's most important graphic designers and animators. Among the elder Sadeghi's most iconic projects during his time at Kanoon was Malek ol-Khorshid (King of the Sun, 1975), a magical animation inspired by the tenth-century Persian epic The Shahnameh (The Book of Kings). Mesghali is probably most beloved for his illustration work on the book Mahee Siya Koochooloo (The Little Black Fish, 1968). Here, the three discuss the founding of Kanoon and its activities up until the time of the revolution of 1979. One way to gauge a nation's history, after all, is to look at what its children have been reading.\nArash Sadeghi: Can you tell me a little about how you entered Kanoon?\nAli Akbar Sadeghi: After all these years and at this old age, I can't remember too many details. But I can say that two great people, Lili Amir-Arjomand and Firooz Shirvanloo, created a factory called Kanoon whose goal was to support creativity among the next generation of Iranians. Now, how did I become a Kanooni? One day, Abbas [Kiarostami] told me that Kanoon was to publish a book and needed someone who could illustrate the text in classical Persian style. He asked me to come to their offices and, like that, with the book Pahlavan-e Pahlavanan (The Champion of Champions), my relationship with the institute began. I have the best memories of my life from my time there.\nArash Sadeghi: Mr Mesghali, can you tell me about the birth of Kanoon?\nFarshid Mesghali: I'm really excited. After all these years, someone is asking me to recount the story of the birth of a revolution. Let's start. Farah Diba, the last Iranian queen, had a close friend named Lili Amir-Arjomand. They had been roommates while they were students in France. When Farah became the queen, Lili, who had studied to be a librarian, was appointed head of the national oil company library.\nAfter a short while, in 1965, Lili, with Farah's support, proposed that a library be built in Laleh Park--it was called Farah Park back then--for children and young adults. This was to be the first specialized library for children in Iran, and they also planned to publish children's books. Their first book was The Princess and the Pea by Hans Christian Andersen, complete with Farah's own illustrations. Many people do not know this and this first book and the establishment of the library were the starting points of Kanoon. In fact, in the beginning, Kanoon's activities were limited to translating and importing books from abroad.\nIn 1965, Lili officially launched Kanoon with Farah's support. She would be the first director, along with a man named Firooz Shirvanloo.\nI knew Firooz from many years ago, when I was working at Franklin Publications with Arapik Baghdasarian. Firooz is the most important person in the history of Kanoon, in part because of his political background. Firooz had studied philosophy in England and had come back with leftist tendencies. He was also a member of the Iran-Britain Student Confederation. They were known for their extreme revolutionary ideas. After returning to Iran from Britain, he was the art d irector of Payk magazine for young adults, which was published by Franklin Publications. These days you can find the magazine in news kiosks under the name Roshd.\nAfter the confederation became embroiled in a failed attempt to kill the Shah in 1965, Firooz was arrested by one of the Shah's insiders in the Iran-Britain Student Confederation and sentenced to death. After his arrest, they feared me, too, and I was fired. Europeans objected to the court sentence, and eventually the Shah forgave them, and the death penalty was reduced to a few years in prison. After winning their freedom, some of them were offered important positions so that they might \"rethink\" their leftist ideas.\nBecause of his experience in publishing magazines for children, the palace offered Firooz a position in the newly formed Kanoon. At the same time, Firooz had just founded an advertisement group called Negareh and hired a group of arts and literature students from Tehran University to work with him, including Abbas Kiarostami, Ahmadreza Ahmadi, Nikzad Nojoumi, Farideh Farjam, Arapik Baghdasarian, and myself. Eventually they would all migrate to Kanoon itself. But even after prison, Firooz held on to his leftist ideas, and many of the people he brought into Kanoon with him were leftist writers and researchers.\nIn 1968, Firooz commissioned me to work on one of Kanoon's first independent books. With the publication of The Little Black Fish written by Samad Behrangi, we gained a lot of attention. I drew the illustrations for that book, and we won the top award at the Bratislava Children's Book Fair because of it.\n[The Little Black Fish is the story of a black fish who dreams of seeing the big blue sea. He faces many dangers, including a heron, which he kills with a dagger. The narrator of the story, a grandmother to many little fish, explains that the little black fish has disappeared by the end--a little like the martyrs who have died trying to find a better world. It was hard not to find political symbolism in this, along with other stories. Incidentally, its author, Samad Behrangi was an active socialist agitator who translated some of Iran's most avant-garde poets, like Ahmad Shamlou, Forough Farrokhzad, and Mehdi Akhavan-Sales, into his native Azeri language. He drowned in the Aras River in 1967, and his death is generally blamed on the Pahlavi regime. Also published around that time was Gol-e Boloo Va Khorshid (The Crystal Flower and the Sun, 1967), by Farideh Farjam, illustrated by Nikzad Nodjoumi. This is the story of a flower that miraculously shoots up amid the ice of the North Pole. For a period of six months, the little flower develops a close relationship to the sun. The sun tells the flower about the world and its people. At the end of six months, when the sun has to migrate, the flower asks to move with him. He gets so close to him that the flower wilts and joins the sun forever. Along with The Little Black Fish, The Crystal Flower was honored at the Bologna Children's Book Fair.]\nFarshid Mesghali: In 1969, Firooz moved to Kanoon completely and took his colleagues with him, launching a research department, a publishing department, and, upon Kiarostami's suggestion, a film and animation department. Firooz directed all three, and in 1970, Kanoon's first short motion picture Nan-o-Kooche (Bread and Alley), directed by Kiarostami, was produced.\n[Shot in black and white, the film tells the story of a little boy walking home with a loaf of bread, who is confronted by a hungry dog. In the end, the two get over their mutual suspicions and become fast friends.]\nFarshid Mesghali: In that same period, the first animations were born, including Agha-ye Hayoola (Mr Monster), created by myself, and Vorood Mamnoo' (No Entrance) by Arapik Baghdasarian.\nWith the arrival of Ali Akbar Sadeghi in 1970 and the illustration of Pahlavan-e Pahlavanan by Nader Ebrahimi, and a host of international awards that this book brought for Kanoon, the institution gained more currency and, because of that, more support from the queen.\n[Pahlevan-e Pahlevanan is the story of a grand champion named Pooriya-ye-Vali who hears of a younger champion who hopes to triumph over him. The young pahlevan (champion) comes from Sistan to Kharazm to wrestle with Pooriya-ye Vali. His mother accompanies him and prays for him every day prior to the fight. Pooriya hears her, but nevertheless, decides to fight his best fight. He loses to the young champion and leaves his hometown forever.]\nFarshid Mesghali: Kanoon eventually launched the Tehran Children and Young Adults Film Festival. They were especially interested in Eastern Europe films, like those of Raoul Servais and Jan Oonk. Kanoon hardly let any commercial or empty American films enter the collection.\nLater, that very collection would be the fuel for the post-revolutionary media to broadcast un-American films with educational and cultural values far removed from ostensibly Western or capitalist ideas.\nWith the establishment of the film department and the launch of the Tehran festival, Kanoon started to grow rapidly. Many young artists and writers flooded there to make films. Among them were Dariush Mehrjui, Bahram Bezaie, Amir Naderi, Nasser Taghvai, Ali Akbar Sadeghi, Nafiseh Riyahi, Ebrahim Forouzesh, Nader Ebrahimi, Ahmadreza Ahmadi, Cyrus Tahbaz, and even musicians like Majid Entezami, Esmaiel Monfaredzadeh, Hossein Alizadeh, and Sheyda Gharachedaghi. Production increased dramatically.\nFarshid Mesghali: I'm not sure of the year exactly, but I think it was around 1970, 1971. Firooz was finally fired from Kanoon at the end of 1972. He had brought one too many leftists to the organization, like Mehdi Samakar and Dr Rasoul Nafisi, to work as writers and researchers. SAVAK (the Shah's intelligence services) had always had problems with the leftists, but for the most part Lili had been able to handle them because of her close relations with the palace. But slowly things changed. When Firooz had to leave Kanoon, the so-called dissident products inspired by leftists were removed. He went on to direct the Niavaran Cultural Centre. But we owe him a great debt for giving us all a start.\nAli Akbar Sadeghi: That was our golden age. We won many prizes from all over the world.\n[Firooz Shirvanloo would go on to work for Empress Farah Diba's office, and played a large role in amassing the state's modern art collection under the patronage of the empress herself. That collection continues to be known as one of the best modern art collections outside of the West, with its Warhols, Hockneys, Pollocks, and beyond. To this day, it inspires a conspiracy theory or two in reference to what became of the works after the revolution of 1979, and that revolution's insistence on eliminating all traces of Western culture.]\nArash Sadeghi: Can you tell me about the libraries Kanoon founded and ran?\nFarshid Mesghali: Over the course of ten years, Kanoon built one hundred fifty libraries in cities and villages throughout Iran. We created mobile libraries to roam to distant villages and distribute books to the country's nomads. If there were places the buses couldn't reach, books were sent to children on the back of donkeys and horses. One can say that Kanoon was playing the role of an independent Ministry of Culture.\nFarshid Mesghali: From the beginning, a board of trustees was formed and the queen was in charge of it. Its members were from the Ministry of Art and Culture, the Ministry of Education, the national airline (Iran Air), the Interior Ministry, the Oil Ministry, the Pahlavi Foundation, National Radio and Television, as well as nine major national and cultural figures.\nBoard members supported Kanoon through their affiliated organizations. For instance, Iran Air was obliged to give children Kanoon products as in-flight souvenirs, or the Oil Ministry would give Kanoon products to the children of the employees. Iranian painters painted for children, Iranian sculptors designed toys, the musicians played at events, and filmmakers were dedicated to making children's works. Back then, Kanoon's libraries were the best in the Middle East, and maybe even the world.\nThe libraries were quickly turned into cultural centers and started to attract children with free books, films, and theater. Children were crazy for Kanoon. There were weekly classes of painting, filmmaking, writing, music, theater, languages, and ceramics held weekly at Kanoon's various centers and libraries. Around three hundred libraries were active. The mobile libraries were also mobile cinemas and showed films for nomad children or children living in distant villages. By 1979, one million children were members of Kanoon. At least eight million children were touched by Kanoon products, and the books they published numbered over fifteen thousand.\nWe published all kinds of books, from religious tales about Shia imams to stories about ancient Persian heroes to fantasy and modern stories. Kanoon's productions took account of all the people of Iran, from north to south, east to west, as well as the capital. There really was nothing else like it.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1937"},{"slug":"sadeghi_ali_akbar_seven_cities_1971","ok":true,"partial":false,"title":"Seven Cities","artist":"Ali Akbar Sadeghi","year":"1971","startOffset":0,"sourceSecs":924.011,"sourceHeight":528,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":158469795,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sadeghi_ali_akbar_seven_cities_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sadeghi_ali_akbar_seven_cities_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sadeghi_ali_akbar_seven_cities_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sadeghi_ali_akbar_seven_cities_1971/main.mp4?v=2","description":"<b>RELATED RESOURCES</b>: <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br/> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a>","artist_bio":"Before there was an Iranian New Wave, there was Kanoon. Founded in 1965 with the blessing of then-queen Farah Diba, the Institute for the Intellectual Development of Children and Young Adults--mostly referred to as Kanoon, an abbreviation of the Farsi name--produced books, audiotapes, and films, both animated and live action, for Iranian children from Tehran to Bushehr, Sistan, and Baluchistan. Stories such as Baba Barfi (Father Snow), Amoo Norooz (Uncle New Year), The Journey of Sinbad, or Khorshid Khanoom Aftab Kan (Shine on, Lady Sun) were tales that all Iranian children would come to know and cherish. Prior to Kanoon's founding, most children's books in the country were translations of Western classics. There was Pinocchio, The Little Prince, and Tin Tin--all in slightly clumsy Farsi.\nThe history of Kanoon is equally entwined with many of Iran's most epic late-twentieth century stories, from Empress Farah's cultural initiatives to the heyday of the Iranian left to the revolution. Kanoon would become a sort of incubator for some of the country's most celebrated artists--including Ebrahim Forouzesh, Noureddin Zarrinkelk, and many of the protagonists of Iranian cinema, Sohrab Shahid-Sales, Abbas Kiarostami, and Amir Naderi among them. The following is the first in a series of conversations in Bidoun about Kanoon. Here, Arash Sadeghi engages his father, the painter Ali Akbar Sadeghi, who is best known for pioneering a style that mixed traditional Persian coffeehouse painting and the surreal, and Farshid Mesghali, one of Kanoon's most important graphic designers and animators. Among the elder Sadeghi's most iconic projects during his time at Kanoon was Malek ol-Khorshid (King of the Sun, 1975), a magical animation inspired by the tenth-century Persian epic The Shahnameh (The Book of Kings). Mesghali is probably most beloved for his illustration work on the book Mahee Siya Koochooloo (The Little Black Fish, 1968). Here, the three discuss the founding of Kanoon and its activities up until the time of the revolution of 1979. One way to gauge a nation's history, after all, is to look at what its children have been reading.\nArash Sadeghi: Can you tell me a little about how you entered Kanoon?\nAli Akbar Sadeghi: After all these years and at this old age, I can't remember too many details. But I can say that two great people, Lili Amir-Arjomand and Firooz Shirvanloo, created a factory called Kanoon whose goal was to support creativity among the next generation of Iranians. Now, how did I become a Kanooni? One day, Abbas [Kiarostami] told me that Kanoon was to publish a book and needed someone who could illustrate the text in classical Persian style. He asked me to come to their offices and, like that, with the book Pahlavan-e Pahlavanan (The Champion of Champions), my relationship with the institute began. I have the best memories of my life from my time there.\nArash Sadeghi: Mr Mesghali, can you tell me about the birth of Kanoon?\nFarshid Mesghali: I'm really excited. After all these years, someone is asking me to recount the story of the birth of a revolution. Let's start. Farah Diba, the last Iranian queen, had a close friend named Lili Amir-Arjomand. They had been roommates while they were students in France. When Farah became the queen, Lili, who had studied to be a librarian, was appointed head of the national oil company library.\nAfter a short while, in 1965, Lili, with Farah's support, proposed that a library be built in Laleh Park--it was called Farah Park back then--for children and young adults. This was to be the first specialized library for children in Iran, and they also planned to publish children's books. Their first book was The Princess and the Pea by Hans Christian Andersen, complete with Farah's own illustrations. Many people do not know this and this first book and the establishment of the library were the starting points of Kanoon. In fact, in the beginning, Kanoon's activities were limited to translating and importing books from abroad.\nIn 1965, Lili officially launched Kanoon with Farah's support. She would be the first director, along with a man named Firooz Shirvanloo.\nI knew Firooz from many years ago, when I was working at Franklin Publications with Arapik Baghdasarian. Firooz is the most important person in the history of Kanoon, in part because of his political background. Firooz had studied philosophy in England and had come back with leftist tendencies. He was also a member of the Iran-Britain Student Confederation. They were known for their extreme revolutionary ideas. After returning to Iran from Britain, he was the art d irector of Payk magazine for young adults, which was published by Franklin Publications. These days you can find the magazine in news kiosks under the name Roshd.\nAfter the confederation became embroiled in a failed attempt to kill the Shah in 1965, Firooz was arrested by one of the Shah's insiders in the Iran-Britain Student Confederation and sentenced to death. After his arrest, they feared me, too, and I was fired. Europeans objected to the court sentence, and eventually the Shah forgave them, and the death penalty was reduced to a few years in prison. After winning their freedom, some of them were offered important positions so that they might \"rethink\" their leftist ideas.\nBecause of his experience in publishing magazines for children, the palace offered Firooz a position in the newly formed Kanoon. At the same time, Firooz had just founded an advertisement group called Negareh and hired a group of arts and literature students from Tehran University to work with him, including Abbas Kiarostami, Ahmadreza Ahmadi, Nikzad Nojoumi, Farideh Farjam, Arapik Baghdasarian, and myself. Eventually they would all migrate to Kanoon itself. But even after prison, Firooz held on to his leftist ideas, and many of the people he brought into Kanoon with him were leftist writers and researchers.\nIn 1968, Firooz commissioned me to work on one of Kanoon's first independent books. With the publication of The Little Black Fish written by Samad Behrangi, we gained a lot of attention. I drew the illustrations for that book, and we won the top award at the Bratislava Children's Book Fair because of it.\n[The Little Black Fish is the story of a black fish who dreams of seeing the big blue sea. He faces many dangers, including a heron, which he kills with a dagger. The narrator of the story, a grandmother to many little fish, explains that the little black fish has disappeared by the end--a little like the martyrs who have died trying to find a better world. It was hard not to find political symbolism in this, along with other stories. Incidentally, its author, Samad Behrangi was an active socialist agitator who translated some of Iran's most avant-garde poets, like Ahmad Shamlou, Forough Farrokhzad, and Mehdi Akhavan-Sales, into his native Azeri language. He drowned in the Aras River in 1967, and his death is generally blamed on the Pahlavi regime. Also published around that time was Gol-e Boloo Va Khorshid (The Crystal Flower and the Sun, 1967), by Farideh Farjam, illustrated by Nikzad Nodjoumi. This is the story of a flower that miraculously shoots up amid the ice of the North Pole. For a period of six months, the little flower develops a close relationship to the sun. The sun tells the flower about the world and its people. At the end of six months, when the sun has to migrate, the flower asks to move with him. He gets so close to him that the flower wilts and joins the sun forever. Along with The Little Black Fish, The Crystal Flower was honored at the Bologna Children's Book Fair.]\nFarshid Mesghali: In 1969, Firooz moved to Kanoon completely and took his colleagues with him, launching a research department, a publishing department, and, upon Kiarostami's suggestion, a film and animation department. Firooz directed all three, and in 1970, Kanoon's first short motion picture Nan-o-Kooche (Bread and Alley), directed by Kiarostami, was produced.\n[Shot in black and white, the film tells the story of a little boy walking home with a loaf of bread, who is confronted by a hungry dog. In the end, the two get over their mutual suspicions and become fast friends.]\nFarshid Mesghali: In that same period, the first animations were born, including Agha-ye Hayoola (Mr Monster), created by myself, and Vorood Mamnoo' (No Entrance) by Arapik Baghdasarian.\nWith the arrival of Ali Akbar Sadeghi in 1970 and the illustration of Pahlavan-e Pahlavanan by Nader Ebrahimi, and a host of international awards that this book brought for Kanoon, the institution gained more currency and, because of that, more support from the queen.\n[Pahlevan-e Pahlevanan is the story of a grand champion named Pooriya-ye-Vali who hears of a younger champion who hopes to triumph over him. The young pahlevan (champion) comes from Sistan to Kharazm to wrestle with Pooriya-ye Vali. His mother accompanies him and prays for him every day prior to the fight. Pooriya hears her, but nevertheless, decides to fight his best fight. He loses to the young champion and leaves his hometown forever.]\nFarshid Mesghali: Kanoon eventually launched the Tehran Children and Young Adults Film Festival. They were especially interested in Eastern Europe films, like those of Raoul Servais and Jan Oonk. Kanoon hardly let any commercial or empty American films enter the collection.\nLater, that very collection would be the fuel for the post-revolutionary media to broadcast un-American films with educational and cultural values far removed from ostensibly Western or capitalist ideas.\nWith the establishment of the film department and the launch of the Tehran festival, Kanoon started to grow rapidly. Many young artists and writers flooded there to make films. Among them were Dariush Mehrjui, Bahram Bezaie, Amir Naderi, Nasser Taghvai, Ali Akbar Sadeghi, Nafiseh Riyahi, Ebrahim Forouzesh, Nader Ebrahimi, Ahmadreza Ahmadi, Cyrus Tahbaz, and even musicians like Majid Entezami, Esmaiel Monfaredzadeh, Hossein Alizadeh, and Sheyda Gharachedaghi. Production increased dramatically.\nFarshid Mesghali: I'm not sure of the year exactly, but I think it was around 1970, 1971. Firooz was finally fired from Kanoon at the end of 1972. He had brought one too many leftists to the organization, like Mehdi Samakar and Dr Rasoul Nafisi, to work as writers and researchers. SAVAK (the Shah's intelligence services) had always had problems with the leftists, but for the most part Lili had been able to handle them because of her close relations with the palace. But slowly things changed. When Firooz had to leave Kanoon, the so-called dissident products inspired by leftists were removed. He went on to direct the Niavaran Cultural Centre. But we owe him a great debt for giving us all a start.\nAli Akbar Sadeghi: That was our golden age. We won many prizes from all over the world.\n[Firooz Shirvanloo would go on to work for Empress Farah Diba's office, and played a large role in amassing the state's modern art collection under the patronage of the empress herself. That collection continues to be known as one of the best modern art collections outside of the West, with its Warhols, Hockneys, Pollocks, and beyond. To this day, it inspires a conspiracy theory or two in reference to what became of the works after the revolution of 1979, and that revolution's insistence on eliminating all traces of Western culture.]\nArash Sadeghi: Can you tell me about the libraries Kanoon founded and ran?\nFarshid Mesghali: Over the course of ten years, Kanoon built one hundred fifty libraries in cities and villages throughout Iran. We created mobile libraries to roam to distant villages and distribute books to the country's nomads. If there were places the buses couldn't reach, books were sent to children on the back of donkeys and horses. One can say that Kanoon was playing the role of an independent Ministry of Culture.\nFarshid Mesghali: From the beginning, a board of trustees was formed and the queen was in charge of it. Its members were from the Ministry of Art and Culture, the Ministry of Education, the national airline (Iran Air), the Interior Ministry, the Oil Ministry, the Pahlavi Foundation, National Radio and Television, as well as nine major national and cultural figures.\nBoard members supported Kanoon through their affiliated organizations. For instance, Iran Air was obliged to give children Kanoon products as in-flight souvenirs, or the Oil Ministry would give Kanoon products to the children of the employees. Iranian painters painted for children, Iranian sculptors designed toys, the musicians played at events, and filmmakers were dedicated to making children's works. Back then, Kanoon's libraries were the best in the Middle East, and maybe even the world.\nThe libraries were quickly turned into cultural centers and started to attract children with free books, films, and theater. Children were crazy for Kanoon. There were weekly classes of painting, filmmaking, writing, music, theater, languages, and ceramics held weekly at Kanoon's various centers and libraries. Around three hundred libraries were active. The mobile libraries were also mobile cinemas and showed films for nomad children or children living in distant villages. By 1979, one million children were members of Kanoon. At least eight million children were touched by Kanoon products, and the books they published numbered over fifteen thousand.\nWe published all kinds of books, from religious tales about Shia imams to stories about ancient Persian heroes to fantasy and modern stories. Kanoon's productions took account of all the people of Iran, from north to south, east to west, as well as the capital. There really was nothing else like it.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1937"},{"slug":"sadeghi_ali_akbar_zal_and_simorgh_1977","ok":true,"partial":false,"title":"Zal and Simorgh","artist":"Ali Akbar Sadeghi","year":"1977","startOffset":0,"sourceSecs":1455.488,"sourceHeight":462,"sourceWidth":800,"hasAudio":true,"hasAmbientMp4":true,"bytes":90645244,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sadeghi_ali_akbar_zal_and_simorgh_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sadeghi_ali_akbar_zal_and_simorgh_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sadeghi_ali_akbar_zal_and_simorgh_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sadeghi_ali_akbar_zal_and_simorgh_1977/main.mp4?v=2","description":"<b>RELATED RESOURCES</b>: <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br/> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a>","artist_bio":"Before there was an Iranian New Wave, there was Kanoon. Founded in 1965 with the blessing of then-queen Farah Diba, the Institute for the Intellectual Development of Children and Young Adults--mostly referred to as Kanoon, an abbreviation of the Farsi name--produced books, audiotapes, and films, both animated and live action, for Iranian children from Tehran to Bushehr, Sistan, and Baluchistan. Stories such as Baba Barfi (Father Snow), Amoo Norooz (Uncle New Year), The Journey of Sinbad, or Khorshid Khanoom Aftab Kan (Shine on, Lady Sun) were tales that all Iranian children would come to know and cherish. Prior to Kanoon's founding, most children's books in the country were translations of Western classics. There was Pinocchio, The Little Prince, and Tin Tin--all in slightly clumsy Farsi.\nThe history of Kanoon is equally entwined with many of Iran's most epic late-twentieth century stories, from Empress Farah's cultural initiatives to the heyday of the Iranian left to the revolution. Kanoon would become a sort of incubator for some of the country's most celebrated artists--including Ebrahim Forouzesh, Noureddin Zarrinkelk, and many of the protagonists of Iranian cinema, Sohrab Shahid-Sales, Abbas Kiarostami, and Amir Naderi among them. The following is the first in a series of conversations in Bidoun about Kanoon. Here, Arash Sadeghi engages his father, the painter Ali Akbar Sadeghi, who is best known for pioneering a style that mixed traditional Persian coffeehouse painting and the surreal, and Farshid Mesghali, one of Kanoon's most important graphic designers and animators. Among the elder Sadeghi's most iconic projects during his time at Kanoon was Malek ol-Khorshid (King of the Sun, 1975), a magical animation inspired by the tenth-century Persian epic The Shahnameh (The Book of Kings). Mesghali is probably most beloved for his illustration work on the book Mahee Siya Koochooloo (The Little Black Fish, 1968). Here, the three discuss the founding of Kanoon and its activities up until the time of the revolution of 1979. One way to gauge a nation's history, after all, is to look at what its children have been reading.\nArash Sadeghi: Can you tell me a little about how you entered Kanoon?\nAli Akbar Sadeghi: After all these years and at this old age, I can't remember too many details. But I can say that two great people, Lili Amir-Arjomand and Firooz Shirvanloo, created a factory called Kanoon whose goal was to support creativity among the next generation of Iranians. Now, how did I become a Kanooni? One day, Abbas [Kiarostami] told me that Kanoon was to publish a book and needed someone who could illustrate the text in classical Persian style. He asked me to come to their offices and, like that, with the book Pahlavan-e Pahlavanan (The Champion of Champions), my relationship with the institute began. I have the best memories of my life from my time there.\nArash Sadeghi: Mr Mesghali, can you tell me about the birth of Kanoon?\nFarshid Mesghali: I'm really excited. After all these years, someone is asking me to recount the story of the birth of a revolution. Let's start. Farah Diba, the last Iranian queen, had a close friend named Lili Amir-Arjomand. They had been roommates while they were students in France. When Farah became the queen, Lili, who had studied to be a librarian, was appointed head of the national oil company library.\nAfter a short while, in 1965, Lili, with Farah's support, proposed that a library be built in Laleh Park--it was called Farah Park back then--for children and young adults. This was to be the first specialized library for children in Iran, and they also planned to publish children's books. Their first book was The Princess and the Pea by Hans Christian Andersen, complete with Farah's own illustrations. Many people do not know this and this first book and the establishment of the library were the starting points of Kanoon. In fact, in the beginning, Kanoon's activities were limited to translating and importing books from abroad.\nIn 1965, Lili officially launched Kanoon with Farah's support. She would be the first director, along with a man named Firooz Shirvanloo.\nI knew Firooz from many years ago, when I was working at Franklin Publications with Arapik Baghdasarian. Firooz is the most important person in the history of Kanoon, in part because of his political background. Firooz had studied philosophy in England and had come back with leftist tendencies. He was also a member of the Iran-Britain Student Confederation. They were known for their extreme revolutionary ideas. After returning to Iran from Britain, he was the art d irector of Payk magazine for young adults, which was published by Franklin Publications. These days you can find the magazine in news kiosks under the name Roshd.\nAfter the confederation became embroiled in a failed attempt to kill the Shah in 1965, Firooz was arrested by one of the Shah's insiders in the Iran-Britain Student Confederation and sentenced to death. After his arrest, they feared me, too, and I was fired. Europeans objected to the court sentence, and eventually the Shah forgave them, and the death penalty was reduced to a few years in prison. After winning their freedom, some of them were offered important positions so that they might \"rethink\" their leftist ideas.\nBecause of his experience in publishing magazines for children, the palace offered Firooz a position in the newly formed Kanoon. At the same time, Firooz had just founded an advertisement group called Negareh and hired a group of arts and literature students from Tehran University to work with him, including Abbas Kiarostami, Ahmadreza Ahmadi, Nikzad Nojoumi, Farideh Farjam, Arapik Baghdasarian, and myself. Eventually they would all migrate to Kanoon itself. But even after prison, Firooz held on to his leftist ideas, and many of the people he brought into Kanoon with him were leftist writers and researchers.\nIn 1968, Firooz commissioned me to work on one of Kanoon's first independent books. With the publication of The Little Black Fish written by Samad Behrangi, we gained a lot of attention. I drew the illustrations for that book, and we won the top award at the Bratislava Children's Book Fair because of it.\n[The Little Black Fish is the story of a black fish who dreams of seeing the big blue sea. He faces many dangers, including a heron, which he kills with a dagger. The narrator of the story, a grandmother to many little fish, explains that the little black fish has disappeared by the end--a little like the martyrs who have died trying to find a better world. It was hard not to find political symbolism in this, along with other stories. Incidentally, its author, Samad Behrangi was an active socialist agitator who translated some of Iran's most avant-garde poets, like Ahmad Shamlou, Forough Farrokhzad, and Mehdi Akhavan-Sales, into his native Azeri language. He drowned in the Aras River in 1967, and his death is generally blamed on the Pahlavi regime. Also published around that time was Gol-e Boloo Va Khorshid (The Crystal Flower and the Sun, 1967), by Farideh Farjam, illustrated by Nikzad Nodjoumi. This is the story of a flower that miraculously shoots up amid the ice of the North Pole. For a period of six months, the little flower develops a close relationship to the sun. The sun tells the flower about the world and its people. At the end of six months, when the sun has to migrate, the flower asks to move with him. He gets so close to him that the flower wilts and joins the sun forever. Along with The Little Black Fish, The Crystal Flower was honored at the Bologna Children's Book Fair.]\nFarshid Mesghali: In 1969, Firooz moved to Kanoon completely and took his colleagues with him, launching a research department, a publishing department, and, upon Kiarostami's suggestion, a film and animation department. Firooz directed all three, and in 1970, Kanoon's first short motion picture Nan-o-Kooche (Bread and Alley), directed by Kiarostami, was produced.\n[Shot in black and white, the film tells the story of a little boy walking home with a loaf of bread, who is confronted by a hungry dog. In the end, the two get over their mutual suspicions and become fast friends.]\nFarshid Mesghali: In that same period, the first animations were born, including Agha-ye Hayoola (Mr Monster), created by myself, and Vorood Mamnoo' (No Entrance) by Arapik Baghdasarian.\nWith the arrival of Ali Akbar Sadeghi in 1970 and the illustration of Pahlavan-e Pahlavanan by Nader Ebrahimi, and a host of international awards that this book brought for Kanoon, the institution gained more currency and, because of that, more support from the queen.\n[Pahlevan-e Pahlevanan is the story of a grand champion named Pooriya-ye-Vali who hears of a younger champion who hopes to triumph over him. The young pahlevan (champion) comes from Sistan to Kharazm to wrestle with Pooriya-ye Vali. His mother accompanies him and prays for him every day prior to the fight. Pooriya hears her, but nevertheless, decides to fight his best fight. He loses to the young champion and leaves his hometown forever.]\nFarshid Mesghali: Kanoon eventually launched the Tehran Children and Young Adults Film Festival. They were especially interested in Eastern Europe films, like those of Raoul Servais and Jan Oonk. Kanoon hardly let any commercial or empty American films enter the collection.\nLater, that very collection would be the fuel for the post-revolutionary media to broadcast un-American films with educational and cultural values far removed from ostensibly Western or capitalist ideas.\nWith the establishment of the film department and the launch of the Tehran festival, Kanoon started to grow rapidly. Many young artists and writers flooded there to make films. Among them were Dariush Mehrjui, Bahram Bezaie, Amir Naderi, Nasser Taghvai, Ali Akbar Sadeghi, Nafiseh Riyahi, Ebrahim Forouzesh, Nader Ebrahimi, Ahmadreza Ahmadi, Cyrus Tahbaz, and even musicians like Majid Entezami, Esmaiel Monfaredzadeh, Hossein Alizadeh, and Sheyda Gharachedaghi. Production increased dramatically.\nFarshid Mesghali: I'm not sure of the year exactly, but I think it was around 1970, 1971. Firooz was finally fired from Kanoon at the end of 1972. He had brought one too many leftists to the organization, like Mehdi Samakar and Dr Rasoul Nafisi, to work as writers and researchers. SAVAK (the Shah's intelligence services) had always had problems with the leftists, but for the most part Lili had been able to handle them because of her close relations with the palace. But slowly things changed. When Firooz had to leave Kanoon, the so-called dissident products inspired by leftists were removed. He went on to direct the Niavaran Cultural Centre. But we owe him a great debt for giving us all a start.\nAli Akbar Sadeghi: That was our golden age. We won many prizes from all over the world.\n[Firooz Shirvanloo would go on to work for Empress Farah Diba's office, and played a large role in amassing the state's modern art collection under the patronage of the empress herself. That collection continues to be known as one of the best modern art collections outside of the West, with its Warhols, Hockneys, Pollocks, and beyond. To this day, it inspires a conspiracy theory or two in reference to what became of the works after the revolution of 1979, and that revolution's insistence on eliminating all traces of Western culture.]\nArash Sadeghi: Can you tell me about the libraries Kanoon founded and ran?\nFarshid Mesghali: Over the course of ten years, Kanoon built one hundred fifty libraries in cities and villages throughout Iran. We created mobile libraries to roam to distant villages and distribute books to the country's nomads. If there were places the buses couldn't reach, books were sent to children on the back of donkeys and horses. One can say that Kanoon was playing the role of an independent Ministry of Culture.\nFarshid Mesghali: From the beginning, a board of trustees was formed and the queen was in charge of it. Its members were from the Ministry of Art and Culture, the Ministry of Education, the national airline (Iran Air), the Interior Ministry, the Oil Ministry, the Pahlavi Foundation, National Radio and Television, as well as nine major national and cultural figures.\nBoard members supported Kanoon through their affiliated organizations. For instance, Iran Air was obliged to give children Kanoon products as in-flight souvenirs, or the Oil Ministry would give Kanoon products to the children of the employees. Iranian painters painted for children, Iranian sculptors designed toys, the musicians played at events, and filmmakers were dedicated to making children's works. Back then, Kanoon's libraries were the best in the Middle East, and maybe even the world.\nThe libraries were quickly turned into cultural centers and started to attract children with free books, films, and theater. Children were crazy for Kanoon. There were weekly classes of painting, filmmaking, writing, music, theater, languages, and ceramics held weekly at Kanoon's various centers and libraries. Around three hundred libraries were active. The mobile libraries were also mobile cinemas and showed films for nomad children or children living in distant villages. By 1979, one million children were members of Kanoon. At least eight million children were touched by Kanoon products, and the books they published numbered over fifteen thousand.\nWe published all kinds of books, from religious tales about Shia imams to stories about ancient Persian heroes to fantasy and modern stories. Kanoon's productions took account of all the people of Iran, from north to south, east to west, as well as the capital. There really was nothing else like it.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1937"},{"slug":"saint_phalle_niki_de_interview","ok":true,"partial":false,"title":"Interview (Pour le plaisir)","artist":"Niki de Saint Phalle","year":"1965","startOffset":0,"sourceSecs":420.931,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":165029571,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/saint_phalle_niki_de_interview/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/saint_phalle_niki_de_interview/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/saint_phalle_niki_de_interview.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/saint_phalle_niki_de_interview/main.mp4?v=2","description":"(Vidéo) Niki de Saint Phalle - Interview (Pour le plaisir) avec Roger Kahane (1965)","artist_bio":"Niki de Saint Phalle paired bold, jubilant, and cartoonish feminine forms with dark and disturbing material in her multifaceted artistic career. Throughout, she continually disrupted long-held conventions in art, and her iconoclastic approach to her identity and society at large made her an early and important voice to both the Feminist movement and the development of early Conceptual Art. Unlike many of her contemporaries who prioritized the idea behind the work of art rather than the aesthetic demonstration of the idea, Saint Phalle's pieces were highly expressive, visually bold, and often playful - a style that celebrated aesthetics instead of interrogating its structures and conventions. She realized some of the most ambitious, immersive sculptural environments of the 20th century, and also made intensely personal, inward-looking work that reflected on her inner life and relationships. Saint Phalle's broad influence is marked by the variety of contemporary cultural identities and communities that now 'claim' her as their own, including feminist, queer, and racial empowerment movements.","bio_dates":"1930-2002"},{"slug":"salloum_suleiman_introduction_to_the_end_of_an_argument_1990_iphone","ok":true,"partial":false,"title":"Introduction to the End of an Argument","artist":"Jayce Salloum & Elia Suleiman","year":"1990","startOffset":0,"sourceSecs":2426.52,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":143863068,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/salloum_suleiman_introduction_to_the_end_of_an_argument_1990_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/salloum_suleiman_introduction_to_the_end_of_an_argument_1990_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/salloum_suleiman_introduction_to_the_end_of_an_argument_1990_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/salloum_suleiman_introduction_to_the_end_of_an_argument_1990_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/salloum_suleiman_introduction_to_the_end_of_an_argument_1990_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This highly kinetic tableaux of uprooted sights and sounds works most earnestly to expose the racial biases concealed in familiar images. Relying on valuable snippets from feature films such as Exodus, Lawrence of Arabia, Black Sunday, Little Drummer Girl and network news shows, the filmmakers have constructed an oddly wry narrative mimicking the history of Mid East politics.\n\nLebanese/Canadian artist Jayce Salloum and Elia Suleiman, a Palestinian filmmaker living in New York, have taken on our accumulated (mis)impressions of the Palestinian Intifada by tracing their genesis in film and television.\n\nThis highly kinetic tableaux of uprooted sights and sounds works most earnestly to expose the racial biases concealed in familiar images. Relying on valuable snippets from feature films such as Exodus, Lawrence of Arabia, Black Sunday, Little Drummer Girl and network news shows, the filmmakers have constructed an oddly wry narrative mimicking the history of Mid East politics."},{"slug":"sanborn_keith_equivalencesforceofbeauty_2008","ok":true,"partial":false,"title":"Сила Красоты: Ктрасота силы: The Force of Beauty: The Beauty of Force (2008)","artist":"Keith Sanborn","year":"2008","startOffset":0,"sourceSecs":205.12,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":9621843,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_equivalencesforceofbeauty_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_equivalencesforceofbeauty_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sanborn_keith_equivalencesforceofbeauty_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sanborn_keith_equivalencesforceofbeauty_2008/main.mp4?v=2","description":"Based on a series of ads in 2008 on Телеканал звезда [the Star Channel], owned by the Russian Department of Defense. The ads seek to draw parallels between stereotypical feminine daily gestures of fashionable self-imaging and stereotypical activities of male soldiers. These ads are sequenced, then juxtaposed with “upskirt” footage of a famous Italian fashion model, downloaded from Youtube. By means of this juxtaposition and strategic interventions in speed and chronological orientation (backwards and forwards) two forms of gendered construction of the gaze are compared and contrasted. This work is a single channel version of part of an on-going series, called Equivalences, generally presented in the format of a site specific installation."},{"slug":"sanborn_keith_equivalenceskatensaddam_2007","ok":true,"partial":false,"title":"Equivalences [the Kate and Saddam sequence]","artist":"Keith Sanborn","year":"2007","startOffset":0,"sourceSecs":336.405,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":18939074,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_equivalenceskatensaddam_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_equivalenceskatensaddam_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sanborn_keith_equivalenceskatensaddam_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sanborn_keith_equivalenceskatensaddam_2007/main.mp4?v=2","description":"<b>Equivalences [the Kate and Saddam sequence]</b> is part of an extended video installation also called Equivalences. The statement below was written to speak to the concerns of the series. <br/><br/> Since it has existed, the net has displayed a dialectic of potlatch and recuperation, followed by detournement. Intelligence and generosity are exploited for fantastic profits, but the exploiters can be hijacked as well. My work intersects the current phase of exploitation of user-supplied content on Youtube.com, etc., where 15 nano-seconds of fame are exchanged for consigning the aura of individual subjectivity to the ads framing it; in becoming part of a network of interchangeable, equivalent elements, selfhood is sold as commodity. In a necessary irony, my work functions by translating the offerings of Youtube to other contexts, repurposing them as commentary upon that context. Since this violates the principle of “host” ownership, they may not be, nor do I necessarily wish them to return directly to the scene of the crime. In place of one-way broadcast communication, the “new” spectacle offers inter-passivity, pseudo-agency. Creating resistance requires bringing forward the background. “Pay no attention to the little man behind the curtain,” indeed; pay attention to the curtain. .","artist_bio":"Semi-private sub-Hegelian Panty Fantasy (with sound)\n(2001)\nThe Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn\n(1936/1996)\nKeith Sanborn is a media artist, theorist, curator and translator based in New York. Besides a number of one-person shows his work has been included in the Whitney Biennial, the Pompidou Monter/Sampler exhibition, and festivals such as OVNI, Video Vortex, Rotterdam, EMAF, and Oberhausen. His theoretical work has appeared in contexts ranging from Artforum to Kunst nach Ground Zero to catalogues for MoMA , Exit Art, and the San Francisco Cinematheque. He has translated the work of Debord, Viénet, Wolman, Bataille, Napoleon, Kuleshov and Gioli among others. He has also worked as an independent curator with the Oberhausen Short Film Festival, Exit Art, Artists Space, the Pacific Film Archive, and others.","bio_dates":"2007"},{"slug":"sanborn_keith_mirror_1999","ok":true,"partial":false,"title":"Mirror","artist":"Keith Sanborn","year":"1999","startOffset":0,"sourceSecs":361.877,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":22661033,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_mirror_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_mirror_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sanborn_keith_mirror_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sanborn_keith_mirror_1999/main.mp4?v=2","description":"6:00. Color and black & white. Stereo sound <br/><br/> An attempt to reach Joan of Arc in her final moments as she beholds the beatific vision. To reach her, however, some anachronisms and a few propositions about psychology, mysticism, and eroticism were necessary. <br/><br/> I am a graduate of Catholicism and I believe the visual and intellectual aspects of my religious education caused me to cultivate a certain way of reading images; it also gave me a feel for the oxymoronic aspects of that phrase “reading images.” The title “Mirror” was suggested by Hildegard von Bingen’s “O felix anima,” which is used as part of the soundtrack. The lyrics to the song appear in my own translation near the end of the piece. While Joan—as Hildegard’s joyous soul—would be a reflection of Divine Intelligence, the mirror alluded to suggested to me the idea of historical mirroring and of course Lacan’s mirror phase. English medieval mystic Walter Hilton wrote a treatise he called “The Scale (or Ladder) of Perfection.” After Hilton, I might have called this “The Mirror of Perfection,” but I thought better of it. <br/><br/> I have dedicated the work to Joan (Jehanne) herself, to Ghen Dennis who, as a media artist and curator at Squeaky Wheel in Buffalo, had some responsibility for inducing me to make this work, and to Chris Ofili whose recent black Madonna has been greeted with so many racist screeds disguised as righteous indignation by politicians and media pundits.","artist_bio":"Semi-private sub-Hegelian Panty Fantasy (with sound)\n(2001)\nThe Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn\n(1936/1996)\nKeith Sanborn is a media artist, theorist, curator and translator based in New York. Besides a number of one-person shows his work has been included in the Whitney Biennial, the Pompidou Monter/Sampler exhibition, and festivals such as OVNI, Video Vortex, Rotterdam, EMAF, and Oberhausen. His theoretical work has appeared in contexts ranging from Artforum to Kunst nach Ground Zero to catalogues for MoMA , Exit Art, and the San Francisco Cinematheque. He has translated the work of Debord, Viénet, Wolman, Bataille, Napoleon, Kuleshov and Gioli among others. He has also worked as an independent curator with the Oberhausen Short Film Festival, Exit Art, Artists Space, the Pacific Film Archive, and others.","bio_dates":"2007"},{"slug":"sanborn_keith_odt_2003","ok":true,"partial":false,"title":"Operation Double Trouble [2003]","artist":"Keith Sanborn","year":"2003","startOffset":0,"sourceSecs":626.816,"sourceHeight":352,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":41677764,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_odt_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_odt_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sanborn_keith_odt_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sanborn_keith_odt_2003/main.mp4?v=2","description":"10:15. Color. Stereo sound. <br/><br/> A detourned version of a propaganda film (pointed out to me by <a href=\"https://ubu.com/film/ahwesh.html\" rel=\"noopener\" target=\"_blank\">Peggy Ahwesh</a>) jointly produced by the US Marine Corps and the US Navy. I downloaded the original from a military website, converted it to dv codec then reworked it. The original was intended to give the military \"a human face.\" This version is intended to expose the manipulations of the original at a critical moment in the historical evolution of the role of the US military in US politics. Titles were added at the head and tail and each shot is seen exactly twice. The effect produced is reminiscent of the experience of making a long distance phone call where by accident every word you say is echoed after a short delay. It's what I call Brechtian hiccoughs. This work is dedicated to Len Lye (maker of \"Lambeth Walk, Nazi style\") and Les LeVeque (maker of \"Backwards Birth of a Nation\" among others). As von Clausewitz says, \"War is the continuation of Politics by other means.\" This work is intended to inflect the history of information warfare.","artist_bio":"Semi-private sub-Hegelian Panty Fantasy (with sound)\n(2001)\nThe Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn\n(1936/1996)\nKeith Sanborn is a media artist, theorist, curator and translator based in New York. Besides a number of one-person shows his work has been included in the Whitney Biennial, the Pompidou Monter/Sampler exhibition, and festivals such as OVNI, Video Vortex, Rotterdam, EMAF, and Oberhausen. His theoretical work has appeared in contexts ranging from Artforum to Kunst nach Ground Zero to catalogues for MoMA , Exit Art, and the San Francisco Cinematheque. He has translated the work of Debord, Viénet, Wolman, Bataille, Napoleon, Kuleshov and Gioli among others. He has also worked as an independent curator with the Oberhausen Short Film Festival, Exit Art, Artists Space, the Pacific Film Archive, and others.","bio_dates":"2007"},{"slug":"sanborn_keith_semi_2001","ok":true,"partial":false,"title":"Semi-private sub-Hegelian Panty Fantasy (with sound) [2001]","artist":"Keith Sanborn","year":"2001","startOffset":0,"sourceSecs":204.203,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":11143844,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_semi_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_semi_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sanborn_keith_semi_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sanborn_keith_semi_2001/main.mp4?v=2","description":"3'24\" minutes. Black and white and color. Stereo sound. <br/><br/> A philosophical dream narrative, structured around conceptions and representations of the reversibility and irreversibility of time and desire. The title is more or less exact. Several layers of Freudian fun, from exploding/imploding houses, to collapsing walls that re-erect themselves, to the dead Lenin, lying for his film portrait. As a Lacanian once said: he does not have the phallus: he is the phallus. Historical psychological fun for the whole family. “Everyone over ninety in the company of both parents admitted free.”","artist_bio":"Semi-private sub-Hegelian Panty Fantasy (with sound)\n(2001)\nThe Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn\n(1936/1996)\nKeith Sanborn is a media artist, theorist, curator and translator based in New York. Besides a number of one-person shows his work has been included in the Whitney Biennial, the Pompidou Monter/Sampler exhibition, and festivals such as OVNI, Video Vortex, Rotterdam, EMAF, and Oberhausen. His theoretical work has appeared in contexts ranging from Artforum to Kunst nach Ground Zero to catalogues for MoMA , Exit Art, and the San Francisco Cinematheque. He has translated the work of Debord, Viénet, Wolman, Bataille, Napoleon, Kuleshov and Gioli among others. He has also worked as an independent curator with the Oberhausen Short Film Festival, Exit Art, Artists Space, the Pacific Film Archive, and others.","bio_dates":"2007"},{"slug":"sanborn_keith_theartwork_1936","ok":true,"partial":false,"title":"The Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn","artist":"Keith Sanborn","year":"1936/1996","startOffset":0,"sourceSecs":217.728,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":13039294,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_theartwork_1936/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_theartwork_1936/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sanborn_keith_theartwork_1936.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sanborn_keith_theartwork_1936/main.mp4?v=2","description":"© 1936 Jayne Austen<br/> 1936/1996. 3:38. Color. Stereo sound.<br/> <br/> An attempt to problematize ownership and authorship in the age of digital reproduction. Inspired by the Walter Benjamin essay of the same name and the activities of the Situationists. If it could be authenticated that it were produced in 1936, this would make it the oldest known digital video work.","artist_bio":"Semi-private sub-Hegelian Panty Fantasy (with sound)\n(2001)\nThe Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn\n(1936/1996)\nKeith Sanborn is a media artist, theorist, curator and translator based in New York. Besides a number of one-person shows his work has been included in the Whitney Biennial, the Pompidou Monter/Sampler exhibition, and festivals such as OVNI, Video Vortex, Rotterdam, EMAF, and Oberhausen. His theoretical work has appeared in contexts ranging from Artforum to Kunst nach Ground Zero to catalogues for MoMA , Exit Art, and the San Francisco Cinematheque. He has translated the work of Debord, Viénet, Wolman, Bataille, Napoleon, Kuleshov and Gioli among others. He has also worked as an independent curator with the Oberhausen Short Film Festival, Exit Art, Artists Space, the Pacific Film Archive, and others.","bio_dates":"2007"},{"slug":"sanborn_keith_zapruder_1999","ok":true,"partial":false,"title":"The Zapruder footage: an investigation of consensual hallucination [1999]","artist":"Keith Sanborn","year":"1999","startOffset":0,"sourceSecs":1179.264,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":71723703,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_zapruder_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sanborn_keith_zapruder_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sanborn_keith_zapruder_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sanborn_keith_zapruder_1999/main.mp4?v=2","description":"20 minutes. Color. Stereo sound. <br/><br/> A philosophical dream narrative, structured around conceptions and representations of the reversibility and irreversibility of time and desire. The title is more or less exact. Several layers of Freudian fun, from exploding/imploding houses, to collapsing walls that re-erect themselves, to the dead Lenin, lying for his film portrait. As a Lacanian once said: he does not have the phallus: he is the phallus. Historical psychological fun for the whole family. “Everyone over ninety in the company of both parents admitted free.”","artist_bio":"Semi-private sub-Hegelian Panty Fantasy (with sound)\n(2001)\nThe Artwork in the Age of its Mechanical Reproducibility by Walter Benjamin as told to Keith Sanborn\n(1936/1996)\nKeith Sanborn is a media artist, theorist, curator and translator based in New York. Besides a number of one-person shows his work has been included in the Whitney Biennial, the Pompidou Monter/Sampler exhibition, and festivals such as OVNI, Video Vortex, Rotterdam, EMAF, and Oberhausen. His theoretical work has appeared in contexts ranging from Artforum to Kunst nach Ground Zero to catalogues for MoMA , Exit Art, and the San Francisco Cinematheque. He has translated the work of Debord, Viénet, Wolman, Bataille, Napoleon, Kuleshov and Gioli among others. He has also worked as an independent curator with the Oberhausen Short Film Festival, Exit Art, Artists Space, the Pacific Film Archive, and others.","bio_dates":"2007"},{"slug":"sannes_sanne_dirty_girl_1967","ok":true,"partial":false,"title":"Dirty Girl","artist":"Sanne Sannes","year":"1967","startOffset":0,"sourceSecs":1118.037,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":68355691,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sannes_sanne_dirty_girl_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sannes_sanne_dirty_girl_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sannes_sanne_dirty_girl_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sannes_sanne_dirty_girl_1967/main.mp4?v=2","description":"Dutch photographer Sanne Sannes (1937-1967) shot this film in 1966 using (mostly his) photography and collage techniques,zooming in and out or moving the camera above them. He wasn't able to watch the end result since he died in a car accident Dirty Girl (aka Santa Lucia or Sanne Lucia) 16mm was produced by VPRO. This 18 minutes version was streamed on a Dutch documentary internet channel. Typical for Sanne Sannes (photo) work is the use of grain and a long shutter so the images often are not sharp. Also the use of collage. His main topic were women. <br/><br/> Story: A woman looks back at her life as a married respecful wife of a decent husband. She fantasises about being a prositute, nude model and murderess of her boring husband.","artist_bio":"The Dutch photographer Sanne Sannes (1937-1967) earned a name for himself in the early 1960s with his grainy, erotic portraits. He was viewed as an extremely promising photographer of the new generation characterised by the freedom of the Sixties.\nWomen were his favourite subjects and an endless source of inspiration. In a manner verging on obsession, he photographed them repeatedly during ecstatic sessions, often naked, recording their most intimate moments. This intimacy was emphasised in out-of-focus and underexposed photos because Sannes worked with existing light and always with a hand-held camera.\nSannes worked on exhibitions both in the Netherlands and abroad. Due to his untimely death, he never truly achieved international fame. Even though his career was cut short prematurely when he died in a car accident at the age of thirty, the oeuvre he built up was nevertheless of the finest quality.","bio_dates":"1937-1967"},{"slug":"sansour_larissa_a_space_exodus_2008","ok":true,"partial":false,"title":"A Space Exodus","artist":"Larissa Sansour","year":"2008","startOffset":0,"sourceSecs":352.848,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":122976544,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sansour_larissa_a_space_exodus_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sansour_larissa_a_space_exodus_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sansour_larissa_a_space_exodus_2008.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sansour_larissa_a_space_exodus_2008/main.mp4?v=2","description":"A Space Exodus quirkily sets up an adapted stretch of Stanley Kubrick's Space Odyssey in a Middle Eastern political context. The recognisable music scores of the 1968 science fiction film are changed to arabesque chords matching the surreal visuals of Sansour's film.\n\nThe film follows the artist herself onto a phantasmagoric journey through the universe echoing Stanley Kubrick's thematic concerns for human evolution, progress and technology. However, in her film, Sansour posits the idea of a first Palestinian into space, and, referencing Armstrong's moon landing, she interprets this theoretical gesture as \"a small step for a Palestinian, a giant leap for mankind\"."},{"slug":"sansour_larissa_happy_days","ok":true,"partial":false,"title":"Happy Days","artist":"Larissa Sansour","year":"2005","startOffset":0,"sourceSecs":84.12,"sourceHeight":360,"sourceWidth":492,"hasAudio":true,"hasAmbientMp4":true,"bytes":5111057,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sansour_larissa_happy_days/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sansour_larissa_happy_days/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sansour_larissa_happy_days.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sansour_larissa_happy_days/main.mp4?v=2","description":"Happy Days exposes everyday Palestinian life under Israeli occupation. In the video, a collage of footage shot on location in the occupied territories is accompanied by the theme music from the 70s sitcom Happy Days.","artist_bio":"Larissa Sansour is a Palestinian artist who currently resides in London, England. She is into photography, film, sculpture, and installation art. Some of her works include Tank (2003), Bethlehem Bandolero (2005), Happy Days (2006), Cairo Taxilogue (2008), The Novel of Novel and Novel (2009), Falafel Road (2010), Palestinauts (2010), Nation State (2012), In the Future, They Ate From the Finest Porcelain (2016), and Archaeology in Absentia (2016).\nShe was born in East Jerusalem and studied at the Byam Shaw School of Art. Sansour received a BFA from the Maryland Institute College of Art and an MA in fine art from New York University. She studied art history and criticism at the University of Baltimore and was a visiting student at the Royal Danish Academy of Fine Arts.\nIn her art, Sansour uses video, photography, book form and web pages, as well as installation art. She includes references to various elements from popular culture such as Spaghetti Westerns, horror films and superheroes. She also makes use of science fiction as a vehicle for providing an alternative perspective on current social issues.\nSansour has had solo exhibitions in New York City, Copenhagen, Stockholm, Istanbul and Paris. She has been included in group exhibitions including the Istanbul Biennial, the Busan Biennale in South Korea and the Liverpool Biennial, as well as exhibitions at the Tate Modern, the Brooklyn Museum, the Centre Georges Pompidou, the Museo Nacional Centro de Arte Reina Sofía, the Louisiana Museum of Modern Art and the Hiroshima City Museum of Contemporary Art. Her work is included in the collections of the Imperial War Museum in London, the Wolverhampton Art Gallery, the Museum of Contemporary Art in Denmark, the Carlsberg Foundation, the Barjeel Art Foundation, the Louis Vuitton Collection and the Nadour Collection.\nHer show at the Mosaic Rooms has been cited as one of the world's \"must-see\" exhibitions in the summer of 2016 in Art Review.\nIn 2011, the annual Elysée art prize competition was cancelled after Sansour's work Nation Estate was excluded by sponsor Lacoste on the grounds that the work was not compatible with the competitions theme of \"joie de vivre\". Interpreting Lacoste's decision as political, the Musée de l'Élysée chose to cancel the prize.\nLarissa Sansour represented Denmark at the Venice Biennale 2019 with her exhibition Heirloom; an enactment of a dystopic future in a state of an undergone ecological collapse. In 2020 her work was presented at Bildmuseet, Umeå University, Sweden, showing the Heirloom exhibition Bildmuseet.umu.se/en/exhibition/Larissa-Sansour-Heirloom. The exhibition included Sansour's science fiction film In Vitro, which, as the artist explained in Ocula Magazine, 'questions the cyclicality of history and the fact that no matter where we are heading, revision is always needed'.","bio_dates":"b. 1973"},{"slug":"sansour_larissa_nation_estate_2013","ok":true,"partial":false,"title":"Nation Estate","artist":"Larissa Sansour","year":"2012","startOffset":0,"sourceSecs":542.737,"sourceHeight":442,"sourceWidth":1056,"hasAudio":true,"hasAmbientMp4":true,"bytes":37465047,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sansour_larissa_nation_estate_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sansour_larissa_nation_estate_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sansour_larissa_nation_estate_2013.mkv","hasFrames":true,"description":"The Nation Estate project consists of a 9-minute sci-fi short film and a photo series offering a clinically dystopian, yet humorous approach to the deadlock in the Middle East. <br/><br/> With its glossy mixture of computer generated imagery, live actors and an arabesque electronica soundtrack, the Nation Estate film explores a vertical solution to Palestinian statehood. Palestinians have their state in the form of a single skyscraper: the Nation Estate. One colossal high-rise houses the entire Palestinian population - now finally living the high life.","artist_bio":"Larissa Sansour is a Palestinian artist who currently resides in London, England. She is into photography, film, sculpture, and installation art. Some of her works include Tank (2003), Bethlehem Bandolero (2005), Happy Days (2006), Cairo Taxilogue (2008), The Novel of Novel and Novel (2009), Falafel Road (2010), Palestinauts (2010), Nation State (2012), In the Future, They Ate From the Finest Porcelain (2016), and Archaeology in Absentia (2016).\nShe was born in East Jerusalem and studied at the Byam Shaw School of Art. Sansour received a BFA from the Maryland Institute College of Art and an MA in fine art from New York University. She studied art history and criticism at the University of Baltimore and was a visiting student at the Royal Danish Academy of Fine Arts.\nIn her art, Sansour uses video, photography, book form and web pages, as well as installation art. She includes references to various elements from popular culture such as Spaghetti Westerns, horror films and superheroes. She also makes use of science fiction as a vehicle for providing an alternative perspective on current social issues.\nSansour has had solo exhibitions in New York City, Copenhagen, Stockholm, Istanbul and Paris. She has been included in group exhibitions including the Istanbul Biennial, the Busan Biennale in South Korea and the Liverpool Biennial, as well as exhibitions at the Tate Modern, the Brooklyn Museum, the Centre Georges Pompidou, the Museo Nacional Centro de Arte Reina Sofía, the Louisiana Museum of Modern Art and the Hiroshima City Museum of Contemporary Art. Her work is included in the collections of the Imperial War Museum in London, the Wolverhampton Art Gallery, the Museum of Contemporary Art in Denmark, the Carlsberg Foundation, the Barjeel Art Foundation, the Louis Vuitton Collection and the Nadour Collection.\nHer show at the Mosaic Rooms has been cited as one of the world's \"must-see\" exhibitions in the summer of 2016 in Art Review.\nIn 2011, the annual Elysée art prize competition was cancelled after Sansour's work Nation Estate was excluded by sponsor Lacoste on the grounds that the work was not compatible with the competitions theme of \"joie de vivre\". Interpreting Lacoste's decision as political, the Musée de l'Élysée chose to cancel the prize.\nLarissa Sansour represented Denmark at the Venice Biennale 2019 with her exhibition Heirloom; an enactment of a dystopic future in a state of an undergone ecological collapse. In 2020 her work was presented at Bildmuseet, Umeå University, Sweden, showing the Heirloom exhibition Bildmuseet.umu.se/en/exhibition/Larissa-Sansour-Heirloom. The exhibition included Sansour's science fiction film In Vitro, which, as the artist explained in Ocula Magazine, 'questions the cyclicality of history and the fact that no matter where we are heading, revision is always needed'.","bio_dates":"b. 1973"},{"slug":"sarmento_juliao_commercial_break","ok":true,"partial":false,"title":"Commerical Break","artist":"Julião Sarmento","year":"2011","startOffset":0,"sourceSecs":90.86,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":5481563,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sarmento_juliao_commercial_break/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sarmento_juliao_commercial_break/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sarmento_juliao_commercial_break.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Julião Sarmento was born in 1948 in Lisbon, Portugal. From 1967-1970 he studied painting and architecture at the Escola Superior de Belas Artes, Lisbon, where he also received his Master's degree in 1976.\nSarmento has developed a multi-media visual language, combining film, video, sound, painting, sculpture and installations. Sarmento's work often deals with issues of complex interpersonal relationships; it has consistently utilized themes such as psychological interaction, sensuality, voyeurism and transgression.\nSarmento is well-known for his thickly impastoed, textured paintings where the paint field forms a ground from which he teases out his imagery in graphite, reversing the traditional basis of painting. His imagery is often partially or fully erased. He then draws on top of the erasure, creating fragmented and layered forms, which evoke disconcerting, mysterious gestures and relationships.\nSarmento has exhibited extensively worldwide since 1979. He has been included in two Documentas and has represented Portugal in two Venice Biennales. His work is represented in public and private collections worldwide such as: the Hirshhorn Museum and Sculpture Garden, Washington, DC; the San Francisco Museum of Modern Art; The Solomon R. Guggenheim Museum, New York; the Museum of Modern Art, New York; the Musée National d'Art Moderne Centre Georges Pompidou, Paris, France; the Stedelijk Van Abbemuseum, Eindhoven, Holland; the Hara Museum of Contemporary Art, Tokyo, Japan; and the Museo de Arte Carrillo Gil, Mexico City, Mexico.\nIn 2012, Sarmento was the subject of an extensive retrospective exhibition, titled White Nights, at the Serralves Museum of Contemporary Art in Porto, Portugal. The exhibition was accompanied by a major monographic publication on the work of Sarmento, co-published by the museum and Hatje Cantz. The book features works from the late 1960s until the present and is illustrated with all the works that were on display in the exhibition.","bio_dates":"b. 1948"},{"slug":"saroyan_the_street_2004_iphone","ok":true,"partial":false,"title":"The Street","artist":"Aram Saroyan","year":"2004","startOffset":0,"sourceSecs":4295.469,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":241671098,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/saroyan_the_street_2004_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/saroyan_the_street_2004_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/saroyan_the_street_2004_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/saroyan_the_street_2004_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/saroyan_the_street_2004_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Aram, a young writer of playful one-word poems, searches for intimacy while living in a small New York City apartment on W. 85th Street. What he finds are awkward romantic encounters, including a one-night stand with a waitress and a humorous brush with amateur porn. A decision to begin therapy and Aram’s quiet connection to the homeless man living on his street help him make sense of his misguided attempts at intimacy. Meanwhile, a chance opportunity to audition for a remake of “The Graduate” takes him to Los Angeles where he briefly flirts with becoming an actor. Instead, unexpected insights inspire Aram to begin writing an autobiographical novel and embark on a new life.\n\nI first stumbled upon “The Street: An Autobiographical Novel” while working at the Strand bookstore in the summer of 1989. I was going to college in suburban northern California where I felt homesick for New York City and the urban world I was used to. The author, Aram Saroyan, was living in northern California during the 1970s when he wrote the book, homesick for the year that he lived on West 85th Street in the mid 1960s. The novel captures not only the particular feeling of growing up in New York City, but also that moment, just on the verge of adulthood, when one’s family becomes not simply Mother, Father, Step-Father, Sister, but separate people with flaws, idiosyncrasies and frailties. My adaptation of “The Street” tries to capture all of these things while telling the gently comic story of a young man’s struggle to find love.\n\nNoam Christopher is a screenwriter and director. After attending Stanford University, he received his MFA in Graduate Film Production from NYU where he was awarded a Teaching Assistantship. Christopher’s debut feature film, “The Street,” premiered at the IFP New York Market and screened in competition at the Austin Film Festival. He recently completed two original screenplays – “true,” a story about the destructive and redemptive power of sex, and “Hand Made,” an urban fairy tale about a young Latino man who goes to Italy to learn the art and craft of shoemaking. Born on a farm in Central Pennsylvania, Christopher has lived in New York City most of his life."},{"slug":"sasamoto_aki_everythingchidambaram_excerpt","ok":true,"partial":false,"title":"Everything Chidambaram excerpt","artist":"Aki Sasamoto","year":"2005","startOffset":0,"sourceSecs":272.256,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":48960076,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasamoto_aki_everythingchidambaram_excerpt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasamoto_aki_everythingchidambaram_excerpt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasamoto_aki_everythingchidambaram_excerpt.mp4","hasFrames":true,"description":"In Everything Chidambaram-Praying Project, the prayer continues washing with the large block of soap sculpture over hours. The monotonous movement of washing is in contrast with a improvised speech whose contexts jump freely to many direction"},{"slug":"sasamoto_aki_practicingtoleave_conduct_judgemental_excerpt","ok":true,"partial":false,"title":"Practicing to Leave - Conduct - Judge Mentals excerpt","artist":"Aki Sasamoto","year":"2007","startOffset":0,"sourceSecs":306.411,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":45300193,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasamoto_aki_practicingtoleave_conduct_judgemental_excerpt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasamoto_aki_practicingtoleave_conduct_judgemental_excerpt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasamoto_aki_practicingtoleave_conduct_judgemental_excerpt.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasamoto_aki_practicingtoleave_conduct_judgemental_excerpt/main.mp4?v=2","description":"April 2007<br/> at The Chocolate Factory Theater<br/> Video by Arturo Vidich <br/><br/> Practicing to Leave - Conduct - Judge Mentals was a theatrical production. Found furniture pieces were altered and made mobile. This performance piece later developed into an installation with AV system, with which Aki performed over and over again. See <a href=\"https://ubu.com/film/sasamoto_rmd.html\" rel=\"noopener\" target=\"_blank\">remembering/modifying/developing</a>.","artist_bio":"Aki Sasamoto is a New York-based, Japanese artist, who works in performance, sculpture, dance, and whatever more medium that takes to get her ideas across. Her works have been shown both in performing art and visual art venues in New York and abroad. Besides her own works, she has collaborated with artists in visual arts, music, and dance, in which she plays multiple roles of dancer, sculptor, or director. Sasamoto also co-founded and co-directs Culture Push, a non-profit arts organization, in which diverse professionals meet through artist-led projects and cross-disciplinary symposia.\nSasamoto's performance/installation works revolve around everyday gestures on nothing and everything. Her installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her improvisational performances create feedback, responding to sound, objects, and moving bodies. The constructed stories seem personal at first, yet oddly open to variant degrees of access, relation, and reflection.","bio_dates":"b. 1980"},{"slug":"sasamoto_aki_rmd_excerpt","ok":true,"partial":false,"title":"Everything Chidambaram excerpt","artist":"Aki Sasamoto","year":"2005","startOffset":0,"sourceSecs":363.797,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":65678352,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasamoto_aki_rmd_excerpt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasamoto_aki_rmd_excerpt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasamoto_aki_rmd_excerpt.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasamoto_aki_rmd_excerpt/main.mp4?v=2","description":"Collaboration with Jeffrey Schiff <br/><br/> Speaking freely as I wash Soap Sculpture by Jeffrey Schiff <br/><br/> In Everything Chidambaram-Praying Project, the prayer continues washing with the large block of soap sculpture over hours. The monotonous movement of washing is in contrast with a improvised speech whose contexts jump freely to many direction","artist_bio":"Aki Sasamoto is a New York-based, Japanese artist, who works in performance, sculpture, dance, and whatever more medium that takes to get her ideas across. Her works have been shown both in performing art and visual art venues in New York and abroad. Besides her own works, she has collaborated with artists in visual arts, music, and dance, in which she plays multiple roles of dancer, sculptor, or director. Sasamoto also co-founded and co-directs Culture Push, a non-profit arts organization, in which diverse professionals meet through artist-led projects and cross-disciplinary symposia.\nSasamoto's performance/installation works revolve around everyday gestures on nothing and everything. Her installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her improvisational performances create feedback, responding to sound, objects, and moving bodies. The constructed stories seem personal at first, yet oddly open to variant degrees of access, relation, and reflection.","bio_dates":"b. 1980"},{"slug":"sasamoto_aki_secrets_of_my_mothers_child_iphone","ok":true,"partial":false,"title":"Secrets of my Mother's Child","artist":"Aki Sasamoto","year":"2009","startOffset":0,"sourceSecs":2031.426,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":120602644,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasamoto_aki_secrets_of_my_mothers_child_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasamoto_aki_secrets_of_my_mothers_child_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasamoto_aki_secrets_of_my_mothers_child_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasamoto_aki_secrets_of_my_mothers_child_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasamoto_aki_secrets_of_my_mothers_child_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Performed September 15, 2009 <br/> as part of the group exhibition <i><a href=\"http://www.thekitchen.org/event/119/0/1/\" rel=\"noopener\" target=\"_blank\">One Minute More</a></i> which took place at The Kitchen from September 10-October 30, 2009. Aki Sasamoto's <i>Secrets of My Mother's Child</i> is an installation and a performance work composed of a series of loosely combined vignettes which the artist refers to as: ÒAirport BathroomÓ, ÒDrawers Eat MemoryÓ, ÒPickling PotÓ, and ÒX x Y =1.Ó","artist_bio":"Aki Sasamoto is a New York-based, Japanese artist, who works in performance, sculpture, dance, and whatever more medium that takes to get her ideas across. Her works have been shown both in performing art and visual art venues in New York and abroad. Besides her own works, she has collaborated with artists in visual arts, music, and dance, in which she plays multiple roles of dancer, sculptor, or director. Sasamoto also co-founded and co-directs Culture Push, a non-profit arts organization, in which diverse professionals meet through artist-led projects and cross-disciplinary symposia.\nSasamoto's performance/installation works revolve around everyday gestures on nothing and everything. Her installations are careful arrangements of sculpturally altered found objects, and the decisive gestures in her improvisational performances create feedback, responding to sound, objects, and moving bodies. The constructed stories seem personal at first, yet oddly open to variant degrees of access, relation, and reflection.","bio_dates":"b. 1980"},{"slug":"sasamoto_aki_strangeattractors_iphone","ok":true,"partial":false,"title":"Strange Attractors","artist":"Aki Sasamoto","year":"2010","startOffset":0,"sourceSecs":1899.416,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":115091306,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasamoto_aki_strangeattractors_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasamoto_aki_strangeattractors_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasamoto_aki_strangeattractors_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasamoto_aki_strangeattractors_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasamoto_aki_strangeattractors_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"A Strange Attractor is a mathematical concept, where a trajectory of a graph seems to be attracted to certain point(s)/line(s)/plane(s) in a seemingly unpredictable manner.\n\n\"\"Aki Sasamoto's contribution to 2010, Strange Attractors, consists of the careful arrangement of sculpturally altered found objects and insistent repetitions of performances that alter and add to the feelings of the installation; the objects themselves provide guidance for the artist's structured improvisation. Sasamoto demonstrates and develops a kaleidoscopic worldview out of deeply personal episodes and a hypothetical mapping of the universe. In an attempt to understand and feel the mathematical concept of strange attractors in dynamical systems, she jumbles her recent obsession for doughnuts, fortunetellers, hemorrhoids, and things detected in the world.\""},{"slug":"sasnal_wilhelm_kuchnia","ok":true,"partial":false,"title":"Kuchnia (no date)","artist":"Wilhelm Sasnal","year":"1972","startOffset":0,"sourceSecs":212.23,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":13789764,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_kuchnia/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_kuchnia/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasnal_wilhelm_kuchnia.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasnal_wilhelm_kuchnia/main.mp4?v=2","artist_bio":"Wilhelm Sasnal makes paintings in response to the abundance of imagery that emerged in Eastern Europe after the fall of communism. No two Sasnal paintings ever look alike: he makes pop paintings, naturalistic paintings and abstracts. Some of his works look like still lifes, others like street scenes or record labels. Sasnal has even been known to make paintings about nothing at all: a roll of tape, a computer disk or a plant.\nWilhelm Sasnal is one of the most celebrated artists to emerge from Eastern Europe in recent years. Working from his home country Poland, he uses painting as a means to intimately negotiate his position within (new) capitalist culture. Sasnal's work is prolific, varied and deliberately unclassifiable as a strategy: digesting his practice is akin to swallowing mass media whole.\nSasnal draws his subject matter from day-to-day reality. The most banal examples of still life mingle with commensurate importance to propaganda icons, advertising and photojournalistic imagery. Wilhelm Sasnal approaches image production as a formal exercise, ranging from abstract to figurative with schizophrenic adaptation of style and technique. Through making, he renders all things equal.\nFor Wilhelm Sasnal, painting is imperative as a means of challenging traditional expectations of representation and perception. Through his intervention, subject matter becomes distorted: images are pared down to the bare essentials and estranged from their original context or meaning.\nStripping authority of its power, Wilhelm Sasnal renders the political as defunct and the irrelevant as intrinsic. A suicide bomber's belt sits innocuously next to an image of a pop star, an agitprop photo of factory workers is given a Warholian edge, and a Soviet sculpture is cropped and repainted as pure decoration. Using a predominantly black-and-white palette, Wilhelm Sasnal approaches painting as a reductive process. Information is lost in translation and replicated images only exist as mere vestiges of themselves.\nWilhelm Sasnal's practice doesn't celebrate freedom, but a shift in conformity. It strives to define personal experience of an impersonal world. Through his painting, he explores a no man's land where private and public converge in a sluice of shared memory. Operating as his own self-sustaining information source, Wilhelm Sasnal imposes his world order on politics, celebrity, art history and banality, quietly developing a position of individual conscience.","bio_dates":"b. 1972"},{"slug":"sasnal_wilhelm_mlodziez","ok":true,"partial":false,"title":"Młodzież (1999)<","artist":"Wilhelm Sasnal","year":"1999","startOffset":0,"sourceSecs":104.42,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":3050603,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_mlodziez/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_mlodziez/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasnal_wilhelm_mlodziez.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasnal_wilhelm_mlodziez/main.mp4?v=2","artist_bio":"Wilhelm Sasnal makes paintings in response to the abundance of imagery that emerged in Eastern Europe after the fall of communism. No two Sasnal paintings ever look alike: he makes pop paintings, naturalistic paintings and abstracts. Some of his works look like still lifes, others like street scenes or record labels. Sasnal has even been known to make paintings about nothing at all: a roll of tape, a computer disk or a plant.\nWilhelm Sasnal is one of the most celebrated artists to emerge from Eastern Europe in recent years. Working from his home country Poland, he uses painting as a means to intimately negotiate his position within (new) capitalist culture. Sasnal's work is prolific, varied and deliberately unclassifiable as a strategy: digesting his practice is akin to swallowing mass media whole.\nSasnal draws his subject matter from day-to-day reality. The most banal examples of still life mingle with commensurate importance to propaganda icons, advertising and photojournalistic imagery. Wilhelm Sasnal approaches image production as a formal exercise, ranging from abstract to figurative with schizophrenic adaptation of style and technique. Through making, he renders all things equal.\nFor Wilhelm Sasnal, painting is imperative as a means of challenging traditional expectations of representation and perception. Through his intervention, subject matter becomes distorted: images are pared down to the bare essentials and estranged from their original context or meaning.\nStripping authority of its power, Wilhelm Sasnal renders the political as defunct and the irrelevant as intrinsic. A suicide bomber's belt sits innocuously next to an image of a pop star, an agitprop photo of factory workers is given a Warholian edge, and a Soviet sculpture is cropped and repainted as pure decoration. Using a predominantly black-and-white palette, Wilhelm Sasnal approaches painting as a reductive process. Information is lost in translation and replicated images only exist as mere vestiges of themselves.\nWilhelm Sasnal's practice doesn't celebrate freedom, but a shift in conformity. It strives to define personal experience of an impersonal world. Through his painting, he explores a no man's land where private and public converge in a sluice of shared memory. Operating as his own self-sustaining information source, Wilhelm Sasnal imposes his world order on politics, celebrity, art history and banality, quietly developing a position of individual conscience.","bio_dates":"b. 1972"},{"slug":"sasnal_wilhelm_namiot","ok":true,"partial":false,"title":"Namiot","artist":"Wilhelm Sasnal","year":"2005","startOffset":0,"sourceSecs":68.985,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":371665,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_namiot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_namiot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasnal_wilhelm_namiot.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasnal_wilhelm_namiot/main.mp4?v=2","artist_bio":"Wilhelm Sasnal makes paintings in response to the abundance of imagery that emerged in Eastern Europe after the fall of communism. No two Sasnal paintings ever look alike: he makes pop paintings, naturalistic paintings and abstracts. Some of his works look like still lifes, others like street scenes or record labels. Sasnal has even been known to make paintings about nothing at all: a roll of tape, a computer disk or a plant.\nWilhelm Sasnal is one of the most celebrated artists to emerge from Eastern Europe in recent years. Working from his home country Poland, he uses painting as a means to intimately negotiate his position within (new) capitalist culture. Sasnal's work is prolific, varied and deliberately unclassifiable as a strategy: digesting his practice is akin to swallowing mass media whole.\nSasnal draws his subject matter from day-to-day reality. The most banal examples of still life mingle with commensurate importance to propaganda icons, advertising and photojournalistic imagery. Wilhelm Sasnal approaches image production as a formal exercise, ranging from abstract to figurative with schizophrenic adaptation of style and technique. Through making, he renders all things equal.\nFor Wilhelm Sasnal, painting is imperative as a means of challenging traditional expectations of representation and perception. Through his intervention, subject matter becomes distorted: images are pared down to the bare essentials and estranged from their original context or meaning.\nStripping authority of its power, Wilhelm Sasnal renders the political as defunct and the irrelevant as intrinsic. A suicide bomber's belt sits innocuously next to an image of a pop star, an agitprop photo of factory workers is given a Warholian edge, and a Soviet sculpture is cropped and repainted as pure decoration. Using a predominantly black-and-white palette, Wilhelm Sasnal approaches painting as a reductive process. Information is lost in translation and replicated images only exist as mere vestiges of themselves.\nWilhelm Sasnal's practice doesn't celebrate freedom, but a shift in conformity. It strives to define personal experience of an impersonal world. Through his painting, he explores a no man's land where private and public converge in a sluice of shared memory. Operating as his own self-sustaining information source, Wilhelm Sasnal imposes his world order on politics, celebrity, art history and banality, quietly developing a position of individual conscience.","bio_dates":"b. 1972"},{"slug":"sasnal_wilhelm_sisters","ok":true,"partial":false,"title":"Sisters","artist":"Wilhelm Sasnal","year":"2004","startOffset":0,"sourceSecs":152.405,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":6519403,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_sisters/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_sisters/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasnal_wilhelm_sisters.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasnal_wilhelm_sisters/main.mp4?v=2","description":"2004, 3 min, 16mm, color, silent","artist_bio":"Wilhelm Sasnal makes paintings in response to the abundance of imagery that emerged in Eastern Europe after the fall of communism. No two Sasnal paintings ever look alike: he makes pop paintings, naturalistic paintings and abstracts. Some of his works look like still lifes, others like street scenes or record labels. Sasnal has even been known to make paintings about nothing at all: a roll of tape, a computer disk or a plant.\nWilhelm Sasnal is one of the most celebrated artists to emerge from Eastern Europe in recent years. Working from his home country Poland, he uses painting as a means to intimately negotiate his position within (new) capitalist culture. Sasnal's work is prolific, varied and deliberately unclassifiable as a strategy: digesting his practice is akin to swallowing mass media whole.\nSasnal draws his subject matter from day-to-day reality. The most banal examples of still life mingle with commensurate importance to propaganda icons, advertising and photojournalistic imagery. Wilhelm Sasnal approaches image production as a formal exercise, ranging from abstract to figurative with schizophrenic adaptation of style and technique. Through making, he renders all things equal.\nFor Wilhelm Sasnal, painting is imperative as a means of challenging traditional expectations of representation and perception. Through his intervention, subject matter becomes distorted: images are pared down to the bare essentials and estranged from their original context or meaning.\nStripping authority of its power, Wilhelm Sasnal renders the political as defunct and the irrelevant as intrinsic. A suicide bomber's belt sits innocuously next to an image of a pop star, an agitprop photo of factory workers is given a Warholian edge, and a Soviet sculpture is cropped and repainted as pure decoration. Using a predominantly black-and-white palette, Wilhelm Sasnal approaches painting as a reductive process. Information is lost in translation and replicated images only exist as mere vestiges of themselves.\nWilhelm Sasnal's practice doesn't celebrate freedom, but a shift in conformity. It strives to define personal experience of an impersonal world. Through his painting, he explores a no man's land where private and public converge in a sluice of shared memory. Operating as his own self-sustaining information source, Wilhelm Sasnal imposes his world order on politics, celebrity, art history and banality, quietly developing a position of individual conscience.","bio_dates":"b. 1972"},{"slug":"sasnal_wilhelm_the_band","ok":true,"partial":false,"title":"The Band","artist":"Wilhelm Sasnal","year":"2004","startOffset":0,"sourceSecs":629.92,"sourceHeight":304,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":34215458,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_the_band/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_the_band/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasnal_wilhelm_the_band.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasnal_wilhelm_the_band/main.mp4?v=2","description":"2004, four 3 minute films (looped), color, silent <br/><br/> While painting is still at the centre of Wilhelm Sasnal's work, he has also increasingly turned to photography and film in recent years. The video work \"The Band\", 2002, was made during a live performance of indie rock band Sonic Youth. Standing in the middle of the crowd, Sasnal and three of his friends each filmed one band member simultaneously. Projected onto the octagonal column of the gallery room, the four Super-8 films are put back together to make a single band again out of four individual musicians. But as Sasnal plays the concert film without sound, and with the viewer never being able to catch all four image tracks simultaneously, the event can only be experienced in fragments. The blanks must be filled in by the viewer activating his or her own memories and associations. <br/><br/> Sasnal's involvement with underground music has repeatedly played a role in the creation of his works. Record covers, portraits of musicians or excerpts from music videos have served as starting points for his paintings. It is no surprise, then, that the works on view at the Hauser & Wirth gallery revolve around the artist's musical preferences. Thus, \"Untitled (Sweat)\", 2002, shows the sweat stains left by the artist on his T-shirt after a rock concert. And in the installation \"Untitled\", 2003, Sasnal used two loudspeakers that had been among his personal furniture for fifteen years to build an intimate monument. Such works are particularly revealing of Sasnal's subjective approach to art. They clearly make reference to moments of reality, but at the same time their self-centredness is so intensified as to become hermetic, thus cutting off the ties that connected them to real events.","artist_bio":"Wilhelm Sasnal makes paintings in response to the abundance of imagery that emerged in Eastern Europe after the fall of communism. No two Sasnal paintings ever look alike: he makes pop paintings, naturalistic paintings and abstracts. Some of his works look like still lifes, others like street scenes or record labels. Sasnal has even been known to make paintings about nothing at all: a roll of tape, a computer disk or a plant.\nWilhelm Sasnal is one of the most celebrated artists to emerge from Eastern Europe in recent years. Working from his home country Poland, he uses painting as a means to intimately negotiate his position within (new) capitalist culture. Sasnal's work is prolific, varied and deliberately unclassifiable as a strategy: digesting his practice is akin to swallowing mass media whole.\nSasnal draws his subject matter from day-to-day reality. The most banal examples of still life mingle with commensurate importance to propaganda icons, advertising and photojournalistic imagery. Wilhelm Sasnal approaches image production as a formal exercise, ranging from abstract to figurative with schizophrenic adaptation of style and technique. Through making, he renders all things equal.\nFor Wilhelm Sasnal, painting is imperative as a means of challenging traditional expectations of representation and perception. Through his intervention, subject matter becomes distorted: images are pared down to the bare essentials and estranged from their original context or meaning.\nStripping authority of its power, Wilhelm Sasnal renders the political as defunct and the irrelevant as intrinsic. A suicide bomber's belt sits innocuously next to an image of a pop star, an agitprop photo of factory workers is given a Warholian edge, and a Soviet sculpture is cropped and repainted as pure decoration. Using a predominantly black-and-white palette, Wilhelm Sasnal approaches painting as a reductive process. Information is lost in translation and replicated images only exist as mere vestiges of themselves.\nWilhelm Sasnal's practice doesn't celebrate freedom, but a shift in conformity. It strives to define personal experience of an impersonal world. Through his painting, he explores a no man's land where private and public converge in a sluice of shared memory. Operating as his own self-sustaining information source, Wilhelm Sasnal imposes his world order on politics, celebrity, art history and banality, quietly developing a position of individual conscience.","bio_dates":"b. 1972"},{"slug":"sasnal_wilhelm_touch_me","ok":true,"partial":false,"title":"Untitled (Touch me)","artist":"Wilhelm Sasnal","year":"2002","startOffset":0,"sourceSecs":173.313,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":8007047,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_touch_me/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sasnal_wilhelm_touch_me/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sasnal_wilhelm_touch_me.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sasnal_wilhelm_touch_me/main.mp4?v=2","description":"Untitled (Touch me) begins with a standard urban landscape of buildings and streets. Then a swirling form of black ink descends from the top like poison gas, the aftereffects of fireworks falling to earth, or the imaginary “sparks” of an idea. The ink mutates into various psychedelic forms.","artist_bio":"Wilhelm Sasnal makes paintings in response to the abundance of imagery that emerged in Eastern Europe after the fall of communism. No two Sasnal paintings ever look alike: he makes pop paintings, naturalistic paintings and abstracts. Some of his works look like still lifes, others like street scenes or record labels. Sasnal has even been known to make paintings about nothing at all: a roll of tape, a computer disk or a plant.\nWilhelm Sasnal is one of the most celebrated artists to emerge from Eastern Europe in recent years. Working from his home country Poland, he uses painting as a means to intimately negotiate his position within (new) capitalist culture. Sasnal's work is prolific, varied and deliberately unclassifiable as a strategy: digesting his practice is akin to swallowing mass media whole.\nSasnal draws his subject matter from day-to-day reality. The most banal examples of still life mingle with commensurate importance to propaganda icons, advertising and photojournalistic imagery. Wilhelm Sasnal approaches image production as a formal exercise, ranging from abstract to figurative with schizophrenic adaptation of style and technique. Through making, he renders all things equal.\nFor Wilhelm Sasnal, painting is imperative as a means of challenging traditional expectations of representation and perception. Through his intervention, subject matter becomes distorted: images are pared down to the bare essentials and estranged from their original context or meaning.\nStripping authority of its power, Wilhelm Sasnal renders the political as defunct and the irrelevant as intrinsic. A suicide bomber's belt sits innocuously next to an image of a pop star, an agitprop photo of factory workers is given a Warholian edge, and a Soviet sculpture is cropped and repainted as pure decoration. Using a predominantly black-and-white palette, Wilhelm Sasnal approaches painting as a reductive process. Information is lost in translation and replicated images only exist as mere vestiges of themselves.\nWilhelm Sasnal's practice doesn't celebrate freedom, but a shift in conformity. It strives to define personal experience of an impersonal world. Through his painting, he explores a no man's land where private and public converge in a sluice of shared memory. Operating as his own self-sustaining information source, Wilhelm Sasnal imposes his world order on politics, celebrity, art history and banality, quietly developing a position of individual conscience.","bio_dates":"b. 1972"},{"slug":"satie_erik_parade_national_dance_company_wales_2017","ok":true,"partial":false,"title":"Parade (1917),National Dance Company Wales","artist":"Erik Satie","year":"2017","startOffset":0,"sourceSecs":1741.04,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":781570438,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/satie_erik_parade_national_dance_company_wales_2017/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/satie_erik_parade_national_dance_company_wales_2017/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/satie_erik_parade_national_dance_company_wales_2017.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/satie_erik_parade_national_dance_company_wales_2017/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/satie_erik_parade_national_dance_company_wales_2017/main/master.m3u8?v=2","hasMainHls":true,"description":"In 1917, a supergroup of world-famous European artists - Erik Satie, Jean Cocteau, Leonide Massine and Pablo Picasso. collaborated on Parade, a radical new ballet from Serge Diaghilev's Ballet Russes.\n\nParade subverted many of the artform’s conventions; the setting was a fairground and the ordinary streets of Paris, and the characters included clowns, acrobats, fire-eaters, and carnival acts to attract an audience; the score was inspired by music hall, ragtime, and fairground music; the orchestra’s instruments included a typewriter, a gun, a siren, milk bottles and a foghorn; and some of the dancers’ costumes were made of cardboard.\n\nThe modern reimagining of the original Parade features a live score – including all of Satie’s extraordinary instruments - played by the BBC National Orchestra of Wales, and highlights of the action captured outside the Wales Millennium Centre where a call to arms in a political rally sets the scene for the on-stage action."},{"slug":"satie_erik_things_seen_to_the_right_and_the_left","ok":true,"partial":false,"title":"Things Seen To The Right And The Left","artist":"Erik Satie","year":"2015","startOffset":0,"sourceSecs":4474.532,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":754080977,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/satie_erik_things_seen_to_the_right_and_the_left/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/satie_erik_things_seen_to_the_right_and_the_left/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/satie_erik_things_seen_to_the_right_and_the_left.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/satie_erik_things_seen_to_the_right_and_the_left/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/satie_erik_things_seen_to_the_right_and_the_left/main/master.m3u8?v=2","hasMainHls":true,"description":"Music documentary made for the BBC and Arte. Satie's life is told through the eyes of admirers and those who knew him in the 1920s. Made for Dennis Marks with Karl Sabbagh/Skyscraper Productions."},{"slug":"satterwhite_jacolby_birds_in_paradise_2019","ok":true,"partial":false,"title":"Birds in Paradise","artist":"Jacolby Satterwhite","year":"2019","startOffset":0,"sourceSecs":1061.674,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":447731341,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/satterwhite_jacolby_birds_in_paradise_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/satterwhite_jacolby_birds_in_paradise_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/satterwhite_jacolby_birds_in_paradise_2019.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/satterwhite_jacolby_birds_in_paradise_2019/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/satterwhite_jacolby_birds_in_paradise_2019/main/master.m3u8?v=2","hasMainHls":true,"description":"Birds in Paradise by Jacolby Satterwhite is a tripartite video installation comprised of a two-channel animation. The suite of films is scored by a conceptual folk recording the artist made from a cappella recordings written and sung by his late mother, the artist Patricia Satterwhite, and presented in a theater of objects that echoes the domestic space. Birds in Paradise – titled after a key record that speaks to the films’ visual refrain – is compiled from an archive of borrowed anecdotes, personal mythologies, drawings, and experimental-dance performance footage accumulated by the artist throughout his life. He derives his film-making strategies from Fluxus and Surrealist principles, revolving around chance and irrational juxtaposition for a queer Boschian tableau, punctuated by performances by artists, queer activists, dancers, sex workers, and actors from his community."},{"slug":"satterwhite_jacolby_we_are_in_hell_when_we_hurt_each_other_2020","ok":true,"partial":false,"title":"We Are In Hell When We Hurt Each Other","artist":"Jacolby Satterwhite","year":"2020","startOffset":0,"sourceSecs":1462.145,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":652852590,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/satterwhite_jacolby_we_are_in_hell_when_we_hurt_each_other_2020/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/satterwhite_jacolby_we_are_in_hell_when_we_hurt_each_other_2020/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/satterwhite_jacolby_we_are_in_hell_when_we_hurt_each_other_2020.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/satterwhite_jacolby_we_are_in_hell_when_we_hurt_each_other_2020/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/satterwhite_jacolby_we_are_in_hell_when_we_hurt_each_other_2020/main/master.m3u8?v=2","hasMainHls":true,"description":"Satterwhite’s most recent immersive, virtual reality video installation, We Are In Hell When We Hurt Each Other. In the video, after which the exhibition takes its title, the current events of our present reality permeate Satterwhite’s quasi-utopic universe. This virtual world is rooted in the expression of Satterwhite’s body movements, which are modeled and transcribed through digital bodysuits into animated fembot form. Current events permeate his virtual space that posits a post-pandemic, post-revolution world in which Black CGI female figures rooted in the artist’s body movements use ritual and movement as tools of resistance."},{"slug":"saturday_camille_henrot_2017_1080p","ok":true,"partial":false,"title":"Saturday","artist":"Camille Henrot","year":"2017","startOffset":0,"sourceSecs":1172.33,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":502343212,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/saturday_camille_henrot_2017_1080p/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/saturday_camille_henrot_2017_1080p/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/saturday_camille_henrot_2017_1080p.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/saturday_camille_henrot_2017_1080p/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/saturday_camille_henrot_2017_1080p/main/master.m3u8?v=2","hasMainHls":true,"description":"As both a sacred day of rest for certain faiths and a day for personal activities, we look to the possibilities expressed in “Saturday\" with great expectation. Camille Henrot’s film explores how we, as humans, engage with the idea of hope in the midst of global crises and structural anxiety. Are we able to digest and cope with any situation, no matter how difficult? The film addresses this question by considering different forms of our inner life, such as prayer and baptism, cosmetic surgery, and the digestion of food.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/baldessari.html\" rel=\"noopener\" target=\"_blank\">Camille Henrotin UbuWeb Sound</a>","artist_bio":"Best-known for her videos and animated films combining drawn art, music and occasionally scratched or reworked cinematic images, Camille Henrot’s work blurs the traditionally hierarchical categories of art history. Her recent work, adapted into the diverse media of sculpture, drawing, photography and, as always, film, considers the fascination with the \"other\" and \"elsewhere\" in terms of both geography and sexuality. This fascination is reflected in popular modern myths that have inspired her, such as King Kong and Frankenstein. The artist's impure, hybrid objects cast doubt upon the linear and partitioned transcription of Western history and highlight its borrowings and grey areas. In the series of sculptures Endangered Species, for example, the artist has created objects inspired by African art by using pieces from car engines; placed on tall pedestals, these slender silhouettes with zoomorphic allure make reference to the migration of symbols and forms as well as to the economic circulation of objects. This survival of the past, full of misunderstandings, shifts and projections (as shown in the slideshow Egyptomania, the film Cynopolis, drawings of the Sphinx, and even in the photographs of prehistoric flints) troubles cultural codes and conventions. In this way, Camille Henrot's work questions mental resistances and the past’s resonance, whether it be drawn from myth or from reality.\nCamille Henrot's work has been exhibited at Schinkel Pavillon, Berlin; Chisenhale Gallery, London; SculptureCenter in New York; the Institute of Contemporary Art in London; the Centre Pompidou in Paris; the Museum of Modern Art in Paris; the New Orleans Museum of Art; and the Palais de Tokyo. In 2010 she was nominated for the Prix Marcel Duchamp. In 2013 she was the recipient of the Smithsonian Artist Research Fellowship in Washington DC where she produced the video Grosse Fatigue which won the Silver Lion at the 55th Venice Biennale. Camille Henrot is represented by Galerie Kamel Mennour, Paris; Johann König, Berlin; and Metro Pictures, New York. She has upcoming solo exhibitions at the New Museum, New York, Kunsthal Charlottenborg, Denmark, and is nominated for the 2014 Hugo Boss Prize.","bio_dates":"b. 1978"},{"slug":"sawa_hiraki_elsewhereandspotter_2002_2003","ok":true,"partial":false,"title":"Elsewhere & Spotter","artist":"Hiraki Sawa","year":"2003","startOffset":0,"sourceSecs":1168.576,"sourceHeight":584,"sourceWidth":796,"hasAudio":true,"hasAmbientMp4":true,"bytes":195617475,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sawa_hiraki_elsewhereandspotter_2002_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sawa_hiraki_elsewhereandspotter_2002_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sawa_hiraki_elsewhereandspotter_2002_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sawa_hiraki_elsewhereandspotter_2002_2003/main.mp4?v=2"},{"slug":"schaefer_janek_the_freedom_of_speech","ok":true,"partial":false,"title":"The Freedom of Speech","artist":"Janek Schaefer","year":"1970","startOffset":0,"sourceSecs":279.403,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":39397630,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schaefer_janek_the_freedom_of_speech/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schaefer_janek_the_freedom_of_speech/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schaefer_janek_the_freedom_of_speech.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schaefer_janek_the_freedom_of_speech/main.mp4?v=2","description":"Work for typewriter and voice about the erosion of our freedom of speech<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/schaefer_j.html\" rel=\"noopener\" target=\"_blank\">Janek Schaefer in UbuWeb Sound</a></br>","bio_dates":"b. 1970"},{"slug":"schaefer_janek_vacant_space","ok":true,"partial":false,"title":"Vacant Space","artist":"Janek Schaefer","year":"1970","startOffset":0,"sourceSecs":450.049,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":78072070,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schaefer_janek_vacant_space/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schaefer_janek_vacant_space/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schaefer_janek_vacant_space.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schaefer_janek_vacant_space/main.mp4?v=2","description":"Sound is constantly present, whether we are there or not. Using location recordings and panoramic photographs collected in a series of empty interiors around the world, the installation reveals and celebrates their life without us present. <br/><br/> The installation is never the same twice, and deliberately embraces the context of the generic white gallery by 'amplifying the void'. On entering, the gallery appears silent. Panoramic projections of unoccupied spaces merge and slide across the wall. Plugging headphones directly into the projection wall reveals random layers of amplified location recordings that influence the scrolling visuals in different ways. Three spaces are heard at once in an ever-changing composition, endlessly creating new places. There are still the occasional audible signs of people, but they are either outside of the room or just passing through - highlighting their absence. Sound travels around corners and through windows. Sound activates space, and space is essential for soundwaves to live out their lives. <br/><br/> Vacant Space develops some of my early thoughts on the relationship between sound and image, and how that helps define architectural space. Every place has its own character which is hugely influenced by its individual soundscape, which is continuous, even without us there, just like when the tree falls in the forest, it still disperses physical sound waves ! <br/><br/> The audio aspect of the project was initially inspired by my experience of travelling abroad to perform concerts. I usually end up sitting in various types of spaces & locations very late at night when the world had gone to sleep - listening to the qualities of each specific space and the sounds beyond it, just out of view. I started to record these situations which then slowly resulted in this sound reactive installation. The three soundtracks control the brightness, the speed and the merging of the two images on display in continuously changing relationships. <br/><br/> The images were inspired by some freelance work I did several years ago for a new company called Ehouse.co.uk. They were the first people in the UK to create online 'Virtual Tours' of property for sale. These are 360-degree panoramic scrolling images inside a huge variety of architectural spaces photographed without any people inside. They kindly granted me access to their enormous archive of fascinating spaces of every kind. To these I added my own collection of interior photographs that I collected over the past two years on my own travels far and wide - Thank you to everyone who invited me out the door <br/><br/> Imperfections lend character to the world, so forget 'noise cancelling headphones' because this is a study for noise amplifying headphones, where you can hear the edges of time. A typical cycle of the installation lasts for over an hour.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/schaefer_j.html\" rel=\"noopener\" target=\"_blank\">Janek Schaefer in UbuWeb Sound</a></br>","bio_dates":"b. 1970"},{"slug":"schifano_mario_trapianto_consunzione_e_morte_di_franco_brocani_1969","ok":true,"partial":false,"title":"Trapianto, consunzione e morte di Franco Brocani","artist":"Mario Schifano","year":"1969","startOffset":0,"sourceSecs":5418.734,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":914421909,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schifano_mario_trapianto_consunzione_e_morte_di_franco_brocani_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schifano_mario_trapianto_consunzione_e_morte_di_franco_brocani_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schifano_mario_trapianto_consunzione_e_morte_di_franco_brocani_1969.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schifano_mario_trapianto_consunzione_e_morte_di_franco_brocani_1969/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schifano_mario_trapianto_consunzione_e_morte_di_franco_brocani_1969/main/master.m3u8?v=2","hasMainHls":true,"description":"Trapianto heralds the end of utopia, the death of that underground, but is also the best prologue in Necropolis, which is not by chance found alive. It 's a film that establishes the passage of rolling between two friends, and Brocani Schifano, shared the same passions, and from living the cinema as a challenge urgent and vital, suspended between dream and action \"(Bruno Di Marino).\n\n\"It was a film more 'home', a movie about a friend on Brocani Franco, a friend who wanted and wants to do film and that somehow it has always done everything not to do so, the relationship with half a perfectionist whose intentions can never get along with the doubts of those who would like to put some money because his movie could be made. It was a tribute to a character in '68, a filmmaker not 'committed', to the more 'alien ' all, absolute outsider who lived the cinema as a disease \"(Mario Schifano). Brocani in turn has dedicated his latest film Schifano, Schifanosaurus Rex (2008)"},{"slug":"schippers_wim_t_stemmen_1972_iphone","ok":true,"partial":false,"title":"Stemmen AKA Voices","artist":"Wim Schippers","year":"1972","startOffset":0,"sourceSecs":2118.957,"sourceHeight":320,"sourceWidth":406,"hasAudio":true,"hasAmbientMp4":true,"bytes":124064716,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schippers_wim_t_stemmen_1972_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schippers_wim_t_stemmen_1972_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schippers_wim_t_stemmen_1972_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schippers_wim_t_stemmen_1972_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schippers_wim_t_stemmen_1972_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"(Original TV broadcast by VPRO in The Netherlands, 15 March 1972) <br/><br/> A one-acter written by Wim T. Schippers<br/> Directed by Wim van der Linden & Gied Jaspars<br/><br/>Starring: John Soer, Will van Selst, Elisabeth Andersen, Ina van Faassen, Gerard Hartkamp, John Lanting, Carol van Herwijnen, Mieke Bos, Henk van Ulsen & Jacques Plafond. <br><br> Another controversial TV play by the unparalleled and inimitable Wim T. Schippers. <br/><br/> A nearly 30 minute long conversation in a living room party. Unlike in a regular TV play the jabber conversation can hardly be understood. Sometimes a line or two can be picked up. There's an intermezzo when Schippers alias Jacques Plafond comes to play one of his 'modern' piano pieces, to the disgust of the party's guests, whose chattering in the end isn't far removed from the piano play. <br/><br/> Don't worry if you don't speak Dutch, it is hardly necessary to understand the humor of this play. Completely unimaginable for a thing like this to be ever broadcasted on public television nowadays, in times of ever increasing commercial stupidity.</br></br>","artist_bio":"Wim T. Schippers (born 1 July 1942 in Groningen) is a Dutch artist, comedian and voice actor, loosely related to the international Fluxus-movement.\nHe demonstrated his 'a-dynamic' ideas on a number of Fluxus-festivals, notably in Scheveningen, The Hague, in 1964. In 1986 he drew some international attention as theater director, with Going to the dogs, a 'play' of 46 minutes with six well-trained Alsatian dogs, reading newspapers, watching TV, barking at the screen when they saw another dog on it, and occasionally relieving themselves.\nFurthermore, Schippers is responsible for the voices of Ernie, Kermit the Frog, Guy Smiley, and Count Von Count on Sesamstraat, the Dutch co-production of Sesame Street, since Sesamstraat's first season in 1976. Paul Haenen delivers the role of Bert. Together, Schippers and Haenen have recorded a whole series of self written Bert and Ernie record albums. Reportedly, Jim Henson was so impressed by Schippers' and Haenen's performances, that they are the only Bert and Ernie in the world who are allowed to write their own material. In the beginning, Schippers' Ernie voice was an imitation of Jim Henson's Ernie. In later seasons when the American sketches became a little more fast-paced, Schippers' voice grew a lot higher and energetic.-- Wikipedia","bio_dates":"b. 1942"},{"slug":"schlingensief_christof_foreigners_out_2002_iphone","ok":true,"partial":false,"title":"Foreigners out! Schlingensiefs Container","artist":"Christoph Schlingensief","year":"2002","startOffset":0,"sourceSecs":4124.631,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":239124757,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schlingensief_christof_foreigners_out_2002_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schlingensief_christof_foreigners_out_2002_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schlingensief_christof_foreigners_out_2002_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schlingensief_christof_foreigners_out_2002_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schlingensief_christof_foreigners_out_2002_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Foreigners out! Schlingensiefs Container (Ausländer raus! Schlingensiefs Container), alternately named \"Wien-Aktion\", \"Please Love Austria—First European Coalition Week\", or \"Foreigners Out—Artists against Human Rights\", is an art project and television show from 2000 that took place within the scope of the annual Wiener Festwochen. It was conceptually designed by Christoph Schlingensief and directed by Paul Poet, and was styled as a mockery of popular TV program format Big Brother. It was critically aimed both at certain forms of television entertainment and at a latent xenophobia still thriving in the whole world.\n\nThe show was produced in Austria, and broadcast from the container set installed in Vienna. Shortly before Schlingensief came up with this project, the Freedom Party of Austria, under the leadership of Jörg Haider had been elected into the National Council of Austria and formed part of the new government.\n\nThe concept of the show was that a dozen real asylum seekers lived inside containers, but instead of being voted out of the show (like in Big Brother), the candidates were to be voted out of the country. Creating and utilizing such a situation of living in a strictly confined area, not knowing what would happen next, was to remind the audience of Nazi concentration camps, pointing at and making artistic use of existing parallels between the Nazi camps and television formats like Big Brother.\n\nInstalling TV programs and other projects as mockeries of well-known existing formats is part of Schlingensief's methodology. In another show broadcast in Germany, Freakstars 3000, he set up a talent cast show where all candidates where mentally handicapped. In the theatre project Quiz 3000 (the '3000' was a recurring trademark of Schlingensief), he mocked the show Who wants to be a millionaire?, using questions like \"Please sort the following concentration camps from north to south\"."},{"slug":"schlingensief_christoph_100_years_of_adolf_hitler_1989","ok":true,"partial":false,"title":"100 Jahre Adolf Hitler - Die letzte Stunde im Führerbunker AKA 100 Years of Adolf Hitler - The Last Hour in the Führerbunker","artist":"Christoph Schlingensief","year":"1989","startOffset":0,"sourceSecs":3246.891,"sourceHeight":576,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":544069532,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schlingensief_christoph_100_years_of_adolf_hitler_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schlingensief_christoph_100_years_of_adolf_hitler_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schlingensief_christoph_100_years_of_adolf_hitler_1989.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schlingensief_christoph_100_years_of_adolf_hitler_1989/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schlingensief_christoph_100_years_of_adolf_hitler_1989/main/master.m3u8?v=2","hasMainHls":true,"description":"Shot in complete darkness during 16 straight hours in an original World War II bunker, the only light source is Christoph Schlingensief's flashlight guiding Voxi Bärenklau's camera through the controlled chaos. Neither cast nor crew were allowed to go outside until the film was finished. Laying the groundwork for Schlingensief's later works on- and off-stage as well as his TV Shows (U3000, Talk 2000), \"100 Years Adolf Hitler\" is a key film in Schlingensief's artistic oeuvre; enabling the viewer to witness the unfolding of an aura, it is perhaps the closest Schlingensief ever came to Direct Cinema.\n\nThe last hour in the Führerbunker has the big names of the Nazi regime on the brink of its downfall fighting a very private war of their own. Gorging, screwing, machinating: the dark hallways of the Führerbunker are the perfect location for all kinds of excesses.\n\nUdo Kier (Hitler), Alfred Edel (Göring), Dietrich Kuhlbrodt (Goebbels), Brigitte Kausch (Eva Braun), Andreas Kunze (Bormann), Volker Spengler (Fegelein), Margit Carstensen (Goebbels' wife), Marie-Lou Sellem (Goebbels' daughter) and Asia Verdi (Dr. Morell) acting to the point of exhaustion, the banality of evil is exposed in its whole obscenity."},{"slug":"schlingensief_christoph_african_twintowers_2007","ok":true,"partial":false,"title":"The African Twintowers","artist":"Christoph Schlingensief","year":"2007","startOffset":0,"sourceSecs":1755.733,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":294756414,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schlingensief_christoph_african_twintowers_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schlingensief_christoph_african_twintowers_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schlingensief_christoph_african_twintowers_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schlingensief_christoph_african_twintowers_2007/main.mp4?v=2","description":"Duration: 29 minutes\n\nDirector Christoph Schlingensief\n\nScreenplay Christoph Schlingensief\n\nDirectors of Photography Meika Dresenkamp, Patrick Waldmann\n\nEditor Robert Kummer\n\nProduction Design Aino Laberenz\n\nCast Irm Hermann, Robert Stadlober, Klaus-Peter Beyer, Karin Witt, Norbert Losch, Dirk Rohde, Patti Smith\n\nProducer Frieder Schlaich\n\nOriginal Version German, English\n\nShooting Dates Luederitz/Namibia, October 2005\n\nChristoph Schlingensief traveled to south-west Africa to the town of Luederitz in Namibia to shoot The African Twintowers – his first feature film in eight years.\n\nSome of the shooting was done in the corrugate-iron \"Area 7\" township on the edge of Luederitz where Schlingensief had a so-called animatograph constructed to pursue his experimentation in \"three-dimensional cinema\" and \"social sculpture\" which began with his staging of Wagner's Parsifal in Bayreuth in 2004.\n\nSince then, he has been developing a series of installations which not only dispel with traditional concepts of theater but also leave behind the familar actionist theater. For Schlingensief, the animatograph's revolving stage is \"like a living organism on which the spectator travels, lives and becomes a part.\"\n\nDescribed as \"a shortened form of the Ring of the Nibelungen, interwoven with September 11, 2001, i.e. the quest for lost capital, passion and love\", The African Twintowers also touches on such issues as German colonial guilt and the mythology surrounding the legend of the Holy Grail. Schlingensief suggests though that the film \"is less about September 11 than about Africa. We talk about 3,500 people who were murdered on September 11. In Africa, 35,000 die each day.\"\n\nThe experiences with the animatograph in the African slum were then adapted by Schlingensief in a further installation erected at Vienna's Burgtheater this January under the title of AREA 7 - St Matthew's Expedition which also featured many of the actors from the film such as Robert Stadlober, Irm Hermann, Klaus Beyer, Dirk Rohde, Karin Witt and the American rock poetess Patti Smith.\n\nFor Frieder Schlaich, there was no hurdle to taking up the reins as producer for Schlingensief's latest enterprise. \"With Filmgalerie 451, I have been releasing Christoph's films on video and DVD for more than ten years so we know and trust one another,\" he remarks. \"Three years ago, I then produced a feature film version of Schlingensief's VIVA TV series Freakstars 3000.\"\n\nSchlaich explains that The African Twintowers \"does not follow on from Christoph's last films, but is rather the attempt to transfer something from his fantastic stage works to the screen. If we succeed in doing this, that will be something quite new for the cinema.\"\n\nApart from the challenges of filming \"at the end of the world\" in the Area 7 township, Schlaich also didn't have an easy ride on the film's financing \"fighting against Christoph Schlingensief's image as a trash filmmaker and provocateur because his art and theater work haven't yet necessarily made an impression on film people.\""},{"slug":"schlingensief_christoph_my_wife_in_5_1985","ok":true,"partial":false,"title":"My Wife in 5","artist":"Christoph Schlingensief","year":"1985","startOffset":0,"sourceSecs":856.76,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":139485714,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schlingensief_christoph_my_wife_in_5_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schlingensief_christoph_my_wife_in_5_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schlingensief_christoph_my_wife_in_5_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schlingensief_christoph_my_wife_in_5_1985/main.mp4?v=2","description":"In MY WIFE IN FIVE, Schlingensief composes tracks and takes to a shimmering cinematic music piece. The playlist changes constantly between the styles, as if this record had a jump – Irving Berlin's This Is The Army, Mr. Jones, an Ave Maria Variation and Jacques Offenbach's world-famous Infernal Galop can be heard. Equally to the music the pictures also have scratches.\n\nThe music film MY WIFE IN FIVE was created during a sound seminar by Christoph Schlingensief with students of the Hochschule für Gestaltung Offenbach. It already contains all forms of cinematic means and alienation, which he later used in his theatre and opera productions."},{"slug":"schlingensief_christoph_von_fremdverstummelung_2007","ok":true,"partial":false,"title":"Fremdverstümmelung (2007)","artist":"Christoph Schlingensief","year":"2007","startOffset":0,"sourceSecs":1800.043,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":308673159,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schlingensief_christoph_von_fremdverstummelung_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schlingensief_christoph_von_fremdverstummelung_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schlingensief_christoph_von_fremdverstummelung_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schlingensief_christoph_von_fremdverstummelung_2007/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schlingensief_christoph_von_fremdverstummelung_2007/main/master.m3u8?v=2","hasMainHls":true,"description":"Duration: 30 minutes\n\nSingle-channel video projection (16mm/35mm film transferred on DVD (color, sound))"},{"slug":"schneeman_carolee_fuses_1965","ok":true,"partial":false,"title":"Fuses","artist":"Carolee Schneemann","year":"1964-1966","startOffset":0,"sourceSecs":1311.061,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":82723437,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneeman_carolee_fuses_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneeman_carolee_fuses_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schneeman_carolee_fuses_1965.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schneeman_carolee_fuses_1965/main.mp4?v=2","description":"Schneemann's self-shot erotic film remains a controversial classic. \"The notorious masterpiece... a silent celebration in colour of heterosexual love making. The film unifies erotic energies within a domestic environment through cutting, superimposition and layering of abstract impressions scratched into the celluloid itself... Fuses succeeds perhaps more than any other film in objectifying the sexual streamings of the body's mind\" Ñ The Guardian, London --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the e"},{"slug":"schneeman_carolee_interior_scroll_1975_1995","ok":true,"partial":false,"title":"Interior Scroll - The Cave","artist":"Carolee Schneemann","year":"1975-1995","startOffset":0,"sourceSecs":452.778,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":81379149,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneeman_carolee_interior_scroll_1975_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneeman_carolee_interior_scroll_1975_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schneeman_carolee_interior_scroll_1975_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schneeman_carolee_interior_scroll_1975_1995/main.mp4?v=2","description":"1975-1995, 7:30 min, color, sound <br/><br/> In a vast underground cave, Schneemann and seven nude women perform the ritualized actions of Interior Scroll Ñ reading the text as each woman slowly extracts a scroll from her vagina. The scroll embodies the primacy of an extended visual line shaped as both concept and action. The extracted text merges critical theory with the body as a source of knowledge. Beatty's camera moves from the naked group actions into close-ups of the unraveling text.-- <a href=\"http://www.eai.org/titles/interior-scroll-the-cave\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the e","artist_bio":"Carolee Schneemann's pioneering work ranges across disciplines, encompassing painting, performance, film and video. Her early and prescient investigations into themes of gender and sexuality, identity and subjectivity, as well as the cultural biases of art history, laid the groundwork for much work of the 1980s and '90s. Her bold challenges to taboo and tradition can be seen as inspiring and influencing artists as varied as Paul McCarthy, Valie Export, the Guerrilla Girls, Tracy Emin and Karen Finley.\nWhile she is often described as a performance artist, Schneemann first studied painting, and that training informed the course of all her subsequent work. It can be seen in her continuing identification as a painter and a formalist, in her attention to art-historical figures such as CŽzanne, and in the hand-coloring and mark-making to which she subjected the surface of some of her films. However, the effect of her early experience with painting was also reactive and negative; she recognized, as a woman in the early 1960s working in a male-dominated medium, that \"the brush belonged to abstract expressionist male endeavor. The brush was phallic.\" This realization coincided with an explosion of new artistic forms, and while Schneemann would never give up painting, she turned her attention to the downtown New York avant-garde's locus of film, dance, theater, and performance.\nHer involvement with this scene, including work with the Judson Dance Theater and time spent at Warhol's Factory, as well as participation in events such as Robert Morris's\nSite\n(1964), in which she appeared onstage as Manet's\nOlympia\n, proved crucial to her own concept of what she would call \"kinetic theater.\" Although she had experimented with performance as early as 1960, her work in this vein went public with the notorious 1964 action and film\nMeat Joy\n. This \"celebration of flesh as material,\" replete with naked bodies, raw fish, chickens, and sausages, was contemporaneous with the sensationalist Viennese Aktionist group, and, at least superficially, shared some of the concerns of those artists, who referred to her as their \"crazy sister.\" However, rather than pursuing their interests in the scatological and the morbid, Schneemann presented\nMeat Joy\nas an \"erotic rite,\" foregrounding human sexuality and Dionysian ecstasy with a powerful and subversively affirmative spirit. This spirit asserted itself even more explicitly a year later, in her \"anti-porn,\" collage-film\nFuses\n, conceived of as a response to work by her friend, the experimental filmmaker Stan Brakhage. The film challenged dominant modes of interpretation, and was also a provocation to both the avant-garde film establishment and the feminist movement.\nThis go-it-alone criticality is one of the major strands of Schneemann's work. When critiqued for her interest in sexuality and use of her body as medium, she has always offered an unapologetic defense, pointing out, for example, \"If I am a token, I'll be a token to be reckoned with.\" Her insistence on integrating the form and content of her art can be seen as quite radical, in that it collapses work and life, thought and flesh, nature and culture Ñ forms charged by repression and the strategic deployment of those forms. For Schneemann, the focus on the \"experiential erotic body\" is a method of empowerment, and an antidote to what she sees as a tendency of feminist art historians to discuss female sexuality exclusively as a male construction. Schneeman's project, then, is in some ways concerned with reclaiming those signifiers, actions, and ideas that have historically been denied women, and, to a lesser degree, artists in general. Her work should not solely be viewed as feminist, although she is certainly a pioneer in that area. Rather, her focus has also been on countering traditional art historical accounts, and in mapping what she calls \"Istory,\" in an attempt to see \"where the taboos and censorious conventions are embedded aesthetically.\" This tendency to identify what has been deemed sacred and what has been declared obscene can be seen in works like\nArt is Reactionary\n(1987), and in her research into historic artifacts as far-flung as Victorian art-books and Neolithic cave drawings.\nThrough the 1980s and 1990s, and up to the present, Schneemann has continued making work in diverse media, including writings and installations. Looking back on her groundbreaking work of the 1960s and '70s, it is important to recognize that, to a certain degree, she was inventing modes of resistance as she went along. Whether it was the notion of what feminism looked like and how it picked its battles, or the notion that art history was clearly written from a position of power, her work has always employed a criticality that was ahead of its time.\nBorn in 1939 in Fox Chase, Pennsylvania, Schneemann received a B.A. from Bard College and an M.F.A. from the University of Illinois, and holds Honorary Doctor of Fine Arts degrees from the California Institute of the Arts and the Maine College of Art. Her work has been exhibited throughout the world, at institutions including the Museum of Contemporary Art, Los Angeles; the Whitney Museum of American Art, New York; Centre Pompidou, Paris; Centro de Arte Reina Sof'a, Madrid; The Museum of Modern Art, New York; National Film Theatre, London; Tate Liverpool, UK, and PPOW Gallery, New York. In 1997, a retrospective of Schneemann's work entitled\nCarolee Schneemann - Up To And Including Her Limits\nwas held at the New Museum of Contemporary Art, New York. A later retrospective of over forty works was exhibited in 2010 at the Samuel Dorsky Museum of Art, State University of New York at New Paltz.\nSchneemann has received an Art Pace International Artist Residency, two Pollock-Krasner Foundation Grants, a Guggenheim Fellowship, a Gottlieb Foundation Grant, a National Endowment for the Arts Fellowship, a Rockefeller Foundation Fellowship, a Lifetime Achievement Award from the College Art Association, and an Anonymous Was A Woman award. Her published books include\nCezanne, She Was A Great Painter\n(1976);\nEarly and Recent Work\n(1983);\nMore Than Meat Joy: Complete Performance Works and Selected Writings\n(1979), and\nImaging Her Erotics - Essays, Interviews, Projects\n(2002). She has taught at many institutions, including New York University, California Institute of the Arts, Bard College, and the School of the Art Institute of Chicago.\nCarolee Schneemann lives in New Paltz, New York. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1939-2019"},{"slug":"schneemann_carolee_art_is_reactionary","ok":true,"partial":false,"title":"Art Is Reactionary","artist":"Carolee Schneemann","year":"1987","startOffset":0,"sourceSecs":616.267,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":109817905,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_art_is_reactionary/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_art_is_reactionary/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schneemann_carolee_art_is_reactionary.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schneemann_carolee_art_is_reactionary/main.mp4?v=2","description":"1987 Art Is Reactionary<br/> Video, sound, color.<br/> A solo performance in which Schneemann splits in half to move between a continuous slide relay; a Marxist, dialectical, feminist, semiotic deconstruction of art world pieties and fetishes.<br/> <br/> Art Is Reactionary is the 10-minute video recording of a performance by Carolee Schneemann dating from 1987.<br/><br/> Carolee Schneemann shares the stage with her ideal double, an African American. On a stage, the two women start their story using the heralding expression of fairy tales: “Once upon a time...” They speak into the same microphone, their voices combine and each becomes the echo of the other.<br/><br/> Three people stand downstage, like a Classical chorus. A woman flanked by two men dialogues with the two performers through their voices, but also by an alternating play of the black and white of their clothes and skin.<br/><br/> Slides relating to sexuality, close ups of sexual organs, are projected on stage. Schneemann and her double move within the field of projection of the images while reciting a text dealing with the role of women in society and the question of feminism in artistic practice.<br/><br/> A recurrent question marks the works of Carolee Schneemann: “How can I have authority as both an image and an image-maker?”. She explains that the body of a woman is shaped throughout her life through the intervention of religion, social taboos and representations from the history of art.<br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Carolee Schneemann's pioneering work ranges across disciplines, encompassing painting, performance, film and video. Her early and prescient investigations into themes of gender and sexuality, identity and subjectivity, as well as the cultural biases of art history, laid the groundwork for much work of the 1980s and '90s. Her bold challenges to taboo and tradition can be seen as inspiring and influencing artists as varied as Paul McCarthy, Valie Export, the Guerrilla Girls, Tracy Emin and Karen Finley.\nWhile she is often described as a performance artist, Schneemann first studied painting, and that training informed the course of all her subsequent work. It can be seen in her continuing identification as a painter and a formalist, in her attention to art-historical figures such as CŽzanne, and in the hand-coloring and mark-making to which she subjected the surface of some of her films. However, the effect of her early experience with painting was also reactive and negative; she recognized, as a woman in the early 1960s working in a male-dominated medium, that \"the brush belonged to abstract expressionist male endeavor. The brush was phallic.\" This realization coincided with an explosion of new artistic forms, and while Schneemann would never give up painting, she turned her attention to the downtown New York avant-garde's locus of film, dance, theater, and performance.\nHer involvement with this scene, including work with the Judson Dance Theater and time spent at Warhol's Factory, as well as participation in events such as Robert Morris's\nSite\n(1964), in which she appeared onstage as Manet's\nOlympia\n, proved crucial to her own concept of what she would call \"kinetic theater.\" Although she had experimented with performance as early as 1960, her work in this vein went public with the notorious 1964 action and film\nMeat Joy\n. This \"celebration of flesh as material,\" replete with naked bodies, raw fish, chickens, and sausages, was contemporaneous with the sensationalist Viennese Aktionist group, and, at least superficially, shared some of the concerns of those artists, who referred to her as their \"crazy sister.\" However, rather than pursuing their interests in the scatological and the morbid, Schneemann presented\nMeat Joy\nas an \"erotic rite,\" foregrounding human sexuality and Dionysian ecstasy with a powerful and subversively affirmative spirit. This spirit asserted itself even more explicitly a year later, in her \"anti-porn,\" collage-film\nFuses\n, conceived of as a response to work by her friend, the experimental filmmaker Stan Brakhage. The film challenged dominant modes of interpretation, and was also a provocation to both the avant-garde film establishment and the feminist movement.\nThis go-it-alone criticality is one of the major strands of Schneemann's work. When critiqued for her interest in sexuality and use of her body as medium, she has always offered an unapologetic defense, pointing out, for example, \"If I am a token, I'll be a token to be reckoned with.\" Her insistence on integrating the form and content of her art can be seen as quite radical, in that it collapses work and life, thought and flesh, nature and culture Ñ forms charged by repression and the strategic deployment of those forms. For Schneemann, the focus on the \"experiential erotic body\" is a method of empowerment, and an antidote to what she sees as a tendency of feminist art historians to discuss female sexuality exclusively as a male construction. Schneeman's project, then, is in some ways concerned with reclaiming those signifiers, actions, and ideas that have historically been denied women, and, to a lesser degree, artists in general. Her work should not solely be viewed as feminist, although she is certainly a pioneer in that area. Rather, her focus has also been on countering traditional art historical accounts, and in mapping what she calls \"Istory,\" in an attempt to see \"where the taboos and censorious conventions are embedded aesthetically.\" This tendency to identify what has been deemed sacred and what has been declared obscene can be seen in works like\nArt is Reactionary\n(1987), and in her research into historic artifacts as far-flung as Victorian art-books and Neolithic cave drawings.\nThrough the 1980s and 1990s, and up to the present, Schneemann has continued making work in diverse media, including writings and installations. Looking back on her groundbreaking work of the 1960s and '70s, it is important to recognize that, to a certain degree, she was inventing modes of resistance as she went along. Whether it was the notion of what feminism looked like and how it picked its battles, or the notion that art history was clearly written from a position of power, her work has always employed a criticality that was ahead of its time.\nBorn in 1939 in Fox Chase, Pennsylvania, Schneemann received a B.A. from Bard College and an M.F.A. from the University of Illinois, and holds Honorary Doctor of Fine Arts degrees from the California Institute of the Arts and the Maine College of Art. Her work has been exhibited throughout the world, at institutions including the Museum of Contemporary Art, Los Angeles; the Whitney Museum of American Art, New York; Centre Pompidou, Paris; Centro de Arte Reina Sof'a, Madrid; The Museum of Modern Art, New York; National Film Theatre, London; Tate Liverpool, UK, and PPOW Gallery, New York. In 1997, a retrospective of Schneemann's work entitled\nCarolee Schneemann - Up To And Including Her Limits\nwas held at the New Museum of Contemporary Art, New York. A later retrospective of over forty works was exhibited in 2010 at the Samuel Dorsky Museum of Art, State University of New York at New Paltz.\nSchneemann has received an Art Pace International Artist Residency, two Pollock-Krasner Foundation Grants, a Guggenheim Fellowship, a Gottlieb Foundation Grant, a National Endowment for the Arts Fellowship, a Rockefeller Foundation Fellowship, a Lifetime Achievement Award from the College Art Association, and an Anonymous Was A Woman award. Her published books include\nCezanne, She Was A Great Painter\n(1976);\nEarly and Recent Work\n(1983);\nMore Than Meat Joy: Complete Performance Works and Selected Writings\n(1979), and\nImaging Her Erotics - Essays, Interviews, Projects\n(2002). She has taught at many institutions, including New York University, California Institute of the Arts, Bard College, and the School of the Art Institute of Chicago.\nCarolee Schneemann lives in New Paltz, New York. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1939-2019"},{"slug":"schneemann_carolee_infinity_kisses_the_movie","ok":true,"partial":false,"title":"Infinity Kisses - The Movie","artist":"Carolee Schneemann","year":"2008","startOffset":0,"sourceSecs":558.748,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":250634647,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_infinity_kisses_the_movie/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_infinity_kisses_the_movie/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schneemann_carolee_infinity_kisses_the_movie.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schneemann_carolee_infinity_kisses_the_movie/main.mp4?v=2","description":"2008, 9 min, color, sound, HD video <br/><br/> Infinity Kisses - The Movie completes Schneemann's exploration of human and feline sensual communication. It incorporates extracts of the original 124 self-shot 35mm color slide photo sequence, Infinity Kisses, in which the expressive self-determination of the ardent cat was recorded over an eight-year period. Infinity Kisses - The Movie recomposes these images into a video, in which each dissolving frame is split between its full image and a hugely enlarged detail. Cluny 1980 - 1988. Vesper 1990 - 1998. Incorporating \"Infinity Kisses,\" Self-shot 35mm Photo Grid. Edited: Carolee Schneemann, Trevor Shimizu, Rick Silva. Sound: Rick Silva, Carolee Schneemann. <a href=\"http://eai.org/title.htm?id=14256\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Carolee Schneemann's pioneering work ranges across disciplines, encompassing painting, performance, film and video. Her early and prescient investigations into themes of gender and sexuality, identity and subjectivity, as well as the cultural biases of art history, laid the groundwork for much work of the 1980s and '90s. Her bold challenges to taboo and tradition can be seen as inspiring and influencing artists as varied as Paul McCarthy, Valie Export, the Guerrilla Girls, Tracy Emin and Karen Finley.\nWhile she is often described as a performance artist, Schneemann first studied painting, and that training informed the course of all her subsequent work. It can be seen in her continuing identification as a painter and a formalist, in her attention to art-historical figures such as CŽzanne, and in the hand-coloring and mark-making to which she subjected the surface of some of her films. However, the effect of her early experience with painting was also reactive and negative; she recognized, as a woman in the early 1960s working in a male-dominated medium, that \"the brush belonged to abstract expressionist male endeavor. The brush was phallic.\" This realization coincided with an explosion of new artistic forms, and while Schneemann would never give up painting, she turned her attention to the downtown New York avant-garde's locus of film, dance, theater, and performance.\nHer involvement with this scene, including work with the Judson Dance Theater and time spent at Warhol's Factory, as well as participation in events such as Robert Morris's\nSite\n(1964), in which she appeared onstage as Manet's\nOlympia\n, proved crucial to her own concept of what she would call \"kinetic theater.\" Although she had experimented with performance as early as 1960, her work in this vein went public with the notorious 1964 action and film\nMeat Joy\n. This \"celebration of flesh as material,\" replete with naked bodies, raw fish, chickens, and sausages, was contemporaneous with the sensationalist Viennese Aktionist group, and, at least superficially, shared some of the concerns of those artists, who referred to her as their \"crazy sister.\" However, rather than pursuing their interests in the scatological and the morbid, Schneemann presented\nMeat Joy\nas an \"erotic rite,\" foregrounding human sexuality and Dionysian ecstasy with a powerful and subversively affirmative spirit. This spirit asserted itself even more explicitly a year later, in her \"anti-porn,\" collage-film\nFuses\n, conceived of as a response to work by her friend, the experimental filmmaker Stan Brakhage. The film challenged dominant modes of interpretation, and was also a provocation to both the avant-garde film establishment and the feminist movement.\nThis go-it-alone criticality is one of the major strands of Schneemann's work. When critiqued for her interest in sexuality and use of her body as medium, she has always offered an unapologetic defense, pointing out, for example, \"If I am a token, I'll be a token to be reckoned with.\" Her insistence on integrating the form and content of her art can be seen as quite radical, in that it collapses work and life, thought and flesh, nature and culture Ñ forms charged by repression and the strategic deployment of those forms. For Schneemann, the focus on the \"experiential erotic body\" is a method of empowerment, and an antidote to what she sees as a tendency of feminist art historians to discuss female sexuality exclusively as a male construction. Schneeman's project, then, is in some ways concerned with reclaiming those signifiers, actions, and ideas that have historically been denied women, and, to a lesser degree, artists in general. Her work should not solely be viewed as feminist, although she is certainly a pioneer in that area. Rather, her focus has also been on countering traditional art historical accounts, and in mapping what she calls \"Istory,\" in an attempt to see \"where the taboos and censorious conventions are embedded aesthetically.\" This tendency to identify what has been deemed sacred and what has been declared obscene can be seen in works like\nArt is Reactionary\n(1987), and in her research into historic artifacts as far-flung as Victorian art-books and Neolithic cave drawings.\nThrough the 1980s and 1990s, and up to the present, Schneemann has continued making work in diverse media, including writings and installations. Looking back on her groundbreaking work of the 1960s and '70s, it is important to recognize that, to a certain degree, she was inventing modes of resistance as she went along. Whether it was the notion of what feminism looked like and how it picked its battles, or the notion that art history was clearly written from a position of power, her work has always employed a criticality that was ahead of its time.\nBorn in 1939 in Fox Chase, Pennsylvania, Schneemann received a B.A. from Bard College and an M.F.A. from the University of Illinois, and holds Honorary Doctor of Fine Arts degrees from the California Institute of the Arts and the Maine College of Art. Her work has been exhibited throughout the world, at institutions including the Museum of Contemporary Art, Los Angeles; the Whitney Museum of American Art, New York; Centre Pompidou, Paris; Centro de Arte Reina Sof'a, Madrid; The Museum of Modern Art, New York; National Film Theatre, London; Tate Liverpool, UK, and PPOW Gallery, New York. In 1997, a retrospective of Schneemann's work entitled\nCarolee Schneemann - Up To And Including Her Limits\nwas held at the New Museum of Contemporary Art, New York. A later retrospective of over forty works was exhibited in 2010 at the Samuel Dorsky Museum of Art, State University of New York at New Paltz.\nSchneemann has received an Art Pace International Artist Residency, two Pollock-Krasner Foundation Grants, a Guggenheim Fellowship, a Gottlieb Foundation Grant, a National Endowment for the Arts Fellowship, a Rockefeller Foundation Fellowship, a Lifetime Achievement Award from the College Art Association, and an Anonymous Was A Woman award. Her published books include\nCezanne, She Was A Great Painter\n(1976);\nEarly and Recent Work\n(1983);\nMore Than Meat Joy: Complete Performance Works and Selected Writings\n(1979), and\nImaging Her Erotics - Essays, Interviews, Projects\n(2002). She has taught at many institutions, including New York University, California Institute of the Arts, Bard College, and the School of the Art Institute of Chicago.\nCarolee Schneemann lives in New Paltz, New York. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1939-2019"},{"slug":"schneemann_carolee_meatjoy_1964","ok":true,"partial":false,"title":"Meat Joy","artist":"Carolee Schneemann","year":"1964","startOffset":0,"sourceSecs":318.827,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":54630324,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_meatjoy_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_meatjoy_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schneemann_carolee_meatjoy_1964.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schneemann_carolee_meatjoy_1964/main.mp4?v=2","description":"10:35 min, color, sound, 16 mm film on video <br/><br/> Writes Schneemann: Meat Joy is an erotic rite -- excessive, indulgent, a celebration of flesh as material: raw fish, chicken, sausages, wet paint, transparent plastic, ropes, brushes, paper scrap. Its propulsion is towards the ecstatic -- shifting and turning among tenderness, wildness, precision, abandon; qualities that could at any moment be sensual, comic, joyous, repellent. Physical equivalences are enacted as a psychic imagistic stream, in which the layered elements mesh and gain intensity by the energy complement of the audience. The original performances became notorious and introduced a vision of the \"sacred erotic.\" This video was converted from original film footage of three 1964 performances of Meat Joy at its first staged performance at the Festival de la Libre Expression, Paris, Dennison Hall, London, and Judson Church, New York City. -- <a href=\"http://eai.org/title.htm?id=14751\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> Meat Joy: First performed May 29, 1964, Festival de la Libre Expression, Paris.<br/> Filmed by Pierre Dominik Gaisseau. Editor: Bob Giorgio.<br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the e","artist_bio":"Carolee Schneemann's pioneering work ranges across disciplines, encompassing painting, performance, film and video. Her early and prescient investigations into themes of gender and sexuality, identity and subjectivity, as well as the cultural biases of art history, laid the groundwork for much work of the 1980s and '90s. Her bold challenges to taboo and tradition can be seen as inspiring and influencing artists as varied as Paul McCarthy, Valie Export, the Guerrilla Girls, Tracy Emin and Karen Finley.\nWhile she is often described as a performance artist, Schneemann first studied painting, and that training informed the course of all her subsequent work. It can be seen in her continuing identification as a painter and a formalist, in her attention to art-historical figures such as CŽzanne, and in the hand-coloring and mark-making to which she subjected the surface of some of her films. However, the effect of her early experience with painting was also reactive and negative; she recognized, as a woman in the early 1960s working in a male-dominated medium, that \"the brush belonged to abstract expressionist male endeavor. The brush was phallic.\" This realization coincided with an explosion of new artistic forms, and while Schneemann would never give up painting, she turned her attention to the downtown New York avant-garde's locus of film, dance, theater, and performance.\nHer involvement with this scene, including work with the Judson Dance Theater and time spent at Warhol's Factory, as well as participation in events such as Robert Morris's\nSite\n(1964), in which she appeared onstage as Manet's\nOlympia\n, proved crucial to her own concept of what she would call \"kinetic theater.\" Although she had experimented with performance as early as 1960, her work in this vein went public with the notorious 1964 action and film\nMeat Joy\n. This \"celebration of flesh as material,\" replete with naked bodies, raw fish, chickens, and sausages, was contemporaneous with the sensationalist Viennese Aktionist group, and, at least superficially, shared some of the concerns of those artists, who referred to her as their \"crazy sister.\" However, rather than pursuing their interests in the scatological and the morbid, Schneemann presented\nMeat Joy\nas an \"erotic rite,\" foregrounding human sexuality and Dionysian ecstasy with a powerful and subversively affirmative spirit. This spirit asserted itself even more explicitly a year later, in her \"anti-porn,\" collage-film\nFuses\n, conceived of as a response to work by her friend, the experimental filmmaker Stan Brakhage. The film challenged dominant modes of interpretation, and was also a provocation to both the avant-garde film establishment and the feminist movement.\nThis go-it-alone criticality is one of the major strands of Schneemann's work. When critiqued for her interest in sexuality and use of her body as medium, she has always offered an unapologetic defense, pointing out, for example, \"If I am a token, I'll be a token to be reckoned with.\" Her insistence on integrating the form and content of her art can be seen as quite radical, in that it collapses work and life, thought and flesh, nature and culture Ñ forms charged by repression and the strategic deployment of those forms. For Schneemann, the focus on the \"experiential erotic body\" is a method of empowerment, and an antidote to what she sees as a tendency of feminist art historians to discuss female sexuality exclusively as a male construction. Schneeman's project, then, is in some ways concerned with reclaiming those signifiers, actions, and ideas that have historically been denied women, and, to a lesser degree, artists in general. Her work should not solely be viewed as feminist, although she is certainly a pioneer in that area. Rather, her focus has also been on countering traditional art historical accounts, and in mapping what she calls \"Istory,\" in an attempt to see \"where the taboos and censorious conventions are embedded aesthetically.\" This tendency to identify what has been deemed sacred and what has been declared obscene can be seen in works like\nArt is Reactionary\n(1987), and in her research into historic artifacts as far-flung as Victorian art-books and Neolithic cave drawings.\nThrough the 1980s and 1990s, and up to the present, Schneemann has continued making work in diverse media, including writings and installations. Looking back on her groundbreaking work of the 1960s and '70s, it is important to recognize that, to a certain degree, she was inventing modes of resistance as she went along. Whether it was the notion of what feminism looked like and how it picked its battles, or the notion that art history was clearly written from a position of power, her work has always employed a criticality that was ahead of its time.\nBorn in 1939 in Fox Chase, Pennsylvania, Schneemann received a B.A. from Bard College and an M.F.A. from the University of Illinois, and holds Honorary Doctor of Fine Arts degrees from the California Institute of the Arts and the Maine College of Art. Her work has been exhibited throughout the world, at institutions including the Museum of Contemporary Art, Los Angeles; the Whitney Museum of American Art, New York; Centre Pompidou, Paris; Centro de Arte Reina Sof'a, Madrid; The Museum of Modern Art, New York; National Film Theatre, London; Tate Liverpool, UK, and PPOW Gallery, New York. In 1997, a retrospective of Schneemann's work entitled\nCarolee Schneemann - Up To And Including Her Limits\nwas held at the New Museum of Contemporary Art, New York. A later retrospective of over forty works was exhibited in 2010 at the Samuel Dorsky Museum of Art, State University of New York at New Paltz.\nSchneemann has received an Art Pace International Artist Residency, two Pollock-Krasner Foundation Grants, a Guggenheim Fellowship, a Gottlieb Foundation Grant, a National Endowment for the Arts Fellowship, a Rockefeller Foundation Fellowship, a Lifetime Achievement Award from the College Art Association, and an Anonymous Was A Woman award. Her published books include\nCezanne, She Was A Great Painter\n(1976);\nEarly and Recent Work\n(1983);\nMore Than Meat Joy: Complete Performance Works and Selected Writings\n(1979), and\nImaging Her Erotics - Essays, Interviews, Projects\n(2002). She has taught at many institutions, including New York University, California Institute of the Arts, Bard College, and the School of the Art Institute of Chicago.\nCarolee Schneemann lives in New Paltz, New York. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1939-2019"},{"slug":"schneemann_carolee_plumb_line_1968_1971","ok":true,"partial":false,"title":"Plumb Line","artist":"Carolee Schneemann","year":"1968-1971","startOffset":0,"sourceSecs":915.415,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":160033294,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_plumb_line_1968_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_plumb_line_1968_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schneemann_carolee_plumb_line_1968_1971.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schneemann_carolee_plumb_line_1968_1971/main.mp4?v=2","description":"1968-71, 18 min, color, sound, Super 8mm film on video <br/><br/> The dissolution of a relationship unravels through visual and aural equivalences. Schneemann splits and recomposes actions of the lovers in a streaming montage of disruptive permutations: 8 mm is printed as 16 mm, moving images freeze, frames recur and dissolve until the film bursts into flames, consuming its own substance. Sound: Carolee Schneemann. -- <a href=\"http://www.eai.org/eai/title.htm?id=6894\" rel=\"noopener\" target=\"_blank\">EAI</a><br/><br/>This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the e","artist_bio":"Carolee Schneemann's pioneering work ranges across disciplines, encompassing painting, performance, film and video. Her early and prescient investigations into themes of gender and sexuality, identity and subjectivity, as well as the cultural biases of art history, laid the groundwork for much work of the 1980s and '90s. Her bold challenges to taboo and tradition can be seen as inspiring and influencing artists as varied as Paul McCarthy, Valie Export, the Guerrilla Girls, Tracy Emin and Karen Finley.\nWhile she is often described as a performance artist, Schneemann first studied painting, and that training informed the course of all her subsequent work. It can be seen in her continuing identification as a painter and a formalist, in her attention to art-historical figures such as CŽzanne, and in the hand-coloring and mark-making to which she subjected the surface of some of her films. However, the effect of her early experience with painting was also reactive and negative; she recognized, as a woman in the early 1960s working in a male-dominated medium, that \"the brush belonged to abstract expressionist male endeavor. The brush was phallic.\" This realization coincided with an explosion of new artistic forms, and while Schneemann would never give up painting, she turned her attention to the downtown New York avant-garde's locus of film, dance, theater, and performance.\nHer involvement with this scene, including work with the Judson Dance Theater and time spent at Warhol's Factory, as well as participation in events such as Robert Morris's\nSite\n(1964), in which she appeared onstage as Manet's\nOlympia\n, proved crucial to her own concept of what she would call \"kinetic theater.\" Although she had experimented with performance as early as 1960, her work in this vein went public with the notorious 1964 action and film\nMeat Joy\n. This \"celebration of flesh as material,\" replete with naked bodies, raw fish, chickens, and sausages, was contemporaneous with the sensationalist Viennese Aktionist group, and, at least superficially, shared some of the concerns of those artists, who referred to her as their \"crazy sister.\" However, rather than pursuing their interests in the scatological and the morbid, Schneemann presented\nMeat Joy\nas an \"erotic rite,\" foregrounding human sexuality and Dionysian ecstasy with a powerful and subversively affirmative spirit. This spirit asserted itself even more explicitly a year later, in her \"anti-porn,\" collage-film\nFuses\n, conceived of as a response to work by her friend, the experimental filmmaker Stan Brakhage. The film challenged dominant modes of interpretation, and was also a provocation to both the avant-garde film establishment and the feminist movement.\nThis go-it-alone criticality is one of the major strands of Schneemann's work. When critiqued for her interest in sexuality and use of her body as medium, she has always offered an unapologetic defense, pointing out, for example, \"If I am a token, I'll be a token to be reckoned with.\" Her insistence on integrating the form and content of her art can be seen as quite radical, in that it collapses work and life, thought and flesh, nature and culture Ñ forms charged by repression and the strategic deployment of those forms. For Schneemann, the focus on the \"experiential erotic body\" is a method of empowerment, and an antidote to what she sees as a tendency of feminist art historians to discuss female sexuality exclusively as a male construction. Schneeman's project, then, is in some ways concerned with reclaiming those signifiers, actions, and ideas that have historically been denied women, and, to a lesser degree, artists in general. Her work should not solely be viewed as feminist, although she is certainly a pioneer in that area. Rather, her focus has also been on countering traditional art historical accounts, and in mapping what she calls \"Istory,\" in an attempt to see \"where the taboos and censorious conventions are embedded aesthetically.\" This tendency to identify what has been deemed sacred and what has been declared obscene can be seen in works like\nArt is Reactionary\n(1987), and in her research into historic artifacts as far-flung as Victorian art-books and Neolithic cave drawings.\nThrough the 1980s and 1990s, and up to the present, Schneemann has continued making work in diverse media, including writings and installations. Looking back on her groundbreaking work of the 1960s and '70s, it is important to recognize that, to a certain degree, she was inventing modes of resistance as she went along. Whether it was the notion of what feminism looked like and how it picked its battles, or the notion that art history was clearly written from a position of power, her work has always employed a criticality that was ahead of its time.\nBorn in 1939 in Fox Chase, Pennsylvania, Schneemann received a B.A. from Bard College and an M.F.A. from the University of Illinois, and holds Honorary Doctor of Fine Arts degrees from the California Institute of the Arts and the Maine College of Art. Her work has been exhibited throughout the world, at institutions including the Museum of Contemporary Art, Los Angeles; the Whitney Museum of American Art, New York; Centre Pompidou, Paris; Centro de Arte Reina Sof'a, Madrid; The Museum of Modern Art, New York; National Film Theatre, London; Tate Liverpool, UK, and PPOW Gallery, New York. In 1997, a retrospective of Schneemann's work entitled\nCarolee Schneemann - Up To And Including Her Limits\nwas held at the New Museum of Contemporary Art, New York. A later retrospective of over forty works was exhibited in 2010 at the Samuel Dorsky Museum of Art, State University of New York at New Paltz.\nSchneemann has received an Art Pace International Artist Residency, two Pollock-Krasner Foundation Grants, a Guggenheim Fellowship, a Gottlieb Foundation Grant, a National Endowment for the Arts Fellowship, a Rockefeller Foundation Fellowship, a Lifetime Achievement Award from the College Art Association, and an Anonymous Was A Woman award. Her published books include\nCezanne, She Was A Great Painter\n(1976);\nEarly and Recent Work\n(1983);\nMore Than Meat Joy: Complete Performance Works and Selected Writings\n(1979), and\nImaging Her Erotics - Essays, Interviews, Projects\n(2002). She has taught at many institutions, including New York University, California Institute of the Arts, Bard College, and the School of the Art Institute of Chicago.\nCarolee Schneemann lives in New Paltz, New York. --\nEAI\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"1939-2019"},{"slug":"schneemann_carolee_snows_1967","ok":true,"partial":false,"title":"Snows","artist":"Carolee Schneeman","year":"1967","startOffset":0,"sourceSecs":1094.997,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":189151777,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_snows_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_snows_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schneemann_carolee_snows_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schneemann_carolee_snows_1967/main.mp4?v=2","description":"This is a newly restored version of documentation of the 1967 group performance Snows, which was built out of Schneemann's outrage and sorrows over the atrocities of the Vietnam War. An ethereal stage environment combining colored light panels, film projection, torn collage, hanging sacks of colored water, \"snow,\" crusted branches, rope, foil and foam was the set and setting in which an audience-activated electronic switching system controlled elements of the performance/installation. Images from film, slide and live action propel silent, ghostly performers to become aggressor and victim, torturer and tortured, lover and beloved, as well as simply themselves in this breakthrough mixed-media film performance. (The film\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the e"},{"slug":"schneemann_carolee_up_to_1976","ok":true,"partial":false,"title":"Up To and Including Her Limits","artist":"Carolee Schneemann","year":"1976","startOffset":0,"sourceSecs":1722.333,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":102539193,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_up_to_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_up_to_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schneemann_carolee_up_to_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schneemann_carolee_up_to_1976/main.mp4?v=2","description":"Up To and Including Her Limits extends the principles of Jackson Pollock's action painting. Schneemann is suspended from a rope harness, naked and drawing; her moving body becomes a measure of concentration, the sustained and variable movements of her extended drawing hand creates a dense web of strokes and marking. This video captures the concentration and raw intensity of Schneemann's presence and use of her own body. The piece was edited by Schneemann in 1984 from video footage of six performances: the Berkeley Museum, 1974; London Filmmaker's Cooperative, 1974; Artists Space, NY, 1974; Anthology Film Archives, NY, 1974; The Kitchen, NY, 1976; and the Studio Galerie, Berlin, 1976.\n\nVideo: Wilma Kottusch, Mike Steiner, Axel Beyer. Post Production: Media Bus, Bart Friedman, C. Schneemann. Performance/Video partially funded by Media Bureau/Kitchen, National Endowment for the Arts, Creative Artists Public Service. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"schneemann_carolee_viet_flakes","ok":true,"partial":false,"title":"Viet Flakes","artist":"Carolee Schneemann","year":"1965","startOffset":0,"sourceSecs":465.865,"sourceHeight":480,"sourceWidth":706,"hasAudio":true,"hasAmbientMp4":true,"bytes":78018214,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_viet_flakes/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schneemann_carolee_viet_flakes/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schneemann_carolee_viet_flakes.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schneemann_carolee_viet_flakes/main.mp4?v=2","description":"Viet Flakes was composed from an obsessive collection of Vietnam atrocity images, compiled over five years, from foreign magazines and newspapers. Schneemann uses the 8mm camera to \"travel\" within the photographs, producing a volatile animation. Broken rhythms and visual fractures are heightened by a sound collage by James Tenney, which features Vietnamese religious chants and secular songs, fragments of Bach, and '60s pop hits. \"One of the most effective indictments of the Vietnam War ever made\". — Robert Enright, Border Crossings. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"schnitt_corinna_das_schlafende_madchen_2001","ok":true,"partial":false,"title":"Das Schlafende Mädchen","artist":"Corinna Schnitt","year":"2001","startOffset":0,"sourceSecs":510.8,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":88898411,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schnitt_corinna_das_schlafende_madchen_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schnitt_corinna_das_schlafende_madchen_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schnitt_corinna_das_schlafende_madchen_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schnitt_corinna_das_schlafende_madchen_2001/main.mp4?v=2","description":"A sailing boat is cruising into the wind. The camera detaches itself from the scenery to enlarge the field of vision and pans over a suburb tinged in faded light: a still life of white fences, all absolutely identical, little green lawns and red gabled roofs -- just as much models as the miniature schooner. The tranquil progress of the camera over the raster of stereotyped detached and terrace houses presents an artificial idyll dominated by exclusions and norms. Life is only lived here on the soundtrack: wind, bird calls, the sound of a motor muttering in the distance, the noise made by a piece of wheeled luggage being dragged, then a telephone interminably ringing. An answering machine comes into play. An insurance broker asks to be called back in order to dscuss 'Ms Schnitt's' old-age provisions -- only to make a point of reminding her that a ballpoint pen must be returned. The unsure voice off switches the situation to absurdity: the writing utensil has become a fetish seemingly linked to identity and power. In the meantime the camera eye lights on a terrace door opening into a living room and focuses on a painting: Jan Vermeer's 'A Girl Asleep' (1657). The picture, which looks bacchantic indeed in these dead surroundings, exposes the normed, typical notions of life for what they are: cliché-ridden and phantasmagorical alike and succinctly closes the circle leading to the opening sequence.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1964"},{"slug":"schorr_collier_private_bismarck","ok":true,"partial":false,"title":"Private Bismarck","artist":"Collier Schorr","year":"2011","startOffset":0,"sourceSecs":92.277,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":16583371,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schorr_collier_private_bismarck/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schorr_collier_private_bismarck/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schorr_collier_private_bismarck.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schorr_collier_private_bismarck/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Collier Schorr (born 1963) is an American artist best known for her portraits of adolescent men and women, which often blend photographic realism with elements of fiction and youthful fantasy.\nSchorr grew up in Queens, New York and studied at the School of Visual Arts. Her work was featured in the 2002 Whitney Biennial and the 2003 International Center for Photography Triennial. In 2008 she received a Berlin Prize by the American Academy in Berlin. She currently resides in Brooklyn and spends her summers with family in Schwäbisch Gmünd, in Southern Germany.","bio_dates":"b. 1963"},{"slug":"schroeter_werner_der_tod_der_maria_malibran_1972_iphone","ok":true,"partial":false,"title":"Der Tod der Maria Malibran","artist":"Werner Schroeter","year":"1972","startOffset":0,"sourceSecs":6497.09,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":372255459,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schroeter_werner_der_tod_der_maria_malibran_1972_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schroeter_werner_der_tod_der_maria_malibran_1972_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schroeter_werner_der_tod_der_maria_malibran_1972_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schroeter_werner_der_tod_der_maria_malibran_1972_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schroeter_werner_der_tod_der_maria_malibran_1972_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"This bizarre film by one of the most original directors now working in Germany is hermetic, expressionist, oblique, and of a creative perversity that bespeaks the presence of a genius. Purporting to deal with a real-life 19th century diva 'whose popularity was such that over-exertion led to her death while singing,' the film is actually a grisly series of frozen or tortured tableaux (predominantly lesbian in implication) of heavily rouged, frequently ugly women who, pretending to sing heavy opera, go through contorted, icy attempts at communication that lead nowhere. The lip-sync is off; the singing is off-pitch; mouths are frequently open while no sound issues forth, or closed, with mellifluous arias or cheap popular songs heard on scratchy renditions of old records. Neither burlesque nor slapstick, the film's intent, at least in the beginning, is nevertheless ironical and subversive, though mysteriously so. However, it grows increasingly dark and more threatening, with screams, faces bathed in Vaseline, red, wet mouths, smeared eye shadows, and dehumanized figures. One cannot 'explain' Schroeter's work, other than recognize his debunking of opera as a metaphorical rejection of bourgeois society; but one trembles in recognition of a prospective major talent.\""},{"slug":"schwitters_kurt_discovery_of_art","ok":true,"partial":false,"title":"Kurt Schwitters -Discovery of Art 2: Kurt Schwitters","artist":"Hussein Shariffe","year":"2000","startOffset":0,"sourceSecs":2842.273,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":485588575,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schwitters_kurt_discovery_of_art/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schwitters_kurt_discovery_of_art/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schwitters_kurt_discovery_of_art.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schwitters_kurt_discovery_of_art/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schwitters_kurt_discovery_of_art/main/master.m3u8?v=2","hasMainHls":true,"description":"This film is one in a series that traces the developments in art from the Renaissance to the 20th century. The featured artist is Kurt Schwitters, the German-born artist who many call the greatest 20th century master of collage. Starting as a painter who was part of the dadaist movement, Schwitters began to do collages with common trash, such as broken glass, bits of paper, and old tram tickets that he found in the street an exploited for their colour, texture and surprise value. He called his art 'Merz.' Although much of his work was destroyed in an air raid in Nazi Germany, many of his most famous works were filmed here during an exhibition at the George Pompidou Museum.\n\nGreat close-ups of some of Schwitters' work, good analysis and background, shows how he is still influential on present day artists and how he influenced subsequent generations: Fluxus, etc)."},{"slug":"schwitters_kurt_ursonate_complete_poem_with_verses_displayed","ok":true,"partial":false,"title":"Ursonate, with Verses Displayed (undated)","artist":"Kurt Schwitters","year":"1948","startOffset":0,"sourceSecs":2492.36,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":92073028,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schwitters_kurt_ursonate_complete_poem_with_verses_displayed/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/schwitters_kurt_ursonate_complete_poem_with_verses_displayed/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/schwitters_kurt_ursonate_complete_poem_with_verses_displayed.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schwitters_kurt_ursonate_complete_poem_with_verses_displayed/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schwitters_kurt_ursonate_complete_poem_with_verses_displayed/main/master.m3u8?v=2","hasMainHls":true,"description":"This is the entire Ursonate by Kurt Schwitters (but it appears that this recording is by <a href=\"https://ubu.com/sound/ursonate.html\" rel=\"noopener\" target=\"_blank\">Ernst Schwitters</a>. Each line of the poem is bolded as he recites it.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/ursonate.html\" rel=\"noopener\" target=\"_blank\">Ursonate in UbuWeb Sound</a></br>","artist_bio":"Kurt Hermann Eduard Karl Julius Schwitters (20 June 1887 – 8 January 1948) was a German artist who was born in Hanover, Germany.\nSchwitters worked in several genres and media, including dadaism, constructivism, surrealism, poetry, sound, painting, sculpture, graphic design, typography, and what came to be known as installation art. He is most famous for his collages, called Merz Pictures.","bio_dates":"1887-1948"},{"slug":"segalove_ilene_the_riot_tapes_1984","ok":true,"partial":false,"title":"The Riot Tapes","artist":"Ilene Segalove","year":"1984","startOffset":0,"sourceSecs":1808.98,"sourceHeight":540,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":311822433,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/segalove_ilene_the_riot_tapes_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/segalove_ilene_the_riot_tapes_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/segalove_ilene_the_riot_tapes_1984.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/segalove_ilene_the_riot_tapes_1984/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/segalove_ilene_the_riot_tapes_1984/main/master.m3u8?v=2","hasMainHls":true,"description":"“The Riot Tapes is a video biography of Segalove’s political involvement in college, of her boyfriend (who became anorexic while dieting to evade the draft), and of her discovery that art could give her a voice and a forum for her political views. It is her first real political work. Segalove says, ‘I’m trying to comment on the state of things. A lot of my peers spend a lot of time in a state of disbelief, but I’m tired of disengaging myself from the world by doing that.’”"},{"slug":"segalove_ilene_what_is_business_1982","ok":true,"partial":false,"title":"What is Business","artist":"Ilene Segalove","year":"1982","startOffset":0,"sourceSecs":1717.887,"sourceHeight":540,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":295693768,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/segalove_ilene_what_is_business_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/segalove_ilene_what_is_business_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/segalove_ilene_what_is_business_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/segalove_ilene_what_is_business_1982/main.mp4?v=2","description":"Pursuing an answer to the title question, Segalove interviews kids, executives, consultants, etc., in order to educate herself as to the ins and outs of the financial world. Keen observations about wealth and success from experts are matched against Mr. Science demos and animated graphics in this somewhat mocking look at the culture of business. Segalove says, “What Is Business? is about growing up. The first building I would have blown up in '68 was the business building. Now, students are just going to college to get an MBA. That’s all you hear about. MBA is what LSD used to be."},{"slug":"serra_mm_august_10_2010_2019","ok":true,"partial":false,"title":"August 10, 2010","artist":"M.M. Serra","year":"2019","startOffset":0,"sourceSecs":254.336,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":96163609,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_mm_august_10_2010_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_mm_august_10_2010_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/serra_mm_august_10_2010_2019.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/serra_mm_august_10_2010_2019/main.mp4?v=2","description":"New Tribute to Carolee Schneemann with Peggy Ahwesh. Shot on location at Carolee’s house in 2010. Made in the aftermath of her death, the filmmaker revisited old footage at Carolee’s divine house to resurrect memories of her.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/schneemann.html\" rel=\"noopener\" target=\"_blank\">Carolee Schneemann in UbuWeb Film</a> <br> <a href=\"https://ubu.com/film/ahwesh.html\" rel=\"noopener\" target=\"_blank\">Peggy Ahwesh in UbuWeb Film</a></br></br>","artist_bio":"MM Serra is an experimental filmmaker, curator, author, educator and the Executive Director of Film-Makers Cooperative, the oldest and largest archive of independent media in the world. Her first five films (NYC, 1985, Nightfall, 1984, Framed, 1984, PPI, 1986, Turner, 1987) were preserved and digitized by Anthology Film Archives Preservation series Re-Visions: American Experimental Film 1975-1990. The series “spotlights…the generation of experimental film artists who emerged after the final formation in 1975 of AFA’s Essential Cinema repertory screening cycle.” Anthology describes Serra’s five films as a “DIY Lower East Side spirit, but introduces a distinctive lyrical eroticism.” In 2015, Serra was awarded a New York Foundation for the Arts for Enduring Ornament and in 2016 Serra received a New York Council on the Arts for a new film titled Mary Magdalene that was exhibited at the NY Media Center in August 2017. In 2018 MM Serra gave the 9th Annual Experimental Lecture at NYU Cinema Studies, entitled Art(Core): The Films of MM Serra, and in 2019 her lecture was published by Frameworks Journal.\nSerra presented a lecture and screening at the Louvre auditorium in Paris, France on December 1st, 2019. It was held as the Petit Galerie in the Louvre as part of their cycling exhibitions highlighting Renaissance artists such as DaVinci and Michelangelo. The exposition, “Figure d’artiste,” focused on the cinematographic self portrait found in documentary, experimental, and avant-garde film. Serra’s emphasis in the lecture,Visionaries: Self-portraits by experimental filmmakers Marie Menken, Storm de Hirsch, Carolee Schneemann and MM Serra, was on women, literature, and self-portraits in the avant-garde pantheon. Filmmakers and speakers included Raymond Bellour, Pip Chodorov, Ross McElwee, Boris Lehman, and Agnes Varda.\n\"M.M. Serra's writings on her practice are among the key theory writings I would recommend to any emerging scholar. She contextualizes her films within the concept of Art(Core) and links them to the history of the New York Avant-garde moment. She has developed this concept over multiple decades and still writing/presenting on it, Serra's research is an essential example of practice that is a lived in.\" - Devon Narine-Singh","bio_dates":"1990"},{"slug":"serra_mm_jack_smiths_apartment_1999","ok":true,"partial":false,"title":"Jack Smith's apartment","artist":"M.M. Serra","year":"1990","startOffset":0,"sourceSecs":509.461,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":201652866,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_mm_jack_smiths_apartment_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_mm_jack_smiths_apartment_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/serra_mm_jack_smiths_apartment_1999.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/serra_mm_jack_smiths_apartment_1999/main.mp4?v=2","description":"An experimental documentary of Jack Smith’s last apartment following his death in 1989."},{"slug":"serra_richard_boomerang_1974","ok":true,"partial":false,"title":"Boomerang (with Nancy Holt)","artist":"Richard Serra","year":"1974","startOffset":0,"sourceSecs":627.563,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":114749019,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_boomerang_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_boomerang_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/serra_richard_boomerang_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/serra_richard_boomerang_1974/main.mp4?v=2","description":"[This] is a tape which analyzes its own discourse and processes as it is being formulated. The language of Boomerang, and the relation between the description and what is being described, is not arbitrary. Language and image are being formed and revealed as they are organized. - Richard Serra","artist_bio":"Born in 1939, Richard Serra studied English literature at the University of California in Berkeley while working at a steel mill to earn a living. He went on to receive an MFA from Yale University where he studied with painter/theorist Joseph Albers. Living in New York, Paris, and Rome on the late 60s, Serra became acquainted with artists of the New York School: Philip Guston, Robert Rauschenberg, Ad Reinhart, and Frank Stella, as well as avant-garde composer Philip Glass. Associated with the emergence of post-minimalism and process art, Serra's lead splashing sculptures were included in The Warehouse Show at the Leo Castelli Gallery in 1968, and Anti-Illusion: Procedures Materials at the Whitney Museum in 1968-both pivotal exhibitions that established a new discourse in the field of sculpture. Serra produced several films before making videotapes in the early 70s. His early works, including\nTelevision Delivers People\n(1973), Prisoner's Dilemma (1974), and\nBoomerang\n(1974), are structural examinations of the medium as a vehicle for communication.","bio_dates":"b. 1939"},{"slug":"serra_richard_frame","ok":true,"partial":false,"title":"Frame","artist":"Richard Serra","year":"1969","startOffset":0,"sourceSecs":869.888,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":145601453,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_frame/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_frame/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/serra_richard_frame.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/serra_richard_frame/main.mp4?v=2","description":"In Frame (1969), Richard Serra emphasizes the disconnect bewteen the real space of the cinema and the illusory space of the screen. We first see Serra's hands methodically measuring and marking the boundaries of the film frame, followed by the projected image of a blank surface whose perimeter is similarly marked. The surface is then moved aside to reveal a window which looks out upon a bustling city street. The In the final stage, Serra interacts with the projected image of the window, remeasuring and remarking its borders."},{"slug":"serra_richard_hand_catching_lead_1968","ok":true,"partial":false,"title":"Hand Catching Lead","artist":"Richard Serra","year":"1968","startOffset":0,"sourceSecs":181.845,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":31564285,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_hand_catching_lead_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_hand_catching_lead_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/serra_richard_hand_catching_lead_1968.mp4","hasFrames":true,"description":"1968's <em>Hand Catching Lead</em> was Serra's first film (youtube will try and tell you it was made in 1971, but that's youtube). Serra claims it was an attempt to break into the \"intimidating\" medium of film, inspired by the \"great freedom\" he saw expressed in Warhol's work and the \"tentative, experimental\" nature of films like Yvonne Rainer's <em>Hand Movie</em> and <em>Line</em>.<br/><br/>He was originally asked to document the making of his sculpture, <em>House of Cards</em>, in which huge sheets of lead are balanced against one another, held up by their own weight, but decied that a traditional documentary would not be able to capture the creative process. Instead, the work is a \"filmic analogy\" of the construction of the sculpture: his catching of the pieces of lead is a more refined representation of months spent lugging blocks of lead around his attic with Philip Glass.<br/><br/><em>Hand Catching Lead</em> has been described as a \"non-event\" by critics. The single, continuous, soundless shot of a hand catching and immediately dropping pieces of lead is almost hypnotically repetitive but has no sense of purpose or urgency. The film is not building to any kind of climax, nothing we see is explained and there is no attempt to create the impression of a seamless 'performance' which isolates the images from the world around them (in the second half of the film, another hand is visible collecting and dropping the lead, while the hand hurries it along). Part of this can be explained by the fact that the film is supposed to be a recreation of Serra's creative processes, which he describes in very abstract terms:<br/>If I define a work and sum it up within the boundary of a definition, given<br/>my intentions, that seems to be a limitation on me and an imposition on other<br/>people of how to think about the work. Finally, it has nothing to do with my<br/>activity or art. I think the significance of the work is in its effort, not in<br/>its intentions. And that effort is a state of mind, an activity, an interaction<br/>with the world... The focus of art for me is the experience of living through<br/>the pieces, and that experience may have very little to do with the physical<br/>facts.<br/>The visual style of the film is heavily indebted Serra's sculptures, which often use bold lines and a variety of different textures, just as high contrast lighting reduces the pieces of lead to flashes of light and dark and emphasises every crease in the palm of the hand.<br/><br/>The film serves as a kind of confessional documentary, chronicling a mental state in visual terms. It is interactive insofar as it was made to be watched, and the two hands play to the camera and are obviously aware of the fact that they are supposed to be creating a certain image. It is an objective action rendered subjective and expressionistic by context and authorial intent. It could be argued that the film is conceptual - the repetitive, almost hypnotic nature of the image is intended to represent the hit-and-miss struggle to create something worthwhile - but, given Serra's hatred of people judging his work based on his intentions, it is difficult to know whether people seeing it in 1968 would have been aware that it was an allegory of <em>House of Cards</em>, making it difficult to judge its original impact.","artist_bio":"Born in 1939, Richard Serra studied English literature at the University of California in Berkeley while working at a steel mill to earn a living. He went on to receive an MFA from Yale University where he studied with painter/theorist Joseph Albers. Living in New York, Paris, and Rome on the late 60s, Serra became acquainted with artists of the New York School: Philip Guston, Robert Rauschenberg, Ad Reinhart, and Frank Stella, as well as avant-garde composer Philip Glass. Associated with the emergence of post-minimalism and process art, Serra's lead splashing sculptures were included in The Warehouse Show at the Leo Castelli Gallery in 1968, and Anti-Illusion: Procedures Materials at the Whitney Museum in 1968-both pivotal exhibitions that established a new discourse in the field of sculpture. Serra produced several films before making videotapes in the early 70s. His early works, including\nTelevision Delivers People\n(1973), Prisoner's Dilemma (1974), and\nBoomerang\n(1974), are structural examinations of the medium as a vehicle for communication.","bio_dates":"b. 1939"},{"slug":"serra_richard_hands_tied_1968","ok":true,"partial":false,"title":"Hands Tied","artist":"Richard Serra","year":"1969","startOffset":0,"sourceSecs":211.157,"sourceHeight":576,"sourceWidth":840,"hasAudio":true,"hasAmbientMp4":true,"bytes":27665262,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_hands_tied_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_hands_tied_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/serra_richard_hands_tied_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/serra_richard_hands_tied_1968/main.mp4?v=2","description":"In \"Hands Tied\", the performers are presenting hands tied together with cord at the wrists, trying to free themselves again little by little from being bound by moving violently to and fro, twisting, shaking and untying the knot with their fingers.","artist_bio":"Born in 1939, Richard Serra studied English literature at the University of California in Berkeley while working at a steel mill to earn a living. He went on to receive an MFA from Yale University where he studied with painter/theorist Joseph Albers. Living in New York, Paris, and Rome on the late 60s, Serra became acquainted with artists of the New York School: Philip Guston, Robert Rauschenberg, Ad Reinhart, and Frank Stella, as well as avant-garde composer Philip Glass. Associated with the emergence of post-minimalism and process art, Serra's lead splashing sculptures were included in The Warehouse Show at the Leo Castelli Gallery in 1968, and Anti-Illusion: Procedures Materials at the Whitney Museum in 1968-both pivotal exhibitions that established a new discourse in the field of sculpture. Serra produced several films before making videotapes in the early 70s. His early works, including\nTelevision Delivers People\n(1973), Prisoner's Dilemma (1974), and\nBoomerang\n(1974), are structural examinations of the medium as a vehicle for communication.","bio_dates":"b. 1939"},{"slug":"serra_richard_prisoners_dilemma_1974","ok":true,"partial":false,"title":"Prisoners Dilemma","artist":"Richard Serra","year":"1974","startOffset":0,"sourceSecs":2439.744,"sourceHeight":512,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":418377729,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_prisoners_dilemma_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_prisoners_dilemma_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/serra_richard_prisoners_dilemma_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/serra_richard_prisoners_dilemma_1974/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/serra_richard_prisoners_dilemma_1974/main/master.m3u8?v=2","hasMainHls":true,"description":"This is a rare Richard Serra Video from 1974 using the concept of \"The Prisoner's Dilemma\" from game theory as a video experiment to, in Serra's words, \"expose the format of commercial TV.\" The video features Leo Castelli, Bruce Boice and Spalding Gray, among others. 40:11min\n\nThe host of Serra's 1974 parody game show, Prisoners' Dilemma, explains that the loser will spend six hours alone in a basement - \"that's about the length of the average boring artist's videotape\". Cue knowing chuckles from the studio audience.\n\nThe rules are simple. Or are they? Derived from game theory, Prisoners' Dilemma is a casual exercise in arbitrary power. In the first part of Serra's tape, before we meet the studio guests, an enjoyably clumsy amateur cop show dramatises how the prisoner's dilemma works in real life as a New York detective isolates two hippies and makes each an offer: sign the prepared confession. If you sign and the other \"prisoner\" doesn't, you will go free, and the other prisoner will get 50 years in Sing-Sing. If the other signs and you don't, you will get 50 years. If you both sign, you'll each get 10 years. If neither of you sign, you'll each get two years. What to do? The guests on Serra's game show face an evening in a cellar instead of 50 years in jail. They are, separately, given various supposed private information about the other. It is impossible for the participants, the studio audience or us to know if the guests really decide for themselves or are manipulated into doing what the TV show wants. At a deeper level, their very involvement in a joke at their expense, giving someone power over their lives, is a surrender to television's arbitrary authority. Prisoners' Dilemma is funny and possesses the sombre density of Serra's sculpture. It is a sculpture in which, instead of throwing lead or rolling steel, he moves people about like manipulable objects.\n\nPrisoners' Dilemma is, said Serra in 1974, about Watergate. In an interview given in January that year, when it was not yet clear the president would resign (he did so in August), Serra explained that his game show was designed to reveal TV's mendacity, as epitomised by Nixon: \"It's all a lot of shit. Listen, I know television consciousness was developed in the 60s. And yet, in 1974, people still accept what they see on their TV sets as valid information.\""},{"slug":"serra_richard_railroad_turnbridge_1976","ok":true,"partial":false,"title":"Railroad Turnbridge","artist":"Richard Serra","year":"1976","startOffset":0,"sourceSecs":982.912,"sourceHeight":650,"sourceWidth":866,"hasAudio":true,"hasAmbientMp4":true,"bytes":164611642,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_railroad_turnbridge_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_railroad_turnbridge_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/serra_richard_railroad_turnbridge_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/serra_richard_railroad_turnbridge_1976/main.mp4?v=2","description":"One of the most important avant-garde films of this period, Richard Serra's Railroad Turnbridge attempts to grasp what Rosalind Krauss termed \"a relationship, a transitivity... The physical turnbridge is the support of this experience, not its subject.\" (\"Richard Serra, A Translation\")"},{"slug":"serra_richard_surpriseattack_1973","ok":true,"partial":false,"title":"Surprise Attack","artist":"Richard Serra","year":"1973","startOffset":0,"sourceSecs":137.877,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":19588485,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_surpriseattack_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_surpriseattack_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/serra_richard_surpriseattack_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/serra_richard_surpriseattack_1973/main.mp4?v=2","description":"(1973) 1:13 min video<br/> <br/> The camera focuses on Richard Serra's lower arms as he tosses a piece of lead from one hand to the other and recites a text from Schilling's \"The Strategy Of Conflict.\" The rhythm of the throwing is in sync with the emphasis of the reading, accentuating the implications of the game theory. The use of lead is a reference to Serra's first film, Hands Catching Lead. By Richard Serra. Production by Carlota Schoolman. Photographed by Babette Mangolte. Sound by Kurt Munkacsi. With Richard Serra. (1973, 2 mins, Tape Courtesy of Castelli-Sonnabend)","artist_bio":"Born in 1939, Richard Serra studied English literature at the University of California in Berkeley while working at a steel mill to earn a living. He went on to receive an MFA from Yale University where he studied with painter/theorist Joseph Albers. Living in New York, Paris, and Rome on the late 60s, Serra became acquainted with artists of the New York School: Philip Guston, Robert Rauschenberg, Ad Reinhart, and Frank Stella, as well as avant-garde composer Philip Glass. Associated with the emergence of post-minimalism and process art, Serra's lead splashing sculptures were included in The Warehouse Show at the Leo Castelli Gallery in 1968, and Anti-Illusion: Procedures Materials at the Whitney Museum in 1968-both pivotal exhibitions that established a new discourse in the field of sculpture. Serra produced several films before making videotapes in the early 70s. His early works, including\nTelevision Delivers People\n(1973), Prisoner's Dilemma (1974), and\nBoomerang\n(1974), are structural examinations of the medium as a vehicle for communication.","bio_dates":"b. 1939"},{"slug":"serra_richard_television_delivers_people_1973","ok":true,"partial":false,"title":"Television Delivers People","artist":"Richard Serra","year":"1973","startOffset":0,"sourceSecs":404.437,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":28942221,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_television_delivers_people_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/serra_richard_television_delivers_people_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/serra_richard_television_delivers_people_1973.mp4","hasFrames":true,"description":"Television Delivers People is a seminal work in the now well-established critique of popular media as an instrument of social control that asserts itself subtly on the populace through \"entertainments,\" for the benefit of those in power-the corporations that mantain and profit from the status quo. While canned Muzak plays, a scrolling text denounces the corporate masquerade of commercial television to reveal the structure of profit that greases the wheels of the media industry. Television emerges as little more than a insidious sponsor for the corporate engines of the world. By appropriating the medium he is criticizing-using television, in effect, against itself-Serra employs a characteristic strategy of early, counter-corporate video collectives-a strategy that remains integral to video artists committed to a critical dismantling of the media's political and ideological stranglehold.","artist_bio":"Born in 1939, Richard Serra studied English literature at the University of California in Berkeley while working at a steel mill to earn a living. He went on to receive an MFA from Yale University where he studied with painter/theorist Joseph Albers. Living in New York, Paris, and Rome on the late 60s, Serra became acquainted with artists of the New York School: Philip Guston, Robert Rauschenberg, Ad Reinhart, and Frank Stella, as well as avant-garde composer Philip Glass. Associated with the emergence of post-minimalism and process art, Serra's lead splashing sculptures were included in The Warehouse Show at the Leo Castelli Gallery in 1968, and Anti-Illusion: Procedures Materials at the Whitney Museum in 1968-both pivotal exhibitions that established a new discourse in the field of sculpture. Serra produced several films before making videotapes in the early 70s. His early works, including\nTelevision Delivers People\n(1973), Prisoner's Dilemma (1974), and\nBoomerang\n(1974), are structural examinations of the medium as a vehicle for communication.","bio_dates":"b. 1939"},{"slug":"sesic_ivko_krik_1978","ok":true,"partial":false,"title":"Krik","artist":"Ivko Šešić","year":"1978","startOffset":0,"sourceSecs":569.835,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":98812799,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sesic_ivko_krik_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sesic_ivko_krik_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sesic_ivko_krik_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sesic_ivko_krik_1978/main.mp4?v=2","description":"Film consists of shots of Belgrade Zoo, animals inside it, and the medieval fortress it was built within. Features a bizarre soundtrack of experimental music. It also features cinematography by Ratko Vladic, famous Serbian cinematographer."},{"slug":"several_friends_1969","ok":true,"partial":false,"title":"Several Friends","artist":"Charles Burnett","year":"1969","startOffset":0,"sourceSecs":1287.586,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":227189322,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/several_friends_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/several_friends_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/several_friends_1969.mkv","hasFrames":true,"description":"From L.A. Rebellion: Creating a New Black Cinema (1971-2006)\n\nYEAR: 1969\n\nFORMAT: 35mm, color\n\nDirector Charles Burnett’s first 16mm student film, Several Friends, showcases his early facility with a documentary approach to fiction, his ability to draw out eccentric and endearing characterizations from an ensemble of nonprofessional actors, and his sensitivity to the expressive possibilities of everyday, working class props and locations."},{"slug":"shadi_habib_allah_trim_2019","ok":true,"partial":false,"title":"Trim","artist":"Shadi Habib Allah","year":"2019","startOffset":0,"sourceSecs":367.403,"sourceHeight":1920,"sourceWidth":1080,"hasAudio":true,"hasAmbientMp4":true,"bytes":161789414,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shadi_habib_allah_trim_2019/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shadi_habib_allah_trim_2019/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shadi_habib_allah_trim_2019.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shadi_habib_allah_trim_2019/main.mp4?v=2","description":"var swf = document.createElement(\"script\"); swf.onload = function() { setTimeout(function() { var fmovie = document.createElement(\"script\");","artist_bio":"Born in Jerusalem, Palestine in 1977, Shadi Habib Allah received a BFA from Bezalel Academy of Arts and Design in 2003 and an MFA from Columbia University in 2010. He attended residencies at Gasworks and Delfina in London. He was the 2012 recipient of the Louis Comfort Tiffany Award and the 2018 Mophradat's Consortium Commission grant.\nHis work has been exhibited at the Palestine c/o Venice at the Venice Biennale, Art Statements Art Basel 43, the 13th Sharjah Biennial and the New Museum Triennial amongst others. Exhibitions include 'Measured Volumes' at the Hammer Museum, 'Put to Rights' at the Renaissance Society, Chicago, 'Biscuits and Green Sox Maaike' at Reena Spaulings, New York, 'Empire State', curated by Norman Rosenthal & Alex Gartenfeld, at the Palazzo delle Esposizioni, Rome, and at Galerie Thaddaeus Ropac, Paris; 'Frozen Lakes', at Artists Space, New York; and 'Nouvelles Vagues', curated by Jason Waite and Antonia Alampi, at the Palais de Tokyo, Paris. His Films have screened at the Oberhausen Film Festival, International Film Festival Rotterdam, Hamburg Film Fesitval, Courtisane Festival, Belgium and the 40th Norwegian Film Festival. He lives and works between USA and Palestine.","bio_dates":"2019"},{"slug":"shah_tejal_what_are_you_2006","ok":true,"partial":false,"title":"What are you?","artist":"Tejal Shah","year":"2006","startOffset":0,"sourceSecs":663.24,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":107109283,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shah_tejal_what_are_you_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shah_tejal_what_are_you_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shah_tejal_what_are_you_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shah_tejal_what_are_you_2006/main.mp4?v=2","description":"What are you? 2006, explores the malleable language of gender, physically manipulated not only by her chosen subjects, the hirja (transgender) community, but also through the deployment of various forms of media. A two-channel video installation with both screens positioned together {Please clarify, is this side by side? Top to bottom? Face to face? Front to back?}, super-8 is fused with video-style footage, which flows into formal portraiture, woven within found footage not only to reflect an interest in the formal aspects of her work but also replicating the complexities of the hirjas’ life and the ways in which they negotiate and live with their identity.","artist_bio":"Shah is a visual artist who works with video, photography, sound, installation and performance. Her interests lie in the areas of sexuality, gender, disabilities and the interrelation between humans and nature. In 2003, she co-founded Larzish—India's first international film festival of sexuality and gender plurality and in 2006, she had her first solo show \"What are You?\" in India and the USA.\nShah was born in Bhilai (central India), graduated with a B.A. in commercial and illustrative photography from Royal Melbourne Institute of Technology (2000), and was a visiting scholar at The School of the Art Institute of Chicago (1999-2000). Currently, she lives and works in Bombay, India.","bio_dates":"b. 1979"},{"slug":"shahbazi_solmaz_zolghadr_tirdad_tehran_1380_2002","ok":true,"partial":false,"title":"Tehran 1380","artist":"Solmaz Shahbazi, Tirdad Zolghadr","year":"2002","startOffset":0,"sourceSecs":2672.56,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":448878222,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shahbazi_solmaz_zolghadr_tirdad_tehran_1380_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shahbazi_solmaz_zolghadr_tirdad_tehran_1380_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shahbazi_solmaz_zolghadr_tirdad_tehran_1380_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shahbazi_solmaz_zolghadr_tirdad_tehran_1380_2002/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shahbazi_solmaz_zolghadr_tirdad_tehran_1380_2002/main/master.m3u8?v=2","hasMainHls":true,"description":"Solmaz Shahbazi's trilogy explores the recent historical, social and urban trajectory of the Iranian capital, a city that has experienced several revolutions in the 20th century and counts over 12 million inhabitants today. Tehran 1380 (45min, 2002) is the result of a collaboration between Solmaz Shahbazi and Tirdad Zolghadr. Through interviews with permanent inhabitants and visitors, professionals of architecture and non-professionals, juxtaposed with images from Tehran, Shahbazi and Zolghadr ask pertinent questions about the place of the city in the process of globalisation, and carve out a portrait of Tehran as a socially heterogeneous, ever expanding metropolis that does not fit into any existing urban planning or aesthetic standards. Good Times / Bad Times (31 min, 2003). With over 70% of the population aged under 25, Iranian youth culture is an incredible transformative power that shapes the country's social, economical and political trajectories. Good Times / Bad Times follows five young people, each as a representative of a certain group in the Iranian society. The documentary looks at some of the strictures confronting Iranian youth and examines the practices of everyday life through which young people demonstrate defiance against the official culture and parental dominance. Persepolis (2005, 17min), the last video of the trilogy, is as much a tale about Tehran as it is about how individuals situate themselves in relation to the grander narratives of history. Set in a large scale, bourgeois housing complex in Tehran, the video explores a layered history through composed interior shots, played back against the voice of their owners, as they recount their lives in this neighbourhood and its place in the city's recent evolution, often referring to before\" and \"after\" the Islamic Revolution of 1979.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"shariffe_hussein_the_dislocation_of_amber_1975","ok":true,"partial":false,"title":"The Dislocation of Amber","artist":"Hussein Shariffe","year":"1975","startOffset":0,"sourceSecs":1831.402,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":308724782,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shariffe_hussein_the_dislocation_of_amber_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shariffe_hussein_the_dislocation_of_amber_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shariffe_hussein_the_dislocation_of_amber_1975.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shariffe_hussein_the_dislocation_of_amber_1975/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shariffe_hussein_the_dislocation_of_amber_1975/main/master.m3u8?v=2","hasMainHls":true,"description":"The \"Dislocation of Amber\" was filmed in the city of Suakin, a formerly flourishing port (of slaves) in Sudan. All those who have previously written on Suakin admitted to the complexity of the town as a subject. So intriguing is Suakin that not even the origin of its name is agreed upon. Its history is one of famine & opulence, devastation and progress, rich trade and damage, involving colonialism. What makes Suakin so abidingly memorable is its resilience, built through war and conquests, the historical town is a product of determination and competitiveness.\n\nToday the city lies in ruins, a shadow of its former self. Shariffe used symbols - scorpions, seashells, and camel caravans - to accentuate a sense of utter desertion. Suakin's vacant coral buildings, a naked man crucified, slaves by the sea crouching on the beach, all lend signs to the film. Starting from his selection of the title of the film \"Dislocation of Amber\" which is self explanatory, no amber can be dislocated, it is too difficult to do that, but the name provides a metaphorical likeness to disassociating beauty from ugliness and life from none.\n\nThe poems in the film were sung by the late Sudanese singer Abdel-Aziz Dawoud providing background music."},{"slug":"shariffe_hussein_tigers_are_better_looking_1979","ok":true,"partial":false,"title":"Tigers are Better-Looking","artist":"Hussein Shariffe","year":"1979","startOffset":0,"sourceSecs":1260.48,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":219028946,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shariffe_hussein_tigers_are_better_looking_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shariffe_hussein_tigers_are_better_looking_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shariffe_hussein_tigers_are_better_looking_1979.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shariffe_hussein_tigers_are_better_looking_1979/main.mp4?v=2","description":"'Tigers are Better Looking' is an adaptation of a short story by Jean Rhys. In the film, Shariffe directs his view towards exile in Europe, showing the wide disparity between North and South. The film contrasts two different civilisations, the homeland, Sudan, and the country of exile, Great Britain. Through poetic abstractions the director manages to portray the strong sense of exile and the longing for the homeland."},{"slug":"sharits_paul_bad_burns_1982","ok":true,"partial":false,"title":"Bad Burns","artist":"Paul Sharits","year":"1982","startOffset":0,"sourceSecs":337.707,"sourceHeight":480,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":61162707,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharits_paul_bad_burns_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharits_paul_bad_burns_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sharits_paul_bad_burns_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sharits_paul_bad_burns_1982/main.mp4?v=2","description":"Two reels of mis-takes in shooting Part II of 3RD DEGREE. Film was loaded in camera improperly and the image slides about off-center and becomes blurred - creating some rather amusing and mysterious imagery. A made \"found\" object.","artist_bio":"Paul Sharits was one of the primary innovators of Structural/avant-garde cinema beginning with his Fluxus-affiliated film pieces of the early 1960s and continuing through color \"flicker\" films and larger multi-projection installations, radically pioneering the shift of film works into gallery and museum spaces.","bio_dates":"1943-1993"},{"slug":"sharits_paul_epileptic_seizure_comparison_1976","ok":true,"partial":false,"title":"Epileptic Seizure Comparison","artist":"Paul Sharits","year":"1976","startOffset":0,"sourceSecs":2050.667,"sourceHeight":400,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":124645963,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharits_paul_epileptic_seizure_comparison_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharits_paul_epileptic_seizure_comparison_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sharits_paul_epileptic_seizure_comparison_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sharits_paul_epileptic_seizure_comparison_1976/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sharits_paul_epileptic_seizure_comparison_1976/main/master.m3u8?v=2","hasMainHls":true,"description":"\"Epileptic Seizure Comparison\" (1976) is one of Sharits' most elaborate and violent installations. Sharits writes: \"Seizure Comparison is an attempt to orchestrate sound and light rhythms in an intimate and proportional space, an ongoing location wherein non-epileptic persons may begin to experience, under 'controlled conditions'É the majestic potentials of convulsive seizure.\""},{"slug":"sharits_paul_raygunvirus_1966","ok":true,"partial":false,"title":"Tails","artist":"Paul Sharits","year":"1976","startOffset":0,"sourceSecs":823.403,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":147584342,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharits_paul_raygunvirus_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharits_paul_raygunvirus_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sharits_paul_raygunvirus_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sharits_paul_raygunvirus_1966/main.mp4?v=2","description":"A series of tail ends of varied strips of film, with sometimes recognizable images dissolving into light flares, appear to run through and off of a projector. A romantic \"narrative,\" suggesting an \"ending,\" is inferred.","artist_bio":"Paul Sharits was one of the primary innovators of Structural/avant-garde cinema beginning with his Fluxus-affiliated film pieces of the early 1960s and continuing through color \"flicker\" films and larger multi-projection installations, radically pioneering the shift of film works into gallery and museum spaces.","bio_dates":"1943-1993"},{"slug":"sharits_paul_tails_1976","ok":true,"partial":false,"title":"Tails","artist":"Paul Sharits","year":"1976","startOffset":0,"sourceSecs":212.523,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":38274059,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharits_paul_tails_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharits_paul_tails_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sharits_paul_tails_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sharits_paul_tails_1976/main.mp4?v=2","description":"A series of tail ends of varied strips of film, with sometimes recognizable images dissolving into light flares, appear to run through and off of a projector. A romantic \"narrative,\" suggesting an \"ending,\" is inferred.","artist_bio":"Paul Sharits was one of the primary innovators of Structural/avant-garde cinema beginning with his Fluxus-affiliated film pieces of the early 1960s and continuing through color \"flicker\" films and larger multi-projection installations, radically pioneering the shift of film works into gallery and museum spaces.","bio_dates":"1943-1993"},{"slug":"sharits_paul_video_interview_with_gerard_ogrady_1976_iphone","ok":true,"partial":false,"title":"Video Interview with Gerard O'Grady (1976)","artist":"Paul Sharits","year":"1976","startOffset":0,"sourceSecs":1699.864,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":104735416,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharits_paul_video_interview_with_gerard_ogrady_1976_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharits_paul_video_interview_with_gerard_ogrady_1976_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sharits_paul_video_interview_with_gerard_ogrady_1976_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sharits_paul_video_interview_with_gerard_ogrady_1976_iphone/main.mp4?v=2","description":"1976 Interview with Gerard O'Grady<br/> 28 minutes.<br/> From the series Film-Makers, WNED Buffalo.","artist_bio":"Paul Sharits was one of the primary innovators of Structural/avant-garde cinema beginning with his Fluxus-affiliated film pieces of the early 1960s and continuing through color \"flicker\" films and larger multi-projection installations, radically pioneering the shift of film works into gallery and museum spaces.","bio_dates":"1943-1993"},{"slug":"sharrock_sonny_space_ghost","ok":true,"partial":false,"title":"Space Ghost Coast to Coast","artist":"Sonny Sharrock","year":"1996","startOffset":0,"sourceSecs":696.811,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":123063209,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharrock_sonny_space_ghost/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sharrock_sonny_space_ghost/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sharrock_sonny_space_ghost.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sharrock_sonny_space_ghost/main.mp4?v=2","description":"Year: 1996<br/> Time: 12 mins<br/><br/> Music:<br/> Sonny Sharrock<br/> Eddie Horst<br/> Lance Carter<br/> Alfrieda Gerald <br/><br/> Eye of Sound: Very loosely based on the original Hanna-Barbera Space Ghost series, Coast to Coast was aired in the early 90s as a light-hearted manifesto of post cold-war dadacidal humor, and could be seen as Cartoon Network's attempt to tap into the then emerging \"alternative\" nation of America. Anodinous, hilarious or plain weird, Coast to Coast reinvented the honorable fake-interview tradition by having pre-recorded conversations with \"celebrities\" and people like us rearranged by the nonchalant and ego-maniacal Space Ghost. In this very special episode, Thurston Moore incarnates one Fred Cracklin in a brief non-sensical cameo which is but a pretext to pay homage to the great avant-noise-jazz-blues guitar player Sonny Sharrock, who had recently expired. If the Coast to Coast series is bizarre for any standards of good TV conduct, the Sharrock episode is particularly strange in that its plot is a lame excuse to pay tribute to the musician and listen to several minutes of his ethereal noise-jazz guitar, thinly framed by some silly jokes between the Ghost and his adorable sidekicks.","artist_bio":"Warren Harding \"Sonny\" Sharrock (August 27, 1940 – May 26, 1994) was an American jazz guitarist. He was once married to singer Linda Sharrock, with whom he sometimes recorded and performed.\nOne of few guitarists in the first wave of free jazz in the 1960s, Sharrock was known for his incisive, heavily chorded attack, his highly-amplified bursts of wild feedback, and for his use of saxophone-like lines played loudly on guitar. -- Wikipedia","bio_dates":"1940-1994"},{"slug":"shaw_jim_the_hole","ok":true,"partial":false,"title":"The Hole","artist":"Jim Shaw","year":"2007","startOffset":0,"sourceSecs":712.043,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":299579972,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shaw_jim_the_hole/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shaw_jim_the_hole/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shaw_jim_the_hole.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shaw_jim_the_hole/main.mp4?v=2","description":"Inspired by such movies as Carnival of Souls and The Mask, The Hole by Jim Shaw explores the aesthetics of early 60's horror films as part of Shaw's ongoing series of films in his Oist project. \"I wanted to see what might happen in an alternate history, to try and formulate a religion I might want to be a member of, to create a framework I could make a wide variety of art pieces in. No one has to be an Oist.\"<br/>\"\"\"The Hole\" - Courtesy of the artist and Praz-Delavallade, Paris.<br/> Interview directed and edited by <a href=\"https://ubu.com/film/kirby..html\" rel=\"noopener\" target=\"_blank\">Peter Kirby</a>","artist_bio":"Jim Shaw (born 1952) is a contemporary American artist, born in Midland, MI. He received his B.F.A. from University of Michigan in 1974 and his M.F.A. from the California Institute of the Arts in 1978. Shaw lives and works in Los Angeles, CA and is married to another Los Angeles-based artist, Marnie Weber. His 1991 ink on canvas work Horror a Vacui #45 is in the collection of the Honolulu Museum of Art. Jim Shaw is represented by the Simon Lee Gallery and Blum and Poe.","bio_dates":"b. 1952"},{"slug":"shaw_jim_the_whole","ok":true,"partial":false,"title":"The Whole","artist":"Jim Shaw","year":"2007","startOffset":0,"sourceSecs":667.6,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":295903336,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shaw_jim_the_whole/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shaw_jim_the_whole/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shaw_jim_the_whole.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shaw_jim_the_whole/main.mp4?v=2","description":"\"\"The Whole\" by Jim Shaw is the female version of The Hole, both part of Shaw's Oist project. The Whole references Busby Berkeley choreography from the 30's and exercise videos from the 70's, and is structured using the same shots as The Hole, but in reverse order. <br/> <br/> Jim Shaw on Oism:<br/>\"\"I wanted to see what might happen in an alternate history, to try and formulate a religion I might want to be a member of, to create a framework I could make a wide variety of art pieces in. No one has to be an Oist.\"<br/> <br/>\"\"The Whole\" Courtesy of the artist and Simon Lee Gallery, London / Hong Kong<br/> Interview directed and edited by Peter Kirby","artist_bio":"Jim Shaw (born 1952) is a contemporary American artist, born in Midland, MI. He received his B.F.A. from University of Michigan in 1974 and his M.F.A. from the California Institute of the Arts in 1978. Shaw lives and works in Los Angeles, CA and is married to another Los Angeles-based artist, Marnie Weber. His 1991 ink on canvas work Horror a Vacui #45 is in the collection of the Honolulu Museum of Art. Jim Shaw is represented by the Simon Lee Gallery and Blum and Poe.","bio_dates":"b. 1952"},{"slug":"shawky_wael_cabaret_crusades_path_to_cairo","ok":true,"partial":false,"title":"Cabaret Crusades: The Path to Cairo","artist":"Wael Shawky","year":"2012","startOffset":0,"sourceSecs":3657.365,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":210933387,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shawky_wael_cabaret_crusades_path_to_cairo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shawky_wael_cabaret_crusades_path_to_cairo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shawky_wael_cabaret_crusades_path_to_cairo.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shawky_wael_cabaret_crusades_path_to_cairo/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shawky_wael_cabaret_crusades_path_to_cairo/main/master.m3u8?v=2","hasMainHls":true,"description":"Wael Shawky presents his epic video trilogy that recounts the history of The Crusades from an Arab perspective. Inspired by The Crusades Through Arab Eyes by Lebanese historian Amin Maalouf, Shawky’s videos chart the numerous European campaigns to the Holy Land, starting from the early Crusades from 1096–1099 A.D. that are depicted in CABARET CRUSADES: THE HORROR SHOW FILES (2010) and the First and Second Crusades from 1099–1145 A.D. in CABARET CRUSADES: THE PATH TO CAIRO (2012).\n\nBased on accounts from primary sources, Shawky complicates the traditional civilization clash narrative by describing scenes that refute common notions of the era. Shawky highlights both the secular motivations of the European fighters and the competition and violence among Arab leaders. Using 200-year-old marionettes from a collection in Italy for the first installment, and custom-made ceramic figures for the second, Shawky says the puppets help create a “surreal and mythical atmosphere that blends drama and cynicism, telling a story of remote events that could hardly be more topical today. The puppets’ strings clearly refer to the idea of control. The work also implies a criticism of the way history has been written and manipulated.”"},{"slug":"shawky_wael_telematch_sadat_2007","ok":true,"partial":false,"title":"Telematch Sadat","artist":"Wael Shawky","year":"2007","startOffset":0,"sourceSecs":634.88,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":104271793,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shawky_wael_telematch_sadat_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shawky_wael_telematch_sadat_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shawky_wael_telematch_sadat_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shawky_wael_telematch_sadat_2007/main.mp4?v=2","description":"Telematch Sadat, a restaging of the assassination in 1981 of President Anwar Sadat, which Shawky made in Kenya in 2007. In Telematch Sadat (2007), he re-enacts the military parade at which Anwar Sadat was assassinated, with children in the parts. He examines the significance of different points of view, underlining how form influences our understanding. His work brings us closer to the core of the problem than the news reports on the aftermath of the Arab Spring and the complexity of democratisation.","artist_bio":"Based on extensive periods of research and enquiry, Wael Shawky’s work tackles notions of national, religious and artistic identity through film, performance and storytelling. Whether instructing Bedouin children to act out the construction of an airport runway in the desert or organizing a heavy metal concert in a remote Egyptian village, Shawky frames contemporary culture through the lens of historical tradition and vice versa. Mixing truth and fiction, childlike wonder and spiritual doctrine, Shawky has staged epic recreations of the medieval clashes between Muslims and Christians in his trilogy of puppets and marionettes – titled Cabaret Crusades: The Horror Show Files (2010), The Path to Cairo (2012) and The Secrets of Karbala (2015) – while his three-part film, Al Araba Al Madfuna, uses child actors to recount poetic myths, paying homage, rather than mere lip-service, to the important narratives of yesteryear.\nWael Shawky was born in Alexandria in 1971 where he lives and works.","bio_dates":"b. 1971"},{"slug":"shedden_jim_michaelsnowupclose","ok":true,"partial":false,"title":"Michael Snow Up Close","artist":"Jim Shedden","year":"1996","startOffset":0,"sourceSecs":2668.139,"sourceHeight":480,"sourceWidth":628,"hasAudio":true,"hasAmbientMp4":true,"bytes":458521409,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shedden_jim_michaelsnowupclose/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shedden_jim_michaelsnowupclose/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shedden_jim_michaelsnowupclose.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shedden_jim_michaelsnowupclose/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shedden_jim_michaelsnowupclose/main/master.m3u8?v=2","hasMainHls":true,"description":"Michael Snow Up Close Dir: Jim Shedden and Alexa-Frances Shaw 1995 45 min., DVD Michael Snow Up Close was produced on the occasion of The Michael Snow Project, a major, career-spanning, multi-venue retrospective of the artist. The documentary celebrates the multi-faceted shape of Snow's creative genius, including glimpses of his work in painting, sculpture, film, photo-works, performance, installations, and holography. Discussions with Snow, original documentation of his music and performance work, and excerpts from his avant-garde films, are complemented by interviews with filmmakers Jonas Mekas and Bruce Elder, Snow's dealer Av Isaacs, the architect Eb Zeidler, museum director Pierre Théberge, curator Louise Dompierre, and others. A deliberately conventional documentary about a deliberately unconventional artist."},{"slug":"sherman_cindy_bird_1976","ok":true,"partial":false,"title":"Bird","artist":"Cindy Sherman","year":"1976","startOffset":0,"sourceSecs":190.869,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":60334233,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sherman_cindy_bird_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sherman_cindy_bird_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sherman_cindy_bird_1976.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sherman_cindy_bird_1976/main.mp4?v=2","description":"A short film made by Cindy Sherman while she was an undergraduate at Buffalo State College, featuring her blind pet dove.","artist_bio":"Tom Donahue & Paul Hasegawa-Overacker - Guest of Cindy Sherman (2008)\nCynthia \"Cindy\" Morris Sherman (born January 19, 1954) is an American photographer and film director, best known for her conceptual portraits. In 1995, she was the recipient of a MacArthur Fellowship. Through a number of different series of works, Sherman has sought to raise challenging and important questions about the role and representation of women in society, the media and the nature of the creation of art. Her photographs include some of the most expensive photographs ever sold. Sherman lives and works in New York.","bio_dates":"b. 1954"},{"slug":"sherman_cindy_doll_clothes_1975","ok":true,"partial":false,"title":"Doll Clothes","artist":"Cindy Sherman","year":"1975","startOffset":0.334,"sourceSecs":143.957,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":24873907,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sherman_cindy_doll_clothes_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sherman_cindy_doll_clothes_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sherman_cindy_doll_clothes_1975.mp4","hasFrames":true,"description":"\"\"Doll Clothes,\" 1975 2:22 min <br/><br/>\"\"When I was in college, I made this book of doll clothes for my photography course. I was documenting a piece that I had already made for a film course, but I wanted to bring the doll to life so I shot myself doing all the poses, and it became this goofy little film. It completely ties in to everything I’m doing now because I decided that I liked the cut-out figures more than the film.\" <br/>-Cindy Sherman <br/><br/> One of the First Cindy Sherman's super-8 film,\"Doll Clothes\" has not been viewed since 1975, the year it was made. It comically crosses Duchamp's Nude Descending a Staircase with animated paper dolls in a sly, funny and clever precursor to the concerns that became signature elements in Sherman's remarkable body of photographic work. <br/><br/>\"\"Sherman's 1975 animated short <i>Doll Clothes</i>, is among the pieces that bring Sherman's early exploration of gender and identity into focus.\" -- Paul Ha and Catherine Morris","artist_bio":"Tom Donahue & Paul Hasegawa-Overacker - Guest of Cindy Sherman (2008)\nCynthia \"Cindy\" Morris Sherman (born January 19, 1954) is an American photographer and film director, best known for her conceptual portraits. In 1995, she was the recipient of a MacArthur Fellowship. Through a number of different series of works, Sherman has sought to raise challenging and important questions about the role and representation of women in society, the media and the nature of the creation of art. Her photographs include some of the most expensive photographs ever sold. Sherman lives and works in New York.","bio_dates":"b. 1954"},{"slug":"sherman_cindy_unhappy_hooker_1976","ok":true,"partial":false,"title":"Unhappy Hooker","artist":"Cindy Sherman","year":"1976","startOffset":0,"sourceSecs":213.184,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":68987094,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sherman_cindy_unhappy_hooker_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sherman_cindy_unhappy_hooker_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sherman_cindy_unhappy_hooker_1976.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sherman_cindy_unhappy_hooker_1976/main.mp4?v=2","description":"A short film made by Cindy Sherman while she was an undergraduate at Buffalo State College. In it Sherman plays a prostitute who paces back and forth impatiently.","artist_bio":"Tom Donahue & Paul Hasegawa-Overacker - Guest of Cindy Sherman (2008)\nCynthia \"Cindy\" Morris Sherman (born January 19, 1954) is an American photographer and film director, best known for her conceptual portraits. In 1995, she was the recipient of a MacArthur Fellowship. Through a number of different series of works, Sherman has sought to raise challenging and important questions about the role and representation of women in society, the media and the nature of the creation of art. Her photographs include some of the most expensive photographs ever sold. Sherman lives and works in New York.","bio_dates":"b. 1954"},{"slug":"sherman_stuart_21_films_1978_1986","ok":true,"partial":false,"title":"21 Films","artist":"Stuart Sherman","year":"1978-1986","startOffset":0,"sourceSecs":3641.238,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":617475955,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sherman_stuart_21_films_1978_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sherman_stuart_21_films_1978_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sherman_stuart_21_films_1978_1986.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sherman_stuart_21_films_1978_1986/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sherman_stuart_21_films_1978_1986/main/master.m3u8?v=2","hasMainHls":true,"description":"21 Films, which actually contains 25 titles, is a compilation of 16mm and 8mm shorts assembled by the artist. In these works, Sherman combines the hallmarks of his \"Spectacle\" performances—metaphoric juxtapositions and visual puns—with a fluency in film grammar. Through exquisite storyboarding and montage, Sherman transforms the mundane into the magical, blithely manipulating colossal forms (landscapes, bridges, chili parlors, skyscrapers, rollercoasters, escalators, and airplanes) like weightless props.\n\nWrites Sally Banes in Millenium Film Journal, \"Sherman's films are not slices of reality. His camera does not give us the sense that it is gliding over an endless continuum, recording objects and events that are everywhere and connected to more off-screen data. Rather, he returns to an earlier idea of cinema, composing pictures that suggest the proscenium arch of the theatre...calling attention to their own artifice. Like the Surrealists, with whom he shares both themes and methods, Sherman tampers with the ordinary in order to produce the marvelous.\"\n\nTitles include: Globes (1977); Scotty and Stuart (1977); Skating (1978); Tree Film (1978); Edwin Denby (1978); Camera/Cage (1978); Flying (1979); Baseball/TV (1979); Fountain/Car (1980); Rock/String (1980); Elevator/Dance (1980); Hand/Water (1979); Piano/Music (1979); Roller Coaster/Reading (1979); Theatre Piece (1980); Bridge Film (1981); Racing (1981); Typewriting (Pertaining to Stefan Brecht) (1982); Chess (1982); Golf Film (1982); Fish Story (1983); Portrait of Benedicte Pesle (1984); Mr. Ashley Proposes (Portrait of George) (1985); Eating (1986); The Discovery of the Phonograph (1986).\n\nCamerawork: Babette Mangolte, Ken Ross, Mark Daniels, Octavio Molina, John Ligon, Paul Savage, Art Feinberg, Jacob Burckhardt, John McNulty, Leonard Puzzo.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"sherman_stuart_thirteenth_spectacle_time_1980","ok":true,"partial":false,"title":"Thirteenth Spectacle (Time)","artist":"Stuart Sherman","year":"1980","startOffset":0,"sourceSecs":2298.213,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":134911949,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sherman_stuart_thirteenth_spectacle_time_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sherman_stuart_thirteenth_spectacle_time_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sherman_stuart_thirteenth_spectacle_time_1980.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sherman_stuart_thirteenth_spectacle_time_1980/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sherman_stuart_thirteenth_spectacle_time_1980/main/master.m3u8?v=2","hasMainHls":true,"description":"Sherman may best be known for his solo Spectacle performances, which usually took the form of quick-paced interactions with everyday objects over a table top. He created and performed eighteen Spectacles in total, twelve of which he performed solo, and six with groups of collaborators. A prominent theme of the Spectacles was Sherman's playful use of scale, either in the amplification of small gestures and details or the miniaturization of theatrical spectacle.\n\nThough taking the characteristic form of a performance over a table top, the Thirteenth Spectacle also incorporates the playback of a tape recorder to layer pre-recorded sounds onto Sherman's manipulations of objects.\n\nPreserved by EAI in collaboration with the Fales Library & Special Collections, NYU and the Barbara L. Goldsmith Preservation Lab, NYU Libraries. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"shipley_street_1981","ok":true,"partial":false,"title":"Shipley Street","artist":"Jacqueline Frazier","year":"1981","startOffset":0,"sourceSecs":1514.513,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":256859323,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shipley_street_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shipley_street_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shipley_street_1981.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shipley_street_1981/main.mp4?v=2"},{"slug":"shirdel_kamran_nedamatgah_1965_iphone","ok":true,"partial":false,"title":"Nedamatgah (Women's Prison)","artist":"Kamran Shirdel","year":"1965","startOffset":0,"sourceSecs":626.48,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":42948699,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirdel_kamran_nedamatgah_1965_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirdel_kamran_nedamatgah_1965_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shirdel_kamran_nedamatgah_1965_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shirdel_kamran_nedamatgah_1965_iphone/main.mp4?v=2","description":"Nedamatgah (Women's Prison) is the first — and least subversive — film made by Kamran Shirdel under the auspices of Organization of The Iranian Women [sic]. Prisoners and their hardships (especially vis-à-vis their children) are juxtaposed with an optimistic presentation of rehabilitation and education initiatives. Nedamatgah was one of Shirdel's only commissions not to be banned.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Kamran Shirdel (born in 1939) studied architecture, urbanism, design and film direction at the Centro Sperimentale di Cinematografia (CSC) in Rome. During his Roman studies he had the opportunity to have such great figures as Roberto Rossellini, Pier Paolo Pasolini, Nanni Loy, Francesco Rosi, Gillo Pontecorvo and many others as his direct teachers. His thesis film was a short called The Mirrors. During this time he also worked as an assistant on John Huston's The Bible, which was then shooting at the famed Cinecitta studios.\nAfter graduating in 1965, Shirdel returned to Tehran and started directing documentaries for the Ministry of Culture and Art. Over the next three years he directed his most renowned socio-political documentaries, six films that courageously and frankly revealed the darker side of Iran's economic boom, analyzing the effects of a society of flush with oil money. These films were steeped in a deep social consciousness reminiscent of the best of the Italian Neo-realist tradition, the cinema that had influenced him deeply during his studies in Italy. Shirdel's furious documentaries and cinematic language were a bone of contention both under the Shah and following his exile, because they spoke up for the underprivileged and, in doing so, exposed and criticized the corruption of the mechanism of power.\nBecause of the severe censorship, nearly all his films were banned and confiscated, and in the end he was expelled from The Ministry and put on the blacklist. Seven years after it was made (and censored), his The Epic of the Gorgani Village Boy (The Night It Rained!), after receiving the GRAN PRIX at The Third Tehran International Film Festival (1974), was immediately banned again and remained so (like his Nedamatgah (Women's Prison, 1965), Qaleh (Women's Quarter, 1966), Tehran Is the Capital of Iran (1966), and others) until after the revolution. His first (and, to date, only complete) feature film, The Morning of the Fourth Day (1972), a remake of Jean-Luc Godard's A bout de souffle, won a few awards at the Sepas National Film Festival. Three years later his second feature film The Camera, based upon Nikolai Gogol's \"General Inspector,\" was censored while still shooting and thus remains unfinished.\nShirdel, forbidden from pursuing his interest in observing and analyzing his society, was forced to turn his creative and technical talent to the making of a great number of commissioned and institutional films; a fertile production of highly praised industrial and educational films.\nKamran Shirdel is considered a father figure of Iran's NEW cinema and documentary school of filmmaking. He paved the way for a type of social and critical documentary film in Iran that refused to be misused by presenting a politically documented and accurate reflection of reality.\nMany famed Iranian cineastes, such as Abbas Kiarostami, Amir Naderi, Jafar Panahi, Rakhshan Banietemad, Mohammad Reza Aslani, Khosrow Masooumi, Mahvash Sheikholeslami, and Soudabeh Babagap, have been his pupils or worked directly with him during their formative years. Shirdel's films are considered to be veritable references for the social documentary and filmmaking in Iran. His films have been widely shown in famous international film festivals and a series of retrospectives have been dedicated to him and his works (Moscow, Krakow, Leipzig, Florence, Paris, Lisbon, Berlin, Stuttgart, Montreal, Toronto, Beirut, Sicily, Rome, London, UCLA, Chicago, Locarno, etc.).\nHe has also served in selection committees and as a jury member in many international festivals in Iran and abroad. He has been awarded in many of these festivals either for his films or for his lifetime achievements, such as LIFETIME ACHIEVEMENT AWARD he received during the Lebanese DOCUDAYS in November of 2003.\nKamran Shirdel is the founder and director of FILMGRAFIC CO. and also KISH INTERNATIONAL DOCUMENTARY FILM FESTIVAL (KIDFF), the only independent documentary film festival in Iran.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1939"},{"slug":"shirdel_kamran_paykan_1970_iphone","ok":true,"partial":false,"title":"Paykan","artist":"Kamran Shirdel","year":"1970","startOffset":0,"sourceSecs":1303.68,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":80962995,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirdel_kamran_paykan_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirdel_kamran_paykan_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shirdel_kamran_paykan_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shirdel_kamran_paykan_1970_iphone/main.mp4?v=2","description":"\"\"Paykan\", a documentary about Iran's legendary car by Kamran Shirdel. The Paykan design was based on the 1967 Hillman Hunter, which was originally designed and manufactured by the British Rootes Group.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Kamran Shirdel (born in 1939) studied architecture, urbanism, design and film direction at the Centro Sperimentale di Cinematografia (CSC) in Rome. During his Roman studies he had the opportunity to have such great figures as Roberto Rossellini, Pier Paolo Pasolini, Nanni Loy, Francesco Rosi, Gillo Pontecorvo and many others as his direct teachers. His thesis film was a short called The Mirrors. During this time he also worked as an assistant on John Huston's The Bible, which was then shooting at the famed Cinecitta studios.\nAfter graduating in 1965, Shirdel returned to Tehran and started directing documentaries for the Ministry of Culture and Art. Over the next three years he directed his most renowned socio-political documentaries, six films that courageously and frankly revealed the darker side of Iran's economic boom, analyzing the effects of a society of flush with oil money. These films were steeped in a deep social consciousness reminiscent of the best of the Italian Neo-realist tradition, the cinema that had influenced him deeply during his studies in Italy. Shirdel's furious documentaries and cinematic language were a bone of contention both under the Shah and following his exile, because they spoke up for the underprivileged and, in doing so, exposed and criticized the corruption of the mechanism of power.\nBecause of the severe censorship, nearly all his films were banned and confiscated, and in the end he was expelled from The Ministry and put on the blacklist. Seven years after it was made (and censored), his The Epic of the Gorgani Village Boy (The Night It Rained!), after receiving the GRAN PRIX at The Third Tehran International Film Festival (1974), was immediately banned again and remained so (like his Nedamatgah (Women's Prison, 1965), Qaleh (Women's Quarter, 1966), Tehran Is the Capital of Iran (1966), and others) until after the revolution. His first (and, to date, only complete) feature film, The Morning of the Fourth Day (1972), a remake of Jean-Luc Godard's A bout de souffle, won a few awards at the Sepas National Film Festival. Three years later his second feature film The Camera, based upon Nikolai Gogol's \"General Inspector,\" was censored while still shooting and thus remains unfinished.\nShirdel, forbidden from pursuing his interest in observing and analyzing his society, was forced to turn his creative and technical talent to the making of a great number of commissioned and institutional films; a fertile production of highly praised industrial and educational films.\nKamran Shirdel is considered a father figure of Iran's NEW cinema and documentary school of filmmaking. He paved the way for a type of social and critical documentary film in Iran that refused to be misused by presenting a politically documented and accurate reflection of reality.\nMany famed Iranian cineastes, such as Abbas Kiarostami, Amir Naderi, Jafar Panahi, Rakhshan Banietemad, Mohammad Reza Aslani, Khosrow Masooumi, Mahvash Sheikholeslami, and Soudabeh Babagap, have been his pupils or worked directly with him during their formative years. Shirdel's films are considered to be veritable references for the social documentary and filmmaking in Iran. His films have been widely shown in famous international film festivals and a series of retrospectives have been dedicated to him and his works (Moscow, Krakow, Leipzig, Florence, Paris, Lisbon, Berlin, Stuttgart, Montreal, Toronto, Beirut, Sicily, Rome, London, UCLA, Chicago, Locarno, etc.).\nHe has also served in selection committees and as a jury member in many international festivals in Iran and abroad. He has been awarded in many of these festivals either for his films or for his lifetime achievements, such as LIFETIME ACHIEVEMENT AWARD he received during the Lebanese DOCUDAYS in November of 2003.\nKamran Shirdel is the founder and director of FILMGRAFIC CO. and also KISH INTERNATIONAL DOCUMENTARY FILM FESTIVAL (KIDFF), the only independent documentary film festival in Iran.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1939"},{"slug":"shirdel_kamran_qaleh_1966","ok":true,"partial":false,"title":"Qaleh (The Women's Quarter)","artist":"Kamran Shirdel","year":"1966","startOffset":0,"sourceSecs":1099.2,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":67548904,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirdel_kamran_qaleh_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirdel_kamran_qaleh_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shirdel_kamran_qaleh_1966.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shirdel_kamran_qaleh_1966/main.mp4?v=2","description":"Written and Directed by Kamran Shirdel<br/> Still Photographs: Kaveh Golestan, 1966<br/> <br/> Qaleh (The Women's Quarter) depicts the life of prostitutes in Tehran's brothel district — an area known as Shahr-e-No. The film was commissioned by the Organization of The Iranian Women [sic] but was banned before shooting was completed. After the revolution of 1979, Shirdel decided to finish the film using photographs by the late Kaveh Golestan that were taken more than ten years after the film was shot. The Shahr-e-No district was demolished in 1980.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Kamran Shirdel (born in 1939) studied architecture, urbanism, design and film direction at the Centro Sperimentale di Cinematografia (CSC) in Rome. During his Roman studies he had the opportunity to have such great figures as Roberto Rossellini, Pier Paolo Pasolini, Nanni Loy, Francesco Rosi, Gillo Pontecorvo and many others as his direct teachers. His thesis film was a short called The Mirrors. During this time he also worked as an assistant on John Huston's The Bible, which was then shooting at the famed Cinecitta studios.\nAfter graduating in 1965, Shirdel returned to Tehran and started directing documentaries for the Ministry of Culture and Art. Over the next three years he directed his most renowned socio-political documentaries, six films that courageously and frankly revealed the darker side of Iran's economic boom, analyzing the effects of a society of flush with oil money. These films were steeped in a deep social consciousness reminiscent of the best of the Italian Neo-realist tradition, the cinema that had influenced him deeply during his studies in Italy. Shirdel's furious documentaries and cinematic language were a bone of contention both under the Shah and following his exile, because they spoke up for the underprivileged and, in doing so, exposed and criticized the corruption of the mechanism of power.\nBecause of the severe censorship, nearly all his films were banned and confiscated, and in the end he was expelled from The Ministry and put on the blacklist. Seven years after it was made (and censored), his The Epic of the Gorgani Village Boy (The Night It Rained!), after receiving the GRAN PRIX at The Third Tehran International Film Festival (1974), was immediately banned again and remained so (like his Nedamatgah (Women's Prison, 1965), Qaleh (Women's Quarter, 1966), Tehran Is the Capital of Iran (1966), and others) until after the revolution. His first (and, to date, only complete) feature film, The Morning of the Fourth Day (1972), a remake of Jean-Luc Godard's A bout de souffle, won a few awards at the Sepas National Film Festival. Three years later his second feature film The Camera, based upon Nikolai Gogol's \"General Inspector,\" was censored while still shooting and thus remains unfinished.\nShirdel, forbidden from pursuing his interest in observing and analyzing his society, was forced to turn his creative and technical talent to the making of a great number of commissioned and institutional films; a fertile production of highly praised industrial and educational films.\nKamran Shirdel is considered a father figure of Iran's NEW cinema and documentary school of filmmaking. He paved the way for a type of social and critical documentary film in Iran that refused to be misused by presenting a politically documented and accurate reflection of reality.\nMany famed Iranian cineastes, such as Abbas Kiarostami, Amir Naderi, Jafar Panahi, Rakhshan Banietemad, Mohammad Reza Aslani, Khosrow Masooumi, Mahvash Sheikholeslami, and Soudabeh Babagap, have been his pupils or worked directly with him during their formative years. Shirdel's films are considered to be veritable references for the social documentary and filmmaking in Iran. His films have been widely shown in famous international film festivals and a series of retrospectives have been dedicated to him and his works (Moscow, Krakow, Leipzig, Florence, Paris, Lisbon, Berlin, Stuttgart, Montreal, Toronto, Beirut, Sicily, Rome, London, UCLA, Chicago, Locarno, etc.).\nHe has also served in selection committees and as a jury member in many international festivals in Iran and abroad. He has been awarded in many of these festivals either for his films or for his lifetime achievements, such as LIFETIME ACHIEVEMENT AWARD he received during the Lebanese DOCUDAYS in November of 2003.\nKamran Shirdel is the founder and director of FILMGRAFIC CO. and also KISH INTERNATIONAL DOCUMENTARY FILM FESTIVAL (KIDFF), the only independent documentary film festival in Iran.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1939"},{"slug":"shirdel_kamran_teheran_is_the_capital_of_iran_1966","ok":true,"partial":false,"title":"Tehran Is the Capital of Iran","artist":"Kamran Shirdel","year":"1966","startOffset":0,"sourceSecs":1048.36,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":64776526,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirdel_kamran_teheran_is_the_capital_of_iran_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirdel_kamran_teheran_is_the_capital_of_iran_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shirdel_kamran_teheran_is_the_capital_of_iran_1966.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shirdel_kamran_teheran_is_the_capital_of_iran_1966/main.mp4?v=2","description":"Commissioned by The Organization of The Iranian Women [sic], Tehran is the Capital of Iran is a documentary about the South Tehran slum of Khazaneh. The film presents us with images of unfathomable poverty and suffering and sets them against various expressions of official narratives of the Shah's \"white revolution\" era: a representative of the The Organization of The Iranian Women [sic] pontificates on the \"duty of the individual\" and illiterate mothers and children learn to read using texts describing minutia of the monarchy. The result is a portrait of a government that seems painfully impertinent in the face of the realities of destitution. Upon completion, the film was banned and production of a second commission, Qaleh, was ceased.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.org/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Kamran Shirdel (born in 1939) studied architecture, urbanism, design and film direction at the Centro Sperimentale di Cinematografia (CSC) in Rome. During his Roman studies he had the opportunity to have such great figures as Roberto Rossellini, Pier Paolo Pasolini, Nanni Loy, Francesco Rosi, Gillo Pontecorvo and many others as his direct teachers. His thesis film was a short called The Mirrors. During this time he also worked as an assistant on John Huston's The Bible, which was then shooting at the famed Cinecitta studios.\nAfter graduating in 1965, Shirdel returned to Tehran and started directing documentaries for the Ministry of Culture and Art. Over the next three years he directed his most renowned socio-political documentaries, six films that courageously and frankly revealed the darker side of Iran's economic boom, analyzing the effects of a society of flush with oil money. These films were steeped in a deep social consciousness reminiscent of the best of the Italian Neo-realist tradition, the cinema that had influenced him deeply during his studies in Italy. Shirdel's furious documentaries and cinematic language were a bone of contention both under the Shah and following his exile, because they spoke up for the underprivileged and, in doing so, exposed and criticized the corruption of the mechanism of power.\nBecause of the severe censorship, nearly all his films were banned and confiscated, and in the end he was expelled from The Ministry and put on the blacklist. Seven years after it was made (and censored), his The Epic of the Gorgani Village Boy (The Night It Rained!), after receiving the GRAN PRIX at The Third Tehran International Film Festival (1974), was immediately banned again and remained so (like his Nedamatgah (Women's Prison, 1965), Qaleh (Women's Quarter, 1966), Tehran Is the Capital of Iran (1966), and others) until after the revolution. His first (and, to date, only complete) feature film, The Morning of the Fourth Day (1972), a remake of Jean-Luc Godard's A bout de souffle, won a few awards at the Sepas National Film Festival. Three years later his second feature film The Camera, based upon Nikolai Gogol's \"General Inspector,\" was censored while still shooting and thus remains unfinished.\nShirdel, forbidden from pursuing his interest in observing and analyzing his society, was forced to turn his creative and technical talent to the making of a great number of commissioned and institutional films; a fertile production of highly praised industrial and educational films.\nKamran Shirdel is considered a father figure of Iran's NEW cinema and documentary school of filmmaking. He paved the way for a type of social and critical documentary film in Iran that refused to be misused by presenting a politically documented and accurate reflection of reality.\nMany famed Iranian cineastes, such as Abbas Kiarostami, Amir Naderi, Jafar Panahi, Rakhshan Banietemad, Mohammad Reza Aslani, Khosrow Masooumi, Mahvash Sheikholeslami, and Soudabeh Babagap, have been his pupils or worked directly with him during their formative years. Shirdel's films are considered to be veritable references for the social documentary and filmmaking in Iran. His films have been widely shown in famous international film festivals and a series of retrospectives have been dedicated to him and his works (Moscow, Krakow, Leipzig, Florence, Paris, Lisbon, Berlin, Stuttgart, Montreal, Toronto, Beirut, Sicily, Rome, London, UCLA, Chicago, Locarno, etc.).\nHe has also served in selection committees and as a jury member in many international festivals in Iran and abroad. He has been awarded in many of these festivals either for his films or for his lifetime achievements, such as LIFETIME ACHIEVEMENT AWARD he received during the Lebanese DOCUDAYS in November of 2003.\nKamran Shirdel is the founder and director of FILMGRAFIC CO. and also KISH INTERNATIONAL DOCUMENTARY FILM FESTIVAL (KIDFF), the only independent documentary film festival in Iran.\nThis UbuWeb resource is presented in partnership with\nBidoun Magazine","bio_dates":"b. 1939"},{"slug":"shirdel_kamran_the_night_it_rained_1967","ok":true,"partial":false,"title":"The Night It Rained or The Epic of Gorgan Village Boy","artist":"Kamran Shirdel","year":"1967","startOffset":0,"sourceSecs":2295.36,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":137956332,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirdel_kamran_the_night_it_rained_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirdel_kamran_the_night_it_rained_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shirdel_kamran_the_night_it_rained_1967.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shirdel_kamran_the_night_it_rained_1967/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shirdel_kamran_the_night_it_rained_1967/main/master.m3u8?v=2","hasMainHls":true,"description":"In northern Iran, a schoolboy from a village near Gorgan is said to have discovered that the railway had been undermined and washed away by a flood. As the story goes, when he saw the approaching train, he set fire to his jacket, ran towards the train and averted a serious and fatal accident. Kamran Shirdel's film The Night it Rained does not concentrate on the heroic deed promulgated in the newspapers, but on a caricature of social and subtle political behavior — the way in which witnesses and officials manage to insert themselves into the research into this event. Shirdel uses newspaper articles and interviews with railway employees, the governor, the chief of police, the village teacher and pupils — each of whom tell a different version of the event. In the end, they all contradict each other, while the group of possible or self-appointed heroes constantly grows. With his cinematic sleights of hand, Shirdel paints a bittersweet picture of Iranian Society in which truth, rumor, and lie can no longer be distinguished.\n\nUpon completion the film was banned and confiscated, and Shirdel was finally expelled from the Ministry. It was released seven years later in 1974 to participate in the Third Tehran International Film Festival, where it won the GRAND PRIX by a unanimous vote, only to be banned again until after the revolution."},{"slug":"shirt_i_found_this_book_in_that_book","ok":true,"partial":false,"title":"I Found This Book In That Book","artist":"Shirt","year":"2021","startOffset":0.35,"sourceSecs":160.256,"sourceHeight":2160,"sourceWidth":3840,"hasAudio":true,"hasAmbientMp4":true,"bytes":73274684,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirt_i_found_this_book_in_that_book/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shirt_i_found_this_book_in_that_book/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shirt_i_found_this_book_in_that_book.mp4","hasFrames":true,"description":"Artist performing in Soho, New York overlooking Broadway Avenue at 12:03pm Sunday, July 11, 2021."},{"slug":"shonibare_yinka_odile_odette","ok":true,"partial":false,"title":"Odile and Odette","artist":"Yinka Shonibare","year":"2005","startOffset":0,"sourceSecs":932.885,"sourceHeight":540,"sourceWidth":674,"hasAudio":true,"hasAmbientMp4":true,"bytes":155067030,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shonibare_yinka_odile_odette/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shonibare_yinka_odile_odette/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shonibare_yinka_odile_odette.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shonibare_yinka_odile_odette/main.mp4?v=2","description":"High-definition digital video (color, sound, 14 min. 28 sec.) <br/><br/> Shonibare's film Odile and Odette is inspired by Pyotr Ilyich Tchaikovsky's 19th-century ballet Swan Lake, in which the princess Odette is cursed by an evil sorcerer, Rothbart, to live as a swan by day and a woman by night. Rothbart then disguises his own daughter Odile to resemble Odette, except that she wears black instead of white, an impersonation that leads to tragedy. In the ballet, the roles of Odile and Odette are traditionally performed by one ballerina with two costumes.<br/><br/> Shonibare's interpretation extends the theme of blackness and whiteness in his juxtaposition of the two dancers and calls into question the Western binary opposition in which negative or \"dark\" forces are polarized against positive, \"light\" ones.<br/><br/> Odile and Odette, Shonibare's second film work to date, was commissioned by London's Royal Opera and Ballet. The artist has noted, with some irony, that his film features one ballerina drawn from the Royal Ballet (the white dancer) and an independent dancer sourced by the company because it did not have a black ballerina in its corps.","artist_bio":"Yinka Shonibare MBE was born in 1962 in London and moved to Lagos, Nigeria at the age of three. He returned to London to study Fine Art, first at Byam School of Art (now Central Saint Martins College) and then at Goldsmiths College, where he received his MFA.\nShonibare’s work explores issues of race and class through the media of painting, sculpture, photography and film. Shonibare questions the meaning of cultural and national definitions. His trademark material is the brightly coloured ‘African’ batik fabric he buys in London. This type of fabric was inspired by Indonesian design, mass-produced by the Dutch and eventually sold to the colonies in West Africa. In the 1960s the material became a new sign of African identity and independence.\nShonibare was a Turner prize nominee in 2004, and was also awarded the decoration of Member of the ‘Most Excellent Order of the British Empire’ or MBE, a title he has added to his professional name. Shonibare was notably commissioned by Okwui Enwezor at Documenta 11, Kassel, in 2002 to create his most recognised work ‘Gallantry and Criminal Conversation’ that launched him on to an international stage. He has exhibited at the Venice Biennale and internationally at leading museums. In September 2008, his major mid-career survey commenced at the MCA Sydney and then toured to the Brooklyn Museum, New York and the Museum of African Art at the Smithsonian Institution, Washington DC. He was elected as a Royal Academician by the Royal Academy, London in 2013.\nShonibare’s work, ‘Nelson’s Ship in a Bottle’ was the 2010 Fourth Plinth Commission, and was displayed in Trafalgar Square, London, until January 2012. It was the first commission by a black British artist and was part of a national fundraising campaign organized by the Art Fund and the National Maritime Museum, who have now successfully acquired the sculpture for permanent display outside the museum's new entrance in Greenwich Park, London.\nIn 2012, the Royal Opera House, London, commissioned ‘Globe Head Ballerina’ (2012) to be displayed on the exterior of the Royal Opera House, overlooking Russell Street in Covent Garden. The life-sized ballerina encased within a giant ‘snow globe’ spins slowly as if caught mid-dance, the piece appears to encapsulate a moment of performance as if stolen from the stage of the Royal Opera House.\nIn 2014, Doughty Hanson & Co Real Estate and Terrace Hill, commissioned ‘Wind Sculpture’ and it is installed in Wilcox Place, London. Measuring 6 metres by 3 metres, it explores the notion of harnessing movement through the idea of capturing and freezing a volume of wind in a moment in time.\nShonibare’s works are included in prominent collections internationally, including the Tate Collection, London; Victoria and Albert Museum, London; National Museum of African Art, Smithsonian Institute, Washington, D.C; Museum of Modern Art, New York; National Gallery of Canada, Ottawa; Moderna Museet, Stockholm; National Gallery of Modern Art in Rome and VandenBroek Foundation, The Netherlands.\nUpcoming 2016 solo exhibition; ‘…and the wall fell away’ is the title for Shonibare’s new solo show with Stephen Friedman Gallery, London. This exhibition of entirely new work will open in October.\nLater that same month ‘Wind Sculpture VII’ will be unveiled at the Smithsonian Institute, Washington D.C. and a survey exhibition at the prestigious Yale University in New Haven, Connecticut.","bio_dates":"b. 1962"},{"slug":"shrigley_david_conveyor_belt","ok":true,"partial":false,"title":"Conveyer Belt","artist":"David Shrigley","year":"2009","startOffset":0,"sourceSecs":187,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":12610658,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_conveyor_belt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_conveyor_belt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shrigley_david_conveyor_belt.mp4","hasFrames":true,"description":"Shrig films are animated by James Newport.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">David Shrigley in UbuWeb Sound</a></br>","artist_bio":"Although Shrigley works in various media, he is best known for his mordantly humorous cartoons released in softcover books or postcard packs.\nShrigley finds humour in flat depictions of the inconsequential, the unavailing and the bizarre – although he is far fonder of violent or otherwise disquieting subject matter. Shrigley's work has two of the characteristics often encountered in outsider art – an odd viewpoint, and (in some of his work) a deliberately limited technique. His freehand line is often weak, which jars with his frequent use of a ruler; his forms are often very crude; and annotations in his drawings are poorly executed and frequently contain crossings-out (In authentic outsider art, the artist has no choice but to produce work in his or her own way, even if that work is unconventional in content and inept in execution. In contrast, it is likely that Shrigley has chosen his style and range of subject matter for comic effect).\nAs well as authoring several books, he directed the video for Blur's \"Good Song\" and also for Bonnie 'Prince' Billy's \"Agnes, Queen of Sorrow\". In 2005 designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian's Weekend magazine every Saturday. Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.\nShrigley co-directed a film with director Chris Shepherd called Who I Am And What I Want, based on Shrigley's book of the same title. Kevin Eldon voiced its main character, Pete. Shrigley also produced a series of drawings and T-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He also designed twelve different covers for Deerhoof's 2007 record, Friend Opportunity. In the same year he also designed the title sequence for the film Hallam Foe, as well as the drawings and the writing in Hallam's on-screen diaries.\nShrigley was nominated for the 2013 Turner Prize. His Thumbs Up sculpture is expected to be installed on Trafalgar Square's Fourth Plinth during 2016.","bio_dates":"b. 1968"},{"slug":"shrigley_david_headless_drummer","ok":true,"partial":false,"title":"Headless Drummer","artist":"David Shrigley","year":"2011","startOffset":0,"sourceSecs":62.53,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":15935881,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_headless_drummer/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_headless_drummer/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shrigley_david_headless_drummer.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shrigley_david_headless_drummer/main.mp4?v=2","description":"Shrig films are animated by James Newport.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">David Shrigley in UbuWeb Sound</a></br>","artist_bio":"Although Shrigley works in various media, he is best known for his mordantly humorous cartoons released in softcover books or postcard packs.\nShrigley finds humour in flat depictions of the inconsequential, the unavailing and the bizarre – although he is far fonder of violent or otherwise disquieting subject matter. Shrigley's work has two of the characteristics often encountered in outsider art – an odd viewpoint, and (in some of his work) a deliberately limited technique. His freehand line is often weak, which jars with his frequent use of a ruler; his forms are often very crude; and annotations in his drawings are poorly executed and frequently contain crossings-out (In authentic outsider art, the artist has no choice but to produce work in his or her own way, even if that work is unconventional in content and inept in execution. In contrast, it is likely that Shrigley has chosen his style and range of subject matter for comic effect).\nAs well as authoring several books, he directed the video for Blur's \"Good Song\" and also for Bonnie 'Prince' Billy's \"Agnes, Queen of Sorrow\". In 2005 designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian's Weekend magazine every Saturday. Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.\nShrigley co-directed a film with director Chris Shepherd called Who I Am And What I Want, based on Shrigley's book of the same title. Kevin Eldon voiced its main character, Pete. Shrigley also produced a series of drawings and T-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He also designed twelve different covers for Deerhoof's 2007 record, Friend Opportunity. In the same year he also designed the title sequence for the film Hallam Foe, as well as the drawings and the writing in Hallam's on-screen diaries.\nShrigley was nominated for the 2013 Turner Prize. His Thumbs Up sculpture is expected to be installed on Trafalgar Square's Fourth Plinth during 2016.","bio_dates":"b. 1968"},{"slug":"shrigley_david_hello_there_2012","ok":true,"partial":false,"title":"Hello There","artist":"David Shrigley","year":"2012","startOffset":0,"sourceSecs":206.61,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":13761650,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_hello_there_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_hello_there_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shrigley_david_hello_there_2012.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shrigley_david_hello_there_2012/main.mp4?v=2","description":"Shrig films are animated by James Newport.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">David Shrigley in UbuWeb Sound</a></br>","artist_bio":"Although Shrigley works in various media, he is best known for his mordantly humorous cartoons released in softcover books or postcard packs.\nShrigley finds humour in flat depictions of the inconsequential, the unavailing and the bizarre – although he is far fonder of violent or otherwise disquieting subject matter. Shrigley's work has two of the characteristics often encountered in outsider art – an odd viewpoint, and (in some of his work) a deliberately limited technique. His freehand line is often weak, which jars with his frequent use of a ruler; his forms are often very crude; and annotations in his drawings are poorly executed and frequently contain crossings-out (In authentic outsider art, the artist has no choice but to produce work in his or her own way, even if that work is unconventional in content and inept in execution. In contrast, it is likely that Shrigley has chosen his style and range of subject matter for comic effect).\nAs well as authoring several books, he directed the video for Blur's \"Good Song\" and also for Bonnie 'Prince' Billy's \"Agnes, Queen of Sorrow\". In 2005 designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian's Weekend magazine every Saturday. Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.\nShrigley co-directed a film with director Chris Shepherd called Who I Am And What I Want, based on Shrigley's book of the same title. Kevin Eldon voiced its main character, Pete. Shrigley also produced a series of drawings and T-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He also designed twelve different covers for Deerhoof's 2007 record, Friend Opportunity. In the same year he also designed the title sequence for the film Hallam Foe, as well as the drawings and the writing in Hallam's on-screen diaries.\nShrigley was nominated for the 2013 Turner Prize. His Thumbs Up sculpture is expected to be installed on Trafalgar Square's Fourth Plinth during 2016.","bio_dates":"b. 1968"},{"slug":"shrigley_david_new_friends_2006","ok":true,"partial":false,"title":"New Friends","artist":"David Shrigley","year":"2006","startOffset":0,"sourceSecs":60.023,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":22838945,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_new_friends_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_new_friends_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shrigley_david_new_friends_2006.mp4","hasFrames":true,"description":"Shrig films are animated by James Newport.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">David Shrigley in UbuWeb Sound</a></br>","artist_bio":"Although Shrigley works in various media, he is best known for his mordantly humorous cartoons released in softcover books or postcard packs.\nShrigley finds humour in flat depictions of the inconsequential, the unavailing and the bizarre – although he is far fonder of violent or otherwise disquieting subject matter. Shrigley's work has two of the characteristics often encountered in outsider art – an odd viewpoint, and (in some of his work) a deliberately limited technique. His freehand line is often weak, which jars with his frequent use of a ruler; his forms are often very crude; and annotations in his drawings are poorly executed and frequently contain crossings-out (In authentic outsider art, the artist has no choice but to produce work in his or her own way, even if that work is unconventional in content and inept in execution. In contrast, it is likely that Shrigley has chosen his style and range of subject matter for comic effect).\nAs well as authoring several books, he directed the video for Blur's \"Good Song\" and also for Bonnie 'Prince' Billy's \"Agnes, Queen of Sorrow\". In 2005 designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian's Weekend magazine every Saturday. Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.\nShrigley co-directed a film with director Chris Shepherd called Who I Am And What I Want, based on Shrigley's book of the same title. Kevin Eldon voiced its main character, Pete. Shrigley also produced a series of drawings and T-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He also designed twelve different covers for Deerhoof's 2007 record, Friend Opportunity. In the same year he also designed the title sequence for the film Hallam Foe, as well as the drawings and the writing in Hallam's on-screen diaries.\nShrigley was nominated for the 2013 Turner Prize. His Thumbs Up sculpture is expected to be installed on Trafalgar Square's Fourth Plinth during 2016.","bio_dates":"b. 1968"},{"slug":"shrigley_david_sleep_2008","ok":true,"partial":false,"title":"Sleep","artist":"David Shrigley","year":"2008","startOffset":0,"sourceSecs":480.56,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":102216596,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_sleep_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_sleep_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shrigley_david_sleep_2008.mp4","hasFrames":true,"description":"Shrig films are animated by James Newport.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">David Shrigley in UbuWeb Sound</a></br>","artist_bio":"Although Shrigley works in various media, he is best known for his mordantly humorous cartoons released in softcover books or postcard packs.\nShrigley finds humour in flat depictions of the inconsequential, the unavailing and the bizarre – although he is far fonder of violent or otherwise disquieting subject matter. Shrigley's work has two of the characteristics often encountered in outsider art – an odd viewpoint, and (in some of his work) a deliberately limited technique. His freehand line is often weak, which jars with his frequent use of a ruler; his forms are often very crude; and annotations in his drawings are poorly executed and frequently contain crossings-out (In authentic outsider art, the artist has no choice but to produce work in his or her own way, even if that work is unconventional in content and inept in execution. In contrast, it is likely that Shrigley has chosen his style and range of subject matter for comic effect).\nAs well as authoring several books, he directed the video for Blur's \"Good Song\" and also for Bonnie 'Prince' Billy's \"Agnes, Queen of Sorrow\". In 2005 designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian's Weekend magazine every Saturday. Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.\nShrigley co-directed a film with director Chris Shepherd called Who I Am And What I Want, based on Shrigley's book of the same title. Kevin Eldon voiced its main character, Pete. Shrigley also produced a series of drawings and T-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He also designed twelve different covers for Deerhoof's 2007 record, Friend Opportunity. In the same year he also designed the title sequence for the film Hallam Foe, as well as the drawings and the writing in Hallam's on-screen diaries.\nShrigley was nominated for the 2013 Turner Prize. His Thumbs Up sculpture is expected to be installed on Trafalgar Square's Fourth Plinth during 2016.","bio_dates":"b. 1968"},{"slug":"shrigley_david_the_artist_2012","ok":true,"partial":false,"title":"The Artist","artist":"David Shrigley","year":"2012","startOffset":0,"sourceSecs":144.28,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":33762929,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_the_artist_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_the_artist_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shrigley_david_the_artist_2012.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shrigley_david_the_artist_2012/main.mp4?v=2","description":"Shrig films are animated by James Newport.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">David Shrigley in UbuWeb Sound</a></br>","artist_bio":"Although Shrigley works in various media, he is best known for his mordantly humorous cartoons released in softcover books or postcard packs.\nShrigley finds humour in flat depictions of the inconsequential, the unavailing and the bizarre – although he is far fonder of violent or otherwise disquieting subject matter. Shrigley's work has two of the characteristics often encountered in outsider art – an odd viewpoint, and (in some of his work) a deliberately limited technique. His freehand line is often weak, which jars with his frequent use of a ruler; his forms are often very crude; and annotations in his drawings are poorly executed and frequently contain crossings-out (In authentic outsider art, the artist has no choice but to produce work in his or her own way, even if that work is unconventional in content and inept in execution. In contrast, it is likely that Shrigley has chosen his style and range of subject matter for comic effect).\nAs well as authoring several books, he directed the video for Blur's \"Good Song\" and also for Bonnie 'Prince' Billy's \"Agnes, Queen of Sorrow\". In 2005 designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian's Weekend magazine every Saturday. Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.\nShrigley co-directed a film with director Chris Shepherd called Who I Am And What I Want, based on Shrigley's book of the same title. Kevin Eldon voiced its main character, Pete. Shrigley also produced a series of drawings and T-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He also designed twelve different covers for Deerhoof's 2007 record, Friend Opportunity. In the same year he also designed the title sequence for the film Hallam Foe, as well as the drawings and the writing in Hallam's on-screen diaries.\nShrigley was nominated for the 2013 Turner Prize. His Thumbs Up sculpture is expected to be installed on Trafalgar Square's Fourth Plinth during 2016.","bio_dates":"b. 1968"},{"slug":"shrigley_david_the_flame_2007","ok":true,"partial":false,"title":"The Flame","artist":"David Shrigley","year":"2007","startOffset":0,"sourceSecs":67.263,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":15518573,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_the_flame_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_the_flame_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shrigley_david_the_flame_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/shrigley_david_the_flame_2007/main.mp4?v=2","description":"Shrig films are animated by James Newport.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">David Shrigley in UbuWeb Sound</a></br>","artist_bio":"Although Shrigley works in various media, he is best known for his mordantly humorous cartoons released in softcover books or postcard packs.\nShrigley finds humour in flat depictions of the inconsequential, the unavailing and the bizarre – although he is far fonder of violent or otherwise disquieting subject matter. Shrigley's work has two of the characteristics often encountered in outsider art – an odd viewpoint, and (in some of his work) a deliberately limited technique. His freehand line is often weak, which jars with his frequent use of a ruler; his forms are often very crude; and annotations in his drawings are poorly executed and frequently contain crossings-out (In authentic outsider art, the artist has no choice but to produce work in his or her own way, even if that work is unconventional in content and inept in execution. In contrast, it is likely that Shrigley has chosen his style and range of subject matter for comic effect).\nAs well as authoring several books, he directed the video for Blur's \"Good Song\" and also for Bonnie 'Prince' Billy's \"Agnes, Queen of Sorrow\". In 2005 designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian's Weekend magazine every Saturday. Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.\nShrigley co-directed a film with director Chris Shepherd called Who I Am And What I Want, based on Shrigley's book of the same title. Kevin Eldon voiced its main character, Pete. Shrigley also produced a series of drawings and T-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He also designed twelve different covers for Deerhoof's 2007 record, Friend Opportunity. In the same year he also designed the title sequence for the film Hallam Foe, as well as the drawings and the writing in Hallam's on-screen diaries.\nShrigley was nominated for the 2013 Turner Prize. His Thumbs Up sculpture is expected to be installed on Trafalgar Square's Fourth Plinth during 2016.","bio_dates":"b. 1968"},{"slug":"shrigley_david_the_letter_2010","ok":true,"partial":false,"title":"The Letter","artist":"David Shrigley","year":"2010","startOffset":0,"sourceSecs":124.157,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":36018051,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_the_letter_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/shrigley_david_the_letter_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/shrigley_david_the_letter_2010.mp4","hasFrames":true,"description":"Shrig films are animated by James Newport.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/shrigley.html\" rel=\"noopener\" target=\"_blank\">David Shrigley in UbuWeb Sound</a></br>","artist_bio":"Although Shrigley works in various media, he is best known for his mordantly humorous cartoons released in softcover books or postcard packs.\nShrigley finds humour in flat depictions of the inconsequential, the unavailing and the bizarre – although he is far fonder of violent or otherwise disquieting subject matter. Shrigley's work has two of the characteristics often encountered in outsider art – an odd viewpoint, and (in some of his work) a deliberately limited technique. His freehand line is often weak, which jars with his frequent use of a ruler; his forms are often very crude; and annotations in his drawings are poorly executed and frequently contain crossings-out (In authentic outsider art, the artist has no choice but to produce work in his or her own way, even if that work is unconventional in content and inept in execution. In contrast, it is likely that Shrigley has chosen his style and range of subject matter for comic effect).\nAs well as authoring several books, he directed the video for Blur's \"Good Song\" and also for Bonnie 'Prince' Billy's \"Agnes, Queen of Sorrow\". In 2005 designed a London Underground leaflet cover. Since 2005, he has contributed a cartoon for The Guardian's Weekend magazine every Saturday. Other projects have included the album Worried Noodles (Tom Lab, 2007) where musicians interpret his writings as lyrics, including collaborations by David Byrne, Hot Chip, and Franz Ferdinand.\nShrigley co-directed a film with director Chris Shepherd called Who I Am And What I Want, based on Shrigley's book of the same title. Kevin Eldon voiced its main character, Pete. Shrigley also produced a series of drawings and T-shirt designs for the 2006 Triptych festival, a Scottish music festival lasting for three to four days in three cities. He also designed twelve different covers for Deerhoof's 2007 record, Friend Opportunity. In the same year he also designed the title sequence for the film Hallam Foe, as well as the drawings and the writing in Hallam's on-screen diaries.\nShrigley was nominated for the 2013 Turner Prize. His Thumbs Up sculpture is expected to be installed on Trafalgar Square's Fourth Plinth during 2016.","bio_dates":"b. 1968"},{"slug":"signer_roman_8_videos","ok":true,"partial":false,"title":"Eight Videos","artist":"Roman Signer","year":"1998-2008","startOffset":0,"sourceSecs":1459.64,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":253233085,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/signer_roman_8_videos/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/signer_roman_8_videos/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/signer_roman_8_videos.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/signer_roman_8_videos/main.mp4?v=2","description":"Critic Gregory Volk has written, \"If you wanted to make a list of major contemporary artists who, for whatever reason, are comparatively little known in the U.S., Roman Signer should be right near the top.\" Projections, which brings together 33 years of video and Super-8 film stills with a comprehensive catalogue raisonné, helps give the Swiss artist's oeuvre the state side exposure it deserves. The footage documents key moments in the artist's precisely choreographed performances. Signer is known for his poetic hijinks and dramatic experiments with fire, water and air; in 2000, he rode a kayak--towed behind a van--down a road at 20 miles per hour until a hole had worn through the bottom. Seeking out those moments of transition--where materials transform and time seems to accelerate or drag--Signer, through his experimental play with the principles of physics and chemistry, has created an unparalleled body of work that primarily exists as documents of nonreproducible actions."},{"slug":"sillman_amy_the_o_g_1_2012","ok":true,"partial":false,"title":"The O-G 2","artist":"Amy Sillman","year":"2012","startOffset":0,"sourceSecs":366.967,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":53162513,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sillman_amy_the_o_g_1_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sillman_amy_the_o_g_1_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sillman_amy_the_o_g_1_2012.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sillman_amy_the_o_g_1_2012/main.mp4?v=2","description":"Animation artwork by Amy Sillman made for her zine The O-G. <br/><br/> The latest volume of The O-G for a buck. Folded inside the low-budget artist booklet is a small poster, “Some Problems in Philosophy,” sort of a crib sheet to understanding the famous philosophers and their theories, from Descartes through Derrida. In hand-drawn chart form, the poster (originally made as a drawing for the show) lists the “great” and “not so great” about each. In a postscript at the bottom Sillman advises readers not to worry about Hannah Arendt, Simone Weil, Elizabeth Grosz, and other women philosophers. “Women – who cares what they think?? Don’t even bother–probably minor stuff–[!]” In this terrific exhibition, Sillman drolly explores the battle between conceptual art and painting, latching onto the image of a lightbulb as both muse and model.","artist_bio":"“My whole impetus in making art, making work, writing, drawing,” painter Amy Sillman recounted in a 2020 interview, “is to function as a kind of combination bricoleur, flaneur, voyeur, radish farmer, auto mechanic, and take parts, and with my labor, remake a strange new language.”1\nSillman’s “strange new language” comes from her lifelong interest in undoing art-historical notions of mastery, power, and genius, instead favoring doubt, unknowability, and intimacy as integral to art making. She is best known for process-based oil paintings that are both abstract and representational, but Sillman often pushes the medium into unconventional and experimental territory, including zines, installations, and iPad animations. She draws from a diverse array of references, from Surrealist literature to Internet memes, and her paintings blur distinctions between color and line, figure and ground, all the while remaining sensitive to the body, emotion, and humor. Psychology Today (2006), a profile rendered in bright, unusual colors covered in scratchy diagram-like strokes, is an example of the way her paintings mine humor—employing cartoons, visual jokes, and puns—but also don’t shy away from darker subject matter. Behind the painting’s bright colors, we see a transparent view of the nameless head’s inner turmoil.\nBorn in Detroit, Sillman worked at cannery in Alaska and a feminist silkscreen factory in Chicago, and trained at NYU to be a Japanese interpreter for the United Nations, before landing at Manhattan’s School of Visual Arts, from which she graduated in 1979. She found herself deeply enmeshed in the feminist and countercultural movements of downtown New York, becoming a member of the lesbian feminist journal Heresies, while also engaging with the area’s burgeoning community of artists. She cites Abstract Expressionists such as Willem de Kooning and Philip Guston as influences, but also foils: “I wanted to learn about both Abstract Expressionism and the critique of easel painting—not because I wanted to emulate them, but because I didn’t like them.”","bio_dates":"b. 1955"},{"slug":"silver_shelly_getting_in_1989_iphone","ok":true,"partial":false,"title":"getting in.","artist":"Shelly Silver","year":"1989","startOffset":0,"sourceSecs":170.04,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":9863733,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/silver_shelly_getting_in_1989_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/silver_shelly_getting_in_1989_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/silver_shelly_getting_in_1989_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/silver_shelly_getting_in_1989_iphone/main.mp4?v=2","description":"getting in.<br/> 1989, 3 min, color, sound<br/> A pastel-hued collision between two rarely questioned phenomenon, heterosexual sex and real estate.<br/> <br/> shot & edited by<br/> Shelly Silver<br/> <br/> s8 film to video xfer<br/> Brodsky & Treadway","artist_bio":"“To watch the moving-image art of Shelly Silver is to understand that, among other messy civic values on which democracies rely—free access to public space, for instance, and a willingness to transgress comfort zones⎯democracy relies on empathy. And empathy relies on fantasy, and fantasy is always partial, entwined with misperception, unpredictable, perverse. “Being-for-others,” in Silver’s feminist sense, amounts less to the alienating instrumentalization of the individual by a masterful observer, and more to the feeling that civic space is a matrix of hallways, doorways, rooms and streets, glimpses and confrontations, in which to see is to acknowledge and co-create, because everyone is looking all the time.\nSilver has been making films since 1980. She works with actors and non-actors alike, and has interviewed extensively on the streets of Berlin, Tokyo, New York; she has a writer’s ear for the idiosyncrasies of unrehearsed speech, and a painterly eye for real-world color. Monologue, voiceover, and onscreen text interweave in her collaged narratives, and the oneiric precision of her editing allows the long take to shatter into split screens, to fold in time to repeat itself from other angles, or to speed into jump cuts, almost without the audience being aware that anything radical has occurred. This visual and verbal fluidity, in which points of view shift constantly into each other—so that no lulling cinematic suture ever captures us, but no traumatic rupture shocks us either—correlates to Silver’s vision of what it means to be a person in a city in the late twentieth century and the early twenty-first. For Silver, living in the existential apartment-house with fellow citizens means looking out the window, scoping on the street, eavesdropping, quoting, meeting strangers and having awkward, excited, unexpectedly candid talks. To look, and to let oneself be seen, is to feel the Other present everywhere, becoming and failing to become the self, and it is not a nightmare. It’s a pleasure⎯and like all pleasures tinged with ambiguity, with risk.” Frances Richard\nShelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.\nShe has been exhibited widely throughout the US, Europe and Asia at venues such as MoMA, the ICP, MoCA, The Yokohama Museum, The Pompidou Center, The Kyoto Museum, the London ICA, The London, Singapore, New York, Moscow and Berlin Film Festivals. Silver has received numerous fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Broadcasts include BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, Atenor/Spain.\nShelly Silver was born in New York City in 1957. She studied at Cornell University and attended the Whitney Museum Independent Study Program in New York. She is Associate Professor of Visual Arts, School of the Arts, Columbia University.\nThese titles and others by Shelly Silver are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix\n, NY, USA;\nVideo Data Bank\n, Chicago, USA;\nARGOS\n, Brussels, Belgium and\nArsenal Experimental\nBerlin, Germany.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1957"},{"slug":"silver_shelly_meet_the_people_1986_iphone","ok":true,"partial":false,"title":"Meet the People","artist":"Shelly Silver","year":"1986","startOffset":0,"sourceSecs":1004.798,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":61657119,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/silver_shelly_meet_the_people_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/silver_shelly_meet_the_people_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/silver_shelly_meet_the_people_1986_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/silver_shelly_meet_the_people_1986_iphone/main.mp4?v=2","description":"Meet the People<br/> 1986, 16:32 min, color, video<br/> <br/> Blurring the line between documentary and fiction, truth and artifice, Meet the People presents fourteen 'characters' who face the camera in talking head close-ups and speak about their lives and dreams. The intimacy and honesty of their fragmented, 'autobiographical' storytelling is illusory; the credits reveal that these people are professional actors, playing fictional roles, reading a script.<br/> <br/> The work points to the complicity on the part of the viewer in his desire to believe and identify with the traditions of and characters on TV. The same television that mimics a perfected form of identity of the 'average person' is also in part responsible for creating this identity; it both researches, uses and manufactures this 'average person's' hopes and dreams. And so the question of the existence of a 'real' person becomes 'real' compared to what?<br/> <br/>\"\"The fictions of the self overtly concern Shelly Silver in her tour-de-force Meet The People. In video verite style, she swiftly intercuts what appear to be her interviews of 14 individuals representing contemporary New York types: a cabby, a waitress, a housewife, a stripper, an Italian construction worker, a black army officer. At the end the credits reveal that all 14 are actors and all were apparently reading Silver's script.... Silver wittily questions the very idea of the authentic - ultimately she implies, 'personal truth' is a momentary and collaborative invention, a triborough bridge between actor, author-director, and audience - on TV and on the street.\" Anne Hoy, Curator, International Center of Photography<br/> <br/> written, directed & edited by<br/> Shelly Silver<br/> director of photography<br/> John Kraus<br/> starring<br/> Carol Weinstein, Gahan Haskins, Lisa Wo, Peter Onorati, Leila Kenzle, Lloyd T. Williams, Jeremiah Bosgang, Camille Marshall, Kurt Ericksoon, Annie Rae Etheridge, Brenda Lynn Bynum, Elizabeth Rose, Maureen Curtin, Rita Perrault.<br/> production manager<br/> James Ovitt<br/> assistant director<br/> Deborah Bonner<br/> makeup/hair/stylist<br/> Laurie Aiello<br/> production facility<br/> Rough Cut Video<br/> post-production facility<br/> Rebo Associates","artist_bio":"“To watch the moving-image art of Shelly Silver is to understand that, among other messy civic values on which democracies rely—free access to public space, for instance, and a willingness to transgress comfort zones⎯democracy relies on empathy. And empathy relies on fantasy, and fantasy is always partial, entwined with misperception, unpredictable, perverse. “Being-for-others,” in Silver’s feminist sense, amounts less to the alienating instrumentalization of the individual by a masterful observer, and more to the feeling that civic space is a matrix of hallways, doorways, rooms and streets, glimpses and confrontations, in which to see is to acknowledge and co-create, because everyone is looking all the time.\nSilver has been making films since 1980. She works with actors and non-actors alike, and has interviewed extensively on the streets of Berlin, Tokyo, New York; she has a writer’s ear for the idiosyncrasies of unrehearsed speech, and a painterly eye for real-world color. Monologue, voiceover, and onscreen text interweave in her collaged narratives, and the oneiric precision of her editing allows the long take to shatter into split screens, to fold in time to repeat itself from other angles, or to speed into jump cuts, almost without the audience being aware that anything radical has occurred. This visual and verbal fluidity, in which points of view shift constantly into each other—so that no lulling cinematic suture ever captures us, but no traumatic rupture shocks us either—correlates to Silver’s vision of what it means to be a person in a city in the late twentieth century and the early twenty-first. For Silver, living in the existential apartment-house with fellow citizens means looking out the window, scoping on the street, eavesdropping, quoting, meeting strangers and having awkward, excited, unexpectedly candid talks. To look, and to let oneself be seen, is to feel the Other present everywhere, becoming and failing to become the self, and it is not a nightmare. It’s a pleasure⎯and like all pleasures tinged with ambiguity, with risk.” Frances Richard\nShelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.\nShe has been exhibited widely throughout the US, Europe and Asia at venues such as MoMA, the ICP, MoCA, The Yokohama Museum, The Pompidou Center, The Kyoto Museum, the London ICA, The London, Singapore, New York, Moscow and Berlin Film Festivals. Silver has received numerous fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Broadcasts include BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, Atenor/Spain.\nShelly Silver was born in New York City in 1957. She studied at Cornell University and attended the Whitney Museum Independent Study Program in New York. She is Associate Professor of Visual Arts, School of the Arts, Columbia University.\nThese titles and others by Shelly Silver are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix\n, NY, USA;\nVideo Data Bank\n, Chicago, USA;\nARGOS\n, Brussels, Belgium and\nArsenal Experimental\nBerlin, Germany.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1957"},{"slug":"silver_shelly_the_houses_that_are_left_1991_iphone","ok":true,"partial":false,"title":"The Houses That Are Left","artist":"Shelly Silver","year":"1991","startOffset":0,"sourceSecs":3075.135,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":180284788,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/silver_shelly_the_houses_that_are_left_1991_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/silver_shelly_the_houses_that_are_left_1991_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/silver_shelly_the_houses_that_are_left_1991_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/silver_shelly_the_houses_that_are_left_1991_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/silver_shelly_the_houses_that_are_left_1991_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"is a story of mortality, friendship, revenge, murder and the supernatural, as two friends come together to try to figure out how to live, while being besieged by malignant messages from the dead. While the living are rendered passive by their fear that something bad could happen to them, the dead, who no long can have anything happen to them at all, strive to regain their ability to act through the only tool available to them, their television.\n\nJuxtaposing black-and -white film with color video, and fusing narrative elements of drama, comedy and documentary, Silver provides a structure that allows for a plurality of voices to speak: two women who were childhood friends, people on the street who are interviewed for \"market research,\" and the observations of dead people who watch the living on television monitors. Truth and fiction are blurred as the dead communicate with the living and real people are interviewed by fictional characters.\n\n\"\"Silver is one of the foremost figures in a younger generation of American videomakers coming to prominence with a series of works which combine visual and formal experimentation with a provocative narrative punch. The Houses That Are Left rates as her most ambitious project to date, and also presents one of the most intriguing independent tapes to come out of the United States in the last few years. Structured as a sort of post-modern mystery story (that encompasses everything from murder to market research, from sexuality to the supernatural), it constructs a shifting narrative framework in which not only its characters but also the viewer is constantly having to sift out what is fiction from what is truth...to finally arrive at its powerful and perceptive dissection of modern America: anxious, narcissistic, consumed by media images.\" Steven Bode, London Film Festival"},{"slug":"silver_shelly_things_i_forget_to_tell_myself_1989_iphone","ok":true,"partial":false,"title":"Things I Forget to Tell Myself","artist":"Shelly Silver","year":"1989","startOffset":0,"sourceSecs":116.077,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":6861892,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/silver_shelly_things_i_forget_to_tell_myself_1989_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/silver_shelly_things_i_forget_to_tell_myself_1989_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/silver_shelly_things_i_forget_to_tell_myself_1989_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/silver_shelly_things_i_forget_to_tell_myself_1989_iphone/main.mp4?v=2","description":"Things I Forget to Tell Myself<br/> 1989, 2 min, b&w and color, sound<br/> <br/>\"\"In Shelly Silver's Things I Forget To Tell Myself, a fragmented textual statement is interspersed with imagery culled from NYC, much of it cropped by the camera operator's outstretched hand. Buildings, windows, signs, pedestrians, cops and doors constitute a continuum of access and obstruction. The sometimes alternating, sometimes simultaneous patterns of disclosure and withholding, recognition and inobservance, are scrutinized to reveal the imprints of psychological processes and cultural codes, while testing boundaries between seeing and reading.\" Michael Nash, Curator, The Long Beach Museum of Art<br/> <br/> directed by<br/> Shelly Silver<br/> camera/obstruction<br/> Abby Levine, Shelly Silver, Rick Wright<br/> sound<br/> Rick Wright<br/> production & post production<br/> Rebo Studio","artist_bio":"“To watch the moving-image art of Shelly Silver is to understand that, among other messy civic values on which democracies rely—free access to public space, for instance, and a willingness to transgress comfort zones⎯democracy relies on empathy. And empathy relies on fantasy, and fantasy is always partial, entwined with misperception, unpredictable, perverse. “Being-for-others,” in Silver’s feminist sense, amounts less to the alienating instrumentalization of the individual by a masterful observer, and more to the feeling that civic space is a matrix of hallways, doorways, rooms and streets, glimpses and confrontations, in which to see is to acknowledge and co-create, because everyone is looking all the time.\nSilver has been making films since 1980. She works with actors and non-actors alike, and has interviewed extensively on the streets of Berlin, Tokyo, New York; she has a writer’s ear for the idiosyncrasies of unrehearsed speech, and a painterly eye for real-world color. Monologue, voiceover, and onscreen text interweave in her collaged narratives, and the oneiric precision of her editing allows the long take to shatter into split screens, to fold in time to repeat itself from other angles, or to speed into jump cuts, almost without the audience being aware that anything radical has occurred. This visual and verbal fluidity, in which points of view shift constantly into each other—so that no lulling cinematic suture ever captures us, but no traumatic rupture shocks us either—correlates to Silver’s vision of what it means to be a person in a city in the late twentieth century and the early twenty-first. For Silver, living in the existential apartment-house with fellow citizens means looking out the window, scoping on the street, eavesdropping, quoting, meeting strangers and having awkward, excited, unexpectedly candid talks. To look, and to let oneself be seen, is to feel the Other present everywhere, becoming and failing to become the self, and it is not a nightmare. It’s a pleasure⎯and like all pleasures tinged with ambiguity, with risk.” Frances Richard\nShelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.\nShe has been exhibited widely throughout the US, Europe and Asia at venues such as MoMA, the ICP, MoCA, The Yokohama Museum, The Pompidou Center, The Kyoto Museum, the London ICA, The London, Singapore, New York, Moscow and Berlin Film Festivals. Silver has received numerous fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Broadcasts include BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, Atenor/Spain.\nShelly Silver was born in New York City in 1957. She studied at Cornell University and attended the Whitney Museum Independent Study Program in New York. She is Associate Professor of Visual Arts, School of the Arts, Columbia University.\nThese titles and others by Shelly Silver are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix\n, NY, USA;\nVideo Data Bank\n, Chicago, USA;\nARGOS\n, Brussels, Belgium and\nArsenal Experimental\nBerlin, Germany.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1957"},{"slug":"silver_shelly_we_1990_iphone","ok":true,"partial":false,"title":"We","artist":"Shelly Silver","year":"1990","startOffset":0,"sourceSecs":257.069,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":16299956,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/silver_shelly_we_1990_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/silver_shelly_we_1990_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/silver_shelly_we_1990_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/silver_shelly_we_1990_iphone/main.mp4?v=2","description":"We<br/> 1990, 4 min, b&w and color, sound<br/> <br/>\"\"Even as the text instructs us otherwise, it is impossible not to read We's two images - that is, to respond to their symbolic quality, their suggestiveness. In a stream of associations, the rhythmic flow of people on the left becomes an ejaculation while the rhythmic hand on the right marks detachment, self-centeredness. Simultaneously, we may say to ourselves, \"Yes, it is only a crowd of anonymous people. It is only a penis.\"<br/> <br/> But even as we attempt to discipline our interpretative urges, the hermeneutic created by this simple juxtaposition is driving us crazy with questions: Who is he? Why is he alone? Does he have a lover...? Does everyone in this crowd masturbate? Do they seek isolation from the mass? Are they aware of one another? Are they relational in less-populated situations? Why was this private image made public? Why is this image private...? Chris Straayer, Deviant Eyes, Deviant Bodies, Sexual Orientation in Film and Video, Columbia University Press, 1996<br/> <br/> A short, graphically dynamic work contrasting contradictory views of perception and interpretation, by way of society's assumptions vis a vis phallocentrism and fetishism.<br/> <br/> shot & edited by<br/> Shelly Silver<br/> text<br/> Correction, Thomas Bernhard<br/> music<br/> Floating Pad, Henry<br/> Mancini","artist_bio":"“To watch the moving-image art of Shelly Silver is to understand that, among other messy civic values on which democracies rely—free access to public space, for instance, and a willingness to transgress comfort zones⎯democracy relies on empathy. And empathy relies on fantasy, and fantasy is always partial, entwined with misperception, unpredictable, perverse. “Being-for-others,” in Silver’s feminist sense, amounts less to the alienating instrumentalization of the individual by a masterful observer, and more to the feeling that civic space is a matrix of hallways, doorways, rooms and streets, glimpses and confrontations, in which to see is to acknowledge and co-create, because everyone is looking all the time.\nSilver has been making films since 1980. She works with actors and non-actors alike, and has interviewed extensively on the streets of Berlin, Tokyo, New York; she has a writer’s ear for the idiosyncrasies of unrehearsed speech, and a painterly eye for real-world color. Monologue, voiceover, and onscreen text interweave in her collaged narratives, and the oneiric precision of her editing allows the long take to shatter into split screens, to fold in time to repeat itself from other angles, or to speed into jump cuts, almost without the audience being aware that anything radical has occurred. This visual and verbal fluidity, in which points of view shift constantly into each other—so that no lulling cinematic suture ever captures us, but no traumatic rupture shocks us either—correlates to Silver’s vision of what it means to be a person in a city in the late twentieth century and the early twenty-first. For Silver, living in the existential apartment-house with fellow citizens means looking out the window, scoping on the street, eavesdropping, quoting, meeting strangers and having awkward, excited, unexpectedly candid talks. To look, and to let oneself be seen, is to feel the Other present everywhere, becoming and failing to become the self, and it is not a nightmare. It’s a pleasure⎯and like all pleasures tinged with ambiguity, with risk.” Frances Richard\nShelly Silver is a New York based artist utilizing video, film and photography. Her work, which spans a wide range of subject matter and genres, explores the personal and societal relations that connect and restrict us; the indirect routes of pleasure and desire; the stories that are told about us and the stories we construct about ourselves.\nShe has been exhibited widely throughout the US, Europe and Asia at venues such as MoMA, the ICP, MoCA, The Yokohama Museum, The Pompidou Center, The Kyoto Museum, the London ICA, The London, Singapore, New York, Moscow and Berlin Film Festivals. Silver has received numerous fellowships and grants from organizations such as the John Simon Guggenheim Foundation, the NEA, NYSCA, NYFA, the Jerome Foundation, the Japan Foundation and Anonymous was a Woman. Broadcasts include BBC/England, PBS/USA, Arte/Germany, France, Planete/Europe, RTE/Ireland, SWR/Germany, Atenor/Spain.\nShelly Silver was born in New York City in 1957. She studied at Cornell University and attended the Whitney Museum Independent Study Program in New York. She is Associate Professor of Visual Arts, School of the Arts, Columbia University.\nThese titles and others by Shelly Silver are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix\n, NY, USA;\nVideo Data Bank\n, Chicago, USA;\nARGOS\n, Brussels, Belgium and\nArsenal Experimental\nBerlin, Germany.\nThese titles are available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1957"},{"slug":"simmonds_charles_birth_bodyearth","ok":true,"partial":false,"title":"Birth (1970) / Body <--> Earth","artist":"Charles Simonds","year":"1974","startOffset":0,"sourceSecs":230.165,"sourceHeight":264,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":15015355,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmonds_charles_birth_bodyearth/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmonds_charles_birth_bodyearth/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simmonds_charles_birth_bodyearth.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simmonds_charles_birth_bodyearth/main.mp4?v=2","description":"16mm, color, 8 minutes, filmed by Rudy Burckhardt, edited by Charles Simonds","artist_bio":"Charles Simonds has had one person exhibitions and films shown at the Jeu de Paume, Paris,1994, Guggenheim Museum,New York, 1983, Museum of Modern Art, New York, 1976 La Caixa, Barcelona,1994, IVAM, Valencia, 2002 and many others. Works in collections of MOMA, NY, Whitney Museum NY, Pompidou, Paris, Whitney, NY, Hirschhorn, Washington, Guggenheim, NY, and many others.","bio_dates":"b. 1945"},{"slug":"simmonds_charles_dwellings72","ok":true,"partial":false,"title":"Dwellings","artist":"Charles Simonds","year":"1972","startOffset":0,"sourceSecs":583.125,"sourceHeight":264,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":41268652,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmonds_charles_dwellings72/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmonds_charles_dwellings72/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simmonds_charles_dwellings72.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simmonds_charles_dwellings72/main.mp4?v=2","description":"16mm, black and white, 11 minutes, filmed and edited by David Troy","artist_bio":"Charles Simonds has had one person exhibitions and films shown at the Jeu de Paume, Paris,1994, Guggenheim Museum,New York, 1983, Museum of Modern Art, New York, 1976 La Caixa, Barcelona,1994, IVAM, Valencia, 2002 and many others. Works in collections of MOMA, NY, Whitney Museum NY, Pompidou, Paris, Whitney, NY, Hirschhorn, Washington, Guggenheim, NY, and many others.","bio_dates":"b. 1945"},{"slug":"simmonds_charles_dwellingswinter74","ok":true,"partial":false,"title":"Dwellings","artist":"Charles Simonds","year":"1972","startOffset":0,"sourceSecs":799.573,"sourceHeight":264,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":53854769,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmonds_charles_dwellingswinter74/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmonds_charles_dwellingswinter74/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simmonds_charles_dwellingswinter74.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simmonds_charles_dwellingswinter74/main.mp4?v=2","description":"16mm, black and white, 11 minutes, filmed and edited by David Troy","artist_bio":"Charles Simonds has had one person exhibitions and films shown at the Jeu de Paume, Paris,1994, Guggenheim Museum,New York, 1983, Museum of Modern Art, New York, 1976 La Caixa, Barcelona,1994, IVAM, Valencia, 2002 and many others. Works in collections of MOMA, NY, Whitney Museum NY, Pompidou, Paris, Whitney, NY, Hirschhorn, Washington, Guggenheim, NY, and many others.","bio_dates":"b. 1945"},{"slug":"simmonds_charles_landscapebodydwelling","ok":true,"partial":false,"title":"Landscape <--> Body <--> Dwelling (1973)","artist":"Charles Simonds","year":"1973","startOffset":0,"sourceSecs":435.008,"sourceHeight":264,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":25495003,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmonds_charles_landscapebodydwelling/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmonds_charles_landscapebodydwelling/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simmonds_charles_landscapebodydwelling.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simmonds_charles_landscapebodydwelling/main.mp4?v=2"},{"slug":"simmons_laurie_geisha_song","ok":true,"partial":false,"title":"Geisha Song","artist":"Laurie Simmons","year":"2011","startOffset":0,"sourceSecs":246.13,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":86021785,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmons_laurie_geisha_song/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmons_laurie_geisha_song/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simmons_laurie_geisha_song.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simmons_laurie_geisha_song/main.mp4?v=2","description":"Geisha Song, 2011,<br/> 2 minutes 14 seconds<br/> Camera: Paul Yee<br/> Editor: Laura Israel<br/> Singer: Eureka Matsukawa<br/> Costume: Kimono Hiro in NY","artist_bio":"Laurie Simmons (born October 3, 1949) is an American artist, photographer and filmmaker currently working in New York and Northwestern Connecticut. Since the mid-1970s, Simmons has staged scenes for her camera with dolls, ventriloquist dummies, objects on legs, and people, to create photographs that reference domestic scenes.[1] She has been the recipient of numerous awards, including the National Endowment for the Arts Grant, the Guggenheim Fellowship, The Distinguished Alumni Award at Temple University, the Roy Lichtenstein Residency in Visual Arts,’ at The American Academy in Rome, among others.","bio_dates":"b. 1949"},{"slug":"simmons_laurie_the_music_of_regret_2006","ok":true,"partial":false,"title":"The Music of Regret","artist":"Laurie Simmons","year":"2006","startOffset":0,"sourceSecs":2654.101,"sourceHeight":400,"sourceWidth":528,"hasAudio":true,"hasAmbientMp4":true,"bytes":153254740,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmons_laurie_the_music_of_regret_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simmons_laurie_the_music_of_regret_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simmons_laurie_the_music_of_regret_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simmons_laurie_the_music_of_regret_2006/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simmons_laurie_the_music_of_regret_2006/main/master.m3u8?v=2","hasMainHls":true,"description":"Simmons, best-known for her photographs of miniature rooms populated by dolls and of oversized objects — such as a house, birthday cake, and pistol — balanced on female legs, both human and fake, brings these characters to life in a three-act mini-musical. The film is inspired by three distinct periods of Simmons’s photographic work: vintage hand puppets, ventriloquist dummies and walking objects enact tales of ambition, disappointment, love, loss, and regret. Working with composer Michael Rohaytn (\"Personal Velocity\") and cameraman Ed Lachman (\"The Virgin Suicides\" and \"Far From Heaven\"), Simmons’s puppets come to life in miniature domestic scenes that echo real life.\n\nAct one, “The Green Tie,” takes the form of a puppet show/radio play and recounts a suburban tragedy where one simple decision wreaks havoc on the fragile ecology of everyday life. Simmons uses rubber hand puppets in four scenes to recount a story occurring over several generations and involving two feuding families.\n\nAct two, “The Music of Regret,” is based on a 1994 photograph of the same name and takes its structure from the American musical, which relies on melody and lyric to move the narrative forward. A girl ventriloquist dummy resembling the artist, surrounded by boy dummy suitors, slowly becomes a real woman who wistfully reminisces about regret and its many guises in love.\n\nAct three, “The Audition,” is shot from a producer’s, and audience’s, perspective of an audition for an unspecified part in a dance revue. Gigantic objects with legs dance tango, tap, and ballet, while a pocket watch ticks patiently in the wings for its opportunity to finally show its stuff.\n\nThe Music of Regret. 2006. USA. Directed by Laurie Simmons. Executive producers, Jeanne Greenberg Rohatyn and Donald Rosenfeld; associate producer, Fabienne Stephan; produced by Salon 94 and Performa 05 with RoseLee Goldberg. Cinematography by Ed Lachman. Music by Michael Rohatyn. Lyrics by Laurie Simmons. Story by Matthew Weinstein. Written by Laurie Simmons and Matthew Weinstein. Lighting by John DeBlau. Alvin Ailey 2 Dancers. Choreography, Helen Pickett. 40 min."},{"slug":"simon_jason_production_notes_fast_food_for_thought","ok":true,"partial":false,"title":"Production Notes: Fast Food for Thought","artist":"Jason Simon","year":"1986","startOffset":0,"sourceSecs":1706.109,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":294199675,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simon_jason_production_notes_fast_food_for_thought/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simon_jason_production_notes_fast_food_for_thought/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simon_jason_production_notes_fast_food_for_thought.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simon_jason_production_notes_fast_food_for_thought/main.mp4?v=2","description":"Production Notes allows us to eavesdrop on the business decisions behind the creation of our daily diet of television commercials. This excellent tape undertakes to explode the address of seven TV ads by means of repetition, slow motion, and “production notes”— memos sent from the advertising agency to the production company prior to filming the spots, to describe the intentions, desires, strategies and ideology of the commercials and their creators. Stripping the commercial sequences of their glitz and fast pacing is a powerful technique that allows the viewer to examine the jingles with which they may have happily hummed along.","bio_dates":"b. 1961"},{"slug":"simon_strong_bring_me_the_head_of_rafaello_carboni_2011_iphone","ok":true,"partial":false,"title":"\"Bring me the Head of Rafaello Carboni!\"","artist":"Simon Strong","year":"2011","startOffset":0,"sourceSecs":1590.12,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":94426892,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simon_strong_bring_me_the_head_of_rafaello_carboni_2011_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simon_strong_bring_me_the_head_of_rafaello_carboni_2011_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simon_strong_bring_me_the_head_of_rafaello_carboni_2011_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simon_strong_bring_me_the_head_of_rafaello_carboni_2011_iphone/main.mp4?v=2","description":"Songs: \"Back in the Day\" by The Shades of Meaning. \"\"Walking in the Sun\" / \"Mental Block\" by The Fire Dept."},{"slug":"simon_taryn_the_innocents","ok":true,"partial":false,"title":"The Innocents","artist":"Taryn Simon","year":"2002","startOffset":0,"sourceSecs":1831.823,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":308318689,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simon_taryn_the_innocents/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simon_taryn_the_innocents/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simon_taryn_the_innocents.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simon_taryn_the_innocents/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simon_taryn_the_innocents/main/master.m3u8?v=2","hasMainHls":true,"description":"The Innocents (2002) documents the stories of individuals who served time in prison for violent crimes they did not commit. At issue is the question of photography's function as a credible eyewitness and arbiter of justice. The primary cause of wrongful conviction is mistaken identification. A victim or eyewitness identifies a suspected perpetrator through law enforcement's use of photographs and lineups. This procedure relies on the assumption of precise visual memory. But, through exposure to composite sketches, mugshots, Polaroids, and lineups, eyewitness memory can change. In the history of these cases, photography offered the criminal justice system a tool that transformed innocent citizens into criminals. Photographs assisted officers in obtaining eyewitness identifications and aided prosecutors in securing convictions. Simon photographed these men at sites that had particular significance to their illegitimate conviction: the scene of misidentification, the scene of arrest, the scene of the crime, or the scene of the alibi. All of these locations hold contradictory meanings for the subjects. The scene of arrest marks the starting point of a reality based in fiction. The scene of the crime is at once arbitrary and crucial: this place, to which they have never been, changed their lives forever. In these photographs Simon confronts photography's ability to blur truth and fiction—an ambiguity that can have severe, even lethal consequences."},{"slug":"simpson_lorna_31_2002","ok":true,"partial":false,"title":"31","artist":"Lorna Simpson","year":"2002","startOffset":0,"sourceSecs":479.812,"sourceHeight":420,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":29732505,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_31_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_31_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_31_2002.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simpson_lorna_31_2002/main.mp4?v=2","description":"\"In her day-in-the-life portrait of an African-American woman, Simpson uses tropes of cinema, diary, and surveillance. The portrait appears on 31 12-by-9-inch flat video screens arrayed on a gallery wall to resemble a month on a calendar: a row of three screens tops four rows of seven screens. Each video runs about 20 minutes and appears to chronicle the events of a single day; most shots last around five seconds and the streams of imagery are not synchronized, so viewers face a kinetic panorama.\" -Bill Stamets","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"simpson_lorna_animation_compilation_2016","ok":true,"partial":false,"title":"Animations","artist":"Lorna Simpson","year":"2016","startOffset":0,"sourceSecs":61.013,"sourceHeight":1056,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":20612056,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_animation_compilation_2016/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_animation_compilation_2016/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_animation_compilation_2016.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simpson_lorna_animation_compilation_2016/main.mp4?v=2","description":"Single channel digital animation video, color, no sound, looped","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"simpson_lorna_call_waiting_1997","ok":true,"partial":false,"title":"Call Waiting","artist":"Lorna Simpson","year":"1997","startOffset":0,"sourceSecs":821.333,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":51939288,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_call_waiting_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_call_waiting_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_call_waiting_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simpson_lorna_call_waiting_1997/main.mp4?v=2","description":"Call Waiting” (1997), several young men and women — black, Asian, Latino — chat on the telephone only to be interrupted by calls from friends, who are interrupted by other friends. Everybody, it turns out, is emotionally or erotically involved with everyone else in a snarled network of misunderstanding, betrayal and frustration.","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"simpson_lorna_cloudscape_2004","ok":true,"partial":false,"title":"Cloudscape","artist":"Lorna Simpson","year":"2004","startOffset":0,"sourceSecs":226.692,"sourceHeight":312,"sourceWidth":436,"hasAudio":true,"hasAmbientMp4":true,"bytes":12345231,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_cloudscape_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_cloudscape_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_cloudscape_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simpson_lorna_cloudscape_2004/main.mp4?v=2","description":"\"Cloudscape\" (2004), a middle-aged African-American man (the artist Terry Adkins) stands whistling an unidentified folk tune as studio-produced fog gathers around him, obscures him from sight, then clears. It's as if we're seeing the man in \"Gestures/Reenactments\" 30 years later, freed of old conflicts and constraints, but also harder to read and make sense of.","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"simpson_lorna_corridor_composite","ok":true,"partial":false,"title":"Corridor","artist":"Lorna Simpson","year":"2003","startOffset":0,"sourceSecs":432.233,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":22262729,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_corridor_composite/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_corridor_composite/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_corridor_composite.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simpson_lorna_corridor_composite/main.mp4?v=2","description":"Double-projection video installation<br/> 13 minutes, 45 seconds, sound","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"simpson_lorna_duet_2000","ok":true,"partial":false,"title":"Duet","artist":"Lorna Simpson","year":"2000","startOffset":0,"sourceSecs":1431.573,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":240577092,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_duet_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_duet_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_duet_2000.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simpson_lorna_duet_2000/main.mp4?v=2","description":"\"Duet is the cinematic expression of the themes of isolationism, escapism and self-effacement addressed in Simpson’s earlier photographic works. In the installation, two images are projected onto a single screen, and the border between the two images becomes an imaginative site for visual and contextual exchange. Scenes of two girls playing a duet on the piano interact with scenes of two women conversing about memory. As the video progresses, subjects disappear into the “no space” gluing the two images together.\" -The Studio Museum in Harlem","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"simpson_lorna_easy_to_remember_2001","ok":true,"partial":false,"title":"Easy to Remember","artist":"Lorna Simpson","year":"2001","startOffset":0,"sourceSecs":154.587,"sourceHeight":464,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":27849693,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_easy_to_remember_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_easy_to_remember_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_easy_to_remember_2001.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simpson_lorna_easy_to_remember_2001/main.mp4?v=2","description":"\"In a haunting and elgiac work titled Easy to Remember from 2001, prior to her turn to drawing, Simpson reanimated the jazz ballad of the same name in a film work comprised of fifteen individual singers humming the tune, in unison. Their unison is only approximate as each singer appears as a disembodied mouth, performing the melody while hearing it through headphones. Each mouth represents an individual interpretation, an interior moment of attempted mimicry.\" -Connie Butler","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"simpson_lorna_excerpts_from_chess_2013","ok":true,"partial":false,"title":"Chess","artist":"Lorna Simpson","year":"2013","startOffset":0,"sourceSecs":223.445,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":74036296,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_excerpts_from_chess_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_excerpts_from_chess_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_excerpts_from_chess_2013.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simpson_lorna_excerpts_from_chess_2013/main.mp4?v=2","description":"3-channel video installation, black and white, sound, looped <br/> <br/> Performance by: composer/musician Jason Moran<br/> <br/> \"In Simpson's project--in which one plays chess with oneself--how does one extract oneself from oneself to outwit oneself? Who wins? Technically it would end in a draw and or extend into a Borgesian infinity. How does one become one's own doppelgänger?\" -Joan Simon","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"simpson_lorna_jackie_2007","ok":true,"partial":false,"title":"Jackie","artist":"Lorna Simpson","year":"2007","startOffset":0,"sourceSecs":1352.085,"sourceHeight":464,"sourceWidth":608,"hasAudio":true,"hasAmbientMp4":true,"bytes":182764403,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_jackie_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_jackie_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_jackie_2007.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simpson_lorna_jackie_2007/main.mp4?v=2","description":"Single-channel video installation, black and white, sound","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"simpson_lorna_momentum_exhibition_2011","ok":true,"partial":false,"title":"Momentum","artist":"Lorna Simpson","year":"2010-2011","startOffset":0,"sourceSecs":416.078,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":187882608,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_momentum_exhibition_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_momentum_exhibition_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_momentum_exhibition_2011.mp4","hasFrames":true,"description":"A vast two-screen film piece entitled Momentum (2010). Here, the memory of that dance performance from her childhood is transformed into something more playful and questioning. Almost seven minutes long, the performance is mirrored on the screens and begins before the actual dancing, with the dancers standing still. Everyone has gold skin and hair as well as a gold costume, so the film seems both mundane – the dancers wait, pirouette, stand still, look bored – and yet imbued with a Hollywood musical unrealness. Again, there is an odd flatness to proceedings, as if the memory of her initial disappointment is the key emotional determinant here.<br/><br/> I found myself studying faces and gestures – that word again – as I waited for a moment of revelation that never quite materialised. Instead, the dancers twirl and stop, twirl and stop, some more graceful than others, some utterly absorbed, some less so. What you are seeing is the mechanics of performance: the waiting, the doing, the redoing, all made new by an artist's – rather than an artistic director's – wilfully undramatic choreography.","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"simpson_lorna_the_institute_2007","ok":true,"partial":false,"title":"The Institute","artist":"Lorna Simpson","year":"2007","startOffset":0,"sourceSecs":314.197,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":114215717,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_the_institute_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/simpson_lorna_the_institute_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/simpson_lorna_the_institute_2007.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/simpson_lorna_the_institute_2007/main.mp4?v=2","description":"The Institute, 2007<br/> Single-channel video installation, color, sound<br/><br/>\"In creating that split-screen work, Simpson used footage from a promotional film produced by an institute in Wichita, Kansas; there, students with learning and speech disabilities were, presumably, \"rehabilitated,\" which is to say, socialized. On the right side of the screen we see Barbara, a young disabled black woman who has difficulty speaking; on the left side of the screen we see various white women holding children. We hear Barbara in dialogue with a speech therapist; she's claiming or trying to claim her voice and thus her identity. But we don't know what the white women sound like. In the drawings, the actresses are further silenced--they're figures in the silent world of a drawing. But what does it mean to take an actress's voice from her? An actress's voice is her writing, her means of interpretation. What interests Simpson in her drawings is her own interpretation, her line of thought reaching from Barbara, who is real, and extending to the white women on the other side of the segregated screen, women who are a performance.\" -Hilton Als","artist_bio":"Born in Brooklyn, New York, she attended the High School of Art and Design and the School of Visual Arts in New York, and then the University of California, San Diego. Her earliest work was as a documentary street photographer, before moving her observations of race and society into her studio. Simpson began exploring ethnic divisions in the 1980s era of multiculturalism. Her most notable works combine words with photographs of anonymously cropped images of women and occasionally men. While the pictures may appear straightforward, the text will often confront the viewer with the underlying racism still found in American culture.\nSimpson first came to prominence in the 1980s for her large-scale works that combined photography and text and defied traditional conceptions of gender, identity, race, culture, history, and memory. Drawing on this work, she started to create large photos printed on felt that showed public but unnoticed sexual encounters. Recently, Simpson has experimented with film as well as continuing to work with photography.\nSimpson's 1989 work, Necklines, shows two circular and identical photographs of a black woman's mouth, chin, neck, and collar bone. The white text, “ring, surround, lasso, noose, eye, areola, halo, cuffs, collar, loop”, individual words on black plaques, imply menace, binding or worse. The final phrase, text on red “feel the ground sliding from under you,” openly suggests lynching, though the adjacent images remain serene, non-confrontational and elegant.\nSimpson has explored various media and techniques, including two-dimensional photographs as well as silk screening her photographs on large felt panels, creating installations, or producing as video works such as Call Waiting (1997). She was the first Black woman to participate at the Venice Biennale. In a recent video work, Corridor (2003), Simpson sets two women side-by-side; a household servant from 1860 and a wealthy homeowner from 1960. Both women are portrayed by artist Wangechi Mutu, allowing parallel and haunting relationships to be drawn. She has commented \"I do not appear in any of my work. I think maybe there are elements to it and moments to it that I use from my own personal experience, but that, in and of itself, is not so important as what the work is trying to say about either the way we interpret experience or the way we interpret things about identity.\"\nHer work often portrays black women combined with text to express contemporary society's relationship with race, ethnicity and sex.\nSimpson's work has been displayed at the Museum of Modern Art, the Museum of Contemporary Art, the Miami Art Museum, the Walker Art Center, and the Irish Museum of Modern Art.[2] In 2007, Simpson had a 20-year retrospective of her work at the Whitney Museum of American Art in her hometown of New York City.","bio_dates":"b. 1960"},{"slug":"singer_leah_bardot","ok":true,"partial":false,"title":"Bardot","artist":"Leah Singer","year":"2005","startOffset":0,"sourceSecs":488.256,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":54656301,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_bardot/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_bardot/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/singer_leah_bardot.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/singer_leah_bardot/main.mp4?v=2","description":"Bardot (2005)<br/> Silent, Loop<br/> Part of the exhibition DRIFT November 4, 2005 - January 14, 2006 at Gigantic ArtSpace, New York City","artist_bio":"LIVE, MANIPULATED SUPER 8 FILM PROJECTION OF SONIC YOUTH/ PAVEMENT PERFORMANCES (1998)\nLeah Singer is a writer and an artist working in film, video, photography, publishing and printmaking. Since the early 1990s she has presented her films and videos in live settings with musicians. A longstanding image and music performance with Sonic Youth cofounder Lee Ranaldo has toured widely to venues including, The Rotterdam International Film Festival, Centre Georges Pompidou, The Reykjavik Festival, and The Museum of Contemporary Art, Los Angeles.","bio_dates":"1992"},{"slug":"singer_leah_close_to_you","ok":true,"partial":false,"title":"Close to You","artist":"Leah Singer","year":"1992","startOffset":0,"sourceSecs":228.992,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":41042940,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_close_to_you/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_close_to_you/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/singer_leah_close_to_you.m4v","hasFrames":true,"description":"1992, 3:40 min. <br/><br/> I originally made this video for a project called “The Empty Orchestra Cafe” conceived by artist Perry Hoberman. The event was an interactive karaoke video bar. CLOSE TO YOU takes an apocalyptic view of love.","artist_bio":"LIVE, MANIPULATED SUPER 8 FILM PROJECTION OF SONIC YOUTH/ PAVEMENT PERFORMANCES (1998)\nLeah Singer is a writer and an artist working in film, video, photography, publishing and printmaking. Since the early 1990s she has presented her films and videos in live settings with musicians. A longstanding image and music performance with Sonic Youth cofounder Lee Ranaldo has toured widely to venues including, The Rotterdam International Film Festival, Centre Georges Pompidou, The Reykjavik Festival, and The Museum of Contemporary Art, Los Angeles.","bio_dates":"1992"},{"slug":"singer_leah_here_1991","ok":true,"partial":false,"title":"Here","artist":"Leah Singer","year":"1991","startOffset":0,"sourceSecs":344.128,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":60769749,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_here_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_here_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/singer_leah_here_1991.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/singer_leah_here_1991/main.mp4?v=2","description":"1991, 5:29 min. <br/><br/> Here is a solo guitar work by founding Sonic Youth member, Lee Ranaldo. I shot 16mm motion picture film in a still 35mm camera, in southern California, Las Vegas, Death Valley and Asbury Park, New Jersey. The results produce a stop, start, moving and still journey through some of the parched and forgotten landscapes of America.","artist_bio":"LIVE, MANIPULATED SUPER 8 FILM PROJECTION OF SONIC YOUTH/ PAVEMENT PERFORMANCES (1998)\nLeah Singer is a writer and an artist working in film, video, photography, publishing and printmaking. Since the early 1990s she has presented her films and videos in live settings with musicians. A longstanding image and music performance with Sonic Youth cofounder Lee Ranaldo has toured widely to venues including, The Rotterdam International Film Festival, Centre Georges Pompidou, The Reykjavik Festival, and The Museum of Contemporary Art, Los Angeles.","bio_dates":"1992"},{"slug":"singer_leah_last_temptation_of_susan_08","ok":true,"partial":false,"title":"The Last Temptation of Susan","artist":"Leah Singer","year":"1994","startOffset":0,"sourceSecs":179.222,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":27492159,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_last_temptation_of_susan_08/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_last_temptation_of_susan_08/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/singer_leah_last_temptation_of_susan_08.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/singer_leah_last_temptation_of_susan_08/main.mp4?v=2","description":"1994, 7:00 min. <br/><br/> The Band of Susans commissioned this film for a video compilation of their work on Blast First records.","artist_bio":"LIVE, MANIPULATED SUPER 8 FILM PROJECTION OF SONIC YOUTH/ PAVEMENT PERFORMANCES (1998)\nLeah Singer is a writer and an artist working in film, video, photography, publishing and printmaking. Since the early 1990s she has presented her films and videos in live settings with musicians. A longstanding image and music performance with Sonic Youth cofounder Lee Ranaldo has toured widely to venues including, The Rotterdam International Film Festival, Centre Georges Pompidou, The Reykjavik Festival, and The Museum of Contemporary Art, Los Angeles.","bio_dates":"1992"},{"slug":"singer_leah_navel_milk_prison","ok":true,"partial":false,"title":"Navel Milk Prison","artist":"Leah Singer","year":"2009","startOffset":0,"sourceSecs":328.534,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":45410924,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_navel_milk_prison/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_navel_milk_prison/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/singer_leah_navel_milk_prison.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/singer_leah_navel_milk_prison/main.mp4?v=2","description":"4:09 min. <br/><br/> A woman and child embark on a drive through the countryside. A bluesy soundtrack is heard on the radio but the conversation is mute. A voice over recites words and phrases throughout as if thinking aloud about the stream of the day — the history of the world unfolding during a short journey. he text, Navel Milk Prison, comes from a poem by Lee Ranaldo that he wrote from culled spam emails.","artist_bio":"LIVE, MANIPULATED SUPER 8 FILM PROJECTION OF SONIC YOUTH/ PAVEMENT PERFORMANCES (1998)\nLeah Singer is a writer and an artist working in film, video, photography, publishing and printmaking. Since the early 1990s she has presented her films and videos in live settings with musicians. A longstanding image and music performance with Sonic Youth cofounder Lee Ranaldo has toured widely to venues including, The Rotterdam International Film Festival, Centre Georges Pompidou, The Reykjavik Festival, and The Museum of Contemporary Art, Los Angeles.","bio_dates":"1992"},{"slug":"singer_leah_pavement_sy","ok":true,"partial":false,"title":"Live, Manipulated Super 8 Film Projection of Sonic Youth/ Pavement Performances","artist":"Leah Singer","year":"1998","startOffset":0,"sourceSecs":524.63,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":95805418,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_pavement_sy/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_pavement_sy/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/singer_leah_pavement_sy.m4v","hasFrames":true,"description":"1998, 8:00 min. <br/><br/> The black and white Super 8 footage was shot in 1992 in Pisa and Cesena, Italy during a Sonic Youth and Pavement tour. The soundtrack originates from an audience recording of a Sonic Youth concert in Leeds, England in 1985. In the original performance of this material at the Thread Waxing Space in New York City in 1998, the film was manipulated live on a variable speed Eumig projector as the soundtrack played. It is presented here as a single channel release. The re-staging of these performances in a new presentation allows for a studied look of a live show.","artist_bio":"LIVE, MANIPULATED SUPER 8 FILM PROJECTION OF SONIC YOUTH/ PAVEMENT PERFORMANCES (1998)\nLeah Singer is a writer and an artist working in film, video, photography, publishing and printmaking. Since the early 1990s she has presented her films and videos in live settings with musicians. A longstanding image and music performance with Sonic Youth cofounder Lee Ranaldo has toured widely to venues including, The Rotterdam International Film Festival, Centre Georges Pompidou, The Reykjavik Festival, and The Museum of Contemporary Art, Los Angeles.","bio_dates":"1992"},{"slug":"singer_leah_perform_stereomp4","ok":true,"partial":false,"title":"Perform Stereomp4","artist":"Leah Singer","year":"2016","startOffset":0,"sourceSecs":3005.973,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":169107939,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_perform_stereomp4/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/singer_leah_perform_stereomp4/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/singer_leah_perform_stereomp4.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/singer_leah_perform_stereomp4/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/singer_leah_perform_stereomp4/main/master.m3u8?v=2","hasMainHls":true},{"slug":"situationist_international_on_the_passage_of_a_few_persons","ok":true,"partial":false,"title":"On the Passage of a few People through a Rather Brief Moment in Time: The Situationist International 1956-1972","artist":"Situationists","year":"1956","startOffset":0,"sourceSecs":1303.29,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":227507206,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/situationist_international_on_the_passage_of_a_few_persons/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/situationist_international_on_the_passage_of_a_few_persons/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/situationist_international_on_the_passage_of_a_few_persons.m4v","hasFrames":true,"description":"A video documentary combining exhibition footage of the Situationist International exhibitions with film footage of the 1968 Paris student uprising, and graffiti and slogans based on the ideas of Guy Debord (one of the foremost spokesmen of the Situationist International movement). Also includes commentary by leading art critics Greil Marcus, Thomas Levine, and artists Malcolm Mac Laren and Jamie Reid. Branka Bogdanov, Director and producer. NTSC-VHS 22 min. 1989","artist_bio":"On the Passage of a few People through a Rather Brief Moment in Time: The Situationist International 1956-1972\n(documentary)\nThe Situationist International (SI) was an international organization of social revolutionaries, the exclusive membership of which was made up of avant-garde artists, intellectuals, and political theorists, active from its formation in 1957 to its dissolution in 1972.\nThe intellectual foundations of the Situationist International were derived primarily from anti-authoritarian Marxism and the avant-garde art movements of the early 20th century, particularly Dada and Surrealism. Overall, situationist theory represented an attempt to synthesize this diverse field of theoretical disciplines into a modern and comprehensive critique of mid-20th century advanced capitalism. The situationists recognized that capitalism had changed since Marx's formative writings, but maintained that his analysis of the capitalist mode of production remained fundamentally correct; they rearticulated and expanded upon several classical Marxist concepts, such as his theory of alienation. In their expanded interpretation of Marxist theory, the situationists asserted that the misery of social alienation and commodity fetishism were no longer limited to the fundamental components of capitalist society, but had now in advanced capitalism spread themselves to every aspect of life and culture. They resolutely rejected the idea that advanced capitalism's apparent successes—such as technological advancement, increased income, and increased leisure—could ever outweigh the social dysfunction and degradation of everyday life that it simultaneously inflicted.\nEssential to situationist theory was the concept of the spectacle, a unified critique of advanced capitalism of which a primary concern was the progressively increasing tendency towards the expression and mediation of social relations through objects. The situationists believed that the shift from individual expression through directly lived experiences, or the first-hand fulfillment of authentic desires, to individual expression by proxy through the exchange or consumption of commodities, or passive second-hand alienation, inflicted significant and far-reaching damage to the quality of human life for both individuals and society. Another important concept of situationist theory was the primary means of counteracting the spectacle; the construction of situations, moments of life deliberately constructed for the purpose of reawakening and pursuing authentic desires, experiencing the feeling of life and adventure, and the liberation of everyday life.\nWhen the Situationist International was first formed, it had a predominantly artistic focus; emphasis was placed on concepts like unitary urbanism and psychogeography. Gradually, however, that focus shifted more towards revolutionary and political theory. The Situationist International reached the apex of its creative output and influence in 1967 and 1968, with the former marking the publication of the two most significant texts of the situationist movement, The Society of the Spectacle by Guy Debord and The Revolution of Everyday Life by Raoul Vaneigem. The expressed writing and political theory of the two aforementioned texts, along with other situationist publications, proved greatly influential in shaping the ideas behind the May 1968 insurrections in France; quotes, phrases, and slogans from situationist texts and publications were ubiquitous on posters and graffiti throughout France during the uprisings."},{"slug":"sjolander_ture_weck_lars_monument_1967","ok":true,"partial":false,"title":"Monument","artist":"Ture Sjölander & Lars Weck","year":"1967","startOffset":0,"sourceSecs":524.075,"sourceHeight":272,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":33252683,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sjolander_ture_weck_lars_monument_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sjolander_ture_weck_lars_monument_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sjolander_ture_weck_lars_monument_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sjolander_ture_weck_lars_monument_1967/main.mp4?v=2","description":"Extracts from this historically important european intermedia/ video art piece. <br/><br/> From <a href=\"https://ubu.com/historical/youngblood/index.html\" rel=\"noopener\" target=\"_blank\">Gene Youngblood in \"Expanded Cinema\"</a>: <br/><br/> In the fall of 1967, intermedia artists Ture Sjölander and Lars Weck collaborated with Bengt Modin, video engineer of the Swedish Broadcasting Corporation in Stockholm, to produce an experimental program called Monument. It was broadcast in January, 1968, and subsequently has been seen throughout Europe, Asia, and the United States. Apart from the technical aspect of the project, their intention was to develop a widened consciousness of the communi - cative process inherent in visual images. They selected as source material the \"monuments\" of world culture— images of famous persons and paintings. <br/><br/> The program was created in the form of a black-and-white videographic film, made with the telecine projector from other film clippings and slides. The films and slides first were recorded on videotape and then back onto film for further processing. Image distortions occurred in the telecine process of recording film on videotape. The basic principle involved was the modulation of the deflection voltage in a flying-spot telecine, using sine and square impulses from a wave-form generator. With the flying-spot method used by Swedish television, the photographic image is transformed into electrical signals when the film is projected toward a photocell with a scanned raster as the source of light. The deflection voltage regulates the movement of the point of light that scans the screen fifty times per second. <br/><br/> In the production of Monument, the frequency and amplitude of the flying-spot deflection was controlled by applying tones from the wave-form generators. Thus image distortions occurred during the actual process of transforming original image material into video signals, since the scan that produces the signals was electromagnetically altered. In principle this process is similar to methods used by Nam June Paik and others, except that the Swedish group applied the techniques at an early stage in the video process, before signal or videotape information existed. <br/><br/> After the videotape was completed from various film clips, a kinescope was made, which was edited by Sjölander and Weck into its final form. The result is an oddly beautiful collection of image sequences unlike any other video art. We see the Beatles, Charlie Chaplin, Picasso, the Mona Lisa, the King of Sweden, and other famous figures distorted with a kind of insane electronic disease. Images undergo transformations at first subtle, like respiration, then increasingly violent until little remains of the original icon. In this process, the images pass through thousands of stages of semicohesion, making the viewer constantly aware of his orientation to the picture. The transformations occur slowly and with great speed, erasing perspectives, crossing psychological barriers. A figure might stretch like Silly Putty or become rippled in a liquid universe. Harsh bas-relief effects accentuate physical dimensions with great subtlety, so that one eye or one ear might appear slightly unnatural. And finally the image disintegrates into a constellation of shimmering video phosphors. <br/><br/> More than an experiment in image-making technologies, Monument became an experiment in communication. Monument became an image-generator: newspapers, magazines, posters, record albums, and even textile factories began using images from the videographic film. Sven Höglund, a well-known Swedish painter, entered the project after the film was completed. He made oil paintings based on the Monument images because he found them \"parallel to my own creative intentions; I had for a long time been working on problems concerning transformations of forms. My painted versions of the images became another phase of the experiment in communication called Monument. \"Other phases were silk-screen prints, illustrated magazine articles, posters, giant advertisements. In each phase Monument experiments with pictures in their relation to spectators. The common denominator is the mass-media picture, especially the most commonly seen pictorial representation, the television picture. The pictures in the film are so well known to the public that they have been invested with symbolic meaning. People recognize them and are able to retain this identification throughout all the transformations and variations of the electronic image.\"","artist_bio":"Ture Sjölander is and early pioneer of animation. Beginning in 1964 his electronic images were being broadcast by Sveriges Television AB (SVT), the Swedish public broadcaster. Productions from the SVT period include \"TIME\" (1965/66 Ture Sjolander and Bror Wikstrom), \"Monument\" (1968 with Lars Weck), also discussed in 'Expanded Cinema', 1970, and later \"Space in the Brain\" (1969 Ture Sjolander, Bror Wikstrom, Sven Hoglund and Lasse Svanberg).","bio_dates":"1967"},{"slug":"smith_alexis_america_iphone","ok":true,"partial":false,"title":"Life In America (1991), Directed by Peter Kirby","artist":"Alexis Smith","year":"1991","startOffset":0,"sourceSecs":1292.562,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":81846228,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_alexis_america_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_alexis_america_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_alexis_america_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_alexis_america_iphone/main.mp4?v=2","description":"Directed by <a href=\"https://ubu.com/film/kirby.html\" rel=\"noopener\" target=\"_blank\">Peter Kirby</a>. <br/><br/> For the past 20 years Alexis Smith's mixed media work has explored primal American myths: the open road, the bad/good guy/gal, the quest for romance, and the search for paradise. This portrait of the artist explores the roots of her thought and work, and was produced in conjunction with her exhibition at the Whitney Museum of American Art, held in November 1991. <br/><br/> This film has been made available on UbuWeb by the kind permission of <a href=\"https://ubu.com/film/kirby.html\" rel=\"noopener\" target=\"_blank\">Peter Kirby</a>.","artist_bio":"Life In America\n(1991) documentary, directed by\nPeter Kirby\nSince the 1970's, Alexis Smith has been known for innovative collages in unique or exotic frames, which pair found objects with backgrounds such as maps, vintage magazine covers, and amateur paintings. Smith combines fragments from the mass media like magazine covers or dust jackets of the 1940s with a wide range of kitsch and found objects. Often she has organized several collages into sequences, implying a coherent narrative. As in a film, related fragments of text (almost a \"soundtrack\") link one collage to another. Smith has also painted large motifs directly onto a gallery's walls and then hung her smaller framed works on this mural-like background. In this way she succeeds in transforming the art space itself into a collage. In recent years Smith has expanded this impulse to work environmentally, doing many large-scale permanent installations including terrazzo floors for the Los Angeles Convention Center and the Schottenstein Sports Arena at Ohio State University in Columbus.","bio_dates":"b. 1949"},{"slug":"smith_harry_early_abstractions_1941_57","ok":true,"partial":false,"title":"Early Abstractions","artist":"Harry Smith","year":"1939-1956","startOffset":0,"sourceSecs":1296.683,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":79913728,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_early_abstractions_1941_57/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_early_abstractions_1941_57/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_harry_early_abstractions_1941_57.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_harry_early_abstractions_1941_57/main.mp4?v=2","description":"Early Abstractions is a collection of seven short animated films created by Harry Everett Smith between 1939 and 1956. Each film is between two and six minutes long, and is named according to the chronological order in which it was made. The collection includes Numbers 1–5, 7, and 10, while the missing Numbers 6, 8, and 9 are presumed to have been lost.\n\nThe idea of the numbering was to suggest a coherent link between each individual film, and that they were to be treated not just on their own but as part of a larger body of work.[2] Of the missing chapters, Number 6 was made up of three dimensional optically printed abstractions; Number 8 was a black and white collage of clippings taken from nineteenth century ladies wear catalogues and elocution books, and Number 9 was a color collage of biology books and nineteenth century temperance posters.[3] The remaining films show a gradual evolution in Smith's technical complexity, with blunt abstraction rudimentary motion more prominent in the early shorts, in contrast to an allegoric dance of Tarot cards, and Buddhist and Cabalistic symbols.\n\nInitially recorded with no sound, a medley of music by The Beatles was added retrospectively. Because the songs do not exactly sync up with each individual film, some critics have opined that this does not enhance the film, and recommend watching it in silence.\n\nIn 2006, Early Abstractions was selected to the National Film Registry by the Librarian of Congress for its \"cultural, historical, or aesthetic significance\"."},{"slug":"smith_harry_film_no_11_mirror_animations_1957","ok":true,"partial":false,"title":"Mirror Animations (Extended Version)","artist":"Harry Smith","year":"1979","startOffset":0,"sourceSecs":226.302,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":73075583,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_film_no_11_mirror_animations_1957/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_film_no_11_mirror_animations_1957/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_harry_film_no_11_mirror_animations_1957.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_harry_film_no_11_mirror_animations_1957/main.mp4?v=2","description":"Mirror Animations (Extended Version) (1979, 11 min., 16mm)","bio_dates":"1923-1991"},{"slug":"smith_harry_film_no_3_interwoven_1947_49","ok":true,"partial":false,"title":"Film No. 3: Interwoven","artist":"Harry Smith","year":"1947-1949","startOffset":0,"sourceSecs":203.755,"sourceHeight":512,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":35328896,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_film_no_3_interwoven_1947_49/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_film_no_3_interwoven_1947_49/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_harry_film_no_3_interwoven_1947_49.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_harry_film_no_3_interwoven_1947_49/main.mp4?v=2","description":"Described as an \"alchemist, mystic, & bohemian at large\", Smith made this jaunty animated picture without benefit of a camera. It's a lively series of morphing patterns set to Dizzy Gillespie jazz, and has been called \"five instruments with optical solo\". Crude but alive, the film couldn't be made with a computer and have the same effect. It defines what our UCLA film instructors hailed as a saving grace: \"It's organic!\" Named to the Library of Congress in 2006.","bio_dates":"1923-1991"},{"slug":"smith_harry_heaven_and_earth_magic_1950_1960","ok":true,"partial":false,"title":"Heaven and Earth Magic","artist":"Harry Smith","year":"1957-1962","startOffset":0,"sourceSecs":4017.259,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":235442839,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_heaven_and_earth_magic_1950_1960/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_heaven_and_earth_magic_1950_1960/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_harry_heaven_and_earth_magic_1950_1960.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_harry_heaven_and_earth_magic_1950_1960/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_harry_heaven_and_earth_magic_1950_1960/main/master.m3u8?v=2","hasMainHls":true,"description":"Heaven and Earth Magic (also called Number 12, The Magic Feature, or Heaven and Earth Magic Feature) is an American avant garde feature film made by Harry Everett Smith. Originally released in 1957, it was re-edited several times and the final version was released in 1962. The film primarily uses cut-out-animated photographs.\n\nThe 66-minute cut of the film is now available on DVD and VHS from the Harry Smith Archives. It is sometimes screened at one-time cinema events, often with some kind of live music instead of the film's soundtrack (which consists solely of sound effects). A recent revival featured a score by laptop musician Flying Lotus.\n\nThis film is screened at John Zorn's Essential Cinema concerts, where a group of musicians perform behind the film. In the liner notes to Naked City's \"Heretic\" album it says \"This record is dedicated to Harry Smith. Mystical Animator, Pioneer Ethnomusicologist, Hermetic Scholar, Creator of Heave + Earth Magic, one of the greatest films of all time.\" -- Wiki"},{"slug":"smith_harry_late_superimpositions_1964","ok":true,"partial":false,"title":"Late Superimpositions","artist":"Harry Smith","year":"1964","startOffset":0.3,"sourceSecs":1719.189,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":105878533,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_late_superimpositions_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_late_superimpositions_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_harry_late_superimpositions_1964.mp4","hasFrames":true,"description":"No. 14: Late Superimpositions (1963-64-65) 16 mm, color, 29 min. Structured 122333221. Features the beginning of the opera Aufstieg und Fall der Stadt Mahagonny by Kurt Weill and Bertolt Brecht as recorded in 1956 by Lotte Lenya, the Norddeutscher Radiochor (Max Thurn) and the Norddeutsches Radio-Orchester (Wilhelm Brückner-Rüggeberg). Later expanded to No. 18. \"I honor it the most of my films, otherwise a not very popular one before 1972.\" Shot in New York City and Anadarko."},{"slug":"smith_harry_oz_the_tin_woodmans_dream_1967","ok":true,"partial":false,"title":"Oz: The Tin Woodman's Dream","artist":"Harry Smith","year":"1967","startOffset":0,"sourceSecs":879.879,"sourceHeight":464,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":138086781,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_oz_the_tin_woodmans_dream_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_harry_oz_the_tin_woodmans_dream_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_harry_oz_the_tin_woodmans_dream_1967.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_harry_oz_the_tin_woodmans_dream_1967/main.mp4?v=2"},{"slug":"smith_jack_flaming_creatures_1963_iphone","ok":true,"partial":false,"title":"Flaming Creatures","artist":"Jack Smith","year":"1963","startOffset":0,"sourceSecs":2442.968,"sourceHeight":320,"sourceWidth":420,"hasAudio":true,"hasAmbientMp4":true,"bytes":146256610,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_jack_flaming_creatures_1963_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_jack_flaming_creatures_1963_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_jack_flaming_creatures_1963_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_jack_flaming_creatures_1963_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_jack_flaming_creatures_1963_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Flaming Creatures is a 1963 American experimental film by filmmaker Jack Smith. Due to its graphic depiction of sexuality, the film was seized by the police at its premiere on April 29, 1963 at the Bleecker Street Cinema in New York City, and was officially determined to be obscene by a New York Criminal Court. The 43-minute featurette attracted media and public attention, and has been described as a \"controversial featurette\". This also made Jack Smith famous as a film director across North America. Smith himself described the film as \"a comedy set in a haunted music studio.\"","artist_bio":"Mario Montez, whose glamour and poise as a drag performer elevated him to the heights of avant-garde theater and cinema in the 1960s and made him a fixture in films by Andy Warhol, died on Sept. 26 in Key West, Fla.\nThe cause was complications of a stroke, said Claire K. Henry, senior curatorial assistant of the Andy Warhol Film Project at the Whitney Museum of American Art. He was 78.\nMr. Montez has been the subject of seminars and screenings at Columbia University, the Museum of Modern Art and the Museum of the Moving Image in New York.\nThe filmmaker John Waters, who has drawn heavily from the cinematic experimentation of the 1960s, once said that Mr. Montez “forever holds the highest position of royalty in the world of underground cinema.”\nIn 2012, the Berlin International Film Festival presented him with a lifetime achievement award in “queer film,” calling him “the great drag superstar.”\n“Whether he is playing The Wife, The Mother, The Whore or The Virgin, Montez captures the ineffable essence of femininity,” Charles Ludlam, founder of the Ridiculous Theatrical Company, wrote in the book “Ridiculous Theater: Scourge of Human Folly.” Mr. Montez, he wrote, “has dignity.”\nMr. Montez was a regular with the Ridiculous troupe, which strove to shock with surreal settings, cross-gender casting and wild improvisation. Mr. Montez managed to stand out, even in this exuberant theatrical world. Sometimes the troupe rehearsed in Mr. Montez’s SoHo loft.\n“I never thought I would see a show in which Montez is the best actor — but here it is,” Mel Gussow wrote in The New York Times in 1971 in his review of “Vain Victory: The Vicissitudes of the Damned c. 1971.” He added, “He is, at least, the most convincing woman on stage.”\nMr. Montez was considered Warhol’s first drag “superstar.” In a famous scene in “Harlot” (1965), Warhol’s first film with sound, Mr. Montez slowly, silently and seductively devoured banana after banana. In another Warhol role, playing Hedy Lamarr, the MGM “golden age” starlet celebrated for her darkly exotic beauty, he would burst into songs like “I Feel Pretty.”\nStill another performance was in Warhol’s “Screen Test #2” (1965) in which a director played by Ronald Tavel, a proud absurdist, gives the Montez character humiliating instructions, to recite the word “diarrhea” 20 times, for example, and to play a chicken-eating freak in a circus sideshow. With only slight hesitation, Mr. Montez does it all in the hope of being a star.\nMr. Montez also appeared in Warhol’s “Camp” (1965); “More Milk, Yvette” (1965); and “The Chelsea Girls” (1966).\nIn his book “Popism: The Warhol Sixties,” written with Pat Hackett and published in 1980, Warhol said: “Mario had that classic comedy combination of seeming dumb but being able to say the right things with perfect timing; just when you thought you were laughing at him, he’d turn it all around.”\nMr. Montez was sought out by other avant-garde directors as well, including Avery Willard and Jack Smith.\nMr. Montez was discovered by Mr. Smith — the circumstances are unclear — who had decided that a transvestite could best fulfill his dream of finding a “new” Maria Montez, according to “Ridiculous: The Theatrical Life and Times of Charles Ludlam,” a 2005 biography by David Kaufman.\nMr. Smith and Mr. Montez found they shared a devotion to Hollywood glitz. Mr. Smith adored in particular the actress Maria Montez, who played the temptress in films like “Cobra Woman ” (1944) and was known as the “Queen of Technicolor.” Indeed, it was Mr. Smith who persuaded Mr. Montez to change his name from Rene Rivera in honor of the actress.\nMr. Montez soon appeared in Mr. Smith’s “Flaming Creatures” (1963), a thrashing orgy of a movie that was widely banned, playing a seemingly female Spanish dancer with a rose between his teeth. That year, he also acted in Mr. Smith’s unfinished “Normal Love” as a mermaid paying homage to Maria Montez at a candlelit shrine.\nRene Rivera was born in Ponce, Puerto Rico, on July 20, 1935. When he was 8 or 9 his family moved to New York and settled in East Harlem. He said he learned about acting by watching movies on television.\nMr. Montez said that during film production he often designed and made costumes for himself and other cast members, typically refashioning clothing he found in trash piles and at thrift shops. When not acting he supported himself with office jobs.\nMr. Montez was uncomfortable with his family knowing that he performed in drag, which he called “going into costume.” He otherwise dressed conventionally. He was also a churchgoing Roman Catholic.\nWarhol wrote, “The only spiritual comfort he allowed himself was the logic that even though God surely didn’t like him for going into drag, that still, if he really hated him, he would have struck him dead.”\nIn January 1977, while recovering from a bad cold, Mr. Montez moved to Florida, then largely lost touch with his old artistic crowd. He resurfaced in 2006, appearing in a documentary, “Jack Smith and the Destruction of Atlantis” by Mary Jordan. Soon he was making public appearances in New York and European cities.\nIn later years Conrad Ventur, a filmmaker, went on to work with Mr. Montez in recreating performances from some of his Warhol movies.\n“What Mario teaches is that you can build a creative life on a nothing budget from what inspires you,” Mr. Ventur wrote in an e-mail. “You can build a persona from what the larger culture has discarded, misrepresented or ignored.”","bio_dates":"1932-1989"},{"slug":"smith_jack_normal_love_1963_full","ok":true,"partial":false,"title":"Normal Love","artist":"Jack Smith","year":"1963","startOffset":0,"sourceSecs":6412.944,"sourceHeight":368,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":367901068,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_jack_normal_love_1963_full/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_jack_normal_love_1963_full/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_jack_normal_love_1963_full.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_jack_normal_love_1963_full/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_jack_normal_love_1963_full/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"Normal Love\" is a screwy hybrid of Busby Berkeley kitsch and Dionysian pageantry. There is no dialogue. What little there is in the way of plot is difficult to talk about, since the film was never actually finished. Dismayed that both his censors and his champions had reified \"Flaming Creatures\" into a \"sex issue of the cocktail world,\" Smith never competed another film. Instead, he occasionally screened \"Normal Love\" in various permutations (sometimes even re-cutting the film as he screened it) as a mercurial filmic collage. This open structure mirrors the flexibility with which sexuality plays out on screen. In \"Normal Love,\" gender is an orgy of mascarading identities. Smith's creatures seem to dwell in a feminine-androgynous utopia. Men and women are indistinguishable from one another in their bejeweled costumes, pancake makeup, and languid, overwrought gestures.\n\nSmith's personal mythology of C-list vamps and movie monsters is enacted by '60s counterculture fixtures including Beverly Grant as the Cobra Woman, avant-drag performer Mario Montez as a mermaid who bathes in milk, falsetto-voiced bizarro ukulelist Tiny Tim as a besotted Terpsichorean character known as the \"Gilded Hag,\" and Velvet Underground bassist Angus MacLise as a lecherous mummy. Andy Warhol superstar Frances Francine, \"Theater of the Ridiculous\" director John Vaccaro, Beat poet Diane DiPrima, and, for a split second, Warhol himself — flesh out Smith's pantheon of maenads and revelers.\n\nThe 120-minute cut on view at MoMA PS1 is a torpid progression of exotic, opulent, and mildly titillating moving images set to delirious soundtrack of Hawaiian hapa haole, \"jungle style\" jazz, and orientalist film scores. A mermaid-cum-Santaria priestess worships at the alter of 1940s schlock cinema queen (and Smith's personal idol) Maria Montez. A man in tights pushes a Gibson girl on a swing. The scene, with its intermittent upskirt glimpses of billowing purple petticoats, is reminiscent of Fragonard's notorious painting \"The Swing.\" A fanged werewolf stalks the mermaid, and — in an act of metaphorical rape — besmears her with mud and Coca-Cola. A transvestite harem of lotus-eaters in unconvincing drag basks lethargically on a floating pier, guarded by a marble pseudo-classical goddess statue and the morose-looking Mongolian Child (played by political activist David Sachs), who strokes a skull. A party of bohemians and grotesques imbibe, devour a watermelon, and pass around a joint in an Arcadian landscape populated by Holstein cows. In another episode of soft-core sexual violence, a lascivious mummy preys on the gorgeous green-skinned Cobra Woman. While MoMA PS1's brief wall text glosses over these ambigous rape scenes, calling them instances of \"edenic coupling,\" they are uncharacteristically heteronormative — even misogynist — in spite of the film's overall genderqueer erotics. As scholar Juan Suarez puts it in his essay, \"Drag, Rubble, and 'Secret Flix': Jack Smith's Avant-Garde against the Lucky Landlord Empire,\" Smith's films can be \"just as prone to aestheticizing violence toward women as more conventional movies.\"\n\nThe film's ostensible climax is a transvestite bacchanalia that takes place on a gigantic three-tiered Claes Oldenburg-designed cake. A bevy of \"cuties\" (including a barely-visible Warhol) clad in seashell bikinis and sarongs dance the hula and the Can-Can to swelling, triumphant music. The mummy circumambulates the giant, sagging pastry, lusting after the scantily clad beauties above. All this insouciant frolicking becomes a massacre when the Mongolian Child enters the frame and shoots up the whole party with a toy machine gun. The deranged Mongoloid hops up and down with psychotic glee as Smith's mythopoeic universe self-annihilates under the weight of its own voluptuousness.\n\nThe meanings of Smith's films are just as promiscuous and unfixable as his lurid transvestite creatures. Jonas Mekas framed Smith as a Baudelairean romantic. Susan Sontag, who published her defense of \"Flaming Creatures\" the same year she published \"Notes on Camp,\" straightjacketed Smith as the progenitor of apolitical, aestheticized Camp. Beatniks propped him up as an icon of countercultural libertinage. Later scholars saw his films as incubators for the post-structuralist gender politics of liminal and iterabile sexualities. Queer theorists saw him as a father of a gay aesthetic, with its penchant for diva worship and burlesque spectacle.\n\nSuarez suggests that Smith's \"fascination with cultural detritus and 'moldy' outmoded popular imagery signifies a resistance to multinational capital expansion and particularly to its aesthetic leanings.\" Suarez's idea might sound ridiculous in light of today's saleable nostalgia-industrial-complex, but Smith's fascination with tawdry, marginal, and forgotten forms of cultural production did in fact have Marxist implications, albeit of a naïve sort. In fact, what Walter Benjamin said of the Surrealists could be said of Smith: He was a true believer in the \"revolutionary energies... of the outmoded.\" In \"Normal Love,\" Smith dumpster dives into the trash-heap of culture, emerging with a broken-down, derelict romanticism diametrically opposed to the slick presentism of Warhol, the Mods, and the positivist ethos that characterized the early '60s, an era Smith equated with rampant \"landlordism\" and callous entrepreneurship.\n\nYet, for all its proto-pomo campiness and imagistic exotica, Smith's project was also modernist and medium-specific. As Antonin Artaud sought to liberate theatre from the \"tyranny\" of the text, as Clement Greenberg argued for the reduction of painting to color on a flat surface, Smith wanted to distill movies down to their essence — an essence that he believed lay in the seductive rhythm of the moving image, in the imperious gestures of screen queens, in the studied artifice of sets and costumes. In his writings, Smith lambasted \"the hypocrisy\" of good acting, good plots, and good production values. Story, technique, and characterization only got in the way of film's seductive surface-ness. \"Normal Love,\" gives itself over to the hegemony of the flashy, scintillating image.\n\nA two-hour pageant of surfaces doesn't necessarily make for thrilling movie-watching. In his book on Smith, J. Hoberman calls \"Normal Love\" \"sumptuous but static.\" Friend and collaborator Ken Jacobs once described it as a \"grim scuttling\" of \"wonderful stray-creature apparitions … all dressed up with nowhere to go.\" (For the intellectually-curious but time-poor, an abridged version can be found online at Ubu Web). At MoMA PS1, the glacial procession of chthonic images in \"Normal Love\" lulls the viewer, like Smith's creatures, into a narcotic stupor. Still, it's a luxurious pleasure to enter Smith's oneiric Never Never Land, if only for a spell."},{"slug":"smith_john_associations_1975","ok":true,"partial":false,"title":"Associations","artist":"John Smith","year":"1975","startOffset":0,"sourceSecs":372.12,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":55450523,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_associations_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_associations_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_john_associations_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_john_associations_1975/main.mp4?v=2","description":"Images from magazines and colour supplements accompany a spoken text taken from Word Associations and Linguistic Theory by the American psycholinguist Herbert H Clark. By using the ambiguities inherent in the English language, Associations sets language against itself. Image and word work together/against each other to destroy/create meaning. <br/><br/> “In Associations (1975), a grave and scholarly voice reads a linguistic text over a series of visual puns, most of them very rapid and funny. The phrase ‘i.e.’ is imaged by a Tarzan-like figure swinging from a tree (‘aiyee!’), the word ‘players’ by a shot of a cigarette packet with the same name. The child’s rebus, in which pictures substitute for letters to spell out a hidden message, is the basis for the film, but not its only secret code. The film also offers a critical glance at structuralism and linguistics as models of meaning. The authority of the voice and of the word is gently deflated by the fluidity of the images, which will be registered quite differently by each viewer because of their sheer speed. In a further comment on ‘secondary sources’, all the images are visibly cut from the pages of colour supplement glossies, creating a semiotic circle – there is nothing outside of this text, at any rate.” A. L. Rees, Associations: John Smith and the artists’ film in the UK, 2002","bio_dates":"b. 1952"},{"slug":"smith_john_citadel_2020","ok":true,"partial":false,"title":"Citadel","artist":"John Smith","year":"2020","startOffset":0,"sourceSecs":976.88,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":413177087,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_citadel_2020/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_citadel_2020/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_john_citadel_2020.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_john_citadel_2020/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_john_citadel_2020/main/master.m3u8?v=2","hasMainHls":true,"description":"Filmed from the artist’s window during the first English lockdown, Citadel combines short fragments from British Prime Minister Boris Johnson’s speeches relating to coronavirus with views of the London skyline. Recognising the government’s decision to place business interests before public health, it relocates the centre of power from Parliament to the financial district of the City of London. Presenting the city as a site of both horror and aesthetic beauty, the film documents the dramatic effects of changing light conditions upon its architecture. Shifting its focus from the city’s gleaming skyscrapers to the inhabitants of the dense urban housing that lies in their shadow, Citadel contrasts faceless corporate power with the particularities of individual lives.\n\n‘Typically incisive and playful, Citadel is an urgent film of the Covid era: a subversive city symphony made in confinement, critical of the status quo, responding with wit and humanity to the reigning chaos.’ MUBI\n\n‘Now you see it … then back into the shadows … the real centre of government power and policy … John Smith’s brilliantly incisive chronicle of the covid catastrophe viewed from his window with damning soundtrack from the PM.’ Louisa Buck\n\n‘… Under the UK’s 2020 lockdown that political conscience has welled up in his new works Citadel and Covid Messages, surely destined to be remembered as signature artworks of this challenging moment in British history.’ Ian Christie, Sight and Sound\n\n‘Citadel is perhaps the most significant film of the lockdown era, dismantling half-baked prime ministerial pronouncements by juxtaposing Boris Johnson’s voice with extended takes from Smith’s own window. It’s dark, but the study throws up its own comedy through the astuteness of its observation.’ Andrew Renton\n\n‘… What Citadel does best is explicate visually how the government has, amidst a the backdrop of a global pandemic, continued to commodify time and space. That Smith has the freedom with his camera to move between the two axes with humour and critical distance is what reminds us that film – art – though commercialised into its own industry, still has the power/potential to resist that authority.’ Tara Judah, Ubiquarian"},{"slug":"smith_john_om","ok":true,"partial":false,"title":"Om","artist":"John Smith","year":"1986","startOffset":0,"sourceSecs":228.287,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":68845503,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_om/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_om/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_john_om.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_john_om/main.mp4?v=2","description":"“This four minute film explores our response to stereotypes – aural, visual and ideological. Smith signals these stereotypes to the viewer through a chiefly associational system, which deftly manipulates the path of our expectations. The structure is stunningly simple and deceptively subtle. We are taken on a journey from one concrete stereotype to its diametric opposite, as images transform and juxtapose to, ultimately, invert our interpretation of what we see and hear.” Gary Davis. <br/><br/> “This is hardcore cinema.” Peter Kubelka, ‘What is Film’ lecture series, National Film Theatre, London 2001.","bio_dates":"b. 1952"},{"slug":"smith_john_regression_1998_89","ok":true,"partial":false,"title":"Regression","artist":"John Smith","year":"1998-1999","startOffset":0,"sourceSecs":1009.2,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":169356996,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_regression_1998_89/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_regression_1998_89/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_john_regression_1998_89.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_john_regression_1998_89/main.mp4?v=2","description":"A portrait of the artist as a not-so-young man. The filmmaker attempts to enter the digital age by making a new video version of one of his old films.\n\n\"The award of the Short Film Festival goes to a video in which the reflection of artistic work becomes a form itself. John Smith manages to give us a self-ironic humorous experiment about art and time.\""},{"slug":"smith_john_sherpherds_delight_1980_84","ok":true,"partial":false,"title":"Shepherd’s Delight","artist":"John Smith","year":"1980-1984","startOffset":0,"sourceSecs":2012.96,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":337887836,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_sherpherds_delight_1980_84/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_sherpherds_delight_1980_84/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_john_sherpherds_delight_1980_84.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_john_sherpherds_delight_1980_84/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_john_sherpherds_delight_1980_84/main/master.m3u8?v=2","hasMainHls":true,"description":"Many of my films involve humour, but unlike the earlier work Shepherd’s Delight attempts to confront the problem of humour head-on, referring directly (since a large part of the film is composed of jokes and their analysis) to the viewer’s perception of the film itself. The film is largely concerned with how context determines the reading of information. Since the film’s statements oscillate between the deadly serious (concentrating particularly on an examination of the more sinister aspects of humour) and the totally bogus, with no clearly defined points of changeover, the context is often ambiguous. Hopefully, this strategy undermines both the authority of the ‘serious’ statements and any predictable effect of the ‘jokes’. John Smith, 1984\n\n“Shepherd’s Delight turned on the very humour for which Smith is noted, revealing the dark as well as the light side of jokes. Doubt, scepticism and a sense of the arbitrary all pointed to deeper patterns in his films. The opposition of illusionism and materiality, the key motif of the post-war avant-garde cinema, is used here and elsewhere in his work to underpin subtle questioning and undercutting of the authority of the word.” A.L. Rees, ‘Art in Cinema’, National Film Theatre, London 1987\n\n“…Three distinct domains of experience emerge: the perceptual – the apprehension of things as things; the aesthetic – the constructing of the image as language: and the interpretive – the way we give meaning to what we see … precisely those divisions which John Smith addresses in his recent film Shepherd’s Delight. Smith uses the illustrated lecture in order to parody semiological analyses and to satirize the role of the semiologist. He looks to the world of packaging and advertising for his examples, and these are treated by his lecturer to an analysis which raises the concept of ‘deep structure’ to the heights of absurdity.” Jon Thompson ‘The British Art Show’ catalogue 1984"},{"slug":"smith_john_the_black_tower_1985_87","ok":true,"partial":false,"title":"The Black Tower","artist":"John Smith","year":"1985-1987","startOffset":0,"sourceSecs":1376.8,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":228352874,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_the_black_tower_1985_87/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_the_black_tower_1985_87/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_john_the_black_tower_1985_87.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_john_the_black_tower_1985_87/main.mp4?v=2","description":"“In The Black Tower we enter the world of a man haunted by a tower which, he believes, is following him around London. While the character of the central protagonist is indicated only by a narrative voice-over which takes us from unease to breakdown to mysterious death, the images, meticulously controlled and articulated, deliver a series of colour coded puzzles, jokes and puns which pull the viewer into a mind-teasing engagement. Smith’s assurance and skill as a filmmaker undercuts the notion of the avant-garde as dry, unprofessional and dull and in The Black Tower we have an example of a film which plays with the emotions as well as the language of film.” Nik Houghton, Independent Media 1987\n\n“The Black Tower expands the core of Smith’s interests: chiefly, the image as a filmic fact which is constantly questioned and often undermined by language and soundtrack. Like his earlier films, The Black Tower is concerned with description, but this time framed by a story whose undertow of melancholy balances its wit and wry humour, and which is a remarkable fiction in its own right.” A.L. Rees, ‘Art in Cinema’, National Film Theatre, London 1987\n\n“Smith’s intention was to show how, just as the real black tower near his home could be seen from many different angles in apparently different settings – a housing estate, a prison, a churchyard – so language can construct any number of backdrops to a phenomenon, thereby altering atmosphere and interpretation. Smith applies the subjectivity of language to the objecthood of the black tower, converting it from a banal piece of industrial architecture to a cipher of paranormal potential. By simply filming the tower in all its different settings and applying a monologue over the top that mystifies this process, we are led to believe that the tower is beleaguering the protagonist, following him, or, at least, that he is deluded into believing that he is being followed. Although we know that this illusion is down to the power of editing alone, we happily half-abandon this knowledge for the thrill of the subterfuge.” Sally O’Reilly, catalogue essay for ‘Return of the Black Tower (after John Smith)’ by Jennet Thomas, PEER Gallery 2007\n\n“Smith’s ‘accidental horror’ film wears its constructivist tricks as a primary-coloured cloak around the barest of wireframe figures. That Smith dismisses the plot as secondary to the film itself reveals more about his artistic leanings than any supposed embracing of genre, and the fractured realism and creeping terror of the story plays out despite and because of them.\n\nEnchanting and good-humoured (as with almost all of Smith’s films), The Black Tower tells a singular story of architectural horror and madness worthy of the ungovernable geographies of Machen, Welles, or Lovecraft, situating itself firmly in the quotidian grit of Thatcher’s Britain. Constantly pointing to its own telling, as well as the mode and method of that telling, Smith’s film questions the viewer’s own certainty even as the narrator loses theirs — at the same time challenging not only the veracity of the film but also the viewer’s complacency watching it.” Thogdin Ripley, The Quietus, October 2017\n\n“The hilarious and slightly menacing The Black Tower is one of the most accomplished films to come from the British avant-garde for years.” Michael O’Pray, Independent Media, 1987"},{"slug":"smith_john_the_girl_chewing_gum_1976","ok":true,"partial":false,"title":"The Girl Chewing Gum","artist":"John Smith","year":"1976","startOffset":0,"sourceSecs":697.225,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":45268712,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_the_girl_chewing_gum_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_john_the_girl_chewing_gum_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_john_the_girl_chewing_gum_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_john_the_girl_chewing_gum_1976/main.mp4?v=2","description":"The Girl Chewing Gum is a twelve-minute 16 mm film made by British artist John Smith in 1976, when he was a postgraduate student at the Royal College of Art in London. Shot primarily in Dalston, close to the artist’s home, the film is at once a portrait of street life in East London and a wryly funny critique of the myth of documentary neutrality.","bio_dates":"b. 1952"},{"slug":"smith_kiki_jewel_excerpt_1997","ok":true,"partial":false,"title":"Jewel (excerpt)","artist":"Kiki Smith","year":"1997","startOffset":0,"sourceSecs":189.568,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":23097509,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_kiki_jewel_excerpt_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_kiki_jewel_excerpt_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_kiki_jewel_excerpt_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_kiki_jewel_excerpt_1997/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/colab.html\" rel=\"noopener\" target=\"_blank\">Kiki Smith: COLAB in UbuWeb Films</a>","bio_dates":"b. 1954"},{"slug":"smith_michael_white_joshua_musco_1997","ok":true,"partial":false,"title":"The MUSCO Story: 1969-1997","artist":"Michael Smith","year":"1997","startOffset":0,"sourceSecs":348.693,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":58527639,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_musco_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_musco_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_michael_white_joshua_musco_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_michael_white_joshua_musco_1997/main.mp4?v=2","description":"Michael Smith and Joshua White<br/> 1997, 5:44 min, color, sound. In collaboration with Joshua White. <br/><br/> Originally an element of the 1997 installation MUSCO: 1969-1997, this tape purports to be the 1984 video documentation of a fictitious lighting design company with origins in the psychedelic oil-projection shows of the late '60s. Director Joshua White draws on his own experience designing light-shows at the Fillmore East club; his archival photographs lend an authenticity to Smith's role as the founder and owner of MUSCO. Smith, employing his signature deadpan irony, styles his affably sincere MUSCO owner, \"Mike Smith,\" as a late-night infomercial salesman. The carefully constructed amateurism, a pounding synth-track, and flat studio lighting yield a hilariously accurate simulation of a low-budget commercial circa 1984. The interplay of histories Ñ authentic and forged Ñ with the myths of both \"the Sixties\" and \"the Eighties,\" invokes a nostalgia for something that never existed. <br/><br/> MUSCO: 1969 - 1997, the installation project by Smith and Joshua White, was originally exhibited at Lauren Wittels in New York. <br/><br/> By Michael Smith and Joshua White. Editor: Al Arthur. Graphic Design: Karen Heimann. Camera: Michael Gitlin, Martin Meyer. Narrator: Garry Goodrow. Script Consultant: Colleen Growe, CMG Productions, NYC. MUSCO Installation Lighting Design: Stan Pressner. Scenic Design: Jack Chandler. Production Assistants: Kira Dixon, Gavin Russom. Edit Facility: The Outpost, Brooklyn, NY.","bio_dates":"b. 1951"},{"slug":"smith_michael_white_joshua_open_house_excerpts_1999","ok":true,"partial":false,"title":"Open House, excerpts","artist":"Michael Smith","year":"1999","startOffset":0,"sourceSecs":327.829,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":54777137,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_open_house_excerpts_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_open_house_excerpts_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_michael_white_joshua_open_house_excerpts_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_michael_white_joshua_open_house_excerpts_1999/main.mp4?v=2","description":"<b>The New York Times</b><br/> ART IN REVIEW; Michael Smith and Joshua White -- 'Open House'<br/> By KEN JOHNSON<br/> Published: May 7, 1999<br/> New Museum of Contemporary Art<br/><br/>Michael Smith and Joshua White, collaborative producers of comedic installations, have here created an amusing and expansive if not terribly profound spin on the archetype of the sacred studio. Pass through a gateway of construction scaffolding and you discover a replica of a cluttered and grungy SoHo artist's loft. <br><br> At the start, Mr. Smith himself speaks to you on videotape with deadpan, Spalding Gray-like charm, as though you were a prospective buyer. It seems that in response to skyrocketing SoHo real estate values, the artist, who may or may not be identical with Mr. Smith himself, has decided to sell out after living in extended-adolescent squalor for 20 years. When the brief video tour is over (''Loft beds aren't for everyone, but I think they're really great'') you're free to wander. <br/><br/> In one area a television set plays interview excerpts from ''Interstitial,'' Mr. Smith's cable-access television program. Here and there are individual artworks like ''Sweat Equity,'' a sheetrock wall built as a form of process art and video performance, and ''Waterfall,'' a small black-and-white television set playing rolling snow and sitting on a spaghettilike bed of videotape. Everywhere are posters, crummy used furniture, notes and postcards stuck to walls, video equipment, lights and wires and random bits of detritus. It looks as if no one has done any serious cleaning for years. <br/><br/> Ultimately, it all seems banal and pathetic. It's more theater than art, but as such it entertainingly spoofs a certain quasi-Bohemian life style.</br></br>","bio_dates":"b. 1951"},{"slug":"smith_michael_white_joshua_quinquag_2001_2","ok":true,"partial":false,"title":"QuinQuag","artist":"Michael Smith","year":"2001-2002","startOffset":0,"sourceSecs":479.232,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":87923936,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_quinquag_2001_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_quinquag_2001_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_michael_white_joshua_quinquag_2001_2.mp4","hasFrames":true,"description":"New York Times<br/> ART IN REVIEW; Michael Smith and Joshua White<br/> By GRACE GLUECK<br/> Published: December 7, 2001<br/><br/>This clever collaborative spoof of a utopian artists' colony, fictitiously situated in the Catskills, touches on some tender issues, including the use of artists and their work to enhance the commercial projects of real estate moguls. <br><br> The failed history and projected future of QuinQuag, as the colony is called, begins with a fake biography of its purported founder, the art patron and feminist Isabelle Nash, who in 1949 gave a select group of artists a 50-year lease at $1 a year on land near her estate. <br/><br/> The installation includes personal artifacts of Ms. Nash, like her car keys, family photographs and such; a selection of the unappealing QuinQuag tiles and craftsy rocking chairs made by artists for sale over the years (including the famous rocker used by John F. Kennedy); and a spurious television interview with surviving colony members. <br/><br/> The story is compounded when ''Mike Smith,'' a real estate entrepreneur, buys the land after the colony dies. Having discovered its former use and that QuinQuag tiles have become Catskill icons, he tries to market the site, reinvented as the QuinQuag Arts and Wellness Centre. A diorama gives the layout of the ''improved'' site, including the old communal studio building and cabins mingled with proposed new structures like tram stations and a nutrition center. A donor ''tree'' proclaims a smattering of corporate contributors to the project. <br/><br/> Although its higgledy-piggledy installation is a little hard to follow, the show is pointed and amusing once you get into it.</br></br>","bio_dates":"b. 1951"},{"slug":"smith_michael_white_joshua_take_off_your_pants_commercial_2005","ok":true,"partial":false,"title":"Take Off Your Pants Commercial","artist":"Michael Smith","year":"2005","startOffset":0,"sourceSecs":61.867,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":11026692,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_take_off_your_pants_commercial_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_take_off_your_pants_commercial_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_michael_white_joshua_take_off_your_pants_commercial_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_michael_white_joshua_take_off_your_pants_commercial_2005/main.mp4?v=2","description":"For this, their fourth large-scale collaboration, Smith and White have built a nonsensical, revolving six-sided kiosk that serves as a relentlessly cheerful information booth purporting to take you to a miniature \"virtual\" world that conflates the internet and a Disney ride. <br/><br/> The kiosk comes complete with advertisements for a fictive \"game\" called \"Take Off Your Pants!\" promoted on various sides of the structure in videos of gleeful children playing a nonexistent board game while a cloying jingle loops endlessly. The winner of the game seems to be the one who can get home fastest and take off their pants. Each side of the kiosk relates to the idea of \"Take Off Your Pants!\" in different media: video, lenticular photos, light boxes and theme music. <br/><br/> But as Disneyland's \"It's A Small World After All\" is to global politics, so Smith and White's \"Take Off Your Pants!\" is to the immense subject of the internet. Here they knowingly address internet life and interactivity as it is so aggressively advertised in our culture. While their musical sculpture revolves endlessly, with all of its ballyhoo signaling a world of comfort and entertainment, Smith and White ultimately present the internet in a boiled-down image: that of a man in his underwear, getting his email.","bio_dates":"b. 1951"},{"slug":"smith_michael_white_joshua_take_off_your_pants_installation_2005","ok":true,"partial":false,"title":"Take Off Your Pants Installation","artist":"Michael Smith","year":"2005","startOffset":0,"sourceSecs":79.68,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":14706144,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_take_off_your_pants_installation_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_take_off_your_pants_installation_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_michael_white_joshua_take_off_your_pants_installation_2005.mp4","hasFrames":true,"description":"For this, their fourth large-scale collaboration, Smith and White have built a nonsensical, revolving six-sided kiosk that serves as a relentlessly cheerful information booth purporting to take you to a miniature \"virtual\" world that conflates the internet and a Disney ride. <br/><br/> The kiosk comes complete with advertisements for a fictive \"game\" called \"Take Off Your Pants!\" promoted on various sides of the structure in videos of gleeful children playing a nonexistent board game while a cloying jingle loops endlessly. The winner of the game seems to be the one who can get home fastest and take off their pants. Each side of the kiosk relates to the idea of \"Take Off Your Pants!\" in different media: video, lenticular photos, light boxes and theme music. <br/><br/> But as Disneyland's \"It's A Small World After All\" is to global politics, so Smith and White's \"Take Off Your Pants!\" is to the immense subject of the internet. Here they knowingly address internet life and interactivity as it is so aggressively advertised in our culture. While their musical sculpture revolves endlessly, with all of its ballyhoo signaling a world of comfort and entertainment, Smith and White ultimately present the internet in a boiled-down image: that of a man in his underwear, getting his email.","bio_dates":"b. 1951"},{"slug":"smith_michael_white_joshua_take_off_your_pants_prologue_2005","ok":true,"partial":false,"title":"Take Off Your Pants Prologue","artist":"Michael Smith","year":"2005","startOffset":0,"sourceSecs":57.365,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":9212895,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_take_off_your_pants_prologue_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_michael_white_joshua_take_off_your_pants_prologue_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_michael_white_joshua_take_off_your_pants_prologue_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_michael_white_joshua_take_off_your_pants_prologue_2005/main.mp4?v=2","description":"For this, their fourth large-scale collaboration, Smith and White have built a nonsensical, revolving six-sided kiosk that serves as a relentlessly cheerful information booth purporting to take you to a miniature \"virtual\" world that conflates the internet and a Disney ride. <br/><br/> The kiosk comes complete with advertisements for a fictive \"game\" called \"Take Off Your Pants!\" promoted on various sides of the structure in videos of gleeful children playing a nonexistent board game while a cloying jingle loops endlessly. The winner of the game seems to be the one who can get home fastest and take off their pants. Each side of the kiosk relates to the idea of \"Take Off Your Pants!\" in different media: video, lenticular photos, light boxes and theme music. <br/><br/> But as Disneyland's \"It's A Small World After All\" is to global politics, so Smith and White's \"Take Off Your Pants!\" is to the immense subject of the internet. Here they knowingly address internet life and interactivity as it is so aggressively advertised in our culture. While their musical sculpture revolves endlessly, with all of its ballyhoo signaling a world of comfort and entertainment, Smith and White ultimately present the internet in a boiled-down image: that of a man in his underwear, getting his email.","bio_dates":"b. 1951"},{"slug":"smith_stewart_compilation","ok":true,"partial":false,"title":"Compilation Reel","artist":"Smith / Stewart","year":"1994-2001","startOffset":0,"sourceSecs":2401.733,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":140960565,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_stewart_compilation/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smith_stewart_compilation/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smith_stewart_compilation.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_stewart_compilation/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smith_stewart_compilation/main/master.m3u8?v=2","hasMainHls":true},{"slug":"smithson_robert_eastcoastwestcoast_1969","ok":true,"partial":false,"title":"Robert Smithson & Nancy Holt \"East Coast West Coast\"","artist":"Robert Smithson","year":"1969","startOffset":0,"sourceSecs":1498.347,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":249240553,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smithson_robert_eastcoastwestcoast_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smithson_robert_eastcoastwestcoast_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smithson_robert_eastcoastwestcoast_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smithson_robert_eastcoastwestcoast_1969/main.mp4?v=2","description":"1969, 22 min, b&w, sound <br/><br/> East Coast, West Coast, Holt and Smithson's first collaborative experiment with video, takes the form of a humorous bi-coastal art dialogue. Joined by their friends Joan Jonas and Peter Campus, Holt and Smithson improvise a conversation based on opposing - and stereotypical - positions of East Coast and West Coast art of the late 1960s. Holt assumes the role of an intellectual conceptual artist from New York, while Smithson plays the laid back Californian driven by feelings and instinct. Their deadpan exchange ironically lays bare the limitations and contradictions of both sides in the debate. <br/><br/> Robert Smithson is recognized as one of the most influential artists of the twentieth century. Smithson, who was born in 1938 and died in 1973, was a seminal figure in the art form that became known as earthworks or land art. He radically redefined notions of sculpture through his writings and projects. Among his most important and well-known works are Spiral Jetty (1970), a monumental earthwork located in the Great Salt Lake, Utah, and Partially Buried Woodshed (1970) at Kent State University in Ohio. Smithson's critical writings have had an equally profound impact on contemporary art and theory. <br/><br/> A pioneer of earthworks and public art, Nancy Holt has also worked in sculpture, installation, film, video, and photography for over three decades. She is best known for her large-scale environmental sculptural works, including Sun Tunnels in Utah and Dark Star Park in Virginia. In the late 1960s and early 1970s, Holt made a series of pioneering film and video works, including several collaborations with Robert Smithson. Holt's early videos explore perception and memory through experiments with point of view and process.","artist_bio":"Nancy Holt studied at Tufts University in Massachusetts. In the mid-60s, Holt helped introduce a post-minimalist sensibility to the field of sculpture. She used video for the first time in 1969 \"when Peter Campus rented a video camera and came over.\"\n\"\"There was a tremendous sense of discovery because it was so accessible and so Bob [Smithson] and I immediately did a work of art. We invited a large group of people over to our loft that night, including Richard Serra, Michael Heizer, Nancy Graves, and Keith Sonnier to see it. It was very unusual [to] discover a medium, make a work of art and show it in the same day. That broke the ice and gave me a sense of what it was about—what were film ideas and what were video ideas.\"\nHolt's early tapes, like her site-specific sculptures, explore the recorded experience of a particular time and place and the function of memory in perception. Holt's tapes twist the technical limits of video, calling attention to the medium's artificial nature, and maintaining a critical distance between public presentation and private reality.","bio_dates":"1938-1973"},{"slug":"smithson_robert_hotel_palenque_1969_iphone","ok":true,"partial":false,"title":"Hotel Palenque (bootleg)","artist":"Robert Smithson","year":"1969","startOffset":0,"sourceSecs":2574.673,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":150896267,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smithson_robert_hotel_palenque_1969_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smithson_robert_hotel_palenque_1969_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smithson_robert_hotel_palenque_1969_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smithson_robert_hotel_palenque_1969_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smithson_robert_hotel_palenque_1969_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"(Bootleg film / documentation / artwork by <a href=\"https://ubu.com/film/hubbard.html\" rel=\"noopener\" target=\"_blank\">Alex Hubbard</a>)<br><br><b>Yucatan Is Elsewhere</b><br> On Robert Smithson's Hotel Palenque<br> By Neville Wakefield <br><br> In 1969 Robert Smithson, His Wife Nancy Holt, And Art Dealer Friend Virginia Dwan Left The New York College Of Cartography-Better Known As The Art-World-For The \"Western Deserts\" And Lush Jungles Of Mexico. There, Within The Abstracted Dilapidation Of The Hotel Palenque, And Some Mirror Fragments Placed Around The Northern <br/><br/> Yucatan, Smithson Unearthed The Shards Of A Map, Surviving Remnants Of A Golden Age. Combed From The Further Shores Of A Logos Already Weathered And Worn, Their Crumbled Metaphysic Took On The Aspect Of An Archeological Ruin. Lurking Within The Tattered Vestiges Of Western Thought, He Found Not Beasts Or Beggars, But Hypothetical Continents And Fierce Avatars Of The Mexican Gods - Tezcatlipoca, Demiurge Of The \"Smoking Mirror,\" Coatlicue, Serpent Lady Of The Mayans-Guardians And Inquisitors Of A System So Utterly Decayed As To Have Itself Become A New Sort Of Territory. <br/><br/> Three Years On, In 1972, The Allegorical Form Of This New Territory Took Shape In A Presentation To The Architectural Faculty Of The University Of Utah. More Stoned Than Stentorian In Form, Delivery And Content, It Appears Navigationally Errant And Subject To Drift. Cheating Gravity, Smithson Gently Mocks The Flat-Earth School Of Exegesis. The Architectural Mass Of The Ancient Mayan Ruins For Which Palenque Is Famous Is All But Ignored: Its Pull Just Another Weak Signal From A Past Already Muffled By The Alluvion Of Time. Instead We Are Led Into Back-Waters And Fringe Areas; The Emptied Pool, Evacuated Dance-Hall And Mean-Ingless Passage That Together Made Up The Hotel Where Smithson, His Wife And Friend Stayed. The Guide Books Are Of No Use, Says Tezcatlipoca, \"You Must Travel At Random, Like The First Mayans, You Risk Getting Lost In The Thickets, But That Is The Only Way To Make Art.\"1) The Ancient Ruins Are Not To Be Found Out There In The Jungle, But Here In The Hotel Palenque, Crumbled, Instamatic And Nondescript. <br/><br/> Connected To The Early Mayan Site By The Shared Lineage Of Ruination And Restoration, Hotel Palenque Takes The Form Of A Nonsite, A Discursive And Ramshackle Web Of Imagery, Conjecture, Analysis And Recollection, Which-Like The Hotel Itself-Lacks Either Focus Or Direction. Perambulatory And Meandering, The Horizon Lines Of Thought Unfold As A Series Of Impossible Boundaries, Elusive Limits That Recede As They Are Approached. Anecdotes, Like Hotel Passages, Lead Nowhere. Spatial And Architectural Certainties Are Left To Dissolve In The Heat Of The Afternoon Sun. Temporal And Historical Boundaries, Denied The Assurances Of Geometry, Slump. \"So,\" As Smithson Remarks, \"You Get This Kind Of Really Sensuous Sense Of Something Extending Both In And Out Of Time, Something That Doesn't Belong To The Earth And Really Something That Is Rooted Very Much In The Earth.\" 2) And So We Too Might Surmise That The Mortar Of Some Unbuilt Future Is Also The Dust Of An Equally Distant Past, But In The End, And Perhaps Most Satisfyingly, It Is Just A Pile Of Cement-There To Be Dug For Its Cementness. <br/><br/> Almost Exactly A Year Prior To The Trip To Mexico. Smithson Made One Of The First Of A Series Of Sculptural Non-Sites. A Visit In June 1968 To The Slate Quarries Of Bangor-Pen Argyle In Pennsylvania Had Left Smithson Impressed By The Oceanic And De-Differentiated Nature Of A Site Within Which All Nations Of Gestalt Seemed To Have Collapsed. Drawn To The Slate Of Mind-Slate Being The Metamorphic Or Ossified Form Of Gytta, A Dark And Sedimented Sludge-And To The Fact That The Form Of The Site Had Been Determined By Extraction Rather Than Addition, Chips Of Material Picked Up From The Quarry Were Returned To The Gallery And Dumped Haphazardly In A Trapezoidal Bin Placed On The Floor. Accompanied By Cartographic And Geological Information In The Form Of Texts, Maps Or Photographs, The \"Nonsite,\" As It Became Known, Relayed What Was To Become A Skewed An Incomplete Dialectic-Between Inside And Outside, Visible And Invisible, Form And Formlessness, Determinacy And Indeterminacy, Centre And Periphery-Between Site And Nonsite. \"A Course Of Hazards, Double Path Maps That Belong To Both Sides Of The Dialectic At Once,\" 3) The Nonsite Dissolves The Sculptural Logic Of The Discrete Object Within The Now Unstable Vectors Of Space And Time. <br/><br/> Like The Fragmented Map Of The Empire, The Nonsites Confound The Synthetic Resolutions Of Dialectical Thought. Extracted As Well As Abstracted From The Material Substance Of The Site, They Refer To It At The Cost Of Altering It, And What Is Represented By The Nonsite Is Not The Site Itself, But Rather Its Condition Of Depletion. This Is Heisenberg's Principle Of Sculptural Uncertainly: It Is The Irony Of Protons Fleeing The Instruments Of The Physicist And So Confounding His Aim; It Is The Fact That The Nonsite Leads Nowhere, Except The Place From Which It Came, A Place Now Irrevocably Changed. The Dialectics Of Presence And Absence, Forced To Face Itself Within This Carefully Constructed Hall Of Mirrors, Is Like Medusa Facing Perseus's Shield, Slowly Turned To Stone. Thus Petrified It Becomes Geology, Another Stratum In The Pre-History Of Thought. Physical Substance And Representational Logic Collapse Into A Single Rubble. In Place Of The Old Axes Of Spatial Cartography We Find A Metaphorical Geography Inhabited By Beasts And Beggars, Abandoned Hopes And Discarded Systems. \"Between The Site And The Nonsite One May Lapse Into Places Of Little Organization And No Direction.\"4) Clearly Such A Place Was To Be Found In The Hotle Palenque, A Contemporary Ruin That Mirrored The Architecture Of Thought In Its Rise To Ruination. Caught Between The Equilibrial Forces Of Reconstruction And Decay, The Hotel Also Allegorizes Another Collapse, That Of Vision. \"If You Visit The Sites (A Doubtful Probability).\" Smithson Said Of The Mirror Displacements Made During The Same Trip, \"You Find Nothing But Memory Trace... The Fictive Voices Of The Totems Have Exhausted Their Arguments. Yucatan Is Elsewhere.\"5) And So Its Becomes Apparent That The Site/Nonsite Relationship Is Also That Of Its Punned Double, Of Vision And Its Counterpart, Blindness. The Mayan Ruins For Which Palenque Is Famous Are Recorded Only As The Distant Possibility Of A View From One Of The Hotel Windows, Now Permanently Obscured By The Smoke Screen Of Time And Defoliation. The Wonders Of The Observatories And Temples Built By The Mayans Remain Shrouded, Hazy And Outshone By The Archeology Of The Present Located In The Hotel. The Past, Which, Like Astronomical Bodies, Occurs Long Before Crossing The Horizon Of Appearances, Belongs Not To The Pre-Spanish Indian Monuments But To The \"Geologic Man-Made Wonder\" Of The Hotel. Here Smithson Finds A More Compelling And Indeterminate Horizon Where The Impress Of The Future Is Received By The Past, Where Meaninglessness And Disintegration Cohabitat With The Old Mayan Necessities Of Convolution And Terror. <br/><br/> Wryly Scrutinizing These Strange Intersections, Where Architectures Of Mind And Hotel Meet, Smithson Mines Them For Their Aesthetic And Narcotic Ore. This, After Is The Place Where Nothing Happens, The Zero Panorama Of The Present, A Serpentine Entropy Where The Passage Of Ruined Signifiers Only Serves To Suck Us Further Into The Centripetal Vortex, An Immobile Cyclone. Here The Present Becomes The Conjugation Of Near Future And Distant Past, The Actuality Described By Kubler As The \"Instance Between The Ticks Of The Watchá The Interchronic Pause When Nothing Is Happening. It Is The Void Between Events.\"6) Skewered On The Torpor Of Those Long Mexican Afternoons. Smithson's Reflections On The De-Architecturalising Spirit Of The Hotel Begin To Collapse Entropically Upon Themselves. As The Old Horizons Of Time And Space Subside, New Diagonals Of Meaning Appear: Fluid Atlases Made Up Of Unlocatable Points And Indeterminate Meanings. <br/><br/> And So The Joke Perhaps Is On Us. The Yucatan We Should Remember Was Never Here But Somewhere Else-A Somewhere Captured Forever In 1517 By The Spaniards Landing On The Peninsula, Misapprehending The Words Uttered By The Mayana Mac'ubah Than (We Do Not Understand) And Deciding That This Was The Name Of The Province.7) The Ruins Of Palenque Become, Like The Protracted Pauses That Laconically Punctuate Each Call For The Next Slide, Fault-Lines In The Continent Of Thought. Here The Glacial Drift Of Perception And Cognition Causes Ideas To Buckle Or Be Pulled To Extremes Of Uselessness, The Space Of Sculpture Of Alternately Compressed By Attenuated. In The Hotel Palenque The Traction Of Empirical Truths And Steadfast Geographies Is Lost. Taken In By The Rock Hound's Promise Of Scientism And The Traveler's Claims To Passage It Is Easy To Forget That It Is The Journey That Describes A Space In Itself, A Domain Of Pure Metaphor, A Surd Area - \"A Region Where Logic Is Suspended - An Irrational Area\" - Where The Avatars Of Past And Future Chew On The Wreckage Of Our Imagination.<br/><br/>1) \"Incident Of Mirror-Travel In The Yucatan,\" Reprinted In Holt, Ed., The Writings Of Roberi Smithson, 94-95. <br><br> 2) Ibid., \"The Spiral Jetty,\" 115. <br/><br/> 3) Quoted From Text Accompanying Non-Site (Palisades, Edgewater, New Jersey), 1968, Reprinted In Hobbs, Ed., Robert Smithson; Sculpture (Ithaca, Ny: Cornell University Press, 1981), 110. <br/><br/> 4) See Robert Smithson, \"Entropy And The New Monuments,\" First Published In Art-Forum, June 1966, Reprinted In The Writings Of Robert, Smithson, 9. <br/><br/> 5) \"Incidents Of Mirror-Travel In The Yucatan,\" 103. <br/><br/> 6) George Kubler, The Shape Of Time (New Haven: Yale University Press, 1962), 17. <br/><br/> 7) \"Four Conversations Between Dennis Wheeler And Robert Smithson, 1969-70,\" In Eugenie Tsai, Robert Smithson: Unearthed (New York: Columbia University Press, 1991), 97.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"http://ubumexico.centro.org.mx/text/Smithson_Hotel-Palenque.pdf\" rel=\"noopener\" target=\"_blank\">Text Of Hotel Palenque [34 mb, PDF]</a> <br> <a href=\"https://ubu.com/historical/smithson/index.Html\" rel=\"noopener\" target=\"_blank\">Robert Smithson in Ubuweb Historical</a></br></br></br></br></br></br></br></br>","artist_bio":"Hotel Palenque (1969)\n(Bootleg film / documentation / artwork by Alex Hubbard)\nRobert Smithson, (born Jan. 2, 1938, Passaic, N.J., U.S.—died July 20, 1973, Amarillo, Texas), American sculptor and writer associated with the Land Art movement. His large-scale sculptures, called Earthworks, engaged directly with nature and were created by moving and constructing with vast amounts of soil and rocks.\nSmithson preferred to work with ruined or exhausted sites in nature. Using the earth as his palette, he created archetypal forms: spirals, circles, and mounds. Although, like other land artists of the late 1960s and early '70s—including Walter De Maria, Nancy Holt, Michael Heizer, and Carl Andre—Smithson chose to make his major work outside what he and his colleagues considered a compromised gallery system, he nevertheless also created smaller objects, which he called \"nonsites,\" for museum and gallery settings. These nonsite pieces employed topographic maps of an area juxtaposed with minimalist displays of materials taken from the actual sites as a form of pseudoarchaeological evidence that made reference to the \"real\" outdoor work. He also documented his work extensively with photographs and film.\nSmithson was largely self-taught. He earned a two-year scholarship to the Art Students League in New York City, and he studied briefly at the Brooklyn Museum School in 1956. His initial artwork was in the form of painting in the manner of the Abstract Expressionists. After a trip to Rome in 1961, he brought mythological and religious subjects into this work. After marrying the American sculptor Nancy Holt in 1963, he started making painted metal sculptures. As he did so, he began to question the role of the autonomous object in the museum context. He proceeded to make a number of minimalist sculptures, using industrial materials such as glass and mirrors. As he became increasingly preoccupied with the context for works of art, he began to work outside in natural sites ruined by industrial waste or mining. In 1971, for one of a growing number of outdoor projects, he took a 20-year lease on 10 acres (4 hectares) of lakefront land at the Great Salt Lake in Utah, and, using hired contractors, he made a huge spiral extending 1,500 feet (460 metres) into the lake. This work, titled Spiral Jetty, can still be seen periodically, depending on the water level.\nIn this and all of his other Earthworks, Smithson was interested in evoking geologic time through scale and the use of ancient rocks and dirt. He investigated many prehistoric sites, such as Stonehenge in England, and felt that his work was directly associated with such locations. Smithson was also interested in concepts of entropy—how energy gets dispersed in nature from the orderly to the disorderly over time—and he saw that as a metaphor for a philosophical orientation to life. He was a highly romantic artist whose most sublime and spiritual thoughts appear in his numerous writings, collected in Robert Smithson: The Collected Writings (1996), edited by Jack Flam. Smithson died in a plane crash at age 35 while inspecting a site in West Texas for an Earthwork to be titled Amarillo Ramp. This piece was finished posthumously (1973) by Holt, Tony Shafrazi, and Richard Serra.","bio_dates":"1938-1973"},{"slug":"smithson_robertandholt_nancy_monolake_1968_2004","ok":true,"partial":false,"title":"Nancy Holt & Robert Smithson - Mono Lake","artist":"Robert Smithson","year":"1968-2004","startOffset":0,"sourceSecs":1199.872,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":208944770,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smithson_robertandholt_nancy_monolake_1968_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/smithson_robertandholt_nancy_monolake_1968_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/smithson_robertandholt_nancy_monolake_1968_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/smithson_robertandholt_nancy_monolake_1968_2004/main.mp4?v=2","description":"Featuring Super 8 film footage and Instamatic slide images of artists Robert Smithson, Michael Heizer and Nancy Holt as they visited California's Mono Lake in July of 1968, this piece was edited by Holt in 2004. Mono Lake candidly captures the young artists as they explore the haunting landscape of one of the oldest and most distinctive lakes in North America. Heizer and Smithson are heard reading facts about the unique ecology, geology and natural phenomena of this alkaline lake. The voiceovers are set against filmed images and snapshots of the artists within the uncanny beauty of the lake's environment. Smithson is shown collecting cinders from the volcanic hills on the lake's shores, which were used to make his 1968 sculpture \"Mono Lake Nonsite.\" Mono Lake is a document of a unique natural environment, a \"home movie\" of the artists' 1968 road trip, and an intimate view of three seminal figures in the earth art movement as they interact with the Western landscapes that are so central to their work.\n\nThe following text, which appears on-screen, provides further background on the recording and editing of the piece: \"Mono Lake was shot in 1968 on Super 8 film and Instamatic slides, which were later transferred to video. Smithson selected the readings and the music by Michel Legrand for the early, unedited soundtrack, which was recorded close to the time of the filming. The two country and western songs were sung by Waylon Jennings at a performance in Las Vegas attended by Heizer, Holt and Smithson in the week before the trip to Mono Lake, California... Holt and Smithson originally planned to edit Mono Lake together. The project was subsequently put aside until 2004, when it was edited by Holt for the Robert Smithson Retrospective at the Museum of Contemporary Art in Los Angeles.\"\n\nRobert Smithson, with Michael Heizer and Nancy Holt, caught on film July 27, 1968. Camera: Michael Heizer, Nancy Holt, Robert Smithson. Soundtrack Readings: Michael Heizer, Robert Smithson. Producer/Editor: Nancy Holt. Music by Michel Legrand from the soundtrack of the film \"Bay of Angels\" by Jacques Demy, Cine-Tamaris, 1963. Songs by Waylon Jennings: \"Walk on Out of My Mind,\" (RCA Victor, 1967); \"Stop the World (and Let Me Off),\" (RCA Victor, 1965). Readings from the booklet \"Rock Hounding Out of Bishop\" written by Cora B. Houghtaling, Chalfont Press, Bishop, CA, 1967. A Holt/Smithson Video."},{"slug":"snow_michael_a_to_z_1956","ok":true,"partial":false,"title":"A to Z","artist":"Michael Snow","year":"1956","startOffset":0,"sourceSecs":261.433,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":35522119,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_a_to_z_1956/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_a_to_z_1956/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snow_michael_a_to_z_1956.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_a_to_z_1956/main.mp4?v=2","description":"Michael Snow's first film, A to Z (4 minutes, colour, silent, 1956) shows a crepuscular scene, a cross-hatched blue ink drawing of table and chairs, cups and saucers, which comes to animated life. Hindsight hints of things to come are evoked by the scalar title, legato mood and oddly the anthropomorphic chairs (\"two chairs fuck,\" says Snow) who prophesy the heroic presence of the yellow chair in Wavelength, done 10 years later. - Max Knowles.","artist_bio":"Michael Snow Up Close\n(1996, documentary by Jim Shedden & Alexa-Frances Shaw)\nMichael Snow is considered one of Canada's most important living artists, and one of the world's leading experimental filmmakers. His wide-ranging and multidisciplinary oeuvre explores the possibilities inherent in different mediums and genres, and encompasses film and video, painting, sculpture, photography, writing, and music. Snow's practice comprises a thorough investigation into the nature of perception.\nWhile Snow early established himself as a successful painter and musician in his native Toronto, it was his 1962 move to New York City that marked the beginning of his rise to international prominence. He entered into a long-lasting and fruitful dialogue with downtown Manhattan's artistic avant garde, exchanging ideas with figures such as Yvonne Rainer, Philip Glass, Sol LeWitt, and Richard Foreman, and developing of some of his most ambitious and influential works to date. His 1964 film\nNew York Eye and Ear Control\ndocuments his growing involvement with the burgeoning free jazz movement, and the soundtrack boasts a lineup that includes Albert Ayler, Don Cherry, and Sonny Murray. Snow would continue to pursue improvised music, both on his own and in ensembles such as Toronto's CCMC. The generation and reception of sound in the broader sense emerged as one of his main concerns, reflected in performance and tape works that share qualities with contemporaneous experiments by composers like Steve Reich.\nAt the same time, Snow made alliances within the underground film scene centered around Jonas Mekas' Filmmakers' Cinematheque, an experience that encouraged him to find ways to transfer his concerns with music and photography into the realm of the moving image. He assisted Hollis Frampton on films such as\nNostalgia\n(1971), and it was legendary director Ken Jacobs whose loan of equipment helped Snow create his most famous and influential work, the groundbreaking 1967 film\nWavelength\n.\nWavelength\n, which notoriously includes a 45-minute camera zoom within a fixed frame, remains one of the most studied and admired works of structuralist filmmaking. Other of Snow's films of this period, including\nBack and Forth\n(1969) and\nLa Région Centrale\n(1971) similarly explored the mechanics of filmmaking to simultaneously investigate the functional processes of cinema and of thinking itself.\nIn the 1970s and 1980s, Snow, responding to a growing institutional commitment to his work, experimented more with large-scale installations, including public sculptures such as\nFlightstop\n(1979) and\nThe Audience\n(1988-89). In recent years, he has focused on the specific nature and potential of digital media, yielding works like the video-film\n*Corpus Callosum\n(2002). Regardless of artistic genre, Snow consistently engages in an analytical discourse on the nature of consciousness and experience, language and temporality.\nMichael Snow was born in Toronto, Canada in 1929. He studied at Ontario College of Art. Among his many awards are a Guggenheim Fellowship, the Order of Canada, and two Los Angeles Film Critics Awards. Snow has had solo exhibitions at the Art Gallery of Ontario, Toronto; XXV Venice Biennale; The Museum of Modern Art, New York; Centre George Pompidou, Paris; Kunstmuseum, Luzern, Switzerland; List Gallery, MIT, Cambridge, Massachusetts; Hara Museum of Contemporary Art, Tokyo; The Power Plant, Toronto; Musée d'Art Contemporain, Montréal; and Macedonian Museum of Contemporary Art, Thessaloniki, among others. His group shows include the London, Cannes, Tokyo, Berlin, New York and Toronto film festivals; Whitney Museum of American Art, New York; Documenta 6, Kassel; Musée Carnavalet, Paris; and Museum of Contemporary Art, Los Angeles. Snow has had film retrospectives at Pacific Film Archive, San Francisco; Walker Art Center, Minneapolis; Osterreichisches Film Museum, Vienna; Image Forum, Tokyo; Cinémathèque Française, Paris; and Cinémathèque Royale de Belgique, Brussels, among many others. He has taught at Yale University, Princeton University, Ecole Nationale de la Photographie, Arles, France; Ecole Nationale Supérieure des Beaux-Arts, Paris; and le Fresnoy, Tourcoing, France, and has received Snow has received honorary degrees from Nova Scotia College of Art And Design; University of Toronto, and Université de Paris 1, Panthéon Sorbonne, among others.\nSnow lives in Toronto.","bio_dates":"b. 1929"},{"slug":"snow_michael_back_and_forth_1969","ok":true,"partial":false,"title":"Back and Forth AKA <--->","artist":"Michael Snow","year":"1969","startOffset":0,"sourceSecs":2945.445,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":506442624,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_back_and_forth_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_back_and_forth_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snow_michael_back_and_forth_1969.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_back_and_forth_1969/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_back_and_forth_1969/main/master.m3u8?v=2","hasMainHls":true,"description":"\"This neat, finely tuned, hypersensitive film examines the outside and inside of a banal prefab classroom, stares at an asymmetrical space so undistinguished that it's hard to believe the whole movie is confined to it, and has this neck-jerking camera gimmick that hits a wooden stop arm at each end of its swing. Basically it's a perpetual motion film that ingeniously builds a sculptural effect by insisting on time-motion to the point where the camera's swinging arcs and white wall field assume the hardness, the dimensions of a concrete beam. \"In such a hard, drilling work, the wooden clap sounds are a terrific invention, and, as much as any single element, create the sculpture. Seeming to thrust the image outward off the screen, these clap effects are timed like a metronome, sometimes occurring with torrential frequency.\" - Manny Farber, Artforum, 1970"},{"slug":"snow_michael_breakfast_table_top_dolly_1976","ok":true,"partial":false,"title":"Breakfast (Table Top Dolly)","artist":"Michael Snow","year":"1976","startOffset":0,"sourceSecs":1055.722,"sourceHeight":272,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":70197777,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_breakfast_table_top_dolly_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_breakfast_table_top_dolly_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snow_michael_breakfast_table_top_dolly_1976.avi","hasFrames":true,"description":"Canada / 15:00 / 1976 / sound / colour <br/><br/> \"Snow's use of the dolly shot in 'Breakfast (Table Top Dolly)' vividly - and comically - emphasizes the physical effects of the camera's forward movement, in contrast to the purely optical effects of the zoom in 'Wavelength.' In 'Breakfast,' the camera dollies toward an untidy still life of breakfast items and slowly pushes the objects along the table until the tip over, tumble off, or are smashed against the wall at the far end of the table.\" - William C. Wees, Light Moving in Time <br/><br/> The final film Breakfast (Table Top Dolly) (1972-6, 17 mins) responds to Wavelength - as the forward motion of the camera destroys a crammed breakfast table.","artist_bio":"Michael Snow Up Close\n(1996, documentary by Jim Shedden & Alexa-Frances Shaw)\nMichael Snow is considered one of Canada's most important living artists, and one of the world's leading experimental filmmakers. His wide-ranging and multidisciplinary oeuvre explores the possibilities inherent in different mediums and genres, and encompasses film and video, painting, sculpture, photography, writing, and music. Snow's practice comprises a thorough investigation into the nature of perception.\nWhile Snow early established himself as a successful painter and musician in his native Toronto, it was his 1962 move to New York City that marked the beginning of his rise to international prominence. He entered into a long-lasting and fruitful dialogue with downtown Manhattan's artistic avant garde, exchanging ideas with figures such as Yvonne Rainer, Philip Glass, Sol LeWitt, and Richard Foreman, and developing of some of his most ambitious and influential works to date. His 1964 film\nNew York Eye and Ear Control\ndocuments his growing involvement with the burgeoning free jazz movement, and the soundtrack boasts a lineup that includes Albert Ayler, Don Cherry, and Sonny Murray. Snow would continue to pursue improvised music, both on his own and in ensembles such as Toronto's CCMC. The generation and reception of sound in the broader sense emerged as one of his main concerns, reflected in performance and tape works that share qualities with contemporaneous experiments by composers like Steve Reich.\nAt the same time, Snow made alliances within the underground film scene centered around Jonas Mekas' Filmmakers' Cinematheque, an experience that encouraged him to find ways to transfer his concerns with music and photography into the realm of the moving image. He assisted Hollis Frampton on films such as\nNostalgia\n(1971), and it was legendary director Ken Jacobs whose loan of equipment helped Snow create his most famous and influential work, the groundbreaking 1967 film\nWavelength\n.\nWavelength\n, which notoriously includes a 45-minute camera zoom within a fixed frame, remains one of the most studied and admired works of structuralist filmmaking. Other of Snow's films of this period, including\nBack and Forth\n(1969) and\nLa Région Centrale\n(1971) similarly explored the mechanics of filmmaking to simultaneously investigate the functional processes of cinema and of thinking itself.\nIn the 1970s and 1980s, Snow, responding to a growing institutional commitment to his work, experimented more with large-scale installations, including public sculptures such as\nFlightstop\n(1979) and\nThe Audience\n(1988-89). In recent years, he has focused on the specific nature and potential of digital media, yielding works like the video-film\n*Corpus Callosum\n(2002). Regardless of artistic genre, Snow consistently engages in an analytical discourse on the nature of consciousness and experience, language and temporality.\nMichael Snow was born in Toronto, Canada in 1929. He studied at Ontario College of Art. Among his many awards are a Guggenheim Fellowship, the Order of Canada, and two Los Angeles Film Critics Awards. Snow has had solo exhibitions at the Art Gallery of Ontario, Toronto; XXV Venice Biennale; The Museum of Modern Art, New York; Centre George Pompidou, Paris; Kunstmuseum, Luzern, Switzerland; List Gallery, MIT, Cambridge, Massachusetts; Hara Museum of Contemporary Art, Tokyo; The Power Plant, Toronto; Musée d'Art Contemporain, Montréal; and Macedonian Museum of Contemporary Art, Thessaloniki, among others. His group shows include the London, Cannes, Tokyo, Berlin, New York and Toronto film festivals; Whitney Museum of American Art, New York; Documenta 6, Kassel; Musée Carnavalet, Paris; and Museum of Contemporary Art, Los Angeles. Snow has had film retrospectives at Pacific Film Archive, San Francisco; Walker Art Center, Minneapolis; Osterreichisches Film Museum, Vienna; Image Forum, Tokyo; Cinémathèque Française, Paris; and Cinémathèque Royale de Belgique, Brussels, among many others. He has taught at Yale University, Princeton University, Ecole Nationale de la Photographie, Arles, France; Ecole Nationale Supérieure des Beaux-Arts, Paris; and le Fresnoy, Tourcoing, France, and has received Snow has received honorary degrees from Nova Scotia College of Art And Design; University of Toronto, and Université de Paris 1, Panthéon Sorbonne, among others.\nSnow lives in Toronto.","bio_dates":"b. 1929"},{"slug":"snow_michael_new_york_eye_and_ear_control_1964","ok":true,"partial":false,"title":"New York Eye and Ear Control","artist":"Michael Snow","year":"1964","startOffset":0,"sourceSecs":2076.437,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":124394566,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_new_york_eye_and_ear_control_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_new_york_eye_and_ear_control_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snow_michael_new_york_eye_and_ear_control_1964.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_new_york_eye_and_ear_control_1964/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_new_york_eye_and_ear_control_1964/main/master.m3u8?v=2","hasMainHls":true,"description":"New York Eye and Ear Control came about when artist, musician, and filmmaker Michael Snow received a commission from a Toronto-based organization called Ten Centuries Concerts for a film employing jazz.[5] Snow had recently attended and enjoyed a concert by saxophonist Albert Ayler[5] (he recalled \"I was completely knocked out\"[6]), and had been making his studio on Chambers Street in lower Manhattan available to musicians such as Roswell Rudd, Archie Shepp, Paul Bley, and Milford Graves for rehearsals.[7] He decided to hire Ayler and his quartet (which at the time included trumpeter Don Cherry, bassist Gary Peacock, and drummer Sunny Murray, and which had recently recorded the albums Prophecy and (without Cherry) Spiritual Unity), along with trombonist Rudd and saxophonist John Tchicai, to make a recording, stating that he \"wanted to buy a half an hour of music.\"[5]\n\nSnow recalled that he had certain stipulations going into the session: \"I didn't want any previously played compositions, and I wanted it to be as much ensemble improvisations as could be with no solos.\"[5] He also stated: \"As I was being involved with so-called free jazz, I was always surprised at how everybody was still bookending, as in all of previous jazz where you play a tune, play your variations, then play the tune again. I kept feeling that I didn't want that, and particularly what I had in mind for the film, I definitely didn't want it. I wanted it as pure free improvisation as I could get.\"[8] According to Snow, \"They accepted and they performed this way... in my opinion, this is one reason for which the music is so great.\"[6] He later called the ensemble \"one of the greatest jazz groups ever.\"[9] (In his 1966 essay \"Around about New York Eye and Ear Control,\" Snow summarized his thoughts regarding the music: \"Song form finally unusable, strict rhythm finally unusable in 'Jazz.' It goes 'ahead' where it has to... Surprise! Demand for Song and Dance so natural there can be 'new' Songs, 'new' Rhythm, 'new' Dances. A very pleasant surprise.\"[10])\n\nThe recording session took place on July 17, 1964 at the loft of poet Paul Haines, who was Snow's neighbor and who also set up and operated the recording equipment.[11][12] Roswell Rudd recalled that Snow \"didn't say anything. He said just go ahead and play and when he got the time he needed, he took that and made a movie with it. In other words made the movie from an improvised jam session rather than make the movie and fit the soundtrack to it. He made a soundtrack and then went out and shot a movie. I don't know how many people have ever done that.\"[12] (The album liner notes confirm this, stating \"The music was recorded prior to the production of the film.\"[13])\n\nSnow's film uses the motif of what he called the \"Walking Woman,\" a silhouette based on the image of Carla Bley.[14] Snow stated: \"In my films I've tried to give the sound a more pure and equal position in relation to the picture.\"[6] \"I was hoping for an uninterrupted stream of energy against which I was going to place the almost completely static shots of the two-dimensional Walking Woman figure, either negative or positive. The picture was edited with no reference to what sound episode might accompany it. It is an attempt to make a simultaneity of 'eye' with 'ear.' And the music was created to be a movie sound track, not to just be 'music.'\"[15]\n\nIt's like the music is a particular kind of experience, and the film is something quite different that you see simultaneously. That's why the title, New York Eye and Ear Control: it was actually being able to hear the music and being able to see the picture without the music saying, This image is sad, or this image is happy — which is a way that movie music is always used. I really wanted it to be possible that you could hear them. So, they're very, very different. It's as if the image part of it is very classical and static. In fact, most of the motion is in the music actually. So, they're kind of counterpointing and being in their own worlds, but happening simultaneously.[16]\n\nThe film was premiered later that year in Toronto.[15] Snow recalled: \"I was surprised to see people getting up and leaving very early in the projection of the film.\"[15] At a later showing in New York, \"The audience catcalled, booed, whistled, and threw paper at the screen. The film ended, and surprisingly, there was also some strong applause. Two people in the audience jumped up and ran to the booth where I was standing with the projectionist. They were very excited and said, 'That was wonderful. Who did that?' I said that I was the maker of the film, and we had a short conversation, and they introduced themselves: Andy Warhol and Gerard Malanga.\"[15] According to Snow, Bernard Stollman, founder of ESP-Disk, heard about the film and approached him about releasing the music on an album. Snow stated: \"the idea came up after the film had been made and been shown and puzzled everyone... [Stollman] asked me whether I'd be interested, and actually I had very mixed feelings about it, because it was precisely made to be used in conjunction with the images that I made. I was making a film with this music, and to separate the two, I really had to argue myself into it. Which seems a bit strange, I suppose, but the intention was to use it in a certain way with certain kinds of images.\"[17]\n\n---- This film contains illusions of distances, durations, degrees, divisions of antipathies, polarities, likenesses, complements, desires. Acceleration of absence to presence. Scales of Art – Lift, setting-subject, mind body, country city pivot. Simultaneous silence and sound, one and all. Arc of excitement, night and daylight. Aide. side then back then front. Imagined and Real. Gradual, racial, philosophical kiss. Conceived, shot and edited by myself in 1964. I selected the group of musicians: Albert Ayler , Don Cherry, John Tchicai , Roswell Rudd, Gary Peacock, Sonny Murray. It is one of the greatest jazz groups ever. The music used on the soundtrack and other takes from the recording sessions have recently (1966) been issued on record (ESP-DI K 1016). Paul Haines wrote the prologue which appears in the film. Walking Women Works (1960-67). The Eternal. The Alarm Clock.-M.S.\n\nMike Snow postulates an eye that stares at surfaces with such intensity….the image itself seems to quiver, finally gives way under the pressure. A deceptive beginning-silent: a flat white form sharply cut to the silhouette of a walking woman, for no apparent reason propped against trees, rocks seashore. But slowly-under attack by time, light and an incredible growing music so aggressive it begins to bypass the ear and attack the eyes habits of seeing. Each time a cut wipes away this absurd idiogram-woman , she reappears – supported against the threat of the destructive eye by the S-O-U-N-D! – that insists on building a space in which objects can sustain themselves. Richard Foreman."},{"slug":"snow_michael_one_second_in_montreal","ok":true,"partial":false,"title":"One Second in Montreal","artist":"Michael Snow","year":"1969","startOffset":0,"sourceSecs":1147.847,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":201548993,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_one_second_in_montreal/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_one_second_in_montreal/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snow_michael_one_second_in_montreal.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_one_second_in_montreal/main.mp4?v=2","description":"\"A collection of snow scenes, all still photographs of potential sites for a monument in Montreal (thus distinctly not 'artistic' photographs) follow, one another for 22 minutes.\" - P. Adams Sitney\n\n\"This serial procession of pictures is utterly fascinating and hypnotic in spite of the fact that the images themselves are quite ordinary. An overwhelming sense of mystery and deja vu is generated as the parade of odd bleak photographs moves by .... One is made to analyze and concentrate on the images far more attentively than one normally would. It becomes clear that Snow has forced an extremely intense subject-object relationship, not simply by the fact that he has held certain pictures longer than others, but because these durations are structured mathematically, are given a pattern and logic which seems purposive, that is, seems to move teleologically toward some 'meaning.' The only meaning, however, is one's relation to this temporal structure. Thus ONE SECOND IN MONTREAL becomes a sculpture which exists in time without motion. It is typical of Snow's genius, a gift best described by John Cage when he said: 'Where beauty ends is where the artist begins.'\" - Gene Youngblood, ArtsCanada"},{"slug":"snow_michael_prelude","ok":true,"partial":false,"title":"Prelude","artist":"Michael Snow","year":"2000","startOffset":0,"sourceSecs":191.544,"sourceHeight":352,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":11362634,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_prelude/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_prelude/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snow_michael_prelude.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_prelude/main.mp4?v=2","description":"Prelude, 2000<br/> 16 mm, color, sound, 3.30 min.<br/> <br/> \"I am interested in exploring sound-image relations that are structural and have little or nothing to do with reinforcing narrative (this is sad, this is funny, this is exciting, etc...).<br/> <br/> My \"Prelude\" filmically depicts a scene which in itself is a prelude to a film. However, the sync sound of the acted scene has been rearranged so that it \"preludes\" (and post-ludes) the visual actions which produced it.<br/> The image and sound are the result of a single tripod panning shot showing Torontonians eating, talking and in a hell of a hurry to get to a Festival screening.\"<br/> <br/> Michael Snow<br/> <br/> A carefully prepared “rush job” and come-on… Every second counts in Prelude, an unblinking wild three-way where most every action (teaser ingredients of sex, violence, music and food) occurs thrice as sound, verbal description and visual element.<br/> <br/> Though the constituent parts of any event are out of joint and rarely meet in the same incremental “time zone” – perfect synch seems to only occur dead center within the room. The action occurs within the same camera pan and single take. Like some of Snow’s greatest work the seemingly offhand Prelude is conceptually meticulous. The film constructs a momentary physical world subject to specific behavioral and cinematic laws that parody the idea of “Coming Attractions.” Taking off on the apparent paradoxes and backhanded clairvoyance of all trailers – how can something prepare a path and trail behind, acting as an appetizer but also spoiling all narrative surprise? Time and tempi are torqured to match the exaggerated metabolism and delivery such advertisement cum films.<br/> <br/> Mark McElhatten","artist_bio":"Michael Snow Up Close\n(1996, documentary by Jim Shedden & Alexa-Frances Shaw)\nMichael Snow is considered one of Canada's most important living artists, and one of the world's leading experimental filmmakers. His wide-ranging and multidisciplinary oeuvre explores the possibilities inherent in different mediums and genres, and encompasses film and video, painting, sculpture, photography, writing, and music. Snow's practice comprises a thorough investigation into the nature of perception.\nWhile Snow early established himself as a successful painter and musician in his native Toronto, it was his 1962 move to New York City that marked the beginning of his rise to international prominence. He entered into a long-lasting and fruitful dialogue with downtown Manhattan's artistic avant garde, exchanging ideas with figures such as Yvonne Rainer, Philip Glass, Sol LeWitt, and Richard Foreman, and developing of some of his most ambitious and influential works to date. His 1964 film\nNew York Eye and Ear Control\ndocuments his growing involvement with the burgeoning free jazz movement, and the soundtrack boasts a lineup that includes Albert Ayler, Don Cherry, and Sonny Murray. Snow would continue to pursue improvised music, both on his own and in ensembles such as Toronto's CCMC. The generation and reception of sound in the broader sense emerged as one of his main concerns, reflected in performance and tape works that share qualities with contemporaneous experiments by composers like Steve Reich.\nAt the same time, Snow made alliances within the underground film scene centered around Jonas Mekas' Filmmakers' Cinematheque, an experience that encouraged him to find ways to transfer his concerns with music and photography into the realm of the moving image. He assisted Hollis Frampton on films such as\nNostalgia\n(1971), and it was legendary director Ken Jacobs whose loan of equipment helped Snow create his most famous and influential work, the groundbreaking 1967 film\nWavelength\n.\nWavelength\n, which notoriously includes a 45-minute camera zoom within a fixed frame, remains one of the most studied and admired works of structuralist filmmaking. Other of Snow's films of this period, including\nBack and Forth\n(1969) and\nLa Région Centrale\n(1971) similarly explored the mechanics of filmmaking to simultaneously investigate the functional processes of cinema and of thinking itself.\nIn the 1970s and 1980s, Snow, responding to a growing institutional commitment to his work, experimented more with large-scale installations, including public sculptures such as\nFlightstop\n(1979) and\nThe Audience\n(1988-89). In recent years, he has focused on the specific nature and potential of digital media, yielding works like the video-film\n*Corpus Callosum\n(2002). Regardless of artistic genre, Snow consistently engages in an analytical discourse on the nature of consciousness and experience, language and temporality.\nMichael Snow was born in Toronto, Canada in 1929. He studied at Ontario College of Art. Among his many awards are a Guggenheim Fellowship, the Order of Canada, and two Los Angeles Film Critics Awards. Snow has had solo exhibitions at the Art Gallery of Ontario, Toronto; XXV Venice Biennale; The Museum of Modern Art, New York; Centre George Pompidou, Paris; Kunstmuseum, Luzern, Switzerland; List Gallery, MIT, Cambridge, Massachusetts; Hara Museum of Contemporary Art, Tokyo; The Power Plant, Toronto; Musée d'Art Contemporain, Montréal; and Macedonian Museum of Contemporary Art, Thessaloniki, among others. His group shows include the London, Cannes, Tokyo, Berlin, New York and Toronto film festivals; Whitney Museum of American Art, New York; Documenta 6, Kassel; Musée Carnavalet, Paris; and Museum of Contemporary Art, Los Angeles. Snow has had film retrospectives at Pacific Film Archive, San Francisco; Walker Art Center, Minneapolis; Osterreichisches Film Museum, Vienna; Image Forum, Tokyo; Cinémathèque Française, Paris; and Cinémathèque Royale de Belgique, Brussels, among many others. He has taught at Yale University, Princeton University, Ecole Nationale de la Photographie, Arles, France; Ecole Nationale Supérieure des Beaux-Arts, Paris; and le Fresnoy, Tourcoing, France, and has received Snow has received honorary degrees from Nova Scotia College of Art And Design; University of Toronto, and Université de Paris 1, Panthéon Sorbonne, among others.\nSnow lives in Toronto.","bio_dates":"b. 1929"},{"slug":"snow_michael_so_is_this_1982","ok":true,"partial":false,"title":"So Is This","artist":"Michael Snow","year":"1982","startOffset":0,"sourceSecs":2913.451,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":138976029,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_so_is_this_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_so_is_this_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snow_michael_so_is_this_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_so_is_this_1982/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_so_is_this_1982/main/master.m3u8?v=2","hasMainHls":true,"description":"\"SO IS THIS parlays an elegantly simple concept into an unpredictable, cumulatively rich experience.\n\n\"\"The film is a text in which each shot is a single word, tightly-framed white letters against a black background. Compared to Snow's recent epics ... it seems almost a throwaway but it's also the most satisfying film he's made in a decade\n\n\"\"With formalist belligerence, SO IS THIS threatens to make its viewers 'laugh cry and change society,' even promising to get 'confessional.' Although the film does reflect Snow's personality - his Canadian-ness, preference for humor over irony, obsession with art world chronology (who did what first) - its only confession is the tacit acknowledgement that he's sensitive to criticism. Snow takes full advantage of his film's system of discourse to twit restless audiences .Ä A lot of this is pretty funny but SO IS THIS is more than a series of gags. Snow manages to defamiliarize both film and language, creating a kind of moving concrete poetry while throwing a monkey wrench into a theoretical debate (is film a language?) that has been going on sporadically for 60 years.\n\n\"\"If you let it, Snow's film stretches your definition of what film is - that's cinema and SO IS THIS.\" - J. Hoberman, The Village Voice"},{"slug":"snow_michael_sshtoorrty_2005","ok":true,"partial":false,"title":"Sshtoorrty","artist":"Michael Snow","year":"2005","startOffset":0,"sourceSecs":1199.936,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":209258564,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_sshtoorrty_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_sshtoorrty_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snow_michael_sshtoorrty_2005.mp4","hasFrames":true,"description":"Script, Direction, Design, Sound, Editing, Michael Snow. Actors--Hilda Hashempour, Mac Ebrahimzadeh, Ramin Yazdi. Camera Luc Monpelier. Production Stephanie Markowitz, Jennifer Weiss. Translation, Mani Mazinani. Funding Assistance, The Canada Council\n\nWriting about my films has sometimes discussed the 'narrative' aspect or 'reading' of some of my 'pictorial' nature, which is much more important. Reflecting on this, I realized that I have never wanted to make a purely narrative film, never had and therefore perhaps I should. Perhaps I should finally make a film that really tells a story. Thus 'SSHTOORRTY'.\n\nThis can be seen but can it be said? I wrote the script, designed the set, directed the shoot and supervised the sound-mix and edit. The staged action was shot beginning with a camera hold on the apartment's inner doors. A man arrives carrying a wrapped-up painting. He is greeted by a woman. He unwraps the painting, shows it to her. The camera follows them to a central position in the apartment. A dispute develops and the painter smashes the painting he's just brought over the head of the woman's husband. The camera follows the painter and the wife / lover back to the door. He exits, she walks away. There is dialogue, in Farsi, but there are subtitles in English.\n\nThe film of the above-described scene was cut exactly in half and the two halves of sound and picture as super-imposed. This makes a simultaneity of actions that occurred 'linearly'. Before and After become a Transparent Now Arrival and Departure are united. It's truly 'filmic', one transparent film over another.\n\nIt's a 'painting' about a painting. I was very concerned with the mobile color mixing that would eventually happen. Colors were carefully chosen as I tried to predict how they would mix and interact. I make 'pictures' and the experience of looking at them is more important than the 'elsewhereness' of a story, even in this, my most 'story-telling' film. In that respect, part of the perception or 'reading' of the film involves one's choices of what went before and what came after in the actual pre-filmic event. The use of Farsi and the over-laying of the English subtitles were ways of adding two other layers of complexity. The film was designed to be seen several times, not just once. In my 1974 four-and-a-half-hour film Rameau's Nephew, I used many different languages. Ones hearing of an unfamiliar language tends the mind toward the ways in which one listens to music. Speech is then more purely sound than sense. Meaning doesn't cancel hearing. A modest political edge: adultery and drinking alcohol can be severely punished in Iran. Part of the original conception was that one could satisfyingly see / hear the episode-on-episode several times. Repeated viewing reduces the strength of the realism and makes it possible for one to see truly the artifact (or, the construct), the artificiality, the art. There are, literally, layers to it and I believe that each time one sees 'it' one sees it differently. One may concentrate for example, on the moving color-mixing, or what happen to the painting or the subtitles, or the way the speech and music are superimposed on each other. And as memory can be questioned, one may question ones memory as to whether each repeat is in fact the same. Were alterations made? The title is of course the word SHORT printed right on top of the word STORY."},{"slug":"snow_michael_standard_time_1967","ok":true,"partial":false,"title":"Standard Time","artist":"Michael Snow","year":"1967","startOffset":0,"sourceSecs":504.778,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":89918214,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_standard_time_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_standard_time_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snow_michael_standard_time_1967.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_standard_time_1967/main.mp4?v=2","description":"Standard Time is 8 minutes and feels, hypnotically, like a time-less segment fragment of life.(Life-physical movement in a space/time enclosure). The camera swivels (pans) left to right, over and over again, then tilts, up and down, over and over again establishing movement as such as the given conditions of perception and existence. This suspended tension of being holds for both the cameraman and the spaces/walls/objects/(people?)…The film establishes each viewer’s autonomous sense of self. The bombarding impulses, through the ‘repeated’ pans/tilts, permit (for each viewer, each time) different moments of reality to become relevant, exciting etc. The speed at which the camera sees the given visually creates frustration at not being able to hold (the) experience, to pattern it in a conventional manner. Michael Snow’s film activates one’s internal mechanisms for grasping, (idiosyncratically, in time), the substances one is faced with, a negates objective experience once and for all. In terms of the politics of experience and human consciousness, few films could be less fascist. Standard Time is also a beautiful ‘8’ minutes. - Peter Gidal.","artist_bio":"Michael Snow Up Close\n(1996, documentary by Jim Shedden & Alexa-Frances Shaw)\nMichael Snow is considered one of Canada's most important living artists, and one of the world's leading experimental filmmakers. His wide-ranging and multidisciplinary oeuvre explores the possibilities inherent in different mediums and genres, and encompasses film and video, painting, sculpture, photography, writing, and music. Snow's practice comprises a thorough investigation into the nature of perception.\nWhile Snow early established himself as a successful painter and musician in his native Toronto, it was his 1962 move to New York City that marked the beginning of his rise to international prominence. He entered into a long-lasting and fruitful dialogue with downtown Manhattan's artistic avant garde, exchanging ideas with figures such as Yvonne Rainer, Philip Glass, Sol LeWitt, and Richard Foreman, and developing of some of his most ambitious and influential works to date. His 1964 film\nNew York Eye and Ear Control\ndocuments his growing involvement with the burgeoning free jazz movement, and the soundtrack boasts a lineup that includes Albert Ayler, Don Cherry, and Sonny Murray. Snow would continue to pursue improvised music, both on his own and in ensembles such as Toronto's CCMC. The generation and reception of sound in the broader sense emerged as one of his main concerns, reflected in performance and tape works that share qualities with contemporaneous experiments by composers like Steve Reich.\nAt the same time, Snow made alliances within the underground film scene centered around Jonas Mekas' Filmmakers' Cinematheque, an experience that encouraged him to find ways to transfer his concerns with music and photography into the realm of the moving image. He assisted Hollis Frampton on films such as\nNostalgia\n(1971), and it was legendary director Ken Jacobs whose loan of equipment helped Snow create his most famous and influential work, the groundbreaking 1967 film\nWavelength\n.\nWavelength\n, which notoriously includes a 45-minute camera zoom within a fixed frame, remains one of the most studied and admired works of structuralist filmmaking. Other of Snow's films of this period, including\nBack and Forth\n(1969) and\nLa Région Centrale\n(1971) similarly explored the mechanics of filmmaking to simultaneously investigate the functional processes of cinema and of thinking itself.\nIn the 1970s and 1980s, Snow, responding to a growing institutional commitment to his work, experimented more with large-scale installations, including public sculptures such as\nFlightstop\n(1979) and\nThe Audience\n(1988-89). In recent years, he has focused on the specific nature and potential of digital media, yielding works like the video-film\n*Corpus Callosum\n(2002). Regardless of artistic genre, Snow consistently engages in an analytical discourse on the nature of consciousness and experience, language and temporality.\nMichael Snow was born in Toronto, Canada in 1929. He studied at Ontario College of Art. Among his many awards are a Guggenheim Fellowship, the Order of Canada, and two Los Angeles Film Critics Awards. Snow has had solo exhibitions at the Art Gallery of Ontario, Toronto; XXV Venice Biennale; The Museum of Modern Art, New York; Centre George Pompidou, Paris; Kunstmuseum, Luzern, Switzerland; List Gallery, MIT, Cambridge, Massachusetts; Hara Museum of Contemporary Art, Tokyo; The Power Plant, Toronto; Musée d'Art Contemporain, Montréal; and Macedonian Museum of Contemporary Art, Thessaloniki, among others. His group shows include the London, Cannes, Tokyo, Berlin, New York and Toronto film festivals; Whitney Museum of American Art, New York; Documenta 6, Kassel; Musée Carnavalet, Paris; and Museum of Contemporary Art, Los Angeles. Snow has had film retrospectives at Pacific Film Archive, San Francisco; Walker Art Center, Minneapolis; Osterreichisches Film Museum, Vienna; Image Forum, Tokyo; Cinémathèque Française, Paris; and Cinémathèque Royale de Belgique, Brussels, among many others. He has taught at Yale University, Princeton University, Ecole Nationale de la Photographie, Arles, France; Ecole Nationale Supérieure des Beaux-Arts, Paris; and le Fresnoy, Tourcoing, France, and has received Snow has received honorary degrees from Nova Scotia College of Art And Design; University of Toronto, and Université de Paris 1, Panthéon Sorbonne, among others.\nSnow lives in Toronto.","bio_dates":"b. 1929"},{"slug":"snow_michael_wavelength_for_those_who_havent_the_time_2003","ok":true,"partial":false,"title":"WVLNT: Wavelength For Those Who Don't Have The Time","artist":"Michael Snow","year":"2003","startOffset":0,"sourceSecs":929.045,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":393618723,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_wavelength_for_those_who_havent_the_time_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snow_michael_wavelength_for_those_who_havent_the_time_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snow_michael_wavelength_for_those_who_havent_the_time_2003.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_wavelength_for_those_who_havent_the_time_2003/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_wavelength_for_those_who_havent_the_time_2003/main/master.m3u8?v=2","hasMainHls":true,"description":"Michael Snow's film Wavelength has been acclaimed as a classic of Avant Garde filmmaking since its appearance in 1967. In February 2003, Snow created a new work consisting of simultaneities rather than the sequential progressions of the original work. WVLNT is composed of three unaltered superimpositions of sound and picture."},{"slug":"snyder_sean_analepsis_2003_04","ok":true,"partial":false,"title":"Analepsis","artist":"Sean Snyder","year":"2003-2004","startOffset":0,"sourceSecs":299.904,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":41542289,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_analepsis_2003_04/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_analepsis_2003_04/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snyder_sean_analepsis_2003_04.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snyder_sean_analepsis_2003_04/main.mp4?v=2","description":"The video Analepsis, 2003-04, is composed of a series of excerpts taken from satellite television news reports. The individual 1-4 second clips are used to introduce the viewer to a given location. Through his method of re-editing the material and omission of the sound from the original news programs, Snyder restructures the footage, revealing the potential of a place to mean more than one thing and pointing to the cinematographic quality inherent in television news.","artist_bio":"Sean Snyder takes the global circulation of information as the operating ground for his work. His videos, texts and images data presented in the form of installations or publications, are the material evidence of a systematic research into the intrinsic codes of technologically produced and processed imagery as well as overt montage and propaganda techniques, exploring ideas of accessibility, transparency and the manipulation of information. Snyder draws his material from a variety of sources, being official news channels, information databanks, press agencies such as Reuters, The Associated Press, Governmental bodies as well as personal homepages, digital and material archives and clandestine websites. Through case studies, which have examined the world of urban planning, architecture and the news media, Snyder retraces the strange and often surprising shifts in meaning that information undergoes in the process of translation from one ideological system to another, while avoiding any definitive interpretation.","bio_dates":"b. 1972"},{"slug":"snyder_sean_casio_sheraton_toyota_mars_2004_05","ok":true,"partial":false,"title":"Casio, Seiko, Sheraton, Toyota, Mars","artist":"Sean Snyder","year":"2004-2005","startOffset":0,"sourceSecs":801.067,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":141600662,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_casio_sheraton_toyota_mars_2004_05/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_casio_sheraton_toyota_mars_2004_05/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snyder_sean_casio_sheraton_toyota_mars_2004_05.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snyder_sean_casio_sheraton_toyota_mars_2004_05/main.mp4?v=2","description":"Using footage from amateur-videos and material from media agencies - in Casio, Seiko, Sheraton, Toyota, Mars Snyder analyses the conventions and complications that arise in the production of an iconic image of war. At the same time, Snyder focuses on the international acceptance of consumer goods, extending beyond all ideological boundaries; he provides the viewer with a sobering look at the globalization of the market economy. The narration starts, \"News stories, scripted for consumption, merge the spaces of recent conflict. Plots, characters, and camera direction produce images for decoding. The sets can be cities, mountainous landscapes, hide-outs and tourist resorts. The plots include documents, dossiers, manuals, reports, un-released videos, un-circulated images, found mobile phone SIM cards, confiscated hard drives, and a largely unseen spectacle of incidental props.” <br/><br/> Snyder strings together images culled from government, amateur, and photojournalistic sources to loosely outline decades of foreign corporate involvement in Iraq and Afghanistan. The repeated appearance of products such as Mars candy bars, Toyota trucks, and Casio watches expose the capacity of media images to serve as accidental product placements. (2004-2005)","artist_bio":"Sean Snyder takes the global circulation of information as the operating ground for his work. His videos, texts and images data presented in the form of installations or publications, are the material evidence of a systematic research into the intrinsic codes of technologically produced and processed imagery as well as overt montage and propaganda techniques, exploring ideas of accessibility, transparency and the manipulation of information. Snyder draws his material from a variety of sources, being official news channels, information databanks, press agencies such as Reuters, The Associated Press, Governmental bodies as well as personal homepages, digital and material archives and clandestine websites. Through case studies, which have examined the world of urban planning, architecture and the news media, Snyder retraces the strange and often surprising shifts in meaning that information undergoes in the process of translation from one ideological system to another, while avoiding any definitive interpretation.","bio_dates":"b. 1972"},{"slug":"snyder_sean_compressionpropaganda1_2007","ok":true,"partial":false,"title":"Compression/Propaganda (Department of Defense/Al-Qaeda), Video 1","artist":"Sean Snyder","year":"2007","startOffset":0,"sourceSecs":215.637,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":35119509,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_compressionpropaganda1_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_compressionpropaganda1_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snyder_sean_compressionpropaganda1_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snyder_sean_compressionpropaganda1_2007/main.mp4?v=2","description":"Compression / Propaganda (Department of Defense / Al-Qaeda), 2007, is a series of photographic images obtained both from still and moving images, which are publicly available on the internet. Although Snyder avoids a direct comparison, the selection consists of iconographic subjects shared both by the US Department of Defense (DoD) website and Jihadi media material. The work uncovers the visual vocabulary and the conventions of the production and reception of current war propaganda. The resolution, size and compression of images are crucial not only with regards to the level of details and information attainable from them but also to the political message implicit in its producers' access to high or low technology.\n\nOne of the paradoxes of current war propaganda is the acknowledgment by former Secretary of Defense Donald Rumsfeld of the failure and unreliability of the American government's high-tech imaging politics, while the proliferation of amateur photography produced by soldiers and contractors during the Iraq war is perceived as having more direct access to reality. Here the DoD is caught in a conflict made apparent by the Abu Ghaib case: whilst being conscious of the limitation of official photography propaganda, it cannot sanction soldiers' reportage of the Iraqi war as \"official truth\". Conversely, the images seem to satisfy the desire for photographic authenticity: the low resolution, amateur style of the Jihadi videos appears less 'professional' and therefore closer to reality. The Jihadi's use of a Sony MiniDV camera, which Snyder identified by closely analyzing the video frames, appears in contrast with the low-tech standard of the videos and brings into questions issues related to the constructions and conventions of technology use.\n\nAs a byproduct of the work, a series of archival material, art, photographic and cinematic references disclose the procedure of production and inevitably interfere and elide with the 'objectivity' of information."},{"slug":"snyder_sean_compressionpropaganda2_2007","ok":true,"partial":false,"title":"Compression/Propaganda (Department of Defense/Al-Qaeda), Video 2","artist":"Sean Snyder","year":"2007","startOffset":0,"sourceSecs":255.104,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":37333651,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_compressionpropaganda2_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_compressionpropaganda2_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snyder_sean_compressionpropaganda2_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snyder_sean_compressionpropaganda2_2007/main.mp4?v=2","description":"Compression / Propaganda (Department of Defense / Al-Qaeda), 2007, is a series of photographic images obtained both from still and moving images, which are publicly available on the internet. Although Snyder avoids a direct comparison, the selection consists of iconographic subjects shared both by the US Department of Defense (DoD) website and Jihadi media material. The work uncovers the visual vocabulary and the conventions of the production and reception of current war propaganda. The resolution, size and compression of images are crucial not only with regards to the level of details and information attainable from them but also to the political message implicit in its producers' access to high or low technology.\n\nOne of the paradoxes of current war propaganda is the acknowledgment by former Secretary of Defense Donald Rumsfeld of the failure and unreliability of the American government's high-tech imaging politics, while the proliferation of amateur photography produced by soldiers and contractors during the Iraq war is perceived as having more direct access to reality. Here the DoD is caught in a conflict made apparent by the Abu Ghaib case: whilst being conscious of the limitation of official photography propaganda, it cannot sanction soldiers' reportage of the Iraqi war as \"official truth\". Conversely, the images seem to satisfy the desire for photographic authenticity: the low resolution, amateur style of the Jihadi videos appears less 'professional' and therefore closer to reality. The Jihadi's use of a Sony MiniDV camera, which Snyder identified by closely analyzing the video frames, appears in contrast with the low-tech standard of the videos and brings into questions issues related to the constructions and conventions of technology use.\n\nAs a byproduct of the work, a series of archival material, art, photographic and cinematic references disclose the procedure of production and inevitably interfere and elide with the 'objectivity' of information."},{"slug":"snyder_sean_schema_television_2007","ok":true,"partial":false,"title":"Schema (Television)","artist":"Sean Snyder","year":"2006-2007","startOffset":0,"sourceSecs":451.947,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":76916918,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_schema_television_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_schema_television_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snyder_sean_schema_television_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snyder_sean_schema_television_2007/main.mp4?v=2","description":"Schema (Television), 2006–2007, scripted in collaboration with Olga Bryukhovetska, is an ongoing video project whose first version was presented at the 5th Busan Biennale in 2006 and that will conclude at the Stedelijk Museum CS in Amsterdam in spring 2007. The work is a year long attempt to crystallize and redefine the indeterminate re-ordering that emerge from the chance montage the viewer creates through the use of remote control. <br/><br/> Snyder references Dziga Vertov's 1920s silent newsreels Kinopravda as a formal and editing model and as a reference to emphasize the impossibility of either direct propaganda or of attributing truthfulness to the moving image. The video explicates a schema for television, not only in terms of established television genres and conventions, but also within the specific televisual modality of consuming reality through images. It takes the distinct subjective position of a semi-immediate but cynically indifferent observer, witnessing inevitable and often absurd juxtapositions of what would be considered 'serious news events' (for example, war) with predominately entertaining programs.","artist_bio":"Sean Snyder takes the global circulation of information as the operating ground for his work. His videos, texts and images data presented in the form of installations or publications, are the material evidence of a systematic research into the intrinsic codes of technologically produced and processed imagery as well as overt montage and propaganda techniques, exploring ideas of accessibility, transparency and the manipulation of information. Snyder draws his material from a variety of sources, being official news channels, information databanks, press agencies such as Reuters, The Associated Press, Governmental bodies as well as personal homepages, digital and material archives and clandestine websites. Through case studies, which have examined the world of urban planning, architecture and the news media, Snyder retraces the strange and often surprising shifts in meaning that information undergoes in the process of translation from one ideological system to another, while avoiding any definitive interpretation.","bio_dates":"b. 1972"},{"slug":"snyder_sean_sony_2004","ok":true,"partial":false,"title":"Analepsis","artist":"Sean Snyder","year":"2003-2004","startOffset":0,"sourceSecs":67.904,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":9921960,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_sony_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/snyder_sean_sony_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/snyder_sean_sony_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snyder_sean_sony_2004/main.mp4?v=2","description":"The video Analepsis, 2003-04, is composed of a series of excerpts taken from satellite television news reports. The individual 1-4 second clips are used to introduce the viewer to a given location. Through his method of re-editing the material and omission of the sound from the original news programs, Snyder restructures the footage, revealing the potential of a place to mean more than one thing and pointing to the cinematographic quality inherent in television news.","artist_bio":"Sean Snyder takes the global circulation of information as the operating ground for his work. His videos, texts and images data presented in the form of installations or publications, are the material evidence of a systematic research into the intrinsic codes of technologically produced and processed imagery as well as overt montage and propaganda techniques, exploring ideas of accessibility, transparency and the manipulation of information. Snyder draws his material from a variety of sources, being official news channels, information databanks, press agencies such as Reuters, The Associated Press, Governmental bodies as well as personal homepages, digital and material archives and clandestine websites. Through case studies, which have examined the world of urban planning, architecture and the news media, Snyder retraces the strange and often surprising shifts in meaning that information undergoes in the process of translation from one ideological system to another, while avoiding any definitive interpretation.","bio_dates":"b. 1972"},{"slug":"sokurov_aleksandr_sonata_dlya_gitlera_1989","ok":true,"partial":false,"title":"Sonata dlya Gitlera AKA Sonata for Hitler","artist":"Alexander Sokurov","year":"1979-1989","startOffset":0,"sourceSecs":601.877,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":97754918,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sokurov_aleksandr_sonata_dlya_gitlera_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sokurov_aleksandr_sonata_dlya_gitlera_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sokurov_aleksandr_sonata_dlya_gitlera_1989.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sokurov_aleksandr_sonata_dlya_gitlera_1989/main.mp4?v=2","description":"This short movie from Sokurov uses archival footage of Adolf Hitler composed in a new manner with sometimes classical, sometimes unsettling music in the background. I'm not sure about the date of the production, as the final cut was made in 1989 but the preliminary version was ready in 1979 <br/><br/> with so many early films by Sokurov, this film has two dates: the first is the date of its creation (the film was then banned), the second is the date of the final edition and legal public screening. The film consists of German and Soviet archive footage of the World War II - to be exact, from the end of the war. An attempt to make a large-scale documentary on this subject had been undertaken in the Soviet cinema of the 1960s: the film - \"Ordinary Fascism\" - by the outstanding Soviet film-maker Mikhail Romm had become a classic retrospective investigation of fascism. But Sokurov uses the expressive power of the documentary image in an absolutely different way. He does not amass materials for a large-scale picture of Nazi crimes. <br/><br/> As a lyrical film-maker, in the space of this short film, he manages to present an entire overview of the historical landscape after the catastrophe. He chooses only the psychological aspect of this, showing the perpetrators of crimes as also the victims of their crimes: the execution of Hitler's generals, the miserable despair of a defeated Hitler, the shame of the crowd use only to regimentation, the shame of the nation. Here Sokurov makes an unspoken comparison with the history of his own country: it was victorious in the face of Hitler, but at the same time had bred its own dictator, Stalin. The footage is numbered; dates on both sides of the frame denote the years of Hitler's and Stalin's deaths (1945 and 1953 respectively). <br/><br/> - Alexandra Tuchinskaya <br/> Translated by Olga Abramenko with assistance from Benjamin Halligan.","artist_bio":"Alexander Sokurov was born in 1951 in Russia in the village of Podorvikha (Irkutsk district). His father was a military officer, a veteran of World War II. During Sokurov's childhood his family frequently moved from one place to another, thus he first went to school in Poland and graduated in Turkmenia.\nAfter graduating from high school in 1968, the future filmmaker entered Gorky University (Department of History). While a student he began working as a staff member for the Gorky television Ñ first as a producer's technical assistant and later as a producer's assistant. During his work at the television station Sokurov obtained wide experience in film and television technology; and, at the age of 19, he made his first television shows as a producer.\nIn the course of 6 years at the Gorky television Sokurov created several films and live TV shows.\nIn 1974 he got his first degree in History from the Gorky University.\nIn 1975 Sokurov entered the Producer's Department at the All-Union Cinematography Institute (VGIK, Moscow) (Documentary Film studio of Alexander Zguridi).\nAs an excellent student of VGIK he was granted the Eisenstein Scholarship.\nIn 1979 Sokurov had to pass external exams and to graduate from VGIK one year early because of his conflict with the administration of the Institute and the leadership of Goskino (State Office of Cinematography): his student works in cinematography were deemed unacceptable, and he was accused of formalism and anti-Soviet views.\nHis first feature film, which later received a number of awards, was \"The Lonely Voice of a Man,\" after an original story by the Russian writer Andrey Platonov; it was not accepted as a graduating project. It was at that time that he received support from the outstanding film director Andrey Tarkovsky, who was out of favor with the authorities at that time and very highly appreciated Sokurov's first work. Sokurov's friendship with Tarkovsky did not come to an end even when the latter left Russia.\nWith Tarkovsky's recommendation letter Sokurov was employed by the film studio \"Lenfilm\" in 1980, where he worked on his first feature films. At the same time Sokurov worked at the Leningrad Studio for Documentary Films, where he has made all of his documentaries at different times.\nEven Sokurov's first films in Leningrad caused negative feedback from the communist party leadership of the city and from the Goskino. For a long time (until the period of democratic reforms in the mid-80s) none of his films were approved for public screening by Soviet censors.\nIn the late 80s a number of his early feature and documentary films were released for public performance and represented the Russian film industry at many international festivals. In the 80-90s he sometimes made several feature and documentary films in one year.\nAt the same time Sokurov was involved in non-commercial programs for youth on the radio and taught a class in Film Directing for young people at the Lenfilm Studio. In 1998-1999 he conducted a television show, \"Ostrov Sokurova\" (Sokurov's Island) where the issue of the place of cinematography in modern culture was raised.\nIn the mid-90s together with his colleagues Sokurov began to familiarize himself with video technologies. This process continues today. The filmmaker has produced a number of documentary films. Several of them were made in Japan for Japanese TV companies due to the enthusiasm and generosity of Sokurov's Japanese friends.\nHe has been a participant and laureate of many international festivals. Every year his films are shown in various foreign countries.\nSeveral times he has received awards from international festivals: the FIPRESSI Award, the Tarkovsky Award, the Russian State Award (1997) and the Vatican Award, \"Third Millennium\" (1998).\nIn 1995 the European Film Academy listed Sokurov as being among the best 100 directors of world cinema.\nAt the present moment he is in the process of founding a film studio, \"Bereg,\" for non-commercial feature and documentary films. The foundation for this venture is laid by Sokurov's camera crew at \"Lenfilm\". The studio has no governmental or private funding.","bio_dates":"b. 1951"},{"slug":"sollers_phillipe_interview_1988","ok":true,"partial":false,"title":"Interview","artist":"Philippe Sollers","year":"1988","startOffset":0,"sourceSecs":776.824,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":49530211,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sollers_phillipe_interview_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sollers_phillipe_interview_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sollers_phillipe_interview_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sollers_phillipe_interview_1988/main.mp4?v=2","description":"(Vidéo) Philippe Sollers - Interview (Editing Productions) 1988","artist_bio":"Michel Butor, in full Michel-Marie-François Butor, (born September 14, 1926, Mons-en-Baroeul, France—died August 24, 2016, Contamine-sur-Arve), French novelist and essayist who was awarded the Grand Prix by the Académie Française (2013) for his work as one of the leading exponents of the nouveau roman (“new novel”), the avant-garde literary movement that emerged in France in the 1950s.\nButor studied philosophy at the Sorbonne and from 1951 to 1953 was a lecturer at the University of Manchester. He subsequently taught in Thessaloníki, Greece (1954–55); Geneva, Switzerland (1956–57 and 1975–91); and numerous cities in the United States and France. After an early experimental novel, Passage de Milan (1954; “Milan Passage”), Butor won critical acclaim with L’Emploi du temps (1956; Passing Time), a complex evocation of his gloomy season in Manchester. With his third novel, La Modification (1957; Second Thoughts, or A Change of Heart), Butor perfected his experimental technique and was considered to have arrived at his full powers. The work won the Prix Renaudot.\nButor, who regarded the novel as a blend of philosophy and poetry, owed much in his fiction to the influence of James Joyce. A feature common to all his novels is a rigid structure. Passage de Milan takes place over a single 12-hour period in a tenement building, and La Modification is set in a compartment of the Paris-Rome express. Degrés (1960; Degrees), his fourth novel, imposes on the action the rigid pattern of a college timetable.\nButor’s subsequent fiction includes Portrait de l’artiste en jeune singe (1967; Portrait of the Artist as a Young Ape), Intervalle (1973), and Explorations (1981; with verse). Outstanding among his nonfiction works are Mobile (1962; Eng. trans. Mobile), a prose-rhapsody aiming to capture the spirit of the United States, and Description de San Marco (1963; Description of San Marco). He also published several collections of poetry and critical essays, including Répertoire, 5 vol. (1960–82), Improvisations sur Flaubert (1984), L’Utilité poétique (1995), and Octogénaire (2006). Other works include the novel Boomerang (1978) and the long essay Improvisations sur Rimbaud (1989).","bio_dates":"b. 1936"},{"slug":"sollfrank_cornelia_warhol_andy_i_dont_know_2006_iphone","ok":true,"partial":false,"title":"I Don't Know","artist":"Cornelia Sollfrank","year":"1968/2006","startOffset":0,"sourceSecs":921.424,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":56831119,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sollfrank_cornelia_warhol_andy_i_dont_know_2006_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sollfrank_cornelia_warhol_andy_i_dont_know_2006_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sollfrank_cornelia_warhol_andy_i_dont_know_2006_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sollfrank_cornelia_warhol_andy_i_dont_know_2006_iphone/main.mp4?v=2","description":"Conversation between Cornelia Sollfrank and Andy Warhol<br/> SCUM Produtions<br/><br/> In their legendary conversation, the two artists discuss the similarities between their aesthetic strategies of appropriating and reworking found material (images, text, sound) from mass media, pop culture and art. They discover that they share a passion for automated, mechanical or software-based art production and make fun of traditional notions of creativity and originality. Sollfrank demonstrates her ‘net.art generator’ as tool for the unlimited production of web-based collages, whereby the famous Warhol ‘Flowers’ are one of her favorite motifs. But Sollfrank’s encounter with censorship when using this motif was ultimately the reason for getting in touch with her colleague and to ask his permission to use the flower motif in her work. Unlike the consulted jurists and other experts, Warhol does not see any conceptual, aesthetics or legal problems resulting from the reworking of ‘his’ images. The intense discussion about copyright and intellectual property reveals that Warhol has little use for such concepts."},{"slug":"solterbeck_jeremy_moving_illustrations_of_machines_2000","ok":true,"partial":false,"title":"Moving Illustrations of Machines","artist":"Jeremy Solterbeck","year":"2000","startOffset":0,"sourceSecs":571.605,"sourceHeight":416,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":35800220,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/solterbeck_jeremy_moving_illustrations_of_machines_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/solterbeck_jeremy_moving_illustrations_of_machines_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/solterbeck_jeremy_moving_illustrations_of_machines_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/solterbeck_jeremy_moving_illustrations_of_machines_2000/main.mp4?v=2","description":"Consider Moving Illustrations of Machines a revisionist animation. It ignores all tenets of traditional animation: color, hypernatural movement, and the depiction of vibrancy and life. The only characters as such are machines. <br/><br/> Work began on this film as a commentary on the 1997 cloning of Dolly the sheep. The goal was to visualize a hybrid world where the distinction between organic machines (such as cells) and their man-made counterparts (such as microchips) becomes unclear. A duality has crept into our technological consciousness: first, the idea that a living mechanism such as an ovum can be described as a machine, and second, the idea that man-made mechanisms with extreme complexity must at some point be considered alive. For instance, the CPU of your average desktop computer can now outperform insects in terms of information processing power. Does this suggest that microchips are in some way smarter or more alive than insects? <br/><br/> This new paradigm of the machine concept is here applied to a narrative that encompasses many of our emotional perceptions regarding cloning. Setting a provocative tone, the film opens with the mission statement of scientist and entrepreneur Richard Seed: God made man in his own image. God intended for man to become one with God. We are going to become one with God. We are going to have almost as much knowledge and almost as much power as God. Cloning, and the reprogramming of DNA, is the first serious step in becoming one with God. The film introduces this machine world in a series of images that depict simple motion, consisting only of the benign spinning and turning of various mechanisms. The world is designed to lack a sense of scale and orientation, to be surreal and mysterious, yet to also be beautiful. The second sequence begins with an unsettling image of worm-like machines. They appear more complex in form and motion, but still seem to be metallic and man-made. Then the ova are introduced and the rest of this sequence details their journey from being ÒhatchedÓ, to being inseminated by the mechanical worms, to being inscribed with information by the needle of an ominous cloning device. After we see a single egg being altered, the final sequence begins and we learn the rest of the eggs have been inscribed as well. They slowly conglomerate as the music builds, and in the end appear indistinguishable in a mass, an organic surface that is the accumulation of these hybrid organic machines. <br/><br/> Moving Illustrations of Machines wishes to reconsider what it means to be living. Has technology and cloning changed the definition of the word machine? Is the human machine open to revision by humanity itself? As our technology becomes unfathomably complex, will the human ovum become as eligible for alteration as any of our mechanical gadgets? This film doesn't propose to answer these questions, only to present them for the viewer's consideration as cloning and related scientific issues continue to surge to the forefront of our ethical and moral quandaries.","bio_dates":"b. 1973"},{"slug":"sommer_ed_sommer_ern_maria_conception_action_hermann_nitsch_1969","ok":true,"partial":false,"title":"Maria - Conception - Action","artist":"Hermann Nitsch","year":"1969","startOffset":0,"sourceSecs":420.843,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":76301385,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sommer_ed_sommer_ern_maria_conception_action_hermann_nitsch_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sommer_ed_sommer_ern_maria_conception_action_hermann_nitsch_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sommer_ed_sommer_ern_maria_conception_action_hermann_nitsch_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sommer_ed_sommer_ern_maria_conception_action_hermann_nitsch_1969/main.mp4?v=2","description":"Directed by Irm & Ed Sommer, Duration: 7 minutes <br/><br/> Since 1963, the Austrian avant-gardist Hermann Nitsch has created a series of live happening, which (like Otto Muehl's Sodoma) combine cruelty, sexuality, defilement, and visual shock for purposes of purification, and \"ab-reaction\" of sado- masochist impulses. This is a film record of his most controversial creation: the crucifixion of a young woman, the disembowelling of a lamb carcass, and her defilement with it. <br/><br/>\"\"By the act of crucifixion, disembowelment, defilement, and dismemberment of a lamb carcass the sadistic urge to kill and masochistic wish for self-sacrifice are substituted. Historically, these drives have found no outlet in culture and religion, the potentialities of the sado-masochist instinct being guarded by secret and prohibition. The substitute act of the lamb crucifixion is a brief, forbidden, lustful glance into this potential and serves as partial resolution of that connection with displacement which Nitsch also calls ab-reaction.\" <br/><br/> In the Maria-Conception-Action, the eroticisation and desublimation of the idea of redemption is intensified into pornography ... it complements the flesh of the lamb carcass with that of the female nude and is crucified allegorically like the lamb and together with it. The slitting open and evisceration of the lamb carcass corresponds visually to the opening and pushing apart of the vagina; the defilement and dismemberment of the lamb corresponds to the pouring over or covering of the nude female body with blood and entrails, and finally, to the sex act itself, which Nitsch -- again in an allegorically obscene substitute act -- completes with a godemiche.\" <br/><br/>- Peter Gorsen, Sexualaesthetik, 1972","artist_bio":"6 Tage Spiel - Das Orgien Mysterien Theater. Day 3: Day of Dionysus (Excerpt)\n(1989)\nHermann Nitsch\n(born 29 August 1938) is an Austrian artist who works in experimental and multimedia modes.\nBorn in Vienna, Nitsch received training in painting during the time he studied at the Wiener Graphische Lehr-und Versuchanstalt. He is called an \"actionist\" or a performance artist. He is associated with the Vienna Actionists, and like them conceived his art outside traditional categories of genre. Nitsch's abstract splatter paintings, like his performance pieces, established a theme of controlled violence, using bright reds, maroons, and pale greys that communicate organic mutilation. In the 1950s, Nitsch conceived of the Orgien Mysterien Theater (which roughly translates as \"Theatre of Orgies and Mysteries\"), staging nearly 100 performances between 1962 and 1998.\nNitsch's work, which can be considered both ritualistic and existential, first drew attention in the early 1960s when he exhibited a skinned and mutilated lamb. The lamb was crucified against a white fabric-covered wall, with the entrails removed and displayed below a white table, splashed with blood and hot water. This was accompanied by Nitsch's \"Geräuschmusik\". Nitsch's subsequent work has incorporated many similar elements, often combining slaughtered animals, red fruits, music, dancing, and active participants. Nitsch juxtaposed slaughtered animal intestines with quasi-religious icons such as staged crucifixions, satirizing and questioning the moral ethics of atavistic religion and sacrifice. Currently his work is often discussed in the context of our cultures fixation with violence seen on the news, movie screens, and in popular video games. Correlations have also been drawn to many instances of the intersection of violence and culture. These performance works, which have become known as \"actions\" have become more and more elaborate over the years. This highly elaborate work is exemplified by the 6-Day Play, which Nitsch considered to be his pinnacle piece.\nIn 1998, Nitsch staged his 100th performance (named the 6-Day Play after its length) which took place at his castle in Austria, Schloss Prinzendorf. In 2004, he held an abbreviated (2-day) version of the work.\nBy 1995 Nitsch had been so sufficiently embraced by the establishment, that the Vienna State Opera invited him to direct and design the sets and costumes for Jules Massenet's opera Hérodiade.","bio_dates":"b. 1938"},{"slug":"sonnier_bear_send_receive_i_ii_1977_iphone","ok":true,"partial":false,"title":"Send/Receive I, and Send/Receive II","artist":"Keith Sonnier","year":"1977","startOffset":0,"sourceSecs":3381.824,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":196551369,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sonnier_bear_send_receive_i_ii_1977_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sonnier_bear_send_receive_i_ii_1977_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sonnier_bear_send_receive_i_ii_1977_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sonnier_bear_send_receive_i_ii_1977_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sonnier_bear_send_receive_i_ii_1977_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"A primer in satellite system operation, Send/Receive extends the critique of media as commodity by asking questions concerning the people's right to access satellites. The objective of Send/Receive was specifically to connect groups of artists on the East and West Coasts via public satellite, and it was the first artist-initiated project to do so. Part I presents an in-depth study of the politics and possibilities of using satellite networks to establish a two-way communication system for public use, as opposed to the industry-driven, militaristic and mass media uses to which satellites are currently restricted. Part 2 excerpts a live satellite feed between New York City and San Francisco. href=\"https://ubu.com/film/warhol.html\">Andy Warhol in UbuWeb Film"},{"slug":"sonnier_keith_tv_in_out_1972_iphone","ok":true,"partial":false,"title":"TV In and TV Out","artist":"Keith Sonnier","year":"1972","startOffset":0,"sourceSecs":794.334,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":51218890,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sonnier_keith_tv_in_out_1972_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sonnier_keith_tv_in_out_1972_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sonnier_keith_tv_in_out_1972_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sonnier_keith_tv_in_out_1972_iphone/main.mp4?v=2","description":"1972 | 00:10:00 | United States | English | Color | Mono | 4:3 <br/><br/> In Sonnier’s video tape TV In and TV Out, two images are superimposed, one shot off network television and the other shot from a studio performance situation involving some of the materials and visual qualities of his sculptures. This live image is colorized by a device which adds color to a black and white image and in turn manipulates the color. Colorized color is more opaque and less three-dimensionally tactile than synthesized color, but it is tactile in its video scan-line texture. … <br/><br/> “The measure of Sonnier’s color video tapes is not the extent to which he extends painterly values, though there is some continuity there, but the extent to which he defines the surface, space, and color of the material of video.” —Bruce Kurtz, “Video Is Being Invented,” Arts Magazine (Dec./Jan. 1973)","artist_bio":"Keith Sonnier (born 1941, Mamou, Louisiana) is a Postminimalist, performance, video and light artist. Sonnier was one of the first artists to use light in sculpture in the 1960s, and has been one of the most successful with this technique. Sonnier was a part of the Process Art Movement.","bio_dates":"b. 1941"},{"slug":"sontag_susan_brother_carl_1971","ok":true,"partial":false,"title":"Brother Carl","artist":"Susan Sontag","year":"1971","startOffset":0,"sourceSecs":5606.92,"sourceHeight":576,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":943780318,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sontag_susan_brother_carl_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sontag_susan_brother_carl_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sontag_susan_brother_carl_1971.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sontag_susan_brother_carl_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sontag_susan_brother_carl_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"Brother Carl\" is Susan Sontag's second movie. But it is the first movie in which she seems to see film as a means to life rather than as a repository for ideas. \"Duet for Cannibals\" (1969) really dealt with a kind of rarefied mental cannibalism. In a very open way, \"Brother Carl\" really deals with human relationships.Two women, Karen and Lena, visit an island, a Swedish resort, where Lena's ex-husband, Martin, lives in comparative seclusion with a mentally disturbed ballet dancer named Carl. Carl is brother by guilt rather than blood, for Martin is somehow responsible for his breakdown, and Carl, who totally depends upon him, regards him as an enemy.Lena is young and full of life, and to some extent \"Brother Carl\" is the story of how she offers her life, first to Karen, then to Martin, and finally to Carl—before committing it in total and apparently wasteful sacrifice. Karen is older and very tired, and to some extent the film is the story of how her life is saved by the enigmatic Carl, who forms a bond with her own desperately withdrawn young daughter, Anna, and effectively brings the girl out of her private distances and back into the world.I have greatly simplified the story, which is very complex and full of symbolic event and confrontation, and which is also a little foolish. In a sense, \"Brother Carl\" is all about learning to give, and its climactic \"miracle\" (Miss Sontag's word) is essentially to evoke laughter from a little girl. These suggest sentiments worthy of Hollywood in the 1930's and 1940's, but that Miss Sontag is willing to treat them openly and seriously is, paradoxically, perhaps her greatest source of strength.There are a directness and an awkwardness of gesture and of larger movement in \"Brother Carl\" that count among its most attractive qualities, and that go a long way to compensate for its occasionally strained pretensions. It is a very imperfect film, with one bad performance (Genevieve Page as Karen) and several performances that seem to have been directed toward an excessive inexpressiveness.But I think that it indicates the taking of considerable imaginative and emotional risks, as \"Duet for Cannibals\" did not, and the result is a real movie.\"Brother Carl\" was filmed in Sweden with an English-language sound track. It opened yesterday at the New Yorker Theater. The CastBROTHER CARL, directed and written by Susan Sontag; photography, Rune Ericson; edited by Lars Hagstrom; music by Torbjorn Lundquist; produced by Sandrew Film & Theater AB: released by New Yorker Films. At the New Yorker Theater, 88th Street and Broadway. Running time: 97 minutes. This film has not yet been classified.Carl . . . . . Laurent TerzieffLena . . . . . Gunnel LindblomKaren . . . . . Genevieve PageMartin . . . . . Keve HielmPeter . . . . . Torsten WahlundAnna . . . . . Pernilla Ahlteldt"},{"slug":"sontag_susan_duet_for_cannibals_1969_sontag_iphone","ok":true,"partial":false,"title":"Duett för kannibaler AKA Duet for Cannibals","artist":"Susan Sontag","year":"1969","startOffset":0,"sourceSecs":6019.68,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":344510255,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sontag_susan_duet_for_cannibals_1969_sontag_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sontag_susan_duet_for_cannibals_1969_sontag_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sontag_susan_duet_for_cannibals_1969_sontag_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sontag_susan_duet_for_cannibals_1969_sontag_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sontag_susan_duet_for_cannibals_1969_sontag_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"THE special providence that protects movie critics decrees that when they do take up honest work they often make surprisingly good movies. Godard and Truffaut, come to mind at once, but also a whole line of \"Cahiers du Cinèma\" critics including Chabrol, Rivette, and Eric Rohmer.\n\nIn America, we have Peter Bogdanovitch (\"Targets\") and now Susan Sontag with \"Duet for Cannibals,\" which played last night at the New York Film Festival. Miss Sontag's credits extend, of course, a considerable distance beyond movie criticism, but she has been one of the best of critics, and I have heard some of her colleagues remark, with disarming generosity, that she has proven herself so good at making movies you'd never guess she had written about them.\n\nExcept for some bandages out of Godard, two wigs out of Antonioni, and a leading lady out of Bernardo Betrolucci (Adriana Asti, who is more interesting here than she was in \"Before the Revolution\"), \"Duet for Cannibals\" doesn't seem to owe much to anybody except to Miss Sontag and her own idomatic, uncluttered sense of the medium.\n\nThe film is in Swedish, made in Sweden for a Swedish producer, but the subtitles are Miss Sontag's, and I suspect that as much has been gained as lost in the various translations and transpositions required in realizing the project.\n\nThe cannibals are a middle-aged radical German political activist and the theoretician, Bauer—Hans Erborg—living with his young Italian wife Francesca—Miss Asti—in Sweden. Their victims are a young Swede who goes to work as Bauer's secretary, and his mistress, who eventually finds herself working as the Bauers's cook and companion. For all the movie tells us, Bauer's credentials are real enough (down to a chrome-plated cigarette lighter—gift of Bertolt Brecht), but everything in his present life partakes of fraud calculated to intrigue, upset, and entrap his assistant.\n\nHis erratic and violent behavior, the temptation palpably and leeringly offered of his beautiful young wife, eventually the intellectual challenge of what move he will make next, engage the young man and put him repeatedly off balance.\n\nBefore it is all over the girl is at work too, making love to the master, accepting advances from the mistress, feeding and being fed by both of them, and lying between them in their connubial bed.\n\nThere are too many insane people in the world, comments the young hero after he is attacked by a madman on a city street, and of course he includes the Bauers, who also attack—and win—because they try anything and stand by nothing.\n\nNevertheless, I don't think \"Duet for Cannibals\" means to be a parable about the power of the insane over the sane, or the strong over the weak, or even the inventively absurd over the rational and passionate. I don't know what it does mean to be, and I am content for a while to rest with its moods and its complicated, often funny motions.\n\nBut if the movie fails—as I think it does—to open up beyond the strength and the tact of its specific scenes, it invites that failure in the limitations of its own point of view and in its insistence on insoluble mystery to the point where mystery grows boring without getting less mysterious.\n\nThe young couple's final escape offrs relief of a rather low level—mostly that the charade is over for them and us. The personal games increase in intensity, but nothing very much is at stake, and personality is never deeper than the next level of plausible disguise.\n\n\"Duet for Cannibals\" will be shown again at Alice Tully Hall on Friday at 6:30 P.M.\n\nscreenplay by Susan Sontag; directed by Miss Sontag; produced by Goran Lindgren; production company, Sandrews, distribution in the United States by Grove Press, Inc. At the New York Film Festival, Alice Tully Hall, Lincoln Center. Running time: 105 minutes."},{"slug":"sontag_susan_promised_lands_iphone","ok":true,"partial":false,"title":"Promised Lands","artist":"Susan Sontag","year":"1974","startOffset":0,"sourceSecs":5185.261,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":300116001,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sontag_susan_promised_lands_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sontag_susan_promised_lands_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sontag_susan_promised_lands_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sontag_susan_promised_lands_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sontag_susan_promised_lands_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This is Susan Sontag's documentary about Israel, shot during the Yom Kippur war. Much of it is strictly observational, though there are some effectively didactic juxtapositions -- and several talking heads from across the Israeli political spectrum. Some might object that the Palestinians, whose fate is discussed in terms both cynical and sympathetic, don't have their own voice in the film, but the limits of the films can also be said to give it a formal coherence. Those who know Sontag's work in general will find her usual searching intelligence, compassion, and fearlessness here."},{"slug":"sontag_susan_unguided_tour_1983_iphone","ok":true,"partial":false,"title":"Unguided Tour AKA Letter from Venice","artist":"Susan Sontag","year":"1983","startOffset":0,"sourceSecs":4211.138,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":247157556,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sontag_susan_unguided_tour_1983_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sontag_susan_unguided_tour_1983_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sontag_susan_unguided_tour_1983_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sontag_susan_unguided_tour_1983_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sontag_susan_unguided_tour_1983_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Unguided Tour, Susan Sontag’s fourth and final film, was based on her short story of the same title. Also known as “Letter from Venice,” the film features Lucinda Childs and Claudio Cassinelli and tells of a relationship that is fragmenting as they tour the decaying ruins of a hallucinatory Venice."},{"slug":"soth_alec_glass_jars","ok":true,"partial":false,"title":"Glass Jars","artist":"Alec Soth","year":"2009","startOffset":0,"sourceSecs":353.252,"sourceHeight":424,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":18157476,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/soth_alec_glass_jars/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/soth_alec_glass_jars/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/soth_alec_glass_jars.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/soth_alec_glass_jars/main.mp4?v=2","description":"Glass Jars is the first, a really dark piece about the Mohler family, in which children supposedly buried their traumatic secrets about abuse in glass jars in their yard. And then in 2009, the perpetrators, five men from one family, were charged. In the video you go to Missouri, where the children are from, you call up the local police station, and ask for details about these glass jars. You say you are a journalist. I was thinking, “Alec’s lying there.” And then I thought, “No, he is a photojournalist.” It’s a strange piece because you know what you’re doing when you make that phone call, and you’re very clearly displaying a tabloidesque curiosity that feels slightly tawdry. And I think you’re aware of that, right? <br/><br/> AS:This is part of me dismantling my career. [laughs] No, it is. I talk a lot about these ethical issues about using people, right? It’s a very common question for me: do I get permission when I take people’s pictures? And I say, “Yes,” and I send them a copy of the picture and they usually sign a release, and that’s a way of getting rid of guilt. Because early on, I didn’t do that. I would sometimes say I would send someone a picture and I wouldn’t, and I had a lot of built-up guilt. So I tried to be ethically better about this. Then, over the last year, I’ve thrown my ethics out the window in some ways. I was always a believer in being honest about what I was doing. In Glass Jars, I am lying. I’m not going to say to the guy, “I’m an artist and I’m experimenting with this new form.” I was lying.","artist_bio":"Alec Soth (born 1969, Minneapolis, Minnesota, United States) is an American photographer, notable for \"large-scale American projects\" featuring the midwestern United States. His photography has a cinematic feel with elements of folklore that hint at a story behind the image. New York Times art critic Hilarie M. Sheets wrote that he has made a \"photographic career out of finding chemistry with strangers\" and photographs \"loners and dreamers\". His work tends to focus on the \"off-beat, hauntingly banal images of modern America\" according to The Guardian art critic Hannah Booth.His work has been compared to photographers such as Walker Evans and Stephen Shore. He is a member of Magnum photo agency.\nSoth has had various books of his work published by major publishers as well as self-published through his own Little Brown Mushroom. His major publications are Sleeping by the Mississippi, Niagara and Broken Manual. He has received fellowships from the McKnight and Jerome Foundations and was the recipient of the 2003 Santa Fe Prize for Photography. His photographs are in major public and private collections, including the San Francisco Museum of Modern Art, the Museum of Fine Arts Houston, the Minneapolis Institute of Arts, and the Walker Art Center. His work has been featured in numerous solo and group exhibitions, including the 2004 Whitney Biennial.","bio_dates":"b. 1969"},{"slug":"soth_alec_las_vegas_birthday_slideshow","ok":true,"partial":false,"title":"Las Vegas Birthday Slideshow","artist":"Alec Soth","year":"2011","startOffset":0,"sourceSecs":221.253,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":18003066,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/soth_alec_las_vegas_birthday_slideshow/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/soth_alec_las_vegas_birthday_slideshow/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/soth_alec_las_vegas_birthday_slideshow.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/soth_alec_las_vegas_birthday_slideshow/main.mp4?v=2","description":"Alec Soth celebrates his 40th birthday in Las Vegas by making a slideshow.","artist_bio":"Alec Soth (born 1969, Minneapolis, Minnesota, United States) is an American photographer, notable for \"large-scale American projects\" featuring the midwestern United States. His photography has a cinematic feel with elements of folklore that hint at a story behind the image. New York Times art critic Hilarie M. Sheets wrote that he has made a \"photographic career out of finding chemistry with strangers\" and photographs \"loners and dreamers\". His work tends to focus on the \"off-beat, hauntingly banal images of modern America\" according to The Guardian art critic Hannah Booth.His work has been compared to photographers such as Walker Evans and Stephen Shore. He is a member of Magnum photo agency.\nSoth has had various books of his work published by major publishers as well as self-published through his own Little Brown Mushroom. His major publications are Sleeping by the Mississippi, Niagara and Broken Manual. He has received fellowships from the McKnight and Jerome Foundations and was the recipient of the 2003 Santa Fe Prize for Photography. His photographs are in major public and private collections, including the San Francisco Museum of Modern Art, the Museum of Fine Arts Houston, the Minneapolis Institute of Arts, and the Walker Art Center. His work has been featured in numerous solo and group exhibitions, including the 2004 Whitney Biennial.","bio_dates":"b. 1969"},{"slug":"soukaz_lionel_ixe_1980_1_iphone","ok":true,"partial":false,"title":"Ixe","artist":"Lionel Soukaz","year":"1980","startOffset":0,"sourceSecs":2878.744,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":169258016,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/soukaz_lionel_ixe_1980_1_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/soukaz_lionel_ixe_1980_1_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/soukaz_lionel_ixe_1980_1_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/soukaz_lionel_ixe_1980_1_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/soukaz_lionel_ixe_1980_1_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Lionel Soukaz Cast:, Jean-François B., François Dantchev, Farida, Karine, Hervé Leymarie, Lionel Soukaz, Verveine, Philippe Veschi, York\n\n\"\"The masterpiece - Ixe by Lionel Soukaz - concludes the period of expanded cinema from the 1960s and the 1970s. It is the \"iXe\" of the X rating and it was made as a pure provocation against censorship, because Soukaz's previous film, Race d'Ep, had been x-ed, despite letters of support from Michel Foucault, Gilles Deleuze, and Roland Barthes. Instinctively Soukaz made a film involving all possible grounds for censorship: heroin fixes, sodomy, zoophilia, pedophilia, blasphemy. . . Ixe, in which of course the artist plays himself, is the ultimate lampoon and means much to me. Very recently the Services des Archives du Film restored it in its original two-screen version (transferred onto 35mm: the \"good\" version of Ixe requires a double 16mm projection). Lionel Soukaz attended the restoration of his doomed film at the site of the archives and videotaped it, shaking with emotion. And yet, if from time to time the video rendition gets blurred, it is because the film's editing pace is too swift for it.\"-- Nicole Brenez"},{"slug":"sound_and_syntax_international_festival_of_sound_poetry_b_p_nichol_1_1978","ok":true,"partial":false,"title":"B.P. Nichol, Part 1","artist":"Sound & Syntax International Festival of Sound Poetry","year":"1978","startOffset":0,"sourceSecs":812.223,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":52248425,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_b_p_nichol_1_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_b_p_nichol_1_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sound_and_syntax_international_festival_of_sound_poetry_b_p_nichol_1_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_b_p_nichol_1_1978/main.mp4?v=2","description":"<a href=\"https://ubu.com/film/sound_syntax.html\" rel=\"noopener\" target=\"_blank\">From Syntax International Festival of Sound Poetry (1978)</a> <br/><br/> Footage of B.P. Nichol performing his own poems. Same setting as Tape 118. Starts with Nichol onstage, wearing baggy trousers, and a smock-shirt. He goes straight into performance of sound/concrete poetry which features numerous abstract sounds, made more abstract by the fact that the audio on the tape is quite heavily distorted, at times clipping or cutting out completely. The 1st piece lasts around 4 and a half minutes, after which Nichol introduces the 2nd piece, which is based on permutations of the full names of Ramses II and Ramses III. This becomes a systematic sound poem which takes on quite a musical cadence. The camera is largely static throughout with some wide shots and close-ups. The tape finishes mid-performance. <br/><br/> Another well known Canadian concrete and sound poet, B.P. Nichol established grOnk, an important concrete poetry magazine in 1967 with <a href=\"https://ubu.com/film/bissett.html\" rel=\"noopener\" target=\"_blank\">Bill Bissett</a>, David UU and others. The author <a href=\"https://ubu.com/film/ondaatje.html\" rel=\"noopener\" target=\"_blank\">Michael Ondaatje</a> made a short film around B.P. Nichol’s early work entitled <a href=\"https://ubu.com/film/ondaatje_poetry.html\" rel=\"noopener\" target=\"_blank\">Sons of Captain Poetry (1970)</a>.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/nichol.html\" rel=\"noopener\" target=\"_blank\">bpNichol in UbuWeb Sound</a></br>","bio_dates":"1978"},{"slug":"sound_and_syntax_international_festival_of_sound_poetry_b_p_nichol_2_1978","ok":true,"partial":false,"title":"B.P. Nichol, Part 1","artist":"Sound & Syntax International Festival of Sound Poetry","year":"1978","startOffset":0,"sourceSecs":1145.855,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":71214306,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_b_p_nichol_2_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_b_p_nichol_2_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sound_and_syntax_international_festival_of_sound_poetry_b_p_nichol_2_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_b_p_nichol_2_1978/main.mp4?v=2","description":"<a href=\"https://ubu.com/film/sound_syntax.html\" rel=\"noopener\" target=\"_blank\">From Syntax International Festival of Sound Poetry (1978)</a> <br/><br/> Footage of B.P. Nichol performing his own poems. Same setting as Tape 118. Starts with Nichol onstage, wearing baggy trousers, and a smock-shirt. He goes straight into performance of sound/concrete poetry which features numerous abstract sounds, made more abstract by the fact that the audio on the tape is quite heavily distorted, at times clipping or cutting out completely. The 1st piece lasts around 4 and a half minutes, after which Nichol introduces the 2nd piece, which is based on permutations of the full names of Ramses II and Ramses III. This becomes a systematic sound poem which takes on quite a musical cadence. The camera is largely static throughout with some wide shots and close-ups. The tape finishes mid-performance. <br/><br/> Another well known Canadian concrete and sound poet, B.P. Nichol established grOnk, an important concrete poetry magazine in 1967 with <a href=\"https://ubu.com/film/bissett.html\" rel=\"noopener\" target=\"_blank\">Bill Bissett</a>, David UU and others. The author <a href=\"https://ubu.com/film/ondaatje.html\" rel=\"noopener\" target=\"_blank\">Michael Ondaatje</a> made a short film around B.P. Nichol’s early work entitled <a href=\"https://ubu.com/film/ondaatje_poetry.html\" rel=\"noopener\" target=\"_blank\">Sons of Captain Poetry (1970)</a>.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/nichol.html\" rel=\"noopener\" target=\"_blank\">bpNichol in UbuWeb Sound</a></br>","bio_dates":"1978"},{"slug":"sound_and_syntax_international_festival_of_sound_poetry_bill_bissott_1978","ok":true,"partial":false,"title":"Sound & Syntax International Festival of Sound Poetry (1978), CCA Glasgow - bill bissett","artist":"Sound & Syntax International Festival of Sound Poetry","year":"1978","startOffset":0,"sourceSecs":2003.44,"sourceHeight":468,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":346659191,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_bill_bissott_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_bill_bissott_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sound_and_syntax_international_festival_of_sound_poetry_bill_bissott_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_bill_bissott_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_bill_bissott_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/sound_syntax.html\" rel=\"noopener\" target=\"_blank\">From Syntax International Festival of Sound Poetry (1978)</a> <br/><br/> Documentation of Bill Bissett performing his sound poetry. Same setting as Tape 118. After some small fragments of film, the performance starts with Bissett on stage, chanting and shaking two maracas, wearing a cowboy-esque shirt. It is an energetic, shamanic performance somewhere between song and poetry, with the words often difficult to make out. After about 5 minutes he switches to more conventional poetry, with environmental and spiritual themes, somewhat indebted to American Beat poetry, with lines such as ‘the cosmic eye startles your rubbery gaze.’ Hereafter he alternates between this and the chanting, animalistic style, sometimes with one or both maracas. One poem is concerned with a comedic fictionalised relationship between Canada and the British Royal Family’s sewage disposal. The camera stays mainly focused on Bissett with occasional shots of the audience and pans/zooms. The performance ends with Bissett jumping around the stage, after which the tape cuts briefly to a recording of the Marx Brothers (presumably from television) then cuts out. <br/><br/> A Canadian, Bissett is well known as a concrete and sound poet. His chants and barefoot dancing during performance as well as his range of reference from the absurd to the transcendent have helped others link him to the shamanistic tradition. He was also an avid publisher founding Blew Ointment magazine in 1963 and later Blew Ointment press.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/bissett.html\" rel=\"noopener\" target=\"_blank\">bill bissett in UbuWeb Sound</a></br>","artist_bio":"bill bissett, Syntax International Festival of Sound Poetry (1978)\nCanadian poet bill bissett was born in Halifax, Nova Scotia, and started publishing in the 1960s. The author of more than 60 books of poetry, he is also a painter and musician. Known for his unconventional writing style and spirited performances, his collections of poetry include Th influenza uv logik (1995), Loving without being vulnrabul (1997), Scars on th seehors (1999), narrativ enigma (2004), and northern wild roses (2005).\nbissett dispenses with standard written English (initial capitals, spelling, and punctuation), connecting with language on an elemental level that some reviewers have considered shaman-like. Jamie Reid, in a review titled “one man civilization; a review of bill bissett over time,” remarked of his work: “[T]here is a glorious sense of incompletion, of form unfinished, unadorned … even in the midst of a varied and repeated, but always expanding repertoire of artistice and audience-pleasing gestures and techniques, for one of bissett’s aims has surely been to create an atmosphere of ecstasy and delight.”\nbissett founded blew ointment press in 1964, which published contemporary writers. As a musician, he has composed songs and lyrics for the band the Luddites. His awards include the George Woodcock Lifetime Achievement Award and the BC Book Prizes Dorothy Livesay Poetry Prize. bissett is the subject of the tribute anthology radiant danse uv being: a poetic portrait of bill bissett (2006).","bio_dates":"1978"},{"slug":"sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_david_toop_1978","ok":true,"partial":false,"title":"Sound & Syntax International Festival of Sound Poetry (1978), CCA Glasgow - Bob Cobbing, David Toop","artist":"Sound & Syntax International Festival of Sound Poetry","year":"1978","startOffset":0,"sourceSecs":3195.05,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":188582225,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_david_toop_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_david_toop_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_david_toop_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_david_toop_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_david_toop_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"\"Paul Burwell should be credited as well as Cobbing and Toop. I remember getting the bus on a warm Glasgow Friday evening to that performance. The venue was then the Third Eye Centre; it didn't become the CCA until the 90s.\" -- A. Dickson\n\nCobbing was a vital cornerstone of the literary counterculture in Britain and a pioneering and fearless publisher through the Writer’s Forum Press, as well as being a concrete, sound and visual poet. In his Obituary in the Guardian in 2002 his later work is described by Robert Sheppard in the following way:\n\nAs his texts became progressively freer, any mark - whether letter-shape, lip imprint, or inkblot - was readable as a sign on the page. Shape and texture suggested vocalisation and sound to Cobbing and the performers he increasingly worked with during the 1970s, such as musicians Paul Burwell and David Toop, and poets Paula Claire and Bill Griffiths.\n\nMoaning, sighing, shouting, even sneezing, became as common as words or phonetics. In recent years, new collaborators became crucial to his work: the anarchic thrash noise ensemble of Bird Yak (Hugh Metcalfe on guitar and amplified gas mask, veteran improviser Lol Coxhill on saxophone, and his wife Jennifer, dancing), or the extraordinary series of 300 booklets written with Lawrence Upton, Domestic Ambient Noise, across which the two writers processed and re-arranged the other's work."},{"slug":"sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_franz_mon_henri_chopin_1978","ok":true,"partial":false,"title":"Sound & Syntax International Festival of Sound Poetry (1978), CCA Glasgow - Bob Cobbing, Franz Mon, Henri Chopin","artist":"Sound & Syntax International Festival of Sound Poetry","year":"1978","startOffset":0,"sourceSecs":3784.49,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":218995122,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_franz_mon_henri_chopin_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_franz_mon_henri_chopin_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_franz_mon_henri_chopin_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_franz_mon_henri_chopin_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_bob_cobbing_franz_mon_henri_chopin_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"<a href=\"https://ubu.com/film/sound_syntax.html\" rel=\"noopener\" target=\"_blank\">From Syntax International Festival of Sound Poetry (1978)</a> <br/><br/> Poetry readings by Franz Mon and Henri Chopin, with a cut to an unidentified classical guitar concert at the end of the tape. The setting is the same as in Tape 118. Begins again with Bob Cobbing, introducing Franz Mon and the idea of ‘Concrete’ as, among other things, ‘that which we have not thought of.’ Mon then introduces his 1st poem with the help of an interpreter, a concrete poem written in German. There are then several other pieces, many of which rely heavily on repetition, including one about counting. There are occasional wide shots of the interpreter (Jeremy Adler, whose poetry reading is documented on Tape 126) standing silhouetted against the stage lights, although the camera mostly stays on Mon. There are some long, recorded, sound poetry pieces using the voice like a musical instrument, which become quite orchestral. After around 46 minutes, Cobbing takes to the stage again to introduce Henri Chopin, talking about the use of tape recordings in sound poetry. Chopin then provides a more detailed intro to his piece - a manipulated tape recording of abstract, vocal sounds. After about 56 minutes the piece finishes and the tape cuts to a wide shot of an audience watching a guitar duet. The two male guitarists play gentle classical music until the end of the tape, which cuts off mid-piece. <br/><br/> Bob Cobbing acted as MC for the festival as well as performing in it himself. His association with Tom McGrath went back to McGrath’s days in London where Cobbing managed Better Books, a bookshop that seemed to operate equally as a proto-arts lab throughout the 1960s. Franz Mon (real name Franz Löffelholz) was part of the German concrete poetry movement.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/cobbing.html\" rel=\"noopener\" target=\"_blank\">Bob Cobbing in UbuWeb Film</a><br> <a href=\"https://ubu.com/sound/cobbing.html\" rel=\"noopener\" target=\"_blank\">Bob Cobbing in UbuWeb Sound</a><br> <a href=\"https://ubu.com/sound/mon.html\" rel=\"noopener\" target=\"_blank\">Franz Mon in UbuWeb Sound</a><br> <a href=\"https://ubu.com/sound/chopin.html\" rel=\"noopener\" target=\"_blank\">Henri Chopin in UbuWeb Sound</a><br/> <a href=\"https://ubu.com/film/chopin.html\" rel=\"noopener\" target=\"_blank\">Henri Chopin in UbuWeb Fim</a></br></br></br></br>","artist_bio":"Publisher and poet Bob Cobbing was born in Enfield, England and raised a member of the Plymouth Brethren. Trained as an accountant and teacher, Cobbing is best known for his work as publisher of Writers Forum and pioneering visual, concrete, and sound poetry and performances. An important force in avant-garde British poetry, Cobbing managed Better Books, home to many literary and artistic happenings in London’s underground literary scene in the 1960s. Cobbing also helped found the Association of Little Presses and Poets Conference, as well as serving on the Poetry Society council. From 1963 to 2002 he published hundreds of pamphlets and books of experimental poetry under the Writers’ Forum aegis.\nCobbing’s work drew on elements of concrete and sound poetry; he foregrounded language as material, as sign or mark, while developing sound as an element of non-semantic meaning. Cobbing wrote of his practice in “Some Statements on Sound Poetry”: “Gone is the word as word, though the word may still be used as sound or shape. Poetry now resides in other elements.” Those other elements, as Robert Sheppard noted in his obituary for Cobbing, included not just “any mark—whether letter-shape, lip imprint, or inkblot…on the page,” but “moaning, sighing, shouting, even sneezing.” Cobbing’s first work of visual poetry was the sequence “ABC In Sound” (1964); other works include Kurrirrurriri (1967), So: Six Sound Poems (1968), Whisper Piece (1969), Etcetera: A New Collection of Found and Sound Poems (1970), Chronology Sound Poetry (1974), And Avocado (1977), and The Kollekted Kris Kringle Volume IV (1979), among others. Cobbing died in 2002.\nMatthew Abess on Bob Cobbing \"Make Perhaps This Out Sense of Can You\" [PDF]","bio_dates":"1978"},{"slug":"sound_and_syntax_international_festival_of_sound_poetry_gerhard_ruhm","ok":true,"partial":false,"title":"Sound & Syntax International Festival of Sound Poetry (1978), CCA Glasgow - Gerhard Rühm","artist":"Sound & Syntax International Festival of Sound Poetry","year":"1978","startOffset":0,"sourceSecs":2940.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":506848798,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_gerhard_ruhm/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_gerhard_ruhm/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sound_and_syntax_international_festival_of_sound_poetry_gerhard_ruhm.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_gerhard_ruhm/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_gerhard_ruhm/main/master.m3u8?v=2","hasMainHls":true,"description":"Footage of a series of poetry performances by Gerhard Ruhm. The tape begins with a shot of the audience, Bob Cobbing waiting in the background. Cobbing takes the stage, introduces the third session of the Sound & Syntax festival and reads a translated quote from Ruhm about sound poetry, which the Austrian refers to as ‘linguistic but non-verbal communication.’ The camera pans to Ruhm, who begins his first piece, a repetitive sound poem which lasts until about 9 minutes in and involves a small percussion instrument as well as a device that makes a sound like a cow. He then introduces (with the help of a translator) some early sound poems from 1952, involving strange, guttural noises. Several more poems follow, including one called ‘Prayer,’ with short syllables repeated like a mantra, ‘For As Long As You Can’ which involves Ruhm holding a one-syllable note for as long as he can with one breath, a poem using sounds abstracted from the Viennese dialect, a recorded piece with the sound of a typewriter (at which point the camera pans to show the rotating reels of the tape-machine), a short sound poem in 3 parts called ‘Hymn to Lesbians’, a poem whose vocabulary was set up by Ruhm when sober but the piece actually written when he was drunk and ‘Great Distance Meditation Song’ where syllables represent the distance to the Moon and Mars respectively. The introductions to the poems are mostly translated by Jeremy Adler, who is sitting in the audience. Ruhm finishes with a long poem that considers the drama and phonetics of numbers and counting. The camera is fairly static, with occasional pans to the audience and the tape machine. After the last performance Ruhm leaves the stage, Cobbing says a few words and the tape ends.\n\nThe Viennese poet Gerhard Ruhm was one of the founders of the Wiener Gruppe of experimental poets in the 1950s. Their early manifestations of happenings and actions prefigured the Actionists. Ruhm has worked across the boundaries of the visual and linguistic in what he calls ‘inter-medial’ works."},{"slug":"sound_and_syntax_international_festival_of_sound_poetry_henri_chopin_1978","ok":true,"partial":false,"title":"Sound & Syntax International Festival of Sound Poetry (1978), CCA Glasgow - Bob Cobbing, Franz Mon, Henri Chopin","artist":"Sound & Syntax International Festival of Sound Poetry","year":"1978","startOffset":0,"sourceSecs":1448.98,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":254691381,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_henri_chopin_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_henri_chopin_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sound_and_syntax_international_festival_of_sound_poetry_henri_chopin_1978.mp4","hasFrames":true,"description":"<a href=\"https://ubu.com/film/sound_syntax.html\" rel=\"noopener\" target=\"_blank\">From Syntax International Festival of Sound Poetry (1978)</a> <br/><br/> Poetry readings by Franz Mon and Henri Chopin, with a cut to an unidentified classical guitar concert at the end of the tape. The setting is the same as in Tape 118. Begins again with Bob Cobbing, introducing Franz Mon and the idea of ‘Concrete’ as, among other things, ‘that which we have not thought of.’ Mon then introduces his 1st poem with the help of an interpreter, a concrete poem written in German. There are then several other pieces, many of which rely heavily on repetition, including one about counting. There are occasional wide shots of the interpreter (Jeremy Adler, whose poetry reading is documented on Tape 126) standing silhouetted against the stage lights, although the camera mostly stays on Mon. There are some long, recorded, sound poetry pieces using the voice like a musical instrument, which become quite orchestral. After around 46 minutes, Cobbing takes to the stage again to introduce Henri Chopin, talking about the use of tape recordings in sound poetry. Chopin then provides a more detailed intro to his piece - a manipulated tape recording of abstract, vocal sounds. After about 56 minutes the piece finishes and the tape cuts to a wide shot of an audience watching a guitar duet. The two male guitarists play gentle classical music until the end of the tape, which cuts off mid-piece. <br/><br/> Bob Cobbing acted as MC for the festival as well as performing in it himself. His association with Tom McGrath went back to McGrath’s days in London where Cobbing managed Better Books, a bookshop that seemed to operate equally as a proto-arts lab throughout the 1960s. Franz Mon (real name Franz Löffelholz) was part of the German concrete poetry movement.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/cobbing.html\" rel=\"noopener\" target=\"_blank\">Bob Cobbing in UbuWeb Film</a><br> <a href=\"https://ubu.com/sound/cobbing.html\" rel=\"noopener\" target=\"_blank\">Bob Cobbing in UbuWeb Sound</a><br> <a href=\"https://ubu.com/sound/mon.html\" rel=\"noopener\" target=\"_blank\">Franz Mon in UbuWeb Sound</a><br> <a href=\"https://ubu.com/sound/chopin.html\" rel=\"noopener\" target=\"_blank\">Henri Chopin in UbuWeb Sound</a><br/> <a href=\"https://ubu.com/film/chopin.html\" rel=\"noopener\" target=\"_blank\">Henri Chopin in UbuWeb Fim</a></br></br></br></br>","artist_bio":"Publisher and poet Bob Cobbing was born in Enfield, England and raised a member of the Plymouth Brethren. Trained as an accountant and teacher, Cobbing is best known for his work as publisher of Writers Forum and pioneering visual, concrete, and sound poetry and performances. An important force in avant-garde British poetry, Cobbing managed Better Books, home to many literary and artistic happenings in London’s underground literary scene in the 1960s. Cobbing also helped found the Association of Little Presses and Poets Conference, as well as serving on the Poetry Society council. From 1963 to 2002 he published hundreds of pamphlets and books of experimental poetry under the Writers’ Forum aegis.\nCobbing’s work drew on elements of concrete and sound poetry; he foregrounded language as material, as sign or mark, while developing sound as an element of non-semantic meaning. Cobbing wrote of his practice in “Some Statements on Sound Poetry”: “Gone is the word as word, though the word may still be used as sound or shape. Poetry now resides in other elements.” Those other elements, as Robert Sheppard noted in his obituary for Cobbing, included not just “any mark—whether letter-shape, lip imprint, or inkblot…on the page,” but “moaning, sighing, shouting, even sneezing.” Cobbing’s first work of visual poetry was the sequence “ABC In Sound” (1964); other works include Kurrirrurriri (1967), So: Six Sound Poems (1968), Whisper Piece (1969), Etcetera: A New Collection of Found and Sound Poems (1970), Chronology Sound Poetry (1974), And Avocado (1977), and The Kollekted Kris Kringle Volume IV (1979), among others. Cobbing died in 2002.\nMatthew Abess on Bob Cobbing \"Make Perhaps This Out Sense of Can You\" [PDF]","bio_dates":"1978"},{"slug":"sound_and_syntax_international_festival_of_sound_poetry_jackson_mclow_bob_cobbing_tom_leonard_1978","ok":true,"partial":false,"title":"Sound & Syntax International Festival of Sound Poetry (1978), CCA Glasgow - Jackson Mac Low, Bob Cobbing, Tom Leonard","artist":"Sound & Syntax International Festival of Sound Poetry","year":"1978","startOffset":0,"sourceSecs":3841.32,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":659267276,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_jackson_mclow_bob_cobbing_tom_leonard_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_jackson_mclow_bob_cobbing_tom_leonard_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sound_and_syntax_international_festival_of_sound_poetry_jackson_mclow_bob_cobbing_tom_leonard_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_jackson_mclow_bob_cobbing_tom_leonard_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_jackson_mclow_bob_cobbing_tom_leonard_1978/main/master.m3u8?v=2","hasMainHls":true},{"slug":"sound_and_syntax_international_festival_of_sound_poetry_jeremy_adler_steve_mccaffery_1978","ok":true,"partial":false,"title":"Sound & Syntax International Festival of Sound Poetry (1978), CCA Glasgow - Jeremy Adler, Steve McCaffery, Bob Cobbing","artist":"Sound & Syntax International Festival of Sound Poetry","year":"1978","startOffset":0,"sourceSecs":2311.978,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":136559039,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_jeremy_adler_steve_mccaffery_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sound_and_syntax_international_festival_of_sound_poetry_jeremy_adler_steve_mccaffery_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sound_and_syntax_international_festival_of_sound_poetry_jeremy_adler_steve_mccaffery_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_jeremy_adler_steve_mccaffery_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sound_and_syntax_international_festival_of_sound_poetry_jeremy_adler_steve_mccaffery_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"Performances by Jeremy Adley and Steve McCaffery of their poetry. Begins with Adler taking the stage and reading a ‘Particle Poem for a Lady Rhyming on a Postcard’ - a series of conjunctives and pauses without meaning, followed by 3 semantic poems of fairly similar form. Adler then invites Bob Cobbing to perform a sound poem with him, after which Adler does a whispered, breathy sound poem into the microphone with specific words inaudible. At this point (about 7 minutes in) Bob Cobbing, B.P. Nichol and Steve McCaffery join Adler for a 4-voice piece employing ululating, abstract vocal and non-vocal noises. At 10 minutes the tape cuts to McCaffery, who begins his section with a ‘found-sound poem’ based on a Babylonian Cuneiform text, going from unrecognisable sounds to regular speech at the end. After this he performs ‘The Precepts’ where he reads alternately from two separate sheets, one with a list of infinitive verbs, the other a list of definite nouns (eg. to [verb] the [noun]). Further performances follow, including ‘Anti-Face’ where he holds a sheet of paper up against his face, draws on it, makes sobbing sounds, eventually bites through the paper, drops it and finishes laughing maniacally. ‘Contributions to Futility’ consists of McCaffery performing various actions including rolling dice, turning the key on a music-box, hitting the floor with a hammer, sawing a piece of wood and speaking fragments of sound poetry. A couple more pieces follow, including one where he adds Italian suffixes to English words, before the tape is cut off whilst he introduced his last piece. The image quality is patchy, the camera work relatively static with a few pans and zooms.\n\nJeremy Adler is a concrete poet and Professor of German at King’s College London. He has published a catalogue of visual poetry, Text als Figur (1990) with Ulrich Ernst and his PhD was on the chemistry of Goethe’s Elective Affinities."},{"slug":"spk_1979_for_nihil","ok":true,"partial":false,"title":"For-NiHil","artist":"SPK","year":"1979","startOffset":0,"sourceSecs":990.445,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":174127176,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/spk_1979_for_nihil/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/spk_1979_for_nihil/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/spk_1979_for_nihil.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/spk_1979_for_nihil/main.mp4?v=2"},{"slug":"spk_brickwerks_performance_sydney_1981","ok":true,"partial":false,"title":"Brickwerks Performance, Sydney","artist":"SPK","year":"1981","startOffset":0,"sourceSecs":1208.405,"sourceHeight":574,"sourceWidth":708,"hasAudio":true,"hasAmbientMp4":true,"bytes":203807974,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/spk_brickwerks_performance_sydney_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/spk_brickwerks_performance_sydney_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/spk_brickwerks_performance_sydney_1981.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/spk_brickwerks_performance_sydney_1981/main.mp4?v=2","description":"... Sydney witnessed one of the most interesting performances in its history at an abandoned Brickworks where SPK played outdoors in a beautiful scene of industrial wreckage while projecting their collection of visuals onto 200ft chimneys.\n\n... The venue SPK chose for its most advanced show to date was not the small punk clubs they had played in thus far, but an abandoned brick factory in Sydney called the Brickworks. Filled with giant kilns, junked automobiles and scrap metals, the band was free to create its own environment. Three months preparation went into the show, obtaining permits from local authorities and hiring scaffolding, while the band worked in bars and university libraries (in addition to their dole).\n\nTom Ellard of Severed Heads was press ganged into mixing the board that night. The audience of nearly 350 were confronted by a masked, anonymous band wielding hatchets and synthesisers, iron bars and electric guitars, manic screams and overdriven taped Gregorian chants."},{"slug":"spk_final_statement_1982","ok":true,"partial":false,"title":"Final Statement","artist":"SPK","year":"1982","startOffset":0,"sourceSecs":547.685,"sourceHeight":560,"sourceWidth":664,"hasAudio":true,"hasAmbientMp4":true,"bytes":100695863,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/spk_final_statement_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/spk_final_statement_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/spk_final_statement_1982.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/spk_final_statement_1982/main.mp4?v=2","artist_bio":"SPK were an Australian industrial music and noise music group formed in 1978. They were fronted by mainstay member, Graeme Revell on keyboards and percussion. In 1980 the group travelled to the United Kingdom where they issued their debut album, Information Overload Unit. In 1983 Sinan Leong joined on lead vocals. The group disbanded in 1988. Two years later Revell and Leong relocated to the United States, where Revell works as a Hollywood film score composer. According to Australian rock music historian Ian McFarlane, SPK were \"at the forefront of the local post-punk, electronic/experimental movement of the late 1970s ... [their] music progressed from discordant, industrial-strength metal noise to sophisticated and restrained dance-rock with strange attributes\".","bio_dates":"1979"},{"slug":"spk_live_at_sams_minneapolis_1982","ok":true,"partial":false,"title":"Live at Sam's, Minneapolis","artist":"SPK","year":"1982","startOffset":0,"sourceSecs":944.525,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":162778361,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/spk_live_at_sams_minneapolis_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/spk_live_at_sams_minneapolis_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/spk_live_at_sams_minneapolis_1982.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/spk_live_at_sams_minneapolis_1982/main.mp4?v=2"},{"slug":"sprinkle_annie_herstory_of_porn","ok":true,"partial":false,"title":"Herstory of Porn: Reel to Real","artist":"Annie Sprinkle","year":"1999","startOffset":0,"sourceSecs":4134.864,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":242106213,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sprinkle_annie_herstory_of_porn/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sprinkle_annie_herstory_of_porn/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sprinkle_annie_herstory_of_porn.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sprinkle_annie_herstory_of_porn/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sprinkle_annie_herstory_of_porn/main/master.m3u8?v=2","hasMainHls":true,"description":"“In a culture that teaches us to forget, not forgive, our mistakes -- and definitely not to glorify them -- porn star-turned-artist/activist Annie Sprinkle understands not only that to err is human, but that it makes for one hell of a supply of interesting source material. Her latest work, Herstory of Porn, is often wry, sometimes wrenching and constantly challenging -- an unflinching look at her own career, from its rawest roots through its recent mutations. It's a daring choice to kick off this year's Images Festival of Independent Film & Video.\n\nZaftig and breathy-voiced, Sprinkle -- who got her start as a popcorn girl in an X-rated New York cinema -- appears in front of a screen upon which outtakes from her \"greatest hits\" constantly play, ushering us through 25 years of every conceivable variation on the primal act with wit, aplomb and an ever-changing wardrobe that must truly be seen to be appreciated.” – Eye Weekly"},{"slug":"sprinkle_annie_sluts_and_godesses_1992","ok":true,"partial":false,"title":"Sluts & Goddesses Video Workshop","artist":"Annie Sprinkle","year":"1992","startOffset":0,"sourceSecs":3051.16,"sourceHeight":472,"sourceWidth":700,"hasAudio":true,"hasAmbientMp4":true,"bytes":514629513,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sprinkle_annie_sluts_and_godesses_1992/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sprinkle_annie_sluts_and_godesses_1992/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sprinkle_annie_sluts_and_godesses_1992.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sprinkle_annie_sluts_and_godesses_1992/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sprinkle_annie_sluts_and_godesses_1992/main/master.m3u8?v=2","hasMainHls":true},{"slug":"srl_a_bitter_message_of_hopeless_greif_1988","ok":true,"partial":false,"title":"Bitter Message of Hopeless Grief","artist":"Survival Research Laboratories","year":"1988","startOffset":0,"sourceSecs":758.229,"sourceHeight":416,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":51898859,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/srl_a_bitter_message_of_hopeless_greif_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/srl_a_bitter_message_of_hopeless_greif_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/srl_a_bitter_message_of_hopeless_greif_1988.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/srl_a_bitter_message_of_hopeless_greif_1988/main.mp4?v=2","description":"Directed by Jon Reiss <br/><br/> A Bitter Message of Hopeless Grief (1988) is typical of SRL's work in all respects except one: it's a filmed, rather than public, event, shot at the SRL \"lab.\" Pauline and director Jon Reiss might have preceded the piece with a disclaimer: \"No humans were harmed in the making of this piece,\" something that can't be said about their other works. The piece opens in a creepy cavern, with a shot of one of several \"panimals,\" this one a mechanically driven skeleton head that looks like a giant bird or perhaps buffalo. A kind of malevolent god figure, it furiously, relentlessly attacks a ragged rodent-like creature, smashing it into walls, running over it, but also dipping it into a mysterious pool that could signify drowning or, in the complex world on display, a more benevolent baptism. Like all SRL machines, this monster groans and creaks with the cries of distressed humanity, but it's impossible not to also read the tormented rodent in the same way, as a metaphor for beleaguered humankind in a hopeless world. This work mocks the repeated rituals for which robots were originally designed, as they engage in more violent but equally wrenching variants on the myth of Sisyphus","artist_bio":"Survival Research Laboratories was conceived of and founded by Mark Pauline in November 1978. Since its inception SRL has operated as an organization of creative technicians dedicated to re-directing the techniques, tools, and tenets of industry, science, and the military away from their typical manifestations in practicality, product or warfare. Since 1979, SRL has staged over 45 mechanized presentations in the United States and Europe. Each performance consists of a unique set of ritualized interactions between machines, robots, and special effects devices, employed in developing themes of socio-political satire. Humans are present only as audience or operators.","bio_dates":"1988"},{"slug":"srl_a_plan_for_social_improvement","ok":true,"partial":false,"title":"A Plan For Social Improvement","artist":"Survival Research Laboratories","year":"1988","startOffset":0,"sourceSecs":305.387,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":21795501,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/srl_a_plan_for_social_improvement/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/srl_a_plan_for_social_improvement/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/srl_a_plan_for_social_improvement.mp4","hasFrames":true,"description":"Recorded: July 17, 1988 in The Netherlands","artist_bio":"Survival Research Laboratories was conceived of and founded by Mark Pauline in November 1978. Since its inception SRL has operated as an organization of creative technicians dedicated to re-directing the techniques, tools, and tenets of industry, science, and the military away from their typical manifestations in practicality, product or warfare. Since 1979, SRL has staged over 45 mechanized presentations in the United States and Europe. Each performance consists of a unique set of ritualized interactions between machines, robots, and special effects devices, employed in developing themes of socio-political satire. Humans are present only as audience or operators.","bio_dates":"1988"},{"slug":"stallones_cameron_impluvium_2011_iphone","ok":true,"partial":false,"title":"Impluvium","artist":"Cameron Stallones (SUN ARAW)","year":"2011","startOffset":0,"sourceSecs":943.683,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":62553701,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stallones_cameron_impluvium_2011_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stallones_cameron_impluvium_2011_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stallones_cameron_impluvium_2011_iphone.m4v","hasFrames":true,"description":"Directed by Cameron Stallones and Abbe Findley<br/> Camera - Brian Davila<br/> Dancing - Abbe Findley","artist_bio":"Cameron Stallones began his musical career as a founding member of the experimental psychedelic rock collective Magic Lantern.  Soon after, demos originally intended to light the Lantern became the first Sun Araw LP:\nThe Phynx.\nSun Araw blossomed as a solo project in attempted geosynchronous orbit with the Eternal Now: oblique six-dimensional transmissions from changeless environs.  Structural and spiritual inspiration for Sun Araw comes primarily from Cameron’s first artistic love: film and filmmakers, especially those invested in the long-take (Tarkovsky, Altman, Bela Tarr, Greenaway).  Devoted to long-form mantric music, the ethos is similar: straight lampin’ in deep focus, angle after angle on the melodic object, gaining strength from the subsequent breakdown of the illusion of fixed perspective.  In that spirit, the visual accompaniment (album art, videos, multimedia performance) is an important vehicle for further expression and collaborative experiments.\nSince 2007, 5 full-length LPs, 3 EPs, and 5 cassettes have walked the mind-planes from psychedelic drone to melted afrobeat, from warped dub to minimal composition.  These releases have been praised in\nWire Magazine\n(who selected Heavy Deeds as one of the top 50 records of 2008, and On Patrol in the top 50 of 2010),\nThe New Yorker, The New York Times, the Los Angeles Times, Uncut Magazine, Mojo, Pitchfork,\nand beyond.  Sun Araw has performed in the US, Canada, Europe, Australia, and New Zealand with hundreds of artists including luminaries like Christian Fennesz and Konono No. 1.  In early 2011, Cameron and M. Geddes Gengras traveled to Jamaica where they produced and recorded a collaboration album with roots reggae legends The Congos, set for release in the fall.  While in and around Kingston, they also began producing dancehall singles and tracking local toasters under the name Duppy Gun Productions, which will be seeing release this summer.","bio_dates":"2011"},{"slug":"starewicz_ladislaw_cameramans_revenge_1912","ok":true,"partial":false,"title":"The Cameraman's Revenge","artist":"Ladislaw Starewicz","year":"1912","startOffset":0,"sourceSecs":801.472,"sourceHeight":400,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":50886019,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starewicz_ladislaw_cameramans_revenge_1912/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starewicz_ladislaw_cameramans_revenge_1912/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/starewicz_ladislaw_cameramans_revenge_1912.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/starewicz_ladislaw_cameramans_revenge_1912/main.mp4?v=2","description":"The Cameraman's Revenge (1912, 13 minutes) is about infidelity among the insects, a topic which I dare say has never before or after been attempted on film. <br/><br/> It opens with Mr. Beetle going to town \"on business,\" to stop at \"The Gay Dragonfly,\" a burlesque parlor. <br/><br/> He meets a dancer who he takes to a hotel room... the grasshopper at left wanted her too, though, and he's mad at the beetle's rudeness.. he's also got a movie camera!","artist_bio":"Ladislaw Starewicz was a Russian and French stop-motion animator notable as the author of the first puppet-animated film (i.e. The Beautiful Lukanida (1912)). He also used insects and other animals as protagonists of his films. (His name can also be spelled Starevitch, Starewich and Starewitch.)","bio_dates":"1882-1965"},{"slug":"starewicz_ladislaw_fetiche_mascot_1933","ok":true,"partial":false,"title":"The Mascot","artist":"Ladislaw Starewicz","year":"1933","startOffset":0,"sourceSecs":1221.397,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":204050128,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starewicz_ladislaw_fetiche_mascot_1933/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starewicz_ladislaw_fetiche_mascot_1933/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/starewicz_ladislaw_fetiche_mascot_1933.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/starewicz_ladislaw_fetiche_mascot_1933/main.mp4?v=2","description":"Starewicz had become a master animator by 1933, incorporating techniques never used before and rarely since (such as moving the puppets during the actual exposure to create blurring for fast movement). His use of rear-screen projection is also surprisingly effective.\n\nBut more important than these technical details is the great humor of his writing and his sensitivity to character. Each of the dozens of puppets in this film is imbued with a convincing personality; none more so than the title character, known as Fétiche in France and Duffy in England and the U.S. I think the scene of him hanging in a car's rear window is one of the funniest and most poignant scenes you'll find in any film. The character was so successful Starewicz starred him in four more films.\n\nWe have CGI now, but all Starewicz had was an imagination that wouldn't take \"no\" for an answer. Whatever he wanted to see on the screen, he created. And he wanted to see some truly bizarre stuff - every imaginable piece of scrap is called up for service: old shoes, chicken bones, utensils, broken glasses, dolls, monkeys, rats...nothing was off limits.\n\nA sweet, funny, and also eerie film that should be seen by anyone with even a passing interest in animation. Or film, for that matter."},{"slug":"starewicz_ladislaw_the_insects_christmas_1913","ok":true,"partial":false,"title":"The Insect's Christmas","artist":"Ladislaw Starewicz","year":"1913","startOffset":0,"sourceSecs":390.507,"sourceHeight":400,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":23417056,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starewicz_ladislaw_the_insects_christmas_1913/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starewicz_ladislaw_the_insects_christmas_1913/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/starewicz_ladislaw_the_insects_christmas_1913.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/starewicz_ladislaw_the_insects_christmas_1913/main.mp4?v=2","description":"The stop-motion camera shows a close-up of ornaments on the branches of a Christmas tree, amongst which is a Father Christmas who climbs down from his perch and in so doing dislodges a glass globe, which falls to the floor and breaks. A dolly among the gifts below awakes, looks about her and sees Father Christmas setting off for the forest. <br/><br/> Outside in the snowy night landscape, he waves his staff and \"grows\" a tree, then magically adds ornaments, all the while his greatcoat is lifted by the breeze. Now he goes to invite all the little insects in the forest to his Christmas celebrations. <br/><br/> Each of these creatures is a delicate, lifelike, mobile replica. The ladybug hears him out, then stands on her hind or third pair of legs and goes off. Beetles turn somersaults at the news as they go. The pond is frozen, but a frog jumps up through the ice and very elegantly greets Father Christmas, giving him a Russian hug. <br/><br/> They all ski or sled down to the pond, where they go skating. A very large Christmas cracker is popped, which sends two of them tumbling. <br/><br/> Next morning, Father Christmas returns to the house and climbs back up to his place on the Christmas tree.","artist_bio":"Ladislaw Starewicz was a Russian and French stop-motion animator notable as the author of the first puppet-animated film (i.e. The Beautiful Lukanida (1912)). He also used insects and other animals as protagonists of his films. (His name can also be spelled Starevitch, Starewich and Starewitch.)","bio_dates":"1882-1965"},{"slug":"stark_frances_van_abbe_02_drop_milk","ok":true,"partial":false,"title":"A DROP OF MYTHTER'S MILK, w/ Mythter, circa 1993","artist":"Frances Stark","year":"2001","startOffset":0,"sourceSecs":78.784,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":13171960,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_02_drop_milk/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_02_drop_milk/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stark_frances_van_abbe_02_drop_milk.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stark_frances_van_abbe_02_drop_milk/main.mp4?v=2","description":"just over a minute<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"I'M JUST ABOUT TO LOSE MY MIND, w/ The Slits' cover version of \"Heard it through the Grapevine\" (2002)\nAT THE TABLE WITH NEWSPAPERS, w/ \"Superficial Love\" by T.S.O.L., circa 1981 (2002)\nA LIVE PERFORMANCE, w/ Throbbing Gristle live, circa 1981 (2002)\n[THIS IS NOT EXACTLY A CAT VIDEO], w/ David Bowie's \"Star Man\", etc. (2007)\nFrances Stark (1967, Newport Beach, California) is based in Los Angeles, California. She received her MFA from Art Center College of Art and Design (Pasadena, California), and is currently an Assistant Professor at University of Southern California Roski School of Fine Arts (Los Angeles, California).\nThrough both writing and visual art, Frances Stark addresses the conditions of creative labor, producing candid and affecting work about the nature of artistic practice and the corresponding yet integral banality of the everyday. The artist’s body of work stands as a self-reflexive inquiry into the process of artistic production, and the often-elided demands of daily life.","bio_dates":"b. 1967"},{"slug":"stark_frances_van_abbe_03_lose_mind","ok":true,"partial":false,"title":"I'M JUST ABOUT TO LOSE MY MIND, w/ The Slits' cover version of \"Heard it through the Grapevine\"","artist":"Frances Stark","year":"2002","startOffset":0,"sourceSecs":253.867,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":39693625,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_03_lose_mind/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_03_lose_mind/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stark_frances_van_abbe_03_lose_mind.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stark_frances_van_abbe_03_lose_mind/main.mp4?v=2","description":"four minutes<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"I'M JUST ABOUT TO LOSE MY MIND, w/ The Slits' cover version of \"Heard it through the Grapevine\" (2002)\nAT THE TABLE WITH NEWSPAPERS, w/ \"Superficial Love\" by T.S.O.L., circa 1981 (2002)\nA LIVE PERFORMANCE, w/ Throbbing Gristle live, circa 1981 (2002)\n[THIS IS NOT EXACTLY A CAT VIDEO], w/ David Bowie's \"Star Man\", etc. (2007)\nFrances Stark (1967, Newport Beach, California) is based in Los Angeles, California. She received her MFA from Art Center College of Art and Design (Pasadena, California), and is currently an Assistant Professor at University of Southern California Roski School of Fine Arts (Los Angeles, California).\nThrough both writing and visual art, Frances Stark addresses the conditions of creative labor, producing candid and affecting work about the nature of artistic practice and the corresponding yet integral banality of the everyday. The artist’s body of work stands as a self-reflexive inquiry into the process of artistic production, and the often-elided demands of daily life.","bio_dates":"b. 1967"},{"slug":"stark_frances_van_abbe_09_at_home_99_97_prina","ok":true,"partial":false,"title":"AT HOME 1999/1997, w/ Stephen Prina's \"The Achiever\"","artist":"Frances Stark","year":"1999","startOffset":0,"sourceSecs":187.392,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":33999253,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_09_at_home_99_97_prina/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_09_at_home_99_97_prina/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stark_frances_van_abbe_09_at_home_99_97_prina.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stark_frances_van_abbe_09_at_home_99_97_prina/main.mp4?v=2","description":"<b>RELATED RESOURCES:</b><br/> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a>","artist_bio":"I'M JUST ABOUT TO LOSE MY MIND, w/ The Slits' cover version of \"Heard it through the Grapevine\" (2002)\nAT THE TABLE WITH NEWSPAPERS, w/ \"Superficial Love\" by T.S.O.L., circa 1981 (2002)\nA LIVE PERFORMANCE, w/ Throbbing Gristle live, circa 1981 (2002)\n[THIS IS NOT EXACTLY A CAT VIDEO], w/ David Bowie's \"Star Man\", etc. (2007)\nFrances Stark (1967, Newport Beach, California) is based in Los Angeles, California. She received her MFA from Art Center College of Art and Design (Pasadena, California), and is currently an Assistant Professor at University of Southern California Roski School of Fine Arts (Los Angeles, California).\nThrough both writing and visual art, Frances Stark addresses the conditions of creative labor, producing candid and affecting work about the nature of artistic practice and the corresponding yet integral banality of the everyday. The artist’s body of work stands as a self-reflexive inquiry into the process of artistic production, and the often-elided demands of daily life.","bio_dates":"b. 1967"},{"slug":"stark_frances_van_abbe_16_at_table_newspaper","ok":true,"partial":false,"title":"Van Abbe 16 At Table Newspaper","artist":"Frances Stark","year":"2002","startOffset":0,"sourceSecs":84.821,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":4691054,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_16_at_table_newspaper/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_16_at_table_newspaper/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stark_frances_van_abbe_16_at_table_newspaper.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stark_frances_van_abbe_16_at_table_newspaper/main.mp4?v=2","description":"AT THE TABLE WITH NEWSPAPERS, w/ \"Superficial Love\" by T.S.O.L., circa 1981 (2002)"},{"slug":"stark_frances_van_abbe_17_live_performance","ok":true,"partial":false,"title":"A LIVE PERFORMANCE, w/ Throbbing Gristle live, circa 1981","artist":"Frances Stark","year":"2002","startOffset":0,"sourceSecs":103.083,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":17408448,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_17_live_performance/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_17_live_performance/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stark_frances_van_abbe_17_live_performance.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stark_frances_van_abbe_17_live_performance/main.mp4?v=2","description":"under two minutes<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"I'M JUST ABOUT TO LOSE MY MIND, w/ The Slits' cover version of \"Heard it through the Grapevine\" (2002)\nAT THE TABLE WITH NEWSPAPERS, w/ \"Superficial Love\" by T.S.O.L., circa 1981 (2002)\nA LIVE PERFORMANCE, w/ Throbbing Gristle live, circa 1981 (2002)\n[THIS IS NOT EXACTLY A CAT VIDEO], w/ David Bowie's \"Star Man\", etc. (2007)\nFrances Stark (1967, Newport Beach, California) is based in Los Angeles, California. She received her MFA from Art Center College of Art and Design (Pasadena, California), and is currently an Assistant Professor at University of Southern California Roski School of Fine Arts (Los Angeles, California).\nThrough both writing and visual art, Frances Stark addresses the conditions of creative labor, producing candid and affecting work about the nature of artistic practice and the corresponding yet integral banality of the everyday. The artist’s body of work stands as a self-reflexive inquiry into the process of artistic production, and the often-elided demands of daily life.","bio_dates":"b. 1967"},{"slug":"stark_frances_van_abbe_26_arlo","ok":true,"partial":false,"title":"Van Abbe 26 Arlo","artist":"Frances Stark","year":"2007","startOffset":0,"sourceSecs":608.789,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":100904048,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_26_arlo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_frances_van_abbe_26_arlo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stark_frances_van_abbe_26_arlo.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stark_frances_van_abbe_26_arlo/main.mp4?v=2"},{"slug":"stark_francis_nothing_is_enough_2012","ok":true,"partial":false,"title":"Nothing is Enough","artist":"Frances Stark","year":"2012","startOffset":0,"sourceSecs":892.726,"sourceHeight":900,"sourceWidth":1600,"hasAudio":true,"hasAmbientMp4":true,"bytes":18503530,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_francis_nothing_is_enough_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_francis_nothing_is_enough_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stark_francis_nothing_is_enough_2012.mov","hasFrames":true,"description":"The film Nothing Is Enough by artist and writer Frances Stark consists of documented text fragments from Stark’s online chat with a young Italian man, ranging from contemplative, self-reflective discussions to cybersex. Lacking any visual imagery, the film is set to a moody improvised piano piece played by another man Stark met in virtual reality. In a very personal way, Stark turns virtual conversation and chat room exchanges into art."},{"slug":"stark_francis_osservate_legette_con_me_2012","ok":true,"partial":false,"title":"Osservate, leggete con me","artist":"Frances Stark","year":"2012","startOffset":0,"sourceSecs":1818.316,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":59552722,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_francis_osservate_legette_con_me_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stark_francis_osservate_legette_con_me_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stark_francis_osservate_legette_con_me_2012.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stark_francis_osservate_legette_con_me_2012/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stark_francis_osservate_legette_con_me_2012/main/master.m3u8?v=2","hasMainHls":true,"description":"Mozart's opera Don Giovanni serves as a jumping-off point for a pair of videos featuring texts transcribed from conversations the artist had with different men via Skype. The works are, in effect, ruminations on how Internet technologies have transformed the relationships and interpersonal communication.","artist_bio":"I'M JUST ABOUT TO LOSE MY MIND, w/ The Slits' cover version of \"Heard it through the Grapevine\" (2002)\nAT THE TABLE WITH NEWSPAPERS, w/ \"Superficial Love\" by T.S.O.L., circa 1981 (2002)\nA LIVE PERFORMANCE, w/ Throbbing Gristle live, circa 1981 (2002)\n[THIS IS NOT EXACTLY A CAT VIDEO], w/ David Bowie's \"Star Man\", etc. (2007)\nFrances Stark (1967, Newport Beach, California) is based in Los Angeles, California. She received her MFA from Art Center College of Art and Design (Pasadena, California), and is currently an Assistant Professor at University of Southern California Roski School of Fine Arts (Los Angeles, California).\nThrough both writing and visual art, Frances Stark addresses the conditions of creative labor, producing candid and affecting work about the nature of artistic practice and the corresponding yet integral banality of the everyday. The artist’s body of work stands as a self-reflexive inquiry into the process of artistic production, and the often-elided demands of daily life.","bio_dates":"b. 1967"},{"slug":"starling_simon_in_speculum","ok":true,"partial":false,"title":"In Speculum","artist":"Simon Starling","year":"2013","startOffset":0,"sourceSecs":760.063,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":305325078,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starling_simon_in_speculum/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starling_simon_in_speculum/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/starling_simon_in_speculum.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/starling_simon_in_speculum/main.mp4?v=2"},{"slug":"starling_simon_noack_master","ok":true,"partial":false,"title":"Wilhelm Noack oHG","artist":"Simon Starling","year":"2006","startOffset":0,"sourceSecs":243.84,"sourceHeight":468,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":33351960,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starling_simon_noack_master/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starling_simon_noack_master/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/starling_simon_noack_master.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/starling_simon_noack_master/main.mp4?v=2","description":"In a milieu of quiet Conceptualism, of thoughtful works in spaces so silent that whispering is par for the course, Simon Starling’s latest show heralds a booming departure. A mind-twisting work titled after its fabricator, Wilhelm Noack oHG, 2006, is both film projector and film projection. That is, the film projector itself is a strange work of art conceived of by Starling and produced by the Noack family firm, while the film is a four-minute history of the machine’s maker and makings. It's dark and loud; the clangs and bangs of industry pierce the room, the bass note simply the mechanic purr of the oversize projector, itself a spiraling staircase, shiny and new (very possibly a machine rendered following a mental rendezvous with László Moholy-Nagy and Jean Tinguely). And though the black-and-white film bears nostalgic overtones, it never becomes maudlin. Here, Starling’s abiding fascination with rebuilding what has already been built reflects a Real that goes beyond the ethereality of a virtual production line. If Fischli & Weiss’s Der Lauf der Dinge (The Way Things Go), 1987, is a revival of child’s play (two boys left alone with matches), then Starling’s latest production is an adult homage to the aesthetics of the “hard” in a hard-drive technological montage.","artist_bio":"Simon Starling was born in 1967 in Epsom, England. He attended the Maidstone College of Art from 1986 to 1987, Nottingham Trent University from 1987 to 1990, and the Glasgow School of Art from 1990 to 1992. Starling’s works point to connections between the history of Modernism and contemporary globalization. For Le Jardin Suspendu (1998), he crafted a radio-controlled airplane from balsa wood, cut from a tree in Ecuador, and flew it above a Modernist villa in Melbourne, Australia. In Inverted Retrograde Theme, USA (House for a Songbird) (2002), the artist made models of buildings based on housing projects in Puerto Rico designed by the architect Simon Schmiderer in the early 1960s, adapting Schmiderer’s designs according to Arnold Schoenberg’s twelve-tone notational system for Modernist music. Bird in Space (2004), an enormous slab of Romanian steel supported by helium-filled rubber jacks, refers both to the recent history of international steel trade tariffs and to Constantin Brancusi’s 1926 sculpture of the same name, which upon reaching the United States for an exhibition in 1927 sparked a landmark court case on what could be legally defined as art. Starling’s recent works pose charged propositions for both artistic processes and energy consumption. For Tabernas Desert Run (2004), the artist created an electric bicycle on which he traversed the Tabernas desert; the vehicle’s only emission was water, which Starling used to paint a watercolor of a cactus. For Shedboatshed (Mobile Architecture No 2) (2005), Starling utilized the wood from a shed to construct a boat, which he navigated down the Rhine to the Kunstmuseum Basel, where he thereupon disassembled the barge to rebuild a shed. Starling’s recent pieces also extend his sardonic engagement with modern sculpture; for example Infestation Piece (Musselled Moore) (2007–08) is a Henry Moore-like steel figure overrun with erosive barnacles.\nSince his first solo exhibition, at the Showroom in London in 1995, Starling has had shows at the Moderna Museet in Stockholm (1998), Camden Arts Centre in London (2000), Fundació Joan Miró in Barcelona (2004), Kunstmuseum Basel (2005), Städtischen Kunstmuseum zum Museum Folkwang in Essen (2006), Wiels Centre for Contemporary Art, Brussels (2006 and 2007), and Massachusetts Museum of Contemporary Art in North Adams (2008), among other venues. His work has also appeared in Manifesta 3 in Ljubljana, Slovenia (2000), Manifesta 4 in Frankfurt am Main (2002), Venice Biennale (2003), Moving Pictures at the Guggenheim Museum Bilbao (2003), São Paulo Biennial (2004), and Triennial of Photography and Video at the International Center for Photography, New York (2006). In 1999 he received the Paul Hamlyn Foundation Award for Artists and a Blinky Palermo Stipendium from the Galerie für Zeitgenössische Kunst in Leipzig, Germany. In 2004 he was short-listed for the Guggenheim Museum’s Hugo Boss Prize and in 2005 won the Turner Prize. He lives and works in Copenhagen.","bio_dates":"b. 1967"},{"slug":"starling_simon_phantom_ride","ok":true,"partial":false,"title":"Phantom Ride","artist":"Simon Starling","year":"2013","startOffset":0,"sourceSecs":445.013,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":204932362,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starling_simon_phantom_ride/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starling_simon_phantom_ride/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/starling_simon_phantom_ride.mp4","hasFrames":true,"description":"The phantom ride was a genre of film popular in the very early days of cinema. A camera was fixed to a moving vehicle to simulate a journey for an immobile cinema audience. They sat pinned to their seats, white-knuckled for fear they might derail on the next precipitous bend. The train tracks or the road anticipated the trajectory of the ‘phantom’ vehicle. Here though, the way has vanished. The highly precise and repeatable movements of the huge robotic arm on the similarly track-bound ‘motion control camera’ used to make this film facilitate a rollercoaster ride on invisible rails. The film’s soundtrack is the only remaining evidence of the camera’s week-long presence in the Duveens – the audible contractions and expansions, the ascents, descents and contortions, of a very real machine. -- Simon Starling","artist_bio":"Simon Starling was born in 1967 in Epsom, England. He attended the Maidstone College of Art from 1986 to 1987, Nottingham Trent University from 1987 to 1990, and the Glasgow School of Art from 1990 to 1992. Starling’s works point to connections between the history of Modernism and contemporary globalization. For Le Jardin Suspendu (1998), he crafted a radio-controlled airplane from balsa wood, cut from a tree in Ecuador, and flew it above a Modernist villa in Melbourne, Australia. In Inverted Retrograde Theme, USA (House for a Songbird) (2002), the artist made models of buildings based on housing projects in Puerto Rico designed by the architect Simon Schmiderer in the early 1960s, adapting Schmiderer’s designs according to Arnold Schoenberg’s twelve-tone notational system for Modernist music. Bird in Space (2004), an enormous slab of Romanian steel supported by helium-filled rubber jacks, refers both to the recent history of international steel trade tariffs and to Constantin Brancusi’s 1926 sculpture of the same name, which upon reaching the United States for an exhibition in 1927 sparked a landmark court case on what could be legally defined as art. Starling’s recent works pose charged propositions for both artistic processes and energy consumption. For Tabernas Desert Run (2004), the artist created an electric bicycle on which he traversed the Tabernas desert; the vehicle’s only emission was water, which Starling used to paint a watercolor of a cactus. For Shedboatshed (Mobile Architecture No 2) (2005), Starling utilized the wood from a shed to construct a boat, which he navigated down the Rhine to the Kunstmuseum Basel, where he thereupon disassembled the barge to rebuild a shed. Starling’s recent pieces also extend his sardonic engagement with modern sculpture; for example Infestation Piece (Musselled Moore) (2007–08) is a Henry Moore-like steel figure overrun with erosive barnacles.\nSince his first solo exhibition, at the Showroom in London in 1995, Starling has had shows at the Moderna Museet in Stockholm (1998), Camden Arts Centre in London (2000), Fundació Joan Miró in Barcelona (2004), Kunstmuseum Basel (2005), Städtischen Kunstmuseum zum Museum Folkwang in Essen (2006), Wiels Centre for Contemporary Art, Brussels (2006 and 2007), and Massachusetts Museum of Contemporary Art in North Adams (2008), among other venues. His work has also appeared in Manifesta 3 in Ljubljana, Slovenia (2000), Manifesta 4 in Frankfurt am Main (2002), Venice Biennale (2003), Moving Pictures at the Guggenheim Museum Bilbao (2003), São Paulo Biennial (2004), and Triennial of Photography and Video at the International Center for Photography, New York (2006). In 1999 he received the Paul Hamlyn Foundation Award for Artists and a Blinky Palermo Stipendium from the Galerie für Zeitgenössische Kunst in Leipzig, Germany. In 2004 he was short-listed for the Guggenheim Museum’s Hugo Boss Prize and in 2005 won the Turner Prize. He lives and works in Copenhagen.","bio_dates":"b. 1967"},{"slug":"starling_simon_project_for_a_masquerade_hiroshima","ok":true,"partial":false,"title":"Project for a Masquerade (Hiroshima)","artist":"Simon Starling","year":"2010-2011","startOffset":0,"sourceSecs":2059.178,"sourceHeight":386,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":124668789,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starling_simon_project_for_a_masquerade_hiroshima/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starling_simon_project_for_a_masquerade_hiroshima/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/starling_simon_project_for_a_masquerade_hiroshima.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/starling_simon_project_for_a_masquerade_hiroshima/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/starling_simon_project_for_a_masquerade_hiroshima/main/master.m3u8?v=2","hasMainHls":true,"description":"Project for a Masquerade (Hiroshima) documents the making of masks for a Japanese Noh play inspired by the creation of Henry Moore’s Nuclear Energy sculpture, placing Moore alongside real and fictional contemporaries including James Bond and Enrico Fermi. At Twilight, inspired by a Noh-influenced W.B. Yeats play, features a re-creation of a dance from the original play that will be accompanied live at this event by musician Joshua Abrams’s Natural Information Society."},{"slug":"starling_simon_short_story_brief_history","ok":true,"partial":false,"title":"Short Story, Brief History","artist":"Simon Starling","year":"1999","startOffset":0,"sourceSecs":890.041,"sourceHeight":510,"sourceWidth":702,"hasAudio":true,"hasAmbientMp4":true,"bytes":149319623,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starling_simon_short_story_brief_history/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/starling_simon_short_story_brief_history/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/starling_simon_short_story_brief_history.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/starling_simon_short_story_brief_history/main.mp4?v=2","description":"In Simon Starling's film Short Story, Brief History a narrative unfolds in which a silver fork is transformed into its natural material and then metamorphoses into another form of artifice. Truth and fiction mingle easily through the mediating device of the camera lens. The absurd protraction of Starling's production process, and its subsequent notation, ideally paves the way for a fuller consideration of the social and cultural matrices in which these objects are embedded than they might ordinarily receive. In this instance he used petal-shaped strips of metal cut from a Daihatsu Jet Van to construct his own version of Poul Henningsen's classic 1957 Artichoke Lamp.","artist_bio":"Simon Starling was born in 1967 in Epsom, England. He attended the Maidstone College of Art from 1986 to 1987, Nottingham Trent University from 1987 to 1990, and the Glasgow School of Art from 1990 to 1992. Starling’s works point to connections between the history of Modernism and contemporary globalization. For Le Jardin Suspendu (1998), he crafted a radio-controlled airplane from balsa wood, cut from a tree in Ecuador, and flew it above a Modernist villa in Melbourne, Australia. In Inverted Retrograde Theme, USA (House for a Songbird) (2002), the artist made models of buildings based on housing projects in Puerto Rico designed by the architect Simon Schmiderer in the early 1960s, adapting Schmiderer’s designs according to Arnold Schoenberg’s twelve-tone notational system for Modernist music. Bird in Space (2004), an enormous slab of Romanian steel supported by helium-filled rubber jacks, refers both to the recent history of international steel trade tariffs and to Constantin Brancusi’s 1926 sculpture of the same name, which upon reaching the United States for an exhibition in 1927 sparked a landmark court case on what could be legally defined as art. Starling’s recent works pose charged propositions for both artistic processes and energy consumption. For Tabernas Desert Run (2004), the artist created an electric bicycle on which he traversed the Tabernas desert; the vehicle’s only emission was water, which Starling used to paint a watercolor of a cactus. For Shedboatshed (Mobile Architecture No 2) (2005), Starling utilized the wood from a shed to construct a boat, which he navigated down the Rhine to the Kunstmuseum Basel, where he thereupon disassembled the barge to rebuild a shed. Starling’s recent pieces also extend his sardonic engagement with modern sculpture; for example Infestation Piece (Musselled Moore) (2007–08) is a Henry Moore-like steel figure overrun with erosive barnacles.\nSince his first solo exhibition, at the Showroom in London in 1995, Starling has had shows at the Moderna Museet in Stockholm (1998), Camden Arts Centre in London (2000), Fundació Joan Miró in Barcelona (2004), Kunstmuseum Basel (2005), Städtischen Kunstmuseum zum Museum Folkwang in Essen (2006), Wiels Centre for Contemporary Art, Brussels (2006 and 2007), and Massachusetts Museum of Contemporary Art in North Adams (2008), among other venues. His work has also appeared in Manifesta 3 in Ljubljana, Slovenia (2000), Manifesta 4 in Frankfurt am Main (2002), Venice Biennale (2003), Moving Pictures at the Guggenheim Museum Bilbao (2003), São Paulo Biennial (2004), and Triennial of Photography and Video at the International Center for Photography, New York (2006). In 1999 he received the Paul Hamlyn Foundation Award for Artists and a Blinky Palermo Stipendium from the Galerie für Zeitgenössische Kunst in Leipzig, Germany. In 2004 he was short-listed for the Guggenheim Museum’s Hugo Boss Prize and in 2005 won the Turner Prize. He lives and works in Copenhagen.","bio_dates":"b. 1967"},{"slug":"steiner_ralph_h20_1929","ok":true,"partial":false,"title":"Ralph Steiner","artist":"Ralph Steiner","year":"1929","startOffset":0,"sourceSecs":595.968,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":42800306,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steiner_ralph_h20_1929/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steiner_ralph_h20_1929/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/steiner_ralph_h20_1929.mp4","hasFrames":true,"description":"This film is one of Ralph Steiner's two meditations on water, the other being Surf and Seaweed. Both films contemplate movement, surface and light with respect to water; cataloguing and classifying types of imagery on black and white film. Considered a \"classic\" experimental film from 1929.","artist_bio":"Jerry Tartaglia is a filmmaker and writer whose work in Experimental Film and Queer Cinema spans four decades. He studied with the Abstract Expressionist Painter, Harry Koursaros, who introduced him to experimental film and the work of Jack Smith, Jonas Mekas, and Gregory Markopoulos.\nLater, he co-founded Berks Filmmakers Inc, one of the longest surviving Micro-Cinema Showcases for Experimental Media Art in the U.S. In the 1970s he produced his now lost feature film, “Lawless” with Warhol Factory star Pope Ondine. He also assisted Tony Conrad in the manufacture & production of the Yellow Movie series in 1973.\nHe was the first to write about the gay sensibility in American Avant-Garde film, published in The Millennium Film Journal in 1977. His Cinema is an ongoing examination of Identity and media politics through the moving image.","bio_dates":"1899-1986"},{"slug":"steinkamp_jennifer_dervish8","ok":true,"partial":false,"title":"Dervish","artist":"Jennifer Steinkamp","year":"2004-2005","startOffset":0,"sourceSecs":79.967,"sourceHeight":320,"sourceWidth":480,"hasAudio":false,"hasAmbientMp4":true,"bytes":1193028,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steinkamp_jennifer_dervish8/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steinkamp_jennifer_dervish8/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/steinkamp_jennifer_dervish8.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/steinkamp_jennifer_dervish8/main.mp4?v=2","description":"Artist: Jennifer Steinkamp<br/> Title: Dervish<br/> Date: 2004, 05<br/> Dimensions: size variable, horizontal: 8 - 12 feet high x 10.6 - 16 feet wide<br/> Equipment: 5000+ lumen projectors, 1 PC computer.","artist_bio":"Jennifer Steinkamp (born 1958) is an American installation artist who works with video and new media in order to explore ideas about architectural space, motion, and perception.\nBorn in Denver, Colorado in 1958, Steinkamp is the eldest of five children, three girls and two boys. Her family lived in a number of areas before settling in Edina, Minnesota. In 1979, Steinkamp moved to Los Angeles to attend Art Center College of Design in Pasadena, studying with Mike Kelley, Gene Youngblood, and Jeremy Gilbert-Rolfe. She then transferred to the California Institute of the Arts, where she studied experimental animation. Steinkamp returned to Art Center to earn her BFA in 1989 and her MFA in 1991. In 2011, Art Center recognized Steinkamp with an Honorary Doctorate. She is currently a professor in the department of Design Media Arts at UCLA.\nSteinkamp uses digital projection to transform architectural space, providing the viewer with a synaesthetic experience, often working in collaboration with musicians Jimmy Johnson and Andrew Bucksbarg to integrate sound into her work. While her career began with brightly colored abstract projections, since 2003 she has increasingly incorporated nature-based imagery into her work — gnarled trees that twist, turn, and change seasons; rooms filled with undulating strands of flowers. In doing so she has brought digital art into the mainstream of contemporary art. Her use of vernacular imagery and embrace of beauty result in environments that reference the sublime, as did the Hudson River School painters. Like her art historical precedents, Steinkamp conveys the magnitude and power of nature—a nature that is not always benign. Premature, a series first displayed in 2010, shifts the focus of Steinkamp's subject to life and death. She explores this topic with projections of slithering veins and arteries that evoke the eerie inspiration of her work. Her work has the power to communicate to a broader public, to “convert” a more traditional art audience, familiar with the use of computer graphics for video games but unaware of other creative applications.\nSteinkamp has exhibited her work internationally in a variety of venues and contexts, but her work is still difficult to categorize. She is often described as a video artist although her work is not photo or video-based; her recent inclusion in the California Video exhibition at the Getty Museum suggests that her connection to the genre is unlikely to change. Interestingly, the media art world has never embraced Steinkamp as one of their own, since her work is not technically interactive and she uses the computer not as a tool to comment on technology, but rather one to create imagery.\nIn 2008, Steinkamp was selected as the United States representative in the 11th International Cairo Biennale. In 2009, she was commissioned to make Hollywood and Vine, a permanent outdoor installation in Hollywood, California. The Valentino 2010 Spring/Summer couture show featured projections of Steinkamp's trees against the walls of the runway. In 2011, Jennifer Steinkamp exhibited at Prospect. 2 New Orleans, the second biennial of Prospect New Orleans curated by Dan Cameron. Stephanie Hanor and Lucia Sanromán also curated a solo show of her work at the Museum of Contemporary Art, San Diego the same year.[4] In 2013, Steinkamp projected her work 6EQUJ5 on the central dome of the Minneapolis Institute of Arts, in Minneapolis, Minnesota. Her work was also installed at the American Consulate in Guangzhou, China as part of Art in Embassies, curated by Virginia L.Shore.\nSteinkamp has been in countless other exhibitions and her work is in the permanent public collections of: The Los Angeles County Museum of Art; The Madison Museum of Contemporary Art, The Denver Art Museum; The San Jose Museum of Art; Museum of Contemporary Art Los Angeles; Staples Center; Henry Art Gallery, Seattle; Albright-Knox Art Gallery, Buffalo; The Fremont Street Experience, Las Vegas; The Experience Music Project, Seattle; The Corcoran Gallery of Art, Washington DC; Museum of Contemporary Art, North Miami, Florida; MUSAC, Museo de Arte Contemporáneo de Castilla y León, Leon, Spain; Istanbul Modern, Istanbul, Turkey; Progressive Corporation, Cleveland, Ohio; Autostadt Collection, Wolfsburg, Germany; Phoenix Art Museum, Phoenix, Arizona; Hammer Museum, Los Angeles, California; Towada Center, Towada, Japan; CAC Museum of Malaga, Malaga, Spain; Vero Beach Museum of Art, Vero Beach, Florida; The West Collection, Pennsylvania; Weatherspoon Art Museum, North Carolina.\nSteinkamp is represented by ACME in Los Angeles, greengrassi in London and Lehmann Maupin Gallery in New York.","bio_dates":"b. 1958"},{"slug":"steinkamp_jennifer_installations","ok":true,"partial":false,"title":"Documenation of Early Installations","artist":"Jennifer Steinkamp","year":"1989","startOffset":0,"sourceSecs":1128.2,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":69269156,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steinkamp_jennifer_installations/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steinkamp_jennifer_installations/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/steinkamp_jennifer_installations.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/steinkamp_jennifer_installations/main.mp4?v=2"},{"slug":"steyerl_hito_lovely_andrea_iphone","ok":true,"partial":false,"title":"Lovely Andrea","artist":"Hito Steyerl","year":"2007","startOffset":0,"sourceSecs":1783.084,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":106770789,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steyerl_hito_lovely_andrea_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steyerl_hito_lovely_andrea_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/steyerl_hito_lovely_andrea_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/steyerl_hito_lovely_andrea_iphone/main.mp4?v=2","description":"2007 / Video / color / sound / 1S / 30' 00<br/><br/> If all pictures became current, in that they pass by and in doing so, are connectable with one another, whether elegantly or obscenely, through translation or association—how would it be possible to fasten down a picture? Hito Steyerl’s light-hearted picture translations are about fastening things in an elegant-obscene way: In Tokyo she is looking for a photo series that she posed for in 1987 as a “rope bondage” model. While making inquiries with experts and authorities in the bondage arts (which are mainly marketed online nowadays), she found what she was looking for in a magazine archive. The cinematic tension is extremely high just now says the translator while Steyerl looks through photos of herself from her days as a film student. Something that fastens, but no biographical final revelation; instead, the discovered photographs fall into the slipstream of an informally networked archive of a life with bondage as conveyed by the media—in the sense that the master and slave games, as they’re called, have become entirely normal.<br/><br/> Citizen Kane-like detectives cross through clever cascades of images to which bits of super hero cartoons are added, along with Depeche Mode, X-Ray Spex, girls with needle and thread in the video clip sweatshop. Picture censorship once applied to tied-up models, today it applies to the “Spiderman” teaser with the net stretched between the Twin Towers; some types of captivation are war crimes, others take their place in the art world. And the interpreter, who is a bondage model, student (of web design!) and, of course, a translator, assumes the role of filmmaker as an alter ego; she is suspended in the act of self definition qua self suspension. Self suspension occurs in history and also, as reversed in Steyerl’s montage: from face and identity to “genital,” not understood as looking at, but as the logic of the origins (to be bared), the dissolution of medial clichés in power issues and—in the production shots that frame the film—the redemption of the act in the accident.<br/><br/> Lovely Andrea relates to the search for a photography taken in Tokyo around 1987. The photo shows the artist half naked and tied up, a bondage picture in the nawa-shibari style, characterised by women bound and suspended in the air. Today Japanese bondage is a subgenre of pornography. But it developed from the martial arts, hojojutsu being the act of using of a rope to capture, transport and torture criminals. An aestetic act from the start, only in the late 19th and early 20th centuries did it acquire a sensual and erotic dimension.<br/><br/>\"\"\"But in a wider context, there is bondage all over the place\", the video states at one point, to the accompainment of a montage of Japanese bondage girls, the American superhero Spiderman and bound captives in the US-detainment camp at Guantanamo Bay. By associatively linking desire and bondage, voluntary subjection and captivity, dependencies, networks, complicity, and cliques, Steyerl creates a polysemous play of thought: Who are the string pullers? Who are the puppets? How do things stand with the pictures?<br/><br/> Bondage in Lovely Andrea is a universal metaphor.<br/><br/> (Manuela Ammer)","artist_bio":"Hito Steyerl has produced a variety of work as a filmmaker and author in the field of essayist documentary video and post-colonial critique, both as a producer and a theorist. Her principal topics of interest are media and the global circulation of images. In 2004 she participated in Manifesta5, The European Biennial of Contemporary Art. She also participated in documenta 12, Kassel 2007, Shanghai biennial 2008, and Gwangju and Taipeh biennials 2010 and was the subject of numerous solo exhibitions [1] throughout Europe. In addition, Steyerl holds a PhD in Philosophy, is a professor for media art at the University of Arts Berlin and has taught film and theory at (amongst other institutions) Goldsmiths College and Bard College, Center for Curatorial Studies. -- Wikipedia","bio_dates":"b. 1966"},{"slug":"steyerl_hito_normalitat_1_10_1999_2003","ok":true,"partial":false,"title":"Normalität 1-10","artist":"Hito Steyerl","year":"1999-2003","startOffset":0,"sourceSecs":2229.72,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":381672813,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steyerl_hito_normalitat_1_10_1999_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steyerl_hito_normalitat_1_10_1999_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/steyerl_hito_normalitat_1_10_1999_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/steyerl_hito_normalitat_1_10_1999_2003/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/steyerl_hito_normalitat_1_10_1999_2003/main/master.m3u8?v=2","hasMainHls":true,"description":"AT / DE / 1999 - 2001<br/> 36 min. <br/><br/> Der Widerstand gegen die politische Wende in Österreich 2000 wurde, selbst von angeblich Oppositionellen, wiederholt als hysterische Reaktion diffamiert: Es handle sich doch bloß um einen \"normalen demokratischen Wechsel\". Unterschlagen wurde damit, daß der Protest sich primär gegen die Regierungsbeteiligung einer Partei richtete, deren populistisches Programm auf die Mobilisierung autoritärer und menschenverachtender Ressentiments abzielt. Protestiert wurde (und wird) mithin gegen die nicht nur in Österreich voranschreitende \"Integration des so beliebten Rassismus\" (Steyerl) in den gesellschaftlichen und politischen Mainstream.<br/><br/> Was manche für normal erklären und was die Mehrheit als solches akzeptiert, bedeutet für andere mitunter konkrete Bedrohung. Normalität 1-10, eine Serie kurzer essayistischer Videos, verzeichnet alltägliche neofaschistische Gewalt als Instrument einer solchen \"Normalisierung\".<br/><br/> Sachlich aber insistierend berichtet Hito Steyerl detailreich von einer steigenden Zahl antisemitischer und rassistischer Anschläge im wiedervereinigten Deutschland und in Österreich - gegen Denk- und Grabmäler ebenso wie gegen Menschenleben. In nüchterner Bildsprache entwickelt sie eine Vielfalt filmischer Formen und Kommentierungsweisen, um dadurch Fragen nach den gesellschaftlichen Strukturen von solcher Gewalt und deren Darstellbarkeit aufzuwerfen.<br/><br/> Dabei bezieht Steyerl politisch eindeutig Position: Es gilt, die stille Akzeptanz zu durchbrechen, den opportunen rassistischen Konsens. Normalität zeigt aber auch, wie MigrantInnen - die es nicht zuletzt aufgrund von Europas Engagement im globalen Kapitalismus hierher verschlägt - selbst ihre Rechte einfordern und uns erinnern: \"Your silence is encouraging fascism, telling the fascists that it´s okay what they are doing\". (Thomas Korschil)<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1966"},{"slug":"steyerl_hito_strike_2010_2","ok":true,"partial":false,"title":"Strike","artist":"Hito Steyerl","year":"2010","startOffset":0,"sourceSecs":40.085,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":11173,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steyerl_hito_strike_2010_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steyerl_hito_strike_2010_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/steyerl_hito_strike_2010_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/steyerl_hito_strike_2010_2/main.mp4?v=2","description":"Smashed LCD TV, HD single channel video, 40 seconds","artist_bio":"Hito Steyerl has produced a variety of work as a filmmaker and author in the field of essayist documentary video and post-colonial critique, both as a producer and a theorist. Her principal topics of interest are media and the global circulation of images. In 2004 she participated in Manifesta5, The European Biennial of Contemporary Art. She also participated in documenta 12, Kassel 2007, Shanghai biennial 2008, and Gwangju and Taipeh biennials 2010 and was the subject of numerous solo exhibitions [1] throughout Europe. In addition, Steyerl holds a PhD in Philosophy, is a professor for media art at the University of Arts Berlin and has taught film and theory at (amongst other institutions) Goldsmiths College and Bard College, Center for Curatorial Studies. -- Wikipedia","bio_dates":"b. 1966"},{"slug":"steyerl_hito_the_empty_centre_1998_iphone","ok":true,"partial":false,"title":"The Empty Centre","artist":"Hito Steyerl","year":"1998","startOffset":0,"sourceSecs":3694.189,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":215172403,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steyerl_hito_the_empty_centre_1998_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/steyerl_hito_the_empty_centre_1998_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/steyerl_hito_the_empty_centre_1998_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/steyerl_hito_the_empty_centre_1998_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/steyerl_hito_the_empty_centre_1998_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Before WWII, it used to be the centre of the city, the centre of it ́s power. Then it became an deadly minefield, enclosed between the borders of the Cold War. In 1989, the Berlin Wall comes down. The area between the walls, the empty margins of the border, is open. Now, the centre returns.\n\nAfter German reunification, Potsdam Square is rebuilt by transnational companies. In the same process, people are shoved out to the outskirts of the city. They are marginalized by the recentering of Germany ́s political and economic power. \"The Empty Center\" closely follows the processes of urban restructuring that have taken place in the center of Berlin for the last eight years. In 1990, squatters proclaim a socialist republic on the death strip. Eight years later, the new headquarters of Mercedes Benz arise in the same location.\n\nThe film makes use of slow superimpositions to uncover the architectonic and political changes of the last eight years. It focusses on Potsdam square to discover traces of global power shifts, and the simultaneous dismantling and reconstruction of borders.\n\nAt the same time, it traces back the history of ostracism and exclusion, especially against immigrants and minorities, which always have served to define the notion of a powerful national center. After the recent German elections, a new chancellor boasts to represent the \"New Center\" of public opinion. The film nevertheless strives to highlight the perspective of those who are still excluded from public representation and to give them a voice and a history.\"\"It is not so much crossing boundaries as frontiers as it is the partial disappearance, dissolution or repositioning of the boundaries themselves. It is the shifting of the boundaries as you try to cross them... Now you begin to see that we are also talking about the fragmentation of boundaries; the partial breakdown, renegotiation, repositioning of boundaries, about the appearance of new boundaries which cut across the old ones.\" Stuart Hall"},{"slug":"stickrod_michael_at_the_end_of_the_line","ok":true,"partial":false,"title":"At the End of the Line, 2002","artist":"Michael Stickrod","year":"2002","startOffset":0,"sourceSecs":525.931,"sourceHeight":480,"sourceWidth":850,"hasAudio":true,"hasAmbientMp4":true,"bytes":93901336,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stickrod_michael_at_the_end_of_the_line/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stickrod_michael_at_the_end_of_the_line/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stickrod_michael_at_the_end_of_the_line.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stickrod_michael_at_the_end_of_the_line/main.mp4?v=2","description":"Need credits, description text, etc.","artist_bio":"Like all good family home movies, Michael Stickrod’s videos principally portray generational relations. Yet unlike their vernacular alter egos, Stickrod’s movies never simply preserve precious family memories for future recollection (although they function perfectly well in this regard). Rather the primary memories documented in these videos are typically long past the moment of filming and what is represented is oftentimes the act of recollection itself, registered through layers of mediation. Again and again technologies of recording and playback appear alongside loved ones, suggesting a possible parallel between generations of media and family. Through their extended meditation on transmission—whether first-person narratives recounted to the artist, old audio cassettes rescued from the attic, or the act of painting portraits or transforming “live shit” into potable water—Stickrod’s videos follow the cyclical routes between natural forces of life and death and the numerous artificial conduits that recycle and broadcast our living bodies back into a pre-assembled world, which is already in progress.\nLife, death, and the various circuits of transmission that connect the two states of existence are repeatedly and powerfully juxtaposed in Stickrod’s Vacation Money (2003). Following a series of still images taken from color Polaroids of the artist’s mother, Saundra, sitting by the family pool with a small portable television set as faithfully nearby as her pet pug, we hear her voice plainly declare “I used to be so scared of dying.” As she continues to recount her fears of death and her recurrent disbelief at her continued existence through the years, the image format changes from family snapshots to an extreme close-up tracking shot of her arm and foot, the rainbow hued horizontal scan lines of the video footage, recorded from a television set (a small rectangular reflection is visible around the center of the screen), recalling the pre-digital age of VHS as well as the morality of the depicted subject. This succession of fragile media generations is reiterated in Saundra’s description of her long-suffering father’s steadily horrific decline to death entailing blindness, gangrene, amputation, and strokes. This bleak, Job-like voiceover is countered by brilliant digital footage of Saundra tending a small garden under the shade of a tree. This evidently more recent video (we hear at one point Saundra speaking to her son who is manning the camera) suggests that she has escaped her ancestor’s fate, despite the looming wheelchair behind her. Yet the final pan of this pastoral scene, which follows Saundra as she stubbornly pulls her wheelchair along the lawn only to disappear as the camera moves past a large tree in the foreground, presents a premonition of the world without her presence. (She died in 2008 at the age of 64, the same age that her father died, of “complications from diabetes”).\nIf the flowers in her garden portend the vital process of growth and decay, which along with the serene spring setting, suggests the naturalness of death and assuages the preceding morbidity, the remainder of the video, which surveys Saundra’s artistic output as a painter, reveals the redemptive capacities of the act of transmission in both its familiar and medial manifestations. Providing an almost textbook instance of the Freudian concept of sublimation in which traumatic anxieties are redirected to more healthy creative endeavors, Saundra’s hobby, which she states, she began as if in “a trance” following her father’s death, provides a crucial genealogical link between her attempts to evade her father’s gruesome fate and her son’s own artistic practices grounded in strategies of repetition and remediation. It also, one might argue, complicates the amateur status of her endeavors, considering not only the money she began to earn for her work, but the complex ways in which she redirected the earnings into summer vacations, expanding her artistic practices into what can easily be described as the fields of performance, “new media,” and documentary.\nIndeed, learning more about these vacations in Stickrod’s Vacation Tapes (2008), the question arises, which was the greater artistic practice, the month-long road trips across America, conscientiously documented by Saundra on her portable cassette recorder, or the appealing paintings that paid for them? The video begins, as in its predecessor, with Saundra discussing parental loss, this time, the death of her mother when she was nine years old, only to quickly move on to her early career as a model where, she recalls, she had to stand on a pedestal, statue-like, further expanding her auspicious artistic faculties. Again a striking juxtaposition of video footage and voiceover sets two distinct temporal moments into alignment as Saundra describes the “fantasy-like” summer vacations afforded by her paintings against scenes from a Midwestern winter. Uncovering a lawn chair from a heavy layer of snow, like a long forgotten buried chest, she describes these trips as a “treasure.” This act of recovery dramatizes both Saundra’s memories of the vacations as well as the redemptive capacities of the audio recordings she made during theses vacations documenting the mileage, expenses, and most importantly conversations between her and her children, which serve as the primary soundtrack for the remainder of the movie. Time and space are compressed as these distant recollections and archival recording reverberate against the seemingly timeless tasks around the house, like cleaning the pool, that emblem of summer languor, now apparently in a state of dilapidated disuse. This ricocheting effect is itself dramatized in a scene in which Saundra carefully polishes the vanity mirrors in her bathroom, which, as she pivots one plane, reflects the image of her son filming her. It becomes strikingly prophetic when the playback of Saundra’s voice announces that the family is passing New Haven, Connecticut, the city where Michael would go on to study art decades later. The movement across time and space is itself presaged by the rolling of the car wheels, and the axles of the cassette recorder suggesting how such technologies of recording and storage allow for a sort of time travel not only to recover past memories but, however unconsciously, into the future as well. Saundra’s multifaceted (multimedia even), aesthetic practices reveal how vacations, like all art, are principally about making memories rather than their preservation, which always occurs after the fact.\nThe creative, fantastic exploits of transmission, transformation, and preservation recounted by the artist’s mother and materialized in her striking paintings and meticulous audio cassettes find a distinctly masculine, lowly, and even sculptural pendant in Stickrod’s movie focusing on his father’s labor. At the End of the Line (2002) is ostensibly a scrupulous and colorful description of the some of the processes and personalities found at the Southerly Wastewater Treatment Plant, serving the region surrounding Columbus, Ohio. If the artist’s mother was able to ingeniously transform life’s misfortunes into marvelous slivers of reality every summer for herself and her children, Stickrod’s father, Richard, takes a more literal route in his account of the transformation of human excrement into something useful. In his voiceover he first uses the word “shit” to describe job-related politics and the sheets of plywood and large stones that get caught in the grates of the screen house before he invokes the term to actually describe the tons of fecal matter that course through the pipes of the plant. The movie follows the “wet stream” process of waste treatment in which a series of gravitational and chemical procedures remove debris and contaminants in the water. Stickrod père, who early on in his account declares that he has worked as a mechanic at the plant for over 17 years, speaks with a casual authority and demonstrates his extensive knowledge of the techniques of transforming sewage into potable water. He also seems to experience great joy when pointing out all the ways that the presumed purity of the final product can be compromised. This contamination is evinced in the caked debris that covers the machinery picked up by his son’s camera. Applying the language of systems theory to the crude but nonetheless systematic waste treatment process one might say that the Southerly plant makes manifest the inevitable distortion that accompanies any transmission of information or material. Although the process is designed to produce potable water that resembles the element in its natural state (according to a brochure available to visitors of the plant, the treated water is pumped back into the neighboring Scioto River), as is evident by the various chemical treatments, the final product, while generally safe and clean, is a thoroughly mediated and impure product. Similarly, while the waste activated sludge, known as “cake” is either incinerated or sold, according to the handout as a “popular gardening product known as Com-Til” Richard warns us that he wouldn’t be caught dead using it in his yard, as it still contains “live shit.”\nAs the various tales of infection around the plant attest (twice we hear stories of coworkers like “Dimwit Denny” who get hit in the face with forceful streams of shit) working at Southerly can be a matter of life and death. Just as the massive 220 pound slabs of “human grease” distilled from the water treatment process serve as sculptural analogues to Saundra’s portraits in oil (and the murky aeration basins provide uncanny doubles to her backyard swimming pool), the entire plant can be seen as a foundry of sorts, or perhaps more appropriately, the insides of a cassette recorder, where the various conveyor belts, gears, and tanks take in the still vital debris of living, and rather than recording and storing it, act more like eraser heads, transforming it into a blank, colorless substance which can be reused. One doesn’t need to hear Richard mention the fetuses that occasionally arrive in the screen house to understand the mortuary-like aspect of the plant, made explicit in the pathogen filled tanks and the incinerator used to transform the cake into useable compost. At the Southerly Water Treatment Plant, life and death take on a distinct material form, becoming matter itself. This sludgy debris, like the aging industrial behemoth that conveys it along its belts and down its pipes into its tanks, becomes in Stickrod’s film a monument to the precarious and ever-changing nature of all forms of life as well as the inevitable material transformations that awaits us all at the end of line (“it’s always going downhill”). And yet, the film also subtly reminds us of the transformational capacities that occur every day in our own bodies, suggesting in a way the spirit of Saundra Stickrod -- both her creeping illness and death as well as her ever-transforming sphere of creative production -- as well as the limits of our own creative, mediating capabilities. After all, at the end of the line, most of what we produce is still “shit.”","bio_dates":"b. 1978"},{"slug":"stickrod_michael_vacation_tapes_2008_iphone","ok":true,"partial":false,"title":"Vacation Tapes, 2008","artist":"Michael Stickrod","year":"2008","startOffset":0,"sourceSecs":1377.347,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":82971321,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stickrod_michael_vacation_tapes_2008_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stickrod_michael_vacation_tapes_2008_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stickrod_michael_vacation_tapes_2008_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stickrod_michael_vacation_tapes_2008_iphone/main.mp4?v=2","description":"Need credits, description text, etc.","artist_bio":"Like all good family home movies, Michael Stickrod’s videos principally portray generational relations. Yet unlike their vernacular alter egos, Stickrod’s movies never simply preserve precious family memories for future recollection (although they function perfectly well in this regard). Rather the primary memories documented in these videos are typically long past the moment of filming and what is represented is oftentimes the act of recollection itself, registered through layers of mediation. Again and again technologies of recording and playback appear alongside loved ones, suggesting a possible parallel between generations of media and family. Through their extended meditation on transmission—whether first-person narratives recounted to the artist, old audio cassettes rescued from the attic, or the act of painting portraits or transforming “live shit” into potable water—Stickrod’s videos follow the cyclical routes between natural forces of life and death and the numerous artificial conduits that recycle and broadcast our living bodies back into a pre-assembled world, which is already in progress.\nLife, death, and the various circuits of transmission that connect the two states of existence are repeatedly and powerfully juxtaposed in Stickrod’s Vacation Money (2003). Following a series of still images taken from color Polaroids of the artist’s mother, Saundra, sitting by the family pool with a small portable television set as faithfully nearby as her pet pug, we hear her voice plainly declare “I used to be so scared of dying.” As she continues to recount her fears of death and her recurrent disbelief at her continued existence through the years, the image format changes from family snapshots to an extreme close-up tracking shot of her arm and foot, the rainbow hued horizontal scan lines of the video footage, recorded from a television set (a small rectangular reflection is visible around the center of the screen), recalling the pre-digital age of VHS as well as the morality of the depicted subject. This succession of fragile media generations is reiterated in Saundra’s description of her long-suffering father’s steadily horrific decline to death entailing blindness, gangrene, amputation, and strokes. This bleak, Job-like voiceover is countered by brilliant digital footage of Saundra tending a small garden under the shade of a tree. This evidently more recent video (we hear at one point Saundra speaking to her son who is manning the camera) suggests that she has escaped her ancestor’s fate, despite the looming wheelchair behind her. Yet the final pan of this pastoral scene, which follows Saundra as she stubbornly pulls her wheelchair along the lawn only to disappear as the camera moves past a large tree in the foreground, presents a premonition of the world without her presence. (She died in 2008 at the age of 64, the same age that her father died, of “complications from diabetes”).\nIf the flowers in her garden portend the vital process of growth and decay, which along with the serene spring setting, suggests the naturalness of death and assuages the preceding morbidity, the remainder of the video, which surveys Saundra’s artistic output as a painter, reveals the redemptive capacities of the act of transmission in both its familiar and medial manifestations. Providing an almost textbook instance of the Freudian concept of sublimation in which traumatic anxieties are redirected to more healthy creative endeavors, Saundra’s hobby, which she states, she began as if in “a trance” following her father’s death, provides a crucial genealogical link between her attempts to evade her father’s gruesome fate and her son’s own artistic practices grounded in strategies of repetition and remediation. It also, one might argue, complicates the amateur status of her endeavors, considering not only the money she began to earn for her work, but the complex ways in which she redirected the earnings into summer vacations, expanding her artistic practices into what can easily be described as the fields of performance, “new media,” and documentary.\nIndeed, learning more about these vacations in Stickrod’s Vacation Tapes (2008), the question arises, which was the greater artistic practice, the month-long road trips across America, conscientiously documented by Saundra on her portable cassette recorder, or the appealing paintings that paid for them? The video begins, as in its predecessor, with Saundra discussing parental loss, this time, the death of her mother when she was nine years old, only to quickly move on to her early career as a model where, she recalls, she had to stand on a pedestal, statue-like, further expanding her auspicious artistic faculties. Again a striking juxtaposition of video footage and voiceover sets two distinct temporal moments into alignment as Saundra describes the “fantasy-like” summer vacations afforded by her paintings against scenes from a Midwestern winter. Uncovering a lawn chair from a heavy layer of snow, like a long forgotten buried chest, she describes these trips as a “treasure.” This act of recovery dramatizes both Saundra’s memories of the vacations as well as the redemptive capacities of the audio recordings she made during theses vacations documenting the mileage, expenses, and most importantly conversations between her and her children, which serve as the primary soundtrack for the remainder of the movie. Time and space are compressed as these distant recollections and archival recording reverberate against the seemingly timeless tasks around the house, like cleaning the pool, that emblem of summer languor, now apparently in a state of dilapidated disuse. This ricocheting effect is itself dramatized in a scene in which Saundra carefully polishes the vanity mirrors in her bathroom, which, as she pivots one plane, reflects the image of her son filming her. It becomes strikingly prophetic when the playback of Saundra’s voice announces that the family is passing New Haven, Connecticut, the city where Michael would go on to study art decades later. The movement across time and space is itself presaged by the rolling of the car wheels, and the axles of the cassette recorder suggesting how such technologies of recording and storage allow for a sort of time travel not only to recover past memories but, however unconsciously, into the future as well. Saundra’s multifaceted (multimedia even), aesthetic practices reveal how vacations, like all art, are principally about making memories rather than their preservation, which always occurs after the fact.\nThe creative, fantastic exploits of transmission, transformation, and preservation recounted by the artist’s mother and materialized in her striking paintings and meticulous audio cassettes find a distinctly masculine, lowly, and even sculptural pendant in Stickrod’s movie focusing on his father’s labor. At the End of the Line (2002) is ostensibly a scrupulous and colorful description of the some of the processes and personalities found at the Southerly Wastewater Treatment Plant, serving the region surrounding Columbus, Ohio. If the artist’s mother was able to ingeniously transform life’s misfortunes into marvelous slivers of reality every summer for herself and her children, Stickrod’s father, Richard, takes a more literal route in his account of the transformation of human excrement into something useful. In his voiceover he first uses the word “shit” to describe job-related politics and the sheets of plywood and large stones that get caught in the grates of the screen house before he invokes the term to actually describe the tons of fecal matter that course through the pipes of the plant. The movie follows the “wet stream” process of waste treatment in which a series of gravitational and chemical procedures remove debris and contaminants in the water. Stickrod père, who early on in his account declares that he has worked as a mechanic at the plant for over 17 years, speaks with a casual authority and demonstrates his extensive knowledge of the techniques of transforming sewage into potable water. He also seems to experience great joy when pointing out all the ways that the presumed purity of the final product can be compromised. This contamination is evinced in the caked debris that covers the machinery picked up by his son’s camera. Applying the language of systems theory to the crude but nonetheless systematic waste treatment process one might say that the Southerly plant makes manifest the inevitable distortion that accompanies any transmission of information or material. Although the process is designed to produce potable water that resembles the element in its natural state (according to a brochure available to visitors of the plant, the treated water is pumped back into the neighboring Scioto River), as is evident by the various chemical treatments, the final product, while generally safe and clean, is a thoroughly mediated and impure product. Similarly, while the waste activated sludge, known as “cake” is either incinerated or sold, according to the handout as a “popular gardening product known as Com-Til” Richard warns us that he wouldn’t be caught dead using it in his yard, as it still contains “live shit.”\nAs the various tales of infection around the plant attest (twice we hear stories of coworkers like “Dimwit Denny” who get hit in the face with forceful streams of shit) working at Southerly can be a matter of life and death. Just as the massive 220 pound slabs of “human grease” distilled from the water treatment process serve as sculptural analogues to Saundra’s portraits in oil (and the murky aeration basins provide uncanny doubles to her backyard swimming pool), the entire plant can be seen as a foundry of sorts, or perhaps more appropriately, the insides of a cassette recorder, where the various conveyor belts, gears, and tanks take in the still vital debris of living, and rather than recording and storing it, act more like eraser heads, transforming it into a blank, colorless substance which can be reused. One doesn’t need to hear Richard mention the fetuses that occasionally arrive in the screen house to understand the mortuary-like aspect of the plant, made explicit in the pathogen filled tanks and the incinerator used to transform the cake into useable compost. At the Southerly Water Treatment Plant, life and death take on a distinct material form, becoming matter itself. This sludgy debris, like the aging industrial behemoth that conveys it along its belts and down its pipes into its tanks, becomes in Stickrod’s film a monument to the precarious and ever-changing nature of all forms of life as well as the inevitable material transformations that awaits us all at the end of line (“it’s always going downhill”). And yet, the film also subtly reminds us of the transformational capacities that occur every day in our own bodies, suggesting in a way the spirit of Saundra Stickrod -- both her creeping illness and death as well as her ever-transforming sphere of creative production -- as well as the limits of our own creative, mediating capabilities. After all, at the end of the line, most of what we produce is still “shit.”","bio_dates":"b. 1978"},{"slug":"stidworthy_imogen_7am_2005_iphone","ok":true,"partial":false,"title":"7AM","artist":"Imogen Stidworthy","year":"2005","startOffset":0,"sourceSecs":346.464,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":19181261,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stidworthy_imogen_7am_2005_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stidworthy_imogen_7am_2005_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stidworthy_imogen_7am_2005_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stidworthy_imogen_7am_2005_iphone/main.mp4?v=2","description":"HD video, 5”45, colour, 5.1 Dolby surround sound <br/><br/> Every morning a flood of people passes through the gates of Tian Tan Park, Beijing. 7AM focuses on their morning exercises and the social and sonic space they generate. Isolated figures and small groups scattered amongst the trees fill the park with the sounds of slapping, sweeping limbs and sweeping twig brooms, feet brushing grass into circles and geometric figures, the smack of a sand-filled bag against a back or a back against a tree trunk, snatches of music passing by on portable radios. Each exercise is sustained, time and space measured by the movements of bodies. Thousands of individual movements and rhythms evolve into a spatial, bodily, percussive language. 7AM approaches this acoustic space as an immersive social landscape, drawing the observer into an ambiguous engagement between sight and sound. <br/><br/> Producer: Feng Yan<br/> Video and sound editor: Imogen Stidworthy<br/> 5.1 editor: Tim Lambert<br/> Camera: Feng Yan<br/> Camera assistant: Xiao Cai<br/> Sound recording: Chen Chao, Imogen Stidworthy<br/> Sound assistant: Din Yu Fu<br/> Interpretor: Randi Ren<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"Imogen Stidworthy’s film and installation works concern aspects of voice and language such as the sound of the voice, losing or gaining language and processes of translation. She works with the voice as a sculptural material to question how social space is constituted and how we are located in it. What are the different dimensions and conditions of the voice as a bodily, spatial or discursive material? She focuses on schisms and transitions in the social landscape, observing how they manifest in the voice and the body.\nIn 2010/11 she has made solo exhibitions at Matts Gallery, London; The Work at Kunstpavillon, Innsbruck; Arnolfini, Bristol and Barrabackslarrabang at Galerie Akinci, Amsterdam. Group exhibitions include (2010-11) Terminal Convention at Cork International Airport decomissioned terminal, Ruins Recycled at Galerie Akinci; Art Sheffield 2010; Eternal Tour, East Jerusalem and No Longer Empty in Liverpool Biennial; in 2009: Niet Normaal, Difference on Display at the Beurs van Beurlage, Amsterdam; See This Sound at Lentos Museum, Linz, and a large installation at Zacherlfabrik, Vienna; in 2008 she made the exhibition Die Lucky Bush. A project by Imogen Stidworthy at MuHKA, Antwerp and showed work in Shrinking Cities (Cube, Manchester); major exhibitions in 2007 include Documenta 12, Kassel, Shanghai Bienniale and Thessaloniki Biennale. Awards include the Dutch Prix de Rome 1996, Becks Futures (shortlisted 2004), The Northern Art Prize (shortlisted 2008) and the Liverpool Art Prize (winner 2008). She is based in Liverpool and is an Advising Researcher at the Jan van Eyck Academy, Maastricht, NL.","bio_dates":"b. 1963"},{"slug":"stidworthy_imogen_alex_2002","ok":true,"partial":false,"title":"Alex","artist":"Imogen Stidworthy","year":"2001-2002","startOffset":0,"sourceSecs":653.632,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":102059805,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stidworthy_imogen_alex_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stidworthy_imogen_alex_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stidworthy_imogen_alex_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stidworthy_imogen_alex_2002/main.mp4?v=2","description":"10”00 DVD, colour, stereo, English spoken<br/> With Jacob Lieberman and Alex F <br/><br/> Alex is based on observation over several months of the treatment of a man with a psychosomatic voice disorder. His condition is hypertension of the larynx, which pulls his vocal cords permanently into the position of an unvoiced primal scream. The treatment involves a penetrating form of manual therapy which, in Alex, trigger strong emotional responses accompanied by vivid mental images, in a process which at times seems literally to be kneading the voice out of or into the body. <br/><br/> The work reflects on the shifting roles of and relationships between doctor, patient and observer. Different forms of image and language come together in the film in the terms of anatomy and medical discourse, subjective descriptions of mental visions and emotional effects, and bodily languages of gesture and stance. <br/><br/> Camera: Imogen Stidworthy<br/> Video and sound editing: Imogen Stidworthy<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/sound/stidworthy.html\" rel=\"noopener\" target=\"_blank\">Imogen Stidworthy in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br></br>","artist_bio":"Imogen Stidworthy’s film and installation works concern aspects of voice and language such as the sound of the voice, losing or gaining language and processes of translation. She works with the voice as a sculptural material to question how social space is constituted and how we are located in it. What are the different dimensions and conditions of the voice as a bodily, spatial or discursive material? She focuses on schisms and transitions in the social landscape, observing how they manifest in the voice and the body.\nIn 2010/11 she has made solo exhibitions at Matts Gallery, London; The Work at Kunstpavillon, Innsbruck; Arnolfini, Bristol and Barrabackslarrabang at Galerie Akinci, Amsterdam. Group exhibitions include (2010-11) Terminal Convention at Cork International Airport decomissioned terminal, Ruins Recycled at Galerie Akinci; Art Sheffield 2010; Eternal Tour, East Jerusalem and No Longer Empty in Liverpool Biennial; in 2009: Niet Normaal, Difference on Display at the Beurs van Beurlage, Amsterdam; See This Sound at Lentos Museum, Linz, and a large installation at Zacherlfabrik, Vienna; in 2008 she made the exhibition Die Lucky Bush. A project by Imogen Stidworthy at MuHKA, Antwerp and showed work in Shrinking Cities (Cube, Manchester); major exhibitions in 2007 include Documenta 12, Kassel, Shanghai Bienniale and Thessaloniki Biennale. Awards include the Dutch Prix de Rome 1996, Becks Futures (shortlisted 2004), The Northern Art Prize (shortlisted 2008) and the Liverpool Art Prize (winner 2008). She is based in Liverpool and is an Advising Researcher at the Jan van Eyck Academy, Maastricht, NL.","bio_dates":"b. 1963"},{"slug":"stidworthy_imogen_barrabackslarrabang_2009_10","ok":true,"partial":false,"title":"Barrabackslarrabang (2009-2010)","artist":"Imogen Stidworthy","year":"2009-2010","startOffset":0,"sourceSecs":553.195,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":216892715,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stidworthy_imogen_barrabackslarrabang_2009_10/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stidworthy_imogen_barrabackslarrabang_2009_10/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stidworthy_imogen_barrabackslarrabang_2009_10.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stidworthy_imogen_barrabackslarrabang_2009_10/main.mp4?v=2","description":"HD video 9”15, colour, stereo, English and backslang spoken <br/><br/> In <i>Barrabackslarrabang</i> Stidworthy interweaves tropes of class, race, trade and desire in hidden backwaters and idealized forms of the voice – Standard Pronounciation and backslang. Standard Pronunciation emerged with the birth of the railway, to help the flow of trade, as millions of businesspeople travelling around Britain were confronted for the first time by accents they could not understand, while backslang is a subverted form of English associated primarily with illegal trade, and was designed to protect against being overheard, particularly by the ears of a law that didn’t square with economic conditions on the ground. Speech is sewn with rogue sounds to confuse the ear, and slips easily in everyday banter into a linguistic game of skill and excess. Liverpool backslang involves replacing the first or all vowels in key words of a phrase with ‘ab’, ‘ag’ or ‘arrab’, while the Birmingham backslang spoken by Christine Quarless works with variations of ‘iligili’. In <i>Barrabackslarrabang</i> the voice criss-crosses social borders to reflect the mirroring of structures and desires in ostensibly opposing spaces of language, legality and culture. Though backslang grew out of poverty and criminality, like all languages it is also a space of identification and is spoken proudly. It can be understood as a symptom of economic and social conditions, but also as a form of resistance to dominant social paradigms. <br/><br/> With: Donna Berry, Cliff Higgins, George ‘Buster’ Swaby, Christine Quarless <br/> Camera: Ian Lysaght, Jacqui Passmore, Imogen Stidworthy<br/> Sound and Editing: Imogen Stidworthy<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"Imogen Stidworthy’s film and installation works concern aspects of voice and language such as the sound of the voice, losing or gaining language and processes of translation. She works with the voice as a sculptural material to question how social space is constituted and how we are located in it. What are the different dimensions and conditions of the voice as a bodily, spatial or discursive material? She focuses on schisms and transitions in the social landscape, observing how they manifest in the voice and the body.\nIn 2010/11 she has made solo exhibitions at Matts Gallery, London; The Work at Kunstpavillon, Innsbruck; Arnolfini, Bristol and Barrabackslarrabang at Galerie Akinci, Amsterdam. Group exhibitions include (2010-11) Terminal Convention at Cork International Airport decomissioned terminal, Ruins Recycled at Galerie Akinci; Art Sheffield 2010; Eternal Tour, East Jerusalem and No Longer Empty in Liverpool Biennial; in 2009: Niet Normaal, Difference on Display at the Beurs van Beurlage, Amsterdam; See This Sound at Lentos Museum, Linz, and a large installation at Zacherlfabrik, Vienna; in 2008 she made the exhibition Die Lucky Bush. A project by Imogen Stidworthy at MuHKA, Antwerp and showed work in Shrinking Cities (Cube, Manchester); major exhibitions in 2007 include Documenta 12, Kassel, Shanghai Bienniale and Thessaloniki Biennale. Awards include the Dutch Prix de Rome 1996, Becks Futures (shortlisted 2004), The Northern Art Prize (shortlisted 2008) and the Liverpool Art Prize (winner 2008). She is based in Liverpool and is an Advising Researcher at the Jan van Eyck Academy, Maastricht, NL.","bio_dates":"b. 1963"},{"slug":"stidworthy_imogen_i_hate_2007","ok":true,"partial":false,"title":"I Hate","artist":"Imogen Stidworthy","year":"2007","startOffset":0,"sourceSecs":172.928,"sourceHeight":768,"sourceWidth":1024,"hasAudio":true,"hasAmbientMp4":true,"bytes":32218839,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stidworthy_imogen_i_hate_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stidworthy_imogen_i_hate_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stidworthy_imogen_i_hate_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stidworthy_imogen_i_hate_2007/main.mp4?v=2","description":"2”30 extract from video projection (8”00) in multi-media installation I Hate, commissioned by Documenta 12 <br/><br/> This extract shows the third section of an eight minute video sequence which forms part of the installation <i>I Hate</i> (2007). The video shows Edward Woodman with speech therapist Judith Langley, as Edward works to master correct pronounciation of certain sounds. Edward lost his ability to speak following a cycling accident in 2000. As they concentrate on minute details of pronounciation, words are broken down into parts and repeated. Using the hands to feel the breath of the plosive ‘h’ sound, word fragments become sonic objects passed back and forth between the two, in a process of constant re-forming and variation. In the mantra of repetition, words, sounds and concepts become dissociated and given meanings unstable. <br/><br/> <i>I Hate</i> was conceived as an acoustic landscape of speech sounds and structures. It focuses on the speech and photographs of Edward Woodman, who was known in London during the ‘80’s and 90’s as a photographer of architecture and art installations. Unable to continue his professional work after his accident, Woodman began to regularly photograph the building site of the Eurostar terminal at Kings Cross, London, from the same set of viewpoints, throughout the seven years of its development. His roughly sellotaped panoramic images record the cityscape in a continual process of destruction, alteration and construction – processes which seem to echo the tiny, continually changing sound-forms heard in the video. In the installation, the panoramas are (re)presented on three flat-screen monitors in an interactive table-top display. Woodman’s hands move across the screens pointing out details and supporting his speech as he struggles to describe the images; his voice can be heard as an immersive sound composition within a curved wall construction nearby. On two LED displays transcriptions of his words run a little too rapidly to follow with ease. At one of the gallery behind a felt-covered acoutic screen, the full 8”00 video sequence is projected. <br/><br/> With: Judith Langley and Edward Woodman<br/> Camera: Imogen Stidworthy<br/> Video and sound editing: Imogen Stidworthy<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"Imogen Stidworthy’s film and installation works concern aspects of voice and language such as the sound of the voice, losing or gaining language and processes of translation. She works with the voice as a sculptural material to question how social space is constituted and how we are located in it. What are the different dimensions and conditions of the voice as a bodily, spatial or discursive material? She focuses on schisms and transitions in the social landscape, observing how they manifest in the voice and the body.\nIn 2010/11 she has made solo exhibitions at Matts Gallery, London; The Work at Kunstpavillon, Innsbruck; Arnolfini, Bristol and Barrabackslarrabang at Galerie Akinci, Amsterdam. Group exhibitions include (2010-11) Terminal Convention at Cork International Airport decomissioned terminal, Ruins Recycled at Galerie Akinci; Art Sheffield 2010; Eternal Tour, East Jerusalem and No Longer Empty in Liverpool Biennial; in 2009: Niet Normaal, Difference on Display at the Beurs van Beurlage, Amsterdam; See This Sound at Lentos Museum, Linz, and a large installation at Zacherlfabrik, Vienna; in 2008 she made the exhibition Die Lucky Bush. A project by Imogen Stidworthy at MuHKA, Antwerp and showed work in Shrinking Cities (Cube, Manchester); major exhibitions in 2007 include Documenta 12, Kassel, Shanghai Bienniale and Thessaloniki Biennale. Awards include the Dutch Prix de Rome 1996, Becks Futures (shortlisted 2004), The Northern Art Prize (shortlisted 2008) and the Liverpool Art Prize (winner 2008). She is based in Liverpool and is an Advising Researcher at the Jan van Eyck Academy, Maastricht, NL.","bio_dates":"b. 1963"},{"slug":"stockhausen_helikopter_1995","ok":true,"partial":false,"title":"Helicopter String Quartet","artist":"Karlheinz Stockhausen","year":"1995","startOffset":0,"sourceSecs":4630.208,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":256980349,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stockhausen_helikopter_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stockhausen_helikopter_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stockhausen_helikopter_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stockhausen_helikopter_1995/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stockhausen_helikopter_1995/main/master.m3u8?v=2","hasMainHls":true,"description":"Dedicated to all astronauts, Helicopter String Quartet was composed for a very classical formation, the string quartet, in a very unusual setting: four players in four different flying helicopters, synchronized by means of voice signals and click marks. Stockhausen once had a dream. He was at some high-class party where he didn't feel welcome, and he just wanted to fly away from there. He suddenly starts flying in the air and through the objects, performing an elegant flight that mesmerizes the tuxedo-clad party guests who had snubbed him before. This was, the composer says, the very origin of this controversial piece. And throughout this fascinating documentary we see Stockhausen joyfully narrating the many signs, premonitions and supra-rational events that lead him to compose the piece. Many ideas merge in Helicopter: the dream of flying, music as a flying object, the double goal of translating the helicopter floating pitches into a score and integrating them in the recording, or the spiritual connotation of the flight. There is an overt spiritual quest in Stockhausen's composition, but this modern mystic must come to terns with his earthly dimension and become entangled in the mundane details of material reality in order to achieve an approximate translation of his dream. We thus are presented with a sample of the painstakingly meticulous rehearsals with the Arditti String Quartet and the immense technical challenges posed by the extravagant idea of putting four musicians playing together in four different helicopters. Stockhausen's joie de vivre and childish enthusiasm is evident throughout the film. There is, however, a key moment in the film in which the composer betrays an enormous inner angst: asked, during the dress rehearsal, to compare his dream to its practical fulfillment, Stockhausen doesn't fail to notice the obvious contrast between the freedom he felt in his dream and the heavy burden of technical and practical issues that surround him and somehow keep him from enjoying the moment. A grimace of sad resignation is then briefly allowed to take over his face. This is perhaps one of the strongest points about Scheffer's film: more than a simple documentary about an unusual avantgarde performance, fascinating as it may be, it is also a narrative about a man driven by messages from the unconscious, sticking to his vision by means of premonitions and rigorous hard work, but finally recognizing the vacuity and failure inherent in his attempt to make his dream come true. -- Eye of Sound"},{"slug":"stockhausen_karlheinz_michaels_reise_um_die_erde_cologne_2008","ok":true,"partial":false,"title":"Michaels Reise um die Erde [Karlheinz Stockhausen - Cologne 2008 performance]","artist":"Karlheinz Stockhausen","year":"2008","startOffset":0,"sourceSecs":3106.133,"sourceHeight":416,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":180415886,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stockhausen_karlheinz_michaels_reise_um_die_erde_cologne_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stockhausen_karlheinz_michaels_reise_um_die_erde_cologne_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stockhausen_karlheinz_michaels_reise_um_die_erde_cologne_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stockhausen_karlheinz_michaels_reise_um_die_erde_cologne_2008/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stockhausen_karlheinz_michaels_reise_um_die_erde_cologne_2008/main/master.m3u8?v=2","hasMainHls":true,"description":"This is a live performance of the second act (1978) from Karlheinz Stockhausen's opera \"DONNERSTAG aus LICHT\", all parts of which can be performed on their own. Entirely instrumental, \"Michaels Reise\" shows the protagonist Michael (Marco Blaauw, trumpet) travelling around the world in 'seven stations' and finally meeting his female counterpart Eva (Nicola Jürgensen, clarinet). The ensemble music is performed by MusikFabrik, directed by Peter Rundel.\n\nOne of the key parts of Stockhausen's massive seven-opera-cycle \"LICHT\", this staging of \"Michaels Reise um die Erde\" was made in the Philharmonic at Cologne by Carlos Padrissa in 2008 and does full justice to Stockhausen's concepts and imagination in my view. The TV version was directed by Janos Darvas in 2009."},{"slug":"stockhausen_karlheinz_originale_1964_iphone","ok":true,"partial":false,"title":"Stockhausen's Originale: Doubletakes, The Film","artist":"Karlheinz Stockhausen","year":"1964","startOffset":0,"sourceSecs":1794.818,"sourceHeight":320,"sourceWidth":450,"hasAudio":true,"hasAmbientMp4":true,"bytes":105155056,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stockhausen_karlheinz_originale_1964_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stockhausen_karlheinz_originale_1964_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stockhausen_karlheinz_originale_1964_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stockhausen_karlheinz_originale_1964_iphone/main.mp4?v=2","description":"<b>NOTES ON STOCKHAUSEN'S ORIGINALE</b>endif<br/><br/><b>ORIGINALE</b>   The Piece<br> <br> [Source: http://andel.home.mindspring.com/stockhausen_notes.htm] <br/><br/> In 1961, at age 33, Karlheinz Stockhausen was already among the most well-known of living composers, though not yet the guru figure of Beatles tributes and electronica lore. He had just finished composing <i>Kontakte</i>, a piece for electronic four-channel tape and piano/percussion duo, in which he attempted a high degree of interaction between live performers and taped sounds, as well a new degree of theatricality in the onstage movements of the musicians. He received a commission for a \"theatrical\" work from a theater producer in Cologne, and <i>Originale (Originals)</i> was scripted rapidly during a visit to Finland in July of 1961.<br/> <br/> The composer Jonathan Harvey, in his book <i>The Music of Stockhausen</i>, describes the form of <i>Originale</i>:<br/> <br/> \"It consists of eighteen scenes in the form of instructions for the dramatis personae carefully placed in timeboxes. Each character's actions, in other words, must take a specified number of seconds or minutes<i> [hence the frequent appearances of the clock in Peter Moore's film]</i>. These scenes are grouped into seven 'structures' which may be performed successively as 'normal', or simultaneously (up to three at once), or both.\"<br/> <br/> The idea was to organize spoken language and stage actions in much the same way as musical materials had been organized in Stockhausen's previous pieces.<br/> <br/> The stage actions consisted largely of normal activities undertaken by actors who were basically playing themselves: a poet played himself as \"the poet,\" reading poetry on stage; a \"painter\" paints; a \"film man\" and \"lighting man\" and \"\"models\" go about their normal business, all within their allotted times (hence the title of the piece: \"originals\" playing themselves). A visual and aural complexity was created by the juxtaposition of these simultaneously occurring activities, creating an aura of absurdity which contrasted with the normality of the events themselves. In addition, some of the performers, such as the explosive performance artist Nam June Paik, went the opposite direction, performing bizarre actions within their roles. And certain elements of the set, such as goldfish swimming in a bowl hanging from the ceiling, contributed to this contrast between the mundane and the absurd.<br/> <br/> Stockhausen added another layer of irony to the title by basing <i>Originale</i> on his previous work, <i>Kontakte</i>, rather than composing new music for the piece. So, at the beginning of <i>Originale</i>, we see a pianist and a percussionist (playing themselves, of course) performing <i>Kontakte</i>. However, there is a film camera and a tape recorder present, as well as a stage manager shouting instructions over the music. After a few minutes, the players stop and the tape of their performance is heard, along with the recorded shouts of the stage manager. Thus we see a pianist and percussionist, recording and filming themselves playing a composition which itself contains prerecorded sounds - performances within performances, by \"originals\" playing themselves.<br/> <br/> The premiere of the work in Cologne in autumn 1961 was a success for the participants and a scandal for the organizers, who pulled funding two days into the twelve-day run, forcing composer and company to take financial responsibility for the rest of the run.<br><br><b>ORIGINALE</b>   The New York Performance<br> <br> In summer 1964, Charlotte Moorman, cellist and tireless promoter of cutting-edge art, was putting together her 2nd Annual New York Avant Garde Festival. Both Moorman and artist Allan Kaprow, who was well-known as the originator of the term \"happening,\" had been in touch with Stockhausen about <i> Originale</i>. According to Barbara Moore, the producer of tonight's film, Stockhausen gave his approval for a New York performance on one condition - the piece could not be performed without Nam June Paik. Moorman had never heard of Paik, but as it happened, the Korean-born performer and video artist had just arrived in New York and coincidentally was about to contact her. (This initial contact was the start of a long artistic partnership between the two.)<br> <br> Born in 1932, Paik studied as a composer but also made assemblages and performance pieces, including his infamous <i>One For Violin Solo</i>, which consisted of slowly raising a violin over his head with intense concentration, then suddenly bringing it down on the table in front of him, smashing it to pieces. His reputation as a ferocious and charismatic performer preceded him to New York, and his presence dominates the middle section of Peter Moore's film. Paik is listed in the cast as \"action music,\" and performed three of his own pieces during <i>Originale</i> - including <i>Simple</i> (1961), in which he covers himself with shaving cream, flour, and rice, and climbs into a tub to wash off, then drinks the water out of his own shoe.<br/> <br/> Barbara Moore recalls that aside from the casting of Paik, Stockhausen entrusted the New York performance entirely to the organizers. Kaprow directed the piece and assembled and rehearsed the cast, which was drawn from the close circle of avant-garde artists in New York.<br/> <br/> The venue was Judson Hall, across from Carnegie Hall at 165 W 57th St. Not to be confused with Judson Memorial Church - which actually was a noted avant-garde venue - Judson Hall was used mainly for traditional classical recitals. An onstage scaffolding was constructed, and the New York run of <i> Originale</i> began on September 8, 1964 (with composer Edgard Varese among the audience members). With the exception of September 10, it was performed every night through the 13th. (A full week of concerts and events organized by Moorman had preceded the five-night run of <i>Originale</i>.)<br/> <br/> The performance seems to have been well-received for the most part, though there was inevitable bemusement and unpredictable reactions among some of the audience members. For instance, catcalls can be heard on the film as the models undress. And in his book <i>The Art of Time</i>, Michael Kirby, who was a cast member, recalled that at one performance Paik was suddenly handcuffed to the scaffolding by a well-coordinated group of audience members who then disappeared. Everyone thought it was part of the show until Paik called \"feebly but only half-intelligibly about his inability to get to the piano.\" For his part, Paik varied his performance each night, as he had done in Cologne, throwing curve balls to the cast and audience.<br/> <br/> Adding to the general unpredictability was the concurrent protest undertaken outside the concert hall by a number of New York artists, including Henry Flynt, Tony Conrad, and George Maciunas, who collectively denounced Stockhausen as a \"\"cultural imperialist.\" (Maciunas, the leader of the Fluxus art group, also considered Moorman something of a rival within the New York art world, though other Fluxus members were performing in the show.)<br><br><b><br> STOCKHAUSEN'S ORIGINALE: DOUBLETAKES</br></b>   The Film<br> 16mm, black and white, sound, 32 minutes, 1964-93<br/> <br/> Peter Moore (1932-1993) was a distinguished photojournalist who beginning in 1962 documented many of the most well-known avant-garde art events in New York. He was commissioned by theater producer Rhett Brown, wife of artist Robert Delford Brown (who appeared as the painter in <i>Originale</i>) to produce a film of the event. Shooting in 16mm and using available light, Moore documented two nights of the run, and took still photos at the remaining shows. The film's subtitle, <i>Doubletakes</i>, reflects the fact that the film was shot during two successive evenings, so different views of the onstage events are seen in the film.<br/> <br/> Art historian and Moore's wife Barbara, who was present, recalls that the camera used to shoot <i>Doubletakes</i> was borrowed from the filmmaker and video artist Ed Emshwiller. Talking from New York in a recent phone conversation, Ms. Moore also noted that the onscreen presence of Brown as the painter indicates that Peter Moore shot the film during the early nights of the run, since Brown was soon kicked out of the performance after a disagreement with Kaprow about his approach to the role.<br/> <br/> The footage was stored away until 1993, when Peter Moore began preparations for editing. After Moore's sudden death that year, Barbara Moore took over producing the film, drawing on extensive conversations she had had with her husband about his intentions for the film. The footage was edited by Susan Brockman. <br/> <br/> The soundtrack for the film consists of what is known as \"wild sound\" - that is, the sound is mostly independent of the images. However, the sounds you do hear are always being made by the performers you see at that moment on the screen. The result is a skillful distillation of the original 94-minute work into a 32-minute film. <i>Doubletakes</i> is also an invaluable document of a particularly fertile moment in the New York avant-garde and, since <i>Originale</i> has been withdrawn from public performance by the composer, it also represents a rare glimpse of this unique work in Stockhausen's output.<br><br><b><br> STOCKHAUSEN'S ORIGINALE: DOUBLETAKES</br></b>   A Partial Guide to the Cast<br> <br/> Director - Allan Kaprow<br/> Assembled and rehearsed the cast and directed the show. He is the bearded man seen near the end of the film reading from a book and then holding large clumps of straw.<br/> <br/> Pianist - James Tenney<br/> A pioneer composer of electronic music as well as a performer of Stockhausen's and others' music. Seen here performing <i>Kontakte</i>.<br/> <br/> Percussionist - Max Neuhaus<br/> Perfomer of Cage, Stockhausen, Feldman and many other composers, and later a creator of his own sound art works. Seen here performing <i>Kontakte</i> with Tenney. The duo began the evening in formal concert dress, but had several costume changes including states of undress as seen later in the film. (The feral costume worn by Tenney was created by artist Carolee Schneemann.)<br/> <br/> Film Man - Robert Breer<br/> Noted avant-garde filmmaker and animator. His film \"Fist Fight,\" which according to Barbara Moore consists of baby pictures of the cast interspersed with animation, is seen playing during the performance.<br/> <br/> Action music - Nam June Paik<br/> <br/> Child - Anton Kaprow<br/> The child plays with boxes to the side of stage, and also, in Stockhausen scholar Robin Maconie's phrase, \"acts as a silent observer of what the adults are up to.\"<br/> <br/> Models - Olga Adorno and Lette Eisenhauer<br/> Both women were performers in early 60s events in New York. Eisenhauer especially was a contributor to Kaprow's early happenings<br/> <br/> String Player - Charlotte Moorman<br/> Seen playing the cello while lying on the floor and later from the balcony.<br/> <br/> Jazz Musician - Don Heckman<br/> Seen playing saxophone. Later moved into jazz journalism. Together with Ed Summerlin, curated the jazz events at Moorman's festivals.<br/> <br/> Actors<br/> include Dick Higgins and Jackson Mac Low, two language artists associated with Fluxus. Mac Low is seen near the beginning of the film, wearing the CORE/Freedom Now shirt.<br/> <br/> Conductor - Alvin Lucier<br/> The noted electronic music composer is briefly seen conducting the actors in their simultaneous readings.<br/> <br/> Painter - Robert Delford Brown<br/> Commissioned the film from Moore. Replaced by Fluxus artist Ay-O after a disagreement with Kaprow.<br/> <br/> Poet - Allen Ginsberg<br/> The Beat poet is seen early in the film observing the models, then drinks water from Nam June Paik's shoe, and later chants mantras in his role as \"the poet.\"<br/> <br/> Producer (film) - Barbara Moore  Editor (film) - Susan Brockman<br/> <br/> For assistance with tonight's screening, thanks to Oliver Smith, Robbie Land, and Eyedrum. <br/> <br/> Special thanks to Barbara Moore, who provided many of the details of the film's production and also shared her recollections of the performances.<br/> <br/> Program notes: 2003 Andy Ditzler</br></br></br></br></br></br></br></br>","artist_bio":"TRANS und so weiter (TRANS and so on)\n(1974) (colour film by Gérard Patris)\nMichaels Reise um die Erde [Karlheinz Stockhausen - Cologne 2008 performance]\n(2009)\nDir. Janos Darvas\nKarlheinz Stockhausen; 22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important (Barrett 1988, 45; Harvey 1975b, 705; Hopkins 1972, 33; Klein 1968, 117) but also controversial (Power 1990, 30) composers of the 20th and early 21st centuries. Another critic calls him \"one of the great visionaries of 20th-century music\" (Hewett 2007). He is known for his ground-breaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization.\nHe was educated at the Hochschule für Musik Köln and the University of Cologne, and later studied with Olivier Messiaen in Paris, and with Werner Meyer-Eppler at the University of Bonn.\nOne of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular-music artists. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. His theoretical and other writings comprise ten large volumes. He received numerous prizes and distinctions for his compositions, recordings, and for the scores produced by his publishing company.\nSome of his notable compositions include the series of nineteen Klavierstücke (Piano Pieces), Kontra-Punkte for ten instruments, the electronic/musique-concrète Gesang der Jünglinge, Gruppen for three orchestras, the percussion solo Zyklus, Kontakte, the cantata Momente, the live-electronic Mikrophonie I, Hymnen, Stimmung for six vocalists, Aus den sieben Tagen, Mantra for two pianos and electronics, Tierkreis, Inori for soloists and orchestra, and the gigantic opera cycle Licht.\nHe died of sudden heart failure at the age of 79, on 5 December 2007 at his home in Kürten, Germany. -- Wikipedia","bio_dates":"1928-2007"},{"slug":"stockhausen_karlheinz_trans_und_so_weiter_1973","ok":true,"partial":false,"title":"TRANS und so weiter (TRANS and so on)","artist":"Karlheinz Stockhausen","year":"1973","startOffset":0,"sourceSecs":3520.225,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":604372934,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stockhausen_karlheinz_trans_und_so_weiter_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stockhausen_karlheinz_trans_und_so_weiter_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stockhausen_karlheinz_trans_und_so_weiter_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stockhausen_karlheinz_trans_und_so_weiter_1973/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stockhausen_karlheinz_trans_und_so_weiter_1973/main/master.m3u8?v=2","hasMainHls":true,"description":"Duration:ca. 60 minutes, Contents: In 1973 Gérard Patris made this film for the Zweite Deutsche Fernsehen (Second German Television) station during rehearsals and performances of Stockhausen works for the Recontres Internationales de Musique Contemporaine, in Metz: TRANS, MIKROPHONIE I, ZYKLUS, REFRAIN, KONTAKTE, AM HIMMEL WANDRE ICH, CEYLON. Language:German"},{"slug":"stockhausen_momente","ok":true,"partial":false,"title":"Momente","artist":"Karlheinz Stockhausen","year":"1965","startOffset":0,"sourceSecs":2743.137,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":163376635,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stockhausen_momente/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stockhausen_momente/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stockhausen_momente.webm","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stockhausen_momente/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stockhausen_momente/main/master.m3u8?v=2","hasMainHls":true,"description":"Between 1965-68, composer Luc Ferrari collaborated with director Gérard Patris on a series of filmed intimate portraits of great musicians, “Les Grandes Répétitions” (The Great Rehearsals), which were broadcast on French TV. They are remarkable not only for their exceptional content, but also for their creative, dynamic camera work and playful juxtaposition of music and talk. Truly unique and enjoyable period documents.\n\nKarlheinz Stockhausen: Momente was filmed during rehearsals for the premiere of his monumental work Momente. The revealing rehearsal sequences are interspersed with Stockhausen speaking of his youth, work process and the genesis and meaning of Momente."},{"slug":"strand_chick_artificial_paradise","ok":true,"partial":false,"title":"Artificial Paradise","artist":"Chick Strand","year":"1986","startOffset":0,"sourceSecs":741.123,"sourceHeight":552,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":126715092,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strand_chick_artificial_paradise/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strand_chick_artificial_paradise/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/strand_chick_artificial_paradise.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/strand_chick_artificial_paradise/main.mp4?v=2","description":"Aztec romance and the dream of love. The anthropologist's most human desire, the ultimate contact with the informant. The denial of intellectualism and the acceptance of the romantic heart, and a soul without innocence. -- Chick Strand","bio_dates":"1931-2009"},{"slug":"strand_chick_cosas_de_mi_vida_1976","ok":true,"partial":false,"title":"Cosas De Mi Vida","artist":"Chick Strand","year":"1976","startOffset":0,"sourceSecs":1458.774,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":87305469,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strand_chick_cosas_de_mi_vida_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strand_chick_cosas_de_mi_vida_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/strand_chick_cosas_de_mi_vida_1976.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/strand_chick_cosas_de_mi_vida_1976/main.mp4?v=2","description":"Strand spent over twenty years documenting her friend Anselmo Aguascalientes’ life, eventually creating a stunning trilogy of films—Anselmo, Cosas de mi vida, and Anselmo and the Women—tender portraits that are also glimpses into poverty, resourcefulness, perseverance and patriarchy. <br/><br/> An ethnographic approach about Anselmo, a Mexican Indian. It is a film about his struggle for survival in the Third World. Orphaned at age 7, he was the sole support of himself and his baby sister, who eventually starved and died in his arms. The film continues with Anselmo's struggle to live and to do something with his life other than a docile acceptance of poverty. Totally uneducated in a formal way, he taught himself how to play a horn and when he became a man he started his own street band. The film was started in 1965 and finished in 1975. During the 10 years, I saw the physical change in Anselmo's life in terms of things he could buy to make his family at first able to survive, and during the last years, to make them more comfortable. I felt a change in his spirit from a proud, individualistic and graceful man into one obsessed with possessions and role playing in order to get ahead and stay on top, but one cannot help but admire his energy and determination to succeed, to drag himself and is family out of the hopelessness and sameness of poverty to give them a future. Anselmo tells his own story in English although he does not speak the language. After he told me of his life in Spanish, I translated it into English and taught him how to say it.","bio_dates":"1931-2009"},{"slug":"strand_chick_fakefruitfactory_1986","ok":true,"partial":false,"title":"Fake Fruit Factory","artist":"Chick Strand","year":"1986","startOffset":0,"sourceSecs":1312.47,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":79386606,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strand_chick_fakefruitfactory_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strand_chick_fakefruitfactory_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/strand_chick_fakefruitfactory_1986.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/strand_chick_fakefruitfactory_1986/main.mp4?v=2","description":"Intimate documentary about young women who make papier mache fruit and vegetables in a small factory in Mexico. They have a gringo boss, but the factory is owned by his Mexican wife. The focus of the film is on the color, music and movement involved, and the gossip which goes on constantly, revealing what the young women think about men.","bio_dates":"1931-2009"},{"slug":"strand_chick_three_films","ok":true,"partial":false,"title":"Three Films","artist":"Chick Strand","year":"1979","startOffset":0,"sourceSecs":1529.061,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":255311553,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strand_chick_three_films/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strand_chick_three_films/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/strand_chick_three_films.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/strand_chick_three_films/main.mp4?v=2","description":"Three Films by Chick Strand (1979) 29 min video; Cartoon le Mousse; Fever Dream; Kristallnacht. (Ca), Two Films by Chick Strand (1979) 29 min video."},{"slug":"strand_paul_manhattan_1921","ok":true,"partial":false,"title":"Manhatta","artist":"Paul Strand","year":"1921","startOffset":0,"sourceSecs":592.832,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":40214152,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strand_paul_manhattan_1921/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strand_paul_manhattan_1921/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/strand_paul_manhattan_1921.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/strand_paul_manhattan_1921/main.mp4?v=2","description":"Directed by Paul Strand and Charles Sheeler. Like the Portapak in the sixties, the movie camera was still a novelty in 1920 when Charles Sheeler and photographer Paul Strand teamed up to film Manhatta. Sheeler bought a French-made Debrie, a combination 35mm still and movie camera, just after its release in 1918. It was lightweight and easy to use, primarily for shooting newsreels on location. Manhatta, one of the first avant-garde films made in the United States, was a portrait in time of what Walt Whitman called \"the city of the world,\" a cinematic prose poem exalting the energetic and modern pulse of New York City. Sheeler and Strand constructed a rhythmic series of images, interspersed with verse excerpted from Whitman, fashioning an expression of the city over the course of a day. Their urban portrait begins at dawn as scores of people arrive to a day of work. \"City of tall facades of marble and iron . . . When million-footed Manhattan unpent descends to its pavements.\" In shots from high perches around lower Manhattan, we see people hustle about, smokestacks billow, machines giving rise to new construction. And at the end of the day, man and machine slow to rest as dusk descends upon the city.","artist_bio":"Paul Strand began photographing in New York in the 1910s. During the early 1920s he received recognition for both his painting and his photography. He visited New Mexico in 1926 and, beginning in 1930, returned for three consecutive summers, making portraits of artist friends and acquaintances. It was there, amidst a community of visual artists and writers, that Strand began to develop his belief in the humanistic value of portraiture.\nStrand subsequently traveled to Mexico, where he photographed the landscape, architecture, folk art, and people and in 1934 produced a film about fishermen for the Mexican government. Thirteen years earlier he had collaborated with Charles Sheeler on a film,\nManhatta\n, a study of the urban high-rise environment. Having returned to New York late in 1934, Strand devoted his energies to theater and filmmaking cooperatives.\nIn 1943 Strand resumed his still photography, focusing on the people and surroundings of New England. In the early 1950s he moved to Europe, spending six weeks in the northern Italian agrarian community of Luzzara and later traveling to the Outer Hebrides, islands off the northwest coast of Scotland. He traveled and photographed in North and West Africa in the 1960s.","bio_dates":"1890-1976"},{"slug":"stratman_deborah_from_hetty_to_nancy","ok":true,"partial":false,"title":"From Hetty to Nancy","artist":"Deborah Stratman","year":"1997","startOffset":0,"sourceSecs":2645.397,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":445436550,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stratman_deborah_from_hetty_to_nancy/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/stratman_deborah_from_hetty_to_nancy/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/stratman_deborah_from_hetty_to_nancy.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stratman_deborah_from_hetty_to_nancy/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/stratman_deborah_from_hetty_to_nancy/main/master.m3u8?v=2","hasMainHls":true,"description":"Travel journal entries weave a narrative that counterpoises the austere Icelandic ‘frontier' landscape with the banalities of travel circumstances.\n\nAlfred Schnittke: \"In Memorium\", \"String Quartet No. 2\", \"String Quartet No. 3\", \"Viola Concerto\" & \"Septet\""},{"slug":"strauss_claude_levi_interview_lhomme","ok":true,"partial":false,"title":"Interview (L'Homme nu)","artist":"Claude Lévi-Strauss","year":"1971","startOffset":0,"sourceSecs":1158.304,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":71333323,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strauss_claude_levi_interview_lhomme/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strauss_claude_levi_interview_lhomme/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/strauss_claude_levi_interview_lhomme.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/strauss_claude_levi_interview_lhomme/main.mp4?v=2","description":"Claude Lévi Strauss - Interview par Jean-José Marchand pour \"Archives du XXème siècle\" (1972)","artist_bio":"Interview par Jean-José Marchand pour \"Archives du XXème siècle\" (1972)\nClaude Lévi-Strauss, (born Nov. 28, 1908, Brussels, Belg.—died Oct. 30, 2009, Paris, France), French social anthropologist and leading exponent of structuralism, a name applied to the analysis of cultural systems (e.g., kinship and mythical systems) in terms of the structural relations among their elements. Structuralism has influenced not only 20th-century social science but also the study of philosophy, comparative religion, literature, and film.\nThe most incisive critique of totemistic phenomena, one that denied the “reality” of totemism, was supplied by the French ethnologist Claude...\nAfter studying philosophy and law at the University of Paris (1927–32), Lévi-Strauss taught in a secondary school and was associated with Jean-Paul Sartre’s intellectual circle. He served as professor of sociology at the University of São Paulo, Brazil (1934–37), and did field research on the Indians of Brazil. He was visiting professor at the New School for Social Research in New York City (1941–45), where he was influenced by the work of linguist Roman Jakobson. From 1950 to 1974 he was director of studies at the École Pratique des Hautes Études at the University of Paris, and in 1959 he was appointed to the chair of social anthropology at the Collège de France.\nIn 1949 Lévi-Strauss published his first major work, Les Structures élémentaires de la parenté (rev. ed., 1967; The Elementary Structures of Kinship). He attained popular recognition with Tristes tropiques (1955; A World on the Wane), a literary intellectual autobiography. Other publications include Anthropologie structurale (rev. ed., 1961; Structural Anthropology), La Pensée sauvage (1962; The Savage Mind), and Le Totémisme aujourd’hui (1962; Totemism). His massive Mythologiques appeared in four volumes: Le Cru et le cuit (1964; The Raw and the Cooked), Du miel aux cendres (1966; From Honey to Ashes), L’Origine des manières de table (1968; The Origin of Table Manners), and L’Homme nu (1971; The Naked Man). In 1973 a second volume of Anthropologie structurale appeared. La Voie des masques, 2 vol. (1975; The Way of the Masks), analyzed the art, religion, and mythology of native American Northwest Coast Indians. In 1983 he published a collection of essays, Le Regard éloigné (The View from Afar).\nLévi-Strauss’s structuralism was an effort to reduce the enormous amount of information about cultural systems to what he believed were the essentials, the formal relationships among their elements. He viewed cultures as systems of communication, and he constructed models based on structural linguistics, information theory, and cybernetics to interpret them.","bio_dates":"1908-2009"},{"slug":"strauss_claude_levi_interview_pour_archives_du_xxeme_siecle_1972","ok":true,"partial":false,"title":"Interview pour Archives du XXème siècle","artist":"Claude Lévi-Strauss","year":"1972","startOffset":0,"sourceSecs":1508.391,"sourceHeight":360,"sourceWidth":636,"hasAudio":true,"hasAmbientMp4":true,"bytes":89821055,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strauss_claude_levi_interview_pour_archives_du_xxeme_siecle_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strauss_claude_levi_interview_pour_archives_du_xxeme_siecle_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/strauss_claude_levi_interview_pour_archives_du_xxeme_siecle_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/strauss_claude_levi_interview_pour_archives_du_xxeme_siecle_1972/main.mp4?v=2","description":"Claude Lévi Strauss - Interview par Jean-José Marchand pour \"Archives du XXème siècle\" (1972)","artist_bio":"Interview par Jean-José Marchand pour \"Archives du XXème siècle\" (1972)\nClaude Lévi-Strauss, (born Nov. 28, 1908, Brussels, Belg.—died Oct. 30, 2009, Paris, France), French social anthropologist and leading exponent of structuralism, a name applied to the analysis of cultural systems (e.g., kinship and mythical systems) in terms of the structural relations among their elements. Structuralism has influenced not only 20th-century social science but also the study of philosophy, comparative religion, literature, and film.\nThe most incisive critique of totemistic phenomena, one that denied the “reality” of totemism, was supplied by the French ethnologist Claude...\nAfter studying philosophy and law at the University of Paris (1927–32), Lévi-Strauss taught in a secondary school and was associated with Jean-Paul Sartre’s intellectual circle. He served as professor of sociology at the University of São Paulo, Brazil (1934–37), and did field research on the Indians of Brazil. He was visiting professor at the New School for Social Research in New York City (1941–45), where he was influenced by the work of linguist Roman Jakobson. From 1950 to 1974 he was director of studies at the École Pratique des Hautes Études at the University of Paris, and in 1959 he was appointed to the chair of social anthropology at the Collège de France.\nIn 1949 Lévi-Strauss published his first major work, Les Structures élémentaires de la parenté (rev. ed., 1967; The Elementary Structures of Kinship). He attained popular recognition with Tristes tropiques (1955; A World on the Wane), a literary intellectual autobiography. Other publications include Anthropologie structurale (rev. ed., 1961; Structural Anthropology), La Pensée sauvage (1962; The Savage Mind), and Le Totémisme aujourd’hui (1962; Totemism). His massive Mythologiques appeared in four volumes: Le Cru et le cuit (1964; The Raw and the Cooked), Du miel aux cendres (1966; From Honey to Ashes), L’Origine des manières de table (1968; The Origin of Table Manners), and L’Homme nu (1971; The Naked Man). In 1973 a second volume of Anthropologie structurale appeared. La Voie des masques, 2 vol. (1975; The Way of the Masks), analyzed the art, religion, and mythology of native American Northwest Coast Indians. In 1983 he published a collection of essays, Le Regard éloigné (The View from Afar).\nLévi-Strauss’s structuralism was an effort to reduce the enormous amount of information about cultural systems to what he believed were the essentials, the formal relationships among their elements. He viewed cultures as systems of communication, and he constructed models based on structural linguistics, information theory, and cybernetics to interpret them.","bio_dates":"1908-2009"},{"slug":"street_mark_morning_noon","ok":true,"partial":false,"title":"Morning, Noon, Night; Water, Land and Sky, 2019","artist":"Mark Street","year":"2019","startOffset":0,"sourceSecs":1046.165,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":421676058,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/street_mark_morning_noon/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/street_mark_morning_noon/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/street_mark_morning_noon.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/street_mark_morning_noon/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/street_mark_morning_noon/main/master.m3u8?v=2","hasMainHls":true,"description":"Archival footage of a scuba exploration of a sunken ship gives way to scenes that explore the working rhythms of the current Brooklyn Navy Yard as well as conjuring and imagining ghosts of past technologies and characters."},{"slug":"street_mark_seance","ok":true,"partial":false,"title":"Seance, 2017","artist":"Mark Street","year":"2017","startOffset":0,"sourceSecs":166.123,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":71595090,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/street_mark_seance/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/street_mark_seance/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/street_mark_seance.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/street_mark_seance/main.mp4?v=2"},{"slug":"street_mark_trailer_trash","ok":true,"partial":false,"title":"Trailer Trash, 2009","artist":"Mark Street","year":"2009","startOffset":0,"sourceSecs":375.04,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":61719506,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/street_mark_trailer_trash/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/street_mark_trailer_trash/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/street_mark_trailer_trash.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/street_mark_trailer_trash/main.mp4?v=2","description":"A skewed take on film detritus: 35mm movie trailers rescued from the trash and affected by hand and digitally, holding up a funhouse mirror to the industry of expectations."},{"slug":"street_mark_vera_drake","ok":true,"partial":false,"title":"Vera Drake,Drowning, 2012","artist":"Mark Street","year":"2012","startOffset":0,"sourceSecs":173.632,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":48681088,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/street_mark_vera_drake/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/street_mark_vera_drake/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/street_mark_vera_drake.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/street_mark_vera_drake/main.mp4?v=2","description":"I buried a 35 mm trailer for the Mike Leigh film in my garden and came upon it several years later. The vagaries of nature (snow, rain, ice, sun) yielded a scrupulous document of the passing of time. 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I found him. His name is Jukka Korkeila. Filmed 2004 in Belgrade. <br/> This work comes with a text piece, \"The letter to Anna\".<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"After 12 years working in Berlin, Swedish artist, Annika Ström, is now based in the UK. 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She works in several mediums including video film, which utilize her own soundtracks, text pieces and performance.","bio_dates":"b. 1964"},{"slug":"strom_annika_watercolour_which_is_dripping_down_on_the_paper_below_1_minute_2012_540p","ok":true,"partial":false,"title":">Watercolour which is dripping down on the paper below","artist":"Annika Ström","year":"2012","startOffset":0,"sourceSecs":45.013,"sourceHeight":540,"sourceWidth":738,"hasAudio":true,"hasAmbientMp4":true,"bytes":10086,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strom_annika_watercolour_which_is_dripping_down_on_the_paper_below_1_minute_2012_540p/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strom_annika_watercolour_which_is_dripping_down_on_the_paper_below_1_minute_2012_540p/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/strom_annika_watercolour_which_is_dripping_down_on_the_paper_below_1_minute_2012_540p.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/strom_annika_watercolour_which_is_dripping_down_on_the_paper_below_1_minute_2012_540p/main.mp4?v=2","description":"Watercolour which is dripping down on the paper below <br/> 45 seconds 2012<br/> Filmed in Sweden on super8 transferred to DV.<br><br><b>RELATED RESOURCES:</b><br> <a href=\"https://ubu.com/film/higgie.html\" rel=\"noopener\" target=\"_blank\">\"Ten Women Who Use Film\" curated by Jennifer Higgie</a></br>","artist_bio":"After 12 years working in Berlin, Swedish artist, Annika Ström, is now based in the UK. She works in several mediums including video film, which utilize her own soundtracks, text pieces and performance.","bio_dates":"b. 1964"},{"slug":"strong_simon_the_the_naked_lunch_and_the_naked_the_naked_lunch_2008_iphone","ok":true,"partial":false,"title":"The The Naked Lunch and the Naked The Naked Lunch","artist":"Simon Strong","year":"2008","startOffset":0,"sourceSecs":3720.258,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":213976557,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strong_simon_the_the_naked_lunch_and_the_naked_the_naked_lunch_2008_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/strong_simon_the_the_naked_lunch_and_the_naked_the_naked_lunch_2008_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/strong_simon_the_the_naked_lunch_and_the_naked_the_naked_lunch_2008_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/strong_simon_the_the_naked_lunch_and_the_naked_the_naked_lunch_2008_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/strong_simon_the_the_naked_lunch_and_the_naked_the_naked_lunch_2008_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"b/w, 2008, 62mins<br><br><b>The Second Most Annoying Film Ever Made... Simon Strong talks about his film <em>The The Naked Lunch and the Naked The Naked Lunch</em>.</b> 29 November 2011 <br> <strong>Mr Strong... let’s begin with a classic interview question: is there anything about your oeuvre that you regret? </strong>Well yes. Although I'm very happy with the stylistic and entertainment quality of my oeuvre, I cannot help but feel strongly that any value is offset by a fundamental flaw. My works are characterized by an overcurrent of nihilism and moral ambiguity that I personally find grossly offensive. I conceive myself as kindred with positive humanist writers such as Ray Bradbury, Kurt Vonnegut or Douglas Adams for example, but my audience seems to consider me the Marquis De Sade 2.0 or the North English William Burroughs. This appraisal is entirely understandable given the actual content of the works in question. <strong>This then prompts the question: why not produce stuff that you like? </strong>I do like a lot of my own stuff… and I like it a lot… I just wish it had someone else’s name on the cover. As far as I’m concerned, I am my target audience. Since I produce stuff primarily for my own consumption I try to emphasise novelty by introducing randomized, automated or spontaneous elements in order to render it more accessible to me. It is usually these elements that I find most problematic. <strong>So it’s not self-loathing? </strong>(laughter) no… no… the very thought of it! (snort) I think it’s more likely to do with objectivity and sharply honed critical faculties. <strong>Your film of ‘The Naked Lunch’ has caused some online controversy, even despite the fact that only the trailer has been released. </strong>I do hate to be pedantic, but that isn’t a question by any stretch of the imagination. It doesn’t even have a thingy at the end. <strong>A question mark? </strong>That’s the ticket! <strong>How about \"Do you have anything to say about the controversy around your film of 'The Naked Lunch'\"? </strong>Yes. That’s better. <strong>Well? </strong>Yes? <strong>Do you have anything to say about the controversy around your film of ‘The Naked Lunch’ </strong>Well… yes. Firstly, it is very misleading to call it a film of ‘The Naked Lunch’. <strong>But it is! </strong>And that is precisely why it is misleading… for the same reasons that our world is so pervaded by deceit and dishonesty. The film actually goes to great lengths to avoid including, or even referring to, any content from the novel at all… although the title, and more specifically the definite article of the title, does warrant some discussion therein. <strong>Was this a response to Cronenberg’s selective appropriation of the text? </strong>Yes it was. I figured that if Cronenberg could omit all the significant episodes of the novel [from his film], I should respond by omitting everything. The only thing I did leave in was a reference to the most glaring, and yet most apparently insignificant, omission. <strong>Why do you hate Cronenberg so much? Are there not more worthy targets for scorn? </strong>I absolutely do not hate David Cronenberg. I want be very clear on this. As I implied in my first response, I‘m not very disposed to hatred at all. In so-called reality, I have a great deal of respect for the chap. I’d even go as far as to say that some of his films look as if they could be quite interesting in some ways. I am simply disinclined to watch them. I have only seen Naked Lunch and Crash — and they was on at the pictures so I’d already paid my money and didn’t want to walk out halfway. I also saw Dead Ringers on tv but that was full of adverts and hard to judge. I watched it by accident, I thought it was the BBC comedy show with that Tom Baker impersonator. Fuckin hilarious! (laughs) <strong>In your film, you sound like you have a big problem with him… </strong>As I was saying earlier, if it doesn’t have a thingy at the end, it isn’t a question. <strong>Fuck sake! </strong>My point exactly… <strong>Why then, in your film, does it sound like you have such a big problem with him? </strong>Ahhhhhhhh…. Because it was fucking funnier like that? That’s all. It’s sort of… put on... because… it’s like… a film. I think they call it acting or something. <strong>So what was your motivation? </strong>Well… Cronenberg’s film was intended to be confronting only in a very conventional way. I set out to be confronting in unconventional ways: the patronizing tone of the narration; the long silences; insulting the audience; the introduction of deliberate errors… <strong>Such as the reference to Julian Temple? </strong>Indeed… everyone knows that Russell Mulcahy made that clip for Duran Duran, or that a text’s single (intrinsic) dimension is spatial rather than a temporal. I did that to make it obvious that I was trying to look stupid… in opposition to Cronenberg’s desperate attempts to look clever. <strong>Elsewhere, you cited Ballard as an influence on AMBO… so what did you think of Crash? Can we uh “look forward” to a Strong version of that? </strong>I didn’t think anything about Cronenberg’s Crash at all, except for my mate’s comment when we came out of the cinema was funny. He said “That was disappointing… I was expecting it to be hardcore.” Yikes! I should choose my friends more carfully... I mean carefully. I was overseas when it hit the UK so I missed all the fuss. <strong>Is there anything about Cronenberg that you find of value? </strong>His strong continental lager is fucking fantastic! 1664! Alright! Blimey! (etc) <strong>Is there any truth to the rumour that you have a book on Burroughs in the pipeline? </strong>No... that’s just the cut of my trousers. I mean… yes. No. Many years ago I commenced a book to be entitled “Even the old dude is cool”. It was to be about Burroughs musical and film career. I lost interest after Burroughs’ oeuvre was entirely recuperated by the Babylon shitstem. <strong>So what’s next? </strong>I dunno. I’d like to make a film of J.W. Dunne’s An Experiment with Time. I reckon it would be piss easy and dead funny… and maybe even both… <strong>Simon… thank you… </strong>Thank you? More info at <a href=\"http://www.ledatape.net/?cat_no=argus002\" rel=\"noopener\" target=\"_blank\">www.ledatape.net</a>.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/strong.html\" rel=\"noopener\" target=\"_blank\">Simon Strong on UbuWeb Sound</a></br></br>","artist_bio":"Simon Strong\nis a North English writer, musician and film-maker currently resident in Melbourne, Australia. He is best known as author of \"A259 Multiplex Bomb 'Outrage'\" and as front-man for the psychedelic new-wave group Pink Stainless Tail.\nStrong was raised in Ecclesfield, South Yorkshire, and attended local comprehensive schools. Family connections allowed him to pursue an interest in electronics and computing, and from the mid-seventies he was active in local computer clubs and his programs and articles were published in home computer magazines. In 1982, Strong left Sheffield to attend Brighton Polytechnic and went on to work programming for artificial intelligence projects, specialising in the then new field of interface design. Increasingly politicised by the rise of Thatcherism, Strong dropped out of computing and took a succession of menial jobs (including toilet cleaner, bouncer and bookseller) and concentrated on creative writing. During a tenure at Hatchards Booksellers, Strong helped organise literary events by authors including Nick Cave and Billy Childish.\nBy 1989 Strong was residing above an Indian take-away in the red-light district with Palmer and Taylor of beat group The Fire Dept. They were often visited by experimental novelist Stewart Home, who exerted a profound influence on Strong's writing. Around this time, Strong was also performing with his own outfit, the Barry Jeffries.\nFrom 1993-97 Strong worked for Overground Records, based at their production and distribution centre in Hove. He co-ordinated and designed covers for artists including The Television Personalities, AlternativeTV, Richard Hell, Alex Fergusson, The Undead (ex-Misfits), TheeHeadcoats, Man or Astroman?, Subway Sect, GG Allin. Strong was instrumental in the re-issuing the oeuvre of Jon the Postman.\nIn 1996, inspired by small presses such as Atlas Press, Temple Press and Creation Books, Strong founded CodeX Books and Records as a branch of Overground. Over the next 12 months he issued Stewart Home's 'Cranked Up Really High', Richard Hell's 'The Voidoid', Billy Childish's 'My Fault' and Kathy Acker's 'Pussy' on CD. Creation Books had previously accepted Strong's novel \"A259 Multiplex Bomb 'Outrage'\" but delays in its publication led to Strong issuing the book on the CodeX imprint. The book was enthusiastically received, selling out two printings in six months, but momentum was lost when Strong suddenly emigrated to Australia in early 1997, although a Russian translation of the book appeared in 2006.\nAfter a hiatus, Strong joined Harry Howard, Sonke Rickertsen and Nick Boddington to form The Pink Stainless Tail in 2001, and went on to release three records. The group was popular with a small but fanatical group of fans with Strong's stage persona memorably (and consistently) described as \"a flailing scarecrow amalgam of William Burroughs and Mark E Smith\".\nIn February 2004, the [Victorian College of Arts] invited Stewart Home as writer in residence and commissioned Strong to run a course to introduce students to Home's themes and praxis. Around this time, Strong set up his [netlabel], The LedaTape Organisation, as an outlet for his work and others.\nOver the next few years Strong finalised two books (in collaboration with Jason Crest) that had been in development since the publication of 'A259'. 'Rape vs. Murder' was produced entirely (in one run) by a computer program from a corpus of books published by [The Paris Olympia Press], whilst '66mindfuck99' was a fictionalised account of the creation of the former. Both of these publications were privately printed and circulated samizdat, not because their content was contentious, but rather due to Strong's vehement rejection of the conventional publishing paradigm. Despite their limited availability, the books were well received and in 2010 were taught at the University of Pennsylvania by Kenneth Goldsmith, curator of ubu.com.","bio_dates":"b. 1962"},{"slug":"study_for_mirror_and_garden_2003","ok":true,"partial":false,"title":"Study for Mirror and Garden","artist":"Judith Barry","year":"2003","startOffset":0,"sourceSecs":305.939,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":17541351,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/study_for_mirror_and_garden_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/study_for_mirror_and_garden_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/study_for_mirror_and_garden_2003.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/study_for_mirror_and_garden_2003/main.mp4?v=2"},{"slug":"sturtevant_ca_va_aller","ok":true,"partial":false,"title":"Ca va Aller","artist":"Sturtevant","year":"1998","startOffset":0,"sourceSecs":1363.05,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":84043739,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_ca_va_aller/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_ca_va_aller/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sturtevant_ca_va_aller.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sturtevant_ca_va_aller/main.mp4?v=2"},{"slug":"sturtevant_dark_threat_disc_1","ok":true,"partial":false,"title":"The Dark Threat of Absence Fragmented and Sliced, Part 1","artist":"Sturtevant","year":"2003","startOffset":0,"sourceSecs":3601.215,"sourceHeight":360,"sourceWidth":474,"hasAudio":true,"hasAmbientMp4":true,"bytes":211415252,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_dark_threat_disc_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_dark_threat_disc_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sturtevant_dark_threat_disc_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sturtevant_dark_threat_disc_1/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sturtevant_dark_threat_disc_1/main/master.m3u8?v=2","hasMainHls":true,"description":"A DOUBLE SCREEN FILM DEVISED TO BE FRAUGHT WITH LINKAGE AND DISPLACEMENT ; A TIGHT PLAY BETWEEN SCREENS THAT SHOVES AND MAKES SOUND AN OBJECT OF LANGUAGE, NON-ACTION THE TIME-IMAGE, AND MOVEMENT THOUGHT.\n\nTHIS DOUBLE STRUCTURE HAS BEEN FRAGMENTED AND SLICED (7 BETACAM SP) TO CONSTRUCT AN AGITATED IMBALANCE THAT IS STUCK AND GLUED BY TRANSGRESSION.\n\nTHERE ARE RUPTURES AND LEAPS, TENSIONS AND INTENSITIES, AND STRIDENT REPETITIONS THAT BRING TO FULL FORCE THE BLATANT EXTERIOR : THE OUTSIDE BRUTALLY DISMISSING THE INTERIOR.\n\nYET, THIS STRANGULATION AND PERVERSITY, THIS DISCONNECT ; THESE DISJUNCTIONS CREATE A TOWERING AND UNIFYING IMAGE OF THE DARK THREAT OF ABSENCE."},{"slug":"sturtevant_dark_threat_disc_2","ok":true,"partial":false,"title":"The Dark Threat of Absence Fragmented and Sliced, Part 2","artist":"Sturtevant","year":"2003","startOffset":0,"sourceSecs":3601.365,"sourceHeight":360,"sourceWidth":472,"hasAudio":true,"hasAmbientMp4":true,"bytes":211729718,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_dark_threat_disc_2/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_dark_threat_disc_2/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sturtevant_dark_threat_disc_2.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sturtevant_dark_threat_disc_2/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sturtevant_dark_threat_disc_2/main/master.m3u8?v=2","hasMainHls":true,"description":"A DOUBLE SCREEN FILM DEVISED TO BE FRAUGHT WITH LINKAGE AND DISPLACEMENT ; A TIGHT PLAY BETWEEN SCREENS THAT SHOVES AND MAKES SOUND AN OBJECT OF LANGUAGE, NON-ACTION THE TIME-IMAGE, AND MOVEMENT THOUGHT.\n\nTHIS DOUBLE STRUCTURE HAS BEEN FRAGMENTED AND SLICED (7 BETACAM SP) TO CONSTRUCT AN AGITATED IMBALANCE THAT IS STUCK AND GLUED BY TRANSGRESSION.\n\nTHERE ARE RUPTURES AND LEAPS, TENSIONS AND INTENSITIES, AND STRIDENT REPETITIONS THAT BRING TO FULL FORCE THE BLATANT EXTERIOR : THE OUTSIDE BRUTALLY DISMISSING THE INTERIOR.\n\nYET, THIS STRANGULATION AND PERVERSITY, THIS DISCONNECT ; THESE DISJUNCTIONS CREATE A TOWERING AND UNIFYING IMAGE OF THE DARK THREAT OF ABSENCE."},{"slug":"sturtevant_dark_threat_disc_3","ok":true,"partial":false,"title":"The Dark Threat of Absence Fragmented and Sliced, Part 3","artist":"Sturtevant","year":"2003","startOffset":0,"sourceSecs":600.49,"sourceHeight":360,"sourceWidth":474,"hasAudio":true,"hasAmbientMp4":true,"bytes":42969806,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_dark_threat_disc_3/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_dark_threat_disc_3/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sturtevant_dark_threat_disc_3.mp4","hasFrames":true,"description":"A DOUBLE SCREEN FILM DEVISED TO BE FRAUGHT WITH LINKAGE AND DISPLACEMENT ; A TIGHT PLAY BETWEEN SCREENS THAT SHOVES AND MAKES SOUND AN OBJECT OF LANGUAGE, NON-ACTION THE TIME-IMAGE, AND MOVEMENT THOUGHT.<br/><br/> THIS DOUBLE STRUCTURE HAS BEEN FRAGMENTED AND SLICED (7 BETACAM SP) TO CONSTRUCT AN AGITATED IMBALANCE THAT IS STUCK AND GLUED BY TRANSGRESSION.<br/><br/> THERE ARE RUPTURES AND LEAPS, TENSIONS AND INTENSITIES, AND STRIDENT REPETITIONS THAT BRING TO FULL FORCE THE BLATANT EXTERIOR : THE OUTSIDE BRUTALLY DISMISSING THE INTERIOR.<br/><br/> YET, THIS STRANGULATION AND PERVERSITY, THIS DISCONNECT ; THESE DISJUNCTIONS CREATE A TOWERING AND UNIFYING IMAGE OF THE DARK THREAT OF ABSENCE.<br/><br/> IT'S A WILD THROW OF THE DICE.","artist_bio":"The Dark Threat of Absence Fragmented and Sliced, Part 1 (2003)\nThe Dark Threat of Absence Fragmented and Sliced, Part 2 (2003)\nThe Dark Threat of Absence Fragmented and Sliced, Part 3 (2003)\nThe Dark Threat of Absence Fragmented and Sliced, Part 4 (2003)\nThe Dark Threat of Absence Fragmented and Sliced, Part 5 (2003)\nThe Dark Threat of Absence Fragmented and Sliced, Part 6 (2003)\nSturtevant (American, 1924-2014) began “repeating” the works of her contemporaries in 1964, using some of the most iconic artworks of her generation as a source and catalyst for the exploration of originality, authorship, and the interior structures of art and image culture. Beginning with her versions of works by Jasper Johns and Andy Warhol, Sturtevant initially turned the visual logic of Pop art back on itself, probing uncomfortably at the workings of art history in real time. Yet her chameleon-like embrace of other artists’ art has also resulted in her being largely overlooked in the history of postwar American art. As a woman making versions of the work of better-known male artists, she has passed almost unnoticed through the hierarchies of mid-century modernism and postmodernism, at once absent from these histories while nevertheless articulating their structures.","bio_dates":"1924-2014"},{"slug":"sturtevant_dark_threat_disc_4","ok":true,"partial":false,"title":"The Dark Threat of Absence Fragmented and Sliced, Part 4","artist":"Sturtevant","year":"2003","startOffset":0,"sourceSecs":3602.367,"sourceHeight":360,"sourceWidth":474,"hasAudio":true,"hasAmbientMp4":true,"bytes":211714114,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_dark_threat_disc_4/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_dark_threat_disc_4/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sturtevant_dark_threat_disc_4.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sturtevant_dark_threat_disc_4/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sturtevant_dark_threat_disc_4/main/master.m3u8?v=2","hasMainHls":true,"description":"A DOUBLE SCREEN FILM DEVISED TO BE FRAUGHT WITH LINKAGE AND DISPLACEMENT ; A TIGHT PLAY BETWEEN SCREENS THAT SHOVES AND MAKES SOUND AN OBJECT OF LANGUAGE, NON-ACTION THE TIME-IMAGE, AND MOVEMENT THOUGHT.\n\nTHIS DOUBLE STRUCTURE HAS BEEN FRAGMENTED AND SLICED (7 BETACAM SP) TO CONSTRUCT AN AGITATED IMBALANCE THAT IS STUCK AND GLUED BY TRANSGRESSION.\n\nTHERE ARE RUPTURES AND LEAPS, TENSIONS AND INTENSITIES, AND STRIDENT REPETITIONS THAT BRING TO FULL FORCE THE BLATANT EXTERIOR : THE OUTSIDE BRUTALLY DISMISSING THE INTERIOR.\n\nYET, THIS STRANGULATION AND PERVERSITY, THIS DISCONNECT ; THESE DISJUNCTIONS CREATE A TOWERING AND UNIFYING IMAGE OF THE DARK THREAT OF ABSENCE."},{"slug":"sturtevant_dark_threat_disc_5","ok":true,"partial":false,"title":"The Dark Threat of Absence Fragmented and Sliced, Part 5","artist":"Sturtevant","year":"2003","startOffset":0,"sourceSecs":3601.727,"sourceHeight":360,"sourceWidth":472,"hasAudio":true,"hasAmbientMp4":true,"bytes":207831607,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_dark_threat_disc_5/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sturtevant_dark_threat_disc_5/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sturtevant_dark_threat_disc_5.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sturtevant_dark_threat_disc_5/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sturtevant_dark_threat_disc_5/main/master.m3u8?v=2","hasMainHls":true,"description":"A DOUBLE SCREEN FILM DEVISED TO BE FRAUGHT WITH LINKAGE AND DISPLACEMENT ; A TIGHT PLAY BETWEEN SCREENS THAT SHOVES AND MAKES SOUND AN OBJECT OF LANGUAGE, NON-ACTION THE TIME-IMAGE, AND MOVEMENT THOUGHT.\n\nTHIS DOUBLE STRUCTURE HAS BEEN FRAGMENTED AND SLICED (7 BETACAM SP) TO CONSTRUCT AN AGITATED IMBALANCE THAT IS STUCK AND GLUED BY TRANSGRESSION.\n\nTHERE ARE RUPTURES AND LEAPS, TENSIONS AND INTENSITIES, AND STRIDENT REPETITIONS THAT BRING TO FULL FORCE THE BLATANT EXTERIOR : THE OUTSIDE BRUTALLY DISMISSING THE INTERIOR.\n\nYET, THIS STRANGULATION AND PERVERSITY, THIS DISCONNECT ; THESE DISJUNCTIONS CREATE A TOWERING AND UNIFYING IMAGE OF THE DARK THREAT OF ABSENCE."},{"slug":"sun_ra_and_don_cherry_new_visions_tv_26_feb_1989","ok":true,"partial":false,"title":"Don Cherry and Sun Ra, \"New Visions\" TV","artist":"Don Cherry","year":"1989","startOffset":0,"sourceSecs":909.63,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":162071832,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sun_ra_and_don_cherry_new_visions_tv_26_feb_1989/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/sun_ra_and_don_cherry_new_visions_tv_26_feb_1989/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/sun_ra_and_don_cherry_new_visions_tv_26_feb_1989.mkv","hasFrames":true,"description":"Sun Ra & Don Cherry<br/> New Visions TV show<br/> NY, NY<br/> 1989-02-xx<br/> aired 2/26/89","artist_bio":"DON CHERRY\n(1973) dir. Jean-Noël Delamare, Nathalie Perrey, Philippe Gras\nDon Cherry (1936-1995) created an influential legacy by contrasting his Bebop-style Jazz with genres such as Free Jazz and World music. His rise to prominence came in the late 1950s performing Free Jazz with Ornette Coleman. Their music not only shook up the Jazz community with their avant garde sound and inventive compositional structure, but became part of the liberating social revolution that resonated in 1960s American culture. Cherry's interest expanded beyond the gamut of American styles into exotic musical structure and composition. His arrangements often juxtaposed instrumental experimentation with the solemn and ancient musical traditions of the ethnic lands he traveled. Cherry's Bebop-infused solos provided the controversial genre with a traditional Jazz sensibility, helping to maintain an enduring Jazz narrative.","bio_dates":"1936-1995"},{"slug":"superflex_burning_car","ok":true,"partial":false,"title":"Burning Car","artist":"Superflex","year":"2008","startOffset":0,"sourceSecs":571.008,"sourceHeight":702,"sourceWidth":1248,"hasAudio":true,"hasAmbientMp4":true,"bytes":88055572,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/superflex_burning_car/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/superflex_burning_car/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/superflex_burning_car.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/superflex_burning_car/main.mp4?v=2","description":"Produced by Propeller Group (Ho Chi Minh City) and co-produced by the Vleeshal, Middelburg, Nederlands. <br/><br/> Produced in 2008, Runtime 11 minutes. <br/><br/> Burning Car is a film work by Superflex in which a car is being set on fire. The empty car starts to burn, the cabin is filled with smoke and fire, car-paint is bobbling, tires explodes. Towards the end the car is burned out completely.","artist_bio":"SUPERFLEX is an artists' group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen.\nSUPERFLEX describe their projects as Tools. A tool is a model or proposal that can actively be used and further utilized and modified by the user.","bio_dates":"2008"},{"slug":"superflex_rebranding_denmark","ok":true,"partial":false,"title":"Rebranding Denmark","artist":"Superflex","year":"2011","startOffset":0,"sourceSecs":5.295,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":183473,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/superflex_rebranding_denmark/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/superflex_rebranding_denmark/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/superflex_rebranding_denmark.m4v","hasFrames":true,"description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"SUPERFLEX is an artists' group founded in 1993 by Jakob Fenger, Rasmus Nielsen and Bjørnstjerne Christiansen.\nSUPERFLEX describe their projects as Tools. A tool is a model or proposal that can actively be used and further utilized and modified by the user.","bio_dates":"2008"},{"slug":"survival_research_laboratories_ten_years_of_robotic_mayhem_iphone","ok":true,"partial":false,"title":"Ten Years of Robotic Mayhem","artist":"Survival Research Laboratories","year":"1988","startOffset":0,"sourceSecs":6695.256,"sourceHeight":320,"sourceWidth":432,"hasAudio":true,"hasAmbientMp4":true,"bytes":386658995,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/survival_research_laboratories_ten_years_of_robotic_mayhem_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/survival_research_laboratories_ten_years_of_robotic_mayhem_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/survival_research_laboratories_ten_years_of_robotic_mayhem_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/survival_research_laboratories_ten_years_of_robotic_mayhem_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/survival_research_laboratories_ten_years_of_robotic_mayhem_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"Includes, in their entirety: A Bitter Message of Hopeless Grief, The Will to Provoke, The Delusions of Expediency: How to avoid Responsibility For Social Disintergration By Acting Without Principle Under the Pretenses of Utility. Also has a number of interviews and 'special editions' of selected documentaries. Well worth it.\"\n\n\"\"For the uninitiated, imagine a Hellraiser movie filming immense Robot Wars UK style machines on the set of a Skinny Puppy music video... there's big metal stuff blowing other stuff to flinders, with an occasional twitching carcass thrown in. High art for technofetishists, gearheads, nihilists and such... not for vegetarians, kids or the weak.\n\n3 shortish main features and a few extra select snippets from here and there. Watch the audience squeal and scramble away from their perceived doom... watch the beautiful and grotesque metal creatures shiver and tear themselves to bits.\""},{"slug":"survival_research_laboratories_virtues_of_negative_fascination_iphone","ok":true,"partial":false,"title":"Virtues of Negative Fascination","artist":"Survival Research Laboratories","year":"1985","startOffset":0,"sourceSecs":4465.197,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":259747723,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/survival_research_laboratories_virtues_of_negative_fascination_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/survival_research_laboratories_virtues_of_negative_fascination_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/survival_research_laboratories_virtues_of_negative_fascination_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/survival_research_laboratories_virtues_of_negative_fascination_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/survival_research_laboratories_virtues_of_negative_fascination_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"Virtues of Negative Fascination\" is a documentary covering the performance activities of Survival Research Laboratories, Mark Pauline, Matt Heckert and Eric Werner, from 1985-1986. The performances are organized around the interactions of menacingly reconstructed industrial equipment, scientific devices and a wide variety of \"special effects\" devices which are used to develop themes of socio-political satire. The tape includes performances from New York, San Francisco, Los Angeles and Seattle in front of a audiences of 2-3,000 people. In addition to the performances, \"Virtues of Negative Fascination\" features incisive interviews and illuminating non performance footage."},{"slug":"tait_margaret_a_portrait_of_ga_1952","ok":true,"partial":false,"title":"Portrait of Ga","artist":"Margaret Tait","year":"1952","startOffset":0,"sourceSecs":260.049,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":44201007,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_a_portrait_of_ga_1952/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_a_portrait_of_ga_1952/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tait_margaret_a_portrait_of_ga_1952.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tait_margaret_a_portrait_of_ga_1952/main.mp4?v=2","description":"UK, 1952<br/> 5 minutes, Colour, sound<br/> Portrait of the film maker’s mother. Filmed back on Orkney.","artist_bio":"Margaret Tait was one of Britain's most unique filmmakers. She studied at the Centro Sperimentale di Cinematografia in Rome during the height of the neorealist movement, before returning to Scotland in the early 1950s and founding her own film company, Ancona Films. Over the course of 46 years she produced over 30 films including one feature, and published three books of poetry and two volumes of short stories, while living in between Orkney and Edinburgh.\nTait described her life's work as consisting of making film poems, and denied suggestions that they were documentaries or diary films. She often quoted Lorca's phrase of 'stalking the image' to define her philosophy and method, believing that if you look at an object closely enough it will speak its nature. This clarity of vision and purpose, with an attention to simple commonplace subjects, combined with a rare sense of inner rhythm and pattern, give her films a transcendental quality, while still remaining firmly rooted within the everyday. With characteristic modesty, Tait once said of her films, that they are born \"of sheer wonder and astonishment at how much can be seen in any place that you choose...if you really look.\"\nBorn in 1918 in Kirkwall on Orkney, Scotland, Margaret Tait qualified in medicine at Edinburgh University 1941. From 1950 to 1952 she studied film at the Centro Sperimentale di Photographia in Rome.\nReturning to Scotland she established Ancona Films in Edinburgh’s Rose Street. In the 1960’s Tait moved back to Orkney where over the following decades she made a series of films inspired by the Orcadian landscape and culture. All but three of her thirty two films were self financed. She wrote poetry and stories and produced several books including three books of poetry.\nScreenings include National Film Theatre (London), Berlin Film Festival, Centre for Contemporary Art (Warsaw), Arsenal Kino (Berlin), Pacific Film Archives (San Francisco), Knokke le Zoute, Delhi and Riga. Tait was accorded a retrospective at the 1970 Edinburgh Film Festival and has been the subject of profiles on BBC and Channel Four.\nThe feature length Blue Black Permanent (1993) opened the Edinburgh International Film Festival. Her final film Garden Pieces was completed in 1998.","bio_dates":"1918-1999"},{"slug":"tait_margaret_aerial_1974","ok":true,"partial":false,"title":"Aerial","artist":"Margaret Tait","year":"1974","startOffset":0,"sourceSecs":254.171,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":44633323,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_aerial_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_aerial_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tait_margaret_aerial_1974.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tait_margaret_aerial_1974/main.mp4?v=2","description":"UK, 1974<br/> 4 minutes, Colour, opt<br/> Touches on elemental images. Air, water (and snow), earth, fire (and smoke), all come into it. For sound theres a drawn out musical sound, single piano notes and some neutral sounds.","artist_bio":"Margaret Tait was one of Britain's most unique filmmakers. She studied at the Centro Sperimentale di Cinematografia in Rome during the height of the neorealist movement, before returning to Scotland in the early 1950s and founding her own film company, Ancona Films. Over the course of 46 years she produced over 30 films including one feature, and published three books of poetry and two volumes of short stories, while living in between Orkney and Edinburgh.\nTait described her life's work as consisting of making film poems, and denied suggestions that they were documentaries or diary films. She often quoted Lorca's phrase of 'stalking the image' to define her philosophy and method, believing that if you look at an object closely enough it will speak its nature. This clarity of vision and purpose, with an attention to simple commonplace subjects, combined with a rare sense of inner rhythm and pattern, give her films a transcendental quality, while still remaining firmly rooted within the everyday. With characteristic modesty, Tait once said of her films, that they are born \"of sheer wonder and astonishment at how much can be seen in any place that you choose...if you really look.\"\nBorn in 1918 in Kirkwall on Orkney, Scotland, Margaret Tait qualified in medicine at Edinburgh University 1941. From 1950 to 1952 she studied film at the Centro Sperimentale di Photographia in Rome.\nReturning to Scotland she established Ancona Films in Edinburgh’s Rose Street. In the 1960’s Tait moved back to Orkney where over the following decades she made a series of films inspired by the Orcadian landscape and culture. All but three of her thirty two films were self financed. She wrote poetry and stories and produced several books including three books of poetry.\nScreenings include National Film Theatre (London), Berlin Film Festival, Centre for Contemporary Art (Warsaw), Arsenal Kino (Berlin), Pacific Film Archives (San Francisco), Knokke le Zoute, Delhi and Riga. Tait was accorded a retrospective at the 1970 Edinburgh Film Festival and has been the subject of profiles on BBC and Channel Four.\nThe feature length Blue Black Permanent (1993) opened the Edinburgh International Film Festival. Her final film Garden Pieces was completed in 1998.","bio_dates":"1918-1999"},{"slug":"tait_margaret_colour_poems_1974","ok":true,"partial":false,"title":"Colour Poems","artist":"Margaret Tait","year":"1974","startOffset":0,"sourceSecs":657.267,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":118670522,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_colour_poems_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_colour_poems_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tait_margaret_colour_poems_1974.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tait_margaret_colour_poems_1974/main.mp4?v=2","description":"UK, 1974<br/> 12 minutes, Colour, sound<br/> Original format: 16mm Film<br/> <br/> Nine linked short films. Memory, chance observation, and the subsuming of one in the other. The titles within the film are: Numen of the Boughs, Old Boots, Speed Bonny Boat, Lapping Watter , Incense, Aha, Brave New World, Things, Terra Firma. <br/><br/> A poem started in words is continued by the picture, part of another poem is read for the last of the nine. Some images are formed by direct-on-film animation, others are found by the camera. – M.T.","artist_bio":"Margaret Tait was one of Britain's most unique filmmakers. She studied at the Centro Sperimentale di Cinematografia in Rome during the height of the neorealist movement, before returning to Scotland in the early 1950s and founding her own film company, Ancona Films. Over the course of 46 years she produced over 30 films including one feature, and published three books of poetry and two volumes of short stories, while living in between Orkney and Edinburgh.\nTait described her life's work as consisting of making film poems, and denied suggestions that they were documentaries or diary films. She often quoted Lorca's phrase of 'stalking the image' to define her philosophy and method, believing that if you look at an object closely enough it will speak its nature. This clarity of vision and purpose, with an attention to simple commonplace subjects, combined with a rare sense of inner rhythm and pattern, give her films a transcendental quality, while still remaining firmly rooted within the everyday. With characteristic modesty, Tait once said of her films, that they are born \"of sheer wonder and astonishment at how much can be seen in any place that you choose...if you really look.\"\nBorn in 1918 in Kirkwall on Orkney, Scotland, Margaret Tait qualified in medicine at Edinburgh University 1941. From 1950 to 1952 she studied film at the Centro Sperimentale di Photographia in Rome.\nReturning to Scotland she established Ancona Films in Edinburgh’s Rose Street. In the 1960’s Tait moved back to Orkney where over the following decades she made a series of films inspired by the Orcadian landscape and culture. All but three of her thirty two films were self financed. She wrote poetry and stories and produced several books including three books of poetry.\nScreenings include National Film Theatre (London), Berlin Film Festival, Centre for Contemporary Art (Warsaw), Arsenal Kino (Berlin), Pacific Film Archives (San Francisco), Knokke le Zoute, Delhi and Riga. Tait was accorded a retrospective at the 1970 Edinburgh Film Festival and has been the subject of profiles on BBC and Channel Four.\nThe feature length Blue Black Permanent (1993) opened the Edinburgh International Film Festival. Her final film Garden Pieces was completed in 1998.","bio_dates":"1918-1999"},{"slug":"tait_margaret_hugh_macdiarmid_a_portrait_1964","ok":true,"partial":false,"title":"Hugh MacDiarmid, A Portrait","artist":"Margaret Tait","year":"1964","startOffset":0,"sourceSecs":491.128,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":87720091,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_hugh_macdiarmid_a_portrait_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_hugh_macdiarmid_a_portrait_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tait_margaret_hugh_macdiarmid_a_portrait_1964.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tait_margaret_hugh_macdiarmid_a_portrait_1964/main.mp4?v=2","description":"UK, 1964<br/> 9 minutes, B&W, opt <br/><br/> Hugh McDiarmid: A Portrait<br/> ‘…It was an original kind of tribute….’ – George Mackay Brown in The Orcadian. ‘….shows (her) idea of MacDairmid’s work… amid all the scenes and objects that surround his daily life…. and lines of his poems, in his own voice, echo through the images so that the film speaks out like music whether or not you have first looked up the words….’ – Elizabeth Sussex, in The Financial Times. ‘…the bard emerges as a warm and affectionate subject, saying more and seeing more in its nine minutes than a half-hour of television reportage….’ – Edinburgh Film Festival Brochure","artist_bio":"Margaret Tait was one of Britain's most unique filmmakers. She studied at the Centro Sperimentale di Cinematografia in Rome during the height of the neorealist movement, before returning to Scotland in the early 1950s and founding her own film company, Ancona Films. Over the course of 46 years she produced over 30 films including one feature, and published three books of poetry and two volumes of short stories, while living in between Orkney and Edinburgh.\nTait described her life's work as consisting of making film poems, and denied suggestions that they were documentaries or diary films. She often quoted Lorca's phrase of 'stalking the image' to define her philosophy and method, believing that if you look at an object closely enough it will speak its nature. This clarity of vision and purpose, with an attention to simple commonplace subjects, combined with a rare sense of inner rhythm and pattern, give her films a transcendental quality, while still remaining firmly rooted within the everyday. With characteristic modesty, Tait once said of her films, that they are born \"of sheer wonder and astonishment at how much can be seen in any place that you choose...if you really look.\"\nBorn in 1918 in Kirkwall on Orkney, Scotland, Margaret Tait qualified in medicine at Edinburgh University 1941. From 1950 to 1952 she studied film at the Centro Sperimentale di Photographia in Rome.\nReturning to Scotland she established Ancona Films in Edinburgh’s Rose Street. In the 1960’s Tait moved back to Orkney where over the following decades she made a series of films inspired by the Orcadian landscape and culture. All but three of her thirty two films were self financed. She wrote poetry and stories and produced several books including three books of poetry.\nScreenings include National Film Theatre (London), Berlin Film Festival, Centre for Contemporary Art (Warsaw), Arsenal Kino (Berlin), Pacific Film Archives (San Francisco), Knokke le Zoute, Delhi and Riga. Tait was accorded a retrospective at the 1970 Edinburgh Film Festival and has been the subject of profiles on BBC and Channel Four.\nThe feature length Blue Black Permanent (1993) opened the Edinburgh International Film Festival. Her final film Garden Pieces was completed in 1998.","bio_dates":"1918-1999"},{"slug":"tait_margaret_john_macfadyen_the_stripes_in_the_tartan_1970","ok":true,"partial":false,"title":"John Macfadyen (The Stripes in the Tartan)","artist":"Margaret Tait","year":"1970","startOffset":0,"sourceSecs":206.994,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":37362056,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_john_macfadyen_the_stripes_in_the_tartan_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_john_macfadyen_the_stripes_in_the_tartan_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tait_margaret_john_macfadyen_the_stripes_in_the_tartan_1970.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tait_margaret_john_macfadyen_the_stripes_in_the_tartan_1970/main.mp4?v=2","description":"John MacFadyen (1970) is one of three abstract films made by Margaret Tait over a period of fifteen years from 1955 to 1970. Production was a meticulous, time-consuming process, comprising painting directly onto clear 35mm film stock, frame by frame. Each frame was hand painted in deep, rich colours, typically taking the appearance of a washed background with animated forms and figures in the foreground, dancing roughly in time to traditional ceilidh music on the soundtrack. <br/><br/> It is a visual world of non-representational shapes, colours, and forms, which does not seek to portray reality but instead focuses on the interplay of form and rhythm. In this respect the film resembles the experimental idiom of 'cinema-pur' (pure cinema) of 1920s France, but has a particular Scottish flair. Kenneth Broom","artist_bio":"Margaret Tait was one of Britain's most unique filmmakers. She studied at the Centro Sperimentale di Cinematografia in Rome during the height of the neorealist movement, before returning to Scotland in the early 1950s and founding her own film company, Ancona Films. Over the course of 46 years she produced over 30 films including one feature, and published three books of poetry and two volumes of short stories, while living in between Orkney and Edinburgh.\nTait described her life's work as consisting of making film poems, and denied suggestions that they were documentaries or diary films. She often quoted Lorca's phrase of 'stalking the image' to define her philosophy and method, believing that if you look at an object closely enough it will speak its nature. This clarity of vision and purpose, with an attention to simple commonplace subjects, combined with a rare sense of inner rhythm and pattern, give her films a transcendental quality, while still remaining firmly rooted within the everyday. With characteristic modesty, Tait once said of her films, that they are born \"of sheer wonder and astonishment at how much can be seen in any place that you choose...if you really look.\"\nBorn in 1918 in Kirkwall on Orkney, Scotland, Margaret Tait qualified in medicine at Edinburgh University 1941. From 1950 to 1952 she studied film at the Centro Sperimentale di Photographia in Rome.\nReturning to Scotland she established Ancona Films in Edinburgh’s Rose Street. In the 1960’s Tait moved back to Orkney where over the following decades she made a series of films inspired by the Orcadian landscape and culture. All but three of her thirty two films were self financed. She wrote poetry and stories and produced several books including three books of poetry.\nScreenings include National Film Theatre (London), Berlin Film Festival, Centre for Contemporary Art (Warsaw), Arsenal Kino (Berlin), Pacific Film Archives (San Francisco), Knokke le Zoute, Delhi and Riga. Tait was accorded a retrospective at the 1970 Edinburgh Film Festival and has been the subject of profiles on BBC and Channel Four.\nThe feature length Blue Black Permanent (1993) opened the Edinburgh International Film Festival. Her final film Garden Pieces was completed in 1998.","bio_dates":"1918-1999"},{"slug":"tait_margaret_place_of_work_1976","ok":true,"partial":false,"title":"Place of Work","artist":"Margaret Tait","year":"1976","startOffset":0,"sourceSecs":1801.352,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":311073122,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_place_of_work_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tait_margaret_place_of_work_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tait_margaret_place_of_work_1976.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tait_margaret_place_of_work_1976/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tait_margaret_place_of_work_1976/main/master.m3u8?v=2","hasMainHls":true,"description":"A close study of one garden and house and what could be seen there and heard there within the space of time from June 1975 to November 1975. An evocation of a place (in Orkney) with lifelong associations and latterly used as a work place. A family home, from which at the time of filming, the family had long gone. My own home in childhood and off and on through the years, eventually returned to and worked in (and on). Filmed in the months before leaving it. – M.T.\n\n‘…The film is simply an exploration/meditation dealing with a house, which etc….The result then of these camera movements and of this sound, is a perfectly full sense of being there…’ – Noel Burch, in Screen."},{"slug":"tambellini_aldo_black_tv_1968","ok":true,"partial":false,"title":"Black TV","artist":"Aldo Tambellini","year":"1969","startOffset":0,"sourceSecs":574.187,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":94354777,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tambellini_aldo_black_tv_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tambellini_aldo_black_tv_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tambellini_aldo_black_tv_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tambellini_aldo_black_tv_1968/main.mp4?v=2","description":"\"\"\"Videotape is used here as a personal and artistic medium: documentary television images of today's violence are distorted into rapid-fire, black-and-white abstractions,  Robert Kennedy's assassination, police brutality, murder, infanticide, prizefights, and Vietnam become blurred insistent symbols of today's horrors.<br/> — Amos Vogel in \"Film as Subversive Art\"<br/><br/>“Tambellini’s BLACK TV is a great work on video tape. Of Tambellini’s work so far this is his masterpiece. The impact of the dynamic movement kept the audience constantly tense and lead the audience into Tambellini’s personal cosmology.  Here Video TV has become a personal and artistic media.”<br> — Takahito Iimura, Eiga Hyoron, Japan Film Review, Tokyo, June 1968<br/><br/>“One day, Aldo’s Black TV will be considered a classic.”<br> — Nam June Paik, 1969<br/><br/>“Black TV is the title of Tambellini's best-known videographic film, which is part of a large intermedia project about American television. Compiled from filmed television news programs and personal experimental videotapes, Black TV has been seen in many versions during the four-year period in which Tambellini constantly re-edited it. ‘Since my interest, is in multimedia and mixed-media live events, and in experimental television, I think of film as a material to work with, part of the communications media rather than an end in itself. In the future we will be communicating through electronically transmitted images; Black TV is about the future, the contemporary American, the media, the injustice, the witnessing of events, and the expansion of the senses. The act of communication and the experience is the essential.’ As Tambellini's remarks indicate, Black TV is about perception in the intermedia network. It generates a pervasive atmosphere of the process-level perception by which most of us experience the contemporary environment. Since it involves the use of multiple monitors and various levels of video distortion, there is a sense of the massive simultaneity inherent in the nature of electronic media communication. Black TV is one of the first aesthetic statements on the subject of the intermedia network as nature, possibly the only such statement in film form.”<br> — Gene Youngblood, Expanded Cinema, 1970<br/><br/>“Tambellini’s Black TV also takes a subversive, collagist approach, but with a contemporary darker edge.  Utilizing ‘60s news footage of race riots, police brutality and Vietnam. Tambellini describes the film as ‘being about the future, the contemporary America, the media, the injustice, the witnessing of the events, and the expansion of the senses.’ It was this notion of expanding the senses that preoccupied most of his work.  While Tambellini was vitriolic in his opposition to mainstream television (he once called TV ‘the assassin of reality’), he also saw in it immense possibility as an abstract form of aesthetic communication.  Since the technology was here to stay, and as Tambellini saw it, was ‘affecting all social and human interaction as we have previously known it to be.”  It was imperative to find ways to appropriate it artistically.” <br> — Donal Foreman, Experimental Film Club Blog</br></br></br></br>","artist_bio":"Aldo Tambellini, Thomas Tadlock, Allan Kaprow, James Seawright, Otto Piene, Nam June Paik - The Medium is the Medium\n(1969)\nAldo Tambellini was born in Syracuse, New York in 1930, his father from Sao Paolo, Brazil, his mother from Italy. He was taken to Italy at the age of eighteen months where he lived in Lucca (Tuscany). At the age of ten, he was enrolled in art school in Lucca. His neighborhood was bombed during WWII; twenty-one of his friends and neighbors died and he miraculously survived. In 1946, Aldo returned to the United States. With a full scholarship at Syracuse University he received a BFA in Painting, ‘54 and a Teaching Fellowship at the University of Notre Dame, MFA ’59.\nIn 1959, Aldo moved to New York City’s Lower East Side. He founded the underground, “counter-culture” group, “Group Center,” which organized alternative ways and non-traditional presentation of the artists’ work to the public. He pioneered in the video art movement in the late 60’s. In 1965, he began painting directly on film beginning his “Black Film Series” of which, “Black TV,” (made using both film and video) was the winner of the International Grand Prix, Oberhausen Film Festival, 1969.\nSimultaneously, Aldo began a series of “Electromedia Performances” which organically brought together, projected paintings, film, video, poetry, light, dance, sound and live musicians. He founded the Gate Theatre, the only daily public theatre showing avant-garde independent filmmakers and in 1967, he co-founded with Otto Piene, the Black Gate, a second theatre which presented live multi-media (Electromedia) performances and installations.\nFrom 1976 to 1984, Aldo was a Fellow at the Center for Advanced Visual Studies at the Massachusetts Institute of Technology. There he conducted workshops and organized with “communicationsphere” a series of international interactive Media Communication Projects. Since ’84, he has concentrated on poetry and performing his poetry with music and video projection.\nIn 2005 Aldo produced a digital film, “Listen” which incorporates his anti-war and political poetry, animation/video and film clips. This film won First Place in the “Short Experimental Film by an Independent Filmmaker” category at the New England Film Festival in October 2005 and at the Syracuse International Film Festival in 2006. In 2007 Aldo was awarded the “Lifetime Achievement Award” from Syracuse University at the 2007 Syracuse International Film Festival. The same year he received the Keys to the City of Cambridge from Mayor Ken Reeves in recognition of his contribution to the cultural environment of Cambridge.\nIn 2010 Aldo was awarded a Gold medal from the Italian Government, Lucchesi Nel Mondo Organization, in recognition of his lifetime achievement in the Arts.","bio_dates":"b. 1930"},{"slug":"tambellini_aldo_blackout_1965","ok":true,"partial":false,"title":"Blackout","artist":"Aldo Tambellini","year":"1965","startOffset":0,"sourceSecs":508.981,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":90568512,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tambellini_aldo_blackout_1965/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tambellini_aldo_blackout_1965/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tambellini_aldo_blackout_1965.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tambellini_aldo_blackout_1965/main.mp4?v=2","description":"This film, like an action painting by Franz Kline, is a rising crescendo of abstract images. Rapid cuts of white forms on a black background supplemented by an equally abstract soundtrack.","artist_bio":"Aldo Tambellini, Thomas Tadlock, Allan Kaprow, James Seawright, Otto Piene, Nam June Paik - The Medium is the Medium\n(1969)\nAldo Tambellini was born in Syracuse, New York in 1930, his father from Sao Paolo, Brazil, his mother from Italy. He was taken to Italy at the age of eighteen months where he lived in Lucca (Tuscany). At the age of ten, he was enrolled in art school in Lucca. His neighborhood was bombed during WWII; twenty-one of his friends and neighbors died and he miraculously survived. In 1946, Aldo returned to the United States. With a full scholarship at Syracuse University he received a BFA in Painting, ‘54 and a Teaching Fellowship at the University of Notre Dame, MFA ’59.\nIn 1959, Aldo moved to New York City’s Lower East Side. He founded the underground, “counter-culture” group, “Group Center,” which organized alternative ways and non-traditional presentation of the artists’ work to the public. He pioneered in the video art movement in the late 60’s. In 1965, he began painting directly on film beginning his “Black Film Series” of which, “Black TV,” (made using both film and video) was the winner of the International Grand Prix, Oberhausen Film Festival, 1969.\nSimultaneously, Aldo began a series of “Electromedia Performances” which organically brought together, projected paintings, film, video, poetry, light, dance, sound and live musicians. He founded the Gate Theatre, the only daily public theatre showing avant-garde independent filmmakers and in 1967, he co-founded with Otto Piene, the Black Gate, a second theatre which presented live multi-media (Electromedia) performances and installations.\nFrom 1976 to 1984, Aldo was a Fellow at the Center for Advanced Visual Studies at the Massachusetts Institute of Technology. There he conducted workshops and organized with “communicationsphere” a series of international interactive Media Communication Projects. Since ’84, he has concentrated on poetry and performing his poetry with music and video projection.\nIn 2005 Aldo produced a digital film, “Listen” which incorporates his anti-war and political poetry, animation/video and film clips. This film won First Place in the “Short Experimental Film by an Independent Filmmaker” category at the New England Film Festival in October 2005 and at the Syracuse International Film Festival in 2006. In 2007 Aldo was awarded the “Lifetime Achievement Award” from Syracuse University at the 2007 Syracuse International Film Festival. The same year he received the Keys to the City of Cambridge from Mayor Ken Reeves in recognition of his contribution to the cultural environment of Cambridge.\nIn 2010 Aldo was awarded a Gold medal from the Italian Government, Lucchesi Nel Mondo Organization, in recognition of his lifetime achievement in the Arts.","bio_dates":"b. 1930"},{"slug":"tambellini_aldo_the_day_before_the_moon_landing_1969","ok":true,"partial":false,"title":"The Day Before the Moon Landing","artist":"Aldo Tambellini","year":"1969","startOffset":0,"sourceSecs":2828.394,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":478684278,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tambellini_aldo_the_day_before_the_moon_landing_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tambellini_aldo_the_day_before_the_moon_landing_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tambellini_aldo_the_day_before_the_moon_landing_1969.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tambellini_aldo_the_day_before_the_moon_landing_1969/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tambellini_aldo_the_day_before_the_moon_landing_1969/main/master.m3u8?v=2","hasMainHls":true,"description":"The Day Before the Moon Landing (1969) is the first in a series of videos Tambellini made to capture broadcast television as it was experienced live. Unlike more involved works such as Black TV, the video simply records Tambellini channel surfing between the networks on July 19, 1969, the day before Apollo 11 landed. And yet, this relatively raw document is remarkable. Recorded very early on in the emergence of home video, when the mere act of being able to capture broadcast television was a marvel, the footage might not otherwise exist today, as major television networks were not yet in the habit of archiving their content. Tambellini corralled the transmission and transformed it into an improvised performance, ultimately structuring a visual poem about the quotidian context of an otherworldly event.\n\nFleeting glimpses of Apollo 11’s live video feed of the lunar surface (“the clearest pictures yet of its bleak and desolate body,” chimes a broadcaster) are nearly engulfed by competing scenes of marauding motorcycle gangs in The Wild One (1953), a monster destroying a city in an Atomic-era “creature feature,” advertisements for personal products, and an investigative report on sex in cinema. Slivers of ethereal space footage surrounded by the cultural tropes of commercial television and mainstream America offer a striking disparity. Watching this footage in the throes of a pandemic, we are again reminded of the contrast between the expansiveness of the universe and the vulnerability of our small world."},{"slug":"tambellini_tadlock_kaprow_seawright_piene_paik_the_medium_is_the_medium_1969","ok":true,"partial":false,"title":"Aldo Tambellini, Thomas Tadlock, Allan Kaprow, James Seawright, Otto Piene, Nam June Paik - The Medium is the Medium","artist":"Aldo Tambellini","year":"1969","startOffset":0,"sourceSecs":1755.925,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":302023255,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tambellini_tadlock_kaprow_seawright_piene_paik_the_medium_is_the_medium_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tambellini_tadlock_kaprow_seawright_piene_paik_the_medium_is_the_medium_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tambellini_tadlock_kaprow_seawright_piene_paik_the_medium_is_the_medium_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tambellini_tadlock_kaprow_seawright_piene_paik_the_medium_is_the_medium_1969/main.mp4?v=2","description":"1969, 16:57 min, color, sound Produced by WGBH-TV in Boston, the Medium is the Medium is one of the earliest and most prescient examples of the collaboration between public television and the emerging field of video art in the U.S. WGBH commissioned artists -- Allan Kaprow, Nam June Paik, Otto Piene, James Seawright, Thomas Tadlock and Aldo Tambellini -- to create original works for broadcast television. Their works explored the parameters of the new medium, from image processing and interactivity to video dance and sculpture. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"tanaami_keiichi_bride_bachelors_1975","ok":true,"partial":false,"title":"The Bride Stripped Bare by Her Bachelors","artist":"Keiichi Tanaami","year":"1975","startOffset":0,"sourceSecs":234.334,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":16069636,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tanaami_keiichi_bride_bachelors_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tanaami_keiichi_bride_bachelors_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tanaami_keiichi_bride_bachelors_1975.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tanaami_keiichi_bride_bachelors_1975/main.mp4?v=2","description":"All copyright by Keiichi Tanaami, courtesy of <a href=\"http://www.NUG.jp\" rel=\"noopener\" target=\"_blank\">NANZUKA</a>","artist_bio":"Keiichi Tanaami, born in 1936 in Tokyo, is one of the leading pop artists of postwar Japan, and has been active as multi-genre artist since the 1960s as a graphic designer, illustrator, video artist and fine artist.\nKeiichi Tanaami was born in 1936 as the eldest son of a textile wholesaler in Tokyo. He was 9 years old when Tokyo was bombed during the Great Tokyo Air Raid of World War II in 1945. Images seared into the back of his mind at this time would became major motifs in his art works: roaring American bombers, searchlights scanning the skies, firebombs dropped from planes, the city a sea of fire, fleeing masses, and his father's deformed goldfish swimming in its tank, flashes from the bombs reflecting in the water.\n\"\"I was rushed away from my childhood, a time that should be filled with eating and playing, by the enigmatic monstrosity of war; my dreams were a vortex of fear and anxiety, anger and resignation. On the night of the air raid, I remember watching swarms of people flee from bald mountaintops. But then something occurs to me: was that moment real? Dream and reality are all mixed up in my memories, recorded permanently in this ambiguous way.\"\nTanaami took to drawing from a young age, and as a junior high school student he often spent time at the studio of leading postwar cartoonist Kazushi Hara with the intention of becoming a cartoonist himself. After Hara's sudden death, however, he turned to the pioneering field within manga of graphic novels, and went on to study to become a professional artist at Musashino Art University. Word of his talent spread quickly during his time there and in 1958, as a second year student, he was awarded the Special Selection at an exhibition held by the authoritative illustration and design group of the time. After graduating he took a job with an advertising agency, but quit before one year was up due to the numerous private commissions he was receiving. During the '60s he busied himself as a successful illustrator and graphic designer while also actively participating in the Neo-Dada organization, one of the defining art movements of postwar Japan. In the latter half of the '60s he immersed himself in making video art, the newest medium in the art scene at the time.\n\"\"In the 1960s, the Sogetsu Art Center in Akasaka regularly held events that traversed many diverse genres. There were happenings staged by Yoko Ono, videos by Nam June Paik and experimental films from America. It was around that time that I heard about the [Sogetsu] Animation Festival (1965). I wanted so badly to make an animation, so I convinced Yōji Kuri's Experimental Animation Studio to help me create 'Marionettes in Masks' (35 mm, 8 minutes). I continued to make animations after that, with works such as 'Good-by Marilyn' (1971), 'Good-by Elvis and USA' (1971), 'Crayon Angel' (1975) and 'Sweet Friday' (1975).\"\nIn 1967, Tanaami took his first trip to New York. There he came face to face with the works of Andy Warhol, shining brightly amidst the whirlwind of prospering American consumerism, and Tanaami was struck by the new possibilities of art within the world of design.\n\"\"Warhol was in the process of shifting from commercial illustrator to artist, and I both witnessed and experienced firsthand his tactics, his method of incision into the art world. His strategies were identical to the strategies employed by advertising agencies. He used contemporary icons as motifs in his works and for his other activities put together media such as films, newspapers and rock bands. In other words, Warhol's sole existence was selling his works to the art market. I was shocked by this, and at the same time I embraced him as the perfect role model for myself. Like Warhol, I decided not to limit myself to one medium, to fine art or design only, but instead to explore many different methods.\"\nAt the height of psychedelic culture and pop art, Tanaami's kitschy, colorful illustrations and design work received high acclaim in both Japan and abroad. \"NO MORE WAR\", his prize-winning piece from the 1968 antiwar poster contest organized by AVANT-GARDE Magazine, in addition to his album cover art for legendary bands The Monkees and Jefferson Airplane and other such works left a major footprint on the path to introducing psychedelic and pop art to Japan. Furthermore, his series of erotic paintings featuring Hollywood actresses done in the early '70s became an important body of work that declared Tanaami as the Japanese artist with a witty eye on American culture.\nIn 1975, Tanaami became the first art director of the Japanese edition of Playboy Magazine, \"Monthly Playboy\", and went to New York once again to visit Playboy's head office. The editor there took him to Andy Warhol's Factory. Tanaami's works from this period, mostly in the mediums of film and print, were provocative and experimental. His films in particular received wide critical acclaim, appearing in the International Short Film Festival Oberhausen in Germany (1975, 1976), the New York Film Festival (1976), and the Ottawa International Animation Festival in Canada (1976). The vanguard nature of his work led the police to shut down his 1976 exhibit \"Super Orange of Love\" at Nishimura Gallery for inspection on the opening day.\nIn 1981, at the age of 45, he suffered a pulmonary edema and for a time hovered at the edge of life and death. Throughout the '80s and '90s, Tanaami created many works centered around the theme of \"Life and Death\" based on the experience. For example, the pine tree form that appears frequently in Tanaami's works comes from a hallucination he experienced during his illness. Similarly, the cranes, elephants and naked women that appear along with spirals and miniature garden-like architectural forms are characteristic of his works from this period.\nIn 1999, a retrospective of Tanaami's works from the '60s was held at Gallery 360° in Tokyo. The exhibit was praised highly by Yamataka Eye (Boredoms) and KAWS, cultural leaders of the new generation born after the '60s, and as a result, Tanaami's works once again became popular amongst youth culture. Since 2005, Tanaami has been presenting new works that fall in the realm of fine art. In these works, he continues to manifest images from his personal memories and from his dream world -- personified goldfish, deformed characters, rays of light, helical pine trees, fantastical architecture, young girls -- through the various mediums of painting, sculpture, film and furniture.\nTanaami has worked as a professor at Kyoto University of Art and Design since 1991, where he has helped bring up young new artists such as Tabaimo. Recent exhibits include \"Day Tripper\" at Art & Public in Geneva (2007), \"SPIRAL\" at Galerie Gebr. Lehmann in Berlin (2008), \"Kochuten\" at NANZUKA UNDERGROUND (2009), \"Still in Dream\" at Frieze Art Fair (2010) and \"No More War\" at Art 42 Basel (2011).","bio_dates":"b. 1936"},{"slug":"tanaami_keiichi_crayon_angel","ok":true,"partial":false,"title":"Crayon Angel","artist":"Keiichi Tanaami","year":"1975","startOffset":0,"sourceSecs":171.171,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":11646777,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tanaami_keiichi_crayon_angel/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tanaami_keiichi_crayon_angel/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tanaami_keiichi_crayon_angel.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tanaami_keiichi_crayon_angel/main.mp4?v=2","description":"All copyright by Keiichi Tanaami, courtesy of <a href=\"http://www.NUG.jp\" rel=\"noopener\" target=\"_blank\">NANZUKA</a>","artist_bio":"Keiichi Tanaami, born in 1936 in Tokyo, is one of the leading pop artists of postwar Japan, and has been active as multi-genre artist since the 1960s as a graphic designer, illustrator, video artist and fine artist.\nKeiichi Tanaami was born in 1936 as the eldest son of a textile wholesaler in Tokyo. He was 9 years old when Tokyo was bombed during the Great Tokyo Air Raid of World War II in 1945. Images seared into the back of his mind at this time would became major motifs in his art works: roaring American bombers, searchlights scanning the skies, firebombs dropped from planes, the city a sea of fire, fleeing masses, and his father's deformed goldfish swimming in its tank, flashes from the bombs reflecting in the water.\n\"\"I was rushed away from my childhood, a time that should be filled with eating and playing, by the enigmatic monstrosity of war; my dreams were a vortex of fear and anxiety, anger and resignation. On the night of the air raid, I remember watching swarms of people flee from bald mountaintops. But then something occurs to me: was that moment real? Dream and reality are all mixed up in my memories, recorded permanently in this ambiguous way.\"\nTanaami took to drawing from a young age, and as a junior high school student he often spent time at the studio of leading postwar cartoonist Kazushi Hara with the intention of becoming a cartoonist himself. After Hara's sudden death, however, he turned to the pioneering field within manga of graphic novels, and went on to study to become a professional artist at Musashino Art University. Word of his talent spread quickly during his time there and in 1958, as a second year student, he was awarded the Special Selection at an exhibition held by the authoritative illustration and design group of the time. After graduating he took a job with an advertising agency, but quit before one year was up due to the numerous private commissions he was receiving. During the '60s he busied himself as a successful illustrator and graphic designer while also actively participating in the Neo-Dada organization, one of the defining art movements of postwar Japan. In the latter half of the '60s he immersed himself in making video art, the newest medium in the art scene at the time.\n\"\"In the 1960s, the Sogetsu Art Center in Akasaka regularly held events that traversed many diverse genres. There were happenings staged by Yoko Ono, videos by Nam June Paik and experimental films from America. It was around that time that I heard about the [Sogetsu] Animation Festival (1965). I wanted so badly to make an animation, so I convinced Yōji Kuri's Experimental Animation Studio to help me create 'Marionettes in Masks' (35 mm, 8 minutes). I continued to make animations after that, with works such as 'Good-by Marilyn' (1971), 'Good-by Elvis and USA' (1971), 'Crayon Angel' (1975) and 'Sweet Friday' (1975).\"\nIn 1967, Tanaami took his first trip to New York. There he came face to face with the works of Andy Warhol, shining brightly amidst the whirlwind of prospering American consumerism, and Tanaami was struck by the new possibilities of art within the world of design.\n\"\"Warhol was in the process of shifting from commercial illustrator to artist, and I both witnessed and experienced firsthand his tactics, his method of incision into the art world. His strategies were identical to the strategies employed by advertising agencies. He used contemporary icons as motifs in his works and for his other activities put together media such as films, newspapers and rock bands. In other words, Warhol's sole existence was selling his works to the art market. I was shocked by this, and at the same time I embraced him as the perfect role model for myself. Like Warhol, I decided not to limit myself to one medium, to fine art or design only, but instead to explore many different methods.\"\nAt the height of psychedelic culture and pop art, Tanaami's kitschy, colorful illustrations and design work received high acclaim in both Japan and abroad. \"NO MORE WAR\", his prize-winning piece from the 1968 antiwar poster contest organized by AVANT-GARDE Magazine, in addition to his album cover art for legendary bands The Monkees and Jefferson Airplane and other such works left a major footprint on the path to introducing psychedelic and pop art to Japan. Furthermore, his series of erotic paintings featuring Hollywood actresses done in the early '70s became an important body of work that declared Tanaami as the Japanese artist with a witty eye on American culture.\nIn 1975, Tanaami became the first art director of the Japanese edition of Playboy Magazine, \"Monthly Playboy\", and went to New York once again to visit Playboy's head office. The editor there took him to Andy Warhol's Factory. Tanaami's works from this period, mostly in the mediums of film and print, were provocative and experimental. His films in particular received wide critical acclaim, appearing in the International Short Film Festival Oberhausen in Germany (1975, 1976), the New York Film Festival (1976), and the Ottawa International Animation Festival in Canada (1976). The vanguard nature of his work led the police to shut down his 1976 exhibit \"Super Orange of Love\" at Nishimura Gallery for inspection on the opening day.\nIn 1981, at the age of 45, he suffered a pulmonary edema and for a time hovered at the edge of life and death. Throughout the '80s and '90s, Tanaami created many works centered around the theme of \"Life and Death\" based on the experience. For example, the pine tree form that appears frequently in Tanaami's works comes from a hallucination he experienced during his illness. Similarly, the cranes, elephants and naked women that appear along with spirals and miniature garden-like architectural forms are characteristic of his works from this period.\nIn 1999, a retrospective of Tanaami's works from the '60s was held at Gallery 360° in Tokyo. The exhibit was praised highly by Yamataka Eye (Boredoms) and KAWS, cultural leaders of the new generation born after the '60s, and as a result, Tanaami's works once again became popular amongst youth culture. Since 2005, Tanaami has been presenting new works that fall in the realm of fine art. In these works, he continues to manifest images from his personal memories and from his dream world -- personified goldfish, deformed characters, rays of light, helical pine trees, fantastical architecture, young girls -- through the various mediums of painting, sculpture, film and furniture.\nTanaami has worked as a professor at Kyoto University of Art and Design since 1991, where he has helped bring up young new artists such as Tabaimo. Recent exhibits include \"Day Tripper\" at Art & Public in Geneva (2007), \"SPIRAL\" at Galerie Gebr. Lehmann in Berlin (2008), \"Kochuten\" at NANZUKA UNDERGROUND (2009), \"Still in Dream\" at Frieze Art Fair (2010) and \"No More War\" at Art 42 Basel (2011).","bio_dates":"b. 1936"},{"slug":"tanaami_keiichi_good_bye_marylin","ok":true,"partial":false,"title":"Good-by Marilyn","artist":"Keiichi Tanaami","year":"1971","startOffset":0,"sourceSecs":264.231,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":18310414,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tanaami_keiichi_good_bye_marylin/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tanaami_keiichi_good_bye_marylin/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tanaami_keiichi_good_bye_marylin.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tanaami_keiichi_good_bye_marylin/main.mp4?v=2","description":"All copyright by Keiichi Tanaami, courtesy of <a href=\"http://www.NUG.jp\" rel=\"noopener\" target=\"_blank\">NANZUKA</a>","artist_bio":"Keiichi Tanaami, born in 1936 in Tokyo, is one of the leading pop artists of postwar Japan, and has been active as multi-genre artist since the 1960s as a graphic designer, illustrator, video artist and fine artist.\nKeiichi Tanaami was born in 1936 as the eldest son of a textile wholesaler in Tokyo. He was 9 years old when Tokyo was bombed during the Great Tokyo Air Raid of World War II in 1945. Images seared into the back of his mind at this time would became major motifs in his art works: roaring American bombers, searchlights scanning the skies, firebombs dropped from planes, the city a sea of fire, fleeing masses, and his father's deformed goldfish swimming in its tank, flashes from the bombs reflecting in the water.\n\"\"I was rushed away from my childhood, a time that should be filled with eating and playing, by the enigmatic monstrosity of war; my dreams were a vortex of fear and anxiety, anger and resignation. On the night of the air raid, I remember watching swarms of people flee from bald mountaintops. But then something occurs to me: was that moment real? Dream and reality are all mixed up in my memories, recorded permanently in this ambiguous way.\"\nTanaami took to drawing from a young age, and as a junior high school student he often spent time at the studio of leading postwar cartoonist Kazushi Hara with the intention of becoming a cartoonist himself. After Hara's sudden death, however, he turned to the pioneering field within manga of graphic novels, and went on to study to become a professional artist at Musashino Art University. Word of his talent spread quickly during his time there and in 1958, as a second year student, he was awarded the Special Selection at an exhibition held by the authoritative illustration and design group of the time. After graduating he took a job with an advertising agency, but quit before one year was up due to the numerous private commissions he was receiving. During the '60s he busied himself as a successful illustrator and graphic designer while also actively participating in the Neo-Dada organization, one of the defining art movements of postwar Japan. In the latter half of the '60s he immersed himself in making video art, the newest medium in the art scene at the time.\n\"\"In the 1960s, the Sogetsu Art Center in Akasaka regularly held events that traversed many diverse genres. There were happenings staged by Yoko Ono, videos by Nam June Paik and experimental films from America. It was around that time that I heard about the [Sogetsu] Animation Festival (1965). I wanted so badly to make an animation, so I convinced Yōji Kuri's Experimental Animation Studio to help me create 'Marionettes in Masks' (35 mm, 8 minutes). I continued to make animations after that, with works such as 'Good-by Marilyn' (1971), 'Good-by Elvis and USA' (1971), 'Crayon Angel' (1975) and 'Sweet Friday' (1975).\"\nIn 1967, Tanaami took his first trip to New York. There he came face to face with the works of Andy Warhol, shining brightly amidst the whirlwind of prospering American consumerism, and Tanaami was struck by the new possibilities of art within the world of design.\n\"\"Warhol was in the process of shifting from commercial illustrator to artist, and I both witnessed and experienced firsthand his tactics, his method of incision into the art world. His strategies were identical to the strategies employed by advertising agencies. He used contemporary icons as motifs in his works and for his other activities put together media such as films, newspapers and rock bands. In other words, Warhol's sole existence was selling his works to the art market. I was shocked by this, and at the same time I embraced him as the perfect role model for myself. Like Warhol, I decided not to limit myself to one medium, to fine art or design only, but instead to explore many different methods.\"\nAt the height of psychedelic culture and pop art, Tanaami's kitschy, colorful illustrations and design work received high acclaim in both Japan and abroad. \"NO MORE WAR\", his prize-winning piece from the 1968 antiwar poster contest organized by AVANT-GARDE Magazine, in addition to his album cover art for legendary bands The Monkees and Jefferson Airplane and other such works left a major footprint on the path to introducing psychedelic and pop art to Japan. Furthermore, his series of erotic paintings featuring Hollywood actresses done in the early '70s became an important body of work that declared Tanaami as the Japanese artist with a witty eye on American culture.\nIn 1975, Tanaami became the first art director of the Japanese edition of Playboy Magazine, \"Monthly Playboy\", and went to New York once again to visit Playboy's head office. The editor there took him to Andy Warhol's Factory. Tanaami's works from this period, mostly in the mediums of film and print, were provocative and experimental. His films in particular received wide critical acclaim, appearing in the International Short Film Festival Oberhausen in Germany (1975, 1976), the New York Film Festival (1976), and the Ottawa International Animation Festival in Canada (1976). The vanguard nature of his work led the police to shut down his 1976 exhibit \"Super Orange of Love\" at Nishimura Gallery for inspection on the opening day.\nIn 1981, at the age of 45, he suffered a pulmonary edema and for a time hovered at the edge of life and death. Throughout the '80s and '90s, Tanaami created many works centered around the theme of \"Life and Death\" based on the experience. For example, the pine tree form that appears frequently in Tanaami's works comes from a hallucination he experienced during his illness. Similarly, the cranes, elephants and naked women that appear along with spirals and miniature garden-like architectural forms are characteristic of his works from this period.\nIn 1999, a retrospective of Tanaami's works from the '60s was held at Gallery 360° in Tokyo. The exhibit was praised highly by Yamataka Eye (Boredoms) and KAWS, cultural leaders of the new generation born after the '60s, and as a result, Tanaami's works once again became popular amongst youth culture. Since 2005, Tanaami has been presenting new works that fall in the realm of fine art. In these works, he continues to manifest images from his personal memories and from his dream world -- personified goldfish, deformed characters, rays of light, helical pine trees, fantastical architecture, young girls -- through the various mediums of painting, sculpture, film and furniture.\nTanaami has worked as a professor at Kyoto University of Art and Design since 1991, where he has helped bring up young new artists such as Tabaimo. Recent exhibits include \"Day Tripper\" at Art & Public in Geneva (2007), \"SPIRAL\" at Galerie Gebr. Lehmann in Berlin (2008), \"Kochuten\" at NANZUKA UNDERGROUND (2009), \"Still in Dream\" at Frieze Art Fair (2010) and \"No More War\" at Art 42 Basel (2011).","bio_dates":"b. 1936"},{"slug":"tanaami_keiichi_oh_yoko","ok":true,"partial":false,"title":"Oh! Yoko!","artist":"Keiichi Tanaami","year":"1973","startOffset":0,"sourceSecs":264.264,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":18287709,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tanaami_keiichi_oh_yoko/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tanaami_keiichi_oh_yoko/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tanaami_keiichi_oh_yoko.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tanaami_keiichi_oh_yoko/main.mp4?v=2","description":"All copyright by Keiichi Tanaami, courtesy of <a href=\"http://www.NUG.jp\" rel=\"noopener\" target=\"_blank\">NANZUKA</a>","artist_bio":"Keiichi Tanaami, born in 1936 in Tokyo, is one of the leading pop artists of postwar Japan, and has been active as multi-genre artist since the 1960s as a graphic designer, illustrator, video artist and fine artist.\nKeiichi Tanaami was born in 1936 as the eldest son of a textile wholesaler in Tokyo. He was 9 years old when Tokyo was bombed during the Great Tokyo Air Raid of World War II in 1945. Images seared into the back of his mind at this time would became major motifs in his art works: roaring American bombers, searchlights scanning the skies, firebombs dropped from planes, the city a sea of fire, fleeing masses, and his father's deformed goldfish swimming in its tank, flashes from the bombs reflecting in the water.\n\"\"I was rushed away from my childhood, a time that should be filled with eating and playing, by the enigmatic monstrosity of war; my dreams were a vortex of fear and anxiety, anger and resignation. On the night of the air raid, I remember watching swarms of people flee from bald mountaintops. But then something occurs to me: was that moment real? Dream and reality are all mixed up in my memories, recorded permanently in this ambiguous way.\"\nTanaami took to drawing from a young age, and as a junior high school student he often spent time at the studio of leading postwar cartoonist Kazushi Hara with the intention of becoming a cartoonist himself. After Hara's sudden death, however, he turned to the pioneering field within manga of graphic novels, and went on to study to become a professional artist at Musashino Art University. Word of his talent spread quickly during his time there and in 1958, as a second year student, he was awarded the Special Selection at an exhibition held by the authoritative illustration and design group of the time. After graduating he took a job with an advertising agency, but quit before one year was up due to the numerous private commissions he was receiving. During the '60s he busied himself as a successful illustrator and graphic designer while also actively participating in the Neo-Dada organization, one of the defining art movements of postwar Japan. In the latter half of the '60s he immersed himself in making video art, the newest medium in the art scene at the time.\n\"\"In the 1960s, the Sogetsu Art Center in Akasaka regularly held events that traversed many diverse genres. There were happenings staged by Yoko Ono, videos by Nam June Paik and experimental films from America. It was around that time that I heard about the [Sogetsu] Animation Festival (1965). I wanted so badly to make an animation, so I convinced Yōji Kuri's Experimental Animation Studio to help me create 'Marionettes in Masks' (35 mm, 8 minutes). I continued to make animations after that, with works such as 'Good-by Marilyn' (1971), 'Good-by Elvis and USA' (1971), 'Crayon Angel' (1975) and 'Sweet Friday' (1975).\"\nIn 1967, Tanaami took his first trip to New York. There he came face to face with the works of Andy Warhol, shining brightly amidst the whirlwind of prospering American consumerism, and Tanaami was struck by the new possibilities of art within the world of design.\n\"\"Warhol was in the process of shifting from commercial illustrator to artist, and I both witnessed and experienced firsthand his tactics, his method of incision into the art world. His strategies were identical to the strategies employed by advertising agencies. He used contemporary icons as motifs in his works and for his other activities put together media such as films, newspapers and rock bands. In other words, Warhol's sole existence was selling his works to the art market. I was shocked by this, and at the same time I embraced him as the perfect role model for myself. Like Warhol, I decided not to limit myself to one medium, to fine art or design only, but instead to explore many different methods.\"\nAt the height of psychedelic culture and pop art, Tanaami's kitschy, colorful illustrations and design work received high acclaim in both Japan and abroad. \"NO MORE WAR\", his prize-winning piece from the 1968 antiwar poster contest organized by AVANT-GARDE Magazine, in addition to his album cover art for legendary bands The Monkees and Jefferson Airplane and other such works left a major footprint on the path to introducing psychedelic and pop art to Japan. Furthermore, his series of erotic paintings featuring Hollywood actresses done in the early '70s became an important body of work that declared Tanaami as the Japanese artist with a witty eye on American culture.\nIn 1975, Tanaami became the first art director of the Japanese edition of Playboy Magazine, \"Monthly Playboy\", and went to New York once again to visit Playboy's head office. The editor there took him to Andy Warhol's Factory. Tanaami's works from this period, mostly in the mediums of film and print, were provocative and experimental. His films in particular received wide critical acclaim, appearing in the International Short Film Festival Oberhausen in Germany (1975, 1976), the New York Film Festival (1976), and the Ottawa International Animation Festival in Canada (1976). The vanguard nature of his work led the police to shut down his 1976 exhibit \"Super Orange of Love\" at Nishimura Gallery for inspection on the opening day.\nIn 1981, at the age of 45, he suffered a pulmonary edema and for a time hovered at the edge of life and death. Throughout the '80s and '90s, Tanaami created many works centered around the theme of \"Life and Death\" based on the experience. For example, the pine tree form that appears frequently in Tanaami's works comes from a hallucination he experienced during his illness. Similarly, the cranes, elephants and naked women that appear along with spirals and miniature garden-like architectural forms are characteristic of his works from this period.\nIn 1999, a retrospective of Tanaami's works from the '60s was held at Gallery 360° in Tokyo. The exhibit was praised highly by Yamataka Eye (Boredoms) and KAWS, cultural leaders of the new generation born after the '60s, and as a result, Tanaami's works once again became popular amongst youth culture. Since 2005, Tanaami has been presenting new works that fall in the realm of fine art. In these works, he continues to manifest images from his personal memories and from his dream world -- personified goldfish, deformed characters, rays of light, helical pine trees, fantastical architecture, young girls -- through the various mediums of painting, sculpture, film and furniture.\nTanaami has worked as a professor at Kyoto University of Art and Design since 1991, where he has helped bring up young new artists such as Tabaimo. Recent exhibits include \"Day Tripper\" at Art & Public in Geneva (2007), \"SPIRAL\" at Galerie Gebr. Lehmann in Berlin (2008), \"Kochuten\" at NANZUKA UNDERGROUND (2009), \"Still in Dream\" at Frieze Art Fair (2010) and \"No More War\" at Art 42 Basel (2011).","bio_dates":"b. 1936"},{"slug":"tanaami_keiichi_sweet_friday","ok":true,"partial":false,"title":"Sweet Friday","artist":"Keiichi Tanaami","year":"1975","startOffset":0,"sourceSecs":200.2,"sourceHeight":358,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":12092697,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tanaami_keiichi_sweet_friday/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tanaami_keiichi_sweet_friday/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tanaami_keiichi_sweet_friday.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tanaami_keiichi_sweet_friday/main.mp4?v=2","description":"All copyright by Keiichi Tanaami, courtesy of <a href=\"http://www.NUG.jp\" rel=\"noopener\" target=\"_blank\">NANZUKA</a>","artist_bio":"Keiichi Tanaami, born in 1936 in Tokyo, is one of the leading pop artists of postwar Japan, and has been active as multi-genre artist since the 1960s as a graphic designer, illustrator, video artist and fine artist.\nKeiichi Tanaami was born in 1936 as the eldest son of a textile wholesaler in Tokyo. He was 9 years old when Tokyo was bombed during the Great Tokyo Air Raid of World War II in 1945. Images seared into the back of his mind at this time would became major motifs in his art works: roaring American bombers, searchlights scanning the skies, firebombs dropped from planes, the city a sea of fire, fleeing masses, and his father's deformed goldfish swimming in its tank, flashes from the bombs reflecting in the water.\n\"\"I was rushed away from my childhood, a time that should be filled with eating and playing, by the enigmatic monstrosity of war; my dreams were a vortex of fear and anxiety, anger and resignation. On the night of the air raid, I remember watching swarms of people flee from bald mountaintops. But then something occurs to me: was that moment real? Dream and reality are all mixed up in my memories, recorded permanently in this ambiguous way.\"\nTanaami took to drawing from a young age, and as a junior high school student he often spent time at the studio of leading postwar cartoonist Kazushi Hara with the intention of becoming a cartoonist himself. After Hara's sudden death, however, he turned to the pioneering field within manga of graphic novels, and went on to study to become a professional artist at Musashino Art University. Word of his talent spread quickly during his time there and in 1958, as a second year student, he was awarded the Special Selection at an exhibition held by the authoritative illustration and design group of the time. After graduating he took a job with an advertising agency, but quit before one year was up due to the numerous private commissions he was receiving. During the '60s he busied himself as a successful illustrator and graphic designer while also actively participating in the Neo-Dada organization, one of the defining art movements of postwar Japan. In the latter half of the '60s he immersed himself in making video art, the newest medium in the art scene at the time.\n\"\"In the 1960s, the Sogetsu Art Center in Akasaka regularly held events that traversed many diverse genres. There were happenings staged by Yoko Ono, videos by Nam June Paik and experimental films from America. It was around that time that I heard about the [Sogetsu] Animation Festival (1965). I wanted so badly to make an animation, so I convinced Yōji Kuri's Experimental Animation Studio to help me create 'Marionettes in Masks' (35 mm, 8 minutes). I continued to make animations after that, with works such as 'Good-by Marilyn' (1971), 'Good-by Elvis and USA' (1971), 'Crayon Angel' (1975) and 'Sweet Friday' (1975).\"\nIn 1967, Tanaami took his first trip to New York. There he came face to face with the works of Andy Warhol, shining brightly amidst the whirlwind of prospering American consumerism, and Tanaami was struck by the new possibilities of art within the world of design.\n\"\"Warhol was in the process of shifting from commercial illustrator to artist, and I both witnessed and experienced firsthand his tactics, his method of incision into the art world. His strategies were identical to the strategies employed by advertising agencies. He used contemporary icons as motifs in his works and for his other activities put together media such as films, newspapers and rock bands. In other words, Warhol's sole existence was selling his works to the art market. I was shocked by this, and at the same time I embraced him as the perfect role model for myself. Like Warhol, I decided not to limit myself to one medium, to fine art or design only, but instead to explore many different methods.\"\nAt the height of psychedelic culture and pop art, Tanaami's kitschy, colorful illustrations and design work received high acclaim in both Japan and abroad. \"NO MORE WAR\", his prize-winning piece from the 1968 antiwar poster contest organized by AVANT-GARDE Magazine, in addition to his album cover art for legendary bands The Monkees and Jefferson Airplane and other such works left a major footprint on the path to introducing psychedelic and pop art to Japan. Furthermore, his series of erotic paintings featuring Hollywood actresses done in the early '70s became an important body of work that declared Tanaami as the Japanese artist with a witty eye on American culture.\nIn 1975, Tanaami became the first art director of the Japanese edition of Playboy Magazine, \"Monthly Playboy\", and went to New York once again to visit Playboy's head office. The editor there took him to Andy Warhol's Factory. Tanaami's works from this period, mostly in the mediums of film and print, were provocative and experimental. His films in particular received wide critical acclaim, appearing in the International Short Film Festival Oberhausen in Germany (1975, 1976), the New York Film Festival (1976), and the Ottawa International Animation Festival in Canada (1976). The vanguard nature of his work led the police to shut down his 1976 exhibit \"Super Orange of Love\" at Nishimura Gallery for inspection on the opening day.\nIn 1981, at the age of 45, he suffered a pulmonary edema and for a time hovered at the edge of life and death. Throughout the '80s and '90s, Tanaami created many works centered around the theme of \"Life and Death\" based on the experience. For example, the pine tree form that appears frequently in Tanaami's works comes from a hallucination he experienced during his illness. Similarly, the cranes, elephants and naked women that appear along with spirals and miniature garden-like architectural forms are characteristic of his works from this period.\nIn 1999, a retrospective of Tanaami's works from the '60s was held at Gallery 360° in Tokyo. The exhibit was praised highly by Yamataka Eye (Boredoms) and KAWS, cultural leaders of the new generation born after the '60s, and as a result, Tanaami's works once again became popular amongst youth culture. Since 2005, Tanaami has been presenting new works that fall in the realm of fine art. In these works, he continues to manifest images from his personal memories and from his dream world -- personified goldfish, deformed characters, rays of light, helical pine trees, fantastical architecture, young girls -- through the various mediums of painting, sculpture, film and furniture.\nTanaami has worked as a professor at Kyoto University of Art and Design since 1991, where he has helped bring up young new artists such as Tabaimo. Recent exhibits include \"Day Tripper\" at Art & Public in Geneva (2007), \"SPIRAL\" at Galerie Gebr. Lehmann in Berlin (2008), \"Kochuten\" at NANZUKA UNDERGROUND (2009), \"Still in Dream\" at Frieze Art Fair (2010) and \"No More War\" at Art 42 Basel (2011).","bio_dates":"b. 1936"},{"slug":"tartaglia_jerry_ecce_homo","ok":true,"partial":false,"title":"Ecce Homo","artist":"Jerry Tartaglia","year":"1989","startOffset":0,"sourceSecs":410.944,"sourceHeight":400,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":28630563,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tartaglia_jerry_ecce_homo/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tartaglia_jerry_ecce_homo/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tartaglia_jerry_ecce_homo.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tartaglia_jerry_ecce_homo/main.mp4?v=2","description":"<em>Ecce Homo</em> (Behold the Man) interweaves images form Jean Genet’s masterpiece, <a href=\"https://ubu.com/film/genet.html\" rel=\"noopener\" target=\"_blank\">Un Chant d’Amour</a> with images from gay male sex films. It forces the viewer to question the point of view in looking at “pornographic” images. A.I.D.S. hysteria portrays gay sex as pornographic, politically incorrect, sinful, or, at best, a public health hazard. <em>Ecce Homo</em> asks whether the taboo is against gay sex or against seeing gay sex. “Each of my films portrays some aspect of gay consciousness, sexual representation, or self-identity. At the same time, each film utilizes the medium’s unique potential as visual metaphor. I am not very interested in creating narrative forms, which generally are used to show how gay people are supposed to become lavender carbon copies of straight people. Instead, I work with short, personal, experimental forms which explore and celebrate another kind of conscious human identity.” - Jerry Tartaglia, NYC 1995","artist_bio":"Jerry Tartaglia is a filmmaker and writer whose work in Experimental Film and Queer Cinema spans four decades. He studied with the Abstract Expressionist Painter, Harry Koursaros, who introduced him to experimental film and the work of Jack Smith, Jonas Mekas, and Gregory Markopoulos.\nLater, he co-founded Berks Filmmakers Inc, one of the longest surviving Micro-Cinema Showcases for Experimental Media Art in the U.S. In the 1970s he produced his now lost feature film, “Lawless” with Warhol Factory star Pope Ondine. He also assisted Tony Conrad in the manufacture & production of the Yellow Movie series in 1973.\nHe was the first to write about the gay sensibility in American Avant-Garde film, published in The Millennium Film Journal in 1977. His Cinema is an ongoing examination of Identity and media politics through the moving image.","bio_dates":"b. 1956"},{"slug":"taylor_wood_sam_alittledeath_2002","ok":true,"partial":false,"title":"A Little Death","artist":"Sam Taylor-Wood","year":"2002","startOffset":0.44,"sourceSecs":275.435,"sourceHeight":394,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":17244660,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_alittledeath_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_alittledeath_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_alittledeath_2002.mp4","hasFrames":true,"description":"Taylor-Wood updates traditional still life imagery. What seems at first to be a quiet arrangement of a dead hare and peach on a table starts to decompose before our eyes. Rather than attempting to capture a moment in time, the viewer is put face to face with a speeded up decomposition of the subject matter. Taylor-Wood brings home the transience of biological life, and the viewer's mortality. This work explores the issue of temporality, an idea which permeates the artist's oeuvre, where a course of action can change radically even within the space of a few seconds.","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_ascension_2003","ok":true,"partial":false,"title":"Ascension","artist":"Sam Taylor-Wood","year":"2003","startOffset":0,"sourceSecs":256.768,"sourceHeight":378,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":14088814,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_ascension_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_ascension_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_ascension_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/taylor_wood_sam_ascension_2003/main.mp4?v=2","description":"In <i>Ascension</i> (2003), a man lies prone while another appears to tap dance on his chest, balancing a white dove on his head. Precariously, the dove stays with the dancing man through every movement, until finally it leaves him, flying off screen. What at first seems an almost literal treatment belies a serious engagement with the reality of mortality and the hope of something beyond.","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_breach_2001","ok":true,"partial":false,"title":"Breach","artist":"Sam Taylor-Wood","year":"2001","startOffset":0,"sourceSecs":629.248,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":107867194,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_breach_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_breach_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_breach_2001.mp4","hasFrames":true,"description":"Breach (2001), in which a young actress, seated on the floor and leaning against a wall which coincides with the gallery's own wall, fights a losing battle of composure. She marshals her strength, breaks down, then mutely sheds tears that, in this context, recall the special effects of Ann Hamilton's variously sited installations of a mechanically weeping wall.","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_brontosaurus_1995","ok":true,"partial":false,"title":"Brontosaurus","artist":"Sam Taylor-Wood","year":"1995","startOffset":0,"sourceSecs":604.843,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":108603293,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_brontosaurus_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_brontosaurus_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_brontosaurus_1995.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/taylor_wood_sam_brontosaurus_1995/main.mp4?v=2","description":"Informed by cinematic and documentary traditions, Taylor-Wood has been working with photography, film and video in London since the early 1990s. She presents characters in situations of isolation and self-absorption, their familiar, even mundane, surroundings and poses belying more or less hidden states of emotional crisis. The actors she uses are often presented in relation to each other using split screens or panoramic viewpoints in order to 'gather a complete series of human feelings … to explain the entire range of the emotional or existential world' (Celant, p.270). In an earlier work, <i>Method in Madness</i> 1994 (private collection), the artist filmed a method actor staging a nervous breakdown. This piece explores the difficult distinctions 'between reality and unreality, life and theatre', public and private, by putting the viewer in the uncomfortable position of deciding whether the action is genuine or staged. This discomfort persists with <i>Brontosaurus</i>, which is clearly taking place in a private space. First I filmed a man who was dancing naked in his bedroom, to the rhythm of very fast techno-jungle music. Then I took away the music and projected the film in slow motion. While I was filming, his movements became almost alien, they made no sense, he went through all these motions and they ended up seeming clumsy. In slow-motion they became very beautiful, but totally ungainly. Then I changed the music and introduced Samuel Barber's <i>Adagio for Strings</i>, a melancholy excerpt … it became a eulogy to living, even if the person seems to be doing a dance of death, because it is so fragile, delicate and vulnerable. (Taylor-Wood quoted in Celant, p.192) Naked and alone in his bedroom, the dancer is performing an activity which usually takes place in a public space and which mixes acting with self-expression. By projecting the dance in slow-motion, Taylor-Wood has broken it down into a series of poses. The dancer appears to be lost in his own private ritual and oblivious to the camera's eye, and thus becomes an object of voyeurism, exposed in a state of extreme vulnerability. The chasm separating him from the viewer is extended by the poignancy of Barber's <i>Adagio</i> of 1936, which was used by the directors Oliver Stone in <i>Platoon</i> 1986 and David Lynch in <i>Elephant Man</i> 1980, two films which address male heroism and deformity. Moving between almost neo-classical heroic elegance and beauty, awkwardness, pathos and sheer ridiculousness, <i>Brontosaurus</i> covers a range of contradictory but co-existing human states and feelings. The archeological or primal nature of these is suggested by the title, which is the name of a dinosaur. This is comically referred to by a pink stuffed version visible in a corner of the room.<br/><br/><b>Further reading</b>:<br>Germano Celant, <i>Sam Taylor-Wood</i>, exhibition catalogue, Fondazione Prada, Milan 1998, p.192, reproduced p.203<br><i>Sam Taylor-Wood</i>, exhibition catalogue, Chisenhale Gallery, London 1996<br/>Elisabeth Bronfen, Francesco Bonami, Ewa Lajer-Burcharth, <i>Parkett</i>, no.55, June 1999, pp.110-52</br></br>","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_death_valley_2006","ok":true,"partial":false,"title":"Death Valley","artist":"Sam Taylor-Wood","year":"2006","startOffset":0,"sourceSecs":505.48,"sourceHeight":384,"sourceWidth":688,"hasAudio":true,"hasAmbientMp4":true,"bytes":33847857,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_death_valley_2006/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_death_valley_2006/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_death_valley_2006.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/taylor_wood_sam_death_valley_2006/main.mp4?v=2","description":"Death Valley is recognised as the lowest point in the Western Hemisphere and one of the hottst places on earth. The rocks tell a story of endless changes in the earth’s crust - vast depositions, contortions, alternate risings and lowerings, faultings, intense heats and pressures. It is here director Sam Taylor-Wood and cinematographer Seamus McGarvey chose to frame the ‘Death Valley’. The story of a man exploring the experience of self-stimulation, pleasuring, the erotic satisfaction and possibilities with oneself. <br/><br/> Simultaneously the film alludes to the Christian story of ‘Onan’, the brother-in-law who spilled his seed rather than copulate with his brother’s wife, the film subconsciously questions our cultural stigmatism attached to self-stimulation, and the condition of guilt weighed against the clear erotic value, relief and need.","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_hysteria_1999","ok":true,"partial":false,"title":"Hysteria (1999), silent","artist":"Sam Taylor-Wood","year":"1999","startOffset":0,"sourceSecs":495.915,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":75094349,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_hysteria_1999/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_hysteria_1999/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_hysteria_1999.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/taylor_wood_sam_hysteria_1999/main.mp4?v=2","description":"Sam Taylor-Wood's <i>Hysteria</i>, 1997, a silent video of a woman moving from laughter to tears until the difference between the two becomes indiscernible, has in other contexts seemed mainly to be about how closely aligned those strong emotions are. Seen among these other works, it has a more frantic and explicitly tragic air.","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_knackered_1996","ok":true,"partial":false,"title":"Knackered","artist":"Sam Taylor-Wood","year":"1996","startOffset":0,"sourceSecs":191.765,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":35205760,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_knackered_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_knackered_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_knackered_1996.mp4","hasFrames":true,"description":"A film of a woman mouthing the words from the aria sung by a castrato.","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_methodinmadness_1998","ok":true,"partial":false,"title":"Method in Madness","artist":"Sam Taylor-Wood","year":"1998","startOffset":0,"sourceSecs":592.533,"sourceHeight":382,"sourceWidth":636,"hasAudio":true,"hasAmbientMp4":true,"bytes":38243423,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_methodinmadness_1998/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_methodinmadness_1998/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_methodinmadness_1998.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/taylor_wood_sam_methodinmadness_1998/main.mp4?v=2","description":"In her short 1994 film, <i>Method in Madness</i>, a young man appears to be having a nervous breakdown on camera. In fact, he is a method actor playing a role, though his emotions are painfully real. Is the man performing or not? Such questions are equally pertinent to Five Revolutionary Seconds XI in which it is impossible to tell the actors from the non-actors.","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_mute_2001","ok":true,"partial":false,"title":"Mute","artist":"Sam Taylor-Wood","year":"2001","startOffset":0,"sourceSecs":399.637,"sourceHeight":462,"sourceWidth":356,"hasAudio":true,"hasAmbientMp4":true,"bytes":23780961,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_mute_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_mute_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_mute_2001.mp4","hasFrames":true,"description":"The film <i>Mute</i> presents a young man singing a passage from an opera with the sound removed, denying immediate gratification. Yet, it is through our inability to hear the imagined beauty of the voice that seems to pass through and animate the singer - precisely, through its failure to reach us - that the film's extraordinary pathos is discharged.","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_pieta_2001","ok":true,"partial":false,"title":"Pietà","artist":"Sam Taylor-Wood","year":"2001","startOffset":0,"sourceSecs":123.968,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":10836423,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_pieta_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_pieta_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_pieta_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/taylor_wood_sam_pieta_2001/main.mp4?v=2","description":"35mm Film/DVD Duration: 1 minute 57 seconds<br/> <br/> In the large video projection \"Pietà,\" facing the desk at Matthew Marks Gallery, the artist Sam Taylor Wood labors to support the draped body of Robert Downey Jr. Why him, one might ask, and for that matter, why her? Why ask, is the likely reply. Taylor-Wood has appropriated widely in the past-from Atlas to Roman orgy scenes (updated to the present day) to Hollywood movies. Here, as elsewhere in her work, surface registers of emotion and physical distress take the place of narrative. The pietà becomes an icon of exhaustion and distress, in her hands. Or, to put it differently, exhaustion and distress become iconic, if only by association. Elsewhere, a young woman is depicted morphing into distress, frame by frame in slow, slow motion. Taylor-Wood has returned several times in her career to this approach, breaking down highly charged scenarios with a wry slow-mo detachment, like a female Freud liberated by an encounter with Marcel Marceau. A closer analogy might be early photographic studies of the emotions: Darwin's The Expression of the Emotions in Man and Animals or Hugh Diamond's studies of the mentally ill in the 1850's. She approaches her subjects, at times (not always, by any means; as, for example, the early \"Fuck, Suck, Spank, Wank,\" not shown here) with a similar analytic curiosity, a similarly unremitting urge to defamiliarize. One misses, in these works, the visceral or the raw. Perhaps, however, that is Taylor-Wood's point. A photograph of a nude male laid out like Holbein's dead Christ appears so matter of fact, so drained of significance, that the idea of death asserts itself with the chill subtlety of a business card dropped on a dinner setting. Similarly, a series of small richly colored photographs of a couple having intercourse decomposes the act analytically without titillation or decorative panache that the tones and choreography of bodies would at first suggest. Here is sex, post-Hefner, post-Koons and -Mapplethorpe, post-voyeurism. It is pleasant enough, but the erotic epiphany is elsewhere, or is not to be had at all. In this context, the image of the artist holding up a dead hare is the most hopeful work in the current show. The artist's deadpan vulnerability-the photograph makes a punning allusion to her difficult recovery from cancer-suggests a return to the defiance and surrealism of her \"Soliloquies\" (1998-2000) and \"Five Revolutionary Seconds\" (1995-98). Somewhere between sex and death passion may yet emerge. In the meantime, Sam Taylor-Wood's work displays the stimulus, even the pleasures of the candidly unresolved. -- Chris Moylan","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_stilllife_2001","ok":true,"partial":false,"title":"Mute","artist":"Sam Taylor-Wood","year":"2001","startOffset":0,"sourceSecs":197.931,"sourceHeight":394,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":8232311,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_stilllife_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_stilllife_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_stilllife_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/taylor_wood_sam_stilllife_2001/main.mp4?v=2","description":"The film <i>Mute</i> presents a young man singing a passage from an opera with the sound removed, denying immediate gratification. Yet, it is through our inability to hear the imagined beauty of the voice that seems to pass through and animate the singer - precisely, through its failure to reach us - that the film's extraordinary pathos is discharged.","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"taylor_wood_sam_the_last_century","ok":true,"partial":false,"title":"The Last Century","artist":"Sam Taylor-Wood","year":"2005","startOffset":0,"sourceSecs":1594.212,"sourceHeight":576,"sourceWidth":786,"hasAudio":true,"hasAmbientMp4":true,"bytes":250699809,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_the_last_century/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/taylor_wood_sam_the_last_century/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/taylor_wood_sam_the_last_century.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/taylor_wood_sam_the_last_century/main.mp4?v=2","description":"“Sam Taylor-Wood, by Ossian Ward <br/><br/> ‘A man sits in a pub as his cigarette slowly burns. The end.’ This is not an existential joke or indeed a bit of minimalist theatre by the great Irish playwright Samuel Beckett, but a description of one of Sam Taylor-Wood’s newest films, The Last Century, 2005. The scene, while recalling her earlier film works involving numerous characters, is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all of whom are arranged around another, central figure as if in a group portrait painted by Rembrandt or Caravaggio. <br/><br/> The contrasting light and shade of this typically gloomy, wood-panelled East London pub matches the tenebrism or chiaroscuro of Caravaggio’s The Calling of St Matthew of 1599-1600 in which a group of tax collectors, huddled around a table counting their money, are disturbed by the figure of Jesus beckoning one of them to become his apostle. In both works, the strong shafts of light highlight the faces and poses in similar ways, yet the dramatic moment of surprise and uncertainty frozen in Caravaggio’s dynamic composition is at odds with Taylor-Wood’s agonizing continuation of her chosen moment. For the stock-still protagonist of The Last Century, there is no religious epiphany, no reaction, no past, no future – only an excruciating present. Perhaps the action is elsewhere, we think, looking at the open-mouthed woman sharing his table, who patiently waits to finish her laugh. He stares out into nothingness, not noticing what might be titillating this woman, but instead concentrates on his own fug, his inexorable boredom. <br/><br/> Has nothing changed since the last century, as the title and the appearance of an old-fashioned accordion-player in the pub ironically suggests? What has changed in The Last Century is time itself; in a reversal of cinematic norms, filmic time is transformed into photographic time: movement becomes stasis. The familiar notion that photography is a ‘frozen moment’ or a ‘point’ along the time-based ‘line’ of film has only been challenged relatively recently by moving images of motionless subjects in avant-garde films by Andy Warhol or Straub/Huillet and by Chris Marker’s stop-motion movie of photographic stills, La Jetée of 1962. Yet Taylor-Wood’s impulses are just as close to Caravaggio’s desire to subvert his medium’s inherent limitations, in his case by painting dynamic compositions that have the potential to destroy the picture’s stillness with imminent movement. And while you can appreciate Warhol films such as the eight-hour-long Sleep or the twenty-four hours of Empire as you would a painting, they offer no possibility of dramatic denouement.","artist_bio":"Sam Taylor-Wood makes photographs and films that examine, through highly charged scenarios, our shared social and psyschological conditions.\nTaylor-Wood's work examines the split between being and appearance, often placing her human subjects Ð either singly or in groups Ð in situations where the line between interior and external sense of self is in conflict. Her languid and silent film portrait of David Beckham, for example, which was shot in a single take, offers a serene alternative to this most intensively photographed celebrity. In Prelude in Air (2006) Taylor-Wood filmed a musician playing a piece of cello music by Bach, but the cello itself has been erased. Likewise, in Breach (Girl and Eunuch) (2001), a girl is portrayed sitting on the floor in the throes of grief, but the sound of her tears has been removed. In the celebrated film Still Life (2001), an impossibly beautiful bowl of fruit decays at an accelerated pace, creating a visceral momento mori. Taylor-Wood has also explored notions of weight and gravity in elegiac, poised photographs and films such as Ascension (2003) and a series of self-portraits (Self Portrait Suspended I - VIII) that depict the artist floating in mid air without the aid of any visible support. In her film The Last Century (2006), what appears to be a static image of a group of people slowly reveals itself to be a real, filmed take, timed to the length of a burning cigarette: the film is entirely static apart from the involuntary blinking, twitching and barely-visible breathing of four motionless actors, all arranged around a central figure as if in a group portrait painted by Rembrandt or Caravaggio. Recently, Taylor-Wood directed her first narrative short film, Love You More (2008), with a script by Patrick Marber.\nSam Taylor-Wood was born in London in 1967 and has had numerous group and solo exhibitions, including the Venice Biennale (1997) and The Turner Prize (1998). Solo exhibitions include Kunsthalle Zurich (1997), Louisiana Museum of Modern Art, Humlebaek (1997), Hirshhorn Museum and Sculpture Garden, Washington DC (1999), Museo Nacional Centro de Arte Reina Sofia, Madrid (2000), Hayward Gallery, London (2002), State Russian Museum, St Petersburg (2004), MCA, Moscow (2004), BALTIC, Gateshead (2006), MCA Sydney (2006) MoCA Cleveland (2007) and the Contemporary Art Museum, Houston (2008).","bio_dates":"b. 1967"},{"slug":"tehching_hsieh_1986_1999_thirteen_year_plan_1986","ok":true,"partial":false,"title":"Tehching Hsieh 1986–1999 (Thirteen Year Plan)","artist":"Tehching Hsieh","year":"1986","startOffset":0,"sourceSecs":801.433,"sourceHeight":240,"sourceWidth":360,"hasAudio":true,"hasAmbientMp4":true,"bytes":54064720,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tehching_hsieh_1986_1999_thirteen_year_plan_1986/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tehching_hsieh_1986_1999_thirteen_year_plan_1986/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tehching_hsieh_1986_1999_thirteen_year_plan_1986.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tehching_hsieh_1986_1999_thirteen_year_plan_1986/main.mp4?v=2","description":"At the beginning of this epic piece, Hsieh declared, “Will make Art during this time. Will not show it publicly.” This plan began on his 36th birthday, 31 December 1986, and lasted until his 49th birthday, 31 December 1999.\n\nAt the end, on 1 January 2000 he issued his concluding report, “I kept myself alive. I passed the December 31st, 1999.” The report consisted of cutout letters pasted onto a single sheet of paper."},{"slug":"tehching_hsieh_one_year_performance_no_2_1981","ok":true,"partial":false,"title":"One Year Performance 1980–1981 (Time Clock Piece)","artist":"Tehching Hsieh","year":"1980","startOffset":0,"sourceSecs":417.542,"sourceHeight":320,"sourceWidth":480,"hasAudio":false,"hasAmbientMp4":true,"bytes":21859349,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tehching_hsieh_one_year_performance_no_2_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tehching_hsieh_one_year_performance_no_2_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tehching_hsieh_one_year_performance_no_2_1981.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tehching_hsieh_one_year_performance_no_2_1981/main.mp4?v=2","description":"For one year, from 11 April 1980 through 11 April 1981, Hsieh punched a time clock every hour on the hour. Each time he punched the clock, he took a single picture of himself, which together yield a 6-minute movie. He shaved his head before the piece, so his growing hair reflects the passage of time","artist_bio":"Tehching Hsieh was born in 1950 in Nan-Chou, Taiwan. His father, Ching Hsieh, was an atheist and his mother, Su-Choung Hong, a devoted Christian. Hsieh dropped out of high school in 1967 and took up painting. After finishing his army service (1970-1973), Hsieh had his first solo show at the gallery of the American News Bureau in Taiwan. Shortly after this show, he stopped painting. In 1973, Hsieh made a performance action, Jump Piece, in which he broke both of his ankles. He was trained as a sailor, which he then used as a means to enter the United States. In July of 1974, Hsieh arrived at the port of a small town by the Delaware River near Philadelphia. He was an illegal immigrant for fourteen years until he was granted amnesty in the US in 1988.\nBeginning in the late 1970s, Hsieh made five One Year Performances and a Thirteen-year Plan, inside and outside his studio in New York City. Using long durations of time as context for the work, making art and life simultaneous, the first four One Year Performances made Hsieh a regular name in the art scene in New York; the last two pieces, in which he intentionally retreated from the art world, set a tone of sustained invisibility.\nSince the Millennium, released from the restriction of not showing his works during the period of the Thirteen-year Plan, Hsieh has exhibited his work in North and South America, Asia and Europe. Hsieh's One Year Performance 1978-1979 (often referred to as Cage Piece) was shown at the Museum of Modern Art in Performance 1: Tehching Hsieh in 2009; One Year Performance 1980-1981 (often referred to as Time Clock Piece) was included in The Third Mind: Artists Contemplate Asia, 1860-1989, at the Guggenheim Museum, 2009, the Liverpool Biennial in the United Kingdom and the Gwangju Biennial in South Korea, both in 2010, and in the São Paulo Biennial, 2012. One Year Performance 1980–1981 was also shown in a solo exhibition at the Ullens Center for Contemporary Art in Beijing, China and Carriageworks in Sydney, Australia.\nIn 2013, the West Kowloon Cultural District Authority/M+ Museum in Hong Kong announced the acquisition of the six individual performance works realized by Hsieh between 1978 and 1999, making it the most comprehensive collection of Hsieh’s work to be held in a public institution.","bio_dates":"b. 1950"},{"slug":"terayama_a_tale_of_labyrinth","ok":true,"partial":false,"title":"Meikyû-tan AKA A Tale of Labyrinth","artist":"Terayama Shuji","year":"1975","startOffset":0,"sourceSecs":977.977,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":174357418,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_a_tale_of_labyrinth/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_a_tale_of_labyrinth/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_a_tale_of_labyrinth.mkv","hasFrames":true,"description":"A cool experimental short by Shuji Terayama (a significant player in the Japanese New Wave). Film as a door to alternate realities, as a door from the everyday to the fantastical. Uber-stylized. Freaky make-up and extremely overexposed footage with a green filter on top makes for a unique look.","artist_bio":"Seishonen no tame no eiga nyumon AKA Young Person's Guide to Cinema (1974)\n-\nThe Emperor Tomato Ketchup\n(short black&white) - 1971, 28 minutes\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - Left Screen\n*Notes for Roller: Dialogue in Japanese, no subtitles. In short.. the girls are insulting the audience, constantly saying things like \"You pretend to watch art films, but we know you're here for tits & ass, fuck you\" etc. (So in a real projection, one spectator (actor) becomes upset, throws things at screen, stands up... and enters the screen! That's why you suddenly see one guy appearing on stage, then stripped & violated by the girls.)\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - right screen (1974)\nPoet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful,\nTERAYAMA\nSHUJI\n(1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s,\nTerayama\ncreated a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which \"magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.\" ÑAmos Vogel,\nFilm as a Subversive Art\n[From TERAYAMA SHUJI AND THE EMPEROR TOMATO KETCHUP, The Children's Revolution of 1970 - Masters of Arts Thesis By Joshua McDermott\n]\nThe content of\nThe Emperor Tomato Ketchup\nis intentionally graphic and disturbing, meant to exploit the purile fixation of man to the socially, aesthetically and ethically abhorrent. The scenes described and the photos included herein may verge on the edge of voyeuristic exploitation if examined with a socially conservative eye. This is not the intent of this author, nor of the original work, though aesthetic and social schema, which define works as pornographic and obscene have been purposefully co-opted, exploited, and subsequently rejected by this film.\nThe 1968 pistol execution of Bay Lop in Vietnam is by any measure a horrible and morally unconscionable act, tied irrevocably to a photograph which is intrinsically beautiful in composition. The Nazi camp guard who weeps to Schubert after a day of gassing Jews is no less a monster, and also no more than human. One of\nTerayama\n's intentions was to capture this duality of innocence and and destruction, brutality and beauty.\nThe Emperor Tomato Ketchup\nwas originally edited to be 85 minutes, then re-edited and produced at 76 minutes in 1970, and later cut and split into a 28 minute version by the same name, and a 12 minute short entitled\njanken senso: Paper-Scissors-Rock War\nin 1971.\nThe 28 minute version is a condensation of high points from the original, with various patterns of German text splashing the screen a late addition for the German Television Bureau, who printed this version for European audiences.\nPaper-Scissors-Rock War\nis a 12 minute film with one scene, where two generals fighting a never ending war of paper-scissors-rock. This scene stands alone as its one scene within the produced 76 minute version of\nThe Ketchup\n. Terayama comments on this transformation in his introduction when the short version was shown at the Kanda International Film Festival: \"This movie, was first about one and a half hours, but due to the force of public lack of interest, it has bit by bit been cut short, so that now it has become 28 minutes. Next year, it will probably become 5 minutes. So please watch it soon.\" (NO THANKS 5-6) Kawarabata Yasushi, a noted film critic, notes that \"the fault in the short version of The Emperor Tomato Ketchup is that, not so far as Tabasco sauce, but a chili-sauce level taste it has becomeÉ the over sweet nasty flavor of Tomato Ketchup has faded.\" His complaint points to failure of form to support the content or philosophical basis of the conception. The film is not supposed to be easy to stomach; making it so by 'spicing it up' defeats the conceptual basis of the film's basic truth.\nThe short version was a created export, modified to fill the perceived needs of a European audience and the feedback of viewers in Japan, and does not fully represent\nTerayama\n's original vision. The 85 minute cut can be considered a rough cut, or pre-edited version not shown in a public forum. For these reasons, the focus of this study, and all references hence forth to the film, are of the 76 minute 1970 cut, which at the time of writing was available for purchase in VHS format from\nImage\nForum in Tokyo.\nBoth the 76 min (tinted) version and the 28 min (black&white) version is included in this collection, the short version in volume 1, the long version in volume 7.","bio_dates":"1935-1983"},{"slug":"terayama_a_tale_of_smallpox","ok":true,"partial":false,"title":"Hoso-tan aka A Tale of Smallpox","artist":"Terayama Shuji","year":"1975","startOffset":0,"sourceSecs":1877.921,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":326365959,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_a_tale_of_smallpox/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_a_tale_of_smallpox/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_a_tale_of_smallpox.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_a_tale_of_smallpox/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_a_tale_of_smallpox/main/master.m3u8?v=2","hasMainHls":true,"description":"Terayama perceived a kindred sensibility in French playwright Antonin Artaud’s dark images of pestilence and plague, visualising the defiled body in A Tale of Smallpox as a challenge to a dominant culture of social harmony, consensus and avoidance of discord. The smallpox virus has created its own unique atmosphere in Terayama’s film where the skin of a bandaged adolescent and the surface of the filmic image are subjected to a bizarre ‘disturbance’ as snails cross the screen and nails are hammered into the skull of the ailing patient. Illness in this film is as much a psychic entity as a physical one and manifests itself in an array of theatrical tableaux from grotesque women rigorously brushing their teeth to a snooker game where the players in white face makeup behave like automata. A Tale of Smallpox uses a medical theme to chart the traumatic dream life of Terayama’s times, evincing deep-rooted concerns in the Japanese national psyche that hark back to the upheaval of Meiji modernisation and the devastation of World War Two.\n\nFor several minutes before and after the five minute mark the audio sounds as if a record was playing that was scratched. For this I apologize, but I have analyzed the audio with a couple of programs that reported no errors. Unless some cleaner audio turns up, I will go with the assumption that the soundtrack in part came from a record with a scratch on it."},{"slug":"terayama_laura","ok":true,"partial":false,"title":"Laura AKA Rolla","artist":"Terayama Shuji","year":"1974","startOffset":0,"sourceSecs":526.026,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":85082550,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_laura/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_laura/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_laura.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_laura/main.mp4?v=2","description":"Three sexually provocative women on stage mock their audience of men sitting in the dark, until they entice a man up on the stage and quickly make him wish he had kept his seat.","artist_bio":"Seishonen no tame no eiga nyumon AKA Young Person's Guide to Cinema (1974)\n-\nThe Emperor Tomato Ketchup\n(short black&white) - 1971, 28 minutes\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - Left Screen\n*Notes for Roller: Dialogue in Japanese, no subtitles. In short.. the girls are insulting the audience, constantly saying things like \"You pretend to watch art films, but we know you're here for tits & ass, fuck you\" etc. (So in a real projection, one spectator (actor) becomes upset, throws things at screen, stands up... and enters the screen! That's why you suddenly see one guy appearing on stage, then stripped & violated by the girls.)\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - right screen (1974)\nPoet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful,\nTERAYAMA\nSHUJI\n(1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s,\nTerayama\ncreated a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which \"magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.\" ÑAmos Vogel,\nFilm as a Subversive Art\n[From TERAYAMA SHUJI AND THE EMPEROR TOMATO KETCHUP, The Children's Revolution of 1970 - Masters of Arts Thesis By Joshua McDermott\n]\nThe content of\nThe Emperor Tomato Ketchup\nis intentionally graphic and disturbing, meant to exploit the purile fixation of man to the socially, aesthetically and ethically abhorrent. The scenes described and the photos included herein may verge on the edge of voyeuristic exploitation if examined with a socially conservative eye. This is not the intent of this author, nor of the original work, though aesthetic and social schema, which define works as pornographic and obscene have been purposefully co-opted, exploited, and subsequently rejected by this film.\nThe 1968 pistol execution of Bay Lop in Vietnam is by any measure a horrible and morally unconscionable act, tied irrevocably to a photograph which is intrinsically beautiful in composition. The Nazi camp guard who weeps to Schubert after a day of gassing Jews is no less a monster, and also no more than human. One of\nTerayama\n's intentions was to capture this duality of innocence and and destruction, brutality and beauty.\nThe Emperor Tomato Ketchup\nwas originally edited to be 85 minutes, then re-edited and produced at 76 minutes in 1970, and later cut and split into a 28 minute version by the same name, and a 12 minute short entitled\njanken senso: Paper-Scissors-Rock War\nin 1971.\nThe 28 minute version is a condensation of high points from the original, with various patterns of German text splashing the screen a late addition for the German Television Bureau, who printed this version for European audiences.\nPaper-Scissors-Rock War\nis a 12 minute film with one scene, where two generals fighting a never ending war of paper-scissors-rock. This scene stands alone as its one scene within the produced 76 minute version of\nThe Ketchup\n. Terayama comments on this transformation in his introduction when the short version was shown at the Kanda International Film Festival: \"This movie, was first about one and a half hours, but due to the force of public lack of interest, it has bit by bit been cut short, so that now it has become 28 minutes. Next year, it will probably become 5 minutes. So please watch it soon.\" (NO THANKS 5-6) Kawarabata Yasushi, a noted film critic, notes that \"the fault in the short version of The Emperor Tomato Ketchup is that, not so far as Tabasco sauce, but a chili-sauce level taste it has becomeÉ the over sweet nasty flavor of Tomato Ketchup has faded.\" His complaint points to failure of form to support the content or philosophical basis of the conception. The film is not supposed to be easy to stomach; making it so by 'spicing it up' defeats the conceptual basis of the film's basic truth.\nThe short version was a created export, modified to fill the perceived needs of a European audience and the feedback of viewers in Japan, and does not fully represent\nTerayama\n's original vision. The 85 minute cut can be considered a rough cut, or pre-edited version not shown in a public forum. For these reasons, the focus of this study, and all references hence forth to the film, are of the 76 minute 1970 cut, which at the time of writing was available for purchase in VHS format from\nImage\nForum in Tokyo.\nBoth the 76 min (tinted) version and the 28 min (black&white) version is included in this collection, the short version in volume 1, the long version in volume 7.","bio_dates":"1935-1983"},{"slug":"terayama_les_chants_de_maldoror","ok":true,"partial":false,"title":"Marudororu no uta AKA Les chants de Maldoror","artist":"Terayama Shuji","year":"1977","startOffset":0,"sourceSecs":1639.392,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":284775570,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_les_chants_de_maldoror/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_les_chants_de_maldoror/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_les_chants_de_maldoror.mkv","hasFrames":true},{"slug":"terayama_movie_guide_for_young_people","ok":true,"partial":false,"title":"Guide For Young People","artist":"Terayama Shuji","year":"1974","startOffset":0,"sourceSecs":183.936,"sourceHeight":472,"sourceWidth":698,"hasAudio":true,"hasAmbientMp4":true,"bytes":22499323,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_movie_guide_for_young_people/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_movie_guide_for_young_people/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_movie_guide_for_young_people.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_movie_guide_for_young_people/main.mp4?v=2","description":"Originally made for the 100 Feet Film Festival hosted by Image Forum. However, to test the limits, Terayama Shuji willfully made use of 3 projectors to project 300 feet of film at the same time."},{"slug":"terayama_nuhikun_1978","ok":true,"partial":false,"title":"Tenjo Sajiki - Nuhikun - Directions to Servants","artist":"Terayama Shuji","year":"1978","startOffset":0,"sourceSecs":6381.915,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":1077655897,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_nuhikun_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_nuhikun_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_nuhikun_1978.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_nuhikun_1978/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_nuhikun_1978/main/master.m3u8?v=2","hasMainHls":true,"description":"...it was interesting to see the acrobatic Japanese actors of the Tenjosajiki company in Shuji Terayama’s Directions to servants. The title and some of the text were taken from Swift’s satire, but the main inspiration seemed to come from Genet’s Les bonnes. Multiplying the maids into a large cast of servants, male and female, who take it in turns to imitate the master, Tereyama has physicalized and partly mechanized the action. Domination is imposed partly through machines—we see a man submitting to an imperious voice on a tape recorder, lowering his trousers and climbing inside a sadistic machine that beats his bare buttocks.\n\nThe ingenuity, the sadism and the offbeat humour are all characteristic of the production. The main cruelty to the audience was in the over-amplification of J.A. Seazer’s music. I sat with my hands over my ears for a lot of the time. The visual assault was almost equally strong, and some of the theatrical imagery was quite unlike anything that had been seen in this country. In one meticulously choreographed sequence the servant playing at being master throws a bone to a succession of servants who play at being dogs. In another, a servant trying to steal food from a cupboard is terrified to find that it is like a puzzle: each panel conceals a face that sings at him accusingly, and he can silence it only by sliding a panel that reveals another singing face."},{"slug":"terayama_shuji_butterfly","ok":true,"partial":false,"title":"Chofuku-ki AKA Butterfly","artist":"Terayama Shuji","year":"1974","startOffset":0,"sourceSecs":707.392,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":123247057,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_butterfly/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_butterfly/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_butterfly.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_butterfly/main.mp4?v=2","description":"Were it to happen, that the viewers of this 'disturbed' film would, for one moment, succumb to the illusion, the screen were nothing else than an enormous blindfold, then, or so I think, all viewers would become beings, who get stuck between the eye and the blindfold of Gulliver. (Shuji Terayama)","artist_bio":"Seishonen no tame no eiga nyumon AKA Young Person's Guide to Cinema (1974)\n-\nThe Emperor Tomato Ketchup\n(short black&white) - 1971, 28 minutes\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - Left Screen\n*Notes for Roller: Dialogue in Japanese, no subtitles. In short.. the girls are insulting the audience, constantly saying things like \"You pretend to watch art films, but we know you're here for tits & ass, fuck you\" etc. (So in a real projection, one spectator (actor) becomes upset, throws things at screen, stands up... and enters the screen! That's why you suddenly see one guy appearing on stage, then stripped & violated by the girls.)\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - right screen (1974)\nPoet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful,\nTERAYAMA\nSHUJI\n(1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s,\nTerayama\ncreated a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which \"magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.\" ÑAmos Vogel,\nFilm as a Subversive Art\n[From TERAYAMA SHUJI AND THE EMPEROR TOMATO KETCHUP, The Children's Revolution of 1970 - Masters of Arts Thesis By Joshua McDermott\n]\nThe content of\nThe Emperor Tomato Ketchup\nis intentionally graphic and disturbing, meant to exploit the purile fixation of man to the socially, aesthetically and ethically abhorrent. The scenes described and the photos included herein may verge on the edge of voyeuristic exploitation if examined with a socially conservative eye. This is not the intent of this author, nor of the original work, though aesthetic and social schema, which define works as pornographic and obscene have been purposefully co-opted, exploited, and subsequently rejected by this film.\nThe 1968 pistol execution of Bay Lop in Vietnam is by any measure a horrible and morally unconscionable act, tied irrevocably to a photograph which is intrinsically beautiful in composition. The Nazi camp guard who weeps to Schubert after a day of gassing Jews is no less a monster, and also no more than human. One of\nTerayama\n's intentions was to capture this duality of innocence and and destruction, brutality and beauty.\nThe Emperor Tomato Ketchup\nwas originally edited to be 85 minutes, then re-edited and produced at 76 minutes in 1970, and later cut and split into a 28 minute version by the same name, and a 12 minute short entitled\njanken senso: Paper-Scissors-Rock War\nin 1971.\nThe 28 minute version is a condensation of high points from the original, with various patterns of German text splashing the screen a late addition for the German Television Bureau, who printed this version for European audiences.\nPaper-Scissors-Rock War\nis a 12 minute film with one scene, where two generals fighting a never ending war of paper-scissors-rock. This scene stands alone as its one scene within the produced 76 minute version of\nThe Ketchup\n. Terayama comments on this transformation in his introduction when the short version was shown at the Kanda International Film Festival: \"This movie, was first about one and a half hours, but due to the force of public lack of interest, it has bit by bit been cut short, so that now it has become 28 minutes. Next year, it will probably become 5 minutes. So please watch it soon.\" (NO THANKS 5-6) Kawarabata Yasushi, a noted film critic, notes that \"the fault in the short version of The Emperor Tomato Ketchup is that, not so far as Tabasco sauce, but a chili-sauce level taste it has becomeÉ the over sweet nasty flavor of Tomato Ketchup has faded.\" His complaint points to failure of form to support the content or philosophical basis of the conception. The film is not supposed to be easy to stomach; making it so by 'spicing it up' defeats the conceptual basis of the film's basic truth.\nThe short version was a created export, modified to fill the perceived needs of a European audience and the feedback of viewers in Japan, and does not fully represent\nTerayama\n's original vision. The 85 minute cut can be considered a rough cut, or pre-edited version not shown in a public forum. For these reasons, the focus of this study, and all references hence forth to the film, are of the 76 minute 1970 cut, which at the time of writing was available for purchase in VHS format from\nImage\nForum in Tokyo.\nBoth the 76 min (tinted) version and the 28 min (black&white) version is included in this collection, the short version in volume 1, the long version in volume 7.","bio_dates":"1935-1983"},{"slug":"terayama_shuji_cloud_cuckooland_1978_iphone","ok":true,"partial":false,"title":"Shuji Terayama - Cloud Cuckooland","artist":"Terayama Shuji","year":"1978","startOffset":0,"sourceSecs":3027.586,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":173223332,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_cloud_cuckooland_1978_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_cloud_cuckooland_1978_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_cloud_cuckooland_1978_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_cloud_cuckooland_1978_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_cloud_cuckooland_1978_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This play, loosely based on Jonathan Swift's satire, was performed at the Mickery by the Japanese theatre group Tenjosajiki (meaning the highest part of the theatre or the gods), founded by Shuji Terayama, a writer playwright, poet and filmmaker. The main characters in the play are servants: a butler, a cook, footman, groom, house-steward, porter, chambermaid, housekeeper and governess. A strange mechanism, the Saint-Master Machine, appears on stage, with the power to change a servant into a master. There is a rumor that the real master is actually disguised among the servants. When the servants try to kill their absent master, their hatred creates a hellish atmosphere. The tragedy is not the absence of the Master, but the servants' need for one.<br><br><b>Performers :</b><br> Keiko Nitaka, Yoko Ran, Salvador Tali</br>","artist_bio":"Seishonen no tame no eiga nyumon AKA Young Person's Guide to Cinema (1974)\n-\nThe Emperor Tomato Ketchup\n(short black&white) - 1971, 28 minutes\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - Left Screen\n*Notes for Roller: Dialogue in Japanese, no subtitles. In short.. the girls are insulting the audience, constantly saying things like \"You pretend to watch art films, but we know you're here for tits & ass, fuck you\" etc. (So in a real projection, one spectator (actor) becomes upset, throws things at screen, stands up... and enters the screen! That's why you suddenly see one guy appearing on stage, then stripped & violated by the girls.)\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - right screen (1974)\nPoet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful,\nTERAYAMA\nSHUJI\n(1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s,\nTerayama\ncreated a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which \"magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.\" ÑAmos Vogel,\nFilm as a Subversive Art\n[From TERAYAMA SHUJI AND THE EMPEROR TOMATO KETCHUP, The Children's Revolution of 1970 - Masters of Arts Thesis By Joshua McDermott\n]\nThe content of\nThe Emperor Tomato Ketchup\nis intentionally graphic and disturbing, meant to exploit the purile fixation of man to the socially, aesthetically and ethically abhorrent. The scenes described and the photos included herein may verge on the edge of voyeuristic exploitation if examined with a socially conservative eye. This is not the intent of this author, nor of the original work, though aesthetic and social schema, which define works as pornographic and obscene have been purposefully co-opted, exploited, and subsequently rejected by this film.\nThe 1968 pistol execution of Bay Lop in Vietnam is by any measure a horrible and morally unconscionable act, tied irrevocably to a photograph which is intrinsically beautiful in composition. The Nazi camp guard who weeps to Schubert after a day of gassing Jews is no less a monster, and also no more than human. One of\nTerayama\n's intentions was to capture this duality of innocence and and destruction, brutality and beauty.\nThe Emperor Tomato Ketchup\nwas originally edited to be 85 minutes, then re-edited and produced at 76 minutes in 1970, and later cut and split into a 28 minute version by the same name, and a 12 minute short entitled\njanken senso: Paper-Scissors-Rock War\nin 1971.\nThe 28 minute version is a condensation of high points from the original, with various patterns of German text splashing the screen a late addition for the German Television Bureau, who printed this version for European audiences.\nPaper-Scissors-Rock War\nis a 12 minute film with one scene, where two generals fighting a never ending war of paper-scissors-rock. This scene stands alone as its one scene within the produced 76 minute version of\nThe Ketchup\n. Terayama comments on this transformation in his introduction when the short version was shown at the Kanda International Film Festival: \"This movie, was first about one and a half hours, but due to the force of public lack of interest, it has bit by bit been cut short, so that now it has become 28 minutes. Next year, it will probably become 5 minutes. So please watch it soon.\" (NO THANKS 5-6) Kawarabata Yasushi, a noted film critic, notes that \"the fault in the short version of The Emperor Tomato Ketchup is that, not so far as Tabasco sauce, but a chili-sauce level taste it has becomeÉ the over sweet nasty flavor of Tomato Ketchup has faded.\" His complaint points to failure of form to support the content or philosophical basis of the conception. The film is not supposed to be easy to stomach; making it so by 'spicing it up' defeats the conceptual basis of the film's basic truth.\nThe short version was a created export, modified to fill the perceived needs of a European audience and the feedback of viewers in Japan, and does not fully represent\nTerayama\n's original vision. The 85 minute cut can be considered a rough cut, or pre-edited version not shown in a public forum. For these reasons, the focus of this study, and all references hence forth to the film, are of the 76 minute 1970 cut, which at the time of writing was available for purchase in VHS format from\nImage\nForum in Tokyo.\nBoth the 76 min (tinted) version and the 28 min (black&white) version is included in this collection, the short version in volume 1, the long version in volume 7.","bio_dates":"1935-1983"},{"slug":"terayama_shuji_der_prozess","ok":true,"partial":false,"title":"Shimpan AKA Trial AKA Der Prozess","artist":"Terayama Shuji","year":"1975","startOffset":0,"sourceSecs":2044.042,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":299656764,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_der_prozess/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_der_prozess/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_der_prozess.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_der_prozess/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_der_prozess/main/master.m3u8?v=2","hasMainHls":true,"description":"The most important example of the so-called \"participated movies\" (kankyaku sanka no eiga, Terayama 1983, 214) is Shinpan (The Trial, 1975, also known as Der Prozess) 11 which brings actors and public to act together on the screen. Shinpan was defined as \"the nail film\" (kugi no eiga, Asai 1981, 9) – and could have been nothing else, as nails are present in every scene. They appear in a series of narratively unconnected scenes in which the actors perform repetitive movements with small variations.\n\nShimizu compares this pattern with the production process of anime and manga, where every drawing differs from the next one in an almost indiscernible way (cf. Shimizu 2012, 275). The above actions are always related to the theme of nails, which change shape, function and size scene by scene. However, they are never represented as simple objects, but gradually become metonyms for language, weapons, sexual organs and, in the end, human passions (cf. Terayama 1983, 213). As Hirose duly noted (2005, 180), every time a nail is hammered into something, its tip seems to be directed towards the relative object of desire. The only recurring image throughout Shinpan is that of a naked man staggering along carrying a gigantic nail on his back, which strongly recalls the cross of the Passion of Christ.\n\nThe nails progressively invade and fill the images, obstructing them, until the penultimate diegetic scene, when a man in uniform – i.e. representing Authority – begins to pull them out violently from a big white wall. After the last appearance of the man with the cross/nail, the screen becomes completely blank, while the score by J.A. Seazer continues in the background.\n\nDuring the following nine minutes, the spectators are asked to knock nails into the screen – an action enabled by the fact that the screen itself is made of a white-painted plywood, in front of which a basket of nails and hammers has been left (see the projection notes in Nakajima 1993, 130). After this short period of time, \"the screen becomes a wall of nails and [the short film] ends\" (Asai 1981, 9), while the ending credits start rolling. The public is then asked to act on the screen while it is being projected. Consequently, the 'active' part (doing) and the 'passive' part (watching) of Shinpan are made similar by the same action, understood in both cases as 'interfering' with the images, and thus linking the dimension of the screen with that outside. However, if the diegetic personages are characterised by their ever-repetitive movements, the overall work becomes \"a unique and unrepeatable 'event'\" (Hirose 2005, 175), because the spectators change with every performance, and the quantities of nails and the patterns in which they are fixed also change, so that the projection \"hides the possibility of expanding in a subtly different manner.\""},{"slug":"terayama_shuji_experimental_image_world_vol_1_iphone","ok":true,"partial":false,"title":"Vol. 1","artist":"Terayama Shuji","year":null,"startOffset":0,"sourceSecs":2502.189,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":148345823,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_experimental_image_world_vol_1_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_experimental_image_world_vol_1_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_experimental_image_world_vol_1_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_experimental_image_world_vol_1_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_experimental_image_world_vol_1_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"- <em>The Emperor Tomato Ketchup</em> (short black&white) - 1971, 28 minutes<br/> - <em>The Cage</em> (Ori) - 1964, 11 minutes<br/> - <em>An Introduction to Cinema for Boys and Young Men</em> (3 mins, Color, 16mm triple projection) - Left Screen","artist_bio":"Seishonen no tame no eiga nyumon AKA Young Person's Guide to Cinema (1974)\n-\nThe Emperor Tomato Ketchup\n(short black&white) - 1971, 28 minutes\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - Left Screen\n*Notes for Roller: Dialogue in Japanese, no subtitles. In short.. the girls are insulting the audience, constantly saying things like \"You pretend to watch art films, but we know you're here for tits & ass, fuck you\" etc. (So in a real projection, one spectator (actor) becomes upset, throws things at screen, stands up... and enters the screen! That's why you suddenly see one guy appearing on stage, then stripped & violated by the girls.)\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - right screen (1974)\nPoet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful,\nTERAYAMA\nSHUJI\n(1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s,\nTerayama\ncreated a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which \"magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.\" ÑAmos Vogel,\nFilm as a Subversive Art\n[From TERAYAMA SHUJI AND THE EMPEROR TOMATO KETCHUP, The Children's Revolution of 1970 - Masters of Arts Thesis By Joshua McDermott\n]\nThe content of\nThe Emperor Tomato Ketchup\nis intentionally graphic and disturbing, meant to exploit the purile fixation of man to the socially, aesthetically and ethically abhorrent. The scenes described and the photos included herein may verge on the edge of voyeuristic exploitation if examined with a socially conservative eye. This is not the intent of this author, nor of the original work, though aesthetic and social schema, which define works as pornographic and obscene have been purposefully co-opted, exploited, and subsequently rejected by this film.\nThe 1968 pistol execution of Bay Lop in Vietnam is by any measure a horrible and morally unconscionable act, tied irrevocably to a photograph which is intrinsically beautiful in composition. The Nazi camp guard who weeps to Schubert after a day of gassing Jews is no less a monster, and also no more than human. One of\nTerayama\n's intentions was to capture this duality of innocence and and destruction, brutality and beauty.\nThe Emperor Tomato Ketchup\nwas originally edited to be 85 minutes, then re-edited and produced at 76 minutes in 1970, and later cut and split into a 28 minute version by the same name, and a 12 minute short entitled\njanken senso: Paper-Scissors-Rock War\nin 1971.\nThe 28 minute version is a condensation of high points from the original, with various patterns of German text splashing the screen a late addition for the German Television Bureau, who printed this version for European audiences.\nPaper-Scissors-Rock War\nis a 12 minute film with one scene, where two generals fighting a never ending war of paper-scissors-rock. This scene stands alone as its one scene within the produced 76 minute version of\nThe Ketchup\n. Terayama comments on this transformation in his introduction when the short version was shown at the Kanda International Film Festival: \"This movie, was first about one and a half hours, but due to the force of public lack of interest, it has bit by bit been cut short, so that now it has become 28 minutes. Next year, it will probably become 5 minutes. So please watch it soon.\" (NO THANKS 5-6) Kawarabata Yasushi, a noted film critic, notes that \"the fault in the short version of The Emperor Tomato Ketchup is that, not so far as Tabasco sauce, but a chili-sauce level taste it has becomeÉ the over sweet nasty flavor of Tomato Ketchup has faded.\" His complaint points to failure of form to support the content or philosophical basis of the conception. The film is not supposed to be easy to stomach; making it so by 'spicing it up' defeats the conceptual basis of the film's basic truth.\nThe short version was a created export, modified to fill the perceived needs of a European audience and the feedback of viewers in Japan, and does not fully represent\nTerayama\n's original vision. The 85 minute cut can be considered a rough cut, or pre-edited version not shown in a public forum. For these reasons, the focus of this study, and all references hence forth to the film, are of the 76 minute 1970 cut, which at the time of writing was available for purchase in VHS format from\nImage\nForum in Tokyo.\nBoth the 76 min (tinted) version and the 28 min (black&white) version is included in this collection, the short version in volume 1, the long version in volume 7.","bio_dates":"1935-1983"},{"slug":"terayama_shuji_experimental_image_world_vol_2_iphone","ok":true,"partial":false,"title":"Vol. 2","artist":"Terayama Shuji","year":"1971","startOffset":0,"sourceSecs":2192.258,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":129913003,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_experimental_image_world_vol_2_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_experimental_image_world_vol_2_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_experimental_image_world_vol_2_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_experimental_image_world_vol_2_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_experimental_image_world_vol_2_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"- <em>Paper-Scissor-Rock War</em> (1971)<br/> - <em>Roller</em>* (1974)<br/> - <em>Butterfly Dress Pledge</em> (1974)<br/> - <em>An Introduction to Cinema for Boys and Young Men II</em> (1974)<br/> *Notes for Roller: Dialogue in Japanese, no subtitles. In short.. the girls are insulting the audience, constantly saying things like \"You pretend to watch art films, but we know you're here for tits & ass, fuck you\" etc. (So in a real projection, one spectator (actor) becomes upset, throws things at screen, stands up... and enters the screen! That's why you suddenly see one guy appearing on stage, then stripped & violated by the girls.)","artist_bio":"Seishonen no tame no eiga nyumon AKA Young Person's Guide to Cinema (1974)\n-\nThe Emperor Tomato Ketchup\n(short black&white) - 1971, 28 minutes\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - Left Screen\n*Notes for Roller: Dialogue in Japanese, no subtitles. In short.. the girls are insulting the audience, constantly saying things like \"You pretend to watch art films, but we know you're here for tits & ass, fuck you\" etc. (So in a real projection, one spectator (actor) becomes upset, throws things at screen, stands up... and enters the screen! That's why you suddenly see one guy appearing on stage, then stripped & violated by the girls.)\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - right screen (1974)\nPoet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful,\nTERAYAMA\nSHUJI\n(1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s,\nTerayama\ncreated a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which \"magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.\" ÑAmos Vogel,\nFilm as a Subversive Art\n[From TERAYAMA SHUJI AND THE EMPEROR TOMATO KETCHUP, The Children's Revolution of 1970 - Masters of Arts Thesis By Joshua McDermott\n]\nThe content of\nThe Emperor Tomato Ketchup\nis intentionally graphic and disturbing, meant to exploit the purile fixation of man to the socially, aesthetically and ethically abhorrent. The scenes described and the photos included herein may verge on the edge of voyeuristic exploitation if examined with a socially conservative eye. This is not the intent of this author, nor of the original work, though aesthetic and social schema, which define works as pornographic and obscene have been purposefully co-opted, exploited, and subsequently rejected by this film.\nThe 1968 pistol execution of Bay Lop in Vietnam is by any measure a horrible and morally unconscionable act, tied irrevocably to a photograph which is intrinsically beautiful in composition. The Nazi camp guard who weeps to Schubert after a day of gassing Jews is no less a monster, and also no more than human. One of\nTerayama\n's intentions was to capture this duality of innocence and and destruction, brutality and beauty.\nThe Emperor Tomato Ketchup\nwas originally edited to be 85 minutes, then re-edited and produced at 76 minutes in 1970, and later cut and split into a 28 minute version by the same name, and a 12 minute short entitled\njanken senso: Paper-Scissors-Rock War\nin 1971.\nThe 28 minute version is a condensation of high points from the original, with various patterns of German text splashing the screen a late addition for the German Television Bureau, who printed this version for European audiences.\nPaper-Scissors-Rock War\nis a 12 minute film with one scene, where two generals fighting a never ending war of paper-scissors-rock. This scene stands alone as its one scene within the produced 76 minute version of\nThe Ketchup\n. Terayama comments on this transformation in his introduction when the short version was shown at the Kanda International Film Festival: \"This movie, was first about one and a half hours, but due to the force of public lack of interest, it has bit by bit been cut short, so that now it has become 28 minutes. Next year, it will probably become 5 minutes. So please watch it soon.\" (NO THANKS 5-6) Kawarabata Yasushi, a noted film critic, notes that \"the fault in the short version of The Emperor Tomato Ketchup is that, not so far as Tabasco sauce, but a chili-sauce level taste it has becomeÉ the over sweet nasty flavor of Tomato Ketchup has faded.\" His complaint points to failure of form to support the content or philosophical basis of the conception. The film is not supposed to be easy to stomach; making it so by 'spicing it up' defeats the conceptual basis of the film's basic truth.\nThe short version was a created export, modified to fill the perceived needs of a European audience and the feedback of viewers in Japan, and does not fully represent\nTerayama\n's original vision. The 85 minute cut can be considered a rough cut, or pre-edited version not shown in a public forum. For these reasons, the focus of this study, and all references hence forth to the film, are of the 76 minute 1970 cut, which at the time of writing was available for purchase in VHS format from\nImage\nForum in Tokyo.\nBoth the 76 min (tinted) version and the 28 min (black&white) version is included in this collection, the short version in volume 1, the long version in volume 7.","bio_dates":"1935-1983"},{"slug":"terayama_shuji_experimental_image_world_vol_3_iphone","ok":true,"partial":false,"title":"Vol. 3","artist":"Terayama Shuji","year":"1975","startOffset":0,"sourceSecs":2863.981,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":169087903,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_experimental_image_world_vol_3_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_experimental_image_world_vol_3_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_experimental_image_world_vol_3_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_experimental_image_world_vol_3_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_experimental_image_world_vol_3_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"- <em>Hoso-Tan</em> (1975)<br/> - <em>Labyrinth Tale</em> (1975)","artist_bio":"Seishonen no tame no eiga nyumon AKA Young Person's Guide to Cinema (1974)\n-\nThe Emperor Tomato Ketchup\n(short black&white) - 1971, 28 minutes\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - Left Screen\n*Notes for Roller: Dialogue in Japanese, no subtitles. In short.. the girls are insulting the audience, constantly saying things like \"You pretend to watch art films, but we know you're here for tits & ass, fuck you\" etc. (So in a real projection, one spectator (actor) becomes upset, throws things at screen, stands up... and enters the screen! That's why you suddenly see one guy appearing on stage, then stripped & violated by the girls.)\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - right screen (1974)\nPoet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful,\nTERAYAMA\nSHUJI\n(1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s,\nTerayama\ncreated a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which \"magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.\" ÑAmos Vogel,\nFilm as a Subversive Art\n[From TERAYAMA SHUJI AND THE EMPEROR TOMATO KETCHUP, The Children's Revolution of 1970 - Masters of Arts Thesis By Joshua McDermott\n]\nThe content of\nThe Emperor Tomato Ketchup\nis intentionally graphic and disturbing, meant to exploit the purile fixation of man to the socially, aesthetically and ethically abhorrent. The scenes described and the photos included herein may verge on the edge of voyeuristic exploitation if examined with a socially conservative eye. This is not the intent of this author, nor of the original work, though aesthetic and social schema, which define works as pornographic and obscene have been purposefully co-opted, exploited, and subsequently rejected by this film.\nThe 1968 pistol execution of Bay Lop in Vietnam is by any measure a horrible and morally unconscionable act, tied irrevocably to a photograph which is intrinsically beautiful in composition. The Nazi camp guard who weeps to Schubert after a day of gassing Jews is no less a monster, and also no more than human. One of\nTerayama\n's intentions was to capture this duality of innocence and and destruction, brutality and beauty.\nThe Emperor Tomato Ketchup\nwas originally edited to be 85 minutes, then re-edited and produced at 76 minutes in 1970, and later cut and split into a 28 minute version by the same name, and a 12 minute short entitled\njanken senso: Paper-Scissors-Rock War\nin 1971.\nThe 28 minute version is a condensation of high points from the original, with various patterns of German text splashing the screen a late addition for the German Television Bureau, who printed this version for European audiences.\nPaper-Scissors-Rock War\nis a 12 minute film with one scene, where two generals fighting a never ending war of paper-scissors-rock. This scene stands alone as its one scene within the produced 76 minute version of\nThe Ketchup\n. Terayama comments on this transformation in his introduction when the short version was shown at the Kanda International Film Festival: \"This movie, was first about one and a half hours, but due to the force of public lack of interest, it has bit by bit been cut short, so that now it has become 28 minutes. Next year, it will probably become 5 minutes. So please watch it soon.\" (NO THANKS 5-6) Kawarabata Yasushi, a noted film critic, notes that \"the fault in the short version of The Emperor Tomato Ketchup is that, not so far as Tabasco sauce, but a chili-sauce level taste it has becomeÉ the over sweet nasty flavor of Tomato Ketchup has faded.\" His complaint points to failure of form to support the content or philosophical basis of the conception. The film is not supposed to be easy to stomach; making it so by 'spicing it up' defeats the conceptual basis of the film's basic truth.\nThe short version was a created export, modified to fill the perceived needs of a European audience and the feedback of viewers in Japan, and does not fully represent\nTerayama\n's original vision. The 85 minute cut can be considered a rough cut, or pre-edited version not shown in a public forum. For these reasons, the focus of this study, and all references hence forth to the film, are of the 76 minute 1970 cut, which at the time of writing was available for purchase in VHS format from\nImage\nForum in Tokyo.\nBoth the 76 min (tinted) version and the 28 min (black&white) version is included in this collection, the short version in volume 1, the long version in volume 7.","bio_dates":"1935-1983"},{"slug":"terayama_shuji_experimental_image_world_vol_4_iphone","ok":true,"partial":false,"title":"Vol. 4","artist":"Terayama Shuji","year":"1975","startOffset":0,"sourceSecs":3443.01,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":201178595,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_experimental_image_world_vol_4_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_experimental_image_world_vol_4_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_experimental_image_world_vol_4_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_experimental_image_world_vol_4_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_experimental_image_world_vol_4_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"- <em>Der Prozess</em> (1975)<br/> - <em>The Eraser</em> (1977)<br/> - <em>An Introduction to Cinema for Boys and Young Men III</em> (1974)","artist_bio":"Seishonen no tame no eiga nyumon AKA Young Person's Guide to Cinema (1974)\n-\nThe Emperor Tomato Ketchup\n(short black&white) - 1971, 28 minutes\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - Left Screen\n*Notes for Roller: Dialogue in Japanese, no subtitles. In short.. the girls are insulting the audience, constantly saying things like \"You pretend to watch art films, but we know you're here for tits & ass, fuck you\" etc. (So in a real projection, one spectator (actor) becomes upset, throws things at screen, stands up... and enters the screen! That's why you suddenly see one guy appearing on stage, then stripped & violated by the girls.)\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - right screen (1974)\nPoet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful,\nTERAYAMA\nSHUJI\n(1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s,\nTerayama\ncreated a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which \"magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.\" ÑAmos Vogel,\nFilm as a Subversive Art\n[From TERAYAMA SHUJI AND THE EMPEROR TOMATO KETCHUP, The Children's Revolution of 1970 - Masters of Arts Thesis By Joshua McDermott\n]\nThe content of\nThe Emperor Tomato Ketchup\nis intentionally graphic and disturbing, meant to exploit the purile fixation of man to the socially, aesthetically and ethically abhorrent. The scenes described and the photos included herein may verge on the edge of voyeuristic exploitation if examined with a socially conservative eye. This is not the intent of this author, nor of the original work, though aesthetic and social schema, which define works as pornographic and obscene have been purposefully co-opted, exploited, and subsequently rejected by this film.\nThe 1968 pistol execution of Bay Lop in Vietnam is by any measure a horrible and morally unconscionable act, tied irrevocably to a photograph which is intrinsically beautiful in composition. The Nazi camp guard who weeps to Schubert after a day of gassing Jews is no less a monster, and also no more than human. One of\nTerayama\n's intentions was to capture this duality of innocence and and destruction, brutality and beauty.\nThe Emperor Tomato Ketchup\nwas originally edited to be 85 minutes, then re-edited and produced at 76 minutes in 1970, and later cut and split into a 28 minute version by the same name, and a 12 minute short entitled\njanken senso: Paper-Scissors-Rock War\nin 1971.\nThe 28 minute version is a condensation of high points from the original, with various patterns of German text splashing the screen a late addition for the German Television Bureau, who printed this version for European audiences.\nPaper-Scissors-Rock War\nis a 12 minute film with one scene, where two generals fighting a never ending war of paper-scissors-rock. This scene stands alone as its one scene within the produced 76 minute version of\nThe Ketchup\n. Terayama comments on this transformation in his introduction when the short version was shown at the Kanda International Film Festival: \"This movie, was first about one and a half hours, but due to the force of public lack of interest, it has bit by bit been cut short, so that now it has become 28 minutes. Next year, it will probably become 5 minutes. So please watch it soon.\" (NO THANKS 5-6) Kawarabata Yasushi, a noted film critic, notes that \"the fault in the short version of The Emperor Tomato Ketchup is that, not so far as Tabasco sauce, but a chili-sauce level taste it has becomeÉ the over sweet nasty flavor of Tomato Ketchup has faded.\" His complaint points to failure of form to support the content or philosophical basis of the conception. The film is not supposed to be easy to stomach; making it so by 'spicing it up' defeats the conceptual basis of the film's basic truth.\nThe short version was a created export, modified to fill the perceived needs of a European audience and the feedback of viewers in Japan, and does not fully represent\nTerayama\n's original vision. The 85 minute cut can be considered a rough cut, or pre-edited version not shown in a public forum. For these reasons, the focus of this study, and all references hence forth to the film, are of the 76 minute 1970 cut, which at the time of writing was available for purchase in VHS format from\nImage\nForum in Tokyo.\nBoth the 76 min (tinted) version and the 28 min (black&white) version is included in this collection, the short version in volume 1, the long version in volume 7.","bio_dates":"1935-1983"},{"slug":"terayama_shuji_experimental_image_world_vol_6_iphone","ok":true,"partial":false,"title":"Vol. 6","artist":"Terayama Shuji","year":"1977","startOffset":0,"sourceSecs":2434.008,"sourceHeight":320,"sourceWidth":430,"hasAudio":true,"hasAmbientMp4":true,"bytes":144455613,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_experimental_image_world_vol_6_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_experimental_image_world_vol_6_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_experimental_image_world_vol_6_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_experimental_image_world_vol_6_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_experimental_image_world_vol_6_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"- <em>The Woman With Two Heads</em> (1977)<br/> - <em>The reading machine</em> (1977)<br/> - <em>An Introduction to Cinema for Boys and Young Men</em> (3 mins, Color, 16mm triple projection) - right screen (1974)","artist_bio":"Seishonen no tame no eiga nyumon AKA Young Person's Guide to Cinema (1974)\n-\nThe Emperor Tomato Ketchup\n(short black&white) - 1971, 28 minutes\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - Left Screen\n*Notes for Roller: Dialogue in Japanese, no subtitles. In short.. the girls are insulting the audience, constantly saying things like \"You pretend to watch art films, but we know you're here for tits & ass, fuck you\" etc. (So in a real projection, one spectator (actor) becomes upset, throws things at screen, stands up... and enters the screen! That's why you suddenly see one guy appearing on stage, then stripped & violated by the girls.)\n-\nAn Introduction to Cinema for Boys and Young Men\n(3 mins, Color, 16mm triple projection) - right screen (1974)\nPoet, playright, theatre director, filmmaker, essayist, agitator and lover of all things anarchistic, chaotic, and truthful,\nTERAYAMA\nSHUJI\n(1936-1983) is one of Japan's most revered and respected artists. In the heady and extremist Japanese art scene of the late '70s,\nTerayama\ncreated a number of unforgettable and highly controversial films. EMPEROR TOMATO KETCHUP is his epic, sexually revolutionary and hallucinatory work from 1972 in which \"magical women act as the initiatory, yet protectively maternal sexual partners to children. The children, in revolt, have condemned their parents to death for depriving them of self-expression and sexual freedom; they create a society in which fairies and sex education are equally important and literally combinable.\" ÑAmos Vogel,\nFilm as a Subversive Art\n[From TERAYAMA SHUJI AND THE EMPEROR TOMATO KETCHUP, The Children's Revolution of 1970 - Masters of Arts Thesis By Joshua McDermott\n]\nThe content of\nThe Emperor Tomato Ketchup\nis intentionally graphic and disturbing, meant to exploit the purile fixation of man to the socially, aesthetically and ethically abhorrent. The scenes described and the photos included herein may verge on the edge of voyeuristic exploitation if examined with a socially conservative eye. This is not the intent of this author, nor of the original work, though aesthetic and social schema, which define works as pornographic and obscene have been purposefully co-opted, exploited, and subsequently rejected by this film.\nThe 1968 pistol execution of Bay Lop in Vietnam is by any measure a horrible and morally unconscionable act, tied irrevocably to a photograph which is intrinsically beautiful in composition. The Nazi camp guard who weeps to Schubert after a day of gassing Jews is no less a monster, and also no more than human. One of\nTerayama\n's intentions was to capture this duality of innocence and and destruction, brutality and beauty.\nThe Emperor Tomato Ketchup\nwas originally edited to be 85 minutes, then re-edited and produced at 76 minutes in 1970, and later cut and split into a 28 minute version by the same name, and a 12 minute short entitled\njanken senso: Paper-Scissors-Rock War\nin 1971.\nThe 28 minute version is a condensation of high points from the original, with various patterns of German text splashing the screen a late addition for the German Television Bureau, who printed this version for European audiences.\nPaper-Scissors-Rock War\nis a 12 minute film with one scene, where two generals fighting a never ending war of paper-scissors-rock. This scene stands alone as its one scene within the produced 76 minute version of\nThe Ketchup\n. Terayama comments on this transformation in his introduction when the short version was shown at the Kanda International Film Festival: \"This movie, was first about one and a half hours, but due to the force of public lack of interest, it has bit by bit been cut short, so that now it has become 28 minutes. Next year, it will probably become 5 minutes. So please watch it soon.\" (NO THANKS 5-6) Kawarabata Yasushi, a noted film critic, notes that \"the fault in the short version of The Emperor Tomato Ketchup is that, not so far as Tabasco sauce, but a chili-sauce level taste it has becomeÉ the over sweet nasty flavor of Tomato Ketchup has faded.\" His complaint points to failure of form to support the content or philosophical basis of the conception. The film is not supposed to be easy to stomach; making it so by 'spicing it up' defeats the conceptual basis of the film's basic truth.\nThe short version was a created export, modified to fill the perceived needs of a European audience and the feedback of viewers in Japan, and does not fully represent\nTerayama\n's original vision. The 85 minute cut can be considered a rough cut, or pre-edited version not shown in a public forum. For these reasons, the focus of this study, and all references hence forth to the film, are of the 76 minute 1970 cut, which at the time of writing was available for purchase in VHS format from\nImage\nForum in Tokyo.\nBoth the 76 min (tinted) version and the 28 min (black&white) version is included in this collection, the short version in volume 1, the long version in volume 7.","bio_dates":"1935-1983"},{"slug":"terayama_shuji_fruits_of_passion","ok":true,"partial":false,"title":"Les Fruits de la passion AKA Fruits of Passion","artist":"Terayama Shuji","year":"1981","startOffset":0,"sourceSecs":4954.95,"sourceHeight":400,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":285189951,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_fruits_of_passion/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_fruits_of_passion/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_fruits_of_passion.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_fruits_of_passion/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_fruits_of_passion/main/master.m3u8?v=2","hasMainHls":true,"description":"following from IMDB......Though the film concerns the \"O\" and Sir Stephen characters, it really has nothing to do with Pauline Reage's original novel or the 1974 film The Story of O. However, the film does pay attention to artistic detail and symbolism of an almost mystic kind. \"O\" decides to prostitute herself for Sir Stephen in violent 1920s Hong Kong. Her mission is to prove her unending devotion and love for her master through giving her body to other men. Naturally, Sir Stephen enjoys watching her during her unpleasant sexual escapades and even finds himself a mistress. However, the tables are turned when \"O\" actually finds a kind of love with a young male admirer. Suddenly, Sir Stephen feels the threat..."},{"slug":"terayama_shuji_tanikawa_shuntaro_video_letter_1982_3_iphone","ok":true,"partial":false,"title":"Shuji Terayama & Shuntaro Tanikawa - Video Letters","artist":"Terayama Shuji","year":"1935","startOffset":0,"sourceSecs":4452.674,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":259619902,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_tanikawa_shuntaro_video_letter_1982_3_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_tanikawa_shuntaro_video_letter_1982_3_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_tanikawa_shuntaro_video_letter_1982_3_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_tanikawa_shuntaro_video_letter_1982_3_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_tanikawa_shuntaro_video_letter_1982_3_iphone/main/master.m3u8?v=2","hasMainHls":true},{"slug":"terayama_shuji_the_boxer_1977_iphone","ok":true,"partial":false,"title":"The Boxer","artist":"Terayama Shuji","year":"1977","startOffset":0,"sourceSecs":5912.288,"sourceHeight":264,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":336401337,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_the_boxer_1977_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_the_boxer_1977_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_the_boxer_1977_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_the_boxer_1977_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_the_boxer_1977_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Filmmaker, theatre director, novelist, poet and sports commentator, the multifaceted Japanese film director, Terayama Shuji has had great influence on various fronts in contemporary Japan. The stunning, bizarre images in his films create a world of fantasy with many visions still looking novel to this present age.\n\nBorn in 1935 and passing away in 1983, Terayama enriched the art of the avant-garde and perspectives of modernity. He was very active in literature and art during his youth days in Aomori, his homeland. He established the internationally acclaimed theatre group Tenijo Sajiki in 1967, with famous productions including \"Jashumon\", \"Shintokumaru\" and \"Mojin Shokan\".\n\nOn the cinematic front, Terayama never stopped creating since his embarkation on experimental films in 1964. While his experimental and feature films intertwined to form an eerie, magical world of image, his films and dramas also echoed his favourite themes: triangular relationships inside big families, the nihility of memory and liberation. His works are a constant debate on hypocrisy of the truth and fabrication of the imagination.\n\nHis opulent life can most aptly be depicted by his renowned remark: \"My occupation is being Terayama Shuji\".\n\nTerayama's passion with boxing is not only featured in his novels but he finally puts it into the film \"The Boxer\" (1977), his only commercial work.\n\nIn mid-career, while he is on a winning streak, and in the middle of a fight he is winning, a young boxer is revolted by the violence of the game. He allows himself to be beaten up and quits the match and the sport. He also leaves his wife and child and lives alone with his moth-eaten old dog, all the while losing his sight. Years later, he is hunted down by a young man who is ambitious to become a prize-winning boxer. Persistence pays off, and he eventually persuades the ex-boxer to be his manager and trainer. The boy begins his rise to success, though he has a stormy relationship with his manager."},{"slug":"terayama_shuji_the_lemmings_1983","ok":true,"partial":false,"title":"The Lemmings","artist":"Terayama Shuji","year":"1983","startOffset":0,"sourceSecs":6391.032,"sourceHeight":464,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":1079771749,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_the_lemmings_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_the_lemmings_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_the_lemmings_1983.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_the_lemmings_1983/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_the_lemmings_1983/main/master.m3u8?v=2","hasMainHls":true,"description":"There is a version of this from 1983 that is 169 minutes long entitled レミングー壁抜け男ー (Lemmings: The Man Through the Wall). It's not a memorial performance either. Actually, the play was performed as only 壁抜け男 in 1982, but the DVD released in 1983 has both names combined. The original version, simply called レミング (Lemmings), is from 1979 and is 106 minutes. I watched the 1979 version.\n\nThe title partly comes from the myth that lemmings commit mass suicide. Terayama said, \"Historically speaking, it's similar to a group of people called ええじゃないか (ee ja nai ka). These people would celebrate and dance in the streets one year before natural disasters.\" For the other title, the wall is crucial to the story. The play tells the story of two people who become lost after the disappearance of their wall in their apartment. When this happens, the boundary between the real world and the unreal world disappears.\n\nA woman acts in front of a camera with no film in it. As the play progresses, the characters suddenly stop the scene and talk to the film director as if they are all acting within a film. She wanders into a psychiatric hospital where a mental patient pretends to be a psychiatrist. Prisoners try to escape through a door painted on a wall. A man's mother lives underneath a tatami mat and grows vegetables down there. The two original people in the apartment somehow were forced to become a part of the film without really any clue of what's going on, it seems. Someone's a spy or maybe they're filming something about spies.\n\nThis reminds me of some of the works by David Lynch such as Mulholland Drive or Inland Empire, but I think those two works are far easier to understand than this, although I've seen those countless times. A scene from another film that comes to mind is one from Requiem for a Dream. I won't spoil it in case you've never seen it. This play has an eerie and scary feel to it. There are also comedic moments though, just like in Lynch's works. -- 城十郎"},{"slug":"terayama_shuji_the_reading_machine","ok":true,"partial":false,"title":"Shokenki AKA The Reading Machine","artist":"Terayama Shuji","year":"1977","startOffset":0,"sourceSecs":1321.153,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":228875371,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_the_reading_machine/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/terayama_shuji_the_reading_machine/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/terayama_shuji_the_reading_machine.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/terayama_shuji_the_reading_machine/main.mp4?v=2","description":"In The Reading Machine, Terayama puts the distance between the projector and the screen in place of the distance between the eyes and the book in order to experiment the concept of “reading.”"},{"slug":"teraymaya_la_marie_vison_1983","ok":true,"partial":false,"title":"La Marie-vison","artist":"Terayama Shuji","year":"1983","startOffset":0,"sourceSecs":4451.136,"sourceHeight":464,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":761841322,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/teraymaya_la_marie_vison_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/teraymaya_la_marie_vison_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/teraymaya_la_marie_vison_1983.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/teraymaya_la_marie_vison_1983/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/teraymaya_la_marie_vison_1983/main/master.m3u8?v=2","hasMainHls":true,"description":"This is a Shuji Terayama memorial performance of his play La Marie-vison (Mink Marie) by the Tenjo Sajiki theater troupe, featuring Akihiro Miwa in the title role."},{"slug":"teshigahara_hiroshi_antonio_gaudi_1984_iphone","ok":true,"partial":false,"title":"Antonio Gaudi","artist":"Antonio Gaudí","year":"1926","startOffset":0,"sourceSecs":4347.864,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":249728315,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/teshigahara_hiroshi_antonio_gaudi_1984_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/teshigahara_hiroshi_antonio_gaudi_1984_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/teshigahara_hiroshi_antonio_gaudi_1984_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/teshigahara_hiroshi_antonio_gaudi_1984_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/teshigahara_hiroshi_antonio_gaudi_1984_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Catalan architect Antonio Gaudí (1852–1926) designed some of the world's most astonishing buildings, interiors, and parks; Japanese director Hiroshi Teshigahara constructed some of the most aesthetically audacious films ever made. Here their artistry melds in a unique, enthralling cinematic experience. Less a documentary than a visual poem, Teshigahara's Antonio Gaudí takes viewers on a tour of Gaudí's truly spectacular architecture, including his massive, still-unfinished masterpiece, the Sagrada Familia cathedral in Barcelona. With camera work as bold and sensual as the curves of his subject's organic structures, Teshigahara immortalizes Gaudí on film."},{"slug":"thanhauser_ralph_godard_in_america_1970_iphone","ok":true,"partial":false,"title":"Godard in America","artist":"Jean-Luc Godard","year":"1970","startOffset":0,"sourceSecs":2633.709,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":158320892,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thanhauser_ralph_godard_in_america_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thanhauser_ralph_godard_in_america_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thanhauser_ralph_godard_in_america_1970_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thanhauser_ralph_godard_in_america_1970_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thanhauser_ralph_godard_in_america_1970_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"(filmed on 16mm)<br/><br/>Spring 1970: Godard and Gorin, on the road, visiting colleges, speaking with Andrew Sarris, and explaining, through illustrated notebooks, their newest Dziga Vertov Group project, a film on Palestine. <br><br> After Godard had finished several films with the <a href=\"https://ubu.com/film/dziga_vertov.html\" rel=\"noopener\" target=\"_blank\">Dziga Vertov Group</a>, he and Jean-Pierre Gorin traveled to the US to raise funds for their next project, Till Victory (1970), a film on the Palestinian struggle that was never finished. Godard in America captures Godard and Gorin argueing the finer points of revolutionary struggle as they visit several American universities. Scenes of Godard describing the Palestinian project to students while he rapidly flips through a storyboard filled with his characteristic drawings, capture the American university in the throes of its first love affair with radical Marxism. During a lighter moment, Jean-Luc states that he escaped his bourgeoise family background by going into the movie business only to discover that the movie business is the biggest bourgeoise family in the world. Featuring Andrew Sarris, Molly Haskell and others.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/film/godard.html\" rel=\"noopener\" target=\"_blank\">Jean-Luc Godard in UbuWeb Film</a></br></br>","artist_bio":"France/tour/détour/deux/enfants, Mouvement 1: Obscur/Chimie (Dark/Chemistry)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 2: Lumière/Physique (Light/Physics)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 3: Connu/Géométrie/Géographie (Known/Geometry/Geography)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 4: Inconnu/Technique (Unknown/Technique)\n(1978)\nFrance/tour/détour/deux/enfants, Mouvement 5: Impression/Dictée (Impression/Dictation)\n(1978)\nJean-Luc Godard (born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement, French Nouvelle Vague, or \"New Wave\".\nLike his New Wave contemporaries, Godard criticized mainstream French cinema's \"Tradition of Quality\", which \"emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation.\" To challenge this tradition, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema.[citation needed] He is often considered the most radical French filmmaker of the 1960s and 1970s. Several of his films express his political views. His films express his knowledge of film history through their references to earlier films. In addition, Godard's films often cite existentialism as he was an avid reader of existential and Marxist philosophy.[citation needed] His radical approach in film conventions, politics and philosophies made him an influential filmmaker of the French New Wave.\nAfter the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, not Marxist perspective.\nIn a 2002 Sight & Sound poll, Godard ranked third in the critics' top ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He has created \"one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century.\" He and his work have been central to narrative theory and have \"challenged both commercial narrative cinema norms and film criticism's vocabulary.\" In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired diverse directors like Martin Scorsese, Quentin Tarantino, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, Pier Paolo Pasolini, Paul Thomas Anderson, Arthur Penn, Hal Hartley, Richard Linklater, Gregg Araki, Jørgen Leth, John Woo, Richard Lester, Rainer Werner Fassbinder, Brian De Palma, Oliver Stone and Ken Loach.-- Wikipedia","bio_dates":"b. 1930"},{"slug":"thater_diana_a_series_of_events","ok":true,"partial":false,"title":"A Series of Events","artist":"Diana Thater","year":"2003","startOffset":0,"sourceSecs":180.747,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":10997810,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_a_series_of_events/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_a_series_of_events/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thater_diana_a_series_of_events.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thater_diana_a_series_of_events/main.mp4?v=2","description":"A Series of Events, 2003<br/> 2 Monitors, 2 DVD Players, 2 DVDs and 1 Synchronizer<br/> Dimensions Variable","artist_bio":"Since the early 1990s, Diana Thater has created pioneering film, video, and installation-based works. Her primary emphasis is on the tension between the natural environment and mediated reality, and by extension, between tamed and wild, and science and magic. Drawing on a wide variety of sources, including literature, animal behavior, mathematics, chess, and sociology, her evocative and sometimes near-abstract works interact with their surroundings to create an intricate relationship between time-based and spatial dimensions. She frequently transforms the exhibition venue into a hybrid space between sculpture and architecture, using color and light alongside her installations.\nBorn in 1962 in San Francisco, Thater studied Art History at New York University, before receiving her M.F.A. from the Art Center College of Design in Pasadena, California.\nSince 1993, the artist's work has been represented by David Zwirner. Science, Fiction marked her eighth solo exhibition at the gallery in New York, on view January 8 through February 21, 2015. Previous shows include Chernobyl (2012), Between Science and Magic (2010), Here is a text about the world… (2008), New Work (2005), the sky is unfolding under you (2001), China, Crayons & Molly Numbers 1 through 10 (1996), and Late & Soon (Occident Trotting) (1993).\nThater’s recent works are currently on view at the San Jose Museum of Art in California as part of the museum’s Beta Space exhibition series (through September 13, 2015). In the fall of 2015, the Los Angeles County Museum of Art will host a mid-career survey of Thater’s work, which will coincide with an installation at the Aspen Art Museum, Colorado.\nOver the past decade, her work has been the subject of solo exhibitions at prominent institutions that include the Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria; Natural History Museum, London (both 2009); Kunsthalle Bremen, Germany; Museum für Gegenwartskunst Siegen, Germany (both 2004); Dia Center for the Arts, New York (2001); and the Secession, Vienna (2000).\nIn 2014, Thater was awarded a California Community Foundation Fellowship for Visual Artists. Other notable awards and fellowships include a 2011 Award for Artistic Innovation from the Center for Cultural Innovation, Los Angeles, as well as a James D. Phelan Award in Film and Video (2006), a John Simon Guggenheim Memorial Foundation Fellowship (2005), and a National Endowment for the Arts Fellowship (1993).\nWork by the artist is represented in museum collections worldwide, including The Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Los Angeles County Museum of Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; and the Friedrich Christian Flick Collection at Hamburger Bahnhof – Museum für Gegenwart, Berlin. Also a prolific writer, educator, and curator, Thater lives and works in Los Angeles.","bio_dates":"b. 1962"},{"slug":"thater_diana_abyss_of_light","ok":true,"partial":false,"title":"byss of Light","artist":"Diana Thater","year":"1993","startOffset":0,"sourceSecs":241.241,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":15684272,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_abyss_of_light/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_abyss_of_light/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thater_diana_abyss_of_light.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thater_diana_abyss_of_light/main.mp4?v=2","description":"3 Video Projectors, 3 DVD Players, 3 DVDs, 1 Synchronizer, Lee filters and existing architecture<br/> Dimensions variable","artist_bio":"Since the early 1990s, Diana Thater has created pioneering film, video, and installation-based works. Her primary emphasis is on the tension between the natural environment and mediated reality, and by extension, between tamed and wild, and science and magic. Drawing on a wide variety of sources, including literature, animal behavior, mathematics, chess, and sociology, her evocative and sometimes near-abstract works interact with their surroundings to create an intricate relationship between time-based and spatial dimensions. She frequently transforms the exhibition venue into a hybrid space between sculpture and architecture, using color and light alongside her installations.\nBorn in 1962 in San Francisco, Thater studied Art History at New York University, before receiving her M.F.A. from the Art Center College of Design in Pasadena, California.\nSince 1993, the artist's work has been represented by David Zwirner. Science, Fiction marked her eighth solo exhibition at the gallery in New York, on view January 8 through February 21, 2015. Previous shows include Chernobyl (2012), Between Science and Magic (2010), Here is a text about the world… (2008), New Work (2005), the sky is unfolding under you (2001), China, Crayons & Molly Numbers 1 through 10 (1996), and Late & Soon (Occident Trotting) (1993).\nThater’s recent works are currently on view at the San Jose Museum of Art in California as part of the museum’s Beta Space exhibition series (through September 13, 2015). In the fall of 2015, the Los Angeles County Museum of Art will host a mid-career survey of Thater’s work, which will coincide with an installation at the Aspen Art Museum, Colorado.\nOver the past decade, her work has been the subject of solo exhibitions at prominent institutions that include the Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria; Natural History Museum, London (both 2009); Kunsthalle Bremen, Germany; Museum für Gegenwartskunst Siegen, Germany (both 2004); Dia Center for the Arts, New York (2001); and the Secession, Vienna (2000).\nIn 2014, Thater was awarded a California Community Foundation Fellowship for Visual Artists. Other notable awards and fellowships include a 2011 Award for Artistic Innovation from the Center for Cultural Innovation, Los Angeles, as well as a James D. Phelan Award in Film and Video (2006), a John Simon Guggenheim Memorial Foundation Fellowship (2005), and a National Endowment for the Arts Fellowship (1993).\nWork by the artist is represented in museum collections worldwide, including The Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Los Angeles County Museum of Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; and the Friedrich Christian Flick Collection at Hamburger Bahnhof – Museum für Gegenwart, Berlin. Also a prolific writer, educator, and curator, Thater lives and works in Los Angeles.","bio_dates":"b. 1962"},{"slug":"thater_diana_blitz_5_minute","ok":true,"partial":false,"title":"Blitz","artist":"Diana Thater","year":"2008","startOffset":0,"sourceSecs":622.567,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":96414404,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_blitz_5_minute/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_blitz_5_minute/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thater_diana_blitz_5_minute.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thater_diana_blitz_5_minute/main.mp4?v=2","description":"6 Video monitors, 6 DVD players and 6 DVDs<br/> Dimensions variable","artist_bio":"Since the early 1990s, Diana Thater has created pioneering film, video, and installation-based works. Her primary emphasis is on the tension between the natural environment and mediated reality, and by extension, between tamed and wild, and science and magic. Drawing on a wide variety of sources, including literature, animal behavior, mathematics, chess, and sociology, her evocative and sometimes near-abstract works interact with their surroundings to create an intricate relationship between time-based and spatial dimensions. She frequently transforms the exhibition venue into a hybrid space between sculpture and architecture, using color and light alongside her installations.\nBorn in 1962 in San Francisco, Thater studied Art History at New York University, before receiving her M.F.A. from the Art Center College of Design in Pasadena, California.\nSince 1993, the artist's work has been represented by David Zwirner. Science, Fiction marked her eighth solo exhibition at the gallery in New York, on view January 8 through February 21, 2015. Previous shows include Chernobyl (2012), Between Science and Magic (2010), Here is a text about the world… (2008), New Work (2005), the sky is unfolding under you (2001), China, Crayons & Molly Numbers 1 through 10 (1996), and Late & Soon (Occident Trotting) (1993).\nThater’s recent works are currently on view at the San Jose Museum of Art in California as part of the museum’s Beta Space exhibition series (through September 13, 2015). In the fall of 2015, the Los Angeles County Museum of Art will host a mid-career survey of Thater’s work, which will coincide with an installation at the Aspen Art Museum, Colorado.\nOver the past decade, her work has been the subject of solo exhibitions at prominent institutions that include the Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria; Natural History Museum, London (both 2009); Kunsthalle Bremen, Germany; Museum für Gegenwartskunst Siegen, Germany (both 2004); Dia Center for the Arts, New York (2001); and the Secession, Vienna (2000).\nIn 2014, Thater was awarded a California Community Foundation Fellowship for Visual Artists. Other notable awards and fellowships include a 2011 Award for Artistic Innovation from the Center for Cultural Innovation, Los Angeles, as well as a James D. Phelan Award in Film and Video (2006), a John Simon Guggenheim Memorial Foundation Fellowship (2005), and a National Endowment for the Arts Fellowship (1993).\nWork by the artist is represented in museum collections worldwide, including The Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Los Angeles County Museum of Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; and the Friedrich Christian Flick Collection at Hamburger Bahnhof – Museum für Gegenwart, Berlin. Also a prolific writer, educator, and curator, Thater lives and works in Los Angeles.","bio_dates":"b. 1962"},{"slug":"thater_diana_dark_matter_web","ok":true,"partial":false,"title":"Dark Matter","artist":"Diana Thater","year":"2003","startOffset":0,"sourceSecs":477.21,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":28852348,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_dark_matter_web/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_dark_matter_web/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thater_diana_dark_matter_web.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thater_diana_dark_matter_web/main.mp4?v=2","description":"2 Flat Screen Monitors, 2 DVD Players, 2 DVDs and Lee filters<br/> Dimensions variable","artist_bio":"Since the early 1990s, Diana Thater has created pioneering film, video, and installation-based works. Her primary emphasis is on the tension between the natural environment and mediated reality, and by extension, between tamed and wild, and science and magic. Drawing on a wide variety of sources, including literature, animal behavior, mathematics, chess, and sociology, her evocative and sometimes near-abstract works interact with their surroundings to create an intricate relationship between time-based and spatial dimensions. She frequently transforms the exhibition venue into a hybrid space between sculpture and architecture, using color and light alongside her installations.\nBorn in 1962 in San Francisco, Thater studied Art History at New York University, before receiving her M.F.A. from the Art Center College of Design in Pasadena, California.\nSince 1993, the artist's work has been represented by David Zwirner. Science, Fiction marked her eighth solo exhibition at the gallery in New York, on view January 8 through February 21, 2015. Previous shows include Chernobyl (2012), Between Science and Magic (2010), Here is a text about the world… (2008), New Work (2005), the sky is unfolding under you (2001), China, Crayons & Molly Numbers 1 through 10 (1996), and Late & Soon (Occident Trotting) (1993).\nThater’s recent works are currently on view at the San Jose Museum of Art in California as part of the museum’s Beta Space exhibition series (through September 13, 2015). In the fall of 2015, the Los Angeles County Museum of Art will host a mid-career survey of Thater’s work, which will coincide with an installation at the Aspen Art Museum, Colorado.\nOver the past decade, her work has been the subject of solo exhibitions at prominent institutions that include the Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria; Natural History Museum, London (both 2009); Kunsthalle Bremen, Germany; Museum für Gegenwartskunst Siegen, Germany (both 2004); Dia Center for the Arts, New York (2001); and the Secession, Vienna (2000).\nIn 2014, Thater was awarded a California Community Foundation Fellowship for Visual Artists. Other notable awards and fellowships include a 2011 Award for Artistic Innovation from the Center for Cultural Innovation, Los Angeles, as well as a James D. Phelan Award in Film and Video (2006), a John Simon Guggenheim Memorial Foundation Fellowship (2005), and a National Endowment for the Arts Fellowship (1993).\nWork by the artist is represented in museum collections worldwide, including The Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Los Angeles County Museum of Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; and the Friedrich Christian Flick Collection at Hamburger Bahnhof – Museum für Gegenwart, Berlin. Also a prolific writer, educator, and curator, Thater lives and works in Los Angeles.","bio_dates":"b. 1962"},{"slug":"thater_diana_gorillagorillagorilla_2009","ok":true,"partial":false,"title":"gorillagorillagorilla (2009)","artist":"Diana Thater","year":"2009","startOffset":0,"sourceSecs":575.042,"sourceHeight":424,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":35594353,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_gorillagorillagorilla_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_gorillagorillagorilla_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thater_diana_gorillagorillagorilla_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thater_diana_gorillagorillagorilla_2009/main.mp4?v=2","description":"6 Video Projectors, 2 Video Monitors, 8 Media Players, Lee Filters and Existing Architecture","artist_bio":"Since the early 1990s, Diana Thater has created pioneering film, video, and installation-based works. Her primary emphasis is on the tension between the natural environment and mediated reality, and by extension, between tamed and wild, and science and magic. Drawing on a wide variety of sources, including literature, animal behavior, mathematics, chess, and sociology, her evocative and sometimes near-abstract works interact with their surroundings to create an intricate relationship between time-based and spatial dimensions. She frequently transforms the exhibition venue into a hybrid space between sculpture and architecture, using color and light alongside her installations.\nBorn in 1962 in San Francisco, Thater studied Art History at New York University, before receiving her M.F.A. from the Art Center College of Design in Pasadena, California.\nSince 1993, the artist's work has been represented by David Zwirner. Science, Fiction marked her eighth solo exhibition at the gallery in New York, on view January 8 through February 21, 2015. Previous shows include Chernobyl (2012), Between Science and Magic (2010), Here is a text about the world… (2008), New Work (2005), the sky is unfolding under you (2001), China, Crayons & Molly Numbers 1 through 10 (1996), and Late & Soon (Occident Trotting) (1993).\nThater’s recent works are currently on view at the San Jose Museum of Art in California as part of the museum’s Beta Space exhibition series (through September 13, 2015). In the fall of 2015, the Los Angeles County Museum of Art will host a mid-career survey of Thater’s work, which will coincide with an installation at the Aspen Art Museum, Colorado.\nOver the past decade, her work has been the subject of solo exhibitions at prominent institutions that include the Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria; Natural History Museum, London (both 2009); Kunsthalle Bremen, Germany; Museum für Gegenwartskunst Siegen, Germany (both 2004); Dia Center for the Arts, New York (2001); and the Secession, Vienna (2000).\nIn 2014, Thater was awarded a California Community Foundation Fellowship for Visual Artists. Other notable awards and fellowships include a 2011 Award for Artistic Innovation from the Center for Cultural Innovation, Los Angeles, as well as a James D. Phelan Award in Film and Video (2006), a John Simon Guggenheim Memorial Foundation Fellowship (2005), and a National Endowment for the Arts Fellowship (1993).\nWork by the artist is represented in museum collections worldwide, including The Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Los Angeles County Museum of Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; and the Friedrich Christian Flick Collection at Hamburger Bahnhof – Museum für Gegenwart, Berlin. Also a prolific writer, educator, and curator, Thater lives and works in Los Angeles.","bio_dates":"b. 1962"},{"slug":"thater_diana_rare_2008","ok":true,"partial":false,"title":"Rare","artist":"Diana Thater","year":"2008","startOffset":0,"sourceSecs":337.315,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":16452002,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_rare_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_rare_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thater_diana_rare_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thater_diana_rare_2008/main.mp4?v=2","description":"1 Blu-ray DVD, 1 Blu-ray DVD PLayer, 16 Flat panel monitors, 1 Distribution amplifier<br/> Dimensions variable","artist_bio":"Since the early 1990s, Diana Thater has created pioneering film, video, and installation-based works. Her primary emphasis is on the tension between the natural environment and mediated reality, and by extension, between tamed and wild, and science and magic. Drawing on a wide variety of sources, including literature, animal behavior, mathematics, chess, and sociology, her evocative and sometimes near-abstract works interact with their surroundings to create an intricate relationship between time-based and spatial dimensions. She frequently transforms the exhibition venue into a hybrid space between sculpture and architecture, using color and light alongside her installations.\nBorn in 1962 in San Francisco, Thater studied Art History at New York University, before receiving her M.F.A. from the Art Center College of Design in Pasadena, California.\nSince 1993, the artist's work has been represented by David Zwirner. Science, Fiction marked her eighth solo exhibition at the gallery in New York, on view January 8 through February 21, 2015. Previous shows include Chernobyl (2012), Between Science and Magic (2010), Here is a text about the world… (2008), New Work (2005), the sky is unfolding under you (2001), China, Crayons & Molly Numbers 1 through 10 (1996), and Late & Soon (Occident Trotting) (1993).\nThater’s recent works are currently on view at the San Jose Museum of Art in California as part of the museum’s Beta Space exhibition series (through September 13, 2015). In the fall of 2015, the Los Angeles County Museum of Art will host a mid-career survey of Thater’s work, which will coincide with an installation at the Aspen Art Museum, Colorado.\nOver the past decade, her work has been the subject of solo exhibitions at prominent institutions that include the Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria; Natural History Museum, London (both 2009); Kunsthalle Bremen, Germany; Museum für Gegenwartskunst Siegen, Germany (both 2004); Dia Center for the Arts, New York (2001); and the Secession, Vienna (2000).\nIn 2014, Thater was awarded a California Community Foundation Fellowship for Visual Artists. Other notable awards and fellowships include a 2011 Award for Artistic Innovation from the Center for Cultural Innovation, Los Angeles, as well as a James D. Phelan Award in Film and Video (2006), a John Simon Guggenheim Memorial Foundation Fellowship (2005), and a National Endowment for the Arts Fellowship (1993).\nWork by the artist is represented in museum collections worldwide, including The Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Los Angeles County Museum of Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; and the Friedrich Christian Flick Collection at Hamburger Bahnhof – Museum für Gegenwart, Berlin. Also a prolific writer, educator, and curator, Thater lives and works in Los Angeles.","bio_dates":"b. 1962"},{"slug":"thater_diana_two_monitor_videowall_red_flowers_blue_sky","ok":true,"partial":false,"title":"Red Flowers Videowall","artist":"Diana Thater","year":"2001","startOffset":0,"sourceSecs":208.167,"sourceHeight":270,"sourceWidth":480,"hasAudio":false,"hasAmbientMp4":true,"bytes":8703802,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_two_monitor_videowall_red_flowers_blue_sky/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_two_monitor_videowall_red_flowers_blue_sky/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thater_diana_two_monitor_videowall_red_flowers_blue_sky.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thater_diana_two_monitor_videowall_red_flowers_blue_sky/main.mp4?v=2","description":"Red Sun, 2001<br/> 2 Video monitors, 1 Distribution amplifier, 1 DVD player, 1 DVD and Lee filters Dimensions variable","artist_bio":"Since the early 1990s, Diana Thater has created pioneering film, video, and installation-based works. Her primary emphasis is on the tension between the natural environment and mediated reality, and by extension, between tamed and wild, and science and magic. Drawing on a wide variety of sources, including literature, animal behavior, mathematics, chess, and sociology, her evocative and sometimes near-abstract works interact with their surroundings to create an intricate relationship between time-based and spatial dimensions. She frequently transforms the exhibition venue into a hybrid space between sculpture and architecture, using color and light alongside her installations.\nBorn in 1962 in San Francisco, Thater studied Art History at New York University, before receiving her M.F.A. from the Art Center College of Design in Pasadena, California.\nSince 1993, the artist's work has been represented by David Zwirner. Science, Fiction marked her eighth solo exhibition at the gallery in New York, on view January 8 through February 21, 2015. Previous shows include Chernobyl (2012), Between Science and Magic (2010), Here is a text about the world… (2008), New Work (2005), the sky is unfolding under you (2001), China, Crayons & Molly Numbers 1 through 10 (1996), and Late & Soon (Occident Trotting) (1993).\nThater’s recent works are currently on view at the San Jose Museum of Art in California as part of the museum’s Beta Space exhibition series (through September 13, 2015). In the fall of 2015, the Los Angeles County Museum of Art will host a mid-career survey of Thater’s work, which will coincide with an installation at the Aspen Art Museum, Colorado.\nOver the past decade, her work has been the subject of solo exhibitions at prominent institutions that include the Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria; Natural History Museum, London (both 2009); Kunsthalle Bremen, Germany; Museum für Gegenwartskunst Siegen, Germany (both 2004); Dia Center for the Arts, New York (2001); and the Secession, Vienna (2000).\nIn 2014, Thater was awarded a California Community Foundation Fellowship for Visual Artists. Other notable awards and fellowships include a 2011 Award for Artistic Innovation from the Center for Cultural Innovation, Los Angeles, as well as a James D. Phelan Award in Film and Video (2006), a John Simon Guggenheim Memorial Foundation Fellowship (2005), and a National Endowment for the Arts Fellowship (1993).\nWork by the artist is represented in museum collections worldwide, including The Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Los Angeles County Museum of Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; and the Friedrich Christian Flick Collection at Hamburger Bahnhof – Museum für Gegenwart, Berlin. Also a prolific writer, educator, and curator, Thater lives and works in Los Angeles.","bio_dates":"b. 1962"},{"slug":"thater_diana_untitled_joe_and_marc","ok":true,"partial":false,"title":"Untitled (Joe and Marc)","artist":"Diana Thater","year":"2011","startOffset":0,"sourceSecs":685.92,"sourceHeight":270,"sourceWidth":480,"hasAudio":false,"hasAmbientMp4":true,"bytes":39366890,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_untitled_joe_and_marc/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thater_diana_untitled_joe_and_marc/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thater_diana_untitled_joe_and_marc.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thater_diana_untitled_joe_and_marc/main.mp4?v=2","description":"Untitled (Joe and Marc), 2011<br/> 4 monitors, 1 DVD player, 1 DVD<br/> Dimensions variable","artist_bio":"Since the early 1990s, Diana Thater has created pioneering film, video, and installation-based works. Her primary emphasis is on the tension between the natural environment and mediated reality, and by extension, between tamed and wild, and science and magic. Drawing on a wide variety of sources, including literature, animal behavior, mathematics, chess, and sociology, her evocative and sometimes near-abstract works interact with their surroundings to create an intricate relationship between time-based and spatial dimensions. She frequently transforms the exhibition venue into a hybrid space between sculpture and architecture, using color and light alongside her installations.\nBorn in 1962 in San Francisco, Thater studied Art History at New York University, before receiving her M.F.A. from the Art Center College of Design in Pasadena, California.\nSince 1993, the artist's work has been represented by David Zwirner. Science, Fiction marked her eighth solo exhibition at the gallery in New York, on view January 8 through February 21, 2015. Previous shows include Chernobyl (2012), Between Science and Magic (2010), Here is a text about the world… (2008), New Work (2005), the sky is unfolding under you (2001), China, Crayons & Molly Numbers 1 through 10 (1996), and Late & Soon (Occident Trotting) (1993).\nThater’s recent works are currently on view at the San Jose Museum of Art in California as part of the museum’s Beta Space exhibition series (through September 13, 2015). In the fall of 2015, the Los Angeles County Museum of Art will host a mid-career survey of Thater’s work, which will coincide with an installation at the Aspen Art Museum, Colorado.\nOver the past decade, her work has been the subject of solo exhibitions at prominent institutions that include the Institute of Modern Art, Brisbane (2011); Santa Monica Museum of Art, California (2010); Kunsthaus Graz, Austria; Natural History Museum, London (both 2009); Kunsthalle Bremen, Germany; Museum für Gegenwartskunst Siegen, Germany (both 2004); Dia Center for the Arts, New York (2001); and the Secession, Vienna (2000).\nIn 2014, Thater was awarded a California Community Foundation Fellowship for Visual Artists. Other notable awards and fellowships include a 2011 Award for Artistic Innovation from the Center for Cultural Innovation, Los Angeles, as well as a James D. Phelan Award in Film and Video (2006), a John Simon Guggenheim Memorial Foundation Fellowship (2005), and a National Endowment for the Arts Fellowship (1993).\nWork by the artist is represented in museum collections worldwide, including The Art Institute of Chicago; Carnegie Museum of Art, Pittsburgh; Castello di Rivoli, Turin; Los Angeles County Museum of Art; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; and the Friedrich Christian Flick Collection at Hamburger Bahnhof – Museum für Gegenwart, Berlin. Also a prolific writer, educator, and curator, Thater lives and works in Los Angeles.","bio_dates":"b. 1962"},{"slug":"the_ballad_of_genesis_and_lady_jaye_2011_dvdrip_x264_pirata00","ok":true,"partial":false,"title":"The Ballad of Genesis and Lady Jaye","artist":"Genesis P-Orridge","year":"2011","startOffset":0,"sourceSecs":4207.04,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":708270671,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/the_ballad_of_genesis_and_lady_jaye_2011_dvdrip_x264_pirata00/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/the_ballad_of_genesis_and_lady_jaye_2011_dvdrip_x264_pirata00/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/the_ballad_of_genesis_and_lady_jaye_2011_dvdrip_x264_pirata00.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/the_ballad_of_genesis_and_lady_jaye_2011_dvdrip_x264_pirata00/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/the_ballad_of_genesis_and_lady_jaye_2011_dvdrip_x264_pirata00/main/master.m3u8?v=2","hasMainHls":true,"description":"Directed by Marie Losier, 72 min. <br/><br/> New York Times<br/> By Jeannette Catsoulis<br/> March 8, 2012 <br/><br/> Highlighting the wacky while playing down the distasteful, Marie Losier’s playful profile of the English musician and artist Genesis Breyer P-Orridge and his second wife, Lady Jaye (who died in 2007), takes a lighthearted look at the things they did for love.<br/><br/> Or, some might say, for attention. As “The Ballad of Genesis and Lady Jaye” makes abundantly clear, this couple thrived on two things: loving each other and making spectacles of themselves. When, in 2000, they began a series of plastic surgeries — including matching breast implants — in a bizarre attempt to merge identities, these twin passions dovetailed into a continuing performance piece that they called “pandrogeny,” but that others might call working out your issues. Either way, Ms. Losier’s entranced gaze leaves no room for questioning artistic merit — though the opinion of the record producer Rick Rubin, whose money probably inadvertently helped finance this gender-bending enterprise, would have been well worth soliciting.<br/><br/> Floating airily across the surface of Mr. P-Orridge’s notable music career, Ms. Losier allows her kinky subject to control the message, adopting a whimsical, superfan approach that steers well clear of his darker interests. Frayed-looking performance film alternates with cuddly home movies and the director’s theatrical interventions, but the couple’s willingness to bare flesh only heightens the overall feeling of artifice. Straddling the line between avant-garde and Looney Tunes, their extraordinary union seems strangely childlike, its happy innocence in harsh contrast to their aggressively explicit public provocations. As we listen to Mr. P-Orridge recall his horrific experiences as a schoolboy in Britain, it’s clear that lost little boy is still here, bathing the film in a melancholy that even its most effervescent contrivances cannot dispel. <br/><br/> END DESCRIPTION PARAGRAPHS FOOTER - DON'T TOUCH FROM HERE TO END","artist_bio":"The Ballad of Genesis and Lady Jaye (2011), dir. Marie Losier\nSynesthesia: Genesis P-Orridge\n(1997-2001), directed by\nTony Oursler\nAnti-hero, artist, and Pandrogenist Genesis P-Orridge was known as the founding member of Throbbing Gristle, Psychic TV / PTV3, and Thee Majesty, as well a creator of the occult artist collective Thee Temple ov Psychick Youth. H/er name is credited on over 200 releases, and s/he remains one of the most influential musicians in experimental, noise, industrial, and psychedelic music. P-orridge was likewise seen as an iconic figure who was one of the first artists to question, bend, and ultimately rupture normative gender structure. A true revolutionary, P-Orridge spent h/er artistic career as a champion for identity that transcends all biological constructs, values that fly in the face of traditional Western philosophy, and above all, pure, primal creativity.","bio_dates":"1950-2020"},{"slug":"the_children_s_jury_1938","ok":true,"partial":false,"title":"The Children's Jury","artist":"Joseph Cornell","year":"1938","startOffset":0,"sourceSecs":252.542,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":83486773,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/the_children_s_jury_1938/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/the_children_s_jury_1938/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/the_children_s_jury_1938.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/the_children_s_jury_1938/main.mp4?v=2"},{"slug":"the_diary_of_an_african_nun_1977","ok":true,"partial":false,"title":"The Diary of an African Nun","artist":"Julie Dash","year":"1977","startOffset":0,"sourceSecs":871.871,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":149932021,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/the_diary_of_an_african_nun_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/the_diary_of_an_african_nun_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/the_diary_of_an_african_nun_1977.mkv","hasFrames":true},{"slug":"the_residents_the_eyes_scream_1991_iphone","ok":true,"partial":false,"title":"Eyes Scream","artist":"The Residents","year":"1990","startOffset":0,"sourceSecs":2980.378,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":173010180,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/the_residents_the_eyes_scream_1991_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/the_residents_the_eyes_scream_1991_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/the_residents_the_eyes_scream_1991_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/the_residents_the_eyes_scream_1991_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/the_residents_the_eyes_scream_1991_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This irreverent pseudo-documentary about the band The Residents blends comedy with live clips, music videos, interviews and documentary footage. Spanning the years 1972 to 1990, and including clips from the recent album The King and Eye and fragments of the band's \"media mercenary\" work, the program romps through established notions of pop culture, the music industry and the nature of musical invention, replacing them with the iconoclastic vision of The Residents. Director: John Sanborn. With: Penn & Teller. Producer: Debbie Lepsinger. Produced by The Cryptic Corporation. --"},{"slug":"the_residents_twenty_twisted_questions_1992_iphone","ok":true,"partial":false,"title":"Twenty Twisted Questions","artist":"The Residents","year":"1972-1991","startOffset":0,"sourceSecs":3663.727,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":214076432,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/the_residents_twenty_twisted_questions_1992_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/the_residents_twenty_twisted_questions_1992_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/the_residents_twenty_twisted_questions_1992_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/the_residents_twenty_twisted_questions_1992_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/the_residents_twenty_twisted_questions_1992_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Twenty Twisted Questions is a 1992 Laserdisc by American avant-garde group \"The Residents\". It is a compilation of the band's history up to Freak Show, their then multimedia project. The LaserDisc was released in Europe as a PAL VHS without the LaserDisc features."},{"slug":"thompson_francis_ny_ny_1957","ok":true,"partial":false,"title":"NY, NY: A Day in New York","artist":"Francis Thompson","year":"1957","startOffset":0,"sourceSecs":925.461,"sourceHeight":512,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":153257208,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thompson_francis_ny_ny_1957/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thompson_francis_ny_ny_1957/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thompson_francis_ny_ny_1957.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thompson_francis_ny_ny_1957/main.mp4?v=2","description":"This 1957 color film by Francis Thompson turns everyday street life into a surreal kaleidoscope, distorting, fracturing, and multiplying familiar images into a truly original visual experience. (15 min.)"},{"slug":"thoms_albie_marinetti_1969_iphone","ok":true,"partial":false,"title":"Marinetti","artist":"Albie Thoms","year":"1969","startOffset":0,"sourceSecs":4582.338,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":244765792,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thoms_albie_marinetti_1969_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thoms_albie_marinetti_1969_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thoms_albie_marinetti_1969_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thoms_albie_marinetti_1969_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thoms_albie_marinetti_1969_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"For starters, I think that it’s important to state that Thoms sees his film Marinetti as a tribute or homage to the Italian Futurist Filippo Tommaso Marinetti (1876-1944), who’s 1908/9 “Futurist Manifesto” kick-started a revolutionary nationalist movement which spanned a wide range of mediums such as painting and sculpture and sound art (Luigi Russolo’s manifesto “The Art of Noises” [1913] and his highly unique and unusual instruments that captured industrial and mechanic sounds are usually what critics point to as the first instance of intentional “noise music”). As the film is a tribute or homage, we can deduce that the film has ties to the Futurist movement in some capacity, whether that be stylistically, structurally, aesthetically and so on.\n\nIn twenty minutes, Guerassio seemed to provide a very good overview of the Italian Futurist movement, outlining some of its major artists, historical developments and ideas (including those imbued in Marinetti’s manifesto). It also summed up quite well an idea developed in Futurism which Thoms adopted for Marinetti. In 2003, Thoms stated, in interview with Danni Zuvela for Senses of Cinema, that, in Marinetti, he “adopted the Futurist notion of minimalisation of plot and characterisation”. This gives way to an experience that is largely non-verbal and highly subjective which bypasses verbalised pigeonholing. This was the intention of filmmaker Stanely Kubrick for his brilliant 2001: A Space Odyssey (released in 1968, coincidentally the same year as Thoms’ Marinetti), who in an interview with Playboy Magazine from 1968 argued that verbalising a single message would shackle an audience “to a reality other than their own” and “erect an artificial barrier between conception and appreciation.”\n\nOn a stylistic and artistic level, Battaglia’s Boccioni’s Bike was as much a tribute or homage to the painter and sculptor Umberto Boccioni (1882-1916) as Albie Thoms’ film Marinetti was to Marinetti. In his adventurous nine minute animation, Battaglia depicts a cyclist in a style that alludes to the dynamism of form and style quintessential in Futurist painting and sculpture.The image of a bicycle is pivotal as it references an event which influenced Marinetti’s decision to write the “Futurist Manifesto”. In 1908, Marinetti was involved in a small car accident, after trying to avoid two cyclists on a road just outside Milan. Helping himself out of the ditch, Marinetti vowed to “destroy the museums, the libraries, every type of academy”. He wrote that the Futurists “will glorify war - the world's only hygiene - militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.”\n\nAbove everything thing else I appreciated and enjoyed about Thoms’ Marinetti was its brilliant score. Thoms employed “blank verse voice-over narration as part of a sound montage” which mangled together with experimental and/or psychedelic rock music and a large palette of non-musical sound sources. Contextually, Marinetti was released roughly the same era as “The Gift” by The Velvet Underground from White Light/White Heat (1968), which is considered an experimental track because it combined spoken word with rock music, and likewise the same era as Frank Zappa’s avant-rock compositions, which played with language in a similar way to Thoms (but perhaps not as extreme).\n\nIn conclusion, just as Francis Ford Coppola’s Apocalypse Now (1979) was a translation of Joseph Conrad’s novella Heart of Darkness (1899) from a Belgian-Congo era context to a Vietnam War context, Marinetti is as if Thoms was looking at 1960s Australia quite literally through the lens of a Futurist. Today I spoke with Brett Garten about how the film was received on its second screening. Roughly forty years since the film was first screen it still received the same response, with half of the audience walking out according to Brett. This time around however, most of the people who left were still hanging about outside until it finished to discuss the film, conveying a much higher level of interest in the film that was perhaps non-existent 40 years prior from an Australian audience."},{"slug":"thornton_leslie_howard","ok":true,"partial":false,"title":"Howard","artist":"Leslie Thorton","year":"1977","startOffset":0,"sourceSecs":503.445,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":76762968,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_howard/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_howard/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thornton_leslie_howard.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thornton_leslie_howard/main.mp4?v=2","description":"DURATION: 8 minutes (B&W, sound) <br/><br/> These videos are being made available for noncommercial and educational use only. <br/> All rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.","artist_bio":"Refracted through archival material, texts, found footage and dense soundtracks, Leslie Thornton's rigorously experimental film and video work is an investigation into the production of meaning through media. For Thornton, form and content are co-extensive, as exemplified by her epic project Peggy and Fred in Hell, an ongoing cycle of interrelated films, videos and installation environments focusing on two children who have been \"raised by television.\" Heterogeneous and open-ended, the series defies conceptions of masterwork, author, and the strictures of beginning, middle and end.\nThis resistance to categorization is informed by Thornton's concerns with language and her view of media as a linguistic system that is ideologically coded and subject to the controls of culture and the market. Her works are interventions on contested terrain, in which the stakes are conventions of reading and writing, legibility and transparency. For Thornton, the conventions of narrative and montage must not simply be renounced, but used as tools against themselves. The result is a unique and strangely beautiful syntax, one that poses its critique at the same time that it mesmerizes, confounds and provokes. Thornton writes, \"I see myself as writing with media, and I position the viewer as an active reader, not a consumer. The goal is not a product, but shared thought.\"\nLeslie Thornton was born in Oakridge, Tennessee. Originally a painter, she went on to study with filmmakers Hollis Frampton, Stan Brakhage, Paul Sharits and Peter Kubelka at the State University of New York/Buffalo, and with Richard Leacock and Ed Pincus at MIT in Cambridge, MA. She has been honored with numerous awards, including the Maya Deren Award, the first Alpert Award in the Arts for media, a nomination for the Hugo Boss Award, two Rockefeller Fellowships, and grants from the National Endowment for the Arts, New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, and Art Matters.\nThornton's film and media works have been exhibited worldwide, in venues including The Museum of Modern Art, New York; the Whitney Biennial Exhibition; Centre George Pompidou, Paris; Rotterdam International Film Festival; New York Film Festival; capcMusŽe, Bordeaux; Pacific Film Archives, Berkeley; and festivals in Oberhausen, Graz, Mannheim, Berlin, Austin, Toronto, Tokyo and Seoul, among many others. Her ongoing work Peggy and Fred in Hell was cited in several \"Year's Best\" lists, including the Village Voice and The New York Times, and she was the only woman experimental filmmaker included in Cahiers du cinema's \"60 most important American Directors\" issue. Thornton is Professor of Modern Culture and Media at Brown University.\nThornton lives and works in New York City and Providence, Rhode Island.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.","bio_dates":"b. 1951"},{"slug":"thornton_leslie_jennifer2k","ok":true,"partial":false,"title":"Jennifer2k","artist":"Leslie Thorton","year":"1981","startOffset":0,"sourceSecs":641.451,"sourceHeight":832,"sourceWidth":1154,"hasAudio":true,"hasAmbientMp4":true,"bytes":203604098,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_jennifer2k/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_jennifer2k/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thornton_leslie_jennifer2k.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thornton_leslie_jennifer2k/main.mp4?v=2","description":"These videos are being made available for noncommercial and educational use only.\n\nAll rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton."},{"slug":"thornton_leslie_kansas","ok":true,"partial":false,"title":"Peggy and Fred in Kansas","artist":"Leslie Thorton","year":"1987","startOffset":0,"sourceSecs":652.629,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":119164438,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_kansas/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_kansas/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thornton_leslie_kansas.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thornton_leslie_kansas/main.mp4?v=2","description":"DURATION: 12 minutes (B&W, sound) <br/><br/> <em>Peggy and Fred in Hell</em>, Thornton's ongoing and open-ended series, maps a surreal, quasi-apocalyptic realm littered with the detritus of a pop culture bursting at the seams. Castaways in this wilderness of signs, Peggy and Fred are, as Thornton states, \"raised by television,\" their experience shaped by a palimpsest of science and science-fiction, new technologies and obsolete ones, half-remembered movies and the leavings of history. An exploration of the aesthetics of narrative form as well as the politics of the image, Thornton's rigorously experimental oeuvre has forged a unique and powerful syntax. <br/><br/> <em>Peggy and Fred in Kansas</em> is one of the earliest installments in Thornton's <em>Peggy and Fred in Hell</em> series. Thornton represents the outside world with archival footage of rugged terrain and industrial wastelands. We are introduced to the post-apocalyptic room where the children act and re-enact a disjointed play on media narratives. Though the seemingly isolated room is furnished with typically domestic objects, in the hands of the \"children raised on television\" these items appear as props for the purpose of performing adult affectation. Peggy and Fred channel their isolation like open radios, as if boredom were the frequency from which media is transmitted. <br/> - Description from EAI<br><br><b>RESOURCES:</b> <br> These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.</br></br>","artist_bio":"Refracted through archival material, texts, found footage and dense soundtracks, Leslie Thornton's rigorously experimental film and video work is an investigation into the production of meaning through media. For Thornton, form and content are co-extensive, as exemplified by her epic project Peggy and Fred in Hell, an ongoing cycle of interrelated films, videos and installation environments focusing on two children who have been \"raised by television.\" Heterogeneous and open-ended, the series defies conceptions of masterwork, author, and the strictures of beginning, middle and end.\nThis resistance to categorization is informed by Thornton's concerns with language and her view of media as a linguistic system that is ideologically coded and subject to the controls of culture and the market. Her works are interventions on contested terrain, in which the stakes are conventions of reading and writing, legibility and transparency. For Thornton, the conventions of narrative and montage must not simply be renounced, but used as tools against themselves. The result is a unique and strangely beautiful syntax, one that poses its critique at the same time that it mesmerizes, confounds and provokes. Thornton writes, \"I see myself as writing with media, and I position the viewer as an active reader, not a consumer. The goal is not a product, but shared thought.\"\nLeslie Thornton was born in Oakridge, Tennessee. Originally a painter, she went on to study with filmmakers Hollis Frampton, Stan Brakhage, Paul Sharits and Peter Kubelka at the State University of New York/Buffalo, and with Richard Leacock and Ed Pincus at MIT in Cambridge, MA. She has been honored with numerous awards, including the Maya Deren Award, the first Alpert Award in the Arts for media, a nomination for the Hugo Boss Award, two Rockefeller Fellowships, and grants from the National Endowment for the Arts, New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, and Art Matters.\nThornton's film and media works have been exhibited worldwide, in venues including The Museum of Modern Art, New York; the Whitney Biennial Exhibition; Centre George Pompidou, Paris; Rotterdam International Film Festival; New York Film Festival; capcMusŽe, Bordeaux; Pacific Film Archives, Berkeley; and festivals in Oberhausen, Graz, Mannheim, Berlin, Austin, Toronto, Tokyo and Seoul, among many others. Her ongoing work Peggy and Fred in Hell was cited in several \"Year's Best\" lists, including the Village Voice and The New York Times, and she was the only woman experimental filmmaker included in Cahiers du cinema's \"60 most important American Directors\" issue. Thornton is Professor of Modern Culture and Media at Brown University.\nThornton lives and works in New York City and Providence, Rhode Island.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.","bio_dates":"b. 1951"},{"slug":"thornton_leslie_novel_city","ok":true,"partial":false,"title":"Novel City","artist":"Leslie Thorton","year":"2008","startOffset":0,"sourceSecs":460.331,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":77704127,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_novel_city/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_novel_city/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thornton_leslie_novel_city.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thornton_leslie_novel_city/main.mp4?v=2","description":"DURATION: 7 minutes (color, sound)<br/><br/>In Novel City, Thornton revisits her 1983 film Adynata, which explored questions of the Other through what Thornton has termed an \"Orientalist spectacle\" that was \"intended to bring about a critical self-response, a simultaneous attraction and repulsion that provoke an instance of cultural self-awareness.\" In her new work, Thornton confronts the economic and cultural transformation of contemporary China, evoking a new spectacle of capitalism run amok. Thornton shoots from her window of the Jin Jiang Hotel in Shanghai, the site of Mao's 1972 meeting with Nixon, and projects images from the earlier movie, creating a layered landscape of alienation and dislocation. <br> - Description from EAI<br><br><b>RESOURCES:</b> <br> These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.</br></br></br></br>","artist_bio":"Refracted through archival material, texts, found footage and dense soundtracks, Leslie Thornton's rigorously experimental film and video work is an investigation into the production of meaning through media. For Thornton, form and content are co-extensive, as exemplified by her epic project Peggy and Fred in Hell, an ongoing cycle of interrelated films, videos and installation environments focusing on two children who have been \"raised by television.\" Heterogeneous and open-ended, the series defies conceptions of masterwork, author, and the strictures of beginning, middle and end.\nThis resistance to categorization is informed by Thornton's concerns with language and her view of media as a linguistic system that is ideologically coded and subject to the controls of culture and the market. Her works are interventions on contested terrain, in which the stakes are conventions of reading and writing, legibility and transparency. For Thornton, the conventions of narrative and montage must not simply be renounced, but used as tools against themselves. The result is a unique and strangely beautiful syntax, one that poses its critique at the same time that it mesmerizes, confounds and provokes. Thornton writes, \"I see myself as writing with media, and I position the viewer as an active reader, not a consumer. The goal is not a product, but shared thought.\"\nLeslie Thornton was born in Oakridge, Tennessee. Originally a painter, she went on to study with filmmakers Hollis Frampton, Stan Brakhage, Paul Sharits and Peter Kubelka at the State University of New York/Buffalo, and with Richard Leacock and Ed Pincus at MIT in Cambridge, MA. She has been honored with numerous awards, including the Maya Deren Award, the first Alpert Award in the Arts for media, a nomination for the Hugo Boss Award, two Rockefeller Fellowships, and grants from the National Endowment for the Arts, New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, and Art Matters.\nThornton's film and media works have been exhibited worldwide, in venues including The Museum of Modern Art, New York; the Whitney Biennial Exhibition; Centre George Pompidou, Paris; Rotterdam International Film Festival; New York Film Festival; capcMusŽe, Bordeaux; Pacific Film Archives, Berkeley; and festivals in Oberhausen, Graz, Mannheim, Berlin, Austin, Toronto, Tokyo and Seoul, among many others. Her ongoing work Peggy and Fred in Hell was cited in several \"Year's Best\" lists, including the Village Voice and The New York Times, and she was the only woman experimental filmmaker included in Cahiers du cinema's \"60 most important American Directors\" issue. Thornton is Professor of Modern Culture and Media at Brown University.\nThornton lives and works in New York City and Providence, Rhode Island.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.","bio_dates":"b. 1951"},{"slug":"thornton_leslie_oh_china_oh","ok":true,"partial":false,"title":"Oh, China, Oh","artist":"Leslie Thorton","year":"1983","startOffset":0,"sourceSecs":203.712,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":56479035,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_oh_china_oh/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_oh_china_oh/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thornton_leslie_oh_china_oh.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thornton_leslie_oh_china_oh/main.mp4?v=2","description":"DURATION: 3 minutes (B&W, sound) <br/><br/> These videos are being made available for noncommercial and educational use only. <br/> All rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.","artist_bio":"Refracted through archival material, texts, found footage and dense soundtracks, Leslie Thornton's rigorously experimental film and video work is an investigation into the production of meaning through media. For Thornton, form and content are co-extensive, as exemplified by her epic project Peggy and Fred in Hell, an ongoing cycle of interrelated films, videos and installation environments focusing on two children who have been \"raised by television.\" Heterogeneous and open-ended, the series defies conceptions of masterwork, author, and the strictures of beginning, middle and end.\nThis resistance to categorization is informed by Thornton's concerns with language and her view of media as a linguistic system that is ideologically coded and subject to the controls of culture and the market. Her works are interventions on contested terrain, in which the stakes are conventions of reading and writing, legibility and transparency. For Thornton, the conventions of narrative and montage must not simply be renounced, but used as tools against themselves. The result is a unique and strangely beautiful syntax, one that poses its critique at the same time that it mesmerizes, confounds and provokes. Thornton writes, \"I see myself as writing with media, and I position the viewer as an active reader, not a consumer. The goal is not a product, but shared thought.\"\nLeslie Thornton was born in Oakridge, Tennessee. Originally a painter, she went on to study with filmmakers Hollis Frampton, Stan Brakhage, Paul Sharits and Peter Kubelka at the State University of New York/Buffalo, and with Richard Leacock and Ed Pincus at MIT in Cambridge, MA. She has been honored with numerous awards, including the Maya Deren Award, the first Alpert Award in the Arts for media, a nomination for the Hugo Boss Award, two Rockefeller Fellowships, and grants from the National Endowment for the Arts, New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, and Art Matters.\nThornton's film and media works have been exhibited worldwide, in venues including The Museum of Modern Art, New York; the Whitney Biennial Exhibition; Centre George Pompidou, Paris; Rotterdam International Film Festival; New York Film Festival; capcMusŽe, Bordeaux; Pacific Film Archives, Berkeley; and festivals in Oberhausen, Graz, Mannheim, Berlin, Austin, Toronto, Tokyo and Seoul, among many others. Her ongoing work Peggy and Fred in Hell was cited in several \"Year's Best\" lists, including the Village Voice and The New York Times, and she was the only woman experimental filmmaker included in Cahiers du cinema's \"60 most important American Directors\" issue. Thornton is Professor of Modern Culture and Media at Brown University.\nThornton lives and works in New York City and Providence, Rhode Island.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.","bio_dates":"b. 1951"},{"slug":"thornton_leslie_photography_is_easy","ok":true,"partial":false,"title":"Photography is Easy - Version 2","artist":"Leslie Thorton","year":"2010","startOffset":0,"sourceSecs":348.48,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":58748543,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_photography_is_easy/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_photography_is_easy/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thornton_leslie_photography_is_easy.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thornton_leslie_photography_is_easy/main.mp4?v=2","description":"DURATION: 6 minutes (color, sound)<br/><br/>In the ongoing project Photography is Easy, Thornton continues her investigation of the production of meaning through media such as photography, film and video. Thornton and a companion are seen hiking through a desert, photographing and recording the journey. Shots of desert landscapes are overlaid with the artist's running commentary and text about Thornton's experience of making a photograph. Questioning the value of the rarified image, Thornton investigates the porous boundaries between the still and the moving image. <br> - Description from EAI<br><br><b>RESOURCES:</b> <br> These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.</br></br></br></br>","artist_bio":"Refracted through archival material, texts, found footage and dense soundtracks, Leslie Thornton's rigorously experimental film and video work is an investigation into the production of meaning through media. For Thornton, form and content are co-extensive, as exemplified by her epic project Peggy and Fred in Hell, an ongoing cycle of interrelated films, videos and installation environments focusing on two children who have been \"raised by television.\" Heterogeneous and open-ended, the series defies conceptions of masterwork, author, and the strictures of beginning, middle and end.\nThis resistance to categorization is informed by Thornton's concerns with language and her view of media as a linguistic system that is ideologically coded and subject to the controls of culture and the market. Her works are interventions on contested terrain, in which the stakes are conventions of reading and writing, legibility and transparency. For Thornton, the conventions of narrative and montage must not simply be renounced, but used as tools against themselves. The result is a unique and strangely beautiful syntax, one that poses its critique at the same time that it mesmerizes, confounds and provokes. Thornton writes, \"I see myself as writing with media, and I position the viewer as an active reader, not a consumer. The goal is not a product, but shared thought.\"\nLeslie Thornton was born in Oakridge, Tennessee. Originally a painter, she went on to study with filmmakers Hollis Frampton, Stan Brakhage, Paul Sharits and Peter Kubelka at the State University of New York/Buffalo, and with Richard Leacock and Ed Pincus at MIT in Cambridge, MA. She has been honored with numerous awards, including the Maya Deren Award, the first Alpert Award in the Arts for media, a nomination for the Hugo Boss Award, two Rockefeller Fellowships, and grants from the National Endowment for the Arts, New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, and Art Matters.\nThornton's film and media works have been exhibited worldwide, in venues including The Museum of Modern Art, New York; the Whitney Biennial Exhibition; Centre George Pompidou, Paris; Rotterdam International Film Festival; New York Film Festival; capcMusŽe, Bordeaux; Pacific Film Archives, Berkeley; and festivals in Oberhausen, Graz, Mannheim, Berlin, Austin, Toronto, Tokyo and Seoul, among many others. Her ongoing work Peggy and Fred in Hell was cited in several \"Year's Best\" lists, including the Village Voice and The New York Times, and she was the only woman experimental filmmaker included in Cahiers du cinema's \"60 most important American Directors\" issue. Thornton is Professor of Modern Culture and Media at Brown University.\nThornton lives and works in New York City and Providence, Rhode Island.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.","bio_dates":"b. 1951"},{"slug":"thornton_leslie_strange_space","ok":true,"partial":false,"title":"Strange Space","artist":"Leslie Thorton","year":"1993","startOffset":0,"sourceSecs":466.304,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":39477884,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_strange_space/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_strange_space/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thornton_leslie_strange_space.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thornton_leslie_strange_space/main.mp4?v=2","description":"DURATION: 4 minutes (color, sound) <br/> Co-produced with Ron Vawter<br/><br/>This collaborative work, created specifically for the 1992 Day Without Art/AIDS Awareness Day, addresses what Thornton terms \"the relationship between the medicalization of the body and the personal.\" While the actor Ron Vawter reads aloud from a poem by Rilke, a doctor is heard discussing Vawter's medical condition. Medical photographs of internal organs and images of the moon's surface create landscapes of inner and outer space. This haunting rumination suggests the disparity between medical interpretations and personal experiences of physicality and mortality. <br> - Description from EAI<br><br><b>RESOURCES:</b> <br> These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.</br></br></br></br>","artist_bio":"Refracted through archival material, texts, found footage and dense soundtracks, Leslie Thornton's rigorously experimental film and video work is an investigation into the production of meaning through media. For Thornton, form and content are co-extensive, as exemplified by her epic project Peggy and Fred in Hell, an ongoing cycle of interrelated films, videos and installation environments focusing on two children who have been \"raised by television.\" Heterogeneous and open-ended, the series defies conceptions of masterwork, author, and the strictures of beginning, middle and end.\nThis resistance to categorization is informed by Thornton's concerns with language and her view of media as a linguistic system that is ideologically coded and subject to the controls of culture and the market. Her works are interventions on contested terrain, in which the stakes are conventions of reading and writing, legibility and transparency. For Thornton, the conventions of narrative and montage must not simply be renounced, but used as tools against themselves. The result is a unique and strangely beautiful syntax, one that poses its critique at the same time that it mesmerizes, confounds and provokes. Thornton writes, \"I see myself as writing with media, and I position the viewer as an active reader, not a consumer. The goal is not a product, but shared thought.\"\nLeslie Thornton was born in Oakridge, Tennessee. Originally a painter, she went on to study with filmmakers Hollis Frampton, Stan Brakhage, Paul Sharits and Peter Kubelka at the State University of New York/Buffalo, and with Richard Leacock and Ed Pincus at MIT in Cambridge, MA. She has been honored with numerous awards, including the Maya Deren Award, the first Alpert Award in the Arts for media, a nomination for the Hugo Boss Award, two Rockefeller Fellowships, and grants from the National Endowment for the Arts, New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, and Art Matters.\nThornton's film and media works have been exhibited worldwide, in venues including The Museum of Modern Art, New York; the Whitney Biennial Exhibition; Centre George Pompidou, Paris; Rotterdam International Film Festival; New York Film Festival; capcMusŽe, Bordeaux; Pacific Film Archives, Berkeley; and festivals in Oberhausen, Graz, Mannheim, Berlin, Austin, Toronto, Tokyo and Seoul, among many others. Her ongoing work Peggy and Fred in Hell was cited in several \"Year's Best\" lists, including the Village Voice and The New York Times, and she was the only woman experimental filmmaker included in Cahiers du cinema's \"60 most important American Directors\" issue. Thornton is Professor of Modern Culture and Media at Brown University.\nThornton lives and works in New York City and Providence, Rhode Island.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.","bio_dates":"b. 1951"},{"slug":"thornton_leslie_the_last_time","ok":true,"partial":false,"title":"The Last Time I Saw Ron","artist":"Leslie Thorton","year":"1994","startOffset":0,"sourceSecs":731.243,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":117600558,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_the_last_time/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_the_last_time/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thornton_leslie_the_last_time.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thornton_leslie_the_last_time/main.mp4?v=2","description":"Arising out of a film and theatrical collaboration with the late Ron Vawter, this moving elegy to his memory employs footage of Vawter taken just before his death, as well as starkly beautiful sequences of distant human forms.\n\nThese videos are being made available for noncommercial and educational use only.\n\nAll rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton."},{"slug":"thornton_leslie_x_tracts","ok":true,"partial":false,"title":"X-tracts","artist":"Leslie Thorton","year":"1975","startOffset":0,"sourceSecs":521.536,"sourceHeight":486,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":89089087,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_x_tracts/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/thornton_leslie_x_tracts/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/thornton_leslie_x_tracts.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/thornton_leslie_x_tracts/main.mp4?v=2","description":"DURATION: 9 minutes (B&W, sound) <br/><br/> <em>X-TRACTS</em>, Thornton's first film, explores language and technology by mixing structuralist strategies inherited from her mentors (including Hollis Frampton, Peter Kubelka, and Sharits) with a more personal style of filmmaking rooted in narrative and its abstraction. Until <em>X-TRACTS</em>, Thornton had worked primarily in painting, and she described the work's intention as \"primitive\": She aimed to replicate painterly gestures by cutting together incomprehensible pulses of sound and image.<br><br><b>RESOURCES:</b> <br> These videos are being made available for noncommercial and educational use only. <br> All rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.</br></br>","artist_bio":"Refracted through archival material, texts, found footage and dense soundtracks, Leslie Thornton's rigorously experimental film and video work is an investigation into the production of meaning through media. For Thornton, form and content are co-extensive, as exemplified by her epic project Peggy and Fred in Hell, an ongoing cycle of interrelated films, videos and installation environments focusing on two children who have been \"raised by television.\" Heterogeneous and open-ended, the series defies conceptions of masterwork, author, and the strictures of beginning, middle and end.\nThis resistance to categorization is informed by Thornton's concerns with language and her view of media as a linguistic system that is ideologically coded and subject to the controls of culture and the market. Her works are interventions on contested terrain, in which the stakes are conventions of reading and writing, legibility and transparency. For Thornton, the conventions of narrative and montage must not simply be renounced, but used as tools against themselves. The result is a unique and strangely beautiful syntax, one that poses its critique at the same time that it mesmerizes, confounds and provokes. Thornton writes, \"I see myself as writing with media, and I position the viewer as an active reader, not a consumer. The goal is not a product, but shared thought.\"\nLeslie Thornton was born in Oakridge, Tennessee. Originally a painter, she went on to study with filmmakers Hollis Frampton, Stan Brakhage, Paul Sharits and Peter Kubelka at the State University of New York/Buffalo, and with Richard Leacock and Ed Pincus at MIT in Cambridge, MA. She has been honored with numerous awards, including the Maya Deren Award, the first Alpert Award in the Arts for media, a nomination for the Hugo Boss Award, two Rockefeller Fellowships, and grants from the National Endowment for the Arts, New York State Council on the Arts, New York Foundation for the Arts, Jerome Foundation, and Art Matters.\nThornton's film and media works have been exhibited worldwide, in venues including The Museum of Modern Art, New York; the Whitney Biennial Exhibition; Centre George Pompidou, Paris; Rotterdam International Film Festival; New York Film Festival; capcMusŽe, Bordeaux; Pacific Film Archives, Berkeley; and festivals in Oberhausen, Graz, Mannheim, Berlin, Austin, Toronto, Tokyo and Seoul, among many others. Her ongoing work Peggy and Fred in Hell was cited in several \"Year's Best\" lists, including the Village Voice and The New York Times, and she was the only woman experimental filmmaker included in Cahiers du cinema's \"60 most important American Directors\" issue. Thornton is Professor of Modern Culture and Media at Brown University.\nThornton lives and works in New York City and Providence, Rhode Island.\nThese videos are being made available for noncommercial and educational use only.\nAll rights to this recorded material belong to Leslie Thornton. Used with permission of Leslie Thornton.","bio_dates":"b. 1951"},{"slug":"throbbing_gristle_interview_2005","ok":true,"partial":false,"title":"Throbbing Gristle Interview","artist":"Throbbing Gristle","year":"2005","startOffset":0,"sourceSecs":976.363,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":59753195,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/throbbing_gristle_interview_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/throbbing_gristle_interview_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/throbbing_gristle_interview_2005.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/throbbing_gristle_interview_2005/main.mp4?v=2","description":". with interviews, shortfims, slide shows and music clips by Throbbing Gristle, Hermann Nitsch, Mark Stewart, Joseph Kosuth, Amos Kollek and Matthew Herbert."},{"slug":"tillmans_wolfgang_14th_street_1994_95","ok":true,"partial":false,"title":"14th Street","artist":"Wolfgang Tillmans","year":"1994/1995","startOffset":0,"sourceSecs":1696.875,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":100925337,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tillmans_wolfgang_14th_street_1994_95/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tillmans_wolfgang_14th_street_1994_95/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tillmans_wolfgang_14th_street_1994_95.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tillmans_wolfgang_14th_street_1994_95/main.mp4?v=2","description":"Like a modern version of Hitchcock’s Rear Window,14th Street was filmed over the course of several weeks, always from the same vantage point of the artist’s second floor apartment window onto the street life. This rarely seen video is a fascinating document of a New York now long gone. The sound is from the street naturally mixed with the music playing in the room. Many people in confinement all over the world are now doing the same look out of windows but without much life going on."},{"slug":"tinguely_jean_sculpture_mouvante_1981","ok":true,"partial":false,"title":"Sculpture Mouvante","artist":"Jean Tinguely","year":"1981","startOffset":0,"sourceSecs":855.232,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":152828104,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tinguely_jean_sculpture_mouvante_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tinguely_jean_sculpture_mouvante_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tinguely_jean_sculpture_mouvante_1981.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tinguely_jean_sculpture_mouvante_1981/main.mp4?v=2"},{"slug":"tiravanija_rirkirt_untitled_pay_attention","ok":true,"partial":false,"title":"Pay Attention","artist":"Rirkrit Tiravanija","year":"2011","startOffset":0,"sourceSecs":37.338,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":6263,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkirt_untitled_pay_attention/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkirt_untitled_pay_attention/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tiravanija_rirkirt_untitled_pay_attention.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkirt_untitled_pay_attention/main.mp4?v=2","description":"From \"Commercial Break\" (2011). Curated by Neville Wakefield. <br/><br/> Commercial Break was a conspicuous intervention into the historic city of Venice, featuring over one hundred artists, each engaging with the relationship between advertising and culture. Short digital works by globally recognized and emerging artists from around the world brought the form and language of advertising to Venice.","artist_bio":"Artists Stranded in St. Kitts by Hurricane Lenny (6th Caribbean Biennial (2001)\nRirkrit Tiravanija is contemporary artist residing in New York. He was born in Buenos Aires, Argentina in 1961. His installations often take the form of stages or rooms for sharing meals, cooking, reading or playing music; architecture or structures for living and socializing are a core element in his work.\nHans Ulrich Obrist & Rirkrit Tiravanija, \"Hurricane\" in Publishing the Unpublishable","bio_dates":"b. 1961"},{"slug":"tiravanija_rirkrit_1981_untitled_1981_experimental_film_no_2_a","ok":true,"partial":false,"title":"Untitled 1981 (Experimental Film No. 2)","artist":"Rirkrit Tiravanija","year":"1981","startOffset":0,"sourceSecs":169.045,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":45793840,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_1981_untitled_1981_experimental_film_no_2_a/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_1981_untitled_1981_experimental_film_no_2_a/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tiravanija_rirkrit_1981_untitled_1981_experimental_film_no_2_a.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_1981_untitled_1981_experimental_film_no_2_a/main.mp4?v=2","artist_bio":"Artists Stranded in St. Kitts by Hurricane Lenny (6th Caribbean Biennial (2001)\nRirkrit Tiravanija is contemporary artist residing in New York. 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He was born in Buenos Aires, Argentina in 1961. 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He was born in Buenos Aires, Argentina in 1961. 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He was born in Buenos Aires, Argentina in 1961. His installations often take the form of stages or rooms for sharing meals, cooking, reading or playing music; architecture or structures for living and socializing are a core element in his work.\nHans Ulrich Obrist & Rirkrit Tiravanija, \"Hurricane\" in Publishing the Unpublishable","bio_dates":"b. 1961"},{"slug":"tiravanija_rirkrit_2000_timo_and_eva_by_the_rhine","ok":true,"partial":false,"title":"Rose","artist":"Rirkrit Tiravanija","year":"1998","startOffset":0,"sourceSecs":504.938,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":195882122,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_2000_timo_and_eva_by_the_rhine/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_2000_timo_and_eva_by_the_rhine/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tiravanija_rirkrit_2000_timo_and_eva_by_the_rhine.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_2000_timo_and_eva_by_the_rhine/main.mp4?v=2"},{"slug":"tiravanija_rirkrit_2003_delta_2k","ok":true,"partial":false,"title":"Delta","artist":"Rirkrit Tiravanija","year":"2003","startOffset":0,"sourceSecs":170.133,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":45195462,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_2003_delta_2k/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_2003_delta_2k/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tiravanija_rirkrit_2003_delta_2k.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_2003_delta_2k/main.mp4?v=2","artist_bio":"Artists Stranded in St. Kitts by Hurricane Lenny (6th Caribbean Biennial (2001)\nRirkrit Tiravanija is contemporary artist residing in New York. He was born in Buenos Aires, Argentina in 1961. 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He was born in Buenos Aires, Argentina in 1961. His installations often take the form of stages or rooms for sharing meals, cooking, reading or playing music; architecture or structures for living and socializing are a core element in his work.\nHans Ulrich Obrist & Rirkrit Tiravanija, \"Hurricane\" in Publishing the Unpublishable","bio_dates":"b. 1961"},{"slug":"tiravanija_rirkrit_jg_reads_reel_1_2008","ok":true,"partial":false,"title":"JG Reads (Reel 1)","artist":"Rirkrit Tiravanija","year":"2008","startOffset":0,"sourceSecs":1922.087,"sourceHeight":362,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":117244861,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_jg_reads_reel_1_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_jg_reads_reel_1_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tiravanija_rirkrit_jg_reads_reel_1_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_jg_reads_reel_1_2008/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_jg_reads_reel_1_2008/main/master.m3u8?v=2","hasMainHls":true,"description":"Poet John Giorno reads the following poems: Everyone Gets Lighter 2:22 Welcoming the Flowers 7:43 There Was a Bad Tree 9:16 Berlin & Chernobyl 1:29 Wisdom of the Witches 7:35 Just Say No to Family Values 3:23 <br/> Gavin Brown’s enterprise is pleased to present JG Reads, a new film by Rirkrit Tiravanija. During the summer of 2008 Tiravanija installed himself and a small film crew to produce a film document of John Giorno’s poems, memoirs, and music works. JG Reads spans five decades of work, creating an essential portrait of one of New York’s seminal bohemian figures and, by extension, a record of a New York that now exists only as an idea – in the imagination of all those still willing to see it. Shot on location in the hallowed ground of Giorno Poetry Systems, with the indefatigable Bowery only a few feet away, JG Reads marks a pivotal moment in the history of this creative community. Where we go now is up to us. <br/><br/> <a href=\"https://ubu.com/sound/giorno.html\" rel=\"noopener\" target=\"_blank\">John Giorno</a> (b. 1936) is a poet, musician, and performance artist. Giorno came to prominence for his influential Dial-a-Poem project (1968) and for his collaborations with William S. Borroughs and especially Andy Warhol. He is the subject of Warhol’s first film, Sleep, (1963) a six-hour recording of Giorno sleeping. Giorno’s famous studio on the Bowery, known as The Bunker, was a center for experimentation among some of the most important artists of the postwar, including Robert Rauschenberg, Frank O’Hara, Roy Lichtenstein, Yvonne Rainer, and John Cage. Giorno has published numerous collections of poetry, music and spoken-word recordings. <br/><br/> Rirkrit Tiravanija (b. 1961) is among the world’s most influential contemporary artists. His solo exhibitions include “A Retrospective (tomorrow is another fine day)” (Serpentine Gallery, London; Musée d’Art Moderne de la Ville de Paris, Paris; Museum Boijmans Van Beuningen, Rotterdam, 2004-5); Hugo Boss Prize (Solomon R. Guggenheim Museum, New York, 2004); and the 48th Venice Biennale (Venice, 1999). Tiravanija lives and works in New York. <br/><br/> JG Reads was shot in black and white on 16mm film and runs 10 hours 6 minutes.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/giorno.html\" rel=\"noopener\" target=\"_blank\">John Giorno in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/sound/tiravanija.html\" rel=\"noopener\" target=\"_blank\">Rirkrit Tiravanija in UbuWeb Sound <br> <a href=\"https://ubu.com/ubu/unpub.html\" rel=\"noopener\" target=\"_blank\">Hans Ulrich Obrist &amp; Rirkrit Tiravanija, \"Hurricane\" in Publishing the Unpublishable</a> </br></a></br></br>","artist_bio":"The Final Academy Documents (1983)\nwith\nWilliam S. Burroughs\nJohn Giorno (born 1936) is an American poet and performance artist. He founded the not-for-profit production company Giorno Poetry Systems and organized a number of early multimedia poetry experiments and events, including Dial-A-Poem. He became prominent as the subject of Andy Warhol's film Sleep (1963). He is also an AIDS activist and fundraiser, and a long-time practitioner of the Nyingma tradition of Tibetan Buddhism.\nGiorno was born in New York. He graduated from Columbia University in 1958, where he was a \"college chum\" of physicist Hans Christian von Baeyer. In 1962, while in his early twenties he briefly worked in New York as a stockbroker. In 1962 he met Andy Warhol during Warhol's first New York Pop Art solo exhibit at Eleanor Ward's Stable Gallery. They became lovers and Warhol remained an important influence for Giorno's developments on poetry, performance and recordings. Giorno and Warhol are said to have remained very close until 1964, after which time their meetings were rare. Their relationship was revived somewhat in the last year before Warhol's death. Inspired by Warhol, and subsequent relationships with Robert Rauschenberg and Jasper Johns, Giorno began applying Pop Art techniques of appropriation of found imagery to his poetry, producing The American Book of the Dead in 1964 (published in part in his first book, Poems, in 1967). Meetings with William S. Burroughs and Brion Gysin in 1964 contributed to his interest in applying cut up and montage techniques to found texts, and (via Gysin) his first audio poem pieces, one of which was played at the Paris Museum of Modern Art Biennale in 1965.\nInspired by Rauschenberg's Experiments in Art and Technology events of 1966, Giorno began making \"Electronic Sensory Poetry Environments\", working in collaboration with synthesizer creator Robert Moog and others to create psychedelic poetry installation/happenings at venues such as St. Mark's Church in New York. In 1965, Giorno founded a not-for-profit production company, Giorno Poetry Systems in order to connect poetry to new audiences, using innovative technologies. In 1967, Giorno organized the first Dial-A-Poem event at the Architectural League of New York, making short poems by various contemporary poets available over the telephone. The piece was repeated to considerable acclaim at the Museum of Modern Art in 1970, and resulted in a series of LP records compiling the recordings, which were issued by Giorno Poetry Systems. Some of the poets and artists who recorded or collaborated with Giorno Poetry Systems were Burroughs, John Ashbery, Ted Berrigan, Patti Smith, Laurie Anderson, Philip Glass, Robert Rauschenberg and Robert Mapplethorpe.\nGiorno's text-based poetry evolved rapidly in the late 1960s from direct appropriation of entire texts from newspapers, to montage of radically different types of textual material, to the development of his signature double-column poems, which feature extensive use of repetition both across columns and down the page. This device allowed Giorno to mimic the echoes and distortions he was applying to his voice in performance. A number of these poems were collected in Balling Buddha (1970). The poems also feature increasingly radical political content, and Giorno was involved in a number of protests against the Vietnam war. Spiro Agnew called Giorno and Abbie Hoffman \"would be Hanoi Hannahs\" after their WPAX radio broadcasts made to the US troops in South Vietnam on Radio Hanoi.\nGiorno travelled to India in 1971 where he met H.H. Dudjom Rinpoche, head of the Nyingma order of Tibetan Buddhism. He became one of the earliest Western students of Tibetan Buddhism, and has participated in Buddhist communities for several decades, inviting various Tibetan teachers to New York and hosting them. His poetry has reflected Buddhist and other Asian religious themes from the beginning, but the poems in Cancer In My Left Ball (1972) and those that follow involve a highly original interpenetration of Buddhist and Western avant-garde practices and poetics.\nTouring rock clubs in the 1970s with Burroughs, Giorno continued to develop an amplified, confrontational performance poetry that was highly influential on what became the Poetry Slam scene, as well as the performance art of Karen Finley and Penny Arcade, and the early Industrial music of Throbbing Gristle and Suicide. In 1982 he made the album Who Are You Staring At? with Glenn Branca and is prominently featured in Ron Mann's 1982 film Poetry in Motion. He stopped using found elements in his poetry in the early 1980s and has since pursued a kind of experimental realism, incantatory and repetitive yet at the same time lyrical.\nGiorno has celebrated queer sexuality from the 1964 \"Pornographic Poem\", through his psychedelic evocations of gay New York nightlife in the 1970s, to more recent poems such as \"Just Say No To Family Values\". He founded an AIDS charity, the AIDS Treatment Project in 1984, which continues to give direct financial and other support to individuals with AIDS to the present day.\nIn addition to his collaborations with Burroughs, Giorno has produced 55 LPs, tapes, videos and books. He continues to perform at poetry festivals and events, notably in Europe where he has been an active participant in the sound poetry scene for several decades.\nIn 2007 he appeared in Nine Poems in Basilicata, a film directed by Antonello Faretta based on his poems and his performances. In addition to his solo performances in live poetry shows, he has collaborated since 2005 in some music-poetry shows with Spanish rock singer and composer Javier Colis.\nThe first career-spanning collection of Giorno's poems, Subduing Demons in America: Selected Poems 1962-2007, edited by Marcus Boon, was published by Soft Skull in 2008.\nIn 2010, Giorno had his first one-person gallery show in New York, entitled Black Paintings and Drawings, at Nicole Klagsbrun Gallery, wherein he exhibited works that chronicled the evolution of the poem painting. The first Poem Prints were part of the Dial-A-Poem installation in the 1970 exhibition Information at the Museum of Modern Art. Connecting words and images, the poet uses the materiality of the written word to confront audiences with poetry in different contexts.\nIn 2011, he starred in one of two versions for the music video to R.E.M.'s final single \"We All Go Back to Where We Belong\". -- Wikipedia","bio_dates":"b. 1961"},{"slug":"tiravanija_rirkrit_stove","ok":true,"partial":false,"title":"JG Reads (Reel 1)","artist":"Rirkrit Tiravanija","year":"2008","startOffset":0,"sourceSecs":10316.778,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":586235992,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_stove/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_stove/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tiravanija_rirkrit_stove.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_stove/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_stove/main/master.m3u8?v=2","hasMainHls":true,"description":"Poet John Giorno reads the following poems: Everyone Gets Lighter 2:22 Welcoming the Flowers 7:43 There Was a Bad Tree 9:16 Berlin & Chernobyl 1:29 Wisdom of the Witches 7:35 Just Say No to Family Values 3:23 <br/> Gavin Brown’s enterprise is pleased to present JG Reads, a new film by Rirkrit Tiravanija. During the summer of 2008 Tiravanija installed himself and a small film crew to produce a film document of John Giorno’s poems, memoirs, and music works. JG Reads spans five decades of work, creating an essential portrait of one of New York’s seminal bohemian figures and, by extension, a record of a New York that now exists only as an idea – in the imagination of all those still willing to see it. Shot on location in the hallowed ground of Giorno Poetry Systems, with the indefatigable Bowery only a few feet away, JG Reads marks a pivotal moment in the history of this creative community. Where we go now is up to us. <br/><br/> <a href=\"https://ubu.com/sound/giorno.html\" rel=\"noopener\" target=\"_blank\">John Giorno</a> (b. 1936) is a poet, musician, and performance artist. Giorno came to prominence for his influential Dial-a-Poem project (1968) and for his collaborations with William S. Borroughs and especially Andy Warhol. He is the subject of Warhol’s first film, Sleep, (1963) a six-hour recording of Giorno sleeping. Giorno’s famous studio on the Bowery, known as The Bunker, was a center for experimentation among some of the most important artists of the postwar, including Robert Rauschenberg, Frank O’Hara, Roy Lichtenstein, Yvonne Rainer, and John Cage. Giorno has published numerous collections of poetry, music and spoken-word recordings. <br/><br/> Rirkrit Tiravanija (b. 1961) is among the world’s most influential contemporary artists. His solo exhibitions include “A Retrospective (tomorrow is another fine day)” (Serpentine Gallery, London; Musée d’Art Moderne de la Ville de Paris, Paris; Museum Boijmans Van Beuningen, Rotterdam, 2004-5); Hugo Boss Prize (Solomon R. Guggenheim Museum, New York, 2004); and the 48th Venice Biennale (Venice, 1999). Tiravanija lives and works in New York. <br/><br/> JG Reads was shot in black and white on 16mm film and runs 10 hours 6 minutes.<br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/giorno.html\" rel=\"noopener\" target=\"_blank\">John Giorno in UbuWeb Sound</a> <br> <a href=\"https://ubu.com/sound/tiravanija.html\" rel=\"noopener\" target=\"_blank\">Rirkrit Tiravanija in UbuWeb Sound <br> <a href=\"https://ubu.com/ubu/unpub.html\" rel=\"noopener\" target=\"_blank\">Hans Ulrich Obrist &amp; Rirkrit Tiravanija, \"Hurricane\" in Publishing the Unpublishable</a> </br></a></br></br>","artist_bio":"The Final Academy Documents (1983)\nwith\nWilliam S. Burroughs\nJohn Giorno (born 1936) is an American poet and performance artist. He founded the not-for-profit production company Giorno Poetry Systems and organized a number of early multimedia poetry experiments and events, including Dial-A-Poem. He became prominent as the subject of Andy Warhol's film Sleep (1963). He is also an AIDS activist and fundraiser, and a long-time practitioner of the Nyingma tradition of Tibetan Buddhism.\nGiorno was born in New York. He graduated from Columbia University in 1958, where he was a \"college chum\" of physicist Hans Christian von Baeyer. In 1962, while in his early twenties he briefly worked in New York as a stockbroker. In 1962 he met Andy Warhol during Warhol's first New York Pop Art solo exhibit at Eleanor Ward's Stable Gallery. They became lovers and Warhol remained an important influence for Giorno's developments on poetry, performance and recordings. Giorno and Warhol are said to have remained very close until 1964, after which time their meetings were rare. Their relationship was revived somewhat in the last year before Warhol's death. Inspired by Warhol, and subsequent relationships with Robert Rauschenberg and Jasper Johns, Giorno began applying Pop Art techniques of appropriation of found imagery to his poetry, producing The American Book of the Dead in 1964 (published in part in his first book, Poems, in 1967). Meetings with William S. Burroughs and Brion Gysin in 1964 contributed to his interest in applying cut up and montage techniques to found texts, and (via Gysin) his first audio poem pieces, one of which was played at the Paris Museum of Modern Art Biennale in 1965.\nInspired by Rauschenberg's Experiments in Art and Technology events of 1966, Giorno began making \"Electronic Sensory Poetry Environments\", working in collaboration with synthesizer creator Robert Moog and others to create psychedelic poetry installation/happenings at venues such as St. Mark's Church in New York. In 1965, Giorno founded a not-for-profit production company, Giorno Poetry Systems in order to connect poetry to new audiences, using innovative technologies. In 1967, Giorno organized the first Dial-A-Poem event at the Architectural League of New York, making short poems by various contemporary poets available over the telephone. The piece was repeated to considerable acclaim at the Museum of Modern Art in 1970, and resulted in a series of LP records compiling the recordings, which were issued by Giorno Poetry Systems. Some of the poets and artists who recorded or collaborated with Giorno Poetry Systems were Burroughs, John Ashbery, Ted Berrigan, Patti Smith, Laurie Anderson, Philip Glass, Robert Rauschenberg and Robert Mapplethorpe.\nGiorno's text-based poetry evolved rapidly in the late 1960s from direct appropriation of entire texts from newspapers, to montage of radically different types of textual material, to the development of his signature double-column poems, which feature extensive use of repetition both across columns and down the page. This device allowed Giorno to mimic the echoes and distortions he was applying to his voice in performance. A number of these poems were collected in Balling Buddha (1970). The poems also feature increasingly radical political content, and Giorno was involved in a number of protests against the Vietnam war. Spiro Agnew called Giorno and Abbie Hoffman \"would be Hanoi Hannahs\" after their WPAX radio broadcasts made to the US troops in South Vietnam on Radio Hanoi.\nGiorno travelled to India in 1971 where he met H.H. Dudjom Rinpoche, head of the Nyingma order of Tibetan Buddhism. He became one of the earliest Western students of Tibetan Buddhism, and has participated in Buddhist communities for several decades, inviting various Tibetan teachers to New York and hosting them. His poetry has reflected Buddhist and other Asian religious themes from the beginning, but the poems in Cancer In My Left Ball (1972) and those that follow involve a highly original interpenetration of Buddhist and Western avant-garde practices and poetics.\nTouring rock clubs in the 1970s with Burroughs, Giorno continued to develop an amplified, confrontational performance poetry that was highly influential on what became the Poetry Slam scene, as well as the performance art of Karen Finley and Penny Arcade, and the early Industrial music of Throbbing Gristle and Suicide. In 1982 he made the album Who Are You Staring At? with Glenn Branca and is prominently featured in Ron Mann's 1982 film Poetry in Motion. He stopped using found elements in his poetry in the early 1980s and has since pursued a kind of experimental realism, incantatory and repetitive yet at the same time lyrical.\nGiorno has celebrated queer sexuality from the 1964 \"Pornographic Poem\", through his psychedelic evocations of gay New York nightlife in the 1970s, to more recent poems such as \"Just Say No To Family Values\". He founded an AIDS charity, the AIDS Treatment Project in 1984, which continues to give direct financial and other support to individuals with AIDS to the present day.\nIn addition to his collaborations with Burroughs, Giorno has produced 55 LPs, tapes, videos and books. He continues to perform at poetry festivals and events, notably in Europe where he has been an active participant in the sound poetry scene for several decades.\nIn 2007 he appeared in Nine Poems in Basilicata, a film directed by Antonello Faretta based on his poems and his performances. In addition to his solo performances in live poetry shows, he has collaborated since 2005 in some music-poetry shows with Spanish rock singer and composer Javier Colis.\nThe first career-spanning collection of Giorno's poems, Subduing Demons in America: Selected Poems 1962-2007, edited by Marcus Boon, was published by Soft Skull in 2008.\nIn 2010, Giorno had his first one-person gallery show in New York, entitled Black Paintings and Drawings, at Nicole Klagsbrun Gallery, wherein he exhibited works that chronicled the evolution of the poem painting. The first Poem Prints were part of the Dial-A-Poem installation in the 1970 exhibition Information at the Museum of Modern Art. Connecting words and images, the poet uses the materiality of the written word to confront audiences with poetry in different contexts.\nIn 2011, he starred in one of two versions for the music video to R.E.M.'s final single \"We All Go Back to Where We Belong\". -- Wikipedia","bio_dates":"b. 1961"},{"slug":"tiravanija_rirkrit_xxxx_pacific_coast_highway_1","ok":true,"partial":false,"title":"Pacific Coast Highway 1 (undated)","artist":"Rirkrit Tiravanija","year":"1961","startOffset":0,"sourceSecs":627.093,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":248025917,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_xxxx_pacific_coast_highway_1/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tiravanija_rirkrit_xxxx_pacific_coast_highway_1/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tiravanija_rirkrit_xxxx_pacific_coast_highway_1.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_xxxx_pacific_coast_highway_1/main.mp4?v=2"},{"slug":"toshio_matsumoto_experimental_film_works_1_1_the_weavers_of_nishijin_1961","ok":true,"partial":false,"title":"The Weavers of Nishijin","artist":"Toshiro Matsumoto","year":"1961","startOffset":0,"sourceSecs":1496.576,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":259403637,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_1_1_the_weavers_of_nishijin_1961/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_1_1_the_weavers_of_nishijin_1961/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_1_1_the_weavers_of_nishijin_1961.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_1_1_the_weavers_of_nishijin_1961/main.mp4?v=2","description":"A documentary about traditional weavers of Nishijin. --- \"Documentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time just after the setback over the 1960 US-Japan Security Treaty I filmed the documentary Nishijin2 with the backing of a film viewer society called the \"Kyoto Society for Viewing Documentary Cinema.\" Of course in terms of awareness they were left-wing but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan I proposed something like what Ive just been talking about and got their approval to address Kyotos Nishijin with the aim of giving form to something more deeply submerged within the situation something warped and hard to express. I wasnt trying to depict the place called Nishijin or show people weaving but to give shape to the thick silent unvoiced voices lurking beneath Nishijin. I eliminated so-called \"unusual\" subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\" Toshio Matsumoto","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_1_2_the_song_of_stone_1963","ok":true,"partial":false,"title":"The Song of Stone","artist":"Toshiro Matsumoto","year":"1963","startOffset":0,"sourceSecs":1464.981,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":255252054,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_1_2_the_song_of_stone_1963/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_1_2_the_song_of_stone_1963/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_1_2_the_song_of_stone_1963.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_1_2_the_song_of_stone_1963/main.mp4?v=2","description":"With this Documentary Short Toshio Matsumoto has reached one of the highest point in the Japanese documentary filmmaking of the 60s by imaginatively appropriating and reconstructing the still photographs taken by Earnest Sato. Original photos show the stonemasons life and the surrounding landscape of Aji village in Shikoku which is known for granite production. Matsumotos extremely static and logical manipulation of images has created contrary to its methodology extremely emotional world of its own. Matsumoto moved towards fiction film in the late 60s directing series of controversial independent production and the mid 70s onwards he turned to experimental films where he actively induced electronics based high technology to the film art. In 1988 he returned to theatrical film with Dogura Magura.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_1_3_mothers_1967","ok":true,"partial":false,"title":"Mothers","artist":"Toshiro Matsumoto","year":"1967","startOffset":0,"sourceSecs":2155.52,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":370580665,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_1_3_mothers_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_1_3_mothers_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_1_3_mothers_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_1_3_mothers_1967/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_1_3_mothers_1967/main/master.m3u8?v=2","hasMainHls":true,"description":"Matsumoto explains the style of \"Mothers\" which does not seem to be as radical a work as his previous films. --\"Matsumoto: At the time of Song of the Stones I was being hung out to dry by the industry and couldnt make any films. Thats why I made a couple projects for TV at the beginning of the 1960s. In those days television stations had not yet established their own televisual cultural codes so artists from outside the TV industry like Terayama Shuji Tanikawa Shuntaro and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options I directed theater with the Gekidan Seihai for a while. -That meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again I would probably have never made a film again. Well that being the case the premise was that I wouldnt do anything excessive. Furthermore the sponsor asked me to make something that would win an award at a foreign film festival. I couldnt promise it would win a prize because that was up to others but I did start off by saying that I didnt want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style it would have probably been hard to win an award. In that sense I told myself not to rush things that I first had to reestablish myself in the film world. So what I made was a lyrical easy-to-understand film in the style of a cine poem. -But in terms of the period I did treat issues like the Vietnam War and discrimination against blacks taking the point of view of mothers and children around the world and making a film where the contradictions between East and West North and South rose to the fore. Luckily--I dont know if you can say that--the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise and in fact it did give me the opportunity to make other films like Funeral of Roses (\"Bara no soretsu\" 1968). Or For My Crushed Right Eye (\"Tsuburekakatta migime no tame ni\" 1968) which used three projectors and I remember was shown at the Yamagata Film Festival. Well if Mothers hadnt won an award I couldnt have moved off in that direction. \" ---Score by Joji Yuasa","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_2_1_for_the_damaged_right_eye_1968","ok":true,"partial":false,"title":"For The Damaged Right Eye","artist":"Toshiro Matsumoto","year":"1968","startOffset":0,"sourceSecs":729.749,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":122198494,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_1_for_the_damaged_right_eye_1968/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_1_for_the_damaged_right_eye_1968/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_2_1_for_the_damaged_right_eye_1968.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_2_1_for_the_damaged_right_eye_1968/main.mp4?v=2","description":"For the Damaged Right Eye is a short film by Toshio Matsumoto made in 1968 the year before his feature film Funeral Parade of Roses. It features some of the same milieu, presented through three projectors running at simultaneously. Since projectors do not all run at the same speed, the images can go \"out of sync,\" and each projection of the film can be different.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_2_2_ecstasis_1969","ok":true,"partial":false,"title":"Ecstasis","artist":"Toshiro Matsumoto","year":"1969","startOffset":0,"sourceSecs":666.069,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":120768319,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_2_ecstasis_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_2_ecstasis_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_2_2_ecstasis_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_2_2_ecstasis_1969/main.mp4?v=2","description":"Ecstasis is a black and white short minimalist experimental film by Toshio Matsumoto that is partly featured in Funeral Parade of Roses.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_2_3_metastasis_1971","ok":true,"partial":false,"title":"Metastasis","artist":"Toshiro Matsumoto","year":"1971","startOffset":0,"sourceSecs":488.491,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":77519291,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_3_metastasis_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_3_metastasis_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_2_3_metastasis_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_2_3_metastasis_1971/main.mp4?v=2","description":"1971, color, sound, 16 mm film and video <br/><br/> Writes Matsumoto, \"I used the Erekutoro Karapurosesu (Electro Color Processor), which is mainly used in the field of medicine and engineering, to create moving image textures Metastasis, I was interested in layering images of a simple object and its electronically processed abstraction. The electronic abstract image is manipulated in a certain rhythm, depicting an organic process.\" After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. <br/><br/> In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_2_4_mona_lisa_1973","ok":true,"partial":false,"title":"Mona Lisa","artist":"Toshiro Matsumoto","year":"1973","startOffset":0,"sourceSecs":180.224,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":32228432,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_4_mona_lisa_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_4_mona_lisa_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_2_4_mona_lisa_1973.mp4","hasFrames":true,"description":"Mona Lisa is Dadaism in the vein of Duchamps ready-mades even using the Da Vinci painting favored by the Frenchman. Cubism also informs Matsumoto's short pieces. The analyzing of objects through their dismantling is a theme present in his later shorts namely the three films he made in the early 1980s: Connection Shift and Relation. The musical score often by long time collaborator Toshi Ichiyanagi add to the surrealism of Matsumotos works. As a body of work Matsumotos short films share the theme of changed perspective deconstructing his subjects to the point of unfamiliarity. If art imitates life it is no surprise that the destruction an social upheaval in Japan brought on by the Second World War would produce such an affect on the filmmaker.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_2_5_phantom_1975","ok":true,"partial":false,"title":"Phantom","artist":"Toshiro Matsumoto","year":"1975","startOffset":0,"sourceSecs":599.339,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":107974284,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_5_phantom_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_5_phantom_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_2_5_phantom_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_2_5_phantom_1975/main.mp4?v=2","description":"Phantom contains what seems to be the most psychedelic yoga lesson ever as well as other beautiful and bizarre visuals.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_2_6_atman_1975","ok":true,"partial":false,"title":"Atman","artist":"Toshiro Matsumoto","year":"1975","startOffset":0,"sourceSecs":708.053,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":124793067,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_6_atman_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_6_atman_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_2_6_atman_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_2_6_atman_1975/main.mp4?v=2","description":"Director: Toshio Matsumoto<br/> Year: 1975<br/> Time: 12 mins<br/> Music: Toshi Ichiyanagi<br/><br/>Atman is a Sanskrit term signifying something similar to self or soul. Yet such a self implies a whole range of metaphysical and anthropological dimensions unknown in Western languages and, therefore, Western intellectual traditions. It's an ambivalent concept denoting two distinguishable, but not opposed, realms of being: the individual self and the cosmic self. The degree to which these two levels of existence can be assimilated differs according to each school of thought or sectarian line. As an essential concept in Hinduism, the term is present in all modern Indian languages, but it's also a central tenet in several Buddhist strands and other religious configurations in the East. Matsumoto's 1975 short Atman is a rigorous and entrancing technical exercise whose \"meaning\" can only be hinted at by its title. A masked human figure is standing on an open landscape. The camera(s?) continuously encircle(s) the figure, in an anti-clockwise movement, approaching and abandoning the figure in stop-motion steps and varying, sometimes vertiginous, speed. Ichiyanagi, a regular collaborator of Matsumoto, offers an excellent, richly textured electronic score that is essential in sustaining interest in this constant merry-go-round: occasional bursts of of rhythmic mayhem, brilliantly synched with the picture's stop-motion, give way to swarms of orbital noise and back again. The masked man could well stand for the relation between the two levels of self implied in the film title, but the significance of this particular horned mask can only be explored by someone versed in Japanese iconography. But fear not: with or without a clear meaning, Atman is a magnificent exercise in cinematic vertigo, an outstanding film in an outstanding filmography.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_2_7_white_hole_1979","ok":true,"partial":false,"title":"White Hole","artist":"Toshiro Matsumoto","year":"1979","startOffset":0,"sourceSecs":381.461,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":57444234,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_7_white_hole_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_7_white_hole_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_2_7_white_hole_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_2_7_white_hole_1979/main.mp4?v=2","description":"Duration 6'21\" <br/><br/> White Hole from 1979 has some amazing visuals and a beautiful flow which makes for a benign trip. This short has an extremely similar aesthetic style to that of the final scenes of Kubrick's 2001: A Space Odyssey.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_2_8_ki_or_breathing_1980","ok":true,"partial":false,"title":"Ki or Breathing","artist":"Toshiro Matsumoto","year":"1980","startOffset":0,"sourceSecs":1742.741,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":292956826,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_8_ki_or_breathing_1980/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_2_8_ki_or_breathing_1980/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_2_8_ki_or_breathing_1980.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_2_8_ki_or_breathing_1980/main.mp4?v=2","description":"Duration 6'21\" <br/><br/> Ki or Breathing is a spare concoction assembled from slow motion shots of nature and set to a score by the much-acclaimed Toru Takemitsu.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_3_1_expansion_1972","ok":true,"partial":false,"title":"Expansion","artist":"Toshiro Matsumoto","year":"1972","startOffset":0,"sourceSecs":852.885,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":150998515,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_1_expansion_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_1_expansion_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_3_1_expansion_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_3_1_expansion_1972/main.mp4?v=2","description":"Expansion remixes the images of Matsumotos <a href=\"https://ubu.com/film/matsumoto_ecstasis.html\" rel=\"noopener\" target=\"_blank\">Esctasis</a> into an more colourful psychedelic short. Music by Toshi Ichiyanagi.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_3_2_andy_warhol_re_production_1974","ok":true,"partial":false,"title":"Andy Warhol (Re-Reproduction)","artist":"Toshiro Matsumoto","year":"1974","startOffset":0,"sourceSecs":1382.421,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":238478500,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_2_andy_warhol_re_production_1974/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_2_andy_warhol_re_production_1974/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_3_2_andy_warhol_re_production_1974.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_3_2_andy_warhol_re_production_1974/main.mp4?v=2","description":"Experimental short film based on a suitably non-sensical presentation of documentary footage about Andy Warhols visit to Japan with score by Joji Yuasa.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_3_3_everything_visible_is_empty_1975","ok":true,"partial":false,"title":"Everything Visible Is Empty","artist":"Toshiro Matsumoto","year":"1975","startOffset":0,"sourceSecs":464.875,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":82928490,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_3_everything_visible_is_empty_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_3_everything_visible_is_empty_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_3_3_everything_visible_is_empty_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_3_3_everything_visible_is_empty_1975/main.mp4?v=2","description":"Director: Toshio Matsumoto<br/> Year: 1975<br/> Time: 8 mins<br/> Music: Toshi Ichiyanagi<br/><br/>There's more to picture than meets the eye in this journey into oriental metaphysical imagery. Starting (in a very Christian manner) with the Word, the film draws an explosion of visible forms, as if a sign of the shattering of shapes in the mundane world. But time is cyclical, of course, and what was once a multitude of sensible realities must eventually return to the Word and, finally, to sheer Color. -- Sound of Eye","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_3_4_enigma_1978","ok":true,"partial":false,"title":"Enigma","artist":"Toshiro Matsumoto","year":"1978","startOffset":0,"sourceSecs":196.267,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":23345081,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_4_enigma_1978/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_4_enigma_1978/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_3_4_enigma_1978.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_3_4_enigma_1978/main.mp4?v=2","description":"Duration 3'16\" <br/><br/> Enigma is something of a more glamorous version of White Hole with a wide variety of elaborate textures (often composed of iconographics and religious symbols) converging towards the center of the screen.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_3_5_connection_1981","ok":true,"partial":false,"title":"Connection","artist":"Toshiro Matsumoto","year":"1981","startOffset":0,"sourceSecs":549.269,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":100692617,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_5_connection_1981/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_5_connection_1981/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_3_5_connection_1981.mp4","hasFrames":true,"description":"In Connection a static shot of the sky with moving clouds is subdivided into regular geometrical regions which are then individually (and rhythmically) manipulated. Music by Yosuke Inagaki.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_3_7_shift_1982","ok":true,"partial":false,"title":"Shift","artist":"Toshiro Matsumoto","year":"1982","startOffset":0,"sourceSecs":514.581,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":93736682,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_7_shift_1982/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_7_shift_1982/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_3_7_shift_1982.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_3_7_shift_1982/main.mp4?v=2","description":"Director: Toshio Matsumoto<br/> Year: 1982<br/> Time: 9 mins<br/> Music: Yasuke Inagaki<br/><br/>One of Matsumoto's last shorts, Shift is also among his most impressive works. Through the use of what was at the time state-of-the-art video technology, Matsumoto decomposes a residential building in horizontal stripes, thus tearing down its balance and symmetry. The tense and sombre electronic drones of Inagaki, frequent collaborator of the director, provide Matsumoto's puzzle-like graphics with a further layer of unrest: strategies against architecture for a pivotal piece in experimental film-making of the 80s.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_3_8_sway_1985","ok":true,"partial":false,"title":"Sway","artist":"Toshiro Matsumoto","year":"1985","startOffset":0,"sourceSecs":471.979,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":86532583,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_8_sway_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_8_sway_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_3_8_sway_1985.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_3_8_sway_1985/main.mp4?v=2","description":"Director: Toshio Matsumoto<br/> Year: 1985<br/> Time: 8 mins<br/> Music: Takashi Inagaki<br/> <br/> Perhaps as close to an ethnographic documentary as Matsumoto ever got, Sway seems to explore a persistent, if not entirely explicit, concern in the director's filmography. If Everything Visible, Atman, Ki and even Dongure, among others, were entirely or partly concerned with metaphysics, Sway offers an openly subjective look at a religious cult site in Japan, its ritual routines and the apparent willingness of followers to be taken by a vocabulary of gestures that may or not contradict the implicit néant of those doctrines. In any case, Matsumoto proposes a more generous glance at both the site, which is made to vibrate as if possessed by a radiant energy of some sort, and its practitioners, who are at most points made to carry a visual aura, as if accompanied by something other than themselves, or to become translucent when circumambulating the object of devotion. An usual collaborator of Matsumoto, Inagaki offers a soundtrack reminiscent of Verghya's early works: percussion movements and diluted bells chimes, perhaps alluding to local religious music traditions, are abruptly interjected within atmospheric quasi-drones and rhythmical snaps, providing the visuals with diverse sonic settings that oscillate between introspection and frenzy. -- Sound of Eye","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"toshio_matsumoto_experimental_film_works_3_9_engram_1987","ok":true,"partial":false,"title":"Engram","artist":"Toshiro Matsumoto","year":"1987","startOffset":0,"sourceSecs":709.013,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":127685762,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_9_engram_1987/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/toshio_matsumoto_experimental_film_works_3_9_engram_1987/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/toshio_matsumoto_experimental_film_works_3_9_engram_1987.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/toshio_matsumoto_experimental_film_works_3_9_engram_1987/main.mp4?v=2","description":"Engram is a three-part piece revolving around a few good old ideas such as photos inside of photos movies inside of movies photos inside of movies movies inside of photos and (even) a film director inside a TV set.","artist_bio":"After college, Toshio Matsumoto began working at Shin-Riken Film Company and created Ginrin (1955), a progressive commercial film, in collaboration with the members of Jikken Kōbō or Experimental Workshop, an artist' group consisting of composers and artists. Since then, he has produced numerous experimental documentaries in addition to developing and publishing his own film theories. In the 1960s he started making experimental films and video art, influencing many other artists. Among his works are For the Damaged Right Eye (1968), Space Projection Ako (1970) for the Textiles Pavilion in Japan Expo '70, and Mona Lisa (1973). He has also directed commercial films, including Funeral Parade of Roses (1969) and Dogura Magura (1988). His book Eizō no hakken: Avangyarudo to dokyumentari (Discovery of Image: Avant-garde Documentary) was published in 1963 and republished in 2005.\nMatsumoto:\nWell, I loved painting. I had been painting since middle school, but Japan was very poor at the time I was about to enter college in the early 1950s. To do painting meant you weren’t going to eat. Even so, I wanted to paint, but my parents were bitterly opposed to me going to an art school and said they wouldn’t pay for art school examinations or tuition. In those days, there weren’t part-time jobs around like there are today, so there was no way I could have done it on my own. So I gave up on art school and entered the medical course at the University of Tokyo because I was interested in the brain and problems like schizophrenia.\nBut even though I didn’t necessarily grow to dislike that, I thought I had only one life to live and I wanted to pursue art. Without telling my parents, I changed my major half-way through to art and art history in the literature faculty. Tokyo, however, didn’t really have any classes teaching you how to paint, so I studied art theory and history in school and learned painting on my own. In my studies, I learned for the first time that there was an avant-garde cinema in Europe in the 1920s that visually was deeply related to contemporary art–a fact that struck me like a bolt out of the blue. Though I couldn’t see these films in Japan, I was strongly stimulated by foreign books and articles about them. I felt that this, an area where issues of art and cinema overlapped, was what I had been searching for.\nOf course, I loved movies and went to see them a lot from the time I was in middle and high school. I was even treated like a juvenile delinquent and was arrested twice by the Shinjuku police because I skipped school. Well, I was that much in love with film, and I asked a friend of mine who had a stock holders pass–his father was in the theater business–to lend it to me, telling him I’d return it whenever he wanted to go. I’d go to school until noon and then go straight to Shinjuku where I’d see one movie after another, going into every first-run theater in Shinjuku from one end to another. To see all the first-run films in Shinjuku meant that I was seeing almost all the releases.\nMatsumoto:\nYes, anything, including old films at repertory houses. I saw several hundred in a year–I liked movies that much. But I only came to want to make films myself when, as I said, I encountered the world of experimental film. Until then, I had liked cinema as a spectator–wanting to make it on my own came later. It was right at the end of high school and the beginning of college that Italian Neorealist films came to Japan and also influenced me. I was shocked in a way I had never been before. How can I say it? I felt I should really think more seriously about a kind of cinema that could completely unify reality and expression and delve its way into people’s minds.\nSo my starting point was Italian Neorealism and experimentalism–the avant-garde and the documentary. Both were extremely fascinating to me, but that’s where problems arose. Although I found the freedom of avant-garde’s uninhibited, imaginative world extremely attractive, it had the tendency to get stuck in a closed world. Documentaries, on the other hand, while intensely related to reality, would not really thoroughly address internal mental states and were so dependent upon their temporal contexts they would look old-fashioned if their temporal context changed. I wondered whether the point of collision between the limitations and strong points of the two forms could not pose a new set of topics for cinema. My starting point was thus to investigate, using Alain Resnais’s Guernica as a handhold, this kind of imagined cinema.\nThat said, however, the most basic thing is to firmly plant one’s feet in the essential characteristics of the cinematic medium: its documentary quality and its sense of reality. Maybe today there are lots of images you can produce without a camera, but basically as long as you are filming with a camera, there is a reality before you. The first problem when starting out is how to approach the tripartite relationship between that objective reality, the world of expression, and the filmmaker’s subjective manipulation.\nAt any rate, since I didn’t study production in college, I set a goal of trying to catch up with what people usually study in four years of film school in about a year on the job after getting out of college. To do that, I planned to join a mid-size film company without a precise division of labor, a place where I could take part in all aspects of filmmaking from beginning to end, and thereby master the basics of production. The company I entered with that in mind was called Shin Riken Cinema. There was nothing particularly attractive about the company, but it was just about the right size for me to acquire basic filmmaking technique. In fact, I was able to get involved in all aspects of film production, from the start of planning to the completion of the film. Outside work, I listened, read, and saw a lot: I borrowed films and analyzed them, studying how they had been made. In that way, I learned in about a year what you study in the directing course at Nihon University, and then started making films the next year.\nThe first was a film called Silver Ring (”Ginrin”) planned and produced along with Yamaguchi Katsuhiro and\nTakemitsu Toru\n–who died just recently–when Takemitsu was still an unknown. It was in fact a PR film, but a relatively avant-garde one at that. It was highly praised by some in the art world and about ten years ago, when the Pompidou Center did a retrospective on the 1950s Japanese avant-garde, the commissioner in fact asked to show it. The people involved at the time split up and looked for it, but the company that made it had gone under and no one knew where it was, even though it was pretty valuable. I think the piece of musique concrete composed by Takemitsu was probably the first ever used in a film in Japan. For that reason, it was priceless and it’s a shame the negative is lost.\nThe next film I made was a documentary called Caisson (”Senkan,” 1956). On the coast of a place called Hachinohe in Aomori, there was a construction site where they would lay a building’s foundation inside a caisson while using high pressure to keep out the sea water. The people, you see, who did construction work under that extremely high pressure inside the caisson were prone to various illnesses like heart disease. This brutal work was done by Koreans or farmers from northern Japan who were unemployed and came there for work. The film focused on such a place.\nThe next one was also a documentary, a film titled Children Calling Spring (”Haru o yobu kora,” 1959)\n1\nshot both in a mountain village in Iwate Prefecture and in Tokyo’s old town district. You know, some called Iwate Prefecture the Tibet of Japan in those days. Since there was little labor power available in the lower levels of urban society, kids from around Iwate who graduated from middle school would be taken to the city to do back-breaking jobs. The reasoning was that since their life was already arduous, they could endure such work. I filmed a documentary about the connections between such farm villages and the bottom rung of city life using the then emblematic “group hirings” as a point of entry.\nBut I confronted a problem while filming these works. The problem was that in those days, a good documentary was defined as something that, first of all, had a poignant subject, and then was socially or politically controversial. In other words, something that had information value even before the film was shot. But one wondered how much value beyond that the film created on its own as a film. There was something that bothered me about this. I asked how one could establish the value of the work in the expressive power and reality of cinema as cinema itself, instead of leaning on a comparison between the film and reality. As long as film is confined to being a means or tool of representationally transmitting reality, it can be journalism or propaganda but not art. In so far as we demand artistic emotions from film, we should present the independent value of cinema more distinctly as another reality. If one doesn’t do that, then when social incidents or political struggles become less visible on the surface of the contemporary scene, documentary will go into decline. And when socio-political problems manifest themselves again, the genre will prosper once more. I found that disturbing in the end.\nWe may, for instance, have been extremely thrilled with Italian Neorealism as the starting point of postwar cinema, but when the postwar world, including Italy, soon recovered economically, Italian Neorealism ran into a dead end. In the period of resistance during the war, the drama of life pushed to the limits was laid bare on society’s surface, a situation where people who tried to live as human beings were killed, and those who instead tried to survive had to betray their friends. Immediately after the war, there was poverty and hunger you could instantly understand just by looking at it. In an age when such problems were the most pressing ones faced by the world, taking hold of such a naked actuality made immediate connections to a reality experienced communally on a global level. But when the so-called economic recovery began and that poverty or life at the limits could no longer be seen directly, Italian Neorealism could no longer completely grasp this new reality and produce good work. People who stubbornly insisted on actual, visualized phenomena could search for and consider positions from which they could grasp social contradictions from the outside, such as in a reconsideration of past eras where poverty was evident on the surface or in locations on the margins currently like that.\nBut being able only to take on social contradictions in that way was, I had to admit, kind of odd. In reality, you can’t say that contradictions have disappeared just because the economy has improved–there are still plenty of them. You can say that people can now eat, or have things to wear, or that cities have been rebuilt, but if you don’t try to grasp less visible contradictions such as emotional and spiritual poverty or emptiness, you can’t deal with the new age, can you? I was constantly thinking about this problem at the time. From that point, I asked whether there wasn’t a need for documentary to assume a subjectivity that could make visible what was invisible. In that sense, I felt that documentary and the avant-garde have to be connected within a moment of mutual negation.\nGerow:\nOf course, when you faced that problem, you did try to solve it within your own films. But in addition, you also tried to take up these issues in your writing. It seems that in that era, many filmmakers like Oshima Nagisa in the Shochiku Nouvelle Vague were participating in debates in film journals–that the position of being both a critic and a filmmaker was quite common then.\nMatsumoto:\nThat’s because there were no critics in the film world who could assume an overview of the era, and there were too many horrible things about the industry that filmmakers just could not keep quiet about. In particular, in the case of Japan, there was the issue of war responsibility. Even literature and art were wrapped around the little finger of the state during the war. Well, the people who made national propaganda films collaborating with the war effort made an about-face when America arrived after the war and in a blink of the eye began making democratic movies. That was strange because filmmakers did that without going through a stage of internal conflict, without exposing their own responsibility for the war. Both during and after the war, they made films according to the dominant trends in society or government without thoroughly investigating their own position within this. In the film world in particular, people didn’t independently pursue their own wartime responsibility. The kind of character that’s able to immediately make democratic movies while feigning ignorance about the past is what ruined postwar Japanese cinema. That’s why, even in terms of the problem of realism, there was no difference between the realism of militarist films fanning war sentiment and the realism of postwar democratic motion pictures. Only the topic or subject changed. Words were necessary in order to expose this deception and make an issue of the reform of Japanese cinema, one starting from the basic structure of expression and consciousness. Since there was no one else doing that, I ended up writing criticism. I did everything: filmmaking, criticism, theory, mobilizing, and organizing. Since no one was organizing screenings, I even did that. Everything.\nDocumentaries up until then were mostly made with the backing of a labor union or Communist Party organization. If you thought of doing something different from that, you had to create a completely different support structure because there was no foundation for making such films or showing them. You were forced to start from there. Right at that time, just after the setback over the 1960 US-Japan Security Treaty, I filmed the documentary Nishijin\n2\nwith the backing of a film viewer society called the “Kyoto Society for Viewing Documentary Cinema.” Of course, in terms of awareness, they were left-wing, but still not what you call a political organization. I think they were the first to try to cultivate new spectators and make the kind of films they wanted to see on their own. As an initial plan, I proposed something like what I’ve just been talking about and got their approval to address Kyoto’s Nishijin with the aim of giving form to something more deeply submerged within the situation, something warped and hard to express. I wasn’t trying to depict the place called Nishijin or show people weaving, but to give shape to the thick, silent, unvoiced voices lurking beneath Nishijin. I eliminated so-called “unusual” subjects or decisive moments and opted for the form of a cine poem that persistently piled up exacting images. Opinion was divided over the results, but the fact it won the Silver Lion at the Venice International Documentary Film Festival helped clear the way for my next steps.\nNext was a film called The Song of Stones (”Ishi no uta,” 1960).\n3\nThere I also started on purpose from a position that rejected the information value of the material. The subject is stones, right? Rocks don’t say a thing. Furthermore, this work put on film what had once been shot in photographs and rearranged them. Therefore, it was doubly removed from cinema. In most cases, stone comes to symbolize death, but the stonecutters in this rock quarry in Shikoku, when they cut out the rock and polished it, didn’t say, “The rock is gradually taking form”; they said, “The rock is gradually coming to life.” Hearing that, it struck me that this was just like a film during production. If a film, having started from a place furthest from the cinema–that is, from the death of cinema–begins to breathe, then can’t you say it has “come to life?” In this sense, the theme of the film was to overlap, as a metaphorical expression, the thick silence of the stones and cinema with that era’s sense of frustration and emptiness and to try to revive the breath of life in both.\nWhen the film was shown at France’s Tours Film Festival, opinion was divided. At that time, Georges Sadoul–the Sadoul who wrote Histoire generale du cinema–wrote a review in La Lettres Francaise. Are you familiar with Marcel Carne’s film Les Visiteurs du soir? It was made at the end of the war and features a devil who could be likened to the Nazis. This devil turns everything into stone and becomes ruler of the world. He even turns the hero and his lover into stone just when they are embracing, but when he listens carefully, he hears a sound coming from the lovers. The film then ends with the devil unable to turn their hearts into stone. Sadoul said that my film reminded him of the last scene of that work. He kindly wrote that from the silence of the stones as a symbol of death, to the beating of the pulse of life, The Song of Stones was the most refreshing film at that film festival and one he supported. I put the words of the stonecutters that the “stones come to live” into the film, but felt that people who could understand would figure it out without me explaining it too much.\nBut in this case, the world expressed throughout the film is not necessarily located in the essence of each of the photographs. The world of the film only appears in the subjective procedures of the filmmaker deciding how to cut and compose the material. I felt that through The Song of Stones, I was able to show that one can only discover the unique value of cinema by means of such decisions. I was also able to find some kind of opening, some kind of expression that transcended the faith in facts and closed in on an internal reality that one could not point one’s finger at. Therefore, in this sense, documentary started off in an extremely deformed way for me.\nGerow:\nIn your book Eizo no hakken (”The Discovery of the Image”),\n4\nyou write that the question of documentary is a question of method. Reading that and seeing Nishijin and Song of Stones reinforced my impression that both films were technically masterful, especially in the use of montage, such as in the repetitions of shots of weaving in Nishijin. Not just the montage, but also the use of sound. I wonder if you could talk a bit more about the issue of form and method, about montage and the combination of image and sound–that is, about what you were aiming for in technique at the time.\nMatsumoto:\nI wrote about this in the book, but at the time the tendency was to oppose documentary and fiction as genres, with the critics Iwasaki Akira and Imamura Taihei taking different sides on the debate over the superiority of fiction or fact. But I felt this debate over fact versus fiction was not very fruitful: what was important was how to inquire into the trilateral relationship between the artist, the real world, and film. Isn’t the extremely fascinating thing about cinema the fact that it instead dissolves the binary divisions between fact and fiction, between objective and subjective? If you ask me, fiction first of all is essentially an order created by cutting up and arranging an object from a certain point of view. In that sense, fictionality necessarily accompanies creation, and I think the documentary method possesses an actual meaning only in so far as it tries to formulate that order as an open reality. Classical genres may offer a standard for temporarily indexing perception, but they do begin to vacillate and change. That’s why I was against dividing cinema into completely different worlds through genres. You see, movements like the Shochiku Nouvelle Vague appeared at the beginning of the 1960s, and I think they all shared the issue of trying to transcend genre. There was a common perception that the need for change did not vary according to the genre, but was a timely issue bearing upon cinema itself amidst the great transformations of the time. The fact that Oshima Nagisa, Yoshida Yoshishige, Shinoda Masahiro–who were all still assistant directors then–and new documentarists like Hani Susumu and myself formed a group and promoted a critical movement that transcended genre at the end of the 1950s in a magazine called Eiga Hihyo (”Film Criticism”) tells us a lot about the tendency then. That’s why questions about where you work or what kind of genre you worked in were really secondary or tertiary issues.\nGerow:\nWhen at you look at the style of Mothers (”Hahatachi,” 1967), your film after Song of the Stones, it does not seem to be as radical a work as your previous films.\nMatsumoto:\nThat’s true. At the time of Song of the Stones, I was being hung out to dry by the industry and couldn’t make any films. That’s why I made a couple projects for TV at the beginning of the 1960s. In those days, television stations had not yet established their own televisual cultural codes, so artists from outside the TV industry like Terayama Shuji, Tanikawa Shuntaro, and the late Abe Kobo and Inoue Mitsuharu had opportunities to make single programs. The Song of Stones was like that, but I had trouble with the station afterwards over what the style should have been. Soon it was like I was prohibited from entering any studio and this inability to make either films or TV programs continued for about three and a half years. With no other options, I directed theater with the Gekidan Seihai for a while.\nThat meant Mothers was my first chance to shoot a film in a long time. If I caused trouble again, I would probably have never made a film again. Well, that being the case, the premise was that I wouldn’t do anything excessive. Furthermore, the sponsor asked me to make something that would win an award at a foreign film festival. I couldn’t promise it would win a prize, because that was up to others, but I did start off by saying that I didn’t want them to get unreasonably involved in the content since films with a chance of winning were those that did not smell like sponsored films. If they left it up to me for now, I would make a good film with common appeal that had potential to win an award. But if I then went overboard with a radical style, it would have probably been hard to win an award. In that sense, I told myself not to rush things, that I first had to reestablish myself in the film world. So what I made was a lyrical, easy-to-understand film in the style of a cine poem.\nBut in terms of the period, I did treat issues like the Vietnam War and discrimination against blacks, taking the point of view of mothers and children around the world and making a film where the contradictions between East and West, North and South, rose to the fore. Luckily–I don’t know if you can say that–the result was that it took the grand prize at the 1967 Venice International Documentary Film Festival. So I at least kept my promise, and in fact it did give me the opportunity to make other films like Funeral of Roses (”Bara no soretsu,” 1968). Or For My Crushed Right Eye (”Tsuburekakatta migime no tame ni,” 1968), which used three projectors and, I remember, was shown at the Yamagata Film Festival. Well, if Mothers hadn’t won an award, I couldn’t have moved off in that direction.\nGerow:\nI was very impressed with For My Crushed Right Eye when I saw it at the YIDFF’93, especially the challenging aspects of its form. It seemed to depict less an object than an era. Just what did 1968 or the 1960s mean to you? And how did you try to express that in film?\nMatsumoto:\nYou’re right. Looking back on the 1960s as a whole, I think it was the most significant period of change in the 20th century alongside the 1920s. It was, more than anything else, a paradigm shift in ways of seeing and thinking, in sensibility and values. This was true of everything including art and documentary; all the old standards had become invalid. I think the fact many did not switch to a new framework produced a suffocating sense of oppression not only in Japan, but elsewhere in the world as well. That’s why campus protests sparked by the Nanterre branch of the University of Paris in 1968 spread throughout the world like wildfire. I think the fact that these interlocking kinds of phenomena radiated out internationally must have reflected some synchronic essence. In the end, then, within the framework of the wartime and postwar structure, a new, unconstricted state of things manifested itself in many areas and generated conflict. It was this age of structural diastrophism that was the 1960s. There were great social and political transformations, but the question of values was enormous as well, one which I believe extended to the fields of culture and the arts.\nThe greatest harvest amidst all this was that the fact that everything is part of an institutional system became extremely clear. That means, for instance, that the way of looking at things changes according to the point of view–that it isn’t determined from the start. For example, even the law of perspective in painting is a mode of perceiving space formulated by a way of looking at things established during a certain socio-historical turning point in the West; it becomes obvious that it, too, is an institutional system. In that way, even modes and forms of expression in art, including cinema, were in the end seen as being created institutionally . In fact, when the system loses momentum, these forms become naturalized; the process by which art begins to look natural when custom or inertia becomes a fixed norm is itself a system.\nAnyway, that’s how I started to think. And also about how to devour this system. As a political problem, the system is not only the power that oppresses people in this or that a way or visible forms of political repression. Power is also what systematizes our thought, feelings, art, and culture in invisible ways. If we don’t become aware of this and shake its foundations, we cannot move the structure of power in a real sense. That’s why, after an immediate postwar period in which things were largely put into motion by the direct collision of the political dynamics of authority vs. anti-authority, we came to be controlled by more invisible things like human consciousness, feelings, points of view, or values. I thought that the most pressing issue facing art was how to become aware of this and work to undermine the system as a form of customary inertia. Films that startle and arouse self-awareness of that kind of internal distortion change the condition of cinema itself–this I think is art’s form of struggle against authority. In that sense, there is an immeasurable significance to the fact not just film, but the 1960s avant-garde art movement in general impelled the de-systemization of artistic expression, artists, viewers, and the visual culture system as a whole, including the condition of initially being completely unaware of responsibility for the war that I first problematized. Well, the disposition towards systemization is deeply rooted, so this issue has stayed with us until today without easy resolution.\nGerow:\nAfterwards you moved into fiction feature films beginning with Funeral of Roses, which I saw recently. At that time a lot of directors coming out of especially Iwanami Productions such as Kuroki Kazuo and Higashi Yoichi were entering the fiction film world. You also did, but what problems did you face when you started making feature films after your experience in documentary or experimental film?\nMatsumoto:\nYes, the first one was Funeral of Roses which was released in 1969, but it was not as if I was thinking at the time that I wanted to switch to fiction films or be able to work in commercial cinema. On the contrary, given that the general, commodified form of cinema was the one molded by the conventional world of custom and inertia, I never wanted to become a professional studio director. However, the sense in my case was that, because I wanted to make a kind of experimental, dramatic film that had not existed before, I was provocatively raiding the fiction film world as a guerrilla. Thus in this project, my creative intent was to disturb the perceptual schema of a dualistic world dividing fact from fiction, men from women, objective from subjective, mental from physical, candidness from masquerade, and tragedy from comedy. Of course the subjects I took up were gay life and the student movement–since it was made around the same time as For My Crushed Right Eye, the material is probably similar. But in terms of form, I dismantled the sequential, chronological narrative structure and arranged past and present, reality and fantasy on temporal axes as in a cubist painting, adopting a fragmented, collage-like form that quoted from literature, theater, painting, and music old and new from both East and West.\nWhile I was not clearly conscious of it at the time, this effort connects with the concept of the postmodern that appeared later. In a sense, this kind of rejection of the ordered and arranged world of the dualistic law of perspective I am talking about is a way to start bringing modernity into question. Moving in that direction, the modern in my case breaks down on one level of the fiction at the point it is fully analyzed. More than criticizing the modern on the basis of the premodern, the concept in Funeral of Roses was to advance and rupture it by investigating it thoroughly.\nThose were the days of furious political struggles over the US-Japan Security Treaty renewal in 1970, so I was criticized considerably for making this kind of film. I was denounced, but in my mind, I did not want to aim for a message about the 1970 Security Treaty, but rather throw forth my premonitions about much larger movements in the earth’s crust, in the values and modes of perception of the world that would undermine modernity itself.\nGerow:\nSpeaking of the postmodern, perhaps we can say that if the problem in the early 1960s was that left-wing films up until then focused on the external world without problematizing their own internal subjectivity, then in the postmodern era, especially in Japan, we see the opposite case with the rise of diary or personal films. It is as if the definition of the problem itself has changed. That is, and this is a criticism I sometimes hear, these personal films, instead of striving for the kind of integration of the external and internal worlds you theorized, are now excessively centered on interiority.\nMatsumoto:\nI think that’s so. That’s why, even though I do accord importance to these kinds of private diary films as a form of subjective documentary, I don’t make them myself. One reason is the existence of the traditional “I-novel” or “watakushi shosetsu” in Japan and the danger that these films will connect with that kind of closed-off individuality. If they relate to it in a bad way, it will submerge them in a closed world lacking an Other similar to that of otaku.\n5\nI wonder if this trend has not reached a limit. Certainly, individuality originally gained importance in the sense it opposed the “private” to the kind of coded and institutionalized “public” I just discussed. I support confronting this uniform public with individuality in order to destroy a homogenized public, but it disturbs me when this individuality becomes that of an otaku. That’s one reason. The other reason relates to the “I” found in Descartes’s “I think therefore I am,” the “I” in a modernist cogito establishing an independent self through opposition with the world. Well, there are problems with an “I” which doesn’t doubt its “self” and the so-called “I-films” (watakushi eiga) share those: they never put their “I” in question. Since they don’t attempt to relativize themselves through a relationship with the external world, they gradually become self-complete–a pre-established harmony. Fidelity to this self-identical self is connected to something like the modern myth of individuality. In that sense, they are extremely over-optimistic. This trend itself stabilized years ago and has become just another system.\nGerow:\nIf you compare your works after the 1960s with those sixties films, what kind of transformations do you perceive? There is, for instance, the issue of technology with the introduction of new equipment like video.\nMatsumoto:\nI already had my eyes on technology at the time very few people were using it because it was a part of what was external to the “self” I just talked about, something that had not been touched by human consciousness. I was fascinated by the dynamic possibility that this unknown externality, this interaction of man and machine, could rupture the modern world of the self. But cinema itself was that way from the beginning. With forms like the novel, you read each word and line of the manuscript over and over again, such that consciousness commands everything. But with film, especially with documentary, there’s more of a chance that information will accidentally appear from beyond consciousness and that a tension will be generated by the filmmaker instantly reacting to that. In that process, the framework of the self begins to waver and expand, which is something that technology also causes. However, in the last ten years or so, visual technology has so rapidly developed that everyone including the neighbor’s cat is absorbed in the “effect syndrome.” So I’ve now turned my back on this homogenizing phenomenon.\nIf you ask what I’ve been doing, if I can use the case of Dogra Magra (”Dogura magura,”1988), I’ve shifted my focus to experiments in context, experiments in deconstructing the contextual system through which people give meaning to or interpret the world. When people create an image of the world inside themselves, they do that through a story. They always narrativize the world. Perception is shaped in the form “X is Y,” and that descriptive form is, in the end, a narrative. That won’t change as along as human beings have language. But the problem is that this way of forming a context is conventionalized and easily confines the relationship between one’s self and the world to a stable law of perspective. For instance, when people are given more than one item of information, they associatively create a story out of the relationships between those items. There’s a part of a game show where they show an image bit by bit and you have to guess what it is, like a picture of Tokyo Tower or the L’Arc de Triomphe. In that case, people try to compare and interpret that partial information with narratives that they know. That method gets stuck in a mold and knowledge only begins to flow through inert conduits.\nWe have to do more to irritate and disturb modes of perception, thinking, or feeling that have become automatized in this way. I did several kinds of experiments from the 1970s to the 1980s that de-automatized the visual field. But when image technology progresses such that you can make any kind of image, people become visually used to that. That’s why there’s not much left today with a fresh impact. In this way, the problem is that the interpretive structure of narrating, giving meaning to, or interpreting the world has become so thoroughly systematized that one cannot conceive of anything else that is largely untouched. We have to de-systematize that.\nDogra Magra gives viewers the slip when they think they have it figured out, and when they change their perception and think they understand it, it again overturns that. It spins audiences around from one thing to another–it’s neither this nor that. People judge what something is based on their experience, knowledge, and memory. But since that film’s hero has lost his memory, he cannot establish his identity. The spectator also identifies with the flow of the lead character’s consciousness and is spun about with him. I hope that through that experience of being spun around, people will realize how they perceive things.\nGerow:\nThrough this method, perhaps people then lose their conventional or rational forms of perceiving reality and perhaps confront what you described in Eizo no hakken as “naked reality.” Do you feel this kind of technique has at all been influenced by surrealism?\nMatsumoto:\nThe influence is probably great, since I was significantly influenced by surrealism in my youth.\nGerow:\nI wonder if another possible influence is that of early Russian Formalism. According to Shklovsky’s version, art is a means of overturning habitual perceptions of the world and revealing a reality we don’t normally see.\nMatsumoto:\nThat’s certainly the case. I learned from Russian Formalism the proposition that one can de-automatize the perception of things through the technique of defamiliarization. Afterwards, of course, all this synthesizes with theory from the last half of the 20th century as well as with various experiences, knowledges, and memories of art, but I think that the spirit of surrealism and Russian formalism which formed the starting point of my early self-formation still leave some deep traces.\n1.\nScreened at the Yamagata International Documentary Film Festival ‘91.\n4.\nMatsumoto Toshio, Eizo no hakken: Avan-gyarudo to dokyumentari (Tokyo: San’ichi Shobo, 1963). Eizo no hakken was one of the most influential pieces of writing on film in Japan in the 1960s.\n5.\nA new Japanese word referring to people so obsessed with an area of interest it tends to take over their entire lives. One image is of computer “nerds” who are socially inept and introverted, but it can also refer to young people devoted to comic books, guns, video games, etc.","bio_dates":"1932-2017"},{"slug":"trecartin_ryan_a_family_finds_entertainment_iphone","ok":true,"partial":false,"title":"A Family Finds Entertainment","artist":"Ryan Trecartin","year":"2004","startOffset":0,"sourceSecs":2410.178,"sourceHeight":320,"sourceWidth":436,"hasAudio":true,"hasAmbientMp4":true,"bytes":143094595,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_a_family_finds_entertainment_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_a_family_finds_entertainment_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_a_family_finds_entertainment_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_a_family_finds_entertainment_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_a_family_finds_entertainment_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"can be reduced to a thumbnail description, this might be it: Trecartin stars as Skippy, a clownish but terrifyingly psychopathic boy who has locked himself in the upstairs bathroom of his family home during a wild party. Ignoring his siblings' and friends' pleas that he come out, he paces the little room, cutting himself with a knife and musing opaquely on his existential dilemma in a kind of King Lear-style delirium. Downstairs, the partiers are experiencing wild mood-swings and having complex, disassociated conversations (mostly about him) that are constantly interrupted by bursts of visual effects and animated sequences that disorient the cast of characters like so many lightening strikes. Eventually Skippy emerges, borrows money from his creepy, sexually inappropriate parents, and heads outdoors, where he runs into a documentary filmmaker who decides to make a movie about him; but then Skippy is immediately hit by a car and, apparently, killed. Back inside the house, a hyperactive girl named Shin, also played by Trecartin, gets a call on her cell phone with the bad news. She spends twenty or so hysteria-filled minutes trying to focus and construct a sentence linear enough to tell her friends what has happened. When she finally does, a band plays music that seems to magically raise the young man from the dead, and everyone runs outside and sets off fireworks. Then everyone runs back inside before the police show up.\n\n\"A wonder of Trecartin's videos is that his approach seems as intuitive and driven by a mad scientist-style tunnel vision as it is rigorous and sophisticated, grounded in his expert editing and inordinate gift for constructing complex avant-garde narratives.\"\n\nCamera: Ryan Trecartin, Liz Hostetler, Leeanne Williams, Betsy Lindell, Butttoaster Brainmonkey, Rhett LaRue, Laura Colella.\n\nCast: Kelly Pittinger - Little Lisa; Aunt Shell - Big Lisa; Veronika Gelbaun - Veronika; Catlin Macbride - Alarmtina; Rachel Glazer - Misunderstood Muddy Girl; Erin Dunn - Patty May; Asher Penn - Asher / Green Whity; Ben Carlson - Ben / Blue Bubble D / Jane; Rhett LaRue - Visionary Shell Man / Pippy Pappy / Johnathon; Roaja LaRue - Malkie; Taya Koschnick - Drag Queen; Megan - Middle Child Girl; Lizzie Fitch - Cosmos Bitch / Linda / Fisher Woman / Orange Tamber; Lindsay Beebe - Little Boogerface / Blueberry Muffin / Hell Boy; Kathleen Brennan - Michelella; Steve Vallet - Number Sex; Barkev - Garbage Face Rusty Nails Boy, Smiley; Patrick Tompson - Lipstick; Brian Mckelligott ? Dough Boy / Fireman / Dork / Mr America; Jesse Greenberg - Helium Twin B / Punky Ratman / Tzar; Nick Payne - Helium Twin A; Kenny Curran - White Lips Bloody Knees / Ed / Tamber; Annette K. Bonin - Mom; Aarin Jungles -Daaaad; Laura Callela - Documentary Video Artist Zoey Spelling; Jessica Williams - California Raisin Girl; Allison Powell - Phalangena; Will Gurly - Dameon; Drew Gillespie - Jaime; Brent Cowely - Bruce; Ethan Hayes Chute - Buddy / Smokey the Bear; Casey Glover - Sklar Stardust / Jasmine Spooner; Mutty Brant - The Married Virgin; Ryan Trecartin - Shin / Skippy / Closet Monster / Booty Girl / Snowy White Girl / Video Face. Credits: Lizzie Fitch.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"trecartin_ryan_i_be_area_2007_french_iphone","ok":true,"partial":false,"title":"I-Be AREA","artist":"Ryan Trecartin","year":"2007","startOffset":0,"sourceSecs":6487.789,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":373344256,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_i_be_area_2007_french_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_i_be_area_2007_french_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_i_be_area_2007_french_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_i_be_area_2007_french_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_i_be_area_2007_french_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Holland Cotter, writing in The New York Times, describes the \"sensationally anarchic\" video I-Be Area, in which Trecartin uses what Cotter terms \"very basic digital tools to create a highly personal narrative art, almost a kind of folk art.\"\n\nCotter writes: \"We're in a house of many tight, messy rooms. In the suburbs? Cyberspace? Hard to say. Anyway, it's night. A door bangs open. A girl, who is also a boy, dashes in, talking, talking. Other people are already there, in gaudy attire, dire wigs and makeup like paint on de Koonings. Everyone moves in a jerky, speeded-up, look-at-me way and speaks superfast to one another, to the camera, into a cellphone. Phrases whiz by about cloning, family, same-sex adoption, the art world, the end of the world, identity, blogging, the future. Suddenly indoors turns into outdoors, night into day, and we're at a picnic, in dappled sunshine, with a baby. Then this all reverses, and we're indoors again. A goth band is pounding away in the kitchen. The house is under siege. Hysteria. Everyone runs through the walls.\"\n\n\"\"...For queer artists of Mr. Trecartin's generation, cross-dressing, cross-identifying and cross-thinking are part of a state of being, not statements of political position. Like the work of John Waters and Jack Smith, his art is about just saying no to life as we think we have seen it and saying yes to zanier, virtual-utopian possibilities.\"\n\nCotter, Holland. \"Video Art Thinks Big: That's Showbiz.\" The New York Times. January 6, 2008. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"trecartin_ryan_i_be_area_2007_iphone","ok":true,"partial":false,"title":"I-Be AREA","artist":"Ryan Trecartin","year":"2007","startOffset":0,"sourceSecs":6470.189,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":373489894,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_i_be_area_2007_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_i_be_area_2007_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_i_be_area_2007_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_i_be_area_2007_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_i_be_area_2007_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Holland Cotter, writing in The New York Times, describes the \"sensationally anarchic\" video I-Be Area, in which Trecartin uses what Cotter terms \"very basic digital tools to create a highly personal narrative art, almost a kind of folk art.\"\n\nCotter writes: \"We're in a house of many tight, messy rooms. In the suburbs? Cyberspace? Hard to say. Anyway, it's night. A door bangs open. A girl, who is also a boy, dashes in, talking, talking. Other people are already there, in gaudy attire, dire wigs and makeup like paint on de Koonings. Everyone moves in a jerky, speeded-up, look-at-me way and speaks superfast to one another, to the camera, into a cellphone. Phrases whiz by about cloning, family, same-sex adoption, the art world, the end of the world, identity, blogging, the future. Suddenly indoors turns into outdoors, night into day, and we're at a picnic, in dappled sunshine, with a baby. Then this all reverses, and we're indoors again. A goth band is pounding away in the kitchen. The house is under siege. Hysteria. Everyone runs through the walls.\"\n\n\"\"...For queer artists of Mr. Trecartin's generation, cross-dressing, cross-identifying and cross-thinking are part of a state of being, not statements of political position. Like the work of John Waters and Jack Smith, his art is about just saying no to life as we think we have seen it and saying yes to zanier, virtual-utopian possibilities.\"\n\nCotter, Holland. \"Video Art Thinks Big: That's Showbiz.\" The New York Times. January 6, 2008. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"trecartin_ryan_i_be_area_2007_italian_iphone","ok":true,"partial":false,"title":"I-Be AREA","artist":"Ryan Trecartin","year":"2007","startOffset":0,"sourceSecs":6475.608,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":373448331,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_i_be_area_2007_italian_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_i_be_area_2007_italian_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_i_be_area_2007_italian_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_i_be_area_2007_italian_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_i_be_area_2007_italian_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Holland Cotter, writing in The New York Times, describes the \"sensationally anarchic\" video I-Be Area, in which Trecartin uses what Cotter terms \"very basic digital tools to create a highly personal narrative art, almost a kind of folk art.\"\n\nCotter writes: \"We're in a house of many tight, messy rooms. In the suburbs? Cyberspace? Hard to say. Anyway, it's night. A door bangs open. A girl, who is also a boy, dashes in, talking, talking. Other people are already there, in gaudy attire, dire wigs and makeup like paint on de Koonings. Everyone moves in a jerky, speeded-up, look-at-me way and speaks superfast to one another, to the camera, into a cellphone. Phrases whiz by about cloning, family, same-sex adoption, the art world, the end of the world, identity, blogging, the future. Suddenly indoors turns into outdoors, night into day, and we're at a picnic, in dappled sunshine, with a baby. Then this all reverses, and we're indoors again. A goth band is pounding away in the kitchen. The house is under siege. Hysteria. Everyone runs through the walls.\"\n\n\"\"...For queer artists of Mr. Trecartin's generation, cross-dressing, cross-identifying and cross-thinking are part of a state of being, not statements of political position. Like the work of John Waters and Jack Smith, his art is about just saying no to life as we think we have seen it and saying yes to zanier, virtual-utopian possibilities.\"\n\nCotter, Holland. \"Video Art Thinks Big: That's Showbiz.\" The New York Times. January 6, 2008. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"trecartin_ryan_k_corea_iphone","ok":true,"partial":false,"title":"K-CoreaINC.K (section a), 2009","artist":"Ryan Trecartin","year":"2009","startOffset":0,"sourceSecs":1985.41,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":119937551,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_k_corea_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_k_corea_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_k_corea_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_k_corea_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_k_corea_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"HD Video, 33:05<br/><br/><i>Rather than authoritative descriptions, these reflections on <i>Any Ever</i> by writer and curator Kevin McGarry have been developed in conversation with the artist as a means to orient viewers to some of the key themes and structures of the work.</i> <br><br> Ryan Trecartin’s Any Ever comprises seven autonomous but interrelated videos. The work is structured as a diptych, with <i><i>Trill-ogy Comp</i></i> (three movies) as one side and <i><i>Re’Search Wait’S</i></i> (four movies) as the other. Taken together, these videos embark on poetic, formal, and structural elaborations of new forms of technology, language, narrative, identity, and humanity, portraying an extra-dimensional world that channels the existential dramas of our own. <i><i>Any Ever’s</i></i> core material is the perpetual flux of relationships among characters patterned to form constellations of meaning across videos. In the spirit of the work, which attempts to literalize the figurative to the point of abstraction, these formations can be imagined as having geometric properties that govern their interactions. The individual videos fit together, block, break, orbit, or attract one another in infinite shifting combinations. <i>Any Ever’s</i> master narrative is subjectively chosen by the viewer, read from the shifting topography of its seven parts. <br/><br/> Up close, the dynamics between characters sometimes seem to construct a plot and sometimes don’t. Consistently, they confuse the movies’ connections to space and time, extending the condition of synesthesia from the five senses to the laws of physics. With conventional narrative unities upended, events that transpire during the videos serve only as backdated markers of possibilities. Regardless of the scripted outcomes, each of these possibilities, by definition, could have unfolded in countless other ways. “Cause and effect,” in this world, are not “start and finish,” but simply brackets around these junctures of possible action. The philosophical tenet that one becomes everything one thinks, says, and does is both immediate and absolute in the work; <i>Any Ever’s</i> setting is simultaneity, in which being and becoming, along with everything else, co-exist.<br><br><b><i>Trill-ogy Comp</i></b> <br><br> <i>Trill-ogy Comp</i> consists of the three movies <i>K-CoreaINC.K (section a)</i>; <i>Sibling Topics (section a)</i>; and <i>P.opular S.ky (section ish)</i>. Its title freely associates with the words “trill” and “comp”—as in the musical sound resulting from rapidly alternating between two notes, or the phonetic sound produced by rolling Rs, or other iterations of linguistic tremolo; and as in “composition,” “complement,” “comprehension,” and in general, with regard to a sense of built completeness, especially in reference to music and in digital editing. This wordplay hints at the frenetic interplay within <i>Trill-ogy Comp</i>, as well as the role <i>Trill-ogy Comp</i> plays as the more kinetic half of Any Ever. The narrative development of each video follows the structuralist unity of form and content, self-reflexively building formal logics through abstraction. <br><br> <i><a href=\"https://ubu.com/film/trecartin_kcorea.html\" rel=\"noopener\" target=\"_blank\">K-CoreaINC.K (section a)</a></i> features actors styled as various corporate beings called “Koreas”; held together in a lightly allegorical cloud of reductive international stereotypes, they are homogenized by their blond wigs, powder, and office-casual attire, the sum of which Trecartin terms “work face.” The video revolves around an unending party-like work meeting led by Global Korea (Telfar Clemens) that goes in circles to evade a traditional dramatic arc. The Koreas seem focused only on absurd self-perpetuation, whereby the maintenance of their careers is the principal goal of their jobs. Amid the din of self-negating office politics, one underling aspires to introduce her own agenda to the workflow. “North American Korea,” (Veronica Gelbaum) as she calls herself, alters the narrativity of the video by advancing linear plot elements, which make the rest of her company vulnerable to being limited by definite temporal locations like “before” and “after.” <br/><br/> <i><a href=\"https://ubu.com/film/trecartin_sibling.html\" rel=\"noopener\" target=\"_blank\">Sibling Topics (section a)</a></i> adopts a narrative and style that is more cinematic and seemingly straightforward than any of Trecartin’s other works. The artist plays quadruplet sisters named Ceader, Britt, Adobe, and Deno. Their personal boundaries are indistinct, and so is the notion of how they function as a group: are they a family or a corporation? As with the Koreas, the answer is both. The sisters set off on a series of episodic adventures, some of which are defined as “premises”: situations initiated by those who have predetermined their tone, terms, and trajectory. <i>Sibling Topics</i> counterbalances the circularity of <i>K-CoreaINC.K</i>, and together they explore polar dimensions of narrative absurdity and the persistence of communities to form, hybridize, and thrive in any circumstance, even an imaginary one. <br/><br/> <i><a href=\"https://ubu.com/film/trecartin_popular.html\" rel=\"noopener\" target=\"_blank\">P.opular S.ky (section ish)</a></i> submerges characters from other sections of Any Ever into an extreme poetic state where their creative limits bloom, but perhaps only on an illusory level. As the section “ish” (vs. section “a”) to the works above, the movie's threads appear to be the culmination of situations initiated during other parts of <i>Any Ever</i>, but at the same time they are annexed as outcomes that might not be part of the official record. The feeling of continuing past what is normal or certain is the most pervasive, binding sensation throughout the movie; not characters themselves, but the continuance of who they were in other movies, are the lead roles. The events of <i>P.opular S.ky</i> are the fevered and shadowy projections of a mind being played with: <i>Trill-ogy Comp</i> can be taken as a human brain, and here the organ is jabbed to produce life-like illusions. Whether real or not, the situations brought to life in <i>P.opular S.ky</i> key the arc and understanding of the rest of <i><i>Trill-ogy Comp</i></i> by depicting versions of their finalities.<br><br><b><i>Re’Search Wait’S</i></b> <br><br> <i>Re’Search Wait’S</i> comprises four movies: <i>Ready</i>, <i>The Re’Search</i>, <i>Roamie View : History Enhancement</i>, and <i>Temp Stop</i>. The setting of this other side of the Any Ever diptych is a complicated industry predicated on the supremacy of metaphysically evolved market research. The base commodities are personality traits; while ordinarily they are considered malleable, here they ossify into static examples (“examplize,” to use Trecartin’s term) that can be traded among owners. With market research lording both the supply and demand of existence, characters are wrapped in a knot where their every action is studied, and the findings dictate the brands that pilot everything they do. As a picture of modern consumer society literalized to an extreme, <i>Re’Search Wait’S</i> verges on social science-fiction; and by examplizing <i>Any Ever’s</i> other half into fuel for their own stories, these works tie the seven together as a yin and yang of nihilism and boundless meaning. <br><br> In <i><a href=\"https://ubu.com/film/trecartin_ready.html\" rel=\"noopener\" target=\"_blank\">Ready</a></i>, Wait, played by Trecartin, is introduced as the eponymous figure of the series. Wait waits. He forsakes a “career” in favor of a “job,” the execution of which Trecartin calls a “work performance.” A careerist like Y-Ready (Veronica Gelbaum) may call the shots, but she is locked in her own endless narcissistic ascent, whereas Wait can retire from his job at anytime, and does, only to come back from vacation marked for containment. A third type of worker, Able (Lizzie Fitch), more fluidly adopts and discards the gestures of job and career, positing herself as a hobbyist who contrives the situations and outcomes she needs to keep her wave going. “Transumerism,” or consumerism driven by experience, is introduced as a central theme of <i>Any Ever</i> and underlies the plight of JJ, a painted pant-suited guru with an addiction not mood enhancers, but intangible products that offer transcient psyches wholesale. As JJ imbibes different personalities, a battery of digital filters lifted from commercial editing programs conjure a kaleidoscopic havoc that guides the characters toward calamity. Meanwhile, clashes between painting and digital art and between careerism as a means of actualizing and subverting the self, establish the voice of creativity as a vulnerable protagonist that is taken under fire by the chaos. <br/><br/> <i><a href=\"https://ubu.com/film/trecartin_roamie.html\" rel=\"noopener\" target=\"_blank\">Roamie View : History Enhancement</a></i> reveals JJ as a husk of his former self, overwhelmed by too many experimental personalities and reverted to factory presets. He hires Roamie Hood’s (Alison Powell) company to roam backwards through time to research an opportunity for an edit that could alter his future-present. With Backseat Grace (Rachel Lord) and Liberty Lance (Liz Rywelski), Roamie careens into the suburban lair of three average teenaged boys, and from there into an animated environment strewn with stock footage videos of female assistants, some stomping by cubicles with corporate zeal, others despondent, or off-hours, shopping and twirling bags on the street. But despite all the buoyant exuberance, Roamie and her team fail to make a new JJ moment. Sleek, highrise interiors are thrust forward as the next setting, where Liberty Lance joins JJ in a chrome-cold hotel room, and then Able dons another, residual version of herself to meet a similarly muted woman called Average Katie (Liz Rywelski) in an oceanfront condo. Their ambiguous flirtation suggests that romance is simple and simplicity is romantic. In fact, they are just two bodies in a very special setting. The movie closes with a song. A line goes, “you're not the only sky to touch that star.” Traversing times and possibilities as physical places, <i>Roamie View : History Enhancement</i> collapses the importance of grasping who one is, in favor of where. Who is incidental, contained, monotonous; but an inhabited context is what informs and is informed by an active identity. <br/><br/> <i><a href=\"https://ubu.com/film/trecartin_research.html\" rel=\"noopener\" target=\"_blank\">The Re’Search</a></i> is a tween-aged microcosm of <i>Any Ever</i>. The movie is actual market research collected by Wait for Y-Ready. It doubles as the site of Wait’s vacation, as well as echoed versions of scenarios from other sections of Any Ever from which characters either reappear or are replicated here as young girls. Separately, it is a production commissioned for Voy, a pigtailed pseudo–Olsen Twin, by her prop lesbian parents. However, Voy herself moves in and out of the action, blurring the boundaries of what is inside and outside reality and fiction. Framed as research subjects and thus ostensibly as anthropological content, the young girls in the movie serve Disney-perfect archetypes, social structures, and appearances. These girls are played by exactly the Floridian child actors, dancers, and singers who perform the very real work of being a princess (or underling). Here, the drama again revolves around business-family hybrid negotiations, this time the “merger” of different cliques. There is also the spectacle of beautiful, tortured Sammy B, who promises suicide every day, broadcast online from her pink bedroom. Although her fans watch her to hate her, what they love is to see her feel, and no one will join the audience that would allow her to permanently drop out. <br/><br/> <i><a href=\"https://ubu.com/film/trecartin_temp.html\" rel=\"noopener\" target=\"_blank\">Temp Stop</a></i>, as the title implies, has a disjunctive quality that separates it from the other parts of <i>Re’Search Wait’S</i>. As if emanating from the basement of Any Ever, each scene plays like a hidden-away epilogue rendering characters comparatively surreal— in part because they are often straightforward and ordinary. The movie opens with a less omnipotent Y-Ready barking an abusive monologue to hypothetical subservients and bidding Able to use <i>The Re’Search</i> to brainwash JJ into a duplicate of Wait. Able's work alter ego, Past Jessica, is battered by her office. She is out of time, and by that extension, timelessness in Any Ever is not equated with limitlessness but with total lack: no time. Then, in a dream, Past-Jessica repairs to nature with an emancipated Korea knockoff played by Trecartin. Though fleeting, viewers take in a gasp of stillness from this flora, air, and sun scored by poignant swelling. While clearly a fantasy in the context of the movie, the sequence could conversely be the only waking moment of <i>Any Ever’s</i> whirling four hours. The idea of stopping―of waiting―repeatedly surfaces as a paradoxical theme across <i>Re’Search Wait’S</i>. It is weakness while a discontented Wait waits for opportunities and others snatch them; but in order to halt the constant motion of automated ambition, to pause and engage with a real place and time, waiting is also the ultimate strength that lends characters constancy in a sea of constant change. <br/><br/> – Kevin McGarry<br/><br/>© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers <br><br> Used with kind permission of <a href=\"https://www.regenprojects.com/\" rel=\"noopener\" target=\"_blank\">Regen Projects, LA</a> and <a href=\"http://spruethmagers.com/home\" rel=\"noopener\" target=\"_blank\">Sprüth Magers</a><br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br></br></br></br></br></br></br></br></br></br></br></br>","artist_bio":"I-Be AREA (2007)\n[\nVersion française\n] [\nVersione italiana\n]\nRyan Trecartin's video narratives unfold like futuristic fever dreams. Collaborating with an ensemble cast of family and friends, he merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee's Playhouse, Trecartin crafts startling visions that are thoroughly unique.\nKevin McGarry writes, \"Ryan Trecartin has established a singular video practice that in form and in function advances understandings of post-millennial technology, narrative and identity, and also propels these matters as expressive mediums. His work depicts worlds where consumer culture is amplified to absurd or nihilistic proportions and characters circuitously strive to find agency and meaning in their lives. The combination of assaultive, nearly impenetrable avant-garde logics and equally outlandish, virtuoso uses of color, form, drama and montage produces a sublime, stream-of-consciousness effect that feels bewilderingly true to life.\"\nRyan Trecartin was born in 1981 in Webster, Texas. He received a BFA from the Rhode Island School of Design in Providence, Rhode Island in 2004. Solo exhibitions include Any Ever, which traveled from the Power Plant, Toronto in 2009 to the Museum of Contemporary Art, Los Angeles in 2010, then to the Museum of Contemporary Art, North Miami, FL in 2011; MoMA P.S.1, Long Island City, New York; Musée d'Art Moderne de la Ville de Paris, France (both in 2011); Kunsthalle Wien, Austria; Wexner Center for the Arts, Columbus, OH; Hammer Museum, Los Angeles, and Elizabeth Dee Gallery, New York. His works have been seen in group exhibitions at the San Francisco Museum of Modern Art; ZKM - Center for Art and Media, Karlsruhe, Germany; Garage Center for Contemporary Culture, Moscow, Russia; The Eighth Gwangju Biennale, Gwangju, South Korea; MIT/List Visual Arts Center, Cambridge, MA; New Museum of Contemporary Art, New York; Guggenheim Museum Bilbao, Spain; the 2006 Biennial Exhibition of the Whitney Museum of American Art, New York; USA Today: Works from the Saatchi Collection, Royal Academy of Arts, London; Moore Space, Miami, Florida; The Getty Center, Los Angeles; New York Underground Film Festival, New York; Chicago Underground Film Festival, Chicago; and Smack Mellon, Brooklyn, among others. --\nElectronic Arts Intermix\n© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers\nUsed with kind permission of\nRegen Projects, LA\nand\nSprüth Magers\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1981"},{"slug":"trecartin_ryan_kitchen_girl_2001","ok":true,"partial":false,"title":"Kitchen Girl","artist":"Ryan Trecartin","year":"2001","startOffset":0,"sourceSecs":179.691,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":27916066,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_kitchen_girl_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_kitchen_girl_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_kitchen_girl_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_kitchen_girl_2001/main.mp4?v=2","description":"2001, 3 min, color, sound <br/><br/> In <i>Kitchen Girl</i>, Trecartin's frequent collaborator Lizzie Fitch throws herself into a state of total hysteria, portraying a girl who takes the childhood game of \"playing house\" to a dark and disturbing place. After pretending to cook dinner for her \"kids,\" represented by colorful plush toys, she finds them lacking in appreciation of her efforts and throws them out the window. Fitch's overwrought performance is perfectly matched by Trecartin's skillful, hyperkinetic editing. Together they turn Trecartin's kitchen into a dimly lit world of mental trauma. Combining the innocuous with the malevolent, Fitch and Trecartin escort the viewer on a whirlwind tour of household dysfunction, child abuse, and isolation. -- <a href=\"http://eai.org/title.htm?id=12281\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix</a><br/><br/>© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers <br><br> Used with kind permission of <a href=\"https://www.regenprojects.com/\" rel=\"noopener\" target=\"_blank\">Regen Projects, LA</a> and <a href=\"http://spruethmagers.com/home\" rel=\"noopener\" target=\"_blank\">Sprüth Magers</a><br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br></br>","artist_bio":"I-Be AREA (2007)\n[\nVersion française\n] [\nVersione italiana\n]\nRyan Trecartin's video narratives unfold like futuristic fever dreams. Collaborating with an ensemble cast of family and friends, he merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee's Playhouse, Trecartin crafts startling visions that are thoroughly unique.\nKevin McGarry writes, \"Ryan Trecartin has established a singular video practice that in form and in function advances understandings of post-millennial technology, narrative and identity, and also propels these matters as expressive mediums. His work depicts worlds where consumer culture is amplified to absurd or nihilistic proportions and characters circuitously strive to find agency and meaning in their lives. The combination of assaultive, nearly impenetrable avant-garde logics and equally outlandish, virtuoso uses of color, form, drama and montage produces a sublime, stream-of-consciousness effect that feels bewilderingly true to life.\"\nRyan Trecartin was born in 1981 in Webster, Texas. He received a BFA from the Rhode Island School of Design in Providence, Rhode Island in 2004. Solo exhibitions include Any Ever, which traveled from the Power Plant, Toronto in 2009 to the Museum of Contemporary Art, Los Angeles in 2010, then to the Museum of Contemporary Art, North Miami, FL in 2011; MoMA P.S.1, Long Island City, New York; Musée d'Art Moderne de la Ville de Paris, France (both in 2011); Kunsthalle Wien, Austria; Wexner Center for the Arts, Columbus, OH; Hammer Museum, Los Angeles, and Elizabeth Dee Gallery, New York. His works have been seen in group exhibitions at the San Francisco Museum of Modern Art; ZKM - Center for Art and Media, Karlsruhe, Germany; Garage Center for Contemporary Culture, Moscow, Russia; The Eighth Gwangju Biennale, Gwangju, South Korea; MIT/List Visual Arts Center, Cambridge, MA; New Museum of Contemporary Art, New York; Guggenheim Museum Bilbao, Spain; the 2006 Biennial Exhibition of the Whitney Museum of American Art, New York; USA Today: Works from the Saatchi Collection, Royal Academy of Arts, London; Moore Space, Miami, Florida; The Getty Center, Los Angeles; New York Underground Film Festival, New York; Chicago Underground Film Festival, Chicago; and Smack Mellon, Brooklyn, among others. --\nElectronic Arts Intermix\n© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers\nUsed with kind permission of\nRegen Projects, LA\nand\nSprüth Magers\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1981"},{"slug":"trecartin_ryan_popular_sky_2009_iphone","ok":true,"partial":false,"title":"P.opular S.ky (section ish), 2009","artist":"Ryan Trecartin","year":"2009","startOffset":0,"sourceSecs":2631.106,"sourceHeight":268,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":156263518,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_popular_sky_2009_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_popular_sky_2009_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_popular_sky_2009_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_popular_sky_2009_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_popular_sky_2009_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"by writer and curator Kevin McGarry have been developed in conversation with the artist as a means to orient viewers to some of the key themes and structures of the work.\n\ncomprises seven autonomous but interrelated videos. The work is structured as a diptych, with\n\n(four movies) as the other. Taken together, these videos embark on poetic, formal, and structural elaborations of new forms of technology, language, narrative, identity, and humanity, portraying an extra-dimensional world that channels the existential dramas of our own.\n\ncore material is the perpetual flux of relationships among characters patterned to form constellations of meaning across videos. In the spirit of the work, which attempts to literalize the figurative to the point of abstraction, these formations can be imagined as having geometric properties that govern their interactions. The individual videos fit together, block, break, orbit, or attract one another in infinite shifting combinations.\n\nmaster narrative is subjectively chosen by the viewer, read from the shifting topography of its seven parts.\n\nUp close, the dynamics between characters sometimes seem to construct a plot and sometimes don’t. Consistently, they confuse the movies’ connections to space and time, extending the condition of synesthesia from the five senses to the laws of physics. With conventional narrative unities upended, events that transpire during the videos serve only as backdated markers of possibilities. Regardless of the scripted outcomes, each of these possibilities, by definition, could have unfolded in countless other ways. “Cause and effect,” in this world, are not “start and finish,” but simply brackets around these junctures of possible action. The philosophical tenet that one becomes everything one thinks, says, and does is both immediate and absolute in the work;\n\nsetting is simultaneity, in which being and becoming, along with everything else, co-exist.\n\n. Its title freely associates with the words “trill” and “comp”—as in the musical sound resulting from rapidly alternating between two notes, or the phonetic sound produced by rolling Rs, or other iterations of linguistic tremolo; and as in “composition,” “complement,” “comprehension,” and in general, with regard to a sense of built completeness, especially in reference to music and in digital editing. This wordplay hints at the frenetic interplay within\n\nplays as the more kinetic half of Any Ever. The narrative development of each video follows the structuralist unity of form and content, self-reflexively building formal logics through abstraction.\n\nfeatures actors styled as various corporate beings called “Koreas”; held together in a lightly allegorical cloud of reductive international stereotypes, they are homogenized by their blond wigs, powder, and office-casual attire, the sum of which Trecartin terms “work face.” The video revolves around an unending party-like work meeting led by Global Korea (Telfar Clemens) that goes in circles to evade a traditional dramatic arc. The Koreas seem focused only on absurd self-perpetuation, whereby the maintenance of their careers is the principal goal of their jobs. Amid the din of self-negating office politics, one underling aspires to introduce her own agenda to the workflow. “North American Korea,” (Veronica Gelbaum) as she calls herself, alters the narrativity of the video by advancing linear plot elements, which make the rest of her company vulnerable to being limited by definite temporal locations like “before” and “after.”\n\nadopts a narrative and style that is more cinematic and seemingly straightforward than any of Trecartin’s other works. The artist plays quadruplet sisters named Ceader, Britt, Adobe, and Deno. Their personal boundaries are indistinct, and so is the notion of how they function as a group: are they a family or a corporation? As with the Koreas, the answer is both. The sisters set off on a series of episodic adventures, some of which are defined as “premises”: situations initiated by those who have predetermined their tone, terms, and trajectory.\n\n, and together they explore polar dimensions of narrative absurdity and the persistence of communities to form, hybridize, and thrive in any circumstance, even an imaginary one.\n\nsubmerges characters from other sections of Any Ever into an extreme poetic state where their creative limits bloom, but perhaps only on an illusory level. As the section “ish” (vs. section “a”) to the works above, the movie's threads appear to be the culmination of situations initiated during other parts of\n\n, but at the same time they are annexed as outcomes that might not be part of the official record. The feeling of continuing past what is normal or certain is the most pervasive, binding sensation throughout the movie; not characters themselves, but the continuance of who they were in other movies, are the lead roles. The events of\n\ncan be taken as a human brain, and here the organ is jabbed to produce life-like illusions. Whether real or not, the situations brought to life in\n\n. The setting of this other side of the Any Ever diptych is a complicated industry predicated on the supremacy of metaphysically evolved market research. The base commodities are personality traits; while ordinarily they are considered malleable, here they ossify into static examples (“examplize,” to use Trecartin’s term) that can be traded among owners. With market research lording both the supply and demand of existence, characters are wrapped in a knot where their every action is studied, and the findings dictate the brands that pilot everything they do. As a picture of modern consumer society literalized to an extreme,\n\nother half into fuel for their own stories, these works tie the seven together as a yin and yang of nihilism and boundless meaning.\n\n, Wait, played by Trecartin, is introduced as the eponymous figure of the series. Wait waits. He forsakes a “career” in favor of a “job,” the execution of which Trecartin calls a “work performance.” A careerist like Y-Ready (Veronica Gelbaum) may call the shots, but she is locked in her own endless narcissistic ascent, whereas Wait can retire from his job at anytime, and does, only to come back from vacation marked for containment. A third type of worker, Able (Lizzie Fitch), more fluidly adopts and discards the gestures of job and career, positing herself as a hobbyist who contrives the situations and outcomes she needs to keep her wave going. “Transumerism,” or consumerism driven by experience, is introduced as a central theme of\n\nand underlies the plight of JJ, a painted pant-suited guru with an addiction not mood enhancers, but intangible products that offer transcient psyches wholesale. As JJ imbibes different personalities, a battery of digital filters lifted from commercial editing programs conjure a kaleidoscopic havoc that guides the characters toward calamity. Meanwhile, clashes between painting and digital art and between careerism as a means of actualizing and subverting the self, establish the voice of creativity as a vulnerable protagonist that is taken under fire by the chaos.\n\nreveals JJ as a husk of his former self, overwhelmed by too many experimental personalities and reverted to factory presets. He hires Roamie Hood’s (Alison Powell) company to roam backwards through time to research an opportunity for an edit that could alter his future-present. With Backseat Grace (Rachel Lord) and Liberty Lance (Liz Rywelski), Roamie careens into the suburban lair of three average teenaged boys, and from there into an animated environment strewn with stock footage videos of female assistants, some stomping by cubicles with corporate zeal, others despondent, or off-hours, shopping and twirling bags on the street. But despite all the buoyant exuberance, Roamie and her team fail to make a new JJ moment. Sleek, highrise interiors are thrust forward as the next setting, where Liberty Lance joins JJ in a chrome-cold hotel room, and then Able dons another, residual version of herself to meet a similarly muted woman called Average Katie (Liz Rywelski) in an oceanfront condo. Their ambiguous flirtation suggests that romance is simple and simplicity is romantic. In fact, they are just two bodies in a very special setting. The movie closes with a song. A line goes, “you're not the only sky to touch that star.” Traversing times and possibilities as physical places,\n\ncollapses the importance of grasping who one is, in favor of where. Who is incidental, contained, monotonous; but an inhabited context is what informs and is informed by an active identity.\n\n. The movie is actual market research collected by Wait for Y-Ready. It doubles as the site of Wait’s vacation, as well as echoed versions of scenarios from other sections of Any Ever from which characters either reappear or are replicated here as young girls. Separately, it is a production commissioned for Voy, a pigtailed pseudo–Olsen Twin, by her prop lesbian parents. However, Voy herself moves in and out of the action, blurring the boundaries of what is inside and outside reality and fiction. Framed as research subjects and thus ostensibly as anthropological content, the young girls in the movie serve Disney-perfect archetypes, social structures, and appearances. These girls are played by exactly the Floridian child actors, dancers, and singers who perform the very real work of being a princess (or underling). Here, the drama again revolves around business-family hybrid negotiations, this time the “merger” of different cliques. There is also the spectacle of beautiful, tortured Sammy B, who promises suicide every day, broadcast online from her pink bedroom. Although her fans watch her to hate her, what they love is to see her feel, and no one will join the audience that would allow her to permanently drop out.\n\n. As if emanating from the basement of Any Ever, each scene plays like a hidden-away epilogue rendering characters comparatively surreal— in part because they are often straightforward and ordinary. The movie opens with a less omnipotent Y-Ready barking an abusive monologue to hypothetical subservients and bidding Able to use\n\nto brainwash JJ into a duplicate of Wait. Able's work alter ego, Past Jessica, is battered by her office. She is out of time, and by that extension, timelessness in Any Ever is not equated with limitlessness but with total lack: no time. Then, in a dream, Past-Jessica repairs to nature with an emancipated Korea knockoff played by Trecartin. Though fleeting, viewers take in a gasp of stillness from this flora, air, and sun scored by poignant swelling. While clearly a fantasy in the context of the movie, the sequence could conversely be the only waking moment of\n\nwhirling four hours. The idea of stopping―of waiting―repeatedly surfaces as a paradoxical theme across\n\n. It is weakness while a discontented Wait waits for opportunities and others snatch them; but in order to halt the constant motion of automated ambition, to pause and engage with a real place and time, waiting is also the ultimate strength that lends characters constancy in a sea of constant change.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"trecartin_ryan_sib_topic_iphone","ok":true,"partial":false,"title":"Sibling Topics (section a), 2009","artist":"Ryan Trecartin","year":"2009","startOffset":0,"sourceSecs":3086.146,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":181082058,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_sib_topic_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_sib_topic_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_sib_topic_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_sib_topic_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_sib_topic_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"by writer and curator Kevin McGarry have been developed in conversation with the artist as a means to orient viewers to some of the key themes and structures of the work.\n\ncomprises seven autonomous but interrelated videos. The work is structured as a diptych, with\n\n(four movies) as the other. Taken together, these videos embark on poetic, formal, and structural elaborations of new forms of technology, language, narrative, identity, and humanity, portraying an extra-dimensional world that channels the existential dramas of our own.\n\ncore material is the perpetual flux of relationships among characters patterned to form constellations of meaning across videos. In the spirit of the work, which attempts to literalize the figurative to the point of abstraction, these formations can be imagined as having geometric properties that govern their interactions. The individual videos fit together, block, break, orbit, or attract one another in infinite shifting combinations.\n\nmaster narrative is subjectively chosen by the viewer, read from the shifting topography of its seven parts.\n\nUp close, the dynamics between characters sometimes seem to construct a plot and sometimes don’t. Consistently, they confuse the movies’ connections to space and time, extending the condition of synesthesia from the five senses to the laws of physics. With conventional narrative unities upended, events that transpire during the videos serve only as backdated markers of possibilities. Regardless of the scripted outcomes, each of these possibilities, by definition, could have unfolded in countless other ways. “Cause and effect,” in this world, are not “start and finish,” but simply brackets around these junctures of possible action. The philosophical tenet that one becomes everything one thinks, says, and does is both immediate and absolute in the work;\n\nsetting is simultaneity, in which being and becoming, along with everything else, co-exist.\n\n. Its title freely associates with the words “trill” and “comp”—as in the musical sound resulting from rapidly alternating between two notes, or the phonetic sound produced by rolling Rs, or other iterations of linguistic tremolo; and as in “composition,” “complement,” “comprehension,” and in general, with regard to a sense of built completeness, especially in reference to music and in digital editing. This wordplay hints at the frenetic interplay within\n\nplays as the more kinetic half of Any Ever. The narrative development of each video follows the structuralist unity of form and content, self-reflexively building formal logics through abstraction.\n\nfeatures actors styled as various corporate beings called “Koreas”; held together in a lightly allegorical cloud of reductive international stereotypes, they are homogenized by their blond wigs, powder, and office-casual attire, the sum of which Trecartin terms “work face.” The video revolves around an unending party-like work meeting led by Global Korea (Telfar Clemens) that goes in circles to evade a traditional dramatic arc. The Koreas seem focused only on absurd self-perpetuation, whereby the maintenance of their careers is the principal goal of their jobs. Amid the din of self-negating office politics, one underling aspires to introduce her own agenda to the workflow. “North American Korea,” (Veronica Gelbaum) as she calls herself, alters the narrativity of the video by advancing linear plot elements, which make the rest of her company vulnerable to being limited by definite temporal locations like “before” and “after.”\n\nadopts a narrative and style that is more cinematic and seemingly straightforward than any of Trecartin’s other works. The artist plays quadruplet sisters named Ceader, Britt, Adobe, and Deno. Their personal boundaries are indistinct, and so is the notion of how they function as a group: are they a family or a corporation? As with the Koreas, the answer is both. The sisters set off on a series of episodic adventures, some of which are defined as “premises”: situations initiated by those who have predetermined their tone, terms, and trajectory.\n\n, and together they explore polar dimensions of narrative absurdity and the persistence of communities to form, hybridize, and thrive in any circumstance, even an imaginary one.\n\nsubmerges characters from other sections of Any Ever into an extreme poetic state where their creative limits bloom, but perhaps only on an illusory level. As the section “ish” (vs. section “a”) to the works above, the movie's threads appear to be the culmination of situations initiated during other parts of\n\n, but at the same time they are annexed as outcomes that might not be part of the official record. The feeling of continuing past what is normal or certain is the most pervasive, binding sensation throughout the movie; not characters themselves, but the continuance of who they were in other movies, are the lead roles. The events of\n\ncan be taken as a human brain, and here the organ is jabbed to produce life-like illusions. Whether real or not, the situations brought to life in\n\n. The setting of this other side of the Any Ever diptych is a complicated industry predicated on the supremacy of metaphysically evolved market research. The base commodities are personality traits; while ordinarily they are considered malleable, here they ossify into static examples (“examplize,” to use Trecartin’s term) that can be traded among owners. With market research lording both the supply and demand of existence, characters are wrapped in a knot where their every action is studied, and the findings dictate the brands that pilot everything they do. As a picture of modern consumer society literalized to an extreme,\n\nother half into fuel for their own stories, these works tie the seven together as a yin and yang of nihilism and boundless meaning.\n\n, Wait, played by Trecartin, is introduced as the eponymous figure of the series. Wait waits. He forsakes a “career” in favor of a “job,” the execution of which Trecartin calls a “work performance.” A careerist like Y-Ready (Veronica Gelbaum) may call the shots, but she is locked in her own endless narcissistic ascent, whereas Wait can retire from his job at anytime, and does, only to come back from vacation marked for containment. A third type of worker, Able (Lizzie Fitch), more fluidly adopts and discards the gestures of job and career, positing herself as a hobbyist who contrives the situations and outcomes she needs to keep her wave going. “Transumerism,” or consumerism driven by experience, is introduced as a central theme of\n\nand underlies the plight of JJ, a painted pant-suited guru with an addiction not mood enhancers, but intangible products that offer transcient psyches wholesale. As JJ imbibes different personalities, a battery of digital filters lifted from commercial editing programs conjure a kaleidoscopic havoc that guides the characters toward calamity. Meanwhile, clashes between painting and digital art and between careerism as a means of actualizing and subverting the self, establish the voice of creativity as a vulnerable protagonist that is taken under fire by the chaos.\n\nreveals JJ as a husk of his former self, overwhelmed by too many experimental personalities and reverted to factory presets. He hires Roamie Hood’s (Alison Powell) company to roam backwards through time to research an opportunity for an edit that could alter his future-present. With Backseat Grace (Rachel Lord) and Liberty Lance (Liz Rywelski), Roamie careens into the suburban lair of three average teenaged boys, and from there into an animated environment strewn with stock footage videos of female assistants, some stomping by cubicles with corporate zeal, others despondent, or off-hours, shopping and twirling bags on the street. But despite all the buoyant exuberance, Roamie and her team fail to make a new JJ moment. Sleek, highrise interiors are thrust forward as the next setting, where Liberty Lance joins JJ in a chrome-cold hotel room, and then Able dons another, residual version of herself to meet a similarly muted woman called Average Katie (Liz Rywelski) in an oceanfront condo. Their ambiguous flirtation suggests that romance is simple and simplicity is romantic. In fact, they are just two bodies in a very special setting. The movie closes with a song. A line goes, “you're not the only sky to touch that star.” Traversing times and possibilities as physical places,\n\ncollapses the importance of grasping who one is, in favor of where. Who is incidental, contained, monotonous; but an inhabited context is what informs and is informed by an active identity.\n\n. The movie is actual market research collected by Wait for Y-Ready. It doubles as the site of Wait’s vacation, as well as echoed versions of scenarios from other sections of Any Ever from which characters either reappear or are replicated here as young girls. Separately, it is a production commissioned for Voy, a pigtailed pseudo–Olsen Twin, by her prop lesbian parents. However, Voy herself moves in and out of the action, blurring the boundaries of what is inside and outside reality and fiction. Framed as research subjects and thus ostensibly as anthropological content, the young girls in the movie serve Disney-perfect archetypes, social structures, and appearances. These girls are played by exactly the Floridian child actors, dancers, and singers who perform the very real work of being a princess (or underling). Here, the drama again revolves around business-family hybrid negotiations, this time the “merger” of different cliques. There is also the spectacle of beautiful, tortured Sammy B, who promises suicide every day, broadcast online from her pink bedroom. Although her fans watch her to hate her, what they love is to see her feel, and no one will join the audience that would allow her to permanently drop out.\n\n. As if emanating from the basement of Any Ever, each scene plays like a hidden-away epilogue rendering characters comparatively surreal— in part because they are often straightforward and ordinary. The movie opens with a less omnipotent Y-Ready barking an abusive monologue to hypothetical subservients and bidding Able to use\n\nto brainwash JJ into a duplicate of Wait. Able's work alter ego, Past Jessica, is battered by her office. She is out of time, and by that extension, timelessness in Any Ever is not equated with limitlessness but with total lack: no time. Then, in a dream, Past-Jessica repairs to nature with an emancipated Korea knockoff played by Trecartin. Though fleeting, viewers take in a gasp of stillness from this flora, air, and sun scored by poignant swelling. While clearly a fantasy in the context of the movie, the sequence could conversely be the only waking moment of\n\nwhirling four hours. The idea of stopping―of waiting―repeatedly surfaces as a paradoxical theme across\n\n. It is weakness while a discontented Wait waits for opportunities and others snatch them; but in order to halt the constant motion of automated ambition, to pause and engage with a real place and time, waiting is also the ultimate strength that lends characters constancy in a sea of constant change.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"trecartin_ryan_tommy_chat","ok":true,"partial":false,"title":"(Tommy-Chat Just E-mailed Me)","artist":"Ryan Trecartin","year":"2006","startOffset":0,"sourceSecs":435.008,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":79887538,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_tommy_chat/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_tommy_chat/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_tommy_chat.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_tommy_chat/main.mp4?v=2","description":"2006, 7:15 min, color, sound <br/> Trecartin describes <i>(Tommy-Chat Just E-mailed Me)</i> as a \"narrative video short that takes place inside and outside of an e-mail.\" Trecartin's intense visualization of electronic communication is inhabited by a cast of stylized characters: Pam, a Jewish lesbian librarian with a screaming baby in an ultra-modern hotel room; Tammy and Beth, who live in an apartment filled with installation art; and Tommy, who is seen in a secluded lake house in the woods. Pam, Tommy and Tammy are all played by Trecartin, who, wearing his signature make-up, jumps back and forth between male and female roles. <br/><br/> Totally self-absorbed and equipped with vestigial attention spans, the characters are constantly communicating with one another on the phone or online. Their e-mail exchanges and Internet searches are channeled into bright animations that intersect with the \"real world\" locations. The story moves from person to person like a browser surfing through Web pages. Engrossed in manic electronic interactions, the characters become increasingly isolated and solipsistic. <i>Lizzie Fitch: Beth and Bolivia; Taya Kaschnick: Catherine Pimples and OMG 1; Megan: Betraya and OMG 2; Penelope Wright: Penny-O; Barkev G.: OMG record me Dude; Rhett LaRue: Cheeta; Junior Greenberg: The Cat; Lexer: Soft Picture Boy; Ryan Trecartin: Tammy 1, Tammy 2, Tommy Chat, High/Low Tommy Video Voice, and Tommy Video Girl.</i> -- <a href=\"http://eai.org/title.htm?id=12462\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix</a><br/><br/>© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers <br><br> Used with kind permission of <a href=\"https://www.regenprojects.com/\" rel=\"noopener\" target=\"_blank\">Regen Projects, LA</a> and <a href=\"http://spruethmagers.com/home\" rel=\"noopener\" target=\"_blank\">Sprüth Magers</a><br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br></br>","artist_bio":"I-Be AREA (2007)\n[\nVersion française\n] [\nVersione italiana\n]\nRyan Trecartin's video narratives unfold like futuristic fever dreams. Collaborating with an ensemble cast of family and friends, he merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee's Playhouse, Trecartin crafts startling visions that are thoroughly unique.\nKevin McGarry writes, \"Ryan Trecartin has established a singular video practice that in form and in function advances understandings of post-millennial technology, narrative and identity, and also propels these matters as expressive mediums. His work depicts worlds where consumer culture is amplified to absurd or nihilistic proportions and characters circuitously strive to find agency and meaning in their lives. The combination of assaultive, nearly impenetrable avant-garde logics and equally outlandish, virtuoso uses of color, form, drama and montage produces a sublime, stream-of-consciousness effect that feels bewilderingly true to life.\"\nRyan Trecartin was born in 1981 in Webster, Texas. He received a BFA from the Rhode Island School of Design in Providence, Rhode Island in 2004. Solo exhibitions include Any Ever, which traveled from the Power Plant, Toronto in 2009 to the Museum of Contemporary Art, Los Angeles in 2010, then to the Museum of Contemporary Art, North Miami, FL in 2011; MoMA P.S.1, Long Island City, New York; Musée d'Art Moderne de la Ville de Paris, France (both in 2011); Kunsthalle Wien, Austria; Wexner Center for the Arts, Columbus, OH; Hammer Museum, Los Angeles, and Elizabeth Dee Gallery, New York. His works have been seen in group exhibitions at the San Francisco Museum of Modern Art; ZKM - Center for Art and Media, Karlsruhe, Germany; Garage Center for Contemporary Culture, Moscow, Russia; The Eighth Gwangju Biennale, Gwangju, South Korea; MIT/List Visual Arts Center, Cambridge, MA; New Museum of Contemporary Art, New York; Guggenheim Museum Bilbao, Spain; the 2006 Biennial Exhibition of the Whitney Museum of American Art, New York; USA Today: Works from the Saatchi Collection, Royal Academy of Arts, London; Moore Space, Miami, Florida; The Getty Center, Los Angeles; New York Underground Film Festival, New York; Chicago Underground Film Festival, Chicago; and Smack Mellon, Brooklyn, among others. --\nElectronic Arts Intermix\n© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers\nUsed with kind permission of\nRegen Projects, LA\nand\nSprüth Magers\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1981"},{"slug":"trecartin_ryan_valentines_day_girl_2001","ok":true,"partial":false,"title":"Valentine's Day Girl","artist":"Ryan Trecartin","year":"2001","startOffset":0,"sourceSecs":410.517,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":66237595,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_valentines_day_girl_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_valentines_day_girl_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_valentines_day_girl_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_valentines_day_girl_2001/main.mp4?v=2","description":"2001, 7 min, color, sound <br/> Trecartin crafts a fantastical narrative about a girl whose obsessive personal utopia is disrupted. Trecartin's collaborator, Lizzie Fitch, plays a girl obsessed with Valentine's Day. Everything in her hyperactive, sped-up world revolves around Valentine's Day: red, white, and pink love-themed decorations cover every surface; heart shapes abound; Valentine's Day treats are everywhere. Her private festivities suddenly go awry as a hoard of Christmas-themed intruders appear and take her hostage in her own apartment. Gagged and bound, she is forced to watch while her ecstatic but sinister captors stage a frenzied Christmas intervention. <i>Lizzie, Chris, Will, Ethan, Cara, Asher, Suzanne, Jess, Liz, Brian, Ryan.</i> -- <a href=\"http://eai.org/title.htm?id=12285\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix</a><br/><br/>© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers <br><br> Used with kind permission of <a href=\"https://www.regenprojects.com/\" rel=\"noopener\" target=\"_blank\">Regen Projects, LA</a> and <a href=\"http://spruethmagers.com/home\" rel=\"noopener\" target=\"_blank\">Sprüth Magers</a><br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br></br>","artist_bio":"I-Be AREA (2007)\n[\nVersion française\n] [\nVersione italiana\n]\nRyan Trecartin's video narratives unfold like futuristic fever dreams. Collaborating with an ensemble cast of family and friends, he merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee's Playhouse, Trecartin crafts startling visions that are thoroughly unique.\nKevin McGarry writes, \"Ryan Trecartin has established a singular video practice that in form and in function advances understandings of post-millennial technology, narrative and identity, and also propels these matters as expressive mediums. His work depicts worlds where consumer culture is amplified to absurd or nihilistic proportions and characters circuitously strive to find agency and meaning in their lives. The combination of assaultive, nearly impenetrable avant-garde logics and equally outlandish, virtuoso uses of color, form, drama and montage produces a sublime, stream-of-consciousness effect that feels bewilderingly true to life.\"\nRyan Trecartin was born in 1981 in Webster, Texas. He received a BFA from the Rhode Island School of Design in Providence, Rhode Island in 2004. Solo exhibitions include Any Ever, which traveled from the Power Plant, Toronto in 2009 to the Museum of Contemporary Art, Los Angeles in 2010, then to the Museum of Contemporary Art, North Miami, FL in 2011; MoMA P.S.1, Long Island City, New York; Musée d'Art Moderne de la Ville de Paris, France (both in 2011); Kunsthalle Wien, Austria; Wexner Center for the Arts, Columbus, OH; Hammer Museum, Los Angeles, and Elizabeth Dee Gallery, New York. His works have been seen in group exhibitions at the San Francisco Museum of Modern Art; ZKM - Center for Art and Media, Karlsruhe, Germany; Garage Center for Contemporary Culture, Moscow, Russia; The Eighth Gwangju Biennale, Gwangju, South Korea; MIT/List Visual Arts Center, Cambridge, MA; New Museum of Contemporary Art, New York; Guggenheim Museum Bilbao, Spain; the 2006 Biennial Exhibition of the Whitney Museum of American Art, New York; USA Today: Works from the Saatchi Collection, Royal Academy of Arts, London; Moore Space, Miami, Florida; The Getty Center, Los Angeles; New York Underground Film Festival, New York; Chicago Underground Film Festival, Chicago; and Smack Mellon, Brooklyn, among others. --\nElectronic Arts Intermix\n© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers\nUsed with kind permission of\nRegen Projects, LA\nand\nSprüth Magers\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1981"},{"slug":"trecartin_ryan_waynes_world_2003","ok":true,"partial":false,"title":"Wayne's World","artist":"Ryan Trecartin","year":"2003","startOffset":0,"sourceSecs":485.227,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":89548098,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_waynes_world_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_waynes_world_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_waynes_world_2003.mp4","hasFrames":true,"description":"2003, 8 min, color, sound <br/> Trecartin and his collaborator/co-star Lizzie Fitch ponder the messages delivered by the most banal forms of mass media and pop culture in their own unique version of a music video. They voice questions in song and dance segments that feature a deliberately ill-fitting pastiche of discarded fashions of the past two decades and recycled pop-music cliches. Totally immersed in their meticulously crafted private universe, Trecartin and Fitch coyly point at the gaudy artifice surrounding us in our own. <i>Lizzie, Ryan.</i> -- <a href=\"http://eai.org/title.htm?id=12293\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix</a><br/><br/>© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers <br><br> Used with kind permission of <a href=\"https://www.regenprojects.com/\" rel=\"noopener\" target=\"_blank\">Regen Projects, LA</a> and <a href=\"http://spruethmagers.com/home\" rel=\"noopener\" target=\"_blank\">Sprüth Magers</a><br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br></br>","artist_bio":"I-Be AREA (2007)\n[\nVersion française\n] [\nVersione italiana\n]\nRyan Trecartin's video narratives unfold like futuristic fever dreams. Collaborating with an ensemble cast of family and friends, he merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee's Playhouse, Trecartin crafts startling visions that are thoroughly unique.\nKevin McGarry writes, \"Ryan Trecartin has established a singular video practice that in form and in function advances understandings of post-millennial technology, narrative and identity, and also propels these matters as expressive mediums. His work depicts worlds where consumer culture is amplified to absurd or nihilistic proportions and characters circuitously strive to find agency and meaning in their lives. The combination of assaultive, nearly impenetrable avant-garde logics and equally outlandish, virtuoso uses of color, form, drama and montage produces a sublime, stream-of-consciousness effect that feels bewilderingly true to life.\"\nRyan Trecartin was born in 1981 in Webster, Texas. He received a BFA from the Rhode Island School of Design in Providence, Rhode Island in 2004. Solo exhibitions include Any Ever, which traveled from the Power Plant, Toronto in 2009 to the Museum of Contemporary Art, Los Angeles in 2010, then to the Museum of Contemporary Art, North Miami, FL in 2011; MoMA P.S.1, Long Island City, New York; Musée d'Art Moderne de la Ville de Paris, France (both in 2011); Kunsthalle Wien, Austria; Wexner Center for the Arts, Columbus, OH; Hammer Museum, Los Angeles, and Elizabeth Dee Gallery, New York. His works have been seen in group exhibitions at the San Francisco Museum of Modern Art; ZKM - Center for Art and Media, Karlsruhe, Germany; Garage Center for Contemporary Culture, Moscow, Russia; The Eighth Gwangju Biennale, Gwangju, South Korea; MIT/List Visual Arts Center, Cambridge, MA; New Museum of Contemporary Art, New York; Guggenheim Museum Bilbao, Spain; the 2006 Biennial Exhibition of the Whitney Museum of American Art, New York; USA Today: Works from the Saatchi Collection, Royal Academy of Arts, London; Moore Space, Miami, Florida; The Getty Center, Los Angeles; New York Underground Film Festival, New York; Chicago Underground Film Festival, Chicago; and Smack Mellon, Brooklyn, among others. --\nElectronic Arts Intermix\n© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers\nUsed with kind permission of\nRegen Projects, LA\nand\nSprüth Magers\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1981"},{"slug":"trecartin_ryan_whats_the_love_making_babies_for_2003","ok":true,"partial":false,"title":"What's The Love Making Babies For","artist":"Ryan Trecartin","year":"2003","startOffset":0,"sourceSecs":1312.32,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":224331801,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_whats_the_love_making_babies_for_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_whats_the_love_making_babies_for_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_whats_the_love_making_babies_for_2003.mp4","hasFrames":true,"description":"Trecartin's extraordinary digital manipulations reach a new level as he speculates in vivid animation about reproduction, sexuality, and contemporary moralities. Collapsing footage appropriated from television, the Internet, and pop culture, Trecartin and his elaborately costumed collaborators manufacture an alien yet familiar reality. Inside this startling new video world, technophile gods wearing acid-washed denim argue about the future of gender and produce cryptic TV commercials. In a surreal backyard town meeting, characters deliver disjointed polemics assembled from clashing phrases that could have originated in ad campaigns, instant messaging conversations, or twisted episodes of syndicated science fiction. Constructed from the raw material of disposable media clichés and fads, Trecartin's narrative leaves us to answer the riddles he poses.\n\nLizzie, Brian, Nick, Alison, Ben, Lyndsay, Will, Muffy, Asher, Rhett, Kenny, Ryan. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"trecartin_ryan_yo_a_romantic_comedy_2002","ok":true,"partial":false,"title":"Yo A Romantic Comedy","artist":"Ryan Trecartin","year":"2002","startOffset":0,"sourceSecs":714.987,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":125351848,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_yo_a_romantic_comedy_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trecartin_ryan_yo_a_romantic_comedy_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trecartin_ryan_yo_a_romantic_comedy_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trecartin_ryan_yo_a_romantic_comedy_2002/main.mp4?v=2","description":"2002, 12 min, color, sound <br/> In <i>Yo A Romantic Comedy</i>, Trecartin borrows cliches from hip-hop culture and genre films to craft a dark, dream-like narrative that veers from comic melodrama to goth fantasy. Applying his signature digital editing and delirious sound processing to remarkable effect, Trecartin creates an alternative narrative universe that suggests a kind of psychodramatic hyper-reality. <i>Lizzie, Brian, Ben. Kenny, Will, Connor, Steve, Nick, Ryan.</i> -- <a href=\"http://eai.org/title.htm?id=12292\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix</a><br/><br/>© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers <br><br> Used with kind permission of <a href=\"https://www.regenprojects.com/\" rel=\"noopener\" target=\"_blank\">Regen Projects, LA</a> and <a href=\"http://spruethmagers.com/home\" rel=\"noopener\" target=\"_blank\">Sprüth Magers</a><br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.</br></br>","artist_bio":"I-Be AREA (2007)\n[\nVersion française\n] [\nVersione italiana\n]\nRyan Trecartin's video narratives unfold like futuristic fever dreams. Collaborating with an ensemble cast of family and friends, he merges sophisticated digital manipulations with footage from the Internet and pop culture, animations, and wildly stylized sets and performances. While the astonishing A Family Finds Entertainment (2005) has drawn comparisons to Jack Smith, early John Waters, and Pee-Wee's Playhouse, Trecartin crafts startling visions that are thoroughly unique.\nKevin McGarry writes, \"Ryan Trecartin has established a singular video practice that in form and in function advances understandings of post-millennial technology, narrative and identity, and also propels these matters as expressive mediums. His work depicts worlds where consumer culture is amplified to absurd or nihilistic proportions and characters circuitously strive to find agency and meaning in their lives. The combination of assaultive, nearly impenetrable avant-garde logics and equally outlandish, virtuoso uses of color, form, drama and montage produces a sublime, stream-of-consciousness effect that feels bewilderingly true to life.\"\nRyan Trecartin was born in 1981 in Webster, Texas. He received a BFA from the Rhode Island School of Design in Providence, Rhode Island in 2004. Solo exhibitions include Any Ever, which traveled from the Power Plant, Toronto in 2009 to the Museum of Contemporary Art, Los Angeles in 2010, then to the Museum of Contemporary Art, North Miami, FL in 2011; MoMA P.S.1, Long Island City, New York; Musée d'Art Moderne de la Ville de Paris, France (both in 2011); Kunsthalle Wien, Austria; Wexner Center for the Arts, Columbus, OH; Hammer Museum, Los Angeles, and Elizabeth Dee Gallery, New York. His works have been seen in group exhibitions at the San Francisco Museum of Modern Art; ZKM - Center for Art and Media, Karlsruhe, Germany; Garage Center for Contemporary Culture, Moscow, Russia; The Eighth Gwangju Biennale, Gwangju, South Korea; MIT/List Visual Arts Center, Cambridge, MA; New Museum of Contemporary Art, New York; Guggenheim Museum Bilbao, Spain; the 2006 Biennial Exhibition of the Whitney Museum of American Art, New York; USA Today: Works from the Saatchi Collection, Royal Academy of Arts, London; Moore Space, Miami, Florida; The Getty Center, Los Angeles; New York Underground Film Festival, New York; Chicago Underground Film Festival, Chicago; and Smack Mellon, Brooklyn, among others. --\nElectronic Arts Intermix\n© Ryan Trecartin, Courtesy of the Artist, Regen Projects and Sprüth Magers\nUsed with kind permission of\nRegen Projects, LA\nand\nSprüth Magers\nThis title is available for exhibitions, screenings, and institutional use through\nElectronic Arts Intermix (EAI)\n, NY. Please visit the\nEAI Online Catalogue\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","bio_dates":"b. 1981"},{"slug":"trinh_minha_ha_surname_viet_given_name_nam_1_iphone","ok":true,"partial":false,"title":"Surname Viet Given Name Nam","artist":"Trinh T. Minh-ha","year":"1989","startOffset":0,"sourceSecs":6507.842,"sourceHeight":320,"sourceWidth":428,"hasAudio":true,"hasAmbientMp4":true,"bytes":372255385,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trinh_minha_ha_surname_viet_given_name_nam_1_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trinh_minha_ha_surname_viet_given_name_nam_1_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trinh_minha_ha_surname_viet_given_name_nam_1_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trinh_minha_ha_surname_viet_given_name_nam_1_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trinh_minha_ha_surname_viet_given_name_nam_1_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Documentarian Trinh T. Minh-ha uses stock footage and anecdotal evidence to examine the status of Vietnamese women since the Vietnam War. Melding a combination of dance, poetry and text, Minh-ha delves into the lives of several women, focusing on how their gender determines their lesser status, despite the extent of their wisdom, talent and intelligence. Assuming a strong political stance, this film gives voice to an entire segment of Vietnamese society forced to otherwise remain silent.","artist_bio":"Trinh T. Minh-ha & Jean-Paul Bourdier - Night Passage (2004)\nTrinh T. Minh-ha (born 1952) is a filmmaker, writer, academic and composer. She is a world-renowned independent filmmaker and feminist, post-colonial theorist. She teaches courses that focuses on women's work as related to cultural politics, post-coloniality, contemporary critical theory and the arts. The seminars she offers focus on Third cinema, film theory and aesthetics, the voice in cinema, the autobiographical voice, critical theory and research, cultural politics and feminist theory. She has been making films for over twenty years and may be best known for her first film Reassemblage, made in 1982. She has received several awards and grants, including the American Film Institute's National Independent Filmmaker Maya Deren Award, and Fellowships from the John Simon Guggenheim Foundation, the National Endowment for the Arts and the California Arts Council. Her films have been the subject of twenty retrospectives.\nBORN IN VIETNAM, Trinh T. Minh-ha is a writer, composer and filmmaker She has been making films for better than ten years and may be best known for her first film Reassemblage, made in 1982. However her most recent film Surname Viet, Given Name Nam (1989), which examines \"identity and culture through the struggle of Vietnamese women\" has received much attention, including winning the Blue Ribbon Award at the American Film and Video festival Trinh T. Minh-ha is a professor of Woman Studies and Film at the University of California, Berkely and was recently a Visiting Professor at Harvard University.\nLI: How do you feel that writing and film differently serve the needs of your message?\nTM-H: I rarely think in terms of message. I think more in terms of processes of transformation. Every film that I make, for example, is a transformative process for me. I mean by that that whenever I start a film, I may start with an idea, an image or an impression. By the time I finish the film, lam somewhere else altogether, even though 1 have not lost what I started out with. In the process of making the film your consciousness has changed considerably.\nIt's the same with writing. I am not writing just to give a message, even though in my writings and my films I am always concerned with something that is very specific. For example, the subject that you have deliberately decided to focus on would be the site around which your energy would deploy. But, on the other hand, the subject is not all that there is in writing, and in filmmaking. One should always offer the reader and the viewer something else than just the subject. And that something else has to do with writing itself and with the tools that define your activities as a writer or a filmmaker. By focusing on these, you also offer the reader or the viewer your social positioning-how you position yourself as a writer and a filmmaker in society. So these are the issues that I immediately face in writing and in filmmaking.\nBut your question also focuses on the difference between writing and film. Film really allows me to pull together the many interests that I have had in different media, in the visual arts-Chinese ink painting and oil painting, for example.\nOn the other hand, film is a very expensive medium so when you make films, economically you really put your existence at stake, because you really don't know how you will be doing next year or on what kind of money you'll be living, since your debts are never-ending. Filmmaking does involve a lot of economical risk.\nAlso film is a younger medium, so for example, when I finished my first 16 millimeter film Reassemblage in 1982, for a whole year I didn't know bow it was going to be picked up, who was going to accept it, where it was going to be circulated. It took a whole year with rejections from everywhere, before the film finally took off. But once the film got to be shown in different venues, it provoked impassioned responses from all fronts. This has been a very rewarding process, and actually Reassemblage is one of my most circulated films.\nWith a book it is much more difficult for me because the literary establishment is older and far more conservative. I'd say that the book that really took off for me was Woman, Native, Other, written in 1983. It took me eight years to find a publisher. So I would say that in comparison, the literary establishment is much more difficult to break into when it is a question of doing different kinds of work-works that are not readily classified. But, on the other hand, with a book you don't risk that much, you don't have to put your economic livelihood on the line. With a pen and some ink you can go on writing. Whereas with\nfilm, I really need to have a block of time available in order to work intensively on my own and with other people. It usually takes a whole year. So each medium has its own advantages and disadvantages.\nLI: Why was it important to print the scripts of your films and also the constructive processes of your films - the lighting and the setting-in your book, Framer Framed?\nTM-H: The publication of scripts is a very common practice. As for the lighting and setting instructions, it is important to show sonic of the processes of materializing a scene on film. Actually, you put your finger on a very important aspect of my scripts, which is that these scripts were not written before the film was made. They were mostly written during the shooting and during the editing. So the final form my scripts took at the time of publication is a form that was put together after the film was made. In that sense, they are tools that one works with rather than texts that one tries to conform to. It is important to keep in mind that the script is no more than a kind of skeleton. It is like a dead skin that the film leaves behind once it is completed.\nLI: You wrote in your book When The Moon Waxes Red that many independent women are rejecting the label of feminist. Are you bothered by being ca/led a feminist filmmaker, a feminist writer?\nTM-H: Depending on who's saying it. Every time that a label is put on someone, what is important is to see through the context in which such labels have been devised. I don't have any problem with being labeled a \"feminist\", it all depends on what is meant and connoted. It could be just a way of narrowing down the space in which you can work authoritatively \"as a feminist.\" This I find to he very problematic.\nHowever, labels circulate all the time in every sphere of our lives, and once more, it all depends on how one uses them. One can use it in an eye-opening way, so that the term \"feminist\" does not actually only concern women, for example. But it has to do with society in general. So you are not just talking about women, but also about a feminist consciousness that informs both men's and women s actions in daily life. Being a feminist is therefore being a critic of society in its oppressive workings.\nLI: I often find that there is a gap between film theory and criticism and actual production. Yet I see you as forming a bridge between the two. Do you see yourself in that way?\nTM-H: Oh yes. I have no problem with being more than one thing and carrying out several functions at the same time. It is only when I am reduced to being \"either/or\" that clear-cut boundaries become very questionable to me. For example, there is a certain tradition in viewing, and you can recognize it in many of the mainstream filmmakers or film industry discourse around cinema: if you are a filmmaker and you start making films that make people think, then you are said to be doomed because you ate no longer a popular entertainer. This is the form of established individualism linked to a context of capitalism as we have known it: here you can only he one thing at a time, a recognizable entity whose function is fixed in society. So if you are several things at the same time, people don't really know how to classify you. They don't know what kind of function you fulfill. And we are now in a period of history where all these fixed boundaries are being put to question. Boundaries keep on being modified. On the map of world politics, you see nations breaking down, identities being reclaimed. At the same time, you have a strong sense of separatism, you also have a very strong sense of independence. So while all these ate being played out in international politics, you also have a situation in society where people can no longer be just one thing.\nFor example, an artist cannot say \"I couldn't care less about the audience that I have, about how my work is going to circulate; I'm just going to make my art as people have done in the past: to be pure in my intent and in my activities.\" You simply can't do that because you are constantly faced with other aspects of life. You have to goon earning a living, putting to work your many selves. Filmmakers find that they have to he involved with all aspects of film production, distribution, circulation, exhibition. You constantly deal with the politics of culture. I have had to fight this reductive form of individualism so many times that it becomes almost like a natural background noise For me to be condemned for being several things at the same time. People say that if you are a scholar, if you are teaching in an academic institution, you can't he an artist. People will always condemn the other aspect of yourself or your other selves. And when you move into the film world, you can't say anything about your scholarly quest or your theoretical background. You better hide that part because all they are interested in is the visionary artist, not one who would fall into the impure realm of theory and ideology.\nLI: In When The Moon Waxes Red, you say \"There is a need to make films politically as opposed to making political films.\" What is the difference between the two? Do you think it is possible to make a film without political ramifications?\nTM-H: The answer has to do with how one sees the political. The filmmaker Jean-Luc Godard made a distinction between making films politically and making films that focus on a political subject or have a political content. Films classified as \"political\" usually center on authority figures. On institutions or on personalities from the body politic; or else, they focus, for example, on a strike of the workers, or a crisis that happened between suppliers and consumers or between the boss and the workers.\nSuch a reductive concept of the \"political\" has been challenged by the work carried out in the women's movement. The feminist struggle has contributed to breaking down the dichotomy between the private and the public or the personal and the societal. Is the political only something that focuses on the evident sources of authorities or institutions or of institutional values, or is the political also something that seeps in and invades every aspect of our lives?\nMany contemporary theorists, like Michel Foucault, have focused their studies on power relationships in the intimate realms of our lives. Power relationships are, therefore, not just to be located in these evident sources that I have mentioned. Even if you criticize these sources, even if you eradicate them, the question remains how is it that we continue in our daily life to be violent, to be racist, to be sexist, to be homophobic, xenophobic and so on? How is it that we continue to oppress while being oppressed? So it must be in something that is much more than these locatable evident sources of power.\nWe come to a situation in which to make a Elm politically would be to put to question your own position as filmmaker. Power relationships can be looked at from many angles. You can look at how technology and the toots that define your activities are never neutral, and how they are always interpellated by ideology. The film industry, for example, has technologies that serve its own ideology of expansion and consumption.\nWhen you work politically, you have to politicize all aspects of filmmaking. So it's not just when you focus on a political subject that your film is political. The film is not yet political enough, because you can focus on a political subject and yet reproduce all the language of the mainstream ideology reproducing thereby its oppressive mechanisms. In other words, to open up the field of your political activities you have to think politically about every aspect, not just the content of the film.\nThere are no apolitical works, hut some works politicize the daily realms of our lives and other works simply look at these daily realms without offering the viewer a critical space in which the tensions between the political and the personal are played out. So sometimes a filmmaker might think that their work does not have anything to do with\nthe political, but, as I said, there are no \"apolitical\" films. For someone to say \"I'm apolitical\" simply means \"I haven't yet politicized my life or my work.\"\nLI: I think many film students would he interested to know your filming process. For example, how do you get crews and finds together to make your films?\nTM-H: (I'm speaking here to film students about funding. If I were speaking to a wider audience I would speak very differently.) It is very useful to think of funding not as something that is outside of yourself. You don't wait until the budget comes to you before you start on a project, which is the kind of attitude molded after that found in the mainstream film industry. People always think that if you don't have the budget for a film, you can't work on it.\nI think that there are many kinds of filmmaking and one need not be bound to the model that dominates the media. If you have a lot of money, you can use that money, but if you don't have money, you are still going to make films, just a different kind of film. I didn't have money when I was making Reassemblage. That film can be said to be made by myself from A to Z. The cinematography, the writing, the editing, even the conforming of the negative of the film was all done by myself In other words, you fulfill all the functions, and like an artisan, you do the whole craft. You are not dependent on expertise and division of labor. That kind of film is, of course, something that experimental and avant-garde filmmakers always cherish because it allows them not to he dependent on any major sources of funding. They can incorporate the film process in their lives. So instead of going out to buy a package of cigarettes, you would go out and buy a can of film. And the cans of film you would get here-and-there would serve little-by-little to make a film. It is something that is incorporated into your daily expenses.\nFor me this is an important attitude that one can also adopt when writing for grants, for example, even if the world of grant donors is not always sympathetic to it. Because if they gave me $100,000 for a film, then I would make a certain kind of film. And if I only get $30,000 for a film, then I would make another kind of film. And neither film would be more important than the other. It is not a question of quality, it is a question of difference. So with these different approaches to filmmaking, you excel in the artistic realm, as well as in the so-called \"entertaining\" realm where you receive more money and can use a larger crew. One should keep in mind that kind of versatility, which allows one to go from one kind of filmmaking to another.\nAs for the question of crew, I usually prefer to work with a very small crew and with people who are really involved in many aspects of independent filmmaking. I work, for example, with cinematographer Kathleen Beeler who is independent filmmaker herself working both for the commercial film industry and for other independent filmmakers. She survives by charging the usual huge amount for work effected for the film industry while working for almost nothing for independent filmmakers. She and my other crew members are people highly committed to independent filmmaking and to different forms of filmmaking, so they are not just stuck in one realm of activities and remain receptive to innovations in film.","bio_dates":"b. 1952"},{"slug":"trockel_rosemarie_buffalo_billy_milly_2000","ok":true,"partial":false,"title":"Buffalo Billy + Milly","artist":"Rosemarie Trockel","year":"2000","startOffset":0,"sourceSecs":341,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":50834112,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trockel_rosemarie_buffalo_billy_milly_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trockel_rosemarie_buffalo_billy_milly_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trockel_rosemarie_buffalo_billy_milly_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trockel_rosemarie_buffalo_billy_milly_2000/main.mp4?v=2","description":"De imagen en imagen, Trockel transmuta al hombre en mono, al mono en hombre, al hombre en celebridad o incluso en monstruo o en animación. Es notorio el caso de su video Buffalo Milly + Billy (2000), donde no sólo se da un fluir de irónicos hombres-monstruos cuyos disfraces remiten al mundo infantil (o incluso primario), sino que aquí el dibujo se superpone al video convirtiendo a la filmación en una fascinante animación. Este constante devenir, tanto del hombre como del medio utilizado, refieren a la imposibilidad de establecer con certeza una identidad fija.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"b. 1952"},{"slug":"trockel_rosemarie_es_war_nacht","ok":true,"partial":false,"title":"Es war Nacht, es war kalt, und wir hatten viel getrunken [It Was Night, It Was Cold and We Drank a Lot]","artist":"Rosemary Trockel","year":"1999","startOffset":0,"sourceSecs":321.2,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":18237317,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trockel_rosemarie_es_war_nacht/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trockel_rosemarie_es_war_nacht/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trockel_rosemarie_es_war_nacht.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trockel_rosemarie_es_war_nacht/main.mp4?v=2","description":"Betacam SP, färg, stereoljud 05:20 min.<br/><br/>The third Statements series \"Statements 003 : 99 - The Video Issue\" is dedicated to contemporary video art. Rosemarie Trockel created a video piece with the title \"it was night, it was cold and we had had a lot to drink\". Douglas Gordon simply entitled his film \"Bathroom\", Lothar Hempel named his work \"Flotsam\". The author Benjamin von Stuckrad-Barre composed a short story titled \"Bad Vibes\". The works were presented at Passagen 99 during international furniture faire \"imm\" in Cologne. <br><br> 1999 realisierte Marc Comes das Video der Künstlerin Rosemarie Trockel \"Es war Nacht, es war kalt und wir hatten viel getrunken...\". In Trockels Video pinkeln Frauen und Männer zur Musik von SUPERPITCHER Aksel Schaufler. Ein Beitrag für die Statements Reihe des Armaturenherstellers Dornbracht und die erste Arbeit, die CHBP für Dornbracht produzierte. <br/><br/> Mike Meiré und seine Agentur hatten das »Statements« Format entwickelt, um für den Premiumhersteller eine kulturelle Relevanz aufzubauen. Wesentlich intensiver als andere Hersteller verbindet seitdem Dornbracht seine Markenidentität mit kulturellem Kontext: mit zeitgenössischer Kunst, Architektur, Lifestyle, Design und Technologie. <br/><br/> Vieles, was das mediale Gedächnis der Marke ausmacht, sind nicht nur die gegen die Alltagsrezeption inszenierten Produktfilme, sondern die breite Palette kultureller Engagements hinter denen Dornbracht als Geldgeber steht und die CHBP aufgezeichnet, inszeniert, vertont, und verdichtet hat. <br/><br/> Mit der Agentur Meiré and Meiré, hat CHBP für Dornbracht so in 10 Jahren fast 30 Filme produziert. Die bemerkenswerte Zahl verdankt sich dem Umstand, das CHBP neben aufwendigen Produktfilmen auch Corporatefilme zur Etablierung einer filmischen Unternehmenskommunikation und Unterstützung der Vertriebskanäle herstellt. Wir betrachten diese audiovisuelle Rundumbetreuung als Stärke CHBPs. Trotz unterschiedlichster Budgets, Formate und Inhalte erreicht der mediale Auftritt Dornbrachts so insgesamt ein gleichbleibend hohes Niveau. Eine Auswahl aus allen Formaten die CHBP für Dornbracht produziert hat, haben wir für SELECTED zusammengestellt.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/papers/beckett_schneider.html\" rel=\"noopener\" target=\"_blank\">Alan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers</a></br></br>","artist_bio":"Es war Nacht, es war kalt, und wir hatten viel getrunken [It Was Night, It Was Cold and We Drank a Lot] (1999)\nRosemarie Trockel (*1952 in Schwerte) studied painting at the Kölner Werkschule under Professor Werner Schriefers from 1974 to 1978. Her early days in art were spent in the immediate proximity of the \"Mühlheimer Freiheit,\" the artist's group in Cologne. She has been a professor at the Staatliche Kunstakademie in Düsseldorf since 1998. The artist lives and works in Cologne. Her work has been awarded numerous prizes, including the 2011 Kaiserring from the city of Goslar, which is one of the best-known prizes for contemporary art in the world.","bio_dates":"b. 1952"},{"slug":"trockel_rosemarie_liquefaction","ok":true,"partial":false,"title":"Liquefaction","artist":"Rosemary Trockel","year":"2003","startOffset":0,"sourceSecs":431.92,"sourceHeight":220,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":27855794,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trockel_rosemarie_liquefaction/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trockel_rosemarie_liquefaction/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trockel_rosemarie_liquefaction.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trockel_rosemarie_liquefaction/main.mp4?v=2","description":"Rosemarie Trockel is exhibiting the first part of a trilogy about her childhood. In the first installment, \"Liquefaction\", a mother disappears, dissolves into thin air, but it is not revealed where she ends up. That is the subject matter of the second episode, \"Diffusion\", while the third part is devoted to the mother's reincarnation, culminating in the finale entitled \"Come Back\".<br/><br/>\"\"\"Liquefaction\" consists of a black-and-white double projection, a narrative and a trick film made of woolen threads. The atmosphere in the story is similar to that in a children's circus or the magic of side-stalls at a fair ground. Several scenes are played out simultaneously around a large tent with a big sign reading \"La Grande Illusion\": An artist tries to perform a cheap trick with a cigarette, but keeps failing, twins steal things from each other, thereby turning fateful circles around themselves, a drummer just keeps on drumming, announcing events that don't take place, a magician causes the mother of a child to disappear, a young girl offers a rendition of \"Was soll das bedeuten ...\" on the flute.<br/><br/> What we see is a loosely connected group of tragedies that are not interpreted and perceived as such, either by those directly involved or those on the outside. Everybody is immersed in his/her own history, like a circus number, practicing diligently, fervently repeating it or failing again and again. \"La Grande Illusion\" presents a collection of isolated \"tragic pieces\", whose indifference causes them to appear as a movable pattern of relationships with no relation.<br/><br/> As such the narrative is not at all unlike the woolen thread trick film. This initially presents a picture of a carefully composed game with loose woolen threads, which, contrary to music (which is contradictory in itself), creates and disbands black and white constellations. However, narrative references to \"La Grande Illusion\" can also be discerned in the composition.<br/><br/> Just as in the constellation of isolated tragedies, references to b&w patterns, those of the threads are full of allusions to social structures, personal relationships and pictograms of all types of elective affinities. Only unambiguous meanings cannot be clearly identified in both. Neither is the narrative part concerned with meanings, nor the non-narrative part with abstractions.Both sections are receptive to each other, but always remain what they are. Together they create a non-illusionist history in image form, marking a difference from the grand illusion of cinema.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/papers/beckett_schneider.html\" rel=\"noopener\" target=\"_blank\">Alan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers</a>","artist_bio":"Es war Nacht, es war kalt, und wir hatten viel getrunken [It Was Night, It Was Cold and We Drank a Lot] (1999)\nRosemarie Trockel (*1952 in Schwerte) studied painting at the Kölner Werkschule under Professor Werner Schriefers from 1974 to 1978. Her early days in art were spent in the immediate proximity of the \"Mühlheimer Freiheit,\" the artist's group in Cologne. She has been a professor at the Staatliche Kunstakademie in Düsseldorf since 1998. The artist lives and works in Cologne. Her work has been awarded numerous prizes, including the 2011 Kaiserring from the city of Goslar, which is one of the best-known prizes for contemporary art in the world.","bio_dates":"b. 1952"},{"slug":"trockel_rosemarie_walk_with_me","ok":true,"partial":false,"title":">Walk With Me","artist":"Rosemary Trockel","year":"1998","startOffset":0,"sourceSecs":226.6,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":11400924,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trockel_rosemarie_walk_with_me/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/trockel_rosemarie_walk_with_me/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/trockel_rosemarie_walk_with_me.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/trockel_rosemarie_walk_with_me/main.mp4?v=2","description":"To enter the new millenium, swedish brand Absolut Vodka chose Rosemarie Trockel as \"Absolut Artist\". The commissioned art work was the striptease of a bottle, a video showing a black wool thread uncloaking and re-cloaking a bottle, accompanied by a beat by Carlo Peters. <br/><br/> Some money and the idea by Rosemarie Trockel were left and she delegated the realization of \"shooting bottles\" entirely to Marc Comes. The editing followed a piece by Thomas Brinkmann: »Walk with me«. As usual with low budget productions, the clip was made in collaboration with friends and other folks willing to exploit themselves.<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/papers/beckett_schneider.html\" rel=\"noopener\" target=\"_blank\">Alan Schneider -- \"On Directing Samuel Beckett's Film\" in UbuWeb Papers</a>","artist_bio":"Es war Nacht, es war kalt, und wir hatten viel getrunken [It Was Night, It Was Cold and We Drank a Lot] (1999)\nRosemarie Trockel (*1952 in Schwerte) studied painting at the Kölner Werkschule under Professor Werner Schriefers from 1974 to 1978. Her early days in art were spent in the immediate proximity of the \"Mühlheimer Freiheit,\" the artist's group in Cologne. She has been a professor at the Staatliche Kunstakademie in Düsseldorf since 1998. The artist lives and works in Cologne. Her work has been awarded numerous prizes, including the 2011 Kaiserring from the city of Goslar, which is one of the best-known prizes for contemporary art in the world.","bio_dates":"b. 1952"},{"slug":"tronic_1997","ok":true,"partial":false,"title":"Tronic","artist":"Vladimir Petek","year":"1997","startOffset":0,"sourceSecs":354.44,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":53458904,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tronic_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tronic_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tronic_1997.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tronic_1997/main.mp4?v=2"},{"slug":"tscherkassky_peter_l_arrivee_1997_98","ok":true,"partial":false,"title":"L'arrivée","artist":"Peter Tscherkassky","year":"1999","startOffset":0,"sourceSecs":137.323,"sourceHeight":336,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":9635394,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tscherkassky_peter_l_arrivee_1997_98/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tscherkassky_peter_l_arrivee_1997_98/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tscherkassky_peter_l_arrivee_1997_98.mp4","hasFrames":true,"description":"L’Arrivée” also recognizes the power of cinema, utilizing its control over space, and in this film especially, time, in order to uncover the energies of motion and story, of the violence inherent in both revolt and containment<br><br><b>RESOURCES:</b> <br/><br/> <a href=\"https://ubu.com/historical/oldenburg/index.html\" rel=\"noopener\" target=\"_blank\">Peter Tscherkassky in UbuWeb Historical</a><br/> <a href=\"https://ubu.com/sound/oldenburg.html\" rel=\"noopener\" target=\"_blank\">Peter Tscherkassky's audio in UbuWeb Sound</a><br/> <a href=\"https://ubu.com/sound/art_by_telephone.html\" rel=\"noopener\" target=\"_blank\">Art by Telephone in UbuWeb Sound</a><br/> <a href=\"https://ubu.com/aspen/aspen3/index.html\" rel=\"noopener\" target=\"_blank\">Aspen no. 3: The Pop Art issue</a>","artist_bio":"Peter Tscherkassky is an experimental filmmaker of Austrian origin who has published extensively on the history and theory of avant-garde cinema. His film work explores the photochemical nature of the image by means of intensive darkroom work carried out with found footage. From 1979 until 1986 he studied philosophy at theuniversities of Berlin and Vienna, where his doctorate included a thesis on aesthetics and avant-garde cinema. Tscherkassky first became interested in avant-garde cinema thanks to a series of lectures in Vienna given by the film historian P. Adams Sitney in 1978. This initial encounter represented a definitive revelation and contributed to Tscherkassky's determination to work as an artist, an agitator, a curator and a theorist.\nTscherkassky started making films in 1979, using Super 8 film. In 1991 he co-founded sixpackfilm, together with Brigitta Burger-Utzer. Over the course of his career he has made some 30 films, including his CinemaScope Trilogy (1997-2001): L’arrivée, Outer Space and Dream Work; Instructions for a Light and Sound Machine (2005); Coming Attractions (2010); and The Exquisite Corpus (2015).\nRanging between the reuse of film material, the championing of traditional working methods and integrating certain structuralist perspectives, his approach to filmmaking involves detailed darkroom work and manual contact printing. The analog technology he developed to alter each of the frames gives the image a particular photographic texture which emphasizes the materiality of the emulsion, graphically impacting its surface (cracks, over prints, inscriptions, etc.) and the accompanying elements (perforations, soundtracks, instructions for screening, etc.). The audio, which is coupled to the images, constantly surprises with its arrhythmic noises, progressive buzzing and deep silences.\nHis work has received over 50 awards, including the Golden Gate Award (San Francisco), the Oberhausen Grand Prize and the award for best short film at the Venice Film Festival.","bio_dates":"b. 1985"},{"slug":"tscherkassky_peter_manufraktur_1985","ok":true,"partial":false,"title":"Manufraktur","artist":"Peter Tscherkassky","year":"1985","startOffset":0,"sourceSecs":180.843,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":32617905,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tscherkassky_peter_manufraktur_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tscherkassky_peter_manufraktur_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tscherkassky_peter_manufraktur_1985.mp4","hasFrames":true,"description":"A tangled network woven with tiny particles of movements broken out of found footage and compiled anew: the elements of the \"to the left, to the right, back and forth\" grammar of narrative space, discharged from all semantic burden. What remains is a self-sufficient swarm of splinters, fleeting vectors of lost direction, furrowed with the traces of the manual process of production.<br><br><b>RESOURCES:</b> <br/><br/> <a href=\"https://ubu.com/historical/oldenburg/index.html\" rel=\"noopener\" target=\"_blank\">Peter Tscherkassky in UbuWeb Historical</a><br/> <a href=\"https://ubu.com/sound/oldenburg.html\" rel=\"noopener\" target=\"_blank\">Peter Tscherkassky's audio in UbuWeb Sound</a><br/> <a href=\"https://ubu.com/sound/art_by_telephone.html\" rel=\"noopener\" target=\"_blank\">Art by Telephone in UbuWeb Sound</a><br/> <a href=\"https://ubu.com/aspen/aspen3/index.html\" rel=\"noopener\" target=\"_blank\">Aspen no. 3: The Pop Art issue</a>","artist_bio":"Peter Tscherkassky is an experimental filmmaker of Austrian origin who has published extensively on the history and theory of avant-garde cinema. His film work explores the photochemical nature of the image by means of intensive darkroom work carried out with found footage. From 1979 until 1986 he studied philosophy at theuniversities of Berlin and Vienna, where his doctorate included a thesis on aesthetics and avant-garde cinema. Tscherkassky first became interested in avant-garde cinema thanks to a series of lectures in Vienna given by the film historian P. Adams Sitney in 1978. This initial encounter represented a definitive revelation and contributed to Tscherkassky's determination to work as an artist, an agitator, a curator and a theorist.\nTscherkassky started making films in 1979, using Super 8 film. In 1991 he co-founded sixpackfilm, together with Brigitta Burger-Utzer. Over the course of his career he has made some 30 films, including his CinemaScope Trilogy (1997-2001): L’arrivée, Outer Space and Dream Work; Instructions for a Light and Sound Machine (2005); Coming Attractions (2010); and The Exquisite Corpus (2015).\nRanging between the reuse of film material, the championing of traditional working methods and integrating certain structuralist perspectives, his approach to filmmaking involves detailed darkroom work and manual contact printing. The analog technology he developed to alter each of the frames gives the image a particular photographic texture which emphasizes the materiality of the emulsion, graphically impacting its surface (cracks, over prints, inscriptions, etc.) and the accompanying elements (perforations, soundtracks, instructions for screening, etc.). The audio, which is coupled to the images, constantly surprises with its arrhythmic noises, progressive buzzing and deep silences.\nHis work has received over 50 awards, including the Golden Gate Award (San Francisco), the Oberhausen Grand Prize and the award for best short film at the Venice Film Festival.","bio_dates":"b. 1985"},{"slug":"tscherkassky_peter_outer_space","ok":true,"partial":false,"title":"Outer Space","artist":"Peter Tscherkassky","year":"1999","startOffset":0,"sourceSecs":597.013,"sourceHeight":858,"sourceWidth":2048,"hasAudio":true,"hasAmbientMp4":true,"bytes":239664013,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tscherkassky_peter_outer_space/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tscherkassky_peter_outer_space/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tscherkassky_peter_outer_space.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tscherkassky_peter_outer_space/main.mp4?v=2","description":"A premonition of a horror film, lurking danger: A house - at night, slightly tilted in the camera's view, eerily lit - surfaces from the pitch black, then sinks back into it again. A young woman begins to move slowly towards the building. She enters it. The film cuts crackle, the sound track grates, suppressed, smothered. Found footage from Hollywood forms the basis for the film. The figure who creeps through the images, who is thrown around by them and who attacks them is Barbara Hershey. Tscherkassky's dramatic frame by frame re-cycling, re-copying and new exposure of the material, folds the images and the rooms into each other. It removes the ground from under the viewer's feet and splits faces, like in a bad dream. From the off, from outer space, foreign bodies penetrate the images and cause the montage to become panic stricken. The outer edges of the film image, the empty perforations and the skeletons of the optical sound track rehearse an invasion..."},{"slug":"tuxedo_moon_the_super_8_years","ok":true,"partial":false,"title":"The Super-8 Years With Tuxedomoon","artist":"Tuxedo Moon","year":"1997","startOffset":0,"sourceSecs":1947.648,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":337656514,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tuxedo_moon_the_super_8_years/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tuxedo_moon_the_super_8_years/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tuxedo_moon_the_super_8_years.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tuxedo_moon_the_super_8_years/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tuxedo_moon_the_super_8_years/main/master.m3u8?v=2","hasMainHls":true,"description":"The entire span of every era of the much beloved and legendary Tuxedomoon - from their early beginnings in San Francisco through their many years in Europe. Impressionistically filmed in both grainy black & white and psychedelic color, by group co-founder Steven Brown. Fits together like a perfect 15-year dream."},{"slug":"tzara_tristan_sur_le_mouvement_dada_et_le_surrealisme_1964","ok":true,"partial":false,"title":"Tristan Tzara sur le mouvement Dada","artist":"Tristan Tzara","year":"1961","startOffset":0,"sourceSecs":618.905,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":40185385,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tzara_tristan_sur_le_mouvement_dada_et_le_surrealisme_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/tzara_tristan_sur_le_mouvement_dada_et_le_surrealisme_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/tzara_tristan_sur_le_mouvement_dada_et_le_surrealisme_1964.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tzara_tristan_sur_le_mouvement_dada_et_le_surrealisme_1964/main.mp4?v=2","description":"(Vidéo) Tristan Tzara sur le mouvement Dada, sa création, les relations avec le surréalisme dans \"En français dans le texte\" (1961)<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/tzara.html\" rel=\"noopener\" target=\"_blank\">Tristan Tzara in UbuWeb Sound</a></br>","artist_bio":"Tristan Tzara sur le mouvement Dada, sa création, les relations avec le surréalisme dans \"En français dans le texte\" (1961)\nPoet and tirelessly energetic propagandist for Dada, Tristan Tzara, whose given name was Samuel Rosenstock, was born into a well-off Jewish family in Romania. He attended a French private school in Bucharest as a youth and while in high school met Ion Vinea and Marcel Janco, both of whom shared his interest in French poetry. Together they founded the literary magazine Simbolul, in which Tzara, under the pseudonym S. Samyro, published a selection of poems written in Romanian and influenced by French symbolism.\nIn 1915, seemingly as the result of a family scandal, Tzara's parents sent him to Zurich, where he enrolled at a university to study philosophy. His first poem signed with the name Tristan Tzara (tzara being the Romanian for land) appeared in October of that year. Romania did not enter the war until 1916, but it is not clear when Tzara might have been first drafted for service. In the fall of 1916 he received papers granting him a deferral of military service, and in 1917 he was relieved from military duty.\nShortly after his arrival in Zurich, Tzara reunited with Janco and Janco's brother Georges, with whom, according to Hugo Ball's diary, he attended the opening night of the Cabaret Voltaire. Over the course of the year in 1916, Tzara's activities at the Cabaret of reciting his poems and those of others led to a more active role in coordinating and planning Dada events. He also, probably through the influence of Richard Huelsenbeck, became interested in African poetry. He incorporated into his poetry scraps of sound, bits of newspaper fragments, and phrases resembling African dialects. Beginning in November 1916, Tzara collected and translated African and Oceanic poems from anthropology magazines in the Zurich library. The soirées nègres at the Cabaret Voltaire led to Tzara's lifelong collecting of African and Oceanic art. On July 23, 1918, in Zurich's Meise Hall, Tzara recited his \"Manifeste Dada 1918.\" Also published in Dada 3, this radical dadaist declaration reached André Breton in Paris, thus beginning the connection that would bring Tzara and Dada to Paris a year later. It was through Tzara's efforts that Dada in Zurich reached a broad international audience, and he has often been described as embodying the migratory quality of Dada.\nTzara arrived in Paris and burst upon the avant-garde literary scene in 1920 at a poetry reading organized by Littérature. He brought to Dada in Paris a skill in managing events and audiences, which transformed literary gatherings into public performances that generated enormous publicity. He remained the editor of Dada, which appeared in France until 1922. As the cohesiveness of the Dada movement in Paris was disintegrating, Tzara published Le Coeur à barbe (The Bearded Heart), a journal reacting against Breton and Francis Picabia.\nFrom 1930 to 1935, Tzara contributed to the definition of surrealist activities and ideology. He was also an active communist sympathizer and was a member of the Resistance during the German occupation of Paris. Tzara remained a spokesman for Dada, and in 1950 delivered a series of nine radio addresses to his Parisian audience discussing the topic of \"the avant-garde revues in the origin of the new poetry.\" In 1962 Tzara traveled for the first time to Africa. He died in Paris the next year.","bio_dates":"1896-1963"},{"slug":"ulad_mohand_mohamed_an_american_in_tangier_1993","ok":true,"partial":false,"title":"An American in Tangier","artist":"Paul Bowles","year":"1993","startOffset":0,"sourceSecs":1628.053,"sourceHeight":480,"sourceWidth":804,"hasAudio":true,"hasAmbientMp4":true,"bytes":283335976,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ulad_mohand_mohamed_an_american_in_tangier_1993/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ulad_mohand_mohamed_an_american_in_tangier_1993/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ulad_mohand_mohamed_an_american_in_tangier_1993.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ulad_mohand_mohamed_an_american_in_tangier_1993/main.mp4?v=2","description":"Dir. Mohamed Ulad-Mohand<br/> Runtime: 27 min. <br/><br/> The American writer and composer, Paul Bowles, reflects on his life in Morocco, his adopted home for over fifty years.<br/> <br/> Paul Bowles ... Himself<br/> Mohammed Mrabet (as Mohammed M'Rabet)<br/> Original Music by Paul Bowles<br/> Cinematography by Joël Krellenstein <br/> Film Editing by Sabine Franel <br/> Olivier Le Vacon .... sound<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Let It Come Down: The Life of Paul Bowles (1998)\nDir. Jennifer Baichwal\nPaul Frederic Bowles (December 30, 1910 - November 18, 1999) was an American expatriate composer, author, and translator. Following a cultured middle-class upbringing in New York City, during which he displayed a talent for music and writing, Bowles pursued his education at the University of Virginia before making various trips to Paris in the 1930s. He studied music with Aaron Copland and in New York wrote music for various theatrical productions, as well as other compositions. He achieved critical and popular success with the publication in 1949 of his first novel The Sheltering Sky, set in what was known as French North Africa, which he had visited in 1931.\nIn 1947 Bowles settled in Tangier, Morocco, and his wife, Jane Bowles followed in 1948. Except for winters spent in Sri Lanka (then known as Ceylon) during the early 1950s, Tangier was his home for the remainder of his life.","bio_dates":"1910-1999"},{"slug":"ulay_actionin14predeterminedsequences_1975","ok":true,"partial":false,"title":"Ulay Actionin14predeterminedsequences","artist":"Ulay","year":"1975","startOffset":0,"sourceSecs":1523.2,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":264912346,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ulay_actionin14predeterminedsequences_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ulay_actionin14predeterminedsequences_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ulay_actionin14predeterminedsequences_1975.mp4","hasFrames":true,"description":"This video work is a documentation of the live Action Ulay performed in Berlin in 1976. It shows step by step his arranged \"art theft\" of Carl Spitzweg’s painting \"The Poor Poet\" from the Neue Nationalgalerie and his reception in commentaries and reactions from the press. During his performance Marina Abramovic, the artist who in the same year became his partner in work and life, took on the camera work and the visual documentation.\n\nThe announcement \"There is a criminal touch to art\", spoken by Ulay, forms the beginning of his account which first presents the headlines and original sounds of a radio report, and solves Ulay’s mystery of the so-called \"picture theft\" by revealing that the 30-year-old was an Amsterdam art student whose Action had been a \"demonstrative act\".\n\nWith Carl Spitzweg’s picture of the \"Poor Poet\", Ulay has in a sense stolen the \"symbol of the German soul\" from the National Gallery to hang it up in Kreuzberg in a Turkish family’s living room. Since it is not only one of the paintings best-known and loved by the public, but has also fallen into disrepute thanks to Hitler’s admiration of the artist and his works, Ulay’s demonstration gives a clear sign. His concern is to make people aware of the difficult situation of immigrants and their families in Germany.\n\nHe starts by hanging a reproduction of the Spitzweg painting \"The Poor Poet\" measuring 2.50 m in front of the College of Fine Arts in Berlin. Then he drives to the National Gallery in his own car and parks it at the back of the building. From there, he walks into the National Gallery building like any normal visitor to the museum, removes the picture from the wall, walks quickly back to his car and escapes in the direction of Kreuzberg to the \"Künstlerhaus Bethanien\" where he leaves his car. From the Künstlerhaus, he walks into the Moskauer Strasse, still carrying the picture. Once there, he enters a house for immigrant (so-called guest workers’) families where, in the living room of one of the families, he takes down a reproduction and hangs up the painting by Spitzweg instead.\n\nEach individual step of the performance is now shown as it is being carried out. There are small, unexpected interactions such as the dispute with a woman museum attendant while shooting Ulay’s Action. With the camera running, she informs Ulay that filming is prohibited in the National Gallery and that he must leave the museum. At last, he is able to continue his Action but in the Gallery, only still photographs are taken to document how he is walking through the exhibition rooms, taking the painting off the wall and escaping with it to the car.\n\nFrom a phone booth near Moskauer Strasse, Ulay informs the director of the museum of the whereabouts of the picture.\n\nAfterwards, Ulay documents some of the reactions to his demonstrative act in the video by hanging up the various press reports and focusing the camera on the headlines: \"Madman steals world-famous Spitzweg painting in Berlin\", \"Poor Poet to adorn the living-room of Turks\" , \"The ‘Poor Poet’s’ short-lived jaunt\", and \"Poor Poet now sits under acrylic\", and in this order they look like a shorthand description of his Action.\n\nThe press reactions thus form an important part of Ulay’s performance because it is only via the media that the artist’s symbolic act can achieve its aim and make the public aware of abuse. His confrontation is touching a raw nerve in society as it realises its (status) symbols and operates with them. This \"theft\" does not constitute a harmless simulation but an act intended to hit home, to hurt. In that sense, this work is connected with Ulay’s concern with the sore and tender spot of both man and recipient which he strives to reveal either through self-mutilation or, as in his \"Fototot\" (Photo-dead) works, by making it impossible to watch, so that it reflects the inner hurt of the artist back to his ignorant audience, holding a mirror up to them."},{"slug":"ulive_ugo_basta_1969","ok":true,"partial":false,"title":"Basta","artist":"Ugo Ulive","year":"1969","startOffset":0,"sourceSecs":1266.014,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":80502657,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ulive_ugo_basta_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/ulive_ugo_basta_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/ulive_ugo_basta_1969.avi","hasFrames":true,"description":"Among the political cinema films of the sixties, Basta (1969), made by Ugo Ulive for the Film Department of the University of Los Andes, stands out above all. It is a non-fiction film that, through the analogy with an autopsy, tries to show the hidden reality under a superficial progress, including the antithesis embodied in the guerrillas. The plans made in the morgue approximate this film to the classic\n\n, which is a later film (1971), with the exception that Ulive's was shot in black and white, and the sequence in which the camera aggressively pursues a patient in a psychiatric hospital continues to be an anthology.\n\nEnough is an eminently experimental film. In it there are exposed, by means of violent symbols (and using freely the Artaudian concept of \"cruelty\"), some consequences of the present social organization in Latin America: the alienation of the human being marginated and turned into a \"thing\", and the constant presence of the imperialism seen as a violation."},{"slug":"untitled_potential_terrorist_2002","ok":true,"partial":false,"title":"Untitled (Potential Terrorist)","artist":"Kerry Tribe","year":"2002","startOffset":0,"sourceSecs":1805.334,"sourceHeight":216,"sourceWidth":322,"hasAudio":true,"hasAmbientMp4":true,"bytes":110777868,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/untitled_potential_terrorist_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/untitled_potential_terrorist_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/untitled_potential_terrorist_2002.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/untitled_potential_terrorist_2002/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/untitled_potential_terrorist_2002/main/master.m3u8?v=2","hasMainHls":true},{"slug":"valie_export_mann_und_frau_und_animal_1970","ok":true,"partial":false,"title":"Mann & Frau & Animal AKA Man & Woman & Animal","artist":"Valie Export","year":"1973","startOffset":0,"sourceSecs":498.773,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":35499629,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/valie_export_mann_und_frau_und_animal_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/valie_export_mann_und_frau_und_animal_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/valie_export_mann_und_frau_und_animal_1970.mp4","hasFrames":true,"description":"The earlier films of Valie Export, one feels, were motivated by the author's desire and need to investigate her own subjectivity, with the audience as a necessary part of the transference and the polemic. Man & Woman & Animal shows a woman finding pleasure in herself, the whole film is a kind of assertion and affirmation of female sexuality and its independence from male values and pleasures... <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Andrea Saemann & Katrin Grögel - Performance Saga 2: Valie Export (2004, interview)\nValie Export\n(born May 17, 1940 in Linz as Waltraud Lehner) is an Austrian artist. Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.\nEducated in a convent until the age of 14, EXPORT studied painting, drawing, and design at the National School for Textile Industry in Vienna, and briefly worked in the film industry as a script girl, editor, and extra. She married and had two children, but later divorced her husband and returned to art school. In 1967, she changed her name to Valie Export—written in uppercase letters, like an artistic logo—shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes. With this gesture of self-determination, EXPORT emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of Viennese actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes EXPORT’s project as unequivocally feminist.\nEXPORT’s early guerilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino (\"Tap and Touch Cinema\") was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, EXPORT wore a tiny \"movie theater\" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the \"theater.\" She then went into the street and invited men, women, and children to come and touch her.\nIn her 1969 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), EXPORT entered a porn cinema in Munich with her hair in disarray, wearing crotchless pants, and carrying a machine gun. Striding up and down the rows of theatregoers, she brandished the weapon and challenged the male audience to engage with a \"real woman\" instead of with an images on a screen. Through these acts of artistic daring, EXPORT challenged the objectification of the female form by confronting voyeurs with a body that returned the gaze.\nThe contrast with what is usually called \"cinema\" is obvious, and is crucial to the message. In EXPORT's performance, the female body is not packaged and sold by male directors and producers, but is controlled and offered freely by the woman herself, in defiance of social rules and state precepts. Also, the ordinary state-approved cinema is an essentially voyeuristic experience, whereas in EXPORT's performance, the \"audience\" not only has a very direct, tactile contact with another person, but does so in the full view of EXPORT and bystanders.\nEXPORT's groundbreaking video piece, \"Facing a Family\" (1971) was one of the first instances of television intervention and broadcasting video art. The video, broadcast on the Austrian television program \"Kontakte\", shows a bourgeois Austrian family watching TV while eating dinner. When other middle class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.\nSince 1995/1996 EXPORT has held a professorship for multimedia performance at the Kunsthochschule für Medien in Cologne, Germany.","bio_dates":"b. 1940"},{"slug":"valie_export_remote_remote_1973","ok":true,"partial":false,"title":"Remote... Remote...","artist":"Valie Export","year":"1973","startOffset":0,"sourceSecs":594.283,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":42515242,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/valie_export_remote_remote_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/valie_export_remote_remote_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/valie_export_remote_remote_1973.mp4","hasFrames":true,"description":"Human behaviour – in contrast to that of machines (animals) – is influenced by past events, no matter how long ago they occurred. This has led to the existence of a spiritual para-time that runs parallel to objective time and is constantly subject to the influence of the prayers of fear and guilt, of the incapability to overcome, of deformations that tear open the skin, of visual manifestations. I point to something representing past and present. <br/><br/> With sometimes painful directness, Valie Export conducts a psychological investigation of the body in this film performance, externalizes an internal state. In front of a police photo showing two children who were sexually abused by their parents, she tortuously cuts into her cuticles until blood drips into a bowl of milk on her lap. On top of the symbolic plane of blood and milk, the physical effect on the viewer of her destructive act of self-mutilation is extreme. <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Andrea Saemann & Katrin Grögel - Performance Saga 2: Valie Export (2004, interview)\nValie Export\n(born May 17, 1940 in Linz as Waltraud Lehner) is an Austrian artist. Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.\nEducated in a convent until the age of 14, EXPORT studied painting, drawing, and design at the National School for Textile Industry in Vienna, and briefly worked in the film industry as a script girl, editor, and extra. She married and had two children, but later divorced her husband and returned to art school. In 1967, she changed her name to Valie Export—written in uppercase letters, like an artistic logo—shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes. With this gesture of self-determination, EXPORT emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of Viennese actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes EXPORT’s project as unequivocally feminist.\nEXPORT’s early guerilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino (\"Tap and Touch Cinema\") was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, EXPORT wore a tiny \"movie theater\" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the \"theater.\" She then went into the street and invited men, women, and children to come and touch her.\nIn her 1969 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), EXPORT entered a porn cinema in Munich with her hair in disarray, wearing crotchless pants, and carrying a machine gun. Striding up and down the rows of theatregoers, she brandished the weapon and challenged the male audience to engage with a \"real woman\" instead of with an images on a screen. Through these acts of artistic daring, EXPORT challenged the objectification of the female form by confronting voyeurs with a body that returned the gaze.\nThe contrast with what is usually called \"cinema\" is obvious, and is crucial to the message. In EXPORT's performance, the female body is not packaged and sold by male directors and producers, but is controlled and offered freely by the woman herself, in defiance of social rules and state precepts. Also, the ordinary state-approved cinema is an essentially voyeuristic experience, whereas in EXPORT's performance, the \"audience\" not only has a very direct, tactile contact with another person, but does so in the full view of EXPORT and bystanders.\nEXPORT's groundbreaking video piece, \"Facing a Family\" (1971) was one of the first instances of television intervention and broadcasting video art. The video, broadcast on the Austrian television program \"Kontakte\", shows a bourgeois Austrian family watching TV while eating dinner. When other middle class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.\nSince 1995/1996 EXPORT has held a professorship for multimedia performance at the Kunsthochschule für Medien in Cologne, Germany.","bio_dates":"b. 1940"},{"slug":"valie_export_syntagma_1983","ok":true,"partial":false,"title":"Syntagma","artist":"Valie Export","year":"1983","startOffset":0,"sourceSecs":1027.243,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":66462935,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/valie_export_syntagma_1983/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/valie_export_syntagma_1983/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/valie_export_syntagma_1983.mp4","hasFrames":true,"description":"1984's Syntagma replaces EXPORT with an actress. Once more, however, there's autobiographical thinking behind this as by this time, courtesy of various controversy and acclaim, she had become something of a media icon, an object if you will. Indeed, VALIE EXPORT is herself a creation for the art world, a persona assumed by Waltraud Lehner in the late sixties (with intentional capital letters, as per this review) which again blends the anonymous (EXPORT doesn't really exist…) and the material (…yet she very clearly has a physical presence as the early films show). <br/><br/> As such Syntagma concerns itself with the objective and the subjective, with self-awareness and the perception of and by others. Here our female subject (and again EXPORT uses intermittent nudity as means of underlining her femininity) is represented through various representations; her image being repeated, rhymed, echoed and divided through split screens. It's a testament to EXPORT's cinematic prowess – an element often forgotten in lieu of the body politics – that all of this is so persuasively handled and so concisely done. We're able to both see and see what is being seen as it were, yet with such a remarkable ease that it never feels over-theorised or overburdening. <br/><br/> -----------------------<br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"Andrea Saemann & Katrin Grögel - Performance Saga 2: Valie Export (2004, interview)\nValie Export\n(born May 17, 1940 in Linz as Waltraud Lehner) is an Austrian artist. Her artistic work includes video installations, body performances, expanded cinema, computer animations, photography, sculptures and publications covering contemporary arts.\nEducated in a convent until the age of 14, EXPORT studied painting, drawing, and design at the National School for Textile Industry in Vienna, and briefly worked in the film industry as a script girl, editor, and extra. She married and had two children, but later divorced her husband and returned to art school. In 1967, she changed her name to Valie Export—written in uppercase letters, like an artistic logo—shedding her father’s and husband’s names and appropriating her new surname from a popular brand of cigarettes. With this gesture of self-determination, EXPORT emphatically asserted her identity within the Viennese art scene, which was then dominated by the taboo-breaking performance art of Viennese actionists such as Hermann Nitsch, Günter Brus, Otto Mühl, and Rudolf Schwarzkogler. Like her male contemporaries, she subjected her body to pain and danger in actions designed to confront the growing complacency and conformism of postwar Austrian culture. But her examination of the ways in which the power relations inherent in media representations inscribe women’s bodies and consciousness distinguishes EXPORT’s project as unequivocally feminist.\nEXPORT’s early guerilla performances have attained an iconic status in feminist art history. Tapp- und Tast-Kino (\"Tap and Touch Cinema\") was performed in ten European cities in 1968-1971. In this avowedly revolutionary work, EXPORT wore a tiny \"movie theater\" around her naked upper body, so that her body could not be seen but could be touched by anyone reaching through the curtained front of the \"theater.\" She then went into the street and invited men, women, and children to come and touch her.\nIn her 1969 performance Aktionshose:Genitalpanik (Action Pants: Genital Panic), EXPORT entered a porn cinema in Munich with her hair in disarray, wearing crotchless pants, and carrying a machine gun. Striding up and down the rows of theatregoers, she brandished the weapon and challenged the male audience to engage with a \"real woman\" instead of with an images on a screen. Through these acts of artistic daring, EXPORT challenged the objectification of the female form by confronting voyeurs with a body that returned the gaze.\nThe contrast with what is usually called \"cinema\" is obvious, and is crucial to the message. In EXPORT's performance, the female body is not packaged and sold by male directors and producers, but is controlled and offered freely by the woman herself, in defiance of social rules and state precepts. Also, the ordinary state-approved cinema is an essentially voyeuristic experience, whereas in EXPORT's performance, the \"audience\" not only has a very direct, tactile contact with another person, but does so in the full view of EXPORT and bystanders.\nEXPORT's groundbreaking video piece, \"Facing a Family\" (1971) was one of the first instances of television intervention and broadcasting video art. The video, broadcast on the Austrian television program \"Kontakte\", shows a bourgeois Austrian family watching TV while eating dinner. When other middle class families watched this program on TV, the television would be holding a mirror up to their experience and complicating the relationship between subject, spectator, and television.\nSince 1995/1996 EXPORT has held a professorship for multimedia performance at the Kunsthochschule für Medien in Cologne, Germany.","bio_dates":"b. 1940"},{"slug":"van_der_elksen_ed_handen_aka_hands_1960","ok":true,"partial":false,"title":"Handen","artist":"Ed van der Elsken","year":"1960","startOffset":0,"sourceSecs":298.133,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":51518538,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/van_der_elksen_ed_handen_aka_hands_1960/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/van_der_elksen_ed_handen_aka_hands_1960/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/van_der_elksen_ed_handen_aka_hands_1960.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/van_der_elksen_ed_handen_aka_hands_1960/main.mp4?v=2","description":"Ed van der Elsken | Handen | 1960 | b/w | appr. 5 min. <br/><br/> Photographer/Filmmaker Ed van der Elsken focuses on human hands from birth to love to work to death in this lovely short.","artist_bio":"Ed van der Elsken, the 'enfant terrible' of Dutch photography, was linked with Amsterdam, his place-of-birth where he photographed and filmed throughout his life. He captured Amsterdam's free spirit, open-mindedness and creativity from the1950s on. The exhibition puts this typical Dutch outlook on life in the spotlight. For Sophie Landres, director of Mireille Mosler Ltd., it's really important to show New Yorkers the work of Van der Elsken: 'he's such a wonderful photographer; he really knew how to capture the essence of a city.'\nInfluenced by Weegee, known best for his straight-forward street photography, Van der Elsken explored every aspect the city has to offer. In 1956, he published his\nfirst black-and-white photo-book\nLove on the left bank\n, on the life of artists in Saint-Germain de Pres in Paris\n. Many of the color photographs of\nMy Amsterdam\nwere originally published in\nEye Love You\n(1977) and\nHallo!\n(1978).\nMost often, Van der Elsken's subject was his beloved Amsterdam. But the overall theme can be viewed in a much broader way. Director Sophie Landres: 'Van der Elsken's work holds something universal about cities, something of reference to Amsterdam as well as to New York. He portrayed the diversity of Amsterdam, and New York is a city that has always celebrated that aspect too.'\nNot only the theme, but also Van der Elksen's methods were of a diverse nature. Since the early sixties he shot several movies in addition to his photography, one of which will be shown at the exhibition. In the short, black-andÐwhite 16mm film called\nFietsen\n(\nCycling\n), the artist observes cyclist in the 1960s, moving over the bridges on the canals his beloved city is still famous for.","bio_dates":"1925-1990"},{"slug":"van_der_elsken_ed_karel_appel_componist_aka_karel_appel_composer_1961","ok":true,"partial":false,"title":"Karel Appel, componist aka Karel Appel, composer","artist":"Ed van der Elsken","year":"1961","startOffset":0,"sourceSecs":296.085,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":51270978,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/van_der_elsken_ed_karel_appel_componist_aka_karel_appel_composer_1961/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/van_der_elsken_ed_karel_appel_componist_aka_karel_appel_composer_1961/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/van_der_elsken_ed_karel_appel_componist_aka_karel_appel_composer_1961.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/van_der_elsken_ed_karel_appel_componist_aka_karel_appel_composer_1961/main.mp4?v=2","description":"This short film was made by Dutch photographer Ed van der Elsken while Karel Appel, a well know Dutch painter (part of CoBrA) was composing music for Jan Vrijman's movie 'Karel Appel's Reality'. Music technician in the Philips NatLab is Frits Weiland.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/appel.html\" rel=\"noopener\" target=\"_blank\">Karel Appel in UbuWeb Sound</a></br>","artist_bio":"Ed van der Elsken, the 'enfant terrible' of Dutch photography, was linked with Amsterdam, his place-of-birth where he photographed and filmed throughout his life. He captured Amsterdam's free spirit, open-mindedness and creativity from the1950s on. The exhibition puts this typical Dutch outlook on life in the spotlight. For Sophie Landres, director of Mireille Mosler Ltd., it's really important to show New Yorkers the work of Van der Elsken: 'he's such a wonderful photographer; he really knew how to capture the essence of a city.'\nInfluenced by Weegee, known best for his straight-forward street photography, Van der Elsken explored every aspect the city has to offer. In 1956, he published his\nfirst black-and-white photo-book\nLove on the left bank\n, on the life of artists in Saint-Germain de Pres in Paris\n. Many of the color photographs of\nMy Amsterdam\nwere originally published in\nEye Love You\n(1977) and\nHallo!\n(1978).\nMost often, Van der Elsken's subject was his beloved Amsterdam. But the overall theme can be viewed in a much broader way. Director Sophie Landres: 'Van der Elsken's work holds something universal about cities, something of reference to Amsterdam as well as to New York. He portrayed the diversity of Amsterdam, and New York is a city that has always celebrated that aspect too.'\nNot only the theme, but also Van der Elksen's methods were of a diverse nature. Since the early sixties he shot several movies in addition to his photography, one of which will be shown at the exhibition. In the short, black-andÐwhite 16mm film called\nFietsen\n(\nCycling\n), the artist observes cyclist in the 1960s, moving over the bridges on the canals his beloved city is still famous for.","bio_dates":"1925-1990"},{"slug":"van_der_keuken_johan_de_meester_en_de_reus_1980_iphone","ok":true,"partial":false,"title":"De Meester en de Reus aka The Master and the Giant","artist":"Johan van der Keuken","year":"1980","startOffset":0,"sourceSecs":4056.429,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":234634134,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/van_der_keuken_johan_de_meester_en_de_reus_1980_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/van_der_keuken_johan_de_meester_en_de_reus_1980_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/van_der_keuken_johan_de_meester_en_de_reus_1980_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/van_der_keuken_johan_de_meester_en_de_reus_1980_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/van_der_keuken_johan_de_meester_en_de_reus_1980_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"1980. The Netherlands.<br/> 70 min.<br/> <br/> Halfway between a fiction film and a documentary, The Master and the Giant deals with the theme of rivalry in creation: one God creates the world and a second destroys it in order to create another, better one. Myth and reality intermingle in this film that explores two distinct worlds: a man and a woman in an Amsterdam neighborhood in the process of being demolished, and images of life in Tunisia on the edge of the Sahara desert. (In association with Claude Ménard).","artist_bio":"Johan van der Keuken (4 April 1938, Amsterdam – 7 January 2001, Amsterdam) was a Dutch documentary filmmaker, author, and photographer. In a career that spanned 42 years, Keuken produced 55 documentary films, six of which won eight awards. He also wrote nine books on photography and films, his field of interest. For all his efforts, he received seven awards for his life work, and one other for photography.","bio_dates":"1938-2001"},{"slug":"van_tieghem_david_eartoground_1979","ok":true,"partial":false,"title":"Ear to the Ground","artist":"David Van Tieghem","year":"1979","startOffset":0,"sourceSecs":272.213,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":18575173,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/van_tieghem_david_eartoground_1979/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/van_tieghem_david_eartoground_1979/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/van_tieghem_david_eartoground_1979.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/van_tieghem_david_eartoground_1979/main.mp4?v=2","description":"Conceived & Performed by David Van Tieghem, Produced and Directed by John Sanborn & Kit Fitzgerald. Ear to the Ground,\" wherein Van Tieghem literally \"plays\" the streets of New York as if it were a musical instrument, have become internationally acclaimed favorites. These collaborations with video artists John Sanborn, Kit Fitzgerald, and Mary Perillo have been televised and presented in art venues and nightclubs throughout the world. In 1985, \"Ear to the Ground\" opened the premiere season of the PBS TV series \"Alive from Off-Center.\"","artist_bio":"David Van Tieghem is an American composer, musician, percussionist, drummer, keyboard player, performance artist, video artist and actor, notorious for his philosophy of utilizing any available object as a percussion instrument and his collaborations with the experimental rock artist Laurie Anderson.","bio_dates":"b. 1955"},{"slug":"varda_agnes_black_panters_huey_iphone","ok":true,"partial":false,"title":"Black Panters Huey","artist":"Agnès Varda","year":"1968","startOffset":0,"sourceSecs":2809.944,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":166066202,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_agnes_black_panters_huey_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_agnes_black_panters_huey_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/varda_agnes_black_panters_huey_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/varda_agnes_black_panters_huey_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/varda_agnes_black_panters_huey_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Documentary film produced by American Documentary Films and the Black Panther Party from 1968, honoring Huey P. Newton's struggle for African American civil rights, advocating for his release from jail and addressing issues of racism in American society. Features scenes from the funeral of Bobby Hutton and the Huey P. Newton Birthday Rally in the Oakland Auditorium on February 17th 1968, with speeches by: Bobby Seale (who explains the Black Panther Party's 10 Point Program in detail); Ron Dellums; James Foreman; Charles R. Garry; Eldridge Cleaver; Bob Avakian; H. Rap Brown and Stokely Carmichael. Also includes views of police officers showing the weapons and armor they carry in patrol cars and of African Americans discussing racism in American society. This film was scripted and directed by Sally Pugh."},{"slug":"varda_agnes_black_panthers_1968_new","ok":true,"partial":false,"title":"Black Panthers","artist":"Agnès Varda","year":"1968","startOffset":0,"sourceSecs":1586.48,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":276358154,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_agnes_black_panthers_1968_new/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_agnes_black_panthers_1968_new/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/varda_agnes_black_panthers_1968_new.mp4","hasFrames":true,"description":"Black Panthers is a 1968 short documentary film by Agnès Varda. The film was shot in Oakland, California during the protests over Huey P. Newton's arrest for John Frey's murder in 1967.<br/><br/> In the summer of 1968, people arrive in Oakland to protest Huey P. Newton's arrest. Newton is himself interviewed and talks about his poor treatment while incarcerated and also talks about the ideals of the Black Panther movement which includes protecting the black community from the police, informing them of their rights, and taking advantage of license to carry firearm laws in order to arm Panthers to police the police.<br/><br/> Other people are interviewed, including Kathleen Cleaver who talks about the natural hair movement and the increasing importance of women in positions of authority in the Black Panther movement. The film ends with Newton's conviction for manslaughter and a hate crime involving two police officers shooting the window of a Black Panther office where Newton's picture had been hung in the front window.<br/><br/> Varda and her crew shot the film in 1968 during her time in California while her husband Jacques Demy was in Hollywood working on Model Shop.<br/><br/><b>RELATED RESOURCES</b>: <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a>","artist_bio":"Born May 30, 1928, in Brussels, Belgium to a Greek father and French mother, Paris-based Agnès Varda has been a leading figure in French and international filmmaking for over 50 years. Trained in art and photography, she made her first film, La Pointe Courte, in 1955 with the encouragement of filmmaker Alain Resnais (who served as its editor). Based on a William Faulkner short story, it is considered by many to have anticipated the French New Wave.\nHer major films include Cléo From 5 to 7, Happiness, One Sings, the Other Doesn't, Kung-fu Master!, Jacquot de Nantes, One Hundred and One Nights and The Gleaners and I. In addition to her own films, Varda has written dialogue for the works of others, most notably for Bernardo Bertolucci's Last Tango in Paris. She also served as producer for Jacques Demy's Lady Oscar. Among the many awards bestowed upon Varda have been the Prix Méliès for Cléo From 5 to 7,, the Prix Louis-Delluc and Berlin Film Festival Special Award for Le Bonheur and the Venice Film Festival Golden Lion for Vagabond. The Beaches of Agnès has received the César (France's equivalent of the Oscar) for Best Documentary and a Directors Guild of America nomination for Outstanding Directorial Achievement in Documentary. On April 12, 2009, she was given the rank of Commandeur of the French Legion of Honor.","bio_dates":"1928-2019"},{"slug":"varda_agnes_elsa_la_rose_1966","ok":true,"partial":false,"title":"Elsa la rose","artist":"Agnès Varda","year":"1966","startOffset":0,"sourceSecs":1160.703,"sourceHeight":360,"sourceWidth":488,"hasAudio":true,"hasAmbientMp4":true,"bytes":73995909,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_agnes_elsa_la_rose_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_agnes_elsa_la_rose_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/varda_agnes_elsa_la_rose_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/varda_agnes_elsa_la_rose_1966/main.mp4?v=2","description":"Elsa la rose (1965 France 20 mins)<br/> <br/> Prod Co: Pathé Dir: Agnès Varda Phot: Willy Kurant, William Lubtchansky Ed: Jean Hamon Sound: Bernard Ortion, Jacques Bonpunt<br/> <br/> “Cast”: Elsa Triolet, Louis Aragon, Michel Piccoli (voice: poems)<br/> <br/> Elsa la rose<br/> Adrian Danks<br/> Senses of Cinema<br/><br/>In 1965, Agnès Varda made a short, intense documentary on the then almost 40-year relationship between the French writers Louis Aragon and Elsa Triolet. Her film predominantly and characteristically focuses upon Triolet, and her role as both muse and important artistic and political influence on her partner. Varda’s film, Elsa la rose, titled after the moniker bestowed on Triolet by Aragon, was made between two of Varda’s most controversial, inscrutable and misunderstood features: Le Bonheur (1964) and Les Creatures (1965). All three films focus on the couple and the complex relation it holds to both its immediate environment and circumstances and the realms of individual and collective fantasy. This gaze on the couple as a sacrosanct and malleable entity, a measurable and unknowable partnership, a shared and totally separate consciousness, as well as the impact and influence of landscape and place on daily existence, are key motifs, themes and autobiographical concerns that feature throughout much of Varda’s work both prior to Elsa la rose and in the often intimate, domestic and restless, yet profoundly situated work she has made over the following 50 years.<br> <br> The filmic “portrait” is also a mode that Varda has consistently revisited in both her documentary and fictional films, an approach that has often acted to blur key distinctions between these two forms or realms of cinema. As Varda has stated, “I’ve been trying all my life to put into fictional films the texture of documentary” (1). For example, Varda’s most acclaimed film, Sans toit ni loi (Vagabond, 1985), constantly returns to the frontal or face-on image of characters speaking directly to the camera, expressively and somewhat self-consciously posed in their common surroundings (almost like they are undertaking on-the-spot police interviews). This confessional, sometimes confronting and somewhat distancing technique is consistently deployed as a means to fuse together “actor”, person, environment, place, time, memory and more concrete representations of both the past and present in her work, including the varied approaches – shifting restlessly across time and history – to the subject that is “surveyed” in Elsa la rose. It is also one of the pictorial means Varda uses to link her films to other art forms (such as her true inspiration in photography and painting), and emphasise both artifice and the documentary grounding that inflects and infects all of her films and installations.<br/> <br/> Amongst the most interesting and intriguing aspects of Elsa la rose, at least in hindsight, are the ways in which it pre-empts and speaks to the string of four remarkable and often playful films that Varda made about her husband, Jacques Demy, since his AIDS-related death in October 1990: Jacquot de Nantes (1991; commenced while he was still alive), Les Demoiselles ont eu 25 ans (The Young Girls Turn 25, 1993), L’Univers de Jacques Demy (1995) and Les Plages d’Agnès (The Beaches of Agnès, 2008). Each of these films approaches various aspects of Demy’s life through an exploration of environment and place, as well as the impact of his work on particular locations and audiences. On a somewhat superficial level, the parallels between Triolet and Aragon, Varda and Demy, are both startling and revealing. After Triolet’s death in 1970, Aragon promptly “came out” as bisexual and became a somewhat noticeable figure in or symbol of the French gay pride movement. Demy’s sexuality has been a much less discussed and debated topic, partly as a result of his own reticence on the matter but also due to Varda’s subsequent unwillingness to work such a discussion into – on any substantive level; though some revelations are given in Les Plages d’Agnès – the series of interconnected films she has made about his work (a group of films that have themselves been somewhat overlooked by many commentators on the two directors’ works). References to Demy’s sexuality are often fleeting in this analysis, particular in English language criticism (but this also appears to be true within France itself). For example, Jonathan Rosenbaum briefly compares Demy to Yasujiro Ozu as a “closeted” gay or bisexual man “living in [a] highly formalized middle-class societ[y] where ‘coming out’ was not regarded as an option…. Their fascination with ‘normal’ family life was thus emotionally and philosophically complex – their views both idealized and ironic.” (2)<br/> <br/> It is nevertheless tempting to try to see or decipher a degree of identification and recognition in Varda’s portrait of Triolet, a sense of connection between her own and the writer’s situation, relationships and gendered experience. But nothing in the film really suggests or allows this. Intriguingly, Demy was meant to have made a companion piece to Varda’s film that would have led to a more equitable focus on Aragon. The initial idea was for the two films to focus on each writer’s knowledge and imagination of the other’s childhood, with Varda profiling Triolet through Aragon and Demy looking at Aragon through the eyes and words of Triolet. For whatever reason, Demy dropped out of this project prior to filming.<br/> <br/> In the film that was made, Varda is rightly and understandably more concerned with the somewhat wearisome role of the “muse” that the matter-of-fact but unflinching Triolet is required, even forced to play, and in presenting – in an around this – the sketched-in but remarkable details of her life and work (though the latter is mostly left to the side; a realm too vast to broach here). It is this approach that is central to the more expressly feminist concerns of Varda’s documentary. As in her films about Demy, Varda also provides a remarkable portrait of her subject’s corporeality, the way she looks, the gestures she makes, her interactions with the camera and filmmaking process, and how she relates to her physical surroundings. This uncanny ability to place subjects within their environments, to create a portrait in an almost classical sense, is a recurring preoccupation of Varda’s bracingly situational documentary and fictional cinema. Such a concern with the context of figures and actions lies at the centre of Varda’s approach, as Sandy Flitterman-Lewis argues: “Varda starts with a locale – a deeply felt sense of the effects of environment, both geographic and social – and works from there” (3). As can be seen in such major works as Jacquot de Nantes, Daguerréotypes (1976), Les Glaneurs et la glaneuse (The Gleaners &amp; I, 2000) and Vagabond, and in the focus on the couple’s living environment and immediate surroundings in Elsa la rose,it is such “environmental” portraiture that provides an important portal between documentary and fiction in Varda work, an approach to the subject that is collaborative and poignantly staged rather than merely observational. It is also in this tricky space that Varda runs the greatest risk of allowing her work to tip over into the realms of the mannered, fey and cloyingly indulgent, as it does in films like the often excruciating Jane B. par Agnès V. (1988) and Les cent et une nuits de Simon Cinéma (1995). It is testament to Varda’s talents as a truly exploratory and profoundly essayistic filmmaker that these failures provide the exceptions rather than the rule in her work. Elsa la rose is one of the most clear-eyed and touching explorations of this exploratory realm in Varda’s cinema.<br/> <br/> Elsa la rose is an explicitly fragmented work that tries on various approaches – straight-ahead portraiture, reenactment, Proustian memory work – as a means of attempting to “capture” its elusive subject. It slips between the writing of Aragon about Triolet (breathlessly voiced by Michel Piccoli), the spoken words of Aragon, and the more grounded, corrective responses of Elsa to Aragon’s idealisation of her. Although Varda would probably insist that her film is equally an abstraction, a study of the ways in which couples aestheticise and obscure the true natures of their partners as well as the relationship they conduct together, she provides a wonderfully varied “account” of Triolet’s image and being within its condensed but never rushed 20-minute running time.<br/> <br/> In the process, Elsa la rose profiles and uses the rhapsodic poetry and prose that Aragon continued to write about Elsa throughout his life. Aragon’s impressionistic, sensual and often litany-like odes to his wife are some distance from Varda’s more matter-of-fact but still poetic films about Demy, but they do share some commonalities and specific qualities. Elsa la rose, Aragon’s writing and Varda’s films in this mode insist on the quixotic and incomplete nature of the portraits they offer. Aragon’s poetry evocatively presents a wonderful, flattering and endlessly shifting “picture” of Elsa but is also somewhat wide of the mark (what he “captures” is plainly not her), an attempt to fix and pin down the ineffable, the inexpressible, the abstract, and the deeply subjective. The great value of Varda’s film lies in the way that it both pictorialises Aragon’s way of looking at Triolet and provides a more tactile, feminised and empowered perspective in the process. It partly frees Triolet from Aragon’s words, but also recognises its own limitations in its often decentred and conspicuously fragmented portrayal. Despite opening with the image of Aragon writing about Elsa – “I’m filled with the deafening silence of loving” – and ending with a close-up of Aragon’s mouth voicing his dedication to his wife, Varda’s film moves to the side of Aragon’s perspective and presents a profound and moving portrait of Triolet that significantly outstrips it.<br/> <br/> Varda: All these poems are for you. Do they make you feel loved?<br/> <br/> Triolet: Oh, no! They aren’t what make me feel loved. Not the poetry. It’s the rest. Life. Writing a life story, with its stops, switches, signals, bridges, tunnels, catastrophes…<br/> <br/> Parts of this essay first appeared in “Living Cinema: The “Demy Films” of Agnès Varda”, Studies in Documentary Film, vol. 4, no. 2, December 2010.<br/><br/>Endnotes<br> 1. Melissa Anderson, “The Modest Gesture of the Filmmaker: An Interview with Agnès Varda”, Cineaste vol. 26, no. 4, Fall 2001, p. 27.<br> <br/> 2. Jonathan Rosenbaum, “Songs in the Key of Everyday Life”, Chicago Reader 16 May 1996: http://www.chicagoreader.com/chicago/songs-in-the-key-of-everyday-life/Content?oid=890489.<br/> <br/> 3. Sandy Flitterman-Lewis, To Desire Differently: Feminism and the French Cinema, Columbia University Press, New York, 1996, p. 224.<br/><br/><b>RELATED RESOURCES</b>: <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a></br></br></br></br>","artist_bio":"Born May 30, 1928, in Brussels, Belgium to a Greek father and French mother, Paris-based Agnès Varda has been a leading figure in French and international filmmaking for over 50 years. Trained in art and photography, she made her first film, La Pointe Courte, in 1955 with the encouragement of filmmaker Alain Resnais (who served as its editor). Based on a William Faulkner short story, it is considered by many to have anticipated the French New Wave.\nHer major films include Cléo From 5 to 7, Happiness, One Sings, the Other Doesn't, Kung-fu Master!, Jacquot de Nantes, One Hundred and One Nights and The Gleaners and I. In addition to her own films, Varda has written dialogue for the works of others, most notably for Bernardo Bertolucci's Last Tango in Paris. She also served as producer for Jacques Demy's Lady Oscar. Among the many awards bestowed upon Varda have been the Prix Méliès for Cléo From 5 to 7,, the Prix Louis-Delluc and Berlin Film Festival Special Award for Le Bonheur and the Venice Film Festival Golden Lion for Vagabond. The Beaches of Agnès has received the César (France's equivalent of the Oscar) for Best Documentary and a Directors Guild of America nomination for Outstanding Directorial Achievement in Documentary. On April 12, 2009, she was given the rank of Commandeur of the French Legion of Honor.","bio_dates":"1928-2019"},{"slug":"varda_agnes_plaisir_damour_en_iran_1976","ok":true,"partial":false,"title":"Plaisir d'amour en Iran","artist":"Agnès Varda","year":"1976","startOffset":0,"sourceSecs":338.411,"sourceHeight":384,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":21530112,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_agnes_plaisir_damour_en_iran_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_agnes_plaisir_damour_en_iran_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/varda_agnes_plaisir_damour_en_iran_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/varda_agnes_plaisir_damour_en_iran_1976/main.mp4?v=2","description":"35mm, 1976<br/> Starring: Valérie Mairesse, Ali Raffi<br/> 6min<br/> <br/> Made at a time when Iran had a seemingly revolving door for incoming European directors and bottomless funding for their projects, Plaisir d'amour en Iran is a short, sort of love story between a handsome Iranian (Ali Raffi) and a visiting French woman (Valérie Mairesse). The film was shot at the Shah Masjed in romantic Esfehan.<br><br><b>RELATED RESOURCES</b>: <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a></br>","artist_bio":"Born May 30, 1928, in Brussels, Belgium to a Greek father and French mother, Paris-based Agnès Varda has been a leading figure in French and international filmmaking for over 50 years. Trained in art and photography, she made her first film, La Pointe Courte, in 1955 with the encouragement of filmmaker Alain Resnais (who served as its editor). Based on a William Faulkner short story, it is considered by many to have anticipated the French New Wave.\nHer major films include Cléo From 5 to 7, Happiness, One Sings, the Other Doesn't, Kung-fu Master!, Jacquot de Nantes, One Hundred and One Nights and The Gleaners and I. In addition to her own films, Varda has written dialogue for the works of others, most notably for Bernardo Bertolucci's Last Tango in Paris. She also served as producer for Jacques Demy's Lady Oscar. Among the many awards bestowed upon Varda have been the Prix Méliès for Cléo From 5 to 7,, the Prix Louis-Delluc and Berlin Film Festival Special Award for Le Bonheur and the Venice Film Festival Golden Lion for Vagabond. The Beaches of Agnès has received the César (France's equivalent of the Oscar) for Best Documentary and a Directors Guild of America nomination for Outstanding Directorial Achievement in Documentary. On April 12, 2009, she was given the rank of Commandeur of the French Legion of Honor.","bio_dates":"1928-2019"},{"slug":"varda_agnes_response_de_femmes_1975","ok":true,"partial":false,"title":"Réponses de femmes","artist":"Agnès Varda","year":"1975","startOffset":0,"sourceSecs":468.253,"sourceHeight":368,"sourceWidth":488,"hasAudio":true,"hasAmbientMp4":true,"bytes":33225350,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_agnes_response_de_femmes_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_agnes_response_de_femmes_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/varda_agnes_response_de_femmes_1975.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/varda_agnes_response_de_femmes_1975/main.mp4?v=2","description":"À la question « Qu'est-ce qu'une femme ? » posée par une chaîne de télévision, quelques femmes cinéastes ont répondu, dont Agnès.<br/><br/> À l'écran, une femme enceinte et nue, dansant et riant à pleine gorge, a suscité des réclamations écrites à Antenne 2.<br/><br/> D'autres disent le désir, ou pas, d'avoir des enfants.<br/><br/><b>RELATED RESOURCES</b>: <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a>","artist_bio":"Born May 30, 1928, in Brussels, Belgium to a Greek father and French mother, Paris-based Agnès Varda has been a leading figure in French and international filmmaking for over 50 years. Trained in art and photography, she made her first film, La Pointe Courte, in 1955 with the encouragement of filmmaker Alain Resnais (who served as its editor). Based on a William Faulkner short story, it is considered by many to have anticipated the French New Wave.\nHer major films include Cléo From 5 to 7, Happiness, One Sings, the Other Doesn't, Kung-fu Master!, Jacquot de Nantes, One Hundred and One Nights and The Gleaners and I. In addition to her own films, Varda has written dialogue for the works of others, most notably for Bernardo Bertolucci's Last Tango in Paris. She also served as producer for Jacques Demy's Lady Oscar. Among the many awards bestowed upon Varda have been the Prix Méliès for Cléo From 5 to 7,, the Prix Louis-Delluc and Berlin Film Festival Special Award for Le Bonheur and the Venice Film Festival Golden Lion for Vagabond. The Beaches of Agnès has received the César (France's equivalent of the Oscar) for Best Documentary and a Directors Guild of America nomination for Outstanding Directorial Achievement in Documentary. On April 12, 2009, she was given the rank of Commandeur of the French Legion of Honor.","bio_dates":"1928-2019"},{"slug":"varda_sontag_camera_three_interview","ok":true,"partial":false,"title":"Camera Three: Interview with Susan Sontag and Agnès Varda","artist":"Agnès Varda","year":"1969","startOffset":0,"sourceSecs":1659.22,"sourceHeight":448,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":101696115,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_sontag_camera_three_interview/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varda_sontag_camera_three_interview/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/varda_sontag_camera_three_interview.mp4","hasFrames":true,"description":"On the occasion of the Seventh New York Film Festival, the arts program Camera Three filmed Jack Kroll of Newsweek interviewing Susan Sontag and Agnès Varda, both of whom had films showing in the festival. The two discuss their work and show clips of the films, Duet for Cannibals and Lion's Love.<br/><br/><b>RELATED RESOURCES</b>: <br/> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a>","artist_bio":"Born May 30, 1928, in Brussels, Belgium to a Greek father and French mother, Paris-based Agnès Varda has been a leading figure in French and international filmmaking for over 50 years. Trained in art and photography, she made her first film, La Pointe Courte, in 1955 with the encouragement of filmmaker Alain Resnais (who served as its editor). Based on a William Faulkner short story, it is considered by many to have anticipated the French New Wave.\nHer major films include Cléo From 5 to 7, Happiness, One Sings, the Other Doesn't, Kung-fu Master!, Jacquot de Nantes, One Hundred and One Nights and The Gleaners and I. In addition to her own films, Varda has written dialogue for the works of others, most notably for Bernardo Bertolucci's Last Tango in Paris. She also served as producer for Jacques Demy's Lady Oscar. Among the many awards bestowed upon Varda have been the Prix Méliès for Cléo From 5 to 7,, the Prix Louis-Delluc and Berlin Film Festival Special Award for Le Bonheur and the Venice Film Festival Golden Lion for Vagabond. The Beaches of Agnès has received the César (France's equivalent of the Oscar) for Best Documentary and a Directors Guild of America nomination for Outstanding Directorial Achievement in Documentary. On April 12, 2009, she was given the rank of Commandeur of the French Legion of Honor.","bio_dates":"1928-2019"},{"slug":"varese_documentaire_sur_edgar_varese","ok":true,"partial":false,"title":"Sur Edgar Varese","artist":"Edgard Varêse","year":"1966","startOffset":0,"sourceSecs":3616.567,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":212720448,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varese_documentaire_sur_edgar_varese/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varese_documentaire_sur_edgar_varese/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/varese_documentaire_sur_edgar_varese.webm","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/varese_documentaire_sur_edgar_varese/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/varese_documentaire_sur_edgar_varese/main/master.m3u8?v=2","hasMainHls":true,"description":"Cette émission se présente avant tout comme un hommage au musicien Edgar Varèse qui mourut aux États-Unis le 6 Novembre 1965 à l'âge de quatre-vingt deux ans, quelques jours avant la date prévue pour le filmage de la répétition d'une de ces oeuvres. À travers les témoignages de personnalités qui l'on connu se révèle l'extraordinaire vitalité de ce compositeur qui poursuivit durant plus de quarante ans, dans un isolement presque total, une recherche sonore révolutionnaire. Ferdinand Ouelette, son biographe canadien, retrace la vie à Paris et à New-York du musicien. Iannis Xenakis, Olivier Messiaen, Hermann Scherchen, André Jolivet, Pierre Schaeffer, Pierre Boulez et Marcel Duchamp évoquent la personnalité et l'oeuvre de cet architecte du son. Tous ces témoins initiés rappellent aussi combien cette musique brutale qui, empruntant ses sonorités au bruit même de notre civilisation moderne, choquait ses contemporains.\n\nDans la deuxième partie de l'émission, Bruno Maderna dirige une répétition de \"Désert\". Le chef d'orchestre se débat avec la partition, s'efforçant avec exigence d'amener les instrumentistes de l'orchestre à une juste compréhension des matériaux sonores requis ainsi qu'à leur organisation temporelle. Pour finir il dirige l'exécution d'un fragment mis au point de cette oeuvre rigoureuse, agressive, puissante, et révolutionnaire des années 60."},{"slug":"varese_edgard_and_le_corbusier_poeme_electronique_1958","ok":true,"partial":false,"title":"Edgard Varêse and Le Corbusier | Poême électronique","artist":"Edgard Varêse (with Le Corbusier)","year":"1958","startOffset":0,"sourceSecs":506.837,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":32857849,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varese_edgard_and_le_corbusier_poeme_electronique_1958/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/varese_edgard_and_le_corbusier_poeme_electronique_1958/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/varese_edgard_and_le_corbusier_poeme_electronique_1958.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/varese_edgard_and_le_corbusier_poeme_electronique_1958/main.mp4?v=2","description":"Poème électronique (English Translation: \"Electronic Poem\") is an 8-minute piece of electronic music by composer Edgard Varèse, written for the Philips Pavilion at the 1958 Brussels World's Fair. The Philips corporation commissioned Le Corbusier to design the pavilion, which was intended as a showcase of their engineering progress. Le Corbusier came up with the title Poème é saying he wanted to create a \"poem in a bottle\".Varèse composed the piece with the intention of creating a liberation between sounds and as a result uses noises not usually considered \"musical\" throughout the piece. <br/><br/> First presented at the 1958 Brussels Worlds Fair with 425 speakers placed throughout the famous Philips pavilion, the placement of the speakers and design of the building gave the spectators a feeling of being housed within a concrete, silver seashell. A giant model of the atom hung from the ceiling and the sound & imagery premiered to standing room only crowds and I can only imagine was a complete mind-blower to all who witnessed the spectacle. Varese is considered to be the \"father of electronic music\", Henry Miller described him as the \"stratospheric colossus of sound.\" When Philips (Philips electronic company) approached Le Corbusier to design a building for the fair, Le Corbusier said, \"I will not make a pavilion for you (Philips) but an Electronic Poem and a vessel containing the poem; light, color, image, rhythm and sound joined together in an organic synthesis.\" <br/><br/> The images in Le Corbusier's film are all black and white still photographs and willfully abstract. The first image is a bull's head in a spotlight. The final image is a woman holding an infant. Le Corbusier assigned thematic sections to the film: <br/><br/> 0 – 60\" Genesis<br/> 61 – 120\" Spirit and Matter<br/> 121 – 204\" From Darkness to Dawn<br/> 205 – 240\" Man-Made Gods<br/> 241 – 300\" How Time Moulds Civilization<br/> 301 – 360\" Harmony<br/> 361 – 480\" To All Mankind<br/> The sequence of sounds in Varèse's composition:<br/><br/>0\" 1. a. Low bell tolls. \"Wood blocks.\" Sirens. Fast taps lead to high, piercing sounds. 2-second pause.<br> 43\" b. \"Bongo\" tones and higher grating noises. Sirens. Short \"squawks.\" Three-tone group stated three times.<br> 1'11\" c. Low sustained tones with grating noises. Sirens. Short \"squawks.\" Three-tone group. 2-second pause.<br/> 1'40\" d. Short \"squawks.\" High \"chirps.\" Variety of \"shots,\" \"honks,\" \"machine noises.\" Sirens. Taps lead to<br/> 2'36\" 2. a. Low bell tolls. Sustained electronic tones. Repeated \"bongo\" tones. High and sustained electronic tones. Low tone, crescendo. Rhythmic noises lead to<br/> 3'41\" b. Voice, \"Oh-gah.\" 4-second pause. Voice continues softly.<br/> 4'17\" c. Suddenly loud. Rhythmic percussive sounds joined by voice. Low \"animal noises,\" scraping, shuffling, hollow vocal sounds. Decrescendo into 7-second pause.<br/> 5'47\" d. Sustained electronic tones, crescendo and decrecendo. Rhythmic percussive sounds. Higher sustained electronic tones, crescendo. \"Airplane rumble,\" \"chimes,\" jangling.<br/> 6'47\" e. \"Female voice. Male chorus. Electronic noises, organ. High taps. Swooping organ sound. Three-note group stated twice. Rumble, sirens, crescendo (8 minutes and 5 seconds).</br></br>","artist_bio":"Edgard Victor Achille Charles Varèse (French: [ɛdɡaːʁ viktɔːʁ aʃil ʃaʁl vaʁɛːz]; also spelled Edgar Varèse; December 22, 1883 – November 6, 1965) was a French-born composer who spent the greater part of his career in the United States.\nVarèse's music emphasizes timbre and rhythm and he coined the term \"organized sound\" in reference to his own musical aesthetic. Varèse's conception of music reflected his vision of \"sound as living matter\" and of \"musical space as open rather than bounded\". He conceived the elements of his music in terms of \"sound-masses\", likening their organization to the natural phenomenon of crystalization. Varèse thought that \"to stubbornly conditioned ears, anything new in music has always been called noise\", and he posed the question, \"what is music but organized noises?\"\nAlthough his complete surviving works only last about three hours, he has been recognised as an influence by several major composers of the late 20th century. Varèse saw potential in using electronic mediums for sound production, and his use of new instruments and electronic resources led to his being known as the \"Father of Electronic Music\" while Henry Miller described him as \"The stratospheric Colossus of Sound\".","bio_dates":"1883-1965"},{"slug":"vasulka_steina_music_in_the_afternoon_with_tony_conrad_2002","ok":true,"partial":false,"title":"Music in the Afternoon, with Tony Conrad","artist":"Woody & Steina Vasukla","year":"2002","startOffset":0,"sourceSecs":256.256,"sourceHeight":480,"sourceWidth":654,"hasAudio":true,"hasAmbientMp4":true,"bytes":43545156,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vasulka_steina_music_in_the_afternoon_with_tony_conrad_2002/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vasulka_steina_music_in_the_afternoon_with_tony_conrad_2002/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vasulka_steina_music_in_the_afternoon_with_tony_conrad_2002.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vasulka_steina_music_in_the_afternoon_with_tony_conrad_2002/main.mp4?v=2","description":"Fellow violinist and artist Tony Conrad, in collaboration with software engineer Tom Demeyer, made for Steina the instrument seen in this title. Conrad and the Vasulkas all taught at the University at Buffalo in the Media Study Department from 1976 to 1979.","artist_bio":"Music in the Afternoon, with Tony Conrad (2002)\n, dir. Woody and Steina Vasulka\nWith a background in mathematics and computer programming, Tony Conrad became active in performance and music composition during the 1960s, and was associated with the founding of both minimal music and underground film in New York City. Along with Marian Zeezela, La Monte Young, John Cale, and Angus MacLise, Conrad was a co-founder of the Theater of Eternal Music, which utilized non-Western musical forms and sustained sound to produce what they called \"dream music.\"\nConrad's work in film ranged from experiments in physically transforming the film's surface to theatrical productions featuring New York's underground scene. The Flicker (1966) is considered a key early work of the structural film movement. Conrad began working in video and performance in the 1970s while teaching at Antioch College in Ohio and the Center for Media Study, State University of New York at Buffalo. Conrad observed that his early tapes \"deal with the construction of the viewer, in the authorizing context of the art environment or within a broader sociopolitical context.\"\nConrad's commitment to developing and sustaining a decentralized cultural infrastructure is evident in his active involvement with Hallwalls Contemporary Arts Center, Squeaky Wheel Media Coalition, and Buffalo Cable Access Media.","bio_dates":"1940-2016"},{"slug":"vasulka_steina_switch_monitor_drift_1976","ok":true,"partial":false,"title":"Switch! Monitor! Drift!","artist":"Steina Vasulka","year":"1976","startOffset":0,"sourceSecs":225.045,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":40759654,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vasulka_steina_switch_monitor_drift_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vasulka_steina_switch_monitor_drift_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vasulka_steina_switch_monitor_drift_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vasulka_steina_switch_monitor_drift_1976/main.mp4?v=2","description":"Duration 3 min 44 sec<br><br><b>Switch! Monitor! Drift! </b>is a videotape by Steina that was made in 1976 . It is part of her Machine Vision series-a group of tapes and installations which question our assumptions of point of view, \"our\" visual spectrum, our sense of where we are in terms of what we see . Steina shows the tape rarely, apparently believing it to be too specialized or too long (it is the longest tape she has made : at fifty minutes it is two times as long as any of her other tapes) . As I will indicate, the tape is rich in ideas and visually pleasurable . It deserves to be seen The most imposing works in Steina's Machine vision series are the large, rotating two camera mechanisms that were built for the shooting of the tapes in the series, and then were put on display, as works in their own right, as installation pieces . These machines, particularly the Allvision devices that have been seen at the Kitchen in New York and at the Albright Knox Gallery in Buffalo, are utterly fascinating . Two cameras, aimed at a central reflecting sphere, are on a base which is rotating parikllel to the floor . The signals from the two cameras are fed to monitors which are also in the room, so that spectators can see the machine that is shooting them and see their images on the screen(s) of the monitors . Because the cameras are focused on reflections on a curved surface, the images are distorted, and because the images are reflections , there is a \"backward\" quality to them . Yet the images are \"live,\" and we can see how they are made, so they are accepted by the spectator as \"true .\" The technical accomplishment of the machines is also striking, as understated as the images they capture and display . In terms of sheer ideas, though, in terms of discovering what we thought we knew wasn't what we saw . . . and that what we saw was much more interesting that it seemed, Steina's videotapes are the more rewarding, more stimulating accomplishments . Steina's tapes sunder the sense of the \"true\" in favor of the act of perception, demanding active analytic seeing rather than the passive look . In the title of Switch! Monitor! Drift! we can see the first example of this challenge . Each word has a double aspect : as a noun and as a verb . The exclamation points emphasize the verbal tendency, but also imply, by their profusion, an irony that leads one to question their apparent simplicity . Page 2 Three sections of the tape exemplify the method that infuses the whole work . Early in the tape, following a mysterious series of 3600 pans through the Vasulka's equipment-cluttered work space, Steina appears with a violin in her hands . She proceeds to play it, and as the tone changes with each different position of the bow, so the video image changes-flip-floping (to use Steina's words) back and forth between two cameras . Watching the image \"played,\" we deduce that the bow positions control the image . Yet later in the tape, when the image again is \"played,\" again with the sound-track changing with each flip-flop, one wonders if the sound is controling the image, or the reverse . The sound might be the image, read on a different kind of machine (an approach already performed by colleague Tony Conrad in his Boolian Algebra film) . Equally, the sound may be controlling the image, and might even be from the violin : because the image is so slowed that we can see the scans, and the sound is very base, the sound might be a \"slowed down\" violin. Flow the tape was \"shot\" is another example of Steina's method . Not until the second half of the work do we see the machine that has been used to photograph so .much of it . All of the imagery was double-exposed, either two alternating images on a switching device or two images in one frame, with a mat used to obscure one and reveal the other . The relation of the two cameras is not made clear until the moment when we see both, each rotating on its axis, both also atop another rotating platform-and both turning within slotted concave half-mirrors . Accelerating, apparently slowing, then accelerating again, the pictures we see suggest the epicyclic movements of the planets in Ptolemy's classical cosmology . The confusion could be impenetrable were it not for Steina's intervention when she thrusts her hand into the frame to throw switches on the mechansim . She does so from the direction of the spectator, but she also does so only moments after we have seen her image facing us . It is at this point that the existence of the slotted concave mirrors becomes clear, and soon after that we can deduce the nature of the machine . (although we never see it whole!) To so challenge the viewer, to move him from the position of Ptolemy to that of Copernicus, is remarkable . Another remarkable set of images can be found in the brief sequence Page 3 3 . when Steina provides us with the only close-up images of her face in the tape . Multiplied and \"rippling\" across the screen, as if on the surface of an electric liquid, Steina's face appears seen slightly from below. After a few seconds it becomes recognizable, attentively serious looking out of the screen in our direction . Suddenly from the right edge of the screen a form intrudes, a form that is Steina's silhouette . From the left edge another form appears, a video camera pointed toward the opposite face . The image stands like a kind of signature and then is transformed by the recognition that in silhouette we can see how the image that is facing us was made ; whether the images in silhouette are the source of the background image is not that important-they could be . What is important is the sense one also gets from looking at Nam June Paik's Video Buddha (who contemplates a video camera pointing at himself) . Video is a mirror that permits us to better see ourselves . --R.A. Haller","artist_bio":"Steina and Woody Vasulka are major figures in video history, technical pioneers who have contributed enormously to the evolution of the medium and who continue to be major practitioners of video as art. The Vasulkas' technological investigations into analog and digital processes and their development of electronic imaging tools, which began in the early 1970s, place them among the primary architects of an expressive electronic vocabulary of image-making. Applying an informal, real-time spontaneity to their formalist, often didactic technical research, they chart the evolving formulation of a grammar and syntax of electronic imaging as they articulate a processual dialogue between artist and technology.\nThe Vasulkas' early collaborative efforts, produced from 1970 to 1974, include phenomenological explorations that deconstruct the materiality of the electronic signal and analyze the imaging capabilities of video tools. Central to these increasingly complex exercises are explorations of the malleability of the image, the manipulation of electronic energy, and the interrelation of sound and image.\nIn the mid-1970s, working with such engineer/designers as Eric Siegel, George Brown, Steve Rutt and Bill Etra, the Vasulkas developed electronic tools specifically for use by artists. With Jeffrey Schier they developed the Digital Image Articulator, a device that allows the digital processing of video imagery in real-time. Steina's training as a violinist, and Woody Vasulka's background as an engineer and filmmaker, informed their invention of electronic devices to transform sound, image, space and time Ñ themes that they have pursued independently in their later works. Though the Vasulkas continue to collaborate, since 1975 they have produced much of their work individually.\nThe Vasulkas emigrated to the United States in 1965, and began their collaborative exploration of electronic media in 1969. In 1971, they co-founded The Kitchen, a major alternative exhibition and media arts center in New York. From 1973 to 1979, the Vasulkas lived and worked in Buffalo, New York, where they were faculty members at the Center for Media Study, State University of New York. The Vasulkas have received numerous awards for their work in the media arts, including grants and fellowships from the National Endowment for the Arts, the New York State Council on the Arts, and the Corporation for Public Broadcasting. In 1989, they received a United States/Japan Exchange Fellowship from the National Endowment for the Arts. The Vasulkas have broadcast and exhibited their collaborative works extensively throughout the United States, Europe, and Japan, at institutions including The Institute of Contemporary Art, Boston; Everson Museum of Art, Syracuse; Institute of Contemporary Art, Philadelphia; Albright-Knox Gallery, Buffalo; and The Museum of Modern Art, New York, among many others.","bio_dates":"b. 1940"},{"slug":"vasulka_woody_vasulka_steina_calligrams_excerpt_1970","ok":true,"partial":false,"title":"Calligrams","artist":"Woody & Steina Vasukla","year":"1970","startOffset":0,"sourceSecs":241.045,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":43523801,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vasulka_woody_vasulka_steina_calligrams_excerpt_1970/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vasulka_woody_vasulka_steina_calligrams_excerpt_1970/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vasulka_woody_vasulka_steina_calligrams_excerpt_1970.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vasulka_woody_vasulka_steina_calligrams_excerpt_1970/main.mp4?v=2","description":"Duration 00:04:00 <br/><br/> Calligrams is one of the Vasulkas' earliest experiments with altering the analog video image. An image is rescanned from the monitor \"to capture and preserve the violated state of the standard television signal.\" The \"violations\" include deliberately re-adjusting the horizontal hold of the monitor, and then slowly advancing the reel-to-reel tape manually. The repetition of the horizontally drifting video image not only functions as visual rhythm, but is key to the conceptualization of the video image as unrestricted by the concrete frame, as in film. Their commitment to foregrounding a new electronic image vocabulary and working with other artist/engineers to develop new video instrumentation led to work that reveals the process of its making.","artist_bio":"Steina and Woody Vasulka are major figures in video history, technical pioneers who have contributed enormously to the evolution of the medium and who continue to be major practitioners of video as art. The Vasulkas' technological investigations into analog and digital processes and their development of electronic imaging tools, which began in the early 1970s, place them among the primary architects of an expressive electronic vocabulary of image-making. Applying an informal, real-time spontaneity to their formalist, often didactic technical research, they chart the evolving formulation of a grammar and syntax of electronic imaging as they articulate a processual dialogue between artist and technology.\nThe Vasulkas' early collaborative efforts, produced from 1970 to 1974, include phenomenological explorations that deconstruct the materiality of the electronic signal and analyze the imaging capabilities of video tools. Central to these increasingly complex exercises are explorations of the malleability of the image, the manipulation of electronic energy, and the interrelation of sound and image.\nIn the mid-1970s, working with such engineer/designers as Eric Siegel, George Brown, Steve Rutt and Bill Etra, the Vasulkas developed electronic tools specifically for use by artists. With Jeffrey Schier they developed the Digital Image Articulator, a device that allows the digital processing of video imagery in real-time. Steina's training as a violinist, and Woody Vasulka's background as an engineer and filmmaker, informed their invention of electronic devices to transform sound, image, space and time Ñ themes that they have pursued independently in their later works. Though the Vasulkas continue to collaborate, since 1975 they have produced much of their work individually.\nThe Vasulkas emigrated to the United States in 1965, and began their collaborative exploration of electronic media in 1969. In 1971, they co-founded The Kitchen, a major alternative exhibition and media arts center in New York. From 1973 to 1979, the Vasulkas lived and worked in Buffalo, New York, where they were faculty members at the Center for Media Study, State University of New York. The Vasulkas have received numerous awards for their work in the media arts, including grants and fellowships from the National Endowment for the Arts, the New York State Council on the Arts, and the Corporation for Public Broadcasting. In 1989, they received a United States/Japan Exchange Fellowship from the National Endowment for the Arts. The Vasulkas have broadcast and exhibited their collaborative works extensively throughout the United States, Europe, and Japan, at institutions including The Institute of Contemporary Art, Boston; Everson Museum of Art, Syracuse; Institute of Contemporary Art, Philadelphia; Albright-Knox Gallery, Buffalo; and The Museum of Modern Art, New York, among many others.","bio_dates":"1976"},{"slug":"veloso_caetano_o_cinema_falado_1986_iphone","ok":true,"partial":false,"title":"O Cinema Falado","artist":"Caetano Veloso","year":"1986","startOffset":0,"sourceSecs":6634.776,"sourceHeight":296,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":376895889,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/veloso_caetano_o_cinema_falado_1986_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/veloso_caetano_o_cinema_falado_1986_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/veloso_caetano_o_cinema_falado_1986_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/veloso_caetano_o_cinema_falado_1986_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/veloso_caetano_o_cinema_falado_1986_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"O Cinema Falado\" (could be translated as \"Talking Cinema\", a VERY appropriate title) is an experimental, personal, unconventional film that belongs to the lineage of late-60s' Brazilian Underground Movement (\"Cinema Marginal\"). It's a collage of scenes of people talking (long -- I mean ENDLESSLY long -- dialogs and monologues), dancing, reading, singing, partying. There's no plot, continuity, fictional characters; it's not a documentary either. It's more like film clips of random personal notes. As expected, its interest varies wildly depending on each individual sequence, so it's alternately poetic, naturalistic, surrealistic, premeditated, improvised, scholarly, pop, sophisticated, boring, amateurish, accomplished, pretentious, naive, pedantic, silly – but always hugely ambitious.\n\n\"\"O Cinema Falado\" is the only feature film directed by outstanding Brazilian singer/ songwriter Caetano Veloso, who also produced and wrote some of the texts that are spoken/read in the film (along with excerpts by Thomas Mann, Gertrude Stein, Heidegger, Guimarães Rosa etc). The film is Caetano's long-nurtured dream, and he combines his cinephilia (he worked briefly as a film critic in his early twenties before he became a professional musician) with his interest in Linguistics, Literature, Visual Arts and Philosophy (he was to major in Philosophy at Bahia University, but dropped out). An undisputed celebrity in Brazil and a Grammy-winner, he is undoubtedly one of the most important and influential artists in Brazilian popular music in the last 40 years, having sold millions of records while maintaining an innovative, often revolutionary and consistently high quality level in his songs. His genius as a singer, composer and lyricist is only comparable to his infamous inability to take criticism (except those from his personal friends or intellectual \"superiors\"), his machine-gun outspokenness and indestructible ego, though \"Cinema Falado\" must have been a hard blow -- it was a critical and box-office disaster, aborting Caetano's further cinematic ambitions (until now, that is; the man is indomitable).\n\n\"\"O Cinema...\" opens with Godard-like credits, which is very misleading, since Caetano's visual treatment is essentially anti-Godardian: no interwoven editing of sound and image, no visual complexity to heighten dichotomies. The film uses visual simplicity to reach, hmm, LISTENING complexity — very becoming for a musician, after all. If one cares to find a \"movie parentage\" for this film, one has to look at the Brazilian \"Cinema Novo\" (New Wave) and \"Cinema Marginal\" (Underground Wave) of the 60s/70s. One can feel the influence of Glauber Rocha's radical experiments in cinematic grammar, but more palpably the pop/fragmentary/cultural mix boldness of Rogério Sganzerla and the poetic/lyrical/long-static shots of Julio Bressane, who were, conversely, highly influenced by Caetano's music. (The three collaborated in films made in Brazil and in England, where they were exiled for a while in the early 70s).\n\nThis is a movie of literary quotes, but beware: the texts by Guimarães Rosa (from his ground-breaking novel \"Grande Sertão: Veredas\") and Thomas Mann (a very interesting essay on marriage vs homosexuality, recited in German!) become FIFTEEN minute monologues EACH with a pace that would make Bresson look like (Luc) Besson! But the texts are so good that no mise-en-scène could really wreck them (though one wonders why not just READ them in a book!). The literary quality of these monologues contrast with Caetano's own rather shallow (but equally looong) dialogs. The first one is of Nitzschean flavor about the dialects of the being (woodenly recited by poet/philosopher Antonio Cícero and actor Sergio Maciel) and is handicapped by sound problems. The second one is a series of inconsequential boutades about cinema (i.e. Fellini's great, Wenders sucks etc), spoken with embarrassing amateurism by Caetano's ex-wife Dedé and pretty boy Felipe Murray. Oh, and there's a timid monologue on pornography mouthed by Caetano's second wife Paula Lavigne. These most \"auteurish\" moments are also the most pretentious and unsatisfying.\n\nOn a positive note, two undeniable highlights: Regina Casé's goofy mockery of Fidel Castro's body language, a scene which is her personal accomplishment, not a directorial achievement; and the best sequence of all -- Caetano's brother Rodrigo dancing to the soundtrack voice and guitar of João Gilberto's incomparable rendition of Jobim's \"Águas de Março\", a good idea and a really magical moment. Fred Astaire himself would be charmed!!\n\n\"\"O Cinema Falado\" gains a lot with the DVD release. The scene-selection button is handy for the impatient viewer and Caetano's abundant commentary extras are helpful, as he explains the ideas behind the film, letting us understand (and therefore enjoy) it more...though nobody can possibly enjoy \"Cinema Falado\" more than Caetano himself -- watch his DVD interview: now THERE'S a self-confident man (\"eu sou foda!!!!\"). All of which goes to prove, once again, that an artist can be 10 feet tall in his main field and just a struggling also-runner in perfunctory attempts. Excellent-songwriters-turned-ho-hum-filmmakers Serge Gainsbourg and Bob Dylan can keep Caetano very good company. We can't all be Da Vinci!!!"},{"slug":"verbeek_jan_on_an_wednesday_night_in_tokyo_2004","ok":true,"partial":false,"title":"On a Wednesday night in Tokyo","artist":"Jan Verbeek","year":"2004","startOffset":0,"sourceSecs":337.32,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":57491436,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/verbeek_jan_on_an_wednesday_night_in_tokyo_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/verbeek_jan_on_an_wednesday_night_in_tokyo_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/verbeek_jan_on_an_wednesday_night_in_tokyo_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/verbeek_jan_on_an_wednesday_night_in_tokyo_2004/main.mp4?v=2","description":"In Tokyo, a subway conductor squeezes an inconceivable number of people into a carriage. The traveller dissolves into the masses and, slightly panic-stricken, casts a glance into the camera. Shot in one take, this video communicates the inevitable on the verge of the unbearable.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/film/40.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection 40jahrevideokunst.de (2006)</a> <br/> <a href=\"https://ubu.com/film/fluxfilm21_vostell.html\" rel=\"noopener\" target=\"_blank\">This Film is Part of the collection FluxFilm Anthology</a> <br/> <a href=\"https://ubu.com/sound/vostell.html\" rel=\"noopener\" target=\"_blank\">Peter Roehr in the UbuWeb Sound</a></br>","artist_bio":"This initiative project by the Kulturstiftung des Bundes (The German Federal Cultural Foundation) documents the fact that one of the prominent genres of 20th-century art is part of Germany's cultural heritage. It has thus developed an agenda to promote and mediate specific competencies with regard to the panorama of video art productions in Germany.\nThe objective of the restoration component of the project 40yearsvideoart.de was to test different approaches to the digital restoration of video artworks. The diversity in problems, source materials and image content gave us the ideal starting point to study the different aspects of trying to return video artworks to their appearance at time of production.\nThe first step was to collect the video materials. In most cases the artists were contacted directly, and the source materials stem from them. In other cases we were able to borrow or buy video material from German museums, television archives or video art distributors. The materials received represent a good overview of the formats that artists have used over the last 40 years. We dealt with almost all the main video formats, from 1/2 inch material, to the ubiquitous U-matic over to 1 inch Broadcast standards, Betamax and even DV (Digital Video). Most materials were in a good to fair condition and did not need any physical restoration, apart from cleaning. All the physical treatments were performed at the \"ZKM | Labor für antiquierte Videosysteme\" as well as most of the digitisations.\nBesides collecting tapes we also collected information, the artists were interviewed and asked about their works methods and technical specificities of their work. The information gathered this way, together with the analysis of the videos, allowed us to make decisions about the restoration.\nA conservator has the obligation to maintain the authenticity of an artwork, and his/her interventions have to be identifiable and reversible; but what does this mean in the digital realm? Unlike classical restoration, where guidelines have been written down in the form of charters or standards for some time now, the field of digital restoration still lacks this very important tool. Much has been argued about what the authenticity of an artwork is, especially when dealing with easily reproducible media. And as for making interventions reversible, this is something that has not yet been considered by the creators of the available software.\nWe set out to preserve the artwork's authenticity by trying to leave the original image content unchanged, by not altering any sequences or edits and by not enhancing any of the image characteristics, such as colour or contrast. Another of the guidelines was to remove image errors caused by ageing, but keeping the defects caused by the technical limitations at the time of production. The last point was the documentation of the restoration process, which had to be as accurate as possible to allow for the identification of the restoration performed. With this aim a thorough documentation of each restored artwork was produced. The reversibility of the intervention was safeguarded by keeping an unrestored copy of all digitized files.\nAnother important aspect was the use of the Diamant software. This restoration software was the central point of the restoration process and we had to learn how to use it and find what it could and could not do. Yvonne Mohr worked closely with HS-Art to adjust the software to our specific needs and this means that now most of the problems are solved or the solutions will be included in the next version of the software.\nA total of 13 artworks were digitally restored, in the classical meaning of the word, according to two main strategies. On a 14th work, \"Projection X\", a bolder preservation strategy was used, namely reinterpretation, in addition to the preservation of an old submaster on U-matic We had \"simple\" restoration cases, where we received digital files corresponding to an edited version, with more or less a clear beginning and end, and could directly proceed with the restoration.\nThe first example was Dieter Kiessling's \"Vorhänge\", and in this case the existing drop-outs were retouched one by one using Final Cut Pro. Another work restored with Final Cut Pro and Photoshop was Marcel Odenbach's \"As if memories could deceive me\". This was only possible because the number of errors was very small, and so it was feasible to spend 20 or more minutes treating a single frame.\nThe other works in this category were restored using Diamant software (HS-Art), and they include Bettina Gruber and Maria Vedder's \"Der Herzschlag des Anubis\", Franziska Megert's \"Sweet Dressing\" and Wolf Vostell's \"Sun in your head\" in its video version. The treatment was limited to the retouching of drop-outs and other image errors, which could be done manually with Diamant. The errors were marked one by one, the correct settings tested, and once this process was cleared the software would then render the necessary areas.\nIn the case of Ulrike Rosenbach's \"Tanz für eine Frau\" the treatment for image errors was also done in Diamant, but given that this was a camera original the length of the digitized file had to be changed, as the edited version had a much shorter beginning.\nFor \"Holzstücke\", by Jean-Francois Guiton, because of the different characteristics and problems in each of the 6 pieces, it was easier to do the treatment separately for each piece. In this case there were 2 image defects that were kept. Both defects were connected to the editing process, and were not the result of deterioration. In such cases the defects are part of the work's authenticity and, from a restoration point of view, should not be corrected. A similar process was used for Friederike Pezold's \"Die neue leibhaftige Zeichensprache\", which was also composed of different short pieces.\nA different strategy was used for Dieter Froese's \"The piece in the country\" and Valie Export's \"Raumsehen und Raumhören\". For both artworks we had a camera original and an edited master. In Export's work the edited Master represented the artwork in its final form (or at least one of its final forms) but the image quality was much worse and the deterioration much stronger than in the camera original. In Froese's case, although the edited version was in an earlier generation, the errors were much stronger and we therefore decided to use unedited material, existent in U-matic, which was in a better condition. In these cases we opted to re-edit the artworks from the best material available according to an edited version. These digitally edited files were, again, retouched using Diamant.\nWith Telewissen's \"Documenta der Leute\" we had to deal with a couple of different questions. Again, the different pieces were imported in Diamant and restored. Some of the errors could not be completely removed and so we opted to reduce them, so as to make them less visible. The results are not completely satisfying, but much better than the original condition. Another problem in the piece \"Bibelgespräch\" was a total loss of image that could not be corrected. Our solution was to use a grey frame to cover the problem. In this way it is clear that a problem occurred, and that there are images missing, but the grey frame is much less disturbing than the disquieting image error.\nRe-interpretation, the last strategy, which is not restoration, was used for Imi Knoebel's \"Projection X\". The work served as a perfect example for this very bold approach to preservation. Through re-interpretation an artwork is produced again, with the conditions and materials available at the present moment but maintaining the original concept. Although the strategy was initially considered for performance or installation art, \"Projection X\" was a perfect opportunity of applying this strategy in the video area. \"Projection X\" relies on a relatively simple concept, an X of light being projected on the walls of Darmstadt during a night ride on a bus. This was relatively simple to film, with the cooperation of Imi Knoebel, and using the techniques currently available. Unlike the original work, which was shot in black and white and on U-matic, the new work was shot in colour using mini DV. The remake looks completely different, and it has to be seen as a new work or as a new version. If an artwork is completely lost this may be the only option to bring it, or its concept, back to life.\nDuring the project we came to some points that could not be dealt with in detail but are very important for restoration work in the video field. The first one, which is currently being developed at the Aktive Archive project in the Berne University of the Arts, is a compendium of image errors. Identifying the origin of the defects one sees on screen is a difficult task, and a very important one for many of the ethical decisions to be taken.\nWhat is still missing are ethical guidelines to digitally restore video, or at least a decision-making model. Although one can not speak of right and wrong answers in restoration, there are questions that always have to be asked and that put together in a document would be a good start for any further digital restoration projects. This would be the next step to take.","bio_dates":"2006"},{"slug":"vertov_dziga_kino_eye_1924_iphone","ok":true,"partial":false,"title":"Kino Eye","artist":"Dziga Vertov","year":"1924","startOffset":0,"sourceSecs":4724.767,"sourceHeight":320,"sourceWidth":442,"hasAudio":true,"hasAmbientMp4":true,"bytes":272989376,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vertov_dziga_kino_eye_1924_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vertov_dziga_kino_eye_1924_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vertov_dziga_kino_eye_1924_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vertov_dziga_kino_eye_1924_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vertov_dziga_kino_eye_1924_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"Cine-Eye\" is a montage method developed by Dziga Vertov which was first formulated in his work \"WE: Variant of a Manifesto\" in 1919.\n\nDziga Vertov believed his concept of Kino-Glaz, or \"Cine Eye\" in English, would help contemporary \"man\" evolve from a flawed creature into a higher, more precise form. He compared man unfavorably to machines: \"In the face of the machine we are ashamed of man’s inability to control himself, but what are we to do if we find the unerring ways of electricity more exciting than the disorderly haste of active people [...]\" \"I am an eye. I am a mechanical eye. I, a machine, I am showing you a world, the likes of which only I can see\" Dziga was quoted as saying.\n\nLike other Russian filmmakers, he attempted to connect his ideas and techniques to the advancement of the aims of the Soviet Union. Whereas Sergei Eisenstein viewed his montage of attractions as a creative tool through which the film-viewing masses could be subjected to \"emotional and psychological influence\" and therefore able to perceive \"the ideological aspect\" of the films they were watching, Vertov believed the Kino-Eye would influence the actual evolution of man, \"from a bumbling citizen through the poetry of the machine to the perfect electric man.\"\n\nVertov believed film was too \"romantic\" and \"theatricalised\" due to the influence of literature, theater, and music, and that these psychological film-dramas \"prevent man from being as precise as a stop watch and hamper his desire for kinship with the machine.\" He desired to move away from \"the pre-Revolutionary ‘fictional’ models\" of filmmaking to one based on the rhythm of machines, seeking to \"bring creative joy to all mechanical labour\" and to \"bring men closer to machines.\""},{"slug":"vertov_dziga_three_songs_about_lenin_1934_iphone","ok":true,"partial":false,"title":"Three Songs About Lenin","artist":"Dziga Vertov","year":"1934","startOffset":0,"sourceSecs":3530.573,"sourceHeight":320,"sourceWidth":440,"hasAudio":true,"hasAmbientMp4":true,"bytes":203236684,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vertov_dziga_three_songs_about_lenin_1934_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vertov_dziga_three_songs_about_lenin_1934_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vertov_dziga_three_songs_about_lenin_1934_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vertov_dziga_three_songs_about_lenin_1934_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vertov_dziga_three_songs_about_lenin_1934_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Three Songs About Lenin is a documentary silent film by Russian filmmaker Dziga Vertov. It is based on three admiring songs sung by anonymous people in Soviet Russia about Vladimir Ilyich Lenin. It is made up of 3 episodes and is 57 minutes long.\n\nIn 1969 it was re-edited by Elizaveta Svilova, Ilya Kopalin and Serafima Pumpyanskaya as part of the 1970 Lenin centenary."},{"slug":"vertov_enthusiasm_1931","ok":true,"partial":false,"title":"Enthusiasm: The Donbas Symphony","artist":"Dziga Vertov","year":"1931","startOffset":0,"sourceSecs":3901.368,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":228015936,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vertov_enthusiasm_1931/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vertov_enthusiasm_1931/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vertov_enthusiasm_1931.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vertov_enthusiasm_1931/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vertov_enthusiasm_1931/main/master.m3u8?v=2","hasMainHls":true,"description":"Enthusiasm: The Symphony of Donbas (Ukrainian: Ентузіязм: Симфонія Донбасу or Entuziiazm: Symfoniia Donbasu), also referred to as Donbas Symphony or The Symphony of the Donbas Basin, is a 1931 sound film directed by Soviet filmmaker Dziga Vertov. The film was the director's first sound film and also the first of the Soviet production company Ukrainfilm [uk]. The film's score is considered experimental and avant-garde because of its incorporation of factory, industrial, and other machine sounds; human speech plays only a small role in the film's sounds.\n\nVertov himself described Enthusiasm as \"the lead icebreaker in the column of sound newsreels.\" He considered the film's \"complex interaction of sound with image\" to be the work's most significant achievement. The director viewed the film as an extended experiment in which the juxtaposition and misalignment of sound were completely intentional. The film is also notable for the fact that it is a documentary filmed on location. Like many of his other films, Vertov worked on Enthusiasm with his wife Elizaveta Svilova.\n\nThe film was created to promote and celebrate Stalin’s Five-Year Plan which took place during the years 1928 to 1932. The setting of the film is an important facet of examining Vertov’s intent as a director, since Ukraine’s Donbas region was a focal point of the Five-Year Plan. The Donbas was regarded as particularly rich in natural resources—namely, coal—with which the Soviet state could achieve its productive and goals. The Donbas area of Ukraine had already been industrialized since the 1800s, but the Soviets wanted to attain its full industrialization after the Bolshevik Revolution.\n\nIn his writings, Vertov expounded on the prominent role he envisioned for the natural resources: “Coal comes out of the earth. Coal for factories. Coal for locomotives. Coal for coke furnaces. Coal has arrived. The conveyors and sorting machines have started up. The aerial chains of coal-filled carts have begun to move. The blast furnaces are operating at full speed. Metal has arrived. The rolling and open-hearth, rolled, open-hearth, rolled, open-hearth—in a single creative thrust toward socialism.” The film emphasizes the importance of coal in its setting and image content. As mentioned in the film summary, once the setting of the film changes to that of the Donbas region, there are numerous images of coal workers, furnaces, and carts full of coal.\n\nVertov and his film crew purposefully juxtaposed image and sound in Enthusiasm. He attempted to do so by refusing to synchronize the film's images with its score to create a greater effect on the viewers. Presumably due to the complex role Vertov wanted his film's score to undertake, one source describes the movie's sounds as a “protagonist” in and of itself. “In 1931, in his Entuziazm (subtitled ‘Symphony of the Donbas’) he turned the microphone into protagonist just as earlier, he had made the camera his hero. Not only did he and his team conduct a successful experiment with a mobile microphone, they did not settle for simply synchronizing sound and image, instead taking the line of ‘greatest resistance’ by creating an eloquent counterpoint between the two.”"},{"slug":"vian_boris_1920_1959_bernard_gonner_marika_princay_1996","ok":true,"partial":false,"title":"1920 1959 Bernard Gonner Marika Princay","artist":"Boris Vian","year":"1996","startOffset":0,"sourceSecs":2550.178,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":1112289640,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vian_boris_1920_1959_bernard_gonner_marika_princay_1996/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vian_boris_1920_1959_bernard_gonner_marika_princay_1996/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vian_boris_1920_1959_bernard_gonner_marika_princay_1996.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vian_boris_1920_1959_bernard_gonner_marika_princay_1996/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vian_boris_1920_1959_bernard_gonner_marika_princay_1996/main/master.m3u8?v=2","hasMainHls":true,"description":"Voici la publication du dimanche, jour dédié aux poètes du XXème siècle : Émission « Un siècle d'écrivains », numéro 77, diffusée sur France 3, le 19 juin 1996, et réalisée par Marika Princey et Bernard Gonner."},{"slug":"vicki_bennett_2009_induction_is_a_draft_is_a_gust_of_air","ok":true,"partial":false,"title":"Induction is a Draft is a Gust of Air","artist":"People Like Us (Vicki Bennett)","year":"2009","startOffset":0,"sourceSecs":129.24,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":4758589,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_2009_induction_is_a_draft_is_a_gust_of_air/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_2009_induction_is_a_draft_is_a_gust_of_air/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vicki_bennett_2009_induction_is_a_draft_is_a_gust_of_air.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vicki_bennett_2009_induction_is_a_draft_is_a_gust_of_air/main.mp4?v=2","description":"Duration 2'09\" minutes<br/><br/>INSERT DESCRIPTION PARAGRAPHS HERE In 2009, People Like Us and many others remixed The Inaugural Poem, because we felt that the first one needed improving. Take a look at and listen to the entire project, initiated by Kenny G (Kenneth Goldsmith) at <a href=\"http://wfmu.org\" rel=\"noopener\" target=\"_blank\">WFMU</a>, thanks! More info <a href=\"https://ubu.com/film/wfmu.org/playlists/shows/30164\" rel=\"noopener\" target=\"_blank\">here</a>.<br><br><b>RESOURCES:</b> <br><a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"vicki_bennett_4min33_the_movie_2011","ok":true,"partial":false,"title":"4'33\" The Movie","artist":"People Like Us (Vicki Bennett)","year":"2011","startOffset":0,"sourceSecs":299.8,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":42209114,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_4min33_the_movie_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_4min33_the_movie_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vicki_bennett_4min33_the_movie_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vicki_bennett_4min33_the_movie_2011/main.mp4?v=2","description":"Duration 4'33\" minutes<br/><br/>If something is boring after two minutes, try it for four.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"vicki_bennett_singin_2009","ok":true,"partial":false,"title":"Singin","artist":"People Like Us (Vicki Bennett)","year":"2009","startOffset":0,"sourceSecs":245.68,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":74932292,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_singin_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_singin_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vicki_bennett_singin_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vicki_bennett_singin_2009/main.mp4?v=2","description":"Duration 4'05\" minutes <br/> The work is created using a technique that expands film scenes beyond the conventional screen ratio. The finished result reveals beautiful panoramic views of the background landscapes as captured by the panning camera, effectively allowing film scenes to be seen as never before. This new work bears a relation to the British Vorticism movement of the early 20th Century, taking a Futurist approach to image making whilst attempting to capture dynamic movement with still images.<br/><br/><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"vicki_bennett_the_doors_of_perspection_2011","ok":true,"partial":false,"title":"The Doors Of Perspection","artist":"People Like Us (Vicki Bennett)","year":"2011","startOffset":0,"sourceSecs":590.12,"sourceHeight":1080,"sourceWidth":1440,"hasAudio":true,"hasAmbientMp4":true,"bytes":183509759,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_the_doors_of_perspection_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_the_doors_of_perspection_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vicki_bennett_the_doors_of_perspection_2011.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vicki_bennett_the_doors_of_perspection_2011/main.mp4?v=2","description":"Duration 9'32\" minutes <br/><br/> This film was originally screened as part of a <a href=\"http://peoplelikeus.org/2011/the-doors-of-perspection-people-like-us-exhibition/\" rel=\"noopener\" target=\"_blank\">solo show</a> of the same name at Vitrine Gallery in London from July-September 2011. <br/> <br/> The work is created using a technique that expands film scenes beyond the conventional screen ratio. The finished result reveals beautiful panoramic views of the background landscapes as captured by the panning camera, effectively allowing film scenes to be seen as never before. <br/><br/> Vicki uses digital technology to apply analogue techniques and for more than a decade has used rotoscoping in her short films and live audio‐visual performance to mask, cut and place objects elsewhere on screen. During her commission for The Great North Run Cultural Programme 2009 (resulting work: \"<a href=\"https://ubu.com/film/plu_parade.html\" rel=\"noopener\" target=\"_blank\">Parade</a>\") she developed the process for expanding film outside its frame and began work on this new series shortly after.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"vicki_bennett_the_golem_an_inanimate_matter_2013","ok":true,"partial":false,"title":"The Golem - An Inanimate Matter","artist":"People Like Us (Vicki Bennett)","year":"2013","startOffset":0,"sourceSecs":169.087,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":47081846,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_the_golem_an_inanimate_matter_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_the_golem_an_inanimate_matter_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vicki_bennett_the_golem_an_inanimate_matter_2013.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vicki_bennett_the_golem_an_inanimate_matter_2013/main.mp4?v=2","description":"Duration 2'49\" minutes <br/><br/> Random Acts Secret Monsters Commission - Animate Projects/Channel 4 (2013) The Golem, a monstrous being of inanimate matter from Jewish folklore, is accidentally summoned from a book wreaks havoc through a library. A Film by Vicki Bennett<br/> Co-writer, composer and voiceover Ergo Phizmiz<br/> Additional animation Peter Knight<br/> Clay model Martha Moopette<br/> Producer Abigail Addison at Animate Projects<br/> Mastering by VET<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"vicki_bennett_the_zone_2012_smaller_iphone","ok":true,"partial":false,"title":"The Zone","artist":"People Like Us (Vicki Bennett)","year":"2012","startOffset":0,"sourceSecs":5875.44,"sourceHeight":180,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":336531288,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_the_zone_2012_smaller_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_the_zone_2012_smaller_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vicki_bennett_the_zone_2012_smaller_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vicki_bennett_the_zone_2012_smaller_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vicki_bennett_the_zone_2012_smaller_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This first feature-length film by Vicki Bennett tells one story of two journeys to the promised land, the world where dreams can be made real and reality is like a dream. The relationship between narratives holds surprising coincidences and surreal tangents and departures as they both dance their (not so) merry dance to their shangri-la. The films sit side by side, staying loyal to the linear narrative, but editing the longer film to the length of the shorter. The film was structured so that the crossover point from monotone to colour in imagery occur at the same stage. This method of story telling is challenging, sometimes jarring, but one’s patience is paid off with delightful harmonies and synchronicities both in images and narrative occurring far more than either pure chance would dictate or the imagination construct. This film is inspired by the Chance Operations of John Cage, Cut-Up techniques of Gysin/Burroughs and Kurt Schwitters, and single shot/durational films (Andy Warhol, James Benning).<br/><br/> “Happiness for everybody! . . . Free! As much as you want! . . . Everybody come here! . . . There’s enough for everybody! . . . Nobody will leave unsatisfied! . . . Free! . . . Happiness! . . . Free!” – from Roadside Picnic (the novel that Stalker is loosely based on)<br/><br/> This movie has a bit of a story attached to it - read about it here: Vicki Bennett reflects on The Mirror, unlocking the archives and a curious cease and desist order<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"vicki_bennett_we_are_not_amused_2013","ok":true,"partial":false,"title":"We Are Not Amused","artist":"People Like Us","year":"2013","startOffset":0,"sourceSecs":179.968,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":68918160,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_we_are_not_amused_2013/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vicki_bennett_we_are_not_amused_2013/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vicki_bennett_we_are_not_amused_2013.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vicki_bennett_we_are_not_amused_2013/main.mp4?v=2","description":"Duration 3'00\" minutes <br/><br/> Random Acts Secret Monsters Commission - Animate Projects/Channel 4 (2013) Who knows where ideas come from? You or me? Or THEM? The Muses are angry and they want their ideas back! This is a story of thieving and reappropriation, staged on a mythological platform. A film by Vicki Bennett<br/> Co-writer, composer and voiceover Ergo Phizmiz<br/> Additional animation Peter Knight<br/> Producer Abigail Addison at Animate Projects<br/> Mastering at VET<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/plu.html\" rel=\"noopener\" target=\"_blank\">People Like Us in UbuWeb Sound</a></br>","artist_bio":"People Like Us & Ergo Phizmiz \"Ghosts Before Breakfast\" (2007)\nFree (As A Chapel In The Moonlight) from The Magical Misery Tour (2011)\nFree Rod MckMoon from Consequences (One Thing Leads To Another) (2012)\nOptimized! Expanded Radio and Artist Residency at WFMU with People Like Us and Lets Paint TV (documentary)","bio_dates":"b. 1967"},{"slug":"video_information_center_video_tape_file_1975","ok":true,"partial":false,"title":"Video Tape File","artist":"Video Information Center","year":"1975","startOffset":0,"sourceSecs":907.106,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":384615255,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/video_information_center_video_tape_file_1975/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/video_information_center_video_tape_file_1975/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/video_information_center_video_tape_file_1975.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/video_information_center_video_tape_file_1975/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/video_information_center_video_tape_file_1975/main/master.m3u8?v=2","hasMainHls":true,"description":"Video Tape File–a sampler–features clips of Kishio SUGA, Akira KASAI, John CAGE, and more.\n\nLed by Ichiro TEZUKA, Video Information Center privileged video as a tool of documentation, most often capturing interdisciplinary and exploratory artistic performances in Tokyo."},{"slug":"videofreex_building_a_dome_at_earth_peoples_park_woodstock_1971","ok":true,"partial":false,"title":"Building Dome in Riverbi Earth People's Park","artist":"Videofreex","year":"1971","startOffset":0.333,"sourceSecs":632.303,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":44702857,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/videofreex_building_a_dome_at_earth_peoples_park_woodstock_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/videofreex_building_a_dome_at_earth_peoples_park_woodstock_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/videofreex_building_a_dome_at_earth_peoples_park_woodstock_1971.mp4","hasFrames":true,"artist_bio":"Videofreex, one of the first video collectives, was founded in 1969 by David Cort, Mary Curtis Ratcliff and Parry Teasdale, after David and Parry met each other, video cameras in hand, at the Woodstock Music Festival. Working out of a loft in lower Manhattan, the group's first major project was producing a live and tape TV presentation for the CBS network, The Now Show, for which they traveled the country, interviewing countercultural figures such as Abbie Hoffman and Black Panther leader Fred Hampton.\nThe group soon grew to ten full-time members--including Chuck Kennedy, Nancy Cain, Skip Blumberg, Davidson Gigliotti, Carol Vontobel, Bart Friedman and Ann Woodward--and produced tapes, installations and multimedia events. The Videofreex trained hundreds of makers in this brand new medium though the group's Media Bus project.\nIn 1971 the Freex moved to a 17-room, former boarding house called Maple Tree Farm in Lanesville, NY, operating one of the earliest media centers. Their innovative programming ranged from artists' tapes and performances to behind-the-scenes coverage of national politics and alternate culture. They also covered their Catskill Mountain hamlet, and in early 1972 they launched the first pirate TV station, Lanesville TV. An exuberant experiment with two-way, interactive broadcasting, it used live phone-ins and stretched cameras to the highway, transmitting whatever the active minds of the Freex coupled with their early video gear could share with their rural viewers.\nDuring the decade that the Freex were together, this pioneer video group amassed an archive of 1,500+ raw tapes and edits.","bio_dates":"1971"},{"slug":"videofreex_lanesville_ny_1973","ok":true,"partial":false,"title":"Lanesville TV: January 26th, 1973","artist":"Videofreex","year":"1973","startOffset":0,"sourceSecs":3648.087,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":210904787,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/videofreex_lanesville_ny_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/videofreex_lanesville_ny_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/videofreex_lanesville_ny_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/videofreex_lanesville_ny_1973/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/videofreex_lanesville_ny_1973/main/master.m3u8?v=2","hasMainHls":true},{"slug":"vidokle_antoine_a_crime_against_art_iphone","ok":true,"partial":false,"title":"A Crime Against Art, a film by Hila Peleg","artist":"Anton Vidokle","year":"2008","startOffset":0,"sourceSecs":6052.226,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":345630275,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vidokle_antoine_a_crime_against_art_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vidokle_antoine_a_crime_against_art_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vidokle_antoine_a_crime_against_art_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vidokle_antoine_a_crime_against_art_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vidokle_antoine_a_crime_against_art_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"\"\"\"A Crime Against Art\" is a film based on the trial staged at an art fair in Madrid in February 2007 organized by Anton Vidokle and Tirdad Zolghadr. Inspired by the mock trials organized by André Breton in the 1920s and 30s, it playfully raises a number of polemical issues in the world of contemporary art: collusion with the \"new bourgeoisie,\" instrumentalization of art and its institutions, the future possibility of artistic agency, as well as other pertinent topics.\n\nThe trial begins with the assumption that a crime has been committed, yet its nature and evidence are allusive and no victims have come forward. The testimonies and cross-examinations become an attempt by the Judge (Jan Verwoert), the Prosecuters (Vasif Kortun and Chus Martinez), and the Defense Attorney (Charles Esche) to unravel the nature of the puzzling \"crime against art.\" Set as a television courtroom drama and filmed by four camera crews, the film serial presents a condensed 100 minutes version of the trial.\n\nA Crime Against Art is based on The Trial in Madrid, February 2007 Organised by Anton Vidokle and Tirdad Zolgdhar."},{"slug":"vienet_rene_chinois_encore_un_effort_pour_etre_revolutionnaires_iphone","ok":true,"partial":false,"title":"Chinois, encore un effort pour être révolutionnaires","artist":"René Viénet","year":"1977","startOffset":0,"sourceSecs":6743.07,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":385372778,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_chinois_encore_un_effort_pour_etre_revolutionnaires_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_chinois_encore_un_effort_pour_etre_revolutionnaires_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vienet_rene_chinois_encore_un_effort_pour_etre_revolutionnaires_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vienet_rene_chinois_encore_un_effort_pour_etre_revolutionnaires_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vienet_rene_chinois_encore_un_effort_pour_etre_revolutionnaires_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"René Vienet's third film, \"Chinois, encore un effort pour être révolutionnaires\" had been missing from the situationist cinématheque until now.\n\n\"\"Chinois, encore un effort pour être révolutionnaires\" (a.k.a. \"Peking Duck Soup\") applies the method of détournement to the genre of the political documentary and conveys the definitive anti-maoist history of maoist China. The resulting troubles with Western European Maoists have been recapitulated in an equally hilarious text that Vienet published last year."},{"slug":"vienet_rene_dialectics_iphone","ok":true,"partial":false,"title":"Can Dialectics Break Bricks?","artist":"René Viénet","year":"1973","startOffset":0,"sourceSecs":4939.101,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":288044330,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_dialectics_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_dialectics_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vienet_rene_dialectics_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vienet_rene_dialectics_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vienet_rene_dialectics_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"“Imagine a kung fu flick in which the martial artists spout Situationist aphorisms about conquering alienation while decadent bureaucrats ply the ironies of a stalled revolution. This is what you’ll encounter in René Viénet’s’s outrageous refashioning of a Chinese fisticuff film. An influential Situationist, Viénet’s stripped the soundtrack from a run-of-the-mill Hong Kong export and lathered on his own devastating dialogue. . . . A brilliant, acerbic and riotous critique of the failure of socialism in which the martial artists counter ideological blows with theoretical thrusts from Debord, Reich and others. . . . Viénet’s’s target is also the mechanism of cinema and how it serves ideology.”\n\nis virtually the only available example of a situationist use of cinema. Viénet’s’s film is a far lesser creation than any of Debord’s, but still well worth seeing for its consistent use of the situationist technique of\n\n— the diversion of already existing cultural elements to new subversive purposes. Other filmmakers have used aspects of this technique, but only in confused and half-conscious ways, or for purely humorous ends à la Woody Allen’s\n\nViénet’s film is even funnier, but its humor comes not so much from its satire of an absurd film genre as from its undermining of the spectacle-spectator relation at the heart of an absurd society. In both its social-critical content and its self-critical form, it presents a striking contrast to the reformist whining and militant ranting that constitute most supposedly radical media. By turning the persuasive power of the medium against itself (characters criticize the plot, their own role in it, and the function of spectacles in general), it constantly counteracts the viewers’ tendency to identify with the cinematic action, reminding them that the real adventure — or lack of it — is in their own lives."},{"slug":"vienet_rene_mao_by_mao_1977","ok":true,"partial":false,"title":"Mao By Mao","artist":"René Viénet","year":"1977","startOffset":0,"sourceSecs":1669.8,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":99184515,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_mao_by_mao_1977/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_mao_by_mao_1977/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vienet_rene_mao_by_mao_1977.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vienet_rene_mao_by_mao_1977/main.mp4?v=2","description":"A film autobiography of Mao Tse-tung, leader of China from 1947 through until his death in 1976, drawn exclusively from his own writings, diaries, speeches and personal notes. Incorporates footage never before seen outside of China."},{"slug":"vienet_rene_the_girls_of_kamare_1974_part_1_iphone","ok":true,"partial":false,"title":"The Girls of Kamare, Part 1","artist":"René Viénet","year":"1974","startOffset":0,"sourceSecs":2651.478,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":159036933,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_the_girls_of_kamare_1974_part_1_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_the_girls_of_kamare_1974_part_1_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vienet_rene_the_girls_of_kamare_1974_part_1_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vienet_rene_the_girls_of_kamare_1974_part_1_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vienet_rene_the_girls_of_kamare_1974_part_1_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"into a crypto-Marxist sendup of imperial France. Letterboxed Japanese language print with both English and French subtitles."},{"slug":"vienet_rene_the_girls_of_kamare_1974_part_2_iphone","ok":true,"partial":false,"title":"The Girls of Kamare, Part 2","artist":"René Viénet","year":"1974","startOffset":0,"sourceSecs":2598.476,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":151530561,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_the_girls_of_kamare_1974_part_2_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_the_girls_of_kamare_1974_part_2_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vienet_rene_the_girls_of_kamare_1974_part_2_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vienet_rene_the_girls_of_kamare_1974_part_2_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vienet_rene_the_girls_of_kamare_1974_part_2_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"into a crypto-Marxist sendup of imperial France. Letterboxed Japanese language print with both English and French subtitles."},{"slug":"vienet_rene_trailer_for_lad","ok":true,"partial":false,"title":"Trailer For Lad","artist":"René Viénet","year":"1973","startOffset":0,"sourceSecs":213.867,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":66958771,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_trailer_for_lad/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vienet_rene_trailer_for_lad/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vienet_rene_trailer_for_lad.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vienet_rene_trailer_for_lad/main.mp4?v=2"},{"slug":"vierkant_artie_exposureadjustmentonasunset_2009","ok":true,"partial":false,"title":"Exposure Adjustment on a Sunset","artist":"Artie Vierkant","year":"2009","startOffset":0,"sourceSecs":2354.411,"sourceHeight":362,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":114026288,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vierkant_artie_exposureadjustmentonasunset_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vierkant_artie_exposureadjustmentonasunset_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vierkant_artie_exposureadjustmentonasunset_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vierkant_artie_exposureadjustmentonasunset_2009/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vierkant_artie_exposureadjustmentonasunset_2009/main/master.m3u8?v=2","hasMainHls":true,"description":"2009<br/> HD Video<br/> 39 min<br/> <br/> Video of a full sunset altered so that the brightness level remains constant from beginning to end.","bio_dates":"b. 1986"},{"slug":"visitor_a_pot_with_a_cover_with_a_pot_in_the_cover_2001","ok":true,"partial":false,"title":"A Pot with a Cover with a Pot in the Cover","artist":"Chris Habib","year":"2001","startOffset":0,"sourceSecs":169.086,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":19593242,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_a_pot_with_a_cover_with_a_pot_in_the_cover_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_a_pot_with_a_cover_with_a_pot_in_the_cover_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/visitor_a_pot_with_a_cover_with_a_pot_in_the_cover_2001.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/visitor_a_pot_with_a_cover_with_a_pot_in_the_cover_2001/main.mp4?v=2","description":"<b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Sonic Youth performs George Maciunas's \"Carpenter's Piano Piece #13 (For Nam June Paik)\" (1999)\nChris Habib has worked under a number of names in a variety of media for the past 18 years. Known mostly for his collaborative projects with musicians, galleries and artists, he keeps the good stuff to himself and presently shows only in museums and artist bookstores. While you'll find none of the work that matters most to him online, he's always busy.","bio_dates":"b. 1964"},{"slug":"visitor_always_seems_to_move_so_slow_2008","ok":true,"partial":false,"title":"Always Seems to Move So Slow","artist":"Chris Habib","year":"2008","startOffset":0,"sourceSecs":481.4,"sourceHeight":240,"sourceWidth":360,"hasAudio":true,"hasAmbientMp4":true,"bytes":33782171,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_always_seems_to_move_so_slow_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_always_seems_to_move_so_slow_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/visitor_always_seems_to_move_so_slow_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/visitor_always_seems_to_move_so_slow_2008/main.mp4?v=2","description":"<b>RESOURCES:</b><br/> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br/> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a>","artist_bio":"Sonic Youth performs George Maciunas's \"Carpenter's Piano Piece #13 (For Nam June Paik)\" (1999)\nChris Habib has worked under a number of names in a variety of media for the past 18 years. Known mostly for his collaborative projects with musicians, galleries and artists, he keeps the good stuff to himself and presently shows only in museums and artist bookstores. While you'll find none of the work that matters most to him online, he's always busy.","bio_dates":"b. 1964"},{"slug":"visitor_de_reconstructed_history_2012","ok":true,"partial":false,"title":"De-Reconstructed History","artist":"Chris Habib","year":"2012","startOffset":0,"sourceSecs":212.246,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":65656472,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_de_reconstructed_history_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_de_reconstructed_history_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/visitor_de_reconstructed_history_2012.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/visitor_de_reconstructed_history_2012/main.mp4?v=2","description":"MIke Kelley's Reconstructed History De-Constructed by Visitor<br/> Help/less Transformative Pagethroughs Vol. 1<br/> 7.22.12<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/film/kelley.html\" rel=\"noopener\" target=\"_blank\">Mike Kelley in UbuWeb Film</a><br> <a href=\"https://ubu.com/sound/kelley.html\" rel=\"noopener\" target=\"_blank\">Mike Kelley in UbuWeb Sound</a></br></br>","artist_bio":"Sonic Youth performs George Maciunas's \"Carpenter's Piano Piece #13 (For Nam June Paik)\" (1999)\nChris Habib has worked under a number of names in a variety of media for the past 18 years. Known mostly for his collaborative projects with musicians, galleries and artists, he keeps the good stuff to himself and presently shows only in museums and artist bookstores. While you'll find none of the work that matters most to him online, he's always busy.","bio_dates":"b. 1964"},{"slug":"visitor_freekitten_teenie_weenie_boppie_1997","ok":true,"partial":false,"title":"Teenie Weenie Boppie","artist":"Kim Gordon","year":"1997","startOffset":0,"sourceSecs":439.356,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":76007827,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_freekitten_teenie_weenie_boppie_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_freekitten_teenie_weenie_boppie_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/visitor_freekitten_teenie_weenie_boppie_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/visitor_freekitten_teenie_weenie_boppie_1997/main.mp4?v=2"},{"slug":"visitor_gelitin_blind_installation_part1_2010","ok":true,"partial":false,"title":"Blind Installation Part1","artist":"Chris Habib","year":"2010","startOffset":0,"sourceSecs":330.122,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":150922036,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_gelitin_blind_installation_part1_2010/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_gelitin_blind_installation_part1_2010/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/visitor_gelitin_blind_installation_part1_2010.mp4","hasFrames":true},{"slug":"visitor_i_would_make_the_dances_2011","ok":true,"partial":false,"title":"I Would Make the Dances","artist":"Chris Habib","year":"2011","startOffset":0,"sourceSecs":204.496,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":88470005,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_i_would_make_the_dances_2011/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_i_would_make_the_dances_2011/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/visitor_i_would_make_the_dances_2011.mp4","hasFrames":true,"description":"Sonic Youth. Live at Prospect Park. Summer 2010<br/> Merce Cunningham & John Cage in a found conversation<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/film/cunningham.html\" rel=\"noopener\" target=\"_blank\">Merce Cunningham in UbuWeb Film</a><br> <a href=\"https://ubu.com/film/cage.html\" rel=\"noopener\" target=\"_blank\">John Cage in UbuWeb Film</a><br> <a href=\"https://ubu.com/film/sonic_youth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Film</a><br> <a href=\"https://ubu.com/sound/sonicyouth.html\" rel=\"noopener\" target=\"_blank\">Sonic Youth in UbuWeb Sound</a></br></br></br></br>","artist_bio":"Sonic Youth performs George Maciunas's \"Carpenter's Piano Piece #13 (For Nam June Paik)\" (1999)\nChris Habib has worked under a number of names in a variety of media for the past 18 years. Known mostly for his collaborative projects with musicians, galleries and artists, he keeps the good stuff to himself and presently shows only in museums and artist bookstores. While you'll find none of the work that matters most to him online, he's always busy.","bio_dates":"b. 1964"},{"slug":"visitor_lunch_on_kern_1997","ok":true,"partial":false,"title":"Lunch On Kern","artist":"Chris Habib","year":"1997","startOffset":0,"sourceSecs":76.285,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":13260346,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_lunch_on_kern_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/visitor_lunch_on_kern_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/visitor_lunch_on_kern_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/visitor_lunch_on_kern_1997/main.mp4?v=2","description":"Featuring Lydia Lunch and the photography of Richard Kern<br/> teaser for an arté doc i made as a kid<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/film/kern.html\" rel=\"noopener\" target=\"_blank\">Richard Kern in UbuWeb Film</a></br>","artist_bio":"Sonic Youth performs George Maciunas's \"Carpenter's Piano Piece #13 (For Nam June Paik)\" (1999)\nChris Habib has worked under a number of names in a variety of media for the past 18 years. Known mostly for his collaborative projects with musicians, galleries and artists, he keeps the good stuff to himself and presently shows only in museums and artist bookstores. While you'll find none of the work that matters most to him online, he's always busy.","bio_dates":"b. 1964"},{"slug":"von_hausswolff_carl_michael_reads_an_anna_blume_kurt_schwitters_2009_new","ok":true,"partial":false,"title":"An Anna Blume (Kurt Schwitters)","artist":"Carl Michael von Hausswolff","year":"1956","startOffset":0,"sourceSecs":162.837,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":11332003,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_hausswolff_carl_michael_reads_an_anna_blume_kurt_schwitters_2009_new/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_hausswolff_carl_michael_reads_an_anna_blume_kurt_schwitters_2009_new/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/von_hausswolff_carl_michael_reads_an_anna_blume_kurt_schwitters_2009_new.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/von_hausswolff_carl_michael_reads_an_anna_blume_kurt_schwitters_2009_new/main.mp4?v=2","description":"Recorded April 25, 2009<br><br><b>RESOURCES:</b> <br> <br> <a href=\"https://ubu.com/contemp/goldsmith/index.html\" rel=\"noopener\" target=\"_blank\">Carl Michael von Hausswolff in UbuWeb Contemporary</a> <br/> This UbuWeb resource is presented in partnership with <a href=\"http://www.electra-productions.com/\" rel=\"noopener\" target=\"_blank\">Electra</a></br></br>","artist_bio":"Carl Michael von Hausswolff was born in 1956 in Linköping, Sweden. He lives and works in Stockholm.\nSince the end of the 1970s, Hausswolff has worked as a composer using the tape recorder as his main instrument and as a conceptual visual artist working with performance art, light- and sound installations and photography.\nHis audio compositions from 1979 to 1992, constructed almost exclusively from basic material taken from earlier audiovisual installations and performance works, consists essentially of complex macromal drones with a surface of aesthetic elegance and beauty. In later works, Hausswolff has retained the aesthetic elegance and the drone and added a purely isolationistic sonic condition to composing. Between 1996 and 2008 Hausswolff has boiled away even more ornamental meat from the bones: his works are pure, intuitive studies of electricity, frequency functions and tonal autism within the framework of a conceptual stringent cryption. Lately he has also developed a more conceptual form of audio art overlooking subjects such as architecture and urbanism, rats and maggots. Collaborators include Graham Lewis, Jean-Louis Huhta, Pan sonic, Russell Haswell, Zbigniew Karkowski, Erik Pauser, The Hafler Trio and John Duncan. His music and sound art can be found on record labels such as Ash International, Laton, Oral, RasterNoton, Firework Edition, SubRosa and Die Stadt. His music is published by\nTouch Music\n, London.\nHausswolff's music has been performed throughout Europe and in North America and Asia in festivals such as Sonar, Electrograph and I.D.E.A.L. In these concerts a very physical, almost brutal, side of Hausswolff’s aesthetics has blended with a droned and polyfrequential beauty. The audience very often fall into a form of trance, dosing away in their seats. Other times people experiencing the events has thanked him “for the massage” or has expressed a “feeling that the flesh came off the bones” due to the vibrations of the low frequencies used.\nHausswolff's audiovisual works have also found outlets in pictorial art. His \"Red\" series using red lights in various architectural and geographical spaces has shown a rather critical side of his works. In Santa Fé an abandoned cemetery was lit up in the night time by 20 000 watts (Red Night, 1999); in Liverpool the river Mersey was treated (Red Mersey, 2004); in Luxembourg a huge building used for repairing trains was treated (Red Sky Saw, 2007); in Kaliningrad various cages and houses were lit up (Red Zoo, 2006)and in Chiangmai, Zagreb, Rijeka, Chicago abandoned houses around the cities was lighted up and photographed (Red Empty, 2003-2004). His interest in architecture and topography has also resulted in the films “Hashima, Japan 2002” and “Al Qasr, Bahriyah Oasis, Egypt, 2005” made in collaboration with Thomas Nordanstad.\nIn 1997 he launched a series of works under the title \"Operations of Spirit Communication\". This work, inspired by Electronic Voice Phenomena (EVP) techniques, was combining and merging sound and vision using analogue and digital technologies such as oscilloscopes, radars and sonars. These ready-made machines were showing the possibilities of ghosts and other kinds of life forms living inside a certain space or inside the electricity grids. The cities of Paris, Linz, Bangkok, Shanghai, Banja Luka, Berlin, Kuala Lumpur, New York City, Tokyo, Frankfurt am Main, Stockholm and Copenhagen has been under this magnifying ghost glass. More recently the exhibition “The Complete Operations of Spirit Communication” was shown at OK Centrum in Linz, Austria.\nHis interest in audio and radio technology also came in light at the 49th Biennale di Venezia in 2001. In a collaborative work with Tommi Grönlund, Petteri Nisunen, Leif Elggren and Anders Tomrén he had constructed a radio receiver that could play all radio transmissions from the Venice area at the same time. The entire Nordic Pavilion was filled with this mix of sounds producing a beautiful and at the same time profound religious audio graphic environment. Other radio tech works include the usage of scanners and EVP frequencies.\nHausswolf has also created a series of social platforms, places where people can meet and consume. His “Thinner- and Low Frequency Bar” was used at the Momentum biennial in Moss, Norway, Prato, Italy and London and his “Glue- (Tobacco-) and High Frequency Lounge” was used in Geneva and in Prato. These works show Hausswolff’s critical view on the society’s hypocritical treatment of drugs and addiction. The audience could sniff the highly toxic substances thinner and contact glue while smoking cigarettes and getting penetrated by the either low or high sine wave tones.\nIn 1993 he and Leif Elggren developed the ever-lasting conceptual piece\n'The Kingdoms of Elgaland-Vargaland'\n. Here a new country was established in the world. Its territories was all border areas between every country, the No Man Land, mental territories such as the hypnagogue dream state and digital areas on the Internet. Paraphernalia such as a constitution including flags, coat of arms, and national hymn was produced and letters was sent to every government in the world asking for recognition. In 1995 an application for membership in the United Nations was sent in and in 2005 the New United Nations was proclaimed. Elgaland-Vargaland now has over 800 citizens and is frequently manifesting itself through the channels of conceptual art. Embassies has been established in Stockholm, Mexico City, Oujda, London, New York, San Francisco, Osaka, Barcelona, Helsinki and many other places. In 1995 the country annexed Schlaraffenland; at the 50th Biennale di Venezia in 2003 the state annexed Thomas More’s Utopia at the Utopia Station project and in 2007 the island of San Michele outside of Venice was annexed.\nHausswolff is also a freelance curator at\nFärgfabriken Centre\nfor Contemporary Art and Architecture in Stockholm. From 1999 until now he has curated retrospective exhibitions by the works of the EVP pioneer Friedrich Jürgenson, his long time colleague Leif Elggren, and Swedish electronic music pioneer Rune Lindblad. He also curated a special exhibition of works by his mentor Brion Gysin as well as works by Max Fredriksson, Henrik Rylander and Henrik Andersson.\nThe works of Friedrich Jurgenson has also been showed in Berlin, New York City, Brussels, Goteborg, Frankfurt am Main and Karlsruhe and parallel to these shows adaptations of other potential artists such as Olga Eriksson, Martin Ekenberg, Selmer Nilsen and Jim Irwin have emerged.\nIN 2003-07 he curated the sound art project '\nfreq_out'\nin Copenhagen, Oslo, Paris, Berlin, Chiang Mai and Budapest. This project includes the individual works from 12 sound artists shown in a collective way. The frequency range from 15 – 12 000 Hz was divided up into 12 sections and handed out to the artists. These exhibitions has showed a new way to deal and treat sound works as an exhibitional form, a form that mostly has been chaotic and non functional in many recent group shows. Artists included were Jacob Kirkegaard, J.G. Thirlwell, Jana Winderen, Finnbogi Petursson, Pomassl, Mike Harding, Maia Urstad, BJ Nilsen, Tommi Gronlund&Petteri Nisunen, PerMagnus Lindborg, Kent Tankred and Brandon LaBelle.\nIn 2003 Hausswolff curated, Against All Evens, the 2nd International Biennial for Contemporary Art in Göteborg, Sweden. Here he mixed sound artists like Ryoji Ikeda, Else Marie Pade and John Duncan with dictator painters from Libya and Cambodia; contemporary artists like Phill Niblock, Simone Kaern-Aaberg and Surasi Kusolwong with ready-made artists like Jürgenson and the inventor of the mail bomb Martin Ekenberg; painters like Jan Håfström with painters like Kim Gordon and Russell Haswell.\nIn spring 2005 Hausswolff completed his Starhouse project for\nThe Land Foundation\n, organised by Kamin Lertchaiprasert and Rirkrit Tiravanija in Chiangmai, Thailand.","bio_dates":"b. 1956"},{"slug":"von_hausswolff_carl_michael_reads_the_fury_of_sneezing_kurt_schwitters_2009_new","ok":true,"partial":false,"title":"The Fury of Sneezing (Kurt Schwitters)","artist":"Carl Michael von Hausswolff","year":"1956","startOffset":0,"sourceSecs":47.253,"sourceHeight":288,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2930392,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_hausswolff_carl_michael_reads_the_fury_of_sneezing_kurt_schwitters_2009_new/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_hausswolff_carl_michael_reads_the_fury_of_sneezing_kurt_schwitters_2009_new/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/von_hausswolff_carl_michael_reads_the_fury_of_sneezing_kurt_schwitters_2009_new.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/von_hausswolff_carl_michael_reads_the_fury_of_sneezing_kurt_schwitters_2009_new/main.mp4?v=2","description":"Recorded April 25, 2009<br><br><b>RESOURCES:</b> <br> <br> <a href=\"https://ubu.com/contemp/goldsmith/index.html\" rel=\"noopener\" target=\"_blank\">Carl Michael von Hausswolff in UbuWeb Contemporary</a> <br/> This UbuWeb resource is presented in partnership with <a href=\"http://www.electra-productions.com/\" rel=\"noopener\" target=\"_blank\">Electra</a></br></br>","artist_bio":"Carl Michael von Hausswolff was born in 1956 in Linköping, Sweden. He lives and works in Stockholm.\nSince the end of the 1970s, Hausswolff has worked as a composer using the tape recorder as his main instrument and as a conceptual visual artist working with performance art, light- and sound installations and photography.\nHis audio compositions from 1979 to 1992, constructed almost exclusively from basic material taken from earlier audiovisual installations and performance works, consists essentially of complex macromal drones with a surface of aesthetic elegance and beauty. In later works, Hausswolff has retained the aesthetic elegance and the drone and added a purely isolationistic sonic condition to composing. Between 1996 and 2008 Hausswolff has boiled away even more ornamental meat from the bones: his works are pure, intuitive studies of electricity, frequency functions and tonal autism within the framework of a conceptual stringent cryption. Lately he has also developed a more conceptual form of audio art overlooking subjects such as architecture and urbanism, rats and maggots. Collaborators include Graham Lewis, Jean-Louis Huhta, Pan sonic, Russell Haswell, Zbigniew Karkowski, Erik Pauser, The Hafler Trio and John Duncan. His music and sound art can be found on record labels such as Ash International, Laton, Oral, RasterNoton, Firework Edition, SubRosa and Die Stadt. His music is published by\nTouch Music\n, London.\nHausswolff's music has been performed throughout Europe and in North America and Asia in festivals such as Sonar, Electrograph and I.D.E.A.L. In these concerts a very physical, almost brutal, side of Hausswolff’s aesthetics has blended with a droned and polyfrequential beauty. The audience very often fall into a form of trance, dosing away in their seats. Other times people experiencing the events has thanked him “for the massage” or has expressed a “feeling that the flesh came off the bones” due to the vibrations of the low frequencies used.\nHausswolff's audiovisual works have also found outlets in pictorial art. His \"Red\" series using red lights in various architectural and geographical spaces has shown a rather critical side of his works. In Santa Fé an abandoned cemetery was lit up in the night time by 20 000 watts (Red Night, 1999); in Liverpool the river Mersey was treated (Red Mersey, 2004); in Luxembourg a huge building used for repairing trains was treated (Red Sky Saw, 2007); in Kaliningrad various cages and houses were lit up (Red Zoo, 2006)and in Chiangmai, Zagreb, Rijeka, Chicago abandoned houses around the cities was lighted up and photographed (Red Empty, 2003-2004). His interest in architecture and topography has also resulted in the films “Hashima, Japan 2002” and “Al Qasr, Bahriyah Oasis, Egypt, 2005” made in collaboration with Thomas Nordanstad.\nIn 1997 he launched a series of works under the title \"Operations of Spirit Communication\". This work, inspired by Electronic Voice Phenomena (EVP) techniques, was combining and merging sound and vision using analogue and digital technologies such as oscilloscopes, radars and sonars. These ready-made machines were showing the possibilities of ghosts and other kinds of life forms living inside a certain space or inside the electricity grids. The cities of Paris, Linz, Bangkok, Shanghai, Banja Luka, Berlin, Kuala Lumpur, New York City, Tokyo, Frankfurt am Main, Stockholm and Copenhagen has been under this magnifying ghost glass. More recently the exhibition “The Complete Operations of Spirit Communication” was shown at OK Centrum in Linz, Austria.\nHis interest in audio and radio technology also came in light at the 49th Biennale di Venezia in 2001. In a collaborative work with Tommi Grönlund, Petteri Nisunen, Leif Elggren and Anders Tomrén he had constructed a radio receiver that could play all radio transmissions from the Venice area at the same time. The entire Nordic Pavilion was filled with this mix of sounds producing a beautiful and at the same time profound religious audio graphic environment. Other radio tech works include the usage of scanners and EVP frequencies.\nHausswolf has also created a series of social platforms, places where people can meet and consume. His “Thinner- and Low Frequency Bar” was used at the Momentum biennial in Moss, Norway, Prato, Italy and London and his “Glue- (Tobacco-) and High Frequency Lounge” was used in Geneva and in Prato. These works show Hausswolff’s critical view on the society’s hypocritical treatment of drugs and addiction. The audience could sniff the highly toxic substances thinner and contact glue while smoking cigarettes and getting penetrated by the either low or high sine wave tones.\nIn 1993 he and Leif Elggren developed the ever-lasting conceptual piece\n'The Kingdoms of Elgaland-Vargaland'\n. Here a new country was established in the world. Its territories was all border areas between every country, the No Man Land, mental territories such as the hypnagogue dream state and digital areas on the Internet. Paraphernalia such as a constitution including flags, coat of arms, and national hymn was produced and letters was sent to every government in the world asking for recognition. In 1995 an application for membership in the United Nations was sent in and in 2005 the New United Nations was proclaimed. Elgaland-Vargaland now has over 800 citizens and is frequently manifesting itself through the channels of conceptual art. Embassies has been established in Stockholm, Mexico City, Oujda, London, New York, San Francisco, Osaka, Barcelona, Helsinki and many other places. In 1995 the country annexed Schlaraffenland; at the 50th Biennale di Venezia in 2003 the state annexed Thomas More’s Utopia at the Utopia Station project and in 2007 the island of San Michele outside of Venice was annexed.\nHausswolff is also a freelance curator at\nFärgfabriken Centre\nfor Contemporary Art and Architecture in Stockholm. From 1999 until now he has curated retrospective exhibitions by the works of the EVP pioneer Friedrich Jürgenson, his long time colleague Leif Elggren, and Swedish electronic music pioneer Rune Lindblad. He also curated a special exhibition of works by his mentor Brion Gysin as well as works by Max Fredriksson, Henrik Rylander and Henrik Andersson.\nThe works of Friedrich Jurgenson has also been showed in Berlin, New York City, Brussels, Goteborg, Frankfurt am Main and Karlsruhe and parallel to these shows adaptations of other potential artists such as Olga Eriksson, Martin Ekenberg, Selmer Nilsen and Jim Irwin have emerged.\nIN 2003-07 he curated the sound art project '\nfreq_out'\nin Copenhagen, Oslo, Paris, Berlin, Chiang Mai and Budapest. This project includes the individual works from 12 sound artists shown in a collective way. The frequency range from 15 – 12 000 Hz was divided up into 12 sections and handed out to the artists. These exhibitions has showed a new way to deal and treat sound works as an exhibitional form, a form that mostly has been chaotic and non functional in many recent group shows. Artists included were Jacob Kirkegaard, J.G. Thirlwell, Jana Winderen, Finnbogi Petursson, Pomassl, Mike Harding, Maia Urstad, BJ Nilsen, Tommi Gronlund&Petteri Nisunen, PerMagnus Lindborg, Kent Tankred and Brandon LaBelle.\nIn 2003 Hausswolff curated, Against All Evens, the 2nd International Biennial for Contemporary Art in Göteborg, Sweden. Here he mixed sound artists like Ryoji Ikeda, Else Marie Pade and John Duncan with dictator painters from Libya and Cambodia; contemporary artists like Phill Niblock, Simone Kaern-Aaberg and Surasi Kusolwong with ready-made artists like Jürgenson and the inventor of the mail bomb Martin Ekenberg; painters like Jan Håfström with painters like Kim Gordon and Russell Haswell.\nIn spring 2005 Hausswolff completed his Starhouse project for\nThe Land Foundation\n, organised by Kamin Lertchaiprasert and Rirkrit Tiravanija in Chiangmai, Thailand.","bio_dates":"b. 1956"},{"slug":"von_trier_lars_hvorfor_flygte_fra_det_du_ved_du_ikke_1970_iphone","ok":true,"partial":false,"title":"Hvorfor flygte fra det du ved du ikke kan flygte fra?","artist":"Lars von Trier","year":"1970","startOffset":0,"sourceSecs":497.92,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":35270662,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_trier_lars_hvorfor_flygte_fra_det_du_ved_du_ikke_1970_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_trier_lars_hvorfor_flygte_fra_det_du_ved_du_ikke_1970_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/von_trier_lars_hvorfor_flygte_fra_det_du_ved_du_ikke_1970_iphone.m4v","hasFrames":true,"artist_bio":"Hvorfor flygte fra det du ved du ikke kan flygte fra? Fordi du er en kujon AKA Why Try to Escape from Which You Know You Can't Escape from? Because You Are a Coward\n(1970)\nLars von Trier (born Lars Trier; 30 April 1956) is a Danish film director and screenwriter. He is closely associated with the Dogme 95 collective – an avant-garde filmmaking movement – although his own films have taken a variety of approaches. His work has frequently divided critical opinion.\nVon Trier began making films at the age of eleven. Von Trier suffers periodically from depression, as well as various fears and phobias, including an intense fear of flying. As he quipped in an interview, \"basically, I'm afraid of everything in life, except filmmaking.\" His first publicly released film was an experimental short called The Orchid Gardener (1977) and his first feature film came seven years later with The Element of Crime (1984). Among many prizes, awards and nominations, he is the recipient of the Palme d'Or (for Dancer in the Dark), the Grand Prix, and the Prix du Jury at the Cannes Film Festival.","bio_dates":"b. 1956"},{"slug":"von_trier_lars_menthe_1979_iphone","ok":true,"partial":false,"title":"Menthe","artist":"Lars von Trier","year":"1979","startOffset":0,"sourceSecs":1769.32,"sourceHeight":320,"sourceWidth":420,"hasAudio":true,"hasAmbientMp4":true,"bytes":105056256,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_trier_lars_menthe_1979_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_trier_lars_menthe_1979_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/von_trier_lars_menthe_1979_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/von_trier_lars_menthe_1979_iphone/main.mp4?v=2","description":"la bienheureuse is a Danish short film of the Danish director Lars von Trier from 1979. The film is based on the sadomasochistic novel by Dominique Aury , Story of O , and tells the story of a voluntary female subjugation . The production is produced in black and white, the second by the famous artist.","artist_bio":"Hvorfor flygte fra det du ved du ikke kan flygte fra? Fordi du er en kujon AKA Why Try to Escape from Which You Know You Can't Escape from? Because You Are a Coward\n(1970)\nLars von Trier (born Lars Trier; 30 April 1956) is a Danish film director and screenwriter. He is closely associated with the Dogme 95 collective – an avant-garde filmmaking movement – although his own films have taken a variety of approaches. His work has frequently divided critical opinion.\nVon Trier began making films at the age of eleven. Von Trier suffers periodically from depression, as well as various fears and phobias, including an intense fear of flying. As he quipped in an interview, \"basically, I'm afraid of everything in life, except filmmaking.\" His first publicly released film was an experimental short called The Orchid Gardener (1977) and his first feature film came seven years later with The Element of Crime (1984). Among many prizes, awards and nominations, he is the recipient of the Palme d'Or (for Dancer in the Dark), the Grand Prix, and the Prix du Jury at the Cannes Film Festival.","bio_dates":"b. 1956"},{"slug":"von_trier_lars_orchidegartneren_1977_iphone","ok":true,"partial":false,"title":"The Orchid Gardener","artist":"Lars von Trier","year":"1977","startOffset":0,"sourceSecs":2116.36,"sourceHeight":320,"sourceWidth":448,"hasAudio":true,"hasAmbientMp4":true,"bytes":128191445,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_trier_lars_orchidegartneren_1977_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_trier_lars_orchidegartneren_1977_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/von_trier_lars_orchidegartneren_1977_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/von_trier_lars_orchidegartneren_1977_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/von_trier_lars_orchidegartneren_1977_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"A young, mentally ill man, a visual artist in crisis Victor Marse (Lars von Trier) meets two nurses (Eliza and her girlfriend) during his stay in a sanatorium. These nurses are obvious lesbians. Victor lives with Eliza and her son. He imagines another woman when he is roaming at a coast. He pretends committing a suicide but Eliza does not react to it. Every moment, he stays in front of a blank canvas and thinks. Meanwhile he dresses into Nazi clothes or into women dresses, then he leaves to go to the cinema, and abuses and probably kills a small girl. His masochistic affair with Eliza lasts; he is close to shooting her with a gun but instead she takes out a whip. Victor goes along the streets then he lies naked in front of the canvas on which he has left his bloody fingerprints. After this he drives a funeral car to his work - he is employed in a garden where orchids are grown. Eliza is now the past and in the end, Victor might be dead as someone drives a cross into the ground.","artist_bio":"Hvorfor flygte fra det du ved du ikke kan flygte fra? Fordi du er en kujon AKA Why Try to Escape from Which You Know You Can't Escape from? Because You Are a Coward\n(1970)\nLars von Trier (born Lars Trier; 30 April 1956) is a Danish film director and screenwriter. He is closely associated with the Dogme 95 collective – an avant-garde filmmaking movement – although his own films have taken a variety of approaches. His work has frequently divided critical opinion.\nVon Trier began making films at the age of eleven. Von Trier suffers periodically from depression, as well as various fears and phobias, including an intense fear of flying. As he quipped in an interview, \"basically, I'm afraid of everything in life, except filmmaking.\" His first publicly released film was an experimental short called The Orchid Gardener (1977) and his first feature film came seven years later with The Element of Crime (1984). Among many prizes, awards and nominations, he is the recipient of the Palme d'Or (for Dancer in the Dark), the Grand Prix, and the Prix du Jury at the Cannes Film Festival.","bio_dates":"b. 1956"},{"slug":"von_wedemeyer_clemens_otjesd_making_of_otjesd","ok":true,"partial":false,"title":"The Making of Otjesd","artist":"Clemens von Wedemeyer","year":"2005","startOffset":0,"sourceSecs":648.683,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":113772363,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_wedemeyer_clemens_otjesd_making_of_otjesd/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_wedemeyer_clemens_otjesd_making_of_otjesd/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/von_wedemeyer_clemens_otjesd_making_of_otjesd.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/von_wedemeyer_clemens_otjesd_making_of_otjesd/main.mp4?v=2","description":"2005, 10 min, color, sound <br/> <br/> Wedemeyer's documentation of the process of researching and filming Otjesd.","artist_bio":"Clemens von Wedemeyer (b. 1974; Göttingen, Germany) received a M.F.A. in 2005 from the Academy of Visual Arts, Leipzig, Germany. He currently resides in Berlin and Leipzig. Since 1998 he has exhibited mostly in Germany and France and has received several awards.\nKnown for installations that exist in a realm between cinema and the fine arts, von Wedemeyer's moving-image works, shot on 35mm film or video, are usually accompanied by research material, video documentaries, or still photographs to illuminate the conception and production processes. Through their witty references, which allude to cinema classics as well as socio-critical topics and historical events, von Wedemeyer's works are meditations on a complex world.","bio_dates":"b. 1974"},{"slug":"von_wedemeyer_clemens_otjesd_otjesd","ok":true,"partial":false,"title":"Otjesd/Leaving","artist":"Clemens von Wedemeyer","year":"2005","startOffset":0,"sourceSecs":918.848,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":152140964,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_wedemeyer_clemens_otjesd_otjesd/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_wedemeyer_clemens_otjesd_otjesd/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/von_wedemeyer_clemens_otjesd_otjesd.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/von_wedemeyer_clemens_otjesd_otjesd/main.mp4?v=2","description":"2005, 15 min, color, sound <br/> <br/> In Otjesd/Leaving von Wedemeyer investigates the immigration of Russians to Germany, which increased after the fall of the Berlin Wall. In a single fifteen minute shot, which recalls the camera work of the great Russian masters such as Andrei Tarkovsy or Aleksandr Sokurov, the film captures an imaginary scene of people waiting for visas in front of the German consulate in Moscow. The camera slowly follows a young woman trying to fight her way into the building. The different dialogues in Russian are not dubbed or subtitled, creating for the viewer an atmosphere of confusion and disorientation. This is further enhanced by the incessantly moving camera, and the fact that the scene was shot neither at a consulate nor in Moscow, but in a forest near Berlin.","artist_bio":"Clemens von Wedemeyer (b. 1974; Göttingen, Germany) received a M.F.A. in 2005 from the Academy of Visual Arts, Leipzig, Germany. He currently resides in Berlin and Leipzig. Since 1998 he has exhibited mostly in Germany and France and has received several awards.\nKnown for installations that exist in a realm between cinema and the fine arts, von Wedemeyer's moving-image works, shot on 35mm film or video, are usually accompanied by research material, video documentaries, or still photographs to illuminate the conception and production processes. Through their witty references, which allude to cinema classics as well as socio-critical topics and historical events, von Wedemeyer's works are meditations on a complex world.","bio_dates":"b. 1974"},{"slug":"von_wedemeyer_clemens_silberhohe","ok":true,"partial":false,"title":"Silberhöhe","artist":"Clemens von Wedemeyer","year":"2003","startOffset":0,"sourceSecs":580.36,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":85947505,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_wedemeyer_clemens_silberhohe/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/von_wedemeyer_clemens_silberhohe/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/von_wedemeyer_clemens_silberhohe.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/von_wedemeyer_clemens_silberhohe/main.mp4?v=2","description":"In Halle-Silberhöhe, an area of pre-fab blocks of flats in East Germany, blocks of flats are being torn down. The film addresses the mission of an urban-planning concept in the late modern era. The montage assembles the separate camera shots together to create a bleak setting, at the same time a comment on a technique used by Michelangelo Antonioni in his 1962 film “L’eclisse“. <br/><br/> 35 mm/DVD, 1:1,66, stereo, 10 min, loop","artist_bio":"Clemens von Wedemeyer (b. 1974; Göttingen, Germany) received a M.F.A. in 2005 from the Academy of Visual Arts, Leipzig, Germany. He currently resides in Berlin and Leipzig. Since 1998 he has exhibited mostly in Germany and France and has received several awards.\nKnown for installations that exist in a realm between cinema and the fine arts, von Wedemeyer's moving-image works, shot on 35mm film or video, are usually accompanied by research material, video documentaries, or still photographs to illuminate the conception and production processes. Through their witty references, which allude to cinema classics as well as socio-critical topics and historical events, von Wedemeyer's works are meditations on a complex world.","bio_dates":"b. 1974"},{"slug":"vorkapich_slavko_hoffman_john_moods_of_the_sea_1941","ok":true,"partial":false,"title":"Moods of the Sea","artist":"Slavko Vorkapich","year":"1941","startOffset":0,"sourceSecs":572.288,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":36511616,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vorkapich_slavko_hoffman_john_moods_of_the_sea_1941/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/vorkapich_slavko_hoffman_john_moods_of_the_sea_1941/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/vorkapich_slavko_hoffman_john_moods_of_the_sea_1941.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vorkapich_slavko_hoffman_john_moods_of_the_sea_1941/main.mp4?v=2","description":"Moods of the Sea is a non-narrative visual(1941) film by Slavko Vorkapich and John Hoffman (1904-1980), set to the music of Felix Mendelssohn known as the Hebrides (or Fingal's Cave) Overture. This 10-minute-long film has become well known as an early example of American avant-garde and independent film.","artist_bio":"Slavko Vorkapich (1894-1976) was both a major film theorist and a distinguished Hollywood practitioner of his own famous theory of montage editing. His forty-year career in Hollywood included providing montage sequences for such directors as Howard Hawks, George Cukor and Frank Capra. Vorkapich was also a pioneer for the American experimental film, having co-directed The Life and Death of 9413: A Hollywood Extra (1928) with Robert Florey, and Moods of the Sea (1941) and Forest Murmurs (1947) with filmmaker John Hoffman (1904-1980).\nHe is best known for his montage work on Hollywood films such as Viva Villa (1934), David Copperfield (1935), San Francisco (1936), The Good Earth (1937), and Mr. Smith Goes to Washington (1939). The now-common montage sequence often appeared as notation in Hollywood scripts of the 1930s and 40s as the \"Vorkapich\", because of his mastery of dynamic visual editing, wherein time and space are compressed using a variety of editing techniques and camera moves. Vorkapich used kinetic editing, lapse dissolves, tracking shots, creative graphics and optical effects for his own stunning montage sequences for such features as Meet John Doe, Maytime, Crime without Passion, Manhattan Melodrama, Firefly, and Manhattan Cocktail.\nThe Yugoslavian-born \"Vorky\" already had distinguished himself as a portrait photographer, writer, commercial artist, dance director, set designer (for Rex Ingram's Scaramouche and Prisoner of Zenda), director-photographer of short films, second unit director, and co-director of RKO's recent The Past of Mary Holmes. He had become a specialist in creating montage sequences for RKO, Paramount and MGM, adding spice to the likes of Viva Villa, Dancing Lady and Manhattan Melodrama. Later he would become a leader in the field of education, lecturing often at the Museum of Modern Art and serving as head of the film department at USC 1952-56. Although he died in 1976, his writings and theories are still widely studied and used.","bio_dates":"1894-1976"},{"slug":"wakamatsu_and_adachi_red_army_pflp_declaration_of_world_war_1971","ok":true,"partial":false,"title":"Sekigun-PFLP: Sekai Senso Sengen (The Red Army/PFLP: Declaration of World War) [1971]","artist":"Masao Adachi & Kôji Wakamatsu","year":"1971","startOffset":0,"sourceSecs":4167.851,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":710423911,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wakamatsu_and_adachi_red_army_pflp_declaration_of_world_war_1971/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wakamatsu_and_adachi_red_army_pflp_declaration_of_world_war_1971/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wakamatsu_and_adachi_red_army_pflp_declaration_of_world_war_1971.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wakamatsu_and_adachi_red_army_pflp_declaration_of_world_war_1971/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wakamatsu_and_adachi_red_army_pflp_declaration_of_world_war_1971/main/master.m3u8?v=2","hasMainHls":true,"description":"INSERT DESCRIPTION PARAGRAPHS HERE <br/> Japanese<br/> 1971<br/> 70 min<br/> Co-edited by Red Army (Red Army Faction of Japan Revolutionary Communist League) and PFLP (Popular Front for the Liberation of Palestine) <br/><br/> In 1971, Koji Wakamatsu and Masao Adachi, both having ties to the Japanese Red Army, stopped in Palestine on their way home from the Cannes festival. There they caught up with notorious JRA ex-pats Fusako Shigenobu and Mieko Toyama in training camps to create a newsreel-style agit-prop film based off of the \"landscape theory\" (fûkeiron) that Adachi and Wakamatsu had developed. The theory, most evident at work in A.K.A. Serial Killer (1969), aimed to move the emphasis of film from situations to landscapes as expression of political and economical power relations. <br/><br/> In 1974 Adachi left Japan and committed himself to the Palestinian Revolution and linked up with the Japan Red Army. His activities thereafter were not revealed until he was arrested and imprisoned in 1997 in Lebanon. In 2001 Adachi was extradited to Japan, and after two years of imprisonment, he was released and subsequently published Cinema/Revolution [Eiga/Kakumei], an auto-biographical account of his life.<br><br><b>RESOURCES:</b> <br> This UbuWeb resource is presented in partnership with <a href=\"https://ubu.com/bidoun/index.html\" rel=\"noopener\" target=\"_blank\">Bidoun Magazine</a> <br> <a href=\"http://www.bidoun.com/\" rel=\"noopener\" target=\"_blank\">Bidoun Website</a></br></br>","artist_bio":"Sekigun-PFLP: Sekai Senso Sengen (The Red Army/PFLP: Declaration of World War) [1971]\nMasao Adachi [Adachi Masao], born May 13, 1939 in Fukuoka Prefecture) is a Japanese screenwriter and director who was most active in the 1960s and 1970s. Best known for his writing collaborations with directors Koji Wakamatsu and Nagisa Oshima, often under the pseudonyms \"Izuru Deguchi\" or \"De Deguchi\", he also directed a number of his own films, usually dealing with left-wing political themes. He stopped making films in the early 1970s and joined the Japanese Red Army, an armed militant organization. After residing in Lebanon for 28 years, he was arrested for passport violations. He was found guilty of passport violations in September 2001 and received a four-year sentence, suspended to 18 months. After his release he was deported to Japan via Jordan, where he was re-arrested on other passport violations. After being held for a year and a half he was convicted and released based on the time he had already served. Since his release, he has resumed making films after a 30 year absence.","bio_dates":"b. 1959"},{"slug":"walker_kara_fall_frum_grace_miss_pipis_blue_tale","ok":true,"partial":false,"title":"Fall Frum Grace, Miss Pipi's Blue Tale","artist":"Kara Walker","year":"2011","startOffset":0,"sourceSecs":551.518,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":82902938,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/walker_kara_fall_frum_grace_miss_pipis_blue_tale/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/walker_kara_fall_frum_grace_miss_pipis_blue_tale/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/walker_kara_fall_frum_grace_miss_pipis_blue_tale.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/walker_kara_fall_frum_grace_miss_pipis_blue_tale/main.mp4?v=2","description":"Fall Frum Grace, Miss Pipi’s Blue Tale is a shadow puppet narrative, which follows the travails of the heroine, Miss Pipi, intercut with shadow puppet “abstracts” of a surreal and violent nature. The subtext of the video is the mythology surrounding white Southern womanhood, historically cited time and time again as an entity to be protected from sexuality, in particular from the presumed hyper-sexuality of black men. Although fiction, this was the excuse for the murder of countless black men and boys in Jim Crow America. Miss Pipi’s Blue Tale is meant to be as deeply contradictory a visual tale as the Blues is in music. Delta Blues often merges broad comedy with despair, sensuality with loss and do-it-yourself urgency with structured improvisation. <br/><br/> The video Levee is a quiet meditation on the landscape set at sunrise in Friars Point, Mississippi. This long clip functions as a kind of curtain or backlit screen within which anything can happen--but nothing does. The straight line that bisects the image is the top edge of a section of levee, shot from below, at the edge of the Mississippi River. It is a black space, a barrier and engineering feat that receives little attention until failures occur such as the 1927 levee break at Greenville, MS or more recently those caused by Hurricane Katrina in 2005. Lastly, Bad Blues is a short video loop, featuring the artist in a comic sketch about black female agency and having “The Blues.” Walker’s objective as a ‘storyteller’ is to examine the destructive affects of mythmaking and of art.","artist_bio":"Kara Walker was born in Stockton, California, in 1969. She received a BFA from the Atlanta College of Art in 1991, and an MFA from the Rhode Island School of Design in 1994. The artist is best known for exploring the raw intersection of race, gender, and sexuality through her iconic, silhouetted figures. Walker unleashes the traditionally proper Victorian medium of the silhouette directly onto the walls of the gallery, creating a theatrical space in which her unruly cut-paper characters fornicate and inflict violence on one another. In works like \"Darkytown Rebellion\" (2000), the artist uses overhead projectors to throw colored light onto the ceiling, walls, and floor of the exhibition space; the lights cast a shadow of the viewer’s body onto the walls, where it mingles with Walker’s black-paper figures and landscapes. With one foot in the historical realism of slavery and the other in the fantastical space of the romance novel, Walker’s nightmarish fictions simultaneously seduce and implicate the audience. Walker’s work has been exhibited at the Museum of Modern Art, New York; San Francisco Museum of Modern Art; Solomon R. Guggenheim Museum, New York; and Whitney Museum of American Art, New York. A 1997 recipient of the MacArthur Fellowship, Walker was the United States representative to the 2002 Bienal de São Paulo. Walker currently lives in New York, where she is on the faculty of the MFA program at Columbia University.","bio_dates":"b. 1969"},{"slug":"warhol_andy_mario_banana_i_and_ii_1964","ok":true,"partial":false,"title":"Mario Banana #1","artist":"Andy Warhol","year":"1964","startOffset":0,"sourceSecs":416.2,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":69936771,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/warhol_andy_mario_banana_i_and_ii_1964/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/warhol_andy_mario_banana_i_and_ii_1964/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/warhol_andy_mario_banana_i_and_ii_1964.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/warhol_andy_mario_banana_i_and_ii_1964/main.mp4?v=2","description":"Andy Warhol's 16-mm film Mario Banana, starrring Mario Montez, sees Mario seductively eating a banana.","artist_bio":"Andy Warhol in Antonella Branca's film \"What's Happening?\"\n(1967)\nWARHOL's CINEMA - A Mirror for the Sixties (Documentary)\n(1989)\nChelsea Girls with Andy Warhol\n(1971-76), Directed by\nMichel Auder\nScenes of the Life Of Andy Warhol (dir. Jonas Mekas)\n(1982)\nSuperstar: The Life and Times of Andy Warhol\ndir. Chuck Workman (1990)","bio_dates":"1928-1987"},{"slug":"warhol_andy_soap_opera_1964_iphone","ok":true,"partial":false,"title":"Soap Opera","artist":"Andy Warhol","year":"1964","startOffset":0,"sourceSecs":2804.248,"sourceHeight":320,"sourceWidth":442,"hasAudio":true,"hasAmbientMp4":true,"bytes":163388432,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/warhol_andy_soap_opera_1964_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/warhol_andy_soap_opera_1964_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/warhol_andy_soap_opera_1964_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/warhol_andy_soap_opera_1964_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/warhol_andy_soap_opera_1964_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"According to Andy Warhol, Soap Opera was the first movie that Baby Jane Holzer did for him. (POP60) It was also the first Warhol film to be mentioned in the New York Times. Art critic Grace Glueck mentioned the film in her \"Art Notes\" column July 5, 1964, calling it Wee Love of Life. (AD85)<br/><br/> According to Jane, she was introduced to Warhol by Nicky Haslam who, at that time, was the editor for Show magazine. Jane thought that Nicky might have introduced her to Warhol on the corner of 59th Street, in front of Bloomingdales. According to Holzer, Warhol told her that he was making a movie called Soap Opera, and asked her if she would like to be in it. Shortly thereafter Jane had a dinner at her father-in-laws house on Park Avenue where she was staying and Warhol came to the dinner. Also at her dinner were David Bailey, Mick Jagger, Keith Richards, David McEwen and Nicky Haslam. (UW47)<br/><br/> In Popism, Andy Warhol recollected their meeting slightly differently, saying that the dinner came first, and that he then ran into her on Madison Avenue when she had just got back from \"the big '63 summer in London when everything had really started to happen there.\" According to Warhol, \"she couldn't stop raving about a club in Soho in back of Leicester Square, the Ad Lib, where the Beatles would walk by your table - the kind of place where, say Princess Margaret could come in and nobody would even bother to loook up, the beginning of the melting pot in class-conscious London.\" (POP59)<br/><br/> Andy Warhol:<br/><br/>\"\"\"Jane looked terrific standing there in the new look - pants and a sweater. Her jeans were black - I guess she'd picked that up from Bailey, who'd photographed her a lot while she was over there. I could see that she'd also picked up his way of talking, which, aside from being cockney, was to add 'sort-of-thing' at the end of her sentences sort-of-thing. And she talked about the 'Switched-On Look,' which was a phrase she said Bailey had coined... She was such a gorgeous girl - great skin and hair. And so much enthusiasm - she wanted to do everything.\" (Ibid)<br/><br/> Jane was nicknamed \"Baby Jane Holzer\" by columnist Carol Bjorman. The film Whatever Happened to Baby Jane had just been released and although the columnist had not seen the film, she used the moniker 'Baby Jane' to refer to Jane Holzer. The nickname stuck.<br/><br/> Soap Opera was subtitled \"The Lester Persky Story\" because Warhol used television commercials produced by Persky in the film.<br/><br/> Andy Warhol:<br/><br/>\"\"\"The first movie Jane did for me was Soap Opera, filmed over P.J. Clarke's, the Third Avenue pub. It was subtitled 'The Lester Persky Story' in tribute to Lester, who eventually became a movie producer. Lester introduced the hour-long commercial on television in the fifties that had Virginia Graham showing you all the different ways you could use Melmac, or Rock Hudson doing vacuum-cleaning demonstrations. Lester let us use footage from his old TV commericials, so we spliced sales-pitch demonstrations of rotisserie broilers and dishware in between the segments of Soap Opera.\" (POP60)<br/><br/> Lester Persky was also the person who introduced Edie Sedgwick to Warhol in January 1965, as well as \"discovering\" Paul America (who starred in My Hustler) at the disco Ondine. Persky was also the person who gave \"The Fifty Most Beautiful People\" party at the Factory in the spring of 1965. Persky also went with Warhol's entourage to Los Angeles during the screening of The Chelsea Girls, as well as to Cannes for the \"non-screening\" of The Chelsea Girls. (POP210/211) He would later become the television/film producer responsible for Shampoo and Taxi Driver. He died in Los Angeles on December 16, 2001. The rights to Truman Capote's short story, Handcarved Coffins, which had originally appeared in Interview magazine, were sold to Lester's production company in 1980.<br/><br/> Baby Jane Holzer worked on Soap Opera with Jerry Benjamin and Sam Green (UW47). Sam Green was an art dealer who also appeared in Batman Dracula in addition to appearing in Soap Opera. (POP32). In 1965, he became the director of exhibits at the Institute of Contemporary Art at the University of Pennsylvania, and was responsible for the Warhol exhibit there that was mobbed by students and reporters.<br/><br/> Jerry Benjamin, credited as co-director of Soap Opera, had previously been active in the experimental theater scene of New York. In October 1963 he had directed a production of John Weiners' play Asphodel, In Hell's Despite for the Judson Poets Theatre at the Judson Memorial Church. (JD170/FB317)<br/><br/> In 1967 a book of poetry was published in the U.K. by the filmmaker/writer Piero Heliczer titled The Soap Opera which included a couple of stills from Warhol's Screen Test of Heliczer (as well as contributions from Jack Smith and Wallace Berman) The book was published in an edition of 500 by Trigram Press in London. Warhol appeared in Heliczer's film Joan of Arc in 1966. <br/><br/>-- Warholstars, http://www.warholstars.org/soap_opera.html","artist_bio":"Andy Warhol in Antonella Branca's film \"What's Happening?\"\n(1967)\nWARHOL's CINEMA - A Mirror for the Sixties (Documentary)\n(1989)\nChelsea Girls with Andy Warhol\n(1971-76), Directed by\nMichel Auder\nScenes of the Life Of Andy Warhol (dir. Jonas Mekas)\n(1982)\nSuperstar: The Life and Times of Andy Warhol\ndir. Chuck Workman (1990)","bio_dates":"1928-1987"},{"slug":"warhol_andy_the_cars_hello_again_1984","ok":true,"partial":false,"title":"The Cars: Hello Again [Music Video]","artist":"Andy Warhol","year":"1984","startOffset":0,"sourceSecs":298.325,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":54327226,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/warhol_andy_the_cars_hello_again_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/warhol_andy_the_cars_hello_again_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/warhol_andy_the_cars_hello_again_1984.mp4","hasFrames":true,"description":"Music Video \"Hello Again\" by The Cars.<br/> Directed by Andy Warhol.","artist_bio":"Andy Warhol in Antonella Branca's film \"What's Happening?\"\n(1967)\nWARHOL's CINEMA - A Mirror for the Sixties (Documentary)\n(1989)\nChelsea Girls with Andy Warhol\n(1971-76), Directed by\nMichel Auder\nScenes of the Life Of Andy Warhol (dir. Jonas Mekas)\n(1982)\nSuperstar: The Life and Times of Andy Warhol\ndir. Chuck Workman (1990)","bio_dates":"1928-1987"},{"slug":"warhol_andy_wnet_interview_196","ok":true,"partial":false,"title":"Interview - WNET","artist":"Andy Warhol","year":"1966","startOffset":0,"sourceSecs":846.135,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":359175420,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/warhol_andy_wnet_interview_196/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/warhol_andy_wnet_interview_196/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/warhol_andy_wnet_interview_196.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/warhol_andy_wnet_interview_196/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/warhol_andy_wnet_interview_196/main/master.m3u8?v=2","hasMainHls":true,"description":"WNET, USA Arts (1966) (split documentary with Roy Lichtenstein)","artist_bio":"Andy Warhol in Antonella Branca's film \"What's Happening?\"\n(1967)\nWARHOL's CINEMA - A Mirror for the Sixties (Documentary)\n(1989)\nChelsea Girls with Andy Warhol\n(1971-76), Directed by\nMichel Auder\nScenes of the Life Of Andy Warhol (dir. Jonas Mekas)\n(1982)\nSuperstar: The Life and Times of Andy Warhol\ndir. Chuck Workman (1990)","bio_dates":"b. 1953"},{"slug":"warhol_jokel_1973_iphone","ok":true,"partial":false,"title":"Andy Warhol (Documentary, dir. Lana Jokel)","artist":"Andy Warhol","year":"1973","startOffset":0,"sourceSecs":1758.317,"sourceHeight":320,"sourceWidth":410,"hasAudio":true,"hasAmbientMp4":true,"bytes":107561396,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/warhol_jokel_1973_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/warhol_jokel_1973_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/warhol_jokel_1973_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/warhol_jokel_1973_iphone/main.mp4?v=2","description":"Presented on The South Bank Show, BBC, 1987<br/> <br/> Review/Film; Andy Warhol<br/> By JANET MASLIN<br/> Published: June 9, 1987<br/> New York Times<br/> <br/> THE friends, critics and colleagues who discuss Andy Warhol and his career in Lana Jokel's 1973 documentary say much the same things that obituary writers observed about him in February. At the time this film was made, the perception of Mr. Warhol as a brilliant manipulator, a dedicated voyeur and man of keen commercial judgment was already in place. <br/><br/> So were the thoughts - expressed here by a critic, David Bourdon, and a film maker, Emile de Antonio - that there might be more effort and radicalism to Mr. Warhol's work than met the eye. As was the idea, voiced by Harold Rosenberg, an art critic, that ''the primary creation of Andy Warhol is Andy Warhol himself.'' <br/><br/> ''Andy Warhol,'' a short (53-minute) profile opening today at the Public Theater, features a good deal of Mr. Warhol himself, glancing craftily at the camera as he says such things as: ''I don't think people really like art. It's just displayed nicely in museums.'' Mr. Warhol is also seen at the Factory, supervising the production of early issues of Interview, and in the country, playing with a dog in a garden. These casual scenes contrast markedly with the film's more studied interview footage, in which he concentrates more carefully on being Andy Warhol. At one point, after having talked animatedly for a while, he says ''I think I could stare for 10 minutes without blinking'' and proceeds to adopt the more familiar, blank-faced Andy Warhol mien. <br/><br/> The film also includes clips from various Warhol films, including the sequence from ''Lonesome Cowboys'' in which two wranglers practice ballet exercises, using a hitching post as a barre. Of particular interest are the comments of Mr. de Antonio, who speaks perceptively and somewhat tartly about Mr. Warhol's obsession with celebrity, and who finds as much interest in Mr. Warhol's methods as in the work itself. Mr. Bourdon discusses the ways in which early Warhol drawing prefigured the later work, and analyzes the deceptive simplicity of the latter. <br/><br/> This documentary, which does its best to be comprehensive about the Warhol career, has a rambling, unstructured style that befits Mr. Warhol's own approach to film making. (Interviewed here, Henry Geldzahler, Ithen the Metropolitan Museum's curator of 20th-century art, talks of how he sat in a chair smoking a cigar before a running movie camera while Mr. Warhol, who shot enough of this footage for an entire feature, made phone calls in another room.) The film also incorporates comments from Clement Greenberg, Barbara Rose and other art critics, and sounds a variety of different notes about Mr. Warhol, from the flippant to the unexpectedly astute. When Mr. Warhol remarks that ''Culture is slowly disappearing'' - a process to which he undoubtedly contributed - it is both. 15 Minutes ANDY WARHOL, directed by Lana Jokel; photographed by Mark Woodcock, Roger Murphy and Miss Jokel; produced by Michael Blackwood; a Michael Blackwood Production. Running time: 53 minutes.","artist_bio":"Andy Warhol in Antonella Branca's film \"What's Happening?\"\n(1967)\nWARHOL's CINEMA - A Mirror for the Sixties (Documentary)\n(1989)\nChelsea Girls with Andy Warhol\n(1971-76), Directed by\nMichel Auder\nScenes of the Life Of Andy Warhol (dir. Jonas Mekas)\n(1982)\nSuperstar: The Life and Times of Andy Warhol\ndir. Chuck Workman (1990)","bio_dates":"b. 1953"},{"slug":"wasko_ryszard_chodnik_1973","ok":true,"partial":false,"title":"Chodnik aka Walkway","artist":"Ryszard Wasko","year":"1973","startOffset":0,"sourceSecs":163.115,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":29688133,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wasko_ryszard_chodnik_1973/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wasko_ryszard_chodnik_1973/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wasko_ryszard_chodnik_1973.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wasko_ryszard_chodnik_1973/main.mp4?v=2","description":"An incredible experimental work from Ryszard Wasko exploring time, space and movement via timelapse and long exposures. Individual frames have an almost Bacon-esque quality at times.","artist_bio":"Ryszard Wasko (Waśko) is a Polish artist, who has worked in multimedia, including photography, film, video, installation, painting, and drawing. He is also known as a curator and organizer of art events. He lives and works in Berlin.","bio_dates":"b. 1949"},{"slug":"wearing_gillian_confess_1994","ok":true,"partial":false,"title":"Confess All On Video. Don't Worry, you Will Be In Disguise. Intrigued? Call Gillian...","artist":"Gillian Wearing","year":"1994","startOffset":0,"sourceSecs":286.379,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":41846737,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wearing_gillian_confess_1994/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wearing_gillian_confess_1994/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wearing_gillian_confess_1994.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wearing_gillian_confess_1994/main.mp4?v=2","description":"Duration 4'40\" <br/><br/> Responding to an advertisement in Time Out magazine, a series of participants took up Wearing's offer to make their confessions on camera. This work was inspired by 'fly-on-the-wall' documentaries and confessional TV chat shows, but it also evokes the religious ritual of confession and its modern secular equivalent, psychoanalysis. Wearing raises questions about the motives behind confession. Disguised, her participants are free to tell the truth about things to which they would never admit in daily life. At the same time, they can invent flamboyant lies without being caught out.","artist_bio":"Confess All On Video. Don't Worry, you Will Be In Disguise. Intrigued? Call Gillian... (1994)\nEnglish photographer and video artist. Wearing has described her working method as 'editing life'. By using photography and video to record the confessions of ordinary people, her work explores the disparities between public and private life, between individual and collective experience. Wearing has cited the influence of English fly-on-the-wall documentaries, such as Michael Apted's 7-up and the 1970s documentary The Family. Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say (1992Ð3), made shortly after her graduation from Goldsmiths College in 1990, was produced by approaching people on London streets, asking them to write something on a card and then photographing them as they displayed it. Private lives were given a sudden and revealingly painful exposure: a policeman holds a card reading 'Help!'. With the introduction of video and more in-depth interviewing of her subjects, Wearing began to use adult actors lip-synching the recorded confessions of children, and subjects, solicited from advertisements placed in newspapers, making confessions while wearing masks. The introduction of actors signalled an increasingly dramatic element in her work and a shift away from the use of documentary techniques. The 1999 video I Love You used actors to explore the theme of strong private emotion spilling out into a semi-public domain. The scene of a drunken woman repeatedly screaming 'I love you' is played out a number of times, the reaction of her three friends differing each time. Wearing won the Turner Prize in 1997.","bio_dates":"b. 1963"},{"slug":"wearing_gillian_taylor_wood_sam_2_into_1_1997","ok":true,"partial":false,"title":"2 Into 1","artist":"Gillian Wearing","year":"1997","startOffset":0,"sourceSecs":280.725,"sourceHeight":472,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":40801899,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wearing_gillian_taylor_wood_sam_2_into_1_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wearing_gillian_taylor_wood_sam_2_into_1_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wearing_gillian_taylor_wood_sam_2_into_1_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wearing_gillian_taylor_wood_sam_2_into_1_1997/main.mp4?v=2","description":"Duration 4'40\" <br/><br/> The short video projection 2 into 1 (1997) features a mother and her two sons, one generation lip-synching the dubbed words of the other. It is hypnotically disturbing to watch a pair of 10-year-old twins take turns speaking their mother's exasperated love for them. \"I think Lawrence is absolutely adorable, he's gorgeous, I love every inch of him,\" Lawrence says, in a slightly raspy woman's voice. \"But he's got a terrible temper.\" Halfhearted affirmations of self-esteem also figure in the mother's monologue, along with deep fatigue, all sounding precociously sympathetic--if not a touch demonic--coming from her children's lips. Equally unnerving is the mother's mimed recitation, heard in the soft, clear voices of clever preadolescent boys, of her sons' accounts of her. We hear their criticism of her driving (\"too slow\") and clothes (\"she doesn't dress too well\"), and their complaint that she goes out to clubs too much (slightly disheveled and obviously anxious, she looks like she could use the break). For their part, the boys, baby-faced and natty but incipiently loutish, are hardly ingratiating. A dazzlingly deft expression of the complex pushes and pulls in the mother-son relationship, 2 into 1 is an even more concise articulation of the triangulated relationship between artist, subject and viewer. Treating emotional truth as if it were the coin under the three fast-shuffled cups of a sidewalk con artist, this video pictures the circulation of meaning as a kind of vaudeville act, fast, funny and a little cruel.","artist_bio":"Confess All On Video. Don't Worry, you Will Be In Disguise. Intrigued? Call Gillian... (1994)\nEnglish photographer and video artist. Wearing has described her working method as 'editing life'. By using photography and video to record the confessions of ordinary people, her work explores the disparities between public and private life, between individual and collective experience. Wearing has cited the influence of English fly-on-the-wall documentaries, such as Michael Apted's 7-up and the 1970s documentary The Family. Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say (1992Ð3), made shortly after her graduation from Goldsmiths College in 1990, was produced by approaching people on London streets, asking them to write something on a card and then photographing them as they displayed it. Private lives were given a sudden and revealingly painful exposure: a policeman holds a card reading 'Help!'. With the introduction of video and more in-depth interviewing of her subjects, Wearing began to use adult actors lip-synching the recorded confessions of children, and subjects, solicited from advertisements placed in newspapers, making confessions while wearing masks. The introduction of actors signalled an increasingly dramatic element in her work and a shift away from the use of documentary techniques. The 1999 video I Love You used actors to explore the theme of strong private emotion spilling out into a semi-public domain. The scene of a drunken woman repeatedly screaming 'I love you' is played out a number of times, the reaction of her three friends differing each time. Wearing won the Turner Prize in 1997.","bio_dates":"b. 1963"},{"slug":"wechsler_judith_the_passages_of_walter_benjamin_2014","ok":true,"partial":false,"title":"The Passages of Walter Benjamin","artist":"Walter Benjamin","year":"2014","startOffset":0,"sourceSecs":3306.065,"sourceHeight":532,"sourceWidth":952,"hasAudio":true,"hasAmbientMp4":true,"bytes":557425799,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wechsler_judith_the_passages_of_walter_benjamin_2014/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wechsler_judith_the_passages_of_walter_benjamin_2014/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wechsler_judith_the_passages_of_walter_benjamin_2014.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wechsler_judith_the_passages_of_walter_benjamin_2014/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wechsler_judith_the_passages_of_walter_benjamin_2014/main/master.m3u8?v=2","hasMainHls":true,"description":"Judith Weschler<br/> 55 min. 2014.<br/><br/> In 1933, Walter Benjamin, one of the most brilliant literary and cultural critics of his time, fled Berlin when the Nazis took over and headed for Paris. There he sat, at the Bibliothèque nationale, working in poverty and relative obscurity on his most important project, “The Arcades Project.”<br/><br/> With the backdrop of totalitarianism spreading across the European continent, Benjamin explored the origins of modernity. Praising the poet Charles Baudelaire and employing his emblematic characters especially the flâneur and the rag picker, Benjamin wanted to counter the “false semblance of totality.” This enormous incomplete study is both a collection of sources for a radical history of 19th century Paris and the basis for an allegorical critique of European fascism in the 1930s.<br/><br/> What Benjamin sought was “images, not stories.” Stories were too complete for him; by contrast, images could be recombined, or recomposed, into a montage. Thus he was a fan of documentary film that could create the surprising and revealing juxtapositions he was after.<br/><br/> In 1940, as the Nazi armies invaded Paris, Benjamin gave over his Arcades notes, to the writer George Bataille, who hid them in the Bibliothèque nationale and fled.<br/><br/> Benjamin had been interned in 1939 as an enemy alien and suffered from a heart condition. Despite his weakened condition, the only way out was to cross clandestinely over the Pyrenees to Spain on what should have been the way to the United States via Portugal. He carried a brief case that contained a manuscript he described as “more important than my life.” Refused at the border, his visa not recognized, and about to be turned over to the Gestapo, Benjamin took the morphine he had been carrying in his pocket, and committed suicide.<br/><br/> The material he carried with him was lost. But over a thousand pages of notes for the major work of his life were recovered from the Bibliothèque nationale after the war. The “Arcades Project,” published in an English edition in 1999, is one of the most brilliant interpretations of early modern life.<br/><br/> This film presents the “The Arcades Project” in the context of Benjamin’s life and times. True to the spirit of Benjamin, “fragments” from his life and work in the 1930s are points of entry to explore his wider biography, from his family and childhood in Berlin, to his unconventional education, his travel to Moscow, and his life in exile in Paris. The film addresses Benjamin’s concerns as a German-Jewish intellectual, his friendships, and his failed romances.<br/><br/> The story is told, as much as possible, through Benjamin’s own writings, his correspondence, and quotations from The Arcades Project. The film incorporates footage and photographs of nineteenth and twentieth-century Paris, particularly the arcades, interviews with leading scholars, photographs of Benjamin, his family and associates, his handwritten manuscripts, notes, letters, and his flight from France to Port Bou Spain where he ended his life. Benjamin scholars are interviewed among them Howard Eiland, Susan Buck-Morss, Sigrid Weigel.<br/><br/> Walter Benjamin has wide and deep influences in many fields as a foremost intellectual of the 20th century. This one hour documentary should engage anyone interested in European culture and its fate in the 1920s to 1940s.<br><br><b>RESOURCES:</b><br> <a href=\"https://ubu.com/sound/benjamin.html\" rel=\"noopener\" target=\"_blank\">Walter Benjamin on UbuWeb Sound</a></br>","artist_bio":"One Way Street: Fragments for Walter Benjamin\n(1993), dir. John Hughes\nFlâneur III: Benjamin’s Shadow\n(1998), dir. Torben Skjodt Jensen\nParis, Capital of 19th Century, an essay/experimental film about the Passagen-Werk by Benjamin Bardou\n(2010)\nThe Passages of Walter Benjamin (2014)\n, dir. Judith Weschler\nWalter Bendix Schönflies Benjamin (15 July 1892 – 26 September 1940) was a German-Jewish intellectual, who functioned variously as a literary critic, philosopher, sociologist, translator, radio broadcaster and essayist. His work, combining elements of historical materialism, German idealism and Jewish mysticism, has made enduring and influential contributions to aesthetic theory and Western Marxism, and has sometimes been associated with the Frankfurt School of critical theory. As a literary critic, among his major works are essays on Goethe's novel Elective Affinities; the work of Franz Kafka; translation theory; the stories of Nikolai Leskov; the work of Marcel Proust and perhaps most significantly, the poetry of Charles Baudelaire. He also made major translations into German of the Tableaux Parisiens section of Baudelaire's Les Fleurs du mal and parts of Proust's À la recherche du temps perdu.\nHis turn to Marxism in the 1930s was partly due to the influence of Bertolt Brecht, whose critical aesthetics developed epic theatre and its Verfremdungseffekt (defamiliarisation, alienation). An earlier influence was friend Gershom Scholem, founder of the academic study of the Kabbalah and of Jewish mysticism.\nInfluenced by the Swiss anthropologist Johann Jakob Bachofen (1815–87), Walter Benjamin coined the term “auratic perception”, denoting the aesthetic faculty by means of which civilization may recover an appreciation of myth.[2] Benjamin's work is often cited in academic and literary studies, especially the essays \"The Task of the Translator\" (1923) and \"The Work of Art in the Age of Mechanical Reproduction\" (1936). -- Wikipedia","bio_dates":"1892-1940"},{"slug":"weegee_weegees_new_york_1948","ok":true,"partial":false,"title":"Weegee's New York","artist":"Weegee (Arthur Fellig)","year":"1948","startOffset":0,"sourceSecs":1283.901,"sourceHeight":362,"sourceWidth":638,"hasAudio":true,"hasAmbientMp4":true,"bytes":77647540,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weegee_weegees_new_york_1948/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weegee_weegees_new_york_1948/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/weegee_weegees_new_york_1948.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/weegee_weegees_new_york_1948/main.mp4?v=2","description":"The best known, ''Weegee's New York'' (1948), presents a surprisingly lyrical view of the city without a hint of crime or murder. Already this film gives evidence, here very restrained, of Weegee's interest in technical tricks: blur, speeded up or slowed-down film, a lens that makes the city's streets curve as if cars are driving over a rainbow.","artist_bio":"Weegee was the pseudonym of Arthur Fellig (June 12, 1899 – December 26, 1968), a photographer and photojournalist, known for his stark black and white street photography.\nWeegee worked in the Lower East Side of New York City as a press photographer during the 1930s and '40s, and he developed his signature style by following the city's emergency services and documenting their activity.[1] Much of his work depicted unflinchingly realistic scenes of urban life, crime, injury and death. Weegee published photographic books and also worked in cinema, initially making his own short films and later collaborating with film directors such as Jack Donohue and Stanley Kubrick.-- Wikipedia","bio_dates":"1899-1968"},{"slug":"weems_carrie_may_requiem_the_fall","ok":true,"partial":false,"title":"May Requiem The Fall","artist":"Carrie Mae Weems","year":"1992","startOffset":0,"sourceSecs":182.948,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":22641062,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weems_carrie_may_requiem_the_fall/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weems_carrie_may_requiem_the_fall/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/weems_carrie_may_requiem_the_fall.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/weems_carrie_may_requiem_the_fall/main.mp4?v=2","description":"Narrative and storytelling is in the blood,” declares Carrie Mae Weems. Through a mixture of archival personal photos and the artist’s first major photo-documentary series, \"Family Pictures and Stories,\" Weems takes the viewer on a personal journey through her childhood in the 1950s to a broader examination of “the history of black subjects in photography” in the series \"From Here I Saw What Happened and I Cried.\" Continually innovating, Weems has since adopted new strategies of picture making in the series \"Constructing History: A Requiem to Mark the Moment\" in which students at the Savannah College of Art and Design reenact pivotal Civil Rights and new moments from the past forty years. The segment follows the artist back to her home in Syracuse, New York, where she is seen staging the second chapter of the project in an ornate hotel ballroom, focusing on the drama of the 2008 presidential campaign."},{"slug":"weerasethakul_apichatpong_blue","ok":true,"partial":false,"title":"Blue","artist":"Apichatpong Weerasethakul","year":"2018","startOffset":0,"sourceSecs":751.593,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":251978330,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weerasethakul_apichatpong_blue/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weerasethakul_apichatpong_blue/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/weerasethakul_apichatpong_blue.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/weerasethakul_apichatpong_blue/main.mp4?v=2","description":"HD video, 12 mins, 30 sec. <br/><br/> A woman lies awake at night. Nearby, a set of theatre backdrops unspools itself, unveiling two alternate landscapes. Upon the woman’s blue sheet, a flicker of light reflects and illuminates her realm of insomnia.","artist_bio":"Apichatpong WEERASETHAKUL (1970, Thailand) studied Architecture in Thailand and was educated in filmmaking in Chicago. He is one of the few Thai filmmakers who work outside the strict Thai studio system. His films and installations often deal with memory, and address personal, politic and social issues. Weerasethakul often adds an unconventional narrative structure to his films and likes to work with non-actors. His body of work has brought him international recognition and numerous festival prizes, such as a Golden Palm for the film Uncle Boonmee Who Can Recall His Past Lives in 2010. In Cannes, Cemetery of Splendour (2015) was nominated in the section Un Certain Regard. In September 2016 Weerasethakul received the prestigious Grote Prins Claus Award.","bio_dates":"b. 1970"},{"slug":"wegman_fay_akron_art","ok":true,"partial":false,"title":"Akron Art","artist":"William Wegman","year":"1987","startOffset":0,"sourceSecs":1671.552,"sourceHeight":548,"sourceWidth":974,"hasAudio":true,"hasAmbientMp4":true,"bytes":287431059,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wegman_fay_akron_art/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wegman_fay_akron_art/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wegman_fay_akron_art.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wegman_fay_akron_art/main.mp4?v=2","description":"The Akron Art Museum is deeply honored to be one of only two venues to present William Wegman: Fay, a wonderfully witty and moving exhibition about the artistic collaboration between William Wegman (b. 1943) and his celebrated Weimaraner Fay (1984 - 1995). The breadth of Wegman’s audience is truly remarkable. In addition to being internationally renowned in art circles, he is one of the few artists to successfully disseminate his work—especially the photographs, videos and books featuring his beloved Weimaraner dogs—through the mass media. Wegman is a conceptual artist who works in many different media. Born in Holyoke, Massachusetts, in 1943, he graduated from the Massachusetts College of Art in 1965 with a BFA in painting. Subsequently, he enrolled in the Masters painting and printmaking program at the University of Illinois. In 1970, he moved to southern California and began exhibiting his photographs. He was one of the earliest artists to explore video and has used photography for over four decades. While living in California, Wegman acquired Man Ray, a Weimaraner whom he named after the surrealist French photographer. The dog became his partner in both life and art during their 12 year collaboration. Man Ray became so famous that, upon his passing, he was named ‘Man of the Year’ by the New York City newspaper The Village Voice. Grief-stricken by Ray’s death, Wegman made the decision not to get another dog, but some years later he came to meet another Weimaraner: “When we first met in Memphis, Tennessee, she was six months old and her name was Cinnamon Girl. I named her Fay after Fay Wray, of course, but also after my first color Polaroid with Man Ray and the nail polish, which I had titled Fay Ray. Her fur was taupe, lighter and warmer-toned than Man Ray’s, and she had yellow eyes like in a Rousseau painting. I had no intention of photographing Fay. Man Ray was irreplaceable. I didn’t want to mar my memory of him. …In a short time Fay matured from a coltish youth into a Garboesque beauty. My pictures grew with her. Now she was the muse, the adored one. Skin-deep beauty became the soul of my work.” – William Wegman, Polaroids, New York, 2002 Fay had a chameleon-like quality very different from Man Ray's concrete presence. The bond between the artist and his muse is undeniable. Images of Fay balanced upon an ironing boarding in Sphinx (1987) and coolly starting into the lens from beneath a black net in Netted (1988) show her deep trust in Wegman. His work with Fay captures the canine in a spectrum of emotions. Her huge, expressive citron eyes convey in one shot tragedy and in the next, joy. A series of photographs show Fay swathed in human clothing, posed as a woman, with the human arms and legs of her co-model. The canine appears part human, her expression incredibly familiar. Fay also posed with a variety of props, from roller-skates to masks of fruit, flowers and other found objects. The Akron Art Museum is fortunate to be able to include in this exhibition not just black and white photographs but also large format Polaroids and chromogenic (color) prints, from the artist’s personal collection. In addition to 56 still photographs, extensive selections from Wegman’s videos featuring Fay will be on continuous view in the exhibition. William Wegman: Fay was organized by the Allentown Art Museum in collaboration with the William Wegman Studio, New York. This exhibition is made possible by a generous gift from The Lehner Family Foundation, The Akron Beacon Journal / Ohio.com and the C. Blake, Jr. and Beatrice K. McDowell Foundation. The Akron Art Museum and Western Reserve PBS collaboration is made possible by generous support from the Summa Foundation."},{"slug":"wegman_man_ray_man_ray","ok":true,"partial":false,"title":"Man Ray-Man Ray","artist":"William Wegman","year":"1978","startOffset":0,"sourceSecs":320.96,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":22725971,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wegman_man_ray_man_ray/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wegman_man_ray_man_ray/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wegman_man_ray_man_ray.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wegman_man_ray_man_ray/main.mp4?v=2","description":"Program: Artists on Artists<br/> Date: 1978-01-01<br/><br/>Subject: Documentary films; Parodies; Dogs<br> People: Man Ray; Wegman, William<br/><br/>Clip Description<br> In William Wegman's \"Man Ray, Man Ray,\" the biographies of Wegman's dog and of the artist Man Ray merge. Host Russell Connor provides straightforward documentary-style narration of important details of both lives -- life in Paris, the Armory Show, artistic influences, and obedience school. Samples of photographic works by Man Ray and Wegman's video work (featuring his dog Man Ray) are included. Key figures in the artist's life are represented by images from a high school yearbook and other \"found\" photographs. <br><br> Program Description<br/> The \"Artists on Artists\" project was originally intended to create short spots to be broadcast as fills (segments between other programs). Works were acquired and/or produced for the project. The compilation tape, \"Artists on Artists\" features the following works: Peter Campus On Paul Strand; Louis Zukofsky; 9 Variations On A Dance Theme; Man Ray, Man Ray; Nam June Paik On The Beatles; Northlight.</br></br></br></br>","artist_bio":"The World of Photography (1986)\n(Michael Smith and William Wegman)\nWilliam Wegman was born in Holyoke, Massachusetts, in 1943. He graduated from the Massachusetts College of Art, Boston, in 1965 with a BFA in painting, then enrolled in the Masters painting and printmaking program at the University of Illinois, Champaign-Urbana, receiving an MFA in 1967. After teaching at various universities, Wegman’s interests in areas beyond painting ultimately led him to photography and the infant medium of video. While living in Long Beach, California, Wegman acquired Man Ray, the dog with whom he began a fruitful twelve-year collaboration. Man Ray became a central figure in Wegman’s photography and videos, known in the art world and beyond for his endearing deadpan presence. In 1972, Wegman and Man Ray moved to New York. In 1986, a new dog, Fay Ray, came into Wegman’s life, and soon thereafter another famous collaboration began, marked by Wegman’s use of the Polaroid 20 x 24 camera. With the birth of Fay’s litter in 1989 and her daughter’s litter in 1995, Wegman’s cast grew. His photographs, videos, paintings, and drawings have been exhibited in museums and galleries internationally. A retrospective of his work traveled to museums throughout Europe and the United States, including the Whitney Museum of American Art in New York. His most recent exhibitions have gone to Japan, Sweden, and the Orange County Museum of Art in California. Wegman lives in New York and Maine.","bio_dates":"b. 1943"},{"slug":"wegman_william_deodorant_ad","ok":true,"partial":false,"title":"Deodorant","artist":"William Wegman","year":"1972","startOffset":0,"sourceSecs":32.768,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":2327264,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wegman_william_deodorant_ad/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wegman_william_deodorant_ad/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wegman_william_deodorant_ad.mp4","hasFrames":true,"description":"An artist who shares his beliefs on technology through his artwork is William Wegman. As a photographer and artist, he produces a number of videos that criticize some of the central features of media and technology. For example, in \"Deodorant,\" William Wegman attempts to create a parody of a common deodorant advertisement that often attracts its consumers. In the video, the character applies spray to his armpits, until it foams up and looks disgusting. The point of this video is to undermine such advertisements, and to prove how ridiculous and unrealistic they look on TV. <br/> (Source: http://anamsh13.blogspot.com/2010/10/technology-society.html) <br/><br/> Contributed by Chris Yewell.","artist_bio":"The World of Photography (1986)\n(Michael Smith and William Wegman)\nWilliam Wegman was born in Holyoke, Massachusetts, in 1943. He graduated from the Massachusetts College of Art, Boston, in 1965 with a BFA in painting, then enrolled in the Masters painting and printmaking program at the University of Illinois, Champaign-Urbana, receiving an MFA in 1967. After teaching at various universities, Wegman’s interests in areas beyond painting ultimately led him to photography and the infant medium of video. While living in Long Beach, California, Wegman acquired Man Ray, the dog with whom he began a fruitful twelve-year collaboration. Man Ray became a central figure in Wegman’s photography and videos, known in the art world and beyond for his endearing deadpan presence. In 1972, Wegman and Man Ray moved to New York. In 1986, a new dog, Fay Ray, came into Wegman’s life, and soon thereafter another famous collaboration began, marked by Wegman’s use of the Polaroid 20 x 24 camera. With the birth of Fay’s litter in 1989 and her daughter’s litter in 1995, Wegman’s cast grew. His photographs, videos, paintings, and drawings have been exhibited in museums and galleries internationally. A retrospective of his work traveled to museums throughout Europe and the United States, including the Whitney Museum of American Art in New York. His most recent exhibitions have gone to Japan, Sweden, and the Orange County Museum of Art in California. Wegman lives in New York and Maine.","bio_dates":"b. 1955"},{"slug":"wegman_william_selected_works_1972","ok":true,"partial":false,"title":"Selected Works","artist":"William Wegman","year":"1972","startOffset":0,"sourceSecs":526.933,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":94710536,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wegman_william_selected_works_1972/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wegman_william_selected_works_1972/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wegman_william_selected_works_1972.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wegman_william_selected_works_1972/main.mp4?v=2","description":"Wegman uses the area framed by the camera as his performance space, employing a single, fixed camera to record the scenes as he and Man Ray, his Weimaraner, act them out. It has been suggested that Wegman's performances with Man Ray are uncanny invocations of broadcast television's manipulations of its viewers. Man Ray and his companion are collectively mesmerized by a tennis ball. The misrepresentations and lewd stroking of Man Ray as Wegman delivers a used car salesman's monologue apes television's crass marketing. Man Ray's pursuit of a dog biscuit inside a glass bottle creates the type of narrative suspense that draws us into the action on the screen. <br/> <br/>\"In a way, [Man Ray is] like an object. You can look at him and say, how am I going to use you, whereas you can't with a person...You can manipulate him so that he doesn't feel manipulated, so that he feels he's doing something he's supposed to do or having fun, one of the two.\"<br/>—William Wegman (Bear, 1973)<br/><br/>These tapes are a selection from the hours of short performances Wegman recorded in his studio from 1970-1978. Selected Works includes Two Dogs And Ball (silent), Used Car Salesman, Dog Biscuit In Glass Jar","artist_bio":"The World of Photography (1986)\n(Michael Smith and William Wegman)\nWilliam Wegman was born in Holyoke, Massachusetts, in 1943. He graduated from the Massachusetts College of Art, Boston, in 1965 with a BFA in painting, then enrolled in the Masters painting and printmaking program at the University of Illinois, Champaign-Urbana, receiving an MFA in 1967. After teaching at various universities, Wegman’s interests in areas beyond painting ultimately led him to photography and the infant medium of video. While living in Long Beach, California, Wegman acquired Man Ray, the dog with whom he began a fruitful twelve-year collaboration. Man Ray became a central figure in Wegman’s photography and videos, known in the art world and beyond for his endearing deadpan presence. In 1972, Wegman and Man Ray moved to New York. In 1986, a new dog, Fay Ray, came into Wegman’s life, and soon thereafter another famous collaboration began, marked by Wegman’s use of the Polaroid 20 x 24 camera. With the birth of Fay’s litter in 1989 and her daughter’s litter in 1995, Wegman’s cast grew. His photographs, videos, paintings, and drawings have been exhibited in museums and galleries internationally. A retrospective of his work traveled to museums throughout Europe and the United States, including the Whitney Museum of American Art in New York. His most recent exhibitions have gone to Japan, Sweden, and the Orange County Museum of Art in California. Wegman lives in New York and Maine.","bio_dates":"b. 1943"},{"slug":"wei_liu_floating_memory_2001","ok":true,"partial":false,"title":"Floating Memory","artist":"Liu Wei","year":"2001","startOffset":0,"sourceSecs":607.84,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":42223665,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wei_liu_floating_memory_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wei_liu_floating_memory_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wei_liu_floating_memory_2001.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wei_liu_floating_memory_2001/main.mp4?v=2","description":"A documentary? A play with elements from reality? Fiction with a documentary streak? Unequivocal fiction? To which genre FLOATING MEMORY belongs is hard to determine. And people longing for transparency will find this film a tough job. Not the film itself, but the synopsis provides the best foothold. In it, Liu Wei mentions the revolutionary year 1989 and the uprising on Tian’an Men Square. He participated in it, and it nearly killed him. Twelve years later, China and he have completely changed. The memory of those turbulent days is shattered and still he does not know what the true meaning of life is. Still, the images of those days keep haunting him. This film is a collage of, fading, slow-motion or reversed photographs, films and newscast images of the chaos in Beijing in 1989. In 2001, the camera skims along the past, scans it and tries to penetrate it. The distance to the past is emphasised by much more colourful images of the orderly modern Beijing. Among the images of the now unknowable past, scenes emerge that are of a completely different order. Raindrops falling in a pool. A white stick dipping in a puddle. A crowd ascending a staircase and dissolving into thin air. Even to those who know the synopsis, FLOATING MEMORY remains ambiguous. Is this a cry of distress from a murky inner landscape? Or an apt representation of the inevitable fate that awaits every historic event?","artist_bio":"Liu Wei (Chinese: 刘韡; born 1972 in Beijing) is a Chinese artist based in Beijing. He works in varied media – video, installation, drawing, sculpture, and painting – with no uniting stylistic tendency, though the Saatchi Gallery finds a uniting theme of \"a sentiment of excess, corruption, and aggression reflective of cultural anxiety\".[2] Conceptualism, satire, and humor are the hallmarks of his works.\nHis works include the Super Structure series of model cityscapes constructed from dog chews; the Purple Air oil paintings of stylised skyscraper cityscapes; the Landscape Series of landscapes made from photographic composites of human buttocks; and Indigestion II, a two-metre model turd.\nHe has shown work in exhibitions including 21: World Wide Video Festival in Amsterdam, Cinema du Reel at the Pompidou Centre in France, Over One Billion Served at the Museum of Contemporary Art in Denver, and Between Past and Future at the International Center for Photography in New York City. His dog chew structures were in 2010 once again shown during the exhibition Dreamlands at the Centre Pompidou in Paris.","bio_dates":"b. 1972"},{"slug":"weigmann_flora_adaptive_lines_2007","ok":true,"partial":false,"title":"Adaptive Lines","artist":"Flora Wiegmann","year":"2007","startOffset":0,"sourceSecs":189.461,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":33451219,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weigmann_flora_adaptive_lines_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weigmann_flora_adaptive_lines_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/weigmann_flora_adaptive_lines_2007.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/weigmann_flora_adaptive_lines_2007/main.mp4?v=2","description":"Step 1: Choreography created by Flora Wiegmann <br/> Step 2: Location selected by Walead Beshty<br/> Step 3: Choreography adapted to space<br/> Step 4: Sound score produced by Alix Lambert and Joshua Myers<br/> Step 5: Choreography adapted to sound <br/> Step 6: Costume conceived and produced by Andrea Zittel<br/> Step 7: Choreography adapted for costume<br/> Step 8: Performance filmed and edited by Margo Victor","artist_bio":"Eleanor Antin, Charles Atlas, Natalie Bookchin, James Byrne and Victoria Marks, Ann Carlson and Mary Ellen Strom, Shirley Clarke, Bruce Conner, Thierry de Mey, Tacita Dean, Maya Deren, Ed Emshwiller, William Forsythe, Amy Greenfield, Hilary Harris, Oliver Herring, Luis Jacob, Mike Kelley, Joachim Koester, Elad Lassry, Sharon Lockhart, Babette Mangolte, Norman McLaren, Frank Moore and Jim Self, Bruce Nauman, Kelly Nipper, Sidney Peterson and Hy Hirsh, Yvonne Rainer, robbinschilds + A.L. Steiner, Uri Tzaig, Flora Wiegmann, and Christopher Williams.\nIn the 1937 musical film\nShall We Dance\n, Fred Astaire's character falls in love with a flip book, or rather, the woman depicted on its pages: a popular dancer played by Ginger Rogers. \"That's grace, that's rhythm,\" he swoons over the photographs. The camera, it almost need not be stated, captures things that move. Dance with Camera features art works in film, video, and photography that exemplify the ways dance has compelled artists to record bodies moving in space and time. The exhibition begins with films from the 1960s, a period when associations between dancers, filmmakers, musicians and visual artists flourished at Judson Dance Theater in downtown New York. The interdisciplinary practices that emerged at Judson, and beyond, were an extension of the collaborative work of composer John Cage and choreographer Merce Cunningham, both of whom made use of chance procedures. This \"anything goes\" methodology demolished creative traditions and hierarchies, moves that influenced the way the works on view use an imagery of dance that threads through Hollywood musicals, avant-garde cinema, postmodern dance and MTV.\nDance with Camera\nincludes works in which dance is a subject, or mode, used to explore broader themes of collaboration, narrative, structure, metaphor and abstraction. These works propose choreography for the camera lens: movement is designed for the area prescribed by the camera's frame; the ephemerality of live performance is fixed in time. The camera also allows close-ups that bring us in proximity to the dance, or in some cases, performs as a partner in unusual pas de deux. Photographic series freeze time while also expanding the notion of dance as a time-based medium. Editing techniques compress time and space, conjure dances impossible in real time, and even transform relatively static performers into dancers. Finally, the camera is not merely a recording device, but stage and audience simultaneously.","bio_dates":"b. 1976"},{"slug":"weiner_lawrence_blue_moon_over_2001","ok":true,"partial":false,"title":"Blue Moon Over","artist":"Lawrence Weiner","year":"2001","startOffset":0,"sourceSecs":315.732,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":32460943,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weiner_lawrence_blue_moon_over_2001/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weiner_lawrence_blue_moon_over_2001/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/weiner_lawrence_blue_moon_over_2001.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/weiner_lawrence_blue_moon_over_2001/main.mp4?v=2","description":"2001, 5:14 min, color, sound <br/><br/> With Blue Moon Over, Weiner extends his text-based works into the digital realm, positing aphorisms and epigrammatic phrases that investigate language, acquisition and desire. Employing a visual system that suggests flowcharts, horizon lines and diagrams, Blue Moon Over is structured as a series of seamlessly animated sequences of drawings and text fragments. Through subtle manipulations, Weiner engages in linguistic tricks and metamorphoses that visually manifest his conceptual inquiries. Produced by Moved Pictures, New York. Graphic Translation: Bethany Izard. Cartoon made in conjunction with the book Blue Moon Over. -- <a href=\"http://www.eai.org/title.htm?id=9788\" rel=\"noopener\" target=\"_blank\">EAI</a> <br/><br/> This title is available for exhibitions, screenings, and institutional use through <a href=\"http://www.eai.org\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix (EAI)</a>, NY. Please visit the <a href=\"http://eai.org/catalogueMain.htm\" rel=\"noopener\" target=\"_blank\">EAI Online Catalogue</a> for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.","artist_bio":"To And Fro. Fro And To. And To And Fro. And Fro And To. (1972)\nLawrence Weiner was born in 1942 in the Bronx, New York City. Weiner is seen as one of the key figures in Conceptual Art, a movement he joined in the mid-1960s, at the beginning of his artistic career. Language is the basis of his entire work and he has been exploring an extensive variety of media - from video and film to performance, installation and graphic art. All these media and art forms suit the purpose of exploring human and social relationships through language and communication. He gained international recognition as an artist in 1968, the year he had written the small book 'Statements', which is generally considered one of the seminal conceptual art books, containing art projects on paper. In the same year, he also made his famous 'Declaration of Intent', in which he postulated the priority of words and language over their materialization into an art object. Weiner lives and works in New York and Amsterdam.","bio_dates":"b. 1942"},{"slug":"weiss_peter_studie_4_liberation_1954","ok":true,"partial":false,"title":"Studie IV (Frigörelse) / Study IV (Liberation)","artist":"Peter Weiss","year":"1954","startOffset":0,"sourceSecs":498.773,"sourceHeight":352,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":31187847,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weiss_peter_studie_4_liberation_1954/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weiss_peter_studie_4_liberation_1954/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/weiss_peter_studie_4_liberation_1954.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/weiss_peter_studie_4_liberation_1954/main.mp4?v=2","description":"(Sweden, 16mm, 9min) <br/><br/>\"\"Studie II (Hallucinationer)\" (Study II (Hallucinations)) (1952), comprises twelve staged scenes that were modelled after a set of drawings. Accompanied by metallic sounds, various body parts, limbs and objects form surrealistic collages against the background of a black space. Peter Weiss intended to create associative images that can not be deciphered completely. Beyond any logical interpretation, he wanted to show pure inner feelings. In a conversation with Harun Farocki from 1980, Peter Weiss admitted in retrospect that the images had very well developed a strong psychological effect. Refering to the situation of his exile, he stated that \"this had to do with the traumatic as well as dreamlike experience of rupture and alienation.\" Two years later, in \"Studie IV (Frigörelse)\" (Study IV (Relief)) (1954), Weiss chose to combine abstraction and real imagery. A male figure moves slowly through different spaces, partly draging his Alter-Ego on his back. In a bourgeois furnitured room, the young man searches through a box full of white papers, while next to him an old couple – mother and father – sits silently at the table. These scenes are intercut with close ups of tools and hands reaching through piles of strings and wires. \"Studie IV (Frigörelse)\" symbolizes the liberation from the father and the attempt to throw off an old ego or identity. Those subjects of his early short films, produced in a surrealist, if not existentialist vein, parallel Weiss' autobiographical writings throughout the 1950s that, amongst others, resulted in a book later published under the title \"Abschied von den Eltern\" (Farewell to the Parents) (1961). -- Florian Wüst","artist_bio":"Studie II (Hallucinationer) / Study II (Hallucinations) (1952)\nStudie IV (Frigörelse) / Study IV (Liberation), (Sweden, 16mm, 9min) (1954)\nPeter Ulrich Weiss (November 8, 1916 Ð May 10, 1982) was a German writer, painter, and artist of adopted Swedish nationality. He is particularly known for his play Marat/Sade and his novel The Aesthetics of Resistance.","bio_dates":"1916-1982"},{"slug":"weiss_peter_studie_ii_hallucinationer_1952","ok":true,"partial":false,"title":"Studie II (Hallucinationer) / Study II (Hallucinations)","artist":"Peter Weiss","year":"1952","startOffset":0,"sourceSecs":315.2,"sourceHeight":420,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":18149432,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weiss_peter_studie_ii_hallucinationer_1952/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/weiss_peter_studie_ii_hallucinationer_1952/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/weiss_peter_studie_ii_hallucinationer_1952.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/weiss_peter_studie_ii_hallucinationer_1952/main.mp4?v=2","description":"(Sweden, 16mm, 6min) <br/><br/>\"\"Studie II (Hallucinationer)\" (Study II (Hallucinations)) (1952), comprises twelve staged scenes that were modelled after a set of drawings. Accompanied by metallic sounds, various body parts, limbs and objects form surrealistic collages against the background of a black space. Peter Weiss intended to create associative images that can not be deciphered completely. Beyond any logical interpretation, he wanted to show pure inner feelings. In a conversation with Harun Farocki from 1980, Peter Weiss admitted in retrospect that the images had very well developed a strong psychological effect. Refering to the situation of his exile, he stated that \"this had to do with the traumatic as well as dreamlike experience of rupture and alienation.\" Two years later, in \"Studie IV (Frigörelse)\" (Study IV (Relief)) (1954), Weiss chose to combine abstraction and real imagery. A male figure moves slowly through different spaces, partly draging his Alter-Ego on his back. In a bourgeois furnitured room, the young man searches through a box full of white papers, while next to him an old couple – mother and father – sits silently at the table. These scenes are intercut with close ups of tools and hands reaching through piles of strings and wires. \"Studie IV (Frigörelse)\" symbolizes the liberation from the father and the attempt to throw off an old ego or identity. Those subjects of his early short films, produced in a surrealist, if not existentialist vein, parallel Weiss' autobiographical writings throughout the 1950s that, amongst others, resulted in a book later published under the title \"Abschied von den Eltern\" (Farewell to the Parents) (1961). -- Florian Wüst:","artist_bio":"Studie II (Hallucinationer) / Study II (Hallucinations) (1952)\nStudie IV (Frigörelse) / Study IV (Liberation), (Sweden, 16mm, 9min) (1954)\nPeter Ulrich Weiss (November 8, 1916 Ð May 10, 1982) was a German writer, painter, and artist of adopted Swedish nationality. He is particularly known for his play Marat/Sade and his novel The Aesthetics of Resistance.","bio_dates":"1916-1982"},{"slug":"welcome_to_the_peak_of_intelligence_1995","ok":true,"partial":false,"title":"Welcome to the Peak of Intelligence","artist":"Igor Kuduz","year":"1995","startOffset":0,"sourceSecs":423.32,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":76926587,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welcome_to_the_peak_of_intelligence_1995/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welcome_to_the_peak_of_intelligence_1995/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/welcome_to_the_peak_of_intelligence_1995.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/welcome_to_the_peak_of_intelligence_1995/main.mp4?v=2"},{"slug":"welles_orson_interview_isidore_isou_lettrism","ok":true,"partial":false,"title":"Orson Welles interviews the Letterists featuring Isidore Isou","artist":"Isidore Isou","year":"1955","startOffset":0,"sourceSecs":144.73,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":6187813,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welles_orson_interview_isidore_isou_lettrism/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welles_orson_interview_isidore_isou_lettrism/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/welles_orson_interview_isidore_isou_lettrism.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/welles_orson_interview_isidore_isou_lettrism/main.mp4?v=2","description":"Orson Welles interviews the Romanian poet living in Paris featuring Isidore Isou Lettrism, important movement of sound poetry. Excerpt from the documentary film \"Around the World with Orson Welles\" St. Germain des Pres (1955).<br><br><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/creed.html\" rel=\"noopener\" target=\"_blank\">Isidore Isou in UbuWeb Sound</a>","artist_bio":"Born Isidore Goldstein in Botosani, Romania, on 29 January 1925. He moved to Paris on 23 August 1945, after the liberation of the city from Nazi occupation. Shortly thereafter, he meets Gabriel Pomerand (another Jewish refugee), and founds \"lettrisme.\" The first public manifestation of the new artistic movement takes plaves on 8 January 1946 at the Societes Savantes, where Isou reads his poems aloud. The next year, Gallimard publishes his Introduction to a New Poetry and a New Music, which contains \"Manifesto of Lettrist Poetry.\" He would eventually publish over 200 books, containing his \"hypergraphic\" writings, \"metagraphic\" images, plays, theoretical writings, polemics, wall posters, etc. In 1950, the Lettrist group also included Maurice Lemaitre, Jean-Louis Brau, Gil J Wolman, and Francois Dufrene; in 1951, Guy Debord would join. Despite the formation of the Lettrist International in 1952, Isou's lettrist group would continue through the rest of the decade. He died in Paris on 28 July 2007.","bio_dates":"1925-2007"},{"slug":"welles_orson_the_hearts_of_age_1934avi","ok":true,"partial":false,"title":"The Hearts of Age","artist":"Orson Welles","year":"1934","startOffset":0,"sourceSecs":491.157,"sourceHeight":432,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":33877722,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welles_orson_the_hearts_of_age_1934avi/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welles_orson_the_hearts_of_age_1934avi/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/welles_orson_the_hearts_of_age_1934avi.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/welles_orson_the_hearts_of_age_1934avi/main.mp4?v=2","description":"The Hearts of Age is the first film made by Orson Welles. The film is an eight-minute short, which he co-directed with William Vance in 1934. The film stars Welles' first wife, Virginia Nicholson, as well as Welles himself. He made the film while attending the Todd School for Boys, in Woodstock, Illinois, at the age of 19. <br/><br/> The plot is a series of images loosely tied together, and is arguably influenced by surrealism. This once-rare film is easily seen today thanks to DVD extras and sites such as YouTube. Many point to it as an important precursor to Welles' first Hollywood film, Citizen Kane. Welles and Vance were college friends. The latter's only other film on record is another student short - an adaptation of Dr. Jekyll and Mr. Hyde in 1932.<br><br><b>RESOURCES:</b> <br><br> <a href=\"http://www.sensesofcinema.com/contents/cteq/06/38/hearts_of_age.html\" rel=\"noopener\" target=\"_blank\">Senses of Cinema article \"The Hearts of Age\" by Brian L. Frye</a> <br> <a href=\"https://ubu.com/outsiders/365/03-1.html\" rel=\"noopener\" target=\"_blank\">Orson Welles in the 356 Days Project on UbuWeb</a></br></br></br>","artist_bio":"George Orson Welles was an American actor, director, writer and producer who worked in theater, radio and film. He is best remembered for his innovative work in all three media: in theatre, most notably Caesar (1937), a groundbreaking Broadway adaptation of Julius Caesar; in radio, the 1938 broadcast \"The War of the Worlds\", one of the most famous in the history of radio; and in film, Citizen Kane (1941), consistently ranked as one of the all-time greatest films.\nWelles directed a number of high-profile stage productions for the Federal Theatre Project in his early twenties, including an innovative adaptation of Macbeth and The Cradle Will Rock. In 1937 he and John Houseman founded the Mercury Theatre, an independent repertory theatre company that presented an acclaimed series of productions on Broadway through 1941. Welles found national and international fame as the director and narrator of a 1938 radio adaptation of H. G. Wells' novel The War of the Worlds performed for the radio anthology series The Mercury Theatre on the Air. It reportedly caused widespread panic when listeners thought that an invasion by extraterrestrial beings was occurring. Although some contemporary sources claim these reports of panic were mostly false and overstated, they rocketed Welles to notoriety.\nHis first film was Citizen Kane (1941), which he co-wrote, produced, directed, and starred in as Charles Foster Kane. Welles was an outsider to the studio system and directed only 13 full-length films in his career. Because of this, he struggled for creative control from the major film studios, and his films were either heavily edited or remained unreleased. His distinctive directorial style featured layered and nonlinear narrative forms, innovative uses of lighting such as chiaroscuro, unusual camera angles, sound techniques borrowed from radio, deep focus shots, and long takes. He has been praised as a major creative force and as \"the ultimate auteur.\" Welles followed up Citizen Kane with critically acclaimed films including The Magnificent Ambersons in 1942 and Touch of Evil in 1958. Although the three are generally considered his greatest works, some film critics have also argued other works of his, such as The Lady from Shanghai (1947) and Chimes at Midnight (1966), are under-appreciated.\nIn 2002, Welles was voted the greatest film director of all time in two British Film Institute polls among directors and critics, and a wide survey of critical consensus, best-of lists, and historical retrospectives calls him the most acclaimed director of all time. Well known for his baritone voice, Welles was a well-regarded actor in radio and film, a celebrated Shakespearean stage actor, and an accomplished magician noted for presenting troop variety shows in the war years.","bio_dates":"1915-1985"},{"slug":"welling_james_middle_video","ok":true,"partial":false,"title":"Middle Video","artist":"James Welling","year":"1972","startOffset":0,"sourceSecs":459.359,"sourceHeight":426,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":32865430,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welling_james_middle_video/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welling_james_middle_video/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/welling_james_middle_video.mp4","hasFrames":true,"description":"½ inch Helical scan video transferred to DVD <br/><br/> SS: One of your tapes from that era, Middle Video [1972-73], is a series of 2- or 3-minute close-ups of your hands holding objects for examination, in shadowy black and white. <br/><br/> JW: I’d been feeling homesick and had brought back to California a slew of objects—letters, books, linen napkins and other old things from my family’s house in Connecticut. Partly under the influence of Robert Lowell, I decided to use the newest form of image-making to look at very old things. The tape opens with an image of a funnel spinning, and then hands pick it up and rotate it carefully in front of the lens. I remember showing Middle Video to Dan Graham, who suggested I look at Marcel Broodthaers’s work, because Broodthaers also had an antiquarian’s sensibility.","artist_bio":"James Welling was born in Hartford, Connecticut, in 1951. He grew up in nearby Simsbury where, in 1963, he began to study art with Julie Post. In 1965 he took drawing classes at the Wadsworth Atheneum in Hartford and began to work independently in watercolor. Welling was deeply influenced by the work of Charles Burchfield, Edward Hopper and most importantly by Andrew Wyeth. In 1968 Welling studied with Estelle Coniff at the West Hartford Art League, and frequently visited the Wadsworth Atheneum, the New Britain Museum of American Art, the Yale University Art Gallery, as well as galleries and museums in New York. From 1969 to 1971 Welling attended Carnegie Mellon University in Pittsburgh, where he studied with Gandy Brodie, John Stevenson, Connie Fox and Robert Tharsing. In the fall of 1970, he began a series of gray monochrome paintings, as well as a group of outdoor site-specific sculptures influenced by Post-Minimalism. At this time he also made his first black-and-white photographs, night exposures of Pittsburgh. In 1971 Welling transferred to the recently formed California Institute of the Arts in Valencia, California. At CalArts, he worked primarily in video and studied with Wolfgang Stoerchle and John Baldessari. Important visitors to Cal Arts who encouraged Welling’s work in video were William Wegman, Joan Jonas and Dan Graham. Baldessari was an important influence, and from 1973 to 1974 Welling was his teaching assistant. After graduation (M.F.A. 1974), Welling began to write reviews for Artweek. He continued to work in video and in 1975 “Ashes” was included in the Southland Video Anthology at the Long Beach Museum of Art.\nIn 1975 Welling started working with Polaroid material by making long exposures with a shutterless camera. In order to intensify the colors, he heated the prints during processing. These Polaroids, of his loft and of the restaurant he worked in, were exhibited at the ARCO Center for the Visual Arts, Los Angeles, in April 1976. Following a casual remark by Matt Mullican, Welling bought a used Burke and James, 4 x 5 inch view camera. Welling had never formally studied photography, but in August 1976 he set up a darkroom and taught himself the rudiments of developing and printing. From 1976 to 1978 he made a series of architectural photographs of Los Angeles, which he presented as contact prints. In July 1977, he began “Diary/Landscape”: details of handwriting from his great-great-grandparents' 1840-41 diaries paired with Connecticut landscapes. He continued to work on these photographs until 1986. After moving to New York in 1978, Welling began to photograph aluminum foil, drapery velvet scattered with pastry dough, ink infused gelatin and plastic tiles. These four series of abstract images were exhibited in one-person shows at Metro Pictures, New York, in 1981, 1982 and 1985. The “Tile Photographs” were exhibited at Cash/Newhouse in 1985. Welling's work from this period became part of a larger critical evaluation of photography in contemporary art. Friends exploring similar photographic issues included artists Vikky Alexander, Richard Baim, Ellen Brooks, Ellen Carey, James Casebere, Sarah, Charlesworth, Barbara Ess, Louise Lawler, Sherrie Levine, Barbara Kruger, Frank Majorie, Tim Maul, Allan McCollum, Richard Prince, Cindy Sherman, and Laurie Simmons.\nIn 1984 Welling was awarded a grant in photography by the New York Foundation for the Arts. The following year, he received a National Endowment for the Arts individual artists' grant for a group of paintings strongly informed by fractal geometry. The paintings were exhibited in 1986 at the Cash/Newhouse Gallery in the East Village and in 1987 at Feature Gallery in Chicago and at Kuhlenschmidt/Simon in Los Angeles. At this time he worked as a freelance photographer in the Design Department of The Museum of Modern Art, New York and at Sotheby's. Welling returned to his interest in the nineteenth century (initiated in “Diary/Landscape”) with two series begun in 1987. In “Architectural Photographs/Buildings by H. H. Richardson,” Welling photographed the stone facades of Richardson’s later buildings. These photographs were exhibited in 1988 at Jay Gorney Modern Art, New York, and in 1989, in “A Forest of Signs” at The Museum of Contemporary Art, Los Angeles. “Railroad Photographs,” railroad landscapes of the eastern United States, were exhibited at documenta IX, Kassel, Germany; Jay Gorney Modern Art, New York; Galerie Nelson, Lyon, France; Donald Young Gallery, Seattle; and Nachst St. Stephan, Vienna, Austria. In the 1980s Welling also worked on two unexhibited series, “Interseries and “Fragments.” These anticipate some of the concerns of the Railroads, Richardsons, and subsequent works.\nIn 1986, Welling began a series of color photograms made with shadows, titled “Degradés.” Two years later, he began photographing brown drapery with the 20 x 24 inch Polaroid camera in New York. The Polaroids and “Degradés” were exhibited at Christine Burgin Gallery in New York and in the BiNational at the Museum of Fine Arts, Boston. He had his first one-person show in Europe in October 1987 at Galerie Samia Saouma, Paris. This exhibition began a creatively rich sequence of projects in France, Germany, Switzerland, Austria, Belgium, and England. In the early 1990s, he had survey shows at the Kunsthalle Bern, Switzerland; the Musee de Rochechouart, Limoges, France; and Kunstnernes Hus, Oslo, Norway. He completed three book projects during this period: “Les voies ferrees, St.-Etienne et la plaine du Forez” (1990), on the first French railroad line; “Usines de dentelle” (1993), on lace factories in Calais, France; and “Wolfsburg” (1994), on the Nazi origins of the Volkswagen factory in Wolfsburg, Germany.\nIn 1992 Welling began “Light Sources,” his first series to incorporate a wide range of American and European subjects. Presented as large Iris prints, “Light Sources” marked his first use of digital technology. “Light Sources” was shown at Regen Projects, Los Angeles, in 1994 and in subsequent gallery exhibitions in New York, Toronto, Paris, Brussels, Amsterdam, Vienna, Tokyo, and Munich; and in in 1998 at the Kunstmuseum Luzern, Lucerne, Switzerland, and the Carnegie Museum of Art, Pittsburgh, and in 2000 at the Kolnischer Kunstverein, Cologne. \"Light Sources\" was originally published as a book in 1996 by Imschoot, Gent; an expanded \"Light Sources\" was published by SteidlMACK in 2011.\nAfter teaching briefly at the Massachusetts Institute of Technology and at Bard College, Welling moved to Los Angeles in 1995 to head the photography area in the Department of Art at UCLA. In Los Angeles he began to work with Muse [X] Editions, an innovative lab specializing in digital printing. In 1998 he returned to abstraction with “New Abstractions,” a series of enlarged photograms. These were exhibited at the Sprengel Museum in Hanover, Germany; Regen Projects, Los Angeles; Donald Young Gallery, Chicago; Galerie Xavier Hufkens, Brussels; and Gorney, Bravin + Lee, New York. In 1999 Welling was awarded the DG BANK-Forderpreis in photography for “New Abstractions.” At the same time he began “New Abstractions” Welling also started an on-going group of works, “New Landscapes” (subsequently re-titled “Connecticut Landscape”) where he returned to places that were important to him in his teens and twenties. The majority of these pictures were made with an 8x10 inch view camera with a few pictures in 4x5 and 6x7 formats. In 2000 Artforum asked Welling to produce a portfolio of photographs and in order to accommodate their square page layout, Welling printed the black frame edge of the negative on a larger black square.\nTeaching at UCLA (his first extensive teaching experience) profoundly changed Welling’s relationship to photography. UCLA’s photography area was founded by Robert Heineken, an artist who worked extensively with photograms. After Welling moved to Los Angeles, he began a sequence of photograms, starting with “New Abstractions.” Subsequent photograms include “Mystery Photographs, 2000,” “Screens 2005,” “Flowers 2005-2008” and “Torsos 2005/2008.” Torsos were exhibited at the 2008 Whitney Biennial and at David Zwirner, New York, Regen Projects, Los Angeles, Nachst St. Stephan, Vienna. At UCLA Welling changed the photography curriculum from black and white to color. This made it possible for him to work more intensively with color materials. In 2005 he completed “Hexachromes,” made by sequentially exposing the same sheet of 4x5 film through red, green, blue, cyan, yellow and magenta filters. Following “Hexachromes,” Welling photographed Philip Johnson’s Glass House in New Canaan, CT, with color filters from 2006-2009. “Glass House” was shown at Nachst St. Stephan, Vienna; Galerie Nelson-Freeman, Paris; Regen Projects, Los Angeles; David Zwirner, New York and Maureen Paley, London. At the Glass House, Welling made three video works, “Lake Pavilion”, 2009, “Sun Pavilion”, 2010 and “Glass House Cross Dissolve”, 2010. “Glass House” was published in 2011 by Damiani Editore, with texts by Sylvia Lavin and Noam Elcott.\nIn 2009 Welling received an “AICA Award of Excellence for the Best Show In A Commercial Gallery Nationally 2007/2008” given by the International Association of Art Critics, United States Section, for his 2008 exhibition at Regen Projects.\nFollowing “New Abstractions,” Welling produced two additional bodies of abstract, geometric work in 2005, “War” and “Quadrilaterals,” using the program Maya. In “War” Welling created an imaginary landscape that he destroyed and then photographed. “Quadrilaterals,” also using Maya and Photoshop, were based on a series of 20x24in black and white Polaroids of four-sided shapes. In recreating the work in Maya, Welling produced facsimile images of the Polaroids in vector space. In 2009 Jacob Samuel produced some of the “Quadrilaterals” as intaglio prints.\nIn 2002 Welling was invited to participate in The Hudson Valley Art Project initiated by Diane Shamash. Welling’s contribution, “Agricultural Works/Insect Chorus” was made in collaboration with his brother Will Welling, a musician, who wrote music for Welling’s photographs of farms in the Hudson Valley.\nIn 2009 Welling collaborated with poet Susan Howe to create “Frolic Architecture.” The ten photograms that accompany Howe’s poems were created with acrylic paint and mylar. The project was published in 2010 by The Grenfrell Press. \"Frolic Architecture\" was included in \"That This\" published by New Directions for which Howe won the 2011 Bollingen Prize for Poetry.\nIn 2010 Welling began a project based on the paintings of Andrew Wyeth.","bio_dates":"b. 1951"},{"slug":"welling_james_untitled","ok":true,"partial":false,"title":"Middle Video","artist":"James Welling","year":"1972","startOffset":0,"sourceSecs":387.421,"sourceHeight":426,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":28325567,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welling_james_untitled/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welling_james_untitled/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/welling_james_untitled.mp4","hasFrames":true,"description":"½ inch Helical scan video transferred to DVD <br/><br/> SS: One of your tapes from that era, Middle Video [1972-73], is a series of 2- or 3-minute close-ups of your hands holding objects for examination, in shadowy black and white. <br/><br/> JW: I’d been feeling homesick and had brought back to California a slew of objects—letters, books, linen napkins and other old things from my family’s house in Connecticut. Partly under the influence of Robert Lowell, I decided to use the newest form of image-making to look at very old things. The tape opens with an image of a funnel spinning, and then hands pick it up and rotate it carefully in front of the lens. I remember showing Middle Video to Dan Graham, who suggested I look at Marcel Broodthaers’s work, because Broodthaers also had an antiquarian’s sensibility.","artist_bio":"James Welling was born in Hartford, Connecticut, in 1951. He grew up in nearby Simsbury where, in 1963, he began to study art with Julie Post. In 1965 he took drawing classes at the Wadsworth Atheneum in Hartford and began to work independently in watercolor. Welling was deeply influenced by the work of Charles Burchfield, Edward Hopper and most importantly by Andrew Wyeth. In 1968 Welling studied with Estelle Coniff at the West Hartford Art League, and frequently visited the Wadsworth Atheneum, the New Britain Museum of American Art, the Yale University Art Gallery, as well as galleries and museums in New York. From 1969 to 1971 Welling attended Carnegie Mellon University in Pittsburgh, where he studied with Gandy Brodie, John Stevenson, Connie Fox and Robert Tharsing. In the fall of 1970, he began a series of gray monochrome paintings, as well as a group of outdoor site-specific sculptures influenced by Post-Minimalism. At this time he also made his first black-and-white photographs, night exposures of Pittsburgh. In 1971 Welling transferred to the recently formed California Institute of the Arts in Valencia, California. At CalArts, he worked primarily in video and studied with Wolfgang Stoerchle and John Baldessari. Important visitors to Cal Arts who encouraged Welling’s work in video were William Wegman, Joan Jonas and Dan Graham. Baldessari was an important influence, and from 1973 to 1974 Welling was his teaching assistant. After graduation (M.F.A. 1974), Welling began to write reviews for Artweek. He continued to work in video and in 1975 “Ashes” was included in the Southland Video Anthology at the Long Beach Museum of Art.\nIn 1975 Welling started working with Polaroid material by making long exposures with a shutterless camera. In order to intensify the colors, he heated the prints during processing. These Polaroids, of his loft and of the restaurant he worked in, were exhibited at the ARCO Center for the Visual Arts, Los Angeles, in April 1976. Following a casual remark by Matt Mullican, Welling bought a used Burke and James, 4 x 5 inch view camera. Welling had never formally studied photography, but in August 1976 he set up a darkroom and taught himself the rudiments of developing and printing. From 1976 to 1978 he made a series of architectural photographs of Los Angeles, which he presented as contact prints. In July 1977, he began “Diary/Landscape”: details of handwriting from his great-great-grandparents' 1840-41 diaries paired with Connecticut landscapes. He continued to work on these photographs until 1986. After moving to New York in 1978, Welling began to photograph aluminum foil, drapery velvet scattered with pastry dough, ink infused gelatin and plastic tiles. These four series of abstract images were exhibited in one-person shows at Metro Pictures, New York, in 1981, 1982 and 1985. The “Tile Photographs” were exhibited at Cash/Newhouse in 1985. Welling's work from this period became part of a larger critical evaluation of photography in contemporary art. Friends exploring similar photographic issues included artists Vikky Alexander, Richard Baim, Ellen Brooks, Ellen Carey, James Casebere, Sarah, Charlesworth, Barbara Ess, Louise Lawler, Sherrie Levine, Barbara Kruger, Frank Majorie, Tim Maul, Allan McCollum, Richard Prince, Cindy Sherman, and Laurie Simmons.\nIn 1984 Welling was awarded a grant in photography by the New York Foundation for the Arts. The following year, he received a National Endowment for the Arts individual artists' grant for a group of paintings strongly informed by fractal geometry. The paintings were exhibited in 1986 at the Cash/Newhouse Gallery in the East Village and in 1987 at Feature Gallery in Chicago and at Kuhlenschmidt/Simon in Los Angeles. At this time he worked as a freelance photographer in the Design Department of The Museum of Modern Art, New York and at Sotheby's. Welling returned to his interest in the nineteenth century (initiated in “Diary/Landscape”) with two series begun in 1987. In “Architectural Photographs/Buildings by H. H. Richardson,” Welling photographed the stone facades of Richardson’s later buildings. These photographs were exhibited in 1988 at Jay Gorney Modern Art, New York, and in 1989, in “A Forest of Signs” at The Museum of Contemporary Art, Los Angeles. “Railroad Photographs,” railroad landscapes of the eastern United States, were exhibited at documenta IX, Kassel, Germany; Jay Gorney Modern Art, New York; Galerie Nelson, Lyon, France; Donald Young Gallery, Seattle; and Nachst St. Stephan, Vienna, Austria. In the 1980s Welling also worked on two unexhibited series, “Interseries and “Fragments.” These anticipate some of the concerns of the Railroads, Richardsons, and subsequent works.\nIn 1986, Welling began a series of color photograms made with shadows, titled “Degradés.” Two years later, he began photographing brown drapery with the 20 x 24 inch Polaroid camera in New York. The Polaroids and “Degradés” were exhibited at Christine Burgin Gallery in New York and in the BiNational at the Museum of Fine Arts, Boston. He had his first one-person show in Europe in October 1987 at Galerie Samia Saouma, Paris. This exhibition began a creatively rich sequence of projects in France, Germany, Switzerland, Austria, Belgium, and England. In the early 1990s, he had survey shows at the Kunsthalle Bern, Switzerland; the Musee de Rochechouart, Limoges, France; and Kunstnernes Hus, Oslo, Norway. He completed three book projects during this period: “Les voies ferrees, St.-Etienne et la plaine du Forez” (1990), on the first French railroad line; “Usines de dentelle” (1993), on lace factories in Calais, France; and “Wolfsburg” (1994), on the Nazi origins of the Volkswagen factory in Wolfsburg, Germany.\nIn 1992 Welling began “Light Sources,” his first series to incorporate a wide range of American and European subjects. Presented as large Iris prints, “Light Sources” marked his first use of digital technology. “Light Sources” was shown at Regen Projects, Los Angeles, in 1994 and in subsequent gallery exhibitions in New York, Toronto, Paris, Brussels, Amsterdam, Vienna, Tokyo, and Munich; and in in 1998 at the Kunstmuseum Luzern, Lucerne, Switzerland, and the Carnegie Museum of Art, Pittsburgh, and in 2000 at the Kolnischer Kunstverein, Cologne. \"Light Sources\" was originally published as a book in 1996 by Imschoot, Gent; an expanded \"Light Sources\" was published by SteidlMACK in 2011.\nAfter teaching briefly at the Massachusetts Institute of Technology and at Bard College, Welling moved to Los Angeles in 1995 to head the photography area in the Department of Art at UCLA. In Los Angeles he began to work with Muse [X] Editions, an innovative lab specializing in digital printing. In 1998 he returned to abstraction with “New Abstractions,” a series of enlarged photograms. These were exhibited at the Sprengel Museum in Hanover, Germany; Regen Projects, Los Angeles; Donald Young Gallery, Chicago; Galerie Xavier Hufkens, Brussels; and Gorney, Bravin + Lee, New York. In 1999 Welling was awarded the DG BANK-Forderpreis in photography for “New Abstractions.” At the same time he began “New Abstractions” Welling also started an on-going group of works, “New Landscapes” (subsequently re-titled “Connecticut Landscape”) where he returned to places that were important to him in his teens and twenties. The majority of these pictures were made with an 8x10 inch view camera with a few pictures in 4x5 and 6x7 formats. In 2000 Artforum asked Welling to produce a portfolio of photographs and in order to accommodate their square page layout, Welling printed the black frame edge of the negative on a larger black square.\nTeaching at UCLA (his first extensive teaching experience) profoundly changed Welling’s relationship to photography. UCLA’s photography area was founded by Robert Heineken, an artist who worked extensively with photograms. After Welling moved to Los Angeles, he began a sequence of photograms, starting with “New Abstractions.” Subsequent photograms include “Mystery Photographs, 2000,” “Screens 2005,” “Flowers 2005-2008” and “Torsos 2005/2008.” Torsos were exhibited at the 2008 Whitney Biennial and at David Zwirner, New York, Regen Projects, Los Angeles, Nachst St. Stephan, Vienna. At UCLA Welling changed the photography curriculum from black and white to color. This made it possible for him to work more intensively with color materials. In 2005 he completed “Hexachromes,” made by sequentially exposing the same sheet of 4x5 film through red, green, blue, cyan, yellow and magenta filters. Following “Hexachromes,” Welling photographed Philip Johnson’s Glass House in New Canaan, CT, with color filters from 2006-2009. “Glass House” was shown at Nachst St. Stephan, Vienna; Galerie Nelson-Freeman, Paris; Regen Projects, Los Angeles; David Zwirner, New York and Maureen Paley, London. At the Glass House, Welling made three video works, “Lake Pavilion”, 2009, “Sun Pavilion”, 2010 and “Glass House Cross Dissolve”, 2010. “Glass House” was published in 2011 by Damiani Editore, with texts by Sylvia Lavin and Noam Elcott.\nIn 2009 Welling received an “AICA Award of Excellence for the Best Show In A Commercial Gallery Nationally 2007/2008” given by the International Association of Art Critics, United States Section, for his 2008 exhibition at Regen Projects.\nFollowing “New Abstractions,” Welling produced two additional bodies of abstract, geometric work in 2005, “War” and “Quadrilaterals,” using the program Maya. In “War” Welling created an imaginary landscape that he destroyed and then photographed. “Quadrilaterals,” also using Maya and Photoshop, were based on a series of 20x24in black and white Polaroids of four-sided shapes. In recreating the work in Maya, Welling produced facsimile images of the Polaroids in vector space. In 2009 Jacob Samuel produced some of the “Quadrilaterals” as intaglio prints.\nIn 2002 Welling was invited to participate in The Hudson Valley Art Project initiated by Diane Shamash. Welling’s contribution, “Agricultural Works/Insect Chorus” was made in collaboration with his brother Will Welling, a musician, who wrote music for Welling’s photographs of farms in the Hudson Valley.\nIn 2009 Welling collaborated with poet Susan Howe to create “Frolic Architecture.” The ten photograms that accompany Howe’s poems were created with acrylic paint and mylar. The project was published in 2010 by The Grenfrell Press. \"Frolic Architecture\" was included in \"That This\" published by New Directions for which Howe won the 2011 Bollingen Prize for Poetry.\nIn 2010 Welling began a project based on the paintings of Andrew Wyeth.","bio_dates":"b. 1951"},{"slug":"welsby_chris_fforest_bay_chris_welsby","ok":true,"partial":false,"title":"Fforest Bay","artist":"Chris Welsby","year":"1973","startOffset":0,"sourceSecs":334.24,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":58772883,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welsby_chris_fforest_bay_chris_welsby/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/welsby_chris_fforest_bay_chris_welsby/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/welsby_chris_fforest_bay_chris_welsby.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/welsby_chris_fforest_bay_chris_welsby/main.mp4?v=2","description":"Part of <a href=\"https://ubu.com/film/shoot.html\" rel=\"noopener\" target=\"_blank\">Shoot Shoot Shoot: British Avant-Garde Film of the 1960s and 1970s (1966 - 1976)</a> <br/><br/> The location is a small bay in Wales, this bay faces due north over the Irish sea. It has high ground to the east and west and low ground to the south. At its mouth it measures about a quarter of a mile from one side to the other. From the mouth to the beach, at the southernmost point, it measures half of a mile. The distance between the high and low tide mark on the beach is about 100 yards during spring tide. <br/><br/> The tripod was placed at an angle of 60 degrees to the horizontal plane midway between the two sides of the bay and at the waters edge. The camera panned through 360 degrees stopping every 45 degrees to take a predetermined number of frames. The shooting speed was one frame per second. <br/><br/> Part one: (low tide, 1100 hrs) During the first 360 degree pan thirty frames were taken at each of the eight positions. During the 2nd revolution, 29 frames were taken at each of the 8 45 degree positions, and so on until only 1 frame was being taken per position. The remaining one metre of film was used to progressively destroy any semblance of structure.<br/><br/><b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/deleuze.html\" rel=\"noopener\" target=\"_blank\">Taylor Mead in UbuWeb Sound</a>","artist_bio":"Born in Exeter in 1948, Chris Welsby studied at Chelsea School of Art and The Slade School of Art, and was an early member of the London Filmmakers' Co-operative. His films and film/video installations have been exhibited internationally at major galleries such as the Tate and Hayward galleries (London, UK), the Stedelijkmuseum (Amsterdam, Netherlands) the Musée du Louvre and Centre Georges Pompidou (Paris, France), the Museum of Modern Art (New York,USA), the Carnegie Institute, (Pittsburgh,USA), the Western Front, (Vancouver,Canada) and the Art Gallery of Ontario (Toronto,Canada).\nWelsby's work is characterised by a rigorous and experimental exploration of the relationship between natural systems inherent in the landscape, such as weather patterns and tidal flow, and the systematic methods and apparatus of filmmaking used to represent them. He has been working primarily with digital media since 1993, and is currently developing and exhibiting interactive video installations with collaborators in the fields of computational poetics and interactive audio environments, most recently dance, with the project Heaven's Breath. He lives on a small island in British Columbia and he is Professor of Fine Art Film And Video, at the School for the Contemporary Arts, Simon Fraser University, Vancouver, Canada.","bio_dates":"b. 1948"},{"slug":"wer_hat_angst_vor_kathy_acker","ok":true,"partial":false,"title":"Wer hat Angst vor Kathy Acker? aka Who´s Afraid of Kathy Acker ?","artist":"Kathy Acker","year":"2007","startOffset":0,"sourceSecs":4710.12,"sourceHeight":324,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":274490317,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wer_hat_angst_vor_kathy_acker/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wer_hat_angst_vor_kathy_acker/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wer_hat_angst_vor_kathy_acker.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wer_hat_angst_vor_kathy_acker/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wer_hat_angst_vor_kathy_acker/main/master.m3u8?v=2","hasMainHls":true,"description":"With freedom of expression once again under fire, who´s afraid of kathy acker? explores the unbelievably extreme life of punk icon Kathy Acker, whose sexually explicit writing expanded the limits of female self-expression but was also banned in many countries. Kathy Acker, the outrageous punk icon banned in Germany but named in 2005 one of America's original outlaw writers by the New York Times, lived life her life without boundaries. A friend of William Burroughs and Patti Smith, Acker was fascinatingly complex: A tattooed, foul-mouthed, Harley Davidson Rider who took opium & enjoyed sex with both men & women, she was also an intellectual who studied Classics at one of America's top universities. Her celebrated novel, Blood & Guts in High School, which pioneered innovative sampling techniques, sold out within a week of its release. Proclaiming that There was no female language given me, Acker rejected her wealthy New York background to champion voices from the edge of society: the Bowery bums, crack whores, & blacks left behind by greed is good Reaganomics. Acker, the Mother of the Riot Grrls, became a myth through living life like one of her characters; inspired by the French libertine writers de Sade & Genet, she worked in sex shows on Times Square, dabbled in sadomasochistic sex & had her labia pierced high on coke. The heir to Burroughs, Acker rewrote the world in her own image, blending fact & fiction, biography & dream imagery, hardcore sex & incisive political satire in a non-narrative cyber-punk style. She stole heavily from classic fiction to rewrite the heroes as female, a transgender, appropriative method that drew both praise and criticism. Acker challenged society's ideal of femininity, daring to be tough & vulnerable at the same time. She left behind a legacy of sixteen novels that cannot be ignored, but she learned the hard way that breaking the rules never comes cheap. (Andrew Standen-Raz)","artist_bio":"Wer hat Angst vor Kathy Acker? aka Who´s Afraid of Kathy Acker ? (2007)\ndir. Barbara Caspar\nKathy Acker, (born April 18, 1948, New York, New York, U.S.—died Nov. 30, 1997, Tijuana, Mex.), American novelist whose writing style and subject matter reflect the so-called punk sensibility that emerged in the 1970s.\nAcker studied classics at Brandeis University and the University of California, San Diego. Her early employment ranged from clerical work to performing in pornographic films. In 1972 she began publishing willfully crude, disjointed prose that drew heavily from her personal experience and constituted a literary analog to contemporary developments in music, fashion, and the visual arts. From the outset, Acker blatantly lifted material from other writers, manipulating it for her own often unsettling purposes. In the early novel The Childlike Life of the Black Tarantula (1973), this process of appropriation is central to the narrator’s quest for identity. The book’s themes of alienation and objectified sexuality recur in such later novels as Great Expectations (1982), Blood and Guts in High School (1984), Don Quixote (1986), and Empire of the Senseless (1988). In 1991 a collection of some of Acker’s early works were published under the title Hannibal Lecter, My Father. This was followed by My Mother: Demonology (1993), which consists of seven love stories. Her 1996 novel, Pussy, King of the Pirates, was adapted for the stage by the seminal punk band the Mekons. The band and Acker released a CD under the same title.\nHer works elicited frequent comparison with those of William S. Burroughs and Jean Genet, and Acker herself cited the influence of the French nouveau roman, or antinovel.","bio_dates":"1947-1997"},{"slug":"west_jennifer_emoji_piss_film_ubu_excerpt_2018","ok":true,"partial":false,"title":"Emoji Piss Film","artist":"Jennifer West","year":"2019","startOffset":0,"sourceSecs":101.852,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":16217446,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/west_jennifer_emoji_piss_film_ubu_excerpt_2018/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/west_jennifer_emoji_piss_film_ubu_excerpt_2018/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/west_jennifer_emoji_piss_film_ubu_excerpt_2018.mov","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/west_jennifer_emoji_piss_film_ubu_excerpt_2018/main.mp4?v=2","description":"UBU DESCRIPTION Excerpt from:<br/> Emoji Piss Film (35mm film print soaked and corroded with urine by Andrea Bowers, Symrin Chawla, Micah Espudo, Chris Hanke, Eli Joteva, Jack McGuinn, Peyton Regan, Julian Toca, Vidhi Todi, Bob Viera, Cameron Wells, Ariel West., Fleurette West, Peter West, Jwest), 2018 <br/> 35mm film transferred to high-definition <br/> 2 minutes, 33 seconds<br/><br/>Emoji Piss Film is compiled from Google image search results for emoji. The film, which the artist refers to as a \"historical document,\" was initially shot in 2014, and then placed in large kombucha jars filled with urine collected from artists and friends within her community. The liquid was used to soak and corrode the celluloid, slowly eating away at the film's emulsion. The film was then transferred to digitized HD video. <br><br> In a time when human expression is conveyed through character gestures rather than the written language, emoji are intended to illustrate, or in some cases replace, the words we digitally share, whether through text message, email, or tweet. These quick, gestural, and disposable icons exist as a digital index. Through the medium of film, artist Jennifer West sets out to counteract and deconstruct this language.</br></br>","artist_bio":"Jennifer West is a Los Angeles based artist, who for over ten years, has gained international recognition for her explorations of materialism in film. She started using direct film techniques in 2005, and has since produced eighty-two films. She has subjected every film stock to a range of substances including pepper spray, gamma rays or water from the Great Salt Lake and by staging interactive events where people are invited to perform actions to the filmstrips, like writing, throwing or kissing. The results are tactile, abstract documents of matter, action and idea, which are then transferred to a digital format and presented as projection. She uses a diverse range of approaches in her artistic practice, from her intensely haptic works that involve fluids and stains of all sorts, to her more recent ruminations on film and memory.\nShe is best known for the live performance, \"Skate the Sky\" staged at the Tate Modern in London in 2009 where she invited skateboarders to skate over filmstrips taped to the floor of the Turbine Hall and for her project, One Mile Film\" (for High Line Art, NY) where the artist taped a mile-long filmstrip to the length of the High Line walk-way in New York City for one-day allowing the visitors to leave their mark on the film by writing messages, drawing, and walking on the filmstrip. Her recent work has taken the form of interactive light installations and sculptural walls of filmstrips.\n“As an artist who works predominantly with the moving image, Jennifer West challenges the spectator to question the mercurial nature of media in the information age. Born in the middle of 20th century, with a childhood and adolescence that spanned the transition from analogue (film and print photography) to digital (consumer grade video), and now teaching a generation of digital natives, West uses her films, installations, performance, lectures, and writing to engage with the complexities of the total cognitive, psychic, and aesthetic shift in our understanding, perception, and uses of the recorded image. “ – Rita Gonzalez, Jennifer West: Across Time and Through Media Catalogue, Yuz Museum, Shanghai, 2018\nShe received an MFA from Art Center College of Design in Pasadena, California, and a BA with film and video emphasis from the Evergreen State College in Olympia, Washington. Significant commissions include Seattle Art Museum, Seattle, 2016-2017; Institute of Contemporary Arts, Art Night, London, 2016; High Line Art, New York, 2012; Aspen Art Museum, Aspen, 2010; and Turbine Hall at TATE Modern, London, 2009. West has exhibited widely in museums and art institutions internationally. Her solo exhibitions include: “Is Film Over?” Yuz Museum, Shanghai 2017; “Film is Dead…” Seattle Art Museum, Seattle, 2017; “Action Movies, Painted Films and History Collage”, Museo d’Arte Provincia di Nuoro, Nuoro, 2017; “Flashlights Filmstrips Projections”, Tramway, Glasgow, 2016; “Paintballs and Pickle Juice”, Kunstverein Nürnberg, Nuremberg, 2010; “Perspectives 171: Jennifer West”, Contemporary Arts Museum, Houston, 2010; “Lemon Juice and Lithium”, Transmission Gallery, Glasgow 2008; “White Room: Jennifer West”, White Columns, New York, 2007, etc. Group shows include: Los Angeles County Museum of Art, 2019/2017; Whitney Museum, New York, 2017; Carnegie Museum of Art, Pittsburgh, 2015; Palais de Tokyo, Paris, 2013; Nottingham Contemporary/Tate St Ives, England (2013); Schirn Kunsthalle, Frankfurt, 2010; Drawing Center, NY, 2008; Musee d’Art Contemporain (CAPC), Bordeaux, 2007; and ZKM Museum for New Media, Karlsruhe, 2007","bio_dates":"2005-2009"},{"slug":"whitehead_peter_wholly_communion_1965_iphone","ok":true,"partial":false,"title":"Wholly Communion","artist":"Peter Whitehead","year":"1965","startOffset":0,"sourceSecs":2027.84,"sourceHeight":270,"sourceWidth":360,"hasAudio":true,"hasAmbientMp4":true,"bytes":122010021,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/whitehead_peter_wholly_communion_1965_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/whitehead_peter_wholly_communion_1965_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/whitehead_peter_wholly_communion_1965_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/whitehead_peter_wholly_communion_1965_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/whitehead_peter_wholly_communion_1965_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"Wholly Communion is a short documentary film made in 1965 by British filmmaker Peter Whitehead. It was filmed at the Royal Albert Hall, London, and documents a poetry event held on 11 June 1965 called the International Poetry Incarnation. It features poetry readings by Beat poets from the UK and U.S., including Allen Ginsberg, Michael Horovitz, Adrian Mitchell and Austrian poet Ernst Jandl.","artist_bio":"Peter Lorrimer Whitehead (born 8 January 1937 in Liverpool) is an English writer and filmmaker who documented the counterculture in London and New York in the late 1960s. He is also known for his work as a director of promotional film clips (precursors to the modern music video) including a version of \"Interstellar Overdrive\" for Pink Floyd and several clips for The Rolling Stones.","bio_dates":"b. 1937"},{"slug":"wieland_joyce_1933_1967","ok":true,"partial":false,"title":"1933","artist":"Joyce Wieland","year":"1967","startOffset":0,"sourceSecs":231.86,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":41713887,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wieland_joyce_1933_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wieland_joyce_1933_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wieland_joyce_1933_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wieland_joyce_1933_1967/main.mp4?v=2","description":"by Joyce Wieland <br/> Canada / 3:50 / 1967<br/> sound / colour<br/> <br/>\"\"1933. The year? the number? the title? Was it (the film) made then? It's a memory! (i.e. a Film.) No, it's many memories. It's so sad and funny: the departed, departing people, cars, streets! It hurries, it's gone, it's back! the film (of 1933?) was made in 1967. You find out, if you don't already know, how naming tints pure vision.\" - Michael Snow <br/><br/>\"\"The repeated images are such that they appear to be different each time; to be expanding. ‘1933’ has a machine-mechanical doll rhythmic-like structure.\" - Robert Cowan, Take One","artist_bio":"Joyce Wieland was an experimental filmmaker and artist, whose work challenged and bridged boundaries among avant garde film factions of her time. Her works introduced a kind of manual manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films, while also playing with the facticity of photographed images. Wieland's output was small, but received considerable attention in comparison to other female avant garde filmmakers of her time. As both a gallery artist and a filmmaker, Wieland was able to crossover between those realms and garner attention and support in both.\nIn 1963 Wieland and Snow moved to New York where they lived for ten years. She attracted critical recognition of her work but eventually moved back to Toronto. Wieland later divorced Snow and kept a low profile until her death in 1998 from Alzheimer's disease. She was made an Officer of the Order of Canada in 1982. -- Wiki","bio_dates":"b. 1931"},{"slug":"wieland_joyce_dripping_water_1969","ok":true,"partial":false,"title":"Dripping Water","artist":"Joyce Wieland and Michael Snow","year":"1969","startOffset":0,"sourceSecs":629.317,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":114696961,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wieland_joyce_dripping_water_1969/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wieland_joyce_dripping_water_1969/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wieland_joyce_dripping_water_1969.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wieland_joyce_dripping_water_1969/main.mp4?v=2","description":"You see nothing but a white, crystal white plate, and water dripping into the plate, from the ceiling, from high, and you hear the sound of the water dripping. The film is ten minutes long. I can imagine only St. Francis looking at a water plate and water dripping so lovingly, so respectfully, so serenely. The usual reaction is: ‘Oh, what is it anyhow? Just a plate of water dripping.’ But that is a snob remark. That remark has no love for the world, for anything. Snow and Wieland’s film uplifts the object, and leaves the viewer with a finer attitude toward the world around him; it can open his eyes to the phenomenal world. And how can you love people if you don’t love water, stone , glass?” - Jonas Mekas, New York Times, 1969"},{"slug":"wieland_joyce_handtinting_1967_68","ok":true,"partial":false,"title":"Handtinting","artist":"Joyce Wieland","year":"1967-1968","startOffset":0,"sourceSecs":392.411,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":62439585,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wieland_joyce_handtinting_1967_68/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wieland_joyce_handtinting_1967_68/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wieland_joyce_handtinting_1967_68.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wieland_joyce_handtinting_1967_68/main.mp4?v=2","description":"Canada / 6:00 / 1967<br/> silent / colour <br/><br/> “‘Handtinting’ is the apt title of a film made from outtakes from a Job Corps documentary which features hand-tinted sections. The film is full of small movements and actions, gestures begun and never completed. Repeated images, sometimes in colour, sometimes not. A beautifully realized type of chamber-music film whose sum-total feeling is ritualistic.” - Robert Cowan, Take One","artist_bio":"Joyce Wieland was an experimental filmmaker and artist, whose work challenged and bridged boundaries among avant garde film factions of her time. Her works introduced a kind of manual manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films, while also playing with the facticity of photographed images. Wieland's output was small, but received considerable attention in comparison to other female avant garde filmmakers of her time. As both a gallery artist and a filmmaker, Wieland was able to crossover between those realms and garner attention and support in both.\nIn 1963 Wieland and Snow moved to New York where they lived for ten years. She attracted critical recognition of her work but eventually moved back to Toronto. Wieland later divorced Snow and kept a low profile until her death in 1998 from Alzheimer's disease. She was made an Officer of the Order of Canada in 1982. -- Wiki","bio_dates":"b. 1931"},{"slug":"wieland_joyce_sailboat_1967","ok":true,"partial":false,"title":"Sailboat","artist":"Joyce Wieland","year":"1967","startOffset":0,"sourceSecs":171.81,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":30547693,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wieland_joyce_sailboat_1967/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wieland_joyce_sailboat_1967/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wieland_joyce_sailboat_1967.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wieland_joyce_sailboat_1967/main.mp4?v=2","description":"Canada / 2:45 / 1967<br/> sound / colour <br/><br/> “‘Sailboat’ has the simplicity of a child's drawing. A toy-like image of a sailboat sails without interruption on the water, to the sound of roaring waves, which seems to underline the image to the point of exaggeration, somewhat in the way a child might draw a picture of water and write word sounds on it to make it as emphatic as possible. The little image is interrupted at one point by a huge shoulder appearing briefly in the left-hand corner.\" - Robert Cowan, Take One<br/><br/>\"\"\"This little Sailboat film will sail right through your gate and into your heart.\" - Joyce Wieland<br/><br/>\"\"\"A day at the Beach, at the Sea, at the Sky and at the Sailboats.\" - Michael Snow","artist_bio":"Joyce Wieland was an experimental filmmaker and artist, whose work challenged and bridged boundaries among avant garde film factions of her time. Her works introduced a kind of manual manipulation of the filmstrip that inscribed an explicitly female craft tradition into her films, while also playing with the facticity of photographed images. Wieland's output was small, but received considerable attention in comparison to other female avant garde filmmakers of her time. As both a gallery artist and a filmmaker, Wieland was able to crossover between those realms and garner attention and support in both.\nIn 1963 Wieland and Snow moved to New York where they lived for ten years. She attracted critical recognition of her work but eventually moved back to Toronto. Wieland later divorced Snow and kept a low profile until her death in 1998 from Alzheimer's disease. She was made an Officer of the Order of Canada in 1982. -- Wiki","bio_dates":"b. 1931"},{"slug":"wild_boy_2005","ok":true,"partial":false,"title":"Wild Boy","artist":"Guy Ben-Ner","year":"2005","startOffset":0,"sourceSecs":1039.572,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":174180714,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wild_boy_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wild_boy_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wild_boy_2005.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wild_boy_2005/main.mp4?v=2"},{"slug":"wildenhahn_klaus_john_cage_1966","ok":true,"partial":false,"title":"U B U W E B - Film & Video: John Cage - Klaus Wildenhahn","artist":"John Cage","year":"1966","startOffset":0,"sourceSecs":2267.157,"sourceHeight":432,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":136319109,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wildenhahn_klaus_john_cage_1966/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wildenhahn_klaus_john_cage_1966/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wildenhahn_klaus_john_cage_1966.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wildenhahn_klaus_john_cage_1966/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wildenhahn_klaus_john_cage_1966/main/master.m3u8?v=2","hasMainHls":true,"description":"This rare documentary, simply called \"John Cage\", was made in 1966 for the German TV station NDR and is one of the earliest films devoted entirely to the work of Cage and his collaborators. It was made on the occasion of the Cage and Cunningham European tour in that year, and instead of fully explaining the music and philosophy of the composer, we get a fascinating glimpse at the work process of the dance troupe and of Cage himself. Most of the film is concerned with showing us how they set up a performance for the Nuits de la Fondation Maeght, and there is a lot of interview and everyday material with Cage, Merce Cunningham, David Tudor, Gordon Mumma and Carolyn Brown, to name just the best known artists here. It's also nice to see a rather youthful looking Cage (though he was 54 at the time!), still wearing the famous tie that had been cut off by Nam June Paik a few years earlier. There's also some archival footage from Tudor's and Cage's very first German performance in Darmstadt in 1954. <br/><br/> Note: as this was a German production, the explanatory voice-over is in German. Sometimes the words of the interviewees are thus made inaudible; however this only happens occasionally, and most of the English language parts are left intact, so that you can still follow most of what is said by Cage and the others even if you don't speak German.","artist_bio":"Time and Space Concepts in Music and Visual Art (Part I)\n[Merce Cunningham, Nam June Paik & John Cage] (1978)\nFour American Composers: John Cage (dir.\nPeter Greenaway\n) (1983)\n\"American Masters\" John Cage: I Have Nothing to Say and I Am Saying It (1990)\nNineteen Questions (1995) [dir] Frank Scheffer & Andrew Culver]\nPaying Attention (1995) [dir] Frank Scheffer & Andrew Culver]\nOverpopulation and Art with Ryoanji (1995) [dir] Frank Scheffer & Andrew Culver]\nThe Making of Fourteen (1995) [dir] Frank Scheffer & Andrew Culver]\n49 Waltzes for the Five Boroughs (1995)\ndir. Roberta Friedman and Don Gillespie\nOne of the most celebrated and iconoclastic figures of the American musical avant-garde, John Cage has been instrumental in reshaping postwar Western music. Cage's radical innovations in compositions and theory — the application of chance and \"found\" sound as an integral compositional device, the creation of musical structures based on rhythm rather than tonality — were influential in altering traditional concepts of musical interpretation.\nCage's seminal compositions include Imaginary Landscape No. 4 (1951), a piece for twelve radios; 4'33\" (1952), a \"silent\" work in which the sounds of the piece originate in the ambient sound of the audience; and Concert for Piano and Orchestra (1958), which features a piano solo using eighty-four different kinds at composition.\nCage was born in 1912 and died in 1992. During his lengthy career, he was active and highly productive as a composer, writer, philosopher, and visual artist. He was elected to the Institute of the American Academy and Institute of Arts and Letters in 1968, and the American Academy of Arts and Sciences in 1978. He received an honorary Doctorate of Performing Arts from the California Institutes of the Arts in 1986, and was also the recipient of a Guggenheim Fellowship. He was a fellow of the Centers for Advanced Studies at Wesleyan University; composer-in-residence at the University of California, Davis; and the Charles Eliot Norton Professor of Poetry at Harvard University. Cage was the musical director for the Merce Cunningham Dance Company, and the author of numerous books, including Silence (1973), Empty Words (1979), Writings Through Finnegans Wake (1979) and Themes and Variations (1982).","bio_dates":"1912-1992"},{"slug":"williamson_margaux_dancing_to_the_end_of_poverty_2008","ok":true,"partial":false,"title":"dancing to the end of poverty","artist":"Margaux Williamson","year":"2008","startOffset":0,"sourceSecs":389.12,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":68130572,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/williamson_margaux_dancing_to_the_end_of_poverty_2008/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/williamson_margaux_dancing_to_the_end_of_poverty_2008/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/williamson_margaux_dancing_to_the_end_of_poverty_2008.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/williamson_margaux_dancing_to_the_end_of_poverty_2008/main.mp4?v=2","description":"dancing to the end of poverty / 2008 / 6.29 minutes / compiled video<br/> concept, video compiling and editing by Margaux Williamson<br/> song written by Ryan Kamstra, performed by Ryan Kamstra and the band Tomboyfriend<br/>  <br/> footage by:<br/> Bradwong92// Title: Lee dance<br/> jataygan // Title: Three Girls One Basement<br/> KESHA317 // Title: KESHA CANT DANCE<br/> zation0069 // Title: manu dancing class: staying alive<br/> TKKORYO // Title: Slutty Web Cam Dance<br/> Triplelnugami // Title: Seifuku ga Jama wo Suru (AKB48) Dance Tribute<br/> Vicakachipmunk // TITLE: Spongebob Squarepants Dance<br/> Ease2k6 // TITLE: Basement Dancing<br/> freewayj2006 // Title: Jermaine dancing to Chris Brown’s Poppin<br/> emmavictoria8 // Title: dance Jared dance<br/> Elvizzo89 // Title: Silvio Dance<br/> HollywoodIC // Title: Summer Vacation 2007 - IX<br/> taylorjohnson123 // Title: 2step<br/> coke4ever4me // Title: Basement Rules<br/> laurenbride // Title: Maestro Basement Belief Test #1<br/> Kebstar // Title: Bridget Faye: Get it Bitch<br/> Shabbawanna // Title: Bahamian girls Dancing<br/> Marvinbjr // Title: The New Basement Dance<br/> randycn // Title: 跳舞<br/> bluntmatt1 // Title: Misericordiam<br/> VegasParadox // Title: Pig Squeal Practice.<br/> PlayMyDoh // Title: Stories of an Insomniac 1: Sam's Basement<br/> deyfeenin4me // Title: Fucked up high<br/> BeatrizTheGreat // Title: Crazy Techno Dance<br/> cassiopeia222 // Title: Cassiopeia Belly Dance How To – Egyptian Shimmy<br/> xjryq37p // Title: hungover...<br/> pandagokuri  // Title: Synchronized swimming was tried in the room.~日常に潜むエアシ ンクロ~ //<br/> Ethanpoz // Title:  Подросток практикуя танца reggaeton<br/> XstineXcore  // Gab Gets \"crunk\" up in da club<br/> JillianProductions // Title: me dancing<br/> donttouchme // Title: kasha and jasmine dancin<br/> emcaseey // Title: high school musical 2 premier<br/> Tehran Girlz // Title: hoshej<br/> pjdunti // Title: rm girl gone wild 2<br/> charise06 // Title: MEEKA~~~ GET T BIIIITCH<br/> Relientkira // Title: Going Back To Cali<br/> MarcusHitsoy  // Title: Ghost Dancing In My Room!<br/> gmoney000003 // Title: Gary and Greg steppin out<br/> gcnkirby // Title: My Hare Hare Yukai [teaser]<br/> AaronJames2k8 // Title: Michael Corkery, funniest dance ever!<br/> AshleyMichele07 // Title: Dance In My Room. Part 2<br/> mandaaapanda14  // Title: Do Da Heisman On Dat Hoe<br/> killerofheartsbeto // Title: beto boi bx-shocker on shock st.(dr.acula)<br/> samiezaen // Title: ولد سعودي<br/> coke4ever4me // Title: Basement Rules<br/> vasfynest757 // Title: Do Dat Heisman on dat hoe!!!!<br/> Fallxdown // Title: TDWP- dogs can grow beards all over vocal cover<br/> deyfeenin4me // Title: Fucked up high<br/> TheOKPKOlan // Title: Dr. Acula - Shocker On Shock St.<br/> dontvito // Title: boom boom boom i want you in my room //<br/> TKKORYO: Title: new slutty dance<br/> annicool // Title: High in Mikes basement<br/> penguins5171 // Title: me dancing in my room<br/> 968426262 // Title:شرطي يرقص/ سكس<br/> suchasofterrsin // Title: caprise and jen dancing<br/> fahood707 // Title: ولد موززه<br/> alassad25 // Saudi Arabia // هشام الراشد يرقص في الفصل<br/> hunniedip23 // Title: get it bitch<br/> monkeybutts85 // Title: video killed the radio starr ?!<br/> dewamanara // طبرق ليبيا المنارة //<br/> ajguilfo // Title: Dance Dance Tokyo Revolution<br/> small18 // Title: Heizman On Dat Nigga!!!<br/> tashaisdashiz93 // Title: techno dancing!!<br/> 432paust // Title: naythan<br/> mohamed277 // Title: break dance<br/> josbrowneyes  // Title: Boys Live in the Basement<br/> lilhustler8 // Title: Poppin 1xlilaznkid: basement dancing<br/> monkeybutts85 // Title: wannabe<br/> Boolglunk // Title: Last Resort \"hands\" - golivewire.com<br/> Foxymj // Title: Leave me alone<br/> quaweszy // Title: Micro's in the lab<br/> poopcopter  // Title: Rockband in Kline's Basement<br/> mohamadkamal // رقص من نوع خاص<br/> madau101 // Title: johnny boi<br/> ethlab // Title: basement dance<br/> Ronpondon // Title: Lee Dancing<br/> filmfreak11 // Title: La Maldición (3 of 3) //<br/> licklemegan // Title: meg and Janine are happy!<br/> meflyt2g // Title: Freestyle J6<br/> ilovemp5 // Title: Crazy Dance - Jack","artist_bio":"Margaux Williamson lives in Toronto. She has had solo  exhibitions in Toronto, New York and Los Angeles. She took a break from exhibiting paintings in 2008 to allow for a time of independent study. In 2009, she was artist in residence in Dawson City, Yukon. Her movie, Teenager Hamlet premiered at the Toronto International Film Festival and was released for distribution in Canada and the U.S. in 2010. In 2010 she started writing about movies on Movie Is My Favorite Word and shortly after created the cultural review site Back to the World with the critics Carl Wilson and Chris Randle. She has recently been asked to write movie reviews for The Believer Magazine.  Her work has been reviewed or featured by The National Post, The Toronto Star, The New York Times, The Artfag, The Paris Review, Canadian Art Magazine, among others. She was the art director and a curator for the Toronto lecture series Trampoline Hall for five years, has created graphics and videos for the band Tomboyfriend, and works the writer Sheila Heti on various projects including The Production Front where they do projects with other artists. Most recently, she was the artist in Residence at the Art Gallery of Ontario.","bio_dates":"b. 1976"},{"slug":"wilson_andrew_blue_2011_iphone","ok":true,"partial":false,"title":"Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound","artist":"Andrew Norman Wilson","year":"2011","startOffset":0,"sourceSecs":616.13,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":40741312,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_andrew_blue_2011_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_andrew_blue_2011_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wilson_andrew_blue_2011_iphone.m4v","hasFrames":true,"description":"\"\"In Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound (2011) Andrew Norman Wilson deconstructs the linguistic and symbolic convention that usually communicates the signal’s absence on any screen or projector. In a Derridian manner he shows that this blue’s metaphysical meaning is generated by an invisible game from which the individual is excluded. The blue’s detracted ontological presence leads to a never-ending displacement of its meaning’s grounds, giving rise to a feeling of precariousness that Wilson relates to our dematerialized environment.\" -Bianca Stoppani, Kaleidoscope","artist_bio":"Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound (2011)\nSONE S/S 2014: Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke / / / Invisibility-cloaked hand gestures in offshore financial center jungle (2014)\nAndrew Norman Wilson is an artist based in New York. His work has exhibited at MoMA PS1 in New York, Centre Pompidou in Paris, Palais de Tokyo in Paris, Ullens Center for Contemporary Art in Beijing, CCS Bard in Anandale-on-Hudson New York, The Hammer Museum in Los Angeles, Project Native Informant in London, Fluxia in Milan, Yvon Lambert in Paris, the New York Film Festival, the San Francisco International Film Festival and the Images Festival. He has lectured at Oxford University, Harvard University, Universität der Künste Berlin, and CalArts. His work has been featured in Aperture, Art in America, Artforum, Buzzfeed, Frieze, Gizmodo/Gawker, Kaleidoscope, The New Yorker, and Wired.","bio_dates":"b. 1983"},{"slug":"wilson_andrew_norman_reality_models","ok":true,"partial":false,"title":"Reality Models","artist":"Andrew Norman Wilson","year":"2016","startOffset":0,"sourceSecs":366.122,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":139937257,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_andrew_norman_reality_models/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_andrew_norman_reality_models/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wilson_andrew_norman_reality_models.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wilson_andrew_norman_reality_models/main.mp4?v=2","description":"Peppermint Park was an educational home video series produced in the 1980s by a group of investors seeking to profit off the narrative models that Sesame Street invented for educational children's entertainment. The show features a cast of puppet characters who teach children various educational lessons, ranging from letters, numbers, colors, animals, and more. Growing up, a family friend had several copies of the VHS tapes and I remember being terrified of an unexplained dance sequence by a breakaway puppet dressed to look like a scarecrow (youtube.com/watch?v=RLq0XFmcTPE). A few years ago, clips from the show resurfaced online, and my relationship with the dancing scarecrow has shifted from horror to obsession.<br/><br/> In 2010 the physicist Aaron O’Connell and his colleagues proved that a strip of metal, visible to the naked human eye, can both oscillate and not oscillate at the same time. Essentially this means that objects, whatever their size, can be in two places at once. From here it starts to seem like existing means being inconsistent, while dying means becoming consistent. Or that classical logic - where things are either A or B, but never A and B at the same time - is being replaced by a quantum logic which says that all future possibilities exist in the present.<br/><br/> Any good theoretical physicist knows that their models of reality describe an aesthetic conceptual space in which matter is just information. In the words of O’Connell, “people have models of reality, and those models are descriptions, but they don’t get you any closer to the truth.” So the way things appear through physical causality takes place amongst a theater of objects. This isn’t to say that there are screenwriters for our lives, just that every seeing, every measurement, is also an adjustment, a parody, a translation, an interpretation. And who could say that they never resort to narratives to make sense of things?<br/><br/> An entity moving towards death in quantum logic could be said to parallel the narrative convention of moving towards closure in cinema and literature. The frequency and duration of the action on the screen (plot) synchronizes ever more tightly with the action in the chronological sequence of events (story). In the year 1984, the Terminator arrives from the year 2029 to assassinate Sarah Connor. The entire movie consists of this pursuit, and ends when Sarah destroys the Terminator in a hydraulic press. Plot and story arrive at a 1:1 ratio - a consistency - and the viewers leave the theater hypnotized by an amorous distance.<br/><br/> Resolution, transformation, development - the screens of cinema and television demand expressions of novelty. What this content emerges from and reproduces is a loop form - an aimless infinity of commercial product cycles concealed behind fresh faces and fashions. But in the exhibition space, the infinite causal loop becomes a narrative technique that can thrive on the surface. It is looping before anyone arrives and after everyone leaves. The loop of the narrative becomes a literal object.<br/><br/> I’m not trying to say I feel particularly liberated as an artist. And I’ve thought about buying a boat and learning how to fish so that I could eat the sea and drink the rain, free from the obligations that a rental and an occupation require. But perhaps that red herring fishing lure I keep to serve as a reminder of this potential has me fooled, as a red herring would in a movie, to think that I would actually feel more free. Perhaps I should invest in a future and start saving and owning, instead of sleeping in living rooms and unfamiliar beds, all just to make things that no one can use.<br/><br/> Is a refrigerator a MacGuffin, a technique people use to orient narratives of economic growth, technological progress, and family values? A product to repeatedly fill with more products? If I had kids, would the fridge be the reason they stuck around? And when they didn’t need me anymore, would they love me in the same way? Would they fantasize about my death and receiving their inheritance? Never mind that, I am not that person right now. And either way I’m a straw man - a fallacy, a contradiction - just trying to get through this dog dick of a day. Perhaps there are many more days … even if it were entirely up to me I wouldn’t be so sure. I start to imagine the infinity of death and panic. I tremble from within this closed loop of thought, but feel connected to everyone else who has ever existed because of it. Being a person means being paranoid that I might be a puppet.<br/><br/> Commissioned by MoMA Warsaw <br/><br/> Camera - Ben Clotten<br/> Puppet Fabrication - Pro Puppet Makers Inc.<br/> Puppetry - Jeremy Kerr<br/> Production Assistance - Jordan Barse, Rob Sohmer, Jessica Wilson","artist_bio":"Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound (2011)\nSONE S/S 2014: Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke / / / Invisibility-cloaked hand gestures in offshore financial center jungle (2014)\nAndrew Norman Wilson is an artist based in New York. His work has exhibited at MoMA PS1 in New York, Centre Pompidou in Paris, Palais de Tokyo in Paris, Ullens Center for Contemporary Art in Beijing, CCS Bard in Anandale-on-Hudson New York, The Hammer Museum in Los Angeles, Project Native Informant in London, Fluxia in Milan, Yvon Lambert in Paris, the New York Film Festival, the San Francisco International Film Festival and the Images Festival. He has lectured at Oxford University, Harvard University, Universität der Künste Berlin, and CalArts. His work has been featured in Aperture, Art in America, Artforum, Buzzfeed, Frieze, Gizmodo/Gawker, Kaleidoscope, The New Yorker, and Wired.","bio_dates":"b. 1983"},{"slug":"wilson_andrew_norman_the_unthinkable_bygone","ok":true,"partial":false,"title":"The Unthinkable Bygone","artist":"Andrew Norman Wilson","year":"2016","startOffset":0,"sourceSecs":138.005,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":33770277,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_andrew_norman_the_unthinkable_bygone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_andrew_norman_the_unthinkable_bygone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wilson_andrew_norman_the_unthinkable_bygone.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wilson_andrew_norman_the_unthinkable_bygone/main.mp4?v=2","description":"2016. HD Video. 2 min 18 sec loop<br/><br/> Baby Sinclair flickers into being, as if the video itself would open its eyes in sync with its protagonist. At first it is easy to empathize with the computer model. The baby is startled when it takes a first glimpse at its body's other half, which contains a cut up Hollow Earth model based on surface layers of Venus, Mars, and Mercury. Moving across registers this image anticipates the multilayered structure of the video and introduces an incommensurable and unreliable sense of scale. The setup poses the baby in an associative universe that could contain the big bang, evolution, and extinction. A semantic space is unveiled in which means of scientific knowledge production, such as 3D computer simulation, parallel narrative cinema and television. Trying to locate a twittering bird sound, the baby is not impressed. Incredulously it shakes its head whilst listening to its own giggle echoed by the bleak mirror walls, as if to reassure itself that it is there, only to doze off.<br/><br/> Despite the meticulous animation, the baby remains strangely artificial from the start. As soon as its eyes are closed, it is hard to decide whether we want it to be meditating, asleep, dead, or switched off. In this in-between state of being, it seems to turn into a puppet, but not one that would be anxious to appear human-like. Rather, its life-likeness turns against itself, becomes uncanny — the absurdity of the image keeping us at a distance. Yet the situation is tense when the camera starts to orbit around the computer model to reveal its infinite reflections before penetrating its head. Once the flawlessly animated skin fills the screen, the video cuts to another clip which pulls us violently into a completely different reality. Filmed by a phone camera in an actual free falling plane, the image is suddenly shaky as a voice nervously counts down from five until it crashes into the ground and blacks out.<br/><br/> However disrupting this sequence may seem in contrast to the slick HD surfaces of the mirror room, it is not all that different from the rest of the video. Wilson explores cinematic means that typically ease us into another point of view and pushes them towards their limits. Both the detailed computer simulation and the ego perspective aim at verisimilitude to bridge the gap between the character and ourselves. However, this effect is turned on its head when the ego perspective, which is by definition meant to refer to a human being, becomes the view of the simulated camera itself. The penetration of baby Sinclair's mind becomes visually manifest in the crash, counteracting the smooth movement of the simulated crane shot that had us expecting to enter the baby's thoughts. Instead, we are abruptly thrown into a mode of showing, which in itself becomes the shown object, thus rendering our immersion into the baby dinosaur's consciousness impossible.<br/><br/> The collapse of perspectives is continued when the baby awakes again and we see the beginning of the video from within its head. The view is framed by the dark shape of its eyes; a reminder that the change of perspective remains deficient. With baby Sinclair as focalizer, the field recordings of canaries' songs heard on the outside turn into a sample of humans whistling bird sounds from Snow White and Bernard Herrmann's heavily recycled Twisted Nerve theme. Baby Sinclair begins to doze off again and the camera reverses the path it took into its head as the whistle reaches its most threatening pitch. As the camera settles in its original position, the image starts to flicker and the loop starts over.<br/><br/> By juxtaposing its elements: the baby, the lab, the sound, and the crash, The Unthinkable Bygone plays with the seductive potential of immersive techniques from television and film that simulate access into another being's consciousness. A promise that becomes as hollow as the animation itself. The video recites in the tangled hierarchies of those images within images which paradoxically fold back into each other. Clinging to our viewing habits, they seem to lock themselves up in the last second and retrieve into their own materiality. The question of what the baby dinosaur perceives is ultimately turned into the question of what it is, or in which world it exists. A question that spreads out to the other elements. On an ever larger scale of implications, it spins into our perspective and extends to our very own way of relating to them.<br/><br/> Text by Johanna Markert<br/> Video by Andrew Norman Wilson<br/> Modeling and animation by Vlad Maftei<br/> Sound by Andrew Norman Wilson and Andrew Lockmiller<br/> Produced by Akademie Schloss Solitude","artist_bio":"Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound (2011)\nSONE S/S 2014: Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke / / / Invisibility-cloaked hand gestures in offshore financial center jungle (2014)\nAndrew Norman Wilson is an artist based in New York. His work has exhibited at MoMA PS1 in New York, Centre Pompidou in Paris, Palais de Tokyo in Paris, Ullens Center for Contemporary Art in Beijing, CCS Bard in Anandale-on-Hudson New York, The Hammer Museum in Los Angeles, Project Native Informant in London, Fluxia in Milan, Yvon Lambert in Paris, the New York Film Festival, the San Francisco International Film Festival and the Images Festival. He has lectured at Oxford University, Harvard University, Universität der Künste Berlin, and CalArts. His work has been featured in Aperture, Art in America, Artforum, Buzzfeed, Frieze, Gizmodo/Gawker, Kaleidoscope, The New Yorker, and Wired.","bio_dates":"b. 1983"},{"slug":"wilson_andrew_soness14_2014_iphone","ok":true,"partial":false,"title":"Sone S/s 2014","artist":"Andrew Norman Wilson","year":"2014","startOffset":0,"sourceSecs":669.058,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":47273254,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_andrew_soness14_2014_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_andrew_soness14_2014_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wilson_andrew_soness14_2014_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wilson_andrew_soness14_2014_iphone/main.mp4?v=2","description":"SONE is a content producer that helps businesses, producers, and consumers reimagine our current economic situation. SONE is directed by Andrew Norman Wilson and operates on a contract-to-contract basis with a team of freelance artists and thinkers. Our core function is to serve global markets of communicators in advertising, business, art, and journalism with high quality, pre-trend stock video clips - about economic uncertainty and discontent - that circulate on both the art/film market and the stock media market through sites like Getty Images.","artist_bio":"Why is the No Video Signal Blue? Or, Color is No Longer Separable From Form, and the Collective Joins the Brightness Confound (2011)\nSONE S/S 2014: Chase ATM emitting blue smoke, Bank of America ATM emitting red smoke, TD Bank ATM emitting green smoke / / / Invisibility-cloaked hand gestures in offshore financial center jungle (2014)\nAndrew Norman Wilson is an artist based in New York. His work has exhibited at MoMA PS1 in New York, Centre Pompidou in Paris, Palais de Tokyo in Paris, Ullens Center for Contemporary Art in Beijing, CCS Bard in Anandale-on-Hudson New York, The Hammer Museum in Los Angeles, Project Native Informant in London, Fluxia in Milan, Yvon Lambert in Paris, the New York Film Festival, the San Francisco International Film Festival and the Images Festival. He has lectured at Oxford University, Harvard University, Universität der Künste Berlin, and CalArts. His work has been featured in Aperture, Art in America, Artforum, Buzzfeed, Frieze, Gizmodo/Gawker, Kaleidoscope, The New Yorker, and Wired.","bio_dates":"b. 1983"},{"slug":"wilson_andrew_workersleavingthegoogleplex_2011_iphone","ok":true,"partial":false,"title":"Workers Leaving the Googleplex","artist":"Andrew Norman Wilson","year":"2011","startOffset":0,"sourceSecs":663.405,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":45150827,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_andrew_workersleavingthegoogleplex_2011_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_andrew_workersleavingthegoogleplex_2011_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wilson_andrew_workersleavingthegoogleplex_2011_iphone.m4v","hasFrames":true,"description":"\"\"In 2008, Andrew Norman Wilson worked as a contractor producing video for Google, where he noticed a strange thing: In the building adjacent to his office, workers would stream out every morning, as he arrived. They had worked a long night shift. He also discovered that these workers had a different classification than other contract workers such as himself. They weren’t allowed to touch any of the standard Google amenities that you hear about in every fawning business profile: the free food, bicycles, etc.\n\nWilson turned his video camera on the workers, who turned out to be Google Books digitizers. When Google found out, it fired Wilson and tried to destroy all of his footage. Despite fear of a lawsuit, Wilson put out a video (titled “Workers Leaving the Googleplex,” referencing early cinema’s “Workers Leaving the Factory” by the Lumiere Brothers) and it went viral.\""},{"slug":"wilson_jane_louise_dreamtime_2000","ok":true,"partial":false,"title":"Dreamtime","artist":"Jane & Louise Wilson","year":"2000","startOffset":0,"sourceSecs":431.445,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":67515412,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_jane_louise_dreamtime_2000/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_jane_louise_dreamtime_2000/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wilson_jane_louise_dreamtime_2000.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wilson_jane_louise_dreamtime_2000/main.mp4?v=2","description":"Dreamtime (2001) was filmed during a Russian rocket launch at the Baikonur Cosmodrome in Kazakhstan, the world's largest space-launch center.","bio_dates":"b. 1967"},{"slug":"wilson_jane_louise_stasi_city_1997","ok":true,"partial":false,"title":"Stasi City","artist":"Jane & Louise Wilson","year":"1997","startOffset":0,"sourceSecs":304.917,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":43524709,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_jane_louise_stasi_city_1997/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_jane_louise_stasi_city_1997/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wilson_jane_louise_stasi_city_1997.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wilson_jane_louise_stasi_city_1997/main.mp4?v=2","description":"Stasi City consists of two pairs of projections on walls meeting at two 90-degree angles diagonally opposite from each other. The installation could be said to be a sculptural object in the sense that it creates an open cube construction in the gallery, the filmic walls of which open out onto the rooms and corridors of the Stasi former headquarters. We might see this cuboid installation as framing a space into which we enter, a space that in turn gives access to imaginary filmic spaces that we can inhabit visually, moving through the rooms of the prison with a mobile gaze. This conception of space as a container into which we enter situates space as an entity shaped by form, the frame of the cube, the frame of the screens, the frame of the screens within the screens, e.g. the rooms and corridors of the building. Jane and Louise Wilson have said that their \"film work is about creating a physical environment, something which is more sculptural in its description of space\". However, given that the juxtaposition of contradictory viewpoints in their work makes it impossible to establish stable spatial parameters, space in the Wilson's work would seem to be more dynamic than a conception of space as a formless field that requires objects to demarcate its boundaries.","bio_dates":"b. 1967"},{"slug":"wilson_robert_mrbojangles","ok":true,"partial":false,"title":"Mrbojangles","artist":"Robert Wilson","year":"1991","startOffset":0,"sourceSecs":444.367,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":27146423,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_robert_mrbojangles/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_robert_mrbojangles/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wilson_robert_mrbojangles.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wilson_robert_mrbojangles/main.mp4?v=2","description":"The two versions of this work are variations on a single theme, in which the music imposes a particular atmosphere depending on its own sonority. One of the versions is backed by a piano, while the other is constructed around blues compositions by Charles \"Honi\" Coles. Mr. Bojangles' Memory involves a large number of image inserts like Wilson's theater. From Og, the son of fire whose size seems to vary according to who he meets, to an immense woman in a spotted dress who tries to parry the balls thrown by a monkey, including the appearances of a 1920's tap-dancer and the saraband danced on his Panama hat, Mr. Bojangles' Memory is made up of a series of scenes without any apparent link: \"Mr. Bojangles was a black tap-dancer from Harlem. He represents memory in the story. Og, meanwhile, is a prehistoric cave man. His meeting with Mr. Bojangles, an elegant dancer from the turn of the century, brings together poetic symbols and the meaning of this exposition lies in this meeting.\" The video was produced for the exhibition Mr. Bojangles' Memory, organized in 1992 at the Centre Georges Pompidou by the Musée National d'Art Moderne and the Ircam. The environmental context was designed to plunge the audience into the universe of Robert Wilson's creations (scenery/sculptures, theatrical space, video tapes, etc.). Reintroduced into this context, the tape takes on its full meaning. At the entrance to the exhibition, a wall of eight video screens recounts the story of Mr. Bojangles. The audience, immersed in the sound and video effects installed, walk through a town where forty video monitors serve as signposts. The videogram assumes the rhythm of the exhibition, with multiple images controlled by an imaginary remote control unit."},{"slug":"wilson_robert_reads_christopher_knowles","ok":true,"partial":false,"title":"Robert Wilson Reads Christopher Knowles (undated)","artist":"Robert Wilson","year":"1941","startOffset":0,"sourceSecs":835.03,"sourceHeight":488,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":139917642,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_robert_reads_christopher_knowles/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_robert_reads_christopher_knowles/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wilson_robert_reads_christopher_knowles.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wilson_robert_reads_christopher_knowles/main.mp4?v=2","description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/wilson_r.html\" rel=\"noopener\" target=\"_blank\">Robert Wilson in UbuWeb Sound</a> <br/> <a href=\"https://ubu.com/sound/knowles.html\" rel=\"noopener\" target=\"_blank\">Christopher Knowles in UbuWeb Sound</a> <br/> <a href=\"https://ubu.com/film/knowles.html\" rel=\"noopener\" target=\"_blank\">Christopher Knowles in UbuWeb Films</a>","artist_bio":"The Black Rider\nwith Tom Waits & William S. Burroughs (1992)\nRobert Wilson is an American avant-garde stage director and playwright who has been called America's — or even the world's — foremost vanguard 'theater artist'\". Over the course of his wide-ranging career, he has also worked as a choreographer, performer, painter, sculptor, video artist, and sound and lighting designer. He is best known for his collaborations with Philip Glass on Einstein on the Beach, and with numerous other artists, including Heiner Müller, William S. Burroughs, Allen Ginsberg, Lou Reed, Tom Waits David Byrne, and Marina Abramović.","bio_dates":"b. 1941"},{"slug":"wilson_robert_waits_tom_black_rider_vienna_1992_iphone","ok":true,"partial":false,"title":"Robert Wilson, Tom Waits & William S. Burroughs - The Black Rider","artist":"Robert Wilson","year":"1992","startOffset":0,"sourceSecs":8173.64,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":468705521,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_robert_waits_tom_black_rider_vienna_1992_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wilson_robert_waits_tom_black_rider_vienna_1992_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wilson_robert_waits_tom_black_rider_vienna_1992_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wilson_robert_waits_tom_black_rider_vienna_1992_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wilson_robert_waits_tom_black_rider_vienna_1992_iphone/main/master.m3u8?v=2","hasMainHls":true,"description":"This is a TVRip of the Austrian broadcast of the original Black Rider musical, performed in 1990 as part of the Wiener Festwochen. There is a 7-minute introduction in German, and the dialogue and music is in both German and English. <br/><br/> The Black Rider: The Casting of the Magic Bullets is a self-billed \"musical fable\" in the avant-garde tradition created through the collaboration of theatre director Robert Wilson, musician Tom Waits, and writer William S. Burroughs. Wilson was largely responsible for the design and direction. Burroughs wrote the book, while Waits wrote the music and lyrics. The project began in about 1988 when Wilson approached Waits. The story is based on a German folktale called Der Freischütz, which had previously been made into an opera by Carl Maria von Weber. It premiered at Hamburg's Thalia Theatre on March 31, 1990. November Theatre produced its world English-language premiere in 1998 at the Edmonton International Fringe Festival in Canada, and the American English-language premiere at the New York International Fringe Festival in 1999. Waits recorded much of the music from the play in different arrangements under the eponymous title, The Black Rider. <br/><br/> Wilhelm, a file clerk, falls in love with a huntsman's daughter. In order to marry, Wilhelm must prove his worth as a hunter and gain her father's approval, but, as \"a man of pen and ink\", his shot is lousy and his hopes of marriage worsen. That is until he is offered magic bullets by the devil, Pegleg - who assures him that his bullets will always have a sure shot. However, Pegleg stipulates that, while most of the bullets will hit anything Wilhelm pleases, one of the bullets is under Pegleg's control. Foolish, naive, and overrun with desperate hope, Wilhelm accepts the Faustian pact. On the day of Wilhelm's wedding, the final bullet strikes his beloved dead. He then goes mad, and joins the previous victims of Satan's cunning in the Devil's carnival. <br/><br/> Although based on folklore, the story contains strong autobiographical elements from Burroughs' own life: he accidentally shot his own wife in a drunken attempt at recreating the William Tell legend, and the story as a whole may be construed as a warning tale about the destructive powers of addiction. <br/><br/> The music to The Black Rider was composed and performed by Tom Waits, and was released as a record in 1993. The best known track is probably the ballad \"November\", which is still occasionally performed by Waits during concerts. \"'Tain't No Sin\" features spoken word dialogue by Burroughs. The album has a cult status amongst many Waits fans.","artist_bio":"Robert Wilson, Tom Waits & William S. Burroughs - The Black Rider\n(1992)\nFrench Television Interview [French language w/ Burroughs responses in English]\n(1990)\nWilliam S. Burroughs On The Road - Words of Advice\n(2010, dir. Lars Movin and Steen Moller Rasmussen\n[Extras]","bio_dates":"b. 1941"},{"slug":"wojnarowicz_david_a_fire_in_my_belly","ok":true,"partial":false,"title":"A Fire in My Belly 1986-87","artist":"David Wojnarowicz","year":"1985","startOffset":0,"sourceSecs":1259.984,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":210827539,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_a_fire_in_my_belly/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_a_fire_in_my_belly/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wojnarowicz_david_a_fire_in_my_belly.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wojnarowicz_david_a_fire_in_my_belly/main.mp4?v=2","description":"In 1989, Donald Wildmon, founder of the American Family Association, mailed a pamphlet reproducing details from collages by the New York artist David Wojnarowicz (1954-1992) to every member of Congress, to various news media outlets and to religious leaders across the country.<br/><br/> Mr. Wildmon, a Methodist minister, had prepared the pamphlet himself; he considered the images pornographic or blasphemous. He had copied them from the catalog for an exhibition partly supported by the National Endowment for the Arts, the real object of his protest. Wojnarowicz (pronounced voy-nah-ROH-vitch), furious at having his work selectively edited, sued Mr. Wildmon for misrepresenting his art and won the case.<br/><br/> Twenty years later, history is repeating itself, with variations. Wojnarowicz’s work is under similar attack, this time by Bill Donohue, president of the Catholic League, and several members of Congress. The offending material is again a detail of a larger work, an image of ants crawling over a crucifix, excerpted from a Wojnarowicz video that was included in a large group show called “Hide/Seek: Difference and Desire in American Portraiture” at the National Portrait Gallery in Washington.<br/><br/> On Dec. 1 the gallery, part of the Smithsonian Institution, took the video off view. One big change from 1990, however, is the nearly universal presence of the Internet. Word of the self-censorship instantly spread, and the video itself, titled “A Fire in My Belly,” went viral, turning up on a number of Web sites, including YouTube. Untold numbers of people could now see something that, without the publicity generated by the dispute, they never would have known existed.<br/><br/> And what are they seeing? A raw, moving, disturbing piece of art that comes in two sections: one is 13 minutes; the other is 7 minutes, video of the same title found on a separate reel after Wojnarowicz’s death from AIDS. In an added complication, the two tapes were edited down to one that is roughly 4 minutes for the National Portrait Gallery show.<br/><br/> The one thing they all share is a source, the artist’s childhood. Even given that Wojnarowicz was not above self-mythologizing, that childhood was rough. His parents divorced and then disappeared when he was 2, leaving him to a succession of temporary homes and often abusive relationships. On the positive side, many of these homes were in semi-rural settings, and the natural world became a sustaining resource for him. In the lives of animals, birds and insects he found clarified versions of human behavior, and alternatives to it. -- https://www.nytimes.com/2010/12/11/arts/design/11ants.html<br/><br/> --- <br/><br/> Echoing themes explored throughout David Wojnarowicz's art and writing, A Fire in My Belly is a visceral meditation on cultural and individual identity, spirituality, and belief systems. On a trip to Mexico City with Tommy Turner to scout Day of the Dead imagery, Wojnarowicz shot 25 rolls of super-8 film, documenting scenes that embodied the violence of city life. A central image is that of a child exploited as a fire-breathing street performer, which resonates in the title of the film and Wojnarowicz's own experience hustling on the streets at a young age. He later staged scenes in his New York City apartment to combine with this footage, collecting dreamlike images to illustrate thematic sections he planned for the film's structure, outlined in a cutting script. Among these images is a dancing, gun-wielding marionette, coins dropping into a plate of blood, vibrantly colored loteria cards, and the now iconic self-portrait of the artist with his lips sewn shut.<br/><br/> A Fire in My Belly was never completed. What currently circulates and is preserved in the Fales Library Collection of NYU, which holds the David Wojnarowicz Papers archive, is a 13-minute version entitled A Fire in my Belly, A Work in Progress, and a 7-minute excerpt that possibly represents a chapter planned for the finished version. Wojnarowicz's cutting script shows that he thought of organizing it into discrete sections (numbered 1 - 8, with notes to combine sections). Each section includes notes on general themes, such as \"aggression\" or \"hunger,\" accompanied by specific symbols - religious icons, the four elements, or colors. The physical film reveals Wojnarowicz's unfinished ordering of the sections; masking tape splices holding together the deconstructed film have since been removed for preservation, and are now indicated by black leader.<br/><br/> The cutting script makes clear the intended kinetic fury of the film, propelled by quick shots and stark transitions, an approach similar to the frenzied conclusion of his collaborative film with Tommy Turner, Where Evil Dwells (1985). Vibrant color and graphic images play a formal and conceptual role comparable to his paintings of the time. The iconography of the film resonates with such works as Crash: The Birth of Language/ The Invention of Lies (1986), which shows a fearsome, sooty locomotive plunging through the ruins of civilization, a correlation of industry and speed with humankind's separation from nature and ultimate destruction that is a prominent theme of A Fire in My Belly, as is the violence with which visual and spoken language can obscure as much as reveal the truth.<br/><br/> The movement of the film itself--never resting too long on an image, scenes of Mexico City shot from a passing car--becomes an expression of the speed and aggression of modern living. As Wojnarowicz describes in his essay In the Shadow of the American Dream: Soon All This Will Be Picturesque Ruins, especially in the sprawling west of America, vehicles are not just a convenience, but an agent of class stratification and indifference: \"Owning a vehicle, you could drive by and with the pressure of your foot on the accelerator and with your eyes on the road you could pass it quickly--maybe not fast enough to overlook it completely, but fast enough so that the speed of the auto and the fear centers of the brain created a fractured marriage of light and sound. The images of poverty would lift and float and recede quickly like the gray shades of memory so that these images were in the past before you came upon them. It was the physical equivalent of the evening news.\"<br/><br/> Wojnarowicz was compelled to document and represent the lives of those he felt society sought to repress with the ruthlessness of the locomotive in his Crash painting. Mexico especially made a deep impression on him. Visiting shortly after the devastation of the 1985 Mexico City earthquake, he was struck by the extreme poverty he witnessed, which he described in an interview in 1991 with Jeri Cain Rossi: \"I look at the poverty in New York which has gotten really more and more extreme over the last eight years. And people I know just say they can't believe it's getting to this stage. I just laugh and say, 'Go to Mexico City and you'll see the future of us.' You see just how far people get pushed...When you actually see like what they're making per day and how impossible that would be to survive on, I'm just amazed that people can get pushed to such an extreme.\"<br/><br/> In admonishing against the destructive forces of industrialized society, A Fire in My Belly also celebrates the colorful pageantry and social and religious rituals of poor and working-class Mexican cultures, which in their vibrancy speak to the endurance of the human spirit even in terrible circumstances. Wojnarowicz appreciated these sparks of life, perhaps burning all the brighter for the pressures being exerted. Writing later in a catalog accompanying a solo show at his gallery, P.P.O.W., in 1989, he observed: \"Going south of the border I found myth to still be very much alive and with it the sense of connection to the ground people walked on.\"<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/wojnarowicz.html\" rel=\"noopener\" target=\"_blank\">David Wojnarowicz in UbuWeb Sound</a></br>","artist_bio":"Where Evil Dwells\n(1985) with Tommy Turner,\nFrom The\nCinema of Transgression\nYou Killed Me First (excerpt)\ndirected by\nRichard Kern\n(1985)\nFear of Disclosure: Psycho-Social Implications of HIV Revelation\n(1989) with Phil Zwickler\nDavid Wojnarowicz (September 14, 1954 – July 22, 1992) was a painted, photographer, writer, filmmaker, performance artist, and activist who was prominent in the New York City art world of the 1980s.\nWojnarowicz was born in Red Bank, New Jersey in 1954. The product of an extremely difficult childhood brought on by an abusive family life and an emerging sense of his own homosexuality, Wojnarowicz dropped out of high school and was living on the streets by the age of sixteen. He turned to hustling in Times Square. After hitchhiking many times across the U.S. and living for several months in San Francisco and Paris, he settled in New York's East Village in 1978.\nMany of Wojnarowicz' works incorporate outsider experiences drawn from his personal history and from stories he heard from the people he met in bus stations and truck stops while hitchhiking. By the late 1970s he had, in his own words, \"started developing ideas of making and preserving an authentic version of history in the form of images/writings/objects that would contest state-supported forms of 'history.'\" In such diverse works as Sounds in the Distance (1982), a collection of monologues from \"people who lived and worked in the streets\" and The Weight of the Earth, Part I & II (1988), an arrangement of black-and-white photographs taken during his travels and life in New York, Wojnarowicz continually returned to the personal voices of individuals stigmatized by society.\nA member of the first wave of East Village artists, Wojnarowicz began showing his work during the early 1980s in such now-legendary spaces as Civilian Warfare, Club 57, Gracie Mansion, Fashion Moda, and the Limbo Lounge. He gained prominence through his inclusion in the 1985 Whitney Biennial, and was soon showing in numerous museum and gallery exhibitions throughout the United States, Europe and Latin America.\nIn the late 1980s, after he was diagnosed with AIDS, Wojnarowicz' art took on a sharply political edge, and soon he was entangled in highly public debates about medical research and funding, morality and censorship in the arts, and the legal rights of artists. Wojnarowicz challenged the nature of pubic arts funding at the National Endowment for the Arts, and initiated litigation against the American Family Association of Tupelo, Mississippi, an anti-pornography political action group that Wojnarowicz accused of misrepresenting his art and damaging his reputation. He won the lawsuit.\nWojnarowicz died of AIDS-related illness in New York City in 1992, at the age of 37. He is the author of five books. His artwork is in numerous private and public collections including the Museum of Modern Art, New York, and the Whitney Museum of American Art. The Estate of David Wojnarowicz represented by PPOW.","bio_dates":"1954-1992"},{"slug":"wojnarowicz_david_neill_ben_itsofomo_1991_iphone","ok":true,"partial":false,"title":"ITSOFOMO (1991), with Ben Neill","artist":"David Wojnarowicz","year":"1991","startOffset":0,"sourceSecs":681.8,"sourceHeight":240,"sourceWidth":272,"hasAudio":true,"hasAmbientMp4":true,"bytes":44066274,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_neill_ben_itsofomo_1991_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_neill_ben_itsofomo_1991_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wojnarowicz_david_neill_ben_itsofomo_1991_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wojnarowicz_david_neill_ben_itsofomo_1991_iphone/main.mp4?v=2","description":"David Wojnarowicz's collaboration with the musician Ben Neill. \"ITSOFOMO\" is arguably the artist's most fully realized work with film -- bringing to the region has been something of a personal mission. Thursday, the Hammer Museum is hosting a screening of \"ITSOFOMO: In the Shadow of Forward Motion.\"<br/><br/> Most people don't know this work. Instead, they know \"A Fire in My Belly (A Work in Progress).\" A four-minute excerpt of footage archived under this title was exhibited in 2010 at the Smithsonian Museum, as part of \"Hide/Seek\", an exhibition exploring portraiture in gay and lesbian art history. A fundamentalist Catholic organization complained about an image of a crucifix covered in ants. Smithsonian officials removed it, igniting a storm of protest.<br/><br/> There is an inverse relationship between controversy and understanding. When an artwork becomes an art controversy, you can be sure that the one thing the public won't get is a real conversation about the work's difficulty. Its difficulty will be flattened out be people taking what they feel to be the right position on not the art, but the issue. The conversation becomes about what is right, and not what makes the work challenging, and vulnerable to attack. (This is the subject of my book \"Hold It Against Me: Difficulty and Emotion in Contemporary Art.\")<br/><br/> When the story of the censorship of \"A Fire in My Belly\" broke, people at the Fayles Library, which houses Wojnarowicz's papers, and PPOW, which manages his estate, made every version they knew of available. The curators of \"Hide/Seek\" published a guide to these versions, attempting to correct the strange effect of this censorship on public awareness of Wojnarowicz's work with film and video.<br/><br/> In all of that controversy, I don't recall seeing any meaningful discussion of how we should see \"A Fire in My Belly.\" We learned that it was not finished -- but we never learned why. The \"Hide/Seek\" guide to versions of the work in fact concludes with the disclaimer, \"We do not know why Wojnarowicz never completed 'A Fire in My Belly.'\"<br/><br/> Just about all of the footage that appears in the various versions of \"A Fire in My Belly\" appears in \"ITSOFOMO.\" Where \"Fire in My Belly\" is silent, \"ITSOFOMO\" is distinguished by a sonic landscape of music, noise and voice. \"ITSOFOMO\" incorporates a lot of the cinematic material from Wojnarowicz's archive -- including another never-completed film he was making in memory of Peter Hujar. I think \"A Fire in My Belly\" was never meant to be finished. That at some point, Wojnarowicz wanted his films to be part of something else, something more alive and dynamic than a movie.<br/><br/> In its original incarnation \"ITSOFOMO\" was a live performance. Wojnarowicz read his work alongside multi-channel projections of his film while Ben Neill performed an original score for his \"mutantrumpet,\" along with live percussion and computer controlled electronics. Their collaboration was a formal, poetic meditation on acceleration. It was a reading of the politics of time inspired Paul Virilio's observations arguments regarding speed, violence, capital and technology in \"Pure War.\"<br/><br/> Wojnarowicz worked on films with other artists -- Richard Kern, most notably. It is actually somewhat atypical that a film of his would be single-authored. \"ITSOFOMO\" is much more characteristic of his practice in that it is a full-on collaboration with another artist -- a musician. David Wojnarowicz cared a lot about how things sounded. You can hear this in recordings of his readings. They are performances. The power of his writing is focused and amplified by his distinctive voice. His voice is penetrating -- not in the way of a sharp whine, but in the way that water can penetrate a wall by soaking it. His voice is profound and seductive -- it saturates \"ITSOFOMO's\" viewer.<br/><br/> After Wojnarowicz and Neill toured the performance (they performed \"ITSOFOMO\" at the San Francisco Art Institute in 1990), Neill worked with his collaborator to fix a record of the event - producing an audio version of the performance. The screening at the Hammer synchronizes that recording to a four-channel projection of the artist's films (consolidated onto a single screen). As far as I know, this synchronization of \"ITSOFOMO's\" image and sound hasn't been done on the West coast since 1990.<br/><br/> In 2011, I showed a twenty-minute single-channel version of this work to students at UC Riverside. I was a little nervous: there are some glimpses of naked men -- photographs from porn magazines. The things Wojnarowicz describes are difficult. It is confrontational. \"ITSOFOMO\" is perhaps one of the most intense works of art produced during years that the AIDS crisis cut through the art world. I was asking a lot of my students.<br/><br/> But not one student complained -- not to me, not to the department, or the college. Far from it. Two years later, students still ask me about it. They want to know where they can see it. Something about Wojnarowicz's work translates the hardest parts of yourself into a form you can share, without compromising the difficulty those experiences and feelings. One student wrote \"that film we watched in class is probably one of the most powerful things I've ever seen/heard.\" Another emailed me after she talked about it with her friends and reduced them all to tears. They cried together. She asked me: Could she show it to her family? Another student wrote to me that say that he thought that \"art didn't do anything\" until he saw \"ITSOFOMO.\"<br/><br/>\"\"\"Fire in my Belly Film\" Still 1986-87, Super 8mm film transferred to DVD, black and white and color, silent -- 13:06 min and 7:00 min.<br/><br/> This is why the controversy about \"Fire in My Belly (a Work in Progress)\" has always bothered me. \"Fire in My Belly\" is just a bunch of notes, unfinished thoughts. It is raw material that was actually put to very effective use in other work. Wojnarowicz's impact on people is impossible to measure. His writing turns people out. \"ITSOFOMO\" drops you into the world of that writing as if it were baptismal water. It is a transformative work. It isn't right that when people think of Wojnarowicz's film, they think of something that really doesn't represent his work in the medium.<br/><br/>\"\"\"ITSOFOMO\" resonated with my students because it binds its audience together in a shared sense of exposure. His work had that capacity then, and it has that capacity now. Weirdly, it feels contemporary each time I see it. -- Jennifer Doyle<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/wojnarowicz.html\" rel=\"noopener\" target=\"_blank\">David Wojnarowicz in UbuWeb Sound</a></br>","artist_bio":"Where Evil Dwells\n(1985) with Tommy Turner,\nFrom The\nCinema of Transgression\nYou Killed Me First (excerpt)\ndirected by\nRichard Kern\n(1985)\nFear of Disclosure: Psycho-Social Implications of HIV Revelation\n(1989) with Phil Zwickler\nDavid Wojnarowicz (September 14, 1954 – July 22, 1992) was a painted, photographer, writer, filmmaker, performance artist, and activist who was prominent in the New York City art world of the 1980s.\nWojnarowicz was born in Red Bank, New Jersey in 1954. The product of an extremely difficult childhood brought on by an abusive family life and an emerging sense of his own homosexuality, Wojnarowicz dropped out of high school and was living on the streets by the age of sixteen. He turned to hustling in Times Square. After hitchhiking many times across the U.S. and living for several months in San Francisco and Paris, he settled in New York's East Village in 1978.\nMany of Wojnarowicz' works incorporate outsider experiences drawn from his personal history and from stories he heard from the people he met in bus stations and truck stops while hitchhiking. By the late 1970s he had, in his own words, \"started developing ideas of making and preserving an authentic version of history in the form of images/writings/objects that would contest state-supported forms of 'history.'\" In such diverse works as Sounds in the Distance (1982), a collection of monologues from \"people who lived and worked in the streets\" and The Weight of the Earth, Part I & II (1988), an arrangement of black-and-white photographs taken during his travels and life in New York, Wojnarowicz continually returned to the personal voices of individuals stigmatized by society.\nA member of the first wave of East Village artists, Wojnarowicz began showing his work during the early 1980s in such now-legendary spaces as Civilian Warfare, Club 57, Gracie Mansion, Fashion Moda, and the Limbo Lounge. He gained prominence through his inclusion in the 1985 Whitney Biennial, and was soon showing in numerous museum and gallery exhibitions throughout the United States, Europe and Latin America.\nIn the late 1980s, after he was diagnosed with AIDS, Wojnarowicz' art took on a sharply political edge, and soon he was entangled in highly public debates about medical research and funding, morality and censorship in the arts, and the legal rights of artists. Wojnarowicz challenged the nature of pubic arts funding at the National Endowment for the Arts, and initiated litigation against the American Family Association of Tupelo, Mississippi, an anti-pornography political action group that Wojnarowicz accused of misrepresenting his art and damaging his reputation. He won the lawsuit.\nWojnarowicz died of AIDS-related illness in New York City in 1992, at the age of 37. He is the author of five books. His artwork is in numerous private and public collections including the Museum of Modern Art, New York, and the Whitney Museum of American Art. The Estate of David Wojnarowicz represented by PPOW.","bio_dates":"1954-1992"},{"slug":"wojnarowicz_david_noalt","ok":true,"partial":false,"title":"NOALT (undated)","artist":"David Wojnarowicz","year":null,"startOffset":0,"sourceSecs":112.157,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":7875561,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_noalt/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_noalt/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wojnarowicz_david_noalt.m4v","hasFrames":true,"artist_bio":"Where Evil Dwells\n(1985) with Tommy Turner,\nFrom The\nCinema of Transgression\nYou Killed Me First (excerpt)\ndirected by\nRichard Kern\n(1985)\nFear of Disclosure: Psycho-Social Implications of HIV Revelation\n(1989) with Phil Zwickler\nDavid Wojnarowicz (September 14, 1954 – July 22, 1992) was a painted, photographer, writer, filmmaker, performance artist, and activist who was prominent in the New York City art world of the 1980s.\nWojnarowicz was born in Red Bank, New Jersey in 1954. The product of an extremely difficult childhood brought on by an abusive family life and an emerging sense of his own homosexuality, Wojnarowicz dropped out of high school and was living on the streets by the age of sixteen. He turned to hustling in Times Square. After hitchhiking many times across the U.S. and living for several months in San Francisco and Paris, he settled in New York's East Village in 1978.\nMany of Wojnarowicz' works incorporate outsider experiences drawn from his personal history and from stories he heard from the people he met in bus stations and truck stops while hitchhiking. By the late 1970s he had, in his own words, \"started developing ideas of making and preserving an authentic version of history in the form of images/writings/objects that would contest state-supported forms of 'history.'\" In such diverse works as Sounds in the Distance (1982), a collection of monologues from \"people who lived and worked in the streets\" and The Weight of the Earth, Part I & II (1988), an arrangement of black-and-white photographs taken during his travels and life in New York, Wojnarowicz continually returned to the personal voices of individuals stigmatized by society.\nA member of the first wave of East Village artists, Wojnarowicz began showing his work during the early 1980s in such now-legendary spaces as Civilian Warfare, Club 57, Gracie Mansion, Fashion Moda, and the Limbo Lounge. He gained prominence through his inclusion in the 1985 Whitney Biennial, and was soon showing in numerous museum and gallery exhibitions throughout the United States, Europe and Latin America.\nIn the late 1980s, after he was diagnosed with AIDS, Wojnarowicz' art took on a sharply political edge, and soon he was entangled in highly public debates about medical research and funding, morality and censorship in the arts, and the legal rights of artists. Wojnarowicz challenged the nature of pubic arts funding at the National Endowment for the Arts, and initiated litigation against the American Family Association of Tupelo, Mississippi, an anti-pornography political action group that Wojnarowicz accused of misrepresenting his art and damaging his reputation. He won the lawsuit.\nWojnarowicz died of AIDS-related illness in New York City in 1992, at the age of 37. He is the author of five books. His artwork is in numerous private and public collections including the Museum of Modern Art, New York, and the Whitney Museum of American Art. The Estate of David Wojnarowicz represented by PPOW.","bio_dates":"1954-1992"},{"slug":"wojnarowicz_david_stray_dogs_1985","ok":true,"partial":false,"title":"The Manhattan Love Suicides: Stray Dogs","artist":"David Wojnarowicz","year":"1985","startOffset":0,"sourceSecs":273.673,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":17895915,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_stray_dogs_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_stray_dogs_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wojnarowicz_david_stray_dogs_1985.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wojnarowicz_david_stray_dogs_1985/main.mp4?v=2","description":"Short film by <a href=\"https://ubu.com/film/kern.html\" rel=\"noopener\" target=\"_blank\">Richard Kern</a> realized in 1985 and starring Bill Rice (Artist), David Wojnarowicz (Fan), Robin Renzi (Woman), Montanna Houston (Bum). Music by J.G. Thirlwell.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/wojnarowicz.html\" rel=\"noopener\" target=\"_blank\">David Wojnarowicz in UbuWeb Sound</a></br>","artist_bio":"Where Evil Dwells\n(1985) with Tommy Turner,\nFrom The\nCinema of Transgression\nYou Killed Me First (excerpt)\ndirected by\nRichard Kern\n(1985)\nFear of Disclosure: Psycho-Social Implications of HIV Revelation\n(1989) with Phil Zwickler\nDavid Wojnarowicz (September 14, 1954 – July 22, 1992) was a painted, photographer, writer, filmmaker, performance artist, and activist who was prominent in the New York City art world of the 1980s.\nWojnarowicz was born in Red Bank, New Jersey in 1954. The product of an extremely difficult childhood brought on by an abusive family life and an emerging sense of his own homosexuality, Wojnarowicz dropped out of high school and was living on the streets by the age of sixteen. He turned to hustling in Times Square. After hitchhiking many times across the U.S. and living for several months in San Francisco and Paris, he settled in New York's East Village in 1978.\nMany of Wojnarowicz' works incorporate outsider experiences drawn from his personal history and from stories he heard from the people he met in bus stations and truck stops while hitchhiking. By the late 1970s he had, in his own words, \"started developing ideas of making and preserving an authentic version of history in the form of images/writings/objects that would contest state-supported forms of 'history.'\" In such diverse works as Sounds in the Distance (1982), a collection of monologues from \"people who lived and worked in the streets\" and The Weight of the Earth, Part I & II (1988), an arrangement of black-and-white photographs taken during his travels and life in New York, Wojnarowicz continually returned to the personal voices of individuals stigmatized by society.\nA member of the first wave of East Village artists, Wojnarowicz began showing his work during the early 1980s in such now-legendary spaces as Civilian Warfare, Club 57, Gracie Mansion, Fashion Moda, and the Limbo Lounge. He gained prominence through his inclusion in the 1985 Whitney Biennial, and was soon showing in numerous museum and gallery exhibitions throughout the United States, Europe and Latin America.\nIn the late 1980s, after he was diagnosed with AIDS, Wojnarowicz' art took on a sharply political edge, and soon he was entangled in highly public debates about medical research and funding, morality and censorship in the arts, and the legal rights of artists. Wojnarowicz challenged the nature of pubic arts funding at the National Endowment for the Arts, and initiated litigation against the American Family Association of Tupelo, Mississippi, an anti-pornography political action group that Wojnarowicz accused of misrepresenting his art and damaging his reputation. He won the lawsuit.\nWojnarowicz died of AIDS-related illness in New York City in 1992, at the age of 37. He is the author of five books. His artwork is in numerous private and public collections including the Museum of Modern Art, New York, and the Whitney Museum of American Art. The Estate of David Wojnarowicz represented by PPOW.","bio_dates":"1954-1992"},{"slug":"wojnarowicz_david_super_8_1988","ok":true,"partial":false,"title":"Super 8","artist":"David Wojnarowicz","year":"1988","startOffset":0,"sourceSecs":93.853,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":6681851,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_super_8_1988/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_super_8_1988/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wojnarowicz_david_super_8_1988.m4v","hasFrames":true,"description":"<b>RESOURCES:</b> <br/> <a href=\"https://ubu.com/sound/wojnarowicz.html\" rel=\"noopener\" target=\"_blank\">David Wojnarowicz in UbuWeb Sound</a>","artist_bio":"Where Evil Dwells\n(1985) with Tommy Turner,\nFrom The\nCinema of Transgression\nYou Killed Me First (excerpt)\ndirected by\nRichard Kern\n(1985)\nFear of Disclosure: Psycho-Social Implications of HIV Revelation\n(1989) with Phil Zwickler\nDavid Wojnarowicz (September 14, 1954 – July 22, 1992) was a painted, photographer, writer, filmmaker, performance artist, and activist who was prominent in the New York City art world of the 1980s.\nWojnarowicz was born in Red Bank, New Jersey in 1954. The product of an extremely difficult childhood brought on by an abusive family life and an emerging sense of his own homosexuality, Wojnarowicz dropped out of high school and was living on the streets by the age of sixteen. He turned to hustling in Times Square. After hitchhiking many times across the U.S. and living for several months in San Francisco and Paris, he settled in New York's East Village in 1978.\nMany of Wojnarowicz' works incorporate outsider experiences drawn from his personal history and from stories he heard from the people he met in bus stations and truck stops while hitchhiking. By the late 1970s he had, in his own words, \"started developing ideas of making and preserving an authentic version of history in the form of images/writings/objects that would contest state-supported forms of 'history.'\" In such diverse works as Sounds in the Distance (1982), a collection of monologues from \"people who lived and worked in the streets\" and The Weight of the Earth, Part I & II (1988), an arrangement of black-and-white photographs taken during his travels and life in New York, Wojnarowicz continually returned to the personal voices of individuals stigmatized by society.\nA member of the first wave of East Village artists, Wojnarowicz began showing his work during the early 1980s in such now-legendary spaces as Civilian Warfare, Club 57, Gracie Mansion, Fashion Moda, and the Limbo Lounge. He gained prominence through his inclusion in the 1985 Whitney Biennial, and was soon showing in numerous museum and gallery exhibitions throughout the United States, Europe and Latin America.\nIn the late 1980s, after he was diagnosed with AIDS, Wojnarowicz' art took on a sharply political edge, and soon he was entangled in highly public debates about medical research and funding, morality and censorship in the arts, and the legal rights of artists. Wojnarowicz challenged the nature of pubic arts funding at the National Endowment for the Arts, and initiated litigation against the American Family Association of Tupelo, Mississippi, an anti-pornography political action group that Wojnarowicz accused of misrepresenting his art and damaging his reputation. He won the lawsuit.\nWojnarowicz died of AIDS-related illness in New York City in 1992, at the age of 37. He is the author of five books. His artwork is in numerous private and public collections including the Museum of Modern Art, New York, and the Whitney Museum of American Art. The Estate of David Wojnarowicz represented by PPOW.","bio_dates":"1954-1992"},{"slug":"wojnarowicz_david_where_evil_dwells_1985","ok":true,"partial":false,"title":"Where Evil Dwells","artist":"David Wojnarowicz","year":"1985","startOffset":0,"sourceSecs":96.993,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":5447284,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_where_evil_dwells_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_where_evil_dwells_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wojnarowicz_david_where_evil_dwells_1985.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wojnarowicz_david_where_evil_dwells_1985/main.mp4?v=2","description":"THIS FILM WAS INSPIRED BY AN ACT OF VIOLENCE THAT SHOCKED THE AMERICAN NATION IN 1984: RICKY KASSO, LEADER OF A GANG OF \"SATAN TEENS\" IN NORTHPORT, LONG ISLAND, KILLED A FRIEND BY STABBING HIS HEAD AND NECK WITH A KNIFE 17 TIMES AND FORCING HIM TO SAY \"I LOVE SATAN\" DURING THE KILLING. TOMMY TURNER AND DAVID WOJNAROWICZ RESPONDED TO THE MEDIA FRENZY THAT CONDEMNED SATANISM AND REAVY-METAL BANDS AS THE NEW SUBURBAN THREAT TO SOCIETY BY BEING IN A MOVIE. HOWEVER, MOST OF THE MATERIAL WAS DESTROYED IN A FIRE IN TOMMY TURNER'S APARTMENT. ACCORDING TO THE FILM'S SUBHEADING, Where Evil Dwells IS A \"TRAILER\" COMPOSED OF THE 8MM TAPES THAT COULD BE SAVED. THE FILM'S CENTRAL CHARACTERS STARRING ALONGSIDE RICKY KASSO (TOMMY TURNER) ARE THE DEVIL CLAD IN A PRIEST'S VESTMENT (JOE COLEMAN), A HOWDY-DOODY VENTRILOQUIST DOLL, AND JESUS (ROCKETS REDGLARE). CONSEQUENTLY, THE LOCATIONS IN ADDITION TO THE SUBURBAN RESIDENTIAL ESTATE, HIGHWAY AND PARK ARE HEAVEN AND HELL. IN AN ABSTRUSE FASHION Where Evil Dwells TAKES US THROUGH THE A TO Z OF CULTURAL IMAGINARY AND CONFRONTS IT WITH THE PRESENT: MYTHOLOGICAL-CHRISTIAN AND MEDIA-BASED NARRATIVES, HIGH AND POPULAR CULTURE INTERFUSE. THE SEQUENCES ARE BACKED BY AN ECLECTIC SOUND COLLAGE: TRACKS BY ACIDC OR WISEBLOOD MELD WITH ORGAN SOUNDS, VOICE-OVER AUDIO TRACKS BLEND WITH MUSIC. Where Evil Dwells COUNTERACTS THE STRINGENT NARRATIVE OF THE NICE SUBURBAN KID, WHO WINDS UP WITH THE WRONG GROUP OF FRIENDS AND, ON BEING EXPOSED TO MUSIC THAT GLORIFIES VIOLENCE, CANNOT HELP BUT TURN INTO A KILLER, WITH REFERENTIAL, VISUAL AND ACOUSTIC OVERKILL."},{"slug":"wojnarowicz_david_you_killed_me_first_1985","ok":true,"partial":false,"title":"You Killed Me First, excerpt","artist":"David Wojnarowicz","year":"1985","startOffset":0,"sourceSecs":260.327,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":18517686,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_you_killed_me_first_1985/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_you_killed_me_first_1985/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wojnarowicz_david_you_killed_me_first_1985.m4v","hasFrames":true,"description":"<b>House of Self-Indulgence</b><br/> Source: http://is.gd/EYkNYM <br/><br/> Having just watched You Killed Me First from start to finish for the very first time, I would like to get into the mindset of Elizabeth (Lung Leg), or, I should say, \"Cassandra,\" the sullen teen at the centre of this Richard Kern-directed slice/slab/piece of so-called \"transgressive cinema.\" If you thought it was easy for me to identify with Cassandra, you would be wrong. Sure, I saw a lot of myself in Lung Leg's portrayal of alienated youth; hanging around my room all day listening to Wiseblood's \"Motorslug,\" destroying my clothes (i.e. making them \"cooler\"), and acting like a total brat at the dinner table. But I'm not that person anymore. What's shocking is, how much I identified with Karen Finley as Cassandra's mother. It's true, I mostly envied the fact that David Wojnarowicz (Cassandra's dad) got to plow into Karen Finley's vagina with his penis on a regular basis (whether that \"basis\" was semi-regular or not is still open to debate). Yet, part of me empathized with her motherly distress. <br/><br/> Will wonders never cease? I just remembered the reason I started off on that tangent about Thanksgiving: You Killed Me First begins and ends on Thanksgiving. Yeah, yeah, they don't actually mention the t-word, but it's clear, judging by the large turkey on the table, that it's Thanksgiving. Anyway, what we see in-between these dinner scenes is some of the best teen angst ever to be captured on film.<br/><br/> Speaking of teen angst, remember how sad you felt when you heard that My So-Called Life had been cancelled? No? Well, I do. And the acerbic tone Richard Kern strikes in this film is the direction I would have liked to have seen My So-Called Life take if Angela Chase and the gang had made it to season two. Come to think of it, My So-Called Life and You Killed Me First already have a lot in common. Just replace Claire Danes' flannel-heavy get-up with a torn Scrapping Foetus Off The Wheel t-shirt, and you're already two-thirds of the way there. <br/><br/> \"\"Lately, I can't even look at my mother without wanting to stab her repeatedly.\" ~ Angela Chase<br/><br/> Upon further inspection, it would seem that the Thanksgiving dinner from Hell that opens You Killed Me First is the same dinner that closes the film. How do I know this? Well, for one thing, all the actors are wearing the same clothes. And secondly, what occurs after Lung Leg's incoherent rant is an extended flashback sequence that tries to explain how we ended up in this sticky diaphragm of a situation.<br/><br/> Sitting down for turkey dinner on Thanksgiving, mom (Karen Finley) and dad (David Wojnarowicz) seem worried about their daughter Elizabeth (Lung Leg), who is constantly dropping her fork on the floor. On the other hand, their other daughter, Deborah (Jessica Craig-Martin) is a model of Ronald Reagan-approved docility. Asking her if she washed her hands, Elizabeth answers by saying, \"fuck no.\" I like this chick already. When the topic shifts to Elizabeth's boyfriend, her father starts throwing around words such as \"scum\" and \"slime.\" <br/><br/> Just as her mom is about to lose it (the lovely Karen Finley rocks when it comes to losing it at the dinner table), Lung Leg launches into this long tirade. Her piercing eyes filled anger, Lung Leg tells her parents how much she really hates them. As she's about to finish her diatribe, we go back to a, now, I don't want to say \"happier time,\" let's just say, a different time. Doing what most teenage girls did in 1985, Elizabeth plays with her puppets while listening to industrial music.<br/><br/> It's when Elizabeth introduces her shady-looking boyfriend to her parents that we learn that she wants to, from now on, to be called \"Cassandra.\"<br/><br/> You gotta love the scene where Karen Finley gives Lung Leg a haircut. Telling Elizabeth that she's giving her \"the wind swept look,\" the kind you see in \"Mademoiselle Magazine.\" She also calls it \"the new wave look,\" and compares it to the hairdo Liza Minnelli sported at the time. Of course, Elizabeth/Cassandra does not approve of this. Which, I have to admit, I didn't quite understand. I mean, who doesn't want to look like Liza Minnelli?!? <br/><br/> Things continue to go downhill when Karen Finley buys Lung Leg a sweater at the local shopping centre. As expected, Lung Leg is horrified by this shitty garment. But get this, Karen tells her that she bought the cheapest one because she knew that she would probably end up ripping it up and writing \"fucker anarchy\" all over it. Awesome, eh? I wouldn't have guessed it, but Karen Finley is a cool mom. <br/><br/> Now, normally this is where I would declare the hair cutting and sweater buying scenes to be my favourite parts of the movie. But I can't do that. Not when there's a scene in the film where Karen Finley wears black stockings while being fucked from behind.<br/><br/> After a series of scenes that involve praying (Karen Finley in a pink dress), mock gun play (foreshadowing, baby), dead bunny rabbits, puking puppets, and art criticism (Karen Finley in a red dress), we're back where we started, the dinner table. <br/><br/> Spoiler alert: Shouting, \"My name is Cassandra! You killed me first!\" Lung Leg shoots Karen Finley in the head. This may sound like hyperbole, but I'm declaring Karen Finley's death in You Killed Me First to be the best movie death in film history. Why? The way she screams (which is complimented by some subtle arterial spray), pauses for a second, then violently rocks back and forth a couple of times (she almost falls out of her chair), before finally expiring was inspirational; I get goosebumps and half-moist just thinking about it. Call me a sick twist, but I could watch Karen Finley's death scene in You Killed Me First over and over again.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/wojnarowicz.html\" rel=\"noopener\" target=\"_blank\">David Wojnarowicz in UbuWeb Sound</a></br>","artist_bio":"Where Evil Dwells\n(1985) with Tommy Turner,\nFrom The\nCinema of Transgression\nYou Killed Me First (excerpt)\ndirected by\nRichard Kern\n(1985)\nFear of Disclosure: Psycho-Social Implications of HIV Revelation\n(1989) with Phil Zwickler\nDavid Wojnarowicz (September 14, 1954 – July 22, 1992) was a painted, photographer, writer, filmmaker, performance artist, and activist who was prominent in the New York City art world of the 1980s.\nWojnarowicz was born in Red Bank, New Jersey in 1954. The product of an extremely difficult childhood brought on by an abusive family life and an emerging sense of his own homosexuality, Wojnarowicz dropped out of high school and was living on the streets by the age of sixteen. He turned to hustling in Times Square. After hitchhiking many times across the U.S. and living for several months in San Francisco and Paris, he settled in New York's East Village in 1978.\nMany of Wojnarowicz' works incorporate outsider experiences drawn from his personal history and from stories he heard from the people he met in bus stations and truck stops while hitchhiking. By the late 1970s he had, in his own words, \"started developing ideas of making and preserving an authentic version of history in the form of images/writings/objects that would contest state-supported forms of 'history.'\" In such diverse works as Sounds in the Distance (1982), a collection of monologues from \"people who lived and worked in the streets\" and The Weight of the Earth, Part I & II (1988), an arrangement of black-and-white photographs taken during his travels and life in New York, Wojnarowicz continually returned to the personal voices of individuals stigmatized by society.\nA member of the first wave of East Village artists, Wojnarowicz began showing his work during the early 1980s in such now-legendary spaces as Civilian Warfare, Club 57, Gracie Mansion, Fashion Moda, and the Limbo Lounge. He gained prominence through his inclusion in the 1985 Whitney Biennial, and was soon showing in numerous museum and gallery exhibitions throughout the United States, Europe and Latin America.\nIn the late 1980s, after he was diagnosed with AIDS, Wojnarowicz' art took on a sharply political edge, and soon he was entangled in highly public debates about medical research and funding, morality and censorship in the arts, and the legal rights of artists. Wojnarowicz challenged the nature of pubic arts funding at the National Endowment for the Arts, and initiated litigation against the American Family Association of Tupelo, Mississippi, an anti-pornography political action group that Wojnarowicz accused of misrepresenting his art and damaging his reputation. He won the lawsuit.\nWojnarowicz died of AIDS-related illness in New York City in 1992, at the age of 37. He is the author of five books. His artwork is in numerous private and public collections including the Museum of Modern Art, New York, and the Whitney Museum of American Art. The Estate of David Wojnarowicz represented by PPOW.","bio_dates":"1954-1992"},{"slug":"wojnarowicz_david_zwickler_phil_fear_of_disclosure_199","ok":true,"partial":false,"title":"Fear of Disclosure: Psycho-Social Implications of HIV Revelation (1989) with Phil Zwickler","artist":"David Wojnarowicz","year":"1989","startOffset":0,"sourceSecs":285.983,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":19700028,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_zwickler_phil_fear_of_disclosure_199/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wojnarowicz_david_zwickler_phil_fear_of_disclosure_199/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wojnarowicz_david_zwickler_phil_fear_of_disclosure_199.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wojnarowicz_david_zwickler_phil_fear_of_disclosure_199/main.mp4?v=2","description":"I first saw Fear of Disclosure in September 1989 when Phil showed up at opening night of what was then called the New York Lesbian & Gay Experimental Film Festival (now MIX NYC) with a copy. He and David Wojnarowicz had just finished it and he excitedly thrust it into my hands. We added it to one of the shows that year and officially showed it the next year after it had made the festival circuit. When I curated Fever in the Archive, a series of AIDS videos for the Guggenheim Museum in New York in December 2000, I felt it was absolutely crucial to include Fear of Disclosure.<br/><br/> People had been talking about the problems of maintaining a strong and vibrant sexuality during the AIDS crisis and the difficulties of relations between HIV-negative and HIV-positive men, but Fear of Disclosure was the first film to deal with those issues. And Phil did it in his typical fashion—confronting it head on and resolutely exposing his own vulnerabilities.<br/><br/> The image may be more David Wojnarowicz, but the spirit of the piece is pure Phil.<br/><br/> —Jim Hubbard<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/wojnarowicz.html\" rel=\"noopener\" target=\"_blank\">David Wojnarowicz in UbuWeb Sound</a></br>","artist_bio":"Where Evil Dwells\n(1985) with Tommy Turner,\nFrom The\nCinema of Transgression\nYou Killed Me First (excerpt)\ndirected by\nRichard Kern\n(1985)\nFear of Disclosure: Psycho-Social Implications of HIV Revelation\n(1989) with Phil Zwickler\nDavid Wojnarowicz (September 14, 1954 – July 22, 1992) was a painted, photographer, writer, filmmaker, performance artist, and activist who was prominent in the New York City art world of the 1980s.\nWojnarowicz was born in Red Bank, New Jersey in 1954. The product of an extremely difficult childhood brought on by an abusive family life and an emerging sense of his own homosexuality, Wojnarowicz dropped out of high school and was living on the streets by the age of sixteen. He turned to hustling in Times Square. After hitchhiking many times across the U.S. and living for several months in San Francisco and Paris, he settled in New York's East Village in 1978.\nMany of Wojnarowicz' works incorporate outsider experiences drawn from his personal history and from stories he heard from the people he met in bus stations and truck stops while hitchhiking. By the late 1970s he had, in his own words, \"started developing ideas of making and preserving an authentic version of history in the form of images/writings/objects that would contest state-supported forms of 'history.'\" In such diverse works as Sounds in the Distance (1982), a collection of monologues from \"people who lived and worked in the streets\" and The Weight of the Earth, Part I & II (1988), an arrangement of black-and-white photographs taken during his travels and life in New York, Wojnarowicz continually returned to the personal voices of individuals stigmatized by society.\nA member of the first wave of East Village artists, Wojnarowicz began showing his work during the early 1980s in such now-legendary spaces as Civilian Warfare, Club 57, Gracie Mansion, Fashion Moda, and the Limbo Lounge. He gained prominence through his inclusion in the 1985 Whitney Biennial, and was soon showing in numerous museum and gallery exhibitions throughout the United States, Europe and Latin America.\nIn the late 1980s, after he was diagnosed with AIDS, Wojnarowicz' art took on a sharply political edge, and soon he was entangled in highly public debates about medical research and funding, morality and censorship in the arts, and the legal rights of artists. Wojnarowicz challenged the nature of pubic arts funding at the National Endowment for the Arts, and initiated litigation against the American Family Association of Tupelo, Mississippi, an anti-pornography political action group that Wojnarowicz accused of misrepresenting his art and damaging his reputation. He won the lawsuit.\nWojnarowicz died of AIDS-related illness in New York City in 1992, at the age of 37. He is the author of five books. His artwork is in numerous private and public collections including the Museum of Modern Art, New York, and the Whitney Museum of American Art. The Estate of David Wojnarowicz represented by PPOW.","bio_dates":"1954-1992"},{"slug":"wolf_matt_i_remember_brainard_2012","ok":true,"partial":false,"title":"I Remember: A Film About Joe Brainard","artist":"Matt Wolf","year":"2012","startOffset":0,"sourceSecs":1474.517,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":87158898,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolf_matt_i_remember_brainard_2012/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolf_matt_i_remember_brainard_2012/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wolf_matt_i_remember_brainard_2012.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wolf_matt_i_remember_brainard_2012/main.mp4?v=2","description":"Modesty, whimsy, and clarity of design grace the work of Joe Brainard (1941-1994), an artist and writer whose evocations of memory and desire perhaps found their greatest expression in his memoir-poem I Remember. Composed of a sequence of brief recollections, the poem’s standardized format admits an incredible variety of images and feelings: \"I remember Greyhound buses at night...I remember candy cigarettes like chalk...I remember leaning up against walls in queer bars...” Brainard's many drawings, collages, assemblages, and paintings, as well as his short essays and verbal-visual collaborations were celebrated during his lifetime before he stopped making art in the mid-1980s.\n\nFilmmaker Matt Wolf returns to this iconic poem in his film I Remember: A Film About Joe Brainard. His archival montage combines audio recordings of Brainard reading from the poem, as well as an interview with his lifelong friend and collaborator, the poet Ron Padgett. The result is an inventive biography of Joe Brainard, and an elliptical dialog about friendship, nostalgia, and the strange wonders of memory. I Remember was commissioned by Bard College Center for Curatorial Studies and screened at the Rotterdam International Film Festival, BAM Cinemafest, The Kitchen, MoMA PS1, ICA London, and other festivals and museums.","artist_bio":"I Remember: A Film About Joe Brainard (2012)\ndir. Matt Wolf\nMatt Wolf is a filmmaker in New York. His critically acclaimed and award-winning Born in Salem, Arkansas and raised in Tulsa, artist, poet, and theater set designer Joe Brainard moved to New York City at age 19. There, he joined the community of New York School poets and painters who would later become his artistic collaborators, including Frank O’Hara, Ted Berrigan, John Ashbery, and Ron Padgett. One of Brainard’s most frequent collaborators was his longtime partner, the writer Kenward Elmslie.\nBrainard’s visual art, which ranges from painting to collage to drawing, is often situated in the ephemeral; he engaged popular culture with wit as well as a classical attention to light. His work has been shown at the Museum of Modern Art, the Whitney Museum, and the Corcoran Gallery of Art. Brainard published more than a dozen books, including the lyrical prose-poem memoir series I Remember (1975) and The Nancy Book (2008), which contains 15 years’ worth of his artworks and collaborations incorporating Ernie Bushmiller’s classic comic strip character, Nancy. In a review of The Nancy Book, the New Yorker observed, “Brash but never bratty, fanciful without descending into preciousness, Brainard demonstrates a visual perfect-pitch equivalent to that of his miniaturist memoir-poem ‘I Remember.’”","bio_dates":"b. 1982"},{"slug":"wolfson_jordan_basics_2008_iphone","ok":true,"partial":false,"title":"Basics","artist":"Jordan Wolfson","year":"2008","startOffset":0,"sourceSecs":646.013,"sourceHeight":268,"sourceWidth":480,"hasAudio":false,"hasAmbientMp4":true,"bytes":33770756,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolfson_jordan_basics_2008_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolfson_jordan_basics_2008_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wolfson_jordan_basics_2008_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wolfson_jordan_basics_2008_iphone/main.mp4?v=2","description":"Two channel video<br/> Channel one 8:43<br/> Channel two 13:53<br/> <br/> A two channel video.<br/> <br/> Two channel. Channel one shows a mime alone in an empty photo-studio hysterically pretending to take a photograph while an audio track taken from YouTube of a young man's absurd diatribe on Islamic religion is appropriated. Channel two shows a recorded computer screenshot of a document being typed on the subject of essential kitchen appliances and communal cooking advice.","artist_bio":"I'm sorry but I don't want to be an Emperor--that's not my business--I don't want to rule or conquer anyone. I should like to help everyone if possible, Jew, gentile, black man, white. We all want to help one another, human beings are like that. We all want to live by each other's happiness, not by each other's misery. We don't want to hate and despise one another. In this world there is room for everyone and the earth is rich and can provide for everyone. The way of life can be free and beautiful. But we have lost the way. Greed has poisoned men's souls--has barricaded the world with hate; has goose-stepped us into misery and bloodshed. We have developed speed but we have shut ourselves in: machinery that gives abundance has left us in want. Our knowledge has made us cynical, our cleverness hard and unkind. We think too much and feel too little: More than machinery we need humanity; More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost. The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men, cries out for universal brotherhood for the unity of us all. Even now my voice is reaching millions throughout the world, millions of despairing men, women and little children, victims of a system that makes men torture and imprison innocent people. To those who can hear me I say \"Do not despair.\" The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress: the hate of men will pass and dictators die and the power they took from the people will return to the people, and so long as men die [now] liberty will never perish... Soldiers--don't give yourselves to brutes, men who despise you and enslave you--who regiment your lives, tell you what to do, what to think and what to feel, who drill you, diet you, treat you as cattle, as cannon fodder. Don't give yourselves to these unnatural men, machine men, with machine minds and machine hearts. You are not machines. You are not cattle. You are men. You have the love of humanity in your hearts. You don't hate--only the unloved hate. Only the unloved and the unnatural. Soldiers--don't fight for slavery, fight for liberty. In the seventeenth chapter of Saint Luke it is written \"the kingdom of God is within man\"--not one man, nor a group of men--but in all men--in you, the people. You the people have the power, the power to create machines, the power to create happiness. You the people have the power to make life free and beautiful, to make this life a wonderful adventure. Then in the name of democracy let's use that power--let us all unite. Let us fight for a new world, a decent world that will give men a chance to work, that will give you the future and old age and security. By the promise of these things, brutes have risen to power, but they lie. They do not fulfill their promise, they never will. Dictators free themselves but they enslave the people. Now let us fight to fulfill that promise. Let us fight to free the world, to do away with national barriers, do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men's happiness. Soldiers--in the name of democracy, let us all unite! Look up! Look up! The clouds are lifting--the sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world. A kind new world where men will rise above their hate and brutality. The soul of man has been given wings--and at last he is beginning to fly. He is flying into the rainbow--into the light of hope--into the future, that glorious future that belongs to you, to me and to all of us. Look up. Look up. (2005)\nMixing and combining opposites, playing with analogies and ambiguity Jordan Wolfson creates a distorted mix of reality, imagination and cultural critique. He investigates the relationships of technology and media merged with his own personal experience, poetically balanced somewhere between pop and conceptual art.\nBorn in New York City in 1980, Jordan Wolfson recieved his B.F.A. from the Rhode Island School of Design in 2003. Since then Wolfson has divided his time between Berlin and New York. His work has been shown in several institutions: Kunsthalle Zürich (solo, 2004), Serpentine Gallery, London (2006), Moscow Biennial (2007), Tate Modern, London (2007), Swiss Institute Contemporary Art, New York (solo, 2008), Torino Triennale, Turin (2008), CCA Wattis Institute, San Francisco (solo 2009), Contemporary Art Gallery, Vancouver (2010), Centre Pompediu (2010). In 2009 Wolfson won the Cartier Award.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Jordan Wolfson.","bio_dates":"b. 1980"},{"slug":"wolfson_jordan_chaplin_2005","ok":true,"partial":false,"title":"Chaplin (2006)","artist":"Jordan Wolfson","year":"2005","startOffset":0.334,"sourceSecs":109.611,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":6552037,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolfson_jordan_chaplin_2005/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolfson_jordan_chaplin_2005/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wolfson_jordan_chaplin_2005.mp4","hasFrames":true,"description":"16-mm, black/white, no sound<br/> 1 min 11<br/> <br/> The work is composed of Charlie Chaplin's idealistic speech from \"The Great Dictator\" (1940) combined with the aesthetics of Jorgen Leth's nihilistic experimental film \"The Perfect Human\" (1967). Chaplin's speech serves as the overly long title intending to disrupt whatever graphical systems it is inserted into, i.e. publications, data bases, archives, and etc.","artist_bio":"I'm sorry but I don't want to be an Emperor--that's not my business--I don't want to rule or conquer anyone. I should like to help everyone if possible, Jew, gentile, black man, white. We all want to help one another, human beings are like that. We all want to live by each other's happiness, not by each other's misery. We don't want to hate and despise one another. In this world there is room for everyone and the earth is rich and can provide for everyone. The way of life can be free and beautiful. But we have lost the way. Greed has poisoned men's souls--has barricaded the world with hate; has goose-stepped us into misery and bloodshed. We have developed speed but we have shut ourselves in: machinery that gives abundance has left us in want. Our knowledge has made us cynical, our cleverness hard and unkind. We think too much and feel too little: More than machinery we need humanity; More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost. The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men, cries out for universal brotherhood for the unity of us all. Even now my voice is reaching millions throughout the world, millions of despairing men, women and little children, victims of a system that makes men torture and imprison innocent people. To those who can hear me I say \"Do not despair.\" The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress: the hate of men will pass and dictators die and the power they took from the people will return to the people, and so long as men die [now] liberty will never perish... Soldiers--don't give yourselves to brutes, men who despise you and enslave you--who regiment your lives, tell you what to do, what to think and what to feel, who drill you, diet you, treat you as cattle, as cannon fodder. Don't give yourselves to these unnatural men, machine men, with machine minds and machine hearts. You are not machines. You are not cattle. You are men. You have the love of humanity in your hearts. You don't hate--only the unloved hate. Only the unloved and the unnatural. Soldiers--don't fight for slavery, fight for liberty. In the seventeenth chapter of Saint Luke it is written \"the kingdom of God is within man\"--not one man, nor a group of men--but in all men--in you, the people. You the people have the power, the power to create machines, the power to create happiness. You the people have the power to make life free and beautiful, to make this life a wonderful adventure. Then in the name of democracy let's use that power--let us all unite. Let us fight for a new world, a decent world that will give men a chance to work, that will give you the future and old age and security. By the promise of these things, brutes have risen to power, but they lie. They do not fulfill their promise, they never will. Dictators free themselves but they enslave the people. Now let us fight to fulfill that promise. Let us fight to free the world, to do away with national barriers, do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men's happiness. Soldiers--in the name of democracy, let us all unite! Look up! Look up! The clouds are lifting--the sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world. A kind new world where men will rise above their hate and brutality. The soul of man has been given wings--and at last he is beginning to fly. He is flying into the rainbow--into the light of hope--into the future, that glorious future that belongs to you, to me and to all of us. Look up. Look up. (2005)\nMixing and combining opposites, playing with analogies and ambiguity Jordan Wolfson creates a distorted mix of reality, imagination and cultural critique. He investigates the relationships of technology and media merged with his own personal experience, poetically balanced somewhere between pop and conceptual art.\nBorn in New York City in 1980, Jordan Wolfson recieved his B.F.A. from the Rhode Island School of Design in 2003. Since then Wolfson has divided his time between Berlin and New York. His work has been shown in several institutions: Kunsthalle Zürich (solo, 2004), Serpentine Gallery, London (2006), Moscow Biennial (2007), Tate Modern, London (2007), Swiss Institute Contemporary Art, New York (solo, 2008), Torino Triennale, Turin (2008), CCA Wattis Institute, San Francisco (solo 2009), Contemporary Art Gallery, Vancouver (2010), Centre Pompediu (2010). In 2009 Wolfson won the Cartier Award.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Jordan Wolfson.","bio_dates":"b. 1980"},{"slug":"wolfson_jordan_infinite_melancholy_2003","ok":true,"partial":false,"title":"Infinite Melancholy","artist":"Jordan Wolfson","year":"2003","startOffset":0,"sourceSecs":477.611,"sourceHeight":238,"sourceWidth":358,"hasAudio":true,"hasAmbientMp4":true,"bytes":33131111,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolfson_jordan_infinite_melancholy_2003/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolfson_jordan_infinite_melancholy_2003/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wolfson_jordan_infinite_melancholy_2003.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wolfson_jordan_infinite_melancholy_2003/main.mp4?v=2","description":"colour video on DVD with sound<br/> 4 min loop<br/> <br/> Jordan Wolfson's Infinite Melancholy (2003) tempts similar home-baked philosophy. Projected at wall-filling size in a room of its own at the rear of the Kunsthalle's concurrent John Armleder exhibition, Wolfson's video first made its presence felt through its audio track, which suggested that, on opening the door, a local pupil would be seen diligently practising a piano. The aspiring pianist would have been making wobbly progress through the dainty phrases of Rogers and Hammerstein's 'Getting to Know You', from The King and I (1951). Instead, the accompanying vision was of moving at speed over a receding white planar surface defined by rows and rows of identical black letters that spelt out, again and again, 'CHRISTOPHER REEVE'. Immersed in this screen throughout the four-minute computer-generated animation, one would be flying dangerously low, skimming the second 'H', then wrenched upwards above a teeming fabric of now too distant, microfiche-like names. At moments the words flashed past at such a disconcertingly stroboscopic rate that the illusion of moving forward flipped into a sensation of being dragged backwards, as if on a swooping white-knuckle ride. <br/><br/> Is the struggling pianist (playing a musical number about encountering new experiences in a foreign land, no less) not the paralysed Reeve post-1995 riding accident, doggedly devoted to physical rehabilitation? Does the super-heroic flight over a horizonless plane not conjure up a shorthand for a mental journey, an escape to an alternative reality, whether a matrix or a dream? And are ecstatic lessons on the transcendence of mind, defiance in the face of adversity or the 'real' Superman ('Christopher Reeve IS Superman!') really what emerge as we speed over the relentlessly repeated name of the late 'inspirational' celebrity wheelchair-user? Wolfson's brilliant, misleadingly simple-looking animation pays homage to the traditions of melodrama and memorial portraiture with a flatly respectful tone, yet nevertheless emits a kind of exhilarating, ironic brinkmanship. Infinite Melancholy is loaded with such cornball interpretative possibilities and such a deliciously portentous title that surely it should slide into bathos. Yet with each lullaby-like loop of the animation the frisson of a taboo on sentimentality or alternatively of pejorative cynicism becomes more and more mellowed, and the mesmerizing flight turns into something strangely comforting. <br/><br/> -Max Andrews, Frieze Magazine, issue 91, May 2005","artist_bio":"I'm sorry but I don't want to be an Emperor--that's not my business--I don't want to rule or conquer anyone. I should like to help everyone if possible, Jew, gentile, black man, white. We all want to help one another, human beings are like that. We all want to live by each other's happiness, not by each other's misery. We don't want to hate and despise one another. In this world there is room for everyone and the earth is rich and can provide for everyone. The way of life can be free and beautiful. But we have lost the way. Greed has poisoned men's souls--has barricaded the world with hate; has goose-stepped us into misery and bloodshed. We have developed speed but we have shut ourselves in: machinery that gives abundance has left us in want. Our knowledge has made us cynical, our cleverness hard and unkind. We think too much and feel too little: More than machinery we need humanity; More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost. The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men, cries out for universal brotherhood for the unity of us all. Even now my voice is reaching millions throughout the world, millions of despairing men, women and little children, victims of a system that makes men torture and imprison innocent people. To those who can hear me I say \"Do not despair.\" The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress: the hate of men will pass and dictators die and the power they took from the people will return to the people, and so long as men die [now] liberty will never perish... Soldiers--don't give yourselves to brutes, men who despise you and enslave you--who regiment your lives, tell you what to do, what to think and what to feel, who drill you, diet you, treat you as cattle, as cannon fodder. Don't give yourselves to these unnatural men, machine men, with machine minds and machine hearts. You are not machines. You are not cattle. You are men. You have the love of humanity in your hearts. You don't hate--only the unloved hate. Only the unloved and the unnatural. Soldiers--don't fight for slavery, fight for liberty. In the seventeenth chapter of Saint Luke it is written \"the kingdom of God is within man\"--not one man, nor a group of men--but in all men--in you, the people. You the people have the power, the power to create machines, the power to create happiness. You the people have the power to make life free and beautiful, to make this life a wonderful adventure. Then in the name of democracy let's use that power--let us all unite. Let us fight for a new world, a decent world that will give men a chance to work, that will give you the future and old age and security. By the promise of these things, brutes have risen to power, but they lie. They do not fulfill their promise, they never will. Dictators free themselves but they enslave the people. Now let us fight to fulfill that promise. Let us fight to free the world, to do away with national barriers, do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men's happiness. Soldiers--in the name of democracy, let us all unite! Look up! Look up! The clouds are lifting--the sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world. A kind new world where men will rise above their hate and brutality. The soul of man has been given wings--and at last he is beginning to fly. He is flying into the rainbow--into the light of hope--into the future, that glorious future that belongs to you, to me and to all of us. Look up. Look up. (2005)\nMixing and combining opposites, playing with analogies and ambiguity Jordan Wolfson creates a distorted mix of reality, imagination and cultural critique. He investigates the relationships of technology and media merged with his own personal experience, poetically balanced somewhere between pop and conceptual art.\nBorn in New York City in 1980, Jordan Wolfson recieved his B.F.A. from the Rhode Island School of Design in 2003. Since then Wolfson has divided his time between Berlin and New York. His work has been shown in several institutions: Kunsthalle Zürich (solo, 2004), Serpentine Gallery, London (2006), Moscow Biennial (2007), Tate Modern, London (2007), Swiss Institute Contemporary Art, New York (solo, 2008), Torino Triennale, Turin (2008), CCA Wattis Institute, San Francisco (solo 2009), Contemporary Art Gallery, Vancouver (2010), Centre Pompediu (2010). In 2009 Wolfson won the Cartier Award.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Jordan Wolfson.","bio_dates":"b. 1980"},{"slug":"wolfson_jordan_the_crisis_2004","ok":true,"partial":false,"title":"The Crisis","artist":"Jordan Wolfson","year":"2004","startOffset":0,"sourceSecs":157.526,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":17808301,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolfson_jordan_the_crisis_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolfson_jordan_the_crisis_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wolfson_jordan_the_crisis_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wolfson_jordan_the_crisis_2004/main.mp4?v=2","description":"2:37 video <br/> A two channel video.<br/> <br/> A hand held video of the artist in an ancient Roman cathedral discussing what are in his opinion the greatest works of art and his desire to find in himself the power to make them. The work is both a satire and testimonial of what an artist wishes or desires in relationship to universal themes such as mortality, purpose, intention, and authenticity.","artist_bio":"I'm sorry but I don't want to be an Emperor--that's not my business--I don't want to rule or conquer anyone. I should like to help everyone if possible, Jew, gentile, black man, white. We all want to help one another, human beings are like that. We all want to live by each other's happiness, not by each other's misery. We don't want to hate and despise one another. In this world there is room for everyone and the earth is rich and can provide for everyone. The way of life can be free and beautiful. But we have lost the way. Greed has poisoned men's souls--has barricaded the world with hate; has goose-stepped us into misery and bloodshed. We have developed speed but we have shut ourselves in: machinery that gives abundance has left us in want. Our knowledge has made us cynical, our cleverness hard and unkind. We think too much and feel too little: More than machinery we need humanity; More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost. The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men, cries out for universal brotherhood for the unity of us all. Even now my voice is reaching millions throughout the world, millions of despairing men, women and little children, victims of a system that makes men torture and imprison innocent people. To those who can hear me I say \"Do not despair.\" The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress: the hate of men will pass and dictators die and the power they took from the people will return to the people, and so long as men die [now] liberty will never perish... Soldiers--don't give yourselves to brutes, men who despise you and enslave you--who regiment your lives, tell you what to do, what to think and what to feel, who drill you, diet you, treat you as cattle, as cannon fodder. Don't give yourselves to these unnatural men, machine men, with machine minds and machine hearts. You are not machines. You are not cattle. You are men. You have the love of humanity in your hearts. You don't hate--only the unloved hate. Only the unloved and the unnatural. Soldiers--don't fight for slavery, fight for liberty. In the seventeenth chapter of Saint Luke it is written \"the kingdom of God is within man\"--not one man, nor a group of men--but in all men--in you, the people. You the people have the power, the power to create machines, the power to create happiness. You the people have the power to make life free and beautiful, to make this life a wonderful adventure. Then in the name of democracy let's use that power--let us all unite. Let us fight for a new world, a decent world that will give men a chance to work, that will give you the future and old age and security. By the promise of these things, brutes have risen to power, but they lie. They do not fulfill their promise, they never will. Dictators free themselves but they enslave the people. Now let us fight to fulfill that promise. Let us fight to free the world, to do away with national barriers, do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men's happiness. Soldiers--in the name of democracy, let us all unite! Look up! Look up! The clouds are lifting--the sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world. A kind new world where men will rise above their hate and brutality. The soul of man has been given wings--and at last he is beginning to fly. He is flying into the rainbow--into the light of hope--into the future, that glorious future that belongs to you, to me and to all of us. Look up. Look up. (2005)\nMixing and combining opposites, playing with analogies and ambiguity Jordan Wolfson creates a distorted mix of reality, imagination and cultural critique. He investigates the relationships of technology and media merged with his own personal experience, poetically balanced somewhere between pop and conceptual art.\nBorn in New York City in 1980, Jordan Wolfson recieved his B.F.A. from the Rhode Island School of Design in 2003. Since then Wolfson has divided his time between Berlin and New York. His work has been shown in several institutions: Kunsthalle Zürich (solo, 2004), Serpentine Gallery, London (2006), Moscow Biennial (2007), Tate Modern, London (2007), Swiss Institute Contemporary Art, New York (solo, 2008), Torino Triennale, Turin (2008), CCA Wattis Institute, San Francisco (solo 2009), Contemporary Art Gallery, Vancouver (2010), Centre Pompediu (2010). In 2009 Wolfson won the Cartier Award.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Jordan Wolfson.","bio_dates":"b. 1980"},{"slug":"wolfson_jordan_unititled_2007","ok":true,"partial":false,"title":"Untitled","artist":"Jordan Wolfson","year":"2007","startOffset":0,"sourceSecs":156.971,"sourceHeight":240,"sourceWidth":360,"hasAudio":true,"hasAmbientMp4":true,"bytes":11264903,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolfson_jordan_unititled_2007/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wolfson_jordan_unititled_2007/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wolfson_jordan_unititled_2007.mp4","hasFrames":true,"description":"colour video with sound<br/> 2:36 min<br/> <br/> The prologue from the documentary film, <a href=\"https://ubu.com/film/deantonio_painters.html\" rel=\"noopener\" target=\"_blank\">Painters Painting, The New York Art Scene 1940-1970</a>, directed by Emile de Antonio 1972, combined with Wolfson's own footage, that begins with a shot of the sky that pans down through the trees landing directly onto the screen of a Macintosh Classic Computer. As the camera slowly zooms out it is revealed that the computer is sitting on the edge of a busy highway.","artist_bio":"I'm sorry but I don't want to be an Emperor--that's not my business--I don't want to rule or conquer anyone. I should like to help everyone if possible, Jew, gentile, black man, white. We all want to help one another, human beings are like that. We all want to live by each other's happiness, not by each other's misery. We don't want to hate and despise one another. In this world there is room for everyone and the earth is rich and can provide for everyone. The way of life can be free and beautiful. But we have lost the way. Greed has poisoned men's souls--has barricaded the world with hate; has goose-stepped us into misery and bloodshed. We have developed speed but we have shut ourselves in: machinery that gives abundance has left us in want. Our knowledge has made us cynical, our cleverness hard and unkind. We think too much and feel too little: More than machinery we need humanity; More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost. The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men, cries out for universal brotherhood for the unity of us all. Even now my voice is reaching millions throughout the world, millions of despairing men, women and little children, victims of a system that makes men torture and imprison innocent people. To those who can hear me I say \"Do not despair.\" The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress: the hate of men will pass and dictators die and the power they took from the people will return to the people, and so long as men die [now] liberty will never perish... Soldiers--don't give yourselves to brutes, men who despise you and enslave you--who regiment your lives, tell you what to do, what to think and what to feel, who drill you, diet you, treat you as cattle, as cannon fodder. Don't give yourselves to these unnatural men, machine men, with machine minds and machine hearts. You are not machines. You are not cattle. You are men. You have the love of humanity in your hearts. You don't hate--only the unloved hate. Only the unloved and the unnatural. Soldiers--don't fight for slavery, fight for liberty. In the seventeenth chapter of Saint Luke it is written \"the kingdom of God is within man\"--not one man, nor a group of men--but in all men--in you, the people. You the people have the power, the power to create machines, the power to create happiness. You the people have the power to make life free and beautiful, to make this life a wonderful adventure. Then in the name of democracy let's use that power--let us all unite. Let us fight for a new world, a decent world that will give men a chance to work, that will give you the future and old age and security. By the promise of these things, brutes have risen to power, but they lie. They do not fulfill their promise, they never will. Dictators free themselves but they enslave the people. Now let us fight to fulfill that promise. Let us fight to free the world, to do away with national barriers, do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men's happiness. Soldiers--in the name of democracy, let us all unite! Look up! Look up! The clouds are lifting--the sun is breaking through. We are coming out of the darkness into the light. We are coming into a new world. A kind new world where men will rise above their hate and brutality. The soul of man has been given wings--and at last he is beginning to fly. He is flying into the rainbow--into the light of hope--into the future, that glorious future that belongs to you, to me and to all of us. Look up. Look up. (2005)\nMixing and combining opposites, playing with analogies and ambiguity Jordan Wolfson creates a distorted mix of reality, imagination and cultural critique. He investigates the relationships of technology and media merged with his own personal experience, poetically balanced somewhere between pop and conceptual art.\nBorn in New York City in 1980, Jordan Wolfson recieved his B.F.A. from the Rhode Island School of Design in 2003. Since then Wolfson has divided his time between Berlin and New York. His work has been shown in several institutions: Kunsthalle Zürich (solo, 2004), Serpentine Gallery, London (2006), Moscow Biennial (2007), Tate Modern, London (2007), Swiss Institute Contemporary Art, New York (solo, 2008), Torino Triennale, Turin (2008), CCA Wattis Institute, San Francisco (solo 2009), Contemporary Art Gallery, Vancouver (2010), Centre Pompediu (2010). In 2009 Wolfson won the Cartier Award.\nThese videos are being made available for noncommercial and educational use only. All rights to this recorded material belong to Jordan Wolfson.","bio_dates":"b. 1980"},{"slug":"wooster_group_rhyme_em_to_death","ok":true,"partial":false,"title":"Rhyme 'Em To Death","artist":"The Wooster Group","year":"1993","startOffset":0,"sourceSecs":631.104,"sourceHeight":544,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":108910797,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wooster_group_rhyme_em_to_death/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/wooster_group_rhyme_em_to_death/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/wooster_group_rhyme_em_to_death.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/wooster_group_rhyme_em_to_death/main.mp4?v=2","description":"1993, 10:33 min, b&w, sound <br/><br/> Rhyme 'Em To Death reconstructs the trial from Victor Hugo's Hunchback of Notre Dame from a new perspective, that of a minor character - the goat. The trial of the goat, a postscript in the Hugo novel, has been extended and enlivened with actual transcripts of 15th-century trials in which animals were persecuted as witches. Video effects alter the 16mm black and white film images, as if the remnants of a lost film had been discovered and pieced together by a video freak who attempted to faithfully reconstruct a lost art - the aural world of the goat, the distorted rantings of the court room, and blurred sound effects combined with a musical score drive the narrative to its tragic conclusion. <br/><br/> Performed by the Wooster Group. Director: Elizabeth LeCompte. Cinematography: Leslie Thornton. Editor: Christopher Kondek. Screenplay: Kate Valk, Marianne Weems.","artist_bio":"The Wooster Group is a New York City-based experimental theater company known for creating numerous original dramatic works. It gradually emerged during 1975-1980 from Richard Schechner's The Performance Group (1967-1980) and took its name in 1980 (the 1975-1980 independent productions being retroactively attributed to the Group). The ensemble is since directed by Elizabeth LeCompte and has launched the careers of many actors, including founding member Willem Dafoe. The Group's home is the Performing Garage in SoHo.","bio_dates":"1987"},{"slug":"xenakis_iannis_kassovitz_peter_vasarely_1960","ok":true,"partial":false,"title":"NEG-ALE","artist":"Iannis Xenakis","year":"1960","startOffset":0,"sourceSecs":503.339,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":78345990,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/xenakis_iannis_kassovitz_peter_vasarely_1960/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/xenakis_iannis_kassovitz_peter_vasarely_1960/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/xenakis_iannis_kassovitz_peter_vasarely_1960.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/xenakis_iannis_kassovitz_peter_vasarely_1960/main.mp4?v=2","description":"In 1960, Xenakis composed the music NEG-ALE for P. Kassovitz's \"Vasarely\", an abstract film on the artwork of Op-Art master Victor Vasarely.","artist_bio":"Polytope (Mycenes Alpha) - Hybrid Cinema (1978)\nDirected by Fotis Psichramis\nIannis Xenakis (May 29, 1922 – February 4, 2001) was a Greek composer, music theorist and architect. He is commonly recognized as one of the most important post-war avant-garde composers. Xenakis pioneered the use of mathematical models such as applications of set theory, varied use of stochastic processes, game theory, etc., in music, and was also an important influence on the development of electronic music.\nAmong his most important works are Metastaseis (1953–4) for orchestra, which introduced independent parts for every musician of the orchestra; percussion works such as Psappha (1975) and Pléïades (1979); compositions that introduced spatialization by dispersing musicians among the audience, such as Terretektorh (1966); electronic works created using Xenakis's UPIC system; and the massive multimedia performances Xenakis called polytopes. Among the numerous theoretical writings he authored, the book Formalized Music: Thought and Mathematics in Composition (1971) is regarded as one of his most important. As an architect, Xenakis is primarily known for his early work under Le Corbusier: the Sainte Marie de La Tourette, on which the two architects collaborated, and the Philips Pavilion at Expo 58, which Xenakis designed alone.","bio_dates":"1922 - 2001"},{"slug":"yalda_afsah_tourneur_master","ok":true,"partial":false,"title":"Tourneur","artist":"Yalda Afsah","year":"2018","startOffset":0,"sourceSecs":855.936,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":343611843,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/yalda_afsah_tourneur_master/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/yalda_afsah_tourneur_master/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/yalda_afsah_tourneur_master.mkv","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/yalda_afsah_tourneur_master/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/yalda_afsah_tourneur_master/main/master.m3u8?v=2","hasMainHls":true,"description":"A bullfight in the South of France. White foam is flowing into the arena, blurring the view of animals and humans. Tourneur shows young men in the ring with a bull – their gestures are between archaic subjugation and modern dance. Image and sound, foreground and background, on-screen and off-screen combined in a highly artificial and surreal way. Up to the moment when the bull suddenly breaks through the presentation.<br/><br/> In her latest series Yalda Afsah explores the relationship between humans and animals, probing the boundary between care and subjugation and the dominance exercised by humans. Her works resemble choreographies, but the films themselves start from real facts. “Tourneur” is an abstract study about the archaic tradition of bullfighting in France. The film shows young men circling and taunting a bull that appears in the frame. The footage, made up of momentary sequences, removes the event from its cultural and geographic context, transposing it into an abstract cinematic space. Afsah’s sound track and the use of music highlight the physicality of the humans and the bull.<br/><br/> Artist and filmmaker Yalda  Afsah  (b. 1983, DE/IR) explores how space can be cinematically constructed and the documentary character of her works often veers towards forms of theatricality. This formal characteristic of  Afsah’s practice is conceptually mirrored in her documentary portraits of human-animal relationships that reveal an ambivalence between care and control, physical strength and broken will, instinct and manipulation. Afsah  seeks to question and to dissolve these dichotomies, while carving out a space to reflect on the possibility of an overarching empathy between species.<br/><br/> Focusing on different encounters between human and animal, Yalda Afsah’s practice continuously explores the possibilities for cinematically constructing filmic space. At the same time, the documentary character of her films fluidly transitions into forms of theatricality. Tourneur (2018) and Vidourle (2019) both document a kind of bullfight practiced in the South of France. Each of these films capture a strange choreography on screen, which could respectively be described as a ritual, a spectacle, a game or a fight – performative acts translated into filmic abstractions.<br/><br/> While the bullfight is a meeting marked by unpredictability, the animals’ movements in dressage are controlled down to the finest detail and seem far removed from the categories of nature, drive or instinct. The insight into how these animals are handled reveals an ambivalence between care and control, physical strength and broken will, instinct and artifice. Afsah allows her protagonists to dissolve these dichotomies – a symbiosis that leaves space for the audience to evaluate the possibility of an overarching empathy between the species, which seems rooted in mutual vulnerability.","artist_bio":"Yalda Afsah (*1983) grew up in Berlin and studied at the Berlin University of the Arts, the Burg Giebichenstein University of Art and Design in Halle, as well as at the California Institute of the Arts. Based on the practice of documentary, her work as a filmmaker raises questions regarding the difference between construction and reality - and blurs the borders between them. She received several awards for her artistic work and her films were screened on festivals such as Locarno Film Festival, New York Film Festival, Internationale Kurzfilmtage Winterthur and at Neuer Berliner Kunstverein.","bio_dates":"b. 1983"},{"slug":"yonemoto_bruce_normal_spalding_grays_map_of_la_1984","ok":true,"partial":false,"title":"Spalding Gray's Map of L.A.","artist":"Bruce and Norman Yonemoto","year":"1984","startOffset":0,"sourceSecs":1774.464,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":298289742,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/yonemoto_bruce_normal_spalding_grays_map_of_la_1984/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/yonemoto_bruce_normal_spalding_grays_map_of_la_1984/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/yonemoto_bruce_normal_spalding_grays_map_of_la_1984.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/yonemoto_bruce_normal_spalding_grays_map_of_la_1984/main.mp4?v=2","description":"1984, 27:40 min, color, sound <br/><br/> The Yonemotos collaborated with performance artist Spalding Gray and actors Mary Woronov and Marshall Efron on this satire of the mythology of Los Angeles, juxtaposing a parodic fictional narrative with Gray's autobiographical monologues. The ironic re-enactment of the New York artist's encounter with the excess of Los Angeles focuses on the Southern Californian obsession with cars as cultural and consumer icons. In tragicomic monologues that punctuate the ongoing fantasy narrative, Gray traces his sentimental education through a series of anecdotal childhood memories that detail his romantic infatuation with cars. Director/Editor: Norman Yonemoto. Producer: Bruce Yonemoto. Written by Spalding Gray, Marshall Efron, Mary Woronov, Bruce Yonemoto, Norman Yonemoto. Photography: Nikolai Ursin. Music adapted by Carl Stone. Starring: Spalding Gray, Marshall Efron, Mary Woronov, Coleen Sterritt. A KYO-DAI production. -- <a href=\"http://www.eai.org/title.htm?id=3375\" rel=\"noopener\" target=\"_blank\">Electronic Arts Intermix</a><br><br><b>RELATED RESOURCES:</b> <br> <a href=\"https://ubu.com/film/gray.html\" rel=\"noopener\" target=\"_blank\">Spalding Gray in UbuWeb Film</a><br> <a href=\"https://ubu.com/sound/gray.html\" rel=\"noopener\" target=\"_blank\">Spalding Gray in UbuWeb Sound</a></br></br>","artist_bio":"Thirty Second Spots: TV Commercials for Arists - Spalding Gray (1982-83)\nSpalding Gray's Map of L.A. (1984)\n[Bruce and Norman Yonemoto]\nSpalding Rockwell Gray (June 5, 1941 – ca. January 11, 2004) was an American actor and writer. He was primarily known for the autobiographical monologues that he wrote and performed for the theater in the 1980s and 1990s. The theater critics John Willis and Ben Hodges described his monologue work as \"trenchant, personal narratives delivered on sparse, unadorned sets with a dry, WASP, quiet mania.\" Gray achieved celebrity status for his monologue Swimming to Cambodia which was adapted into a film in 1987 by the filmmaker Jonathan Demme. Other one-man shows by Gray that were captured on film include Monster in a Box and Gray's Anatomy.\nHe died in New York City of an apparent suicide in 2004. The film director Steven Soderbergh made a documentary film about Gray's life, entitled\nAnd Everything Is Going Fine, in 2010.","bio_dates":"b. 1949/1946"},{"slug":"young_richard_dinner_with_henry_miller_1991","ok":true,"partial":false,"title":"Dinner With Henry","artist":"Henry Miller","year":"1979","startOffset":0,"sourceSecs":1842.923,"sourceHeight":336,"sourceWidth":448,"hasAudio":true,"hasAmbientMp4":true,"bytes":112268005,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/young_richard_dinner_with_henry_miller_1991/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/young_richard_dinner_with_henry_miller_1991/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/young_richard_dinner_with_henry_miller_1991.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/young_richard_dinner_with_henry_miller_1991/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/young_richard_dinner_with_henry_miller_1991/main/master.m3u8?v=2","hasMainHls":true,"description":"Director: Richard Young <br/><br/> It's a classic question: Name a famous person, living or dead, you'd like to have dinner with. I imagine that a number of readers of this blog would say 'Henry Miller.' Indeed, he had a reputation for holding court at the dinner table, regaling his fellow eaters with opinions and reminiscences. <br/><br/> <i>Dinner With Henry</i> is a rare, 30-minute documentary about Henry Miller. It is exactly what the title implies: footage of Henry having dinner. With him at the table is the film crew, and actress/model Brenda Venus, to whom Henry was enamoured in the final years of life. Henry - at age 87 - spends the majority of his time speaking on a number of subjects, the most persistent of which is Blaise Cendrars. Occasionally, he complains about the food. That is all. It may not be of much interest to a general audience, but is a curious \"slice of life\" for any Miller fan who likes to imagine being at the table with him. <br/><br/> Brenda Venus wrote about the filming of this dinner, in her 1986 book <i>Dear, Dear Brenda: The Love Letters of Henry Miller</i>. Although her placement of the anecdote implies that it took place at the end of 1977, Miller says on film that he's in his \"88th year,\" which would place the filming year as 1979 [1]. As Venus recounts, two filmmakers had requested to film Henry speaking freely about wine. When they arrived at Henry's home, he was in \"an ill temper\" explains Venus, who guessed that he'd had a bad sleep. When dinner time arrived, Henry was asked to \"speak frankly and spontaneously.\" At first, his comments seemed negatively focused on the meal. It's unclear who prepared the meal, but Henry does not spare anyone's feelings by calling it \"pitiful\" and refusing to eat certain things, or complaining about the order of courses. With some coaxing from Brenda, Henry is finally set on track to various personal commentaries. Although he does offer some comparison between French and American wines, he doesn't offering any real opinion of the wines set before him, which had been the whole point of the film. \"I kept encouraging Henry to say something about the various wines he was sipping,\" write Venus, \"but he pointedly ignored me while regaling the camera with his powers as a raconteur\" [all quotes from Venus, pp. 124-125]. <br/><br/> The resulting footage was viewed a few days later. Although its purpose had not been met, it was still \"so funny\" that it would be used in a documentary about Henry. The history of this documentary gets a bit fuzzy after this. <i>The Bibliography Of Primary Sources</i> (Shifreen & Jackson) lists it as \"F7,\" and states that it was produced in 1980. It is not listed with the Library of Congress or The California State Library, nor is it listed on the Internet Movie Database or any other film database on the net. The global library database, WorldCat, does have listings for it. VHS tape copies exist in the libraries of the following institutions: University Of N Carolina, University of Delaware, Southern Illinois University, and University of California, Santa Cruz. <br/><br/> WorldCat also helps identify the fact that one version was distributed on VHS in 1984, and the second was distributed in 1991. The earlier version is said to have been distributed by the Henry Miller Memorial Library. I was fortunate to have been hooked up with this film by a blog reader—thanks D.! I'll try to find out if the HM Memorial Library still has copies, or knows how it can be accessed by the public.<br><br><b>RESOURCES:</b> <br> <a href=\"https://ubu.com/sound/miller.html\" rel=\"noopener\" target=\"_blank\">Henry Miller in UbuWeb Sound</a></br>","artist_bio":"Henry Valentine Miller (December 26, 1891 – June 7, 1980) was an American writer. He was known for breaking with existing literary forms, developing a new sort of semi-autobiographical novel that blended character study, social criticism, philosophical reflection, explicit language, sex, surrealist free association and mysticism. His most characteristic works of this kind are Tropic of Cancer (1934), Black Spring (1936), Tropic of Capricorn (1939) and The Rosy Crucifixion trilogy (1949–59), all of which are based on his experiences in New York and Paris, and all of which were banned in the United States until 1961. He also wrote travel memoirs and literary criticism, and painted watercolors.","bio_dates":"December 26, 1891 - June 7, 1980"},{"slug":"zahradnicek_cenek_ruce_v_utery_1935","ok":true,"partial":false,"title":"Ruce v úterý","artist":"Čeněk Zahradníček","year":"1935","startOffset":0,"sourceSecs":634.923,"sourceHeight":448,"sourceWidth":592,"hasAudio":true,"hasAmbientMp4":true,"bytes":37379774,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zahradnicek_cenek_ruce_v_utery_1935/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zahradnicek_cenek_ruce_v_utery_1935/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/zahradnicek_cenek_ruce_v_utery_1935.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/zahradnicek_cenek_ruce_v_utery_1935/main.mp4?v=2","description":"Ruce v úterý (The Hands on Tuesday, 1935), by Zahradnicek, this time working with Lubomir Smejkal, is a witty day-in-the-life of a man, his fantasies, love life and all, shown through his hands.","artist_bio":"Čeněk Zahradníček (1900–1989), \"Man with a Camera\", is known mainly as a respected pioneer of the Czech amateur film. He was one of the founders of the Prague Pathé Club, he was also an active amateur filmmaker and the amateur film promoter.\nIn 1981, Jiří Donné shot the film Služebníci černé dámy [Black Lady Servants] a tribute to the surrealism and avant-garde trends of the twenties and thirties, and which is also a tribute to Čeněk Zahradníček","bio_dates":"1900-1989"},{"slug":"zittel_andrea_sufficient_self_2004","ok":true,"partial":false,"title":"Sufficient Self","artist":"Andrea Zittel","year":"2004","startOffset":0,"sourceSecs":1050.95,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":106258768,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zittel_andrea_sufficient_self_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zittel_andrea_sufficient_self_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/zittel_andrea_sufficient_self_2004.avi","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/zittel_andrea_sufficient_self_2004/main.mp4?v=2","description":"Andrea Zittel’s “systems for living” explore the friction between the prescriptive nature of externally enforced rules and the liberating potential of internally imposed parameters. Her current project, A–Z West, is a culmination of ten years of creating these experimental domestic and external structures. The community, sited in the desert environment of Joshua Tree, California, was conceived as a sustainable space within yet separate from our increasingly regulated culture. This exhibition presents several Wagon Stations—small mobile units customized by invited individuals—from the settlement. Transplanted to an urban landscape, they reveal at once the individuality of their creators and the simple clarity of the system as a whole. - Whitney Museum of Art Exhibition 2004","artist_bio":"Andrea Zittel was born in Escondido, California, in 1965. She received a BFA in painting and sculpture in 1988 from San Diego State University, and an MFA in sculpture in 1990 from the Rhode Island School of Design. Zittel’s sculptures and installations transform everything necessary for life—such as eating, sleeping, bathing, and socializing—into artful experiments in living.\nBlurring the lines between life and art, Zittel’s projects extend to her own home and wardrobe. Wearing a single outfit every day for an entire season, and constantly remodeling her home to suit changing demands and interests, Zittel continually reinvents her relationship to her domestic and social environment. Influenced by Modernist design and architecture from the early twentieth century, the artist’s one-woman mock organization, A–Z Administrative Services, develops furniture, homes, and vehicles for contemporary consumers with a similar simplicity and attention to order.\nSeeking to attain a sense of freedom through structure, Zittel is more interested in revealing the human need for order than in prescribing a single unifying design principle or style. “People say my work is all about control, but it’s not, really,” she remarks. “I am always looking for the gray area between freedom—which can sometimes feel too open-ended and vast—and security—which may easily turn into confinement.” Her “A–Z Pocket Property,” a forty-four-ton floating fantasy island off the coast of Denmark, commissioned by the Danish government, contrasts the extremes of a creative escape with the isolation that occurs when a person is removed from society.\nAltering and examining aspects of life that are for the most part taken for granted, Zittel makes hand-crafted solutions that respond to the day-to-day rhythms of the body, and the creative need of people to match their surroundings to the changing appearance of life. Zittel lives in California and New York.","bio_dates":"b. 1965"},{"slug":"zmijewski_artur_80064_2004","ok":true,"partial":false,"title":"80064","artist":"Artur Żmijewski","year":"2004","startOffset":0,"sourceSecs":656.085,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":116585750,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zmijewski_artur_80064_2004/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zmijewski_artur_80064_2004/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/zmijewski_artur_80064_2004.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/zmijewski_artur_80064_2004/main.mp4?v=2","description":"In the short video “80064,” the artist who made it, Artur Zmijewski, persuades an elderly Auschwitz survivor to have the faded number on his forearm refreshed by a tattoo artist. The befuddled old gentleman had evidently agreed beforehand to have this done, but on camera he is having second thoughts. He doesn’t see the point and worries about the consequences. But he eventually surrenders to Mr. Zmijewski’s implacable urging, and the tattooist retraces the digits. Afterward the old man seems ambivalent; it’s hard to tell whether he’s glad he let it be done or not. Maybe he is just relieved that the ordeal is over. <br/><br/> Ostensibly, renewing the number is a metaphor about memory and history. We mustn’t forget the Holocaust and other catastrophes, or similar events are bound to happen again. Was this hackneyed lesson worth the price of a vulnerable old man’s peace of mind?","artist_bio":"A Pilgrimage\nPaweł Althamser / Artur Artur Żmijewski (2003)\nDo It Yourself\nPaweł Althamser / Artur Artur Żmijewski (2004)\nArtur Artur Żmijewski (born 26 May 1966 in Warsaw) is a Polish visual artist, filmmaker and photographer. During the years of 1990-1995 he studied at Warsaw Academy of Fine Arts. He is an author of short video movies and photography exhibitions, which were shown all over the world. Since 2006 he s artistic editor of the \"Krytyka Polityczna\".\nHis solo show If It Happened Only Once It’s As If It Never Happened was at \"Kunsthalle Basel\" in 2005, the same year in which he represented Poland at the 51st Venice Biennale. He has shown in Documenta 12 (2007), and Manifesta 4 (2002); Wattis Institute for Contemporary Art, San Francisco (2012, 2005); National Gallery of Art Zacheta, Warsaw (2005); Kunstwerke, Berlin (2004); CAC, Vilnius (2004); \"Moderna Museet\", Stockholm (1999). Earlier this year he presented Democracies at \"Foksal Gallery Foundation\", Warsaw; and is making new work for The Museum of Modern Art (Moma) in New York as part of their Projects’ Series in September 2009. \"Cornerhouse\", Manchester, will also present the first major UK survey of Zmijewski’s work, spanning his practice from 2003 to the present day, from November 2009 - January 2010.","bio_dates":"b. 1966"},{"slug":"zmijewski_artur_between_us_2009","ok":true,"partial":false,"title":"Between Us","artist":"Artur Żmijewski","year":"2009","startOffset":0,"sourceSecs":526.037,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":80664372,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zmijewski_artur_between_us_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zmijewski_artur_between_us_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/zmijewski_artur_between_us_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/zmijewski_artur_between_us_2009/main.mp4?v=2","description":"Between Us is the result of Atrur Zmijewski’s artist residency at The Israeli Center for Digital Art. Artur spent time in the city of Lod (Lydda) where a wall has been built that divides the Jewish Israeli neighbourhood from the Israeli Arabic neighbourhood. Zmijewski attempts to invite both sides together to do an exercise but finds that only two neighbours show up from the Jewish neighbourhood. The asymmetry makes the exercise impossible and what results is a heated yelling match which mirrors the stereotypical and canonical arguments on the surface of Israeli society.","artist_bio":"A Pilgrimage\nPaweł Althamser / Artur Artur Żmijewski (2003)\nDo It Yourself\nPaweł Althamser / Artur Artur Żmijewski (2004)\nArtur Artur Żmijewski (born 26 May 1966 in Warsaw) is a Polish visual artist, filmmaker and photographer. During the years of 1990-1995 he studied at Warsaw Academy of Fine Arts. He is an author of short video movies and photography exhibitions, which were shown all over the world. Since 2006 he s artistic editor of the \"Krytyka Polityczna\".\nHis solo show If It Happened Only Once It’s As If It Never Happened was at \"Kunsthalle Basel\" in 2005, the same year in which he represented Poland at the 51st Venice Biennale. He has shown in Documenta 12 (2007), and Manifesta 4 (2002); Wattis Institute for Contemporary Art, San Francisco (2012, 2005); National Gallery of Art Zacheta, Warsaw (2005); Kunstwerke, Berlin (2004); CAC, Vilnius (2004); \"Moderna Museet\", Stockholm (1999). Earlier this year he presented Democracies at \"Foksal Gallery Foundation\", Warsaw; and is making new work for The Museum of Modern Art (Moma) in New York as part of their Projects’ Series in September 2009. \"Cornerhouse\", Manchester, will also present the first major UK survey of Zmijewski’s work, spanning his practice from 2003 to the present day, from November 2009 - January 2010.","bio_dates":"b. 1966"},{"slug":"zmijewski_artur_democracies_2009","ok":true,"partial":false,"title":"Democracies","artist":"Artur Żmijewski","year":"2009","startOffset":0,"sourceSecs":188.309,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":23612573,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zmijewski_artur_democracies_2009/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zmijewski_artur_democracies_2009/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/zmijewski_artur_democracies_2009.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/zmijewski_artur_democracies_2009/main.mp4?v=2","description":"“Democracies” (2009) is a new project from Artur Zmijewski that will premier at the daadgalerie. Presented on a row of monitors, this cacophonic video installation could also be understood as a series of individual, documentary videos. Zmijewski is exploring the free, public expression of opinion in the form of gatherings and crowds in different places in Europe. With this project, Zmijewski moves his work out of his typical sphere of staged social experiments into a more public realm of events. Since at least the 2005 Venice Biennial and documenta12 in 2007, Artur Zmijewski’s filmed social experiments have been seen by large audiences. In Venice, he initiated a re-enactment of the famous “Sanford Prison Experiment” from 1971 about behavioural role assumption in the prison environment. For the film presented at documenta12, Zmijewski incited volunteers from opposing societal groups in Poland into a conflict about their respective symbols. Zmijewski creates laboratory-type situations around human behaviour with which he tests the societal conditioning and inherited status quos. With these social experiments, Zmijewski produces empirical knowledge about the human condition and its societal symptoms. As he says himself, as an artist he broadens the range of scientific knowledge through methods of dreams, imagination, responsibility, risk, and repetition. For the “Democracies” (2009) project at the daadgalerie, Zmijewski departs from his work using recruited volunteers. In a series of short documentary films, he looks into the different symbols of nationalist and other movements visible in a variety of public spaces. All the clips depict public (and political) fervour in different places around Europe, Israel and the Westbank, like demonstrations, parades or re-enactments of historical battles. They include for example material from the European Football Championships in Berlin and Jörg Haider’s funeral in Klagenfurt. As in all of his work, also in these images of ordered and disordered crowds, Zmijewski places the human body at the focal point of his observations.","artist_bio":"A Pilgrimage\nPaweł Althamser / Artur Artur Żmijewski (2003)\nDo It Yourself\nPaweł Althamser / Artur Artur Żmijewski (2004)\nArtur Artur Żmijewski (born 26 May 1966 in Warsaw) is a Polish visual artist, filmmaker and photographer. During the years of 1990-1995 he studied at Warsaw Academy of Fine Arts. He is an author of short video movies and photography exhibitions, which were shown all over the world. Since 2006 he s artistic editor of the \"Krytyka Polityczna\".\nHis solo show If It Happened Only Once It’s As If It Never Happened was at \"Kunsthalle Basel\" in 2005, the same year in which he represented Poland at the 51st Venice Biennale. He has shown in Documenta 12 (2007), and Manifesta 4 (2002); Wattis Institute for Contemporary Art, San Francisco (2012, 2005); National Gallery of Art Zacheta, Warsaw (2005); Kunstwerke, Berlin (2004); CAC, Vilnius (2004); \"Moderna Museet\", Stockholm (1999). Earlier this year he presented Democracies at \"Foksal Gallery Foundation\", Warsaw; and is making new work for The Museum of Modern Art (Moma) in New York as part of their Projects’ Series in September 2009. \"Cornerhouse\", Manchester, will also present the first major UK survey of Zmijewski’s work, spanning his practice from 2003 to the present day, from November 2009 - January 2010.","bio_dates":"b. 1966"},{"slug":"zmijewski_artur_pilgramage_2003_iphone","ok":true,"partial":false,"title":"Pilgramage","artist":"Artur Żmijewski","year":"2003","startOffset":0,"sourceSecs":1588.803,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":95037212,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zmijewski_artur_pilgramage_2003_iphone/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zmijewski_artur_pilgramage_2003_iphone/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/zmijewski_artur_pilgramage_2003_iphone.m4v","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/zmijewski_artur_pilgramage_2003_iphone/main.mp4?v=2","description":". In November 2003, the two artists took part in a traditional pilgrimage to the Holy Land. Mixing with the devout, the two artists visit and film landmark sites Christians the world over dream of seeing."},{"slug":"zmijewski_artur_the_game_of_tag","ok":true,"partial":false,"title":"The Game of Tag","artist":"Artur Żmijewski","year":"2000-2001","startOffset":0,"sourceSecs":269.952,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":47171599,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zmijewski_artur_the_game_of_tag/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zmijewski_artur_the_game_of_tag/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/zmijewski_artur_the_game_of_tag.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/zmijewski_artur_the_game_of_tag/main.mp4?v=2","description":"The strategy most frequently used by Zmijewski is to arrange situations and look how the protagonists behave. That is why his video works often recall fictionalized documentaries. BEREK / The Game of Tag is one of the best examples. <br/><br/> Zmijewski filmed a group of people in two rooms: a symbolically neutral space and the gas chamber of a former Nazi death camp. Naked men and women of various ages play the game of tag - some of them are ashamed, others engage in the game. According to the artist, this film is an example of a kind of therapy, used in psychology: the re-enactment of a traumatic event with a simultaneous shifting of its meaning.","artist_bio":"A Pilgrimage\nPaweł Althamser / Artur Artur Żmijewski (2003)\nDo It Yourself\nPaweł Althamser / Artur Artur Żmijewski (2004)\nArtur Artur Żmijewski (born 26 May 1966 in Warsaw) is a Polish visual artist, filmmaker and photographer. During the years of 1990-1995 he studied at Warsaw Academy of Fine Arts. He is an author of short video movies and photography exhibitions, which were shown all over the world. Since 2006 he s artistic editor of the \"Krytyka Polityczna\".\nHis solo show If It Happened Only Once It’s As If It Never Happened was at \"Kunsthalle Basel\" in 2005, the same year in which he represented Poland at the 51st Venice Biennale. He has shown in Documenta 12 (2007), and Manifesta 4 (2002); Wattis Institute for Contemporary Art, San Francisco (2012, 2005); National Gallery of Art Zacheta, Warsaw (2005); Kunstwerke, Berlin (2004); CAC, Vilnius (2004); \"Moderna Museet\", Stockholm (1999). Earlier this year he presented Democracies at \"Foksal Gallery Foundation\", Warsaw; and is making new work for The Museum of Modern Art (Moma) in New York as part of their Projects’ Series in September 2009. \"Cornerhouse\", Manchester, will also present the first major UK survey of Zmijewski’s work, spanning his practice from 2003 to the present day, from November 2009 - January 2010.","bio_dates":"b. 1966"},{"slug":"zulueta_ivan_leo_es_pardo_1976","ok":true,"partial":false,"title":"Leo es pardo","artist":"Ivan Zulueta","year":"1976","startOffset":0,"sourceSecs":590.933,"sourceHeight":464,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":107932272,"ambientMp4Url":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zulueta_ivan_leo_es_pardo_1976/ambient.mp4?v=2","previewUrl":"https://ubu.getkino.com/runs/20260618T174742Z__full-3-amb240/films/zulueta_ivan_leo_es_pardo_1976/preview.avif?v=2","downloadUrl":"https://ubu.getkino.com/originals/zulueta_ivan_leo_es_pardo_1976.mp4","hasFrames":true,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/zulueta_ivan_leo_es_pardo_1976/main.mp4?v=2","description":"Duration 4'40\" <br/><br/> “Leo es pardo” is a short film by spanish film maker and graphic designer maestro Ivan Zulueta. Heavily addicted to heroin at the time, he created a world on his own where pop art, the wild side of nature, and the obsession with the still unrevealed power of moving pictures get together. His passion of music was also a highlight in his work, he designed the cover of psych-pop favorites Vainica Doble‘s first album. He was wise enough to get Marvin Gaye mixed up with Lou Reed’s Metal Machine Music.","artist_bio":"Juan Ricardo Miguel Zulueta Vergarajauregui known as Ivan Zulueta (29 September 1943 – 30 December 2009) was a designer and film director. His work spanned different fields such as art designer in movies or music and he was mainly known for writing and directing the film Arrebato (Rapture), and for designing the posters and promotion of Pedro Almodóvar's first movies.","bio_dates":"1943-2009"},{"slug":"40jahrevideokunst_de_abramovic_ulay_city_of_angels_1983","ok":true,"partial":false,"title":"City of Angels","artist":"Marina Abramović and Ulay","year":"1983","startOffset":7.52,"sourceSecs":1209.52,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":387151504,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/40jahrevideokunst_de_abramovic_ulay_city_of_angels_1983/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/40jahrevideokunst_de_abramovic_ulay_city_of_angels_1983/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/40jahrevideokunst_de_abramovic_ulay_city_of_angels_1983/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/40jahrevideokunst_de_abramovic_ulay_city_of_angels_1983/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Marina Abramovic and Ulay (Uwe Laysiepen) worked together as an artists couple for many years. They first became known for their performances and later also for their videos, reaching from simple performance registrations to projects in which video itself was given a more central role. 'City of Angels' was the first work that Ulay and Abramovic made exclusively for video and TV, and also the first that employed more elaborate editing techniques than previous works. The camera was no longer recording from a fixed angle and the resulting images are of high quality. It was shot in the capital of Thailand, in the garden of what appears to be an ancient Buddhist monastery. With this work, Ulay and Abramovic describe the spiritual and ascetic dimensions of Eastern clture in general, and of Buddhism in particular, in a series of staged 'tableaux vivants' which are 'enacted' by monks and by the local people. The artists depict the essence of spiritual life in a number of lucid, stylized and theatrical scenes which are partly accompanied by Buddhist chanting. The timeless harmony attested to by 'City of Angels' is created by the sense of unity that exists between the location, the sound and the participants. It evokes an atmosphere of meditative concentration."},{"slug":"allora_invisible","ok":true,"partial":false,"title":"How To Appear Invisible","artist":"Allora & Calzadilla","year":"2009","startOffset":0,"sourceSecs":1291.12,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":449417620,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/allora_invisible/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/allora_invisible/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/allora_invisible/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/allora_invisible/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Filmed in Berlin on the site of the Schlossplatz at the close of 2008, it documents the last remains of the Palast der Republik being torn down. Bearing witness to this event is a German Shepherd dog wearing a makeshift cone collar fashioned from the trademark container of one of the largest American fast food franchises: Kentucky Fried Chicken. The camera follows the dog roaming through the barren no man’s land of the palace ruins as if it was searching for the last remains of an utopia that has vanished."},{"slug":"anger_pleasure","ok":true,"partial":false,"title":"Inauguration of the Pleasure Dome","artist":"Kenneth Anger","year":"1954","startOffset":60.06,"sourceSecs":2308.306,"sourceHeight":540,"sourceWidth":742,"hasAudio":true,"hasAmbientMp4":true,"bytes":379297166,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/anger_pleasure/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/anger_pleasure/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/anger_pleasure/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/anger_pleasure/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"A Slavonic Mass by Leos Janácek plays as historical figures, biblical characters, and mythical creatures gather in the pleasure dome. Aphrodite, Lilith, Isis, Kali, Astarte, Nero, Pan, and the Great Beast and the Scarlet Woman are part of a visual feast of images superimposed, hallucinations, and the spirit of decadence of the “Yellow ’90s.” Mythological images from Aleister Crowley, cabalistic symbols, artifice, and magic combine to render the pleasure dome both as prison and as celebration."},{"slug":"ashley_robert_perfect_lives_1_the_park_privacy_rules","ok":true,"partial":false,"title":"The Park (Privacy Rules)","artist":"Robert 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Askevold","year":"2003","startOffset":59.993,"sourceSecs":363.263,"sourceHeight":239,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":5136008,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/askevold_david_two_hanks/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/askevold_david_two_hanks/ambient.mp4","previewUrl":null,"mainUrl":null,"mainHlsUrl":null,"downloadUrl":null,"hasFrames":false,"description":"This piece is about placing two major recording artists on the same stage together after they have been dead for some time. Since Hank Snow and Hank Williams never performed together during their lifetimes this was a way to bring them together with their two songs, 'Rambling Man' and 'I've Been Everywhere.' The thereminist, Scott Marshall, takes the two songs to another place. Footage of the audience, which was built into the construction of the work, constitutes a component of the video."},{"slug":"baldessari_interview","ok":true,"partial":false,"title":"John Baldessari: An Interview","artist":"John Baldessari","year":"1983","startOffset":26.359,"sourceSecs":1924.123,"sourceHeight":538,"sourceWidth":706,"hasAudio":true,"hasAmbientMp4":true,"bytes":198749651,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/baldessari_interview/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/baldessari_interview/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/baldessari_interview/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/baldessari_interview/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"From his photo-text canvases in the 1960s to his video works in the 1970s to his installations in the 1980s, John Baldessari’s (b.1931) varied work has been seminal in the field of conceptual art. Integrating semiology and mass media imagery, he employed such strategies as appropriation, deconstruction, decontextualization, sequentiality, and text/image juxtaposition. With an ironic wit, Baldessari's work considers the gathering, sorting, and reorganizing of information.\n\n“Something that is part of my personality is seeing the world slightly askew. It’s a perceptual stance. The real world is absurd sometimes, so I don’t make a conscious attempt, but because I come at it in a certain way, it seems really strange,” Baldessari says in this interview with Nancy Bowen.\n\nA historical interview originally recorded in 1979 and re-edited in 2003 with support from the Lyn Blumenthal Memorial Fund."},{"slug":"baldwin_coronado","ok":true,"partial":false,"title":"¡O No Coronado!","artist":"Craig Baldwin","year":"1992","startOffset":1.434,"sourceSecs":2431.363,"sourceHeight":264,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":218788684,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/baldwin_coronado/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/baldwin_coronado/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/baldwin_coronado/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/baldwin_coronado/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Just when it seemed that the 500th Anniversary of the Spanish conquest would pass without anything more tasteless than Marlon Brando's Torquemada or deflationary than Gerard Depardieu's marble-mouthed Columbus, Craig Baldwin's, ¡O No Coronado! has arrived in town. As fans of Baldwin's Tribulation 99 know, this San Francisco based filmmaker habitually conceptualizes history as a tacky exploitation flick, and, at a machine-gun-paced 40 minutes, Coronado still manages an epic sweep...\n\nThe first two minutes of Coronado offer more historical perspective than both Columbus epics combined...Coronado, one of the least successful conquistadors, is perfectly suited to Baldwin's purposes in part because his motivation is so blatantly delusional. Arriving in Mexico in 1538, he set out on a fruitless quest to find the imaginary Seven Cities of Cibola. Crossing the desert and the Rio Grande, Coronado explored what is now Arizona and New Mexico, stumbling across the Grand Canyon and engaging in numerous needless fights wit the Indians. The non-existent cities of gold led his expedition as far afield as present-day Kansas, before returning to Mexico City in sodden disarray.\n\nBaldwin illustrates this empty quest with a melange of images culled from swashbucklers and westerns, classroom movies and museum paintings. Christian cartoons and industrial documentaries. He uses whatever comes to hand. This pragmatism produces a richness of metaphor. A clip from an old Vincent Price film stands in for the Inquisition. Coronado is occasionally visualized as Gulliver; when his Indian guide leads hism astray, he's the Lone Ranger, accompanied by Tonto (and, quite poetically, a few passages from Ravel's Bolero. When necessary, the narrative is goosed along with a few costume dramatizations. (Coronado is played by a goofy-looking actor in a Spanish helmet). Everything is tied together with generic sci-fi music, strategic sound effects, and two narrators (one specializing in boastful rants), Baldwin is more honest (than regular historical documentaries) in representing the present, interviewing not scholars but tourists and locals: \"Coronado: isn't that a shopping mall around here?\" If you want to schlockument the box populi, this is how."},{"slug":"baldwin_craig_spectres_of_the_spectrum_1999","ok":true,"partial":false,"title":"Spectres of the Spectrum","artist":"Craig Baldwin","year":"1999","startOffset":0,"sourceSecs":5469.214,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":845046548,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/baldwin_craig_spectres_of_the_spectrum_1999/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/baldwin_craig_spectres_of_the_spectrum_1999/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldwin_craig_spectres_of_the_spectrum_1999/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/baldwin_craig_spectres_of_the_spectrum_1999/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"Spectres of the Spectrum is a feature-length 16mm film utilizing old 'kinescopes' (filmed records of early TV broadcasts before the advent of videotape, mostly from the late Fifties' educational show called 'Science in Action') to create an eerie, haunted \"media-archaeology\" zone for a sci-fi time-travel tale, wherein live-action actors search for a hidden electromagnetic secret to save the planet from a futuristic war-machine, inspired by HAARP the High-Frequency Active Auroral Research Program. (Though fictionalized for Baldwin's film, HAARP is, in fact, a very real phenomenon. On the surface, it is a data-gathering tool to explore the Aurora Borealis in detail. But in fact, HAARP doubles as one of the most sophisticated components of the Star Wars weapons arsenal, a particle beam device that can be accurately targeted on specific sites in the ionosphere.\n\nSet in the year 2007 in the blighted desert outpost of Las Vegas, a young telepathic woman (\"BooBoo\") scavenges for survival on an old bombing range with her father (\"Yogi\") who is holed up in a cinder-block pirate-TV station, broadcasting rambling diatribes on the impending global electromagnetic 'Pulse'. A solar eclipse gives BooBoo a cosmic opportunity to save the world, through a superluminal voyage back into time to retrieve a secret message left on the airwaves by her scientist grandmother.\n\nWith their Airstream trailer converted into a spaceship, the amazed BooBoo is able to catch up with outwardly propagating Fifties' educational-TV broadcasts, affording an accelerated review of mid-century science and science-fiction cinema; and narrating a loose and collage-happy history of heroes and martyrs of the electromagnetic revolution. Commentary on Mesmer, Morse, Bell, Tesla, Farnsworth, and others comes from Yogi and his 'TV Tesla' correspondents, in a playfully speculative effort to trace the growth of corporate hegemony over the electromagnetic spectrum. Through an increasingly abstract montage of live-action, archival film, broadcast video, and 'exploded' interviews, the fantasy narrative warps into disjointed, abstracted, audio-visual phrases, suggesting the breakdown of personal ego/memory, historical representation, and, yes, of spacetime itself.\n\nThis science-fiction allegory about 'electromagnetic autonomy' in opposition to the hegemony of the culture-management industry, tracing a history of media technology from its early days to a 21st century \"New Electromagnetic Order\" that threatens to take total control of our lives."},{"slug":"barney_matthew_blind_perineum","ok":true,"partial":false,"title":"Blind Perineum","artist":"Matthew Barney","year":"1991","startOffset":0,"sourceSecs":5365.04,"sourceHeight":480,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":465671705,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/barney_matthew_blind_perineum/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/barney_matthew_blind_perineum/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/barney_matthew_blind_perineum/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/barney_matthew_blind_perineum/main/master.m3u8","downloadUrl":null,"hasFrames":true,"description":"Barney's now-iconic video action for which he crossed over the ceiling of the gallery above Repressia — a fleshy-pink-colored wrestling mat with two soft shackles protruding from it (also on view) — using a harness and ice-climbing screws. In it, Barney propels himself by the forces of muscle and will.\n\nThe 87-minute videotape was called \"Blind Perineum,\" and the show consisted of it and other videos, the refrigerator and bench, mouth guards, a gynecological speculum, cast wedges of uncooked tapioca and the ghostly traces of his pitons and hand prints on the ceiling and walls. Some of the titles he gave to the objects in the show referred to the escapist Harry Houdini, whom he had begun to see, some years earlier, as an alter ego."},{"slug":"beckett_samuel_as_the_story_was_told_documentary_1996","ok":true,"partial":false,"title":"Samuel Beckett: As The Story Was Told","artist":"Sean O'Mordha","year":"1996","startOffset":0,"sourceSecs":6220.835,"sourceHeight":720,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":1491163788,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beckett_samuel_as_the_story_was_told_documentary_1996/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beckett_samuel_as_the_story_was_told_documentary_1996/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_as_the_story_was_told_documentary_1996/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/beckett_samuel_as_the_story_was_told_documentary_1996/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"The life of Irish novelist, poet, and playwright Samuel Beckett is profiled in this two-part documentary: from his Dublin childhood, to his days in Paris, associating with Picasso and Chagall, to old age. Excerpts from a performance of the semiautobiographical Krapp’s Last Tape and previously unpublished letters tell the story, along with the remembrances of Beckett’s lifelong friend and publisher, Jerome Lindon, relatives, and others who knew him. This is a rare glimpse into the reclusive world of this literary giant, whose most famous work, Waiting for Godot, evokes with unnerving precision the cosmic despair and isolation of modern humankind.\n\nThis intimate portrait of Irish novelist, poet and playwright, Samuel Beckett, draws on manuscripts of his most famous works, a series of previously unpublished letters and remarkable collection of photographs.\n\nhe documentary follows Beckett's life from his Dublin childhood, to his days in Paris, associating with Picasso and Chagall, through to old age."},{"slug":"beloff_zoe_commune_part_1_iphone","ok":true,"partial":false,"title":"The Days of the Commune Part 1: Scenes 1-5","artist":"Zoe Beloff","year":"2012","startOffset":0,"sourceSecs":3231.893,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":361563558,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_1_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_1_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_1_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_1_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"beloff_zoe_commune_part_2_iphone","ok":true,"partial":false,"title":"The Days of the Commune Part 2: scenes 6 – 8","artist":"Zoe Beloff","year":"2012","startOffset":59.993,"sourceSecs":2848.717,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":334461111,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_2_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_2_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_2_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_2_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"beloff_zoe_commune_part_3_iphone","ok":true,"partial":false,"title":"The Days of the Commune Part 3: scenes 9 - 12","artist":"Zoe Beloff","year":"2012","startOffset":4.404,"sourceSecs":3224.765,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":358588886,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_3_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_3_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_3_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beloff_zoe_commune_part_3_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"beuys_veiel","ok":true,"partial":false,"title":"Beuys","artist":"Andres Veiel","year":"2017","startOffset":60.04,"sourceSecs":6439.32,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":494703770,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beuys_veiel/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beuys_veiel/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beuys_veiel/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/beuys_veiel/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Thirty years after his death, Joseph Beuys still feels like a visionary and is widely considered one of the most influential artists of his generation. Known for his contributions to the Fluxus movement and his work across diverse media -- from happening and performance to sculpture, installation, and graphic art -- Beuys' expanded concept of the role of the artist places him in the middle of socially relevant discourses on media, community, and capitalism.\n\nUsing previously untapped visual and audio sources, director Andres Veiel has created a one-of-a-kind chronicle: BEUYS is not a portrait in the traditional sense, but an intimate and in-depth look at a human being, his art and ideas, and the way they have impacted the world."},{"slug":"brus_actions","ok":true,"partial":false,"title":"Bodyanalysis / Actions 1964-1970","artist":"Günter Brus","year":"1964","startOffset":7.72,"sourceSecs":4925.08,"sourceHeight":512,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":675810221,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/brus_actions/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/brus_actions/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/brus_actions/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/brus_actions/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"A core member of the artist collective around Hermann Nitsch, Otto Mühl and Rudolf Schwarzkogler, instigators of ‚Viennese Actionism’, it was during the early 1960s that Günter Brus staged his first actions in Vienna. Due to the radical nature of his works, Brus soon found himself at odds with the Austrian authorities. Sentenced to six months of close arrest, in 1970 Brus absconded to Berlin. During the subsequent years, his works were shown by a range of internationally renowned museums and galleries – nowadays, Brus ranks among Austria’s most eminent contemporary artists.\n\nIntroduces the films ‚Körperanalysen’ (body analyses), an overview of Actionism movies from 1964-1970 (a. o. Kurt Kren, Otto Mühl, Ernst Schmid Jr.), compiled and presented in a documentary format by Peter Kasperak."},{"slug":"brus_awfully","ok":true,"partial":false,"title":"Schrecklich verletzlich (awfully hurt)","artist":"Anita Natmeßnig","year":"2004","startOffset":2.76,"sourceSecs":3117.68,"sourceHeight":400,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":434012806,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/brus_awfully/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/brus_awfully/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/brus_awfully/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/brus_awfully/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"cage_john_from_zero_paying_attention","ok":true,"partial":false,"title":"Paying Attention","artist":"John Cage","year":"1995","startOffset":26.26,"sourceSecs":883.224,"sourceHeight":400,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":262924738,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/cage_john_from_zero_paying_attention/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/cage_john_from_zero_paying_attention/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/cage_john_from_zero_paying_attention/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/cage_john_from_zero_paying_attention/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Agreeing on a predetermined duration, Scheffer worked with the video portion and Andrew Culver the audio from an interview with Cage. They treated their parts independently; the video and audio were then reunited during the editing in the same spirit as John Cage/Merce Cunningham music and dance collaborations - where the two aspects are presented together for the first time in the performance."},{"slug":"chapman_birthscene","ok":true,"partial":false,"title":"Fucking Hell: Birth Scene","artist":"Jake and Dinos Chapman","year":"2007","startOffset":59.967,"sourceSecs":168.483,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":7444873,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/chapman_birthscene/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/chapman_birthscene/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/chapman_birthscene/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/chapman_birthscene/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"In the 1990s video art piece Sacrificial Mutilation and Death in Modern Art, different artists are portrayed as cartoon-like characters who meet a sticky, deadly end. 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Film by Coum Transmissions, Features Cosey Fanni Tutti, Chris Carter and Soo Catwoman. Original soundtrack by Throbbing Gristle.\n\n\"\"A film dealing with the borderline between evidence, crime, fetish and dream...\" -- BFI"},{"slug":"cravan_vs_cravan","ok":true,"partial":false,"title":"Cravan vs. Cravan","artist":"Isaki Lacuesta","year":"2002","startOffset":60.04,"sourceSecs":5878.56,"sourceHeight":456,"sourceWidth":760,"hasAudio":true,"hasAmbientMp4":true,"bytes":1144875824,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/cravan_vs_cravan/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/cravan_vs_cravan/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/cravan_vs_cravan/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/cravan_vs_cravan/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"In Chris Marker and Yannick Bellon's Remembrance of Things to Come, a thoughtful and illuminating survey of Denis Bellon's photo-reportage between the two world wars, the filmmakers provide a framework for the interpretation of Bellon's artistically rendered, zeitgeist images as prescient, historical documents that, in hindsight, provide an insightful glimpse of the looming, profoundly transformative world events that would unfold at the first half of the twentieth century. However, in this subjective, often arbitrary process of contemporal assignment of the meaning of images, the intersection between logical deduction and extrapolation continues to be amorphous and untenable. In this cognitive processing of \"history as prophesy\", when does documentation end and mythification begin? This ambiguity lies at the core of Isaki Lacuesta's elegantly conceived essay film Cravan vs. Cravan on the enigma of Arthur Cravan - the legendary poet-boxer, Dadaist, writer, critic, eccentric, provocateur, editor of the notorious Left Bank cultural publication Maintenant (whose readership included such notable personalities as Ezra Pound, Maurice Ravel, Jean Cocteau, and Gertrude Stein), and nephew of famed Irish playwright and novelist Oscar Wilde who, in 1918, set alone on a boat off the coast of Mexico bound for Argentina to reunite with his expectant wife, poet Mina Loy, and disappeared.\n\nBorn Fabian Avenarius Lloyd in Lausanne, Switzerland, Cravan's early life would be marked, not only by the abandonment of his father soon after his birth, but also by the family's closely guarded silence over a quietly buried scandal involving the family's famous uncle (Wilde's imprisonment under homosexuality charges of gross indecency). Whether in search of a father figure, or simply fascinated by the sensation caused by the taboo circumstances that led to his uncle's downfall and marginalization during the final years of his life, Cravan would become obsessed with the idea of him, even reporting fabricated sightings and conversations in articles that would be carried by such reputable newspapers as The New York Times. But more importantly, this potent combination of celebrity and scandal may also be seen as a catalyst to Cravan's immersion in the avant-garde community of turn-of-the-century Paris, relishing his role as instigator, provocateur, and cultural critic who equally attracted the attention of Dadaists, Surrealists, Impressionists, Fauvists (most notably, his friendship with Kees Van Dongen), and especially the Futurists, whose aesthetic fascination with the speed and strength of mechanization not correlated favorably with the radicalism and bluntness of Cravan's writing, but in some ways, also personified the physical ideals of industrial machinery with his ruggedly handsome, charismatic, intimidating, and complex persona as a pugilist and intellectual.\n\nMoreover, in filming re-enactments and conducting personal interviews from the perspective of Frank Nicotra whose own unusual career trajectory as boxer turned filmmaker and writer (and occasional poet) bears more than a passing resemblance to that of Cravan, Lacuesta illustrates the often colliding interpenetration of documented reality and subjective memory, between creation and fabrication. This permeability of historical record may be seen in the controversial classification of Cravan as a painter, an attribution that, ironically, evolved from Cravan's practice of publishing under an array of pseudonyms, specifically, in his use of the name Edouard Archinard for an article in Maintenant that links him (whether validly or not) to a series of paintings by an obscure, turn of the century artist, Edouard Archinard (a connection that is dismissed by Cravan scholar and editor, María Luisa Borrás). Similarly, this historical distortion may be seen in Cravan's self-created celebrity, a penchant for fictionalization that is perhaps best exemplified by his instigated exhibition match in Barcelona with heavyweight boxing champion, Jack \"Galveston Giant\" Johnson (who, then plagued in America by controversy over his interracial relationships, sought refuge in France shortly after his second marriage), claiming several nebulous and unverifiable titles across Europe (including a purported match with an Olympic champion in Greece) in order to position himself as a valid contender. Sustained in the ring for six rounds only by Johnson himself who had consciously tried to prolong the fight as requested by the event's sponsors, Cravan was easily overpowered by the heavyweight champion, a defeat that would inevitably punctuate Cravan's departure from Europe and migration to New York City, once again turning to his cultivated associations with the European avant-gardists - a community increasingly in self-imposed exile from the Great War - this time, hosted by famed artist Marcel Duchamp (that led to his fateful encounter with Futurist muse and poet, Mina Loy).\n\nIncorporating elements of biographic documentary, historical re-enactment, and essay film, Cravan vs. Cravan, too, invariably serves to reinforce the subject's inexhaustible sense of irreconcilable contradiction and self re-invention, in essence, orchestrating an elaborate semblance of real-life performance art that enabled - and continues to inspire - the very transfiguration of personal memory to public mythology. Concluding with the blurry, disintegrating archived footage of Cravan in the midst of his workout - perhaps for a boxing match - unfolding in slow speed, the degraded image encapsulates not only the elusiveness of Cravan's ephemeral (and often veiled) persona, but also the tenuous, often indefinable bounds that exist between the contextualization of a historical image and its signification."},{"slug":"cytter_keren_middle_of_beyond","ok":true,"partial":false,"title":"Middle of Beyond","artist":"Keren Cytter","year":"2017","startOffset":0,"sourceSecs":5204.48,"sourceHeight":540,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":770058961,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/cytter_keren_middle_of_beyond/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/cytter_keren_middle_of_beyond/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cytter_keren_middle_of_beyond/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/cytter_keren_middle_of_beyond/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"Ten days in the life of thirty-something Malte. Desperately wanting to be a poet, he tries and fails to connect with the people around him. His relationship with his mother alternates between anger and regret while he struggles to take up a rapport with single mom Greta and her small daughter. Instead, he feels drawn to mysterious Reiner who fuels his sense of rage towards a society that seemingly refuses to see his true potential. 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Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"ford_minotaur","ok":true,"partial":false,"title":"Johnny Minotaur","artist":"Charles Henri Ford","year":"1971","startOffset":60.041,"sourceSecs":4777.209,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":493038392,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ford_minotaur/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ford_minotaur/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ford_minotaur/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ford_minotaur/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Surrealist poet and artist Charles Henri Fords 1971 film, 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Hungarian poet and translator István Eörsi journeys to New York City to meet literary legend Allen Ginsberg. 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A highlight of the film is Ginsberg reading his masterpieces \"Howl\" and Kaddish.\" If you have an interest in American poetry or Beat culture, then The Life and Times of Allen Ginsberg might serve a tasteful, if overly deferential, survey of one of the more colorful artists of the last half century.\n\nFor all the prose that I've taught over the years, I've never been much for poetry. There are only a handful of poets that I can genuinely say I enjoy, or whose work I would even go out of my way to collect and read. On that short list is Allen Ginsberg. Part of his appeal, for me at least, is the sheer weight of his personality. Ginsberg always gave his poetry readings a passion and energy that brings the work off the page. His work is meant to be performed, as a prophetic call. He is the successor to William Blake, Walt Whitman, and William Carlos Williams—a fusion of the great poet of the spirit, the poet of the body, and the poet of the real.\n\nGinsberg is a poet whose personal life is crucial to understanding his work. His best poem, the intense Kaddish, works through the dual mental collapses of his mother and himself. He calls it \"poetic paranoia,\" and its toll on his mind has always pushed him beyond mere self-indulgence and into a political consciousness that made him the most important voice of that fragmented and nomadic group once known as the \"Beats.\" He was also the most successful of his contemporaries at imitating that jazz rhythm that drove their work. This is the key to Ginsberg's poetics: it looks improvisational, random. But a quick glance at his notes for the seminal Howl reveals that he was a craftsman with the ability to make his work appear spontaneous.\n\nDocumentary filmmaker Jerry Aronson traces The Life and Times of Allen Ginsberg in a fast-moving 84 minutes. Aronson's documentary is organized more or less chronologically by decade, but like Ginsberg's work, it seems to ramble, made up as a collage of interview clips, photographs, and poetry readings. The rambling nature of the film makes it somewhat inaccessible for newcomers, and The Life and Times of Allen Ginsberg is really less a straightforward biography than a meandering tour through the soul of the poet, much like his own poetry. For instance, there is little context provided to explain, say, the significance of Neal Cassady, the macho muse of the Beat circle. If you have not read On the Road (where Cassady appears as the heroic Dean Moriarty) or a history of the Beats, you might not be able to follow how these strange characters—Cassady, Kerouac, William Burroughs, and the like—drifted into one another's' lives and managed to reshape American postwar literature. Ginsberg calls their art a \"united front of pure angelic poetry.\" Ginsberg's complex relationship with his mother, to provide another example, is explored through fragments the searing Kaddish, but if you haven't read the whole poem, you might find yourself wondering how the pieces—Naomi's madness, her \"strange prophecies\"—all fit together.\n\nSixties counterculture icons like Timothy Leary and Ken Kesey trace how their friendship with Ginsberg influenced the best minds of their generation. Ginsberg's vital work shifted its focus toward the psychedelic, toward experiments in altered consciousness (and—you guessed it—hallucinogenic drugs). Ginsberg also became a political force, showing up in Prague in 1965, in Chicago in 1968, and in other places where the action was.\n\nThe 1970s saw Ginsberg shift toward spiritualism, inspired perhaps by the gradual decline of his father (as opposed to the fiery insanity of his mother, which inspired the more muscular Kaddish). He also settled into a comfortable role as a canonical figure, recording albums with Philip Glass, playing college professor, publishing respectable poetry collections—a far cry from the protest rallies and obscenity trials of his youth. Just like his pal William Burroughs, Ginsberg seemed to groove on his quirky celebrity, winking through his public appearances and establishment accolades. But by that point, the public's memories of the Beats had blurred into cartoon depictions of beatniks. Aronson offers little in the film about the sexual politics in Ginsberg's poetry (and his role in the gay rights movement), other than a brief tribute to Ginsberg's longtime partner Peter Orlovsky near the end. And the overall tone, while moving and sympathetic, does not really give a critical appraisal of Ginsberg's place in the literary canon. Even as a fan and a defender of the poet, I felt the hagiographic tone got thick."},{"slug":"gmc_paris","ok":true,"partial":false,"title":"Sous-Sols de Paris (Paris Underground) (1977-2005)","artist":"Gordon Matta-Clark","year":"1977","startOffset":44.84,"sourceSecs":1532.08,"sourceHeight":540,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":307266076,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/gmc_paris/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/gmc_paris/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/gmc_paris/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/gmc_paris/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"In this film Matta-Clark explores underground Paris. The artist shows the complexity of underground spaces with scenes of architectural ruins, car parks, tunnels, ossuaries, cellars, crypts and basements in the Opera district. In French.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"grigorescu_ame","ok":true,"partial":false,"title":"Âme=Am","artist":"Ion Grigorescu","year":"1977","startOffset":5.08,"sourceSecs":911.84,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":200945143,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/grigorescu_ame/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/grigorescu_ame/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/grigorescu_ame/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/grigorescu_ame/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"groupe_dziga_vertov_tout_va_bien_iphone","ok":true,"partial":false,"title":"Tout va bien (Everything's Fine)","artist":"Jean-Luc Godard and Jean-Pierre Gorin","year":"1972","startOffset":16.058,"sourceSecs":5763.074,"sourceHeight":282,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":400283553,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/groupe_dziga_vertov_tout_va_bien_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/groupe_dziga_vertov_tout_va_bien_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/groupe_dziga_vertov_tout_va_bien_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/groupe_dziga_vertov_tout_va_bien_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"hammer_contribution","ok":true,"partial":false,"title":"Contribution to Light","artist":"Barbara Hammer","year":"1968","startOffset":59.958,"sourceSecs":222.375,"sourceHeight":360,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":16451469,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/hammer_contribution/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/hammer_contribution/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/hammer_contribution/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/hammer_contribution/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"1968, 3:42 min, color, silent, Super 8mm film on HD video\"\"Contribution to Light is all about my excitement and thrill at seeing reflected and refracted light. I shot the edges of pieces of found broken glass that streamed light rays broken into myriad colors. I saw, years later, a shared aesthetic in Stan Brakhage’s study of a crystal ashtray.\" — Barbara Hammer--\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"heartfield_photomontagist","ok":true,"partial":false,"title":"Heartfield, Photomontagist","artist":"Joe Lee","year":"1991","startOffset":60.04,"sourceSecs":2383.76,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":595132326,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/heartfield_photomontagist/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/heartfield_photomontagist/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/heartfield_photomontagist/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/heartfield_photomontagist/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Heartfield is a documentary about German graphic artist John Heartfield, who is thought by many to be the father of photomontage. Heartfield was a committed socialist and one of the first members of the German communist party in 1918. His pioneering anti-fascist work first appeared in Weimar Germany and had its origins in the anarchic Berlin DaDa movement post WWI. Heartfield associated with artists such as George Grozs, Hannah Hoch, Otto Dix, Raoul Hausmann Rodchenko, and play write and director Bertolt Brecht."},{"slug":"herbst_fotomonteur","ok":true,"partial":false,"title":"John Heartfield, Fotomonteur","artist":"Helmut Herbst","year":"1977","startOffset":5.04,"sourceSecs":3613.995,"sourceHeight":540,"sourceWidth":698,"hasAudio":true,"hasAmbientMp4":true,"bytes":594135678,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/herbst_fotomonteur/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/herbst_fotomonteur/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/herbst_fotomonteur/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/herbst_fotomonteur/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"A documentary which looks at Heartfield primarily as a political activist working in a specific historical context. It demonstrates this relationship by the use of documentary material, such as archive footage of inter-war Germany, in juxtaposition with Heartfield's works. (These are here frequently shown, as they are rarely reproduced, in their original format as magazine or book covers.) Far from manifesting an obsequious reverence for the works, the film takes the bold step, thoroughly justified by its results, of re-using the elements of Heartfield's montages for short snippets of photo-animation. It also documents artistic influences on Heartfield's work – Berlin Dada, which was in general more immediately political in nature than its Zurich counterpart, and George Grosz in particular – and includes a detailed demonstration of how the photomontages were produced and printed. 63 min."},{"slug":"ho_paul_guest_of_cindy_sherman_2008","ok":true,"partial":false,"title":"Guest of Cindy Sherman","artist":"Tom Donahue and Paul Hasegawa-Overacker","year":"2008","startOffset":0,"sourceSecs":5281.443,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":585727281,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ho_paul_guest_of_cindy_sherman_2008/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ho_paul_guest_of_cindy_sherman_2008/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ho_paul_guest_of_cindy_sherman_2008/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/ho_paul_guest_of_cindy_sherman_2008/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"Guest of Cindy Sherman takes an eye-opening look at what happens when a skeptical outsider finds himself romantically involved with the ultimate insider.\n\nPaul H-O became a fixture of the New York art scene in the 1990s with his public access show GalleryBeat. Armed with a video camera, he attended art gallery openings, amusing some with his candid, witty assessments of their work, but also winning many fans. Among the latter was Cindy Sherman, the press-shy artist who is internationally acknowledged as one of the world’s most gifted and significant visual talents. Cindy invites Paul to her studio for a series of exclusive interviews and through these videotaped encounters, he gains unprecedented insight into her artistic process and a romantic relationship blossoms. Their initial bliss ends when Paul finds himself wracked with anxiety about his own personality becoming subsumed by his role as Cindy's guest at the celebrity-studded openings and dinners she regularly attends.\n\nFilmed over 15 years and including interviews with a veritable who's who of the art and entertainment world (including Ingrid Sischy, John Waters, Robert Longo, Carol Kane, David Furnish, Danny DeVito, and Molly Ringwald), the film paints a vivid picture of the New York art scene that is also a witty, illuminating look at celebrity, male anxiety, and art.\n\n\"\"At once a fascinating behind-the-scenes glimpse, bittersweet autobiography and witty trip down art-world memory lane...\"\n\n\"\"Guest of Cindy Sherman\" was how co-helmer Paul H-O found himself described on a seating card one night at some glitzy art-world dinner...\"\n\n\"\"As soon as \"Guest of Cindy Sherman\" ended, I wanted to see it again for its high entertainment value and to determine better what I had just witnessed.\"\n\n\"\"Yes, the filmmaker Paul Hasegawa-Overacker, a k a Paul H-O, was at it again, provoking people, and preserving the resulting exchanges for posterity, on his show “Gallery Beat.\""},{"slug":"holt_nancy_going_around_in_circles","ok":true,"partial":false,"title":"Going Around in Circles","artist":"Nancy Holt","year":"1973","startOffset":59.967,"sourceSecs":920.439,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":47016952,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/holt_nancy_going_around_in_circles/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/holt_nancy_going_around_in_circles/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/holt_nancy_going_around_in_circles/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/holt_nancy_going_around_in_circles/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Going Around in Circles is an early video experiment in which Holt explores perception and point of view. A board in which five circular holes have been cut has been placed in front of the camera. Through the holes, which are covered and uncovered, five subjects are seen moving between five points, turning in circles, and following instructions. The artist and her subjects are heard discussing their experience of the performance, how it is perceived on the ground and through the playback monitor, and the different scales and viewpoints created.\n\nWith: Jim Braddick, Stephen Button, Nancy Holt, Bruce Kurtz, Tom Litrin, John Miller, Peter Napoli. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"home_stewart_installation_1988","ok":false,"partial":true,"title":"Installations","artist":"Stewart Home","year":"1988","startOffset":0,"sourceSecs":38.955,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":4227,"posterUrl":null,"ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/home_stewart_installation_1988/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/home_stewart_installation_1988/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/home_stewart_installation_1988/main/master.m3u8","downloadUrl":null,"hasFrames":true,"description":"Slides from the shows \"Ruins of Glamour/Glamour of Ruins\" at Chisenhale Gallery (London, December 1996) and \"Desire In Ruins\" at Transmission Gallery (Glasgow, May 87), with footage from Refuse at Galleriet Lederfabriken (Malmo, October-November 1988); these were collective shows featuring Stewart Home, Stefan Szczelkun, Gabrielle Quinn, Tom McGlynn, Andy Hopton, Art In Ruins (Hannah Vowles & Glyn Banks), Denise Hawrysio, Ed Baxter and Simon Dickason (Quinn and McGlynn only participated in the first show, Hawrysio only participated in the third of these shows, Szczelkun dropped out after doing the first two). This was put together in 1988 at the same time as the Refuse video, see also the comments on that."},{"slug":"hopinka_jaaji","ok":true,"partial":false,"title":"Jáaji Approx.","artist":"Sky Hopinka","year":"2016","startOffset":3.083,"sourceSecs":458.625,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":252158705,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/hopinka_jaaji/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/hopinka_jaaji/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/hopinka_jaaji/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/hopinka_jaaji/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Against landscapes that the artist and his father traversed, audio of the father in the Ho-Chunk language is transcribed using the International Phonetic Alphabet, which tapers off, narrowing the distance between recorder and recordings, new and traditional, memory and song."},{"slug":"johns_hanafuda","ok":true,"partial":false,"title":"Hanafuda / Jasper Johns","artist":"Katy Martin","year":"1981","startOffset":60.041,"sourceSecs":2094.459,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":178051599,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johns_hanafuda/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johns_hanafuda/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johns_hanafuda/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johns_hanafuda/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"\"HANAFUDA observes the artist, Jasper Johns, and the master Japanese silkscreen printers at Simca Print Artists, as they created three different images from Johns USUYUKI and CICADA series. For me, the camera was a pretext for an in-depth apprenticeship. The finished film recapitulates my process of learning, gleaned over time, as I observed Johns and the printers at work. What I wanted to know was how one generates a work of art and, for that matter, what is art, what work is involved, and how do ideas as opposed to physical labor drive the decision making process. The films became a meditation on art and craft, as well as on the dialectic of mind and body, concept and actual work.\" - Katy Martin."},{"slug":"johnson_bs_archive","ok":true,"partial":false,"title":"The B.S. Johnson Papers: British Library Archive Interview (undated)","artist":"B.S. Johnson","year":"1971","startOffset":18.416,"sourceSecs":931.917,"sourceHeight":506,"sourceWidth":960,"hasAudio":true,"hasAmbientMp4":true,"bytes":96055759,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johnson_bs_archive/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johnson_bs_archive/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johnson_bs_archive/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johnson_bs_archive/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Beyond the Unfortunates by Laurence Byrne, Curator Printed Heritage Collections.\n\n50 years ago, in 1969, B. S. Johnson published a novel about a sports writer assailed by memories of a deceased friend as he attempts to report on a football match. The Unfortunates was Johnson’s fourth novel and was not as well received as his previous work, getting a ‘fine clobbering’ in the press, according to Hugh Hebert’s sympathetic appraisal in the Guardian (13 March 1969). The novel comes in a box with 27 removable chapters of which only the first and last are marked – the reader must choose which in which order to read the 25 chapters in-between – and much of the criticism apparently centred on the novel’s formal experimentalism. Perhaps taking this criticism to heart, at some point, the first edition held by the Library had each chapter numbered in pencil by a librarian seeking to shelter readers from the novel’s aleatoric possibilities.\n\nReprinted in 1999 with an introduction by Johnson’s biographer Jonathan Coe, the work found a more favourable audience. William Leith wrote: “In its way, this is brilliant - it is the best evocation of small- time misery I have ever read.” (The Daily Telegraph, 23 October 1999). Thanks to the efforts of supporters such as Coe, Johnson has since gone from being a largely forgotten (and out-of-print) author to occupying a central place in the history of British experimental (a term he regarded as ‘the dirtiest of words’) fiction, with The Unfortunates now regarded as a seminal achievement. In 2008, the British Library acquired a large archive of B. S. Johnson’s papers.\n\nAlthough welcome, Johnson’s re-evaluation has been so comprehensive that his legacy now obscures somewhat the writers with whom he was once associated. Figures such as Christine Brooke-Rose, Alan Burns, Jeff Nutall, Stefan Themerson and Reyner Heppenstall are perhaps still amongst the better known experimental writers of the time, but during the late-1960s up until the mid-1970s a much wider range of authors than is commonly cited were producing novels which were experimental in different ways. *\n\nOf course the definition of ‘experimental’ is of very much up-for-grabs, and many of the writers included here had a difficult relationship with the term. However, all of these works in some way foreground innovative techniques, both in terms of their form or narrative, and often both. Several of the authors mentioned contributed to the ‘group novel’ London Consequences [RF.2012.a.147] (which Johnson co-edited with Margaret Drabble). The fact that they were able to call on 18 contributors is further evidence that there was a keen interest in experimental writing in Britain during the period. Indeed, Drabble herself published arguably her most innovative work The Waterfall [Cup.410.g.596] in 1969.\n\nEva Figes contributed to London Consequences and is perhaps one of the authors (along with Drabble) who is most familiar to readers today. The BL acquired an archive of drafts and working papers relating to Figes’s fourteen novels in 2009. In the same year as The Unfortunates, Figes published Konek Landing [Nov.14015] a work which, like Johnson’s, utilises intertextuality and temporal confusion to represent the trauma of memory – like Figes herself, the protagonist Stefan Konek is a holocaust survivor.\n\nAnother notable contributor to the group novel was Wilson Harris. In his writing during this period – and particularly the 1970 novel Ascent to Omai [Nov.14851] – Harris continually works to destabilise novelistic convention in order to subvert what he the “novel of persuasion” – that is a form of literature which makes use of common sense and “fashionable judgements” to both reflect and maintain a particular fixed perspective on the world. In Ascent to Omai, Harris employs unexpected combinations of words and ideas in order to allow for binary judgements to be dissolved and new associations to occur.\n\nThe malleability of time and space in Harris’s work brings to mind the genre of science fiction, or slipstream. Indeed, during this period, Brian Aldiss (Barefoot in the head, 1969 [Nov.14184]) Angela Carter (Heroes and villains, 1969 [Nov.14699]) and Anna Kavan published works which consciously utilised innovative literary techniques within a science fiction framework. The setting for Kavan’s Ice [Nov.10580] is an apocalyptic world encroached upon by a monolithic ice-shelf. It is an intensely experimental work which seeks to question the inevitability of patriarchal violence through repeated shifts in narrative perspective, leaving the reader to question the ‘reality’ of what is being described to us.\n\nPublished two years later, Passages (1969) [Nov.13283.] shares a number of similarities with Ice. Ann Quin’s third novel takes place in an unspecified country, apparently under the control of a violent military government, where the novel’s nameless protagonists (a man and a woman) seem to be searching for the woman’s missing brother. Quin’s writing is stark and elliptical and, like Kavan, the narrative often shifts perspective mid-paragraph – an experimental technique which conveys an intimate sense of disorientation and upheaval.\n\nA similar sense of puzzlement pervades In Transit (1969) [Nov.14383], which finds the unreliable narrator trapped in an airport and in a state of uncertainty about their gender. Brigid Brophy employs a dense interior narrative, full of puns and language games (in several different languages) and formal experimentation – including multiple-choice sentences and pages divided into columns. The novel is an acerbic examination of the structures of both personal and political identity, where linguistic trickery works to disturb a number of assumptions and certainties on which these structures are founded.\n\nBeryl Gilroy’s Black Teacher (1976) [X.529/31034] is often considered a work of autobiographical writing. However, Sandra Courtman’s Discovering literature article argued that the work is “an experiment with an intermediary form – somewhere between fiction and autobiography, with a distinct non-linear structure.” Indeed, the narrator voice of the text moves between first and third-person at different moments, perhaps reflective of the way in which Gilroy’s own identity was formed and re-formed in the midst of the challenging circumstances she faced.\n\nAll of this is not to say that The Unfortunates does not deserve to be seen as a landmark of experimental writing in Britain, rather it is the case that Johnson was writing within a context in which experimental / innovative techniques were being more widely employed than ever before.\n\n*Other works which for the sake of space could not be included were Bogies (1972), Rosalind Belben [Nov.18729]; Run, come see Jerusalem (1968), David Coxhead [Nov.12845]; Langrishe, go down (1996), Aidan Higgins [X.908/13486]; The Gasteropod (1968), Maggie Ross [Nov.12300]; All the usual hours of sleeping (1969) Penelope Shuttle [Nov.13304]; and Vacation (1972) Alan Sheridan [Nov.18928]\n\nBooth, Francis Amongst those left: the British experimental novel 1940-1980 (London: Dalkey Archive Press, 2019). [Shelfmark forthcoming]\n\nFriedman, Ellen G., and Miriam Fuchs, eds. Breaking the Sequence: Women's Experimental Fiction. (London: Princeton University Press, 1989). [YH.1990.b.128]\n\nJordan, Julia, and Ryle, Martin, eds. B.S. Johnson and Post-War Literature: Possibilities of the Avant-Garde (London: Palgrave, 2014). [YC.2014.a.11127]"},{"slug":"johnson_bs_poem_1971","ok":true,"partial":false,"title":"On Reflection: B.S. Johnson on Dr. Samuel Johnson","artist":"B.S. Johnson","year":"1971","startOffset":0,"sourceSecs":73.302,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":13314162,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johnson_bs_poem_1971/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johnson_bs_poem_1971/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johnson_bs_poem_1971/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/johnson_bs_poem_1971/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Although perhaps best known for ground-breaking novels such as The Unfortunates and Christy Malry’s Own Double-Entry, BS Johnson was also the director a number of a number of extraordinary and daring films that have been out of circulation for decades. You’re Human Like the Rest of Them brings these rare and fascinating works - experimental shorts, humorous animation, provocative agitprop and uniquely personal documentaries - together for the first time, revealing Johnson to have been as radical and inventive a filmmaker as he was a writer. From his award-winning 1967 experimental film You’re Human Like the Rest of Them, which was based on his own poem, written in decasyllabics, to his ground-breaking TV films, including The Unfortunates (BBC) and the extraordinary Fat Man on a Beach (HTV), Johnson’s work is fuelled by his passionate belief in the power of words and images to convey the truth of our existence, and is filled with his infectious sense of humour. Amongst the ten premiere presentations in this unique collection is Not Counting the Savages, Johnson's uncompromising 1972 TV play, directed by Mike Newell. Considered lost for decades, it is presented from the only surviving material a black and white video recording discovered only a few months ago in the Johnson family home.\n\nB. S. Johnson on Dr. Samuel Johnson (1972, 26 mins): a learned and full-bodied appreciation of the great writer."},{"slug":"kac_adhuc_holopoem_1991_iphone","ok":false,"partial":true,"title":"Adhuc, 1991","artist":"Eduardo Kac","year":"1991","startOffset":0,"sourceSecs":45.6,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":4087,"posterUrl":null,"ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kac_adhuc_holopoem_1991_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kac_adhuc_holopoem_1991_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kac_adhuc_holopoem_1991_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Caption: Eduardo Kac, Adhuc, 12 x 16 inches (30 X 40 cm), digital holopoem, 1991, edition of 3. Collection Jonathan Ross , London; Collection Karas, Madrid; Collection Vito Orazem and Söke Dinkla, Essen, Germany. In Adhuc, as the viewer moves relative to the poem trying to read it, she perceives the manifold choreography of the basic words of the piece (\"whenever\", \"four years\", \"or never\", \"far eve\", \"forever\", \"evening\"). All the words refer to time in varying ways, contributing to an overall vagueness that could resist assessment at first sight. The muddled interference patterns that blend with the words help to create an atmosphere of uncertainty, not only concerning the visibility of the words but also about the meanings they ephemerally evoke. Adhuc is presented here as video documentation of an interactive reading experience."},{"slug":"kac_insect_desperto_digitalpoem_1995_iphone","ok":false,"partial":true,"title":"Insect.Desperto","artist":"Eduardo Kac","year":"1995","startOffset":0,"sourceSecs":26.5,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":4126,"posterUrl":null,"ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kac_insect_desperto_digitalpoem_1995_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kac_insect_desperto_digitalpoem_1995_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kac_insect_desperto_digitalpoem_1995_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Runtime animation in which the visual and sound tracks function independently and complementarily in two languages (English and Portuguese), one not being the translation of the other. \"Desperto\" means \"awaken\" in Portuguese."},{"slug":"kac_reabracadabra_digitalpoem_1985_iphone","ok":true,"partial":false,"title":"Reabracadabra, 1985","artist":"Eduardo Kac","year":"1985","startOffset":49.233,"sourceSecs":49.267,"sourceHeight":240,"sourceWidth":320,"hasAudio":false,"hasAmbientMp4":true,"bytes":7086,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kac_reabracadabra_digitalpoem_1985_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kac_reabracadabra_digitalpoem_1985_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kac_reabracadabra_digitalpoem_1985_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kac_reabracadabra_digitalpoem_1985_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Minitel animated poem shown online in 1985 in the group exhibition \"Arte On-Line\", a minitel art gallery presented by Companhia Telefônica de São Paulo. An incantatory word of Kaballistic resonance is rendered as a cosmic monolith following the atomic model (the vowel as nucleus and the consonants as orbiting particles)."},{"slug":"kantor_tadeusz_the_theatre_of_tadeusz_kantor_documentary_1985_iphone","ok":true,"partial":false,"title":"The Theatre of Tadeusz Kantor - Documentary","artist":"Tadeusz Kantor","year":"1985","startOffset":0,"sourceSecs":8682.107,"sourceHeight":320,"sourceWidth":422,"hasAudio":true,"hasAmbientMp4":true,"bytes":461970472,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kantor_tadeusz_the_theatre_of_tadeusz_kantor_documentary_1985_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kantor_tadeusz_the_theatre_of_tadeusz_kantor_documentary_1985_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kantor_tadeusz_the_theatre_of_tadeusz_kantor_documentary_1985_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/kantor_tadeusz_the_theatre_of_tadeusz_kantor_documentary_1985_iphone/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true},{"slug":"kilimnik_heathers","ok":true,"partial":false,"title":"Heathers","artist":"Karen Kilimnik","year":"1994","startOffset":0,"sourceSecs":12220.182,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":1237940339,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kilimnik_heathers/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kilimnik_heathers/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kilimnik_heathers/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kilimnik_heathers/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Karen Kilimnik's video Heathers, produced in 1994 and presented in an austere and sepulchral physical environment, is based on the cult American satire Heathers (1989), directed by Michael Lehmann and starring Winona Ryder and Christian Slater, who were at the time idols to a generation of angst-ridden youth.\n\nThe original motion picture is a dark and humorous story of teenage conformity and rebellion in picket-fence America. The title refers to three girls of the same name who, with their friend Veronica (Ryder), are at the pinnacle of the high school hierarchy. Just as Veronica begins to question the wisdom of her association with the Heathers she encounters and becomes lovers with a deterministically named juvenile delinquent called J.D. (Slater), whose anarchic and irreverent attitude to responsibility and authority results in a trail of bloodshed, starting with two of the Heathers.\n\nAs an acid dramatization of the social and sexual confusions of adolescence and young adulthood, the original Heathers chimes with Karen Kilimnik's fascination with the uncanny nature of white American mainstream society, trash culture and the emotional, fragile world of teenagers. Kilimnik's artistic remix of the original is directly filmed off a television monitor, and extends the original three hours long thriller into a six hours tour-de-force artwork by slowing down, freeze framing, fast forwarding, rewinding and repeating individual scenes, sometimes ad nauseam.\n\nLike Kilimnik's painting practice, Heathers reveals an ambiguous attitude towards the clichéd woman of American mass media, an attitude that sits intriguingly between fetishisation and critique. By breaking up the narrative structure of the film into separate scenes, Kilimnik shifts the viewer's attention away from the storyline towards a non-linear constellation of key moments, including the opening scene and its famous quote, \"What's your damage, Heather?\"\n\nThe fragmentation of narrative also places more focus on the female stars, invoking a critical tradition which identifies the representation of female sexuality in classical Hollywood film as constructed around the still image, the pause or pose, which invites the spectator to contemplate woman as a visual spectacle.\n\nHeathers locates Kilimnik not only in a particular kind of feminist tradition, but also within a specific generation of artists' film and video makers. Kilimnik, like other mid-1990s artists, was fascinated by the advent of digital technology and the way it exposed the limits and the unique qualities of celluloid film and its aesthetics. For Kilimnik, DVD and video technology are based on and encourage a fetish of spectatorship, because they offer the possibility of scene selection, freeze frame, slow motion and other tools which push the spectator out of the \"passive\" cinema seat into a position of play and control. By extracting short film sequences from the linear narrative of the film, and by repeating them over and over again, Kilimnik exemplifies the concept of the so-called \"possessive spectator\" of the digital age, whose desire to interrogate, possess and hold the elusive image generates a new form of compulsive repetition.\n\nHeathers is viewed in a chapel-like room, a context which deliberately alludes to the funeral scene in the film. The sacred and reverential atmosphere of the installation environment, with screen as altar, also subtly and humorously points towards the worship of the Hollywood idol that so fascinates Kilimnik. This sense of kitsch morbidity and awe typifies Kilimnik's use of exaggeration and irony, which have long been central to her artistic practice."},{"slug":"kraus_golden","ok":true,"partial":false,"title":"The Golden Bowl or Repression (1984/88)","artist":"Chris Kraus","year":"1984","startOffset":48.448,"sourceSecs":743.41,"sourceHeight":540,"sourceWidth":710,"hasAudio":true,"hasAmbientMp4":true,"bytes":137394557,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kraus_golden/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kraus_golden/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kraus_golden/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kraus_golden/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"In The Golden Bowl or Repression (1984/88), inspired partly by the Henry James novel, you can feel the hangover of '70s New York: bankruptcy, dereliction, Patti Smith punk-poetry; images of empty rooms and silent people not connecting, even when they're having sex."},{"slug":"kurenniemi_erkki_dawn_of_dimi_1971","ok":true,"partial":false,"title":"Dawn of Dimi","artist":"Erkki Kurenniemi","year":"2002","startOffset":0,"sourceSecs":639.2,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":185461228,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kurenniemi_erkki_dawn_of_dimi_1971/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kurenniemi_erkki_dawn_of_dimi_1971/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kurenniemi_erkki_dawn_of_dimi_1971/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/kurenniemi_erkki_dawn_of_dimi_1971/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"The DVD entitled The Dawn of DIMI is a tribute to the work of the Finnish artist Erkki Kurenniemi (b. 1941). Over the last 40 years, he has been experimental filmmaker, scientist, composer, inventor of instruments, artificial intelligence researcher, visionary, and unsung pioneer of electronic art. This multimedia work reflects his interests in the relation between science and nature: robotics, nuclear science, computer’s architecture, biotechnology, nanoscience, ubiquitous computing, alternative physical interfaces, computer games, computer’s memory, life on the space, and prosthetic technologies.\n\nThe Dawn of DIMI includes a brilliant documentary, directed by Mike Taanila, about his life, originally released as The Future Is Not what it Used to Be; in this documentary you can find a chronological description of Kurenniemi’s life, ideas, experimental films, and self-documenting manias.\n\nThe movie discusses metaphors in which the soul can be compared with software, and therefore cannot die. On the contrary, the body is an ephemeral hardware product of evolution, in the future quantum computers will be able to store our personalities and liberate us of our fragile bodies to be uploaded into a machine, hence his obsession about storing images, sounds, video or text about his life on a daily basis. Turning life into a database, the preparation of such databody, is the first step towards immortality.\n\nKurenniemi also founded the Music studio at the University of Helsinki in the 1960’s. This studio is detailed in the extras section of the DVD. You can see interviews when he was young and concerned about the future of electronic music, its virtues in front of traditional music, and the fact that compositions are no longer unique because the musicians will resemble industrial designers and trendsetters. And in the funny film Computer Music (1966), he explains how computers will generate \"hyperpersonas\" and how electronic music arose from hacking technology built for other purposes. In the documentary you can also find the experimental films Winterreise (1963), Flora and Fauna (1965), On—Off (1963), Andromatic (1968), Feel it Exhibition (1968), Carnaby Street (1968), Florence (1970), Sex Show (1971), DIMI Ballet (1971), Act Without Words (1972), University of Oslo: Study of Technological Impact on Cohesion, Dissolution, and Innovation of Multimedia Expressions in the Theatre (1972), and if you see the ones entitled Electronics in the World of Tomorrow (1964), Computers at Our Service (1964), and Frozen Foods (1969) you can infer why The Future Is Not What It Used To Be is a great title.\n\nAs an inventor, he built various instruments that are all in action in the section \"Pan Sonic plays Kurenniemi,\" and documented in extras/instruments: Electric Quartet (1968), an instrument who should be played by four people simultaneously. It is a combination of a drum machine, violin machine, voice machine, and melody machine. His first synthesizer, called the Andromatic, was followed by the DIMI-A (Digital Music Instrument, Associative Memory 1969), which had the special ability to retrieve audio-data based in the content of the memory rather than its address number. It was able to recall about 500 actions. The DIMI-S (sexophone, 1972) a group of three to four people with sensors in their hands created music by touching each other’s skin, the harder the touch the higher the sound. It could be considered one of the original cybersex works that at the same time was an experiment in physical interfaces alternative to keyboards.\n\nAnother interesting instrument was DIMI\\—O (Digital Music Instrument, optical input 1971) is a video organ that uses a camera as an input device for an organ so that dancers can perform while they create music. This work preceded David Rokeby’s interactive installation works as Reflection (1983), and Very Nervous System (1986). Hence, he can be counted in the select group of electronic arts pioneers, such as Myron Krueger’s Videoplace (1969).\n\nKurenniemi is fascinated with the unsolved and open questions about memory, evolution, and immortality in regard to technological advances that will change life, as we know it. Some of his ideas might seem eccentric but are originated from his strong scientific background that gives rise to his imagination. No wonder he is an inventor and visionary——he is a dreamer that likes to think that utopias are possible even though he is well ware of the limitations of science."},{"slug":"lacan_psychanalyse","ok":true,"partial":false,"title":"Psychanalyse I and II","artist":"Benoît Jacquot","year":"1973","startOffset":27.04,"sourceSecs":5832.84,"sourceHeight":540,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":781323140,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/lacan_psychanalyse/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/lacan_psychanalyse/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/lacan_psychanalyse/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/lacan_psychanalyse/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"In 1973 Benoit Jacquot shot two films on Jacques Lacan, Psychanalyse I and II, broadcast on French television the same year. Les Éditions du Seuil published the text the following year; the English version appeared in 1990 under the imprint of W.W. Norton.\n\nThe Institut National de l’Audovisuel (at that time called the Service de la Recherche at the O.R.T.F.) was headed by Pierre Schaeffer who was fond of making films about major thinkers. Contrary to others who freely participated, Lacan always avoided any association with television. Since I worked closely with Schaeffer, I talked him into this project — to make a film on or about Lacan. “You can always try,” he said, “if you succeed, so much the better!”\n\nIn those days Écrits was the only text available for reading and it had made a strong impression on me — I was very much taken with it. I had the intuition to bypass Lacan himself and instead reach Jacques-Alain Miller, whom I did not know personally, and ask him if he was interested in working with me on a film about Lacan. He was very polite but gave me a Normand’s answer: He would be interested only if Doctor Lacan was. He suggested I call Lacan and inform him about our conversation. Lacan said I should meet him at his office, but he probably forgot about it, because when I arrived I had to wait until his last patient left in order to speak with him. The idea of making a film with Miller convinced him. And then, owing to the fact that he almost never watched television, I told him how psychoanalysis was treated — or rather mistreated — particularly in a program broadcast a few weeks before with an eminent psychoanalyst who happened to be one of his disciples. He was thoroughly flabbergasted and this gave him one more reason to agree, to make his mark apropos of what could be done in the name of psychoanalysis."},{"slug":"leckey_flux","ok":true,"partial":false,"title":"Flux","artist":"Mark Leckey","year":"2008","startOffset":23.96,"sourceSecs":24,"sourceHeight":360,"sourceWidth":640,"hasAudio":false,"hasAmbientMp4":true,"bytes":15437,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/leckey_flux/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/leckey_flux/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/leckey_flux/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/leckey_flux/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"legrice_emily","ok":true,"partial":false,"title":"Emily - Third Party Speculation","artist":"Malcolm Le Grice","year":"1979","startOffset":60.041,"sourceSecs":3732.417,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":221094746,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/legrice_emily/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/legrice_emily/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/legrice_emily/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/legrice_emily/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"All my work in the last five or six years has concerned itself increasingly with the condition of the spectator.\n\nWithout making the development seem too consistent, too programmatic, where After Manet concentrated on the spectator's construction of space and Blackbird Descending focused primarily on temporal construction, Emily attempts to bring out the problems of identification. The film revolves around a primary cinematic problem of the psychological space moved through in the spectator's attempt to construct the film's relations.\n\nAs a psychological 'space' my own tendency as a filmmaker to locate a film's 'materialism' within the physics of its time and space has been greatly stretched by this project. In one sense, the film attempts to isolate a moment - which exists outside of space and time the moment in which the point of attention shifts or is shifted in expectancy. As this moment is intrinsically fugitive it is constantly prepared for observation and constantly missed in the rapidity of its transformation, its deflection to its apparent object. - M.L.G. London Filmmakers' Co-op Catalogue 1997. --\n\nfor further information about this artist and work. The LUX site offers extensive resources for curators, students, artists and educators."},{"slug":"legrice_microdot","ok":true,"partial":false,"title":"Spot the Microdot","artist":"Malcolm Le Grice","year":"1979","startOffset":60.041,"sourceSecs":504.084,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":87874147,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/legrice_microdot/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/legrice_microdot/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/legrice_microdot/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/legrice_microdot/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"This film is made basically by punching circular holes into fully opaque film stock (16mm magnetic sound recording film), and laying discs of colour film into some of the punched holes.\n\nThe holes are punched in a series of mathematically controlled systems, and the choices of colour etc are largely used to identify these systems. The use of opaque film is essential to allow the maximum difference between image and the absence of it. It is a film which is concerend with primarily exploring the links between perceptual experience, and the conceptual structuring of that experience. This is the most 'scientific' or objective film I have yet made, exploring most directly the possiblitiy of the link between a performance, and an 'experimental' attitude in the viewer of the film. M.L.G. 1970. --\n\nfor further information about this artist and work. The LUX site offers extensive resources for curators, students, artists and educators."},{"slug":"mangolte_babette_richard_serra_1977","ok":true,"partial":false,"title":"A film portrait of Richard Serra","artist":"Babette Mangolte","year":"1977","startOffset":59.967,"sourceSecs":352.467,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":71174486,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/mangolte_babette_richard_serra_1977/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/mangolte_babette_richard_serra_1977/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/mangolte_babette_richard_serra_1977/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/mangolte_babette_richard_serra_1977/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"manupelli_george_cry_dr_chicago","ok":true,"partial":false,"title":"Cry Dr. Chicago","artist":"George Manupelli","year":"1971","startOffset":0,"sourceSecs":5803.503,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":971753742,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/manupelli_george_cry_dr_chicago/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/manupelli_george_cry_dr_chicago/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/manupelli_george_cry_dr_chicago/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/manupelli_george_cry_dr_chicago/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"SEE STEVE PAXTON tongue-kiss a frog in George Manupelli’s Cry Dr. Chicago (1971), See Paxton’s extended death scene in which he staggers through the grass, an arrow piercing his heart, before falling face first in a stream. It’s as bravura an example of giving up the ghost as Laurence Olivier’s famed swan dive at the end of Hamlet (1948), except that Paxton is poised on the tipping point of satire. Deadpan satire, of course.\n\nPaxton aside, there’s nothing sufficiently alluring about Cry Dr. Chicago to separate anyone from their Twitter feed on election night. Newly preserved by Anthology and programmed as part of the Judson Dance Theater’s fiftieth anniversary, it seems as lugubrious and sophomoric as it did four decades ago. That said, the movie is not without historic interest, primarily as documentation of members of the art collective, the ONCE Group who collaborated with Manupelli on what was in fact a Dr. Chicago feature film trilogy, Cry Dr. Chicago being the third and the only one shot in color. (The films are available on DVD individually and as a boxed set. Paxton fans take note: He is equally fascinating in all three, looking like a combination of a small-town college quarterback and a Pasolini Christ figure.)\n\nThe premise of the trilogy is that Dr. Chicago (Alvin Lucier), a sex-change surgeon, is perpetually on the lam, fleeing the Feds and, in Cry Dr. Chicago, hotly pursued by his nemesis, a French gangster–cum–business tycoon (Claude Kipnis). Dr. Chicago is never a pretty picture, with his moth-eaten black felt hat and ill-fitting shades, his lopsided moustache and his stringy, unwashed hair grazing his shoulders. He’s always accompanied by an entourage of nubile women, among them his sullen, chain-smoking assistant Sheila (Mary Ashley). Chicago and Sheila are most frequently seen side by side, fully clothed, in bed, while around them other women and Steve (Paxton), a mute backwoods healer, strip down to their skivvies as the camera lens zooms toward and settles near their flailing thighs.\n\nThe Chicago trilogy was directed, shot, and edited by Manupelli, who is more justly famed as the founder of the Ann Arbor Experimental Film Festival. He taught at the University of Michigan in the School of Art and Design, where the ONCE Group was partly based. Although he is an accomplished cinematographer with an eye for surreal decorative detail, Manupelli owes more than he probably would want to admit to Warhol’s mid-1960s talkies: the absurd premise, the ridiculous professionalism of the central character, the paranoid vision of the establishment, the minimal camera strategy (master shots punctuated by the occasional lackadaisical pan, tilt, or zoom), and, most notably, the improvised dialogue. In the Dr. Chicago movies, the titular Doc does most of the talking, and, to put it mildly, Lucier is no Ondine or Viva. It’s only in the area of sound recording and design (both credited to the composer Robert Ashley) that Manupelli gets the better of Warhol. But with dialogue as lame as Dr. Chicago’s, that’s a mixed blessing."},{"slug":"menken_notes","ok":true,"partial":false,"title":"Notes on Marie Menken","artist":"Martina Kudláček","year":"2006","startOffset":0,"sourceSecs":5846.04,"sourceHeight":540,"sourceWidth":718,"hasAudio":true,"hasAmbientMp4":true,"bytes":1179319554,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/menken_notes/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/menken_notes/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/menken_notes/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/menken_notes/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Notes on Marie Menken explores the almost forgotten story of the legendary artist Marie Menken (1909-1970) who became one of New York´s outstanding underground experimental filmmakers of the 1940s through the 1960s, inspiring artists such as Stan Brakhage, Andy Warhol, Jonas Mekas, Kenneth Anger, and Gerard Malanga. She was a probable role model of Edward Albee´s \"Who´s Afraid of Virginia Woolf?\" and ended up as a Warhol Superstar.\n\nThe documentary allows a glimpse into her social and artistic struggle and radical integrity, drawing the picture of a modern myth in personal diary style."},{"slug":"menken_sidewalks","ok":true,"partial":false,"title":"Sidewalks","artist":"Marie Menken","year":"1966","startOffset":59.958,"sourceSecs":349.834,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":false,"hasAmbientMp4":true,"bytes":289300221,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/menken_sidewalks/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/menken_sidewalks/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/menken_sidewalks/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/menken_sidewalks/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Looking down instead of around, while walking, finding the magic patterns in the pavements of a city."},{"slug":"meuhl_investment_1970","ok":true,"partial":false,"title":"Investmentfonds","artist":"Otto Muehl","year":"1970","startOffset":0,"sourceSecs":749.915,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":85243076,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/meuhl_investment_1970/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/meuhl_investment_1970/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/meuhl_investment_1970/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/meuhl_investment_1970/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"montano_anorexia","ok":true,"partial":false,"title":"Anorexia Nervosa","artist":"Linda Montano","year":"1981","startOffset":60.059,"sourceSecs":714.304,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":63052046,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/montano_anorexia/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/montano_anorexia/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/montano_anorexia/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/montano_anorexia/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Through the testimonies of five women, this video lays out the complex problem of anorexia, detailing how the disease develops as a response to both personal and societal pressures. The common thread in these accounts is how the disease clusters around a need to control one’s body, and how not-eating becomes a way to gain that control, with anxieties and frustrations being displaced onto a negative obsession with food. Perhaps the most disturbing issue raised by the video is the pleasure these women take in their self-starvation, the way in which the disease circulates back into itself in a cycle of self-destruction, bringing these women near-death, breaking them both physically and mentally. The last woman to speak is Montano herself, who describes her own bout with an eating disorder and how she became addicted to the “high” that comes from not eating."},{"slug":"montano_learning","ok":true,"partial":false,"title":"Learning to Talk","artist":"Linda Montano","year":"1978","startOffset":60.033,"sourceSecs":1348.234,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":121957998,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/montano_learning/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/montano_learning/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/montano_learning/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/montano_learning/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"This video is related to Seven Years of Living Art (a seven-year performance of personal endurance Montano began in December of 1984) and adopts the Zen Chakra system of seven centers as a structuring device. The adoption of the Chakra system arises from Montano's commitment to the study of Eastern culture and religion. Assuming seven different personae corresponding to the Chakra system--French woman (sexuality), nun (security), jazz singer (courage), country and western songwriter (love), neurosurgeon (will), Russian choreographer (intuition), karate black belt (bliss)--Montano questions the concept of wisdom in the Western world. Coupling serious meditation with country and western music, Montano shows how to internalize wisdom while surviving in a culture of comical stereotypes."},{"slug":"nares_james_rome_1978_iphone","ok":true,"partial":false,"title":"Rome '78","artist":"James Nares","year":"1978","startOffset":0,"sourceSecs":7142.169,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":1880321423,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/nares_james_rome_1978_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/nares_james_rome_1978_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nares_james_rome_1978_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/nares_james_rome_1978_iphone/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"\"\"Not far into Rome 78, James Nares's unlikely rendering of a sword-and-sandal costume drama on the minuscule format of Super-8 sound film, two soldiers clad in armor and togas lean against what one might generously imagine to be the walls of the Roman Senate, but is more likely a cheaply renovated East Village apartment. The pair discusses the increasingly erratic actions of Emperor Caligula without the genre's usual pseudo-Shakespearean gravitas; they sound like two deadbeat downtowners bullshitting at a bar. \"If he insists on fucking his sister, what do you expect?\" one asks. Well, the other says, \"her ass is pretty imperial.\"\n\nRarely screened, Rome 78—part of this week's James Nares retro at Anthology Film Archives—has nevertheless built up its own aura over the years, no doubt due to its subcultural provenance. The cast includes a crowd that the British-born Nares remembers today as \"all sort of downtown personalities\": James Chance and Pat Place of the Contortions (for which Nares himself played guitar), fellow musicians John Lurie and Lydia Lunch, club heroine Patti Astor, television survivor Lance Loud, and filmmaker Eric Mitchell. Today, Nares is best known as a painter: His large-brush abstractions partake of a coolly controlled happenstance that one might faintly relate to Rome 78's more ragged insouciance.\n\nPunctuated by in-camera flash-frames, off-kilter shots, and inappropriate laughter, Rome 78 (1978) embraces shabby-chic as a formal objective. Nares mocks up Ancient Rome by shooting in faux-classical sites like Grant's Tomb and Tribeca's American Thread Building, where a decrepit penthouse loft with a peeling-paint dome serves as an echoey stand-in for the imperial palace. The latter location required ingenuity: Posing as potential renters, Nares and associates asked the manager to show them the apartment, then unlocked the windows on the way out; a few hours later, they broke back into the space, full cast and crew in tow, to shoot the necessary scenes.\n\nAt every moment in the film, New York circa 1978 bleeds uncontrollably into a flimsy pretense of first-century Rome. Scheming courtiers allude to intrigues in Gaul, Brittany, and the Lower East Side; Mitchell chain-smokes while seducing a black-lingerie-clad Lunch on a zebra-skin rug; the Emperor himself—astonishingly portrayed by twitchy, gap-toothed ectomorph David McDermott—declares his own divinity at Grant's Tomb by screaming above the honks and engine rumbles of the West Side Highway.\n\nSeen now, Rome 78 collapses three layers of dead civilization: The script conveys the waning days of the Roman imperium; the sets evoke the Empire State's 19th-century robber-baron capitalism; and the cast memorializes the last days of urban bohemia's counter-kingdom. \"I don't think I was the first to draw a connection between the Roman Empire and the American empire,\" Nares states. \"At that time, it really felt like things were falling apart. A real 'decline and fall' seemed very obvious, with the blocks of abandoned buildings and so forth. It was an easy call, really . . . .\n\n\"\"It's my only attempt at a narrative film with actors. It has its moments—quite funny at times, quite beautiful at times, too. But it doesn't interest me so much now.\" Rome 78 emerged at a time when Nares, Mitchell, and other alumni of the East Village art collective CoLab ran the 50-seat storefront New Cinema on St. Marks, a short-lived but influential attempt at creating a regular theatrical venue for micro-budget features by the likes of Vivienne Dick, Becky Johnson, and Charlie Ahearn. \"We wanted to make 'real movies,' go legit or something,\" he remembers with only partial irony. \"I think the films I was most thinking about then were the Warhol/Morrissey films—Lonesome Cowboys, Trash, that sort of thing.\" He appreciated the way they could \"ride a line between documentary and fiction.\""},{"slug":"nashashibi_rosalind_humaniora_2003","ok":true,"partial":false,"title":"Humaniora 2003","artist":"Rosalind Nashashibi","year":"2003","startOffset":4.04,"sourceSecs":657.96,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":85531748,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/nashashibi_rosalind_humaniora_2003/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/nashashibi_rosalind_humaniora_2003/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/nashashibi_rosalind_humaniora_2003/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/nashashibi_rosalind_humaniora_2003/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"nelson_jape","ok":true,"partial":false,"title":"Robert Nelson & William T. Wiley - The Off-Handed Jape... & How to Pull It Off","artist":"Robert Nelson","year":"1967","startOffset":6.84,"sourceSecs":488.697,"sourceHeight":540,"sourceWidth":714,"hasAudio":true,"hasAmbientMp4":true,"bytes":116760696,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/nelson_jape/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/nelson_jape/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/nelson_jape/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/nelson_jape/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"The Off-Handed Jape is an afternoon’s lark made by Nelson and his artist friend William Wiley. The two men perform whimsical actions and poses for the camera, then recontextualize this imagery by improvising their own commentary on the action at a later time.\n\nA humorous lesson in gestural acting from Dr. Otis Bird and Butch Babad, demonstrating such useful phrases as ‘the verge of remembering’ and ‘letting your friend know he’s forgotten to zip up his pants.’ (MW) ‘This film can be of immeasurable aid to would-be actors who are weak in the jape.’ (William T. Wiley)\n\nOne of Nelson's collaborations with painter and good friend of about 50 years, William T. Wiley. Dr. Otis Bird and Butch Babad are challenged to act out amusing and creative pantomimes while two voices are evaluating their success."},{"slug":"ondaatje_crime","ok":true,"partial":false,"title":"Carry on Crime and Punishment","artist":"Michael Ondaatje","year":"1971","startOffset":60.033,"sourceSecs":304.334,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":37414349,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ondaatje_crime/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ondaatje_crime/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ondaatje_crime/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ondaatje_crime/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Ondaatje`s whimsical slapstick `docu-drama` follows a couple of crooked Canadian Poets who try to kidnap a dog."},{"slug":"ozkaya_mirage","ok":true,"partial":false,"title":"Mirage","artist":"Serkan Ozkaya","year":"2013","startOffset":44.208,"sourceSecs":44.25,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":49083,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ozkaya_mirage/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ozkaya_mirage/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ozkaya_mirage/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/ozkaya_mirage/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Mirage (2013) was installed at the Postmasters Gallery in New York and consisted of a shadow of a passenger airplane that crossed the room for 45 seconds every four minutes. The shadow here was considered not as the mere absence of light but rather as a material in and of itself which could then be sculpted. The work was also exhibited as part of the Borusan Contemporary Art Collection’s Overture: New Acquisitions (2015) at Perili Köşk in Istanbul."},{"slug":"p_orridge_lady_jaye","ok":true,"partial":false,"title":"The Ballad of Genesis and Lady Jaye","artist":"Marie Losier","year":"2011","startOffset":1.543,"sourceSecs":4207.12,"sourceHeight":540,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":842654388,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/p_orridge_lady_jaye/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/p_orridge_lady_jaye/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/p_orridge_lady_jaye/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/p_orridge_lady_jaye/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Highlighting the wacky while playing down the distasteful, Marie Losier’s playful profile of the English musician and artist Genesis Breyer P-Orridge and his second wife, Lady Jaye (who died in 2007), takes a lighthearted look at the things they did for love.\n\nOr, some might say, for attention. As “The Ballad of Genesis and Lady Jaye” makes abundantly clear, this couple thrived on two things: loving each other and making spectacles of themselves. When, in 2000, they began a series of plastic surgeries — including matching breast implants — in a bizarre attempt to merge identities, these twin passions dovetailed into a continuing performance piece that they called “pandrogeny,” but that others might call working out your issues. Either way, Ms. Losier’s entranced gaze leaves no room for questioning artistic merit — though the opinion of the record producer Rick Rubin, whose money probably inadvertently helped finance this gender-bending enterprise, would have been well worth soliciting.\n\nFloating airily across the surface of Mr. P-Orridge’s notable music career, Ms. Losier allows her kinky subject to control the message, adopting a whimsical, superfan approach that steers well clear of his darker interests. Frayed-looking performance film alternates with cuddly home movies and the director’s theatrical interventions, but the couple’s willingness to bare flesh only heightens the overall feeling of artifice. Straddling the line between avant-garde and Looney Tunes, their extraordinary union seems strangely childlike, its happy innocence in harsh contrast to their aggressively explicit public provocations. As we listen to Mr. P-Orridge recall his horrific experiences as a schoolboy in Britain, it’s clear that lost little boy is still here, bathing the film in a melancholy that even its most effervescent contrivances cannot dispel."},{"slug":"pfeiffer_paul_prologue_to_the_story_of_the_birth_of_freedom_2000","ok":true,"partial":false,"title":"Prologue to the Story of the Birth of Freedom","artist":"Paul Pfeiffer","year":"2000","startOffset":0,"sourceSecs":59.84,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":25036,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/pfeiffer_paul_prologue_to_the_story_of_the_birth_of_freedom_2000/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/pfeiffer_paul_prologue_to_the_story_of_the_birth_of_freedom_2000/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pfeiffer_paul_prologue_to_the_story_of_the_birth_of_freedom_2000/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/pfeiffer_paul_prologue_to_the_story_of_the_birth_of_freedom_2000/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"In the Sisyphean Prologue to the Story of the Birth of Freedom (2000) a man steps through a curtain and moves towards a microphone he never reaches, endlessly thwarted by a single cut."},{"slug":"pfeiffer_paul_the_long_count_i_shook_up_the_world_2000","ok":false,"partial":true,"title":"The Long Count (I Shook Up The World)","artist":"Paul Pfeiffer","year":"2000","startOffset":0,"sourceSecs":48.332,"sourceHeight":480,"sourceWidth":720,"hasAudio":false,"hasAmbientMp4":true,"bytes":3468,"posterUrl":null,"ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/pfeiffer_paul_the_long_count_i_shook_up_the_world_2000/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pfeiffer_paul_the_long_count_i_shook_up_the_world_2000/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/pfeiffer_paul_the_long_count_i_shook_up_the_world_2000/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"In 'The Long Count (I Shook Up the World),'' a tiny video monitor, which plays and replays in a continuous loop the third round of the 1964 match between Sonny Liston and Cassius Clay. Characteristically, the three-minute sequence has been Pfeifferized: the figures of Liston and Clay have been removed from the sequence as completely as current technology allows, serendipitously leaving a pair of ghostlike, barely discernible presences that flicker across the surface of the crowd like wind moving over water.\n\nThe deletion of the two black athletes suggests that they are anonymous and expendable players in a centuries-old ritual; the faces that remain are predominantly white, and their avidity, spectatorship and even blood lust seems to be the focus of the work. But the faces might also be the cast-out, watching the forces of good and evil battle for their souls.\n\nMr. Pfeiffer has an unusual feeling for the inchoate meanings to be found at the nexus of the body, the camera and American culture; he also has the technical skill and the poetic restraint to extract them. But ''The Long Count'' and its predecessors suggest that his subjects must be kept small and in motion to be most affecting. ROBERTA SMITH, NY Times"},{"slug":"pilson_john_sidewalk_3_channel_composite_2003","ok":false,"partial":true,"title":"Sidewalk (three channel composite)","artist":"John Pilson","year":"2003","startOffset":0,"sourceSecs":50.25,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":4732,"posterUrl":null,"ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/pilson_john_sidewalk_3_channel_composite_2003/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/pilson_john_sidewalk_3_channel_composite_2003/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/pilson_john_sidewalk_3_channel_composite_2003/main/master.m3u8","downloadUrl":null,"hasFrames":true,"description":"Sidewalk (‘03) is a three-channel installation where the camera slowly glides, hovering above New York’s sidewalks, to reveal a quasi hypnotic glimmer. Through the ordinary movements of urban daily life, such as the walking of city-dwellers, in the transit place the sidewalk represents, John Pilson reveals a world that oscillates between dream and reality. Urban space is dematerialized while the shadows of passers-by impress the contrasting, frenetic rythm of urban crowds’ activity."},{"slug":"poe_amos_subway_riders_1981","ok":true,"partial":false,"title":"Subway Riders","artist":"Amos Poe","year":"1981","startOffset":0,"sourceSecs":6785.76,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":1439870597,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/poe_amos_subway_riders_1981/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/poe_amos_subway_riders_1981/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/poe_amos_subway_riders_1981/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/poe_amos_subway_riders_1981/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"Description: This detective drama was shot on location in New York City and chronicles the bloody wake of terror left by a murderous street saxophone player who hides out on the subway. The bizarre string of murders is investigated by a hard-bitten detective. Along the way he meets assorted New Wave scumbags. The mood of the film is heightened by an avant garde musical score. ~ Sandra Brennan, All Movie Guide"},{"slug":"psichramis_fotis_iannis_xenakis_polytope_mycenes_alpha_1978_iphone","ok":true,"partial":false,"title":"Polytope (Mycenes Alpha) - Hybrid Cinema","artist":"Fotis Psichramis","year":"1978","startOffset":59.96,"sourceSecs":5738.728,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":395425100,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/psichramis_fotis_iannis_xenakis_polytope_mycenes_alpha_1978_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/psichramis_fotis_iannis_xenakis_polytope_mycenes_alpha_1978_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/psichramis_fotis_iannis_xenakis_polytope_mycenes_alpha_1978_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/psichramis_fotis_iannis_xenakis_polytope_mycenes_alpha_1978_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Mycenae-Alpha is an electroacoustic work that Xenakis composed in 1978 as part of an installation of lights, movement and music that took place at Mycenae Acropolis in Greece. The massive multimedia performances Xenakis called polytopes Mycenae-Alpha is also the first work to be composed entirely on the UPIC system. The UPIC is a tool for the graphic composition of electroacoustic music which was first developed in the late 1970s by Xenakis and his staff at the Center for Studies in Mathematical and Automated Music in Paris.\n\nXenakis created the music using the UPIC which makes sound based on drawings that Xenakis made.\n\nThe work has become a classic of computer-generated music. By taking the shapes and movements of natural phenomena, such as molecules in a gas, Xenakis developed a method of digitally mapping those images into the computer and using them to trigger sound events of similar aural shapes.\n\nCompletely fascinating stuff. The film seems to be an exploration of Greek mythology and history, or rather, in this way represents those ideas that are at the heart of Xenakis' massive multimedia event called \"Polytope de Mycenes\", of which the main part of the film is an audio-visual document, interspersed with images of, for instance, the Greek fight for liberation or ancient artefacts. The music is not just that short electronic composition called \"Mycenae Alpha\", but makes use of choirs, orchestra and a lot of percussion. The event and the music present Xenakis at his most ritualistic, and at the same time most accessible. Archaic and visionary at the same time, and simply great. I really envy the people who saw this 'live' in 1978, but even in this filmed way it's pretty entrancing. And as there's no cd recording available, this fine-sounding recording also helps to fill an important gap in anyone's Xenakis collection."},{"slug":"rainer_yvonne_journeysfromberlin_1971_1980_iphone","ok":true,"partial":false,"title":"Journeys from Berlin/1971","artist":"Yvonne Rainer","year":"1980","startOffset":0,"sourceSecs":7478.146,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":600716398,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/rainer_yvonne_journeysfromberlin_1971_1980_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/rainer_yvonne_journeysfromberlin_1971_1980_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_journeysfromberlin_1971_1980_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_journeysfromberlin_1971_1980_iphone/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"Rainer's fourth film, and some say her finest, an essay on radicalism and rehabilitation.\n\nHow are oppositional politics advanced by their partisans and neutralised by the State? Radicals are those who expose hidden repressive tendencies in a society. Their tactics are criminalized, politics psychologized and reforms bureacratized.\n\nRainer's film questions duplicitous rehabilitation (psychiatric care/control), the efficacy of radicalism, and conflicted political and personal motivations.\n\nThe collage essay technique of Journeys parallels the investigation of these conflicts on a formal level. She weaves the stories of 19th century Russian anarchists; the staging of identity as it occurs in therapeutic analysis, writing a diary or preparing a meal; and the fate of the Red Army Faction (Baader-Meinhof gang), which exposed the precarious and enforced nature of West German democratic freedoms in the 1970s.\n\nFeaturing Annette Michelson, Amy Taubin, Vito Acconci, Cynthia Beatt, Ilona Halberstadt, Vernon Gabor, Yvonne Rainer and many others.\n\nJourneys From Berlin/1971 (1980), her epic meditation on psychoanalysis, the Baader-Meinhof, feminism, and pre-revolutionary Russia. Berlin finds its unlikely star in plummy-voiced academic Annette Michelson, whose stream-of-consciousness shrink sessions unearth eggheady gems. \"My cunt is not a castrated cock,\" Michelson protests. \"If anything, it's a heartless asshole.\"\n\nWhen Yvonne Rainer made her first feature-length film in 1972, she had already influenced the world of dance and choreography for nearly a decade. From the beginning of her film career she inspired audiences to think about what they saw, interweaving the real and fictional, the personal and political, the concrete and abstract in imaginative, unpredictable ways. Her bold feminist sensibility and often controversial subject matter, leavened with a quirky humor, has made her, as the Village Voice dubbed her in 1986, \"The most influential American avant-garde filmmaker of the past dozen years, with an impact as evident in London or Berlin as in New York.\"\n\nRainer was born in San Francisco in 1934. She trained as a modern dancer in New York from 1957 and began to choreograph her own work in 1960. She was one of the founders of the Judson Dance Theater in 1962, the beginning of a movement that proved to be a vital force in modern dance in the following decades. Between 1962 and 1975 she presented her choreography throughout the United States and Europe, notably on Broadway in 1969, in Scandinavia, London, Germany, and Italy between 1964 and 1972, and at the Festival D'Automne in Paris in 1972. In 1968 she began to integrate short films into her live performances, and by 1975 she had made a complete transition to filmmaking.\n\nIn 1972 she completed a first feature-length film, LIVES OF PERFORMERS. In all she has completed seven features: FILM ABOUT A WOMAN WHO... (1974), KRISTINA TALKING PICTURES (1976), JOURNEYS FROM BERLIN/1971 (1980, co-produced by the British Film Institute and winner of the Special Achievement Award from the Los Angeles Film Critics' Association), THE MAN WHO ENVIED WOMEN (1985), PRIVILEGE (1990, winner of the Filmmakers' Trophy at the Sundance Film Festival, Park City. Utah, 1991, and the Geyer Werke Prize at the International Documentary Film Festival in Munich, 1991), and MURDER and murder (1996).\n\nRainer's films have been shown extensively in the U.S. and throughout the world, in alternative film exhibition showcases and revival houses (such as the Bleecker St Cinema, Roxy-S.F., NuArt-L.A, Film Forum-NYC, et al), in museums and in universities. Her films have also been screened at festivals in Los Angeles (Filmex), London, Montreux, Toronto, Edinburgh, Mannheim, Berlin, Locarno, Rotterdam, Creteil, Deauville, Toulon, Montreal, Hamburg, Salsa Majori, Figueira da Foz, Munich, Vienna, Athens (Ohio), Sundance, Hong Kong, Yamagata, and Sydney. Dancer, choreographer, performer, filmmaker and writer Yvonne Rainer, who began choreographing in 1961 and made her first film in 1967, is a key figure in the story of the New York avant-garde in terms of both her writing and practice. (2) Rainer provided a commentary on the influences that preceded her own aesthetic objectives and articulated her own project through practice and explicatory discourse, establishing her position as a key player within the New York avant-garde from the early 1960s through to the mid-1990s. During this period she produced twelve films, including silent short works for multimedia performances (which she calls \"filmed choreographic exercises\") (3) as well as features. According to Rainer, her fascination with dance and film emerged simultaneously when she moved on from acting at 25 (p. 51). She is certainly a choreographer who had as many film reference points as choreographic, evidenced in the use of projection in her stage work and her erudite use of cinematic quotation in her film work. (4) What links Rainer's dance and film work is an intense critique of disciplinary conventions and a profound interrogation of the role of performance. Performance is central to all aspects of Rainer's work; she herself refers to performance as the subject matter in her films (p. 8) and Peggy Phelan describes her writings as \"rhetorical performances\". (5)\n\nRainer's parents were migrants, her mother Polish-Jewish (\"a potential stage mother\") and her father Italian (\"an anarchist and a house painter\"), who settled in San Francisco. Rainer describes herself as a shy child who liked to read and her childhood as \"depressed\". (6) At around 15 she started attending socialist-anarchist meetings with her brother where she made friends with some visiting New Yorkers. At 20 Rainer \"fell into\" acting school at the Theater Arts Colony in San Francisco, but after some frustrations there she moved to New York with a painter, Al Held. There she became involved in the visual arts scene and continued acting classes, now at the Herbert Berghof school where she was told she was \"too intellectual\" (pp. 49Ð50). Rainer started full-time training at the Martha Graham School at 25 and danced full-time with the support of her parents, spending her spare time at the Museum of Modern Art watching film classics. She moved on to Merce Cunningham's classes and then became part of an informal collective meeting in the Cunningham studios who would work together and perform for each other.\n\nRainer became a central figure in the American postmodern dance movement, specifically the New York activity surrounding the venue, Judson Church. Following Merce Cunningham's lead, Judson Dance Theatre was inclusive of artists working in other disciplines. Filmmaking was particularly predominant at Judson Dance Theatre events and Sally Banes describes this area as a \"key outgrowth\" of the group. (7) A film work, by regular contributor Elaine Summers and others, opened the very first Judson performance and within the series there were other screenings including Brian De Palma's 1963 film, Wotan's Wake (which parodies Maya Deren among other things). (8) Peter Wollen and Vicky Allan have written that experimental filmmakers have always been \"interested in analogies between dance and film as kinetic and time-based art forms\", (9) and in the case of the '60s and '70s, choreographic and film/video strategies can be discussed as concomitant with the two disciplines informing and elaborating on each other. Along with De Palma, other filmmakers such as Charles Atlas, Shirley Clarke, Amy Greenfield, Doris Chase and Hilary Harris worked with dance and dancers. (10) Rainer ultimately states, however, that her influences were from outside the experimental film scene; that she was familiar with the work of Maya Deren and filmmakers such as Stan Brakhage and Kenneth Anger, but \"the ideas didn't really turn me on the way that [John] Cage's ideas in music and '60s art practices had.\" (11)"},{"slug":"rainer_yvonne_privilege_1990_iphone","ok":true,"partial":false,"title":"Privilege","artist":"Yvonne Rainer","year":"1990","startOffset":0,"sourceSecs":6114.797,"sourceHeight":320,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":329626002,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/rainer_yvonne_privilege_1990_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/rainer_yvonne_privilege_1990_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_privilege_1990_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/rainer_yvonne_privilege_1990_iphone/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"begins with a documentary style exploration of the taboo subject of menopause and goes on to explore the historical medicalisation and trivialisation of women as they move beyond their child bearing years. Clearly ageism is a factor in this, but\n\ndoesn't take on a pat victim mentality in it's exploration, rather widening it's gaze to consider the many competing forms of discrimination that exist in our society.\n\ningeniously shifts from documentary to fiction and back as it plays the effects of ageism, sexism and racism off against one another.\n\nThe effect of this is an extremely broad ranging and compelling social critique that goes to the core of the competing power relations that we all negotiate every day. In this, Rainer presents us with an image of a power infused world where all of our possibilities in life are mediated by different levels of social privilege largely determined by arbitrary social stereotypes. This subject matter demands an active audience as viewers realise that the real-world applications of the ideas that Rainer raises are endless.\n\nRainer's work takes under the skin key cultural theories such as Julia Kristeva's writings on abjection and Michel Foucault's theories on power and heirarchy. Yet thankfully in doing this, this rhizomatic film does not befall the same overly preachy or less than engaging fate that some of the feminist collective films of the past have. You do not have to be a convert of feminist or cultural theory to appreciate this film.\n\npowerful performances, beautiful visuals and compelling subject matter really do stand alone.\n\nmarriage of cultural theory, documentary, and the highest level of poetic drama creates an extremely thought provoking film that demands consideration as one of the most important cinematic social critique of the 1990's. A thoroughly fascinating film."},{"slug":"rose_rachel_minute","ok":true,"partial":false,"title":"A Minute Ago","artist":"Rachel Rose","year":"2014","startOffset":0,"sourceSecs":624.499,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":455881135,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/rose_rachel_minute/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/rose_rachel_minute/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/rose_rachel_minute/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/rose_rachel_minute/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"A Minute Ago starts with a hailstorm pelting down unexpectedly on a quiet beach in Siberia. People, half naked, run for cover under towels and parasols, to the music of the Pink Floyd.\n\nThe next scene is an interview of Philip Johnson, filmed 10 years before in the Glass House he constructed. Johnson was 90 years old then. At this point in the video there is a kind of digital sound that interrupts the high definition image, moving to the rhythm of a wood percussion musical composition by Steve Reich. The house, surrounded by an extraordinary landscape, is then bombarded by hail, the soundtrack becomes a live concert interrupted by the yelling and cheering of the public.\n\nThe painting Landscape with the Funeral of Phocion by Poussin is the only image in the house. It shows a hearse going through fields to the burial place. The image duplicates itself with the deconstruction of the video image, the rain which pixelates the screen, the soundtrack which chops up this time space.\n\nFor artist Rachel Rose, the current moment is one of shifting terrain: as technology advances, the world changes beneath and around us, leaving us struggling to keep up. Rose is interested in the rapidly changing conditions we live in, and the ways that language, technology, and images mediate the out-of-sync realities of our organic lives. Trained as a painter, Rose now works in several media, with film being her primary outlet. Her film works are remarkable for their fusion of images and sound, her dense filmic tapestries reflecting the deep, multivalent explorations that drive her."},{"slug":"schifano_mario_humannothuman_umanononumano_1972","ok":true,"partial":false,"title":"Umano non umano AKA Human, Not Human","artist":"Mario Schifano","year":"1972","startOffset":0,"sourceSecs":5665.92,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":867864705,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schifano_mario_humannothuman_umanononumano_1972/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schifano_mario_humannothuman_umanononumano_1972/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schifano_mario_humannothuman_umanononumano_1972/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/schifano_mario_humannothuman_umanononumano_1972/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"Human not human is not only the best Italian \"experimental\" film of the 60's, but also one of the richest and most involving documents of \"cinema of protest\". - Lino Miccichè\n\nSchifano's cinema is, as his paintings, spontaneous and gesture-based, quickly objectifying the world, and at the same time deeply thougth-out, and progresses by building up pictures and sounds.\n\nDissolves and pulsing images of television broadcasts plunge us in a completely unstable state of vision, allowing the author to avoid choosing, including in the same space different visions and distant, fragmentary, expanded timeframes.\n\nIf anything, the choice is left to the viewer and, from this point of view, \"Human not human\" becomes almost an interactive film, one that needs to be mentally rebuilt.\n\n\"Human not human\" is introduced by an art critic (Calvesi), who speaks about ancient painting as \"an alchemic attempt to reproduce the misyery of life by bringing matter to life using light\".\n\nAccording to Schifano, cinema is the real art of painting, because it has the same alchemic power to bring matter to life.\n\n\"Human not human\", a film where words, and especially gestures, are constantly frozen, cancelled, deformed or repeated, communicates this desperate search for a gesture, either a political, aesthetic or private one: actions that communicate a sense of life, and, at the same time, a sense of powerlessness of the existence caught in the act. -\n\nGiorgia Calò, from the booklet and the book \"La trilogia d'artista. Il cinema di Mario Schifano\"\n\n\"Mario Schifano, an Italian pop art painter and collagist who exhibited alongside Warhol and and Roy Lichtenstein, released this unusual art film Umano Non Umano (“Human Not Human”) in 1972. The plotless Godardian inspired episodic documentary is quite boring (I don’t speak Italian, so it’s quite boring to me) but it is notable for the inclusion of two odd scenes, one with Mick Jagger and another with Keith Richards (Anita Pallenberg, once Schifano’s girlfriend, is also in the film, and there are appearances by Carmelo Bene and Italian existentialist novelist Alberto Moravia.)\n\nAt about 36 minutes in, Mick Jagger is seen prancing around like an idiot in a pink suit with a corsage doing a not terribly convincing—and spinning—lip-sync of “Street Fighting Man.” He looks like he has to take a wicked piss the whole time. At the one hour and one minute mark, Keith is seen arsing around making avant-garde electronic music. That part is actually pretty cool, but the rest of it’s pretty awful.\n\nAlthough Umano Non Umano came out in 1972, I’d imagine that Mick Jagger’s scene was probably shot sometime prior to when Marianne Faithfull left him for Schifano in 1969. Two pages are devoted to their affair in her 1994 autobiography, Faithfull. According to her Schifano was a massive coke freak."},{"slug":"schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_1_iphone","ok":true,"partial":false,"title":"Friedrichshofer Kinderfilme (1985-1987) - Part 1","artist":"Otto Muehl","year":"1985","startOffset":2.84,"sourceSecs":2025.112,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":205084537,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_1_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_1_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_1_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_1_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_2_iphone","ok":true,"partial":false,"title":"Part 2","artist":"Therese Schulmeister","year":"1985","startOffset":12.8,"sourceSecs":1805.741,"sourceHeight":320,"sourceWidth":400,"hasAudio":true,"hasAmbientMp4":true,"bytes":146894630,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_2_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_2_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_2_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_2_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_3","ok":true,"partial":false,"title":"Part 5","artist":"Therese Schulmeister and Otto Muehl","year":"1985","startOffset":0,"sourceSecs":901.483,"sourceHeight":572,"sourceWidth":716,"hasAudio":true,"hasAmbientMp4":true,"bytes":259194018,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_3/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_3/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_3/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kinderfilme_1985_1987_3/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"schulmeister_t_otto_muehl_friedrichshofer_kurzfilme_1983_1987_2","ok":true,"partial":false,"title":"Part 4","artist":"Therese Schulmeister","year":"1983","startOffset":0,"sourceSecs":1220.843,"sourceHeight":572,"sourceWidth":716,"hasAudio":true,"hasAmbientMp4":true,"bytes":337258629,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kurzfilme_1983_1987_2/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kurzfilme_1983_1987_2/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kurzfilme_1983_1987_2/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/schulmeister_t_otto_muehl_friedrichshofer_kurzfilme_1983_1987_2/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"smith_john_glass","ok":true,"partial":false,"title":"Slow Glass","artist":"John Smith","year":"1991","startOffset":60.04,"sourceSecs":2409.2,"sourceHeight":540,"sourceWidth":676,"hasAudio":true,"hasAmbientMp4":true,"bytes":319826876,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/smith_john_glass/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/smith_john_glass/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/smith_john_glass/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/smith_john_glass/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"A nostalgic glazier shows off his knowledge and expounds his theories. Taking glassmaking processes and history as its central theme, Slow Glass explores ideas about memory, perception and change.\n\n“The film begins with a shout in the street and a smashed pane, and ends with a bricked-up window. Between these literal images of opening and closing, Slow Glass spins immaculately shot puns and paradoxes that play on reflection and speculation – words that refer both to acts of seeing and of mind. Glass is the key, as a narrator’s running commentary sketches the glassmaker’s art, splicing a history lesson with a quasi-autobiography. The authority of word, voice and picture is questioned through the film’s gradual revelation of its own (highly pleasurable) artifice. The cutting of glass is matched to the editing of film, and the camera’s lens to the surface which it captures. Through the pub-talk and the downing of glasses, other themes emerge; among them is the constancy of change, as the face of London alters and the past becomes present (conveyed in jump-cuts showing streets and shops changing over time and season, and in a gently ironized evocation of a 50’s childhood). The flowing Thames echoes the theme of flux, but also underscores the renewed attacks on East London life in the age of the property war – another kind of speculation. Slow Glass suggests that the living past has been turned into capitalized ‘Heritage’, that the British Documentarists’ noble craftsman only survives as a museum piece, and that reality in film is itself a fiction. In this film, the fiction is a crafted illusion that always has a human face” A.L. Rees, London Film-Makers’ Co-op catalogue 1993.\n\n“There are jokes galore in Slow Glass but the seriousness of it all is what stays with me. There is loss, and frustration, and irony, and irritation, and confinement, and terrible tension in the long glassblowing sequence. The film’s visual attack - fast editing, split screen effects and jump-cuts - is heightened because belied by the laconic voice-over. The authority of the voice track, so important to the uninspired documentary film-maker, is thoroughly debunked in this film along with the authority of official cultural histories.\n\nIt is obvious from Slow Glass that spoken language has continued to be a preoccupation of Smith’s. However, his attention to the problem of the dynamic of the soundtrack, voice track and the image seems to have a different purpose here. This seems to me to be a fundamentally political film for many of the reasons noted before but also because it’s telling a story, that most political of acts, relying as it does on subject positions in place. The story is a personal reflection on changing attitudes to labour, and it is also the story of an industry.” Penny Webb, Agenda magazine 1992."},{"slug":"smithson_spiral","ok":true,"partial":false,"title":"Spiral Jetty (excerpts)","artist":"Robert Smithson","year":"1970","startOffset":49.415,"sourceSecs":2126.912,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":477234916,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/smithson_spiral/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/smithson_spiral/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/smithson_spiral/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/smithson_spiral/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"This film, made by the artist, Robert Smithson, with the assistance of Virgina Dwan, Dwan Gallery & Douglas Christmas, Director, Ace Gallery, (the aforementioned Dwan & Christmas also assisted Smithson financially with the making of the Spiral Jetty), is a poetic and process minded film depicting a \"portrait\" of his renouned earth work -- The Spiral Jetty, as it juts into the shallows off the shore of Utah's Great Salt Lake. A voice-over by Smithson reveals the evolution of the Spiral Jetty. Sequences filmed in a natural history museum are integrated into the film featuring prehistoric relics that illustrate themes central to Smithson's work. A one minute section is filmed by Nancy Holt for inclusion in the film as Smithson wanted Holt to shoot the \"earth's history\". This idea came from a quote Smithson found ...\"the earth's history seems at times like a story recorded in a book each page of which is torn into small pieces. Many of the pages and some of the pieces of each page are missing\". Smithson and Holt drove to the Great Notch Quarry in New Jersey, where he found a facing about 20 feet high. He climbed to the top and threw handfuls of ripped pages from books and magazines over the edge of the facing as Holt filmed it.\n\n\"\"Back in New York, the urban desert, I contacted Bob Fiore and Barbara Jarvis and asked them to help me put my movie together. The movie began as a set of disconnections, a bramble of stabilized fragments taken from things obscure and fluid, ingredients trapped in a succession of frames, a stream of viscosities both still and moving. And the movie editor, bending over such a chaos of \"takes\" resembles a paleontoligist sorting out glimpses of a world not yet together, a land that has yet to come to completion, a span of time unfinished, a spaceless limbo on some spiral reels. Film strips hung from the cutter's rack, bits and pieces of Utah, out-takes overexposed and underexposed, masses of impenetrable material. The sun, the spiral, the salt buried in lengths of footage. Everything about movies and moviemaking is archaic and crude. One is transported by this Archeozoic medium into the earliest known geological eras. The movieola becomes a \"time machine\" that transforms trucks into dinasaurs.\n\nThe film recapitulates the scale of the Spiral Jetty. Disparate elements assume a coherence. Unlikely places and things were stuck between sections of film that show a stretch of dirt road rushing to and from the actual site in Utah. A road that goes forward and backward between things and places that are elsewhere. You might even say that the road is nowhere in particular. The disjunction operating between reality and film drives one into a sense of cosmic rupture.\n\nAs I looked at the site, it reverberated out to the horizons only to suggest an immobile cyclone while flickering light made the entire landscape appear a quake. A dormant earthquake spread into the fluttering stillness, into a spinning sensation without movement. This site was a rotary that enclosed itself in an immense roundness. From that gyrating space emerged the possibility of the Spiral Jetty. No ideas, no concepts, no systems, no structures, no abstractions could hold themselves together in the actuality of that evidence. My dialectics of site and nonsite whirled into an indeterminate state, where solid and liquid lost themselves in each other. It was as if the lake became the edge of the sun, a boiling curve, an explosion rising into a fiery prominence. Matter collapsing into the lake mirrored in the shape of a spiral. No sense wondering about classifications and categories, there were none.\"\n\nQuotes from Smithson's \"The Spiral Jetty, 1970, published in Robert Smithson: The Collected Writings, edited by Nancy Holt, New York University Press, pp. 109-113"},{"slug":"snow_michael_screening_room","ok":true,"partial":false,"title":"Screening Room: Michael Snow","artist":"Michael Snow","year":"1977","startOffset":0,"sourceSecs":4432.128,"sourceHeight":496,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":626472127,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/snow_michael_screening_room/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/snow_michael_screening_room/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_screening_room/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/snow_michael_screening_room/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"In March 1977 Michael Snow appeared on Screening Room. He discussed and screened excerpts from his film Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen (10:48/18:57/7:29/0:55).\n\n\"Michael Snow is the dean of structural filmmakers. Whereas the three earlier fims Ñ Wavelength, Back and Forth, and La Région Centrale propose modes of camera movement as modes of cognition, Rameau's Nephew explores the whole human body as a field of epistemological inquiry. Speaking, focusing, singing, urinating, laughing, reading, whistling, flatulating, eating, hand tapping, and fornicating are chief among the types of bodily activity and noise heard and discussed in the film.\" –P. Adams Sitney\n\nCanadian Michael Snow has worked in painting, sculpture, and music as well as film, where he has proved one of the most renowned and influential of all experimental filmmakers. He played a major role in the \"structural\" film movement with such works as Wavelength (1967), Back and Forth (1969), and La Région Centrale (1971), exploring the world through deliberate and explicit decisions about formal approaches. Snow has been honored with solo exhibitions or film retrospectives at the Venice Biennale, New York's Museum of Modern Art, the Paris Centre Pompidou and Cinémathèque Française, and elsewhere.\n\nIn the early 1970s a group of idealistic artists, lawyers, doctors and teachers saw an opportunity to change commercial television in Boston and the surrounding area. It would require years of litigation up to and including the Supreme Court, but the case was won and the Channel 5 license was given to WCVB-TV. Screening Room was one of several programs offered in an effort to provide alternative television viewing. The idea behind Screening Room was to give independent filmmakers an opportunity to discuss their work and show it to a large urban audience. Nearly 100 ninety-minute programs were produced and aired between 1973 and 1980.\n\nScreening Room was developed and hosted by filmmaker Robert Gardner, who at the time, was Director of Harvard's Visual Arts Center and Chairman of its Visual and Environmental Studies Department. His own films include Dead Birds (1964), and Forest of Bliss (1986)."},{"slug":"sprinkle_annie_deep_inside_annie_sprinkle_1982","ok":true,"partial":false,"title":"Deep Inside Annie Sprinkle","artist":"Annie Sprinkle","year":"1981","startOffset":0,"sourceSecs":5564.798,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":842784649,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/sprinkle_annie_deep_inside_annie_sprinkle_1982/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/sprinkle_annie_deep_inside_annie_sprinkle_1982/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sprinkle_annie_deep_inside_annie_sprinkle_1982/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/sprinkle_annie_deep_inside_annie_sprinkle_1982/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"“It doesn't get any better than this! Deep Inside Annie Sprinkle revolutionized the porn industry when it was first released in 1981 and it's sense of sultry fun and joyous innocence can never be duplicated. Scenes include a sexy slumber party with six of her friends; an incredible female-ejaculation scene with a hot male partner; and what is possibly the most explosive solo-sex scene ever recorded. Annie takes us Deep Inside and shows the world how truly expansive and incredible a woman's sexuality can be. “ – Goodforher.com\n\n“This film is an interesting take on porn for the period it was filmed in. Shot in 1981, on 35 mm, and considered a ‘classic’, Annie Sprinkle introduces herself, talking directly down the barrel of the camera i.e. to you… or me in this case. Her intro includes a trip down memory lane, photos she shows of herself when she was known as Ellen Steinberg, apparently a virgin until later than I was. What’s endearing about this scene is her explanation to the audience about how much she loves her family, and how great they have been in accepting what she does…\n\nIts a quaint film. She is not your average porn star, she obviously enjoys what she does, is very sex positive about it, and doesn’t hide behind masks or try to sell you some bullshit story. Her pleasure becomes your pleasure. Sure the sets are dodgy and everything looks like its done in a one take wonder, and the lighting is a bit dreary, and there is little to no art direction. But as an unconventional porn star in today’s concept of what a generic adult film star ’should’ look like” – MsPervert, M.E.’s Finishing School\n\nJoseph Sarno was the uncredited “ghost” director of this film as well as the earlier Inside Jennifer Welles. For Annie's entry we go “Deep Inside” which became the favored name of the series afterwards. I wanted to see this film after Annie Sprinkle’s spoke of it so fondly in her performance documentary Herstory of Porn."},{"slug":"sprinkle_sluts","ok":true,"partial":false,"title":"Sluts & Goddesses Video Workshop","artist":"Annie Sprinkle","year":"1992","startOffset":60.059,"sourceSecs":3051.115,"sourceHeight":520,"sourceWidth":700,"hasAudio":true,"hasAmbientMp4":true,"bytes":578796305,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/sprinkle_sluts/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/sprinkle_sluts/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/sprinkle_sluts/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/sprinkle_sluts/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"This video is a humorous, absurd, heartfelt and worshipful look at SEX. Guided through this unique adventure by sexpert extraordinaire Annie Sprinkle and the 'Transformation Facilitators', you will explore the ancient and forbidden knowledge about female sexuality. This fresh and inspiring video features many exotic ways to stimulate sexual and sensual pleasure. You will encounter flagellation with oak leaves, Chinese sword dancing, striptease, body contortions, tattooing, piercing, shaving and gender play. The mysteries of sex magic and female ejaculation will be revealed. You will learn about the Tantric breathing, primal screaming, the joys of group masturbation while meditating, and not least of all you will witness a profound five minute long orgasm!"},{"slug":"stark_francis_my_best_thing","ok":true,"partial":false,"title":"My Best Thing","artist":"Frances Stark","year":"2012","startOffset":0,"sourceSecs":6204.302,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":369887802,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/stark_francis_my_best_thing/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/stark_francis_my_best_thing/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/stark_francis_my_best_thing/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/stark_francis_my_best_thing/main/master.m3u8","downloadUrl":null,"hasFrames":true,"description":"Two avatars converse amidst a green screen haze. Their bodies are truncated, like two stout soda cans. No necks here, just spherical heads (she brunette, he blond) that swivel on boxy chests. Their so-called ‘private parts’ are covered in leaves, as if they are low-budget 3d renderings of the first man and first woman (except here the protective leaves are in the shape of swimwear). These are the some of the optional bodies offered by Xtranormal, a readymade animation provider through which millions of amateur movies have been made, and through which the artist Frances Stark gave form to a months-long virtual relationship she struck up with a previously unknown man. Unfolding through episodes that feel alternately like installments of a television drama or a recurring dream, the conversations jump between politics, personal biography, and music, escalate quickly from arousal to the (alleged) reaching of sexual climax, and are strewn with awkward silences. All are enunciated by a monotone computerized voice that doesn't inflect or mute any aspect of speech. Here, the mumblings and mutterings--“umm” “oof”--that interrupt speech and manifest inhibitions are as flat and as loud as any other statement, like “you have an impressive analysis capability.” “Eh.”\n\nThat the green screen remains empty throughout the piece is significant: a key tool of Hollywood magic, the green screen is what engenders fantasies (like human flight) or patches people into far-flung locales or unlikely situations. Void of animation, it heightens the tension between the two characters, amplifying the projection of fantasy happening between them. At one point, Stark tells him that she is currently obsessed with dancehall music, and shares a sample. His response is disparaging:\n\nHER: “Maybe you did but you didn’t notice. I’m sure the boys in my class don’t notice me like that.”\n\nIn a video interview about the work, Stark references the writer David Foster Wallace in regard to one of his most consistent themes: attention (how much people need it and how unnerving and disorienting it can be to receive it). “Whatever you get paid attention for is never what you think is most important about yourself,” he writes. The tentative, curious conversations of the two avatars in My Best Thing reflect this desire to have repressed parts of oneself attended to and seen. Within game worlds, social media, or chat rooms, avatars become the psychological escape hatch from regular bodies, behaviors and perceptions from self and society. In the exchange above, the female character (Stark) suggests the way that she is seen in the classroom overlooks the ways that she really is. What becomes more intimate than the virtual orgasms they have together is their constant emotional prying; their attempts to find ‘unnoticed parts.’ “Show me.” “Show me your face.” “Want to see my best thing?”\n\nMy Best Thing captures something very specific about romance and desire at a particular time, both technical (Xtranormal as an available, quotidian consumer animation software) and social (a certain extant freedom of behavior online within social networks). But, by way of the unmarked location and bland characters (undistinguished except for being white in skin tone, or more precisely creme), the work also taps into deeper, more universal dimensions of human connection, desire and fantasy. Its ability to telescope in between two individuals, with their particular quirks, fetishes and needs, and the broader urge to be seen for who you want to be (not who you are) lends it an enduring power. The viewer is left to wonder whether the characters are actually freed by their ephemerality or if theirs is a fleeting release, if the lack of an accountable, physical, evolving human body is ultimately stagnating. Can anonymous, disembodied communication keep you the same way a person can?\n\nIn the short story “Everything is Green,” Foster Wallace depicts a man trying to wrench himself from a romantic relationship--perhaps to be more true to his ‘best thing’--but he gets forced back by the presence of his lover: “She is looking outside, from where she is sitting, and I look at her, and there is something in me that can not close up, in that looking. Mayfly has a body. And she is my morning. Say her name.”"},{"slug":"steyerl_november","ok":true,"partial":false,"title":"November","artist":"Hito Steyerl","year":"2004","startOffset":1.76,"sourceSecs":879.2,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":253075075,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/steyerl_november/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/steyerl_november/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/steyerl_november/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/steyerl_november/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"“An age that has lost its gestures is, for this reason, obsessed by them. For human beings who have lost every sense of naturalness, each single gesture becomes a destiny. And the more gestures lose their ease under the action of invisible powers, the more life becomes indecipherable”. (Agamben 2000:53)\n\nMy best friend when I was 17, was a girl called Andrea Wolf. She died in 1998, when she was shot as a Kurdish terrorist in Eastern Anatolia. There was a warrant out for her in Germany, as she was suspected of having participated in terrorist activities, for example the complete destruction of the deportation prison in Weiterstadt. She was also suspected of having been an associate to the Red Army Faction.\n\nIn 1996, she chose to go to Kurdistan in order to join the womens army of the PKK, the Workers Party Kurdistan. She took on the name „Ronahi“, trained and lived with the womens army for a few months, mostly in camps in Northern Iraq. Then in October 1998, her unit was tracked by the Turkish army close to the border. A heavy firefight took place. Only a few of the units members remained alive. They were under heavy fire by Army helicopters. Most of the survivors took refuge in what is being described as an earth hole. As surviving earwitnesses who remained in the hole say, she was shot by either army members or Kurdish village keepers after having been dragged out as a prisoner. Her case is only one of the many extralegal executions which structure this war.\n\n“Gesture is the name of this intersection between life and art, act and power, general and particular, text and execution. It is a moment of life subtracted from the context of individual biography as well as the moment of art subtracted from the neutrality of aesthetics: it is pure praxis.” (Agamben 2000:79)\n\nThis project tackles the question of what is nowadays called terrorism and used to be called internationalism once. It deals with the gestures and postures it can create, and their relationship to figures of popular culture, namely cinema. It ́s point of departure is a feminist martial arts film Andrea Wolf and I made together when we were 17 years old. Now this fictional martial arts flic has suddenly become a document. November is not a documentary about Andrea Wolf. It is not a film about the situation in Kurdistan. It deals with the gestures of liberation after the end of history, as reflected through popular culture and travelling images. This project is a film about the era of November, when revolution seems to be over and only it ́s gestures keep circulating.\n\nAgamben, G (2000) 'Notes on Politics' Means Without End: (Theory Out of Bounds, V. 20), trans Binetti, V & Casarino, C University of Minnesota Press"},{"slug":"stockhausen_karlheinz_english_lectures_1972_3_201_live_electronic_music_mikrophonie_1_iphone","ok":true,"partial":false,"title":"Lecture 2 - Live Electronic Music (MIKROPHONIE 1)","artist":"Karlheinz Stockhausen","year":"1972","startOffset":45.003,"sourceSecs":3455.035,"sourceHeight":320,"sourceWidth":426,"hasAudio":true,"hasAmbientMp4":true,"bytes":248093028,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/stockhausen_karlheinz_english_lectures_1972_3_201_live_electronic_music_mikrophonie_1_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/stockhausen_karlheinz_english_lectures_1972_3_201_live_electronic_music_mikrophonie_1_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/stockhausen_karlheinz_english_lectures_1972_3_201_live_electronic_music_mikrophonie_1_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/stockhausen_karlheinz_english_lectures_1972_3_201_live_electronic_music_mikrophonie_1_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"strand_chick_softfiction","ok":true,"partial":false,"title":"Soft Fiction","artist":"Chick Strand","year":"1979","startOffset":0,"sourceSecs":3356.44,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":413065300,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/strand_chick_softfiction/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/strand_chick_softfiction/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/strand_chick_softfiction/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/strand_chick_softfiction/main/master.m3u8","downloadUrl":null,"hasFrames":true,"description":"\"Chick Strand's SOFT FICTION is a personal documentary that brilliantly portrays the survival power of female sensuality. It combines the documentary approach with a sensuous lyrical expressionism. Strand focuses her camera on people talking about their own experience, capturing subtle nuances in facial expressions and gestures that are rarely seen in cinema. The title SOFT FICTION works on several levels. It evokes the soft line between truth and fiction that characterizes Strand's own approach to documentary, and suggests the idea of softcore fiction, which is appropriate to the film's erotic content and style. It's rare to find an erotic film with a female perspective dominating both the narrative discourse and the visual and audio rhythms with which the film is structured. Strand continues to celebrate in her brilliant, innovative personal documentaries her theme, the reaffirmation of the tough resilience of the human spirit.\" - Marsha Kinder, Film Quarterly"},{"slug":"t_minh_ha_trinh_shoot_for_the_contents_1992_iphone","ok":true,"partial":false,"title":"Shoot for the Contents","artist":"Trinh T. Minh-ha","year":"1991","startOffset":0,"sourceSecs":6062.381,"sourceHeight":320,"sourceWidth":416,"hasAudio":true,"hasAmbientMp4":true,"bytes":342024530,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/t_minh_ha_trinh_shoot_for_the_contents_1992_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/t_minh_ha_trinh_shoot_for_the_contents_1992_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/t_minh_ha_trinh_shoot_for_the_contents_1992_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/t_minh_ha_trinh_shoot_for_the_contents_1992_iphone/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"Reflecting on Mao's famous saying, \"Let a hundred flowers blossom and a hundred schools of thought contend,\" Trinh T. Minh-ha's film-whose title refers in part to a Chinese guessing game-is a unique excursion into the maze of allegorical naming and storytelling in China. The film ponders questions of power and change, politics and culture, as refracted by Tiananmen Square events. It offers at the same time an inquiry into the creative process of filmmaking, intricately layering Chinese popular songs and classical music, the sayings of Mao and Confucius, women's voices and the words of artists, philosophers and other cultural workers. Video images emulate the gestures of calligraphy and contrast with film footage of rural China and stylized interviews. Like traditional Chinese opera, Trinh's film unfolds through \"bold omissions and minute depictions\" to render \"the real in the illusory and the illusory in the real.\" Exploring color, rhythm and the changing relationship between ear and eye, this meditative documentary realizes on screen the shifts of interpretation in contemporary Chinese culture and politics.\n\n\"\"Independent in thought and delicate in craftsmanship, strung with the tensile strength of a piano wire.\"\n\n\"\"Poetic, lyrical, sensual, her work is densely textured and rich with breathtakingly beautiful images, elegant camera work and eloquent multi-layered soundtracks.\"\n\n\"\"One of the most extraordinary documentaries of recent years...A beautiful and moving film, as challenging and stimulating formally as it is politically.\""},{"slug":"the_world_of_photography_michael_smith_william_wegman","ok":true,"partial":false,"title":"The World of Photography","artist":"William Wegman","year":"1986","startOffset":12.045,"sourceSecs":1487.319,"sourceHeight":480,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":337899421,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/the_world_of_photography_michael_smith_william_wegman/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/the_world_of_photography_michael_smith_william_wegman/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/the_world_of_photography_michael_smith_william_wegman/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/the_world_of_photography_michael_smith_william_wegman/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Artists Michael Smith and William Wegman — both of whom use conceptual humor as an art-making strategy — collaborated on this satirical commentary on photography, the process of image-making, and the interchange of \"high\" art and \"low\" culture. The tape is structured as an instructional guide that advances the \"slice of life\" method, imparting not only technique, but attitude and approach to the subject of photography. Wegman plays the world-weary artiste, a professional photographer who takes the innocent and earnest Mike under his tutelage. The business of art, the \"reality\" of the photographic image, and its pervasive role in contemporary culture are among the issues that receive irreverent treatment in this comedic collaboration.\n\nProducer: Michael Smith. Director/Camera: Mark Fischer. Music: Mark Bingham, A. Leroy with Jay Weigal. Lyrics: A. Leroy, Michael Smith. Set Designer: Alan Herman. Editor: Shelly Silver. Produced in association with the Contemporary Art Television (CAT) Fund and KTCA. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"tiravanija_kitts","ok":true,"partial":false,"title":"Artists Stranded in St. Kitts by Hurricane Lenny (6th Caribbean Biennial","artist":"Rirkrit Tiravanija","year":"2001","startOffset":60.04,"sourceSecs":1134.72,"sourceHeight":1080,"sourceWidth":1920,"hasAudio":true,"hasAmbientMp4":true,"bytes":742732232,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tiravanija_kitts/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tiravanija_kitts/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tiravanija_kitts/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tiravanija_kitts/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":">Artists Stranded in St. Kitts by Hurricane Lenny (6th Caribbean Biennial (2001)\n\n\"\"A true 'false' biennial imagined by Maurizio Cattelan, who offers ten chosen artists a one-week vacation on the enchanting island of St. Kitts, with no art and no work to do. Only the photos of Armin Linke and the special contributions of artists are what remain of this disturbing event. With Vanessa Beecroft, Olafur Eliasson, Douglas Gordon, Mariki Mori, Chirs Ofili, Gabriel Orozco, Elisabeth Peyton, Pipilotti Rist, Tobias Rehberger, Rirkrit Tiravanija.\" -- publisher's statement. Texts in French and English."},{"slug":"tiravanija_rirkrit_chew_the_fat","ok":true,"partial":false,"title":"Chew the Fat","artist":"Rirkrit Tiravanija","year":"2008","startOffset":0,"sourceSecs":7480.92,"sourceHeight":576,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":686935131,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tiravanija_rirkrit_chew_the_fat/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tiravanija_rirkrit_chew_the_fat/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_chew_the_fat/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_chew_the_fat/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"Rirkrit Tiravanija interviews twelve international artists of his generation who rose to prominence in the 1990s in this installation featuring the film CHEW THE FAT (A documentary portrait by Rirkrit Tiravanija) (2008), originally produced for the Guggenheim's exhibition theanyspacewhatever (October 24, 2008 January 7, 2009).\n\nTiravanija captures each artist in an intimate setting, and while the artists discuss their working lives, the conversations wander and evolve to include a wide range of topics and ideas resulting in a series of fascinating portraits. The interviews are displayed on multiple monitors installed throughout the gallery, which is transformed into a laid-back viewing lounge.\n\nThe featured artists include Angela Bulloch, Maurizio Cattelan, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Jorge Pardo, Philippe Parreno, Elizabeth Peyton, Tobias Rehberger, and Andrea Zittel."},{"slug":"tiravanija_rirkrit_ghost_reader_2002_iphone","ok":true,"partial":false,"title":"(Ghost Reader C.H.)","artist":"Rirkrit Tiravanija","year":"2002","startOffset":0,"sourceSecs":30992.96,"sourceHeight":246,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":868239104,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tiravanija_rirkrit_ghost_reader_2002_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tiravanija_rirkrit_ghost_reader_2002_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_ghost_reader_2002_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/tiravanija_rirkrit_ghost_reader_2002_iphone/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"In his 2003 piece Ghost Reader, Tiravanija depicts Annlee in an eight-hour film where she reads Do Androids Dream of Electric Sheep by Philip K. Dick, the novel which inspired Blade Runner. The main theme of the text is empathy, or rather the androids’ lack of empathy; it is the yardstick for what it means to be human. Drawing intense similarities between the robots of the novel and Annlee, the piece is self-referential. Despite her own technical and perpetual “hollowness”, the nature of her very existence in the realms of art means that she is never truly empty. Rather, she is imbued with the spirits of a historical collective who will unremittingly bring her to life."},{"slug":"tribe_critical","ok":true,"partial":false,"title":"Critical Mass","artist":"Kerry Tribe","year":"2010","startOffset":60.033,"sourceSecs":1330.834,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":99263004,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tribe_critical/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tribe_critical/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tribe_critical/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/tribe_critical/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Los Angeles-based artist Kerry Tribe continues her exploration of memory, image and information with the presentation of her live performance project, Critical Mass. Tribe restages Hollis Frampton’s groundbreaking experimental film Critical Mass (1971). In the original film, an improvised performance of a young couple’s domestic dispute was filmed on two reels of 16 mm film. Through a complex editing structure, Frampton cuts and slices the dialogue so that the increasingly frenetic stuttering of the conversation breaks down the rhythm of the temporal flow of the film. As the performers’ words fracture, overlap, and repeat, the images and audio gradually fall out of synch.\n\nTribe restages the film shot for shot, working with two actors who have committed the complete dialogue to memory. Their performance of the text restages the linguistic breakdown of the original film; every stutter is performed so that Frampton’s celluloid procedures are resituated as live action. Tribe reverses the logic of film’s relationship to performance; whereas Frampton’s work uses film to document and manipulate an action, Tribe’s version uses live action to document the memory of the film."},{"slug":"trockel_rosemarie_manus_spleen_i","ok":true,"partial":false,"title":"Manu's Spleen I","artist":"Rosemarie 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Kohly","year":"2009","startOffset":0,"sourceSecs":3598.002,"sourceHeight":324,"sourceWidth":576,"hasAudio":true,"hasAmbientMp4":true,"bytes":410009341,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vian_boris_boris_vian_kohly_philippe_2009/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vian_boris_boris_vian_kohly_philippe_2009/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vian_boris_boris_vian_kohly_philippe_2009/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vian_boris_boris_vian_kohly_philippe_2009/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"Philippe Kohly chooses to recount Boris Vian's life through his love for jazz, his quest for freedom, his taste for celebration. The film is without an interview but makes ample use of archives and musical evocations in the settings of the time in an attempt to uncover the truth of Boris Vian the human being, behind the mythical aura of the character."},{"slug":"vicki_bennett_variations_on_jem_finers_slowplayer_2012","ok":false,"partial":true,"title":"Variations on Jem Finer's \"Slowplayer\"","artist":"People Like Us","year":"2012","startOffset":0,"sourceSecs":43.2,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":4505,"posterUrl":null,"ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vicki_bennett_variations_on_jem_finers_slowplayer_2012/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vicki_bennett_variations_on_jem_finers_slowplayer_2012/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vicki_bennett_variations_on_jem_finers_slowplayer_2012/main/master.m3u8","downloadUrl":null,"hasFrames":true,"description":"On visiting this marvellous exhibit by Jem Finer at AV Festival 12, I couldn't resist but undo his good work of slowing down LPs to 3rpm... here is what it looks like through the eyes of a 3rpm creature watching our 33rpm world -- Vicki Bennett"},{"slug":"vierkant_artie_daylighttwilight_2010_iphone","ok":true,"partial":false,"title":"Daylight / Twilight","artist":"Artie Vierkant","year":"2010","startOffset":0,"sourceSecs":7347.992,"sourceHeight":100,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":482009178,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vierkant_artie_daylighttwilight_2010_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vierkant_artie_daylighttwilight_2010_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vierkant_artie_daylighttwilight_2010_iphone/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/vierkant_artie_daylighttwilight_2010_iphone/main/master.m3u8?v=2","downloadUrl":null,"hasFrames":true,"hasMainHls":true,"description":"(2008) rearranged frame by frame based on each frame's brightness value. Daylight runs brightest to darkest while Twilight runs darkest to brightest."},{"slug":"vito_hannibal_acconci_studio_buildings","ok":true,"partial":false,"title":"Buildings","artist":"Julia Loktev","year":"2004","startOffset":36.52,"sourceSecs":1245.611,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":148500433,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_buildings/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_buildings/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_buildings/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_buildings/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"vito_hannibal_acconci_studio_interiors","ok":true,"partial":false,"title":"Interiors","artist":"Julia Loktev","year":"2004","startOffset":8.6,"sourceSecs":1254.613,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":109506504,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_interiors/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_interiors/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_interiors/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_interiors/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"vito_hannibal_acconci_studio_parks","ok":true,"partial":false,"title":"Parks","artist":"Julia Loktev","year":null,"startOffset":46,"sourceSecs":1209.877,"sourceHeight":528,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":167943710,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_parks/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_parks/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_parks/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/vito_hannibal_acconci_studio_parks/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"von_wedemeyer_clemens_rien_du_tout","ok":true,"partial":false,"title":"Rien du tout (Nothing at all)","artist":"Clemens von Wedemeyer","year":"2006","startOffset":59.96,"sourceSecs":1800.043,"sourceHeight":306,"sourceWidth":544,"hasAudio":true,"hasAmbientMp4":true,"bytes":140955197,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/von_wedemeyer_clemens_rien_du_tout/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/von_wedemeyer_clemens_rien_du_tout/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/von_wedemeyer_clemens_rien_du_tout/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/von_wedemeyer_clemens_rien_du_tout/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"A Clemens von Wedemeyer production in collaborationwith Maya Schweizer and their film crew.\n\nOpening and casting of extras for the film on Sunday 29 January 2006 at 3pm. Shooting of the film from 5 to 11 February. Exhibition and projections of films by Clemens von Wedemeyer from 29 January to 18 March 2006.\n\nClemens von Wedemeyer was born in Göttingen, Germany, in 1974. He has been making experimental films and short fiction films since 1998, winning prizes in many international festivals. He navigates between the worlds of cinema and contemporary art, and his filmography is representative of the new generation of auteurs whose artistic influences and ways of writing originate in photography and video as well as cinema and performance art.\n\nThe artist will be presenting a selection of his latest films, and for the duration of the exhibition he will be filming a new short film that refers to the idea of theatre in Samuel Beckett’s ‘Catastrophe’. This new project, co-produced by the CAC Brétigny and the Berlin biennial, is based on the reality of the current situation in the French suburbs. The opening of the exhibition will be organised around the casting of the actors and extras to meet the demands of the screenplay. The finished film will be presented on the 24 March 2006 at the opening of the 4th Berlin biennial for contemporary art."},{"slug":"wedemeyer_muster","ok":true,"partial":false,"title":"Muster (Rushes)","artist":"Clemens von Wedemeyer","year":"2012","startOffset":60.04,"sourceSecs":4561.4,"sourceHeight":268,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":246425716,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wedemeyer_muster/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wedemeyer_muster/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wedemeyer_muster/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wedemeyer_muster/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Muster (Rushes) (2012), an HD video installation which explores the merits and limits of historical reconstruction and the complex, misleading, and violent incarnations of German history and culture. After being hailed as one of the most affecting pieces at the prestigious contemporary art fair dOCUMENTA 13, the MCA jointly acquired-with the Dallas Museum of Art-the work for its collection, adding to a growing holding of media-based works. Curated by MCA Chief Curator Michael Darling, the exhibition is on view February 21 to July 26, 2015.\n\nInherently political, the three films that constitute Muster (Rushes) (2012) visually link to one another, with each roughly half-hour narrative taking place at a former Benedictine monastery outside of Kassel, Germany. This monastery functioned as a concentration camp during the Nazi era, a reformatory for girls in the 1970s, and later a psychiatric clinic. Von Wedemeyer often uses unique installation settings with specified conditions that allow him to manipulate the viewer's physical reaction to his films. In this installation, the screens are arranged so that one of the three narratives is always hidden or inaccessible. The actors recur in each of the different scenes as well, playing different roles each time, and further contributing to the sense of history unwittingly repeating itself."},{"slug":"wedemeyer_probe","ok":true,"partial":false,"title":"Die Probe (The Test)","artist":"Clemens von Wedemeyer","year":"2008","startOffset":60.04,"sourceSecs":4561.4,"sourceHeight":268,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":246425713,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wedemeyer_probe/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wedemeyer_probe/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wedemeyer_probe/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wedemeyer_probe/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"The unedited sequence shows the backstage area of an events venue. A politician enters; he has just been elected president, to excited cheering from his supporters. After the press and the jubilant election team have left, the politician and an advisor go over his acceptance speech. They are looking for words to turn down the office he just gained: The newly elected president wants to refuse the power that has been invested in him. After a quick rehearsal he returns to the stage; the backstage area is empty once more, the film starts all over again."},{"slug":"weiner_beached","ok":true,"partial":false,"title":"Beached","artist":"Lawrence Weiner","year":"1970","startOffset":2.235,"sourceSecs":141.842,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":12452197,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_beached/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_beached/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_beached/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_beached/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"\"\"The soundtrack begins with the artist stating the conditions: 'An artist may construct a work and/or a work may be fabricated and/or a work need not be built. I elected five possibilities for videotape.' One sees the artist come over the horizon at a rocky beach and throw a piece of wood. The five possibilites are actions that execute BEACHED. They are shot in five sequences that are seperated by dissolves, and consist of throwing, pulling, lifting, dragging and using leverage. The artist leaves the camera frame in the end.\" --Alice Weiner\n\nProduced by Fernsehgalerie Gerry Schum, Hannover. Videophotography: Gerry Schum. Performer: Lawence Weiner. First Presentation: Galerie Konrad Fischer, Kunstmarkt, Koln, October 13-18, 1970. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"weiner_broken","ok":true,"partial":false,"title":"Broken Off","artist":"Lawrence Weiner","year":"1971","startOffset":1.567,"sourceSecs":50.451,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":3644630,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_broken/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_broken/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_broken/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_broken/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"\"\"In this video the artist states that it is a public freehold work which demonstrates what could be art within his responsibility. Like Beached it was also shot in a marshy area near the sea and in sequences that are separated by dissolves. One sees five different actions that are related to BROKEN OFF. The artist breaks a tree branch, scrapes and kicks the ground with his foot, snaps a stick in two off a fence, scrapes a stone with his fingernail. At the end he pulls the line plug from the video.\" — Alice Weiner. Produced by Fernsehgalerie Gerry Schum, Hannover. Videophotography: Gerry Schum. Performer: Lawrence Weiner. First Presentation: Videogalerie Schum, Dusseldorf (N.D. 1971). --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"weiner_decorated","ok":true,"partial":false,"title":"For Example Decorated","artist":"Lawrence Weiner","year":"1977","startOffset":6.506,"sourceSecs":1276.542,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":65196011,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_decorated/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_decorated/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_decorated/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_decorated/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"'Writes Alice Weiner: For Example Decorated is an art world talk show between personalities Britta Le Va, Peter Gordon and James Sarkis. The show begins with Le Va, seated at a table, introducing the show (i.e. reciting the credits). Then she introduces herself, soviet style as in Do You Believe In Water? by saying her name and then clapping. Gordon and Sarkis do the same, and they are finally all clapping. They sit down and talk. A coffee table in front of them is covered with Lego blocks. As they converse, they build little structures.\n\nA soundtape made for the installation of the work HAVING BEEN MARKED WITH (i.e. decorated) HAVING BEEN DECORATED WITH (i.e. marked) WITH A PROBABILITY OF BEING SEEN at the Konrad Fischer Gallery, 1977, is played at intervals throughout For Example Decorated. The soundtape has a number of tracks that were mixed by Weiner. On one track the work is read by Le Va and Weiner along the artists' 'conditions': 'the artist may construct the work; the work may be fabricated; the work need not to be built...' On another Le Va talks generally about how to make friends with transvestites, what they like and don't like. And another track has Le Va singing an old Marlene Dietrich song, 'Falling In Love Again.' The work track, her conversation and the singing are multi-lingual, shifting naturally between English and German.\n\nLe Va says that there is an assumption that people who make artifacts are a class in and of themselves. Gordon says that museums provide a limited audience; television reaches many more people. Le Va thinks that the poor people in the suburbs don't need to be disturbed by an artist's problems. Rock and roll bands are different, a painting can be a thing by itself. Artists make art first for themselves, then show it to their friends, then give it to a dealer to sell. Artists have to have criticism, says Gordon. The audience is your peer group, says Sarkis. Le Va notices Sarkis' shoes and wants to know where he got them. Sarkis finds the question hostile: he is dressed as a transvestite, and his shoes are high heels. His nails are lacquered. Several times the camera focuses close-up on his face &emdash; he speaks faintly, his eyes flicker. Le Va talks about art works being destroyed by ignorance because people did not know what they were. The tape ends with Le Va saying 'I am not an artist, but if I were I would...so why should I?' while the camera focuses on a close-up of Sarkis' elegant foot and shoe.\" Produced by Moved Pictures, New York City. Directed by Michael H. Shamberg. First Production Consultant: Carlotta Schoolman. Videophotography: Michael H. Shamberg. Ambient Audio Track: From the Soundtape i.e. Decorated (Solo Exhibition, Konrad Fisher Gallery, 1977) Players: Peter Gordon, Britta Le Va, James Sarkis. First Presentation: The Kitchen, New York City, ca. late May, 1977. (Group screening with Richard Bloes et al.) --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"weiner_done","ok":true,"partial":false,"title":"Done To","artist":"Lawrence Weiner","year":"1974","startOffset":0,"sourceSecs":1226.826,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":66522405,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_done/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_done/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_done/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_done/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Writes Alice Weiner: \"Done To (sometimes called It Is, Done To) consists of simple camera frames which are silent and/or unconnected to a complex soundtrack running parellel to the images. There are brief instances where image and sound meet; however, the majority of the images are overtaken by at times symphonic, at times cacophonous soundtracks which displace the normal filmic viewing experience. The standard film format for going from frame to frame — and then and then and then — is what the film is concerned with. The film begins with a silent close-up of a woman's face (Sharon Haskell). The sound track then begins: a male voice says 'AND THEN..,' followed by a female voice saying 'A TREATMENT OF THE DISSONANCES...,' 'AND THEN...' 'AN INDICTMENT OF THE DISSONANCES...' This pattern of male/female, female/male query/response switching back and forth continues throughout the film.\n\nKathryn Bigelow is sitting on a couch, reading a book. Haskell joins her and they begin a conversation which cannot be heard; instead the soundtracks of works become more and more dense. The voices echo and overlap, then untangle and become clear. The two women talk with someone off-screen, behind the camera. A general conversation fades in and out: for instance, one hears the question 'Did you really come to New York to make it like Trigger?' The camera angles change, but it is always the same scene—a non-descript couch in a room with Bigelow either alone or in the company of Haskall. An American calvary song is also entwined in the soundtrack.\n\nTowards the end, the male voice says, 'It is then done to,' after which the credits are spoken. The women's conversation and the reading of the works continues, and then the credits are repeated. And then the soundtrack ends and then the picture ends. And then it is, done to.\"\n\nProduced by Moved Pictures, New York City. Cinematography: Mark Obenhaus. Audio Direction: Michael Reisman. Audio Engineer: Kurt Munkacsi. (Melodic Noise: Jeffrey Lew, Mayo Thompson, Will Gillian. Voices: Kathryn Bigelow, Sharon Haskell, Lawrence Weiner.) Players: Kathryn Bigelow, Sharon Haskell. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"weiner_green","ok":true,"partial":false,"title":"Green as Well as Blue as Well as Red","artist":"Lawrence Weiner","year":"1976","startOffset":2.535,"sourceSecs":1052.419,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":57359104,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_green/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_green/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_green/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_green/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"\"\"A table is set with two identical red books placed at diagonal corners and a stack of three poker chips placed in the center. Two women, Tina Girouard and Susanne Harris, enter the frame. Harris is wearing a red blouse, Girouard a blue blouse with a red carnation in her buttonhole. They shake hands and sit down. Different soundtracks begin to converge: one is a dialogue between Lawrence Weiner and Kathryn Bigelow; another track is the reading of works from the red book; and another is a field recording of 'Freiheit' from the Lincoln International Brigade during the Spanish Civil War. Sometimes it sounds as if the work track is responding to the dialogue between Weiner and Bigelow, or as if it is directing the actions of the performers. Weiner directed the camera, mixed the soundtracks and maintained the dialogue with Bigelow at one go, while the performers performed. (Weiner does not appear, but the camera pans once to Bigelow who is sitting on a chair to the left of the performers.) So it is, in effect, a live tape.\" - Alice Weiner Produced by Moved Pictures, New York City. Videophotography: Carlota Schoolman. Ambient Music: Freiheit (Freedom), Ernst Bush and chorus, from \"Songs of the Lincoln and International Brigades\" (Stinson Records, SLP 52, 33 1/3 rpm). Players: Tina Girouard, Suzanne Harris. Commentators: Kathryn Bigelow and Lawrence Weiner. First Presentation: \"A proposition + some questions as to moved pictures,\" Artists' Space, New York City, February 27, 1976. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"weiner_lawrence_liberte_et_contrainte_2006","ok":true,"partial":false,"title":"Liberté et contrainte","artist":"Lawrence Weiner","year":"2006","startOffset":59.993,"sourceSecs":1284.267,"sourceHeight":478,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":187714752,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_lawrence_liberte_et_contrainte_2006/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_lawrence_liberte_et_contrainte_2006/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_lawrence_liberte_et_contrainte_2006/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_lawrence_liberte_et_contrainte_2006/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"LIBERTÉ ET CONTRAINTES is a video filmed and edited by Lawrence Weiner. The title refers to a statement he made in 1968 for the magazine Art News in an attempt to define his work. 1/ the artist may construct the work, 2/ the work may be fabricated, 3/ the work need not be built. Here, the artist actually builds a piece by filming a video. Lawrence Weiner himself holds the camera, standing on a boat alongside the quay of a dock called Westerdoksdijk, located north of Amsterdam. Against a background of sky and clouds, flickering shots show a ship pulley on the right and on the left the Blenheim tower, head office of Dutch lawers. Language is used as material and here it comes up on the screen as part of the image itself. Liberté et Contraintes is therefore to be seen as an extension of the artist's previous work."},{"slug":"weiner_lawrence_there_but_for_1980","ok":true,"partial":false,"title":"There But For","artist":"Lawrence Weiner","year":"1979","startOffset":2.603,"sourceSecs":1226.731,"sourceHeight":480,"sourceWidth":624,"hasAudio":true,"hasAmbientMp4":true,"bytes":261946398,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_lawrence_there_but_for_1980/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_lawrence_there_but_for_1980/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_lawrence_there_but_for_1980/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_lawrence_there_but_for_1980/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"'There But For' imitates the format of a soap opera. The characters are in a house, playing \"daily life\". As usual in Lawrence Weiner videos the actors are well known artists: Brita Le Va, Peter Downsbrought, Peter Nadin, Lesley Schiff and Michael H. Shamberg. An annoying couple with a son are welcoming some guests. The woman is complaining about her life and husband while he seems rather disinterested. Their guests are having conversations; a female visitor argues with the female host. From time to tim during the tape the characters are acting out of place: a female is shaving in the bathroom while two man are talking to each other and the host male pees, or the host male pees on the plants of the living room in front of everyone, a woman cleans her ears with a knife. The music was performed live on the set while the play was enacted."},{"slug":"weiner_plowmans","ok":true,"partial":false,"title":"Plowmans Lunch","artist":"Lawrence Weiner","year":"1982","startOffset":26.125,"sourceSecs":1774.406,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":105606936,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_plowmans/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_plowmans/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_plowmans/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_plowmans/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"\"\"Plowmans Lunch is called a documentary because its intent was to explore actual occurrence, be it the building of the work, or what befalls the players. It still uses the structure of an open form although the characters are more developed: they have 'names' and some of the scenes were truly dangerous for them to produce. As in the other films (with the exception of Done To), there is a nucleus of three characters, two women (Boris and Jamiee) and one man (Steentje, a transvestite/hermaphrodite). The music, expressly composed for it, is harmonious with its developments. Cartoon-like framing and intense color give the film a composed, painterly quality. The story is about emigration; in contrast to Passage to the North it is 'out of the house.' A loose group of individuals consisting of young and old people, intellectuals and workers (blue and white collar), and a transvestite/hermaphrodite attempt to leave where they are and go, simply, somewhere else. They are a microculture and their machinations are revealed in highly stylized vignettes which are almost stories unto themselves and are strung throughout the film like a fisherman's buoys. Dutch and English, a smattering of French, German and Latin flow throughout the story like water.\" — Alice Weiner\n\nProduced by Stichting De Appel, Amsterdam (Wies Smals). Cinematography: Jules Van Den Steenhoven. Music: Peter Gordon (Performed by Jan Erik Van Regteren Altena, Rene Van Ast and Peter Gordon). Editor: Eva Reisel. Special Assistant: Frank Vellenga. Camera Assistants: Joost Dankelman, Erik Van 't Wout. Sound: Roel Bazan. Light: Bert Perk. Mix:Ron Haanschoten. Players: Azw Bentley (Zachte Berm), Ingrid Van Alphen (Boris), Eva Damave (Jamiee), Joop Vriend (Steentje), Kirsten Vibeke Thueson, Lorenz Van Der Mey, Lawrence Weiner, Rob Meijer, Marianne Jorritsma, Benno Premsela, Wies Smals, Josinne Van Droffelaar, Sebastiaan Gottlieb, Arthur Rijsbosch, Jill Orr, Eva Iken, Tiki Gin, David Gower. First Screening: The Film House, Den Haag/Kriterion Theatre, Amsterdam, October 13, 1982. First American Screening: Bleecker Street Cinema (James Agee Room), New York City, April 9, 1983. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"weiner_shifted","ok":true,"partial":false,"title":"Shifted From The Side","artist":"Lawrence Weiner","year":"1972","startOffset":60.059,"sourceSecs":68.869,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":601775,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_shifted/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_shifted/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_shifted/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_shifted/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"972, 1 min, b&w, sound\"\"Shifted From the Side is stylistically similar to To And Fro. Fro And To. And To And Fro. And Fro and To, and was probably made the same afternoon, in the back of the Leo Castelli Gallery. The object used to demonstrate five possibilities (of what could, but not necessarily should, be the work) is a pack of Lucky Strike cigarettes. As in the first tape, the camera is static. The pack is on the right side of the screen; as the work and text are spoken the pack is slid (shifted) back and forth. The hand leaves the object each time an act is completed before sliding it (from side to side) across the table.\" -- Alice Weiner\n\nProduced by Leo Castelli Gallery, New York City. Videophotography: Richard Landry. Performer: Lawrence Weiner. First Presentation: Leo Castelli Gallery, New York City. 1972. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"weiner_to","ok":true,"partial":false,"title":"To And Fro. Fro And To. And To And Fro. And Fro And To.","artist":"Lawrence Weiner","year":"1972","startOffset":0,"sourceSecs":58.626,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":3669867,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_to/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_to/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_to/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_to/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"\"\"An ashtray is used to demonstrate five different actions related to the work. With the camera static, the video opens with the ashtray in the center of the screen. A hand approaches it from above and slides the object up and down, then back up and back down. A voice states the work, the conditions relevant to the art. Each time an act is completed, the hand lifts off the object, making a separation from the next 'possibility.' The acts (or movements) are identical and mimic the language (e.g. to and fro?) as it is spoken.\" — Alice Weiner --\n\nProduced by Leo Castelli Gallery, New York City. Videophotography: Richard Landry.\n\nPerformer: Lawrence Weiner. First Presentation: Leo Castelli Gallery, New York City. 1972.\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"weiner_water","ok":true,"partial":false,"title":"Do You Believe in Water?","artist":"Lawrence Weiner","year":"1976","startOffset":0,"sourceSecs":2390.822,"sourceHeight":288,"sourceWidth":384,"hasAudio":true,"hasAmbientMp4":true,"bytes":122069586,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_water/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_water/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_water/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiner_water/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"In Do You Believe in Water?, conceptual artist Lawrence Weiner employs minimalist props and scenarios to stage an oblique psychological drama. In a nearly bare loft space, Weiner's performers cluster around an octagonal pink table, enacting a series of what seem to be choreographed exercises or processes: playing patty-cake, grappling for possession of rectangular blocks, kissing and embracing, engaging in bizarrely coded conversations. The performers' physical actions and interactions with one another — and with the distinctively colored and shaped objects in the space — evolve in constantly shifting relationships that become a kind of language of inflected meaning. As these relationships unfold, viewers must synthesize these cues, together with a multi-layered soundtrack that suggests linguistic, rhetorical and philosophical puzzles. This performance translates themes and strategies seen in Weiner's conceptual artworks into the realm of theater.\n\nA tape within a structure by Lawrence Weiner. Produced by The Kitchen; New York City; Fifi Corday and Moved Pictures, New York City. Videophotography: Carlota Schoolman, Michael H. Shamberg. Table: Jim Burton. Players: Robert Stearns, Steve Bluter, Suzanne Harris, Norman Fischer, Ann Wooster, Madeleine Burnside. Audio-track Overlap: Lawrence Weiner. Melodic Noise: A Tribe in/of New Guinea, from Niugini Sampela Song Bilong Yumi [Schlenker-Film, 45 rpm]. Voices: AZW Bentley, Lawrence Weiner.\n\nFirst presentation: The Kitchen, New York City, 1976, as a component of the exhibition \"With Relation to the Various Manners of Use,\" September 25-October 18, 1976. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"weiss_peter_was_machen_wir_jetzt_what_are_we_going_to_do_1958","ok":true,"partial":false,"title":"Vad ska vi göra nu da? / Was machen wir jetzt?","artist":"Peter Weiss","year":"1958","startOffset":22.08,"sourceSecs":1143.403,"sourceHeight":352,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":99340367,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiss_peter_was_machen_wir_jetzt_what_are_we_going_to_do_1958/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiss_peter_was_machen_wir_jetzt_what_are_we_going_to_do_1958/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiss_peter_was_machen_wir_jetzt_what_are_we_going_to_do_1958/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/weiss_peter_was_machen_wir_jetzt_what_are_we_going_to_do_1958/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"welles_orson_the_one_man_band_1995_iphone","ok":true,"partial":false,"title":"Orson Welles: The One Man Band","artist":"Vassili Silovic","year":"1995","startOffset":6.406,"sourceSecs":5216.984,"sourceHeight":264,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":307916173,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/welles_orson_the_one_man_band_1995_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/welles_orson_the_one_man_band_1995_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/welles_orson_the_one_man_band_1995_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/welles_orson_the_one_man_band_1995_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"ORSON WELLES: THE ONE-MAN BAND is a fascinating glimpse at this extraordinary man's final years - made with the cooperation of Oja Kodar, Welles' longtime companion, to whom he bequeathed a wealth of unedited films and fragments when he died in 1985. Granted exclusive access to Welles' heretofore unseen archives - and drawing from almost two tons of film cans containing fragments, shorts, project ideas, and sketches - the filmmakers are led by Kodar through the rich but unfulfilled Welles legacy. Far from being the gloomy megalomaniac that Hollywood has sometimes branded him, Welles emerges here a protean creator, at times vulnerable and lonely, but always unshakeably optimistic and unfailingly innovative.\n\n, the most prestigious production of Welles' later years: it's the story of an aging, egotistical director (played by John Huston) who rails against Hollywood. Shot in a jumpy, frenetic style, it's unlike anything Welles had done before.\n\nwill be the most exciting experience in years. It consists almost entirely of Welles-directed material that has never been seen before except by a tiny group of insiders. Here are scenes from almost all the legendary uncompleted Welles films....Director Silovic and his crew...have done a grand job in bringing some of this incredibly rare material to light, and have achieved a truly fascinating and well-constructed tribute to the master.\""},{"slug":"west_jennifer_2005_09_compilation","ok":true,"partial":false,"title":"Selected Film Excerpts Compilation (2005-2009)","artist":"Jennifer West","year":"2005","startOffset":25.559,"sourceSecs":380.113,"sourceHeight":480,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":94373520,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_2005_09_compilation/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_2005_09_compilation/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_2005_09_compilation/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_2005_09_compilation/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Los Angeles-based artist Jennifer West created a new film live in the gallery by uniting an unlikely mix of ink, film strips and skate-boarding. In this unique event, titled Skate the Sky Film, West built on her previous experiments with everyday materials such as pepper spray or Axe body cologne used to physically manipulate celluloid. West staged a performance in the Turbine Hall for which a team of skate-boarders traversed paint and ink-covered film strips, their wheels scraping into the celluloid and marking their movements in complex and psychedelic patterns. The live event was followed by a screening the next evening of the film created plus a selection of West’s earlier films."},{"slug":"west_jennifer_2011_13_compilation","ok":true,"partial":false,"title":"Selected Film Excerpts Compilation (2011-13)","artist":"Jennifer West","year":"2011","startOffset":59.977,"sourceSecs":749.541,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":485908018,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_2011_13_compilation/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_2011_13_compilation/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_2011_13_compilation/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_2011_13_compilation/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"“Saline bodies, water. Buckets, film. Materiality, memory. Erosion, elision. Time, travel. Spiral, Jetty. Salt Lake, Dead Sea. Jennifer West’s fervent materialism is by now well documented—strewn as her films are with materials, which she then indexes in her paragraph-long titles—as are the dialectical relationships she plumbs with awesome hallucinatory fever. Likewise, her films Spiral of Time Documentary Film and Salt Crystals Spiral Jetty Dead Sea Five Year Film (both 2013) materialize—no, metabolize—more of these things. Travelogues in the elliptical way that Tony Conrad’s black painted frames on paper, his seventies-era “Yellow Movies,” were movies, West’s recent films are admixtures of shot images and abstract, material traces, in the acid-y palette that is her signature. But if her previous works conjured the early abstract cinema of Hans Richter and Walter Ruttmann, among others, her new works were conceived in spirit with Robert Smithson and Chris Marker, and their poetic, speculative travelogues—sculptural and cinematic, respectively—that were both cosmically and earthily concerned with place and time.” –Quinn Latimer for Vdrome.org, 2015"},{"slug":"west_jennifer_film_20_title_poem_28excerpt_29_2019","ok":true,"partial":false,"title":"Film Title Poem","artist":"Jennifer West","year":"2016","startOffset":59.977,"sourceSecs":546.588,"sourceHeight":1062,"sourceWidth":1888,"hasAudio":true,"hasAmbientMp4":true,"bytes":269919785,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_film_20_title_poem_28excerpt_29_2019/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_film_20_title_poem_28excerpt_29_2019/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_film_20_title_poem_28excerpt_29_2019/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_film_20_title_poem_28excerpt_29_2019/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"west_jennifer_one_mile","ok":true,"partial":false,"title":"One Mile Film","artist":"Jennifer West","year":"2012","startOffset":59.977,"sourceSecs":279.738,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":178683358,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_one_mile/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_one_mile/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_one_mile/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/west_jennifer_one_mile/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"wieland_joyce_cat_food_1967","ok":true,"partial":false,"title":"Cat Food","artist":"Joyce Wieland","year":"1969","startOffset":5.005,"sourceSecs":819.435,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":129975169,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_cat_food_1967/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_cat_food_1967/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_cat_food_1967/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_cat_food_1967/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Wieland shows a cat devouring fish after fish for some ten minutes. There seems to be no repetition of shots, but the imagery is so consistent throughout–shot of the fish, the cat eating, his paw clawing, another fish, the cat eating, etc.–that it is just possible the shots are recurrent. There is no question that Wieland has a unique talent.”- P Adams Sitney, Film Culture\n\n“A cat eats its methodical way through a polymorphous fish. The projector devours the ribbon of film at the same rate, methodically. The lay of Grimnir mentions a wild boar whose magical flesh was nightly devoured by the heroes of Valhalla, and miraculously regenerated next morning in the kitchen. The fish in Wieland’s film, and the miraculous flesh of the film itself, are reconstructed on the rewinds to be devoured again. Here is a dionysian metaphor, old as the West, of immense strength. Once we see that the fish is the protagonist of the action, this metaphor reverberates to incandescence in the mind.” – Hollis Frampton\n\nyet again reflects the director’s indelible love for details and, so it seems, the smallest everyday things. Only a cat, eating fish after fish, is shown on the screen. But this process is recorded by exceptionally observing every motion of the animal – its eyes closed in gusto, the small claws of the cat’s graceful paw diving into the fish… The New Yorker compared this film even to the works of the famous Jean-Luc Godard.” —Kaunas International Film Festival"},{"slug":"wieland_joyce_rat_life_and_diet_in_north_america_1968","ok":true,"partial":false,"title":"Rat Life and Diet in North America","artist":"Joyce Wieland","year":"1968","startOffset":0,"sourceSecs":977.515,"sourceHeight":432,"sourceWidth":560,"hasAudio":true,"hasAmbientMp4":true,"bytes":159369357,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_rat_life_and_diet_in_north_america_1968/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_rat_life_and_diet_in_north_america_1968/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_rat_life_and_diet_in_north_america_1968/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_rat_life_and_diet_in_north_america_1968/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Subtitles are superimposed over images of gerbils and cats in domestic settings ranging from a kitchen table to the screen of a window and the garden beyond. Inserted into the documentation of the banal adventure of a band of gerbils loose in the house is the familiar photograph of the dead Ché Guevara surrounded by uniformed men."},{"slug":"wieland_joyce_reason_over_passion_1969_iphone","ok":true,"partial":false,"title":"Reason Over Passion","artist":"Joyce Wieland","year":"1969","startOffset":34.635,"sourceSecs":4971.48,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":388302992,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_reason_over_passion_1969_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_reason_over_passion_1969_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_reason_over_passion_1969_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wieland_joyce_reason_over_passion_1969_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"\"\"\"Joyce Wieland's films are among the most endearing I have ever seen, making her point and sealing the issue in a womanly way without any concern for ragged edges. La Raison Avant la Passion is a whirlwind view of Canada with an anti-dialectical premise.\" - Douglas Pringle, ArtsCanada\n\n\"\"Reason Over Passion... is Joyce Wieland's major film so far. With its many eccentricities, it is a glyph of her artistic personality; a lyric vision tempered by an aggressive form and a visionary patriotism mixed with ironic self parody. It is a film to be seen many times.\" - P. Adams Sitney, Film Culture"},{"slug":"williamson_margaux_teenager_hamlet_1","ok":true,"partial":false,"title":"Teenager Hamlet","artist":"Margaux Williamson","year":"2010","startOffset":59.993,"sourceSecs":4581.014,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":492511791,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/williamson_margaux_teenager_hamlet_1/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/williamson_margaux_teenager_hamlet_1/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/williamson_margaux_teenager_hamlet_1/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/williamson_margaux_teenager_hamlet_1/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"wilson_andrew_norman_ode_to_seekers_2012","ok":true,"partial":false,"title":"Ode to Seekers 2012","artist":"Andrew Norman Wilson","year":"2016","startOffset":0,"sourceSecs":510.485,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":214078149,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_andrew_norman_ode_to_seekers_2012/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_andrew_norman_ode_to_seekers_2012/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_andrew_norman_ode_to_seekers_2012/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_andrew_norman_ode_to_seekers_2012/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Andrew Norman Wilson is an artist and curator based in Los Angeles whose videos and installations address a heady rush of images, technology, and bodies caught in the streams of circulation and representation that our era demands. He has recently had work featured in the seventh Bucharest Biennale, the ninth Berlin Biennale, and will have a new video installation as part of the eleventh edition of the Gwangju Biennale, curated by Maria Lind, which opens on September 2, 2016.\n\nODE TO SEEKERS 2012 is a looped video that celebrates mosquitoes, syringes, and oil derricks. Not only are they symbols of some of the most significant threats to human life—mosquito borne illnesses, drug addiction, and the petroleum industry—but they are also the causes of three of my most significant personal traumas.\n\nIn 2012 I received psychological testing at Rockland Psychiatric Center in Orangeburg, New York, which had been a pioneer of the “therapeutic suburb” model for mental institutions when it was built in 1927. I realized that a large portion of the campus had become abandoned, and not only hadn’t been cleaned out, but carried a history of sporadic reactivation by junkies, homeless people, teens, and artists. I began bringing friends there to explore and shoot video, and on my last trip I shot footage in which I misused a Steadicam to create what seems to me like a mosquito’s point of view.\n\nLike Steadicam footage, which is meant to transport the viewer to the perspective of someone—or something—else, CGI is a technique based in seeking. It illustrates objects hidden from view or movements too small for the naked eye, with the potential for a cartoon physics beyond the laws of our physical universe. I worked with the Romanian animator Vlad Maftei on this video because of his range of experience—from hyperreal renderings of vital organs for the health care industry and architectural renderings of buildings-to-be to Spongebob Squarepants advertisements. Much of my thinking about the composition of Ode to Seekers 2012 is based on John Keats’s “Ode on a Grecian Urn,” wherein the titular art object is treated as eternal, intensifying the speaker’s sense of mortality. In keeping with the structure of an ode, my work consists of three movements. In the first—to the sound of an exploratory house track by Marcellis—the broken camera roves through the abandoned children’s ward corridors of Rockland. Second, highly saturated computer-generated 3-D models of the mosquito, syringe, and oil derrick appear under magic-hour lighting, slipping in and out of an ecstatic trance of liquid extraction—or injection—from a surface that looks at once like desert salt flats, skin under a microscope, and potato casserole. In sequences that are edited like a music video, these objects joyously thrust, pierce, and pump to my remix of Icona Pop’s 2012 banger “I Love It.” Third, each model and its pumping functions are co-opted by an assembly line apparatus, at once medical and industrial, that sucks the color out of everything that comes down a pipe.\n\nMaking this piece has been a process of grasping for a fantasy that I see when I’m jogging in a new city or under some kinds of influences. I can’t describe what the fantasy is, and I will probably never reach it. The similarities between my behavior and that of these three forces suggest a sense of camaraderie, but they also provoke a fear that, like those objects, I may just be a puppet of algorithms or economic networks or genetic coding. Still, I work my way through a neural reward system in pursuit of something fleeting, or perhaps even unattainable."},{"slug":"wilson_jane_louise_star_city_2000","ok":true,"partial":false,"title":"Star City / Proton, Unity, Energy, Blizzard","artist":"Jane & Louise Wilson","year":"2000","startOffset":0,"sourceSecs":1151.317,"sourceHeight":464,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":158023334,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_jane_louise_star_city_2000/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_jane_louise_star_city_2000/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_jane_louise_star_city_2000/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_jane_louise_star_city_2000/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Video shot in 303 Gallery, New York City, 2000: an installation by Jane and Louise Wilson that combines two of their moving image works, Star City and Proton, Unity, Energy, Blizzard. Star City is 8 minutes long. I don't know the length of the second work, but they are both integrated pretty much seamlessly into one ongoing loop. The installation's footage was originally shot on 16mm and transferred to DVD for exhibition. This record of the installation was shot on a DV camera.\n\n\"\"Like Leni Riefenstahl, the British twins Jane and Louise Wilson create works that estheticize power, but to obviously different ends. Unlike Hitler's favorite filmmaker, their film installations are more funereal than triumphant. For their newest odes to eroded power and faded glory, a pair of videos called Star City and Proton, Unity, Energy, Blizzard, the Wilsons were granted access to high-security sites of the financially stricken and scaled-back Russian space program. The videos were shot, respectively, at Star City, the main training center for Russian cosmonauts just outside Moscow, and the Baikonur cosmodrome, the massive base of the space program located in modern-day Kazakhstan (though the program is still operated by Russia). These sites, once beacons of Soviet power, are now in such a state of decline that it is sometimes difficult to tell which facilities are still in use and which are abandoned. This sense of desolation is heightened by the near-total absence of people in their footage.\n\nThe looped videos were projected on two facing sets of double screens in the gallery's corners. The Wilsons used a number of subtle filming and editing techniques which are noticeable, yet not disruptive or distracting. Scenes shift from near to far, motion to still, but without a jumpy quality. Corresponding to the visual rhythm are the ambient sounds that gave the installation a musical quality-the clunking and whirring of machinery punctuated with silence. The editing juxtaposes things old and new, insignificant and iconic, and spaces vast and intimate: a launchpad's metal bay doors touched with rust swing open to reveal a vast desert horizon with a brilliant blue sky, an empty chair spins around in an enclosed testing chamber. As the camera pans across a room, the images sometimes seem to slide across one screen and onto the next.\n\nThe same scenes are often shot from different angles, with closely related but disjunctive images presented side by side or on opposing screens. For example, a large centrifugal training pod (used to simulate gforce) spins around like a carnival ride in a room with an elaborately tiled floor. For one view, a stable camera is trained on the whirling apparatus; in another, the camera is mounted on the machine itself as it follows its dizzying orbit. A particulaly eerie sequence involves an underwater lab-a replica of the Mir space station-used for antigravity training. Filmed from above and below the water's surface, the behemoth station sits immersed like a sunken ship, shrouded in water and silence.\n\nThe grandiosity and promise of Russia's space program are belied by scenes showing camels passing next to a rusted, disused launch pad, or space suits stacked on shelves like corpses in a catacomb. When filming these videos, the Wilsons couldn't have known that the Russian government would soon decide to crash the beleagered Mir into the ocean. The news, announced during their show's run last fall, added to the installation's somber quality. Their project shows just how far we still are from the cosmic dreams of Stanley Kubrick's 2001.\""},{"slug":"wilson_robert_deafman_glance","ok":true,"partial":false,"title":"Deafman Glance","artist":"Robert Wilson","year":"1981","startOffset":0,"sourceSecs":2723.974,"sourceHeight":432,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":239643310,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_deafman_glance/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_deafman_glance/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_deafman_glance/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_deafman_glance/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"This haunting work for television has been excerpted and adapted from Wilson's five-hour \"silent opera\" of the same title. Wilson tells a stark and stylized story of murder, using time and space, light and movement, and isolated sound in place of spoken words. The ritualistic action, which moves from a spartan kitchen through the silent halls, stairways and rooms of a lonely house, is both dreamlike and sinister. A somber, menacing woman washes white dishes and a gleaming carving knife, pours milk into a glass, and then slowly attacks first one young boy and then another. Not a word of dialogue is uttered. Suggesting the disparate worlds of both ancient Greek tragedy and contemporary tabloid headlines, Deafman Glance harbors paradox: The events are terrifying but not violent; characters are both real and symbols of reality; pacing reduces action to abstraction; and morality and mortality are ambiguous.\n\nLighting: Danny Franks. Produced by Byrd Hoffman Foundation. Executive Producer: Lois Bianchi. With: Sheryl Sutton, Jerry Jackson. Rafael Carmona. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"wilson_robert_lecture_on_nothing","ok":true,"partial":false,"title":"Lecture on Nothing","artist":"Robert Wilson","year":"2012","startOffset":59.96,"sourceSecs":4577.238,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":272130861,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_lecture_on_nothing/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_lecture_on_nothing/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_lecture_on_nothing/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_lecture_on_nothing/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Robert Wilson (Einstein on the Beach, Deafman Glance, The Black Rider) directs and performs in his interpretation of John Cage's \"Lecture on Nothing.\" This was performed at the 2012 Ruhrtriennale International Arts Festival."},{"slug":"wilson_robert_stations_1982_iphone","ok":true,"partial":false,"title":"Stations","artist":"Robert Wilson","year":"1982","startOffset":11.278,"sourceSecs":3433.837,"sourceHeight":320,"sourceWidth":468,"hasAudio":true,"hasAmbientMp4":true,"bytes":247337952,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_stations_1982_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_stations_1982_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_stations_1982_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_stations_1982_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"is an enigmatic, hauntingly vivid work, in which Wilson envisions the daydreams and fantasies of an eleven-year-old boy as a universe both magical and sinister. Resonating with Wilson's precise visual stylization, the tape's pivotal image is a young boy looking through a large window in the kitchen of his home, which becomes the portal for his dramatic, often startling inner fantasies. Fire, metal, wind, glass and water, among other elements, serve as points of departure for a series of elegant pictorial compositions and evocative metaphors. Unfolding without dialogue or spoken language, Wilson's indelible visions articulate the fear and mystery of the internal life of a child, and his relation to the outside world.\n\nProduced by the Byrd Hoffman Foundation in association with Institut National de l'Audiovisuel (INA) and Zweites Deutsches Fernsehen (ZDF). Executive Producer: Lois Bianchi. Music: Nicholas Economou. Lighting: Danny Franks. With: Margaret Jane Linney, Robert Hock, Jamie Nodell, Larry Mataresse."},{"slug":"wilson_robert_voom_portraits_2014_buscemi","ok":true,"partial":false,"title":"Steve Buscemi","artist":"Robert Wilson","year":"2004","startOffset":0,"sourceSecs":231.042,"sourceHeight":640,"sourceWidth":360,"hasAudio":true,"hasAmbientMp4":true,"bytes":17876383,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_buscemi/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_buscemi/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_buscemi/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_buscemi/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"wilson_robert_voom_portraits_2014_depp","ok":true,"partial":false,"title":"Johnny Depp","artist":"Robert Wilson","year":"2006","startOffset":59.977,"sourceSecs":726.558,"sourceHeight":640,"sourceWidth":360,"hasAudio":true,"hasAmbientMp4":true,"bytes":41982986,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_depp/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_depp/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_depp/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_depp/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"wilson_robert_voom_portraits_2014_pitt","ok":true,"partial":false,"title":"Brad Pitt","artist":"Robert Wilson","year":"2004","startOffset":59.958,"sourceSecs":229.083,"sourceHeight":640,"sourceWidth":360,"hasAudio":true,"hasAmbientMp4":true,"bytes":18174726,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_pitt/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_pitt/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_pitt/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_pitt/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"wilson_robert_voom_portraits_2014_ryder","ok":true,"partial":false,"title":"Winona Ryder: Happy Days","artist":"Robert Wilson","year":"2004","startOffset":59.958,"sourceSecs":638.042,"sourceHeight":360,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":38633909,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_ryder/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_ryder/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_ryder/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilson_robert_voom_portraits_2014_ryder/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"wilsona_seminars","ok":true,"partial":false,"title":"Uncertainty Seminars","artist":"Andrew Norman Wilson","year":"2014","startOffset":0,"sourceSecs":774.941,"sourceHeight":270,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":46161556,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilsona_seminars/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilsona_seminars/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilsona_seminars/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wilsona_seminars/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"This is belted over the title card, so we are ready for a phenomenological pretzel. THINKING scrolls across the frame several times during the video, always a frustrating reminder of how nerve-wracking it can be. Later, participating in a guided meditation precludes watching CLOSE YOUR EYES become DOSE YOUR FACE on screen. Do we have to choose? Do we have a choice? All the cues are aimed at a viewer, but coming from corporate aesthetics and psychoanalysis they can perpetuate themselves without reality. There are Powerpoints (and drugs, which you go on to make the Powerpoints) whose codes slip from perfunctory to impertinent to nonsensical as they grow more poetic. That says something about the perseverance of the human spirit! The movie within a movie is a Chow Chow drama. Freud’s Chow Chow grew disgusted by her master’s face as it rotted from cigars. “Lack of security defines our lives” is said once, then again with the Pavlovian plinking of the American Beauty theme, and somewhere a millennial’s dreams died.\n\n\"\"\"The video starts with R. Kelly’s voice singing, ‘My mind’s telling me no, but my body’s telling me yes’ – the opening line of his 1994 song ‘Bump n’ Grind’ – while the work’s title, The Uncertainty Seminars, is spelled out in pale pink, before fading away again, absorbed by a rosy background. A dog barks. The song stops. A ‘Table of Contents’ appears on a new, raspberry-pink background: Mission, Motivations, Principles, Visualization, Methods. A bell rings; the word ‘THINKING’ runs across the screen. A Siri-esque voice proclaims: ‘Art, the privileged place of experimentation for the precariousness of life, language and labour. We form amorphous clusters that make up an international network. Our work is pushed forward into the immensurability of value in relation to time.’ The subject is uncertain and only demarcated by age: ‘We are young creative and talented. We don’t know exactly what we’re going to do and how we’re going to make a living. Lack of security defines our lives.’\n\nCould technology open a way to self-knowledge and peace of mind, instead of merely sedating our fears? New York-based Andrew Norman Wilson’s video The Uncertainty Seminars(2013–ongoing) – a work-in-progress – tries to answer the question by merging the language of corporate aesthetics and self-help seminars (PowerPoint presentations, candy colours, motivational slogans) with the ABC of post-digital aesthetics (the uncertain divide between mind and body, perception and reality, images and objects). And with a good deal of irony, thankfully.\""},{"slug":"wolfson_jordan_animation_masks_2011","ok":true,"partial":false,"title":"Animation Masks","artist":"Jordan Wolfson","year":"2012","startOffset":6.792,"sourceSecs":751.701,"sourceHeight":720,"sourceWidth":1280,"hasAudio":true,"hasAmbientMp4":true,"bytes":169600342,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wolfson_jordan_animation_masks_2011/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wolfson_jordan_animation_masks_2011/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wolfson_jordan_animation_masks_2011/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wolfson_jordan_animation_masks_2011/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"“Animation, masks,” the 12-minute 29-second film that is the entirety of Jordan Wolfson’s New York gallery debut, has the hallmarks of a classic. It rejuvenates appropriation art through the incisive use of digital animation, achieving an intensity that rivets the ear and the eye while perturbing the mind.\n\nFluidly combining animation, photographs, clip-art and extraordinary color, this piece is like an exquisitely made Fabergé egg that explodes in your face. It contrasts various modes of representation, degrees of resolution and forms of aural communication (lovers’ pillow talk, poetry and song); implicates history and art history; and invokes several ethnic stereotypes.\n\nIts only character is a jarringly stereotypical Shylockian Jew, with hooked nose, yarmulke, frizzed hair and beard and misshapen teeth, who is rendered in sleek high-definition animation (but only from the waist up). Sometimes benign, sometimes demonic, this gnomic cross between a Hasidic Woody Allen and a Semitic Yosemite Sam lip-syncs the sexy, whispered dialogue of a pair of young lovers that evokes the indie-film subcategory known as mumblecore, while executing repeated rap-music hand gestures.\n\nNext, in a jump in D.I.Y. history, the voices of different people reciting Richard Brautigan’s 27-word, alone-and-happy “Love Poem” flow from his lips, its implications fluctuating with each speaker.\n\nMeanwhile, images of largely white affluence abound. The Shylock character flips through recent issues of Vogue, whose crisp fashion spreads contrast with the grainy scenes that come and go behind him. Suggesting the rear-screen-projection and collage techniques of artists like Martha Rosler, Cindy Sherman and Laurie Simmons, these backdrops alternate lavish shelter-magazine interiors with decrepit loft building exteriors, à la Gordon Matta-Clark, conjuring SoHo’s mutation from artists’ haven to realtor heaven and, more generally, the rise of American materialism. Occasionally a succession of bright clip-art images flit across the character’s face, forming gorgeous masks that momentarily exoticize him.\n\nFinally, he peers out over his magazine to the mellifluous strains of the great French crooner Charles Trenet singing his hit “La Mer.” His eyes turn soft, his mouth and beard are obscured. Suddenly he, too, has mutated, looking almost as sexy as the lovers sounded.\n\nMr. Wolfson, who specializes in film, installation and performance, is no stranger to mixing high and low culture, entertainment and social commentary. But he’s never pulled it off with such intellectual density or visual power, much less so perfect a balance of seduction and subversion. As the various parts of his explosive little film fly past, they are open to different interpretations but remain consistently sharp-edged and dangerous."},{"slug":"wolfson_jordan_con_leche_2009","ok":true,"partial":false,"title":"Con Leche","artist":"Jordan Wolfson","year":"2009","startOffset":24.6,"sourceSecs":1380.715,"sourceHeight":318,"sourceWidth":424,"hasAudio":true,"hasAmbientMp4":true,"bytes":165590574,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wolfson_jordan_con_leche_2009/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wolfson_jordan_con_leche_2009/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wolfson_jordan_con_leche_2009/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wolfson_jordan_con_leche_2009/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"-The title refers to the main subjects of the artwork: animated cartoon Diet Coke bottles filled up with milk. Shot on video in Detroit Michigan, the characters walk through the desolate streets in real video sometimes in groups and sometimes alone. The image wobbles, flips and turns inside of the video frame.\n\nA commercial voice over actress speaks from texts Wolfson collected from the internet referencing identity, technology, memory and mortality most of which are personal accounts spoken in first person. Every few minutes Jordan Wolfson interrupts her giving basic formal instructions and adjustments distorting her tone, volume, and \"sex\"."},{"slug":"wooster_group_south_bank_show_1987_part_1","ok":true,"partial":false,"title":"South Bank Show, Part 1","artist":"The Wooster Group","year":"1987","startOffset":0,"sourceSecs":1736.64,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":507428898,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wooster_group_south_bank_show_1987_part_1/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wooster_group_south_bank_show_1987_part_1/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wooster_group_south_bank_show_1987_part_1/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wooster_group_south_bank_show_1987_part_1/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Documentary on the work of the Wooster Group, a drama group based in New York, looking at \"L.S.D.\", their work on the history of repression"},{"slug":"wooster_group_south_bank_show_1987_part_2","ok":true,"partial":false,"title":"South Bank Show, Part 2","artist":"The Wooster Group","year":"1987","startOffset":4.92,"sourceSecs":1276.331,"sourceHeight":576,"sourceWidth":768,"hasAudio":true,"hasAmbientMp4":true,"bytes":374824876,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wooster_group_south_bank_show_1987_part_2/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wooster_group_south_bank_show_1987_part_2/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wooster_group_south_bank_show_1987_part_2/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/wooster_group_south_bank_show_1987_part_2/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Documentary on the work of the Wooster Group, a drama group based in New York, looking at \"L.S.D.\", their work on the history of repression"},{"slug":"xenakis_iannis_polytope_de_cluny_1972_4","ok":true,"partial":false,"title":"Polytope de Cluny (1972-74)","artist":"Iannis Xenakis","year":"1972","startOffset":59.993,"sourceSecs":1490.24,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":122991298,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/xenakis_iannis_polytope_de_cluny_1972_4/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/xenakis_iannis_polytope_de_cluny_1972_4/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/xenakis_iannis_polytope_de_cluny_1972_4/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/xenakis_iannis_polytope_de_cluny_1972_4/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"POLYTOPE DE CLUNY is accompanied by images of the actual production from the Festival d'Automne."},{"slug":"xenakis_iannis_rebonds_b_2004","ok":true,"partial":false,"title":"Rebonds B","artist":"Stéphan Aubé","year":"2004","startOffset":3.32,"sourceSecs":912.085,"sourceHeight":576,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":153165883,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/xenakis_iannis_rebonds_b_2004/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/xenakis_iannis_rebonds_b_2004/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/xenakis_iannis_rebonds_b_2004/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/xenakis_iannis_rebonds_b_2004/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":", three highly demanding pieces for percussion. The first part is a recording of a performance of\n\nin a Parisian church. The second section offers a brief insight into the recording process of such pieces, exploring technical and artistic issues surrounding the production of Carneiro's interpretation. Differences between recording and performing are briefly addressed, centering on the need for the creation of dynamics and contrasts that are unreachable in the performance hall. The figure of the producer, so often neglected outside the field of pop music, is highlighted before turning on to short statements about Xenakis' music, its mathematical apparatus and its profoundly physical nature."},{"slug":"yonemoto_a_history_of_clouds","ok":true,"partial":false,"title":"A History of Clouds","artist":"Bruce and Norman Yonemoto","year":"1991","startOffset":59.967,"sourceSecs":2057.333,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":177231414,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_a_history_of_clouds/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_a_history_of_clouds/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_a_history_of_clouds/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_a_history_of_clouds/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"The sky looms in the background of all human activity. It is elementary then that artists should be preoccupied with a phenomenon whose ageless nature remains elusive and opaque. Bruce and Norman Yonemoto's A History of Clouds (33:46 mins, Color) investigates the representation of clouds as they appear in art, first as amorphic elements in early oil painting, then as photographically reproduced elements of 20th-century works. This premiere videowork ends in the advertising studio where clouds provide a \"natural\" backdrop for commodified dreams. The journey from representation to sales presentation is complete."},{"slug":"yonemoto_campaign","ok":true,"partial":false,"title":"Second Campaign","artist":"Norman Yonemoto, Nicholas Ursin","year":"1969","startOffset":60.033,"sourceSecs":3423.834,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":248621469,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_campaign/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_campaign/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_campaign/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_campaign/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"While still a student at UCLA, Norman Yonemoto arrived in Berkeley with a 16mm camera and discovered People’s Park in turmoil. His compelling short has remarkable interviews with bystanders and an especially poignant moment when a young folksinger serenades the gathered National Guard."},{"slug":"yonemoto_garage_sale_iphone","ok":true,"partial":false,"title":"Garage Sale","artist":"Bruce and Norman Yonemoto","year":"1976","startOffset":59.967,"sourceSecs":4955.278,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":369551204,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_garage_sale_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_garage_sale_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_garage_sale_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_garage_sale_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Yonemoto brothers utilize Los Angeles as tool and backdrop for a number of projects, drawing particularly from the Hollywood veneer of glamour and romance. Since 1976, the brothers have collaborated on numerous films, single-channel videos and video installations. Their first collaboration, Garage Sale (1976), was a 16 mm feature film about a young blond man named Hero and his wife drag queen Goldie Glitters. As Goldie demands a divorce, Hero, in a frenzy to retain her love, encounters numerous characters – each with their own idiosyncrasies and their own definitions for success. The actress who plays Goldie was actually drag-queen Goldie Glitters, Santa Monica City College's 1975 Homecoming Queen. Though it is made obvious to the audience that Goldie is actually a man, the line between reality and fiction is blurred when Goldie is sympathetically portrayed as a woman tapping into recognizable fantasies imbued into contemporary culture through fictional Hollywood romances and unrealistic dreams."},{"slug":"yonemoto_green_card_iphone","ok":true,"partial":false,"title":"Green Card: An American Romance","artist":"Bruce and Norman Yonemoto","year":"1982","startOffset":59.967,"sourceSecs":4528.681,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":394937009,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_green_card_iphone/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_green_card_iphone/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_green_card_iphone/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/yonemoto_green_card_iphone/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"The final installment of the Yonemotos' Soap Opera Series uses the deadpan syntax of television melodrama to tell the story of Sumie, a young Japanese woman who marries an American surfer/filmmaker for the green card that will allow her to pursue her artistic career. Falling prey to the seductive Hollywood fantasy of romantic love, she loses her \"American Dream\" of independence. Casting an ironic eye on the Los Angeles lifestyle and art scene of the early 1980s, this stylized narrative asserts that the delirium of Hollywood \"reality\" — the collective memory of the media — has a manipulative impact on the \"truth\" of our personal lives. As Sumie says, \"The way we see family, friends, relationships — even love — is mass media propaganda.\" Videoplay: Bruce and Norman Yonemoto. Producer: Bruce Yonemoto. Director: Norman Yonemoto. Camera: Norman Yonemoto, Nikolai Ursin. Story: Sumie Nobuhara. Performers: Sumie Nobuhara, Jay Struthers, Kyoko Watanabe, Nobi Tanaka, Francis Washington, Wenden Baldwin, Gary Lloyd, Lin Hixson. A KYO-DAI production. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"zmijewski_artur_singing_lesson_our_songbook","ok":true,"partial":false,"title":"Singing Lesson (2001) / Our Songbook","artist":"Artur Żmijewski","year":"2001","startOffset":10.267,"sourceSecs":1648.533,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":240604542,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/zmijewski_artur_singing_lesson_our_songbook/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/zmijewski_artur_singing_lesson_our_songbook/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/zmijewski_artur_singing_lesson_our_songbook/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/zmijewski_artur_singing_lesson_our_songbook/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"In “Singing Lesson 1” (2001), Mr. Zmijewski organized a choir of hearing-impaired teenagers and filmed them as they practiced ecclesiastical music in a Warsaw church. While a trained, hearing student plays the organ beautifully, the choir produces a cacophonous wall of sound. You don’t know whether to laugh or cry. The young singers are so earnest and so obviously having a fine time that it seems Mr. Zmijewski has done a good social deed regardless of the film’s value as art.\n\n“Singing Lesson 1” is one of Mr. Zmijewski’s more sensitive and touching projects, but with his work overall he comes across as a kind of puppet master who uses people less sophisticated than himself as marionettes in a game whose point they may not fully understand.\n\nZmijewski asks elderly Polish immigrants in a Tel Aviv nursing home and senior citizens’ centre to sing the Polish National Anthem and other Polish songs. The video is an examination of the effect a first language has on the shaping of identity regardless of intervening circumstances."},{"slug":"zmijewski_artur_them_2007","ok":true,"partial":false,"title":"Them","artist":"Artur Żmijewski","year":"2007","startOffset":59.967,"sourceSecs":1587.072,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":180654423,"posterUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/zmijewski_artur_them_2007/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/zmijewski_artur_them_2007/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/zmijewski_artur_them_2007/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T171233Z__new-films/films/zmijewski_artur_them_2007/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Presented at the 12th Documenta in Kassel, Them is a recording of a social experiment performed by the artist. Żmijewski organised a workshop to which he invited four groups representing divergent ideological mindsets: members of nationalist Młodzież Wszechpolska (All-Polish Youth), women strongly attached to the Catholic Church, young Polish Jews and leftist organisation activists.\n\nLike in the exercise Common Space, Private Space performed since the 1980s at Grzegorz Kowalski’s studio at the Warsaw Academy of Fine Arts, the participants of the workshop were given the task to negotiate the shape of their common space without words.\n\nThus, the debate adopted the form of actions on previously prepared images, which represented the values of particular importance for each of the groups. The workshop, in which the artist retained the observer role, unveiled the way how the ideological controversy arose between the groups and posed questions about the possibility of coexistence of bipolar opposites in the social space."},{"slug":"bright_parent","ok":true,"partial":false,"title":"The Single Parent: Images in Black","artist":"M. Stormé Bright","year":"1978","startOffset":0.366,"sourceSecs":1259.158,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":158968360,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/bright_parent/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/bright_parent/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/bright_parent/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/bright_parent/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Filmmaker M. Stormé Bright’s The Single Parent: Images in Black (1982) examines what it is like to be an African American single parent. Parents discuss the challenges of being a single parent, how they deal with the assumptions of others, and how they continue living a “normal” life despite their new responsibilities. —Trisha Lendo"},{"slug":"caldwell_ben_i","ok":true,"partial":false,"title":"I & I: An African Allegory","artist":"Ben Caldwell","year":"1979","startOffset":22.021,"sourceSecs":1956.021,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":208817719,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/caldwell_ben_i/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/caldwell_ben_i/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/caldwell_ben_i/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/caldwell_ben_i/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Director Ben Caldwell designed I & I as a “résumé piece” to showcase his skills in experimental filmmaking, dramatic filmmaking and documentary. Drawing from Ayi Kwei Armah’s novel, \"Two Thousand Seasons,\" Caldwell meditates on reciprocity and on the concept of “I and I” which postulates no division between people, whereas the splitting of “you” from “I” is an invention of the devil designed to brew trouble in the world."},{"slug":"grigorescu_masculin","ok":true,"partial":false,"title":"Masculin-Feminin","artist":"Ion Grigorescu","year":"1976","startOffset":6.88,"sourceSecs":787.92,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":159472185,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/grigorescu_masculin/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/grigorescu_masculin/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/grigorescu_masculin/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/grigorescu_masculin/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"grigorescu_mimica","ok":true,"partial":false,"title":"Mimică","artist":"Ion Grigorescu","year":"1976","startOffset":6.6,"sourceSecs":81,"sourceHeight":480,"sourceWidth":656,"hasAudio":true,"hasAmbientMp4":true,"bytes":12529003,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/grigorescu_mimica/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/grigorescu_mimica/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/grigorescu_mimica/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/grigorescu_mimica/main/master.m3u8","downloadUrl":null,"hasFrames":false},{"slug":"iloputaife_african","ok":true,"partial":false,"title":"African Woman, U.S.A.","artist":"Ijeoma Iloputaife","year":"1977","startOffset":0,"sourceSecs":1690.823,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":250679744,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/iloputaife_african/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/iloputaife_african/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/iloputaife_african/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/iloputaife_african/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"African Woman USA tells the story of an African woman studying dance in the U.S. and working to support a daughter at home, along with two others back in Africa. After receiving a work permit she is ecstatic, but must battle both sexism and racism when looking for a job. Her troubles continue when a man posing as a producer betrays her. The film uses jazz and traditional African music to underscore the themes of friendship and danger that shape an African immigrant’s experience of America. —Trisha Lendo"},{"slug":"larkin_children","ok":true,"partial":false,"title":"Your Children Come Back to You","artist":"Alile Sharon Larkin","year":"1979","startOffset":22.188,"sourceSecs":1783.149,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":192009053,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/larkin_children/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/larkin_children/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/larkin_children/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/larkin_children/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"A single mother ekes out a living from welfare check to welfare check, struggling to provide for her daughter. She is faced with the decision to look after her personally or to allow her sister-in-law to provide \"more than enough\" to go around. Director Alile Sharon Larkin’s film masterfully presents a child’s perspective on wealth and social inequality. —Samuel B. Prime"},{"slug":"makavejev_love","ok":true,"partial":false,"title":"Love Affair, or the Case of the Missing Switchboard Operator","artist":"Dušan Makavejev","year":"1967","startOffset":60.06,"sourceSecs":4121.827,"sourceHeight":382,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":395060309,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/makavejev_love/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/makavejev_love/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/makavejev_love/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/makavejev_love/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"An insane overlook on a love relationship between Ahmed and Isabel, directed by the most critically acclaimed Yugoslav art-house director, Dusan Makavejev, offers us a cold and neutral standpoint implementing documentary-style cinematography and the use of archival footage which spans from the ever-loving implications on the totalitarian regime to the educational films on human anatomy. The film leads a non-traditional narrative, built on stylistic dialectic which rapidly shuttles from one half to the other with little, or no warning.\n\n“Are you interested in sex?” is a question placed by a certain author on the subject of medicinal sexuality, doctor Aleksandar Kostic, which opens the film. Love Affair is fueled on the love/death dichotomy, as it ends with a murder. The Eros/Thanatos concept is set in the title which uses a conjunction “or” that indicates a struggle between these two element.\n\nBesides the character of doctor Kostic, there is a lecture-like sequence that introduces the viewer with yet another doctor, this time an expert in criminology. Doctor Aleksic deals with the tragic conclusion of the love story with the same scientific punctuality and lack of emotion, as his earlier counterpart."},{"slug":"mccullough_barbara_water","ok":true,"partial":false,"title":"Water Ritual #1: An Urban Rite of Purification","artist":"Barbara McCullough","year":"1979","startOffset":52.218,"sourceSecs":344.311,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":43436113,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/mccullough_barbara_water/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/mccullough_barbara_water/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/mccullough_barbara_water/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/mccullough_barbara_water/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Made in collaboration with performer Yolanda Vidato, Water Ritual #1 examines Black women’s ongoing struggle for spiritual and psychological space through improvisational, symbolic acts. Shot in 16mm black-and-white, the film was made in an area in Watts that had been cleared to make way for the I-105 freeway, but ultimately abandoned. At first sight, Milanda (Yolanda Vidato, wearing a simple dress and scarves on her head and waist) and her environs (burnt-out houses overgrown with weeds) might seem to be located in Africa or the Caribbean, or at some time in the past. This layering of locations and temporalities continues to the film’s striking conclusion, in which a now nude Milanda squats and urinates inside an urban ruin. By making “water,” Milanda evokes the numerous female water-based figures in African-Diaspora cosmology as she attempts to expel the putrefaction she has absorbed from her physical environment, while symbolically cleansing the environment itself.\n\nStructured as a ritual for Barbara McCullough’s “participant-viewers,” Water Ritual #1 honors Black/Third World women’s beauty and self-possession, and has been recognized as a pioneering work in Black feminist and experimental filmmaking. The film was inspired in part by the mental breakdown of a female friend of McCullough’s who retreated into “her own internal being.” The film shares with Charles Burnett’s Killer of Sheep a concern for how conditions of poverty, exploitation and anger render the Los Angeles landscape not as the fabled promised land for Black migrants, but as both causes and emblems of Black mental anguish. Although the film reflects a chain of abandonments— the city has turned its back on the Black community, residents have vacated their homes, and the deserted homes leave remaining folks like Milanda stranded and desolate—McCullough suggests that sites of urban blight can be activated as consecrated ground."},{"slug":"rottenberg_dough","ok":true,"partial":false,"title":"Dough","artist":"Mika Rottenberg","year":"2005","startOffset":0,"sourceSecs":352.653,"sourceHeight":378,"sourceWidth":504,"hasAudio":true,"hasAmbientMp4":true,"bytes":31235915,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/rottenberg_dough/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/rottenberg_dough/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/rottenberg_dough/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/rottenberg_dough/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Installed in a specially-designed viewing room made of low-grade plywood, the film Dough is reached by walking through an extended low-ceilinged corridor. The cheap makeshift aesthetic of this space is echoed in the film itself, where narrow rooms are connected via holes in the floors and walls, creating a sinister cross between highstreet beauty salon and sweatshop. In an elaborate process involving tears, air and pollen, the four uniformed women in this film use a primitive set of machinery designed to make dough rise. The dough is carefully kneaded and transported from chamber to chamber, and the final product eventually emerges as an unremarkable vacuum-packed lump.\n\nThrough the surreal and disconcerting production methods, and the discrepancy between the input effort and the output value, Dough elaborates on the complex relationship between the women themselves and the product they make. In the semi-industrial setting of this film, the lengths of dough handled by these women seem to take on the characteristics of their own flesh; something to be managed and tended, revered, controlled and pampered. The particular physiques of the women playing the factory workers begin to blend with the product itself, causing product and identity, production and result, to merge, destabilizing the meaning and value of labor. In Dough, the human physicality invested and contained in the process of labor and its structures, is being directly transported into the product, as intimate energies and fluids are excreted by the workers and transformed into a single saleable unit."},{"slug":"sheen_forbidden","ok":true,"partial":false,"title":"Forbidden Joy","artist":"Imelda Sheen","year":"1972","startOffset":10.143,"sourceSecs":632.766,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":127509900,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/sheen_forbidden/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/sheen_forbidden/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/sheen_forbidden/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/sheen_forbidden/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"In Forbidden Joy (1972), director Imelda Sheen utilizes many avant garde techniques to tell the mysterious story of a woman picnicking in a cemetery with a toddler by her side. The films plays with mood as it changes styles of music from African, to funk, to soul, to classical, while black-and-white footage shows us a glimpse of the rough streets in the woman’s past. —Trisha Lendo"},{"slug":"taylor_e_black","ok":true,"partial":false,"title":"Black Art, Black Artists","artist":"Elyseo J. Taylor","year":"1971","startOffset":31.965,"sourceSecs":940.14,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":87863120,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/taylor_e_black/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/taylor_e_black/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/taylor_e_black/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/taylor_e_black/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"As the only Black faculty member in UCLA’s School of Theater, Film and Television, Elyseo Taylor was an influential teacher and advocate for students of color. In voiceover dialogue with woodcut printmaker Van Slater, Taylor’s film examines the status of contemporary Black artists. A visual survey of Black art since the 19th century, punctuated with jazz and blues selections, outlines pressures to prove artistic capability, to suit white and middle-class Black tastes and to make explicit political statements. —Jacqueline Stewart"},{"slug":"varda_nausicaa","ok":true,"partial":false,"title":"Nausicaa","artist":"Agnès Varda","year":"1971","startOffset":0,"sourceSecs":5633.96,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":574927425,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/varda_nausicaa/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/varda_nausicaa/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/varda_nausicaa/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/varda_nausicaa/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Agnès Varda wrote the script of this semi-autobiographical love story, a reaction to the military putsch in Greece, in 1967. After receiving approval to shoot the film for French television in 1970, her elements were confiscated, her postproduction lab was broken into, and the entire film was eventually seized and suppressed. Varda never received a formal explanation from the government. The Royal Belgian Cinematheque preserved the sole existing workprint of the film, which is presented here.\n\nAgnes Varda’s Nausicaa (1970) is one of the late great director’s lesser-known films. Not because it is a lesser Varda, but because it was commissioned by French public television, only to not get aired and even destroyed.\n\nVarda was never told why, but her guess is that it was suppressed for political reasons, having to do with the subject of the film, Greek exiles in France and the Greek Regime of the Colonels, a military regime ruling the country from 1967 to 1974. Though why French public television or the French government would want to silence Nausicaa remains unclear.\n\nNausicaa’s only public screening occurred when a workprint was shown in Belgium. Luckily, this workprint was saved in the archives of the Cinémathèque Royale de Belgique, and eventually rediscovered earlier this decade and made into a DVD so we can now all discover this lovely documentary-fiction hybrid film in which Varda gives voice to disenfranchised, exiled Greeks who fled the military regime then in place, and explores her own connection to her Greek roots through a fictional plot in which a young girl named Agnes falls for a Greek exile.\n\nVarda switches between these two modes so seamlessly, it took me a while to realize the two strands were actually different. Despite the fact that the documentary partly consists of interviews with Greek exiles speaking directly into the camera, their testimonies feel of one piece with the story of young Agnes in Paris, studying ancient Greek art. Later, Varda herself shows up to discuss her Greek heritage with some of the exiled Greeks, mirroring her fictional counterpart. And then there’s a scene in which the actor playing the exile her fictional self falls for, himself an actual exile as well, goes to greet other Greeks on a boat while driving to the shoot, but there’s no sound so Varda has to describe what’s happening in voice-over. There’s no sound because union rules prevent them from operating the sound equipment themselves, but there’s also not enough budget to keep a sound guy with them at all times in case of such happenstance. Perhaps her naming and shaming of French public television for this lack of budget pissed somebody off so much they suppressed the film?\n\nIt remains a tragedy that what Varda intended as a “settling of accounts” with the fascist military coup and subsequent junta, was never allowed to be just that. However, it’s a gift that we in the 21st Century are able to see what is perhaps her most political work. Because Nausicaa is Agnes Varda firing on all cylinders, in that seemingly effortless manner that typifies the best of her work, blending various forms of art, cinema and personality in a heady concoction that is oh so easy to swallow."},{"slug":"white_iverson_dark","ok":true,"partial":false,"title":"Dark Exodus","artist":"Iverson White","year":"1985","startOffset":8.441,"sourceSecs":1683.682,"sourceHeight":480,"sourceWidth":640,"hasAudio":true,"hasAmbientMp4":true,"bytes":195959974,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/white_iverson_dark/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/white_iverson_dark/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/white_iverson_dark/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/white_iverson_dark/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Subjected to Jim Crow laws and an overtly racist white population that still sees Blacks as property, an African American family in the South sends its sons away to a better life. Visualizing the migration of African Americans from the rural South to the urban, industrial North in sepia tones, Iverson White’s period film captures the atmosphere of early 20th century America. —Jan-Christopher Horak"},{"slug":"wittgenstein_life","ok":true,"partial":false,"title":"Wittgenstein: A Wonderful Life","artist":"Christopher Sykes","year":"1989","startOffset":4.76,"sourceSecs":2933.32,"sourceHeight":360,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":200942288,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/wittgenstein_life/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/wittgenstein_life/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/wittgenstein_life/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/wittgenstein_life/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"From VHS. A BBC 'Horizon' film about the remarkable life of the Austrian philosopher Ludwig Wittgenstein. Directed by Christopher Sykes."},{"slug":"wu_gogh","ok":true,"partial":false,"title":"Van Gogh's Ear","artist":"Mi-sen Wu","year":"1995","startOffset":1.876,"sourceSecs":1143.893,"sourceHeight":534,"sourceWidth":704,"hasAudio":true,"hasAmbientMp4":true,"bytes":189149813,"posterUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/wu_gogh/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/wu_gogh/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/wu_gogh/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T231633Z__lost-hls/films/wu_gogh/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"A party hosted by Beat poet Allen Ginsberg inspired the director's award-winning graduation film Van Gogh's Ear, an experimental short featuring the maestro talking about his creations, death and immortality."},{"slug":"fluxfilm_08_maciunas","ok":true,"partial":false,"title":"1000 Frames","artist":"George Maciunas","year":"1966","startOffset":0,"sourceSecs":33.534,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":2117,"posterUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/fluxfilm_08_maciunas/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/fluxfilm_08_maciunas/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260618T054058Z__full-2-crf/films/fluxfilm_08_maciunas/main.mp4?v=2","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/fluxfilm_08_maciunas/main/master.m3u8","downloadUrl":null,"hasFrames":true,"description":"Dating from the sixties and compiled by George Maciunas (1931-1978, founder of Fluxus), Fluxfilm Anthology is a document consisting of 37 short films ranging from 10 seconds to 10 minutes in length. These films (some of which were meant to be screened as continuous loops) were shown as part of the events and happenings of the New York avant-garde. Made by the artists ranging from Nam June Paik and Wolf Vostell to Yoko Ono, they celebrate the ephemeral humor of the Fluxus movement.\n\nFluxus' interdisciplinary aesthetic brings together influences as diverse as Zen, science, and daily life and puts them to poetic use. Initially received as little more than an international network of pranksters, the playful artists of Fluxus were, and remain, a network of radical visionaries who sought to reconcile art with life."},{"slug":"kitchen_warmup","ok":true,"partial":false,"title":"Warm Up","artist":"The Kitchen","year":"1985","startOffset":7.733,"sourceSecs":111.467,"sourceHeight":240,"sourceWidth":320,"hasAudio":true,"hasAmbientMp4":true,"bytes":5807674,"posterUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/kitchen_warmup/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/kitchen_warmup/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/kitchen_warmup/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/kitchen_warmup/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"The television production Two Moon July was a multidisciplinary event that featured experimental video, film, visual art, performance and music in a theatrical framework. More than thirty artists participated in the program, which was produced for the Kitchen by Carlota Schoolman and directed by Tom Bowes. This production reflects a moment when art centers were experimenting with new modes of presenting the arts for television. The participating artists read like a \"who's who\" of 1980's downtown art icons. Short excerpts from video and film works (by artists including Vito Acconci, Dara Birnbaum, Bruce Connor and Bill Viola) are intercut with performances and art installations in the Kitchen's gallery spaces. Laurie Anderson performs Difficult Listening Hour, speaking through the male voice of her \"Soul Doctor\" character; Talking Heads' front man David Byrne is featured in the performance piece Report from L.A.; choreographer and dancer Bill T. Jones performs Inspiration to the accompaniment of John and Evan Lurie's music. Art works by '80s art stars Cindy Sherman, Robert Longo and Jonathan Borofsky are integral to the mise en scene, while music by downtown legends Brian Eno, Philip Glass and Arto Lindsay, among others, provides a running soundtrack. --\n\nThis title is available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the\n\nThe EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"nitsch_six","ok":true,"partial":false,"title":"6 Tage Spiel - Das Orgien Mysterien Theater","artist":"Hermann Nitsch","year":"1998","startOffset":5.872,"sourceSecs":978.478,"sourceHeight":240,"sourceWidth":352,"hasAudio":true,"hasAmbientMp4":true,"bytes":71703589,"posterUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/nitsch_six/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/nitsch_six/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/nitsch_six/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/nitsch_six/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"\"I also believe that, with regard to both the tragic aspect of suffering and instants of extreme ecstasy and affirmation of life, art needs to have a sense of sacred solemnity. [...] We propagated a very aggressive type of art, not a cozy art but an art that displayed tremendous power and intensity.\" - Hermann Nitsch\n\n\"\"A psychoanalytically-oriented dramaturgy allows the Dionysian to burst forth from within us. Suppressed areas of inner impulses are made visible. The actions with flesh, blood and slaughtered animals plumb the collective areas of our unconscious minds. The paramount aim and purpose of the festival is a profound affirmation of our existence, our life and our creation. The mysticism of being leads to a permanent festival of life. [É] All are invited to drink. A mass intoxication is imperative, an all-embracing intoxication of the participants is ordained, unrestrained drinking takes place, day and night, in vineyards and cellars. Slaughter of a pig. GRAPES, FRUIT and TOMATOES, ANIMAL LUNGS, FLESH and INTESTINES are trampled on in ecstasy. People trample in SLAUGHTERED ANIMAL CARCASSES FILLED WITH INTESTINES, in troughs full of blood and wine. Extreme noise from the orchestras. Slaughtering of the bull, slaughtering of two pigs. Disembowelment.\" - Nitsch, Das Orgien Mysterien Theater\n\nHermann NitschHermann Nitsch (born 1938) is an Austrian performance artist and a forerunner of Wiener Aktionismus (Viennese Actionism, or Performance art). Nitsch is known for his ritualistic performance actions, often combining fake crucifixion with the disemboweling of lambs and other animals. In the late 50s Hermann Nitsch developed the concept of the \"Orgien Mysterien Theater\" (Theatre of Orgies and Mysteries) a total work of art appealing to all senses, celebratory and life-affirming. Drawing on religion, philosophy and psychology, he has composed numerous theoretical writings, compositions and scores to accompany over 100 realized action performances between the years of 1962 and 1998. In 1998, Nitsch staged his 100th performance (named the 6-Day Play after its length) which took place at Schloss Prinzendorf, his castle in Austria."},{"slug":"paik_212","ok":true,"partial":false,"title":"Suite 212","artist":"Nam June Paik","year":"1975","startOffset":4.47,"sourceSecs":1840.472,"sourceHeight":384,"sourceWidth":512,"hasAudio":true,"hasAmbientMp4":true,"bytes":237775760,"posterUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_212/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_212/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_212/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_212/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Nam June Paik. In collaboration with Douglas Davis, Jud Yalkut, and Shigeko Kubota.\n\nSuite 212 is Paik's \"personal New York sketchbook,\" an electronic collage that presents multiple perspectives of New York's media landscape as a fragmented tour of the city. Opening with the 1972 work The Selling of New York, a series of short segments designed for WNET's late-night television schedule, Paik critiques the selling of New York by multinational corporations, and the city's role as the master of the media and information industries. Russell Connor is the ubiquitous television announcer whose droning statistical information on New York is ridiculed by a series of \"average\" New Yorkers; a burglar steals the TV set on which we see his talking head. Intercut throughout this comic scenario are appropriated Japanese TV commercials of American products. At the core of Suite 212 is a series of short collaborative pieces that form an accelerated, vibrant romp through New York neighborhoods. Street interviews with Douglas Davis' neighbors, Jud Yalkut's rendering of a Chinatown noodle shop and a colorized walk along the bridge to Ward's Island, and Paik and Shigeko Kubota's hallucinatory tour of the Lower East Side with Allen Ginsberg are among the segments in this dizzying time capsule of New York in the 1970s.\n\nDirector: Merrily Mossman. Host: Russell Connor. Supervising Engineer/Videotape Editor: John J. Godfrey. Staff Engineer: Philip F. Falcon, Jr. Production Manager: Darlene Mastro. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"paik_cellist","ok":true,"partial":false,"title":"Topless Cellist (Charlotte Moorman)","artist":"Nam June Paik","year":"1978","startOffset":60.033,"sourceSecs":1791.9,"sourceHeight":320,"sourceWidth":480,"hasAudio":true,"hasAmbientMp4":true,"bytes":149546674,"posterUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_cellist/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_cellist/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_cellist/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_cellist/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Nam June Paik's first single-channel videotape since 1989 is a heartfelt tribute to his long-time collaborator Charlotte Moorman. This portrait traces Moorman's career as an avant-garde performer, from her classical training to her notorious arrest as the \"Topless Cellist\" and subsequent talk-show celebrity. Rare documentations of Moorman's performances include Otto Piene's Sky Kiss and Jim McWilliams' Chocolate Cello. Interviews with Moorman's friends, family and collaborators, such as Yoko Ono, Christo and Jeanne Claude, Otto Piene, and Barbara Moore, among others, provide intimate recollections of the inimitable Moorman.\n\nEditor: Janice E. Young. Coordination/Music Producer: Stephen Vitiello. Researcher: Maria Rosa Fort Brescia. Interview Camera: Howard Weinberg, New York; Sandra Robert, Little Rock; Vin Grabill, Boston; Your Media Image, San Diego. Archival Video: Nam June Paik, Electronic Arts Intermix, Vin Grabill, Jud Yalkut, Otto Piene, Larry Miller, Paul Garrin, Andrew Gurian. Archival Photographs: Peter Moore, Charlotte Moorman Archive, Andrew Gurian & Barbara Moore, Fred W. McDarran, Otto Piene, Andor Orand, Arkansas Democrat Gazette, NYC Dept. of Sanitation, Rene Bloch, Francescho Conz, Thomas Haar, Tamara Hendershot, Takenisa Kosugi, Mira Cantor, Elizabeth Goldring. On Line Editor: Mitch Brody. Still Animation: Angelique Thermes, Yvetot Gouin. Videotape Transfers: Elina Shvachkin, Sima Malah. Production Assistance: Electronic Arts Intermix, Arthur White, Center for Advanced Visual Studies, M.I.T. --\n\nfor further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials."},{"slug":"paik_video3","ok":true,"partial":false,"title":"Video Tape Study No. 3","artist":"Nam June Paik","year":"1969","startOffset":18.68,"sourceSecs":232.64,"sourceHeight":528,"sourceWidth":720,"hasAudio":true,"hasAmbientMp4":true,"bytes":55606785,"posterUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_video3/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_video3/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_video3/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/paik_video3/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Part of a collection of restored early works by Nam June Paik and Jud Yalkut, this piece is historically significant as well as remarkably prescient. Video Tape Study No.3 is a direct media intervention, in which Paik distorts and manipulates footage from news conferences by U.S. President Lyndon Johnson and New York Mayor Lindsey. In a witty performative gesture, Paik briefly asserts his presence by waggling his finger at the screen."},{"slug":"vertov_lotte","ok":true,"partial":false,"title":"Lotte in Italia (Struggle in Italy)","artist":"Dziga Vertov Group","year":"1970","startOffset":10.12,"sourceSecs":3455.36,"sourceHeight":320,"sourceWidth":442,"hasAudio":true,"hasAmbientMp4":true,"bytes":185131522,"posterUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/vertov_lotte/poster.webp","ambientMp4Url":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/vertov_lotte/ambient.mp4","previewUrl":null,"mainUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/vertov_lotte/main.mp4","mainHlsUrl":"https://ubu.getkino.com/runs/20260620T235428Z__lost-hls-2/films/vertov_lotte/main/master.m3u8","downloadUrl":null,"hasFrames":false,"description":"Poses the question of what constitutes revolutionary struggle, focusing on the day-to-day life of a woman militant. Paola is an Italian student of bourgeois extraction, but engaged in progressive ideas and action. The film shows, in the form of an essay on dialectical materialism, the struggle between idealism and Marxism in the mind and deeds of Paola."}]}